Coverdale–Page

From Wikipedia, the free encyclopedia

Coverdale–Page
Coverdale-Page.jpg
Studio album by
David Coverdale and Jimmy Page
Released15 March 1993 (Europe)
16 March 1993 (North America)
18 March 1993 (Japan)
Recorded1991–92
Studio
Genre
Length61:05
LabelEMI (Europe)
Geffen (North America)
Sony (Japan)
ProducerDavid Coverdale, Jimmy Page, Mike Fraser
David Coverdale chronology
Northwinds
(1978) 		Coverdale–Page
(1993) 		Restless Heart
(1997)
Jimmy Page chronology
Outrider
(1988) 		Coverdale–Page
(1993) 		No Quarter
(1994)

Coverdale–Page (styled as Coverdale • Page) is the only studio album by David Coverdale and Jimmy Page, released on 15 March 1993 by EMI in Europe, 16 March by Geffen Records in North America, and 18 March by Sony in Japan. It was co-produced by Coverdale, Page and Mike Fraser. Following the disbandment of Coverdale's band Whitesnake and a failed reunion attempt by Page's band Led Zeppelin, A&R executive John Kalodner proposed the idea of the two working together. After meeting each other, they began writing songs, which were then record over the course of 1991 and 1992.

The album charted in twelve countries. It reached number four in the UK and number five in the US, being certified silver and platinum, respectively. The album also went gold in Japan and platinum in Canada. Critical reception was generally mixed. Some music critics praised Coverdale and Page's partnership as a successful blend of both their respective bands, while others viewed it as a second-rate Led Zeppelin, with many drawing unfavourable comparisons between Coverdale and Led Zeppelin vocalist Robert Plant. Following a short Japanese tour in December 1993, Coverdale and Page parted ways. A reissue is tentatively scheduled for 2023, while Coverdale and Page have also discussed a potential reunion.

Background[]

After completing the Liquor & Poker World Tour in September 1990, vocalist David Coverdale elected to put his band Whitesnake on indefinite hold, wanting to take a break from the music industry.[3] Led Zeppelin guitarist Jimmy Page, meanwhile, had been working on the Led Zeppelin Remasters, which led to discussion with singer Robert Plant and bassist John Paul Jones about a potential reunion. Though initially interested, Plant eventually decided to back out, feeling that a reunion might "put his solo career at risk".[4] Wanting to work on new music, Page then began looking for a new collaborator.[5] As both he and Coverdale were signed to Geffen Records, A&R executive John Kalodner suggested bringing the two together.[6] The idea was submitted to Coverdale and Page in January 1991. While the two had met many times in passing, they weren't well acquainted with each other. Still, both parties were interested, thus a meeting was scheduled.[5][7]

Coverdale and Page met at the Ritz-Carlton Hotel in New York at the end of March 1991.[7][8] The two got along well with one another, and while on a walk in Manhattan, they reportedly stopped traffic with onlookers asking if they would be working together.[3][5][7] Coverdale and Page agreed to take the project slowly, first making sure they could actually write songs together. The two then met up for a writing session at Lake Tahoe, Coverdale's residence. Within the first day they had written "Absolution Blues" together. From there they continued writing, eventually relocating to Barbados at Page's suggestion.[5] The two were later joined by drummer Denny Carmassi and bassist Ricky Phillips to flesh out the songs. These rehearsals lasted for several months.[9][10] Coverdale and Page made their first public appearance together in May 1991, when they joined Poison onstage in Reno for a rendition of Led Zeppelin's "Rock and Roll".[8]

Production and composition[]

