http://www. roadrunnerrecords. com/blabbermouth. net/news. aspx?mode=Article&newsitemID=109610
http://lemonsqueezings. blogspot. com/
Page n Plant ..with Michael Lee
Tuesday, January 20, 2009
Drummer MICHAEL LEE Dead At 39 - Nov. 25, 2008
Sad....
http://www. roadrunnerrecords. com/blabbermouth. net/news. aspx?mode=Article&newsitemID=109610
http://lemonsqueezings. blogspot. com/
Page n Plant ..with Michael Lee
http://www. roadrunnerrecords. com/blabbermouth. net/news. aspx?mode=Article&newsitemID=109610
http://lemonsqueezings. blogspot. com/
Page n Plant ..with Michael Lee
This is in BAD taste...
....I never thought I'd see the day Jimmy Page agrees to something so distasteful.
I only hope they do not perform under LED ZEPPELIN.. More acceptable would be going
out as Page & Jones...
To replace Robert Plant, have they really lost their minds...What a joke.
It was agreed after Bonzo's passing that there wasn't anymore Led Zeppelin.
The O2 Arena Reunion, I can accept Jason and them going out as Led Zeppelin..
Michael Lee is a great drummer, but having Jason there seemed right...
Robert Plant has toured and has done some Zep tunes, but didn't go out as
Led Zeppelin..
It isn't like Robert Plant left the group and now they are looking for a new lead singer,
they all agreed there isn't any Led Zeppelin without Bonzo....
Damn, this is like Ringo and Paul touring as The Beatles...
Some people just CAN'T be replaced....Only one exception comes to mind for me and
that is Sammy Hagar for Van Halen, best choice they ever made in my opinion...
I never got to see Led Zeppelin, but if this happens without Robert Plant, then at
least I saw Page & Plant .....I still can't even believe Jimmy agreed to that Leona Lewis
crap that I heard, in my opinion, that sucked...
So, if there is a replacement for Robert Plant, count me out. I won't be seeing that show..
Hmm, this all could just be more talk to get us all crazy...Then again, what do I know.
I'm just a girl, with long dark wavy hair ;)
Replace ROBERT PLANT....NOBODY can fill those shoes, nobody.
Here are the links:
http://www.contactmusic.com/news.nsf/article/led%20zeppelin%20to%20avoid%20plant%20imitators_1084894
http://www.nme.com/news/led-zeppelin/40687
I only hope they do not perform under LED ZEPPELIN.. More acceptable would be going
out as Page & Jones...
To replace Robert Plant, have they really lost their minds...What a joke.
It was agreed after Bonzo's passing that there wasn't anymore Led Zeppelin.
The O2 Arena Reunion, I can accept Jason and them going out as Led Zeppelin..
Michael Lee is a great drummer, but having Jason there seemed right...
Robert Plant has toured and has done some Zep tunes, but didn't go out as
Led Zeppelin..
It isn't like Robert Plant left the group and now they are looking for a new lead singer,
they all agreed there isn't any Led Zeppelin without Bonzo....
Damn, this is like Ringo and Paul touring as The Beatles...
Some people just CAN'T be replaced....Only one exception comes to mind for me and
that is Sammy Hagar for Van Halen, best choice they ever made in my opinion...
I never got to see Led Zeppelin, but if this happens without Robert Plant, then at
least I saw Page & Plant .....I still can't even believe Jimmy agreed to that Leona Lewis
crap that I heard, in my opinion, that sucked...
So, if there is a replacement for Robert Plant, count me out. I won't be seeing that show..
Hmm, this all could just be more talk to get us all crazy...Then again, what do I know.
I'm just a girl, with long dark wavy hair ;)
Replace ROBERT PLANT....NOBODY can fill those shoes, nobody.
Here are the links:
http://www.contactmusic.com/news.nsf/article/led%20zeppelin%20to%20avoid%20plant%20imitators_1084894
http://www.nme.com/news/led-zeppelin/40687
Concert Pics 6/10/08 NYC
Hey ...Thanks to a great friend of mine and the great seats we had, 2nd row..
I have some pics to share....
But before you look at them, take note on the man you need to THANK for these
shots..I'm a good photographer but had I taken the shots they most likely would be blurry because Robert just effects me that way ;)
My friend Mitch:
http://www.myspace.com/mitchiegadgets
Robert Plant ..Alison Krauss
Robert Plant..Alison Krauss
...there's one more video to follow. But I first need to resize it and then I will be able
to post it :)
Thank you MITCH !!
XOXOXOXOXO
I have some pics to share....
But before you look at them, take note on the man you need to THANK for these
shots..I'm a good photographer but had I taken the shots they most likely would be blurry because Robert just effects me that way ;)
My friend Mitch:
http://www.myspace.com/mitchiegadgets
..
Robert Plant ..Alison Krauss
Robert Plant..Alison Krauss
...there's one more video to follow. But I first need to resize it and then I will be able
to post it :)
Thank you MITCH !!
XOXOXOXOXO
RP & AK review
Robert Plant and Alison Krauss at the Birmingham NIA
May 6 2008 Review by Richard McComb
It was dubbed the most unlikely pairing in music: Robert Plant, the mighty King of Rock, and Alison Krauss, the demure Queen of Bluegrass.
How could the sledgehammer-in-chief of 70s stadium excess possibly gel with this delicate flower of tender, sweet country?
Alison Krauss and Robert Plant on stage at the NIA
The answer, of course, is that it's impossible to say. Sometime it's better not to dwell on the mystery; don't try to read the runes. It's far better to sit back and bathe in the magic, which is exactly what several thousand adoring fans did last night at the NIA in Birmingham.
Part homecoming, part musical rebirth, Plant brought Krauss to his native Birmingham stomping ground to deliver a stunning set to launch the European leg of their world tour. London can wait; home is where the heart is.
After dates in Germany, Belgium, France, and the lands of ice and snow, it's back Stateside, finishing up (where else?) in Nashville, where this precious recording partnership was born.
