Houses Of The Holy - Led Zeppelin - album review

Of the records released by Led Zeppelin, perhaps none is more enigmatic than Houses Of The Holy, released in 1973.

The reasons for this status are varied.  This album is sandwiched between the first four, issued in quick succession, and Physical Graffiti, seen by many as their magnum opus. In addition, Houses Of The Holy has a curious flavour to it, containing more "progressive rock" than other Zeppelin efforts, and also a couple of "pastiches" which did not find universal approval. However, closer scrutiny reveals a fine record.

By 1972/73, the "wow" factor induced by the band's early efforts had begun to wear off, and many will see this album as lacking in the raw energy and power of the previous ones. For the reasons touched on above, it is often perceived I think as something of a stop-gap work, but that assessment does not do justice to some of the music within. Included are a few songs which have endured for longer than more "famous" Zeppelin counterparts...

This record has been seen as a departure of sorts for the group, in that it is more layered and less spontaneous than their earlier work, but hints of the direction in which things were moving can perhaps be discerned on the fourth album. Some might opine that they went too far on this one, and that some kind of happy medium or equilibrium, between "classic" bluesy, rootsy Zeppelin and more experimental impulses was only established on Physical Graffiti, with the space permitted by its four sides. That again pleads the case for "Graffiti" being the definitive Led Zep work, as it encompassed all facets of their output.

The new complexity is showcased on the opening number, "The Song Remains The Same", from which the title of the band's later concert movie was derived. Some pleasing tempo shifts hold the interest, and parts of the track have that distinctively hypnotic flavour which characterizes many Zeppelin songs.

"The Rain Song" is one of the group's most atmospheric and affecting tracks, with its elaborate, intertwining guitars, and an understated but expressive vocal by Robert Plant. The production's separation allows the various melodic nuances to be appreciated, and of course John Paul Jones's keyboards are an integral part of the picture.

For reasons which I find difficult to fully elucidate, "Over The Hills And Far Away" has never quite grabbed me or captured my imagination in the way which it has evidently done for countless other people. The folky, acoustic feel is endearing, but somehow it does not fully realize that early potential. As a basic, uncomplicated rocker, "Dancing Days" serves its purpose, with the augmentation of the guitar textures, and a meaty rhythm section constitutes a solid base.

"No Quarter" is another tour-de-force by John Paul Jones. The electric piano (?) sound is quirky but intoxicating, and the Jimmy Page guitar riff instills some real steel. This is the kind of track which demands an attentive listen, as it can easily wash over you. The "treated", eerie vocal from Plant completes the imagery, and is another case of the band's experimental zeal.

As the closing track, the simplicity and basic riffery of "The Ocean" serves partially as light relief, and the thundering clarity of John Bonham's drumming is a joy after the outlandish fare which preceded it. It was almost as if, by signing off with this song, Zeppelin were reminding everybody that they could still rock with the best of them, and the "nostalgic" feel of the coda was also in keeping with these sentiments.

Which leaves the two "genre exercises", which in large part cause the slightly ambivalent attitude which this album has inspired. "The Crunge" sounds OK, the drums, bass and scratchy guitar evoking a "funk" sensation, and it is not quite the "fly in the ointment" which I remembered from my earlier exposure to it. In fact, it is arguably superior to similar excursions by certain other rock bands.

I am less sure about "D'yer Mak'er".  The drums are obtrusive and heavy-handed, and the whole thing kind meanders to no great effect.  Again, my present-day mellower and more tolerant self is more willing to forgive than my more pedantic persona of twenty years ago. These two songs are on reflection not real pastiches, but they are more classifiable as "tributes", although this also leaves them sounding somewhat bland and indeterminate.  They are among the weakest items in the Led Zeppelin canon.

It is not fully accurate to assert that this was the transitional stage in Led Zeppelin's career, as "III" and "IV" exhibited the guys spreading their wings and going off on various tangents. It was just another part of their journey and evolution. It was not as visceral as the first two records, a "thinking man's" Zeppelin in many respects, and well worth a listen.

Achilles Last Stand - Led Zeppelin

It is the conventional "wisdom" that "Stairway To Heaven" is Led Zeppelin's finest musical achievement, and their most meaningful and enduring legacy to the world. However, this is only the populist view, and I subscribe to the body of opinion that the accolade should really belong to "Achilles Last Stand".

