The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.

For the first... [+] Read More

The story of the Allman Brothers Band is one of triumph, tragedy, redemption, dissolution, and a new redemption. Over nearly 30 years, they've gone from being America's single most influential band to a has-been group trading on past glories, to reach the 21st century as one of the most respected rock acts of their era.

For the first half of the 1970s, the Allman Brothers Band was the most influential rock group in America, redefining rock music and its boundaries. The band's mix of blues, country, jazz, and even classical influences, and their powerful, extended on-stage jamming altered the standards of concert performance -- other groups were known for their on-stage jamming, but when the Allman Brothers stretched a song out for 30 or 40 minutes, at their best they were exciting, never self-indulgent. They gave it all a distinctly Southern voice and, in the process, opened the way for a wave of '70s rock acts from south of the Mason-Dixon Line, including the Marshall Tucker Band, Lynyrd Skynyrd, and Blackfoot, whose music, at least initially, celebrated their roots. And for a time, almost single-handedly, they also made Capricorn Records into a major independent label.

The group was founded in 1969 by Duane Allman (b. Nov. 20, 1946-d. Oct. 29, 1971) on guitar; Gregg Allman (b. Dec. 8, 1947) on vocals and organ; Forrest Richard ("Dickey") Betts (b. Dec. 12, 1943) on guitar; Berry Oakley (b. Apr. 4, 1948-d. Nov. 12, 1972) on bass; and Claude Hudson ("Butch") Trucks (b. May 11, 1947) and Jaimoe (Johnny Lee Johnson) Johanson (b. July 8, 1944) on drums. Duane and Gregg Allman loved soul and R&B, although they listened to their share of rock & roll, especially as it sounded coming out of England in the mid-'60s. Their first group was a local Daytona Beach garage band called the Escorts, who sounded a lot like the early Beatles and Rolling Stones; they later became the Allman Joys and plunged into Cream-style British blues, and then the Hour Glass, a more soul-oriented outfit. The group landed a contract with Liberty Records with help from the Nitty Gritty Dirt Band, but the company wasted the opportunity on a pair of over-produced albums that failed to capture the Hour Glass' sound. The group split up after Liberty rejected a proposed third LP steeped in blues and R&B.

Duane Allman began working as a session guitarist at Fame Studios in Muscle Shoals, AL, and it was there, appearing on records by Wilson Pickett, Aretha Franklin, John Hammond, and King Curtis, among others, that he made his reputation. In 1969, at the coaxing of ex-Otis Redding manager Phil Walden, Allman gave up session work and began putting together a new band -- Jaimoe came aboard, and then Allman's longtime friend Butch Trucks and another Allman friend, Berry Oakley, joined, along with Dickey Betts, with whom Oakley was playing in a group called Second Coming. A marathon jam session ensued, at the end of which Allman had his band, except for a singer -- that came later, when his brother Gregg agreed to join. They were duly signed to Walden's new Capricorn label.

The band didn't record their first album until after they'd worked their sound out on the road, playing heavily around Florida and Georgia. The self-titled debut album was a solid blues-rock album and one of the better showcases for guitar pyrotechnics in a year with more than its share, amid albums by Cream, Blind Faith, the Jeff Beck Group, and Led Zeppelin. It didn't sell 50,000 copies on its initial release, but The Allman Brothers Band impressed everyone who heard it and nearly everyone who reviewed it. Coming out at the end of the 1960s, it could have passed for a follow-up to the kind of blues-rock coming out of England from acts like Cream, except that it had a sharper edge -- the Allmans were American and Southern, and their understanding of blues (not to mention elements of jazz, mostly courtesy of Jaimoe) was as natural as breathing. The album also introduced one of the band's most popular concert numbers, "Whipping Post."

Their debut album attracted good reviews and a cult following with its mix of assured dual lead guitars by Duane Allman and Dickey Betts, soulful singing by Gregg Allman, and a rhythm section that was nearly as busy as the lead instruments, between Oakley's rock-hard bass and the dual drumming of Trucks and Johanson. Their second album, 1970's Idlewild South, recorded at Capricorn's studios in Macon, GA, was produced by Tom Dowd, who had previously recorded Cream. This was a magical combination -- Dowd was completely attuned to the group's sound and goals, and Idlewild South broadened that sound, adding a softer acoustic texture to their music and introducing Betts as a composer (including the original studio version of "In Memory of Elizabeth Reed," an instrumental tribute to Miles Davis that would become a highlight of their shows, in many different forms, for the next 30 years). It also had a Gregg Allman number, "Midnight Rider," which became one of the band's more widely covered originals and the composer's signature tune.

