UNDER COVERS VOLUME 2

posted in: Features

Welcome to the second installment of Under Covers, a biweekly column dedicated to exploring the musical possibilities of artists appreciating one another’s work on both the OurStage and national level!

Perhaps it was the numerous family road trips spent crawling lethargically through the roasting interstates of the Midwest, with the cornfields, power lines and Lucinda Williams’ tired voice on the radio as the only signs of humanity. Or maybe it was just the fact that this time of year fulfilled affinity for laziness after a summer full of activity. Regardless, I’ve always associated the month of August with carefree leisure and folk music. Over the years, the late summer breeze has blown folk melodies of old and new my way; from Gram Parsons and Johnny Cash to Iron & Wine and Paper Bird. Yes, every musical genre undergoes some metamorphosis over time, yet time seems to have handled the folk genre a little more delicately. Icons have come and gone, but the sounds and generalized messages of today’s folk music hasn’t drifted too far from its roots. If you haven’t already guessed it, this week’s Under Covers topic is folk music for the heartland.

greatplains

Back in ’89, a Canadian singer songwriter named Gordon Peterson released an album on A&M Records entitled Big Harvest with his band Indio. The album’s single, Hard Sun got a little airplay, but the album was otherwise considered a flop and he was dropped, never to be heard from again. Literally, the guy pulled a Salinger and vanished into oblivion, and has had absolutely no presence in the public realm ever since. Since that ’89 release, Big Harvest has come to be considered an underground jeweland having not been physically pressed since its release until this January, this collectors item has gone for as much as $400 on Ebay.

Gordon Peterson

Gordon Peterson

Eighteen years after the initial release, Eddie Vedder popularized Peterson’s Hard Sun in a cover for the critically acclaimed Into the Wild soundtrack, and the work of Indio was dragged out of its cave and into the limelight. This time no one forgot.

For me, Hard Sun is a standby song; not a song to be played constantly, but more so on call for special occasions. But when those first guitar chords are strummed, they will make your day. Eventually, they might even trigger your reflex to take a deep breath automatically. With Peterson’s warmly layered vocals, dispersed percussion and hooky chorus, this tune will have you singing out loud for hours. The meaning of this song is ambiguous. The verses can be interpreted as a tribute to mother nature, a force that seems to have been a reassuring staple in Peterson’s life. Or, it can be translated to tell of his love for a real life she, someone who stayed with him through the good times and the bad. Peterson’s first person reassurance enters in the chorus, encouragement for the big people to find peace and resolve in the struggle under the big hard sun no matter where or who you are in the big hard world. It’s quite motivating, exhaling a set forth on your mission and don’t ever look back vibe. One half ode to a support to lean on, one half ode to the downtrodden workers of the world.

images-1Of the many musicians that have delegated for the working class over time, Bruce Springsteen sticks out in my mind as a leader. Once described as poet laureate for the state of New Jersey, the boss’ messages have since expanded beyond the garden state to echo across the entire country. Springsteen has worn many musical masks throughout his 40 year career, from the epically structured songs on Born to Run, to the more traditionally pop-oriented songs on Tunnel of Love. To cover Hard Sun by Indio, I nominate the Springsteen of Nebraska. Released in 1982, this album’s recordings were originally meant to be demo versions. Springsteen is the only musician on the album, singing and playing all instruments involved: guitar, harmonica along with the occasional glockenspiel, tambourine, organ and mandolin. This stark album’s theme centers around the blue collar demographic, sometimes shedding a dim light on a relentless life, other times lending a hoping voice.

