Does Zeppelin

Classic rock and pop tracks with an orchestral twist! A Symphony of hits featuring Bohemian Rhapsody, Candle in the Wind, Stairway to Heaven, Let It Be, Handbags and Gladrags, Beautiful Day, Champagne Supernova, Good Vibrations, Layla, Nights in White Satin, Bittersweet Symphony, A Whiter Shade of Pale, Bat Out of Hell, Livin' on a Prayer, Yellow, Millennium…and more!

Everything about Coverdale/Page, right down to the goofy copping of the Presence artwork, is an attempt to recapture the pompous majesty of Led Zeppelin. It doesn't succeed, of course, but it does leave all of the Zep clones in the dust. Although Jimmy Page plays better here than he has since 1979's In Through the Out Door, there is a conspicuous lack of solos. If you've never liked David Coverdale, his performance will not change your opinion…

In the decade since their last studio outing, Heart's Ann and Nancy Wilson have apparently done some soul-searching and meditating on what made Heart such a great band in the first place. At their peak, they were a powerful, obsessively compelling rock band that could knock off hit singles and consistently fine albums that appealed to album rock radio junkies and studious type…

Anticipation was quite high when it was announced in 1984 that Paul Rodgers, the past voice of Bad Company, and Jimmy Page, Led Zeppelin's former guitarist, were creating a "supergroup" called the Firm. Page and Rodgers had first tinkered with the idea of an album after their successful collaboration on the ARMS benefit tour for Ronnie Lane in 1983. Based upon the fact that it had been over five years since Page's last band effort, and two years since Rodger's lackluster finale with the original Bad Company, pundits were more than eager to hear what new material the duo would unleash. However, when the band's self-titled debut was actually released in 1985, it received a critical drubbing and was all but ignored by the record-buying public.

Detective wasn't without its detractors who dismissed the short-lived band as a poor man's Led Zeppelin. But Detective had more to offer than that. To be sure, Detective was heavily influenced by Zeppelin, but it wasn't a knee-jerk Zeppelin clone – and its bluesy brand of hard rock also owed a lot to Bad Company and Free and Pretty Things. Released in 1977, It Takes One to Know One was the second of Detective's two studio albums. This LP is uneven; a few of the tunes are pedestrian and forgettable (especially the sappy MOR numbers "Warm Love" and "Something Beautiful"). But when Detective hits its mark – and it often does – the listener is happy to have this record in his/her collection.

There's no denying Australian heavy rock trio Wolfmother has been raised on rock – specifically, raised on '70s rock. Problem is, from all appearances on their eponymous debut, they made their journey into the past via the twin gateway drugs of the White Stripes and Queens of the Stone Age, and once they dug back to the original Zeppelin and Sabbath texts (stopping along the way for some Soundgarden discs and maybe, for lyrical inspiration, Yes and Rush), they indulged so much it screwed with their sense of aesthetics.

Anticipation was quite high when it was announced in 1984 that Paul Rodgers, the past voice of Bad Company, and Jimmy Page, Led Zeppelin's former guitarist, were creating a "supergroup" called the Firm. Page and Rodgers had first tinkered with the idea of an album after their successful collaboration on the ARMS benefit tour for Ronnie Lane in 1983. Based upon the fact that it had been over five years since Page's last band effort, and two years since Rodger's lackluster finale with the original Bad Company, pundits were more than eager to hear what new material the duo would unleash. However, when the band's self-titled debut was actually released in 1985, it received a critical drubbing and was all but ignored by the record-buying public…

Lost in the New Real (also referred to as Arjen Anthony Lucassen's Lost in the New Real) is the second solo studio album by Dutch songwriter, producer, singer, and multi-instrumentalist Arjen Anthony Lucassen. It is Lucassen's first solo album since Pools of Sorrow, Waves of Joy released 18 years ago under the name Anthony, before he reached fame with his progressive metal/rock opera project Ayreon. He sang lead vocals for the first time since the first album, and played most of the instruments himself including all guitars, bass and keyboards.
On Lost in the New Real, Lucassen does a very good job at creating some wonderful sound textures, by mixing the melodic progressive rock with some guitar metal riffs and adding some excellent keyboard works, a solid drumming and some folk music amidst.