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  Led Zeppelin - Presence
Posted by: IanWhann - 03-12-2019, 02:50 PM - Forum: Led Zeppelin Albums - No Replies

Having a vocalist who had just suffered a car accident and was in the studio with his leg in plaster can't have helped matters. Spending a year out of the UK for tax reasons can't really have helped matters either - away from family and friends, getting on each other nerves? As it is, 'Presence' was recorded in a mere matter of weeks and sailed to number one on both sides of the atlantic based on the groups massive popularity alone. Presenting music fans with a mere seven songs after the double-album 'Physical Graffiti' seems a little measly, though. There's no two ways about it, 'Presence' isn't an album with any great structural cohesion behind it. Still, we do have at least one bona-fide all time Zeppelin classic here, the storming electrifying ten and a half minute long 'Achilles Last Stand'. Strong rhythm section work and a wired, anxious sounding Jimmy Page. In fact, the work Jimmy Page does on 'Achilles Last Stand' combined with the usual immense Zep rhythm section - gives off the feeling that Led Zeppelin, under better circumstances, could have used this song as a starting point to create an entire album around of similar quality. As it is, 'Achilles Last Stand' almost is the entire album. Elsewhere, we have a riff in search of a song with 'For Your Life', the admittedly entertaining likes of 'Royal Orleans' and 'Candy Store Rock'. These are decent supporting songs, but the suspicion remains, there simply isn't any great point or purpose to this 'Presence' album.

On the plus side, Jimmy Page is consistently impressive, the rhythm section are solid as you would expect. 'Hots On For Nowhere' sounds like a band sleep-walking. 'Tea For One' doesn't seem tight and running to nine minutes is rather over-long for the amount of musical and lyrical ideas it contains. One of the better pieces arrives with 'Nobody's Fault But Mine' - a song rising to a heavy section of loud drums and squealing guitar. Considering 'Presence' with the mighty 'Achilles Last Stand' combined with the likes of 'Nobodys Fault But Mine' or 'Candy Store Rock', it still remains a minor Zeppelin work, simply because there is so little else here that's particularly impressive or memorable. 

Achilles Last Stand / For Your Life / Royal Orleans / Nobodys Fault But Mine / Candy Store Rock / Hots On For Nowhere / Tea For One

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  Led Zeppelin - Physical Graffiti
Posted by: IanWhann - 03-12-2019, 02:41 PM - Forum: Led Zeppelin Albums - No Replies

Led Zeppelin had eight new songs or so - enough for a cool album, but too many minutes in running time to fit on a single vinyl album. They didn't want to lose any of the songs they had, so took another solution. The initial idea was to include live material alongside the already recorded studio tracks. In the end Jimmy Page dug into the Zeppelin archives and took out songs left off the second, third, forth and fifth Leppelin albums - and put those on 'Physical Graffiti' as well. The result of this action is the feeling that 'Physical Graffiti' does absolutely everything, shows absolutely everything - that Led Zeppelin ever were. By the way, the album title comes partly from the effort the group took in piecing this album together. Overdubs were added where necessary and all fifteen tracks then mixed by Jimmy Page. The first two sides, songs one through to six, are Zeppelin perfection for me. The best two sides they ever put out. 'Custard Pie' carried on from the sound of the more 'usual' Zeppelin songs from 'Houses Of The Holy' - but my god is the riff good. The feel of the song is so damn sexy and fucking beautiful! More cool riffs arrive all the way through 'The Rover', fantastic guitar actually - Jimmy Page on the top of his game. An eleven minute blues workout for 'In My Time Of Dying', the definitive Zeppelin blues workout for my money. Not that I have very much money, but that doesn't matter... Ah! The sound of the drums, the actual SOUND of the drums! Just so damn good. Bass drum to the fore, so very heavy. Also, giving away the fact that songs were taken from 'elsewhere', we have 'Houses Of The Holy'. It was an out-take or something? As I said, overdubs were added. This sounds better than a good half of the 'Houses Of The Holy' album, why the hell wasn't it on that album, already?? No matter.

