European Tribune

The Song Remains the Same

by Helen
Mon Dec 10th, 2007 at 09:21:00 AM EST

Tonight at the O2 arena in London (formerly the Millennium dome) Led Zeppelein will perform a full concert for the first time in 29 years. Even if I had wanted to, it would have been impossible to avoid the buildup to the concert. It is on the TV news and in the papers (although the Guardian has sniffily downplayed it - the editor, Rusbridger, must have had his ticket application refused).

We all know that Led Zeppelin ceased when their drummer, John Bonham, died. However, in recent years his son, Jason Bonham, has worked with the band members on various projects. He also played with them in a short unofficial reunion a few years back, which he concedes was embarrasingly bad. However, all concerned sem determined to do better this time and much rehearsal has taken place.

So will it be any good ? It all depends on the criteria you choose. If they choose to adapt their songs to cope with Plant's much-changed voice then it could well be good. The Plant/Page "UnLedded" adventure of a decage ago showed how this could be achieved, but if they try to wade in with hopes that Plant can match his mid-70s pomp then things could get sad.

Which is, of course, why I have not even attempted to get a ticket. It might be good, but it won't be the same. And I honour the  the still-burning-bright memories of LZ Earls Court '75 far too much to want them over-written with conflicting views of an older and different interpretation.


What were they like ? Too many focus on the legend; the "cock-rock" posturing, the stories of excess culled from the all-too-believable book "Hammer of the Gods". But this is froth, you don't get to be the undisputed "Best Heavy Rock Band in the World Ever" (the Beatles are their only rival as best band) without having a consistent delivery, both on record and in concert.

Earls Court 75 was incredible. Blasting onstage into "Rock 'n' Roll", the first thing that hits you is the volume. Even by the standards of the day, LZ are loud. Some suggest this is deliberate, you either are totally into it, or you cannot bear to be there. Nobody is there out of interest, we're all believers and here to genuflect our obescience. We pay the price in lifelong tinnitus.....willingly. "Celebration Day" and "Custard Pie" smash any resistance while the Zeppelin is still gaining height. Name that hit from the first five albums and it is paraded here in nuclear-hardened rock and roll glory. Dazed and Confused has become the bands light relief as they reach for their influences and play a quarter hour 50s rock and roll medley. and of course the trademeark violin bow solo, Page standing in a cone of lazer light and dry ice is the true demonic wizard as he tortures sounds from his guitar. At one point I feel absolutely surrounded and encased, entombed even, by the pressure of the volume. I don't think I have ever been so captivated in my life.

We wait for the the post-Stairway encore for 20 minutes. Then Whole Lotta Love crashes down upon us. The place goes t o t a l l y crazy.

Even now, 32 years later, if anybody doubts Zeppelin's pre-eminence I can't argue, I am filled with pity at what they cannot know.

The Albums

Led Zeppelin
This is still my favourite.  Showing their roots in the 60s blues boom, this has the most amazing ambience. It sounds like it was recorded in a cheap basement and you can hear the traffic noise outside. This lends a powerful immediacy to even the most laid back music.

Led Zeppelin II
The definitive hard rock album. Some say it invented heavy metal, and whilst Whole Lotta Love, the opening track, did so, but that's hard to square with the rest of the album which seems to be questing in every direction. Each song has more invention than some popular artists manage in their entire careers.

Led Zeppelin III
In which LZ re-discover folk-rock. Despite the hard-core opener of "The Immigrant song" this is a decidedly pastural album of nostalgic whimsies. Much derided at the time, it is a far stronger album than many gave it credit. It strengthened their live act by giving them much sought after light and shade.

Led Zeppelin IV (Four symbols)
I have long felt that "Battle of Evermore" is the best song on this album, but acknowledge this is a lost argument to the Stairway crowd. Easily their best album.

Houses of the Holy
There is much to like about this album, but it is hard to avoid concluding that, compared with what had gone before, it's weak. D'yer Maker (Jamaica - geddit) is cringeworthy. But alongside this is some of Zeppelin's best work, Song Remains the Same/Rain Song, Over the hills and Far Away and, of course, No Quarter are as good as anything they ever did.

Physical Grafitti.
Rarely for the 70s, this is a couble album with almost no filler tracks. Probably LZ's last unalloyed golden moment. Poignantly, the lyrics to "Night Flight" chronicles Plant's reaction to learning of his son's sudden death whilst he was away on tour.

Presence
I could make an argument that there are three good tracks on this album, "Achilles Last Stand", "Nobody's fault but Mine" and "Tea for One", but really only one, TfO, stands with the best of their music. A recent reviewer suggested that ALS invented modern "speed metal", but seeing as it uses that same galloping riff as Nazareth's earlier re-working of Joni Mitchell's "This Flight Tonight", I think the claim is overdone. No, it is the often-overlooked "Tea for One" that is the standout track here. Easily better than their earlier slow-blues "Since I've been loving you" the thing to notice is how Page's guitar solo slowly recedes from the listener into a haze of reverberation, suggesting a grief struck distance lost in himself, which allows Plant's return to singing to capture attention. It may be a production rather than a musical master stroke, but it's one that is the difference between first and loser.

