Robert Plant on the occasion of his 70th birthday:

Robert Plant is 70 years old on Monday, August 20…

From his initial forays in the Midlands scene in the mid 60’s leading to his first record being released in 1966, through to his vital contribution to Led Zeppelin and on to an always compelling solo career, Robert Plant has occupied a unique position at the forefront of the music world for over five decades…

During the past 12 months he has taken the Carry Fire album on tour with the Sensational Space Shifters around the globe to universal acclaim. His desire to delight his audiences with that unique voice and on stage presence is as vibrant as ever.

Happy Birthday Robert from all of us to you…

To mark the occasion – here’s a couple of playlists

Playlist 1:

Firstly the top ten I compiled for the Classic Rock website in 2016– an impossible task of course to get it down to just ten – apologies in advance if your fave is missing!

The Top Ten Robert Plant Solo Songs:
By Dave Lewis

Outside of his Led Zep legacy, Robert Plant has enjoyed a highly successful solo career – encompassing synth pop, blues, folk and African influences along the way. All performed with a vocal conviction that ranges from delicate fragility to full on rock power. Here are ten of his best solo moments…

10. Tye Die on the Highway (1990)

This is Plant’s nod to the peace and love generation he was a part of in the 60s. For extra authenticity, it includes samples direct from the Woodstock stage of the legendary hippie peace activist Wavy Gravy (‘’we must be in heaven!’’). An uplifting throwback to his hippie flower kid days.

9. In The Mood (1983)

Early on in his post Zep career, Plant was more than keen to step outside his comfort zone. This very 80s sounding synth led piece is one such example. Plant cleverly works around the hypnotic quality of the song with a vocal performance of deft agility. It also made for a great opening live number on his early solo tours.

8. Song To The Siren (2002)

For the mainly covers led Dreamland album, Plant took on several of the songs he had as he put it, been keeping in his back pocket. This stunning arrangement of the Tim Buckley classic, tests Plant’s’ vocal control to the max. To his absolute credit, he never wavers once.

7: Calling To You (1993)

Opens with some minor key strumming before this exhilarating rocker really kicks in. Plant stamps his authority with a relentless vocal attack. At the fade Nigel Kennedy enters proceedings to add a quite manic violin solo and is that a cry of ‘’Oh Jimmy!’’ from Plant right at the close?

6. Big Log (1983)

Robbie Blunt’s precise guitar work, a lilting drum machine rhythm and an assured Plant vocal were the ingredients that took Big Log into the UK top 20 in 1993 and on to Top of The Pops. Its mellow radio friendly qualities have made it an evergreen staple of the airways ever since.

5. Satan Your Kingdom Must Come Down (2010)

This compelling spiritual croon from the 2010 Band of Joy album unfolds in a sparse traditional setting. Plant builds the tension verse by verse while behind him a plaintive banjo offers a jaunty counterpoint to the dark theme of the lyrics. The final lines are delivered with daunting menace.

4. Slow Dancer (1983)

This track marks one of the few occasions in the early 80s that Plant stared right in the face of his Zeppelin past. Built on an exotic loping churning riff, Plant’s full on vocal attack measures up to the Olympian grandeur of his former band. The late great Cozy Powell adds the percussive kick that drives it along.

3. Embrace Another Fall (2014)

A truly epic work from his last album Lullaby…and the Ceaselss Roar. There’s an African undercurrent throughout the arrangement and even a touch of Celtic tradition with Welsh Julie Murphy reciting a 14th century poem. Proof that musically, Plant still has new places to go.

2. Come Into My Life (1993)

The Fate Of Nations album saw Plant drawing on a variety of influences and inspirations. Folk rock of the highest order is the agenda here. Enter Fairport legend Richard Thompson who contributes some achingly beautiful guitar lines while Marie Brennan from Clannad supplements Plant’s deft turn of phrase. An outstanding performance.

1 Ship of Fools (1988)

1988’s Now And Zen album was something of a watershed for Plant. It was the point he was able to successfully reconcile his past with the present. This dynamic ballad is a masterclass of vocal restrain. Guitarist Doug Boyle’s sublime intro paves the way for Plant to vocally twist and turn the song at will. Masterful.