Diversification? To their credit, and the 'Houses Of The Holy' album amply demonstrated this, Led Zeppelin tried, they really did. Hence the magnificence of the funk influenced 'Trampled Underfoot'. These guys were on fire, absolutely. As for Robert Plant, apparently his voice was shot from all those years of touring and he had to learn a different method of projecting his vocals. Judging by the damn sexy performance he gives all through 'Trampled Underfoot', with it's wacky, funky keyboard sounds - he more than succeeded. I'm only upto track five. Track six is only fucking 'Kashmir', for fucks sake!! More 'epic' than 'Stairway To Heaven', more magnificent sounding than anything else they'd done - and the bass drum sound is diamond and gold and heavy as all HEAVY you can imagine. Imagine the heaviest thing? This is heavier, oh yes! Amidst all that, we've got keyboard/string type things, classical stuff going on. Robert Plant moaning all sexually. Not that I actually FIND him sexy - he's utterly hideous to a hot heterosexual stud like me - but you get the idea. Make love to this song! It lasts for eight and a half minutes!!

'Bron Yr Aur' is a nice interlude, pretty folk acoustic stuff from Jimmy. There's more epic stuff with 'In The Light', more RIFFS AND HEAVINESS  with 'The Wanton Song'. A couple of bits of near filler, although the likes of 'Down By The Seaside' and 'Ten Years Gone' are both pretty damn fine in my book. They fit, adding to the epic, absolutely everything nature of this 'Physical Graffiti' album. 'Boogie With Stu' sounds just like it's title suggests, it's a plain old rock n roll boogie - but fun. You know, IT IS fun. Robert Plant sounds utterly daft, and that's fun - hugely enjoyable stuff. 'Black Country Woman' is a weird semi-acoustic thing, very eccentric and filler - but for the fact this album REQUIRES such songs. Fifteen songs lasting an hour and a half all EPIC and ALL HEAVY would be silly, wouldn't it? These pieces of 'filler' such as 'Black Country Woman' actually add to the overall whole, even though it's readily apparent such songs ( and, there's not that many of them here ) wouldn't stand well on their own. Still, the closing 'Sick Again' is as heavy and magnificent as anybody could wish it to be. Jimmy Page goes supernova. It's exhausting just listening to this album. Heaven knows where Led Zeppelin even thought they could go next....

Custard Pie / The Rover / In My Time Of Dying / Houses Of The Holy / Trampled Underfoot / Kashmir / In The Light / Bron Yr Aur / Down By The Seaside / Ten Years Gone / Night Flight / The Wanton Song / Boogie With Stu / Black Country Woman / Sick Again

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  Led Zeppelin - Houses Of The Holy
Posted by: IanWhann - 03-12-2019, 02:37 PM - Forum: Led Zeppelin Albums - No Replies

Okay, so we're past the famous first fab four albums now, aren't we? Anyway, listening and listening to 'Houses Of The Holy' has made me wonder just what Led Zeppelin actually DID in the interim between 'Led Zep IV' and this? Did they drink and party a lot? I gather they'd reached the pinnacle, or at least, felt as if they had. Nothing left to prove to themselves or anybody else, either. At least, nobody else they thought mattered. So, off we go into the land of funk, into the land of the Caribbean, or some other such place. One song features vocal harmonies, another sounds very much like a string drenched ballad. Very few two songs sound the same, in fact. There is little of the trademark Led Zep sound here at all, and not only that, but Robert Plant indulges himself a little. Does a few pieces of vocal acting, not least all the way 'The Crunge'. Ah, whilst i've mentioned it, let's talk about that 'The Crunge'. 'The Crunge'? Okay, I don't know what that means. And, please. Don't mail me telling me what it means, either. I'm not sure I particular care what it means I just get off on the fact that this is obviously a piece of Led Zeppelin humour, a slight James Brown tribute or piss-take, whichever way you prefer to look at it. Some of the lyrical and vocal sections are truly daft and they do raise a smile. Well, Led Zeppelin trying to be funny doesn't quite come off, but the music is just so damn hot and so damn funky - so very tight.... who cares? 'The Crunge' is a fine thing, quite unlike anything Led Zeppelin had done before, and that's the key idea to quite a bit of the songs contained on this album. It's Led Zeppelin trying to show everybody they could do anything, anything they wanted.

