Led Zeppelin
Coldplay, Led Zeppelin Album Covers Featured On New British Stamps
by on Jan.07, 2010, under Led Zeppelin
Album art from Pink Floyd, Blur and David Bowie also included.
By James Montgomery
Coldplay’s new British stamps
Photo: Royal Mail
On Thursday (January 7), the U.K.’s Royal Mail unveiled a series of 10 new stamps, honoring the most iconic album covers of the past 40 years.
The albums featured in the new series are the Rolling Stones‘ Let It Bleed, Led Zeppelin’s IV, David Bowie’s The Rise and Fall of Ziggy Stardust and the Spiders From Mars, Mike Oldfield’s Tubular Bells, The Clash’s London Calling, New Order’s Power, Corruption and Lies, Primal Scream’s Screamadelica, Pink Floyd’s The Division Bell, Blur’s Parklife and — the most recent album on to make the cut — Coldplay’s A Rush of Blood to the Head.
Meant to honor “the most potent graphic images of modern times, many of which have provided a visual soundtrack to people’s lives,” the series is the end result of a lengthy research process by the Royal Mail, who looked through thousands of album covers by British artists before deciding on the final list. And, during a Wednesday night BBC Radio broadcast, it was revealed that the queen herself actually approved each design.
Led Zeppelin guitarist Jimmy Page — who helped design the cover for IV — was on hand to celebrate the release of the stamps and recalled the mysterious nature of the album’s iconic imagery.
“Almost 40 years after the album came out, nobody knows the old man who featured on the cover, nor the artist who painted him,” he said. “That sort of sums up what we wanted to achieve with the album cover, which has remained both anonymous and enigmatic at the same time.”
Of course, any great honor is befitting of an equally great contest, so, on the same day the stamps were made available to the general public, Coldplay decided to give one of their Rush of Blood stamps away. In a message on their official site, the band held a contest to send one lucky fan “a letter using a Coldplay stamp, postmarked with today’s issue date.”
“We visited our local post office earlier today and bought some of the Coldplay stamps,” the message read. “Very nice they are too.”
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Dave Grohl, Josh Homme, John Paul Jones Unveil Supergroup
by on Oct.19, 2009, under Led Zeppelin
Them Crooked Vultures make their debut with a post-Lollapalooza set.
By James Montgomery
Dave Grohl (file)
Photo: Jewel Samad/AFP/Getty Images
Officially, Lollapalooza ended Sunday night in Chicago’s Grant Park, with dueling sets from the Killers and Jane’s Addiction. Unofficially, it ended very early Monday morning, across town at venerable rock club the Metro, with a surprise show by Them Crooked Vultures.
To the unfamiliar, the Vultures might seem like an odd choice to close out Lolla weekend … until you realize that they’re made up of Foo Fighters frontman/ former Nirvana drummer Dave Grohl, Queens of the Stone Age mastermind Josh Homme and Led Zeppelin legend John Paul Jones. And their gig at the Metro was their world premiere.
According to some reports, the Vultures actually turned down Lollapalooza founder Perry Farrell’s request to replace the Beastie Boys as headliners at the festival, opting to debut in front of some 1,100 super-psyched fans at the Metro, rather than 75,000 in Grant Park (tickets for the gig were announced via Foo Fighter/ QOTSA fan clubs). Meaning that, in a lot of ways, this was the most sought-after ticket in town.
Taking the stage just after midnight, the Vultures — Grohl on drums (of course), Homme on guitar and vocals, Jones on bass and keys and frequent QOTSA contributor Alain Johannes on guitar — ripped through 12 songs in 80 minutes, all taken from their upcoming debut, which may or may not be called Never Deserved the Future, and may or may not be hitting stores on October 23 (early “promo” videos touting both those facts were revealed over the weekend to be hoaxes perpetrated by QOTSA fans).
The songs, with appropriately Homme-ian titles like “Scumbag Blues,” “Mind Eraser (No Chaser),” “Caligulove” and “Interlude w/Ludes,” sounded pretty much how you’d expect, given the band’s pedigree. They rocked, hard — Chicago Tribune critic Greg Kot described them as “fresh, invigorating and just plain nasty” — delving off into psychedelic, reverb-filled excursions and exploring proggy territory, “both of the old-school Yes variety, and the more modern Tool flavor,” according to the Chicago Sun-Times’ Jim DeRogatis.
