THE PRINCIPLE OF MOMENTS

This man's voice is so much a part of the sound of LED ZEPPELIN that even when he changes styles and uses other musicians, the end result could pass for a Led Zep album. In fact, "The Principle of Moments" suggest where the group might have gone after "In through the Out Door" had they stayed intact. Sure, Page would have blazed about a bit more than the clearly competent Robbie Blunt, but the band sound was mellowing out and this is nothing if not a chill record.

The economical and concise rhythm guitar work and the production both seem borrowed from THE POLICE, even if the style rarely intersects, as on the excellent "Horizontal Departure". The best song was the first single, the ominous "Big Log" that proves Plant more than capable of writing a melody without a hook. "Messing with the Mekon" includes some 80s synths that are masterfully integrated into one of its best sequences, while "Wreckless Love" segues from a straightforward new wave song to middle eastern dance without batting an eye.

For every winner, there is an equal and opposing bit of flller, well, except nothing as bad as "Big Log" is good. "In the Mood" just never goes anywhere, in spite of its transparent intention to showcase Plant's versatility, while "Thru with the Two Step" is a limp ballad in which the period keyboards really show their age, and worse, at a mercilessly languid pace. "Stranger Here" is too reliant on Plant's voice as there really isn't anything else going on, apart from a few tiresome pitch bends.

For a solo album from such an accomplished band member and vocalist, this album has its share of fine moments, and is a recommended but far from essential force in 1980s prog.