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Robert Plant and the Strange Sensation
Released: Oct 24, 2006
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Box Set - CD/DVD BOX SET
Released: Sep 12, 2006
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Shine It All Around - UK CD #2
Released: Jul 5, 2005
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Shine It All Around - UK CD #1
Released: Jul 5, 2005
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Mighty Rearranger
Released: May 10, 2005
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On {^Mighty Rearranger}, the core of the band {$Robert Plant} showcased on 2002's {^Dreamland} -- and named {$the Strange Sensation} -- is a full-blown expanded lineup that shares the bill with... Continue[+]

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On {^Mighty Rearranger}, the core of the band {$Robert Plant} showcased on 2002's {^Dreamland} -- and named {$the Strange Sensation} -- is a full-blown expanded lineup that shares the bill with him. Guitarists {$Justin Adams} and {$Skin Tyson}, drummer {$Clive Deamer}, keyboardist {$John Baggot}, and bassist {$Billy Fuller} help {$Plant} give listeners his most musically satisfying and diverse recording since, well, {$Led Zeppelin}'s {^Physical Grafitti}. The reference is not a mere platitude to {$Plant}'s pedigree. The songs, production, and sequencing of the album overtly incorporates those sounds as well as those of Eastern {\modalism}, Malian {\folk}, {\guitar rock}, {\R&B}, and others, for inspiration -- and why shouldn't they? {^Mighty Rearranger} opens with {&"Another Tribe,"} a sociopolitical {\ballad} that touches upon the textural string backdrops from {$Zep}'s {&"Kashmir"} and is fueled by Moroccan bendir drums. {$Adams}' guitar shifts it over to {\rock} in the middle, but never crowds the crystalline lilting vocal. The single, {&"Shine It All Around,"} sports {$Deamer}'s crunch and crack drums, while {$Adams}' canny emulation of {$Jimmy Page}'s Les Paul toneography fills {$Plant}'s sung and moaned lines with ferocity. But it is {&"Freedom Fries,"} with its startling percussive syncopation and juxtaposition of roots {\rockabilly} {\blues} and {\hard rock} -- � la {&"Black Dog"} -- that breaks the record wide open and shatters the sensual tension with pure Dionysian RAWK swagger. On {&"Tin Pan Valley,"} {$Baggot}'s whispering keyboard lines under {$Plant}'s nocturnal moan set a mood -- slippery, sexy, undulating -- before {$Deamer} cracks through with cymbal and snare work that not only emulates {$John Bonham}, but evokes his power, unfurling the {$Zep} talons deeper into the core of the album. The beautiful balladry of {&"All the King's Horses"} offers solid proof of {$Plant}'s ability to  reference the English folk tradition with elegance and taste, and his continued acumen for fine lyric writing. The acoustic guitars purposely kiss the same space that {$Page} did on {&"Over the Hills and Far Away"} and {&"Goin' to California,"} but are balanced by {$Adams}' pastoral electric {\country} fills. But here's the important part: the Zeppelin spirit that is seemingly ever present here takes nothing away from the startling imagination and creativity on {^Mighty Rearranger} -- it actually serves, rather than houses, the songs it adorns. And it's the songs, like the sultry slow stroll of {&"The Enchanter"} and the North African-flavored rocker {&"Takamba,"} that matter. {$Plant} and {$Strange Sensation} have painstakingly and energetically crafted an album that takes his full history into account, yet offers something living, breathing, and actually new. This is big {\rock} music making an appearance on the scene agian. It's music that is full of itself, sneers at the competition, and pushes forward by acknowledging the full breadth of the music's tarted-up history. The dramatic {&"Let the Four Winds Blow"} touches everything from early {\rock & roll} to droning {\Delta blues} to biker {\soundtrack} music in a dramatic and utterly serious song. The title track uses the Malian guitar plank and turns it back on itself, pointing its gaze toward {$John Lee Hooker}, {$Skip James}, and the {\piano blues} of {$Otis Spann}. The album closes with {$Baggot}'s barroom {\blues} piano that propels {$Plant} to pay a brief barrelhouse tribute to {$Ray Charles} on {&"Brother Ray."} {^Mighty Rearranger} is a literate, ambitious, and sublimely vulgar exercise in how to make a mature yet utterly unfettered {\rock & roll} album that takes chances, not prisoners, and apologizes for nothing. ~ Thom Jurek, All Music Guide

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Last Time I Saw Her/Song to the Siren - UK CD
Released: Jan 6, 2004
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Sixty Six to Timbuktu
Released: Nov 4, 2003
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{^Sixty Six to Timbuktu} has to be the icing on the cake for {$Robert Plant}. After {$Led Zeppelin} issued its second live album as well as a spectacular DVD in 2003, his career retrospective... Continue[+]

