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DISCID=a80f730c
DTITLE=Robert Plant / The Principle Of Moments (Remastered + Expanded)
DYEAR=1983
DGENRE=Rock
TTITLE0=Other Arms
TTITLE1=In The Mood
TTITLE2=Messin' With The Mekon
TTITLE3=Wreckless Love
TTITLE4=Thru' With The Two Step
TTITLE5=Horizontal Departure
TTITLE6=Stranger Here...than over there
TTITLE7=Big Log
TTITLE8=In The Mood (Live)
TTITLE9=Thru' With The Two Step (Live)
TTITLE10=Lively Up Yourself (Live)
TTITLE11=Turnaround (Previously Unissued)
EXTD=The Principle Of Moments (Remastered + Expanded)\n2007 Es Paranza
EXTD=/Rhino\n\nOriginally Released July 11, 1983\nCD Edition Released 
EXTD=1988 ??\nNine Lives Boxed Set Released September 12, 2006\nRemast
EXTD=ered + Expanded CD Edition Released April 3, 2007\n\nAMG EXPERT R
EXTD=EVIEW: Robert Plant's follow-up to Pictures at Eleven places much
EXTD= of his debut's style and vocal meandering into a new and more ex
EXTD=citing bunch of songs. The mysteriousness of "Big Log," the album
EXTD='s first single, reached the Top 20 in the United States and in t
EXTD=he U.K., while "In the Mood" is The Principle of Moments' finest 
EXTD=offering, proving that Plant could roam freely with his voice and
EXTD= still have it work effectively. But Plant doesn't stop here, as 
EXTD=he gives tracks like "Wreckless Love," "Stranger Here...Than Over
EXTD= There," and "Other Arms" an equal amount of curt abstractness an
EXTD=d rock appeal. Because Plant's voice is so compelling in any stat
EXTD=e, the convolution of his writing tends to take a back seat to hi
EXTD=s singing in most of his solo work, which is definitely the case 
EXTD=in most of the songs here. Plant went on tour with the Honeydripp
EXTD=ers within the same year as The Principle of Moments' release, ad
EXTD=ding another facet to his already diverse solo repertoire. [The 2
EXTD=007 reissue includes live versions of three songs from the album 
EXTD=("In the Mood," "Thru' With the Two Step" and "Lively Up Yourself
EXTD=') and the previously unreleased "Turnaround" as bonus tracks.]  
EXTD=-- Mike DeGagne\n\nAMG EXPERT REVIEW: Plant reinvents rock and po
EXTD=p oldies in much the way Led Zeppelin did old blues songs. "Other
EXTD= Arms" recasts "Lay Down Your Arms," as Plant declares, "I'm not 
EXTD=a prisoner of the big parade," awhile "In the Mood" retools an ol
EXTD=d pop theme. The playing is propulsive (thanks to guest drummer P
EXTD=hil Collins) and Plant's singing unusually supple. -- William Ruh
EXTD=lmann\n\nAMG EXPERT REVIEW: (Nine Lives Boxed Sed) Too much of a 
EXTD=good thing? Perhaps. Nine Lives contains remastered versions of a
EXTD=ll of Robert Plant's studio recordings, from Pictures at Eleven (
EXTD=1982) to Mighty Rearranger (2005), with bonus cuts and a DVD cont
EXTD=aining an hourlong film that covers the career gamut, with cut-in
EXTD= video clips, a new interview, and, as is Rhino's wont, comments 
EXTD=from everybody from Ahmet Ertegun and Bobby Gillespie to Tori Amo
EXTD=s and John McEnroe! Nothing appears from the Jimmy Page and Rober
EXTD=t Plant recordings. Was this really necessary, especially after t
EXTD=he issue of Plant's double-disc career retrospective, Sixty Six t
EXTD=o Timbuktu, in 2003? His early records used the technology of the
