ROBERT PLANT

I was just getting into the wonderous world of Led Zeppelin music when Robert Plant came out with this album that combines hard rock with classic blues and modern synthesizers. The album stands out from its predecessors with stronger material. During the process of creating this album, Plant worked with new and innovative musicians in the shape of Doug Boyle [guitar] and Phil Johnson [keyboards] who co-wrote many songs here. . "Tall Cool One," features sampled bits of Zepp classics, while Heaven Knows" features a cameo appearance from Jimmy Page. My personal Favorite track is "Ship of Fools". Other notable tracks include " "The Way I Feel" and "Dance on My Own" Still solid and a very enjoyable record

Given what I know of 21st Century Robert Plant, his unsurprising folk excursions, more-so in recent years (just five years after this) most memorably collaborating with Alison Krauss, I've been not so drawn to it. It wasn't until I saw the ratings for this album that my ears pricked up (or were ready to do so). His first album in 9 years, this was apparently the start of the reinvigoration of his career, here at nearly 54 years old.

From the get-go, "Funny in My Mind" sounds like what I'd expect from the above expectations and classic Plant. Very bluesy, a bit experimental. "Morning Dew" was overall just as interesting, with little glimmers of something for you to latch onto. I guess I'm still waiting with optimistic anticipation...

"Last Time I Saw Her", he's soundin' great and fresh. Reminds me a bit of Queens of the Stone Age, perhaps. Cool riffs, and featuring weird spurts of synth.

"Darkness, Darkness" is that classic, blues-sadness melancholy that we've known since Led Zeppelin I. So far, a sure highlight (in comparison). I think, though, ultimately, I'm just asking for a little bit more.

We're back into the rock with "Red Dress". Blues-slide guitar rings out. Like I said, it rocks harder than most all so far, but... I guess I'm asking for too much? haha. Then it's onto "Hey Joe", the oft covered rock standard, this seemingly more-so traditional than, say, Hendrix's famous version. This is low and slow, minimal and introspective. After minute 2, it picks up and it is dark! A riveting, heavy guitar solo starts around minute 4. The underlying accompaniment is actually very light and minimal still: somewhat hypnotizing.

From the start, "Skip's Song", I would think, should appeal to fans of Led Zeppelin (perhaps Led Zeppelin III?). Rolling drums and an emotive, introspective Robert Plant, who has a very good vocal performance here. Some of the composition feels very psychedelic even! I'm happy with it.

And finally, "Dirt in a Hole" definitely melodically has a lot to offer, including lovely female backing vocals. The main riff was familiar, but I couldn't place it.

I think, as I'm not too surprised by my feelings, I'll observe tracks that people are most excited about for his discography here on out. It's just not what I tend to look for, Prog or not. I like Robert Plant, but I guess my expectations are a tad too specific to what he did in his youth. The album fortunately did, to me, only get better and better.

Exquisite album by living legend Robert Plant, backed by "The Sensational Space Shifters" (a lovely folk combo), including nice guest appearances, and ethnic instrumental touches, as well.

The opener, "The May Queen", comes like a newly revealed complement to the iconic "Stairway To Heaven" (Led Zeppelin IV, 1971) since it quotes the lyrics of this anthemic song.

As a moment of gorgeous melody, well worthy of Plant's unique voice, let's mention "Season's Song".

One may call for a (not heavier but) more rock'n'blues oriented spot, and it's there, in fact, under the name "Carving Up the World Again... A Wall and Not a Fence".

There are plenty of excellent musicianship along these eleven tracks, I just want to reserve the final words for the title track, with modal oriental flavour, and to "Bluebirds Over the Mountain", coloured with the outstanding contralto of Chrissie Hynde.

12-incher partially extracted from "Pictures at Eleven", debut solo album by Led Zeppelin singer Robert Plant (also released in 1982). "Far Post" (which is not much more than a fine pop-song) was not included on the original release of that album, but Rhino Entertainment released a remastered edition, with this song as one of the bonus tracks, on 20 March 2007.

