Showing posts with label led zeppelin. Show all posts
Showing posts with label led zeppelin. Show all posts

Outrider Review

Outrider
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For those dogs that like their Led Zeppelin without any frills, this is the bone for you. Years after the tragic end to Led Zeppelin, Jimmy Page released Outrider to very little fanfare, but if guitar rock is your thing, then this is definetly one for you, not a single keyboard used, and don't let that fool you into thinking the sound isn't full, think again this is Mr. Jimmy Page we're talking about here. Jason Bonham occupies the drum stool for seven of the nine tracks, and a more than adequate job he does of it to, you can never compare two musicians fairly, but let us just say that his father would have been more than proud. To these floppy ears it's the instrumentals on the album that really take the biscuit, showing the likes of Eric Johnson & Kenny Wayne Shepherd how to play with flash but keep it interesting. Although all the songs sound as if they have been recorded by a band who've known each other for years, actually Jimmy uses 2 drummers, 3 bassists & spread over the 6 vocal tracks 3 vocalists, the very underrated John Miles (he of "music" fame) handles the first brace with his usual aplomb. Chris Farlowe ("Tears Go By", Atomic Rooster & Colosseum) takes the final curtain calls, when he engagingly stutters his opening delivery of "I've be a b-b-b-b-b-bad b-boy and I've been a bad boy all night long" you can actually hear him smirk & wink over Page's bleeding electric guitar, of course after this the lyrics descend even further into bloke rock, and the guys seem to be having the time of their lives. The final vocalist used is of course Jimmy Page's old sparring partner, Percy himself Mr. Robert Plant, and it's a credit to the other two that this song is not the stand out track of the album, I think that has to go to the 12-bar of "Prison Blues", if Mott could get his paws round a guitar neck, this is the way he'd play guitar, with legs astride, head thrown back, in front of 250,000 screaming women. As in the last quote this album may be a little self indulgent, but they sure don't make albums like this anymore, and to make sure it was just right Jimmy Page even produced the whole thing himself. If you still not convinced, try lending an ear to Jimmy Page's latest release with the Black Crowes where he revamps his old Led Zeppelin Catalogue as well as bashing through some old chestnuts. Listen & Believe. Mott the Dog.

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Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing packaged in a paper sleeve. Universal. 2008.--This text refers to an alternate Audio CD edition.

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Dreamboat Annie Live Review

Dreamboat Annie Live
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Dreamboat Live!
I think you can make the argument that Heart may be the greatest band of all time. How? You say. Well, here's the thing, Heart has been making albums since within a decade of the beginning of the album rock era, with several of the greatest albums of the era, Dreamboat, and Little Queen for example. They continued to make great rock albums when (for example) the Rolling Stones were doing Disco during the Disco era. They survived personal and professional upheaval, and set the standard for the Power Ballad (MTV) era when concept albums were dropped for the hit single and video. They influenced the entire Grunge era, and Finally brought the Album Rock style back with "Jupiter's Darling". I have been an active and nostalgic fan for over 30 years. So even if you don't buy that argument, you have to admit, the Wilson Sisters, are two of the most talented and most influencial musicians of rock music ... ever. I admit it, I am heart and soul, a fan of the Wilson Sisters, but greatness is usually measured by history, and 3 active decades of work, well that is history.
So hearing this album brought me back to the first time I saw Heart on the original "Dreamboat Annie" tour. And even admitting that Ann Wilson may not have the sweet angelic voice of her youth, she still has power and now she has the nuance that comes with maturity. Now the careworn world weary lyrics, take on new meaning as my perspective and (I'm sure the Wilson) sister's have changed over the years. So I loved the remake of Dreamboat.
Where I might be a bit disappointed, is in the encores (which don't get me wrong are very cool to have), because I have heard Ann do these songs better in the past, and that is where it saddens me that her voice is starting after all these years to show the signs of age. Does that mean that the encores aren't good? ABSOLUTELY NOT. I doubt that Robert Plant could do them better these days, it is just I wish some things could last forever, but as we know the opposite of aging isn't staying young, so I am grateful for what I get.
Bottom line, if you are a true fan, this is a must have. If not, get the original album and learn what great album rock is all about.


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Led by sisters Ann and Nancy Wilson, Heart broke down barriers and redefined what it meant to be a rock star. Now, on the first release in the new Legendary Albums Live series, they revisit their very first triumph, live on stage, in front of an ecstatic audience. Thrill as they play their legendary debut album Dreamboat Annie live for the first time ever. The band tears into their hits "Crazy On You" and "Magic Man" and covers classics by Led Zeppelin, The Who and Pink Floyd, all of which inspired them as they were writing and recording Dreamboat Annie.