EXTD= day and the first pair, Pictures at Eleven and The Principle of 
EXTD=Moments, dipped deep into the production and pop styles of the '8
EXTD=0s and mixed them with Led Zeppelin's ponderous pomp and circumst
EXTD=ance. This also occurred on discs from Shaken 'n' Stirred to the 
EXTD=harder-rocking Now & Zen and Manic Nirvana, with stops along the 
EXTD=way via the Honeydrippers' roots rock cover project that featured
EXTD= the reunion of Jimmy Page with Plant, yes, but also of Page with
EXTD= Jeff Beck. Of course, with Fate of Nations, Plant changed course
EXTD= again, creating a moody, drifty, and dreamy sound -- another por
EXTD=trait of the singer and songwriter that paved the way some nine y
EXTD=ears later for his resurrection as a recording artist with 2002's
EXTD= Dreamland and a band (Strange Sensation) that found its way with
EXTD= the aforementioned Mighty Rearranger. Plant's solo records have 
EXTD=been consistently acclaimed, and he has always placed singles in 
EXTD=the charts somewhere. Some were received better than others, and 
EXTD=some scored big, like 1988's Now & Zen, with its big single, "Tal
EXTD=l Cool One." These ten discs reveal Plant to be endlessly searchi
EXTD=ng and endlessly changing without losing the core of who he was a
EXTD=s either a singer or a songwriter. He never tried to recreate Led
EXTD= Zeppelin, though he did firmly acknowledge it finally in Mighty 
EXTD=Rearranger with guitarist Justin Adams. There isn't anything dour
EXTD= in these records, though some have stood up better to the test o
EXTD=f time than others. The first two discs in the set do sound hopel
EXTD=essly dated, and at this point, the Honeydrippers project, played
EXTD= so godawful many times on FM radio, has lost its charm and sound
EXTD=s like a slew of cats having a good time playing standards. Still
EXTD= others, like Now & Zen and Manic Nirvana, sound better somehow t
EXTD=han when they were issued -- at those moments in time, rock & rol
EXTD=l was seldom played on the radio and these are most assuredly big
EXTD= rock & roll albums. Plant played the game insofar as he made vid
EXTD=eos and played live, but the albums themselves -- with their huge
EXTD= guitar and edgy synth atmospherics -- are far from nostalgia bec
EXTD=ause of that experimentation with rock & roll's sonics. The story
EXTD= is one that shows how plentifully Plant surrounded himself with 
EXTD=textures, space, and -- above all -- a knotty idea of what rock &
EXTD= roll was as it moved through the decades. He nurtured his own vi
EXTD=sion along some pretty sketchy lines during the volatile 1980s an
EXTD=d '90s. In the new millennium, it became safe for rockers of his 
EXTD=generation to come home again, from Eric Clapton and the Who to t
EXTD=he Moody Blues and even Traffic. (Jeff Beck and the Rolling Stone
EXTD=s have never really gone away.)All of this said, it still feels l
EXTD=ike a lot, maybe over the line. Sure, having these albums in rema
EXTD=stered form is a great idea; look for them to follow suit soon --
EXTD= if Rhino's past marketing track is any gauge -- as individual bu
EXTD=dget-priced items. There is a very handsome book included with lo
EXTD=ads of photos and a book-length liner note essay by Ed Vulliamy. 