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Photo: EPA

Playlist 2:

Here are 70 vivid examples of his vocal supremacy accompanied by memorable key lyrics and relevant comments:

From 48 to 2018 – he remains the definitive rock vocalist – make sure you play some of these and your own Plant faves this weekend in celebration:

Our Song, (‘’It made us fall in looooove’’)

Laughing Crying Laughing (‘’Jack loves Jill she don’t care’’)

For What it’s Worth (Something’s happening here..’’)

Good Times Bad Times (‘’I know what it means to be alooone’’)

Babe Im Gonna Leave You (‘’I ain’t jokin’ woman you gotta ramble’’)

Whole Lotta Love (‘’Shake for me girl!’’)

What Is And What Should Never Be (‘’And if I say to you tomorrow’’ – that gorgeous opening line…)

Thank You (‘’And so today my world it smiles’’)

Ramble On (‘’Gotta find the queen of all my dreams’’)

Immigrant Song (-‘’Ahhhhhh…Ahhh!!)

Since I’ve Been Loving You (‘’Said I been crying..’’)

That’s The Way (‘’And so I say to you that nothing really matters…’’)

Black Dog (‘’I gotta roll can’t stand still’’)

Battle of Evermore (‘’Bring it back..’’)

The Song Remains The Same (‘’I had a dream’’)

The Rain Song (‘’Upon us all..’’)

Over the Hills And Far Away (Live anytime in 1975 – ‘’Acapulco gold!’’)

In My Time of Dying (‘’Doncha make it my dying…dying…’’)

Kashmir (’ Trying to find, trying to find where I’ve beeeeeeen’’.)

In The Light (‘’Eveybody needs the light’’)

Down By The Seaside (‘’ Do you still do the twist’’)

Ten Years Gone (‘’Holding on…’’ pure emotion)

Night Flight (‘’ I received a message – that opening line is vocal bliss)

Tangerine ( Earl’s Court May 24 1975 – ”To think of us again….”)

Going To California (Earls Court official DVD version ‘’Oh she sings’’)

Dazed And Confused (Earls Court May 24 1975 ‘’We’ve got to get ourselves…back to the garden’’)

Stairway To Heaven (Earls Court May 24 1975 ‘’That’s all we got’’)

Achilles Last Stand (‘’the devils in his ho-o- o-o -le’’)

For Your Life (‘’When you blow it, babe, you got to blow it right’’)

In The Evening (Knebworth August 4 1979 – ‘’It’s gotta stop it’s gotta stop!’’)

All My Love (Outtake with full ending – ‘’Sometimes…sometimes…sometimes oh oh ’’)

I’m Gonna Crawl (‘’She give me good lovin’’ and that final scream…)

Moonlight In Samosa (‘’Time and again I see you walking down the street’’)

Slow Dancer (‘’To the heights… to the heights’’ – the point he knew he could do it all again)

Far Post (‘’Sure as winter follows fall, sure as maybe I will call’’)

Pledge Pin (Live in Dallas 83 ‘’As the cavalcade begins to thin, do you stop and look around’’)

Big Log (Live Dallas 1983 ‘’Oh my love oh my love oh my love…is in league with the freeway’’)

Sea of Love (‘’Come with me’’)

Sixes And Sevens (‘’Am I at six ,am I at six, am Ieeeee!’’)

Ship of Fools (‘’Crazy crazy fool’’ – absolutely stunning vocal)

Tie Dye On The Highway (‘‘With the messengers of peace and the company of love’’)

Anniversary (‘’What is this land that I have found’’)

Calling To You (‘’Oh Jiimmmy!’’)