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No Quarter: Jimmy Page & Robert Plant Unledded Review

No Quarter: Jimmy Page and Robert Plant Unledded
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The 1994 release of Jimmy Page and Robert Plant's "No Quarter" or "Unledded" was part of the MTV unplugged series. It is not a Led Zeppelin reunion, but there are plenty of guest musicians who shine, including Najma Akhtar on vocals and the Egyptian Ensemble, Musicians in Marrakech and the London Metropolitan Orchestra.
Rather than trot out the hits, Page and Plant chose lesser known and acoustic-based tunes, especially from LZIII, and did some significant reworking of songs like "Nodbody's Fault But Mine" and "Kashmir." The result is multi-textured and organic, with an outside feeling.
"Nobody's Fault But Mine" has a country flair, and although Plant's voice sounds strained, he makes up for it with effort.
"Thank You" is a love pledge ballad, and Plant's vocal in a lower register sounds better here.
"No Quarter" is really missing John Paul Jones. Page's guitar playing gets a bit creaky, but overall this song is effectively haunting.
"Friends" brings in some of the traditional North African instrumentation, along with acoustic guitar, and with this number the musicians start to sound more comfortable and relaxed.
"Yallah" is one of three new songs here, with soaring vocals by Plant, strong percussion and an exotic feel sounds like one staring into the desert at sunset.
"City Don't Cry" features more North African instrumentation, a one chord rhythm with strong percussion, and strong vocals from Plant and the backing singers.
"Since I've Been Loving You" seems kind of out of place as the only blues number on the disk, but Page's soloing is crisp and Plant shows some howl. Strings on the blues?
"The Battle of Evermore" is one of the standout tracks, with the instrumental backing, mandolins and outstanding female duet with Plant.
"Wonderful One" is ballad where Plant and Page weave their magic of vocals and guitars.
"That's the Way" is one of my all time favorite songs, and this version does not disappoint. Guitars and banjos and some of the most heartfelt lyrics Page and Plant ever wrote.
"Gallows Pole" is a great acoustic number from LZIII that gets a nice treatment here, especially when it picks up tempo and the other instruments join in.
"Four Sticks" also stands out in this set. It's one of the more obscure tunes from LZIV, but the rapidly strummed guitars, strings and especially the percussion make this an outstanding performance.
"Kashmir" fits the organic, exotic theme of this set perfectly, and while Bonham's physical presence is missed, he's there in spirit. The orchestra playing is excellent, and there are some nice surprises.

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Japanese edition of the Led Zeppelin member's 1994 collaboration album in a miniaturized LP sleeve. Contains 14tracks, including 'Thank You', 'Friends', 'That's The Way', 'Gallow's Pole' and 'Four Sticks'. 1994 Mercury Records release. --This text refers to an out of print or unavailable edition of this title.

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Now & Zen Review

Now and Zen
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First of all, if you buy a Robert Plant recording and expect it to sound like Led Zepplin, you will be seriously disappointed. Of course, that is exactly the point. Robert Plant wanted to be Robert Plant and not an imitation of his former band. After all, Led Zepplin consists of the creative energy of four individuals, not just one (even if he is the voice)! That having been said you may not know what to expect, that may be good or bad for you.
As for me, I particularly like Robert Plant's solo career. It is different. First of there are synthesizers, not overly domineering like on "Carouselambra" but definetely prominent. Second, the guitar playing is well more subdued and "lite" if you will, but at the same time extremely original, beautiful, and tasteful.
Now and Zen combines these two major elements to make a pleasent record. If you liked "Tall Cool One" don't be misled, the rest of the record does not sound like this song. Many of the songs are pretty atmospheric, with washes of melodic and haunting synths, and marked with tasteful licks of guitar throughout. On this cd are to be found beautiful laments (i.e. "Ship of Fools"), haunting dreamscapes, and even a few upbeat numbers. Yet, the songs on this record are consistently melodic and they pull you in with beautiful melodies.
If you are in the mood for some melodic music, yet not to hard, then you may enjoy this record. I am definitely biased and would like you to take a chance on it, yet what you hear may suprise you.

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The Expanded & Remastered version of Robert Plant's album, NowAnd Zen, finds Plant charting new musical territory. Marking his firstcollaboration with keyboardist Phil Johnstone, the album's classic tracksinclude "Heaven Knows," "Ship Of Fools," and the smash hit "Tall Cool One."Three bonus rarities include live versions of "Tall Cool One," "Billy'sRevenge," and "Ship Of Fools."--This text refers to an alternate Audio CD edition.