Released in 1976, as one of the tracks contained on the "Presence" album, the song is notable for several reasons. Not only is it Zeppelin's last truly great piece of music, but it also in some ways represents the closing of an era in "classic rock", one of the last hurrahs before the supposed "watershed" of punk which, we are told, changed music forever.

Apart from its minor cultural and historical significance, "Achilles Last Stand" is memorable on so many other levels. The lyrics were at least partly inspired by the travels and experiences of Robert Plant and Jimmy Page. This and other elements and themes are woven into an epic and sweeping tale.

The various musical ingredients of the song are captivating independently, but they coalesce to bring about an invigorating whole. John Bonham's drumming appears in places to defy the laws of physics, helping to propel the backing track as well as inserting numerous unusual fills.

Jimmy Page's guitar work here is some of his most distinctive and incisive on any Led Zeppelin record. From the intro/outro, to his contribution to the basic riff, to the various solo sections. There is abundant spontaneity and technical prowess. Page would have been justifiably satisfied with the finished result, in view of the work which must have gone into the production.

The chugging bass-line performed by John Paul Jones has probably been quite influential, and often imitated. It is a crucial, integral part of the framework which makes the whole thing work, but it is equally understandable how even such an affecting bass part can be overshadowed by the drumming and the guitar parts.

Robert Plant's vocals both evoke the epic quality of the lyrics as well as acting as an additional instrument in themselves, in augmenting the textures created by the pyrotechnics of the other three musicians.

This track, and the album which it came from, were recorded at a transitional time for the band. Not long after it was released, changes were afoot in the wider musical landscape. In my mind, the "Presence" album is a little patchy and inconsistent in its overall quality, but "Achilles Last Stand" is a wonderful endorsement of the theory that "form is temporary, but class is permanent". Talent, imagination and diligence, when operating in unison, could still produce that intangible magic. For a band which many at the time asserted was in decline, or artistically stagnant, it has prodigious energy and self-confidence.

I have said that the song signifies the end of an era, as one of the last "epic" rock tracks to appear before the advent of the British punk movement.  In a sense, though, it also anticipates the musical direction in which Led Zeppelin might have gone, had they had the chance. Little did they know that more difficulties were on the horizon, and that their career would be tragically curtailed.

Led Zeppelin - The Song Remains The Same - movie review

Led Zeppelin's "concert movie", The Song Remains The Same, has not met with wholehearted approval over the years, often being labelled either lacklustre or self-indulgent, or both. Having not watched the film for quite some time, I recently gave it another viewing, and thought that I would commit my impressions to blog form.

Although the concert footage was recorded in 1973, at Madison Square Garden in New York, the finished product was not released until 1976. The musical content is interspersed and overlaid with behind-the-scenes documentary clips as well as "fantasy" sequences and other assorted visuals.

The first thing to say is that the concert sequences are visually excellent, easy on the eye and technically well executed. The stage lighting is beautifully captured too, in the form of various reds, oranges and greens, giving the images an agreeable warmth and luxury, particularly in the close-up shots. The relatively small size of Zeppelin's stage set also gives the performance an intimacy and a compactness often absent from films set in large venues.

In some quarters I have seen the musical content of The Song Remains The Same uniformly dismissed. I think that this is slightly unjust. To me the quality of the performance is uneven more than anything else. It is true that the band was possibly at its peak as a live act in 1972, a year before this footage was shot, but there is still much to admire here. Even inconsistent and marginally below-par Zeppelin is well worth watching and/or listening to...

The version of "No Quarter" here is perhaps the stand-out piece in the movie. It is more aggressive than the studio version, with a great Jimmy Page guitar solo. Some memorable visuals are super-imposed on the music, including owls and sinister men on horseback. All "very Seventies", but quite effective and diverting, the cliches notwithstanding.

The longer, more "prog"-orientated tracks, especially those from the "Houses of the Holy" album, lend themselves more readily to outlandish visuals and story-telling, possessing a more "cinematic" quality. "The Song Remains The Same" (the song) is another example of this trend, as is "The Rain Song". This portion of the concert set is well suited to the "Arthurian" imagery which accompanies much of it. Actually, watching some of the "videos" produced for the film makes me wonder why Led Zeppelin did not explore these avenues more thoroughly in subsequent years.

