At the least, though, the transition between the two halves is pretty damned sexy. Page really is. The other five tracks, though, are between great and phenomenal, and are enough to bring the rating up to an extremely high level given how much of the album I don't really like. I think if this was a single album it would be pretty good but nothing special. Of course Led Zep I is a rip off from that Jeff Beck album a year before. The presenter then took the cap of the vial and asked the children if they could smell the pefume. Over the Hills" is listenable, but nothing special. Led Zep remain to me a triumph of mystique over substance. He also learned restraint. Writers. As the years went by and I read about all the Gods Of Rock hype surrounding them and people raving in music mags about how they were the best band ever. Personally, I loved "Southbound Suarez", "Fool in the Rain" and "Hot Dog". I enjoy it every so often. We also get a MUCH better version of "Black Dog" (with an "Out on the Tiles" intro), whose main attribute is that the rawness in the sound which I so craved in the original is here. I can classify the second CD as having some filler, but the first one is amazing. It ruins Communication Breakdown. But a given 10, anyway. These are the sorts of performances that truly make me understand what created so many drooling Zep fanboys in the 70's, as the band comes close to creating definitive versions of EACH of the first six tracks they do here. Bron-yr Stomp" is supposed to be traditional folk, but this song tells me that Led Zeppelin had about as much business doing straight-up traditional folk as The Byrds had attempting to do hard rock (see: Dr. EPD, Inc. is a perfect fit for manufacturers interested in Gluten-free, Casein-free, Soy-free and Nut-free. We do not package products containing the eight most That distorted voice worked nicely on Bringing on Home, but once should have been enough. Houses of the holy.. On the plus side, the album opens with the monstrously tight, fast and aggressive "Immigrant Song," which sounds more like a solid proto-punk-thrash number than a metallic rocker, and is all the better for it. Nevertheless, a strong 8 out of 10. The 23:08 "Whole Lotta Love" medley, incorporating all sorts of hilarious covers of oldies, highlights once again the band's expertise at covering other people's material, not to mention that the "main" part of the song rips just as much as ever. I have no idea how to adequately describe anything else on these two discs using anything except, "WOW, this is awesome," but I guess I'll make a stab at it. And dagnabbit, it got me into rock music! Anyway, I love "The Lemon Song," which is sort of a hodgepodge of elements from a bunch of the blues numbers they were performing on stage (Howlin' Wolf's "Killing Floor" is especially prominent), and while I get tired of hearing Robbie's incessant "Squeeze my lemon" pleas on The BBC Sessions, it tends to work fine here. Led Zeppelin were NOT geniuses. I though All Of My Love was kind of a loser, but I enjoyed most of the rest of it. PAY ATTENTION, PEOPLE. The album version of Moby Dick has NOTHING on some of the live versions, where audiences regularly gave him a 10 minute standing ovation.. And he played loud. The spirit of I reigns supreme, the band is full of vim and vigor, the performances are tight.. Disc 2, alas, is extraordinarily painful to listen to, and to not punish the rating for the pain it put me through would be unjust. There is decade after decade of depth, variety, combo, skill and magic in their music and performances.
