ROBERT PLANT

Plant has not yet withered!

I'll put it bluntly - I love Robert Plant. Led Zeppelin and his amazing voice have influenced my musical taste the way no other band has. What's more important though, after Led Zeppelin's break-up, Robert has shown that even without Jimmy Page as the main composer, his talent is not wasted. On the contrary - I'm pretty sure some people would consider his solo output to be more consistent and of higher quality than some of Led Zeppelin stuff, especially of the later period.

Although fantastic as usual, the highlight of Mighty Rearranger is not Robert Plant and his vocals. The strange, euphoric sensation you feel while listening to the album is provided by... The Strange Sensation, an amazing bunch of extremely versatile musicians. I don't know whose idea it was, but for combining Plant's dreamy hard rock style with modern electronica the originator deserves a round of applause. The album is full of folk atmosphere, abounds with hard rock melodies and is cleverly interspersed with trippy electronica. All those elements complement each other perfectly, there's not a single moment of inconsistency or disarray that would make this bold mixture sound overdone.

Dreamy folk infused with hard rock energy and eclectic rock creativity - that's how I'd sum up this great record. Really, it's wonderful how these musicians play with the music, the fun they have can be heard in every track in the album. If you're into anything that's even remotely related to hard rock, folk or electronic rock, check this out!

TRACKS BY RATINGS: 10/10[masterpiece!!!]: Tin Pan Valley || 9/10[fantastic!]: Another Tribe; Freedom Fries; Mighty ReArranger || 8/10[great]: Shine It All Around; All the King's Horses; The Enchanter; Takamba; Dancing in Heaven; Somebody Knocking; Let the Four Winds Blow || OVERALL = 85/100

-- Originally written for Metal Music Archives [www.metalmusicarchives.com] --

After John Bonham's tragic death in 1980 that marked the end of Led Zeppelin as a creative unit, each of the surviving members went on to pursue solo careers. Lead vocalist Robert Plant was the first to release an album outside of Led Zeppelin with his 1982 debut Pictures at Eleven - an album that would go on to be a huge commercial success, and also receive largely positive critical reception. It's a solid release that sounds more Zeppelinesque than Plant's future offerings, but I don't think it was until his sophomore observation, The Principle of Moments, that he would truly hit his stride.

The style of production and use of synthesizers indicate that Pictures at Eleven was released in the eighties', but the album has a lot of stylistic similarities to Led Zeppelin's music. Tracks like "Slow Dancer" and "Worse Than Detroit" could've been straight off of Physical Graffiti, and while this certainly isn't a bad thing, the music here rarely exceeds the 'average' mark. The melodies simply aren't strong enough to make this an excellent purchase in my book; although it's competent in every regard, Pictures at Eleven is an average rock album that could probably be ignored by most readers. Apart from the excellent drumming courtesy of Phil Collins and Cozy Powell, this is a totally safe album that doesn't do much that's particularly noteworthy.

Pictures at Eleven is a well-made and professional sounding product across the board, but it just doesn't move me in the same way that Led Zeppelin's best material does. Although Robert Plant demonstrated his potential as a solo artist here, I think most of that potential is untapped. A decent record for sure that fans of Led Zeppelin will want to investigate, but nothing to write home about as far as I'm concerned.

I'm always amazed this album isn't rated higher. It's almost a lost classic waiting to be re-discovered. It's one of the best albums from 1982, it's Plant's first and best album, and sounds more like classic Zeppelin than CODA or IN THROUGH THE OUT DOOR did. Most of these songs got all kinds of airplay on American radio stations at the time, and the ones that didn't are arguably the best on the album, i.e. "Slow Dancer," "Moonlight in Samosa," and "Like I've Never Been Gone."

By contrast, I always found the next Plant album (THE PRINCIPLE OF MOMENTS) to be a major disapointment, and nearly unlistenable save for two masterpieces, "Big Log" and "In the Mood." Yet so many rate it higher than PICTURES AT ELEVEN. Never got it. Still don't.