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The Principle of Moments Review

The Principle of Moments
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It's unlikely that an album such as this is going to win over new fans - I'd guess most people buying it are fans from the past. So I'll address the three things those who are considering upgrading will care about:
1. Does it sound better?
2. Are the bonus tracks worthy?
3. Is the booklet any good?
Is the sound better? The quick answer is YES. However, it's a MARGINAL improvement only. It's much louder, so if you play your music with the stereo turned up to 5, then you might only need this disc on 3 (if that makes any sense). There is EVER SO SLIGHTLY more clarity, and the bass is tighter. However, probably only audiophiles will care. It is NOT a "night and day" difference. When you adjust volume levels so the old disc sounds the same loudness wise, the differences are very minor.
Are the bonus tracks worth it? Well there are four here. The first "In the Mood Live" is actually quite bad. Plant's vocal is out of tune on the harmonies, and the mix loses instruments every now and again, pushing the guitar to the back. The second "Thru with the Two Step Live" is pretty good though. It clocks in at 10 minutes, with an extended intro of more than 3 minutes. The mix has settled, and it's a good listen. The third is "Lively Up Yourself Live", a Bob Marley tune. This is a good song, and while Plant simply covers it (not major changes really) it's a fun tune, and it's done by musicians clearly having a good time. Finally, there's "Turnaround", an outtake from the original sessions. This is by far the best bonus track here. I wish they had put it FIRST among the bonus songs, so we could have enjoyed the sessions rather than have to wade through the live stuff first.
All in all, the bonus material is okay. The studio track is great, the live stuff is nice, but not essential.
Finally the booklet. They have taken the notes straight from the booklet of the box set from wence this came - they're not exhaustive, sadly. Still, tey beat the original release.
All in all then, this is a minor upgrade to a classic record. Those expecting something revilutionary sound wise will be disapointed if they do a close examination. The bonus tracks are't terrible though, and Plant is always great.

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Robert Plant's Post-Led Zeppelin Solo Career is celebratedwith an expanded & remastered edition. The Principle of Moments is acomplex and expressive sonic marvel. It includes four rare bonus tracks aswell as the previously-unreleased track, "Turnaround."--This text refers to an alternate Audio CD edition.

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Walking Into Clarksdale Review

Walking Into Clarksdale
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When I first heard Jimmy and Robert were producing original material together for the first time since the break-up of the mighty Led Zeppelin, I winced. After all, we've seen the old-rockers-try-again formula before, and it usually doesn't work. But Plant and Page avoid that pitfall with a meticulously crafted album that shows they still care. Radio hit "Most High" takes the long-standing interest in Middle Eastern sounds to new heights, while "Please Read the Letter" and the title track experiment with very cool arrangements and innovative structures. "When the World Was Young" is one of the more vibrant and complete tracks. "Upon a Golden Horse" and "Burning Up" rock, though Robert's voice shows a little wear here and there. Most Zeppelin moment: The first touch of the guitar shortly into "Blue Train" - my favorite track -- is unmistakable Page, and the ensuing effort could be "Tea for One" Part II. Second Zep moment: "Shine in the Light" sounds like a cross between "Friends" and "Poor Tom," yet stands beautifully on its own. Overall this is not Led Zeppelin, but of course it could never be. The whole is greater than the sum of its parts though, and like Plant's own first solo effort, "Pictures at Eleven," this CD is not a classic but it's quite solid. I'd put "Clarksdale" above anything Page has done post-Zep, and right up their with Robert's best solo jaunts.

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Japanese edition of the 1998 & second collaborative outingby the former Led Zeppelin bandmates with 'Whiskey From TheGlass' added as an unmarked bonus track. 13 tracks total,also featuring the single 'Most High'. Steve Albini (Pixies,Nirvana, Cheap Trick,--This text refers to an out of print or unavailable edition of this title.

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Robert Plant & The Strange Sensation - Soundstage: Live (2006) Review

Robert Plant and The Strange Sensation - Soundstage: Live (2006)
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I have been pleasently surprise with Robert Plant's work since he decided to carry on with a solo career after Led Zeppeling. He has not followed the nostalgia road trying to do do the same Zep songs over and over. He has explored his interest and vocal possibilities taking advantage of the moment. His last couple of albums, Dreamland and Mighty Rearrenger are true gems. These albums have been covered in this concert DVD.
The main let down... this concert is only a hour long. I was glued to the TV after a couple of songs and I wished it was not over while looking at the DVD menu and DVD package for secret extra bonus performances that I may have missed! I just wish some marketing genius will grant us a chance to hear and see more concert footage from Robert Plan in the future.
It is true that his voice has aged and that he does not seem to be able to hit the notes as in his 20's... but his performance does not ever tries to sell you his past but the present and he does so with an excelent band and a true and sincere performance!

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First ever DVD from Robert Plant. Features both solo and Led Zeppelin material, including: "No Quarter," "Shine It All Around," "Black Dog," "Freedom Fries," "Four Sticks," "Tin Pan Valley," "Gallow's Pole,""The Enchanter," "Whole Lotta Love, " "Hey Joe," and more. Filmed in Hi Definition on PBS' Soundstage program during Plant's 2005 Mighty Rearranger tour. Total run time: 66 minutes. Mixed in 5.1 Surround Sound.

