Robert Plant – Now And Here (Westwood One broadcast) (1988)

FrontCover1After Led Zeppelin disbanded in December 1980 (following the death of drummer John Bonham), Plant briefly considered abandoning music to pursue a career as a teacher in the Rudolf Steiner education system; going so far as to be accepted for teacher-training. He nevertheless embarked on a successful solo career, helped by encouragement from Genesis drummer Phil Collins, who would go on to play with him.[30] Plant’s solo career began with the album Pictures at Eleven in 1982, followed by 1983’s The Principle of Moments. Popular tracks from this period include “Big Log” (a Top 20 hit in 1983), “In the Mood” (1983), “Little by Little” (from 1985’s Shaken ‘n’ Stirred), “Far Post” (originally only on the B-side of “Burning Down One Side” but popularised by airplay on album-oriented rock stations), “Tall Cool One” (a No. 25 hit off 1988’s Now and Zen) and later “I Believe” (from 1993’s Fate of Nations). This last track, like Led Zeppelin’s “All My Love”, was written for and dedicated to his late son, Karac. Whilst Plant avoided performing Led Zeppelin songs through much of this period (although he would occasionally improvise his unique Zeppelin screams into his set), his tours in 1983 (with Phil Collins on drums) and in 1985 were very successful, often performing to sold-out arena-sized venues. In 1986 Plant performed at the Birmingham Heart Beat Charity Concert with other famous Midlands musicians. (ny wikipedia)

And this is a bootleg from the  “Now And Zen” tour through the USA. It was reorded live for a Westwood One braodcast (“Superstar Concert Series” series)


Alternate front+ back cover

This is an excellent broadcast from 1988 on his Now and Zen tour. He plays an assortment of solo and Zepplin songs, ending with Tall Cool One. This song, unlike the one on the album, has more than just samples of Zepplin tunes in it. Quite interesting and very enjoyable. The music is not from the original Now And Here release on Main Event records, as my copy has 2 more tracks. (the Now and Here artwork also has the date listed as 6/89 which was a radio re-broadcast date) I don’t know how the original Now And Here sounded, but these recording sounds perfect. (by

The covers are from my bootleg collection, the music is a pre FM recording I found in the net.

Recorded live at the Philadelphia Spectrum, Philadelphia, PA., 23 May, 1988
excellent pre-FM recording

More alternate frontcovers

Chris Blackwell (drums)
Doug Boyle (guitar)
Phil Johnstone (keyboards, guitar)
Charlie Jones (bass)
Robert Plant -(vocals)


01. Westwood One Opening 0.45
02. Helen Of Troy (Plant/Johnstone) 5.49
03. Other Arms (Plant/Blunt) 5.06
04. Heaven Knows (Johnstone/Barrett) 5.56
05. In The Evening (Plant/Jones/Page) 9.04
06. In The Mood (Plant/Blunt/Martinez) 10.40
07. Plant talks 0.43
08. Black Country Woman (Plant/Page) 4.55
09. Ship Of Fools (Plant/Johnstone) 5.37
10. Dimples (Hooker/Plant) 6.29
11. Trampled Underfoot (Plant/Jones/Page) 5.46
12. Misty Mountain Hop (Plant/Jones/Page) 5.15
13. Tall Cool One (Plant/Johnstone) 5.18
14. Westwood One Outro 0.32
15. Westwood One Radio Promo 0.41



Robert Plant – Shaken ‘N’ Stirred (1985)

FrontCover1Shaken ‘n’ Stirred is the third solo album by former Led Zeppelin vocalist Robert Plant, released in 1985 on the Es Paranza label. It featured his second Mainstream Rock Tracks top hit, “Little by Little”, which was #1 on the chart for two weeks.

Rhino Entertainment released a remastered edition of the album, with one bonus track, on 20 March 2007. (by wikipedia)

While some of Shaken ‘N Stirred’s makeup includes typical keyboard pop/rock, there’s still plenty of variance, both vocally and otherwise, to keep the album from going under. The album cracked the Top 20 in the U.S. and in Britain thanks to the keen finesse of “Little by Little,” which spreads out Plant’s vocal puissance across an attractive rhythm. This time around, drummer Richard Hayward from Little Feat adds some percussive texture to a mixture of world RobertPlantbeats, unconventional melodies and rhythms, and a number of other creative and colorful musical nuances. Some of the music sounds a little foreign and profound at first, but efforts like “Hip to Hoo” and “Kallalou” grow to be impressive, beyond-the-norm-styled numbers after a few listens. Plant’s decision to create a non-commercial type of rock album proved that he could step outside his typical rock & roll roots and still make some appealing music, yet many fans found the album to be too dense and too experimental upon its initial release. Plant’s voguish character is still ingrained throughout the tracks, and his tangents aren’t so overwhelming that they throw his material in an altogether complete direction. If anything, the songs on Shaken ‘N Stirred are an inspiring venture for Plant, as he manages to fulfill his slightly off-centered approach with some interesting and catchy results. (by Mike DeGagne)

