Led Zeppelin
Reviewed on this page:
Led Zeppelin - Led Zeppelin
II - Led Zeppelin III - Untitled - Houses Of The
Holy - Physical Graffiti - Presence - The Song Remains
The Same - In Through The Out Door - The Principle Of Moments - Pictures At Eleven - Coda - Outrider - Manic Nirvana -
No Quarter - Walking Into Clarksdale
These guys sound great until you hear all the old records they
stole their riffs from. Seriously, though,
producer/songwriter/guitarist/everything-worth-mentioning Jimmy
Page is no genius, but in his Zep days he was a master craftsman:
he wrote lots and lots of classic riffs, and his solos drew on an
encyclopedic knowledge of rock guitar. The better Zep albums are
carefully realized, effective rock and roll. Despite all his
borrowings, Page has become tremendously influential in his own
right, particularly his reliance on crunching licks and power
chords. Plant has also had a huge influence on metal vocalists; I'm
not a big fan, I find his lyrics pretentious and his voice whiny,
but there's no denying he's distinctive. Bonham and Jones formed a
solid rhythm section, often adding something interesting to the
mix. (DBW)
Sure, Jimmy Page was no Jimi Hendrix,
but he still had a certain genius for generating commercial
product. And his guitar playing was versatile and extraordinarily
technically proficient. His rapid-fire pentatonic licks are worth
copping by guitarists like myself who will never have the musical
intelligence to understand Hendrix's convoluted soloing, and the
band was to its multitude of unimaginative imitators as Hendrix was
to them. Despite this, I rate all of Zep's records within very
narrow limits (two and a half to four stars). The simple reason is that the
band had an extraordinarily consistent sound - that's not a
compliment. Those who care about such things will note that Jimmy
Page has recently remastered the entire Zeppelin catalogue;
the original releases on CD have a reputation for second-rate sound
(sound OK to me, though).
Jimmy Page was one of the premiere session musicians of the 60s,
and he's continued to make guest appearances on other artists'
records to this day. His session work is discussed on our Yardbirds page, where we also review his only full album with the band; and here are some links to Page sitings on this
web site:
Now by popular demand! A list of some of the songs Zep stole from other artists:
- "Babe I'm Gonna Leave You" - A folk song by Anne Bredon, this was originally credited as "traditional, arranged by
Jimmy Page," then "words and music by Jimmy Page," and then, following legal action, "Bredon/Page/Plant."
- "Black Mountain Side" - uncredited version of a traditional folk tune previously recorded by Bert Jansch.
- "Bring It On Home" - the first section is an uncredited cover of the Willie Dixon tune (as performed by the imposter
Sonny Boy Williamson).
- "Communication Breakdown" - apparently derived from Eddie Cochran's "Nervous Breakdown."
- "Custard Pie" - uncredited cover of Bukka White's "Shake 'Em On Down," with lyrics from Sleepy John Estes's "Drop Down Daddy."
- "Dazed And Confused" - uncredited cover of the Jake Holmes song (see The Above Ground Sound
Of Jake Holmes).
- "Hats Off To (Roy) Harper" - uncredited version of Bukka White's "Shake 'Em On Down."
- "How Many More Times" - Part one is an uncredited cover of the Howlin' Wolf song (available on numerous compilations).
Part two is an uncredited cover of Albert King's "The Hunter."
- "In My Time Of Dying" - uncredited cover of the traditional song (as heard on Bob Dylan's debut).
- "The Lemon Song" - uncredited cover of Howlin' Wolf's "Killing Floor" - Wolf's publisher
sued Zeppelin in the early 70s and settled out of court.
- "Moby Dick" - written and first recorded by Sleepy John Estes under the title "The Girl I Love," and later covered by Bobby Parker.
- "Nobody's Fault But Mine" - uncredited cover of the Blind Willie Johnson blues.
- "Since I've Been Lovin' You" - lyrics are the same as Moby Grape's "Never," though the music isn't similar.
- "Stairway To Heaven" - the main guitar line is apparently from "Taurus" by Spirit.
- "White Summer" - uncredited cover of Davey Graham's "She Moved Through The Fair."
- "Whole Lotta Love" - lyrics are from the Willie Dixon blues "You Need Love."
