My favorites are Gangstabilly and Pizza Deliverance. My least favorites (besides The Dirty South) are probably A Blessing And A Curse and their latest. I still favor quite a few songs off of A Blessing and A Curse such as Gravity's Gone, it's just that Jason's songs didn't seem to work very well on that album and it's very clear he was headed in a completely different direction. I do like one of the songs of his that didn't make the cut, When the Well Runs Dry. Thankfully it turned up on the A Blessing and A Curse bonus disc along with some live stuff from the Llve at the 40 Watt DVD and their cover of Like A Rolling Stone that originally appeared on The Highway 61 Revisited Revisited comp that came with an issue of Uncut.

I always loved Garland Jefferys' version of 96 Tears as well:

Click here.

The latest.

Artwork for the new record:

The Gourds w/ Ramsay Midwood Friday, January 23rd Cat's Cradle Carrboro, NC

I love that song but can't say I'm a huge fan of that album. It has lots of songs I really do like (Danko/Manuel, Lookout Mountain, Carl Perkin's Cadillac, Goddamn Lonely Love, etc.) but it also has some that I thought were better live such as Boys From Alabama and Puttin' People On the Moon. I can't say I ever particularly cared all that much for The Buford Stick either. I also always thought the story behind Tornadoes was better than the song itself.

I've never had anything against In Through the Out Door either. The other thread about it also mentions bad reviews. I can't say I recall any at the time but the only one that stands out in my memory is one that ran in Creem. Unfortunately I can't seem to find it at their site but then again they might not have archived it.

I don't think you'll ever see the words "Great White" and "unique" in the same sentence (or Jack Russell fronting a band featuring Page, Jones and Jason Bonham for that matter). I believe the purpose of that tune was to show their chops as a cover band.

Not sure if these gals even qualify as I'm not entirely sure they ever even had a "hit" but here goes anyway:

Yes, it is. The same story is repeated here.

I'm pretty sure that came from an appearance on MTV Unplugged.

Don't know about Page but Jones has remained pretty active appearing at festivals and whatnot over the last few years despite the lack of a new studio record so I don't expect him to suddenly "retire".

In the interviews R.E.M. recently did for their latest album Accelerate guitarist Peter Buck cited Page as an influence. They also had John Paul Jones produce and do some of the string arrangements for Automatic For the People. Back in the day it also wasn't uncommon for R.E.M. to cover Whole Lotta Love.

It's important to remember where O'Reilly came from, one of the first purveyors of trash TV, Inside Edition.

Great White did a lot of Zep covers back when they were a bar band. They also did an album full of them several years back: The biggest hold back (aside from the tour being off) is that they were never looking for a mere Plant "soundalike". There were also never any plans to call it "Led Zeppelin" (as implied in the thread subtitle).

For me it wasn't a song but an album. My family took a month long trip to Europe in 1972. One of my older brothers had a portable Panasonic tape recorder/player along for the ride. A few of the cassettes he bought in Europe for the trip were Led Zeppelin IV the Beatles Hey Jude (The Beatles Again) and Grand Funk Railroad's Phoenix

As I mentioned in another thread, Great White definitely knew their way around some Zep tunes but it's been stated that they weren't looking for a Plant "soundalike" in whatever the new band would have been.

Ringo was a "fraud"? I've read some ridiculous ass statements on this board in the past but that one would have to be right up there. As for "frontmen" in the Beatles, I guess it depends on how you choose to define it but all four members were allowed to sing lead vocals. I don't think there was any true "frontman" in the Beatles since they all sang and/or shared harmony vocals.

I never cared much for Great White but I will admit to being impressed by their Zep covers. That said, the search for a new singer is evidently over. That and they were apparently never looking for a Plant "soundalike" so that would rule Russell out right there.

Perhaps Slash can't be taken seriously but they're obviously not going to have commentators on there that are going to speak negatively about the artists included in the countdown. I was never the world's biggest G n' R fan but I did enjoy hearing some of Slash's comments about the early days of the band when he was making the publicity rounds back when his bio first came out like this anecdote he shared about Axl on Late Night with David Letterman.

That's beside the point. This is a thread about One Hit Wonders, of course the majority of artists mentioned aren't going to get a lot of recognition. That's why they're "One Hit Wonders". You asked what I considered "New Wave" to be so I responded in kind. The initial popularity of Blondie and the Police may have happened during the punk era but they're seldom referred to as such. Blondie and the Police had a much more accessible sound than is normally associated with punk rock, that's why you hardly ever see them referred as such. R.E.M. also first became popular during the early days of New Wave, the term "Alternative Rock" hadn't even been coined yet. Because they weren't so easily categorized they were often lumped in with New Wave artists since they were indeed part of the "new wave" of artists at the time.

It's actually the same two Gram albums (with bonus tracks) I already recommended plus a third disc full of alternate takes. Like I said, more of a collection for completists. If you end up getting into Gram you'll soon learn there's lots of other stuff out there to choose from aside from the proper studio releases such as the live disc that was released last year that was discovered in the Grateful Dead's vaults.

The Mighty Rearranger nothwithstanding, Raising Sand sounds like the logical next step following Dreamland. In other words, it's not all that far removed from Dreamland from a stylistic point of view. I don't expect the new Plant/Krauss collaboration to necessarily sound like a sonic continuation of Raising Sand. Considering what they've done with this project I expect it will continue to break more ground on several fronts.