gunsella
16-02-2006, 05:41 PM
Led Zeppelin had everything going for them when they released their first album in the early stages of 1969. Zeppelin’s main instigator was Jimmy Page, a man who already had established a reputation as a formidable guitarist and arranger thanks to his work in The Yardbirds and as a much sought after studio musician of the mid-60’s London scene. When Page’s background was combined with the management might of ex-wrestler Peter Grant, Led Zeppelin were going to be unstoppable before they had even recorded a note. Their first album received very little radio play so they instead built their reputation on live performances, touring the USA five times in the first year of their existence. It was during all this touring that the second album was recorded. Some was laid down in their native England, much of it was recorded on the East and West coasts of the States. Despite this patchwork method, the album has a remarkable cohesiveness to it.
There is no filler on this album. Only killer, from the opening blast of “Whole Lotta Love” through to the final filthy blues onslaught of “Bring It On Home”, they give it all that they have to give with intense energy, creativity and spirit. The ensemble playing across the entire album is wonderful. You can close your eyes and almost imagine the musicians performing just for you. And you can hear that they are enjoying themselves – they sound like they are having the best damn party ever, thank goodness someone remembered to switch the tape on. But the individual brilliance of the four members is not sacrificed for the sake of the group performance. You can listen to this album five times and have five different experiences as you focus on the band as a whole or on each of the four members.
John Bonham’s obscenely good drumming is aptly showcased on “Moby Dick,” the instrumental track with the killin’est riff to ever be…’wasted’ on a drum solo. Half way through his solo he puts down the sticks and attacks his kit with his hands. And the solo doesn’t get boring at all – Bonzo was one of the most imaginative and musical drummers in rock history, as well as being one of the hardest hitters in the business. His killer strokes are also the driving force behind Page’s “Whole Lotta Love” riff.
John Paul Jones’ skill as both a bass player and organist are in evidence across the whole album, most notably on “The Lemon Song” and “Heartbreaker” and “Ramble On” and “Bring it On Home” and “Thank You” and … well, across the whole album. The breakdown section in their cover of Howlin Wolf’s “Killin Floor”, now known as “The Lemon Song”, is a year’s worth of lessons on blues bass playing. He is alluding to the same three chords over and over again for several minutes yet he never repeats himself, continuing to find new paths through the blues progression until the band kicks back in again before the end of the song. Throughout the entire album, Jones and Bonham lock into each other’s groove, creating a rhythm section that truly is greater than the sum of its parts.
Robert Plant delivered some amazing vocal takes on this album. Most unforgettable are his screams and moans through “Whole Lotta Love” (……waaaaaaay down inside……), yet we also see his tender side on the ballad, “Thank You”. But yes, this second album from Led Zeppelin is their textbook on heavy riff based blues/rock so it is no surprise that on this record Plant’s howling demands for love/sex will be what are most remembered. “What is and What Should Never Be” features an almost crooning Plant throughout the smoother than smooth verses and choruses, but it is during the song’s fadeout that he really takes over as he combines fragments of the lyrics with the odd scream or a “hey, ho, oooh mama”. All this of course takes place as the band continues to rock out behind him.
But let’s be honest. On Led Zeppelin II, it’s all about the riffs. “Whole Lotta Love,” “The Lemon Song,” “Heartbreaker,” “Livin’ Lovin’ Maid,” “Moby Dick,” “Bring it On Home” – they’re all ridiculously good, heavy riffs that you can sing or play air guitar to forever. And they all come to us care of Jimmy Page, the mastermind behind the whole project. As well as being able to write phenomenally simple yet elegant riffs, he could solo like few others have ever been able to. He had speed and imagination, both of which are skilfully highlighted in the showcase solo in the middle of “Heartbreaker”. This two-minute attack leaves the listener in no doubt that Page is a master of his instrument, but he is also a little cheeky. Similarly, the solo in the middle of “Whole Lotta Love” shows his intensity. But the solo over the third verse of “What is and What Should Never Be” shows his softer side as well as his agility with a slide.
Led Zeppelin II is a portrait of band that has just realised their greatness. They know that if they just play their cards right they might even be successful for the next decade. It is a display of youthful power coupled with creativity beyond their years that has rarely since been matched.
There is no filler on this album. Only killer, from the opening blast of “Whole Lotta Love” through to the final filthy blues onslaught of “Bring It On Home”, they give it all that they have to give with intense energy, creativity and spirit. The ensemble playing across the entire album is wonderful. You can close your eyes and almost imagine the musicians performing just for you. And you can hear that they are enjoying themselves – they sound like they are having the best damn party ever, thank goodness someone remembered to switch the tape on. But the individual brilliance of the four members is not sacrificed for the sake of the group performance. You can listen to this album five times and have five different experiences as you focus on the band as a whole or on each of the four members.
John Bonham’s obscenely good drumming is aptly showcased on “Moby Dick,” the instrumental track with the killin’est riff to ever be…’wasted’ on a drum solo. Half way through his solo he puts down the sticks and attacks his kit with his hands. And the solo doesn’t get boring at all – Bonzo was one of the most imaginative and musical drummers in rock history, as well as being one of the hardest hitters in the business. His killer strokes are also the driving force behind Page’s “Whole Lotta Love” riff.
John Paul Jones’ skill as both a bass player and organist are in evidence across the whole album, most notably on “The Lemon Song” and “Heartbreaker” and “Ramble On” and “Bring it On Home” and “Thank You” and … well, across the whole album. The breakdown section in their cover of Howlin Wolf’s “Killin Floor”, now known as “The Lemon Song”, is a year’s worth of lessons on blues bass playing. He is alluding to the same three chords over and over again for several minutes yet he never repeats himself, continuing to find new paths through the blues progression until the band kicks back in again before the end of the song. Throughout the entire album, Jones and Bonham lock into each other’s groove, creating a rhythm section that truly is greater than the sum of its parts.
Robert Plant delivered some amazing vocal takes on this album. Most unforgettable are his screams and moans through “Whole Lotta Love” (……waaaaaaay down inside……), yet we also see his tender side on the ballad, “Thank You”. But yes, this second album from Led Zeppelin is their textbook on heavy riff based blues/rock so it is no surprise that on this record Plant’s howling demands for love/sex will be what are most remembered. “What is and What Should Never Be” features an almost crooning Plant throughout the smoother than smooth verses and choruses, but it is during the song’s fadeout that he really takes over as he combines fragments of the lyrics with the odd scream or a “hey, ho, oooh mama”. All this of course takes place as the band continues to rock out behind him.
But let’s be honest. On Led Zeppelin II, it’s all about the riffs. “Whole Lotta Love,” “The Lemon Song,” “Heartbreaker,” “Livin’ Lovin’ Maid,” “Moby Dick,” “Bring it On Home” – they’re all ridiculously good, heavy riffs that you can sing or play air guitar to forever. And they all come to us care of Jimmy Page, the mastermind behind the whole project. As well as being able to write phenomenally simple yet elegant riffs, he could solo like few others have ever been able to. He had speed and imagination, both of which are skilfully highlighted in the showcase solo in the middle of “Heartbreaker”. This two-minute attack leaves the listener in no doubt that Page is a master of his instrument, but he is also a little cheeky. Similarly, the solo in the middle of “Whole Lotta Love” shows his intensity. But the solo over the third verse of “What is and What Should Never Be” shows his softer side as well as his agility with a slide.
Led Zeppelin II is a portrait of band that has just realised their greatness. They know that if they just play their cards right they might even be successful for the next decade. It is a display of youthful power coupled with creativity beyond their years that has rarely since been matched.