Plant and Krauss first got together at a tribute concert to bluesman Leadbelly. T Bone Burnett, who Krauss knew from working on the Grammy award-winning soundtrack for O Brother, Where Art Thou?, brought her and Plant together, handpicked the music and the musicians. No pressure there, then.
Inspired by the critical acclaim heaped on the resulting album, Raising Sand, the pair decided to hit the road and last night's show was a bewildering kaleidoscopic journey through musical genres. It was wonderfully impossible to pigeon hole – blues, alt-country, spiritual, soul and traditional standards all blurring, underpinned by masterful musicianship and glorious vocals.
Time can play cruel tricks on legends. Plant, though, who will celebrate his 60th birthday this year, remains a peerless performer, leaping from the trance-like to the maniacal to the cheeky schoolboy. Grooving on stage with Krauss, whose voice, fiddle playing and demeanour constitute a rare thing of beauty, the Led Zeppelin frontman grinned like the cat who'd got the cream. It is possible for a rock god to learn new tricks.
"The first time I played that in Birmingham was 1963," said Plant after a blistering version of Brit-rock standard Fortune Teller, which was laced with breathy Krauss harmonies and a gut-churning guitar solo by Burnett, a colossus both in musical ability and physical stature. "Only two people knew it ... How sad is that?" said Plant, mocking his recall of trivia. "Free prescriptions and a long memory ... Don't print that!" he added, laughing.
The stand-outs from this 23-song two-hour set? Impossible to say, there really were so many. The evening started with Rich Woman, track one from Raising Sand. Plant prowled on stage from the right, dressed in a black jacket, red silk shirt, agonisingly tight burgundy trousers (yes, ladies, he still looks buff) and some mighty fine toe-curling cowboy boots.
Krauss, stepping in from the left, glowered into Plant's darting eyes, looking a picture in a pretty off-white dress with brown swirled patterning, her long blonde hair billowing in the stage breeze.
She looked like she'd just come from Bible class, apart from the smouldering looks and the footwear, that is. In homage to Mr Plant's strutting youth, Krauss wore thigh-high grey boots. She's no wall flower, and boy can she sing.
The set was a superbly pitched mix of songs from Raising Sand, a couple of Plant solo/collaborations (including Please Read The Letter, from the Page-Plant Walking Into Clarksdale) and some gems from the Led Zep locker.
Of the former, Krauss's singing was simply perfect on numbers such as Sister Rosetta Goes Before, Through The Morning, Through The Night and the eerily beautiful Tom Waits penned Trampled Rose.
Plant's vocal power and restraint was mesmerising on Nothin', skipping to playful pop on the gorgeous duo, Stick With Me Baby. The vocal balance and rich textures on Killing The Blues were terrific – best listened to in a log cabin by a crackling fire, although you could still feel a collective warm glow inside the cavernous NIA.
It seems odd that so much has been made of the apparently diverse musical backgrounds of the grizzled rocker and his little ole country girl.
The truth is that Plant's career with Led Zeppelin was burnished with the influences of roots music, pastoral folk and gnarled blues.
Led Zeppelin III may be best known for the thunderclap howl of Immigrant Song but the album also melds acoustic folk and blues traditional.
It was though the supergroup's next album, the stratospheric fourth, which was cherry-picked at the NIA. Black Dog, The Battle of Evermore and When The Levee Breaks, particularly the latter two, were entrancing.
Krauss was inspired in the Sandy Denny harmonies on Evermore – remarkable when you consider she was born the year the album was released. Plant was just stunning.
In fact, if you've ever wondered what Led Zep's best known album would have sounded like had the band's private tour jet, The Starship, ditched in the Georgia wilderness, here was your answer: heavy rock and pastoral meets the Duelling Banjos from Deliverance. It was spookily breath-taking, the banshee wail of the lad from West Bromwich set against the crystal vocals of the girl from Champaign, Illinois. You didn't know whether to hide behind your hands in terror or weep with joy at the deconstruction and revitalisation of these classic numbers.
Black Country Woman, from Physical Graffiti, was given the same spellbinding treatment.
The evening finished with the final track from Raising Sand, the heart-breaking traditional Long Journey Home. "Oh, the days will be empty/The nights so long without you my love …" They sure will be without Plant and Krauss.
Burnett has likened listening to the pair sing together as "almost hypnotic – some kind of psychotropic drug." And he's right. It's a natural high.
As he walked off, a fan threw a flower on to the stage for Plant. It used to be knickers, but Robert's grown up and smelled the roses. Flower power rocks.
May 6 2008 Review by Richard McComb
It was dubbed the most unlikely pairing in music: Robert Plant, the mighty King of Rock, and Alison Krauss, the demure Queen of Bluegrass.
How could the sledgehammer-in-chief of 70s stadium excess possibly gel with this delicate flower of tender, sweet country?
Alison Krauss and Robert Plant on stage at the NIA
The answer, of course, is that it's impossible to say. Sometime it's better not to dwell on the mystery; don't try to read the runes. It's far better to sit back and bathe in the magic, which is exactly what several thousand adoring fans did last night at the NIA in Birmingham.
Part homecoming, part musical rebirth, Plant brought Krauss to his native Birmingham stomping ground to deliver a stunning set to launch the European leg of their world tour. London can wait; home is where the heart is.
After dates in Germany, Belgium, France, and the lands of ice and snow, it's back Stateside, finishing up (where else?) in Nashville, where this precious recording partnership was born.
Plant and Krauss first got together at a tribute concert to bluesman Leadbelly. T Bone Burnett, who Krauss knew from working on the Grammy award-winning soundtrack for O Brother, Where Art Thou?, brought her and Plant together, handpicked the music and the musicians. No pressure there, then.
Inspired by the critical acclaim heaped on the resulting album, Raising Sand, the pair decided to hit the road and last night's show was a bewildering kaleidoscopic journey through musical genres. It was wonderfully impossible to pigeon hole – blues, alt-country, spiritual, soul and traditional standards all blurring, underpinned by masterful musicianship and glorious vocals.