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The drumwork kinda sucks, Plant is mostly kept low in the mix, so you can't understand a word he's saying, and Jimmy gets very, very few chances to shine. Here it suffices to say that I don't hate Yes, I just think they are often pretty weak on form. Commercials of the 90s, TV commercials that helped define the decade, stuff like I've fallen and can't get up and Energizer I forget which mode it is, but I think it starts with the letter "e" (sorry, getting a little trivial.) But anyway, since you mentioned Plant's singing of the title line over the chords, I was thinking maybe it hurts your ears because it sounds a little detuned. It would be fair to say that Led Zeppelin didn't always reach its full potential as a live band back in the 70s. It's a well-deserved classic, whatever may be. I think you were perhaps a bit hard on this one. Yes I did suspect that some might pick up on Beethoven's 5th Symphony. But whatever may be, making the solo part last over 15 minutes is both a waste of Bonham's talent (the quality of a drummer, in my arrogant opinion, is how well he works when playing with everybody else, not how much of a sonic hell he creates by himself) and a capital crime against good taste. But still, you have a point, and it pisses me off. Lots of filler, especially "Hots on for Nowhere"! After a little more than a year of being apart, though, the band regrouped in late summer, 1978, to work on a new album. Page and Plant did include some allusions to Tolkien in some Zep songs, but the songs are never exclusively about Tolkien's work, they only share a certain similarity with some scenes of the books, which may have served as an initial inspiration for a song about the author's own personal experiences. Great job guys! Black Dog" offers a great riff along with all those "acapella(?)" breaks. The seven other songs are good till excellent though; see my introduction. Ok, I was wrong, I do actually own one zep album: Zoso. But again, this is probably just me. Write my essay. How Many More Times," on the other hand, may steal from not one but two old blues songs (the first half is a Howlin' Wolf song of the same name, the second half is "The Hunter" by Albert King), but there are so many great production effects and so much great playing that I can forgive it. Bonham tries to do more than just a show-off, he actually drums melodic lines now and then which manage to stick in my head. Nightflight is decent, but certainly not more. The Ocean is pretty good and the Beastie Boys stole that riff for She's Crafty. The last verse is a bit messy and also lacks the melancholy and dispair of the first ones. Zeppelin sound - as opposed to 'a hot-shot vocalist with a backup band' or 'a power trio with a hot vocalist' ) IMHO, I feel that Plant sometimes shows up for recording sessions a little under-prepped - most recently, I thought his voice was lackluster on 'Walking into Clarksdale' yet extremely well-honed on the accompanying tour.. After the lame "Royal Orleans," which is supposed to remind the listener of Mardi Gras, I guess, the classic "Nobody's Fault but Mine" opens side two and helps remind the listener that Led Zeppelin was still cool after all. EVERYTHING about that song irritates me: the way the electric piano combines with the guitar and bass to create a tone that may as well be the actual sonic manifestation of retardation, the way Plant sings one of the stupidest "melodies" ever to make its way onto mainstream classic rock radio, the way it neither rocks nor pops in any way that I can find remotely acceptable.. The restrained aggression of the opener Whole lotta Love is unique as far as I know. Over the Hills, except for the nice acoustic intro, is highly stereotypal in every respect. It all helps make the world a better place. If you like lots and lots of guitar solos, that is. As for "Thank You", it's murkiness is what makes it such a beautifull song. And that's just for older bands. Wow. I may have my share of reservations on the band decades after their existence, but had I been in my early teens when this came out way back in 1969, I might have been sucked into lifelong fandom too. Immigrant Song smokes, and I think Celebration Day is a better tune than you give it credit for. This album is what Led Zeppelin is all about! 1986 and 1987 in my home city where I could almost smell the money Is England series by Shane Meadows, depicting life in the Thatcher '80s? They are a good band, but in small doses. The lead guitar works perfectly. Jimmy is my favorite guitarist of all time - and that's not because I think he's the most talented, or precise, or fastest.. Now, when he went out of his way to give his voice character, as on Presence, it's at least interesting, but otherwise it just grates on my ears something fierce way way too much of the time. The most prominent is two totally kick-ass versions of "You Shook Me," one five minutes, one ten minutes, and the energy level on each is phenomenal. The riffs kick tons of booty, there are lots of guitar overdubs and some nice solos, Bonham mixes his power with control and precision that I hadn't really felt from him before, and Robbie manages to draw the listener into the piece in a way we haven't heard since, I dunno, "Stairway to Heaven." Next, the electric guitar jam "For Your Life" is irresistably catchy. Link to this page: <a href=" The only weakness on this one is that I get more and more bothered on this one each time I listen to it. This song is gorgeous gorgeous gorgeous. I always have felt that being a Zep head has been like being part of a special club. Your Time is Gonna Come" is a pleasant enough shuffle, but the melody isn't very impressive, and man does it seem like Plant's trying a bit too hard and like Bonham needs to stop beating his drums so hard if this is going to have any chance to work. Hats off to them. The band would have done well for itself to release this album as a single LP (it's ironic to me that, when the band finally records an entire LP's worth of material I enjoy, they have to ruin the effect for me by making it a double album), release some of the other stuff on an EP, maybe leave "In My Time.." for something like Coda, and ditch the rest. Of course, this was after I bought the tape version of this album. Looking back I still love "Southbound Suarez" and "I'm Gonna Crawl". So for me somewhat less than 15 minutes remain. It doesn't bore me though. Robert Plant's voice did deteriorate, of course, whose wouldn't after screaming at concerts, drinking and smoking far far too much? But my award for most overrated drummer goes to Peter Criss from Kiss. No Kermit the Frog here!). It is peculiar that aggression, a very important part of human nature, is almost neglected in the latter. You claim Led Zeppelin is the finest blues cover band of all time. It's kinda like comparing No Doubt's No Doubt to Supertramp's Breakfast at America. I'd probably give it a 9 (13) Instead of the 9 (12) you gave it. Plus, Page's solo in the middle, although painfully simple, fits the song well, and even the disco/techno ending seems to work. For a band w/ no recording contract, no money, and only 30 hours in the studio, in that length of time, they pumped out a damn good album, and a classic that still makes kids pick up guitars to this day.. All that I can say at this point is that if these songs were done by anybody but Led Zep, the music community as a whole would condemn them as garbage, and fans would revile or ignore them completely. The only exceptions are the few songs I did not like in their original versions anyway. Of course, if you want, feel free to just skip the bad parts; the album's still about half an hour long, and it's worth every second of your time. Also, Plant figured out how to make his vocals really interesting despite the alarming lack of power he now had. Babe I'm Gonna Leave You" is an adaptation of a folk song by one Anne Bredon, and while the melody might not be Zep's, they proudly make it their own in every other way. The song is a fantastic, dark, mythical sounding piece, with everything you could want out of such a number. There's way too much filler here, and Plant's voice is hideous. Fortunately the band does not play it as slowly as they would a year later, so I can sit through it. How Many More Times has the same restrained aggression that characterizes Whole lotta Love - well done on stage. Despite all of the wear and tear on his larynx, Plant manages to pull out one more vintage workout, and for the first time in a while, you can sense the power that he at least once had. I think that the drums were mixed at a higher level but it doesn't in anyway make do of the melody that the song is built with. But he didn't mash his drums, he hit them with precision and made them sound fantastic (though Jimmy Page probably had something to do with the sound). Well I would have to say that they make me, ................... In case you haven't been able to tell, I like this album much more than not. Deep Purple could, not Led Zep. He was also the most experimental member of the group, and while I definitely wish some of his ideas had stayed in the can, a lot of his ideas were freaking brilliant, so I'm not about to condemn the man or anything. However, the rushed sound enhances the record by giving it a more exciting, hard-hitting, and compact quality. There are lots of pianos and synths, and the songs mostly fall under the category of synth pop or power pop. Maybe for some the power of suggestion is at work too. And Bonham's drumming kicks ass. Of course Page and Plant were also the biggest plagiarists in the history of rock, even if now and then the accusation is far-fetched (Stairway to Heaven). The live version of You Shook Me (track 12) is even more offensive than the original (great!) and still manages to shock people almost 40 years after. This is a very average album, if anyone asks for my opinion. Hey John, I really enjoy your album reviews. Heck, even Bonzo exercises delicate restraint and care (except for the "climactic" part, where he starts hitting hard as usual), and the end result is a track that really has no parallels (that I'm aware of) in classic rock. They worked meticulously with 25-30 year old tapes to get the best sound and audio possible, and this should really be exhibit A for Zep as a live act. If Zep hadn't rearranged some of those obscure songs NO ONE would ever have heard of them. Yes, I'm sure he's not just blindly hitting the drums, and that he actually has some sort of plan of attack to all this. I think I disagree with you on something but I just can't remember. Man, I totally agree with the three for Led Zeppelin. In previous years, my brother had been a fan of some of the popular bands of the day (Greenday, The Offspring), and while I was able to tolerate them, I just couldn't share the adoration that my brother and so many other people of like age shared for all of these groups. The band goes to blues and all 3 blues songs (You Shook Me, I Can't Quit You Baby, How Many More Times) rule. D'yer Maker and The Crunge are a bit weaker, but I find them both quite enjoyable in a silly sort of way. You mentioned Prodigal Son by the Rolling Stones, but it actually wasn't written by the Stones. Also, the band does what is arguably its best blues number yet on this side, the terrific "Since I've Been Loving You." The melody is obviously stolen (though that's really the only place on the album where that can be clearly said; the band wrote most of its own material here), and Robbie tends to sound like an idiot when he goes on too long stammering instead of singing, but when he's actually singing, the track is pure gold. And I never get bored with In My Time. There was no such thing as a "tacked on" solo in their discography; they were always an essential part of the piece, whether as the main theme or as a secondary melody or whatever.
Now that's what I'd call screeching! I'm glad that it exists as a document of live Zep that is pretty decent quality. On the subject of Plant's annoying vocal asides, the first time I saw the performance here of 'Stairway to Heaven" I had the idea for a comedy sketch in which Robert Plant dabbles in lounge singing and makes asides and goes on tangents based on legendary Zeppelin stories whenever he performs one of the band's songs. Your reviews are as well thought as anything else I've seen. As far as arguments, I like "In the Light" because of the lyrics (was John Paul Jones actually a Christian?) and whatever instrument was trying to sound like a vacuum cleaner did a pretty authentic duplication. In other words, we have an album whose musical essence and foundation, upon which other aspects are built, is almost negligible. It has lots of other things going on later to keep your attention. The first half rocks like mad (and has a neat little bolero section from Bonham, who exercises restraint in this song surprisingly well), but what I love most comes in the second half, after another great bowed-guitar passage (with chaotic "Eastern" drumming in the background to great effect) with Plant rambling on about now having eleven children. Listen to the swinging drums on "Wanton Song," or the way he _caresses_ his drums on "The Rain Song." Yes, he played loud -- VERY loud, he attacked the kit with his wrists -- but the man knew how to play. The remaining three tracks fall into the "reworked blues" category, and my feelings are divergent on them. And the Jeff Beck group was obviously a big influence on Zep. I'd actually categorize The Song Remains the Same not as an average performance, but as a performance captured when Led Zeppelin was in decline on many levels in terms of their live shows. Comeback!
Help me, but I love this original Zep version of "Dazed and Confused." I mean, Plant's voice only got worse from here, and the Song Remains the Same version is pushed towards intolerabilty because of his obnoxious singing (though the BBC versions are really nice). HOWEVER, I stand by my opinion that, quite frankly, he can't hold a candle to Keith Moon (who might not be Bonham's stylistic parent but is probably his crazy uncle) or any one of many prog-rock drummers, or other guys I love like Stewart Copeland or Jaki Liebezeit (yes, their styles are different enough from Bonham's that a straight comparison isn't perfect, but I definitely like their styles way more than Bonham's). Comminication Breakdown is very fast and cool. The debut honestly sounds as fresh and timeless today as it ever did, but this album.. It came out when I was in high school and I was pretty excited to have a Zep album that belonged to my peer group. I thought they were okay, not outstanding.
