- Music
- 22 Mar 01
Note, if you will, the billing. This is Page's baby, and the Crowes are acting as a superior pick-up band, a role for which, the more bellicose might suggest, they've been preparing for years.
Note, if you will, the billing. This is Page's baby, and the Crowes are acting as a superior pick-up band, a role for which, the more bellicose might suggest, they've been preparing for years.
So, the balance of power on this double live album is tilted firmly in JP's direction (witnesses at the shows testified the guitarist was a lot shakier on the Crowes' material - none of which is included here - than they on his), but spare a thought for Robert Plant, who must feel like his erstwhile partner is running around with a younger, tartier version of himself. For sure, Chris Robinson gives great Percy (and Rod and Mick, plus the Steves Marriot and Winwood): all cocksure strut, remarkable range and harp-sucking facilities.
And blow me down if the sap don't rise as Page rips into the opening figure of Zep's 'Celebration Day' - without doubt, this lot have done their homework. Elsewhere, 'What Is And What Should Never Be' is direct from Zep II, minus weird phasing but replete with lovingly reconstructed coda, Rich Robinson's lyrical tone contrasting with his master's more jagged approach.
But the album's foundation is built on colossal readings of hard rock/Delta blues overtures like 'Ten Years Gone', 'In My Time Of Dying', 'Nobody's Fault But Mine and 'Heartbreaker'.
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Mind you, there are stodgy moments. At the risk of courting heresy, this writer always found Page a stronger arranger, innovator and producer than pure blues player. Takes on BB King's 'Woke Up This Morning' and Jimmy Rogers' 'Sloppy Drunk' tend toward the workaday, conjuring images of that other black crow, Ron Wood, lurking in the wings with Guinness and fag in hand, wondering wot key this one's in. Similarly, an uncertain run at The Yardbirds 'Shapes Of Things' is a blown chance, a great song in search of a good groove.
To be fair though, such lapses are rare, and the album's final boogie suite - including Peter Green's 'Oh Well', Elmore James' 'Shake Your Money Maker' and of course, the riff that ate Uranus, 'Whole Lotta Love' - rocks with extreme prejudice.
It sure beats hanging out with Puff Daddy.