Of the more recognizable Led Zeppelin styled songs, we've got 'The Song Remains The Same', 'Over The Hills And Far Away', 'No Quarter' and the closing 'The Ocean'. Starting with the last named, first - 'The Ocean' relies on a strong rhythm section groove over and above any guitar prowess or roaring vocals, although both of those are present too, of course. It's a riff thing, a song with a riff that carries everything else, a groove that carries everything else. It's a fine thing. 'No Quarter' is seven minutes long. I've listened to it maybe twelve times just today. I was feeling rather low, couldn't even be bothered to change the CD, had it on repeat play. Which does indeed also tell you i've listened to 'Houses Of The Holy' around twelve times today. I feel as if I live in those houses, you know? I feel as if I was one of the naked children featured crawling over stones on the album artwork. I was there, man..... How many times can I listen to this album in five hours anyway? Would it be twelve, or so? And please, I don't want your answers on a postcard, not even to any address you care to think of, either. Still, where was I? Oh, yes? 'No Quarter'! Well, it's pretty much perfect, goes off into this lovely jazzy instrumental break that also sounds pure Rock N Roll. 'No Quarter' doesn't scream and shout and run and come up to you with it's tongue out, waggling provocatively - like some of the early Zep classics. No, it's just a classic. 'The Song Remains The Same' and 'Over The Hills' both have lots of short, funky riffs and both are taken at a fast tempo. Robert Plant's vocal on the latter is one of his very finest, for my money.

Of the remaining material, John Paul Jones contributes. Not just his usual bass, but also Mellotron, Synthesiser, Organ, Piano, etc, etc. In fact, the second song 'The Rain Song' which I described as sounding like a string drenched ballad? Well, that's just him on the Mellotron, playing lines for a string section. He knows his stuff. It's a lovely song, a genuinely affecting ballad, again, quite unlike anything Led Zep had done before. 'Dancing Days' is another funky, short guitar riff thing, I guess. It doesn't particular stand out here, but it's no worse than anything else if taken in isolation, if that makes any sense at all. 'D'yer Maker' is the one that contains the Caribbean reggae riffs. Robert Plant gets into the spirit of things, it shares a spirit of 'daftness' with 'The Crunge', but again, the together and damn near perfect playing, holds this and impresses you. Well, it should do. Why? Because I say so. The most diverse album Led Zeppelin ever made, most likely - whilst still retaining great performing and writing abilities, at any rate. It's close to being a classic album, but the humour factor of the likes of 'D'yer Maker' in particular may begin to grate after repeated listenings. And, I'm really not just saying that because I listened to the album for nearly five hours straight today, honest i'm not. And, if that makes any sense to you, good luck. 

The Song Remains The Same / The Rain Song / Over The Hills And Far Away / The Crunge / Dancing Days / D'yer Maker / No Quarter / The Ocean

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  Led Zeppelin - led Zeppelin 1V
Posted by: IanWhann - 03-12-2019, 02:33 PM - Forum: Led Zeppelin Albums - No Replies

The heavy heavy monster sound of Led Zeppelin, IS BACK. Not that there was anything wrong with the sound of Led Zeppelin III, just that the material maybe wasn't as strong as we were getting used to back there. Can I say something? Immediately you'll see where i'm going here when I say this. I absolutely adore the first THREE songs on this album. Best three songs here! And yeah, i'm being serious. God, 'Stairway To Heaven' is 'Stairway To Heaven' is 'Stairway To Heaven'. It's eight minutes long, has truly fascinating lyrics and a very purposeful, albeit getting to the point gradually, nature of the musical track. This 'point' is of course the heavier section of the song, the great Jimmy Page solo - and then I like the way the song closes. More of an event than a song, and a deliberately crafted event at that. The group reportedly 'set about' writing a suitably epic song that would rival the reception and glory of 'Dazed And Confused' during live performances. Nothing wrong with that, obviously. I like 'Stairway To Heaven' in case you didn't quite get that during my mini-description of it back there. But, I guess this album revolves around whether you love, like or merely tolerate 'Stairway To Heaven'. There are probably people out there that don't even like the song at all. I'm not that kind of person, I fall definitely into the second camp. Whilst i'm here, I'll also say that the huge drum sound of the overly lengthy 'When The Levee Breaks', along with the harmonica sound, is the best thing about the track. 'When The Levee Breaks' and 'Stairway To Heaven' are my least favourite two songs on 'Led Zeppelin IV'. Which may sound ridiculous to some, it's just I adore the faster, rockier stuff here so much more. Well, correction. The delicate 'Going To California' is one of my favourite Led Zeppelin songs. It's just this straight folky thing, but Page and Plant both sound truly beautiful. A similar thing of possibly even greater wonder is the Sandy Denny assisted 'Battle Of Evermore'. Sandy sings perfectly, not trying to be the main event, but still really aiding the haunting beauty of the song.

