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.

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!