I'm not listing covers that the band credited to the actual authors ("You Shook Me")
or the less blatant ripoffs (the "Superstition" riff in "Trampled
Underfoot"). If you have anything to add to this list, please tell me. (DBW)
There's a million and one Zep web sites, many of which are linked
up to a site
inventory maintained by some guy named Buckeye. Another useful
Zep home
page has a FAQ and info on the mailing list and newsgroup, in
addition to the usual goodies. (JA)
This page is intended for those who don't know much about Led
Zeppelin and want to know where to start with their catalog. If
you're already a die-hard fan, this page probably won't be of
interest to you; try alt.fan.jimmy-page.fuckin.rules.dude instead.
(DBW)
In other words, if you find our comments offensive, don't waste
your breath telling us - see our flame
writer's FAQ instead. Many loyal Zepheads have already sent
us some of the most mind-bogglingly crude flame letters you can
imagine, proving that you guys have less of a sense of humor than
anyone else on the net. Stop for a minute and think about the fact
that both of us really have listened to all these
records - not just a few times, but over and over again since we
were teenagers. Oh, and we haven't been teenagers for a heck of a long time, so don't bother slamming us with ageist
condescension. (JA)
Lineup: John Bonham (drums); John Paul Jones (bass,
keyboards, some backup vocals); Jimmy Page (guitar, some
mandolin, some backup vocals); Robert Plant (lead vocals,
some harmonica).
Led Zeppelin (1969)
 - Here the lads beg, borrow and steal from their betters,
including Jake Holmes, Willie Dixon, Jimi
Hendrix, Jeff Beck and others. Has a
couple of short & sweet rockers, "Good Times Bad Times" and
"Communication Breakdown," and the introduction of bowed guitar in
the trippy "Dazed and Confused" (actually written by Holmes but
credited to Page). There's also a nice modal instrumental with
tabla accompaniment ("Black Mountain Side"). Nothing is as bombastic and pretentious as the
worst of their later work, but it's often rather generic ("Your
Time Is Gonna Come"). Plant's drawn-out, creepy vocals are all that
keeps Willie Dixon's "You Shook Me" and "I Can't Quit You Babe" from
sounding like they could have been done by any of a dozen late 60s
Brit bands. (DBW)
- Things moved so quickly in the 60s that for several
years, Page was the only guitarist on the planet who could pull off
a credible Hendrix imitation (e.g., early 1968's "Think About It"
by Page and the Yardbirds) - and that was enough to launch
Zeppelin's career. Their first record is atypical, being more
rooted in contemporary psychedelic pop ("Your Time Is Gonna Come")
and Chicago blues (half the record) than later efforts. This isn't
necessarily a good thing, but Page's virtuoso antics repeatedly
save the day. p.s., I have to disagree with Wilson: Page had already done the bowed guitar thing with the Yardbirds, but on
the other hand, by 1969 the only other British band that played the blues so fast, hard, and well was the Jeff Beck Group. (JA)
II (1969)
- Most of this album was recorded in a hurry, and it sounds
it. They make their mark on rock history with the crunching "Whole
Lotta Love" (which includes a theremin in the freakout middle
section) and the fascinating multipart "What Is And What Should
Never Be." "Ramble On" has a nice melody and some terrific bass
playing from Jones. Elsewhere the record ranges from the merely
derivative ("The Lemon Song," again an uncredited blues borrowing)
to the just plain awful ("Thank You" with affected vocals and
droning organ) to the downright offensive (Plant's "ole bluesman"
imitation on "Bring It On Home" - I wonder if he put on blackface
in the studio to get into the proper mood?). (DBW)
- All of this is in keeping with the earlier record; Page had
a formula, and he was damned well going to stick with it - the
heavy rock songs here like "Living Loving Maid" are marvelously
crafted. So if you can get something out of Zep I, you'll get
just as much out of its successor. The band's first of an amazing
six LP's to top the charts. (JA)
III (1970)
 - The only really good news on this record is the delicate lead
guitar on the slow blues "Since I've Been Loving You," and Hagar
the Horrible's theme song (the driving "Immigrant Song"). Elsewhere
they make unfortunate experiments in folk ("Gallows Pole"), slick
pop ("Tangerine"), and platitude-rock ("Friends"). They often said
in interviews that they wanted to play acoustic music - the only
trouble is, they're no damn good at it: Page is way out of his
element here, and he often can't think of anything at all
inventive. But I'll stick up for "Out On The Tiles," a
crunching riff tune that's almost never played on the radio. (DBW)
 - I couldn't disagree more. Here, for once, Zep made a serious