Oh, oh OH - 'Black Dog' has a riff and three Quarters, Page is the man here, he's THE MAN. I just feel like squirming and rolling around naked in mud, with sheer glee - at the sound of this riff, and it's variations. Really, I do! 'Black Dog' has one hell of a rhythm section about it, and an utter classic Robert Plant vocal performance, classic, classic, classic. Oh, yeah, 'Misty Mountain Hop' has heavy drums, another fabulous riff, another winner, a great vocal performance again, great vocal rhythm actually - love what Plant does here. Okay, i'll calm down. God, 'Four Sticks' is great too, another riff monster. So, even WITH 'Stairway To Heaven' and 'When The Levee Breaks' inhabiting around a third of this albums playing time, the rest is surely glorious enough for this album to deserve a '9'? Just think, what if I actually loved instead of just liked 'Stairway To Heaven'? What then?? Still, I can't help that, can I?

Black Dog / Rock And Roll / The Battle Of Evermore / Stairway To Heaven / Misty Mountain Hop / Four Sticks / Going To California / When The Levee Breaks

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  Led Zeppelin - led Zeppelin 3
Posted by: IanWhann - 03-12-2019, 02:16 PM - Forum: Led Zeppelin Albums - No Replies

Both better and worse than previous Led Zeppelin for me, but I should explain such a statement. I love the variety here. 'Led Zeppelin III' mixes folkier material with the usual Led Zep headbanging rock stuff with blues influenced stuff, etc, etc. Makes for a more varied set of songs than 'Led Zeppelin II', in any case. Jimmy Page really does do some great stuff here, his parts through the introduction of the blues based 'Since I've Been Loving You' are genuinely classy, as his playing is throughout the entire song and album as a whole, actually. 'Since I've Been Loving You' also features super strong drums, a great vocal performance, etc, etc. So, what's wrong? Well, nothing is, really! Oh, I know what it is. It's too long, Mr Plant sings the word "drag" towards to end of the song, and taking it out of context for my own purposes, i'd say it's the absolute perfect word to use to describe the Led Zeppelin 'Since I've Been Loving You' song and performance. Other less than 'interesting' material, includes the ballad 'Tangerine' ( with a great Plant performance and strong bass performance ) and the folky 'That's The Way' ( which includes pleasant Page guitar parts ). So, good and bad, both? Well, yes. And 'bad' is actually a pretty harsh word to use. The inclusion here of folkier textures isn't a problem at all, as I said earlier, it's a welcome thing, the increased diversity in sound that Led Zeppelin produce for this album is a a welcome thing. But.... stuff like 'That's The Way' is just a little..... boring, in a word. It doesn't go anywhere and doesn't do anything. Pay attention, and you'll discover tracks like this are probably enjoyed more by guys who pay special attention to the guitar playing, to the overall muscianship and little details of the playing - than the average guy who just cares about what it sounds like and how much fun it is.

Speaking of fun, the opening 'Immigrant Song' has fun in spades, absolutely a whole ton of fun. Heavy riffs, heavy playing, good vocals - daft lyrics, it's all here and a Zep classic is born, easy. The closing brace of songs both feature fast, dexterous playing from Mr Page in particular, and both manage to be interesting and fun, at the same time! Neither qualifies as a great song, barely either classifies as a good song, let alone a great one - but the textures are good, the playing is impressive and very listenable. The distortion on the vocals through 'Hats Of To Roy Harper' is a very interesting production touch. Still, i've used the words interesting and fun far too much in this review so far. Gone is the sense of Led Zeppelin being 'an event', for this album at least. This is light stuff, bar the likes of 'Since I've Been Loving You', the decent 'Gallows Pole' and the rock and swing groove of 'Out On The Tiles'.

Immigrant Song / Friends / Celebration Day / Since I've Been Loving You / Out On The Tiles / Gallows Pole / Tangerine / That's The Way / Bron-Y-Aur Stomp / Hats Off To Roy Harper

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  Led Zeppelin - led Zeppelin 2
Posted by: IanWhann - 03-12-2019, 02:12 PM - Forum: Led Zeppelin Albums - No Replies

