When The Levee Breaks - The Making of Led Zeppelin IV - Andy Fyfe

 I received this book as a Christmas present, and I made short work of reading it.  Ostensibly it is a volume which examines Led Zeppelin's famous fourth album from the year 1971, but it also serves quite capably as a mini-biography of the group. It was first published in 2003.

I must confess that I was not totally convinced by the author's assertions about the album's place in the grand scheme of things (personally I prefer "Physical Graffiti" and the debut album), but he does make some effort to get to the heart of the record's mystique, and he argues quite persuasively and forcefully that its focus and its cohesive qualities set it apart from the Zeppelin works which came before and after it.

As I worked my way through "When The Levee Breaks,,," some of my misgivings disappeared and I began to warm to the writer's style and his approach. His musical knowledge is impressive and quite extensive, and he approaches this subject from a different angle to most other Zeppelin-orientated observers, which gives his analysis a refreshing tone.

There is some illuminating material concerning the album's famous artwork, and although this might appear as "tangential", it helps to shape a well-rounded portrayal of the band, its mentality and its character.

We are given some insight into the group's methods and working habits, how they went about the creative process. In addition, I liked the entertaining and well-rendered biographical passages about the individual members and the early days of Led Zeppelin. Very occasionally the prose lapses into the reductive and the simplistic, but by and large the author's reasoning and arguments are nuanced and sharp.

A track-by-track "commentary" also strengthens the authoritativeness of the tome. Again Fyfe illustrates and embellishes his points with imaginative allusions and sub-texts about the merits and the intricacies of the songs.

The idea which he eventually succeeded in getting across to me was that "IV" is more focused and fully-realized, and was the stage at which their sound and their grasp of their musical influences crystallized and was in harmony. He contrasts this with the more disparate nature of some of their earlier offerings. It is true that "Physical Graffiti" contains some "old" material, making it feel slightly less unified.

For me, the discussion of the stories behind the songs, the inspiration for the compositions and the arrangements, and the themes explored, helped to flesh out and deepen my understanding of what made Zeppelin tick.

This book also chronicles and appraises the shifting relationships and balances of power within the band unit, as Jones, Plant and Bonham, in their different ways, exerted greater control and contributions in the song-writing, the arrangements and the overall sound and direction.

Ironically, given the book's titular remit, the sections of the book which I enjoyed the most were those which address the periods which followed the release of the fourth album, and the years subsequent to their disbandment in 1980.  A word of praise too for how Fyfe links the group's influence and legacy to more "modern" artists and musical sub-cultures. This was a nice, fresh perspective as far as I was concerned, although the comparisons with those later groups only serve to underline Zeppelin's own greatness and quality.

Relatively small criticisms would be that the author sometimes repeats himself in labouring points or theories, and I didn't always concur with his attempts at social commentary, but overall I consider this to be a laudable and enjoyable book, which is recommended reading both for Zeppelin devotees and general rock fans.

The Rack Pack (2016 film)

Having recently been immersing myself in appreciation of snooker's "golden age" - from the late 1970s through to the early 1990s - I decided to watch the 2016 film "The Rack Pack", a comedy-drama which is set in that era, focusing primarily on the rivalry between Alex "Hurricane" Higgins and Steve Davis.

The early portion of the movie introduces us to the two main protagonists, capturing and invoking the contrast between the freewheeling maverick Higgins and the more reserved and clean-cut Davis. The "retro" settings and stylings are surprisingly convincing, and there is excellent utilization of classic Seventies rock and pop music (Led Zeppelin, T.Rex, The Who, Thin Lizzy etc).

I must say that I was impressed and drawn in by Luke Treadaway's performance as Alex Higgins. Alright, some might argue that he is too good-looking, and that he doesn't always exude the mercurial shakiness of the character. However, he does nail down much of the famed truculence and swagger, and some of the on-table mannerisms. Kevin Bishop is likeable and entertaining in a somewhat "cartoonish" portrayal of Davis' manager, Barry Hearn.

As is often the case with "biopic" type projects, facts, incidents and anecdotes are packed into a condensed timespan. Any inaccuracies and distortions here will only irritate the anoraks and those intimately cognisant of the true history and chronology. Allowances must be made for the comedy element of this production.

The snooker scenes are very realistic and credible, leaving me wondering whether the actors might have been selected for their roles because they had some modicum of proficiency at the game.

