STEFANCOMMENTATEUR DU HALL D'HONNEURTOP 50 COMMENTATEURS le 22 octobre 2014
L'essai Pictures at Eleven avait séduit au-delà des espérances, la transformation The Principle of Moments pérénise Robert Plant en artiste solo ayant su s'affranchir d'un passé si glorieux qu'il pouvait en devenir encombrant.
Parce que, voilà, Robert s'est trouvé un style, un rock moderne où claviers et guitares s'y entendent pour habiter la composition, où les libertés stylistiques permettent de continuer d'explorer des panoramas où la voix du leader ne s'est pas encore posée, où toutes choses est destinée à mettre en valeur les qualités d'une formation reconduite n'en manquant pas (et dont Phil Collins, de retour aussi, n'est pas le moindre atout). En toute logique, The Principle of Moments est le successeur logique de Pictures at Eleven, en mieux. En mieux parce que, si fondamentalement très proche de son prédécesseur, The Principle of Moments convainc plus côté compositions, plus côté arrangements et autant concernant la production et ses atours de modernité. De fait, on peine présentement à trouver la moindre faille dans un répertoire plaisant et cohérent, un répertoire où les réussites se bousculent tellement qu'elle constituent l'ensemble de la tracklist. Aussi, si on citera plus particulièrement un In the Mood pour ses ambiances réussies et ensoleillées, un Wrecking Love qui semble vouloir accoupler les Talking Heads et Led Zeppelin sans pourtant en emprunter tant que ça à l'un ou à l'autre, ou un Stranger Here...Than Over There tout en nuance, étrangeté et polyrythmies malines, c'est l'ensemble d'une galette plus osée qu'il n'y parait qu'il faut louer.Lire la suite ›
"The principle of moments", deuxième album de Robert Plant, regorge de rythmes syncopés assez froids et cliniques, heureusement ponctués de très bons passages mélodiques. On pense notamment à "Messin' with the mekon" et ce break divinement orchestré par les claviers, sauvant par la même le morceau d'un ennui certain. "In the mood", "Wreckless love" ou encore "Stranger here ... than over there" ne connaissent par contre pas le même sort, et sont il faut bien le dire assez barbants. Il reste de très bons titres comme l'ouvrant "Others arms" bien entraînant, le lent "Thru' with the two step" dont l'association voix/claviers fait encore sensation, le dynamique "Horizontal departure", sans oublier bien sûr le hit de l'album "Big log", mélange savamment orchestré d'esthétisme et de sensualité. Un ressentiment en conclusion assez mitigé au vu des quelques morceaux bien dispensables et qu'on aurait aimé voir compensés par une ou deux bonnes compositions supplémentaires. Néanmoins, "The principle of moments" reste tout de même un bon album, si l'on est capable toutefois de faire abstraction au style musical choisi bien éloigné du dirigeable ... mais considérant la qualité de l'ensemble de la carrière solo du chanteur, c'est plutôt une bonne chose au final.
Mes titres préférés : "Big log", "Other arms", "Horizontal departure".
I think most listeners would agree that with "The Principle of Moments" Robert Plant found the sound that would allow him to break free, albeit momentarily, from the legacy of Led Zeppelin. That sound is basically defined by the two "hits" off of this album, "In the Mood" and "Big Log." The later remains a great song for driving through wide expanses, preferably the desert, on a hot summer afternoon (yes, the video helps to reinforce this idea, but the affinity to such a time and place is clearly ingrained in the music). There is a strong shift towards simplicity, which I always thought involved a lot more than working with Robbie Blunt rather than Jimmy Page. I dutifully picked up all of Robert Plant's solo efforts, and I still think this is the best of the bunch.
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64 internautes sur 67 ont trouvé ce commentaire utile
Average Effort24 juin 2007
- Publié sur Amazon.com
It's unlikely that an album such as this is going to win over new fans - I'd guess most people buying it are fans from the past. So I'll address the three things those who are considering upgrading will care about:
1. Does it sound better? 2. Are the bonus tracks worthy? 3. Is the booklet any good?
Is the sound better? The quick answer is YES. However, it's a MARGINAL improvement only. It's much louder, so if you play your music with the stereo turned up to 5, then you might only need this disc on 3 (if that makes any sense). There is EVER SO SLIGHTLY more clarity, and the bass is tighter. However, probably only audiophiles will care. It is NOT a "night and day" difference. When you adjust volume levels so the old disc sounds the same loudness wise, the differences are very minor.