By this time, the band's concerts were becoming legendary for the extraordinarily complex yet coherent interplay between the two guitarists and Gregg Allman's keyboards, sometimes in jams of 40 minutes or more to a single song without wasting a note. And unlike the art rock bands of the era, they weren't interested in impressing anyone with how they played scales, how many different tunings they knew, or which classical riffs they could quote. Rather, the Allmans incorporated the techniques and structures of jazz and classical into their playing. In March of 1971, the band played a series of shows at the Fillmore East that were recorded for posterity and subsequently transformed into their third album, At Fillmore East. This double LP, issued in July of 1971, became an instant classic, rivaling the previous blues-rock touchstone cut at the Fillmore, Cream's Wheels of Fire. Duane Allman and his band were suddenly the new heroes to millions of mostly older teenage fans. Although it never cracked the Top Ten, At Fillmore East was certified as a gold record on October 15, 1971.

Duane Allman was killed in a motorcycle accident 14 days later. The band had been midway through work on its next album, Eat a Peach, which they completed as a five-piece, with Dickey Betts playing all of the lead and slide guitar parts. Their second double album in a row became another instant classic, and their first album to reach the Top Ten, peaking at number five.

Despite having completed Eat a Peach, the group was intact in name only. Rather than try to replace Duane Allman as a guitarist, they contrived to add a second solo instrument in the form of a piano, played by Chuck Leavell. The group had already begun work on a long-delayed follow-up to Eat a Peach, when Oakley was killed in a motorcycle accident only a few blocks from Allman's accident site.

Lamar Williams (b. Jan. 15, 1949-d. Jan. 25, 1983) was recruited on bass, and the new lineup continued the group's concert activities, as well as eventually finishing the band's next album, Brothers and Sisters. which was released on August 1, 1973. During the extended gap in releases following Eat a Peach, Atco reissued The Allman Brothers Band and Idlewild South together as the double LP Beginnings, which charted higher than either individual release.

Brothers and Sisters marked the beginning of a new era. The album had a more easygoing and freewheeling sound, less bluesy and more country-ish. This was partly a result of Capricorn losing the services of Tom Dowd, who had produced their three previous albums. Additionally, Dickey Betts' full emergence as a songwriter and singer as well as the group's only guitarist, playing all of the lead and slide parts, altered the balance of the group's sound, pushing forth his distinct interest in country-rock. Betts also became the reluctant de facto leader of the band during this period, not from a desire for control as much as because he was the only one with the comparative stability and creative input to take on the responsibility.

The record occupied the number one spot for six weeks, spurred by the number two single "Ramblin' Man," and became their most well-known album. It was an odd reversal of the usual order of success for a rock band -- usually, it was the release of an album that drew the crowds to concerts, but in this case, the months of touring the band had done paved the way for the album. The fact that it kept getting pushed back only heightened the fans' interest.

Ironically, Brothers and Sisters was a less challenging record than the group's earlier releases, with a relatively laid-back sound, relaxed compared to the groundbreaking work on the group's previous four albums. But all of this hardly mattered; based on the reputation they'd established with their first four albums, and the crowd-pleasing nature of "Ramblin' Man" and the Dickey Betts-composed instrumental "Jessica," the group was playing larger halls and bigger crowds than ever.

An entire range of Southern rock acts had started to make serious inroads into the charts in the wake of the Allman Brothers. Labels such as MCA and even Island Records began looking for this same audience, signing acts like Lynyrd Skynyrd and Blackfoot, respectively, among others. For the first time since the mid-'50s, the heyday of the rockabilly era, a major part of the country was listening to rock & roll with a distinctly Southern twang.

The band began showing cracks in 1974, as Gregg Allman and Dickey Betts both began solo careers, recording albums separately from the group. Allman married Cher (twice), an event that set him up in a Hollywood-based lifestyle that created a schism with the rest of the band. They might have survived all of this, but for the increasing strain of the members' other personal habits -- drugs and alcohol had always been a significant part of the lives of each of the members, except perhaps for Jaimoe, but as the strain and exhaustion of touring continued, coupled with the need to produce new music, these indulgences began to get out of control, and Betts' leadership of the group created a further strain for him.

The band's difficulties were showcased by their next album, the highly uneven Win, Lose or Draw, which lacked the intensity and sharpness of their prior work. The whole band wasn't present for some of the album, and Gregg Allman's involvement with Cher, coupled with his serious drug problems, prevented him from participating with the rest of the group -- his vocals were added separately, on the other side of the country.

The band finally came apart in 1976 when Allman found himself in the midst of a federal drug case against a supplier and agreed to testify against a friend and band employee. Leavell, Johanson, and Williams split to form Sea Level, which became a moderately successful band, cutting four albums for Capricorn over the next four years, while Betts pursued a solo career. All of them vowed never to work with Gregg Allman again.

Amid this split, Capricorn Records, reaching ever deeper into its vaults for anything that could generate income, issued two collections, a double-LP live collection called Wipe the Windows, Check the Oil, Dollar Gas, showcasing the Brothers and Sisters-era band at various concerts, and a double-LP best-of package, And the Road Goes On Forever. Wipe the Windows was a modest seller, appearing as it did when the group's sales had already fallen off, and it was compared unfavorably with the legendary work on At Fillmore East. The studio compilation passed with barely a ripple, however, because most fans already had the stuff on the original albums.