effort to lead instead of follow. The production is loaded with amusing
gimmicks like phasing, primitive synthesizers, creepy string
arrangements, distorted vocals, and acoustic instrumentation, and it never gets dull. Of
course, some of the country-blues and folk influences they parade
around already had been assimilated by other British rockers
like the Stones. But Page actually has it
down better than they do ("Tangerine"), while Plant adds to the stew by getting memorably
weird on some of the tracks ("Gallows Pole"). (JA)
Untitled (1971)
- The first side here is terrific, with powerful rockers
("Black Dog" is riff-filled and unpredictable, while "Rock and
Roll" is as straightforward as the title implies), an acoustic
ballad with Sandy Denny on vocals ("Battle Of Evermore") plus
"Stairway to Heaven" (if you're not bored to death with it
already). The second side, unfortunately, is awful: imitation West
Coast soft-rock ("Going To California" indeed), failed humor
("Misty Mountain Hop"), and another rambling, turgid blues ("When
The Levee Breaks"). (DBW)
- It's solid, but it's product. "Stairway" is bombastic and
overlong, and almost everyone is bored of it despite its
catchiness. Even worse, the Zepsters completely retreat here from
their earlier willingness to experiment, despite some English folk
elements like Fairport Convention member Sandy Denny's vocal and Page's jangling mandolins on
"Battle Of Evermore." This is a user-friendly introduction to the
band, but don't stop here. Ironically, the record somehow failed
to hit #1 on the charts - it stalled at #2. (JA)
How The West Was Won (rec. 1972, rel. 2003)
A three-CD live album, recorded in southern California during their 1972 tour.
The first disc includes a lot of standard stuff like "Stairway To Heaven," whereas discs 2 and 3 are dominated by monstrously sprawling versions of the band's jam favorites "Dazed And Confused," "Moby Dick," and "Whole Lotta Love." (JA)
Houses Of The Holy (1973)
 - Their most consistently satisfying album, as they
successfully experiment with song structure and instrumentation:
"The Ocean" goes from massive power chords to a capella nursery
rhyme to 50's doo-wop; "No Quarter" is stately and amusing; and "The
Song Remains The Same" is a magnificent guitar showpiece where Page
seems to be having fun, for once. "Over The Hills And Far Away" and
"The Rain Song" once again mix ballads and hard rock, laying the
groundwork for a zillion dreadful Eighties power ballads. Not wall-to-wall brilliant like a 4 1/2 star album should be,
but so much more consistent than the previous release I had to rate it higher. (DBW)
- Can't really argue. The experimentation here is second only to III, as on the bizarre, mercifully brief
boogie-woogie "The Crunge," the reggae-ified hit single "D'yer
Maker," and the cutesy doo-wop fade on "The Ocean." Page's lead
parts are tightly focused and unusually inspired, and even Plant's
lyrics, which as always range from pompous nonsense to romantic
silliness, are enjoyable and uncharacteristically upbeat. Despite
this and the fact that the band had escaped from doing lame blues
ripoffs, this is still more of a consolidation of previous
successes than an attempt to push the envelope. (JA)
Physical Graffiti (1975)
- You look up "wretched excess" in the dictionary, and there's
a picture of this double album. The songs go on, and on, and on...
"Kashmir" was in fact the inspiration for Philip Glass. (Okay, I
made that part up... but the songs do go on, and on, and on.) Many
of the tracks are outtakes from earlier albums, and some are
excellent (the instrumental "Bron-Yr-Aur" is tuneful and remarkably
terse; "Custard Pie" is mindless fun). There are lots of bright
moments - "The Rover" has a cool riff, and "Trampled Underfoot"
is a listenable ripoff of Stevie Wonder's
"Superstition" - but there's too much filler in between. (DBW)
- He's right: "Kashmir" is an unlistenable disaster, and
eleven minute escapades with boring chord progressions like "In My
Time Of Dying" can't be salvaged by any amount of guitar heroics.
But a lot of the other tracks do demonstrate significant
stylistic variety and substantial amusement value - solid rock
songs like "Houses Of The Holy," a reject from the LP of that name;
nice acoustic numbers ("Bron-Yr-Aur"; "Black Country Woman");
standard, reasonable-length Zep epics ("Ten Years Gone"); etc. If
Page had just cut it to a single LP, it would have been a high
point in the band's career. (JA)
Presence (1976)
 - Drug use was taking a heavy toll on Page by this point, but he
still managed to crank out an album full of heavy riffs. However, many
of the tracks are lethargic ("Tea For One") and most of them are
way too long ("Achilles Last Stand"). Every Zep cliché is
here in abundance, so if you're a devoted fan you'll get into it,
but it's missing the spark of their more adventurous work.