In emphasizing the contrasts in temperament, approach and playing style between the two main players, the film-makers may have slightly over-laboured the supposed "nerdiness" and squareness of the young Steve Davis. This was probably done to entrench the notion that the two men represented polar opposites.

A major sub-plot in "The Rack Pack" is the increasingly corporate and commercial nature of snooker, as orchestrated by Barry Hearn, Higgins' perceived exclusion and alienation from that milieu, and the increasing bitterness and resentment which consequently built up within him. Indeed, though this is ostensibly a work which chronicles and examines the Higgins-Davis dynamic, much of the most vibrant and penetrating dialogue is that between the Higgins and Hearn characters.

The one scene which rather jarred with me was the one featuring a nightclub "altercation" between the Hurricane and Cliff Thorburn. Did anything remotely like this actually happen in reality?  A few things like this were doubtless added for dramatic effect, like they are in many similar pictures, and they didn't really tarnish my overall appreciation of the piece.

Another intriguing sub-text is a depiction of the relationship between Alex Higgins and Jimmy White, the latter gradually inheriting the mantle of "People's Champion" from the former. The narrative seems to imply that White learned from some of the mistakes of his "mentor", being prepared to make minor concessions to pragmatism and conformity in order to fit in with a changing sport and a changing world.

The decline of Higgins is, I would contend, quite deftly, touchingly and sensitively handled in this movie. It dovetailed with one of the central messages of the film, about the "cultural" tensions and the changing of the times.  Alex played a pivotal role in creating and popularizing modern snooker, but found himself being marginalized and left behind as others prospered both on and off the table.

Overall, I found "The Rack Pack" to be an enjoyable and well-produced film. It concentrates mostly on the personalities and the human aspects, rather than the intricacies of snooker itself, and largely succeeds as a result.

In Through The Out Door - Led Zeppelin - album review

It seems to have become the received wisdom that In Through The Out Door, Led Zeppelin's last real studio album, released in 1979, is a downbeat postscript to their glittering career. However, a closer listen reveals that this is quite a strong record.

In revisiting the album, I found myself slightly afraid to poke my head in, for fear that I would be confronted with sad thoughts of an era coming to an end with a whimper. However, I was pleasantly surprised to discover how vibrant it is.  It is arguably more consistent and convincing than Presence, a patchy work which was redeemed in large part by the coruscating "Achilles Last Stand".

In Through The Out Door has a modernistic flavour, largely by virtue of the heavy use of keyboards and a warm and clear production. The sound points towards where Zeppelin music might have ventured during the 1980s. "In The Evening" embodies these sentiments, and in keeping with much of the album, it exudes confidence and no little ebullience.

In fact, most of the songs here have an energy, belief and confidence which belies the record's traditional reputation. "South Bound Suarez" is likeable if lightweight, and much the same might be said of "Fool In The Rain" and "Hot Dog". To me, these tracks represent an advance on the torpor which characterized parts of Presence.  There is some zest in the rootsier numbers, and the guys sound like they enjoyed making these recordings.

"Carouselambra" mines similar territory to "In The Evening", except that it is more keyboard-intensive. It reminds me somewhat of late 70s/early 80s Genesis.  My gripes are that it goes on too long, and occasionally the keyboards threaten to drown out Robert Plant's vocals. Again, this is a hint of where the band might have been heading sonically and stylistically...

"All My Love" is a strong and emotive song, very personal for Robert Plant, and in feel it anticipates some of his later solo material. My feeling is that the songs, melodies and arrangements are good. The ideas were there, and some thought and time was clearly devoted to them.

"I'm Gonna Crawl" possesses a kind of cinematic grandeur (heightened again by those keyboards), as well as bluesy charm. A classy way to round off what was to be the group's final proper album.

The impression is that Robert Plant and John Paul Jones dominated things creatively, and the relative absence of guitar pyrotechnics is conspicuous.So, on reflection, this is a fine album, albeit not a traditional Led Zeppelin one.

Led Zeppelin II - (1969 album)

Led Zeppelin's second album, released in 1969, is often cited as one of the definitive hard rock albums, and judging it by the rawness and power which were carried over from the debut record, it probably is.

The sound, however, somehow lacks the inviting nature of the first LP, with a harshness which is not always totally comforting.  That said, the "live" flavour is still very much there, apparently achieved in part by the judicious employment of microphones and amplifiers. I think that the "blues" component is sometimes subordinated to the pure "rock" elements, and here perhaps lies the reason for the album's influence on generations of musicians.  At some point, the music ceases to be "blues rock" and becomes "hard rock", loath as I am to acknowledge such rigid labels.