In Through the Out Door
It was obvious by now that LZ were casting around for a new direction. The heavy rock seam they had mined so succesfully through the 70s was obviously exhausted and they were looking for something else. The misplaced rock and roll experiments of Presence continue here, but it is in "Taramsalata", a tentative stab at what we might call "Samba Metal", a mix of latin rhythms and western rock, that the band hint at where their ideas were moving.

Plant suggested as much when the band began to put together ideas for their next album. Sadly we'll never know, Bonham went on a drinking spree soon after and was found dead the next morning.

Led Zeppelin died in 1980. Trouble not my cherished memories with ghosts rattling chains

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Heavily leaked rumours suggest that there was such a huge demand for tickets, that there will be a world tour of chain rattling to come.

Life should consist in at least fifty percent pure waste of time, and the rest doing what you please.
by ceebs (bunchofwankers (at) gmail (dot) com) on Mon Dec 10th, 2007 at 10:33:53 AM EST
Maybe, maybe not. If there's a tour I might go but they'd probably just go to the US like they did back then.

keep to the Fen Causeway
by Helen (lareinagal at yahoo dot co dot uk) on Mon Dec 10th, 2007 at 10:37:17 AM EST
[ Parent ]
Otherwise it's just make do with this

Life should consist in at least fifty percent pure waste of time, and the rest doing what you please.
by ceebs (bunchofwankers (at) gmail (dot) com) on Mon Dec 10th, 2007 at 10:47:09 AM EST
[ Parent ]
Zep's manager was large in all ways. He was a threatening 'presence' and he could pick up the phone and summon a vanload of heavies in half an hour. Few people dared cross him after the stories of the early days. He was not averse to taking prominent gangsters on tour.

It was a funny kind of synergy seen throughout the Rock industry 1965 - 1985: on the surface was always a rebellious group apparently unconcerned by capitalism, underneath was vast predatory machine of lawyers, accountants, minders and advisors. All the bands that I knew spent some considerable time having their accounts explained to them and the legal and illegal methods of stashing their wealth.

In spite of this, many were ripped off, thanks to the byzantine skullduggery used to move money around in the system from the many sources of revenue that centred on gigs (often cash) merchandise (cash) and record royalties. It must have seemed like Christmas for the band members to be handed a 50K bundle of notes. The truth was, in many cases, it should have been 200K.

You can't be me, I'm taken

by Sven Triloqvist on Mon Dec 10th, 2007 at 11:01:38 AM EST
in at least as far back as the mid eighties, I was hitching  across the middle of the country, when I got a lift round Oxford from him. Just having leapt into the car, not realising who he was straight away, turned out he was delivering legal papers from one bands management to another, as a favour, as the two groups werent talking to each other. The legal papers filled six full A4 size boxes of paper. That was the point when I realised that the word Business was the one that really mattered in the phrase Music Business.

Life should consist in at least fifty percent pure waste of time, and the rest doing what you please.
by ceebs (bunchofwankers (at) gmail (dot) com) on Mon Dec 10th, 2007 at 11:17:21 AM EST
[ Parent ]
He certainly bumped up appearance fees and royalties for the bands - I'm not sure though that it was entirely altrustic ;-)

You can't be me, I'm taken
by Sven Triloqvist on Mon Dec 10th, 2007 at 11:43:43 AM EST
[ Parent ]
plant was too faux-camp and arch for me, but so were so many of them, with the stones' similar ugliness they opened the door for the whole glam thing, a waste of time.

page is a great rock riff writer, genius on acoustic, brit answer to steve stills that way...

too spasmodic a lead electric guitarist, compared to the fluid, ballsy playing of peers like beck and clapton, so-lipstick-ally iconic in his rock aristocrat thing, a velvet suited crowley up in misty scotland lochside castle.

zep was when the change really set in, bling and mob, redundant, brutish decadence, preening foppishness, the definition of elite... media myth burying the narrative!

and just to show they could..some killer grooves.

i didn't like punk stylistically either, it was the obvious over-reaction to the sleaze and materialism that had its jaw locked on the jugular juice, symbolised by grant, klein, tom parker, al grossman et al.

what the sixties were to funky promise, the seventies were to platform shoes and mullets...lz were the last real over-the-top larger-than-life world-dominating stadium rock band, and they ran every one of their cliches right into the ground, over and over.

too whitebread, at the end of the day, whole lotta air...

excess is never pretty for long, success however seems to adhere to it for ever...

they deserve what they got, they weren't musical frauds like so many who came and conquered later, but they were emblematic of a whole chunk of rock that lost the plot, subsumed in narcissism, a throwback to brian jones and jim morrison without the deathwish (except for bonham), while still contributing some classic tunes and riffs, it was the sunset effect, the end of an era, and while they opened up a lot of folks to blues, they ended up gilded lilies at the funeral of worldclass british rock, that started with traffic, tull, mac, stones and beatles and ended pretty much with blind faith giving way to cream.

v-e-r-y mixed feelings!

thanks for the diary, helen, it was from the heart, i dug it how much you dug them, and how well you described how much their sound blew you away.

ain't that the blues, and its bittersweet, clarion call to feel, under the cooler-than-thou posing, preening, strutting and caterwauling... it still comes hot and urgent to claim its own....

Peace is not the absence of war -- peace is the absence of fear. Ursula Franklin

by melo (melometa4(at)gmail.com) on Mon Dec 10th, 2007 at 06:35:39 PM EST


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