(DBW)
- Uninspired, and their worst effort overall; but it's still passable, inoffensive Zeppelin
product - every song is a riff-fest. But as usual the band never
knows when to shut up ("Achilles Last Stand") or when to quit
slaughtering the blues ("Tea For One"), and the single "Candy Store
Rock" is remarkably insubstantial. Fans will enjoy the album
anyway. (JA)
The Song Remains The Same (1976)
Injuries forced the release of this 1973 concert recording. There's some good music in here among all the
meandering, and lots of unintentionally hilarious egotism - be sure to rent the video for maximum amusement value. "Does anyone remember laughter?" (DBW)
Car crashes are bad. Very very bad... be
prepared for some completely out-of-control jamming. If you like
that sort of thing (and a lot of Zep heads do!), this record has
more than enough of it. But to me, it's just more evidence that
live records in general are a waste of money. I'm amazed to report
that this was an American #2 hit (of course, almost everything else
the band did reached #1). (JA)
In Through The Out Door (1979)
- Bassist/keyboardist John Paul Jones comes to the fore here, with
some painfully bad synth-drone numbers ("Carouselambra," "All My
Love"). Elsewhere, they cover a lot of ground, from blues ("I'm
Gonna Crawl") to country(!) ("Hot Dog") to that patented bowed-guitar sound ("In The Evening"), but they sound as if they're at
least half asleep. Only the rollicking "Southbound Suarez" really
delivers the goods. (DBW)
- "All Of My Love" is fun, and "In The Evening" sports some marvelously head-banging riffs. Some of the tunes suck, but they
do deliver the goods - it's definitely a step up from
Presence. "Fool In The Rain" was the band's parting Top 40
single. (JA)
 Death Wish 2 (Page: 1982)
On the rebound from heavy drug use, Page managed to slap together
a movie soundtrack, but it's not real substantial. A lot of the
tunes are instrumentals (Chris Farlowe is the singer otherwise), and several of the melodies are lifted
from classical composers ("Prelude" is based on a Chopin theme).
The best tune here is "Sax and Violence," a ripoff of the Isley
Brothers' "It's Your Thing" - generally, this record is only for
those who really believe Page is the greatest guitarist in rock
history. (DBW)
Pictures At Eleven (Plant: 1982)
Unlike Page, Plant had no intention of walking away from a successful formula, and thanks to his determination to deliver Zep-like product his solo career was an immediate success. His debut
record hit the Top Ten like most of his later efforts, and although none of the singles broke the American Top 40, a couple tunes like "Burning Down One Side" got plenty of radio play. It's mostly due to Robbie Blunt's arpeggiated, chorusey, extraordinarily Page-like rhythm guitar (Blunt and Plant co-authored everything). Still, Plant is already appending to the Zep cookbook here with a sax solo on "Pledge Pin" (another entertaining radio staple), consistently low-key guitar leads, and a softer, more pop-flavored production style.