BluntPlantRobbie Blunt + Robert Plant

Robbie Blunt (guitar)
Richie Hayward (drums)
Paul Martinez (bass)
Robert Plant (vocals)
Jezz Woodroffe (keyboards)
Toni Halliday (vocals)

01. Hip To Hoo (Blunt/Plant/Hayward/Woodroffe) 4.51
02. Kallalou Kallalou (Plant/Woodroffe) 4.17
03. Too Loud (Blunt/Plant/Hayward/Woodroffe) 4.07
04. Trouble Your Money (Blunt/Plant) 4.14
05. Pink And Black (Blunt/Plant/Hayward/Woodroffe) 3.45
06. Little By Little (Plant/Woodroffe) 4.43
07. Doo Doo A Do Do (Blunt/Plant) 5.09
08. Easily Lead (Blunt/Plant/Woodroffe) 4.35
09. Sixes And Sevens (Blunt/Plant/Hayward/Woodroffe/Martinez) 6.04
10. Little By Little (Remix) (Plant/Woodroffe) 5.12


Robert Plant & Alison Krauss – Raising Sand (2007)

FrontCover1Raising Sand is a Grammy-award winning collaboration album by rock singer Robert Plant and bluegrass-country singer Alison Krauss. It was released on October 23, 2007 by Rounder Records. Raising Sand won Album of the Year at the 2009 Grammy Awards.

The two songs written by Gene Clark—”Polly (Come Home)” and “Through the Morning, Through the Night”—were originally recorded by Dillard & Clark for their 1969 album, Through the Morning Through the Night. “Rich Woman” was first recorded by McKinley Millet (as L’il Millet) and his Creoles in 1955, for Specialty Records. “Please Read the Letter” was first recorded for the Page and Plant album, Walking into Clarksdale, in 1998. “Gone, Gone, Gone” was originally written and recorded by the Everly Brothers for Warner Music in 1964. They also recorded “Stick With me Baby” in 1960, for A Date with The Everly Brothers. “Trampled Rose” was originally written and recorded by Tom Waits, and was featured on Real Gone in 2004.(by wikipedia)

KrausPlant01Apart from the influence of Plant and Krauss’ vocal styles and talent, the album’s producer, T-Bone Burnett, is credited with giving the album its skeletal musical style.(by wikipedia)
What seems to be an unlikely pairing of former Led Zeppelin vocalist Robert Plant and bluegrass superstar Alison Krauss is actually one of the most effortless-sounding duos in modern popular music. The bridge seems to be producer T-Bone Burnett and the band assembled for this outing: drummer Jay Bellerose (who seems to be the session drummer in demand these days), upright bassist Dennis Crouch, guitarists Marc Ribot and Burnett, with Greg Leisz playing steel here and there, and a number of other guest appearances. Krauss, a monster fiddle player, only does so on two songs here. The proceedings are, predictably, very laid-back. Burnett has only known one speed these last ten years, and so the material chosen by the three is mostly very subdued. This doesn’t make it boring, despite Burnett’s production, which has become utterly predictable since he started working with Gillian Welch. He has a “sound” in the same way Daniel Lanois does: it’s edges are all rounded, everything is very warm, and it all sounds artificially dated. Sam Phillips’ “Sister Rosetta Goes Before Us” is a centerpiece on this set. It has her fingerprints all over it. This tune, with its forlorn, percussion-heavy tarantella backdrop, might have come from a Tom Waits record were it not so intricately melodic — and Krauss’ gypsy swing fiddle is a gorgeous touch. There is an emptiness at the heart of longing particularly suited to Krauss’ woodsy voice, and Plant’s harmony vocal is perfect, understated yet ever-present. It’s the most organically atmospheric tune on the set — not in terms of production, but for lyric and compositional content. Stellar.

KrausPlant02Plant’s own obsession with old rockabilly and blues tunes is satisfied on the set’s opener, “Rich Woman,” by Dorothy LaBostrie and McKinley Miller. It’s all swamp, all past midnight, all gigolo boasting. Krauss’ harmony vocal underscores Plant’s low-key crooned boast as a mirror, as the person being used and who can’t help it. Rollie Salley’s “Killing the Blues” is all cough syrup guitars, muffled tom toms, and played-in-bedroom atmospherics. Nonetheless, the two vocalists make a brilliant song come to life with their shared sorrow, and it’s as if the meaning in the tune actually happens from the bitter irony in the space between the two vocalists as the whine of Leisz’s steel roots this country song in the earth, not in the white clouds reflected in its refrain. There are a pair of Gene Clark tunes here as well. Plant is a Clark fan, and so it’s not a surprise, but the choices are: “Polly Come Home” and “Through the Morning, Through the Night” come from the second Dillard & Clark album from 1969 with the same title as the latter track. The first is a haunting ballad done in an old-world folk style that Clark would have been proud of. It reflects the same spirit and character as his own White Light album, but with Plant and Krauss, the spirit of Celtic-cum-Appalachian style that influenced bluegrass, and the Delta blues that influenced rock, are breached. “Through the Morning, Through the Night” is a wasted country love song told from the point of view of an outlaw. Plant gets his chance to rock — a bit — in the Everly Brothers’ “Gone Gone Gone (Done Moved On).” While it sounds nothing like the original, Plant’s pipes get to croon and drift over the distorted guitars and a clipped snare; he gets to do his trademark blues improv bit between verses. To be honest, it feels like it was tossed off and, therefore, less studied than anything else here: it’s a refreshing change of pace near the middle of the disc. It “rocks” in a roots way.