Come Into My Life (‘’ Oh when you get there, well you know ‘’- another of his very best…)

The Greatest Gift (‘’ Everything I do, yes I do for my love’’ Peerless delivery)

In The Mood (Live at Paradiso club Amsterdam 93 –stunning medley)

Wonderful One (MTV Unledded – ‘’The queen of love has flown again’’)

That’s The Way (MTV Unledded ’’I can’t believe what people saying’’)

Blue Train (I been waiting on a corner’’- the best recorded moment of the Page and Plant re-alliance)

Little Hands (‘’Come let us meet them’’ – birth of a new style)

Life Begins Again (‘’This is the day and the hour’’ – at his most exotic)

Flames (Brilliant Priory Of Brion psych fest )

If I Ever Get Lucky (‘’Win my train fare home’’ Live in the desert)

Skips Song (‘’If you’d seen the naked dream I had of you… would you care’’- another vocal masterclass)

Dirt In The Hole (‘’Pretty flowers in sweet array, picked to die and fade away’’ Brilliant)

Seven And Seven Is ( ’When I was a boy I thought about the times I’d be a man’’ Live anywhere – a magnificent SS tribute to Love and the late Arthur)

Tin Pan Valley (‘’Like this!’’)

Freedom Fries (‘’They were moving fast –they were raising sand’’)

Stick With Me Baby (‘’Everybody’s been talkin’ ‘’ – in perfect harmony with Alison)

Kashmir ( Live at the 02 Arena – the whole event could never have worked so well without such total vocal commitment )

Angel Dance (‘’Yeah yeah yeah – Dance!’’ –Ushering in another new dawn)

Monkey ( ‘’Tonight you will be mine…’’ Masterful Band Of Joy performance)

Embrace Another Fall (”You walked into my life, Awoke my spirit soul, You saved me from my deep….”)

Turn It Up (‘I’m lost inside America, I’m turning inside out, I’m turning into someone else”)

A Stolen Kiss (”I am drawn to the western shore, Where the light moves bright upon the tide, To the lullaby and the ceaseless roar, And the songs that never die”)

Somebody There (”The road calls to my heart, Your love will warm my blood, The sun will shine down evermore”)

Season’s Song (”Crazy love..ah ah ah seasons song”)

New World (Escape the old world…embrace the new world”)

Dance With You Tonight (”If there’s one more time I can dance with you, let me dance with you tonight”)

Carry Fire (”I’ll carry fire for you – here in my naked hands”)

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For him… it’s still about the next gig, the next musical high, the next vocal performance sung into that Shure microphone.
Robert Plant is a musician who has made his vision real…and he continues to keep it real.

Long may he shine it all around…

This next overview via TBL issue 43:

‘’Carry me back, Carry me back… ‘’

Dave Lewis reflects on the 35 year solo career of Robert Plant and assesses the merits of his new album Carry Fire…

So, to the eleventh Robert Plant solo album – in fact his twelfth if you include The Honeydrippers set from 1984.

Once I started assessing where it all stood in the scheme of things, it led me on to elaborate not just on the content of this new album but also reminisce about this musician who has loomed large in my life and many others for many a year.

As an ardent fan and long-time chronicler of his work, I’ve been with him on every step of this journey – right from the tentative beginnings of a solo career mapped out around the highways and byways of the north of England during The Honeydrippers’ ad hoc gigs in the Spring of 1981, of which I was lucky enough to attended five.

The thrill of placing a white label advance copy of Pictures At Eleven on my turn table on a balmy Friday evening in early June, 1982 remains a very memorable listening experience. It signalled there was life for this particular singer after Zep and we could all prepare ourselves for some very interesting musical times ahead.

From then on there have been many twists and turns. To give it an appropriate football analogy, following Robert Plant’s solo ventures is a little like supporting Tottenham Hotspur, as I resolutely do. Like Plant, the North London club is steeped in tradition and talk of past glory days is always prevalent. The fortunes of the team, however, are somewhat mixed, offering moments of brilliance with the mediocre but within all that, the entertainment value on the pitch is always high.

You could say the same for Robert’s output over these past 35 years. Plenty of highs, a few lows, some marking of time, occasional strange curve ball moments but ever entertaining along the way – and of course, always within the shadow of his work between 1968 and 1980. It’s something of a challenge being a Robert Plant fan – but I am always a little surprised when keen Zep supporters claim no interest in following his solo work – to me, this is still the man and musician who proclaimed ‘’Are you cold?” in front of my very ears as Led Zeppelin kicked into Immigrant Song at Wembley in 1971, held the audience in the palm of his hand at the Forum, the Garden and in Earls Court and thanked us for turning up on a blind date in that field just outside Knebworth all of 34 years ago. His heritage is ever present and ever lasting.