I was extremely disappointed with Robert Plant's 1993 album. There are perhaps three decent tracks but on the whole this is a real wash out. No prog at all so forget that, instead a sad excuse for AOR that is forgettable and not even a shadow of what Plant is capable of. Nothing comes close to Led Zeppelin, not even enough to wipe Jimmie Page's backside.

Calling To You is perhaps the best track though sounds familiar for those who remember Kashmir, particularly that Eastern mystical sound. Interestingly enough Plant references Zeppelin a few times here on the album especially on Promised Land with a riff akin to When The Levee Breaks. I liked this version of If I Were a Carpenter, that is certainly way better than the original, but the rest of this album has no substance and I am perplexed as to its high ratings.

Well if Plant had held up pretty well to the temptation of living on his Zep legacy (something we couldn't possibly say of Page), ever since accepting the Unledded- No Quarter project, he's actually let himself into it. If his first few post-Unledded studio albums resisted this (with the absolutely wonderful Dreamland, and the good Mighty Rearranger), his live shows actually started to depend of the Zep material a lot more, as shown by the present DVD. I'm not much a fan of the stage set-up and decorum, as it looks like some kind of TV-show stage, an impression which is further reinforced by the presence of numerous luscious babes on the sidelines and front row.

Outside the now-usual slightly world-ified Zep reworks, the main interest of the present disc is the excellent Enchanter track and the always-chilling rendition of Hey Joe, a correct Shine It, but little else. Even the No Quarter renditions don't serve well the legend. Plant's voice still has so good reserves, even if there is no way he could possibly match his 70's voice, nor is he trying to. I don't know if it's my copy, but I find that the bass is a bit undermixed. Sadly, because of the incessant and relentless Zep material reliance, this is not quite as interesting as the Unledded project, and at times, it might just seem like it's about some old glory that tries to linger on his fading past. Still a rather nice concert, if you're not too demanding?.

The usual bonus on such a DVD include a 95 Top Of Pop version of 29 Palms and an 83 insufferable Big Log version in the same show, where Plant goes through the motions with his hands in his pockets. Both are actually throwaways (but not completely unpleasant, as are two more videoclips are added included the excellent Morning Dew (I guess it was more than a decade since I'd given up on MTV stuff) and an acceptable 29 Palms. Nothing essential except for a few Dreamland/Rearranger tracks (and even then, if you own the albums?.), so you'll want to concentrate on other DVDs or albums

This is the first and i'm sure the last review i'll do using a cassette as my means of listening.There are several recordings on this site that I used to own in the eighties on cassette that have disappeared over time. I'm talking about recordings that I consider 2 and 3 star affairs so there's no way i'm re-buying them just so I can review them, and it's not fair to review them by memory, especially my memory. I thought this was one of those cassettes that was long gone until I found my old cassette case I used to carry in my car buried in the garage the other day, and lo and behold there was about 15 cassettes in it including this one. I remember the disappointment I felt when i first listened to this back in the early eighties, I guess I was hoping for classic ZEPPELIN and this was far from being that. Mind you I felt the same way about "In Through The Out Door" when it was released (another long gone cassette I won't be re-buying). At least Robert enlisted a couple of great drummers in Phil Collins and Cosey Powell to help him out on this his first solo record.

"Burning Down One Side" is catchy, a real toe tapper and one I remember well. "Moonlight In Samosa" is laid back with vocals and acoustic guitar leading the way.

"Pledge Pin" is a definite highlight for me with that prominant bass and catchy sound. And the sax later on to the end sounds great. "Slow Dancer" is heavier with guitar and passionate vocals. It does settles back to a lighter sound as these contrasts continue. This sounds like a track that could have been on "In Through The Out Door".

"Worse Than Detroit" but not worse than this song. Awful. "Fat Lip" is another highlight. It's a pleasant listen that reminds me of the 80's for some reason. It makes me feel good.