EXTD=The bonus material is nice, but it's far from earthshaking or in 
EXTD=the least bit revelatory. The listener/consumer is faced with a d
EXTD=ilemma: how often will some of these albums get pulled out of the
EXTD= stack and played? Stories like this one get told in the music bu
EXTD=siness to be sure, but in Plant's case, his solo career -- no mat
EXTD=ter how successful -- has always been visible, but still somehow 
EXTD=under the radar and second fiddle because of the incredible weigh
EXTD=t that Led Zeppelin's myth carries. Perhaps this set will be accl
EXTD=aimed for what it is, and that would be justice, but it's more li
EXTD=kely that it will be considered an incomplete excess, which would
EXTD= be not only unfortunate, but very wrong. Certainly there is an a
EXTD=rgument for the Page & Plant records to be included here, but tho
EXTD=se, good as they are, are a distraction more than anything else b
EXTD=ecause they are collaborations. For any Plant -- or truly hardcor
EXTD=e Zep -- fan who wants the whole solo story presented in a manner
EXTD= that is pristine, revealing, and elegant, this set will be a boo
EXTD=n. For the rest, in an age when the "track" is what matters, a bo
EXTD=x this size will be considered an overblown excess beyond compreh
EXTD=ension or consumer demand, and that argument carries more than a 
EXTD=bit of weight.  -- Thom Jurek\n\nAMAZON.COM CUSTOMER REVIEW\nAver
EXTD=age Effort, June 24, 2007 \nBy  Siobhan Chamberlin-watts "dwatts7
EXTD=4" (Basildon, Essex)\nIt's unlikely that an album such as this is
EXTD= going to win over new fans - I'd guess most people buying it are
EXTD= fans from the past. So I'll address the three things those who a
EXTD=re considering upgrading will care about: \n\n1. Does it sound be
EXTD=tter? \n2. Are the bonus tracks worthy? \n3. Is the booklet any g
EXTD=ood? \n\nIs the sound better? The quick answer is YES. However, i
EXTD=t's a MARGINAL improvement only. It's much louder, so if you play
EXTD= your music with the stereo turned up to 5, then you might only n
EXTD=eed this disc on 3 (if that makes any sense). There is EVER SO SL
EXTD=IGHTLY more clarity, and the bass is tighter. However, probably o
EXTD=nly audiophiles will care. It is NOT a "night and day" difference
EXTD=. When you adjust volume levels so the old disc sounds the same l
EXTD=oudness wise, the differences are very minor. \n\nAre the bonus t
EXTD=racks worth it? Well there are four here. The first "In the Mood 
EXTD=Live" is actually quite bad. Plant's vocal is out of tune on the 
EXTD=harmonies, and the mix loses instruments every now and again, pus
EXTD=hing the guitar to the back. The second "Thru with the Two Step L
EXTD=ive" is pretty good though. It clocks in at 10 minutes, with an e
EXTD=xtended intro of more than 3 minutes. The mix has settled, and it
EXTD='s a good listen. The third is "Lively Up Yourself Live", a Bob M
EXTD=arley tune. This is a good song, and while Plant simply covers it
EXTD= (not major changes really) it's a fun tune, and it's done by mus
EXTD=icians clearly having a good time. Finally, there's "Turnaround",
EXTD= an outtake from the original sessions. This is by far the best b
EXTD=onus track here. I wish they had put it FIRST among the bonus son
EXTD=gs, so we could have enjoyed the sessions rather than have to wad
EXTD=e through the live stuff first. \n\nAll in all, the bonus materia
EXTD=l is okay. The studio track is great, the live stuff is nice, but
EXTD= not essential. \n\nFinally the booklet. They have taken the note
EXTD=s straight from the booklet of the box set from wence this came -
EXTD= they're not exhaustive, sadly. Still, tey beat the original rele
EXTD=ase. \n\nAll in all then, this is a minor upgrade to a classic re
EXTD=cord. Those expecting something revilutionary sound wise will be 