He carries that legacy pretty well I’d say and although his flippancy in interviews often obscures his pride for Led Zeppelin, be assured, for all the one liners, that pride is there deep in his psyche. While we are on that subject, such flippant comments are often, in my view, taken out of context to look much worse than they really are, or were intended. I still believe he cares much more than is portrayed. In interviews, he is never one for much deep reflection. ‘’I do the gig and move on’’ I remember him once telling me with matter of fact intent.

Back to the story: Eleven albums – that’s now more than Led Zeppelin clocked up. From that initial, naive blast of Pictures At Eleven (which still sounds great) with the erstwhile Robbie Blunt as the song writing foil, Robert quickly recorded The Principle Of Moments, a heady mix of 80s synths and riffs. After a weekend of rockabilly fun with Jimmy, Jeff and Nile for the Honeydrippers’ Vol One album in 1984, there was the somewhat difficult third album – the totally offbeat Shaken ‘n’ Stirred which confused audience and band mates alike. Around that time, performing on a stage that looked like a block of cheese only added to the confusion. Too Loud live anyone?

In 1987 he made the first of many a clean band sweep, bringing in Phil Johnstone, Doug Boyle, Chris Blackwell and co for Now And Zen, a refreshing blend of chorus-led songs that reconciled his past with the present in confident manner. At the same time, he hit the Zep legacy head on ensuring more bums on seats on the live circuit by inserting Zep numbers into his set.

Manic Nirvana hit the racks as the early 90s hair metal phenomenon got into its stride. Some of it has not stood the test of time too well but he could still turn a retro trick or two – witness Tie Dye On the Highway and the acoustic Liars Dance. Elsewhere the content was more blatantly big love than big log.

Three years on, there was further reinvention with Fate Of Nations – aided by Francis Dunnery and the late Kevin Scott MacMichael, providing a melodic platform for Robert to present his most pure and organic work to date. Come Into My Life and I Believe are just two examples of a refreshing maturity and depth he was now bringing to his craft.

Just as he appeared in his solo career stride, the call of the past and MTV put him back on the road with Jimmy Page – the ensuing No Quarter Unledded and Walking Into Clarksdale albums providing their own set of anomalies, ripe for discussion another time.

By the time he was back in solo career mode, the song writing muse was, by his own admission, at something of a low – so he took the opportunity to revisit his pre Zep era with the Priory of Brion, working with old pal Kevyn Gammond before forming Strange Sensation with Justin Adams. It was around this time Robert began to develop a much deeper resonance to his voice, leading to the breathy style first deployed on the Skip Spence tribute, Little Hands.

The 2002 Dreamland album was an intelligent blend of covers and new forays –later to expand more fully on the well received Mighty ReArranger. I initially struggled with that album’s over inventiveness but time has been kind to many of the tracks – the likes of Tin Pan Valley and Freedom Fries still hit the mark whenever I return to it.

Career retrospectives Sixty Six To Timbuktu and the expansive Nine Lives box set, conveniently brought together his achievements to date, with the singer noting that the ‘’future was bright ahead’’.

2007 and another curve ball. This time it was into the bluegrass world of Alison Krauss for the enormously successful Raising Sand, an admirable marriage of vocal styling that subsequently swept the Grammys and in doing so helped scupper any plans for a long term Zep reunion after that one night of glory at the 02 on December 10th of that year.

I actually found the ensuing tour with Alison a little disconcerting – the sharing of the stage did not work for me and the Raising Sand album is never high on the playlist.

Given this sidestep into Americana, I’m therefore surprised how much I loved (and still do) the Band Of Joy album and tour that grew out of his penchant for all things Nashville and his working with the great Buddy Griffin. There were some life affirming moments viewing that line up in 2010 and the album retains a warm glow all of its own. As I noted at the time, it was hard to define exactly what it was about the Band Of Joy set up that worked so well but it was undeniable that something did. As I passed my 100 nights of being in front of that Shure microphone with Robert Plant on vocals, gig number 103 at the Birmingham Symphony Hall in November 2010 was up there with the best.