Despite this set's reputation as a seminal staging post in the development of heavy rock styles, it is more eclectic than might be thought. The group's melodic, reflective and folk-rock inclinations are allowed free rein on "Thank You" and "Ramble On", and there is some quite pure and authentic blues. In its bite, Led Zeppelin II exudes a distinctive character, removed from the rest of Zeppelin's catalogue, and there are numerous memorable and exciting moments to savour.

The fame of "Whole Lotta Love" can be seen to dominate this album and overshadow all else,and this is a pity.  The song's perceived importance is out of all proportion to its artistic merit, in my opinion. Minimalist, it has "shrunk" on me as the decades have passed.  The middle section is quite affecting in its suspense and its otherworldliness. Otherwise the allure has slowly but surely diminished through honest scrutiny and over-familiarity.

For me, the album proper commences with "What Is And What Should Never Be." , a classic instance of the potential of "light and shade", with some very satisfying guitar flourishes and hooks. "The Lemon Song" is a song which encapsulates the "organic" flavour which makes the early Zeppelin records so engrossing.  The gritty but "natural" feel is very pronounced here - the rhythm section in the middle part, the lovely fluidity of Jimmy Page's playing.  The vocal is also given a nice fuzzy treatment.

"Thank You" is a nice surprise in its elegance, gentleness and poignancy.  It features one of Robert Plant's more endearing and heartfelt vocals, and the production carries distant echoes of the psychedelic and folk-rock genres. By contrast, "Heartbreaker" is constructed around an irresistibly voluptuous riff, great sounding drums, and "that" guitar solo in the middle.  One thing discernible in this track is that the overdubs are more "obvious" in places, a departure from the first record.

"Living Loving Maid", which feels like a natural follow-on from "Heartbreaker", is pleasant filler material, appearing more substantial and musically profound than it really is, due to clever production and arrangement. "Ramble On" is one of the record's definite high points, although if one is not careful, it can pass by almost unnoticed. More light and shade, a generally idiosyncratic and ethereal nature, and the employment of "exotic" instruments make it a pleasing piece. It stands up better than most Zeppelin tracks to the passage of time.

"Moby Dick" is a bit of self-indulgence. A "skip track", to be totally truthful.  Great to hear John Bonham's prowess, but I actually prefer the instrumental "verse" section; the strong riff and the flourishes of guitar.

"Bring It On Home" is yet another example of light and shade . The understated, almost reticent bluesy verse, abruptly superseded by more ebullient and vigorous passages , Harmonica is also effectively used.  Not a great song, but an impactful and effervescent piece of music.  In fact, the same could be said of many of the numbers here.

In appraising Led Zeppelin II, I would say that the whole is greater than the sum of its parts. Few of the tracks possess the capacity to animate the spirits, or to instill real emotion.  Still, it holds the attention, even if it lacks the personality and charm of other Zeppelin works. We are "meant" and " supposed" to accept its rightful place in the pantheon, but thinking objectively, I would have to say that it is one the band's weaker efforts.  This is not to say that it is a bad album, far from it, but I don't think it is quite as spectacular as the "mythology" sometimes asserts.

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.

Physical Graffiti - Led Zeppelin - album review

When people are asked what Led Zeppelin's finest album was, I suspect that most people plump for Led Zeppelin II or the "untitled" fourth album.  My preference is for either the 1969 debut (my review here) or the 1975 double-album Physical Graffiti.

This is not my favourite because of the famous "marquee" tracks, which can become tarnished by familiarity anyway. No, Physical Graffiti appeals to me because of its sprawling and diverse character, epitomised particularly by Disc 2 of the CD (sides 3 and 4 on the original vinyl?).  This feel and character may have come about partly because of the timespan of the recording sessions;some of the material dates from as far back as 1970.

This record also still has the very agreeable mixture of blues and folk-inflected material, the last time that this would occur with Zeppelin, before the more "synthetic" and contemporary feel of the last two original studio albums.  The set may have the reputation with most people of being something of a monolith, but to me it is full of subtlety, variety and surprises.  It has been remarked that Robert Plant's voice is not at its strongest on some of the numbers recorded in 1974, but in a curious way this only adds to the album's appeal.