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No Quarter: Jimmy Page & Robert Plant Unledded Review

No Quarter: Jimmy Page and Robert Plant Unledded
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I am very pleased with the reissuing of this CD. The remastered sound is a vast improvement over the original CD version. Page's guitar (especially the acoustic) comes off much clearer and more resonant (esp. on "Nobody's Fault," "Gallows Pole," and "That's the Way"). The electric guitar is less muddled as well. Plant's vocal singing is stronger and given more clarity.
Some new additions in this version:
a) The welcome inclusion of "Rain Song" -- one of the highlights of this reunion concert and beautifully done by Plant and Page, backed up by the orchestra.
b) "Wonderful One" is slightly different than the original audio version. In the original audio version, it starts off with the drums for several measures, then the guitar comes in. The original version is also shorter than this version. In this version, the song starts off with the guitar, Plant sings differently, and the song is slightly longer.
c) The song "Yallah" is renamed "The Truth Explodes"
I have a number of misgivings though about this new reissue:
a) It omits "Thank You" -- one of my favorite songs featured in the original CD
b) Why doesn't it include "What is and What Should Never Be" (which is featured on the DVD and video)?
c) Like other reviewers, I prefer the more familiar Zep songs than the Middle-Eastern music (even though I have nothing against Middle-Eastern music)
Other than that, I highly recommend this CD. You'll also love the DVD -- you'll get the complete tracks along with some new special features.

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Jimmy Page and Robert Plant changed the face of rock 'n' roll as cofounders of Led Zeppelin. The massively influential group disbanded in 1980 following drummer John Bonham's death, and Page & Plant pursued solo careers before reuniting in 1994 for MTV's hugely popular Unplugged. That historic session-which led to an international nad new studio album-became New Quarter. Page's guitar virtuosity and Plant's vocal mastery are potent as ever as they deliver thse inspired, reinvented, takes on choice picks from the Led Zeppelin songbook.

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Presence Review

Presence
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When Robert Plant and his family sustained serious injuries in a car accident on the Greek island of Rhoads in August 1975, the future of Led Zeppelin was immediately thrown into question. To further complicate matters, the band was spending a year of non-residency outside of Britain due to said countrys tax laws. Unable to tour, and unable to live with their families, the band decided to record a new album, "Presence". Recorded and mixed in just 18 days in Munich, West Germany, the results are striking and easily Led Zeppelins most personal album.
The epic "Achilles' Last Stand" catches Zeppelin at their most powerful and desperate as Jimmy Page builds track upon track of harmonized guitars while the rest of the band thunder maniacally behind him and Plant. It is certainly a task to follow this piece, and sure enough, the other songs don't quite measure up to "Achilles'". The rest of the album is mid-tempo guitar rock inspired by Plants frame of mind post-accident. "For Your Life" is depressing song about drug abuse which contains another fine Page solo. "Royal Orleans" is a short, compact funk-rock piece which supposedly cronicles John Paul Jones' misadventures with a drag queen in New Orleans 2 years previous. "Nobodys Fault But Mine" is a pounding blues-rock song with the Jones-John Bonham rhythm section caught in fine form, making the stop-start riffs sound easy. Pages lead is again worth mentioning. "Candy Store Rock" is a throw-away old-time Elvis-esque rock-and-roll piece which finds Page doing his best Jimmy Burton/Scotty Moore impersonation. "Hots On For Nowhere" is one of Zeppelins minor league masterpieces which has a swagger and a hacked off Robert Plant taking shots at his friends. Pages solo again is excellent, with plenty of Strat abuse as he pounds his whammy bar. "Tea For One", which closes the album, is often compared to "Since I've Been Loving You". It is a slow minor blues which has yet another classic Page solo and a desponant Plant lamenting his seperation from his wife and family.
"Presence" is arguably Jimmy Pages best work as a guitarist. The quality of his rhythm and lead work easily surpasses his work on the rest of the Zeppelin canon. "Achilles' Last Stand" alone is worth the price of the album, but the remaining six tracks also have plenty to offer. It is a personal album which may not immediately hit you hard, but over time will become a favorite.

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2005 Japanese standard jewel case pressing of Led Zeppelin's 1976 album. Features the same tracks and mastering as the US edition but includes an OBI and Japanese/English insert. Warner. 2005.--This text refers to an alternate Audio CD edition.