Led Zeppelin move into world-domination status, this second long-player topping the charts on both sides of the Atlantic. It seems to me they've played it fairly safe. Well, not safe as such - just that they've taken the bits people liked from the debut and made a whole album out of those bits. But, they've not done it quite right. There's no let-up here, less variety. There's less sense of highs and lows, and highs and ( relative ) lows can actually help an album. The blues material contained on the debut Zeppelin album helped shine greater light on the other material - material that sounded astonishingly powerful and fresh, and still does. 'Led Zeppelin II' just sounds, well, commercial. Tight, purposeful - yet commercial. Having said all of this however, and saying right now that this album sends less chills down my spine than the debut - this is still a remarkable set of performances. A damn consistent set of songs and performances that just beats you into the ground with its sheer unrelenting assault on your senses. It's nearly all-out rock music, this time. The blues thing is still there, but just contained in certain moments, certain sections, certain vocalizations, etc. Led Zeppelin are now LED ZEPPELIN!!! and there's no looking back. You can hardly argue with it, really. 'Whole Lotta Love'? What a fantastic song introduction, great ROCK lyrics, fantastic riff. The drums kick in, the bass kicks in ably supporting. Beautifully supporting. Led Zeppelin, and it hardly even needs to be said, had a damn fine bass player. Still, the attention tends to be focused on Plant, Page and Bonham. How about a hand for that John Paul Jones fellow? He deserves it, dammit. 'What Is And What Should Never Be' starts all deceptively soft, before going all out with guitars and roaring vocals - good stuff! Even 'gooder' stuff is the fantastic 'Lemon Song' where the sound of Led Zeppelin, that separation, that thing where each musician does their thing, both individually and for the collective, and you can HEAR IT - really is noticeable. I like my Led Zep this way.

It seems silly going about trying to describe such famous songs, but you know. Maybe just saying, "Hey, this is great!" isn't quite so useful. Of course, we can all assume that almost everybody in the western world is familiar with Zep and many of the songs on this album - and they probably ARE - but I like to come into these things fresh, so to speak. I'm lucky in a sense that the UK has no classic rock radio whatsoever. If I buy a Doors album, a Black Sabbath album, a Led Zeppelin album - chances are - i've heard only one or two songs from it before. I know Beatles fans who've never heard 'Abbey Road' and couldn't even recognize 'You Never Give Me Your Money' as a Beatles song! Which seems astonishing, but when only the VERY famous songs by a particular artist are known here in the UK to the general music fan at large, this kind of thing happens. A Beatles fan, or Zep fan - maybe has a hits set, and one of the most famous albums, and that's it! The UK is a funny place, sometimes. I wish to god we did have some good classic rock stations. Even a bad one would be nice! Anyway, back to the matter at hand. 'Heartbreaker' has a riff to die for and it don't need nothing else! It has other things, notably a Mr Plant going for it - moving and grooving as only he can. 'Living Loving Maid' makes me want to headbang a little - bit silly as i've always either short hair, or curly Bob Dylan/Tom Baker styled hair. Can't headbang very well like that, but it makes me wanna shake and shimmy and shake my head up and down in any case. Ah, i'm sure there's other stuff here..... Well, duh. Of course there is, there's bloody 'Moby Dick' and 'Ramble On'!

So, why not a '9' or higher? Well, too little variety. The highs here arguably aren't as high as those on 'Zep 1', although the highs here are still pretty high. There are less lows - and perhaps another grade of '9' would be fair, except I don't feel this works as, dare I say it, a work of 'art' quite as well. This is just good fun, party time, let's have sex whilst we're at it and fuck each others brains out. It's music that makes you feel that way. Seems to me, the debut has a little more depth about it. But, this is still damn fine anyway. But, enough! I'm off for a hair-transplant. 

Whole Lotta Love / What Is And What Should Never Be / The Lemon Song / Thank You / Heartbreaker / Living Loving Maid / Ramble On / Moby Dick / Bring It On Home


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  Led Zeppelin - led Zeppelin 1
Posted by: IanWhann - 03-12-2019, 02:09 PM - Forum: Led Zeppelin Albums - No Replies