Time can play cruel tricks on legends. Plant, though, who will celebrate his 60th birthday this year, remains a peerless performer, leaping from the trance-like to the maniacal to the cheeky schoolboy. Grooving on stage with Krauss, whose voice, fiddle playing and demeanour constitute a rare thing of beauty, the Led Zeppelin frontman grinned like the cat who'd got the cream. It is possible for a rock god to learn new tricks.
"The first time I played that in Birmingham was 1963," said Plant after a blistering version of Brit-rock standard Fortune Teller, which was laced with breathy Krauss harmonies and a gut-churning guitar solo by Burnett, a colossus both in musical ability and physical stature. "Only two people knew it ... How sad is that?" said Plant, mocking his recall of trivia. "Free prescriptions and a long memory ... Don't print that!" he added, laughing.
The stand-outs from this 23-song two-hour set? Impossible to say, there really were so many. The evening started with Rich Woman, track one from Raising Sand. Plant prowled on stage from the right, dressed in a black jacket, red silk shirt, agonisingly tight burgundy trousers (yes, ladies, he still looks buff) and some mighty fine toe-curling cowboy boots.
Krauss, stepping in from the left, glowered into Plant's darting eyes, looking a picture in a pretty off-white dress with brown swirled patterning, her long blonde hair billowing in the stage breeze.
She looked like she'd just come from Bible class, apart from the smouldering looks and the footwear, that is. In homage to Mr Plant's strutting youth, Krauss wore thigh-high grey boots. She's no wall flower, and boy can she sing.
The set was a superbly pitched mix of songs from Raising Sand, a couple of Plant solo/collaborations (including Please Read The Letter, from the Page-Plant Walking Into Clarksdale) and some gems from the Led Zep locker.
Of the former, Krauss's singing was simply perfect on numbers such as Sister Rosetta Goes Before, Through The Morning, Through The Night and the eerily beautiful Tom Waits penned Trampled Rose.
Plant's vocal power and restraint was mesmerising on Nothin', skipping to playful pop on the gorgeous duo, Stick With Me Baby. The vocal balance and rich textures on Killing The Blues were terrific – best listened to in a log cabin by a crackling fire, although you could still feel a collective warm glow inside the cavernous NIA.
It seems odd that so much has been made of the apparently diverse musical backgrounds of the grizzled rocker and his little ole country girl.
The truth is that Plant's career with Led Zeppelin was burnished with the influences of roots music, pastoral folk and gnarled blues.
Led Zeppelin III may be best known for the thunderclap howl of Immigrant Song but the album also melds acoustic folk and blues traditional.
It was though the supergroup's next album, the stratospheric fourth, which was cherry-picked at the NIA. Black Dog, The Battle of Evermore and When The Levee Breaks, particularly the latter two, were entrancing.
Krauss was inspired in the Sandy Denny harmonies on Evermore – remarkable when you consider she was born the year the album was released. Plant was just stunning.
In fact, if you've ever wondered what Led Zep's best known album would have sounded like had the band's private tour jet, The Starship, ditched in the Georgia wilderness, here was your answer: heavy rock and pastoral meets the Duelling Banjos from Deliverance. It was spookily breath-taking, the banshee wail of the lad from West Bromwich set against the crystal vocals of the girl from Champaign, Illinois. You didn't know whether to hide behind your hands in terror or weep with joy at the deconstruction and revitalisation of these classic numbers.
Black Country Woman, from Physical Graffiti, was given the same spellbinding treatment.
The evening finished with the final track from Raising Sand, the heart-breaking traditional Long Journey Home. "Oh, the days will be empty/The nights so long without you my love …" They sure will be without Plant and Krauss.
Burnett has likened listening to the pair sing together as "almost hypnotic – some kind of psychotropic drug." And he's right. It's a natural high.
As he walked off, a fan threw a flower on to the stage for Plant. It used to be knickers, but Robert's grown up and smelled the roses. Flower power rocks.
RP & AK review
Robert Plant and Alison Krauss at the Birmingham NIA
May 6 2008 Review by Richard McComb
It was dubbed the most unlikely pairing in music: Robert Plant, the mighty King of Rock, and Alison Krauss, the demure Queen of Bluegrass.
How could the sledgehammer-in-chief of 70s stadium excess possibly gel with this delicate flower of tender, sweet country?
Alison Krauss and Robert Plant on stage at the NIA
The answer, of course, is that it's impossible to say. Sometime it's better not to dwell on the mystery; don't try to read the runes. It's far better to sit back and bathe in the magic, which is exactly what several thousand adoring fans did last night at the NIA in Birmingham.
Part homecoming, part musical rebirth, Plant brought Krauss to his native Birmingham stomping ground to deliver a stunning set to launch the European leg of their world tour. London can wait; home is where the heart is.
After dates in Germany, Belgium, France, and the lands of ice and snow, it's back Stateside, finishing up (where else?) in Nashville, where this precious recording partnership was born.
Plant and Krauss first got together at a tribute concert to bluesman Leadbelly. T Bone Burnett, who Krauss knew from working on the Grammy award-winning soundtrack for O Brother, Where Art Thou?, brought her and Plant together, handpicked the music and the musicians. No pressure there, then.
Inspired by the critical acclaim heaped on the resulting album, Raising Sand, the pair decided to hit the road and last night's show was a bewildering kaleidoscopic journey through musical genres. It was wonderfully impossible to pigeon hole – blues, alt-country, spiritual, soul and traditional standards all blurring, underpinned by masterful musicianship and glorious vocals.
Time can play cruel tricks on legends. Plant, though, who will celebrate his 60th birthday this year, remains a peerless performer, leaping from the trance-like to the maniacal to the cheeky schoolboy. Grooving on stage with Krauss, whose voice, fiddle playing and demeanour constitute a rare thing of beauty, the Led Zeppelin frontman grinned like the cat who'd got the cream. It is possible for a rock god to learn new tricks.