They were all back together by 1978, however, and over the next four years the group issued a somewhat uneven series of albums. Enlightened Rogues (1979) somewhat redeemed their reputations -- produced by Tom Dowd, who had always managed to get the very best work out of the group, it had more energy than any record they'd issued in at least six years. It also restored the two-guitar lineup, courtesy of Dan Toler (from Dickey Betts' solo band), who was brought in when Chuck Leavell (along with Lamar Williams) refused to return to the Allmans. By that time, however, the Allmans were fighting against time and musical trends. Disco, punk, and power pop had pretty much stolen a march on the arena acts epitomized by the Allmans; whatever interest they attracted was a matter of nostalgia for their earlier releases. The group was in danger of becoming arena rock's third big oldies act (after the Moody Blues and Paul McCartney's Wings).

Additionally, their business affairs were in a shambles, owing to the bankruptcy of Capricorn Records in late 1979. When the fallout from the Capricorn collapse settled, PolyGram Records, the company's biggest creditor, took over the label's library, and the Allman Brothers were cut loose from their contract.

Their signing to Arista enabled the group to resume recording. What they released, however, was safe, unambitious, routinely commercial pop/rock, closer in spirit to the Doobie Brothers than their own classic work, and a shadow of that work, without any of the invention and daring upon which they'd built their reputations. The group's fortunes hit a further downturn when Jaimoe was fired, breaking up one of the best rhythm sections in rock. For most of the 1980s, the group was on hiatus, while the individual members sorted out their personal and professional situations. During those years, only Dickey Betts seemed to be in a position to do much with his music, and most of that wasn't selling.

In 1989, the band was reactivated again, partly owing to PolyGram's decision to issue the four-CD box set retrospective Dreams. That set, coupled with the reissue of their entire Capricorn catalog on compact disc in the years leading up to the box's release, reminded millions of older listeners of the band's greatness, and introduced the group to millions of people too young to have been around for Watkins Glen, much less the Fillmore shows.

They reunited and also restored the band's original double-lead-guitar configuration, adding Warren Haynes on lead guitar alongside Dickey Betts, with Allen Woody playing bass; Chuck Leavell was gone, however, having agreed to join the Rolling Stones on tour as their resident keyboard player, and Lamar Williams had succumbed to cancer in 1983.

The new lineup reinvigorated the band, which signed with Epic Records and surprised everyone with their first release, Seven Turns. Issued in 1990, it got some of the best reviews and healthiest sales they'd had in more than a decade. Their subsequent studio albums failed to attract as much enthusiasm, and their two live albums, An Evening With the Allman Brothers Band and 2nd Set, released in 1992 and 1995, respectively, were steady but not massive sellers. Much of this isn't the fault of the material so much as a natural result of the passage of time, which has left the Allmans competing with two decades' worth of successors and rivals.

The group has stayed together since 1989, overcoming continuing health and drug problems, which have occasionally battered their efforts at new music. They remain a top concert attraction 25-plus years after their last historically important album, easily drawing more than 20,000 fans at a time to outdoor venues, or booking 2,000-seat theaters for three weeks at a time. Their back catalog, especially the first five albums, remain consistent sellers on compact disc and recently returned to the reconstituted Capricorn label (still a home for Southern rockers, including the latter-day Lynyrd Skynyrd, as well as reissues of Elmore James and other classic bluesmen), under a 1997 licensing agreement that has resulted in their third round of digital remastering.

Apart from their Arista releases, the Allman Brothers Band has remained remarkably consistent, altering their music only gradually over 30 years. They sound more country than they did in their early days, and they're a bit more varied in the vocal department, but they have still been soaring at their concerts and on most of their records over the last ten-plus years. ~ Bruce Eder, All Music Guide [-] Hide

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their... [+] Read More

Lynyrd Skynyrd was the definitive Southern rock band, fusing the overdriven power of blues-rock with a rebellious Southern image and a hard rock swagger. Skynyrd never relied on the jazzy improvisations of the Allman Brothers. Instead, they were a hard-living, hard-driving rock & roll band -- they may have jammed endlessly on-stage, but their music remained firmly entrenched in blues, rock, and country. For many, Lynyrd Skynyrd's redneck image tended to obscure the songwriting skills of their leader, Ronnie Van Zant. Throughout the band's early records, Van Zant demonstrated a knack for lyrical detail and a down-to-earth honesty that had more in common with country than rock & roll. During the height of Skynyrd's popularity in the mid-'70s, however, Van Zant's talents were overshadowed by the group's gritty, greasy blues-rock. Sadly, it wasn't until he was killed in a tragic plane crash in 1977 along with two other bandmembers that many listeners began to realize his talents. Skynyrd split up after the plane crash, but they reunited a decade later, becoming a popular concert act during the early '90s.