Where is the real meat, then? To my taste and ears, in "Moonlight In Samosa", a laid-back, latin-flavoured composition where (in addition to Plant's vocals) it shines also the exquisite acoustic guitar by Mr. Robbie Blunt.

"Burning Down One Side" is a rocker with the attitude one have learned to expect from Robert in such a circumstance. Nice electric guitar solo and zeppelinesque stop-and-gos by the band, too.

I originally considered reviewing the "Tall Cool One" single from Now and Zen. I realized that picking the one song from the album you really don't like, just so you can rant about it in a review, is a pretty poor guideline for choosing! Maybe I'm just too humor-deficient to appreciate "Tall Cool One" as much other reviewers. Instead I picked one of the best tracks. Based on quotes elsewhere on Prog Archives, Robert seems to feel that Now and Zen was too overproduced and too dependent on the latest recording technology of the time. I don't feel that's true, especially when it comes to "Ship Of Fools".

One of the highlights of the song is Doug Boyle's beautiful guitar playing. The other is Robert's subtle, emotive singing, a phrase not often used when it comes to Plant. The lyrics are thoughtful and open to a variety of interesting interpretations. With a sound reminiscent of "The Rain Song" from Houses of the Holy, the more musically conservative listeners ought to thoroughly enjoy "Ship of Fools". It's followed by two value-added live tracks. "Helen of Troy" combines the mythological title character with Robert's typically clever sexual innuendos. Lastly, Plant pays homage to one of Led Zeppelin's original inspirations by covering the blues classic "Dimples" by John Lee Hooker. This is a very enjoyable EP. You could even, God help us, justifiably call it Zeppelin-ish!

You know what? This is good. Very good indeed.

For some time I was a fan of the three first albums of Robert Plant... well, that did not last long and now I like only one or two songs. When this album came I enthusuastically listen to it and found another side of Robert Plant. A side that the live shows already were offering (and actually, a good part of his solo career always shows). I had friends very dissapointed with the different instruments and asians and african sounds together with the Led Zeppelin songs... but you know what? Thats how artists reinvent themselves.

As this could be a horrible album, the result is way better than one can expect it. If the "Band of Joy" was Robert Plant returning to a more "classic" sound (blues, roots, etc), "Lullaby and... The Ceaseless Roar" is the world music of Robert Plant (that we already saw in other times) together with a more intimist and folk background. And this way make Robert Plant's voice shine, since he doesnt have to make such high notes and his whisperings, crooking and all the rest marries so great the music.

As I said, this could be a very very very dissapointing album. But its not, its a great one.

And perhaps my favorite Robert Plant album so far...

The 80s and its constant corrupting companion, the MTV virus, was a difficult decade to navigate for all proggers no matter what one's particular category of choice is within the genre. The invigorating 'anything goes' spirit that fed and nurtured progressive rock throughout the 70s had been suppressed and subjugated by the onslaught of the sight over sound movement to the point where if a band or artist couldn't come up with a clever or sexy three-minute video to promote their music they were cast aside like yesterday's newspaper. While there were exceptions to the new and restrictive rule they were few and far between. For the most part the revered icons of prog were compelled to compromise or become totally irrelevant (not to mention insolvent). Robert Plant was but one of the industry giants that had to grapple with that dilemma. Somehow he had to attempt to retain his integrity and let his artistry continue to evolve freely while appeasing the younger generation who didn't give a crap that he and his bandmates in Led Zeppelin had set the planet on fire with their adventurous melding of blues, rock and exotic world beat sensibilities. To them he was just another grizzled, long-haired dude that their parents dug and their general attitude towards Robert (and every veteran in the biz) was one of 'Are you going to have some half naked chicks running around licking lollipops in your video or not? Otherwise, what's the point?' While some of you may think that's a gross over-exaggeration the proggers who lived and struggled through those dark times will back me up. It was a depressingly ugly scene to witness.