EXTD=disapointed if they do a close examination. The bonus tracks are'
EXTD=t terrible though, and Plant is always great. \n\n\nAMAZON.COM CU
EXTD=STOMER REVIEW\nClassic Plant, March 6, 2006 \nBy  Kid A (Boulder,
EXTD= CO)\nI've been listening to this since shortly after it was rele
EXTD=ased. This album knocked me out the first time, and I've only gro
EXTD=wn to enjoy it more and more over the years. \n\nPlant seemed hes
EXTD=itant to release his Zeppelin past with Burning Down One Side, bu
EXTD=t Principle of Moments definitively laid down the roadmap for Pla
EXTD=nt's solo career with driving melodies, brilliant musicianship, a
EXTD=nd incredible vocals. \n\nIt must be difficult to do anything but
EXTD= "play backup" for someone like Robert Plant. Once you've listene
EXTD=d to this enough, though, you'll come to realize and appreciate R
EXTD=obbie Blunt's incredible guitar work. Sure, he's no Jimmy Page, b
EXTD=ut this guy has got it going on. The guitar solo in Horizontal De
EXTD=parture alone is worth the price of admission. Few guitarists can
EXTD= say so much with so few notes. It's short and to the point. \n\n
EXTD=It's also hard to go wrong with Phil Collins banging the drums. T
EXTD=his was always Phil's strength. It's 1982 and Phil is certainly n
EXTD=ot ripping out the incredible fills and beats in Genesis. Their m
EXTD=usic was becoming simpler and more pop-oriented. Principle of Mom
EXTD=ents assures us, though, that Phil is still an accomplished drumm
EXTD=er. \n\nThese elements all combined to produce an album that I wo
EXTD=uld not hesitate to say is among the best of the '80s. Buy, liste
EXTD=n, love. It's very simple. \n\n\nAMAZON.COM CUSTOMER REVIEW\nExce
EXTD=llent transition to solo projects, January 29, 2005 \nBy  kozmikr
EXTD=okker (Highland, Utah United States)\nAll of the Robert plant alb
EXTD=ums are gems. Unlike people like Michael Schenker and others who,
EXTD= after leaving their previous successful bands surrounded themsel
EXTD=ves with lesser talent, Robert Plant hired great progressive mind
EXTD=ed, talented musicians. Where as many of the others failed to cre
EXTD=ate anything noteworthy, Robert Plant, in my opinion created the 
EXTD=best progressive rock of the entire 1980's. almost every track on
EXTD= every album is artistic and musical and either rocks or mystifie
EXTD=s or takes you on a musical journey somewhere. Beginning with thi
EXTD=s album, if you like it, you'll probably like all the others equa
EXTD=lly. \n\n\nAMAZON.COM CUSTOMER REVIEW\nTaking a step back, Februa
EXTD=ry 12, 2003 \nBy  "deltafront" (Silverdale, WA United States)\nIt
EXTD='s rather refreshing to see such an accomplished singer as Robert
EXTD= Plant take a step back from the self-indulgent bombasity that ma
EXTD=rked - and marred - some of Led Zep's later works, and turn out s
EXTD=uch a fine album as "The Principle of Moments." This is a consist
EXTD=ent work, full of simple songs well-performed and sung. "In the M
EXTD=ood" still hold up after all these years as an excellent song, dr
EXTD=eadfull video notwhithstanding. There are no real rockers here - 
EXTD=all of the songs on this CD are mellow, introspective, generaly p
EXTD=leasent to listen to - again and again. \n\n\nAMAZON.COM CUSTOMER
EXTD= REVIEW\nBIG LOG, big bass, haunting lyrics..., October 27, 2001 
EXTD=\nBy  Verne Robinson (Brooklyn, NY USA)\n"My love is in league wi
EXTD=th the freeway...its passion will rise as the cities fly by and t
EXTD=he taillights dissolve..."\nPlant haunted me with this transcenda
EXTD=nt yet sentimental song. I have loved it since I first heard it o
EXTD=n a mushroom trip in Haight Ashbury back in 1982. It is track #8 
EXTD=and I put it on repeat..."leading me on...leading me down the roa
EXTD=d...driving me on...driving me down the road...there is no turnin