Page-leaning Zep fans will find it dull and imitative but harmless, whereas Plant-leaning Zep fans will be fully satisfied. Phil Collins is the drummer, although Cozy Powell appears on a couple of tracks ("Slow Dancer," where he succeeds in imitating Bonham). (JA)
Coda (1982)
- Odds and ends thrown together to make some quick money after
drummer John Bonham choked on vomit (his own). There's a live
version of "I Can't Quit You Babe" that's pretty good, a couple of
early outtakes and a Bonham solo piece ("Bonzo's Montreaux") that
are really bad. Fortunately, the record contains three songs left off
In Through The Out Door that are actually better than the songs
that made the album: the standard but effective "Ozone Baby," the
blazing "Wearing and Tearing," and "Darlene," with boogie woogie
trimmings. (DBW)
- Of the "really bad" early outtakes, two - "We're Gonna Groove"
and "Walter's Walk" - are frantic rockers with dumb riffs that are still
a heck of a lot of fun, reminding one of how devastating Zep's rhythm
section used to be back in the early days; and the third, "Poor Tom," is
a pleasant Zep III-style (and era) acoustic folk number with a
nice, shuffling Bonham beat. I even like Bonham's drum thing. There's
nothing really substantial here other than "Darlene," but without the
sprawling, over-ambitious guitar epics of so many mid-70s Zep records,
this is an accessible collection fans won't regret owning. (JA)
The Principle Of Moments (Plant: 1983)
Much like the previous Plant outing, with the same band (without Powell), except that Blunt's guitars are toned down even
more in favor of Jezz Woodroffe's synths. Consequently, the hit singles "In The Mood" and "Big Log" are quiet and more pop
than rock; "Wreckless Love" even uses a drum machine. The band only really revs up on "Horizontal Departure," with groovy
Zep-like syncopation and bass thumps. Plant is singing about god knows what, as usual, and I doubt even his biggest fans
would consider this among his finest work. (DBW)
Volume One (The Honeydrippers: 1984)
More or less a one-off stunt, with Plant crooning an EP-length set
of 50's oldies. Jimmy Page played on a couple tracks, much to the
delight of nostalgia-crazed fans who sent both the album and its
major single to the Top Ten ("Sea Of Love," with Page). A second
single featuring Jeff Beck later hit the Top 40 ("Rockin' At Midnight," recorded early on by Elvis Presley under the name "Good Rockin' Tonight"). (JA)
The Firm (The Firm: 1985)
Page came out of retirement to form a "new" four-piece metal band
with old buddy Paul Rodgers, lead singer of Bad Company - a major
70s rock act, Bad Company had been on Page's vanity Swan Song
label from the start. Rodgers isn't as talented, idiosyncratic, or
commercially savvy as Plant, and the Firm didn't last too long,
although they had a Top 40 hit here with "Radioactive." (JA)
I have this record, and really should review it someday. (DBW)
Scream For Help (Jones: 1985)
This is a movie soundtrack. Guests include Jon Anderson on two songs, and Page
on two others. (JA)
Shaken 'N' Stirred (Plant: 1985)
"Little By Little" was a hit here; "Pink And Black" was also a
single. The regular Plant band appears, although Ritchie Hayward
had taken over on drums. (JA)
Mean Business (The Firm: 1986)
The band's followup album, with no changes in the lineup. (JA)
Now And Zen (Plant: 1988)
Plant recruited a new band for this one. I'm not sure, but I bet that drummer
Chris Blackwell isn't the same as Steve Winwood's loyal co-producer.
Page showed up to solo on a couple of tracks, both of which were
released as singles: "Heaven Knows" and "Tall Cool One." (JA)
Outrider (Page: 1988)
Perhaps Page's best work since Physical Graffiti - his
playing is energetic, thoughtful, and steeped in the blues. He's
also composed a few tunes with headbanging riffs as good as his
early work ("Wasting My Time," "Wanna Make Love"), and it's
carefully arranged with atypical song structures (the instrumental
"Writes Of Winter"). The big problem here is terrible white-blues
vocals and hopelessly clichéd lyrics from Chris Farlowe and
John Miles (Plant replaces them on
"The Only One"). Most of the drumming is by Jason Bonham - there are
several bassists, all imitating Jones. If you've played your Zep
records to death, pick this up. Just try to ignore the singing.
(DBW)
Manic Nirvana (Plant: 1990)
This is maximally forgettable, super-slick, micro-managed 4/4-time heavy rock. Plant does sound exactly like Plant, complete with 50's mannerisms and lyrics that are even more smutty than usual ("Big Love"),
so Zepsters who were always wild about him will enjoy it. But there's nothing going on here that hasn't been done a thousand times before: thudding, echoey drums, crashing, blaring guitars, head-banging bass lines, vaguely ominous synth parts, incessant, groovy riffs, gimmicky song endings. It's the kind of thing you put on as background music while driving to work. Guitarist Doug Boyle is really really good, of course, but he isn't given too much room for solos (e.g., "Anniversary," where he sounds exactly like Page). The
singles here were "Hurting Kind" and "Nirvana." Same band this time, although the bass player was replaced by
Charlie Jones. No Page sitings, however. (JA)
Coverdale/Page (David Coverdale/Page: 1993)
You'd think Page would have known better after the Firm debacle
than to team up with yet another worn-out heavy metal singer and
form yet another "new" metal band - but he went ahead and did it
anyway. I had to suffer through this exactly once, and I can report
that the lyrics are abysmal - absolute tripe with a heavy cock-rock
quotient - and that the singing is little better. Coverdale, like
so many other metal singers, seems to think that imitating Robert
Plant is the whole point of the game; I'd rather have the
real Plant any day (see below). Meanwhile, Page is as facile
and clever as ever, but the generic backing band smothers his
histrionics. The singles were "Pride Of Joy" and "Take
Me For A Little While." (JA)
Fate Of Nations (Plant: 1993)
Plant's regular band is featured, but so are an awful lot of other
people, including a huge Indian string section and Tucson blues
legend Rainer Ptacek. There were a bunch of singles, including "29
Palms," "I Believe," "Calling To You," and a cover of Tim Hardin's
"If I Were A Carpenter," marvelously performed by the Small Faces a quarter-century
earlier. (JA)
No Quarter (Page/Plant: 1994)
Little more than a weird stunt, but I have to admit that I get sucked in
by the nostalgia. Most of the songs are Zep
covers, and it's telling that the major source is Led
Zepplin III - Plant really let his World Music/mysticism thing
go out of control here. The rearrangements are frequently
downright bizarre, with a Moroccan drum ensemble on some tunes
("Yallah"), dueling Western and Indian orchestras on others (title
track), and band members adding mandolin, banjo, and hurdy-gurdy
throughout. Except for the creepy, acoustic "Wonderful One," the few new tunes are fragmentary grooves with thumping drums and wild Plant vocals that go even further in the same flakey direction.