Are the bonus tracks worth it? Well there are four here. The first "In the Mood Live" is actually quite bad. Plant's vocal is out of tune on the harmonies, and the mix loses instruments every now and again, pushing the guitar to the back. The second "Thru with the Two Step Live" is pretty good though. It clocks in at 10 minutes, with an extended intro of more than 3 minutes. The mix has settled, and it's a good listen. The third is "Lively Up Yourself Live", a Bob Marley tune. This is a good song, and while Plant simply covers it (not major changes really) it's a fun tune, and it's done by musicians clearly having a good time. Finally, there's "Turnaround", an outtake from the original sessions. This is by far the best bonus track here. I wish they had put it FIRST among the bonus songs, so we could have enjoyed the sessions rather than have to wade through the live stuff first.
All in all, the bonus material is okay. The studio track is great, the live stuff is nice, but not essential.
Finally the booklet. They have taken the notes straight from the booklet of the box set from wence this came - they're not exhaustive, sadly. Still, tey beat the original release.
All in all then, this is a minor upgrade to a classic record. Those expecting something revilutionary sound wise will be disapointed if they do a close examination. The bonus tracks are't terrible though, and Plant is always great.
43 internautes sur 44 ont trouvé ce commentaire utile
Truly Superior13 mai 2000
- Publié sur Amazon.com
This is just a beautiful album, although a bit too short. It's got a great mix of gorgeous songs and experimental tracks. I adore Phil Collins' drumming and Robbie Blunt's guitar (I wish I knew what other albums Mr. Blunt appears on). It's hard to believe I've been enjoying this album for nearly 20 years now. A couple of songs deserve special mention. "Thru With the Two-Step" is one of the most beautiful songs I've ever heard - a bit heavier on the keyboards than the usual Plant fare, but that Blunt guitar solo just rips out my guts every time. The emotion and clarity is simply breathtaking. The other standout is "Big Log". OK, this is where I'm going to sound like a wacko. I don't know how other people react to it, but to me this is one of those very rare songs that I could swear the artist wrote while talking directly to God. Although it's a simple song, the version recorded here is absolutely untouchable in its perfection. It's like everything in the universe somehow lined up to produce the perfect performance of the perfect song.
33 internautes sur 36 ont trouvé ce commentaire utile
Robert Plant discovers life after Led Zeppelin8 juin 2001
35-year old wallflower
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The 1980s held so much promise for Led Zeppelin. Their final album had shown they could make the transition into the digitally-minded decade with ease by toning down the guitar attack in favor of lush keyboards. However, drummer John Bonham's death silenced that notion and the surviving members decided to carry on alone. No surprise, Robert Plant, being the most visible member of Zeppelin, found solo success first. His 1982 debut PICTURES AT ELEVEN sold well thanks to his previous fame with Zeppelin, even peaking at #5 on the charts without a high-selling single. But that album seemed to say that Plant still missed the heavy blues-rock that Zeppelin had all but pioneered. With the follow-up PRINCIPLE OF MOMENTS, Robert probably decided to sever ties with his past once and for all. Indeed, MOMENTS introduces a more pop-oriented facet to Plant's personality, and like the keyboard-based departure that was IN THROUGH THE OUT DOOR, it works surprisingly well. The album generated 2 top 40 hits for Plant: the simple yet infectious "In The Mood" and the moody, introspective "Big Log". This was probably due to the airy soundscapes that producers Benji Lefeure, Pat Moran, and Plant himself bring to songs that may have also worked had Jimmy Page had a hand in them. "Mood" proves that blues-shouter Plant could convincingly sing mellow pop, while "Big Log" maintains the mystery of Zeppelin's best work, although some have said it is Robert Plant having a conversation with God (maybe about John Bonham's death), so who knows? Hinting at Led Zeppelin's underrated willingness to experiment, PRINCIPLE OF MOMENTS has its share of more left-field ditties like the eerie "Stranger Here...Than Over There", "Messin' With The Mekon" and "Thru With The Two-Step". Plant hasn't lost his