utorak, 31.10.2006.

ERIC CLAPTON & J.J. CALE - The Road To Escondido (2006)

The Road to Escondido is an album by J.J. Cale and Eric Clapton. Contained on this album are the final recordings of Billy Preston, to whom the album is dedicated.
In 2002 Eric Clapton held a three day festival called The Crossroads Guitar Festival, which featured J.J. Cale. This gave Clapton the opportunity to ask Cale to produce an album for him. The two started working together and eventually decided to record together. A number of high profile musicians also agreed to work on the album, including Billy Preston, Pino Palladino, Derek Trucks and Doyle Bramhall II.
Escondido is a city in California's San Diego County and relatively close to Cale's hometown of Valley Center, California


J.J. Cale - Vocals, Guitar, Keyboards
Eric Clapton - Vocals, Guitar
Jim Karstein - Drums, Percussion
James Cruce - Drums, Percussion
Steve Jordan - Drums
Abraham Laboriel Jr. - Drums
Gary Gilmore - Bass
Willie Weeks - Bass
Nathan East - Bass
Pino Palladino - Bass
Billy Preston - Organ, Piano
Walt Richmond - Piano
Doyle Bramhall II - Guitar
Derek Trucks - Guitar
John Mayer - Guitar
Albert Lee - Guitar
Christine Lakeland - Guitar, Vocals
David Teegarden - Percussion
Taj Mahal - Harp
Dennis Caplinger - Fiddle
Bruce Fowler - Horns
Marty Grebb - Horns
Steve Madaio - Horns
Jerry Peterson - Horns

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petak, 27.10.2006.

V.A. - Peter Green Songbook - A Tribute To His Work (2000)

PERFORMERS INCLUDES:
Ian Anderson, Arthur Brown, Larry McCray, Rory Gallagher, Luther Grosvenor, Dick Heckstall-Smith, Snowy White, Dave Peverett, Harvey Mandel, The Uptown Horns, Southside Johnny, Kim Simmonds, Vince Converse, Innes Sibun, Jess Roden, Mick Abrahms, Pete Brown, Jim McCarty, Bobby Chouinard, Damon Duewhite, Jennifer Ferguson, Ray Gomez, Stu Hamm, Bob Jenkins, Paul Jones, Pete Mcmahon, Max Middleton, Zoot Money, Billy Sheehan Top Topham, Roy Z.


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subota, 21.10.2006.

FLEETWOOD MAC - BLUES JAM IN CHICAGO (Volume One & Two) (1969)

Fleetwood Mac: Jeremy Spencer; Danny Kirwan; Peter Green; John McVie;
Mick Fleetwood. Others: Willie Dixon; Buddy Guy; Otis Spann;
David Edwards; Walter Horton; J.T. Brown; S.P. Leary.
Recorded at Chess Ter-Mar Studios, Chicago IL, January 1969.


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petak, 20.10.2006.

LEGACY - A Tribute To Fleetwood Mac "Rumours" (1998)

One of the better tribute albums, coming as it did on the heels of Fleetwood Mac's The Dance, this is one of those that pays tribute to an entire album, and it does so in proper song order.

Not only that, but there are no play-it-safe versions that plague many a well-intentioned tribute album.

The female artists succeed more than the male ones, in particular the Corrs' "Dreams", Shawn Colvin's "The Chain", and Jewel's rendition of "You Make Loving Fun." Colvin and Jewel's vocal skills are assets that do not spoil the songs, plus there are minor variations from the originals. Dolores O'Riordan's forlorn and shrill voice and the heavier guitars add a new dynamic to "Go Your Own Way." No cranberry filler here. A slow drum beat accompanies "Oh Daddy" done by Tallulah, who sounds like a poor man's Jewel. However, it's Jewel who gets top honours for best female vocalist in this collection.

OK, now the male artists. A quick-tempo percussive beat introduces "Second Hand News," done by Tonic. The fuzz guitars are the main contribution here, as well as the roaring guitars near the end of the song when the chorus is repeated. "Songbird," originally done by Christine McVie, is done here by Duncan Sheik, accompanied by a string arrangement. It's passable, I suppose. There's a hybrid symphonic-synthesizer opening in Elton John's "Don't Stop." He comes through here okay, but given his legendary reputation, he could've done way better via the piano boogie. The Goo Goo Dolls give "I Don't Want To Know" an uptempo alt-rock treatment coupled by harder guitar treatment than the original. Finally, "Gold Dust Woman" done by Sister Hazel, that cross between Pearl Jam and Lynyrd Skynyrd, uses a sitar and dobro in places, giving a slight but not that noticeable Asian flavour. Heavier guitar once again boosts the song beyond.

Nothing compares to the originals, but it's the way they are done, whether the variations are subtle or pronounced, that make this album work. Now that's the way a tribute album should be, adventurous but still worthwhile. The quality of the songs here are better compared to other tribute albums and does not desecrate the memory of a classic of classics.


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četvrtak, 19.10.2006.

FLEETWOOD MAC - Greatest Hits (1988)

Greatest Hits is a fine overview of Fleetwood Mac's hit-making years, containing the bulk of the group's Top 40 hits of the late '70s and '80s, including "Over My Head," "Rhiannon," "Say You Love Me," "Go Your Own Way," "Dreams," "Don't Stop," "Tusk," "Sara," "Hold Me," "Gypsy," and "Little Lies." Minor hits like "Think About Me," "Love in Store," and "Seven Wonders" are missing, making room for the new songs "As Long as You Follow" (which actually became a hit) and "No Questions Asked," but overall, Greatest Hits is an excellent choice for casual listeners.


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srijeda, 18.10.2006.

FLEETWOOD MAC - Fleetwood Mac (1975)

"Monday Morning," a sunny slice of folk-rock with Beach Boys harmonies, opens Fleetwood Mac and makes it clear that the band is no longer a blues-rock outfit. Lindsey Buckingham and Stevie Nicks were the catalyst for Fleetwood Mac's successful re-emergence as a mainstream pop/rock band. While Buckingham only contributed three songs, he helped the band develop a coherent vision, providing crystal-clear backings for Nicks' hippie anthems and Christine McVie's remarkably improved pop-soul. McVie dominates the album, contributing some of her finest songs, including the sighing "Over My Head" and the bouncy "Say You Love Me." Nicks' songs function as folky counterpoints to McVie's sweet pop, and she rarely ever wrote songs as memorably affecting as "Rhiannon" or "Landslide." Remarkably, Fleetwood Mac is a blockbuster album that isn't dominated by its hit singles, and its album tracks ("World Turning," "Sugar Daddy," "Crystal") demonstrate a depth of both songwriting and musicality that would blossom fully on Rumours.


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utorak, 17.10.2006.

FLEETWOOD MAC - Live In Boston (2003)

Limited edition release (10,000 numbered copies) in an embossed gold box featuring live material from Boston in February, 1970. Though a live album from the four shows these recordings are taken from did emerge in the mid '80s, the sound quality was disappointing. This release features 30 tracks, all remixed & remastered from the original master tapes, including six previously unreleased performances, 'Jumping At Shadows' (Version 2), 'If You Let Me Love You', 'Coming Your Way', 'The Sun Is Shining', 'Tiger' and 'On We Jam'. The box is a sturdy, cardboard box & each disc inside of it is in a separate standard jewel case

FLEETWOOD MAC - Live In Boston vol.1


After circulating on a variety of budget-conscious packages, Live in Boston (2003) now includes nearly an hour of never-before-issued material spread over three CDs with faultless audio quality derived directly from the first-generation multi-track master tapes. Additionally, the discs have been configured to more accurately replicate a typical Fleetwood Mac set circa February 1970. The concerts captured them at the venerable Boston Tea Party in support of their concurrent effort Then Play On (1969). The lineup had expanded from Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals) to include the talents of Danny Kirwan (guitar/vocals). As these performances bear out, this quintet could produce extended and incendiary psychedelic jams that rivalled that of Quicksilver Messenger Service, or the bluesy-fused battles of the Allman Brothers' Duane Allman (guitar) and Dickey Betts (guitar/vocals). The languid and jazzy "Black Magic Woman" is without question among the finest available as the melody wafts through Green's shimmering runs. "Only You" is a dark and edgy boogie, notable as only one of two Kirwan compositions on this installment. Another focal point is the thoroughly harrowing 12-minute ride on "Green Manalishi." Here again is an example of an epochal reading that succumbs to the otherwise familiar studio version. At the center of Live in Boston, Vol. 1, is the double-barrel onslaught of the previously unreleased "Rattlesnake Shake," which clocks in at close to a half hour, yet remains criminally incomplete. However, before the dreaded fade-out are 26 of the most musically exhilarating minutes in the entire package. The blues-based improvisations tread consistently new territory as Green and Kirwan feed off of the other's respective inspiration. Taken on its own, these bright moments are truly and unequivocally worth the price of admission. The incorporation of High Definition Compact Disc (HDCD) playback technology further enhances the listening experience, undeniably revealing nuance after subtle nuance in the timbre of the instruments. Live in Boston, Vol. 1 is a suggested starting point for interested parties and an essential selection for serious enthusiasts.

FLEETWOOD MAC - Live In Boston vol.2


This is the second of three CDs reassessing Fleetwood Mac's February 1970 run of shows at the Bosstown's very own psychedelic dungeon, the Boston Tea Party. For decades, these recordings have masqueraded under a plethora of titles, including Jumping at Shadows (1985), Cerulean (1985), and Rattlesnake Shake (1985). A late-'90s revisitation in the digital domain yielded nearly an hour of never before available material in uniformly stellar sound quality. At the time these sets were documented, the combo of Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals) had recently expanded with the addition of Danny Kirwan (guitar/vocals). He had joined just in time for their most concurrent release, Then Play On (1969). The introductory fretwork on "World in Harmony" recalls Steve Miller's intricate ode to Girl Freiberg on "Quicksilver Girl" and is contrasted by some soulful double-lead guitar work that could have easily been inspired by the Allman Brothers' Duane Allman and Dickey Betts. The reading of Green's "Oh Well" is thoroughly incendiary; however, here listeners are presented with only the opening segment, compared to the nearly nine-minute studio side. This makes way for the second and complete version of "Rattlesnake Shake," contrasting the one on Live in Boston, Vol. 1 (2003), which fades during the waning moments of the ferocious finale. Another distinction reveals that while presumably both renderings began in the same key, this one concludes in a lower register. The band's salute to Little Richard on "Keep a Knockin'" and "Jenny Jenny" is loads of fun, allowing them to blow out the jams and clear the deck for the "Encore Jam," with guest guitarists Joe Walsh and a serene and subdued Eric Clapton. While not as essential as the first part of the trilogy, Live in Boston, Vol. 2 (2003) is a great companion piece and, for likeminded listeners, a recommended addition.

FLEETWOOD MAC - Live In Boston vol.3


As the title suggests, 2003's Live in Boston, Vol. 3, is the third installment in the re-evaluation of Fleetwood Mac's February 1970 Boston Tea Party tapes. Initially, some of these sides circulated in less than favorable quality on heavily abridged budget collections, including the thoroughly dismissible Jumping at Shadows [live] (1985), Cerulean [live] (1985), and Rattlesnake Shake (1985). For this project, producers chose to go all the way back to the first-generation multi-tracks and the results are uniformly phenomenal. Those with High Definition Compact Disc (HDCD) playback technology can experience the real nuances and interactions between the musicians as they become practically tangible. Speaking of, the lineup boasts Mick Fleetwood (drums), Jeremy Spencer (guitar/vocals), John McVie (bass), and Peter Green (guitar/vocals), as well as Danny Kirwan (guitar/vocals), whose nimble electric fretwork effortlessly melded with alternately stinging and fluid leads from Green. Kirwan's arrival came as the band prepared Then Play On (1969). The LP became one of their earliest musical benchmarks and was also the last with Green, who would depart Fleetwood Mac less than six months after these concerts were captured — perhaps adding to their historical significance. Of equal importance are the incredible combination and fusion of what is by all accounts an aggregate rooted in British blues. However, almost as if by sonic osmosis, Green's playing has developed a psychedelic timbre that easily rivals his contemporaries John Cipollina (guitar/vocals) and Jorma Kaukonen (guitar/vocals). There are half a dozen previously unissued cuts restored on this disc, commencing with a dank and soulful "Jumping at Shadows," giving a comparatively edgier spin than the erstwhile available version on Vol. 1. Green's aggressive rocker "Sandy Mary" builds and ebbs with the same hard-hitting presence that he brought to sides such as "Green Manalishi." Kirwan's "Coming Your Way" is well jammed in the lyric-less rendering that evolves into a brief, up-tempo percussive solo onslaught from Fleetwood before fading out. A similar anomaly faces the closing "On We Jam," which enthusiasts may find woefully incomplete, as the quintet is thrashing about at its most ferocious. One final caveat, the lengthy cover of B.B. King's "If You Let Me Love You," suffers from Green's nearly inaudible vocals.


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ponedjeljak, 16.10.2006.

FLEETWOOD MAC - The Complete Blue Horizon Sessions 1967 - 1969 [6 Disc Set] (1999)

A six-CD set of everything Fleetwood Mac recorded for the British Blue Horizon label. Wait, you're saying, didn't they only do two albums for Blue Horizon before leaving the company in early 1969? True, but there were also the non-LP singles that comprised the bulk of the U.K. compilation The Pious Bird of Good Omen, the two albums of blues jams in Chicago that came out later in 1969, and the 1971 LP The Original Fleetwood Mac, comprised of early outtakes. Make each of those half-dozen LPs a CD, add some outtakes and alternate takes to each, and you've got a pretty full box. Unintentionally, this box makes the Mac a candidate for Most Erratic Major Rock Group of the Late 1960s, ranging from the sheer brilliance of Peter Green's songs to rote blues covers that are downright mundane, particularly some of the Jeremy Spencer showcases and Chicago blues jams. If you're a committed enough fan to consider buying this box, you already know that; you're probably more concerned with whether the previously unreleased material merits the cost. Those extras are marginal, to be honest, comprised largely of false starts, incidental studio chatter, and alternate versions that are pretty close to the official takes. Certainly the highlight of those newly unearthed tracks is the 37 minutes of alternate takes of "Need Your Love So Bad." It's also nice that the Danny Kirwan tracks that appeared only on the U.S. album English Rose are here as well. Unfortunately, this is not a complete retrospective of the Peter Green era, whose best material was recorded for Reprise; there's also a lot of noteworthy live stuff that appeared on different labels. Looking for more reasons to get the box anyway? There are extensive notes by producer Mike Vernon, which incorporate a few comments from Green.



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FLEETWOOD MAC - Live at the Shrine '69 (1999)

A live concert from January 25, 1969, recorded in Los Angeles by soundman Dinky Dawson. The fidelity is very good (excellent, in fact, by late-1960s standards), and the band are good form on a nine-song set (a tenth track is just a "Tune Up") that sticks mostly to lesser-known originals and covers. That means you don't get classics on the order of "Black Magic Woman" or "Oh Well," but on the other hand it's nice to hear different versions of some of the lesser-known early Mac originals, like Peter Green's anguished "Before the Beginning" and one of Danny Kirwan's better tunes, "Something Inside of Me." It's getting hard to keep track because of the bumper crop of official and semi-official live late-sixties Fleetwood Mac releases now available, but this is the first appearance of "Lemon Squeezer" to my knowledge, and "My Baby Sweet" is not easy to come by (although at least one version has appeared on a hard-to-find CD). No late-sixties Fleetwood Mac live release, it seems, is deemed complete without the inclusion of a couple of comic fifties rock covers, and you have to sit through "Great Balls of Fire" and "Blue Suede Shoes" here. The latter boasts over-the-top lewd lyrics, "lick my dick" being substituted for "blue blue, blue suede shoes" for a while in the chorus—just the type of schoolboy humor that might have seemed taboo-smashing in 1969, but seems sort of stupid on disc. This release would be of more interest if there wasn't already an abundance of live and outtake early Mac available on Peter Green's Fleetwood Mac Live at the BBC, Jumping at Shadows, Cerulean, and Vaudeville Years.


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nedjelja, 15.10.2006.

BUDDY GUY - Damn Right, I've Got The Blues [Expanded Edition] (1991)

Grammy-winning comeback set that brought Buddy Guy back to prominence after a long studio hiatus. Too many clichéd cover choices — "Five Long Years," "Mustang Sally," "Black Night," "There Is Something on Your Mind" — to earn unreserved recommendation, but Guy's frenetic guitar histrionics ably cut through the superstar-heavy proceedings (Eric Clapton, Jeff Beck, and Mark Knopfler all turn up) on the snarling title cut and a handful of others.

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THE FABULOUS THUNDERBIRDS - Best Of

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THE GUESS WHO - American Woman (1970)

The Guess Who's most successful LP, reaching number nine in America (and charting for more than a year), has held up well and was as close to a defining album-length statement as the original group ever made. It's easy to forget that until "American Woman," the Guess Who's hits had been confined to softer, ballad-style numbers — that song (which originated as a spontaneous on-stage jam) highlighted by Randy Bachman's highly articulated fuzz-tone guitar, a relentless beat, and Burton Cummings moving into Robert Plant territory on the lead vocal, transformed their image. As an album opener, it was a natural, but the slow acoustic blues intro by Bachman heralded a brace of surprises in store for the listener. The presence of the melodic but highly electric hit version of "No Time" (which the band had cut earlier in a more ragged rendition) made the first ten minutes a hard rock one-two punch, but the group then veers into progressive rock territory with "Talisman." Side two was where the original album was weakest, though it started well enough with "969 (The Oldest Man)." "When Friends Fall Out," a remake of an early Canadian release by the group, attempted a heavy sound that just isn't sustainable, and "8:15" was a similar space filler, but "Proper Stranger" falls into good hard rock groove. In August of 2000, Buddha Records issued a remastered version of this album with a bonus track from a subsequent session, "Got to Find Another Way." Ironically, American Woman was the final testament of the original Guess Who — guitarist/singer Randy Bachman quit soon after the tour behind this album; the group did endure and even thrive (as did Bachman), but American Woman represented something of an ending as well as a triumph.


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subota, 14.10.2006.

PETER GREEN - The Very Best Of (2001)

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PETER GREEN with NIGEL WATSON SPLINTER GROUP - The Robert Johnson Songbook (2003)

Personnel: Peter Green (vocals, guitar, harmonica); Nigel Watson (vocals, guitar); Paul Rodgers (vocals); Roger Cotton (piano); Neil Murray (bass guitar); Larry Tolfree (drums).
The Robert Johnson Songbook is Peter Green's first recording made entirely of covers of the music written by the King of the Delta Blues. Unfortunately, though pleasant, The Robert Johnson Songbook lacks the warmth and soulfulness of its successor -- Hot Foot Powder. The Robert Johnson Songbook features Green's Splinter Group, plus a guest appearance by Paul Rodgers. ~ Tim Griggs, All Music Guide


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PETER GREEN FLEETWOOD MAC - Jumping At Shadows: The Blues Years

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petak, 13.10.2006.

FLEETWOOD MAC - The Very Best Of (2003)

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četvrtak, 12.10.2006.

FLEETWOOD MAC - The Dance (1997)

Two years after the Lindsey Buckingham/Stevie Nicks/Christine McVie-less incarnation of Fleetwood Mac crashed and burned, their classic '70s lineup reunited for an MTV Unplugged session and an accompanying tour. Although it's likely that the reunion was for monetary purposes, it made creative sense as well — no members were as compelling solo as they were with the group. Despite this, the Unplugged setting wasn't ideal for a reunion, since the group decided to devote nearly a quarter of The Dance to new material, inevitably resulting in unfair comparisons to their warhorses. Since there's so much new material, The Dance can't be a truly nostalgic experience either, because the new songs interrupt the flow. Not that they're bad — Buckingham's gentle "Bleed to Love Her" and nervy "My Little Demon" are first-rate, and Nicks' "Silver Springs" finds her at her hippie best — but they aren't given the full-fledged production they deserve. Similarly, the older songs suffer from the slightly hollow unplugged production. All the hits are performed in nearly identical arrangements to the originals, with the exception of Buckingham's solo "Big Love" (an improvement on the original) and the addition of Tusk's marching band to "Don't Stop," which makes the differences all too apparent. Much is the same — McVie and Nicks sound terrific, and the band is tight and professional — but Buckingham has lost some of his range, which undercuts some of his songs. Still, that isn't enough to prevent The Dance from being an entertaining listen; it just isn't a substantial one.


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FLEETWOOD MAC - Behind The Mask (1990)

Lindsey Buckingham's departure proved to be a severe blow when Fleetwood Mac unveiled a new lineup with the disappointing Behind the Mask, Stevie Nicks' last album with the band. Nicks, Christine and John McVie, and Mick Fleetwood are joined by new members Rick Vito (vocals, lead guitar) and Billy Burnette (vocals, guitar) on this generally weak effort. The production (courtesy of Greg Ladanyi and Fleetwood Mac) is often bland and faceless, and most as the songs are among the least inspired the band ever recorded. The album has a few strong points, including "Save Me" and "Freedom," a haunting number featuring Nicks. But most of the material is quite forgettable. And there would be even less reason for optimism by 1993, when Nicks left as well.


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FLEETWOOD MAC - Tango In The Night (1987)

Artistically and commercially, the Stevie Nicks/Lindsey Buckingham/Mick Fleetwood/Christine and John McVie edition of Fleetwood Mac had been on a roll for over a decade when Tango in the Night was released in early 1987. This would, unfortunately, be Buckingham's last album with the pop/rock supergroup — and he definitely ended his association with the band on a creative high note. Serving as the album's main producer, Buckingham gives an edgy quality to everything from the haunting "Isn't It Midnight" to the poetic "Seven Wonders" to the dreamy "Everywhere." Though Buckingham doesn't over-produce, his thoughtful use of synthesizers is a major asset. Without question, "Family Man" and "Caroline" are among the best songs ever written by Buckingham, who consistently brings out the best in his colleagues on this superb album.


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srijeda, 11.10.2006.

PREDLOŽAK

TEXT

Tracklist:

NAZIV LINKA

FLEETWOOD MAC - Mirage (1982)

Fleetwood Mac retreated from the insular strangeness of Tusk and returned to straightforward pop songcraft for Mirage. Boasting a glossy, friendly production that makes even the lesser numbers pleasant and ingratiating, Mirage nonetheless suffers from a lack of substance. Rumours had raw emotion to give it a core, and Tusk had Lindsey Buckingham's runaway ambition. For its part, Mirage sounds as if its sole goal is to sustain Fleetwood Mac's popularity, and while there may be a handful of terrific songs — notably the hit singles "Gypsy," "Love in Store," and "Hold Me" — it simply isn't as compelling as the group's previous three albums.


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FLEETWOOD MAC - Tusk (1979)

Where Rumours achieved greatness through turmoil, its double-album follow-up, Tusk, is the sound of a band imploding. Lindsey Buckingham began to assume control of Fleetwood Mac during the Rumours sessions, but he dominates Tusk, turning the album into a paranoid roller coaster ride where sweet soft rock is offset by feverish cocaine fantasies. Christine McVie and Stevie Nicks don't deviate from their established soft rock and folk-rock templates, and all their songs are first-rate, whether it's McVie's "Over and Over" or Nicks' "Sara." Buckingham gives these mainstream-oriented songs off-kilter arrangements so they can fit neatly with his nervy, insular yet catchy songs. Alternating bracing pop/rockers like "The Ledge" and "What Makes You Think You're the One" with melancholic, Beach Boys-style ballads like "Save Me a Place" and "That's All for Everyone," Buckingham subverts pop/rock with weird arrangements and unpredictable melodies, which are nevertheless given accessible productions. Even the hit title track is a strange, menacing threat punctuated by a marching band. This is as strange as mainstream pop gets, even pushing on the borders of the avant-garde. Because of its ambitions, Tusk failed to replicate the success of its two predecessors (it still went double platinum, though), yet it earned a dedicated cult audience of fans of twisted, melodic pop.


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FLEETWOOD MAC - Albatross (Half Christine Perfect) (1977)

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utorak, 10.10.2006.

FLEETWOOD MAC - Fleetwood Mac Live At The BBC (1995)

If you've ever wondered what the original Fleetwood Mac really sounded like, these BBC Recordings give a very good idea. They're one part blues band, one part oldies act, one part serious, and one part tongue very much in cheek. Any band that could play Elmore James and B.B. King blues with absolute precision and passion one minute and become a drunken lunatic rockabilly band the next had to have chops and a sense of humor and this version of the Mac had both in spades. Jeremy Spencer craziness balances out Peter Green's seriousness, while Kirwan and the rhythm section of McVie and Fleetwood rope it all in. An illuminating two disc set that any roots music or blues lover will adore. Highly recommended.


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FLEETWOOD MAC - Rumours (1977)

The new lineup that Fleetwood Mac successfully unveiled with their eponymous 1975 album became even more successful with the multi-platinum Rumours, which became the band's most celebrated album and one of the best-selling albums of all time. To be sure, this was a very different sounding Fleetwood Mac than the blues-rock outfit of the late '60s. This edition of the band generally wasn't well received by rock critics (who tend to be critical of all things commercial). But as commercial and slick as Rumours is, the music has a lot of heart and never comes across as insincere. From Christine McVie's optimistic "Don't Stop" (which President Bill Clinton used as his campaign theme song in 1992) to Lindsey Buckingham's remorseful "Go Your Own Way," Rumours is consistently memorable. And the folkish "Gold Dust Woman" (covered by Courtney Love and Hole in 1996) and the melancholy hit "Dreams" made it quite clear just how much depth and substance Stevie Nicks was capable of.


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FLEETWOOD MAC - Heroes Are Hard To Find (1974)

Although this was Bob Welch's last album with the band he had worked with since 1971, it sounds like he's at his peak. Pared down to a foursome for the first and (as of 2002) only time since the addition of Danny Kirwan, both Welch and Christine McVie contribute some of their finest songs. Bolstered by sympathetic self-production and imaginative, often aggressive arrangements that include brassy horns on the title track (a blatant but failed attempt at a hit single), the album is one of their most cohesive yet diverse. Welch continues his fascination with UFOs in a sort of follow-up to Mystery to Me's "Hypnotized" called "Bermuda Triangle" and even heads into a spacy Hendrix "Third Stone From the Sun" groove on "Coming Home." Christine McVie is in wonderful voice on her own ballads like "Prove Your Love" but outdoes herself on the magnificent "Come a Little Bit Closer," a stunning track whose grandeur is heightened by strings and McVie's majestic piano. It's a hidden classic and pedal steel by the Flying Burrito Brothers' Sneaky Pete Kleinow is an unexpected and perfect addition to the album's most fully realized tune. Welch's folk-pop "She's Changing Me" is one of his most upbeat, memorable melodies, offset by the rocker "Silver Heels" and his closing "Safe Harbor," a knowing nod back to Peter Green's atmospheric work on "Albatross" and his contributions to Then Play On. McVie's haunting rocker "Bad Loser" is reinforced by the propulsive rhythm section of Mick Fleetwood and John McVie, both adding tense bite to even the most tender of ballads. Welch left soon after the album's release, and the group went on to bigger and better things, but Heroes is a minor gem that retains its effortless pop charms and contains some buried jewels in the extensive Fleetwood Mac catalog.


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ponedjeljak, 09.10.2006.

FLEETWOOD MAC - Mystery To Me (1973)

At this point, the band was best-known as a British blues unit. Slowly but surely the band was becoming more acclimated with a production style that was reminiscent of the California pop sound. With the majority of the blues and psychedelic behind them, Mystery to Me finds Fleetwood Mac in a more ruminative vein. American guitarist Bob Welch established that path. Despite the all-encompassing ethos, Welch's songwriting skills made him walk a fine line between the mystical and the silly. But luckily most everything works here. The leadoff song, the laid-back "Emerald Eyes" matches Welch's spacey lyrics and vocals as Christine McVie provides great backing help. The album's best track, the gorgeous and lyrically strong "Hypnotized" has Welch matching an effortless, soothing croon with jazzy guitar riffs. Throughout Mystery to Me the amazing and almost telepathic drums and bass of Mick Fleetwood and John McVie give this effort more panache and muscle than was represented on this effort's predecessor, Bare Trees. The best Christine McVie offering, "Keep on Going," has a strong, soulful string arrangement and her customary sensual and poised vocals. The only weak spot is the ill-advised cover of "For Your Love" that's steeped in hackneyed, post-psychedelic style. Mystery to Me's interesting sound is directly attributed to the fact that it was recorded on the Rolling Stones Mobile Unit. This effort is custom-made for those who like thoughtful offerings and is a valuable set in the scheme of the band.


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FLEETWOOD MAC - Penguin (1973)

Fleetwood Mac's first album made after the departure of Danny Kirwan features the additions of guitarist Bob Weston and singer Dave Walker. By now Bob Welch and Christine McVie were the dominant forces in the band, and all traces of blues-rock were gone, replaced by Welch's hypnotic melodies and McVie's romantic sentiments married to up-tempo pop tunes. This album gave Fleetwood Mac its best U.S. chart showing yet, but the wonder is that this phase in the band's career wasn't even more popular.


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FLEETWOOD MAC - Bare Trees (1972)

Arguably the first consistently strong album Fleetwood Mac ever recorded — all the way back into the Peter Green/Jeremy Spencer era, the Mac's albums had previously consisted of individual moments of brilliance in a sea of uninspired filler — 1972's Bare Trees is also the album where the band finally defines its post-blues musical personality. Low-key but less narcoleptically mellow than 1971's sleepy Future Games, Bare Trees is a singer/songwriter album in the traditional early-'70s style, backed up with just enough musical muscle to keep from sounding like weedy soft rock in the manner of Bread or Cat Stevens. This is the one Fleetwood Mac album on which singer/guitarist Danny Kirwan is the dominant figure, writing five songs to Chistine McVie and Bob Welch's two apiece. Impressively, all three writers get off a small masterpiece on side two; McVie's "Spare Me a Little of Your Love" sounds like a dry run for the string of hits she would start writing with 1975's Fleetwood Mac, and it's her first really good pop song. By comparison, Kirwan and Welch's best songs are all-time career highlights. Kirwan's "Dust" combines a gentle, gliding melody with resigned, melancholy lyrics and his most memorable chorus. Welch's "Sentimental Lady" was, of course, his first solo hit in its 1977 re-recorded version, but this original take is far superior, and one of the great lost pop songs of the early '70s. Outfitted with a terrific vocal melody, hooks galore, and an impressive tremolo guitar solo, "Sentimental Lady" is perhaps a little trite lyrically, but it's a heartfelt and lovable tune regardless, and the best thing Fleetwood Mac did in the years between "Albatross" and "Over My Head." The rest of the album is less magical, but the instrumental "Sunny Side of Heaven" and the downright funky "Danny's Chant" are impressive in their use of atmospheric arrangements and so point toward the subtle but effective production choices that would make Fleetwood Mac and Rumours among the most listenable albums of their time. Bare Trees isn't in that league, but it shows that after five years of false starts and failed experiments, Fleetwood Mac were finally on their way.


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nedjelja, 08.10.2006.

FLEETWOOD MAC - The Original Fleetwood Mac (1971)

In some ways the four "bonus tracks" which augment the Original Fleetwood Mac (1971) are actually as interesting as the Blue Horizon label material the compilation is centered on. Die-hard enthusiasts wishing to explore this seminal incarnation are advised to direct their attention to the six-disc Complete Blue Horizon Sessions: 1967-1969 (1999). The casual listener, however, should find this collection provides an apt representation of those sides. Prior to the addition of Danny Kirwan (guitar/vocals) in August of 1968, Fleetwood Mac were a quartet featuring John McVie (bass/guitar), Mick Fleetwood (drums), Peter Green (guitar/vocals), and Jeremy Spencer (guitar/piano/vocals). With the exception of Spencer, the rest of Mac had (at one time or another) been part of John Mayall & the Bluesbreakers. While further exploring the textural variations of their respective blues origins, it was Green who quickly emerged as the leader, even though McVie and Mick Fleetwood retained the band's namesake. As these cuts exemplify, it was Green's stellar fretwork and compositions that coalesced this unit. Evidence abounds on the derivative "Drifting" and "First Train Home," which remains much of the vibe heard on the Chicago-influenced "Rambling Pony No. 2" — an unabashed overhaul of Muddy Waters' classic, "Rollin' and Tumblin'." The slightly trippy "A Fool No More" and the jammed-out instrumental "Fleetwood Mac" are uniformly inspired, more so than the rote reworkings of Lafayette Leake's "Love That Woman," or Arthur "Big Boy" Crudup's "Mean Old Fireman." The latter is otherwise notable, however, for Green's acoustic contributions. The first bonus track is a spirited diversion into rockabilly on Spencer's "Mighty Cold." Although it is certainly the least bluesy selection on the CD, it serves up a much-needed distraction . The concert recording of Duster Bennett's "Jumping at Shadows" sounds identical to either of the readings found on the 1969 archival Live in Boston, Vol. 1 (2003) or Live in Boston, Vol. 3 (2003). Indeed, they may be one in the same as the credits state it hails from "America in 1969." All of these fall short of Spencer's punky rebel-rousing and attitude-laden "Somebody's Gonna Get (Their Head Kicked in Tonight)" — a song that would be revisited to greater effect by the Rezillos nearly a decade later.


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FLEETWOOD MAC - Kiln House (1970)

Fleetwood Mac's first album after the departure of their nominal leader, Peter Green, finds the remaining members, Mick Fleetwood, John McVie, Jeremy Spencer, and Danny Kirwan (plus McVie's wife, Christine) trying to maintain the band's guitar-heavy, blues-rock approach, with the burden falling on Spencer and Kirwan. They don't embarrass themselves, but none of this is of the caliber of Green's work.


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FLEETWOOD MAC - Then Play On (1969)

This Peter Green-led edition of the Mac isn't just an important transition between their initial blues-based incarnation and the mega-pop band they became, it's also their most vital, exciting version. The addition of Danny Kirwan as second guitarist and songwriter foreshadows not only the soft-rock terrain of "Bare Trees" and "Kiln House" with Christine Perfect-McVie, but also predicts Rumours. That only pertains to roughly half of the also excellent material here, though; the rest is quintessential Green. The immortal "Oh Well," with its hard-edged, thickly layered guitars and chamber-like sections, is perhaps the band's most enduring progressive composition. "Rattlesnake Shake" is another familiar number, a down-and-dirty, even-paced funk, with clean, wall-of-sound guitars. Choogling drums and Green's fiery improvisations power "Searching for Madge," perhaps Mac's most inspired work save "Green Manalishi," and leads into an unlikely symphonic interlude and the similar, lighter boogie "Fighting for Madge." A hot Afro-Cuban rhythm with beautiful guitars from Kirwan and Green on "Coming Your Way" not only defines the Mac's sound, but the rock aesthetic of the day. Of the songs with Kirwan's stamp on them, "Closing My Eyes" is a mysterious waltz love song; haunting guitars approach surf music on the instrumental "My Dream"; while "Although the Sun Is Shining" is the ultimate pre-Rumours number someone should revisit. Blues roots still crop up on the spatial, loose, Hendrix-tinged "Underway," the folky blues tale of a lesbian affair on "Like Crying," and the final outcry of the ever-poignant "Show Biz Blues," with Green moaning "do you really give a damn for me?" Then Play On is a reminder of how pervasive and powerful Green's influence was on Mac's originality and individual stance beyond his involvement. Still highly recommended and a must-buy after all these years, it remains their magnum opus.


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subota, 07.10.2006.

FLEETWOOD MAC - English Rose (1969)

Under the direction of Peter Green, Fleetwood Mac is heard as a British blues group, although its most notable performances are on Green's original tunes "Black Magic Woman" and "Albatross," both British hits.


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FLEETWOOD MAC - Mr. Wonderfull (1968)

Although it made number ten in the U.K., Fleetwood Mac's second album was a disappointment following their promising debut. So much of the record was routine blues that it could even be said that it represented something of a regression from the first LP, despite the enlistment of a horn section and pianist Christine Perfect (the future Christine McVie) to help on the sessions. In particular, the limits of Jeremy Spencer's potential for creative contribution were badly exposed, as the tracks that featured his songwriting and/or vocals were basic Elmore James covers or derivations. Peter Green, the band's major talent at this point, did not deliver original material on the level of the classic singles he would pen for the band in 1969, or even on the level of first-album standouts like "I Loved Another Woman." The best of the lot, perhaps, is "Love That Burns," with its mournful minor-key melody and sluggish, responsive horn lines. Mr. Wonderful, strangely, was not issued in the U.S., although about half the songs turned up on its stateside counterpart, English Rose, which was fleshed out with some standout late-'60s British singles and a few new tracks penned by Danny Kirwan (who joined the band after Mr. Wonderful was recorded).


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FLEETWOOD MAC - Peter Green's Fleetwood Mac (1968)

Fleetwood Mac's debut LP was a highlight of the late-'60s British blues boom. Green's always inspired playing, the capable (if erratic) songwriting, and the general panache of the band as a whole placed them leagues above the overcrowded field. Elmore James is a big influence on this set, particularly on the tunes fronted by Jeremy Spencer ("Shake Your Moneymaker," "Got to Move"). Spencer's bluster, however, was outshone by the budding singing and songwriting skills of Green. The guitarist balanced humor and vulnerability on cuts like "Looking for Somebody" and "Long Grey Mare," and with "If I Loved Another Woman," he offered a glimpse of the Latin-blues fusion that he would perfect with "Black Magic Woman." The album was an unexpected smash in the U.K., reaching number four on the British charts.


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petak, 06.10.2006.

ROBIN TROWER - Bridge Of Sighs (1974)

Guitarist Robin Trower's watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. This 24-bit digitally remastered 25th anniversary reissue, which tacks on five live tracks adding nearly 25 minutes to the original playing time, actually improves upon the original. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewer, Robin Trower pushed the often limited boundaries of the power trio concept into refreshing new waters. The concept gels best in the first track, "Day of the Eagle," where the opening riff rocking morphs into the dreamy washes of gooey guitar chords that characterize the album's distinctive title track that follows. At his best, Trower's gauzy sheets of oozing, wistful sound and subtle use of wah-wah combine with Dewer's whisky-soaked soul-drenched vocals to take a song like the wistful ballad "In This Place" into orbit. "Too Rolling Stoned," another highlight and one of the most covered tracks from this album, adds throbbing, subtle funk to the mix, changing tempos midway to a slow, forceful amble on top of which Trower lays his quicksilver guitar. The live tracks, although similar to the album versions, prove that even without overdubs and the safety of the studio, Trower and band easily convey the same feel, and add a slightly rougher edge, along with some low-key, crowd-pleasing flourishes. One of the few Trower albums without a weak cut, and in 2000, unfortunately one of the only ones still in print in the U.S., Bridge of Sighs holds up to repeated listenings as a timeless work, as well as the crown jewel in Robin Trower's extensive yet inconsistent catalog.


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ROBIN TROWER - Live King Biscuit (1977)

Recorded on October 18, 1977, at the New Haven Coliseum in Connecticut, King Biscuit Flower Hour captures Robin Trower moving into a more R&B-driven phase of his career, although the heavy blues-rock of his smash Bridge of Sighs album is amply represented in addition to the newer material on In City Dreams, the album he was supporting at the time. For this performance, originally broadcast on the King Biscuit Flower Hour radio show, Trower's band features vocalist James Dewar, bassist Rusty Allen, and drummer Bill Lordan, formerly of Sly & the Family Stone. It's a versatile band, and in some ways, the live venue is an even better way to hear them than on their studio output.


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ROBIN TROWER - In The Line Of Fire (1990)

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četvrtak, 05.10.2006.

ETTA JAMES - Stickin' To My Guns (1990)

Comtenporary-styled R&B effort that stays true to her roots.


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ETTA JAMES - Love's Been Rough On Me (1997)

Love's Been Rough on Me is a terrific latter-day album from Etta James, capturing her at the peak of her powers. James' voice has diminished only slightly over the course of her career, and she knows how to make such warhorses as "I've Been Loving You Too Long" sound fresh. She also invests contemporary music, including John Berry's contemporary country hit "If I Had Any Pride Left at All," with real soul. The result is a record that delivers the real goods with grace and style.


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srijeda, 04.10.2006.

ERIC SARDINAS - Black Pearls (2003)

Eric Sardinas is a good, even great, electric slide player, and his dobro skills are equally as impressive. His band on Black Pearls, Paul Loranger on bass and Mike Dupke on drums, is also quite good. The problem here is the material. The songs, all written by Sardinas, are at the worst end of blues cliché. They sound good and rock hard, but in the end, you've heard all this said before, and probably better. Granted, blues feeds on recycled lyrics, and it is undoubtedly hard to find a new way to say "I've been down so long I'm gonna leave you," but it can be done (Otis Taylor comes immediately to mind). The highlights here — the cheerful pop-blues of "Big Red Line," the bluegrass-paced dobro work on "Old Smyrm Road" — come on songs that step a little bit outside the blues-boogie template.


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CHARLIE MUSSELWHITE - Delta Hardware (2006)

While Charlie Musselwhite has always been an adventurous musician — take into consideration his fine Cuban inflected Continental Drifter, the Americana drenched One Night In America, and the rollicking rock and soul on Sanctuary — the Delta of his upbringing has never been left out of the mix entirely. Musselwhite may have had a reason to dig so deeply into the hard-edged roots of Delta by way of Chicago blues on this set: he lost both his parents in 2005. The CD booklet is filled with pictures of the sites of his life in Mississippi. Delta Hardware was recorded with Musselwhite's road band, and it has the feeling of motion along with its looking into the past. Guitarist Chris "Kid" Andersen, bassist Randy Bermudes, and drummer June Core hop into the heart of the electric trancelike blues that have been a part of Musselwhite's backbone his entire performing career. The question is, why didn't he record with these guys before? Delta Hardware is a raw, squalling album heavy on brittle guitars, trancelike rhythms, and of course, Musselwhite's harmonica filling the gaps where his world-weary voice shouts, hollers, and bellows. Musselwhite and band dig deep here. The set opens with the strolling minor-key rock & roll blues of "Church Is Out," where Musselwhite offers an autobiographical sketch with boasts worthy of Jay Z. This shimmy shaking electric blues is merely a portent of things to come. On the track that follows, "One of These Mornings," all hell breaks loose. A call and response between Musselwhite and Andersen shuffles like a train off the track to Core's triple-time drums. When he sings, it's more like a roar; unfettered, full of power and the grit necessary to wail above a band playing their asses off. His harp solo is just a scorcher, and it all happens in two-minutes-and-thirty-seconds. "Sundown" is a classic one-four-five shuffle, but with dueling slide guitars popping over the top of Musselwhite's voice. The blunt edge of the blade comes home to roost on "Black Water," where Musselwhite, his harp, and Andersen's guitars are a wandering band of prophets from the old testament warning of the perils of the present age; Musselwhite sounds sad but determined; he's unflinching in his terror-vision and it is bleak. The music is sad as well; it's trancelike, Junior Kimbrough-styled — repetitive, percussive, snaky — and when it's time for his brief harp solo, the instrument sounds like it's weeping. Little Walter's "Just a Feeling" is just plain slow and mean. It's a swampy moaner and Andersen's guitars are like fine forged steel with a serrated edge. When Musselwhite digs into his spoken word bag over the tough-assed blues as on the opener and "Invisible Ones," there's not a second that doesn't work. His jeremiad is pure working-class poetry. There is proof in the pudding too, where the crowd expresses its appreciation for the hip-shaking "Clarksdale Boogie," recorded at Red's Juke Joint in that very town. Delta Hardware is the kind of record only a veteran could make, full of backbone, spit and vinegar; it is an early candidate for blues record of the year.


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TAJ MAHAL - Phantom Blues (1996)

An eclectic bluesman would seem to be a contradiction in terms, but Taj Mahal, who has moved through the worlds of folk, rock, and pop to reach his present categorization, fits the description, and here he takes several pop and R&B oldies that came from blues roots -- "Ooh Poo Pah Doo," "Lonely Avenue," "What Am I Living For?," "Let the Four Winds Blow" -- and returns them to those roots. He also calls in such guest stars as Eric Clapton and Bonnie Raitt, who have more than a nodding acquaintance with the blues, to assist him. The result is progressive blues hybrid that treats the music not as a source, but as a destination.


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utorak, 03.10.2006.

INDIGENOUS - Chasin The Sun (2006)

Perhaps it was inevitable given the dominating presence of guitarist/vocalist/songwriter Mato Nanji, that Indigenous would someday be a vehicle in all but name for the frontman. That day has arrived with the fifth album under the Indigenous moniker, but first to replace Nanji's brother (percussion) and sister (drums) with studio musicians. Even though, Pte, his bassist brother, is still listed in the credits, his contributions are minimal. Additionally only Nanji's photos adorn the booklet, which gives the impression that this is a solo album, and for all intents, it is just that. Regardless, it's a rugged, tough, at times roaring blues-rock disc that finds a strong groove and rides it like a jockey on a thoroughbred. Nanji's guitar and voice are front and center throughout, and the stripped down production by Steve Fishell (the Mavericks, Albert Lee, Willie Nelson) keeps the sound meaty and lean. Eight out of the ten tracks are written or co-written by Nanji with a driving version of Bobby Robinson/Tarheel Slim's "Number Nine Train" and a soulful take on Bob Dylan's "Born in Time" the only covers. Nanji's dusky baritone vocals, a combination of Hootie & the Blowfish's Darius Rucker and Jonny Lang, sink into his quicksilver guitar lines like a father into his favorite overstuffed chair. Much has been made of the guitarist's musical resemblance to Stevie Ray Vaughan and Jimi Hendrix, and this album does nothing to dispel those voices. But, like Robin Trower who seems to be a major influence on the track "Leaving," Nanji takes the approach and twists it into something, if not entirely unique, at least distinctive. There's a frisky funk and R&B bottom to tracks such as "The Way You Walk" and the Robert Cray-ish "Fool Me Again" that grounds the album and provides a foundation for the riff-heavy tracks. Only the lone instrumental "Out of Nowhere" screams Stevie Ray so loudly, even Vaughan fans might be fooled into thinking it's a lost track from the Texas guitar icon. There are certainly similarities to other Indigenous albums on Chasing the Sun, but it also marks a new beginning for guitarist Nanji who, at least on the basis of this sturdy, unpretentious release, can leave the Indigenous label behind and go solo.


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INDIGENOUS - Circle (2000)

This one topped the list of Billboard Top Ten blues albums for four months shortly after its release. It's hard to say that it belonged there, not because it isn't a fine record, but because it's more rock than blues. Circle was produced by Texas singer/songwriter Doyle Bramhall, who is perhaps best known for his work with Stevie Ray Vaughan. It's a solid release, but don't expect anything fancy. In fact, many of the songs on Circle tend to sound very similar — and it doesn't help that some segue into the next one seamlessly, which only serves to accentuate their sameness and add to the predictability. Mato Nanji is a flawless guitar player, but his prowess here is slightly dampened by the acoustic guitar that lies a layer beneath some of the songs, resulting in less punch. His voice, however, is magnificent: full and haunting, not unlike that of Hootie & the Blowfish frontman Darius Rucker.


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TAB BENOIT - These Blues Are All Mine (1999)

On his Vanguard debut, guitarist Tab Benoit favors his usual workmanlike approach, serving up standard blues and Cajun riffs with ease. Though not technically flashy, Benoit is a solid songwriter with enough musicality to more than make up for the lack of fireworks. He can give his songs a restrained ("I'm Tired") or relaxed ("Raided That Joint") feel and he emotes as well as anybody on the title track. The rollicking "Crawfishin'" and "Jambalaya" recall Louisiana, and Benoit closes things off with the frenetically up-tempo "Bayou Boogie." The one possible misstep here is his take on the Willie Dixon classic "Twenty-Nine Ways (to My Baby's Door)"; anyone who remembers Koko Taylor's earthshaking version will find this one a little tame.


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ponedjeljak, 02.10.2006.

======= LED ZEPPELIN =======

WWW.LED-ZEPPELIN.COM

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.



1969 Led Zeppelin
1969 Led Zeppelin II
1970 Led Zeppelin III
1971 Led Zeppelin IV
1973 Houses of the Holy
1975 Physical Graffiti
1976 Presence
1976 The Song Remains the Same [live]
1979 In Through the Out Door

1982 LED ZEPPELIN - Coda
1982 ROBERT PLANT - Pictures At Eleven
1984 THE HONEYDRIPPERS - Volume One (Robert Plant)
2003 LED ZEPPELIN - How The West Was Won
1990 LED ZEPPELIN - Led Zeppelin [Box Set]
1988 JIMMI PAGE - Outrider
1994 JIMMI PAGE & ROBERT PLANT - No Quarter
1998 JIMMI PAGE & ROBERT PLANT - Walking Into Clarksdale
1997 LED ZEPPELIN - BBC Sessions
1999 LED ZEPPELIN - Early Days: The Best of Led Zeppelin, Vol. 1
1999 JOHN PAUL JONES - Zooma

LED ZEPPELIN - Cabala (8CD)

Stairway To Heaven

There's a lady who's sure,
All that glitters is gold,
And she's buying a stairway to heaven.
When she gets there she knows,
If the stores are all closed,
With a word she can get what she came for.
And she's buying a stairway to heaven.

There's a sign on the wall,
But she wants to be sure,
Because you know sometimes words have two meanings.
In a tree by the brook,
There's a songbird who sings,
Sometimes all of our thoughts are misgiven.
It makes me wonder.

There's a feeling I get,
When I look to the west,
And my spirit is crying for leaving.
In my thoughts I have seen,
Rings of smoke through the trees,
And the voices of those who stand looking.
It makes me wonder.

And it's whispered that soon,
If we all call the tune,
Then the piper will lead us to reason.
And a new day will dawn,
For those who stand long,
And the forests will echo with laughter.

If there's a bustle in your hedgerow,
Don't be alarmed now,
It's just a spring clean for the May queen.
Yes there are two paths you can go by,
But in the long run,
There's still time to change the road you're on.
And it makes me wonder.

Your head is humming and it won't go,
In case you don't know,
The piper's calling you to join him.
Dear lady can you hear the wind blow,
And did you know,
Your stairway lies on the whispering wind.

And as we wind on down the road,
Our shadows taller than our soul.
There walks a lady we all know,
Who shines white light and wants to show.
How everything still turns to gold,
And if you listen very hard,
The tune will come to you at last.
When all are one and one is all.
To be a rock and not to roll.

And she's buying a stairway to heaven.

Since I've Been Loving You

Working seven to eleven every night,
It really makes my life a drag.
I don't think that's right.
I've really been the best of fools,
I did what I could.
Beause I love you baby.
But baby, since I've been loving you,
I'm about to lose my worried mind.

Everybody trying to tell me,
That you didn't mean me no good.
I've been trying let me tell you,
Let me tell you I really did the best I could.
I've been working seven to eleven every night,
It kinda makes my life a drag.
Lord you know it ain't right.
Since I've been loving you,
I'm about to lose my worried mind.

Said I've been crying,
My tears they fell like rain.
Don't you hear,
Don't you hear them falling?
Don't you hear,
Don't you hear them falling?

Do you remember mama when I knocked upon your door?
I said you had the nerve to tell me you didn't want me no more.
I open my front door hearing my back door slam.
You must have one of them new fangled,
New fangled back door man.

I've been working from seven to eleven every night,
It kinda makes my life a drag.
Since I've been loving you,
I'm about to lose my worried mind.

LED ZEPPELIN - Cabala (8CD)

Cabala is a Led Zeppelin bootleg recording containing a vast amount of rarities and outtakes. It consists of four double albums.





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Disc 1

01- I’m Confused
02- Train Kept A Rollin’
03- She Just Satisfies
04- Keep Movin’
05- You Better Run
06- Everybody’s Gonna Say
07- Our Song
08- Long Time Coming
09- I’ve Got A Secret
10- Goodnight Sweet Josephine
11- Think About It
12- Hey Hey What Can I Do
13- Psychodasies
14- Happenings Ten Years Times Ago
15- Stroll On
16- My Babe Left Me
17- A Certain Girl
18- Leave My Kitten Alone
19- Surprise Surprise
20- How Do You Feel
21- Jim’s Blues
22- Traveling Riverside Blues
23- You Shook Me
24- The Girl I Love

Disc 2

01- Whole Lotta Love
02- Something Else
03- You Can’t Judge a Book By the Cover (Killing Floor)
04- Babe I’m Gonna Leave You
05- Pat’s Delight
06- How Many More Times Jam
07- Communication Breakdown
08- As Long As I Have You Jam





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Disc 3

01- Organ Solo/Thank You
02- Bring It On Home
03- Friends
04- Friends
05- That’s The Way
06- Friends
07- Hey Hey What Can I Do
08- Instrumental Jam
09- Immigrant Song
10- Heartbreaker
11- Black Dog
12- Stairway to Heaven
13- Goin’ To California

Disc 4

01- That’s The Way
02- What Is and What Should Never Be
03- That’s the Way
04- Blues Medley
05- Since I’ve Been Loving You
06- That’s the Way
07- Blues Medley
08- Since I’ve Been Loving You
09- No Quarter instrumental rehearsal
10- No Quarter
11- Dazed and Confused
12- Celebration Day





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Disc 5

01- Whole Lotta Love
02- Dancing Days
03- The Song Remains The Same
04- Rain Song
05- The Light Bearer
06- Take Two
07- Take Three
08- Take Four
09- Take Five
10- Take Six
11- Take Seven
12- Take Eight

Disc 6

01- Schooldays
02- Nadine
03- Around and Around
04- Move on Down the Line
05- Love Me Like a Hurricane
06- Move It
07- Dynamite
08- Shakin’ All Over
09- Hungry For Love
10- I’ll Never Get Over You
11- Reelin’ and Rockin’
12- Strawberry Jam I
13- Strawberry Jam II
14- Wanton Song
15- The Rover I
16- The Rover II
17- Night Flight I
18- Night Flight II
19- Night Flight III
20- Rock and Roll
21- Sick Again
22- Over the Hills and Far Away
23- In My Time of Dying





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Disc 7

01- All My Love
02- Since I’ve Been Loving You
03- Ten Years Gone
04- Black Country Woman
05- Bron-Y-Aur Stomp
06- White Summer
07- Kashmir
08- Trampled Underfoot
09- Achilles Last Stand
10- Money
11- Hot Dog
12- Train Kept-A-Rollin’
13- Nobody’s Fault But Mine

Disc 8

01- Whole Lotta Love
02- Kashmir
03- Heartbreaker
04- Whole Lotta Love
05- Misty Mountain Hop
06- Stairway to Heaven
07- Black Dog
08- In the Evening
09- Rain Song
10- Since I’ve Been Loving You
11- Rock and Roll

JOHN PAUL JONES - Zooma (1999)

John Paul Jones stayed quiet for years after the disbandment of Led Zeppelin, performing the occasional arranging, soundtrack, or production gig, or collaborating with such avant garde musicians as Diamanda Galas. Throughout it all, he never released a full-fledged solo album — until the fall of 1999, when he unleashed Zooma. Anyone that was following who Jones worked with in the '90s — including Galas, the Butthole Surfers, and R.E.M. — shouldn't be entirely surprised by the depth, range, and gleeful strangeness on Zooma, but those expecting something like Led Zeppelin IV will be disappointed. That's not to say that there's no Zeppelin here at all. Jones was a key member of Zep, contributing heavily to their sonic majesty and experimental bent, all things that are apparent throughout the album. The difference is, Jones frees himself and his collaborators — including Paul Leary and members of the London Symphony Orchestra — to push the envelope hard by making Zooma an instrumental effort. Freed from the boundaries of songs, but not compositions, Jones crafts a series of nine truly impressive songs, blending together blues, worldbeat, heavy rock, jazz, and the avant-garde into a distinctive, unpredictable, and original sound. It may have been a long wait to receive the first solo album from Jones, but the end result makes it all worthwhile.


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LED ZEPPELIN - Early Days: The Best of Led Zeppelin, Vol. 1 (1999)

As legend has it, Led Zeppelin never played the singles game. That's not entirely true — "Whole Lotta Love" was a gold-selling, Top Five single, while "Immigrant Song," "Black Dog," and "D'yer Mak'er" all went Top 20. But since their reputation was built in part through album rock radio, and since they never released "Stairway to Heaven" as a single, the impression that they were above hits and singles grew and grew. Zeppelin fostered it by refusing to issue compilations for years, forcing every fan to become familiar with the group on an album-by-album basis. Things began to change a bit in 1990, when Jimmy Page assembled the four-disc Led Zeppelin box, the group's first official compilation; it eventually opened the door for the 1999 release of Early Days: The Best of Led Zeppelin, Vol. 1. Early Days focuses on the first four Zeppelin albums, taking four songs from the first, just two apiece from the second and third, and the entire first side of IV, along with "When the Levee Breaks." And for the diehards, a video clip of Zeppelin performing "Communication Breakdown" on an English TV show is thrown onto the enhanced CD portion of the disc. It's basically the album longtime Zeppelin fans thought would never be released: a straight-up greatest-hits album. At one point, this may have been seen as sacrilege among devotees, but at this point, it's hard to imagine who would care about Early Days one way or another. Apart from the handful of casual fans who just want the radio staples on one disc — while not caring that other classics are absent — there really is no audience for this, since it doesn't recontextualize the catalog like the box sets. It's still pretty entertaining, yet Early Days feels unnecessary. Yet that cover photo is priceless.


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JIMMI PAGE & ROBERT PLANT - Walking Into Clarksdale (1998)

For all of the acclaim it received, there's no denying that No Quarter was a tentative reunion for Page & Plant, containing only a handful of new songs that were scattered among many reworked old favorites. Since its supporting tour went well, the duo decided to make their reunion permanent, setting to work on an album of entirely new material. Taking the world music dabblings of No Quarter as a cue, Page & Plant tempered their eclecticism with a healthy dose of their monolithic guitar army, hiring Steve Albini, the indie rock producer notorious for his harsh, brutal recordings, to helm the boards. In other words, it sounds perfect on paper — groundbreaking veteran artists still taking chances and working with younger collaborators who would challenge them. If only Walking Into Clarksdale actually played that way. It's certainly possible to hear where the duo was intending to go, since the circular melodies, Mideastern drones, sawing strings, drum loops, and sledgehammer riffs all add up to an effective update and progression of the classic Zeppelin sound. The problem is, the new sound doesn't go anywhere. There's potential in this metallic worldbeat rock, but only a few cuts, such as the stately "Most High" and the shimmering "Shining in the Light," realize it. Much of the album disappears under its own mass, since their are no well-written songs, catchy riffs, or memorable melodies to support the sound. And that's what makes Walking Into Clarksdale so frustrating — you can hear the potential, and even enjoy the album on the musical surface, but there's nothing to make you return to the album once it's finished. And that ultimately means that the album simply reiterates the promise of the reunited Page & Plant instead of fulfilling it.


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JIMMI PAGE & ROBERT PLANT - No Quarter (1994)

Ever since Led Zeppelin parted ways after the death of drummer John Bonham, fans were clamoring for the mighty band to reunite. This willfully ignored both the vital contribution Bonham gave to the group's mystique and Zeppelin's woeful one-off reunion at the 1985 Live Aid charity concert, but the legend of the band was so strong, reunion rumors reached a fever pitch whenever vocalist Robert Plant or guitarist Jimmy Page had a new album in the stores. In 1994, following Plant's moody, misunderstood 1993 album Fate of Nations and Page's widely lambasted collaboration with Whitesnake singer David Coverdale, the two quietly reunited to record a concert for MTV's then-popular acoustic concert series Unplugged. Page & Plant interpreted the Unplugged moniker rather liberally, bringing in a full orchestra, mandolins, and a hurdy-gurdy among other instruments, and Page turned to an electric guitar on occasion. Nevertheless, the "unplugged" setting did give the duo an opportunity to gracefully back away from the bombast that was assumed to be Zeppelin's stock-in-trade; after all, it would have been very hard to do "Whole Lotta Love," "Dazed and Confused," or "Trampled Underfoot" in this setting. Instead, this gives them a chance to dive into the moodiest material, trading heavily on the folk, blues, and world music that gave Led Zeppelin a richness unheard in their heavy rock peers. This might not be what some diehards were expecting from a reunion, but it was a gutsy move from Page & Plant, and the ensuing album, No Quarter, has aged remarkably well. That's not to say that it's timeless music, or a latter-day comeback on the level of Bob Dylan's Love and Theft, but this is ambitiously atmospheric, restless music by musicians not content to rest on their laurels. They do draw heavily from their past, but these new versions of classic Led Zeppelin songs sound reinvigorated in these new arrangements. At times, this means that the songs are given rather drastic reinterpretations — "Nobody's Fault but Mine" brings the brooding undercurrent of the original to the surface, "Four Sticks" sounds livelier in this spare setting — while other tunes sound similar to the recorded versions but are given spirited readings ("That's the Way," "The Battle of Evermore," "Gallows Pole"). Between these revived Zeppelin numbers are a few new songs, all ambitious and solid, fitting right into the vibe of the album; even if they don't match the older tunes, they're respectable and gain strength upon repeated listens. As good as much of No Quarter is, it isn't necessarily the kind of record that invites those repeated listens. At its core, it's an experiment, the sound of two middle-aged musicians looking back at their groundbreaking work and finding both sustenance and inspiration there. That makes for fascinating listening, both upon the first spin and a return play several years later, but it doesn't necessarily make for an album that's played all that often. [Upon its original 1994 release No Quarter contained 13 tracks. Several years later, it was reissued overseas, adding the previously unreleased original "Wah Wah" as a bonus track. Upon the album's tenth anniversary, it was reissued in the U.S. with "Wah Wah," plus the previously unreleased "The Rain Song," which took the place of "Thank You," which was cut from the album on this reissue. Finally, the 2004 reissue retitled the original "Yallah" as "The Truth Explodes."]


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JIMMI PAGE - Outrider (1988)

Page's debut solo album is a heavy guitar treat employing a varying cast of sidemen, including drummer Jason Bonham and Page's old Led Zeppelin partner Robert Plant, who co-writes and sings one song.


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LED ZEPPELIN - How The West Was Won (2003)

For years, Led Zeppelin fans complained that there was one missing item in the group's catalog: a good live album. It's not that there weren't live albums to be had. The Song Remains the Same, of course, was a soundtrack of a live performance, but it was a choppy, uneven performance, lacking the majesty of the group at its peak. BBC Sessions was an excellent, comprehensive double-disc set of their live radio sessions, necessary for any Zeppelin collection (particularly because it contained three songs, all covers, never recorded anywhere else), but some carped that the music suffered from not being taped in front of a large audience, which is how they built their legacy — or, in the parlance of this triple-disc collection of previously unreleased live recordings compiled by Jimmy Page, How the West Was Won. The West in this case is the West Coast of California, since this contains selections from two 1972 concerts in Los Angeles: a show at the LA Forum on June 25, and one two days later at Long Beach Arena. This is the first archival release of live recordings of Zeppelin at their peak and while the wait has been nigh on interminable, the end result is certainly worth the wait. Both of these shows have been heavily bootlegged for years and while those same bootleggers may be frustrated by the sequencing that swaps the two shows interchangeably (they always prefer full shows wherever possible), by picking the best of the two nights, Page has assembled a killer live album that captures the full, majestic sweep of Zeppelin at their glorious peak. And, make no mistake, he tries to shove everything into these three discs — tight, furious blasts of energy; gonzo freak-outs; blues; and rock, a sparkling acoustic set. Like always, the very long numbers — the 25-minute "Dazed and Confused," the 23-minute "Whole Lotta Love," the 19-minute "Moby Dick" — are alternately fascinating and indulgent, yet even when they meander, there is a real sense of grandeur, achieving a cinematic scale attempted by few of their peers (certainly no other hard rock or metal band could be this grand; only Queen or David Bowie truly attempted this). But the real power of the band comes through on the shorter songs, where their sound is distilled to its essence. In the studio, Zeppelin was all about subtle colors, textures, and shifts in the arrangement. On-stage, they were similarly epic, but they were looser, wilder, and hit harder; witness how "Black Dog" goes straight for the gut here, while the studio version escalates into a veritable guitar army — it's the same song, but the song has not remained the same. That's the case throughout How the West Was Won, where songs that have grown overly familiar through years of play seem fresh and new because of these vigorous, muscular performances. For those who never got to see Zeppelin live, this — or its accompanying two-DVD video set — is as close as they'll ever get. For those who did see them live, this is a priceless souvenir. For either group, this is absolutely essential, as it is for anybody who really loves hard rock & roll. It doesn't get much better than this.


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LED ZEPPELIN - BBC Sessions (1997)

Led Zeppelin's BBC sessions were among the most popular bootleg items of the rock & roll era, appearing on a myriad of illegal records and CDs. They were all the more popular because of the lack of official Led Zeppelin live albums, especially since The Song Remains the Same failed to capture the essence of the band. For anyone who hadn't heard the recordings, the mystique of Zeppelin's BBC sessions was somewhat mystifying, but the official 1997 release of the double-disc BBC Sessions offered revelations for any fan who hadn't yet heard this music. While some collectors will be dismayed by the slight trimming on the "Whole Lotta Love Medley," almost all of the group's sessions are included here, and they prove why live Zeppelin was the stuff of legend. The 1969 sessions, recorded shortly after the release of the first album, are fiery and dynamic, outstripping the studio record for sheer power. Early versions of "You Shook Me," "Communication Breakdown," "What Is and What Should Never Be," and "Whole Lotta Love" hit harder than their recorded counterparts, while covers of Sleepy John Estes' "The Girl I Love She Got Long Black Wavy Hair," Robert Johnson's "Travelling Riverside Blues," and Eddie Cochran's "Something Else" are welcome additions to the Zeppelin catalog, confirming their folk, blues, and rockabilly roots as well as their sense of vision. Zeppelin's grand vision comes into sharper relief on the second disc, which is comprised of their 1971 sessions. They still have their primal energy, but they're more adventurous, branching out into folk, twisted psychedelia, and weird blues-funk. Certainly, BBC Sessions is the kind of album that will only appeal to fans, but anyone who's ever doubted Zeppelin's power or vision will be set straight with this record.


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LED ZEPPELIN - Led Zeppelin [Box Set] (1990)

Led Zeppelin's primary method of artistic expression was their albums. Although they had a handful of hit singles and although selected album tracks were played endlessly on the radio, the true range of their music is only evident on the original albums, which were carefully sequenced and assembled. Consequently, the notion of a Led Zeppelin anthology is a bit strange — their records worked as individual pieces. Nevertheless, the four-disc box set Led Zeppelin includes most of their best and most famous material. Jimmy Page determined the set's running order, taking the songs out of their familiar contexts and placing them in a new, occasionally jarring, sequence, providing new insights to the band's music that dedicated fans will appreciate. Led Zeppelin is the only album in their catalog to include the classic B-side "Hey Hey What Can I Do," as well as their unreleased version of Robert Johnson's "Travelling Riverside Blues" and a live medley of Page's "White Summer/Black Mountain Side." Most fans will find these three tracks essential, but will balk at the price, especially since all of Zeppelin's albums have been remastered since the original release of the box set. While the box contains a wealth of brilliant music, all of it is better heard in its original incarnation.


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