While in high school in Jacksonville, FL, Ronnie Van Zant (vocals), Allen Collins (guitar), and Gary Rossington (guitar) formed My Backyard. Within a few months, the group added bassist Leon Wilkeson and keyboardist Billy Powell, and changed their name to Lynyrd Skynyrd, a mocking tribute to their gym teacher Leonard Skinner, who was notorious for punishing students with long hair. With drummer Bob Burns, Lynyrd Skynyrd began playing throughout the South. For the first few years, the group had little success, but producer Al Kooper signed the band to MCA after seeing them play at an Atlanta club called Funocchio's in 1972. Kooper produced the group's 1973 debut, Pronounced Leh-Nerd Skin-Nerd, which was recorded after former Strawberry Alarm Clock guitarist Ed King joined the band. The group became notorious for their triple-guitar attack, which was showcased on "Free Bird," a tribute to the recently deceased Duane Allman. "Free Bird" earned Lynyrd Skynyrd their first national exposure and it became one of the staples of album rock radio, still receiving airplay decades after its release.

"Free Bird" and an opening slot on the Who's 1973 Quadrophenia tour gave Lynyrd Skynyrd a devoted following, which helped their second album, 1974's Second Helping, become its breakthrough hit. Featuring the hit single "Sweet Home Alabama" -- a response to Neil Young's "Southern Man" -- Second Helping reached number 12 and went multi-platinum. At the end of the year, Artimus Pyle replaced drummer Burns and King left the band shortly afterward. The new sextet released Nuthin' Fancy in 1975, and it became the band's first Top Ten hit. The record was followed by the Tom Dowd-produced Gimme Back My Bullets in 1976, which failed to match the success of its two predecessors. However, the band retained their following through constant touring, which was documented on the double live album One More from the Road. Released in late 1976, the album featured the band's new guitarist, Steve Gaines, and a trio of female backup singers, and it became Skynyrd's second Top Ten album.

Lynyrd Skynyrd released their sixth album, Street Survivors, on October 17, 1977. Three days later, a privately chartered plane carrying the band between shows in Greenville, SC, and Baton Rouge, LA, crashed outside of Gillsburg, MS. Ronnie Van Zant, Steve Gaines, and his sister Cassie, one of the group's backing vocalists, died in the crash; the remaining members were injured. (The cause of the crash was either fuel shortage or a fault with the plane's mechanics.) The cover for Street Survivors had pictured the band surrounded in flames; after the crash, the cover was changed. In the wake of the tragedy, the album became one of the band's biggest hits. Lynyrd Skynyrd broke up after the crash, releasing a collection of early demos called Skynyrd's First and...Last in 1978; it had been scheduled for release before the crash. The double-album compilation Gold & Platinum was released in 1980.

Later in 1980, Rossington and Collins formed a new band that featured four surviving members. Two years later, Pyle formed the Artimus Pyle Band. Collins suffered a car crash in 1986 that killed his girlfriend and left him paralyzed; four years later, he died of respiratory failure. In 1987, Rossington, Powell, King, and Wilkeson reunited Lynyrd Skynyrd, adding vocalist Johnny Van Zant and guitarist Randall Hall. The band embarked on a reunion tour, which was captured on the 1988 double live album Southern by the Grace of God/Lynyrd Skynyrd Tribute Tour -- 1987. The re-formed Skynyrd began recording in 1991, and for the remainder of the decade, the band toured frequently, putting out albums occasionally. The reunited Skynyrd frequently switched drummers, but it had little effect on their sound.

During the '90s, Lynyrd Skynyrd were made honorary colonels in the Alabama State Militia, due to their classic rock staple "Sweet Home Alabama." During the mid-'90s, Van Zant, Rossington, Wilkeson, and Powell regrouped by adding two Southern rock veterans to Skynyrd's guitar stable: former Blackfoot frontman Rickey Medlocke and ex-Outlaw Hughie Thomasson. With ex-Damn Yankee Michael Cartellone bringing stability to the drum chair, the reconstituted band signed to CMC International for the 1997 album Twenty. This lineup went on to release Lyve from Steeltown in 1998, followed a year later by Edge of Forever. The seasonal effort Christmas Time Again was released in fall 2000. Although Wilkeson died one year later, Lynyrd Skynyrd regrouped and recorded Vicious Cycle for a 2003 release. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

With a string of three multi-platinum albums, Loverboy was one of the most successful mainstream hard rock groups of the early '80s. Comprised of vocalist Mike Reno, guitarist Paul Dean, bassist Scott Smith, keyboardist Doug Johnson, and drummer Matthew Frenette, the band formed in Toronto, Canada, in 1980 and immediately signed with CBS... [+] Read More

With a string of three multi-platinum albums, Loverboy was one of the most successful mainstream hard rock groups of the early '80s. Comprised of vocalist Mike Reno, guitarist Paul Dean, bassist Scott Smith, keyboardist Doug Johnson, and drummer Matthew Frenette, the band formed in Toronto, Canada, in 1980 and immediately signed with CBS Records. Later that year, their Bruce Fairbairn produced debut album appeared. Featuring the slick, hard-rocking singles "Turn Me Loose" and "The Kid Is Hot Tonite," the album went platinum in both Canada and America.