tendency for abstract song titles, and their intention at sparking discussion among music fans is indeed a successful one. The closest things to all-out rockers on MOMENTS are "Other Arms" and "Horizontal Departure", proving that Robert Plant doesn't need to be reflective all of the time. While the keyboard playing by Jezz Woodroffe would be the most obvious highlight of MOMENTS, the percussion work should be equally noted. While John Bonham's tubthumping drumwork is missed for sure, the slightly understated sound of it on MOMENTS works just as well. Phil Collins and ex-Jethro Tull skinsman Barriemore Barlow give the songs a supple backbeat that even Bonzo himself may have appreciated. PRINCIPLE OF MOMENTS was as big a success as its predecessor PICTURES AT ELEVEN, becoming a top 5 hit at a time when the charts were still geared towards artists who were a generation younger than Plant. Whether or not it was due to Robert Plant's legendary work with Zeppelin or the album's own merits is unclear. But it still went a long way in establishing Robert Plant as an engaging solo artist in his own right. And for anyone who knocks the follow-up SHAKEN N' STIRRED for being too keyboard-driven, they should listen to PRINCIPLE OF MOMENTS to realize that the more production-based approach was coming anyway.
12 internautes sur 12 ont trouvé ce commentaire utile
"In the Mood" for a little Robert Plant27 juin 2005
Richard W Little
- Publié sur Amazon.com
I picked up a copy of Robert Plant's album The Principle of Moments recently, at a used record store in Amherst MA, when my fiancee and I were visiting her old stomping grounds. Released in the early 1980s, this album represents a clear departure from Plant's Led Zeppelin days, sounding quiet and mellow and thoughtful.
When this album first came out, I had only recently begun listening to popular music seriously, and the track "Big Log" made a big impression upon me, which has stuck with me through the years. Its mysterious lyrics and title are part of the draw.
"In the Mood", however, is much less played. I think I missed it when it first came out as a single, all those years ago, and I usually hear nothing more than snippets on the radio. It's definitely underplayed; I have realy enjoyed hearing it on my car stereo this past week, as I drive to and from work. The lyrics are simple; it's the musical arrangement that draws me in.
The other tracks on the disc are OK, in comparison; they act as the acoustic meat between these two gems, at either end of the disc. A worthwhile purchase, used.
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A fulfilling, interesting album11 février 2001
- Publié sur Amazon.com
The Principle of Moments, Robert Plant's second solo release, is a good album. A total of eight songs is included. Every one of them is worthwhile and has something to offer. When it comes to the musical style of the disc, some of the tracks are in a pop rock vein, while others are in a progressive pop rock direction. The musicianship is skilled, the songwriting is pleasing, and the production is tight. Plant does a nice job with the vocal duties. Robbie Blunt's guitar playing is proficient. Jezz Woodroffe's keyboard playing is impressive throughout. There are two drummers that play on the album--Phil Collins and Barriemore Barlow. Collins performs on six songs, while Barlow handles two of the others ("Wreckless Love" and "Stranger Here ... Than over There"). Barlow's drumming on the interesting "Wreckless Love" is conspicuous and complex. The two tracks that impress me the most are the memorable and touching "Big Log" (one of my favorite songs) and the engaging "In the Mood." "Big Log" is truly a very good, well-written ballad that I admire; the singing is nice, the guitar work is smooth and unforgettable, and the background vocals are soulful and attractive. The better-than-good "In the Mood" is also a highlight. This gentle, atmospheric track features cool backing vocals and a skillful guitar solo. "Thru' With the Two Step" is another one (containing prominent keyboard playing) that I enjoy that's progressive in nature and ethereal-sounding. The keyboard work is encompassing, lush, and majestic. This tune displays a plaintive and well-played guitar solo, too. The curious and experimental "Stranger Here ... Than over There" contains some ominous-flavored keyboard playing. The CD booklet doesn't include the song lyrics. The disc is just under 39 minutes in duration. The Principle of Moments is consistent and enjoyable.