Six years in the making and a return to roots of influence for Robert Plant. What better time to kindle a love for classics than in isolation? Saving Grace does just that. A collection of ten covers, their meaning extracted, preserved, then pulled in a new direction. Those who frequent Bob Dylan bootlegs may recognise the closing song, Gospel Plough, though familiarity is not necessary with any name but Plant’s here. He backs himself with exceptional musicians as always and finds a real beauty in the slowness, the near stillness, that comes from recording with time on your side. He is not racing to get this one out. You can hear the steady kindling of six years’ effort, and that adds some wonderful layers to Saving Grace. Veterans of the stage and studio are finding comfort in not only the classics but the still contemporary moments. Willie Nelson covered The Flaming Lips on Last Leaf on the Tree. Plant has covered Low’s classic, Everybody’s Song, here.
What are the songs Plant has found beauty in over these six years? Saving Grace is a documentation of emotionally charged moments. Tracks the ex-Led Zeppelin member explored through a time of global crisis. Opening song, Chevrolet, has the desire to present service as a gift. An impossibility when recorded, given closeness was difficult, and the gruffer vocal work Plant provides such a notion is a tremendous addition to an already hearty message. Cover songs can be short and punchy numbers. Usually, there is little room for a new artist to project themselves through anything but their vocals. Dylan might drag out contemporary hits on stage, but even his Triplicate release played by the standards. Plant does too, and it benefits Saving Grace brilliantly. Chevrolet is a short, welcome thrill, while follow-up As I Roved Out has that same percussive coolness to it. It’s a delightful counter to the shorter thrills of cover work. Sam Amidon is instrumental in this, a brilliant extra hand in the studio for one of three traditional songs.
It’s a Beautiful Day, too, has a charm to it which goes well beyond the original. Plant has a wonderful voice, used well to bring out the inevitably heartfelt appeal of a song in a slower, stripped-back state. Gone is the Moby Grape guitar work. In comes a comfortable and credible back and forth between two great vocalists. Saving Grace is sharp with its covers, that much is crucial. It’s not just about respecting the artists behind them but about bringing out a new meaning or layer. Plant does this time and again on Saving Grace. Apocalyptic intent never sounded so peaceful on Ticket Taker, an inspired cover of the Ben Knox Miller and Jeffrey Prystowsky track. Plant and the band who are thankfully touring with him later this year bring such a brilliant, instrumental swing to I Never Will Marry and Higher Rock. The latter track has all the makings of a truly great trail song.
Saving Grace undersold itself with the lead single. It’s a lovely working, but it doesn’t have the same power as Higher Rock or the sincere drive for change heard on its follow-up, Too Far From You. Closing out with Gospel Plow is as clear a showcase of the spirit found on Saving Grace as it is a demonstration of the love Plant has for classics, old and new. A roaring success where the strengths of his vocal work are not always the sole point. Suzi Dain’s vocals are staggering. Tony Kelsey brings such a vibrancy with the acoustic guitar he provides intermittently throughout. Plant has, very smartly, surrounded himself with some of the unsung heroes of studio work. It makes all the difference on Saving Grace, a strong collection of covers which gives listeners a valuable insight into what moves Plant. His influences and interests are expanded on well over these ten songs, a fitting and often thrilling collection of folk-rooted revisions.