"The first time I played that in Birmingham was 1963," said Plant after a blistering version of Brit-rock standard Fortune Teller, which was laced with breathy Krauss harmonies and a gut-churning guitar solo by Burnett, a colossus both in musical ability and physical stature. "Only two people knew it ... How sad is that?" said Plant, mocking his recall of trivia. "Free prescriptions and a long memory ... Don't print that!" he added, laughing.
The stand-outs from this 23-song two-hour set? Impossible to say, there really were so many. The evening started with Rich Woman, track one from Raising Sand. Plant prowled on stage from the right, dressed in a black jacket, red silk shirt, agonisingly tight burgundy trousers (yes, ladies, he still looks buff) and some mighty fine toe-curling cowboy boots.
Krauss, stepping in from the left, glowered into Plant's darting eyes, looking a picture in a pretty off-white dress with brown swirled patterning, her long blonde hair billowing in the stage breeze.
She looked like she'd just come from Bible class, apart from the smouldering looks and the footwear, that is. In homage to Mr Plant's strutting youth, Krauss wore thigh-high grey boots. She's no wall flower, and boy can she sing.
The set was a superbly pitched mix of songs from Raising Sand, a couple of Plant solo/collaborations (including Please Read The Letter, from the Page-Plant Walking Into Clarksdale) and some gems from the Led Zep locker.
Of the former, Krauss's singing was simply perfect on numbers such as Sister Rosetta Goes Before, Through The Morning, Through The Night and the eerily beautiful Tom Waits penned Trampled Rose.
Plant's vocal power and restraint was mesmerising on Nothin', skipping to playful pop on the gorgeous duo, Stick With Me Baby. The vocal balance and rich textures on Killing The Blues were terrific – best listened to in a log cabin by a crackling fire, although you could still feel a collective warm glow inside the cavernous NIA.
It seems odd that so much has been made of the apparently diverse musical backgrounds of the grizzled rocker and his little ole country girl.
The truth is that Plant's career with Led Zeppelin was burnished with the influences of roots music, pastoral folk and gnarled blues.
Led Zeppelin III may be best known for the thunderclap howl of Immigrant Song but the album also melds acoustic folk and blues traditional.
It was though the supergroup's next album, the stratospheric fourth, which was cherry-picked at the NIA. Black Dog, The Battle of Evermore and When The Levee Breaks, particularly the latter two, were entrancing.
Krauss was inspired in the Sandy Denny harmonies on Evermore – remarkable when you consider she was born the year the album was released. Plant was just stunning.
In fact, if you've ever wondered what Led Zep's best known album would have sounded like had the band's private tour jet, The Starship, ditched in the Georgia wilderness, here was your answer: heavy rock and pastoral meets the Duelling Banjos from Deliverance. It was spookily breath-taking, the banshee wail of the lad from West Bromwich set against the crystal vocals of the girl from Champaign, Illinois. You didn't know whether to hide behind your hands in terror or weep with joy at the deconstruction and revitalisation of these classic numbers.
Black Country Woman, from Physical Graffiti, was given the same spellbinding treatment.
The evening finished with the final track from Raising Sand, the heart-breaking traditional Long Journey Home. "Oh, the days will be empty/The nights so long without you my love …" They sure will be without Plant and Krauss.
Burnett has likened listening to the pair sing together as "almost hypnotic – some kind of psychotropic drug." And he's right. It's a natural high.
As he walked off, a fan threw a flower on to the stage for Plant. It used to be knickers, but Robert's grown up and smelled the roses. Flower power rocks.
May 6 2008 Review by Richard McComb
It was dubbed the most unlikely pairing in music: Robert Plant, the mighty King of Rock, and Alison Krauss, the demure Queen of Bluegrass.
How could the sledgehammer-in-chief of 70s stadium excess possibly gel with this delicate flower of tender, sweet country?
Alison Krauss and Robert Plant on stage at the NIA
The answer, of course, is that it's impossible to say. Sometime it's better not to dwell on the mystery; don't try to read the runes. It's far better to sit back and bathe in the magic, which is exactly what several thousand adoring fans did last night at the NIA in Birmingham.
Part homecoming, part musical rebirth, Plant brought Krauss to his native Birmingham stomping ground to deliver a stunning set to launch the European leg of their world tour. London can wait; home is where the heart is.
After dates in Germany, Belgium, France, and the lands of ice and snow, it's back Stateside, finishing up (where else?) in Nashville, where this precious recording partnership was born.
Plant and Krauss first got together at a tribute concert to bluesman Leadbelly. T Bone Burnett, who Krauss knew from working on the Grammy award-winning soundtrack for O Brother, Where Art Thou?, brought her and Plant together, handpicked the music and the musicians. No pressure there, then.
Inspired by the critical acclaim heaped on the resulting album, Raising Sand, the pair decided to hit the road and last night's show was a bewildering kaleidoscopic journey through musical genres. It was wonderfully impossible to pigeon hole – blues, alt-country, spiritual, soul and traditional standards all blurring, underpinned by masterful musicianship and glorious vocals.
Time can play cruel tricks on legends. Plant, though, who will celebrate his 60th birthday this year, remains a peerless performer, leaping from the trance-like to the maniacal to the cheeky schoolboy. Grooving on stage with Krauss, whose voice, fiddle playing and demeanour constitute a rare thing of beauty, the Led Zeppelin frontman grinned like the cat who'd got the cream. It is possible for a rock god to learn new tricks.
"The first time I played that in Birmingham was 1963," said Plant after a blistering version of Brit-rock standard Fortune Teller, which was laced with breathy Krauss harmonies and a gut-churning guitar solo by Burnett, a colossus both in musical ability and physical stature. "Only two people knew it ... How sad is that?" said Plant, mocking his recall of trivia. "Free prescriptions and a long memory ... Don't print that!" he added, laughing.