The non-musical portions of the film are very much "of their time", but to my eyes they also have a period charm which is rather endearing. The sight of John Bonham driving a tractor is one of the highlights of the whole thing!  The backstage and documentary-style clips very much convey the extravagance, excess and egotism of Seventies rock, which may go some way towards explaining why some "critics" have traditionally found fault with this film.

The sound is pretty good, although some may contend that John Bonham's inimitable drumming is not captured as prominently as it might be. The separation allows the immaculate bass-playing of John Paul Jones to be properly appreciated, and Jimmy Page's Gibson Les Paul and double-neck guitars sound terrific throughout, organic and earthy, sometimes ethereal.  Admittedly,  Robert Plant was perhaps not on peak form vocally here. Was this the period when he was beginning to experience some voice problems?

Some of the performances towards the conclusion of the movie are very strong. "Dazed And Confused" is loose but incisive.  "Stairway to Heaven" is interpreted in an understated but affecting way, with an excellent solo by Page. "Whole Lotta Love" is performed in its familiar format, with more improvisation and ad-libbing in the middle section, although not as much an extended "medley" as on other live renditions.

In spite of this film's reputation and its flaws, I find it quite entertaining and slickly put together, especially when taking into account the various difficulties which were encountered in its production. It is a pretty evocative document of its era.

Led Zeppelin - the debut album - review

My music habits tend to go in "cycles", and I will get away from listening to certain bands or artists for a period of time before organically, naturally almost, returning to their work. In recent days it has been the turn of Led Zeppelin to receive my renewed attention.  Their debut album, released in 1969, still shines like a beacon due to its primal energy and its powerful immediacy. It is probably my favourite Led Zeppelin record, along with the 1975 double-album Physical Graffiti.

This release has probably endured better than most of the group's other efforts, and I think this is because of its exuberantly "live" feel.  There is a freshness, almost a naivete, about it, possibly a consequence of this being their first disc. The music exudes a rawness born of the newness of the combination, as if they hadn't yet had the time or the opportunity to over-complicate matters or burden themselves with various pressures. The sound itself possesses a clarity and a vitality which they never again quite replicated.

Of the individual musicians, all shine, but Robert Plant excels, and producer Jimmy Page admirably captures the vocalist's qualities. Some of the songs do suit his singing style - "How Many More Times" and "Dazed And Confused" spring to mind. Indeed his voice rarely sounded so dynamic and strong again with Zeppelin.  John Bonham's prodigious ability is also a prominent feature, and the fact that these two newcomers to "the big time" perform with such assurance and confidence is a major factor in making Led Zeppelin such a convincing work. The studio and musical know-how of Jimmy Page and John Paul Jones is also crucial, of course.

The predominant styles which dominate the album are blues, folk and folk-rock. The blues-rock element is a continuation of the direction in which The Yardbirds had been heading.  The folk/acoustic side would be a feature of the Zeppelin sound until the mid-1970s, a fact often overlooked by the band's detractors. Page and Plant's interest in folk music, and the American West Coast sound, combined with the general musical eclecticism of the band as a whole, would ensure the diversity of the track listings.

There is a pleasing and effective mixture of epic longer songs and shorter snappier numbers ("Good Times Bad Times", "Communication Breakdown", "Your Time Is Gonna Come"). The latter's vibrant organ-based introduction is one of the highlights of the entire set. The group's musical heritage is illustrated by as much by the inclusion of "Black Mountain Side" as it is by the presence of the two blues covers, "You Shook Me" and "I Can't Quit You Baby".

Led Zeppelin's musical output would grow more "sophisticated" and "polished", but rarely would it match the spontaneity and elan which is to be found in abundance on this, their first album.

Led Zeppelin

One of the more curious and puzzling characteristics of those within these shores is our tendency to overlook and neglect the most worthy accomplishments and qualities of our countrymen. We seem to be embarrassed sometimes by things which are instantly and staggeringly successful, especially if such success is achieved by means which are seen as "different" or "too good to be true".