However, Mr. Plant was one of the more successful of the sixties/seventies survivors who was able to continue to pursue a career without completely capitulating to the new way of doing things, thereby shafting their loyal fans who'd made them stars. He did so by maintaining a lofty standard and being as true to himself as he could notwithstanding the circumstances he found himself in. After John Bonham's untimely death in 1980 Led Zeppelin had lost its locomotive and there was no replacing it, forcing the remaining three to find their own way going forward. Robert's solo efforts, while nowhere near as earth-shaking as what his former group had produced with regularity, were well-received so he was able to keep himself afloat while so many of his peers disappeared beneath the New Waves that saturated the industry. By the time he released 'Now and Zen,' his fourth CD, he'd established himself as a worthy banner-bearer of the analog era who, along with the likes of Bowie, Genesis and Rush had managed to straddle the fence enough to remain relevant. For that alone he deserves our admiration and gratitude.

The album starts spectacularly with 'Heaven Knows,' an energetic song that sports a very strong rhythm track and production values that dutifully reflect the state-of-the-art technology that characterized and dominated that period. It's a great tune and the full chorale on the chorus is extremely dynamic. It doesn't hurt that his reliable pal Jimmy Page drops in to contribute some blistering guitar work that serves as the deal-sealer. 'Dance on my Own' follows and it projects a decent hard funk vibe but the trendy 'glittering' keyboard effects tend to date the number wretchedly, lessening its overall impact and odds for longevity. However, Doug Boyle's deft guitar playing takes it up a noteworthy notch. 'Tall Cool One' is next and it's a driving rocker augmented by Mr. Page's magic fingers and ornamented with a wild assortment of digitized samples culled from various Led Zeppelin classics. While it wasn't a Top 40 hit, it garnered a ton of FM radio exposure and that no doubt increased album sales accordingly. It definitely possesses a deceptively simple structure but the hot electricity it emits makes it quite memorable and the ending montage is an undisputed trip. Chris Blackwell's aggressive drums propel 'The Way I Feel' respectably and I detect a slight Peter Gabriel feel in its undercurrent as well as a noticeable Police presence surfacing in Boyle's guitar style that I find intriguing. 'Helen of Troy' doesn't measure up, though. It's representative of the late 80s techno-funk craze that I never could adapt to because it was so dreadfully bereft of any semblance of soul. Despite its pristine clarity it fails to dignify itself. Its only saving grace is Plant's emotional vocal performance.

'Billy's Revenge' is a treat. A curious arrangement of harmonies during the intro leads to a proggy 6/4 verse pattern that piques my interest. It's impossible to pigeonhole this cut but it does own a kind of a raucous rockabilly aura that I enjoy. 'Ship of Fools' is another highlight of the proceedings. Robert's subtle singing enhances this rock ballad superbly and the light synthesized string section score gives it a haunting, dreamlike atmosphere. 'Why' follows and the tune itself might be passable but it's hard to tell due to the tinny New Wave-ish incidentals that clutter up the scenery unnecessarily. This is an example of what I wrote about earlier. It's understandable that Plant wanted to please the kiddos with up-to-date sounds, gadgets and gimmicks but it dooms the number to being a relic that couldn't stand the test of time. He recoups, though, with 'White, Clean and Neat.' It's a combination of a wide array of elements that grant the song an inviting mien while Robert's inimitable voice distinguishes it as his own unique creation. By far it is the most exploratory and progressive cut on the record. Unfortunately, he opts to go out with a thud. While Texan songwriter Jerry Lynn Williams composed excellent material for Clapton, Bonnie Raitt and Stevie Ray Vaughan, 'Walking Towards Paradise' isn't one of his better tunes. It fails to enhance on any level. Not only that but Plant's cover suffers from the inclusion of too much of that frivolous decade's studio trickery that detracts from any potential the number might have held initially.

'Now and Zen' hit the shelves on February 29, 1988 and steadily climbed the charts to the #6 position, further confirming that Robert still wielded a certain amount of clout. In comparison to the other inane schlock that was being foisted upon the public's collective ears in that woebegone era this was an oasis of sanity. As I've indicated in many other reviews of albums that were manufactured in the 80s, anything that even hinted that it had a hue of prog inside its shiny disc was to be cherished as extraordinary because, for all practical extents and purposes, prog was as dead as Mussolini. Thanks to people like Mr. Plant, the pilot light was never extinguished. 3.5 stars.

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.