Jeff Beck leaves Jimmy Page as sole guitarist in The Yardbirds, a group that had also numbered Eric Clapton among their ranks prior to Jeff and Jimmy. Keith Relf, the singer with The Yardbirds, winds up leaving along with the groups drummer and bass player. Jimmy Page along with manager Peter Grant find themselves with concert dates to fulfil, so set about forming a new Yardbirds line-up. Enter Robert Plant, session bassist John Paul Jones and drummer John Bonham. Jimmy Page had worked extensively as an in-demand session guitarist all through the Sixties, playing on countless pop and rock recordings, learning about studio techniques and record making as he went along. Early shows saw the soon to be christened Led Zeppelin billed as The Yardbirds but certain supporters were apparently disappointed that it wasn't really The Yardbirds. The name Led Zeppelin was based on something Who drummer Keith Moon said about a proposed off-shoot group ( to feature himself along with Jimmy Page and Jeff Beck ) "Going down like a lead balloon, or a lead zeppelin". Remove the 'a' from 'lead', and hey presto! For this new enterprise, Jimmy Page wanted to explore dynamics..... he more than succeeded. Add in a rhythm section with an almost telepathic understanding, add in Robert Plant with his furious, all out, sexual roar of a voice.... Ah, reservations! Led Zeppelin achieved a distinctive sound right from the off. That doesn't mean that the material was so original or distinctive, however. 'Black Mountain Side' was based upon a Bert Jansch tune, but credited here to Jimmy Page all the same. Singer Robert Plant had a habit of improvising and unwittingly including fragments of blues songs in the lyrics as he went along. The closing eight minute plus epic 'How Many More Times' has a clear precedent in the Howlin Wolf song 'How Many More Years', and so it goes on. There are more references here if you care to unearth them. Two 'correct' writing credits arrive on the album sleeve courtesy of Willie Dixon, as Led Zeppelin produce versions of his 'You Shook Me' and 'I Can't Quit You Babe'.

There's something about Led Zeppelin and this album in particular I really love and it's something I see as an ideal for hard rock or ( heaven forbid! ) heavy metal groups. This 'ideal' is perfectly demonstrated in the two minute forty six second long opening number, 'Good Times Bad Times'. You can hear each and every instrument clearly and separately from each other instrument. You can clearly make out every drum roll of John Bonham, every nuance of the bass parts of John Paul Jones - obviously make out Jimmy Page with his solo and his riffing. A tight ensemble, powerful with spaces left by the rhythm section to allow Jimmy to fully express himself. On top of all of this we have Robert Plant of course, a singer plucked out of relative obscurity and almost instantly managing to present himself as one of the greatest rock singers on the planet at the time. The bass and drums support each other of course, but both can clearly also be heard as separate entities, if that makes sense. There is a cleanness, a separation. There's also damn heavy sounding parts as Led Zeppelin receive the credit for inventing heavy metal in the process. Most clearly with 'Dazed And Confused', a six minute long scary sounding epic full of astonishing playing and sounds, not least the 'walking bass' sound that introduces it. Robert Plant fully does 'the business' and sets a template for vocalists that followed. 'Babe I'm Gonna Leave You' is another six minute plus composition, an arrangement Jimmy had been working on back in the final days of The Yardbirds. Perhaps no better single example of the sheer glorious dynamics, the quiet to loud, of Led Zeppelin exists.

The more out and out blues tunes here, 'You Shook Me' and 'I Can't Quit You Babe' are the weaker moments of the set, along with Jimmy Page 'interpreting' folk guitarist Bert Jansch with the instrumental filler 'Black Mountain Side'. Having said that, 'I Can't Quit You Babe' in particular is utterly convincing. Robert Plant sings, the rhythm section constantly threaten to explode. Jimmy Page does plenty of twiddly and interesting guitar things. Sat between 'Black Mountain Side' and 'I Can't Quit You Babe' is the two and a half minute riff monster 'Communication Breakdown'. Heavy as fuck, catchy as hell - i'll see you on the other side. As for the closing 'How Many More Times', well, Jimmy does interesting guitar parts and sounds, the rhythm section are supremely powerful, hypnotic and heavy and Robert Plant excels himself throughout. Led Zeppelin succeeded from the off with this debut set. They toured America extensively and the initially reluctant UK market followed amid reports of amazing concerts in America. 'Led Zeppelin I' works as a template for the groups entire career, nearly everything is here. The core of the album is formed by 'Dazed And Confused', 'Babe I'm Gonna Leave You', 'Communication Breakdown', 'Good Times Bad Times' and the closing 'How Many More Times'. For those songs alone, this is an amazing record.

