What will never be led zeppelin

Long, languid blues. It might have been one of the more winning tracks on Presence , but the uncharacteristically muddy production and extreme length sink it. Why this track led off Graffiti , an important moment for the band, is a mystery.

The lyrics? A mess of blues posturings, some of them stolen. An unmemorable grinder. But too many of the songs are subpar. The lyrics here are a wan mixture of hippie posturing and vague stabs at social import. The backing track is boring. The band somehow lacked authority at this point, really, to keep our interest through such throwback-y stuff.

Aside from the driven middle section, pretty non-notable and definitely filler, but on Graffiti it passes for a breather. But this is one of the more anonymous songs on the release. Too much of Graffiti lacks the sparkling production of the band at their best. A nice shrieking chorus. Probably the least interesting song on Zoso. It grinds along, and we never find out why the owls are crying in the night.

The band at theirmost charming, until you concentrate on the words. A lot of it was received nonsense, and of course they were products of their time. But their inability to see beyond that is a strong part of the case against the band.

I find the muddled production and the tedious outro kills it, though. A real mess. The other is leaden, labored, and comes across as contrived. Then ending fanfare is swell, however, another examples of the Page throwaways that would be the pride of many other bands. A quiet, not-quite-convincing number from III. Page was trying to show breadth, which was fine. One of the very long jams on Physical Graffiti , a major statement and a bid for critical respect.

First, you consider that time has not been kind to such constructions. The long, linear arcs seem torpid. Yes, those are some neat guitar sounds, delivered with majesty, but they are repeated ad infinitum, and often at somewhat slow speed. On the other hand, you get both slow and fast here. But then you reflect again that time has not been kind to such constructions. A moody acoustic number with a distinctive model tuning.

The tabla is by a guy named Viram Jasani, one of a very small number of guest players on a Led Zeppelin album. Repeat for six to eight minutes. This is by any standards a minor Zeppelin song, but the loud-soft dynamics, more subtle here than in a lot of Zep tracks, and the bright sense of sound and space in the recording, work well. And yet another great fanfare outro. Docked ten notches for song theft. Bron-Yr-Aur is a remote cabin the band would go to to write.

It was said not to have electricity or running water; Page paid for a caretaker. A nice-sounding, somewhat humble love plaint. Ten years into his career as a star, Plant seems to be discovering that need and vulnerability can be sexy, too. Page contributes a restrained guitar attack. The band generally did a great job on their album covers. III had a distinctive spinning wheel hidden inside the record sleeve, with die-cut holes designed to show all sorts of things as you spun the wheel.

Marks Place in New York, with the windows cut out to let various pictures on the inner sleeve show through. In Through the Out Door was even more novel. Sold in a brown-paper wrapper, the actual album sleeve featured different photos from a bar scene, and on the back, a variety of odd close-ups of the scene, in black and white, made out of what looked like Ben-Day dots. Turned out that if you put spit or water on them, they turned color! Of all the acoustic-based numbers the band had recorded up to the fourth album, you had the feeling that the band was stretching to include the music, rather than letting it grow organically out of their process.

To me, this is the track that shows how a truly heavy band could soften things up convincingly. Another statement of guitar and studio dominance by Page. The beginning, a huge, swaggery beat, is a little show-offy, but the groove it eventually hits — yet another of those minor Page riffs that would mark the high point of a lesser band — is a heavy one, indeed.

Houses of the Holy is the band at their height. The abstract songs here are even more abstract. This is probably some great war epic, but all you really notice is the sound texture — is that a Leslie the vocals are going through?

Not too much else going on, though. The closer to the second album starts out all folksy and bluesy, and then erupts. The riffs are fine, but second-tier. A quick and dirty rave-up on the lagging second side of the debut. Page contributes some very crisp, very hard riffs. Percy finds some nice people in a park. A little novelty rave-up from the multivaried last album. The remasters bring out some depth — and make audible the drums — in this lulling mood piece, in which guitars are barely audible.

It it too long? A deceptive, gentle propulsive rush marked a gem from the last side of Physical Graffiti , anchored by a convincing strut of a guitar line. Almost 50 years ago, they were audacious reinterpretations of a catalogue still considered sacred. Upped five notches for documentary value. An economical less than five minutes, positively breezy for this band rave-up that, over the years, has taken on more stature than it deserves.

Another odd song from In Through the Out Door. Anchored by a simple synth line and a very spare back-up, it feels at first like a misfire. Another tribute to Bron-Yr-Aur, in a rare instrumental track. Back in the LP day, side-openers counted for something.

To my ears the song has a dry shrillness, a high-pitched trebly patina, that I associate with heroin. Houses of the Holy is not often noted for its extraordinary sonics. So if you wake up with the sunrise And all your dreams are still as new And happiness is what you need so bad Girl, the answer lies with you. Catch the wind, see us spin, sail away Leave today, way up high in the sky But the wind won't blow You really shouldn't go, it only goes to show That you will be mine, by taking our time.

Oh, the wind won't blow and we really shouldn't go And it only goes to show Catch the wind, we're gonna see it spin We're gonna sail, little girl. Everybody I know seems to know me well But they're never gonna know that I move like hell. Compartilhar no Facebook Compartilhar no Twitter. Nos avise.

Traduzida por Hector. Legendado por Marcio. Viu algum erro? Subtitulado por Marcio. Revisiones por 3 personas. Recomendar Twitter. Playlists relacionadas. D Imagine Dragons My Universe feat. Creedence Clearwater Revival. Aplicaciones y plugins.