The stand-outs from this 23-song two-hour set? Impossible to say, there really were so many. The evening started with Rich Woman, track one from Raising Sand. Plant prowled on stage from the right, dressed in a black jacket, red silk shirt, agonisingly tight burgundy trousers (yes, ladies, he still looks buff) and some mighty fine toe-curling cowboy boots.
Krauss, stepping in from the left, glowered into Plant's darting eyes, looking a picture in a pretty off-white dress with brown swirled patterning, her long blonde hair billowing in the stage breeze.
She looked like she'd just come from Bible class, apart from the smouldering looks and the footwear, that is. In homage to Mr Plant's strutting youth, Krauss wore thigh-high grey boots. She's no wall flower, and boy can she sing.
The set was a superbly pitched mix of songs from Raising Sand, a couple of Plant solo/collaborations (including Please Read The Letter, from the Page-Plant Walking Into Clarksdale) and some gems from the Led Zep locker.
Of the former, Krauss's singing was simply perfect on numbers such as Sister Rosetta Goes Before, Through The Morning, Through The Night and the eerily beautiful Tom Waits penned Trampled Rose.
Plant's vocal power and restraint was mesmerising on Nothin', skipping to playful pop on the gorgeous duo, Stick With Me Baby. The vocal balance and rich textures on Killing The Blues were terrific – best listened to in a log cabin by a crackling fire, although you could still feel a collective warm glow inside the cavernous NIA.
It seems odd that so much has been made of the apparently diverse musical backgrounds of the grizzled rocker and his little ole country girl.
The truth is that Plant's career with Led Zeppelin was burnished with the influences of roots music, pastoral folk and gnarled blues.
Led Zeppelin III may be best known for the thunderclap howl of Immigrant Song but the album also melds acoustic folk and blues traditional.
It was though the supergroup's next album, the stratospheric fourth, which was cherry-picked at the NIA. Black Dog, The Battle of Evermore and When The Levee Breaks, particularly the latter two, were entrancing.
Krauss was inspired in the Sandy Denny harmonies on Evermore – remarkable when you consider she was born the year the album was released. Plant was just stunning.
In fact, if you've ever wondered what Led Zep's best known album would have sounded like had the band's private tour jet, The Starship, ditched in the Georgia wilderness, here was your answer: heavy rock and pastoral meets the Duelling Banjos from Deliverance. It was spookily breath-taking, the banshee wail of the lad from West Bromwich set against the crystal vocals of the girl from Champaign, Illinois. You didn't know whether to hide behind your hands in terror or weep with joy at the deconstruction and revitalisation of these classic numbers.
Black Country Woman, from Physical Graffiti, was given the same spellbinding treatment.
The evening finished with the final track from Raising Sand, the heart-breaking traditional Long Journey Home. "Oh, the days will be empty/The nights so long without you my love …" They sure will be without Plant and Krauss.
Burnett has likened listening to the pair sing together as "almost hypnotic – some kind of psychotropic drug." And he's right. It's a natural high.
As he walked off, a fan threw a flower on to the stage for Plant. It used to be knickers, but Robert's grown up and smelled the roses. Flower power rocks.
RP&AK *NEW* Tour videos\updates
Jazzfest had 'Magic in the Mud'
Posted by Keith Spera, Music writer, theTimes-Picayune May 06, 2008 8:33AM
Categories: Breaking News, Jazzfest, Living: Arts and Entertainment, Music feature
Keith I. Marszalek / NOLA.comShoe protection was of extreme importance at Jazzfest.
The monsoon rains that visited themselves on this star-studded Jazzfest only served to produce more magical moments. By the time the last note was played on a crystal-blue Sunday, the Fair Grounds was back at the center of the entertainment universe.
The 2008 edition of the New Orleans Jazz and Heritage Festival presented by Shell boasted the most marquee talent in the festival's 39-year history. But its success depended on an age-old truism: The willingness of both festival staffers and attendees to adapt in order to keep the party going.
A mallard lays eggs in the grass alongside the Acura Stage field? Organizers erect protective barricades and signs, and fest-goers sprinkle it with dollar bills, perhaps for the ducklings' college fund.
A biblical storm parks itself over the Fair Grounds the first weekend? Shivering fans don ponchos and shrimp boots and dance in the swamp. And by the second weekend, the grounds crew has largely rehabilitated the site with fresh strips of sod, nature's carpet.
Awards, memories, observations and suggestions from the 2008 Jazzfest:
. . . . . . .
The Show Must Go On Award: Billy Joel and his audience. The Piano Man continued to play, and thousands of fans continued to sing along, through a monsoon. How wet was it? During "Keeping the Faith," a stage hand squeegeed water off the top of Joel's grand piano.
. . . . . . .
The Show Must Go On Award runner-up: Robert Plant. Plant reportedly was so sick the day before his Acura Stage set with Alison Krauss that the duo canceled a scheduled video shoot at One Eyed Jacks in the French Quarter. Good thing he rallied because . . .
. . . . . . .
The best set I saw: Robert Plant and Alison Krauss. I can't declare it the best set of the fest, because obviously I didn't see everything. But the bluegrass sprite, the grizzled rocker and their all-star Americana band, featuring guitarists Buddy Miller and T-Bone Burnett, were absolutely spellbinding. They tore into a banjo-laced "Black Dog," and built "When the Levee Breaks" atop surging mandolins. Krauss' haunting, sumptuous voice took full flight in "Down to the River to Pray," as Plant and two bandmates harmonized on a shared microphone; the a cappella arrangement induced goosebumps even where I stood, far back on the field. Plant described their collaboration as "new, fantastic and stimulating." No argument there.
. . . . . . .
Most flagrantly offensive class distinction: As the wet, muddy masses huddled cheek to jowl on the ground level of the Grandstand the first Saturday, the second-level bleachers, visible to all through floor-to-ceiling glass walls, remained dry and empty, reserved for Big Chief VIPs.