It’s not known if Monday’s Metro performance was a one-off event for the Vultures — there have been whispers of a full-blown tour, but a spokesperson for Homme had not responded to MTV News’ request for comment at press time. Nor was it clear whether or not they’ll have an album out in October.
Early Monday, a Crooked Vultures Twitter account, which had previously posted links to the band’s official-looking Web site and the Metro’s online ticketing site — posted a link to what appears to be the group’s first bit of official merchandise: a Deserve the Future T-shirt. Cost: $30.
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Dave Grohl, Josh Homme, John Paul Jones Unveil Supergroup
by on Oct.19, 2009, under Led Zeppelin
Them Crooked Vultures make their debut with a post-Lollapalooza set.
By James Montgomery
Dave Grohl (file)
Photo: Jewel Samad/AFP/Getty Images
Officially, Lollapalooza ended Sunday night in Chicago’s Grant Park, with dueling sets from the Killers and Jane’s Addiction. Unofficially, it ended very early Monday morning, across town at venerable rock club the Metro, with a surprise show by Them Crooked Vultures.
To the unfamiliar, the Vultures might seem like an odd choice to close out Lolla weekend … until you realize that they’re made up of Foo Fighters frontman/ former Nirvana drummer Dave Grohl, Queens of the Stone Age mastermind Josh Homme and Led Zeppelin legend John Paul Jones. And their gig at the Metro was their world premiere.
According to some reports, the Vultures actually turned down Lollapalooza founder Perry Farrell’s request to replace the Beastie Boys as headliners at the festival, opting to debut in front of some 1,100 super-psyched fans at the Metro, rather than 75,000 in Grant Park (tickets for the gig were announced via Foo Fighter/ QOTSA fan clubs). Meaning that, in a lot of ways, this was the most sought-after ticket in town.
Taking the stage just after midnight, the Vultures — Grohl on drums (of course), Homme on guitar and vocals, Jones on bass and keys and frequent QOTSA contributor Alain Johannes on guitar — ripped through 12 songs in 80 minutes, all taken from their upcoming debut, which may or may not be called Never Deserved the Future, and may or may not be hitting stores on October 23 (early “promo” videos touting both those facts were revealed over the weekend to be hoaxes perpetrated by QOTSA fans).
The songs, with appropriately Homme-ian titles like “Scumbag Blues,” “Mind Eraser (No Chaser),” “Caligulove” and “Interlude w/Ludes,” sounded pretty much how you’d expect, given the band’s pedigree. They rocked, hard — Chicago Tribune critic Greg Kot described them as “fresh, invigorating and just plain nasty” — delving off into psychedelic, reverb-filled excursions and exploring proggy territory, “both of the old-school Yes variety, and the more modern Tool flavor,” according to the Chicago Sun-Times’ Jim DeRogatis.
It’s not known if Monday’s Metro performance was a one-off event for the Vultures — there have been whispers of a full-blown tour, but a spokesperson for Homme had not responded to MTV News’ request for comment at press time. Nor was it clear whether or not they’ll have an album out in October.
Early Monday, a Crooked Vultures Twitter account, which had previously posted links to the band’s official-looking Web site and the Metro’s online ticketing site — posted a link to what appears to be the group’s first bit of official merchandise: a Deserve the Future T-shirt. Cost: $30.
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Dave Grohl, Josh Homme, John Paul Jones Unveil Supergroup
by on Oct.19, 2009, under Led Zeppelin
Them Crooked Vultures make their debut with a post-Lollapalooza set.
By James Montgomery
Dave Grohl (file)
Photo: Jewel Samad/AFP/Getty Images
Officially, Lollapalooza ended Sunday night in Chicago’s Grant Park, with dueling sets from the Killers and Jane’s Addiction. Unofficially, it ended very early Monday morning, across town at venerable rock club the Metro, with a surprise show by Them Crooked Vultures.
To the unfamiliar, the Vultures might seem like an odd choice to close out Lolla weekend … until you realize that they’re made up of Foo Fighters frontman/ former Nirvana drummer Dave Grohl, Queens of the Stone Age mastermind Josh Homme and Led Zeppelin legend John Paul Jones. And their gig at the Metro was their world premiere.
According to some reports, the Vultures actually turned down Lollapalooza founder Perry Farrell’s request to replace the Beastie Boys as headliners at the festival, opting to debut in front of some 1,100 super-psyched fans at the Metro, rather than 75,000 in Grant Park (tickets for the gig were announced via Foo Fighter/ QOTSA fan clubs). Meaning that, in a lot of ways, this was the most sought-after ticket in town.