Loverboy recorded the follow-up, Get Lucky, in 1981. Driven by the anthemic "Working for the Weekend," the Fairbairn-produced record was a major success in the U.S. and Canada, yet it failed to gain an audience anywhere in Europe. Nevertheless, the band was a staple on AOR stations across North America, as well as a popular concert attraction. The band's good fortunes continued with the 1983 album Keep It Up. Again, Loverboy worked with Fairbairn, who kept their melodic yet tough sound intact; the album featured the hit single "Hot Girls In Love."

Loverboy's fortunes began to slip with 1985's Lovin' Every Minute of It, which was produced by Tom Allom (Judas Priest). Allom gave the band a harder edge, which didn't prove as commercially successful as their past records; nevertheless, the band's fans managed to make the album go platinum. Fairbairn returned from working with Bon Jovi to produce 1987's Wildside, yet the combination didn't prove as potent as before. After an extensive two-year tour, the band returned to Canada. In 1989, their greatest-hits record, Big Ones, was released. The same year Reno and Dean announced plans to make solo records, which effectively put an end to the group; a reunited lineup returned in 1998 with Live, Loud and Loose. Tragedy struck in November, 2000, when Scott Smith was swept overboard by a wave while on a boat near the California coast and he drowned. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Led Zeppelin was the definitive heavy metal band. It wasn't just their crushingly loud interpretation of the blues -- it was how they incorporated mythology, mysticism, and a variety of other genres (most notably world music and British folk) -- into their sound. Led Zeppelin had mystique. They rarely gave interviews, since the music press... [+] Read More

Led Zeppelin was the definitive heavy metal band. It wasn't just their crushingly loud interpretation of the blues -- it was how they incorporated mythology, mysticism, and a variety of other genres (most notably world music and British folk) -- into their sound. Led Zeppelin had mystique. They rarely gave interviews, since the music press detested the band. Consequently, the only connection the audience had with the band was through the records and the concerts. More than any other band, Led Zeppelin established the concept of album-oriented rock, refusing to release popular songs from their albums as singles. In doing so, they established the dominant format for heavy metal, as well as the genre's actual sound.


Led Zeppelin formed out of the ashes of the Yardbirds. Jimmy Page had joined the band in its final days, playing a pivotal role on their final album, 1967's Little Games, which also featured string arrangements from John Paul Jones. During 1967, the Yardbirds were fairly inactive. While the Yardbirds decided their future, Page returned to session work in 1967. In the spring of 1968, he played on Jones' arrangement of Donovan's "Hurdy Gurdy Man." During the sessions, Jones requested to be part of any future project Page would develop. Page would have to assemble a band sooner than he had planned. In the summer of 1968, the Yardbirds' Keith Relf and James McCarty left the band, leaving Page and bassist Chris Dreja with the rights to the name, as well as the obligation of fulfilling an upcoming fall tour. Page set out to find a replacement vocalist and drummer. Initially, he wanted to enlist singer Terry Reid and Procol Harum's drummer B.J. Wilson, but neither musician was able to join the group. Reid suggested that Page contact Robert Plant, who was singing with a band called Hobbstweedle.


After hearing him sing, Page asked Plant to join the band in August of 1968, the same month Chris Dreja dropped out of the new project. Following Dreja's departure, John Paul Jones joined the group as its bassist. Plant recommended that Page hire John Bonham, the drummer for Plant's old band, the Band of Joy. Bonham had to be persuaded to join the group, as he was being courted by other artists who offered the drummer considerably more money. By September, Bonham agreed to join the band. Performing under the name the New Yardbirds, the band fulfilled the Yardbirds' previously booked engagements in late September 1968. The following month, they recorded their debut album in just under 30 hours. Also in October, the group switched its name to Led Zeppelin. The band secured a contract with Atlantic Records in the United States before the end of the year. Early in 1969, Led Zeppelin set out on their first American tour, which helped set the stage for the January release of their eponymous debut album. Two months after its release, Led Zeppelin had climbed into the U.S. Top Ten. Throughout 1969, the band toured relentlessly, playing dates in America and England. While they were on the road, they recorded their second album, Led Zeppelin II, which was released in October of 1969. Like its predecessor, Led Zeppelin II was an immediate hit, topping the American charts two months after its release and spending seven weeks at number one. The album helped establish Led Zeppelin as an international concert attraction, and for the next year, the group continued to tour relentlessly. Led Zeppelin's sound began to deepen with Led Zeppelin III. Released in October of 1970, the album featured an overt British folk influence. The group's infatuation with folk and mythology would reach a fruition on the group's untitled fourth album, which was released in November of 1971. Led Zeppelin IV was the band's most musically diverse effort to date, featuring everything from the crunching rock of "Black Dog" to the folk of "The Battle of Evermore," as well as "Stairway to Heaven," which found the bridge between the two genres. "Stairway to Heaven" was an immediate radio hit, eventually becoming the most played song in the history of album-oriented radio; the song was never released as a single. Despite the fact that the album never reached number one in America, Led Zeppelin IV was their biggest album ever, selling well over 16 million copies over the next two and a half decades.


