Ben Harper has always occupied an enviable place in popular music. On the one hand, frat boys worship his stoner-friendly extended jams and carefree blend of classic rock, folk and soul, which ensures he’s a well-drawing festival headliner. But the 37-year-old can barely play a show without some legendary musician showing up to jam, giving him a nearly untouchable level of critical respect. (Think we’re kidding? In the last year alone, Carlos Santana, Eddie Vedder, John Paul Jones, Ziggy Marley and Bonnie Raitt have jumped onstage with him.)
Lifeline—recorded in just one week in Paris—should only cement Harper’s reputation as one of today’s most consistent artists. Perhaps because it was constructed completely on analog equipment, it’s warm and inviting, reminiscent of early Neil Young, Joe Cocker, Santana and the Stones. Rhythmic acoustic and electric guitars dart inventively, while Harper’s viscous vocals are (as always) somehow both gravelly and honey-smooth.
But while Lifeline is the very definition of the word relaxed, it doesn’t have the self-indulgence implied by such a term. Its songs are concise and crisp, with songwriting that’s focused and pointed. Even the little flourishes—mournful harmonica, burbling organ and Harper’s soulful gospel-singer exhortations—are used with tasteful restraint.
If there’s one complaint, it’s that Harper’s consistency is also his biggest shortcoming; once you own a few studio albums, collecting them all seems superfluous. Still, the lazy-morning vibe of the disc is nearly flawless, and if you don’t (or aren’t awake enough to) attend church on Sunday mornings, throwing Lifeline on could be the next best thing.
Ben Harper & The Innocent Criminals
Lifeline
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