Taking the stage just after midnight, the Vultures — Grohl on drums (of course), Homme on guitar and vocals, Jones on bass and keys and frequent QOTSA contributor Alain Johannes on guitar — ripped through 12 songs in 80 minutes, all taken from their upcoming debut, which may or may not be called Never Deserved the Future, and may or may not be hitting stores on October 23 (early “promo” videos touting both those facts were revealed over the weekend to be hoaxes perpetrated by QOTSA fans).
The songs, with appropriately Homme-ian titles like “Scumbag Blues,” “Mind Eraser (No Chaser),” “Caligulove” and “Interlude w/Ludes,” sounded pretty much how you’d expect, given the band’s pedigree. They rocked, hard — Chicago Tribune critic Greg Kot described them as “fresh, invigorating and just plain nasty” — delving off into psychedelic, reverb-filled excursions and exploring proggy territory, “both of the old-school Yes variety, and the more modern Tool flavor,” according to the Chicago Sun-Times’ Jim DeRogatis.
It’s not known if Monday’s Metro performance was a one-off event for the Vultures — there have been whispers of a full-blown tour, but a spokesperson for Homme had not responded to MTV News’ request for comment at press time. Nor was it clear whether or not they’ll have an album out in October.
Early Monday, a Crooked Vultures Twitter account, which had previously posted links to the band’s official-looking Web site and the Metro’s online ticketing site — posted a link to what appears to be the group’s first bit of official merchandise: a Deserve the Future T-shirt. Cost: $30.
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Adam Lambert’s ‘Whole Lotta Love’: The Story Behind The Cover
by on Oct.19, 2009, under Led Zeppelin
Glam rocker tackled the legendary 1970 Led Zeppelin song for ‘American Idol’ rock night.
By Gil Kaufman
Adam Lambert performs “Whole Lotta Love” on “American Idol” on Tuesday
Photo: R. Mickshaw/Getty Images/ Fox
Imagine a freight train speeding toward you at midnight. Or a rockslide barreling down a hill as you try to outrace it. That’s the feeling of the ominous, chugging Jimmy Page riff that kicks off Led Zeppelin’s 1970 Stonehenge of rock, “Whole Lotta Love.” And that’s before singer Robert Plant leans into one of the nastiest, ecstatic rock screams this side of the Who’s “Won’t Get Fooled Again.”
That’s the song Adam Lambert chose to sing on “American Idol” rock night Tuesday (May 5), and, needless to say, it was a challenge that the eyeliner-loving Los Angeles stage veteran was more than up for, hitting a series of high notes and rock screams that would have made Plant proud. It was a risky maneuver that paid off for Lambert, who chose a tune that came in at #75 on Rolling Stone magazine’s list of the “500 Greatest Songs of All Time” in 2004.
The legendary British rock act recorded the tribute to Chicago blues icon Willie Dixon during their second U.S. tour after working it out in their live show, including it on their 1969 classic album Led Zeppelin II. Like many of the songs Zeppelin performed early in their career, “Love” was a blues standard turned on its head with a heavy dose of crunching psychedelic guitar and thundering drums, courtesy of late drummer John Bonham. The song was based on a 1962 tune by another blues forefather, Muddy Waters, called “You Need Love,” which was penned by Dixon.
For Zeppelin’s version, Plant customized the lyrics by adding some lyrical quotes from a few other songs Dixon wrote for Howlin’ Wolf, “Back Door Man” and “Shake For Me,” nailing the tricky vocal in a single take. It was also inspired by 1966’s “You Need Loving” from the British rock group the Small Faces, for whom Zeppelin had great affection, but they also did not credit Dixon for his part in writing the original lyrics. The song became Zeppelin’s first U.S. single and their only U.S. top 10 hit. Though their manager would not let them release singles in the U.K. because he thought it cannibalized album sales, the song was finally released as the band’s only British single in 1997.
Dixon sued Zeppelin over the song in 1985, claiming it borrowed too heavily from his “You Need Love,” and Zeppelin reached an agreement with him, with Dixon using the money he received to set up a program that provided musical instruments for schools. A cornerstone of heavy rock, the tune — which was the theme song for the long-running British countdown show “Top of the Pops” in the 1970s and ’80s — has been covered by dozens of artists over the years, from Tina Turner and Ben Harper to Prince, Slash, Leona Lewis, Train’s Pat Monahan, the London Symphony Orchestra and Jane’s Addiction.
Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.
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Adam Lambert’s ‘Whole Lotta Love’: The Story Behind The Cover
by on Oct.19, 2009, under Led Zeppelin
Glam rocker tackled the legendary 1970 Led Zeppelin song for ‘American Idol’ rock night.
By Gil Kaufman
Adam Lambert performs “Whole Lotta Love” on “American Idol” on Tuesday
Photo: R. Mickshaw/Getty Images/ Fox
Imagine a freight train speeding toward you at midnight. Or a rockslide barreling down a hill as you try to outrace it. That’s the feeling of the ominous, chugging Jimmy Page riff that kicks off Led Zeppelin’s 1970 Stonehenge of rock, “Whole Lotta Love.” And that’s before singer Robert Plant leans into one of the nastiest, ecstatic rock screams this side of the Who’s “Won’t Get Fooled Again.”
That’s the song Adam Lambert chose to sing on “American Idol” rock night Tuesday (May 5), and, needless to say, it was a challenge that the eyeliner-loving Los Angeles stage veteran was more than up for, hitting a series of high notes and rock screams that would have made Plant proud. It was a risky maneuver that paid off for Lambert, who chose a tune that came in at #75 on Rolling Stone magazine’s list of the “500 Greatest Songs of All Time” in 2004.
The legendary British rock act recorded the tribute to Chicago blues icon Willie Dixon during their second U.S. tour after working it out in their live show, including it on their 1969 classic album Led Zeppelin II. Like many of the songs Zeppelin performed early in their career, “Love” was a blues standard turned on its head with a heavy dose of crunching psychedelic guitar and thundering drums, courtesy of late drummer John Bonham. The song was based on a 1962 tune by another blues forefather, Muddy Waters, called “You Need Love,” which was penned by Dixon.
For Zeppelin’s version, Plant customized the lyrics by adding some lyrical quotes from a few other songs Dixon wrote for Howlin’ Wolf, “Back Door Man” and “Shake For Me,” nailing the tricky vocal in a single take. It was also inspired by 1966’s “You Need Loving” from the British rock group the Small Faces, for whom Zeppelin had great affection, but they also did not credit Dixon for his part in writing the original lyrics. The song became Zeppelin’s first U.S. single and their only U.S. top 10 hit. Though their manager would not let them release singles in the U.K. because he thought it cannibalized album sales, the song was finally released as the band’s only British single in 1997.
Dixon sued Zeppelin over the song in 1985, claiming it borrowed too heavily from his “You Need Love,” and Zeppelin reached an agreement with him, with Dixon using the money he received to set up a program that provided musical instruments for schools. A cornerstone of heavy rock, the tune — which was the theme song for the long-running British countdown show “Top of the Pops” in the 1970s and ’80s — has been covered by dozens of artists over the years, from Tina Turner and Ben Harper to Prince, Slash, Leona Lewis, Train’s Pat Monahan, the London Symphony Orchestra and Jane’s Addiction.
Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.
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Related Photos
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Adam Lambert’s ‘Whole Lotta Love’: The Story Behind The Cover
by on Oct.19, 2009, under Led Zeppelin
Glam rocker tackled the legendary 1970 Led Zeppelin song for ‘American Idol’ rock night.
By Gil Kaufman
Adam Lambert performs “Whole Lotta Love” on “American Idol” on Tuesday
Photo: R. Mickshaw/Getty Images/ Fox
Imagine a freight train speeding toward you at midnight. Or a rockslide barreling down a hill as you try to outrace it. That’s the feeling of the ominous, chugging Jimmy Page riff that kicks off Led Zeppelin’s 1970 Stonehenge of rock, “Whole Lotta Love.” And that’s before singer Robert Plant leans into one of the nastiest, ecstatic rock screams this side of the Who’s “Won’t Get Fooled Again.”
That’s the song Adam Lambert chose to sing on “American Idol” rock night Tuesday (May 5), and, needless to say, it was a challenge that the eyeliner-loving Los Angeles stage veteran was more than up for, hitting a series of high notes and rock screams that would have made Plant proud. It was a risky maneuver that paid off for Lambert, who chose a tune that came in at #75 on Rolling Stone magazine’s list of the “500 Greatest Songs of All Time” in 2004.