Led Zeppelin did tour to support both Led Zeppelin III and Led Zeppelin IV, but they played fewer shows than they did on their previous tours. Instead, they concentrated on only playing larger venues. After completing their 1972 tour, the band retreated from the spotlight and recorded their fifth album. Released in the spring of 1973, Houses of the Holy continued the band's musical experimentation, featuring touches of funk and reggae among their trademark rock and folk. The success of Houses of the Holy set the stage for a record-breaking American tour. Throughout their 1973 tour, Led Zeppelin broke box-office records -- most of which were previously held by the Beatles -- across America. The group's concert at Madison Square Garden in July was filmed for use in the feature film The Song Remains the Same, which was released three years later. After their 1973 tour, Led Zeppelin spent a quiet year during 1974, releasing no new material and performing no concerts. They did, however, establish their own record label, Swan Song, which released all of Led Zeppelin's subsequent albums, as well as records by Dave Edmunds, Bad Company, the Pretty Things, and several others. Physical Graffiti, a double album released in February of 1975, was the band's first release on Swan Song. The album was an immediate success, topping the charts in both America and England. Led Zeppelin launched a large American tour in 1975, but it came to a halt when Robert Plant and his wife suffered a serious car crash while vacationing in Greece. The tour was canceled and Plant spent the rest of the year recuperating from the accident.


Led Zeppelin returned to action in the spring of 1976 with Presence. Although the album debuted at number one in both America and England, the reviews for the album were lukewarm, as was the reception to the live concert film The Song Remains the Same, which appeared in the fall of 1976. The band finally returned to tour America in the Spring of 1977. A couple of months into the tour, Plant's six-year-old son Karac died of a stomach infection. Led Zeppelin immediately canceled the tour and offered no word whether or not it would be rescheduled, causing widespread speculation about the band's future. For a while, it did appear that Led Zeppelin was finished. Robert Plant spent the latter half of 1977 and the better part of 1978 in seclusion. The group didn't begin work on a new album until late in the summer of 1978, when they began recording at ABBA's Polar studios in Sweden. A year later, the band played a short European tour, performing in Switzerland, Germany, Holland, Belgium, and Austria. In August of 1979, Led Zeppelin played two large concerts at Knebworth; the shows would be their last English performances.


In Through the Out Door, the band's much-delayed eighth studio album, was finally released in September of 1979. The album entered the charts at number one in both America and England. In May of 1980, Led Zeppelin embarked on their final European tour. In September, Led Zeppelin began rehearsing at Jimmy Page's house in preparation for an American tour. On September 25, John Bonham was found dead in his bed -- following an all-day drinking binge, he had passed out and choked on his own vomit. In December of 1980, Led Zeppelin announced they were disbanding, since they could not continue without Bonham.


Following the breakup, the remaining members all began solo careers. John Paul Jones returned to producing and arranging, finally releasing his solo debut, Zooma, in 1999. After recording the soundtrack for Death Wish II, Jimmy Page compiled the Zeppelin outtakes collection Coda, which was released at the end of 1982. That same year, Robert Plant began a solo career with the Pictures at Eleven album. In 1984, Plant and Page briefly reunited in the all-star oldies band the Honeydrippers. After recording one EP with the Honeydrippers, Plant returned to his solo career and Page formed the Firm with former Bad Company singer Paul Rogers. In 1985, Led Zeppelin reunited to play Live Aid, sparking off a flurry of reunion rumors; the reunion never materialized. In 1988, the band re-formed to play Atlantic's 25th anniversary concert. During 1989, Page remastered the band's catalog for release on the 1990 box set Led Zeppelin. The four-disc set became the biggest-selling multi-disc box set of all time, which was followed up three years later by another box set, the mammoth ten-disc set The Complete Studio Recordings.


