The underrated solo song Robert Plant claimed sent him to “heaven”
Claiming that Robert Plant takes the easy route would severely miss the mark. Not only did he help to reinvent what it meant to make the stadium space a vestibule of unrivalled energy, but he also pushed the boundaries of traditional rock music, demonstrating the power and poignancy of infusing it with various genres and innovative techniques.
While creating his second solo album, The Principle of Moments, Plant sought to focus on the often ambiguous nature of the present, resulting in layered experiences that either unsettle or delight. To achieve this, he enlisted a highly skilled team and approached the record with the utmost creativity so that every song was unpredictable but enlightening.
While most of the process saw Plant enjoying the freedom to explore territories outside the traditional Led Zeppelin sound, he encountered some challenges regarding the singles. For instance, he regarded lead singles ‘Big Log’ and ‘In The Mood’ to be almost entirely reflective of who he was as a solo artist, but fought against the release of ‘Open Arms’, mainly for fear of being regarded as a continuation of Zeppelin’s thumping rock sound.
In reality, the record was an exercise in accessing sonic soundscapes he previously left unexplored. Songs like ‘Fat Lip’ incorporated his enduring appreciation for innovative approaches and how traditional sounds can yield ethereal textures. When creating the song with his guitarist Robbie Blunt and keyboardist Jezz Woodroffe, Plant used a Roland drum machine, which enhanced both the experience of his creative process and the resulting sound.
During an interview with American Songwriter, Plant explained how the machine enabled him to improve the song’s overall sound: “I had the first Roland drum machine, which was before the TR808. I wrote a track called ‘Fat Lip’ with it and thought I’d died and gone to heaven. I thought, I’ve made it!”
Musing over the appearance of the machine and the beauty of the sound that emerged from it, he added: “Here I am singing into a drumbox, which is about twelve inches cubed. It’s not very sexy, I must say in comparison to John Bonham. But I thought it was great.”
Lyrically, the drum machine adds an intriguing dimension to the song as Plant explores themes of despair and longing and the idea of watching “the waiting time slipping away”. At the same time, there’s an overt ease to the entire track, Plant’s familiar soothing delivery proving that, yes, this might be the former leader of one of the greatest rock bands in history, but his musicianship extends far behind thunderous tunes.
While signature Zeppelin-esque elements still exist within the track, like within the seemingly subdued nature of the guitar licks, ‘Fat Lip’ leans more heavily into Plant’s new wave influences, reflecting the experimental and innovative nature of the entire album. He might never be able to escape his most glaring legacy, but songs like this showcase just how versatile he can be when blending playful wordplay with inviting and infectious rhythms.
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