Aside from Coverdale and Page, the album features performances from drummer Denny Carmassi, bassist Ricky Phillips, keyboardist Lester Mendez and backing vocalist Johnne Sambataro, among others.[11] Recording began at Little Mountain Sound Studios in Vancouver, where all the rhythm tracks were recorded. From there, recording moved to Criteria Studios in Miami, where the vocals and overdubs were done.[12] Coverdale and Page also employed several local session musicians while in Miami.[5] Additional recording was also done at Abbey Road Studios in London, and Coverdale's home studio in Nevada.[11] The recording process lasted from late 1991 to early 1992.[8] According to Ricky Phillips, however, it took Page approximately a year to record his guitar parts.[9] The album was recorded using analog equipment as opposed to digital, as Coverdale and Page felt analog suited their style of music better. Initially, Coverdale and Page were set to be credited as the sole producers, but they eventually decided to give recording and mixing engineer Mike Fraser a co-production credit for his extensive work on the album.[5] The record was mastered by George Marino at Sterling Sound, while the cover art was designed by Hugh Syme.[11] In 2020, Page stated in an Instagram post that the orchestrations on "Take Me for a Little While" were done by Clare Fischer, although he is uncredited in the album's liner notes.[13]

Music and lyrics[]

The opening riff of "Shake My Tree" dates back to Led Zeppelin's 1979 album In Through the Out Door. Page had played the riff during rehearsals, but it was left unused. He later presented it to Paul Rodgers while playing together in The Firm, but it was again rejected. When Page presented the riff to Coverdale, he "immediately latched on to it".[10] On "Waiting on You", Coverdale initially struggled coming up with a vocal melody for the pre-chorus. Eventually he came up with a line reminiscent of Motown. As a percaution, Page had also written a vocal melody for the part, but upon hearing Coverdale's idea, he fogoed his own.[5] The verse-chorus chord progression for "Take Me for a Little While" was written by Page at Lake Tahoe. Lyrically Coverdale described the song as a "reflective piece", inspired by personal tragedies both he and Page had gone though in their lives.[10]

The opening riff of "Pride and Joy" was written by Coverdale, which he then presented to Page while in Barbados. This led to the song's original working title "Barbados Boogie".[5] "Over Now" grew from another Page chord progression, which Coverdale described as sounding "dark" and "malevolent".[5] The song's lyrics were inspired by Coverdale's divorce from Tawny Kitaen.[4] "Feeling Hot" was described by Page as "one of those real fun rock 'n' roll numbers".[5] It was the second song Page and Coverdale wrote together, being partly inspired by 1940s swing music.[10] The lyrics to "Easy Does It" deal with celebrity and its effect on a relationship.[10] The chord progression for "Take a Look at Yourself" was written by Page at Lake Tahoe. The song was later finished in Barabados, when another section written by Coverdale was added and the tempo was changed.[5] "Don't Leave Me This Way" was singled out by Coverdale as a particular favourite from the album.[14] The introductory riff had been written by Coverdale many years earlier, but left unused until he presented it to Page.[10] The lyrics to "Whisper a Prayer for the Dying" deal with the Gulf War.[4]

Four songs remain officially unreleased from the Coverdale–Page sessions, including one titled "Saccharine".[2][15] Some of Coverdale's unused ideas were later reappropriated for the Whitesnake albums Restless Heart ("Woman Trouble Blues" and "Take Me Back Again") and Flesh & Blood ("Gonna Be Alright").[16][17]

Release and promotion[]

Before settling on Coverdale–Page, working titles for the record included Legends and North and South.[18][19] The album was released on 15 March 1993 in Europe by EMI,[19] 16 March in North America by Geffen,[20] and 18 March in Japan by Sony.[21] The album debuted at number four on the UK Albums Chart,[22] and by April, it had been certified silver by the British Phonographic Industry for sales of over 60 000 copies.[23] In the US, it reached number five on the Billboard 200,[24] and was certified gold by the Recording Industry Association of America in June for sales of over half a million copies. The album would eventually go platinum in 1995.[25] Coverdale–Page also cracked the top ten in Finland,[26] Canada,[27] Japan,[28] and Sweden.[29] It was certified platinum in Canada and gold in Japan.[30][21] Overall, the album charted in twelve countries. Five singles were released, all of which charted. The highest-charting singles were "Pride and Joy" and "Shake My Tree", which reached number one and three, respectively, on the Mainstream Rock Tracks Chart.[31][32] Music videos were produced for "Pride and Joy" and "Take Me for a Little While", both directed by Andy Morahan.[33][34] While "Pride and Joy" reportedly did well on MTV (also being featured on an episode of Beavis and Butt-Head[35]), "Take Me for a Little While" received minimal airplay according to Coverdale, as the video was deemed too "gothic" by MTV.[36]