EXTD=g back...no...there is no turning back...on the run." \n\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nRobert Plant discovers life after Led Zepp
EXTD=elin, June 8, 2001 \nBy  26-year old wallflower "Eric N Andrews" 
EXTD=(West Lafayette, IN)\nThe 1980s held so much promise for Led Zepp
EXTD=elin. Their final album had shown they could make the transition 
EXTD=into the digitally-minded decade with ease by toning down the gui
EXTD=tar attack in favor of lush keyboards. However, drummer John Bonh
EXTD=am's death silenced that notion and the surviving members decided
EXTD= to carry on alone. No surprise, Robert Plant, being the most vis
EXTD=ible member of Zeppelin, found solo success first. His 1982 debut
EXTD= PICTURES AT ELEVEN sold well thanks to his previous fame with Ze
EXTD=ppelin, even peaking at #5 on the charts without a high-selling s
EXTD=ingle. But that album seemed to say that Plant still missed the h
EXTD=eavy blues-rock that Zeppelin had all but pioneered. With the fol
EXTD=low-up PRINCIPLE OF MOMENTS, Robert probably decided to sever tie
EXTD=s with his past once and for all. Indeed, MOMENTS introduces a mo
EXTD=re pop-oriented facet to Plant's personality, and like the keyboa
EXTD=rd-based departure that was IN THROUGH THE OUT DOOR, it works sur
EXTD=prisingly well. The album generated 2 top 40 hits for Plant: the 
EXTD=simple yet infectious "In The Mood" and the moody, introspective 
EXTD="Big Log". This was probably due to the airy soundscapes that pro
EXTD=ducers Benji Lefeure, Pat Moran, and Plant himself bring to songs
EXTD= that may have also worked had Jimmy Page had a hand in them. "Mo
EXTD=od" proves that blues-shouter Plant could convincingly sing mello
EXTD=w pop, while "Big Log" maintains the mystery of Zeppelin's best w
EXTD=ork, although some have said it is Robert Plant having a conversa
EXTD=tion with God (maybe about John Bonham's death), so who knows? Hi
EXTD=nting at Led Zeppelin's underrated willingness to experiment, PRI
EXTD=NCIPLE OF MOMENTS has its share of more left-field ditties like t
EXTD=he eerie "Stranger Here...Than Over There", "Messin' With The Mek
EXTD=on" and "Thru With The Two-Step". Plant hasn't lost his tendency 
EXTD=for abstract song titles, and their intention at sparking discuss
EXTD=ion among music fans is indeed a successful one. The closest thin
EXTD=gs to all-out rockers on MOMENTS are "Other Arms" and "Horizontal
EXTD= Departure", proving that Robert Plant doesn't need to be reflect
EXTD=ive all of the time. While the keyboard playing by Jezz Woodroffe
EXTD= would be the most obvious highlight of MOMENTS, the percussion w
EXTD=ork should be equally noted. While John Bonham's tubthumping drum
EXTD=work is missed for sure, the slightly understated sound of it on 
EXTD=MOMENTS works just as well. Phil Collins and ex-Jethro Tull skins
EXTD=man Barriemore Barlow give the songs a supple backbeat that even 
EXTD=Bonzo himself may have appreciated. PRINCIPLE OF MOMENTS was as b
EXTD=ig a success as its predecessor PICTURES AT ELEVEN, becoming a to
EXTD=p 5 hit at a time when the charts were still geared towards artis
EXTD=ts who were a generation younger than Plant. Whether or not it wa
EXTD=s due to Robert Plant's legendary work with Zeppelin or the album
EXTD='s own merits is unclear. But it still went a long way in establi
EXTD=shing Robert Plant as an engaging solo artist in his own right. A
EXTD=nd for anyone who knocks the follow-up SHAKEN N' STIRRED for bein
EXTD=g too keyboard-driven, they should listen to PRINCIPLE OF MOMENTS
EXTD= to realize that the more production-based approach was coming an
EXTD=yway. \n\n\nAMAZON.COM CUSTOMER REVIEW\nA trademark of ominous me
EXTD=lancoly, September 24, 1999 \nBy  raycooper@sprintmail.com (Austi
