Robert Plant‘s post Led Zeppelin years have been quiet yet fruitful, with a long solo career that includes Grammy wins with Alison Krauss and reviving his folk project, Band of Joy, to critical acclaim. The latest Plant release is a cover of Elbow‘s “The Blanket Of Night” for The Long Road, a British Red Cross benefit album aimed to raise awareness of Europe’s refugee crisis.
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!
Ben Harper is the kind of artist who’s all too easy to miss. He’s not particularly flashy. He doesn’t make headlines for terrible behavior. In fact, he does the opposite: he’s involved in several charities supporting conservation, scholarship, and feeding the hungry. These are wonderful qualities for a human being and an artist to have, but they don’t necessarily help that artist stay in the public eye. What Harper also does, however, is bring his own brand of American music to fans around the world. During his career, he’s experimented with rock, folk, gospel, blues, country, reggae, and jazz, and proved himself equally adept at them all. He’s consistently delivered quality music for over two decades. It may be easy to miss him, but once discovered, he’s impossible to forget.
Full Albums features covers of every track off a classic album. Got an idea for a future pick? Leave a note in the comments!
When Led Zeppelin III was released 45 years ago, it seemed destined to disappoint both the fans who wanted “Whole Lotta More Love” and the critics who weren’t all that keen on the band to begin with. Oh, sure, “Immigrant Song” was an instant hard-rock classic, and “Since I’ve Been Loving You” was blues as slow and heavy as you could hope for, but this album’s heart and soul lay with its acoustic numbers on what was then called Side Two. This wouldn’t do – hadn’t these guys already set up camp in the heavy metal slums? How dare they pretend to be other than what they were?
Of course, time has proven Zeppelin the wiser. III proved them capable of expanding their palette, showing more sides and more shades than the wannabes who were only capable of following one set of Zep’s footprints. The critics have come around, taking note of the bucolic dimension Jimmy Page and Robert Plant brought to their songwriting after a recharging stay in a quiet cottage in Wales named Bron-Yr-Aur. And the fans? Well, Led Zeppelin was never going to lose their fans.
When it comes to Brandon Flowers, there are two types of people: 1) those that like him for his music and 2) those that are so over-the-top infatuated with him that it’s borderline psychotic. (Think “Deadheads” who shower regularly and have less body hair.)
I only say this because I have multiple family members and friends that fit into the latter category.
In Memoriam pays tribute to those who have left this world, and the songs they left us to remember them by.
Were Ray Charles alive, he’d turn 84 today. Not a ridiculous conceit – Sean Connery, Gene Hackman, and Clint Eastwood all did the same earlier this year. Which only goes to show that it’s still hard sometimes to come to grips with a world without Ray. But it would be much, much harder to live in a world without his music.
Some covers are more equal than others. Good, Better, Best looks at three covers and decides who takes home the gold, the silver, and the bronze.
Tim Buckley first debuted “Song to the Siren” on the final episode of The Monkees, and as a folk song, it was lovely and approachable. Then he refused to record it for three years – the line “I’m as puzzled as the oyster” had drawn mocking, and Buckley felt the song too flawed to release, which meant Pat Boone, of all people, was the first to issue it on vinyl. When Buckley finally followed suit, on 1970’s Starsailor, he revealed a changed song (and not just the switch from “oyster” to “newborn child”). If the original take was a quiet den, here was a cavernous ballroom with crumbling pillars, as Buckley’s exotic, five-octave voice stretched through otherworldly echoes, with nothing to hold it up and nothing to hold it back.