In 1994, Page and Plant reunited to record a segment for MTV Unplugged, which was released as No Quarter in the fall of 1994. Although the album went platinum, the sales were disappointing considering the anticipation of a Zeppelin reunion. The following year, Page and Plant embarked on a successful international tour, which eventually led to an all-new studio recording in 1998, the Steve Albini-produced Walking Into Clarksdale. Surprisingly, the album was met with a cool reception by the record-buying public, as Page and Plant ended their union shortly thereafter, once again going their separate ways (Page would go on to tour with the Black Crowes, while Plant would resume his solo career). Further Zeppelin compilation releases saw the light of day in the late-'90s, including 1997's stellar double-disc BBC Sessions, plus Zep's first true best-of collections -- 1999's Early Days: The Best Of, Vol. 1 and 2000's Latter Days: The Best Of, Vol. 2. ~ Stephen Thomas Erlewine, All Music Guide

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Marvin Lee Aday was a singer and occasional actor who, for reasons never definitively answered, recorded under the name Meat Loaf. In all likelihood a childhood nickname, the tag stuck, and many puns followed as the performer -- who tipped the scales at well over 300 pounds -- became one of the biggest chart acts of the 1970s before enjoying a... [+] Read More

Marvin Lee Aday was a singer and occasional actor who, for reasons never definitively answered, recorded under the name Meat Loaf. In all likelihood a childhood nickname, the tag stuck, and many puns followed as the performer -- who tipped the scales at well over 300 pounds -- became one of the biggest chart acts of the 1970s before enjoying a commercial renaissance two decades later.

Meat Loaf was born in Dallas, Texas. The product of a family of gospel singers, he moved to Los Angeles in 1967 and formed a group known as both Meat Loaf Soul and Popcorn Blizzard. The band earned some renown through opening gigs in support of the Who, the Stooges, and Ted Nugent before Meat Loaf won a role in a West Coast production of the musical Hair. During a tour stop in Detroit, he and a fellow castmate named Stoney teamed to record the 1971 LP Stoney & Meat Loaf for Motown's Rare Earth imprint.

After a tenure in the off-Broadway production Rainbow (In New York), Meat Loaf earned a slot in More Than You Deserve, a musical written by classically trained pianist Jim Steinman. An appearance in the cult film The Rocky Horror Picture Show followed, and in 1976 Meat Loaf also handled vocal duties on one side of Nugent's LP Free-for-All. Soon, Meat Loaf re-teamed with Steinman for a tour with the National Lampoon Road Show, after which Steinman began composing a musical update of the Peter Pan story titled Never Land.

Ultimately, much of what Steinman composed for Never Land became absorbed into 1977's Bat Out of Hell, the album which made Meat Loaf a star. Produced by Todd Rundgren, the record was pure melodrama, a teen rock opera which spawned three Top 40 singles -- "Two Out of Three Ain't Bad," "Paradise by the Dashboard Light," and "You Took the Words Right Out of My Mouth" -- on its way to becoming one of the best-selling albums of the decade.

A sequel was planned, but in 1981 Steinman issued his own solo debut, Bad for Good. After Meat Loaf released his own follow-up, Dead Ringer, rumors began flying, and it was reported that Loaf had been unable to record the songs which comprised the Steinman album due to physical and emotional problems. Eventually, Steinman filed suit against Meat Loaf and his label, Epic, and none of his songs appeared on the 1983 Meat Loaf effort Midnight at the Lost and Found. After subsequent records like 1984's Bad Attitude and 1986's Blind Before I Stop bombed, the singer declared bankruptcy and began physical and psychological rehabilitation to restore his road-ravaged voice.

After several years in relative obscurity, Meat Loaf and Jim Steinman reunited in 1993 for Bat Out of Hell II: Back Into Hell, which continued the original's storyline and duplicated its thunderous sound. The follow-up proved almost as successful than the first Bat Out of Hell, selling over five million copies and yielding a massive hit single with "I'd Do Anything for Love (But I Won't Do That)." Without Steinman, he returned in 1995 with Welcome to the Neighborhood. The career-long concert compilation Live Around the World followed one year later, but Meatloaf released no more new material until well into the 2000s. Finally he recorded Couldn't Have Said It Better, which was released on Sanctuary in 2003. ~ Jason Ankeny, All Music Guide [-] Hide

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's... [+] Read More

Flashback: Best of .38 Special is a terrific compilation of the Southern rock group's biggest hits, including "Caught Up in You," "If I'd Been the One," "Back Where You Belong," "Wild-Eyed Southern Boys," and the non-LP soundtrack contribution "Teacher Teacher." Since Flashback was released in 1987, it doesn't contain their biggest hit, 1989's syrupy ballad "Second Chance," but it remains a comprehensive overview of their best moments, and makes a convincing case that they were the last great Southern rock singles band. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

On Thin Lizzy's third album with new guitarists Scott Gorham and Brian Robertson, Jailbreak, the band perfected their hard-rocking, storytelling, guitar-laden style and were rewarded with worldwide breakthrough success. It also marked the first album where the band finally realized they were a true hard rock band, and put a stop to the soft rock... [+] Read More