Being around the likes of Buddy Miller certainly bought the best out in him. There was yet more side-stepping in 2012 – or in this case, shape shifting. Off we all piled to the Gloucester Guildhall in May of that year to view another ad- hoc line up debut that saw former Strange Sensations members mix with the African influence of Juldeh Camara. The gig was a heap of fun, although at the more high profile London Forum gig in the summer, the inclusion of now partner, Patty Griffin in the set confused his audience somewhat.

Seemingly happily ensconced with Patty, one expected another Band Of Joy set and there was talk of a project with noted producer, Daniel Lanois. Instead, Robert took the Space Shifters on a tour – one to the far corners of the world, stretching from Australia to Argentina via the US. His wry comment to an Australian journalist that he had ‘’nothing on his calendar in 2014’’ foolishly fuelled the Zep reformation rumours. The wiser amongst us, however, guessed it was a suitable smokescreen, as he ventured into the studio with the Space Shifters unit. The result was the 2013 release of the album lullaby and… The Ceaseless Roar.

As we know from the various interviews Robert has conducted, the album found him in a reflective state of mind. After his split with Patty Griffin, he has returned to the UK and principally to the Black Country and Welsh border area – the influence of which was more than apparent. The call of home was strong and there really was a feeling he gets when he looks to the west… Lyrically, it was Robert’s most deep and meaningful album since Fate Of Nations. Such was the confessional nature of songs such as Embrace Another Fall and A Stolen Kiss, one could almost dub this a break up album in the grand tradition of Dylan’s Blood On the Tracks.

It’s worth noting that arrangements combining African roots and ethnic rhythms do not go down favourably with certain sections of Robert’s past audience. He also receives a fair bit of criticism for his live interpretations of Zep numbers – Black Dog coming in for the lion’s share of the stick.

In fact, like a number of fellow fans I’ve spoken to, I would much prefer solo numbers from his past rather than some of the Zep resprays – Pledge Pin, Life Begins Again, Come Into My Life, Skip’s Song and Ship of Fools being on my wish list of tracks I’d like to see Robert and the SSS perform live.

Lullaby and… the Ceaseless Roar found Robert Plant reflecting on his past, seemingly content with the present and excited about the future. Like all his best work, it looks back to look forward. Often eclectic but with a strong sense of consistency, it was his most significant work on record for some considerable time. There’s a refreshing openness and honesty in the songs that basically tells us that even rock gods need love… and lots of it. He touches on universal themes of ageing, loneliness, longing and hope.

So to the new album Carry Fire:

’‘All that’s worth the doing is seldom easily done, all that‘s worth the winning is seldom easily won’’

First things first.

Carry Fire pretty much carries on from where Robert Plant’s previous album left off. In fact, it might be a good idea to reacquaint yourself with the last album, lullaby and… the Ceaseless Roar to remind yourself where Robert’s head is at.

Those that enjoyed the previous album will find much to enjoy here. As for anyone who has fallen by the wayside and has not subscribed to his recent work – well, there’s nothing here that will influence a change of mind.

Let’s face it, Robert has long since denounced any notions of keeping up with his fellow ‘voice of rock’ veterans His is an entirely different plan of his own making.

On Carry Fire there’s hardly a riff or a vocal histrionic in sight. Those that are looking for that kind of fix would be better off in the direction of the new Black Country Communion album.

However, the good news for anyone checking out this new album is that, vocally, he is singing with mature authority deploying that close-to-the-mic, breathy vocals style that he first perfected on Little Hands, his contribution to the Skip Spence tribute album More Oar.

Having listened to the tracks on Carry Fire, in reviewing the album , I’ve purposely listed songs from the Plant back catalogue that hint at the mood of these new offerings.

The album opener and first single, The May Queen sets the tone for much of the album. Semi acapella vocals over a slight Another Tribish with bendir/ tambourine back beat – drowning out any snare drum presence. As more than one listener to the preview has commented, the opening segment on this track has a passing resemblance to Factory Girl from The Rolling Stones Beggars Banquet.