EXTD=n, Texas)\nBig Log came out in the fall of my Sophomore year of h
EXTD=igh school and I remember how it captivated me way back then. I w
EXTD=ondered who this wonderful artist was. I had never even heard of 
EXTD=Robert Plant. When "In the Mood" was released, I knew that I had 
EXTD=buy the album which I still have. Three worn out copies of the ta
EXTD=pe and a replacement CD later, I can still remember climbing into
EXTD= the backseat of my car, putting my head between the two triaxial
EXTD= speakers, and letting "Big Log" take me away to a lonely, far of
EXTD=f place. \n\n\nHalf.com Details \nContributing artists: Barriemor
EXTD=e Barlow, Phil Collins \nProducer: Pat Moran \n\nAlbum Notes\nPer
EXTD=sonnel: Robert Plant (vocals); Robbie Blunt (guitar); Jezz Woodru
EXTD=ffe (keyboards); Paul Martinez (bass); Phil Collins, Barrimore Ba
EXTD=rlow (drums).\n\nPersonnel: Robert Plant (vocals); Robbie Blunt (
EXTD=guitar); Jezz Woodroffe (keyboards); Paul Martinez (bass guitar);
EXTD= Phil Collins (drums).\n\nRecording information: 1983.\n\nWith hi
EXTD=s debut solo album, 1982's PICTURES AT ELEVEN, singer Robert Plan
EXTD=t successfully began establishing himself as a solo recording art
EXTD=ist apart from his former band, the incomparable Led Zeppelin. Pl
EXTD=ant wasted no time in issuing a follow-up, PRINCIPLE OF MOMENTS, 
EXTD=which appeared one year after his debut.\nFollowing in the musica
EXTD=l footsteps of its predecessor, PRINCIPLE shows Plant and his bac
EXTD=king band (which included a cameo from Genesis drummer Phil Colli
EXTD=ns) exploring modern rock sounds. The two best known songs remain
EXTD= the hit singles/videos "Big Log" and "In the Mood," both, especi
EXTD=ally the former, slow-paced yet highly melodic compositions. Othe
EXTD=r standouts include the keyboard-infused "Thru With the Two Step,
EXTD=" as well as such challenging numbers as "Wreckless Love" and "Me
EXTD=ssin' With the Mekon."\n\nIndustry Reviews\nHighly Recommended --
EXTD= Perf 8.6 / Sound 8.6\n\n\nROLLING STONE REVIEW\nThe problem with
EXTD= Robert Plant's solo career is that he has been unable to leave L
EXTD=ed Zeppelin's thunderous sound completely behind him. Even withou
EXTD=t the late John Bonham's gorilla thwack spurring him on or Jimmy 
EXTD=Page's demon blues licks chasing his tail, Plant sometimes cannot
EXTD= help resorting to his trademark Promethean theatrics, straining 
EXTD=at melodies with salacious vocal jibes and full-moon howls. Fortu
EXTD=nately, much of The Principle of Moments finds the singer trying 
EXTD=to get around that dilemma by toying with weird hard-rock alterna
EXTD=tives and singing in a restrained, though powerful, manner.\n\nOn
EXTD=e of Plant's best outings on his second solo album is "Big Log," 
EXTD=a ballad that features a vague Latin lilt and a discreet synthesi
EXTD=zer gloss that complements the sexy elasticity of Robbie Blunt's 
EXTD=guitar. Against his best heavy-metal instincts, Plant resists eas
EXTD=y histrionics and opts for a far more effective quiet tension in 
EXTD=his bluesy wails and bassy coos. Musically, there are several ref
EXTD=erences to the Zeppelin canon here -- the jerky "Black Dog"-like 
EXTD=rhythm pattern of "Messin' with the Mekon," Blunt's Middle Easter
EXTD=n "Kashmir" - type motif in "Wreckless Love" -- but overall, Plan
EXTD=t is taking more outside chances.\n\nThe experimental half of The
EXTD= Principle of Moments is, in effect, Robert Plant's admission tha
EXTD=t on his own, he can never improve on Zeppelin's otherworldly he-
EXTD=man fantasies. It is also his declaration of independence from th
EXTD=e past -- not a denial of it, but just one way of showing there's
EXTD= more to life than "Whole Lotta Love." (RS 403 -- Sep 1, 1983) --
EXTD= DAVID FRICKE
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