The legendary British rock act recorded the tribute to Chicago blues icon Willie Dixon during their second U.S. tour after working it out in their live show, including it on their 1969 classic album Led Zeppelin II. Like many of the songs Zeppelin performed early in their career, “Love” was a blues standard turned on its head with a heavy dose of crunching psychedelic guitar and thundering drums, courtesy of late drummer John Bonham. The song was based on a 1962 tune by another blues forefather, Muddy Waters, called “You Need Love,” which was penned by Dixon.
For Zeppelin’s version, Plant customized the lyrics by adding some lyrical quotes from a few other songs Dixon wrote for Howlin’ Wolf, “Back Door Man” and “Shake For Me,” nailing the tricky vocal in a single take. It was also inspired by 1966’s “You Need Loving” from the British rock group the Small Faces, for whom Zeppelin had great affection, but they also did not credit Dixon for his part in writing the original lyrics. The song became Zeppelin’s first U.S. single and their only U.S. top 10 hit. Though their manager would not let them release singles in the U.K. because he thought it cannibalized album sales, the song was finally released as the band’s only British single in 1997.
Dixon sued Zeppelin over the song in 1985, claiming it borrowed too heavily from his “You Need Love,” and Zeppelin reached an agreement with him, with Dixon using the money he received to set up a program that provided musical instruments for schools. A cornerstone of heavy rock, the tune — which was the theme song for the long-running British countdown show “Top of the Pops” in the 1970s and ’80s — has been covered by dozens of artists over the years, from Tina Turner and Ben Harper to Prince, Slash, Leona Lewis, Train’s Pat Monahan, the London Symphony Orchestra and Jane’s Addiction.
Get your “Idol” fix on MTV News’ “American Idol” page, where you’ll find all the latest news, interviews and opinions.
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Robert Plant And Alison Krauss Win Grammy Album Of The Year
by on Oct.19, 2009, under Led Zeppelin
Raising Sand, from Led Zeppelin vet and bluegrass superstar, wins five Grammys on Sunday night.
By James Montgomery with MTV News staff
Alison Krauss and Robert Plant accept the award for Album of the Year at the Grammy Awards on Sunday
Photo: Kevin Winter/ Getty Images
“I’m bewildered,” Robert Plant said onstage as he accepted the Grammy Album of the Year award with Alison Krauss on Sunday night. “In the old days we would have called this selling out, but it’s a good way to spend a Sunday.”
He was probably one of the few who were surprised, because Raising Sand, which won five trophies at Sunday night’s show, is in many ways the perfect Grammy album. It features two respected veterans, a critically lauded producer, some sandpaper-and-velvet vocals and a baker’s dozen of time-tested standards.
You’re probably familiar with Robert Plant from his Led Zeppelin days, and you might be aware of producer T-Bone Burnett’s work on the “O Brother, Where Art Thou?” soundtrack (it won the Grammy for Album of the Year in 2002). And if you don’t know who Alison Krauss is, she possesses a haunting set of pipes and is one of the meanest fiddle players in the world. Oh, and she’s won 21 Grammys, more than any other female artist and the seventh-most in history.
Really, she’s the key to Sand’s success, and not just because of her voice (or her fiddle playing). She and Plant first met in 2004, at a Rock and Roll Hall of Fame tribute to legendary bluesman Leadbelly, and the former Zeppelin man was amazed by her knowledge of American Roots music — so much so that they began kicking around the idea of recording an album together. Three years later, Sand was released.
And while Plant possesses the more famous voice, the album’s finest moments radiate from Krauss. Whether she’s getting bluesy on Little Milton’s “Let Your Loss Be Your Lesson” or entwining with Plant’s husky voice on songs like “Please Read the Letter” and Roly Salley’s winsome “Killing the Blues,” she more than carries her end of the bargain.
And perhaps that’s also due to producer Burnett, who handpicked the 13 songs the duo cover on Sand. His arrangements are sparse — giving the two voices ample room to breathe — yet dense, warm and crackling at the same time. It’s a testament to his work that he’s often given just as much billing as Plant and Krauss on the project … and it’s certainly justified.
To date, Sand has sold more than 1 million copies, heaped tons of acclaim and actually earned a Grammy last year — “Gone Gone Gone (Done Moved On)” took home the award for Best Pop Collaboration With Vocals.
One expert was surprised not by the album’s success, but by the fact that it’s actually quite a good album.