The first two sides of the original vinyl LP are more what would be termed straight-ahead Zeppelin music, with the remaining space occupied by more experimental and quirky creations. The album starts strongly with the feisty and uncomplicated "Custard Pie", underpinned by a gutsy riff and the always welcome sound of John Paul Jones' keyboards, in this instance the clavinet. Beginning a trend which would span the entire record, John Bonham's drums sound mighty.

The standard is capably maintained by "The Rover", and then by "In My Time Of Dying", a bluesy epic on which Page and Bonham once again excel in their respective departments.  Keyboards once again enrich the recipe on the driving and infectious "Trampled Underfoot". 

"Disc 1", as it were, is rounded off by "Kashmir". Now this is commonly referred to as a "classic", but I must admit that these days I find it a bit ponderous and even flat.  Familiarity may have led to my weariness about the song. To me it just lacks vitality and energy, and this opinion is accentuated by some of the material surrounding it here.

"Disc 2" is a veritable box of delights, kicking off with "In The Light", yet another song embellished by keyboards, in this case the "exotic" introduction, and what sounds like electric piano later on. Some nice sounding guitar solos also enliven proceedings.

It is now that the album becomes most intriguing.  Following the acoustic gem "Bron-Y-Aur", we come to the reflective "Down by The Seaside", in some respects a most "un-Zeppelin" track, even featuring some country-esque tinges, but fitting in perfectly comfortably here.

"Ten Years Gone" is a most powerful yet musically sophisticated number, with lovely layered and delicate guitar parts, an atmosphere of light and shade, unexpected twists and turns and poignant lyrics. Of all the longer "epic" songs contained on Physical Graffiti, this one has definitely stood the test of time.

Next up is the very likeable and rootsy "Night Flight", one of the most downright enjoyable items in the whole Led Zeppelin catalogue. Yet again the variety and texture imbued by keyboards is a contributory factor in the experience, in this case the organ. Significantly, it sounds like the guys had a whale of a time recording this song.

Eventually the record is rounded off with two more strong songs. "Black Country Woman" in many ways harks back to the informal and semi-humorous flavour of Led Zeppelin III, and is in my opinion one of the more underrated of their acoustic numbers. Another track which evokes the sense of what fun it must have been to be a member of Led Zeppelin.

The closer is "Sick Again", seemingly a slightly jaded commentary on the rock music scene or life on the road. A strong song, but it seems to me that it might have worked better live than on this version. The backing track sounds quite fuzzy and indistinct; maybe that was intentional, but one is left with the feeling that the song could have sounded better.

Physical Graffiti was the personal favourite of at least one of the musicians in the group, and I can see why. This is the culmination of all the various strands of "Zeppelin music" which had flourished since the late 1960s, polished in some areas, but also with some of the spontaneity and rough edges intentionally left in. A real summation of the band's strengths and idiosyncrasies.

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.

Deep Purple

In recent months, I have been listening to some of the music of Deep Purple, primarily that which the group recorded during what is generally acknowledged to be their peak period, 1970-73.  It occurred to me that Purple are still somewhat under-estimated in the grand scheme of things, and it is tricky to pinpoint the precise reason for this.

Over the years, the musical “establishment”  seems to have crystallized its view of which artists demand inclusion in some kind of pantheon.  For various reasons, many of the influential writers have had blind spots about artists who by any objective reasoning deserve greater respect.  It strikes me that Deep Purple is one of the groups which suffers unfairly in these deliberations.

I have detected a particularly ambivalent attitude towards Purple here in England, the country where the band was formed.  It is often said of my countrymen that we sometimes fail to appreciate the value of what we have on our doorstep, and this could be just another example of this phenomenon.  Even the mighty Led Zeppelin have fallen prey to this shortcoming, in my opinion.

There may be a residual stigma resulting from Purple’s perceived role in the development of “heavy metal” (debatable in itself), and also a sense that they epitomized the excesses of Seventies rock.

In addition, they were never consciously or identifiably part of any “scene” or “movement”, emerging from disparate origins and sources, and tended to plough their own furrow in the music world.  Also, the fragmented and sometimes acrimonious nature of the band’s history may leave people disorientated.

Although Deep Purple seem to have enjoyed the support of certain journalists who were known to be sympathetic to the practitioners of hard rock and progressive rock, to others they were much less palatable.

Perhaps Purple’s “crime” in the eyes of some pundits was to possess technical proficiency, and to be base their live shows on a display of their improvisational prowess.  Or maybe the group’s lyrics were not as “socially conscious” as the self-appointed arbiters of taste would have preferred?