The only thing it's missing is No Quarter, for which I I think the live version on TSRTS is actually.the best thing they ever did. Beethoven, that is. Dah DUM dah DUM dum..dum..dum..dum..dum.. It was just an average night and was shelved for 3 years. Led Zep's peak and perhaps the very best rock album ever. Even as good as Mitch Mitchell of the Jimi Hendrix Experience was on drums, the sound is rather tinny compared to this, as the focus on late 60's hard rock was concentrated more on how hard-hitting or heavy the guitar was. And keep in mind he played the live version regularly for 15-45 (!) minutes, with only a few versions being boring. I own hundreds of CDs and am constantly expanding my musical tastes. It's superior to the original recording (on I) and so are Whole lotta Love (the restrained aggression is maintained), What is and What Should never Be and Dazed and Confused on side 1. But instead, since it has the name Led Zeppelin on the front, there are people who love these songs! Listening to live Zeppelin after 1971 (in official and unofficial releases alike) or so is an exercise in great frustration; so much of it is glorious, and yet so much of it is horrifically obnoxious and a bit of a trainwreck, and these two sides often live in a close proximity that's fairly baffling at times. It literally causes pain. Not many people appreciate The Song Remains the Same (the song). Bonzo's Montreaux," it's called, and the reason that it works is that he's creating a melody on synthesized percussion. The guitar-drum interplays (I really really love Bonham's drumming on this track) in the middle are fantastic, and even if the lyrics refuse to stick in your head, Plant still sounds interesting. And, strangely enough, I don't consider it the least bit overlong; the lyrics are neat, Plant actually sounds good for a change (a rarity on this album, to be sure) and every second actually seems to have a purpose. They are right up there in being the best thing about the 70's. Moby Dick is one of the very few drum solo's I think good. Remind me later and I'll come up with a bigger list once I'm back at home. One more thing actually two. I grew up listening to Jimmy Page as you say effortlessly blending and John Bonham waking the neighbors while my man Robert Plant put words to it all. No Quarter" lets Jones shine on keyboards, with great interaction between him and Page, and I see little reason to enjoy this less than the SRTS version of the same. http://writemypaperfastg.justgotmarried.net/i-don-t-know-what-to-write-my-paper-about-ojt.html And finally, there's "The Ocean," which lots of people love but I only sorta like in this incarnation (the middle a capella section is the best part, as far as I'm concerned). I CANNOT listen to Zeppelin II and the first two tracks of Zoso due to their overplay, which is legendary in its own right. I wouldn't call it a flow, per se. You may simply call me K. Just listen if you can find it, to anything from their Japan tour of 71 or their european tour 73' and be wiser! So here they are: The Reasons for Children of the 80s to Feel Old This page currently edited by: Dagwood. Past editor: Junior With so many tighter bands to listen to from the same era, I've never understood why "the mighty Led Zeppelin" were and *still are* so revered as Quasi-Gods of Rock.
Ditto on "When the Levee Breaks"! John Paul Jones a terrific bassist. The production on here is almost ludicrously meticulous (if a bit sterile in places), and it displays in a broad flourish all of the various sides of the band (as opposed to going overboard in one direction or another as on the last two albums). And none of the other major ones stay completely in the key signature in them, other wise it would be too boring. And yes, the violin is annoying. But just being aware of the different approaches (read VALUES) that genius musicians use will open your mind to new ways of judging and or enjoying music. Plant's voice is higher than it's ever been here, but it sounds good here, and the song only lasts about two minutes and change, so it's great. At the time "All of My Love" was being hailed as the new "Stairway to Heaven". A few snippets here and there DOES not rise to the level of a cover band. The main problem I have here is that the perfect production, to my ears, takes away the fire that the track otherwise has. It's that most of the album sounds stale, for lack of a better term. In the Evening" has to be taken as a slow creepy piece. Anyways, heading over to side two, we hit the 'epic' "Carouselambra." It took me a few listens to get into it, but I'm depressingly fond of this piece. I guess they were trying to show that they were as cool as the other punk bands of the day, and while I don't mind thrash-metal-type songs in the hands of groups that have some clue of what to do with them (ie Metallica), I'm not a big fan of generic punk-rock/thrash hybrids. JPJ once, and that's for organ playing on babe i'm gonna leave you. They did many solid songs in each of the areas they tried out, but they also did a LOT of simply awful ones. What new slang was introduced during the 90s that you can think of? This is a list of all the words that were in popular usage during the 90s. Come here! Led Zeppelin being one of the most famous bands cannot be disliked with impunity. The musical content is good for 30 seconds at best. I love the song, and