“At first, the album seemed like a vanity project. … Two names, clearly a one-off record, didn’t have to be any good, you know?” New York Times music critic Jon Caramanica said. “Led Zeppelin fans would buy it because of Robert Plant, Alison Krauss would get a check. But it actually turned out to be a really thoughtful, really good record. So when you combine all that with the fact that the Grammys love to lionize one of their own, I could really see it taking home some awards.”
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No hay más Led Zeppelin
by on Oct.19, 2009, under Led Zeppelin
A pesar de lo dicho ayer, Peter Mensch, manager del guitarrista Jimmy Page, se retractó totalmente en eso que la banda buscaría un reemplazo al ultragenial Robert Plant para seguir rockeando y toureándola por el mundo tras su show de 2007 en el O2 Arena de Londres por el poder de la música más sexual de la historia. No habrá más Led Zeppelin, no hay planes de que lo haya.
Mensch comentó: “Led Zeppelin se acabó. Si no los vieron en el 2007, se los perdieron. Probaron reemplazantes a Robert Plant, pero nada funcionó. Se acabó. No hay planes para continuar. Francamente, ojalá todos dejaran de hablar al respecto.”
Los fans no están nada contentos, especialmente los británicos, considerando los precios delirantes de las entradas del show reunión.
¿Y a ti? ¿Qué te parece todo esto?
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Robert Plant And Alison Krauss Win Grammy Album Of The Year
by on Oct.19, 2009, under Led Zeppelin
Raising Sand, from Led Zeppelin vet and bluegrass superstar, wins five Grammys on Sunday night.
By James Montgomery with MTV News staff
Alison Krauss and Robert Plant accept the award for Album of the Year at the Grammy Awards on Sunday
Photo: Kevin Winter/ Getty Images
“I’m bewildered,” Robert Plant said onstage as he accepted the Grammy Album of the Year award with Alison Krauss on Sunday night. “In the old days we would have called this selling out, but it’s a good way to spend a Sunday.”
He was probably one of the few who were surprised, because Raising Sand, which won five trophies at Sunday night’s show, is in many ways the perfect Grammy album. It features two respected veterans, a critically lauded producer, some sandpaper-and-velvet vocals and a baker’s dozen of time-tested standards.
You’re probably familiar with Robert Plant from his Led Zeppelin days, and you might be aware of producer T-Bone Burnett’s work on the “O Brother, Where Art Thou?” soundtrack (it won the Grammy for Album of the Year in 2002). And if you don’t know who Alison Krauss is, she possesses a haunting set of pipes and is one of the meanest fiddle players in the world. Oh, and she’s won 21 Grammys, more than any other female artist and the seventh-most in history.
Really, she’s the key to Sand’s success, and not just because of her voice (or her fiddle playing). She and Plant first met in 2004, at a Rock and Roll Hall of Fame tribute to legendary bluesman Leadbelly, and the former Zeppelin man was amazed by her knowledge of American Roots music — so much so that they began kicking around the idea of recording an album together. Three years later, Sand was released.
And while Plant possesses the more famous voice, the album’s finest moments radiate from Krauss. Whether she’s getting bluesy on Little Milton’s “Let Your Loss Be Your Lesson” or entwining with Plant’s husky voice on songs like “Please Read the Letter” and Roly Salley’s winsome “Killing the Blues,” she more than carries her end of the bargain.
And perhaps that’s also due to producer Burnett, who handpicked the 13 songs the duo cover on Sand. His arrangements are sparse — giving the two voices ample room to breathe — yet dense, warm and crackling at the same time. It’s a testament to his work that he’s often given just as much billing as Plant and Krauss on the project … and it’s certainly justified.
To date, Sand has sold more than 1 million copies, heaped tons of acclaim and actually earned a Grammy last year — “Gone Gone Gone (Done Moved On)” took home the award for Best Pop Collaboration With Vocals.
One expert was surprised not by the album’s success, but by the fact that it’s actually quite a good album.
“At first, the album seemed like a vanity project. … Two names, clearly a one-off record, didn’t have to be any good, you know?” New York Times music critic Jon Caramanica said. “Led Zeppelin fans would buy it because of Robert Plant, Alison Krauss would get a check. But it actually turned out to be a really thoughtful, really good record. So when you combine all that with the fact that the Grammys love to lionize one of their own, I could really see it taking home some awards.”
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