On Thin Lizzy's third album with new guitarists Scott Gorham and Brian Robertson, Jailbreak, the band perfected their hard-rocking, storytelling, guitar-laden style and were rewarded with worldwide breakthrough success. It also marked the first album where the band finally realized they were a true hard rock band, and put a stop to the soft rock that plagued such albums as 1974's Night Life. Although vocalist/bassist Phil Lynott was unfairly criticized as being a Bruce Springsteen soundalike at the time, it was on Jailbreak that he came into his own, perfecting his storytelling lyric-writing and becoming a true poet in the process. Songwise, the album was also Lizzy's first really consistent album; there is simply not a single weak track in the bunch. The hard-rocking war tales of "Emerald" and "Warriors," the killer boogie of "Angel of the Coast," the country rocker "Cowboy Song," and a pair of rock's greatest anthems, the title track and the perennial radio favorite "The Boys Are Back in Town," are among Lizzy's best tracks ever. Add to it such strong album cuts as the Dire Straits-esque ballad "Fight or Fall" plus the heartbroken tales "Running Back" and "Romeo and the Lonely Girl," and you have one of the finest hard rock albums of all time. ~ Greg Prato, All Music Guide [-] Hide

This is a fairly good sampler of this band's bigger radio tracks as well as key album numbers. Included are "Bloody Well Right," "Ain't Nobody but Me, " "The Logical Song, " "Give a Little Bit, " "It's Raining Again, " "Goodbye Stranger, " "Take the Long Way Home, "and "Dreamer." Unfortunately, "Even in the Quietest Moments" is curiously...

This is a fairly good sampler of this band's bigger radio tracks as well as key album numbers. Included are "Bloody Well Right," "Ain't Nobody but Me, " "The Logical Song, " "Give a Little Bit, " "It's Raining Again, " "Goodbye Stranger, " "Take the Long Way Home, "and "Dreamer." Unfortunately, "Even in the Quietest Moments" is curiously omitted. ~ All Music Guide, All Music Guide [-] Hide

Toto's compilation is to be recommended in that it contains all four of the group's Top Ten hit singles -- "Hold the Line," "Rosanna," "Africa," and "I Won't Hold You Back." It also contains four more of Toto's 14 pop chart singles -- "Georgy Porgy," "99," "I'll Be Over You," and "Pamela." But that means it leaves out six chart entries,... [+] Read More

Toto's compilation is to be recommended in that it contains all four of the group's Top Ten hit singles -- "Hold the Line," "Rosanna," "Africa," and "I Won't Hold You Back." It also contains four more of Toto's 14 pop chart singles -- "Georgy Porgy," "99," "I'll Be Over You," and "Pamela." But that means it leaves out six chart entries, including the Top 40 hits "Make Believe," "Stranger in Town," and "Without Your Love." In their place are an album track from the most recent album, The Seventh One, and four newly recorded songs co-written and sung by the group's fourth lead vocalist, Jean-Michel Byron, who is more soulful than his predecessors, but no more memorable. As such, this is not the ideal Toto best-of and earns its "pick" designation over Toto IV only by virtue of its inclusion of the group's first hit, "Hold the Line." ~ William Ruhlmann, All Music Guide [-] Hide

It's easy to say that Rhino's Jukebox Heroes: The Foreigner Anthology is the definitive Foreigner retrospective, simply because there's so much music here: 39 tracks over the course of two discs, including all the hits, the bulk of notable album tracks, solo cuts from Lou Gramm and Mick Jones, plus two tracks from Jones-era Spooky Tooth.... [+] Read More

It's easy to say that Rhino's Jukebox Heroes: The Foreigner Anthology is the definitive Foreigner retrospective, simply because there's so much music here: 39 tracks over the course of two discs, including all the hits, the bulk of notable album tracks, solo cuts from Lou Gramm and Mick Jones, plus two tracks from Jones-era Spooky Tooth. Clearly, that does amount to a clearly comprehensive collection, but the question is, is this a clear-cut choice for most fans? Well, it all depends on a listener's needs. This will be too much Foreigner if you're just looking for nothing but hits, especially since the classic era (roughly defined as pre-Agent Provocateur) stops at the end of the first disc. But, anyone that truly enjoys Foreigner's big, glossy arena rock will find that this doesn't test their patience, even if it runs out of steam toward the end of the collection. Anthology keeps interest because of canny selection and sequencing. The addition of Gramm and Jones songs on the second disc works wonders, since it not only strengthens its value for consumers -- it's terrific to be able to have all Foreigner and Foreigner-related songs in one place, especially since Gramm's peerless "Midnight Blue" is not just the best thing here, it's the last great single of the album-rock era -- it accelerates the pace and keeps things interesting just as the band's output gets a little patchy. So, Anthology winds up more consistently entertaining than skeptics could have imagined. It still may not convert those skeptics, but it will prove to the listener with the curiosity to delve deeper than the hits that it's worth doing so. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide