Led Zeppelin

FLASHBACK #1

The Beach Boys with Jimmy Page 1985

I was at this Washington July 4th show back in the halcyon mid-80s. I definitely got around back then…cue the music — round, round, git around. It was only thirty years ago, but it seems like two lifetimes and it was so wild, crazy and innocent. To be in the middle of a half million people for an entire day and not even see a fistfight. Contrast that with today’s world where people get blown away with high-powered weapons because they like country music. I don’t think that is…progress. But what do I know? Anyhow, over the course of my concert-going experiences, I was at some other weird gigs and the exciting details of those events will be posts # 2, 3, 4, 5 and I know the 12 people who still visit this blog will be hanging on to hear all about it!

Back in the early 1980s The Beach Boys had developed an awesome rep for throwing huge parties on the Washington Mall for the 4th of July until the Interior Secretary of the time, James Watt, came along and said rock concerts drew the “wrong element”. Unfortunately for Watt, The Beach Boys weren’t Van Halen or Iron Butterfly; the band counted George H.W. Bush and President Ronald Reagan as friends so although Watt tried to replace the “rock concerts” with Wayne Newton, that effort was quickly scotched as people booed the concert and Watt eventually had to relent and apologize to the band. In the 90s he pleaded guilty to influence peddling and corruption charges and in 2008 he was named one of the worst cabinet members in modern history….LOL!

I was in my early 20s in 1985 and I had friends who had moved to DC after school and so I went down for the party. Not only did we party on the National Mall for the 4th, we also saw Santana in concert two days later in Columbia, Maryland. It was really great! We had nice seats and Carlos and his band were just overpowering from the first minutes. He came out first to warm up and find the sweet spots for sustain/feedback onstage while the lights were still down and he was just wailing. I’ll never forget it. He had such a great sound. There is a setlist here, but it’s incomplete because I KNOW they played their big hit, I’m Winning and it’s not listed. I seem to remember a couple of other tunes from the 2nd album like the above Incident at Neshabur, which aren’t listed either.

Anyhow…back to the 4th. We took the train into DC from Maryland and got to the Mall early. Over the course of the day a bunch of people I hadn’t seen in a few years showed up. We had a blast and the mood on the Mall was, of course, festive as only the 1980s could be. People really partied back then, lemme tell you, but it was also very mellow. The music, from the main stage began around 4pm with Southern Pacific, a band made up of Doobie Brothers and Creedence Clearwater Revival alumni. I remember the rousing version of Born on the Bayou that was the closer of the set. Of course the line “I can remember the 4th of July running through the backwoods bare…” is a sure winner for the holiday. However, that’s the only main stage act I remember until much later because of the talent wasn’t very interesting, there were delays and problems with the sound and seemingly endless radio ads. Also, I remember a second stage that was closer to where we were that had some pretty good cover bands playing and we were digging that. Because The Beach Boys, Joan Jett and the Blackhearts and The Oak Ridge Boys performed in Philadelphia in the afternoon and were traveling to Washington to do the evening set, they would arrive late. So late in fact that sets got cut and the “Boys” played during the fireworks.

By the time the main event began, we had been partying for almost 9 hours. To say we were SPICOLI-ed! is a total understatement. It was AWESOME! The crowd had swelled to half a million over the course of the day and it was really packed even where we were — so far from the stage that we could’ve been in Virginia. When the Beach Boys started playing we could hear the music and see fireworks and it was a really great show even though I’m not exactly the world’s biggest BB fan. When Mike Love announced from the stage that Mr. T and John Stamos were sitting in with the band (as percussionists), that drew much giggling and guffawing from all of us. However, when a few minutes later Love announced that the one and only Jimmy Page had “flown over from England to jam with the Beach Boys” we straightened up (kinda) and were like, “Wait, WHAT?” We didn’t know that Jimmy was supposed to play, even though there may have been some advanced warning on MTV. So even though we were about 10.5 miles from the stage, two of us guitar guys decided we had to go try and see the band. Everyone else in our group declined and tried to talk us out of going, but we were determined, so off we went.

I don’t remember how long or how far we actually walked. We were both bombed, it was completely dark except for flashes from lighters or flashlights. Helicopters with searchlights buzzed overhead, the fireworks were booming and the Beach Boys and Jimmy Page were playing Lucille. We couldn’t see where we were going and kept tripping over people who had passed out or were getting their July 4th freak on. It was completely and totally surreal. My friend stepped on somebody who started yelling and we stopped. The stage seemed even further away than when we started and Lucille was already over. With more than a little regret, we realized that we were not going to be able to see history (?) being made: The Beach Boys, Jimmy Page, Mr. T, John Stamos and others jamming together to celebrate America’s birthday. We stood where we were for a few more minutes and 5-6 more songs and then, the concert was over. Thanks to the internet, my memories, hazy though they may be, are essentially how things went down over the course of the evening. Getting out of DC on the tube was nuts; people who had been partying in the sun all day were passing out and puking all over the underground and that was just a small part of the massive (and tons of garbage) from party. GOOD TIMES! Here is a hilarious memory from John Stamos where he recalls teaching Jimmy how to play in F# and why Jimmy thought the audience was “hexing him”. Funny stuff.

This past year John Stamos hosted the annual 4th of July concert with the Beach Boys performing. Back in 1985, Stamos was known for being an actor on General Hospital, but over the years he has developed into quite the musician. While there have been many a concert for America’s Birthday since that day back in the mid-80s, I don’t know if any of them matched that year for odd pairings. The thing is I never put it together until recently that the reason for why the gig ended up this way was because only 9 days later…Live Aid happened. Reading over this thread at the Steve Hoffman forums (which I’ve hyped before) I realized that user swandown’ assertion that Page played these concerts because he was in the area preparing for Live Aid is absolutely spot on! I had a chance to go to Live Aid in Philadelphia, but I also had a chance to work overtime and didn’t think the concert was going to be that great, so I passed on it. Bad move there, eh? Aside from all of the other great music, Jimmy Page played with most of his old band. Seeing and hearing Led Zeppelin romp through Rock and Roll, Whole Lotta Love and Stairway to Heaven would’ve been better than (not) seeing Page (but hearing him) play Beach Boys hits…maybe. The thing is that Jimmy wasn’t exactly playing at his best during the mid-80s and from experience I can tell you that these super-large mega shows were always more about the party than the musical quality. Either show was a great time and I’m glad I got to see the one I did!

Flashback #2 will be Bonnie Raitt, John Fogerty and Only the Lonely.

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Not To Touch the Earth

Taking The Doors music one step further (remember, this all started with Johnny Ramone or wait, was it Jimmy Page?) let’s talk about Robby Krieger. He’s never been thought of as one of the powerhouses of electric guitar (he’s rated #76 on Rolling Stone‘s Greatest Guitarists list). Yet, he was/is quite the capable guy and unlike most of his peers from that period, or ever, played fingerstyle instead of using a pick, or plectrum if you will. Originally trained on flamenco guitar, he moved on to learning bottleneck, folk, rock and even a bit of jazz, with Wes Montgomery and Larry Carlton named as big influences. In the process he helped The Doors become one of the most popular bands in America and to this day they are considered one of the best American bands ever. Though he wasn’t a virtuoso he played many an interesting guitar part and wrote music that had a huge impact on the popular musical landscape (his song Light My Fire has been covered 974,322 times or something). The LMF solo is a great example of a guitar in the DORIAN mode although that’s only 1 way to imagine it. I wonder what Robbie was thinking. It has a very 60s sound (in a good way). Obviously the above clip of Spanish Caravan, which incorporates musical ideas from Asturias (Leyenda), written by Isaac Albéniz, highlights Robbie’s flamenco abilities and when combined with Jim Morrison’s lyrics and the band’s penchant for drama, a very exotically beautiful song emerges. Below is a classical interpretation of Asturias (Leyenda). (Sharon Isben is pretty impressive, isn’t she?)

I think of Robbie and The Doors as playing primarily textured music with an ever present theatrical edge and very jazzy tinge. Since Ray Manzarek functioned as a keys/organ/piano/bassist instead of the standard bass player this was (and is) evocative of Wes Montgomery and others from the jazz age with a guitar/organ/drum lineup. Musically anyway. None of those trios had Jim Morrison for a singer, but the interesting thing is, Jim was a crooner (ala Frank Sinatra) so maybe The Doors were the second best (after various Miles’s lineups) jazz band of the 60s? (haha) I’m not seriously suggesting that any more than I was serious that Led Zeppelin was the best jazz band of the 70s, but obviously The Doors, along with Zeppelin and The Allman Brothers (and The Dead) did a whole lot of listening to and a whole lot of incorporating of various jazz elements into their ostensibly ROCK sound. The Doors sound was cold and weird and sometimes (when the organ was the dominant riff of the song) they evoked the nightmarish possibilities of a Clive Barker/Stephen King horror psychotic carnival band. Having an eye for theatrical presentation (Jim Morrison was a film student and heavily influenced by The Living Theatre) helped turn many of the band’s performances from the earliest days into a very strange trip on the dark road at the end of the night. But even without those elements, when the band sat for televised, no-audience sessions (because their performances had become a little too extreme, at least in the eyes of the authorities) they constructed a uniquely dynamic sound with what was already an established type of band line-up. The line-up is still popular in jazz and is especially suited to more intimate surroundings as shown in the following clip.

A few years ago I explored the history of one song, The World is Waiting for the Sunrise and tried to illustrate its evolution as “name” players performed it over a span of almost 60 years. I thought it would interesting to do the same thing with one of the prettiest (if slightly insane) songs The Doors ever recorded, The Crystal Ship, which was one of the songs the band mimed on American Bandstand, the America’s Got Talent of yesteryear.

Obviously a HUGE part of the band’s appeal was Jim Morrison’s presence vocal delivery. Keep in mind this clip is 47 years old — this isn’t some shoegaze band from the early 90s. The Doors put out a whole lot of emotion and feeling in this song and no one has ever completely matched their brand of seductive danger and weirdness. How might one try to capture some of that feeling in a solo guitar piece? Well…this first example recalls Robby Krieger’s flamenco influences or, possibly one can almost hear some José Feliciano or Django Reinhardt in it, something like Django’s song Tears perhaps.

The point is not to focus so much on the playing, although I think it is very well done. While it is not as fiery nor does it have the virtuosity of most of Django’s work, the song (like the harmonic structure in Tears) is very satisfying to play and listen to and more or less arranges itself. A very accessible structure, a haunting melody, supported by various harmonic elements that are reminiscent of either Morrison’s voice or Manzarek’s keyboard and variations throughout that can be improvised or not depending on the mood of the player. It doesn’t have to be played the same way every time. Yet the tone of the guitar and some of the harmonic inventions make this much more than a verbatim cover. Here is another version done a bit more simply, but just as well in a more traditional fingerpicking type of way. Notice that this player’s interpretation doesn’t take as many liberties but throws in a couple of nice moves. I love the Fmaj9-Fmaj thing. Artistic license but done in a way that completely fits with the arrangement he has put together. Very cool. Also note that none of these players are famous, but that is the beauty of Youtube and world-wide connectivity.

If you would like to learn to play either of these arrangements, both players have been kind enough to either put the music as is the case with the first version here, or a part by part walk-through for the second starting here. Finally, here is a third version that is a very stylin’ jazz archtop thing. Notice the rhythm change and all of the melodic and harmonic inventiveness not found in the other versions. Great stuff! But also notice it is no longer very haunting — the song has lost all of its quiet insanity. The tune is peppy and has the same bounce as Girl From Ipanema maybe. But, as with the other performances, it IS the same tune and the limit of where it’s going depends only on the arrangement and the player.

I have been listening to more music from the 60s and 70s lately (hence the recent posts), but as you can see, I am interested in how people today interpreting this music. I have been messing around with my own interpretations of various things and there is something about music from this period that lends itself to this type of experimentation. Perhaps the same could be said for any period of music, but there was so much experimentation and blurring of styles during this era that sometimes the songs just naturally fall into whatever mood you want to make them. Try it for yourself…You might find that thinking like an arranger and arranging your own versions of material can make you a better all-around musician in the process.

Odds and Sods

Amazing the things one learns through the power of the internet doing research for silly articles. After finishing this post on Led Zeppelin’s interviews in Guitar World back in the day, I learned that Robert Plant’s mother is from the Roma community. That explains a lot. Don’t you think?

GQ: After all these years, how on earth have you managed to keep your hair like that?

Robert Plant: Well, I don’t know. We could be quite serious about it. I just have been very lucky. My mother was a gypsy, and she had a lot of dark blood in her, and her hair was very, very thick—she couldn’t even get a brush through it. So I have been very fortunate. And every time I go to cut it off, hairdressers refuse to do it.

It looks like I am not the only person who thinks more people were interested in t-shirts as far as The Ramones were concerned. (Hahah) This is part of an ad campaign using the reverse psychology thing to get hipsters to buy beer…or something. Does the world really need another craft beer? Seriously? I didn’t go looking for this, it just kind of appeared this morning…But the lesson here is Buy the discs people… t-shirts fade, get holes and fall apart. CDs and Mp3s are forever and even vinyl lasts a long time if you don’t pass out at a party and leave it up against the heater.

Listening to Johnny Ramone muse about how The Doors might be the greatest American rock band ever I decided to revisit their music. Of course I have heard all of this stuff over the years and you know what? It still holds up. The best? I dunno if I can go there, but when Jim Morrison was semi-sober and into it these guys were pretty flippin’ good. They were also very influential in the same way the Ramones were. Just ask Billy Idol or Iggy Pop.

The Ramones goes GOLD

photo — Long Island Music Hall of Fame

I remember when I bought this record, in late 1979, at this cool record shop located in a strip mall. I was driving around with a soon-to-be ex from high school and we just stopped in to browse and when I saw the cover of The Ramones I thought “well this looks interesting.” The soon-to-be ex wasn’t nearly as enthralled, especially once we heard it. Released in 1976, The Ramones’ eponymous debut has been heralded as genre-defining and immeasurably influential and it only took 38 years for it to reach GOLD status. I know my first copy of the disc lasted a little over a year. I took it and a stack of other albums to a party and left them up against the electric heat vent in the room. Needless to say it was unplayable after that. I bought another copy that lasted much longer, but I guess a whole lot of other people didn’t follow my example (of buying it, not leaving it against a heater).

While I was aware that The Ramones never had the numbers to compete with Led Zeppelin, Garth Brooks or Michael Jackson, I was actually quite surprised that the record wasn’t already gold. I bought 2, so that means only 499,998 more had to be picked up by people over the years and you would think that for all the people who have raved about and praised the band for their importance, the disc would’ve moved. There was a point in the East Village, NYC (1989-91) when it seemed like every other person was wearing the classic Ramones t-shirt. It was a very trendy fashion identifier for the grunge/punk era in NYC. Kind of like beards are now. I wonder how many Ramones shirts have sold since 1976? Maybe more shirts than records? Perhaps this is a lesson in perceptions or perhaps what the band represented to many people was more important than their actual music. The Ramones were very pragmatic in their approach to getting a band together and this process served as a blueprint for thousands of bands that followed. They also defined (to music writers and fans) the very egalitarian ethos that anybody can do it. Pop and Rock music was ripped out of the country estates, private jets and huge arenas and brought back to the streets. Emerson, Lake and Palmer were guillotined in the press, Led Zeppelin went to see The Dammned in concert and Elvis Presley died because he couldn’t compete with Sid Vicious. The era of rock stars as ROYALTY was over! Hurrah!

It’s interesting that in this interview Johnny talks about how he thinks The Doors were one of the best American bands. Many people who would end up being fans of punk rock and numerous music writers viewed punk as an alternative to anything that smacked of the old guard, but the musicians didn’t necessarily feel that way. Rock writers have always had this love affair with early rock and roll as the almighty pinnacle of rock’s artistic achievements. “The music never had to evolve past Bill Haley and the Comets or Eddie Cochran…that was the real deal maaaan!” Which of course is silly. Very few of these writers would want to be diagnosed with cancer and have the doctor start applying leeches. Not only did music evolve because different people brought different influences and abilities to the table, but technology expanded the scope and scale tremendously. (Watch a Zeppelin video from the 70s and then watch a Beatles video from the first tour only 9 years earlier and consider only the technological differences) Changing social attitudes and the vibrant energy of each new generation continued to up the ante of what was possible — this is what humans do with everything. Why would rock and roll be any different? Here’s an exchange in a Johnny Ramone interview from 2003 that is an amazing bit of synchronicity given the profile I just did of Jimmy Page’s guitar opus Dazed and Confused.

Jones: A lot of punk and speed guitarists owe a lot to you. But, who inspires you?

Ramone: Jimmy Page, of Led Zeppelin. He’s probably the greatest guitarist who ever lived.

Jones: Jimmy Page! That’s the last reply I would have expected to hear.

Ramone: He’s truly unique.

Jones: It’s ironic: Almost every blurb I read explaining the appeal of the Ramones chalks it up to you guys reintroducing straight tunes in 4/4 time, two minutes, a return to the kind of stuff the Beach Boys or the girl groups from the early ‘60s recorded. That the Ramones were the antidote to the fifteen minute-long “concept rock” stuff from groups like Led Zeppelin.

Ramone: The Ramones were never anti-Led Zeppelin. Maybe “anti-groups-who-just-aped Led Zeppelin.” Everything in the ‘70s was moving towards all that. FM radio was promoting an album rock format. We wanted to record something kids could dance to. But, Jimmy Page: His playing is truly amazing. I could never play at that level. I don’t try to imitate him, but I listen to him a lot.

I wasn’t surprised that Johnny listens to Led Zeppelin, but what is interesting in this exchange is this idea of The Ramones as “a return” and “an antidote.” That originated in the music press, because obviously Johnny never thought that way. Maybe The Clash did…LOL. I would be willing to bet that a number of people who parroted this “antidote” meme over the years are those same people who never bought The Ramones album…bastards! Here is Jimmy Page and Led Zep playing punk rock in 1970:

While I have known some Ramones fanatics over the years — they had the shirt AND the records and loved the band immensely — in the late 70s and early 80s most people looked down on punk music and thought it was stupid. But at parties even die-hard haters enjoyed listening to Beat On the Brat and Texas Chainsaw Massacre, sometimes while jumping around like lunatics. Even if one couldn’t take it seriously as an art form it was great fun when it was time to let loose. In my early days as a guitar player I was a chord strummer and not much else. I kind of sucked. Later, I started hanging out with people who played guitar really well and while their favorite bands were Zeppelin, Sabbath, AC/DC and Rush, they all liked playing the Ramones and other punk rock for the same reason. It was great fun!! (It’s also much harder to pull off a great 20-minute version of Dazed and Confused at that age). One of the first lead guitar lines I ever played was the break in Now I Wanna Sniff Some Glue. It was in my friend’s basement and there were maybe 10-15 people there drinking beer and it was awesome. I had gotten a Peavey 50 watt amp over the Christmas holidays a few months before and I played Glue and the intro to Whole Lotta Love over and over.

Throughout my life my musical tastes and guitar abilities have been completely intertwined and related. As my abilities grew and my ears expanded I have continually sought out new horizons for both my ears and my hands. I think this is true of many people, musicians, artists, parents…Because of this reason, and as I explained in this post, I was never a total 100% punk rock fanatic. Those people are a special breed and I admire their dedication and commitment. I played in a few punk bands over the years and saw loads of punk shows and had lots of fun, but have always played (and listened to) many other styles of music. Living in the neighborhood that was the birthplace of The Ramones allowed me to see the whole thing from a unique angle and participate in some of the excitement and good times and for that I will always be grateful. It’s a shame that Johnny, Joey and Dee Dee didn’t live to collect their Gold Records. They certainly earned them. They were idols of an era that has passed, but lives on every time a group of youngsters or oldsters count off a fast 1234 and blast headlong with abandon into a 2 minute rock and roll anthem.

Jimmy Page and Improvisation

It occurred to me the other night that Led Zeppelin was, at the height of their career, the world’s best JAZZ band! Of course the concept began began with, and revolved around, Jimmy Page. Onstage he was the lead soloist of a combo that would sometimes do 30-minute versions of Zeppelin studio material/cover songs. In the studio, whether as a guitarist or producer, he constructed Zep’s body of work with the precision and care of Mozart or Wagner, layering instruments and tracks into sonic artworks of beauty, power, mystique and awesomeness. Everybody knows all that already, but approaching it from the angle that they weren’t really a rock band means you might hear something different the next time you encounter a Zeppelin tune. I’ve been listening to them since the 1970s and believe it or not, this happened to me recently. So let’s have a go! (as they say in the (UK)

As the Yardbirds were dissolving in 1968, Jimmy Page and Peter Grant came up with a strategy for the group that would become Led Zeppelin based on what they had seen in the USA on the Yardbirds’ final tour – music that was outside the milieu of the radio-friendly singles market. Both Grant and Page thought that the group that would be Zeppelin could take on American heavies like Vanilla Fudge and Iron Butterfly and do way better with the same formula. Interestingly enough, as related in Hammer of the Gods, Page had been considering a group in the Pentangle mode, because of his love and respect for artists like Bert Jansch, in particular, and acoustic music in general. Page is quoted as saying, “At one point, I was absolutely obsessed with Bert Jansch. When I first heard that LP, I couldn’t believe it. It was so far ahead of what everyone else was doing. No one in America could touch that.” However, once Page heard and saw John Bonham play he quickly scotched the acoustic idea (at least full-time) and heard everything Zeppelin would become. From the beginning, Zeppelin focused on albums in the studio and explored a wide range of improvisations live. Many of these improvs were blues-based but because of Page’s wide range of influences and the outstanding abilities of Jones and Bonham, the music careened into many different directions with dynamics, including acoustic-based music, that would eventually be known as Zeppelin’s Light and Shade. Robert Plant would also help take the band into interesting directions as he became a more confident frontman and writer. As the group was in the process of launching their career, the world’s first supergroup, Cream, was calling it quits. Not only was Cream lauded by fans in the same way that Zeppelin would be soon (for their ability to just play), they were also taken to task by critics for their “excesses”, which would become a major point of attack by critics against Page and Zeppelin as the 60s gave way to the 70s.

Led Zeppelin has never said their approach had more to do with jazz than pop music, which was still the only alternative at the time. CLASSIC ROCK didn’t exist and even though The Beatles had been successful releasing a 7 minute single (Hey Jude), they were The Beatles and had earned the right to do that. Conventional wisdom at the time dictated that music be produced in the conventional format and many bands like The Yardbirds and Cream, were constantly pressured by management that valued hit singles over a sound or a good album that would’ve sold in the newly emerging markets. Led Zeppelin didn’t have to worry about this because their manager, Peter Grant, never pressured the band for music and took anyone who did to task. He was savvy enough to see where the money was in the coming decade and left Jimmy and company alone to do what they wanted. While there are some to this day who view Grant as a gangster and bully because of his tactics, he was the first manager who ensured that the artists he represented got a huge percentage of the credit and compensation for their music and performances. Page insisted on complete creative control as a bargaining chip for Zeppelin’s record deal and Grant made sure he got it. He was the fifth member of Led Zeppelin and was a major factor in their success and has been recognized as a major game-changer in the history of popular music. With his help the band racked up album and concert sales that blew away everyone’s expectations. Not only was the writing and playing good enough to swing multiple generations of fans into Led Zeppelin’s corner, the band took their improvisation ethic to new heights and their live shows became an ever-changing exercise in a variation on a theme. This isn’t what most people think of when JAZZ is discussed, and heavy rockers and serious jazz artists would be equally offended by the term, but the basic drive and aspirations of Miles Davis and Jimmy Page or any of a number of ALT artists, which Zeppelin definitely were at the time, are primarily the same. It matters little what ends up on the disc. So much of that genre classification is all about selling units to consumers. A Led Zeppelin concert from the early days always had “songs”, but the highlights of the show were long improvised workouts on certain studio recordings — How Many More Times, Dazed and Confused, Trampled Underfoot, No Quarter, Whole Lotta Love,Moby Dick and whatever Jimmy picked as his “solo” spot (White Summer/Black Mountainside). As time went on the band was able to create long pieces that didn’t contain the same amount of improvisation but were arranged and conceptualized extended pieces of art: Stairway to Heaven, The Song Remains the Same/The Rain Song, Kashmir, Ten Years Gone, In My Time of Dying, Achilles Last Stand. None of this stuff is really ROCK music even if it sounds like ROCK music. It’s played with rock instruments and played at high volumes but the combination of instrumental prowess and artistic vision in the writing and live interplay produced something more than what most bands, even of that era, were capable of. It really does compare favorably to the best jazz and how the best jazz bands functioned without sacrificing any of the heaviness or youth signals (lyrics, stage theater, drama) that fans responded to.

LZ_1Before I started playing jazz music I always thought the version of Dazed and Confused (from The Song Remains the Same movie) was a bit too long and went through one too many “movements”. If it had been up to me, I thought there were two that could have been cut without losing anything from the performance (and this still might be true…improvisers are always in the process of editing and perfection is completely relative). Watching it recently, I thought the band’s performance was and is completely phenomenal. I’ve never liked the “fantasy” sequences in this movie because the band’s ability to take an audience through a half hour of music, power, drama and performance is totally cool and would certainly have been enough even in 1976. Is some of the drama silly? Of course, but the band didn’t take themselves as seriously as everyone else did and the limits of what could be done in a live performance were still expanding. Throughout the song Jimmy Page employs power chord thud, blues and country fills, dramatic wah-wah arpeggios and harmonics, slashing funk chords, avant-garde bowing and noise ripples and plenty of ripping riffs and zipping lines. When he was at his best Jimmy, like all of the great guitar improvisers, was a great synthesizer of all his influences and whatever was floating in his imagination at the time. By 1973 not only was the band firing on all cylinders live, their confidence level was completely off the charts. There is also maturity seen (and heard) in these shows that doesn’t exist in the early days and there is none of the dissipation and exhaustion that creeps into the band by later in the decade.

In 1973 Dazed and Confused was still a major centerpiece of Zeppelin shows. Typically, it occupied the 10th slot of the set, preceding Stairway to Heaven. In 1997 artist and Led Zeppelin bootleg expert extraordinaire Luis Rey analyzed Dazed and Confused in his book Led Zeppelin Live: An Illustrated Exploration of Underground Tapes. He split the song (1975 live version, which ran even longer than 1973) into 12 basic sections as a means of identifying the changing parts and progression of the piece. You can check the Wiki link for the actual sections and I think they’re pretty close in general to this version, at least the overall substance. Obviously some of this was rehearsed prior to the tour and Zeppelin played the set they rehearsed pretty much at all shows on a tour with only the encores varying from show to show. BUT…as was said at the time and what is obvious if you listen to enough copies of shows from their tour, within the general framework, there was plenty of room for improvisation and spontaneity, especially as far as Page is concerned and he certainly took advantage of that freedom.

Dazed and Confused was originally “picked up” by The Yardbirds after seeing Jake Holmes perform it in New York City when he opened for the band in summer of 1967. The title, bassline and general vibe of the song were lifted intact, but the lyrics were rewritten and even before Led Zeppelin came into fruition it served as an instrumental vehicle for all of Page’s guitar wizardry. (In 2010 Holmes filed a copyright infringement suit and is credited with inspiration and no doubt got a bunch of cash as the writing credit remains with Page). Zeppelin started playing Dazed at its first rehearsal and did a brisk 6+ minute version on their first album. But the song was in a constant state of evolution and serves as a very good barometer of how the bad grew over five years. As the song begins the confidence level I was talking about is evident in the dramatic intro and sung verses. Nothing is rushed and Bonham’s drum punctuations keep the song from being a dirge. Notice how Page varies the main riff every time he plays it, either with different phrasing, bends or playing the harmony notes of Jones’ bass riff at one point. At about the 4 minute mark the band is off!! and the camera starts to focus on Bonham and then Jones and Bonham as they follow and react to what Jimmy is doing. Along with all of his many other talents, John Bonham was easily one of the most reactive drummers that ever rock and rolled and Jones is also amazing. The fact that all of his brilliant lines are finger-picked also adds a layer of fluidity and depth to the song. Notice how Jimmy breaks his first set of riffing with some funky slash chords, setting up his next high-register solo. That’s improvised composition in action. As the song comes to it’s first breakdown the camera catches Bonham and Jones trying to puzzle out where Jimmy is going (5:38). Even though the band has been playing this song for 5 years at this point, but there is obviously no formula employed here. It’s called spontaneity and there was never a band as heavy as Zeppelin who pulled off this type of spontaneity so well. I love the interaction between Jones and Bonham at the 6 minute mark — it shows the essence of what I’m talking about so well. As guitar players we are usually told to “sing” our lines to make better improvisation. Notice how Bonham seems to sometimes “sing” his hits (6:19-6:25). You can hear snatches of the 3-years in the future riff for Achilles Last Stand in the arpeggios that set up the “San Francisco” bit. Excellent casual flamenco-esque strumming by Page on the “San Francisco” bits before bringing the wah-wah to lead to another heavy crescendo. Up and down the band goes, bringing everyone in Madison Square Garden with them. Isn’t this exciting? Robert Plant’s various vocalizations (scatting) have the same dynamic spontaneity throughout the song. He knows when to sing and then drop out and let the band play again. The “I Knows” that he brings in to accentuate the heavy part that comes in around 7:50 don’t mean anything and he isn’t really singing. His voice is just another instrument in the mix that adds another layer of excitement as the final bit of CRUSH and the segue before the song devolves into complete and total weirdness (and I mean that in a good way). Same with the “Aahs” and “Oohs” as the bass and drums are dropping out. The band leaves as Jimmy takes over on bow at about 9:00. So far the song has been paced beautifully highlighting the band’s talents for improvisation and live drama. Ethereal swoops and echo feedback replace the power of the band and it becomes a completely sonic “event”. The “song” has been left far behind. At 10:20 the Tolkien theater or Mars the Bringer of War (whichever you prefer) is in full effect with bow smacks on an echo-driven guitar with accompany send-outs to the audience. While I’m sure this was the inspiration behind Spinal Tap’s Nigel Tufnel” violin solo“, it doesn’t look as silly in hindsight as it was made out to be. Sure, it’s not a 4 minute rock song, but John Cage and others outside the mainstream were doing stuff like this for years and Led Zeppelin’s fans, while maybe not classical music aficionados, ate it up. You don’t hear anyone screaming or heckling or any audience noise at all until Page does the dramatic slaps… and there is much rejoicing!! As Page continues bowing [the fantasy takes over and] Plant joins him with vocal accents as they fill the Garden with horror movie sounds that I’m sure were pretty awesome to an audience looking for a trip to another world (and under the influence of whatever they could get their hands on before the concert). See the internet and smart phones didn’t exist then kids. The rest of the band joins in with ambient noise effects before they return with the crunch and the blast at around the 16 minute mark. Once again the segue, helped by those little touches of Jones’ and Bonhams’ ambiance and impeccable timing, is perfect. There is another shot of John Bonham as the song kicks into the familiar riff that leads into the guitar/vocal interplay between Plant and Page. Bonham looks like such a serious (and sober) drummer on this performance doesn’t he? Very attentive to what Page and Jones are doing. A whole bunch of awesome, rapid-fire Page soloing follows on the same rhythm gallop. Back in the 70s this is what earned Page universal acclaim as the best guitarist of the era and it’s pretty impressive even today. The song breaks down into a funky rhythm that employs a prominent Hendrix-y 9th chord as it’s anchor. Jimmy has been playing guitar for almost twenty continuous minutes and has yet to repeat himself. Another dramatic major, happy sounding break leads into a different interaction with Plant (along with a bit more theater that totally pleases the audience). And once again Page is off with an Over, Under, Sideways Down-style riff and Jones and Bonham follow him until the song breaks again for another interaction with Plant in a higher register. The scene with the longhair is puzzling and says to me “we don’t have the film of that part of the performance.” Why that bit is chosen or what it’s supposed to represent I’ve never been able to puzzle out. At about 23 minutes the song breaks down again and goes into something that sounds vaguely like Black Sabbath before climaxing into chaotic noise and spiraling to earth and the final familiar strains of Dazed and Confused as you know it from the record are heard again. On the familiar outro figure Page once again takes off with screaming obbligatos and fleet-fingered wah chording and Jones and Bonham turn the rhythmic vibe into something that gets them smiling at each other (26:35-26:50) before a final burst of feedback and Plant’s echoes signal the ending chord slam and Bonham drum thrashing that finishes the song. While there was probably some post-production employed to really tighten the song up, other versions from the tour are extremely close and sound almost as good. Silly or dated as this might seem to some there is literally no one else in the history of rock who pulled this off as well, then or now.

LZ_3Given the nature of the above song and performance, Led Zeppelin has a lot in common with other “jamming” bands like The Grateful Dead, Cream and The Allman Brothers, much more than most “headbangers” would give them credit for. It’s interesting that many of the heavy bands that Zeppelin influenced picked up on the heaviness and the occasional acoustic ballad, but were not adept at either live improvisation or long orchestral-like pieces of music. All of that more or less faded out with the 70s. Eddie Van Halen, Randy Rhoads and everyone who followed into the 80s did not play 30 minute songs and did very little improvisation, except for their feature solos. That whole approach to writing and performance became strictly the domain of “jam bands” most of whom descend from the California sound of the 60s and 70s. Coincidentally, there is a lot of that to Zeppelin as well — Robert Plant in particular was a huge fan of San Francisco bands and it definitely shows in his Zeppelin lyrics and his solo material. This is probably why Page and the rest of the band take umbrage of the title Heavy Metal to describe their music, because they weren’t, especially when compared with what came along in the 80s and beyond. (Notice that most of the time Page isn’t using that much distortion live compared to heavy guitarists of later years). The heaviness that Zeppelin brought was always balanced with nuance and other elements, which is very clear by analyzing Dazed and Confused, always one of their heaviest songs. Guitarists of the next generation would by and large take the obvious and simplest elements of Zep’s heavy music and make it louder, heavier, faster and, in some cases, more intricate and in the process lose the elements that gave Zeppelin’s music it’s timeless depth, dynamics and (live) spontaneity.

LZ_6Of course, I was and am a big fan of the later heavy music and have seen many of those bands and played more than a few of those longs in my own bands. However, there is something slightly intense and magical about the ability of a group of musicians being able to improvise or approach music with the type of dynamics and movement inherent in the Led Zeppelin catalog. Call it rock, call it jazz, call it what you like, there comes a point when the quality of the music or performance renders all description and classification useless because there ain’t enough adjectives to really convey what goes on!

LED ZEPPELIN — News and Blooze

LEDZEP1

Lately I’ve been listening to and playing a WHOLE LOTTA Led Zeppelin. Killin’!! Was there ever a more awesome band? I think not. They’ve been in the news lately for a multitude of reasons, not that this is the reason for my listening party. I’ve never really stopped ever since that first blast a million years ago when I was a wee lad with long hair and an attitude. So much has been written and said about them you’re probably thinking, what could I possibly learn from reading another line? Well, hehehe, actually, I dunno. At the very least there will be some cool links to the far corners of the online Zeppelin universe, some personal anecdotes, and maybe some of my usual stupid humor. Hey you got a couple minutes! That’s why you’re here. Unlike other stuff where I’ve written one LONG post, I’m gonna break this up into dispatches, almost like I’m Carl Kolchak or something. Be honest, when’s the last time you thought about that guy…The NIGHT STALKER? The 70s were pretty flippin’ rad if you were there, weren’t they?

Of course the undisputed kings of 70s rock music were Led Zeppelin. 40 years later and they still have the power to excite, as they did in 2007 at their first BIG reunion concert ever (except for Live Aid in 1985, but Phil Collins played drums at that show so it can’t possibly count). Many people were under the impression that a tour and possible new music was going to emerge from the joint efforts of Jimmy Page, Robert Plant, John Paul Jones and Jason Bonham, the son of the late, very great John Bonham. However, 7+ years later, the world and 3/4 of “Led Zeppelin” are dismayed that Robert Plant isn’t interested. This has annoyed Jimmy Page to no end, but Jimmy has been annoyed since Live Aid as we will see in a later installment. I respect Robert Plant for his decision. Outside of Pete Townshend, (maybe) I can’t think of anyone from those years who has actually managed to have as interesting, successful and varied career (Roger Waters? Don Henley?). The easiest thing for him to do would be to say “sod it, I’m onboard”, but he won’t, or hasn’t thus far. Some have estimated that a Zeppelin world tour would be the first BILLION DOLLAR (yes that’s with a “B”) tour ever. That’s pretty amazing for a band that hasn’t existed since 1980, isn’t it? The might Zep has been getting a lot of long overdue accolades and they even appear on television shows and stuff now. (Dave Letterman must think there are people in his audience who doesn’t know the Zep story or who “Sonny Boy Williams” and other blues musicians are).