I've got no problem with premium tickets and perks. However, it's one thing to add a new premium benefit, such as covered viewing stands and separate entrances, and quite another to take something away from the average fest-goer. Cordoning off the vast Grandstand bleachers denied what was, for many years, a prime spot to chill, marvel at the expanse of the festival and escape from the sun and rain. Doing so sets an unwelcome precedent and sends an unfortunate message. Festival producers should reopen the Grandstand to all.
. . . . . . .
Opinions varied on Stevie Wonder. I thought his show was poorly paced and not tailored for the setting. Given his enormous talents and vast catalog of songs, I expected more. Several readers who posted comments on NOLA.com strongly disagreed with my impression; they believed his set was an example of Wonder's spontaneity, musicality and refusal to function as a human jukebox. Some pointed out that the "backing vocalist" I referred to in my initial review was Wonder's daughter, Aisha Morris. Her noteworthy pedigree aside, I still would rather have heard her father sing.
. . . . . . .
The ultimate Parrothead souvenir: Jimmy Buffett's flip-flops. He traded them to an audience member for a T-shirt that read, "Helping rebuild New Orleans one margarita at a time."
. . . . . . .
He should have hitched a ride with Buffett: Minutes after Buffett and Allen Toussaint closed down the Acura Stage with a voice/piano duet of "Do You Know What it Means to Miss New Orleans?" security halted pedestrian traffic on the dirt track behind the stage. A convoy sped from the backstage area, with Buffett himself hanging out a passenger side window in the lead SUV, whooping it up as fans cheered. Moments later, Toussaint, on foot and bound for the Mystery Street exit, attempted to cross the vehicle side of the dirt track. Security guards unceremoniously shooed him back to the pedestrian side.
. . . . . . .
Quint Davis' fondest farewell: As the Jazzfest producer bid the audience goodbye on the first Friday, Sheryl Crow bounded across the Acura Stage to give him a big hug.
. . . . . . .
Most rampant unsubstantiated rumor: that Stevie Wonder would guest during Troy "Trombone Shorty" Andrews' late-night Thursday show at Tipitina's. All week, well-meaning and well-informed people assured me this was a done deal. It would not be without precedent: On Aug. 30, 2006, the night after a Hurricane Katrina benefit at the New Orleans Arena, Wonder arrived unannounced at d.b.a. on Frenchmen Street and spent 45 minutes onstage with Walter "Wolfman" Washington's band.
The sit-in, alas, did not happen. Tipitina's, however, was packed for the show's 3 a.m. start; at least one prominent New Orleans trumpeter and his entourage reportedly showed up specifically to see Wonder. Shorty played until 7 a.m. Friday morning -- 90 minutes before Wonder called in to the WWL-TV morning show for a brief chat with the show's hosts and musical guests The Dixie Cups.
. . . . . . .
Where were they? With a finite number of performance slots and a nearly infinite number of Louisiana musicians, some deserving artists are bound to be left out of Jazzfest. But this year's roster omitted at least two acts with strong new CDs: Eric Lindell, the soul-blues guitarist and singer; and north shore acoustic-blues singer and guitarist Owen "Big Daddy O" Tufts. Someone in Jazzfest's office should pencil in these guys for the 2009 festival now.
. . . . . . .
Most ubiquitous nonmusical celebrity: actor John C. Reilly. From the "Ponderosa Stomp" to Aaron Neville's Gospel Tent show, he was everywhere.
. . . . . . .
Second most ubiquitous nonmusical celebrity: actor Jude Law. He checked out Preservation Hall on Thursday and joined his buddy Irvin Mayfield onstage during the New Orleans Jazz Orchestra's set at the Fair Grounds.
. . . . . . .
Best New Orleans music lesson: the T-shirts worn at the Jazz & Heritage Stage by the Midnight Disturbers. The black shirts with red lettering urged people to "Listen to . . ." someone. Drummer Stanton Moore's shirt named James Black, the late great architect of modern jazz drumming in New Orleans; Moore's 3-year-old daughter sported a pink shirt advertising Zigaboo Modeliste of the Meters. Galactic saxophonist Ben Ellman's plugged the late Fred "Shep" Sheppard. Bonerama trombonist Mark Mullins' shirt remembered his late bandmate Brian O'Neill. Trumpeter Kenneth Terry saluted Dave Bartholomew. Trumpeter Shamarr Allen called out Henry "Red" Allen. Trombonist "Big" Sam Williams memorialized Frog Joseph. Taking an existential approach, saxophonist Skerik's shirt said, "Listen to yourself."
. . . . . . .
Most radical three hours of guitar heroics: Sonny Landreth's mind-bending slide guitar excursions on the Gentilly Stage the second Sunday, followed by the Raconteurs' fractured, feedback-laden blues-rock freakouts. Raconteurs guitarist Jack White also wins the Best Dressed Rocker award: He sported a brown suit stitched with sequins and bones, a Halloween variation of the classic country-rock Nudie suit. Even the band's guitar tech wore a tie and vest.
. . . . . . .
Let's hear it for Harvey: Raconteurs singer Brendan Benson reminded the Gentilly Stage crowd that he grew up on the West Bank. That explains why he named one of his solo albums "Lapalco."
. . . . . . .
Most timely plug: On Sunday at the Gentilly Stage, guest rapper Chali 2na announced that he and Galactic would perform "Think Back" on "Late Night With Conan O'Brien" tonight.
. . . . . . .
Most unexpected delight: the Carolina Chocolate Drops, a young trio that specializes in 19th- and early 20th-century rural African-American string music. They were no novelty act, nor were they stuck in the past. They ended their Blues Tent set with "Hit 'Em Up Style," a sassy, contemporary anthem by R&B singer Blu Cantrell. The Drops' Rhiannon Giddens tore it up with a focused, resolute wail and the cadence of a rapper, backed by Dom Flemons on banjo and Justin Robinson on a microphone as a human beatbox.
. . . . . . .
Lady Tambourine's best moment: Rosalie Washington arrived 40 minutes late for her own show in the Gospel Tent and was denied entrance to the same tent while Aaron Neville was singing. But she ambled onstage during Texas soul-funk singer Ruthie Foster's set at the Blues Tent and absolutely elevated the room. "Tambourine Sister, you rock!" Foster shouted. The overflow crowd roared its approval.
VIDEOS::::
http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=96398
"Fortune Teller":
..
"The Battle of Evermore":
"Gone, Gone, Gone (Done Moved On)":
..
Posted by Keith Spera, Music writer, theTimes-Picayune May 06, 2008 8:33AM
Categories: Breaking News, Jazzfest, Living: Arts and Entertainment, Music feature
Keith I. Marszalek / NOLA.comShoe protection was of extreme importance at Jazzfest.
The monsoon rains that visited themselves on this star-studded Jazzfest only served to produce more magical moments. By the time the last note was played on a crystal-blue Sunday, the Fair Grounds was back at the center of the entertainment universe.
The 2008 edition of the New Orleans Jazz and Heritage Festival presented by Shell boasted the most marquee talent in the festival's 39-year history. But its success depended on an age-old truism: The willingness of both festival staffers and attendees to adapt in order to keep the party going.
A mallard lays eggs in the grass alongside the Acura Stage field? Organizers erect protective barricades and signs, and fest-goers sprinkle it with dollar bills, perhaps for the ducklings' college fund.
A biblical storm parks itself over the Fair Grounds the first weekend? Shivering fans don ponchos and shrimp boots and dance in the swamp. And by the second weekend, the grounds crew has largely rehabilitated the site with fresh strips of sod, nature's carpet.
Awards, memories, observations and suggestions from the 2008 Jazzfest:
. . . . . . .
The Show Must Go On Award: Billy Joel and his audience. The Piano Man continued to play, and thousands of fans continued to sing along, through a monsoon. How wet was it? During "Keeping the Faith," a stage hand squeegeed water off the top of Joel's grand piano.
. . . . . . .
The Show Must Go On Award runner-up: Robert Plant. Plant reportedly was so sick the day before his Acura Stage set with Alison Krauss that the duo canceled a scheduled video shoot at One Eyed Jacks in the French Quarter. Good thing he rallied because . . .
. . . . . . .
The best set I saw: Robert Plant and Alison Krauss. I can't declare it the best set of the fest, because obviously I didn't see everything. But the bluegrass sprite, the grizzled rocker and their all-star Americana band, featuring guitarists Buddy Miller and T-Bone Burnett, were absolutely spellbinding. They tore into a banjo-laced "Black Dog," and built "When the Levee Breaks" atop surging mandolins. Krauss' haunting, sumptuous voice took full flight in "Down to the River to Pray," as Plant and two bandmates harmonized on a shared microphone; the a cappella arrangement induced goosebumps even where I stood, far back on the field. Plant described their collaboration as "new, fantastic and stimulating." No argument there.
. . . . . . .
Most flagrantly offensive class distinction: As the wet, muddy masses huddled cheek to jowl on the ground level of the Grandstand the first Saturday, the second-level bleachers, visible to all through floor-to-ceiling glass walls, remained dry and empty, reserved for Big Chief VIPs.
I've got no problem with premium tickets and perks. However, it's one thing to add a new premium benefit, such as covered viewing stands and separate entrances, and quite another to take something away from the average fest-goer. Cordoning off the vast Grandstand bleachers denied what was, for many years, a prime spot to chill, marvel at the expanse of the festival and escape from the sun and rain. Doing so sets an unwelcome precedent and sends an unfortunate message. Festival producers should reopen the Grandstand to all.
. . . . . . .
Opinions varied on Stevie Wonder. I thought his show was poorly paced and not tailored for the setting. Given his enormous talents and vast catalog of songs, I expected more. Several readers who posted comments on NOLA.com strongly disagreed with my impression; they believed his set was an example of Wonder's spontaneity, musicality and refusal to function as a human jukebox. Some pointed out that the "backing vocalist" I referred to in my initial review was Wonder's daughter, Aisha Morris. Her noteworthy pedigree aside, I still would rather have heard her father sing.
. . . . . . .
The ultimate Parrothead souvenir: Jimmy Buffett's flip-flops. He traded them to an audience member for a T-shirt that read, "Helping rebuild New Orleans one margarita at a time."
. . . . . . .
He should have hitched a ride with Buffett: Minutes after Buffett and Allen Toussaint closed down the Acura Stage with a voice/piano duet of "Do You Know What it Means to Miss New Orleans?" security halted pedestrian traffic on the dirt track behind the stage. A convoy sped from the backstage area, with Buffett himself hanging out a passenger side window in the lead SUV, whooping it up as fans cheered. Moments later, Toussaint, on foot and bound for the Mystery Street exit, attempted to cross the vehicle side of the dirt track. Security guards unceremoniously shooed him back to the pedestrian side.
. . . . . . .
Quint Davis' fondest farewell: As the Jazzfest producer bid the audience goodbye on the first Friday, Sheryl Crow bounded across the Acura Stage to give him a big hug.
. . . . . . .
Most rampant unsubstantiated rumor: that Stevie Wonder would guest during Troy "Trombone Shorty" Andrews' late-night Thursday show at Tipitina's. All week, well-meaning and well-informed people assured me this was a done deal. It would not be without precedent: On Aug. 30, 2006, the night after a Hurricane Katrina benefit at the New Orleans Arena, Wonder arrived unannounced at d.b.a. on Frenchmen Street and spent 45 minutes onstage with Walter "Wolfman" Washington's band.
The sit-in, alas, did not happen. Tipitina's, however, was packed for the show's 3 a.m. start; at least one prominent New Orleans trumpeter and his entourage reportedly showed up specifically to see Wonder. Shorty played until 7 a.m. Friday morning -- 90 minutes before Wonder called in to the WWL-TV morning show for a brief chat with the show's hosts and musical guests The Dixie Cups.
. . . . . . .