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Live at the Greek Review

Live at the Greek
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Rock 'n' Roll is all about fantasy, mostly about sexual fantasy (e.g. AC/DC's "Whole Lotta Rosie"), but sometimes it is just about Rock 'n' Roll fantasy. Such as, what if Jimmy Page found himself at a lose end and wanted to go out on tour? So who could he pick as a backing band? Perhaps his long time admirers and possibly America's tightest jamming band The Black Crowes? And what could they pick as a set list? A selection of Led Zeppelin's finest and just for good measure some of the finest standards laid down? Well, for once it was not fantasy, but reality. Rehearsals took place and dates were set and this amazing combination hit the road, playing to packed arena's the length and breadth of America, with astounding results. Fortunately plans were made to record the event for all time and here are the results. At first only released on the Internet, but sense was seen and the whole Shishkerbang was let loose on the eagerly awaiting Rock Public.
For those amongst you who may feel that it is sacrilegious for anyone else to perform these songs, especially for old Robert (Percy) Plant not to be singing, hollering, and cajoling every nuance out of these classic's. Fear not. Chris Robinson, the Crowes' vocalist, does not even attempt to imitate the great man, singing everything in his own style giving each song a new slant. The rest of the Crowes play with such abandon, I have never heard them play with such verve and panache, and this is somebody who has been a huge fan of the band for over ten years. The rhythm section of Pipien and Gorman keep a lock sold groove going whilst losing nothing of the looseness that keeps the music spontaneous and alive. Probably the biggest sound difference on the Zeppelin classics is that although John Paul Jones used to double up on bass and keyboards (an exemplary job he did, too) in that band his use of piano was very sparing, whereas Ed Harsch is not frightened to push the piano right to the front of the sounds cape, soloing when any opportunity arises. But it is the three pronged guitar attack that floors you. Combining together to give the raunchiest guitar sound that has ever been heard on this little planet. (Lynard Skynard are stunning, make no mistake, this is just one step beyond) Obviously it's Jimmy Page that steals the show. I doubt he has ever played better. However, the playing of Chris's brother Rich Robinson, and new at the time Crowes guitarist, is of outstanding class, pushing their guest player to the outer limits of his ability.
The Song selection is spot on. The guitar duel in "You Shook Me" is nothing short of jaw dropping, specially as it follows a version of that old Elmore James classic "Shake Your Money Maker", which rattles the roof tops and would bring a smile to even the most stern of anorak Rock 'n' Roll connoisseurs. Chris Robinson turns in a truly saucy version of "The Lemon Song". The choice of Jimmy Page's contemporary guitarist/songwriter Peter Green's finest song written whilst in Fleetwood Mac, "Oh Well" is a pure delight. There has never been a better version of "Heartbreaker" with Jimmy Page really stepping out on this one. So topped and tailed with "Celebration day" and "Whole Lotta Love" across two hours of music spread over two CD's. You get Six cover versions and fourteen classic Zeppelin tracks (all with credit due to Willie Dixon and C. Burnett), played by a bunch of guys, who are having the time of their lives. This is certainly one of the top three Rock 'n' Roll Live albums of all time.
As an extra - if you have a computer you can watch theb performing snippets of the songs live from your disc drive plus some very good stills taken from the Greek, where it becomes even more apparent how well they all gelled as a unit and what a good time they were having.
After this tour the Black Crowes went back into the studios to record their next album, the very heavily Zeppelin influenced "Lions", since when, it's been rumored, they have disbanded, probably feeling it would be hard to top the Jimmy Page tour. One is also left to reflect what a shame it was that "Led Zeppelin" never recorded a decent live album. "The Song Remains The Same" is not a bad album, but hardly a killer. "Live at the Greek" leaves it for dead.
Mott The Dog

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Previously released over the internet, this critically acclaimed double live CD is finally available to the masses.20 tracks Recorded Live at the Greek Theater in Los Angeles in the fall of 1999.Jimmy Page, one of rock music's greatest guitarists combined with The Black Crowes, one of today's best live bands, delivers ripping Zep classics like 'What Is And What Should Never Be', 'The Lemon Song', 'Your Time Is Gonna Come', 'Nobody's Fault But Mine', and more, as well as the bonus blues classic 'Mellow Down Easy',and enhanced live video footage.2000 release.Double slimline jewel case.

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Led Zeppelin (2003) Review

Led Zeppelin (2003)
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I watched the Zeppelin DVD on the weekend. Absolutely amazing. You MUST get it. Of all the mind bending things on these discs, one of the most amazing has to be the Danish TV gig. It opens as a group of maybe 40 teenagers are ushered into a bare hall with no chairs in sight. The band is set up in a tight configuration in the middle of this empty room. The kids sit cross legged on the floor -- like in a high school gym. Imagine what must have gone through their minds. Having no idea whatsoever about what to expect. No frame of reference.Nothing. Here's this new band, been together for a few months...they are going to play you some songs from their new album. Then it comes, in a cascade, no, an AVALANCHE --- Communication Breakdown, then Dazed and Confused, then Babe I'm Gonna Leave You, then How Many More Times. At one point the guy on guitar whips out a violin bow and you start hearing sounds you've never heard in your life -- that you never thought were possible. And the guy on drums, he's hitting his toms harder than you thought it possible to hit a drum...to hit ANYTHING. And the bass player, lord god above, he's playing a melodic line in tandem with the guitarist which means that the guitarist can peal off at warp 9.99, no, let's just admit it, at Warp 10, into these solos where his left hand seems to do more playing than his right ("Captain, she can't TAKE warp 10. Yes, Scotty, she can -- it IS possible -- for we are in a universe where the normal rules of physics don't apply -- the "Zepellinverse"). Any sane person would have sat there and cast a thankful eye heavenward thinking -- "There IS a god after all...a benevolent god...a god who LOVES humanity...a god who has a little present for us..the greatest band EVER." The rest of the DVD is as brilliant, but I thought this little vignette might be helpful. BUY THIS DVD.