Oddly enough, many of the factors which led to resistance are the ones which I find so endearing.  A cursory listen to their blistering live album “Made In Japan” should convince anyone without tin ears of their qualities.  It is easy to see why the Mark II incarnation of the band regarded this record as its crowning glory.  Dynamism, energy and inventiveness in abundance.

Admittedly, things post-1973 were a trifle patchy.  If only the Mark III version of Purple had been able to maintain the standard of the title track of the “Burn” album, in my humble estimation one of the high points of the entire Purple saga…

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!

Dreamboat Annie - Heart - album review

For most people the mention of the North American rock group Heart conjures up images of 80s big hair, slickly produced power-ballads, and extravagant promotional videos.

Indeed, until a couple of years ago that was also my conception of Heart. I was aware of their previous "incarnation" in the 1970s, but had not taken the trouble to explore that period of their career in any major depth.

When I heard Dreamboat Annie, their 1976 debut album, I was completely taken aback by its level of quality and invention. At the time, Ann and Nancy Wilson were hailed as the "female Led Zeppelin", but there is much more to them than that.

Dreamboat Annie could be justly described as a concept album of sorts, with common threads being provided by the vibe and mood (and delicate instrumentation) of the acoustic numbers and the three versions of the title track which span the song list.

The overall feel is one of "light and shade", with the subtler and quieter acoustic moments interspersed with rockier, grittier sections.  That said, my abiding feeling about the album is that it is a series of "mood pieces" rather than a straight-ahead rock album. 

In terms of influences, yes there are echoes of Zeppelin in there, but also nods to Californian rock, particularly Neil Young, and even psychedelic bands such as Jefferson Airplane.

The album opens with "Magic Man", which would be categorised as mainstream rock, but is tuneful and immaculately crafted, in keeping with the rest of Dreamboat Annie. Indeed, it is the imaginative arrangements and production which make this such an unusual album.

Next, we are treated to a first taste of the title track, and perhaps the first indication of the purity of Ann Wilson's voice, which is a hallmark throughout.

"Crazy On You" is one of the standout tracks, with its distinctive acoustic guitar introduction, and its deceptively complex tune.  The song is also a showcase for Ann Wilson's vocal versatility and range, as she alternates between delicacy in the verses and more power in the choruses.  There is also pleasing interplay between acoustic and electric guitars, another feature of this whole LP.

The fourth track, "Soul Of The Sea", is perhaps the most affecting of the mood-pieces. Nautical references and atmospheres are another thread in some of the songs. The middle-section contains the most overtly Led Zeppelin-esque sequence on the entire album, reminiscent of the folky songs on Zep's third and fourth albums.  Ann's vocal phrasing is also strikingly similar to that of Robert Plant, but this is not necessarily a criticism!  The carefully layered backing tracks on this song are beautifully done, and never cloy.

On we move to "Dreamboat Annie" itself.  The group employs some unusual (for rock music) instruments on this cut, including banjo, and what sounds to me like a glockenspiel. Just another instance of a diverse palette being used to enrich the sonic landscape, and one of the virtues of this album as a whole.

"White Lightning and Wine" is another of the heavier items on Dreamboat Annie, although it has a more rootsy guitar sound than the others. In different circumstances this could have been a "meat and potatoes" track, but the talent and personality of Ann Wilson elevate it above the merely ordinary.

Perhaps the prettiest of all the tracks is "(Love Me Like Music) I'll Be Your Song", which has a lovely tune, and beautifully soothing vocals and harmonies.  Once again, the finesse of the backing track, and the understated production, work superbly.

By contrast, "Sing Child" possesses the most outlandish guitar effects on the album, and a strikingly effective flute part.  Of all the songs, this contains the most deviations and stylistic shifts, and is a good counterpoint to the many gentler moments.  Yet another indication of the care lavished on the production.

"How Deep It Goes" features more intricate acoustic picking, and crystalline vocals.  This is a song which exemplifies the vaguely ethereal and dreamy ambience of the whole album, with some unexpected melodic turns, and hooks.

And so we finish with the Reprise of "Dreamboat Annie".   Again, a variation from the other two versions, with a slightly different tempo, and more piano-intensive. The classically tinged parts are almost baroque in flavour.

There we have it, then, for my money one of the most under-rated albums of its era.  Even more impressive when one realises that it was their debut effort. I would recommend it to pop/rock music-lovers across the board. It is one of those records which, once listened to properly, commands instant admiration and respect.