It's uneven, but adventurous in a way that neither Page
nor Plant has allowed themselves lately. Plus the performances are solid and the track selection lengthy, making it a better buy than any conceivable greatest hits record. Page and Plant
didn't even tell John Paul Jones about the reunion, so bassist Charlie Jones is a carry-over from the Plant band;
other backing musicians include a member of the Cure. The hype was
so out of control with this that the record company even set up an
annoyingly useful No Quarter web
site - not to mention that monster "Unledded" MTV special. And
no, they don't do "Stairway." (JA)
Walking Into Clarksdale (Page/Plant: 1998)
A fun new studio album that gloriously recaptures Zeppelin's early 70s sound ("House Of Love").
The lack of outside players this time helps; bassist Charlie Jones does a decent John Paul Jones, and kid drummer Michael Lee clatters away like a young Ginger Baker (the tribal metal slab "Burning Up"; the oddly timed "Sons Of Freedom," with Plant wigging out as Page gleefully shreds).
The riffs and dynamics are solid, and they still know how to write punchy, 70s-flavored, radio-friendly tunes ("Shining In The Light," with authentic-sounding mellotron; "Please Read The Letter," with some pleasant hippy harmonizing).
The only real indication that these guys are well into their 50s is the backwards-looking Baby Boomer refrain on the languid, romantic power ballad "When The World Was Young."
They mess with Tex-Mex blues and wacky guitar effects on the jittery title track, and reach back to the experimental folk-rock sound of Zep III with mock-North African percussion (by Ed Shearmur) and keyboards (by Tim Whelan) on "Most High."
Page's playing isn't quite as sharp ("Blue Train") and Plant's melodies are erratic (the aching ballad "When I Was A Child" is an exception).
And they do flail with the wildly orchestrated "Upon A Golden Horse" (arranged by Lynton Naiff) and the lifeless, creepy cowboy ballad "Heart In Your Hand."
Nothing as durable here as Zeppelin's greatest hits, but fans will just love it.
No other players; self-produced, and engineered by Steve Albini. (JA)
Zooma (Jones: 1999)
Jones' first serious solo album, not counting his soundtrack efforts. (JA)
Live At The Greek (Jimmy Page & The Black Crowes: 2000)
Like it says; a 2-CD set of Zep standards. (DBW)
The Thunderthief (Jones: 2001)
Another solo studio album.
Jones sings and plays most of the instruments, although there's a drummer and there are a few guests such as Robert Fripp.
Have this one, so I'll review it eventually. (JA)
Dreamland (Plant: 2002)
Mostly covers, including "Morning Dew"; "One More Cup Of Coffee" and "Hey Joe." (DBW)
Mighty ReArranger (Plant and the Strange Sensation: 2005)
Raising Sand (Plant/Alison Krauss: 2007)
A folk/country-rock record with Krauss, the NPR-friendly face of bluegrass (i.e. what Diana Krall is to jazz), produced by T-Bone Burnett. With that lineup, it was a given that awards would pour in, and in fact it won the Album of the Year Grammy. Tunes include "Fortune Teller," the Everly Brothers' "Gone, Gone, Gone"
and two Gene Clark numbers.
(DBW)
In 2009, Jones joined the supergroup Them Crooked Vultures.
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