New World is a slightly grittier stomp with a mid tempo riff that sounds like a descendent from the Page & Plant arrangement of Please Read The Letter. A melodic cascading vocal refrain brightens the mood.

The folksy Seasons Song benefits from lush multi layered vocals that reminded me of I Cried For You (off Manic Nirvana). Also, there’s a nicely crooned ‘’crazy crazy fool’’ vocal line in the style of the live arrangement of Ship of Fools. All The Kings Horses (from the Mighty ReArranger album) is a further reference point here.

The oddly titled Carving Up The World Again… A Wall And Not A Fence is another in the vein of Another Tribe – a jumpy urgent nagging affair with some neat bluesy guitar lines.

Bones Of Saints has an effective echo added to the vocal, coupled with some guitar licks in the syle of The Enchanter from Mighty ReArrnanger

A vibey John Baggott keyboard synth sustains throughout Keep it Hid, which could be described as a Tin Pan Valley without the bombast. “Silver key in a golden cup’’ repeats Plant over the incessant synth pattern.

The title track, Carry Fire lends itself to the oft favoured North African influence. Mid tempo, with exotic sounding guitar from Justin Adams, it’s a haunted, tension building affair, not unlike the Unledded track, City Don’t Cry.

The cover of Ersel Hickey’s Bluebirds Over The Mountains (also recorded by The Beach Boys and Richie Havens, amongst others) is, as Robert commented, ‘’put through the Bristol sonic mill’’. This makes for a trip hop, grungy affair that renders Chrissie Hynde’s vocal contribution somewhat understated in the mix. Personally, I’d have rather heard a more simplistic approach.

That leaves three tracks that all return to the reflective themes of ageing, loneliness and hope that featured strongly on the lullaby and… the Ceaseless Roar album. A Way With Words is very much in the Stolen Kiss vein, with stark piano and a mournful feel akin to Page & Plant’s BlueTrain, and Seth Lakeman’s fiddle work adds to the dreamlike atmosphere.

Dance With You Tonight harks back to the Raising Sand territory of Killing The Bues. For me, this is the outstanding track. Lyrically, the singer aspires to enjoy ‘’one more chance for the last dance”. He sings it with immense grace and majesty. Down To The Sea and Come Into My Life are reference points to the reflective nature of this superb outing.

The album closes in a downbeat manner with Heaven Sent – a bleak atmospheric piece that reminded me of a slowed down Sixes And Sevens from Manic Nirvana again without the bombast. Robert adds yet more words of wisdom repeating the lines “All that’s worth the doing is seldom easily done, all that‘s worth the winning is seldom easily won.’’ Before it all fades away.

Those lines are a pretty accurate appraisal of the album.

Like his previous album, this one needs working at and getting used to. Play it randomly a couple of times and it’s likely to pass over your head. Give it some dedicated listening time and there are some very rewarding performances.

As previously mentioned, some sections of his past audience will not find the inclination to do so and that will be their choice. As for comparison to his past works, aside from the last album, this new one stands on its own – and all a long way from the days of Fate Of Nations. That was a different era with different players.

In his advancing years, Robert’s muse has become more introverted, less flamboyant and increasingly dignified – all of which is reflected in the music he now produces.

So no, you won’t be dancing around the Christmas tree to this album. However, it will be something of a thought provoking warm pleasure as the winter nights kick in. In fact, for a man who has much empathy for the seasons, this feels like a Robert Plant winter album.

As can be seen by the virtual sell out of the forthcoming UK tour, the attraction to see this signer perform live on stage is plainly still fervent. I for one will be very keen to see, and hear how this new material integrates with his past work in a live setting.

So, to summarise: For all his idiosyncratic traits, being a Robert Plant fan remains a richly rewarding experience. He does everything an artist should do: he enchants, he intrigues, he frustrates, he confuses and above all… he inspires.

Carry Fire carries on that tradition.

Dave Lewis

September 12, 2017

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Happy Birthday Robert on Monday from all of us to you…

Dave Lewis – August 14, 2018.

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JIMMY PAGE – The Definitive Biography by Chris Salewicz