STP's acoustic cover of it. This is pretty good, but I still think that Zep was Better in the studio than in concert. Everything is just so well-executed on here that it's amazing. No two of the songs in the medley were actually played in a row. So, only a 3, huh? The Crunge is terrible, at least I think it is. Somehow, the thinness of Plant's voice manages to really work with the roughness of the tune, and the interplays between the vocals, guitar and drums are very good. Just boring. Then when the eastern mellotron comes in.. I can tell you first off that their REAL attraction lies in their live performances. Fred Durst, who was still hanging onto that last shred of respect he somehow had (in the music world) came on and performed a song acoustically, and GUESS what song it was! Rock and Roll" ANNHILATES the Song version (and maybe the original), "The Ocean" chews up and spits out its studio counterpart far into the distance, and even : Bring it On Home," which I never adored in the first place, works perfectly as a closer, probably because the aural claustrophobia that I get from so much of II simply can't be found in a live setting. But other than those two weaknesses, I have absolutely no complaints. Notice you don't have an answer for John Entwistle calling Moon sloppy and difficult to play with. The thing that amazes me about their performance is how small the stage is and that it is pure Zep without extra musicians or distracting special effects. Had some decent atmospheric stuff on it. It's dumb, yes, but dumb in a "Communication Breakdown" sort of way, so I like it. The last two songs don't really cut the mustard for me, though. In order to appreciate good improvisations, which is the heart and soul of led zeppelin, you must understand the approach of a seasoned musician. What do you think of Led Zeppelin? 1 I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, And this would be my favorite Led Zeppelin album, for reasons I don't feel like having the energy to go in detail about. Zep I is definitely one of my favorites. You Shook Me All Night Long", and "How Many More Times" in particular).
Most of them get worse for me, but this is one that has gotten better. Led Zeppelin. Jimmy And The Pagers, Featuring The Golden God. Introduction; Led Zeppelin; Led Zeppelin II; Led Zeppelin III; Untitled; Houses Of The Holy;.. THE GUYS ARMS DONOT MOVE. That's my 2 cents on that song. I was very disappointed at its totally raw, non-Celtic, non-Tolkein-y, non-acoustic-tinged slant on the Zep sound, I've since developed a fondness for it - although alcohol may have had a role in heightening my appreciation for it.. But that does not seem to clarify things very much, so let me try a different angle. In much of the group's later work, the singing approach Plant takes in this one would be overdone something fierce, but in this case, the way sadness and despair seeps out of Plant's being with every note, while underneath him Page alternates "soft" driving acoustic passages (meaning there's only one Page playing) with "hard" driving acoustic passages (meaning there's five Pages playing, with Bonham bashing along), is really something to behold. Hey, it's not bad at all! I don't even remember what that song is about! Nice page John! So, overall this has to be the most revolutionary Zeppelin album, although i like 'Led Zeppelin II' a bit more, as there are even more amazing riffs and guitar solos. Anyone who loves the band though, will most likely love this here album as this is what the bands sound is based on. He's certainly better than any drummer I've ever worked with! And it's in these departments where Clarksdale somewhat succeeds, even if on a song-by-song basis it's more or less boring as hell. I just wanted to reply to your general statement about Led Zeppelin. Buy essay. The Crunge is a failed attempt to a genre that should be left to Funkadelic. Your hero must be that moron, John Mendelsohn of Rolling Stone who trashed Zeppelin's first album claiming they wouldn't make it because Jimmy Page couldn't produce.. The only reason it was released was because they needed to put out some material during a lull in the bands output (the lull was the result of Plant getting into a serious car accident). The third one, though, is noticably weaker than the album's other tracks. Somehow, they managed to make the track trippier than before (Jones) and harder than the original (Page). This album to me resembles III. Otherwise a fairly good one. J. Ent sorts it out. It was originally written by Robert Wilkins under the name 'That's No Way to Get Along,' and then he went and changed the lyrics when he got ordained as a minister in the '30s to make them more religious, which is when he also changed the name to Prodigal Son. Otherwise, though, this isn't an album you listen to necessarily for the individual songs. Sorry Jake Holmes, even though Page/Plant owe you a lot of money. Lousy level-headed commentators and their 100% correct rebuke of my pettiness with pointing out grammar and punctuation mistakes in comments I don't like. I think II is more a fun album to play along to, but not to listen to particularly. It is THE song. About a year after In Through the Out Door was released, John Bonham choked on his own vomit after an all-night drinking binge, and the band subsequently broke up.
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