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Atlantic Records and Warner Strategic Marketing are proud to announce a landmark event in music history - the release of the mother lode of Led Zeppelin live recordings: Led Zeppelin DVD, a two-disc set. The DVD includes the few performances which were ever filmed during the band's lifetime: London's Royal Albert Hall, five-night run at London's Earl Court, shows at England's Knebworth Festival, and songs from New York's Madison Square Garden. The DVD Features include: Excerpts from Danish and French television performances, Australian television interviews with Robert Plant, John Bonham and John Paul Jones, fan-shot bootleg performance of "Heartbreaker", Behind the scenes footage of Knebworth, and an NBC interview with the band from 1970.Track-list:Disc 1We're Gonna Groove / I Can't Quit You Babe / Dazed And Confused / White Summer / What Is And What Should Never Be / The Ocean / How Many More Times / Moby Dick / Whole Lotta Love / Communication Breakdown / C'mon Everybody / Something Else / Bring It On HomeDisc 2Immigrant Song / Black Dog / Misty Mountain Hop / Since I've Been Loving You / Going To California / That's The Way / Bron-Y-Aur Stomp / In My Time Of Dying / Trampled Underfoot / Stairway To Heaven / Rock And Roll / Nobody's Fault But Mine / Sick Again / Achilles Last Stand / In The Evening / Kashmir / Whole Lotta Love

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Raising Sand Review

Raising Sand
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This is wonderful listening. Even more, it's truly significant. That's in part because of the reaction _ I don't how many times in the last few months I've read about what seems to "critics'' and others to be a truly strange pairing. Something like: "You'd never expect two singers so far apart to team up, but it seems to work.''
That's nonsense (except the part about it working _ it doesn't "seem,'' it's real.) That's because the "critics'' and others put music in boxes and can't understand a pairing of "bluegrass,'' (the quotes are intentional) and heavy metal. This is Americana, but Americana as interpreted by Plant, Krauss and T-Bone Burnett that transcends category in a way that few albums do. Look on top. How many different categories does it rank No. 1. _ Rock, pop, folk, international. That's what music should be but too often isn't because the folks who run record companies and radio stations want to put music in the narrowest possible category.
It's also a breakthrough for all three artists, including Burnett, but especially Krauss, who in her last few albums has boxed herself in with very nice listenable material that's too often predictable. A couple of the albums won Grammys(she has 20)and they're incredibly well produced and performed, but after a while one Robert Lee Castleman song turns into another and the effect is underwhelming.
On this one, she uses all her talents, even, perhaps even as the excellent producer she is _ Burnett clearly took her advice and Plant's on some of the songs. Her country/bluegrass fiddle turns into gypsy violin on "Sister Rosetta,'' producing a haunting effect that's rarely heard in this kind of music.
Beyond that, I've never heard an album where the voices blend so well that it's hard to tell where one stops and the other picks up _ Tom Waits' "Trampled Rose'' is the exemplar of that and the most fascinating and haunting song on the album.
But it's almost all wonderful and it ends with what sounds very much like a little game being played by Burnett and Krauss in particular. The last number begins with Mike Seeger on autoharp leading into a Doc Watson gospel tune. Seeger discovered Elizabeth Cotten, who was his family's housekepper, and he was one of the pioneers who convinced record labels to record roots artists, Watson among them. It's also the most Krauss-like _ it's closest to what she does, right down to using a gospel number to close her albums (and her shows.)
But most of this is totally new territory for both artists. Maybe Krauss should have gone there a decade ago or maybe the timing is perfect. It's one of the few albums _ Luncinda Williams' "Essence'' is another _ that can get away with slow tempos and minor keys on two-thirds of the songs and not sound repetitious or boring.
Again, it's most important because it defies category. Other artists are trying _ Ben Harper and Norah Jones, with whom Krauss guested on a Bonnie Raitt show/CD/DVD are mingling pop, rock, country, gospel and reggae (in Harper's case.) The more the younger generation goes beyong genre and into "just music,'' the better off we'll all be. (Uh, no, Plant, at 59, isn't exactly the younger generation, but he's been looking for new frontiers for a decade or more.)
He's also a Brit and Brits tend to understand American music better than most Americans. In any case, people like Mark Knopfler, Steve Winwood, Van Morrison and even Jagger/Richard stay away from boxes. (And, by the way, I just heard Krauss do a wonderful version of Winwood/Traffic's "I Can't Find My Way Home'' on XM) It was issued three years ago as part of a TV Soundtrack. So yes, she's known for a long time that there's a big wide world of music out there.
This landmark album makes that point even more strongly.