"Like I've Never been Gone" has these ballad-like lyrics but the music is better than that. A guitar solo comes in late. "Mystery Title" is not very good at all.

This is actually better than I remember, and I know I did get some enjoyment out of this back in the day.

A perfect title for this album

Without questions I'm a more open-minded and patient listener than I was in high school. Back then, as the world's biggest Zeppelin fan, I hated this album with a passion. I hated the album cover, hated the music, and hated Plant's embracing of a decade that was repulsive to me. I was a teenager in the 80s pining for the 70s, which I missed, and which everyone in the 80s was trying to forget. All I wanted was to see a Zeppelin show but I was 10 years too late. So I went to this concert when it came through town and practically cried at what I saw on stage. A bunch of "crap" being delivered by one of my heroes, the ultimate betrayal. I've seen the error of my ways and even by the late 80s had embraced many of the decade's better moments, and there were many. Looking back it is now merciful that Zeppelin stopped when they did. I think Plant knew it. Given how dreadful "In Through the Out Door" was, he made the right choice moving on.

Flash forward several decades and I've not only come to peace with Shaken, but it might be his most interesting work. This is not just a collection of weak dance tracks or a failure of an aging artist trying to throw some synth over his tracks to appear hip. These are some really catchy pop songs dressed up with elaborate vocal and instrumental arrangements. Robbie Blunt is particularly impressive with guitar work, both traditional and synth guitar, which sound inspired by Adrian Belew. He gets great volume control and textural variation, and many wild noises in a tapestry of crazy music backing Plant's "kid in the candy store" send-ups. Plant is throwing himself into this with reckless abandon, trying as many ideas as he can think of, almost purging himself as he creates a work that has to be inspired by many of the current artists around him. Everything is very loud and drowning in spirited percussion, as well as fantastic backing vocals courtesy of Toni Halliday. She is the perfect contrast to Plant's typical over-singing. In fact, that's the worst part of any Robert Plant album, when he seems trapped in his own persona to the point of parody. Not every song needs the "baby babys" and the sexual grunts and groans. Halliday provides welcome and soothing beauty to these pleasantly jarring escapades.

Every song is like a sweet confection that makes this pure pleasure to listen to, but my favorites are the slightly more introspective ones. "Little by Little" would seem to be touching on Plant's recoveries from personal tragedy and substance abuse. If I'm right (and maybe I'm not) the first verse sounds like he's talking about the grief of his son's death, while the second verse may be discussing cocaine. In both cases Plant is able to "breathe again" having arrived in a healthier place. The closer "Sixes and Sevens" is one of Plant's finest, very melancholic as he discusses making "alterations to my house of cards" to a brooding, musical sunset. The flip side is pure danceable fun like "Too Loud" where Plant is nothing but playful. There is even some character banter there in the form of a fictional record guy Plant pokes fun at.

A lot of people really bash this album as it sounds so different from his previous two smash albums. I understand the criticisms but in 2011 it is probably my favorite Plant album. If you give yourself a bit of time to get used to the brashness of the production, you may fall for this odd, eclectic bunch of songs. My favorite Plant work to date. Not typical prog-rock (and maybe not prog at all to many) but excellent music nonetheless.

Not a good one to please.

Even with being Jimmy Page onboard cannot save this one from being nothing more than pure 80's schmuck. I found nothing relating to Prog at all in this album. The only thing I did find is a bunch of bad 80's pop songs that you can only tell have anything to do with Robert Plant is because of his super distinctive voice. I skipped almost every track on this album the first time I listened to it, and have given it multiple chance to make an impression on me ( only because my mom is into this kind of music and she likes this album some ), and it only got worse the more I listened to it. This is a sad fall from one of the best vocalists ever from one the greatest bands ever.

if there is one thing i can say I do maybe, barely like, it would be the solo during Tall Cool One, but that is fleeting and passes by quicker than those pesky ice cream trucks that do not have the courtesy to stop when you come running out of the house with money for your favorite treat.