Good Times Bad Times / Babe I'm Gonna Leave You / You Shook Me / Dazed And Confused / Your Time Is Gonna Come / Black Mountain Side / Communication Breakdown / I Can't Quit You Babe / How Many More Years


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  Led Zeppelin
Posted by: IanWhann - 03-12-2019, 01:59 PM - Forum: Led Zeppelin Chat - No Replies

Led Zeppelin formed out of the ashes of The Yardbirds. Jimmy Page had joined the band in its final days, playing a pivotal role on the group's final album, 1967's ]John Paul Jones.  During 1967, the Yardbirds were fairly inactive.  Whilst the band members decided the group's future, Page returned to session work in 1967. In the spring of 1968, he played on Jones' arrangement of Donovan]'s "Hurdy Gurdy Man." During the sessions, Jones requested to be part of any future project Page would develop. Page would have to assemble a band sooner than he had planned. In the summer of 1968, the Yardbirds' Keith Relf and Jim McCarty left, leaving Page and bassist Chris Dreja with the rights to the name, as well as the obligation of fulfilling an upcoming fall tour. Page set out to find a replacement vocalist and drummer. Initially, he wanted to enlist singer Terry Reid and Procol Harum's drummer B.J. Wilson, but neither musician was able to join the group. Reid suggested that Page contact Robert Plant, who was singing with a band called Hobbstweedle.


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  Pink Floyd - Pulse
Posted by: IanWhann - 03-12-2019, 01:56 PM - Forum: Pink Floyd Albums - No Replies

In 1995, one year after they released their successful and highly acclaimed studio album The Division Bell, Pink Floyd once again returned to the forefront of the music scene with Pulse, a marvelous, fascinating, and definitive live double-LP. The first disc contains live performances of their biggest hits while also focusing on some of the new material from The Division Bell. Highlights include "Learning To Fly", "Another Brick In The Wall, Part II", "High Hopes", and "Shine On You Crazy Diamond". The second disc is a complete live performance of their masterpiece album The Dark Side Of The Moon, with encores "Wish You Were Here", "Comfortably Numb", and finally a wonderful, raucous performance of "Run Like Hell" which closes Pulse. Caution: if you play the end of "Run Like Hell" loud enough, the bass of the closing drum beat could very easily blow your speakers! As far as the music performed on Pulse, Pink Floyd has once again reminded us of how masterful they are as a live band, and how they very easily hold their own sans Roger Waters. As are their previous albums, Pulse is fascinating not only in its musical content but also in its cover artwork and the symbolism thereof, which serves to enhance our enjoyment and understanding of the music contained in the album. The beautiful cover seems to depict a continuous cycle of ocean, land, and sky, with a dark spherical circular void in the center of the album surrounded by thunderous, chaotic turbulence. If you look closely in the chaos surrounding the void, you can faintly spot a series of gears of some sort, as well as a bicycle The bike could very well represent the bicycle seen in the tornado in The Wizard Of Oz. Remember the mysterious synchronicities found between that film and Dark Side Of The Moon? There is also a rusty-looking ball that seems to be closing the void but is a bit off center. The earthly cycle, along with the ball closing the void, seems to recall a famous lyric echoing from Pink Floyd's past: "Everything under the sun is in tune, but the sun is eclipsed by the moon..."

Track Listing
1.  Shine on You Crazy Diamond
2.  Astronomy Domine
3.  What Do You Want From Me
4.  Learning to Fly
5.  Keep Talking
6.  Coming Back to Life
7.  Hey You
8.  A Great Day for Freedom
9.  Sorrow
10.  High Hopes
11.  Another Brick in the Wall (Part 2)
12.  Speak to Me
13.  Breathe
14.  On the Run
15.  Time
16.  Breathe (Reprise)
17.  The Great Gig in the Sky
18.  Money
19.  Us and Them
20.  Any Colour You Like
21.  Brain Damage
22.  Eclipse
23.  Wish You Were Here
24.  Comfortably Numb
25.  Run Like Hell

[Image: pulse.jpg]

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  Pink Floyd - The Division Bell
Posted by: IanWhann - 03-12-2019, 01:32 PM - Forum: Pink Floyd Albums - No Replies

David Gilmour has sharpened his songwriting skills to a very fine point since the last album, the lyrically-lacking, musically-masterful A Momentary Lapse of Reason. With The Division Bell, all of Gilmour's talents shine, combining all types and moods of music, and lyrics revolving around a central theme: Keep Talking.

I'm going to take a quick look at each song, and try to figure out(from my perspective at least) how it ties in.

Cluster One

I thought this song was extremely boring when i first heard it, but as I listened on I realized what was going on here. The first three piano notes are played, and then repeated backwards, having almost a conversational effect, like a conversation is taking place. The guitar echoes the notes, adding to the theme. Two things are talking here, and the music gets more and more complex as more "words" are exchanged the music finally crescendoes at a very slow, very quiet tempo as the "conversation" comes to a halt, and the CD segues directly into the next song.