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The musical collaboration of the decade, Raising Sand is the sound of two iconic figures stepping out of their respective comfort zones and letting their instincts lead them across a brave new sonic landscape. Despite hailing from distinctly different backgrounds, Alison Krauss and Robert Plant share a maverick spirit and willingness to extend the boundaries of their respective genres. This spirit, expertly honed by producer T Bone Burnett, has resulted in an album pitched three steps beyond some cosmic collision of early urban blues, spacious West Texas country, and the untapped potential of the folk-rock revolution. Supported by the unparalleled musicianship of Marc Ribot, Dennis Crouch, Mike Seeger, Jay Bellerose, Norman Blake, Greg Leisz, Patrick Warren, and Riley Baugus, Plant and Krauss -- as both solo and harmony vocalists -- tackle an intriguing selection of songs from such tunesmiths as Tom Waits, Gene Clark, Sam Phillips, Townes Van Zandt, The Everly Broth! ers, and Mel Tillis. Raising Sand finds Robert Plant and Alison Krauss exploring popular music's elemental roots while still sounding effortlessly, breath-takingly contemporary. The song "Killing the Blues" is featured in the new JC Penney American Living Campaign.

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Band of Joy Review

Band of Joy
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OK, I'll get this out up front: I think this is Robert Plant's single best offering. Ever. There, I said it - and I can feel the psychic outpourings from a gazillion Zep fans already.
Of course Plant produced wondrous things in 'that other band'. I'm sure I could select any number of permutations of single Zeppelin, or even post-Zeppelin, tracks and put them together in a compilation that I rate higher than I do this. But, no previous, non-compilation, offering satisfies me in quite the way Band of Joy does. Perhaps that simply reflects the 30 plus years I've put on post the untimely demise of what to me was the unparalleled rock band. As one other reviewer has said: there was Zeppelin and then there was everyone else.
So what makes Band of Joy so pleasurable for me? It's a long list. For starters and in no particular order:
Track selection: I like the way Plant has delved into the archives and brought to us a selection of tunes that range from foot-stomping to dark and brooding. I can't fault it. He's introduced me to stuff I would not otherwise have heard and that means that I will probably go back to the source for some of it to hear how they have been reinterpreted. So, he's honouring us as listeners and those who have laid the way before him.
Plant's voice: Of course his has always been one of the great distinctive rock voices. At 62 though we can't expect the wail of the Immigrant Song. On this album his voice ranges from playful to introspective and at all times he sounds completely in control of it. He does give us the occasional peek back to signature notes from his career but this is a wonderfully assured mature voice. He seems an artist who has absolutely nothing left to prove and is revelling in the artistic freedom that gives him.
Musicianship: With the exception of Buddy Miller, I was not aware of any of the other instrumentalists on this album. Of course, RP has worked with the best in his time. These guys all live up to the standards one would expect. Plant's own comments sum them up: "The musicianship of these guys is almost frightening, singing with them, I'm just sliding down the rigging with a knife in my teeth, trying to make off with a few experiences. Sometimes I think I should just be helping out in catering."
Patty Griffin: long one of my favourite singer-songwriters Griffin brings an other worldliness to Band of Joy. Make no mistake, this is not an album of duets. Rather she adds a depth, complexity and richness to the sound that is almost instrumental. Having heard it I struggle to imagine the album without it.
I'm hard pressed to single out favourites from this album. There's certainly no tracks that on the umpteenth listening I'm hitting the skip track button on. If pushed I would pick 'Central Two-O-Nine'; 'Silver Rider'; 'Falling in Love Again'; 'The Only Sound That Matters'; 'Monkey'; and 'Harm's Swift Way' but that list might change tomorrow.
I'm fascinated to hear where Plant goes next. I could care less whether Zeppelin reunites - we have a wonderful archival history to draw from. In the liner notes to Band of Joy Plant gives gratitude to David Rawlings and Gillian Welch for kindness and hospitality. A collaboration with that couple would be fascinating.

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2011 GRAMMY NOMINEE: BEST SOLO ROCK VOCAL PERFORMANCE & BEST AMERICANA ALBUM Robert Plant's Band of Joy reflects his unquenchable thirst for new songs and new sounds. Not satisfied with his stature as one of the great innovators and heroes of pop music, he continues to let his curiosity guide him to unexplored territory. Building on the roots-imbued sound he achieved with Alison Krauss on the wildly successful Raising Sand, Plant's song selection and incomparable vocals make Band of Joy a new triumph.

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No Quarter - Jimmy Page & Robert Plant Unledded (1994) Review

No Quarter - Jimmy Page and Robert Plant Unledded (1994)
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Ex-Led Zeppelin vocalist and lyricist Robert Plant always said that the true spirit of Led Zeppelin as represented within a single song was more evident in "Kashmir" than it was in AOR standby classic tracks like "Rock & Roll" and "Black Dog"; the notion that a hard rock blues-based band of English white boys who practically invented the heavy metal music genre could in fact be considered the godfathers of "World Beat" music a full generation before Peter Gabriel came along is conveniently overlooked by Western rock music fans, as is the notion that the principles of Eastern music (in terms of Indian and Arabic theories and applications) were far more prevalent within Led Zeppelin's work than that of the Beatles, typically more associated with Indian music thanks to George Harrison's association with Ravi Shankar.
This outstanding live performance recorded 10 years ago as of this writing is a fantastic example of Plant's opinion and the Led Zeppelin vision of musical exploration gloriously realized. As detailed within the interview included with this DVD's bonus features, Plant and guitarist/co-songwriter Jimmy Page chose a set that lent itself well to a broad interpretation and that reflected less the brute force of the riff-driven heavy metal classic tracks that permeate albums such as "Led Zeppelin II" and their self-titled 4th album (although "Four Sticks" and a wild reinterpretation of "When The Levee Breaks" are included) and more of the songs crafted as introspective compostions from "Led Zeppelin III" and "Houses Of The Holy".
This is not Led Zeppelin in their prime; that would be "How The West Was Won". And in truth John Paul Jones' absence is much lamented by this listener as he may well have been the best musician in the band and was the unifying force keeping them together during their last years...but the musicians filling in for him and the late John Bonham are certainly competant and their absence tugs at the sentiment of the heart rather than the sensitivity of the ear.
But for me the accompanying musicians are what really makes this set go. This is not a case of adding an extra guitarist (i.e., Pat Smear from the "Nirvana: MTV Unplugged" concert); the musicians added to this performance play every thing from banjo to hurdy-gurdy to native Arabic lutes, in addition to both Western and Eatern string sections as well as Arabic percussion specialists. The culmination of the meshing of musical talents and the melding of musical sensibilities is no better realized than in the epic performance of "Kashmir", my personal favorite Led Zeppelin song (and perhaps my favorite song by any performer). The song is hardly recognizable as the 8-plus minute classic rock radio staple; it has instead become the living embodiment of the spirit of the band and with its new energy surpasses the original studio recording whose orchestral sounds were generated from an early synthesizer (by John Paul Jones); the energy and the determination exhibited by the lead and supporting musicians during its performance is thoroughly inspiring and worthy of one of the finest performances in contemporary rock history.
This is a tremendous sampling of a band broken down to its most musical elements. Not specifically rock, folk, or even acoustic. Just evidence of the work of one of the finest bands to ever record. All the elements are there; you owe it to yourself to partake of them.

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Performing with the London Metropolitan Orchestra in 1994, Unledded documents the much-heralded reunion of Jimmy Page and Robert Plant. Among the songs performed are reworked versions of many Zeppelin favorites, including "The Battle of Evermore," "Gallows Pole," and "Kashmir," along with four new songs, such as "Yallah" and "Wonderful One." The platinum-selling Unledded cd heralded a new era or renewed popularity. Released now for the very first time on DVD, Unledded is the DVD Led Zeppelin fans have been waiting for. Track Listing: No Quarter Thank You What is And What Should Never Be The Battle of Evermore Gallows Pole Nobody's Fault But Mine City Don't Cry The Truth Explodes Wah Wah When the Levee Breaks Wonderful One Since I've Been Loving You The Rain Song That's The Way Four Sticks Friends Kashmir

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On Tour Review

On Tour
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I received this just as it was advertised and it came across the country in record time and in great shape. I would buy form this company again.

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Live Over Europe Review

Live Over Europe
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For those of us who missed the opportunity to see Genesis in 2007, we thankfully have this excellent live recording of the European tour. The song mix is excellent, with a real good representation of both classic Genesis and the pop stuff. The music is noticably keyed lower, to accomodate Phil's aging voice box, but is excellent on all counts. The sound quality of the recording is also impecable, and the whole package is nothing less than we'd expect from a top flight band like Genesis. My hope is that the boys will see that the demand is still there for their brand of music, and hopefully we'll see a studio album from them in the future. 5 stars!


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Genesis is the Grammy award-winning group that has sold approximately 150 million albums worldwide and is among the top 30 selling recording artists of all time. Live Over Europe is the new two-disc set capturing Genesis on their outstanding 2007 European tour. For the first time in fifteen years Phil Collins, Mike Rutherford, and Tony Banks reunited to form the renowned line-up from Genesis’ most successful era. Live Over Europe brings 21 classic and fan-favorite songs to life for long time fans and a whole new generation discovering the legendary band for the first time.
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