Another interesting item is that the estate of former and late Spirit guitarist Randy California and ex-Spirit bassist Mark Andes are suing Jimmy Page and the band for ripping off the Spirit song Taurus to create the initial theme of Stairway to Heaven. Randy had a pretty cool career in his own right; playing for Jimmy James (later Jimi Hendrix who gave him the name “California”) in New York before Jimi made the trip to England and rock and roll stardom. While still a teenager Randy co-founded Spirit, who headlined on various dates in 1968 and 1969 with the up and coming Led Zeppelin. Randy died tragically in the Pacific Ocean in 1997 while rescuing his son. The actual court filing is kind of a trip and can be viewed here. One thing that strikes me is that a lot of the allegations on how Stairway came about have been pulled from 3rd party books on the band or music magazine interviews. I guess maybe info of that nature is pertinent and would be admissible in court. (I found this on ACHILLES LAST STAND, one of the longest-running and best Zep websites on the net) So is there a case? It’s a good thing Zep’s former manager Peter Grant is no longer in the land of the living because I’m sure there would be hell to pay!

You can listen to the two intros side by side below. The operative word in that sentence is, of course, intro. Stairway, as everyone knows, goes through multiple movements and is a completely different song from Taurus. The other thing to remember is you can’t copyright a chord progression — the descending minor figure played in both songs is not exactly the same. The bass notes are identical from the “A” to the “F#” but in Stairway there are counterpoint notes on the high E string that don’t exist in Taurus. After the “F#/D” chord the progressions and songs are completely different. So basically we’re talking about an A minor chord with a descending bass note run. Personally I’m not sure that California deserves a writing credit on Stairway to Heaven for that. So much of music is recycled and there were probably at least 15 contemporaries of Fernando Sor who played similar lines back in the 1800s. It’s interesting to note that the lawyer bringing the case, one Francis Malofiy, was “admonished by the judge” in another case involving a copyright lawsuit against Usher and 19 other people. Judge Paul Diamond suggested Malofiy should be “considered for disbarment” and the case was thrown out of court. Ruh Roh!! I’m not a legal pro but this lawsuit would have been way more topical and appropriate in, I dunno, 1975 maybe?

Finally, Led Zeppelin I, II, and III were re-released last year as deluxe editions, with new outtakes, and songs/performances never heard, except on bootlegs. Jimmy’s money quote to Rolling Stone was:

“Everything is being transferred from analog to a higher-resolution digital format,”…”That’s one of the problems with the Zeppelin stuff. It sounds ridiculous on MP3. You can’t hear what’s there properly.”

Umm…Jimmy, babe, dude, whatever…perfectionism is great and all, but my mp3s of the mighty Zep sound just fine. But I guess if you got the jack to spend on the umpteenth reissue of any of these albums, go for it! Me I’ll watch this instead:

LED ZEPPELIN in Guitar World 1993

Iwas looking for something in my closet the other day and came across this magazine. Always loved the cover art. Brilliant! It’s hard to believe this almost 21 years old already (it was the 12/93 issue). How time flies. But the Song Remains the Same doesn’t it? The mystique, magic and music of Led Zeppelin continues to hold up to the present day. A quick glance at the other names on the cover yields some nods of recognition and maybe even a few “oh yeahs”, but it’s not like the legacy of Smashing Pumpkins or White Zombie is setting the world on fire. I guess people still buy magazines (do they?). I’m so out of touch since I found this here internet thing. Like much of the print world, I do believe most printed publications are also available to be viewed online or people just don’t bother anymore since there are exactly zero musicians in the western hemisphere who can’t be found online in some form or another. The other attraction, at least back in 1993, was that songs were tabbed out with painstaking detail, which, in the case of a song like Zep’s Ten Years Gone, was a bit of an undertaking best left to the professionals. However, even this feature, along with gear and music reviews has been usurped by advances in computer applications and the mighty online community. It is a nice little reminder of what used to be and inside were other reminders of things that used to be.

Can you believe this image? Have you ever seen anything like that? No, not Robert Plant playing guitar, although I don’t think there are many pics of him out there playing an axe at what looks to be a LZ session (maybe the “outdoor” recording of Black Country Woman). (Both pics are courtesy of Eddie Kramer) I mean the very crappy text/image spacing between Robert’s picture and the text at left. I didn’t manipulate, that’s how it is in the magazine. What’s really funny is a guy named Michael Chatham is given a “typography” credit at the beginning of the article. There’s something you don’t see very often, but maybe it wasn’t his fault. Blame the temp who was doing paste-up or whatever. Anyhow, this interview with Andy Johns and Eddie Kramer details recording the band at various times during their career; Kramer on II and then Johns taking over for III and IV before Kramer came back for Houses of the Holy. Interestingly enough, according to Kramer, III started out at Electric Ladyland in New York but a roadie affiliated with the band spilled Indian food on one of the studio carpets and refused to clean it up. This led to a row between Kramer, who had a major role with Jimi Hendrix in planning and getting Electric Lady built and the band who backed the roadie. So long-story-short, they told each other to piss off for a few years. Another interesting tidbit involving Kramer and Page is that the middle section of Whole Lotta Love was mixed basically the same way as the “sound paintings” (1983) on Hendrix’s Electric Ladyland record. “…we just flayed, around the console twiddling every knob we could. While the Altec console might have limited our options, especially the panning effects, we somehow managed to stretch our limitations and create a very effective mix.” (The Altec console used to mix Whole Lotta Love had exactly 2, count ’em, 2 pan pots. Wow!) Both engineers gave Page high marks as a producer and as a band, Zeppelin were very quick in the studio once the arrangement was set and the tricky bits of timing had been worked out. Neither Bonham on the basic tracks or Plant on the vocals took more than a few takes to get what everyone hears and has heard over the past 40+ years. Jones and Page would overdub as much as was necessary to fill the song out and because the band, especially Bonham were so easy to record, the mixing was almost never a laborious process either. Johns recollections of IV include Stairway coming in as a finished piece, placing mics on a stairway landing and then adding heavy compression and a bit of reverb to the drums for the very awesome When the Levee Breaks, which Bonham was very happy about and not getting Four Sticks right even after 3-4 tries at the mix. Although they found something they could live with, he blamed too much initial compression during the recording and this was the one regret of an otherwise perfect set of sessions.