What Do You Want From Me

This is what happens when people don't communicate pretty much. The song is sung from a confused mans point of view, trying to figure out (duh) what somebody wants from him. This song also has some other references in it, ("sell your soul for complete control, etc..") The music is very bluesy which is a complete 180 from Cluster One, which adds to the effect that strange things happen when we stop talking.

Poles Apart

This is Gilmour looking back on a past friendship/relationship (with Waters perhaps? - "did you know it was all going to go so wrong for you?") and realizing that he has come out on top. The acoustic guitar is amazing in this song, and the way the "did you know" echoes repeatedly pop up throughout the entire song is very creative. I cannot for the life of me figure out what is going on in that strange interlude, but oh well, its still pretty interesting.

Marooned

Silence, Loneliness, and Sorrow saturate this piece beyond belief. In the context of the album, we get the feeling of a man that has either marooned (haha) by his friends or has cut himself off from the rest of the world. I'd be inclined to believe the latter, because of "Wearing the Inside Out." The guitar playing is Gilmour at his absolute technical and skillful best. Every note seems perfectly placed, even when the effects take over and make the guitar sound as if its going crazy. (adding to the theme of the song once more.) This entire album should be a textbook on how music relates to lyrics.

A Great Day For Freedom

This song extends the communication theme to another, worldwide level. The point here is, lack of communication causes strife. Also, it proves that the human race in general has lost the ability to communicate in the way that we should. Uncomfortability and loss of words (uh oh! another song coming on) causes us to separate from one another, at the expense of caring and compassion. The slow, delayed piano gives us a very nostalgic melancholy theme for the song.

Wearing The Inside Out.

This is the chronicle of a man who has cut himself off from the rest of the world, except for his television set. "with an endless stream of garbage" give us the idea that Wright doesn't like TV, as he shouldn't, because even as it is communication, its controlled, censored and filtered communication, which Gilmour addresses in High Hopes "our thoughts trade consciously and without boundary" The music in this song is kind of bland, making you think of a man, blank eyed, staring into the white noise of a television screen.

Take It Back

An environmental song worked into the metaphor of a relationship, again extending the theme of the album into another worldwide theme. Mother Earth is trying to communicate her pain from our mistreating her, but we are not listening, even the know we know what we are doing to her. The music sounds too poppy, but it was one of the few singles on this, so, i guess it was TBDs version of Learning To Fly. The video extends the environmental metaphor even further.

Coming Back To Life

Quite possibly my favorite song on the CD. This song states that even though someone has left you behind, the only thing you can do to save yourself is "kill the past and come back to life" Very Good advise and great song. Three masterful guitar solos, one during the slow ambient part, and two during the fast cheery part build the song to a climax, where Gilmour takes us "into the shining sun" I cant figure out what his "dangerous and irresistible pastime" tho.. help would be appreciated

Keep Talking

The Climax of the entire CD. One of the best intros I've ever heard. Stephen Hawking's guest starring on vocals. Amazing. This song combines everything pink floyd, echoed guitar, a great guitar/keyboard solo, vocals, the gospel singers.. oh man its great. The song basically spoon feeds us the concept of the album, which i don't really agree with (too much Fast Times at Ridgemont High) but its a great song nonetheless. Notice the conversational music once again: during the guitar solo, the guitar hits a high note and fades out, and the keyboard fades in on the same not, finishing the conversation where the guitar left off. The conversation that started in Cluster One is perhaps finished????

Lost For Words

This is my least favorite song on this album, but there is some pretty darn good acoustic soloing on this song This song is about trying to open up the communication lines between him and his enemies, and his enemies not responding at all. This seems like too much of a filler, such an average song for this CD.

High Hopes

In my opinion, the CD has already ended, and this is the encore or epilogue or conclusion. This song sums up the entire album, presenting a utopia where the communication has been opened, but also realizing that, like all utopian societies, this is bound to fail "Up above, the flags unfurled, we reach the dizzy heights of this dreamed of world"

The CD ends with a blazing guitar solo, pushing the theme out of the album and into our lives, giving us something to think about as we live our lives: KEEP TALKING

Track Listing
1.  Cluster One
2.  What Do You Want From Me
3.  Poles Apart
4.  Marooned
5.  A Great Day for Freedom
6.  Wearing the Inside Out
7.  Take it Back
8.  Coming Back to Life
9.  Keep Talking
10.  Lost for Words
11.  High Hopes
[Image: bell.jpg]

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