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{^Sixty Six to Timbuktu} has to be the icing on the cake for {$Robert Plant}. After {$Led Zeppelin} issued its second live album as well as a spectacular DVD in 2003, his career retrospective outside of the band is the new archetype for how they should be compiled. Containing two discs and 35 cuts, the set is divided with distinction. Disc one contains 16 tracks that cover {$Plant}'s post-{$Zep} recording career via cuts from his eight solo albums. Along with the obvious weight of his former band's presence on cuts like {&"Tall Cool One,"} {&"Promised Land,"} and {&"Tie Dye on the Highway,"} there is also the flowering of the influence that Moroccan music in particular and Eastern music in general would have on him in readings of {$Tim Hardin}'s {&"If I Were a Carpenter,"} {$Jesse Colin Young}'s {&"Darkness, Darkness,"} and his own {&"29 Palms."} There is also a healthy interest in technology being opened up on cuts from {^Pictures at Eleven} and {^Now & Zen}. The sequencing is creative, and the way one track seemingly foreshadows another is rather uncanny. But it is on disc two where the real treasures lie, and they are treasures. Of the 19 selections included, five are pre-{$Led Zeppelin}. And these are no mere dead-dog files. {$Plant} was revealing himself to be a jack-of-all-subgenres master: he drops a burning rendition of {$the Young Rascals}' {&"You'd Better Run"} circa 1966, and a wailing version of {$Billy Roberts}' {&"Hey Joe"} (recorded in 1967 and rivaling the emotional wallop of {$Jimi Hendrix}'s version recorded that same year). There's also the proto-{\blues} moan and groan of {&"Operator"} with {\British blues} god {$Alexis Korner} from 1968, which foreshadows the following year when he would join {$Zep}. But {$Plant} was not all raw raunch & roll. On {$Stephen Stills}' {&"For What It's Worth,"} he lays out a paisley hippie sincerity that is downright stirring. And on {&"Our Song,"} he takes the example of crooners like {$Dion} and sings a love song, so pure and true it might have come from screen rushes of {#American Graffiti}. These tracks are worth their weight in gold for the integrity in their performances and their rough edges. 
But these are just the beginning. What comes after the breakup of {$Led Zeppelin} is a smorgasbord of exploratory music from a very restless and confident {$Plant}. Here are outtakes, one-offs, loose ends, and covers that add up to 70 minutes of awesome music. There's the intense {$Zep} sound-like skronk of {&"Road to the Sun,"} with {$Phil Collins} on drums and {$Robbie Blunt} doing his best {$Jimmy Page}, and the shuffling {\rockabilly} of {$Charlie Rich}'s {&"Philadelphia Baby,"} with {$Dave Edmunds}, recorded at {@Sun Studios} in Memphis for the {#Porky's Revenge} {\soundtrack}. On the roots tip there's also {$Plant}'s contribution of {&"Let's Have a Party"} to {^The Last Temptation of Elvis} compilation, as well as cuts he contributed to the {$Rainer}, {$Skip Spence}, and {$Arthur Alexander} tribute albums. There are B-sides such as {&"Naked if I Want To"} from the U.S. release of {&"Calling to You,"} and {&"Hey Jayne,"} a limited bonus flip on the U.K. issue of the {&"I Believe"} single from {^Fate of Nations}, as well as a collaboration with {$the Afro-Celt Sound System} on {&"Life Begin Again."} This indulgence of modern technology began earlier than the 1990s, however, as the inclusion of {$Robin George}'s proto-{\electro} {&"Red for Danger"} attests -- the track is previously unreleased. And this is only a smattering. There are cuts from his stint with the {$Jools Holland} {\big band}, the {#Wayne's World} {\soundtrack}, and many, many others. Once again, {$Plant}'s manner of sequencing is full of a crazy wisdom that is as witty as it is aesthetically sound. Finally, something has to be said about {$Plant}'s wonderfully informative, cocky, and delightfully humorous liner notes. Should he ever decide to give up music, he might become the next {$Lester Bangs}. It all adds up to one hell of a package that provides the best surprise of the season and is a real candidate for reissue of the year. ~ Thom Jurek, All Music Guide

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Song to the Siren
Released: Dec 10, 2002
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Dreamland - UK BONUS TRACK
Released: Oct 22, 2002
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At their best, cover albums have a strange way of galvanizing an artist by returning to the songs that inspired them; the artists can find the reason why they made music in the first place, perhaps... Continue[+]