At first I was not very happy with Plant's solo directions, I am a huge fan of the heavy blues rocking Led Zeppelin, and although I still do not think this is an amazing release it is pretty good even if it has that icky 80's sound that I normally detest. However I must admit that i do somewhat like the songs on here, and it is helped along by the bonus live tracks. The songs are still more poppy than I would like them to be, but that does not make this bad. It also has some pretty big names on board, specifically drummers, Phil Collins, and Barriemore Barlow, i instantly recognized. Some standout tracks for me are In The Mood, Stranger Over Here.... Than Over There, and Thru' With The Two Step ( both studio and live, which has a wonderful synth spacey noises at the beginning ). The rest are listenable, but not stand-outs.

Possible worth getting just for the wonderful live version of Thru' With The Two Step.

Robert Anthony Plant had come a long way from his childhood in the West Midlands and plans of being an accountant. Once he hit 16 and the Midlands blues scene, there was no looking back. Crawling Kingsnakes, Band of Joy, Hobbstweedle, and a little act called Led Zeppelin were just the beginning for Plant, evidently. Not even rock deism and unbridled success would stop this skinny, generally quiet kid from Halesowen from making music. Nor a severely shattered foot, the tragic death of a child, the irreplaceable loss of his close friend John Bonham, Zeppelin's retirement, divorce, repeated accusations of musical poaching, and an unclear future for an icon whose persona was rapidly going out of style. There was also any older singer's biggest challenge: a marked change in range and tone.

But 'Percy' Plant (a nickname he doesn't care for) knew what being a rock singer meant. He knew what it was to work your heart out on a record only to have it panned; The years of touring questionable venues and ill-kept accommodations; Having to perform sick or with a shot voice; Unreceptive and brutish audiences; Thievery; Broken dreams. He is a true survivor, and he turned that ethic of survival into one of the greatest careers in rock history. And he's still going, as resolute and inspired as he's ever been.

The Principle of Moments was a mint example of Plant's new direction. Released in the summer of 1983, Robert kept the primary band from the debut (the good though less developed Pictures at Eleven) but pushed at the walls of the sound they'd cultivated, ending up with a unique and romantic departure from his hard bluesing days with Jimmy Page that showed restraint and subtle artistry. The elegant Spain-infused guitars of Robbie Blunt, Phil Collins' & Barriemore Barlow's percussives, bassist Paul Martinez's foundry, and Jezz Woodroffe's synth washes provided Plant a platform that was different enough from his past to be significant, and yet compatible with his newly-explored lower registers to work. One of moods, colors, temperatures, and emotions. 'Other Arms' pumps out the intro with Plant's pleas for reconciliation and Blunt's ringing scalene breaks, but 'In the Mood' seals the deal, a gently seductive, honey-smooth piece, the paradiddles between Plant and band giving us one of the best love songs that year. Really lovely, and a triumph of pop stylings. 'Messin With the Mekon' teases with odd rhythms, 'Wreckless Love' does the same with Eastern chords, dovetailing for the deeply felt lyrics of 'Thru With the Two Step' as a rock 'n roll king pays a fond adieu to the craziness of bigtime show business, climaxed by an utterly soaring slow cry from Robbie Blunt. 'Stranger Here..' reflects influence of 80s artists as the Police, and the disc caps with a cut thats reputation precedes it, the sublime 'Big Log', a humid, often hypnotic ride down a night road with a lyric that dances effortlessly between car-driving symbolism and sexual suggestion.

Perhaps too soft a pill to swallow for some of Plant's old fans but his hardcore supporters knew they heard something special. Robert Plant had become something more interesting than 'progressive'-- he was digressive, and he continues to be. Sensual, delicate but strong, clean but complicated, The Principle of Moments is one of the quiet treasures of the early '80s, and is an album that gets better as both it, and the listener, ages.