In April 1993, auditions for Coverdale and Page's touring band were held in London.[4] Drummer Denny Carmassi was retained from the recording sessions, while bassist Guy Pratt and keyboardist Brett Tuggle were brought on board as new recruits.[37] A North American and European tour was planned, but eventually cancelled. Due to the popularity of grunge, promoters were reportedly "skeptical of [Coverdale and Page's] pulling power in a poor market for traditional heavy rock". Thus, a "financially viable" tour couldn't be put together.[38][39] This was backed up by Guy Pratt, who stated: "It was originally meant to be an American and European tour, but it was booked as arenas and the ticket sales just weren't there."[40] Conversely, Coverdale stated: "The whole arrangement for the Coverdale–Page project was to go directly to the theatres, to the stage, and nothing, not even a whisper, came from Jimmy's manager when the album was released."[36] Coverdale blamed Page's manager for the lack of touring, claiming he was unenthusiastic about the project and wouldn't commit to live dates.[6][36] Pratt, meanwhile, stated that Page was content with performing in theaters, while Coverdale considered it "downsizing".[40] Japanese dates for December 1993 were still tentatively booked, and according to Coverdale, it wasn't until he brought the matter directly to Page, that he agreed to do the shows.[36] These concerts marked the first time Page had played in the country since Led Zeppelin's 1972 Japanese Tour.[36] Aside from Coverdale–Page material, the seven shows also featured select songs from Whitesnake and Led Zeppelin.[8][41] Despite the lack of any further touring, both Coverdale and Page intended to continue working together.[8] However, according to Coverdale, Page's manager "insisted we call it a day", thus the collaboration came to an abrupt end.[14] While rehearsing for the live dates, Page had been contacted by Robert Plant's managament about performing with him on MTV Unplugged.[42] This eventually came to fruition with the Unledded project in 1994.[6]

Despite the project's short lifespan, both Coverdale and Page have reflected positively on the experience. Assessing the collaboration in retrospect, Page stated: "There was no BS in any respect or in how we executed. I wanted to show that I was still alive and kicking, and in that regard it was a total success."[43] In 2004, Page noted: "David was really good to work with. It was very short-lived, but I enjoyed working with him, believe it or not."[44] Coverdale commented in 2011: "If I got a call from [Page], asking if I'd work with him on a solo album or anything, I'd be there in a heartbeat."[6] In 2019, The New York Times Magazine listed Coverdale–Page among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[45] In 2021, Coverdale revealed plans for a tentative reissue in 2023 to celebrate the album's 30th anniversary. Having procured the rights to the record from his former label, Coverdale told SiriusXM's Eddie Trunk that the reissue will potentially feature remastered and remixed versions of the album, four unreleased tracks, live material, as well as other bonus content. He also stated that he and Page had discussed the possibility of writing and recording together again, though these plans have since been delayed due to the COVID-19 pandemic.[15][46]

Critical reception[]

Professional ratings
Review scores
SourceRating
AllMusic4/5 stars[47]
Robert Christgau(dud)[48]
Classic Rock3.5/5 stars[49]
Entertainment WeeklyD[50]
Lincoln Journal Star2.5/5 stars[51]
Los Angeles Times3/5 stars[52]
Metal Hammer7/7[53]
The Philadelphia Inquirer1.5/5 stars[54]
Rock Hard9/10[55]
Rolling Stone3/5 stars[56]

Contemporary reviews for Coverdale–Page were mixed. Music critic Robert Christgau rated the album a "Dud",[48] which his website describes as a "bad record whose details rarely merit further thought".[57] Entertainment Weekly's David Browne characterised the album as an "incredible, if pointless" Led Zeppelin imitation and ultimately gave it a grade of "D".[50] Conversely, Rolling Stone's J. D. Considine stated: "Coverdale–Page may not be the second coming of Led Zeppelin, but it's close enough that only the most curmudgeonly would deny the band its due." He gave cudos to Page's guitar playing and Coverdale's vocals, which he felt had "never been put to better use than against Page's guitar".[56] Jörg Staude of Metal Hammer also commended Coverdale for what he perceived was an improved performance compared to the previous two Whitesnake albums.[53] Several other outlets, however, were highly critical of Coverdale, whose performance many considered a poor imitation of Led Zeppelin vocalist Robert Plant. Tom Moon, writing for The Philadelphia Inquirer, described Coverdale as a "raspy, bad-boy Robert Plant wannabe", who "lacks a shred individuality".[54] Robert Philpot of the Honolulu Star-Bulletin felt that "sometimes [Coverdale's] screams eerily recall Plant", while other times he ends up sounding hoarse. Philpot described the record as "either a Whitesnake album with a really good guitar player, or a Led Zeppelin album with a really heavy-handed vocalist".[58] L. Kent Wolgamott of the Lincoln Journal Star felt similarly, stating that the record "sounds like a good album from Whitesnake", but "Les Zeppelin it certainly is not".[51] Katharine Truman, writing for the Los Angeles Times, noted that while "not as bombastic as Whitesnake nor as excitingly diverse as Zeppelin, Coverdale–Page is nonetheless a rock-solid effort", awarding the record three stars out of five.[52] Q magazine declared the album "excellent", and that it "screams classic from start to finish",[2] while Rock Hard called it "a successful symbiosis" of Coverdale and Page's past works.[55]

Retrospective reviews have leaned slightly more positive. Music journalist Mick Wall declared the record "one of the best albums of both [Coverdale and Page's] respective careers",[59] while AllMusic's Stephen Thomas Erlewine concluded his review by stating: "Coverdale–Page boils down to a guilty pleasure at its best moments, but never quite rivals the bold experimentation of Led Zeppelin." Nevertheless, he awarded the album four stars out of five.[47] While Classic Rock gave the album three-and-a-half stars out five,[49] Neil Jeffries, in a separate Classic Rock piece, ranked Coverdale–Page thirteenth in Coverdale's overall studio discography, concluding that the singer sounds "unsure whether to impersonate Robert Plant or be himself". He also noted that while the album sold well, "the partnership didn't last and we should probably be grateful for that".[60]

The collaboration between Coverdale and Page also drew some negative comments from Robert Plant. In the past he had reportedly referred to Coverdale as "David Cover-version".[61] When asked about the Coverdale–Page project, Plant stated: "I found it difficult to understand [Page's] choice of bedfellow. I just could not get it."[62] Page called Plant's negative comments "short-sighted", while Coverdale described them as a "stab in the back", having considered Plant a friend in the past.[7] Regarding the negative comparisons to Led Zeppelin and Whitesnake, Coverdale stated: "Comparisons are inevitable. You have David Coverdale and Jimmy Page working together, then there are bound to be similarities to former works, because that's who we are."[63]

Track listing[]

All tracks are written by David Coverdale and Jimmy Page.

No.TitleLength
1."Shake My Tree"4:54
2."Waiting on You"5:16
3."Take Me for a Little While"6:17
4."Pride and Joy"3:32
5."Over Now"5:24
6."Feeling Hot"4:11
7."Easy Does It"5:53
8."Take a Look at Yourself"5:02
9."Don't Leave Me This Way"7:53
10."Absolution Blues"6:00
11."Whisper a Prayer for the Dying"6:54

Personnel[]

Credits are adapted from the album's liner notes.[11][64]