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At their best, cover albums have a strange way of galvanizing an artist by returning to the songs that inspired them; the artists can find the reason why they made music in the first place, perhaps finding a <I>new</I> reason to make music. {$Robert Plant}'s {^Dreamland} -- his first solo album in nearly ten years and one of the best records he's ever done, either as a solo artist or as a member of {$Led Zeppelin} -- fulfills that simple definition of a cover album and goes beyond it, finding {$Plant} sounding reinvigorated and as restless as a new artist. Part of the reason why this album works so well is that he has a new band -- not a group of supporting musicians, but a real band that can challenge him because they tap into the same eerie, post-{\folk} mysticism that fueled {^Led Zeppelin III}, among other haunting moments in the {$Zep} catalog. Another reason why this album works so well is that it finds the band working from a similar aesthetical point as classic {$Zeppelin}, who, at their peak, often re-interpreted and extrapolated their inspirations, piecing them together to create something startlingly original. That's the spirit here, most explicitly on the {\blues} medley {&"Win My Train Fare Home (If I Ever Get Lucky),"} but also throughout the record, as he offers radical reinventions of such cult favorites as {$Bob Dylan}'s {&"One More Cup of Coffee,"} {$Tim Buckley}'s {&"Song to the Siren,"} and {$the Youngbloods}' {&"Darkness, Darkness,"} along with such staples as {&"I Believe I'm Fixin' to Die"} and {&"Hey Joe."} What's amazing about this album is that it is as adventurous and forward-thinking -- perhaps even more so -- as anything he's ever done. He's abandoned the synthesizers that have distinguished each of his solo albums and replaced them with a restless, searching band that pushes every one of these songs past conventional expectations (and, in the case of the two strong originals, they make the new tunes sound as one with the covers). {^Dreamland} rarely sounds like {$Led Zeppelin}, but its spirit is pure {$Zeppelin}; this, in a sense, is what he was trying to do with the {$Page} and {$Plant} albums -- find a way back into the mystic by blending {\folk}, {\worldbeat}, {\blues}, {\rock}, and {\experimentalism} into music that is at once grounded in the past and ceaselessly moving forward. He might have co-authored only two pieces here, but {^Dreamland} is a fully realized product of his own vision -- as unpredictable and idiosyncratic, as fulfilling and full of mystery, as anything he's ever released. [Also released as a British import with one bonus track, {&"Dirt in a Hole."}] ~ Stephen Thomas Erlewine, All Music Guide

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Dreamland - AUSTRALIAN BONUS TRACK
Released: Aug 20, 2002
Label: N\A

At their best, cover albums have a strange way of galvanizing an artist by returning to the songs that inspired them; the artists can find the reason why they made music in the first place, perhaps... Continue[+]

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At their best, cover albums have a strange way of galvanizing an artist by returning to the songs that inspired them; the artists can find the reason why they made music in the first place, perhaps finding a <i>new</i> reason to make music. {$Robert Plant}'s {^Dreamland} -- his first solo album in nearly ten years and one of the best records he's ever done, either as a solo artist or as a member of {$Led Zeppelin} -- fulfills that simple definition of a covers album and goes beyond it, finding {$Plant} sounding reinvigorated and as restless as a new artist. Part of the reason why this album works so well is that he has a new band -- not a group of supporting musicians, but a real band that can challenge him because they tap into the same eerie, post-{\folk} mysticism that fueled {^Led Zeppelin III}, among other haunting moments in the {$Zeppelin} catalog. Another reason why this album works so well is that it finds the band working from a similar aesthetical point as classic {$Zeppelin}, who at their peak often reinterpreted and extrapolated their inspirations, piecing them together to create something startlingly original. That's the spirit here, most explicitly on the {\blues} medley {&"Win My Train Fare Home (If I Ever Get Lucky),"} but also throughout the record, as he offers radical reinventions of such cult favorites as {$Bob Dylan}'s {&"One More Cup of Coffee,"} {$Tim Buckley}'s {&"Song to the Siren,"} and {$the Youngbloods}' {&"Darkness, Darkness,"} along with such staples as {&"I Believe I'm Fixin' to Die"} and {&"Hey Joe."} What's amazing about this album is that it's as adventurous and forward-thinking -- perhaps even more so -- as anything he's ever done. He's abandoned the synthesizers that have distinguished each of his solo albums and replaced them with a restless, searching band that pushes every one of these songs past conventional expectations (and, in the case of the two strong originals, they make the new tunes sound as one with the covers). {^Dreamland} rarely sounds like {$Led Zeppelin}, but its spirit is pure {$Zeppelin}; this, in a sense, is what he was trying to do with the {$Page & Plant} albums -- find a way back into the mystic by blending {\folk}, {\worldbeat}, {\blues}, {\rock}, and {\experimentalism} into music that is at once grounded in the past and ceaselessly moving forward. He might have co-authored only two pieces here, but {^Dreamland} is a fully realized product of his own vision -- as unpredictable and idiosyncratic, as fulfilling and full of mystery as anything he's ever released. [The Australian edition adds an extra track, {&"Dirt in a Hole."}] ~ Stephen Thomas Erlewine, All Music Guide

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Robert Plant

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Robert Plant Albums, Robert Plant Songs