“One Love” is one of those feel-good songs, one that makes you feel like it’s always the right time to listen to (it). So what happens when Bob Marley’s grandson puts his own spin on it?
Skip Marley took this ’70s anthem about peace and love to honor his grandfather and celebrate the Adidas x Bob Marley Foundation capsule collection launch. The music video showcases a variety of locations, including the Bob Marley Museum, Tuff Gong Studios, and Kingston. Continue reading »
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
When it was announced that Donna Jean Thatcher Godchaux-MacKay passed away on Nov. 2, 2025, the obituaries and tributes came pouring in, as befitting a Rock N’ Roll Hall of Famer and member of the legendary rock band the Grateful Dead.
The story of her life and work has been well documented. Born in Alabama, she got her start as a professional singer in her teens doing session work in Muscle Shoals and Memphis. In this role, she backed up the likes of Percy Sledge on “When A Man Loves A Woman” and Elvis Presley on “Suspicious Minds” (more on that later).
She and her first husband Keith Godchaux moved to San Francisco, where Donna Jean literally talked their way into the Grateful Dead in 1971. With Keith on keyboards and Donna Jean on vocals, the two were part of the band until 1979. Together they appeared on every studio album of the era. They also performed at many of the band’s most iconic shows, such as Veneta (Oregon) in 1972, Barton Hall at Cornell University in 1977, the Great Pyramids in Egypt in 1978, and the Closing of the Winterland on Dec. 31, 1978.
The best way to describe Donna Jean’s role is to say she was a singer in the band. While she wasn’t a traditional rock n’ roll frontwoman like Grace Slick or Debbie Harry, she did sing lead on a handful of songs, including “Sunrise” and “From the Heart of Me.” She also sang co-lead alongside Bob Weir on classic tracks “The Music Never Stopped” and the live version of “Sugar Magnolia/Sunshine Daydream” on Europe ‘72. She sang backup on countless tunes, putting her stamp on many live performances. Even when she wasn’t singing, she was often front and center on stage, moving with the music, both inspiring and emulating the crowd.
Like all aspects of Grateful Dead lore, her time in the band is a matter of endless debate with Deadheads. Some love her, some hate her. Though she was a great singer in her own right, her voice did not always mesh well with those of other members of the band. This was complicated by the fact Jerry Garcia and Bob Weir weren’t always singing on key (or even the right words). She acknowledged these shortcomings in multiple interviews.
Still, to hear Donna Jean’s voice on a Dead song means you can easily identify the era. As Dead drummer Bill Kreutzmann wrote last week: “She was very much woven into the Dead’s tie-dyed tapestry during the ‘70s — and some of those years remain my all-time favorite of the Grateful Dead. Which means that some of my favorite music that I ever made with the Grateful Dead was made with Donna.”
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Under the Radar shines a light on lesser-known cover artists. If you’re not listening to these folks, you should. Catch up on past installments here.
Fear not, this is no obituary; Delbert McClinton is still around, a mere stripling of 84. Still, given that it’s been three years since his last album and more since he toured, I’d hate to have him slip away on me before I got the chance to celebrate him here.
Delbert who? That’s the response from most when I laud McClinton, his name having surprisingly little traction despite a career as long as my entire life. To answer the question, he’s a good ol’ boy from Lubbock, Texas, with a laissez-faire attitude to genre type-casting. Many of his records went top 20 positions in the US blues and country charts at the same time. We first heard of him playing his distinctive harmonica riffs on Bruce Channel’s “Hey, Baby.” In 1962! (That year he toured the UK with Channel; the Beatles were their opening act, and John Lennon famously got some playing tips from McClinton that he put to use on “Love Me Do.”)
That wasn’t even where McClinton began. He played Texas bar-bands from his teens, backing some of the blues legends then still on the road — Sonny Boy Williamson, Howlin’ Wolf, Lightnin’ Hopkins just to name a few. A hit with his own band, the Ron-Dels, “If You Really Want Me To, I’ll Go”, came in 1965, followed by a three-year partnership with Glen Clark, 1972-5, before striking out on his own. He was nominated for eight Grammy awards and won four — not too shabby. And let’s not forget his own songwriting, something he may even arguably be better known for. Emmylou Harris’s “Two More Bottles of Wine” was his, as well as many others that led to his 2011 indictment in the Texas Heritage Songwriters Hall of Fame.
But it is his gravelly, gritty renditions of the songs of others that we celebrate today, vocals that sound they have spent years in the saddle, ahead being trampled underfoot in a bar brawl, buried and then brined for posterity. Imagine a mix of Johns Fogerty and Hiatt, gargled with a sandpaper side, and you pretty much have it. A laryngologist’s nightmare, and perfect for his tramples over blues, country and rock and roll.
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Follow all our Best of 2024 coverage (along with previous year-end lists) here.