Where were they? With a finite number of performance slots and a nearly infinite number of Louisiana musicians, some deserving artists are bound to be left out of Jazzfest. But this year's roster omitted at least two acts with strong new CDs: Eric Lindell, the soul-blues guitarist and singer; and north shore acoustic-blues singer and guitarist Owen "Big Daddy O" Tufts. Someone in Jazzfest's office should pencil in these guys for the 2009 festival now.
. . . . . . .
Most ubiquitous nonmusical celebrity: actor John C. Reilly. From the "Ponderosa Stomp" to Aaron Neville's Gospel Tent show, he was everywhere.
. . . . . . .
Second most ubiquitous nonmusical celebrity: actor Jude Law. He checked out Preservation Hall on Thursday and joined his buddy Irvin Mayfield onstage during the New Orleans Jazz Orchestra's set at the Fair Grounds.
. . . . . . .
Best New Orleans music lesson: the T-shirts worn at the Jazz & Heritage Stage by the Midnight Disturbers. The black shirts with red lettering urged people to "Listen to . . ." someone. Drummer Stanton Moore's shirt named James Black, the late great architect of modern jazz drumming in New Orleans; Moore's 3-year-old daughter sported a pink shirt advertising Zigaboo Modeliste of the Meters. Galactic saxophonist Ben Ellman's plugged the late Fred "Shep" Sheppard. Bonerama trombonist Mark Mullins' shirt remembered his late bandmate Brian O'Neill. Trumpeter Kenneth Terry saluted Dave Bartholomew. Trumpeter Shamarr Allen called out Henry "Red" Allen. Trombonist "Big" Sam Williams memorialized Frog Joseph. Taking an existential approach, saxophonist Skerik's shirt said, "Listen to yourself."
. . . . . . .
Most radical three hours of guitar heroics: Sonny Landreth's mind-bending slide guitar excursions on the Gentilly Stage the second Sunday, followed by the Raconteurs' fractured, feedback-laden blues-rock freakouts. Raconteurs guitarist Jack White also wins the Best Dressed Rocker award: He sported a brown suit stitched with sequins and bones, a Halloween variation of the classic country-rock Nudie suit. Even the band's guitar tech wore a tie and vest.
. . . . . . .
Let's hear it for Harvey: Raconteurs singer Brendan Benson reminded the Gentilly Stage crowd that he grew up on the West Bank. That explains why he named one of his solo albums "Lapalco."
. . . . . . .
Most timely plug: On Sunday at the Gentilly Stage, guest rapper Chali 2na announced that he and Galactic would perform "Think Back" on "Late Night With Conan O'Brien" tonight.
. . . . . . .
Most unexpected delight: the Carolina Chocolate Drops, a young trio that specializes in 19th- and early 20th-century rural African-American string music. They were no novelty act, nor were they stuck in the past. They ended their Blues Tent set with "Hit 'Em Up Style," a sassy, contemporary anthem by R&B singer Blu Cantrell. The Drops' Rhiannon Giddens tore it up with a focused, resolute wail and the cadence of a rapper, backed by Dom Flemons on banjo and Justin Robinson on a microphone as a human beatbox.
. . . . . . .
Lady Tambourine's best moment: Rosalie Washington arrived 40 minutes late for her own show in the Gospel Tent and was denied entrance to the same tent while Aaron Neville was singing. But she ambled onstage during Texas soul-funk singer Ruthie Foster's set at the Blues Tent and absolutely elevated the room. "Tambourine Sister, you rock!" Foster shouted. The overflow crowd roared its approval.
VIDEOS::::
http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=96398
"Fortune Teller":
..
"The Battle of Evermore":
"Gone, Gone, Gone (Done Moved On)":
..
How would you handle this...
How would you handle your "other-half", spouse, partner if they seemed
to have a problem with your best, one of your best very close friends of many
years prior to meeting them?
Some people would give their partner the respect and give up the friendship..
Do you agree?
Some would say learn to accept it because my friend is a big part of my life and has been for many years, way before I knew you...
Do you agree?
And, now let's say your friend is of the opposite sex..
Then what would you do?
to have a problem with your best, one of your best very close friends of many
years prior to meeting them?
Some people would give their partner the respect and give up the friendship..
Do you agree?
Some would say learn to accept it because my friend is a big part of my life and has been for many years, way before I knew you...
Do you agree?
And, now let's say your friend is of the opposite sex..
Then what would you do?
What’s Your View....
Do you think it's justified for a "spouse" or "partner" to badger,
over-power, scream at the other, belittle, make fun of and call
the other-harsh, hurtful names in a heated argument or disagreement?
When or is it acceptable? Maybe, ONCE..? After the first time it happens
they claim the words..actions came out of anger..?
What does it mean to you if it's done repeatedly towards any argument..disagreement?
Is there any truth to it..? Do they really think that, in order for those words..actions to spill out so easily, every time? Or is because they are bullying you?
..Share your thoughts.
It may help somebody.
over-power, scream at the other, belittle, make fun of and call
the other-harsh, hurtful names in a heated argument or disagreement?
When or is it acceptable? Maybe, ONCE..? After the first time it happens
they claim the words..actions came out of anger..?
What does it mean to you if it's done repeatedly towards any argument..disagreement?
Is there any truth to it..? Do they really think that, in order for those words..actions to spill out so easily, every time? Or is because they are bullying you?
..Share your thoughts.
It may help somebody.
Robert Plant and Alison Krauss
...
==================================
Please Read the Letter:
http://www.rounder.com/raisingsand/pleaseread.html
click on the link above
==================================
Please Read the Letter:
http://www.rounder.com/raisingsand/pleaseread.html
click on the link above
Here comes Darryl...!
Check this out from a really good friend of mine
Darryl St. John...
..
You can find Darryl here:
http://www.myspace.com/darrylstjohn
Hope everyone is having a great day!
-AM
xo
Darryl St. John...
..
You can find Darryl here:
http://www.myspace.com/darrylstjohn
Hope everyone is having a great day!
-AM
xo
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