Musicians
  • David Coverdale – lead vocals; acoustic guitar (on tracks 4 and 7)
  • Jimmy Page – electric guitars; acoustic guitar (on tracks 1, 3, 4, 5, 7, 9 and 11), bass (on track 3); harmonica, dulcimer (on track 4)
  • Denny Carmassi – drums, percussion
  • Ricky Phillips – bass (on tracks 7 and 10)
  • Jorge Casas – bass (except on tracks 7 and 10)
  • Lester Mendez – keyboards (on tracks 3, 5, 7, 8, 9, 10 and 11), percussion (on track 7)
  • Tommy Funderburk – backing vocals (on tracks 2, 6, 7, 10 and 11)
  • John Sambataro – backing vocals (on tracks 2, 6, 10 and 11)
  • John Harris – acoustic harmonica (on track 4)
Technical
  • David Coverdale – production
  • Jimmy Pgae – production
  • Michael Fraser – production, engineering, mixing
  • Michael McIntyre – engineering, production coordination
  • Keith Rose – assistant engineer
  • Delwyn Brooks – assistant engineer
  • Chris Brown – assistant engineer
  • George Marino – mastering
  • Jim Survis – guitar technician
  • Gary Clark – drum technician
  • Peter Mertens – personal assistant
  • Bev Bush – personal assistant
  • Chris Whitehouse – personal assistant
Design
Management
  • Howard Kaufman – management
  • Brian Goode – management
  • John Kalodner – A&R
  • Debra Shallman – A&R coordination

Charts[]

Certifications[]

Country Sales Certification
Canada (CRIA) 100,000 Platinum[30]
Japan (RIAJ) 100,000 Gold[21]
United Kingdom (BPI) 60,000 Silver[23]
United States (RIAA) 1,000,000 Platinum[25]

References[]

Footnotes[]

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  3. ^ Jump up to: a b Chirazi, Steffan (March 2011). "David Coverdale Q&A". Classic Rock presents: Whitesnake - Forevermore (The Official Album Magazine). London, England: Future plc. pp. 10–24. Retrieved 16 August 2021.
  4. ^ Jump up to: a b c d Gross, Martin (1993). "Gentlemen's Agreement". Metal Hammer. Vol. 10 no. 6. Berlin, Germany: ZAG Zeitschriften-Verlag. pp. 32–35.
  5. ^ Jump up to: a b c d e f g h i j k Preston, Neal (director) (1993). "Coverdale/Page Electronic Press Kit" (Press release). Geffen Records. Rainmaker Productions. Retrieved 16 August 2021 – via YouTube.
  6. ^ Jump up to: a b c d Wilkening, Matthew (16 March 2016). "When David Coverdale and Jimmy Page Made an Album Together". Ultimate Classic Rock. Retrieved 16 August 2021.
  7. ^ Jump up to: a b c d Coverdale, David; Page, Jimmy (1993). "An Interview with David Coverdale and Jimmy Page". Enemmän tätä (Interview). Interviewed by Heli Nevakare. Yle. Retrieved 16 August 2021 – via YouTube.
  8. ^ Jump up to: a b c d e Wall, Mick (1993). Coverdale–Page - Japan Tour 1993 (Booklet). England: Coverdale/Page.
  9. ^ Jump up to: a b Popoff 2015, pp. 200–201.
  10. ^ Jump up to: a b c d e f Coverdale, David; Page, Jimmy (1993). "Coverdale/Page Electronic Press Kit (unedited interview)". Rainmaker Productions (Interview). Retrieved 16 August 2021 – via YouTube.
  11. ^ Jump up to: a b c d Coverdale–Page (booklet). Coverdale–Page. Geffen Records. 1993. GEFD-24487.CS1 maint: others in cite AV media (notes) (link)
  12. ^ Tolinski 2012, p. 242.
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Book sources[]

  • Pennanen, Timo (2006). Sisältää hitin - levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki, Finland: Kustannusosakeyhtiö Otava. ISBN 978-9-5112-1053-5.
  • Popoff, Martin (2015). Sail Away: Whitesnake's Fantastic Voyage. Soundcheck Books LLP. ISBN 978-0-9575-7008-5.
  • Power, Martin (2016). No Quarter: The Three Lives of Jimmy Page. London, England: Omnibus Press. ISBN 978-1-4683-1214-0.
  • Salewicz, Chris (2019). Jimmy Page: The Definitive Biography. HarperCollins. ISBN 978-0-3068-4538-3.
  • Tolinski, Brad (2012). Light and Shade: Conversations with Jimmy Page. Crown Publishers. ISBN 978-0-3079-8571-2.

External links[]

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