I often feel that Led Zeppelin were victims of this phenomenon in their homeland. From the outset they were more appreciated and valued abroad, particularly in the United States.  Popular acceptance in Britain always seemed grudging and apathetic.  The masses at home never really took Zeppelin to their hearts.

Led Zeppelin always possessed a certain mystique which set them apart from their contemporaries, and this may explain their failure to connect emotionally with some in their home country. The refusal to release singles in the UK, their unorthodox career path generally, and the wilful misrepresentation of their music by much of the media all played a part.

Although these idiosyncracies helped to ensure that Zeppelin were never perhaps "loved" by the public  like the Stones or the Beatles, they were some of the principal reasons for the band's unique appeal, and place in rock history. The methods which they employed to record and put together their albums, their stylistic diversity and their self-contained, almost reclusive, status, all also contributed to this trend.

It is a frustrating, but nonetheless necessary task for those of us who love Led Zeppelin to regularly dispel the myths and misconceptions which surround them, and continue to cloud and distort their reputation.

First of all, the most irksome one, the notion that Led Zeppelin were merely a "heavy metal" band.  If people would take the trouble to listen properly to their catalogue, they would swiftly realise that this is a nonsensical charge.  Not only was Zeppelin's repertoire varied and eclectic, but even the louder and heavier numbers could hardly be dubbed "heavy metal"; more like experimental blues-rock, expanding on what had been done by the Yardbirds (who spawned Zep), Cream and others.  I would argue that "heavy metal", in its truest form, was pioneered by Black Sabbath and their ilk.

Some of the "trendy" music press, and a certain group of musicians who emerged around 1976/77, often charged that Led Zeppelin were "corporate", and epitomised everything that was grasping, avaricious and "corporate" about the music industry.  Well, Zeppelin certainly made lots of money, largely through their own talent and shrewd management.  In fact, they bucked many trends, defied much conventional wisdom on promotion, and generally refused to "play the game".  I would also ask people to seek out interviews with Jimmy Page or Robert Plant, and see how their love of music for its own sake shines through.

With some observers, Zeppelin acquired a reputation for being somewhat arrogant and aloof.  Some of the tales and anecdotes were doubtless inflated and exaggerated, calculated to embellish the mystique which we have already touched on.  This perceived lack of "media-friendliness" also partially helps to explain the detached and nebulous image which the group still has for some.

Enough about the myths and the criticisms.  What were some of the secrets and virtues which made Led Zeppelin so special?

Well, the make-up of the band, and the chemistry which this engendered, was certainly instrumental. Both Jimmy Page and John Paul Jones were steeped in the British music scene of the preceding period. Endless session work meant that, for their relatively tender years, they had accumulated considerable knowledge of production and arranging.  Also, this had helped them to work any bad habits out of their systems.  Because of these elements, the nascent Led Zeppelin was equipped to hit the ground running.

Because of the background of Page and Jones, it was easier to harness and focus the awesome raw talent of the two comparative novices, Plant and John Bonham. This environment also assisted them in smoothing off their rough edges.

We have already referred to the "self-contained" nature of the group.  This was jealously guarded, and the inner circle made sure that no great entourage of hangers-on or guest musicians was involved. Consequently, they were never really part of any movement, or "scene", developing on their own terms, and not being diluted or compromised, or falling prey to outside influences.

Another hallmark of Zeppelin was their willingness to be experimental and unconventional when it came to recording their material.  Many sessions were by all accounts informal and spontaneous, and there is very much a vibrant "live" feeling to many of their tracks, particularly on Led Zeppelin III and Physical Graffiti.  This was accentuated by careful use and placing of microphones and amplifiers in the studio.

So how are Led Zeppelin perceived today.  I sense that they still not as "fashionable" or "establishment" as their contemporaries.  However, they should be proud of refusing to sacrifice their integrity or selling their souls simply to court more acceptance or adulation.  They did things on their own terms, and not everyone can honestly claim that.  New artists do not regularly name-check them as an influence, but I hardly think that the surviving band members lose much sleep over this.  Above all, they should be proud of their achievements, and their body of work.

Stay tuned for some reviews of individual Led Zeppelin albums in the future!