KrausPlant03“Please Read the Letter” is written by Plant, Page Charlie Jones, and Michael Lee. Slow, plodding, almost crawling, Krauss’ harmony vocal takes it to the next step, adds the kind of lonesome depth that makes this a song whispered under a starless sky rather than just another lost love song. Waits and Kathleen Brennan’s “Trampled Rose,” done shotgun ballad style, is, with the Phillips tune, the most beautiful thing here. Krauss near the top of her range sighs into the rhythm. Patrick Warren’s toy piano sounds more like a marimba, and his pump organ adds to the percussive nature of this wary hymn from the depths. When she sings “You never pay just once/To get the job done,” this skeletal band swells. Ribot’s dobro sounds like a rickety banjo, and it stutters just ahead of the bass drum and tom toms in Bellerose’s kit. Naomi Neville’s “Fortune Teller” shows Burnett at his best as a producer. He lets Plant’s voice come falling out of his mouth, staggering and stuttering the rhythms so they feel like a combination of Delta blues, second-line New Orleans, and Congo Square drum walk. The guitar is nasty and distorted, and the brush touches with their metallic sheen are a nice complement to the bass drums. It doesn’t rock; it struts and staggers on its way. Krauss’ wordless vocal in the background creates a nice space for that incessant series of rhythms to play to.

KrausThe next three tunes are cagey, even for this eclectic set: Mel Tillis’ awesome ballad “Stick with Me Baby” sounds more like Dion & the Belmonts on the street corner on cough syrup and meaning every word. There is no doo wop, just the sweet melody falling from the singers’ mouths like an incantation with an understated but pronounced rhythm section painting them singing together in front of a burning ash can. This little gem is followed by a reading of Townes Van Zandt’s “Nothin'” done in twilight Led Zeppelin style. It doesn’t rock either. It plods and drifts, and crawls. Krauss’ fiddle moans above the tambourine, indistinct and distorted; low-tuned electric guitars and the haunted, echoing banjo are a compelling move and rescue the melody from the sonic clutter — no, sonic clutter is not a bad thing. The weirdest thing is that while it’s the loudest tune on the set, it features Norman Blake on acoustic guitar with Burnett. This is what singer/songwriter heavy metal must sound like. And it is oh-so-slow. The final part of the trilogy of the weird takes place on Little Milton Campbell’s “Let Your Loss Be Your Lesson,” a jangly country rocker in the vein of Neil Young without the weight and creak of age hindering it. Krauss is such a fine singer, and she does her own Plant imitation here. She has his phrasing down, his slippery way of enunciating, and you can hear why this was such a great match-up. The band can play backbone slip rockabilly shuffle with their eyes closed and their hands tied behind their backs, and they do it here. It’s a great moment before the close. The haunting, old-timey “Your Long Journey by A.D. and Rosa Lee Watson,” with its autoharp (played by Mike Seeger no less), Riley Baugus’ banjo, Crouch’s big wooden bass, and Blake’s acoustic guitar, is a whispering way to send this set of broken love songs off into the night. These two voices meld together seamlessly; they will not be swallowed even when the production is bigger than the song. They don’t soar, they don’t roar, they simply sing songs that offer different shades of meaning as a result of this welcome collaboration. ( by Thom Jurek)

Robert Plant (vocals)
Alison Krauss (vocals, fiddle)
Riley Baugus (banjo)
Jay Bellerose (drums)
Norman Blake (guitar)
T-Bone Burnett (guitar, bass)
Dennis Crouch (bass)
Greg Leisz (pedal steel guitar)
Marc Ribot (banjo, dobro, guitar)
Mike Seeger (autoharp)
Patrick Warren (keyboards)

01.Rich Woman (LaBostrie/Millet) 4.04
02. Killing The Blues (Salley) 4.16
03. Sister Rosetta Goes Before Us (Phillips) 3.26
04. Polly Come Home (Clark) 5.36
05. Gone Gone Gone (Done Moved On) (D.Everly/P.Everly) 3.33
06. Through The Morning, Through The Night (Clark) 4.01
07. Please Read the Letter (Jones/Lee/Page/Plant) 5.53
08. Trampled Rose (Brennan/Waits) 5.34
09. Fortune Teller (Toussaint) 4-30
10. Stick With Me Baby (Tillis) 2.50
11. Nothin’ (van Zandt) 5.33
12. Let Your Loss Be Your Lesson (Campbell) 4.02
13. Your Long Journey (D.Watson/R.Watson 3.55


Such a superb album !

* (coming soon)

MediaFireI´m sorry !