Welcome to the 50 Best Tom Petty Covers of 2024!
We kid, of course. But for whatever reason, this year’s big trend in covers was: Tom Petty. At one point there were something like 20 Petty covers on our longlist. Many came from two all-star tribute albums that dropped, entirely coincidentally, the same year (they both made our Best Albums list). We narrowed it down, of course. Three Petty covers ended up in this Top 50, one not even from those albums. Then, just this week, another high-profile Petty cover dropped: Snoop and Jelly Roll reworking “Last Dance for Mary Jane”! Suffice to say that one wouldn’t have been a contender even if it hadn’t arrived too late.
That was the big surprise trend in 2024 covers. The less-surprising trend you could have called from a mile out: The new wave of young pop divas—Chappell, Sabrina, Charli—got covered a lot. We could have done an entire 50-song list of their covers, too (the “Good Luck Babe”s alone!). But, if we had, we would have missed out on gospel R.E.M. and country The Weeknd and electropop Mott the Hoople and soul Green Day and… you know what, just read the list.
(Moo-chas gracias and Deng-ke schoen to Hope Silverman for this year’s tiny-hippo art.)
In the Spotlight showcases a cross-section of an artist’s cover work. View past installments, then post suggestions for future picks in the comments!
As tradition has it, the jazz singer usually comes with piano accompaniment. Often, as with Diana Krall or Nina Simone or Norah Jones, the crooner is the keyboardist. The deep-voiced vocalist Cassandra Wilson broke this template back in the 90s. Her most successful music centers on the acoustic guitar, and features acoustic stringed instruments as main ingredients in the mix. If this unusual sonic palette makes Wilson’s music stand out, what makes it stick is her embrace of genres outside the jazz idiom.
Wilson first gained recognition in the mid-1980s as a founding member of the avant-garde M-Base collective. M-Base artists explored intricate rhythmic layering, free improvisation, and absorbing various African and African-American musical traditions, including newer branches like hip-hop. But Wilson soon struck off in her own direction, issuing several albums under her own name. Then she transformed her approach, and in 1992 she signed on with Blue Note Records (EMI).
It was at this point she expanded beyond jazz standards (and her own compositions) by covering folk, country, Delta blues, and pop material. From Hank Williams to U2, The Monkees to Van Morrison, Muddy Waters to Joni Mitchell, she was on it. At the same time, she began to feature instruments that were largely excluded from the jazz bandstand: classical guitars, octave guitars, resonators, banjos, a violin, a bouzouki, and a mandocello. Wilson redefined what jazz could sound like. She partnered with individualistic musicians (like Brandon Ross, Kevin Breit, and Charlie Burnham) all phenomenal artists who could play with imagination and with extended techniques. When Wilson herself played guitar it was usually in a “wack tuning” (to quote her own liner notes).
Not one to cling to a format or formula, she continued to evolve beyond her breakthrough Blue Note records (she left the label entirely in 2010). She even brought piano back into the mix, bringing to light some the best players of the next generation, including a young unknown named Jon Batiste. In some phases she focused on musical forms from Italy and from Brazil, or veered back into a more mainstream jazz approach, as on projects with Wynton Marsalis (the Pulitzer-prize winning Blood on the Fields production) and album-length tributes to Miles Davis and Billie Holiday. In the current decade Wilson’s been very quiet. She turns 70 in 2025, and if we are lucky she will re-emerge with more of her beguiling music to share. Continue reading »
Sometimes it is the lower key and lesser heard that most catches the ear, and Adam Holmes a prime example. If you follow the contemporary Scottish folk (and beyond) scene, you may well know Holmes already, for having one of the more soulful instruments in the country, a warm burr with a distant flavor of John Martyn. Starting off as a member of neo-trad outfit Rura, Holmes’ singing and songs were a tidy contrast to their instrumental elemental fare of fiddle, flute and pipes. With time, the mix became perhaps too schizophrenic, he needing a platform to stay on stage the whole set. This he found, forming a band, the Embers, lasting for a well-received year or three.
Since then he has been on his own, give or take a duo, with Heidi Talbot, and a brief membership of Anglo-Scots folk-rock supergroup, The Magpie Arc. A veritable one man industry, he releases his own albums and sorts out his own gigs and shows, no middlemen to sour the pitch. As such, the gap between he and his audience is thin; if you fancy him writing a song for you, or for him to play in your own home, he will; contact him, via his website.
Songs for My Father, the second of two recent releases, each dedicated to cover versions, is in his father’s memory, the songs of his childhood and his father’s record collection. (The earlier one, last year’s The Voice of Scotland, covered more the traditional songs he grew up with, together with a couple that have near earnt that same soubriquet: we included “You Are My Sunshine” from that set recently.) Holmes’ father, dying of throat cancer, made a last request his son record his favorite songs; it was a task that took Holmes ten years to work up the initiative to address.
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