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| Robert Plant | Primary Artist, Primary Artist, Vocals |
| Phil Collins | Drums |
| Jezz Woodroffe | Keyboards |
| John David | Vocals, Background Vocals |
| Barriemore Barlow | Drums |
| Robbie Blunt | Guitar |
| Paul Martinez | Bass, Bass Guitar |
| Ray Martinez | Vocals, Background Vocals |
| Jen Woodroffe | Keyboards |
| Pat Moran | Engineer |
Anonymous
Posted October 1, 2010
In my opinion, this is better than Plant's predecessor, thanks to the 2 tracks off this album, In The Mood, and Big Log. The album kicks off with Open Arms with plant screaming "LAY DOWN YOUR ARMS!"....Open Arms is probably the most hard rocking track on the album, and Plant's vocals are excellent on here. "Horizontal Departure" being a huge rocker, sounding more modern than any other track on here. Every track on here brings an superb performance. "Big Log" is probably the most recognizable track on here, vocals at best, and Blunt's guitar work being the best ever. "In The Mood" is probably the best song on here, with its cool atmospheric rock sound, Robert Plant experimenting with his vocals, and the keyboard parts on here arent bad either. This is pretty good soft rock, and this album is just as good as any of his Post, Pre, or Zeppelin-era albums.
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Posted October 1, 2010
?Sit back, close your eyes and pretend you never heard of Led Zeppelin and have no idea who Robert Plant is. Now listen to this unknown¿s sophomore effort ¿The Principle of Moments¿ and ask yourself, ¿Is this a good album?¿ If you forget your expectations for the type of music the voice of the quintessential heavy metal band of the 70's would offer up, you will be pleasantly surprised at how good it is. To be sure, fans of Robert Plant¿s previous life will miss the killer riffs and guitar pyrotechnics of Jimmy Page, but will find Robbie Blunt¿s sweet, smooth and scintillating guitar work a perfect complement to the more subdued singing style. Bonzo¿s crashing drums have passed with the ill-fated drummer and have taken a back seat to guitar, keyboard and voice with an eye toward overall melody and mood. Jezz Woodroffe brings the keyboards to the limelight in a way that John Paul Jones never had a chance too (with the possible exception of ¿In Through the Out Door¿) and with great success sharing songwriting credits on many tracks and helping to form the core of the bands fresh sound. I remember attending Robert Plant¿s concert in support of ¿The Principle of Moments¿. At the time he was very keen on establishing an identity separate from Led Zeppelin to the point of refusing to play a single song from his days as a legend. A gutsy move when touring on the strength of a mere two solo albums in the days when they clocked in around 38 minutes and were selling mostly on the reputation he established with the band. During the concert, Plant chose to address the fans¿ dismay with his stance by announcing one of his songs as an ¿80's love song¿, implying that it was time for everyone to get with the times and move forward. The friend I went with captured the audience¿s sentiment perfectly when he said that what he wanted to hear was a ¿70's Led Zeppelin song.¿ But Plant did not relent and, by the end of the concert, had an arena full of converts who finally realized that Page was not the only songwriting talent in Zeppelin. By the end of this album, the listener will feel much the same as this audience and may find himself remarking, ¿Oh, WAS he with Led Zeppelin?¿ This is not to suggest that the songs to be found here will make one forget Zep¿s heavy metal classics and subtler gems; it is just to say that they stand on their own, taking flight without the benefit of helium or hot air. The two most immediately recognizable tracks in the collection are the FM crossover hits ¿In The Mood¿ and ¿Big Log¿; as they were the only songs to receive meaningful air play, they are, perhaps, the ONLY recognizable tracks. But, they are not the only good ones¿just the album¿s hooks. Zeppelin fans will probably favor ¿Messin¿ with the Mekon¿, ¿Wreckless Love¿ and ¿Stranger Here...Than Over There¿ as being closer to the more experimental efforts of the more obscure songs known only to the true Zep fans. ¿Wreckless Love¿ in particular will recall the scream singing on many of Zep¿s biggest songs. ¿Stranger Here...Than Over There¿¿s interlude is reminiscent of ¿Dazed and Confused¿, although not nearly as memorable. ¿Thru¿ with the Two Step¿ is a slow, keyboard based song that is easily the album¿s weakest entry. Unlike the aforementioned big hits, slow and subdued doesn¿t work here. Old fans will detest it as a bit of what one would have feared to be the quality of the entire post-Page album (there is NO ¿cool factor¿ in this song); there are not likely to be any new fans resulting from it. ¿Horizontal Departure¿ has a great pop hook chorus that releases the tension built with the hurried, strained singing of Plant backed by Blunt¿s broken chord intensity. ¿Other Arms¿, a mainstream, FM mainstay sounding rocker, kicks off the album in a way that seems to have Plant saying, ¿I¿m here to rock, but on my own terms.¿ This is the perfect beginning for an album that ends with the hypnotic and mesmerizing ¿Big Log
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Editorial Reviews
All Music Guide - Mike DeGagne
Robert Plant's follow-up to Pictures at Eleven implements much of his debut's style and vocal meandering into a new and more exciting bunch of songs. The mysteriousness of "Big Log," the album's first single, reached the Top 20 in the United States and in the U.K., while "In the Mood" is The Principle of Moments' finest offering, proving that Plant could roam freely with his voice and still have it work effectively. But Plant doesn't stop here, as he gives tracks like "Wreckless Love," "Stranger Here...Than Over There," and "Other Arms" an equal amount of curt abstractness and rock appeal. Because Plant's voice is so compelling in any state, the convolution of his writing ...