In one way I think I’m the typical Zep head when it comes to their albums — I through Physical Graffiti are as close to perfect as a band can get. Presence is ok, In Through the Out Door was less than ok and a harbinger of THE END. Overall, my favorite album is probably Houses of the Holy, not so much because of the songs, even though they are all good and several are fantastic. No it’s that shimmering brightness combined with CRUNCH that wasn’t really captured as well on any other album. Houses of the Holy was recorded at Mick Jagger’s mansion, Stargroves, in the English countryside and maybe it was the mood the locale created or maybe because it was the band approaching the pinnacle of their career or the sounds they were able to get from the rooms that were used. While Kramer didn’t have much to say in this issue about the recording of Houses of the Holy, he recalled in the infamous book Hammer of the Gods that all four members of the group were dancing in a line on the lawn as they listened to the Dancing Days playback. As others have said, “the album sounds orange” (a reflection of the color of the cover art) and I agree. Those who go more for the Zeppelin blooze riff-fests don’t like this record as much and I like those albums too, but sometimes the sound, especially on Physical Graffiti has a very muddy quality to it. Some of the tracks for Graffiti had been recorded at the Houses of the Holy sessions which is why they sound a bit different, but the tracks recorded specifically for the record (Kashmir!) suffer from a lack of clarity. Just my opinion.

The final interesting bits of the magazine’s profile of LZ are thus: An interview with Robert Plant that sounds like it could have been done yesterday, or in 1984 and some quick musical tabs of some of Jimmy’s best riffs. At the time it was great to see the latter. I literally smacked myself on the side of the head when I realized how overcomplicated I had been trying to make the outro to What is and What Should Never Be. It really is dead easy and any of the footage now available shows how completely simple it is. The Albert Hall 1970 is a good place to start. The interview with Robert is funny in that he pokes a bit of fun at Jimmy Page and the idea of “going to prison to go around the world playing Black Dog”. Of course around the time he was giving this interview plans were being made for the big Page/Plant reunion that would commence recording during the following year. The project was acoustic and very different than a straight-up reunion, including a limited long-term commitment, which was probably part of the attraction. Plant says as far back as 1993, “I don’t think of myself as a rock singer anymore”, and part of the reason is he can’t. All of the wild screaming that many associate with Zeppelin (from hearing the records, especially the early ones) is no longer doable. The guy is closing in on 70, so he deserves some slack. In the 20 plus years since this interview he has been a very successful solo artist and collaborator and has earned much respect outside of the Led Zeppelin milieu. While there is definitely some attraction to playing great music with top-notch musicians like Page, Jones and Jason Bonham, he’s a guy who can pretty much call anyone he wants to a session, so the avoidance of a big reunion (then or now) is completely understandable, even though it’s still a hot topic.

One of the strangest most far-out rumors that dogged Led Zeppelin throughout their career was the one that alleged they (minus John Paul Jones) had made a pact with Satan, dark master of all things heavy. This surfaced in the mainstream in books like Hammer of the Gods and most people, including the band, wrote this off as silly legende right out of the realms of Anton LaVey and the Manson Family. When I wrote about Gimme Shelter I explored some of the very strange connections between famous rock stars and people who maybe felt a little too comfortable on the dark side of the street. These “satanic” rumors also dogged the Stones for years and having a very popular song titled Sympathy For the Devil can lead to a whole lot of misunderstandings. Some (referencing Hammer of the Gods again) believe that by Presence and specifically Nobody’s Fault but Mine, Robert was looking for a way out from what he saw as the intensely negative vibe that was starting to surround the band and his life. Statements he made after the 1977 tour (notable for it’s junkie overindulgence, sub-par performances and ultra-violence) and the death of his son Karac hint that these feelings had only increased. Childhood friend John Bonham’s death was supposedly the final nail and ever since then Led Zeppelin as it was has ceased to exist for Robert Plant. Or so the story goes. Personally, I don’t believe that Robert and the rest of the band signed anything in blood to Satan, but maybe there is a case for a more nuanced reading of “dark forces”. I found out a couple days ago that during the period Peter Grant was negotiating Robert’s first solo record deal in the early 1980s, Robert sold all of his rights to the first 10 Led Zeppelin albums away to an unknown buyer. He retains creative control and the whole issue of what he gets from reissues and new product like the 2003 DVD is not so clear, but think about that! You want to talk about cutting the cord! Was it a financial decision? Was it about wanting to make it completely on his own post 1980? I dunno, maybe. The figure he got for his rights (and you can read an informative thread on the official Led Zeppelin forum) was $7 million. Obviously he would’ve made much more than that had he hung on to them; this was before compact discs came into existence. But Robert is quite wealthy and has succeeded in his quest to be a respected bona-fide artist outside of the realms of Led Zeppelin. Perhaps that was his only consideration. Perhaps, he wasn’t (and isn’t) entirely comfortable with Led Zeppelin’s legacy, especially outside the music. While the Zeppelin Devil Pact is silly and unsubstantiated, the band’s image as egocentric, intoxicated barbarians was earned and well-deserved. Some of it was all it good fun and one would be hard-pressed to find a band in the 70s that didn’t indulge in mindless hooliganism from time to time. But since the better half of Robert has always cultivated an intelligent and spiritual vibe, it is possible that he made a decision in the early 80s to close the door, let go and move on…permanently, as in “I’m not that guy anymore”. If nothing else, there was probably an intense desire to not let those crazy days be the complete Robert Plant legacy and he has certainly spent the last 30+ years ensuring that Led Zeppelin would not be his whole story. But it will forever be a huge part of his history and legend and as he says in the following clip, The Song Remains the Same!