With this in mind, I would whittle Bruce down to nothing but his trademark scratchy vocals, an acoustic guitar, and harmonica on a cover of Hard Sun. He has proven himself very capable as a one man performer, mastering the coordination necessary in playing harmonica and guitar simultaneously. I would take the tempo down a notch as well, melting the song into a languid late summer ballad. The slower the tempo; the less urgent the message; the more relaxing the song. But, to prevent it from drowning too far into the depths of balladry, I would have Bruce implement some hand drumming on the guitar. Acoustic percussion on beats 1 and 3 would keep the song afloat and recapture the energy that the original percussion exudes. There are a few bars before verses for instrumental interludes; I would insert the harmonica here, and bring it back near the end for a solo during the outro fade. One strength of the original song is the soaring vocal harmonies in the chorus. They are layered heavily in the Peterson and Vedder recordings, but I think just one more voice for the Springsteen cover would do. The woman for the job? The aforementioned Lucinda Williams. The sound of her seasoned drawl will be the perfect compliment to Springsteen’s voice. Moreover, she could add the simple electric guitar fluttering in the background of the chorus. Fortunately, the working class commentary of today is spouting from younger generations as well.

Courtney Leigh Heins

Courtney Leigh Heins

Emerging as an observant working class songstress on the OurStage radar is   Courtney Leigh Heins. Originally from the crossroads of America, she went to college in the East and moved West to Hollywood soon thereafter. This background has given her much insight to the working class from all corners of the country which is detailed in her song Great Divide.

While Great Divide also sheds some much deserved spotlight on working Americans, it pulses a different vibe than Hard Sun. It’s more complacent; a nice, easy going song commenting on the more specific pains of the working class like steel-toed shoes and union dues. Courtney’s message is relevent to people from all walks of life, those who walk the cornfields and those who ride the city busses. Love it or hate it, we’re all persevering the same struggle in the same great divide. While this song’s lyrics speak directly to hardworking Americans, its sound is not necessarily as Americana as it could be. To give this song some more authentic flavor, I nominate Sweet Sunny South, a traditional bluegrass quartet from the miniscule town of Paonia, Colorado, for my fantasy cover. With a mandolin, guitar, upright bass,and quintessential bluegrass banjo, these small town musicians have the perfect ingredients to transform Courtney Leigh Heins’ mellow folk song into a full-blown Americana masterpiece. The setting is almost too perfect; Paonia, CO, which has a population of 1,400 according to Wikipedia, is the wonderfully traditional harbor for the characters mentioned in Heins’ Great Divide. With a slower tempo, I would have SSS take the same minimalist approach as in the beginning as I suggested for Springsteen covering Hard Sun, starting only with vocals and banjo. When the chorus comes in, I would bring in the trademark 2 beat bass and rhythm guitar. I would have the virtuosic mandolin player of SSS replace the electric guitar in Heins’ version, entering shortly before the second verse and taking a solo after the bridge.

yerprapewuir-320x240There is a slight difference in the respective tones in these artist’s voices. Ms. Heins sings with a hint of frustration and spite towards the well beaten path, and rightly so. Sweet Sunny South’s vocals float without a care in the world. The lyrical content and vocal ambience would combine to form a laid back acceptance. Things are the way they are, it is what it is. The cherry on top for this fine composition would be vocal harmonies. Both Bill Powers and Shelley Grey of SSS are soothing bluegrass singers, the finishing touch to a truly American creation. The original Great Divide comes to a traditional ending, with each musician stopping at the same time and letting their notes ring out. I would have SSS fade out, just like those marathon Midwestern sunsets. A slow, patient ending for a laid back song. But don’t mind me, listen to what the artists had to say!

CLH: I love the homegrown sound of Sweet Sunny South. If they were to cover The Great Divide, I’d especially look forward to some cool fiddle and banjo riffs throughout, especially where the guitar solo is presently. I think male vox would bring out a whole different flavor and their tight harmonies would really bring it home. The Great Divide is what we like to call Blue State Country. The inspiration was that gap between America and the administration at the time (Bush/Cheney). Something was clearly missing. Things started to fall through the cracks and nobody ever went lookin’ for them. This gap (or divide) was growing and drew attention to escalating opposition and attitudes that resonated throughout our country. From the gold rush to the silver skyline, call it what you will, past or present, but it all comes down to money and power. The people elect the officials who they hope will best represent their interests, and before they know it, their kid is on the front lines and their plant is being closed. Somewhere between Point A and Point B, people and ideas began falling through the cracks. That, so to speak, is the great divide.

If you have a topic for Under Covers or know artists that you would like to cover or be covered, leave a comment about them below!