In the short time between when I first saw the film “The Song Remains the Same” and bought the double album soundtrack, I didn’t remember the music from the movie well enough to realize all of the differences between the two. Then again, when I first saw the movie, I was probably in a great state of mind for listening to music; not so good for remembering all of it.
I’m not going to go into all the specifics between the music in the film and on the album – you can Google that easily enough – but in a nutshell, there are songs in the movie that didn’t make it to the record and one that’s the other way around. Also some of the same songs on both are not from the same performances. Sure, both the film and soundtrack were recorded in 1976, during three nights of sold-out shows at Madison Square Garden in New York, but Zeppelin liked to make each of their concerts a unique experience for the audience. They always played their songs differently from one night to the next. When I listen to “The Song Remains the Same” today, I cant help but remember all the differences between the songs here and the music in the film. It’s so significant, I don’t know if I even consider this to be the soundtrack to the film; just a great live album.
The Hollies are a British band that were far more influential than they often get credit for.
If you’ve heard of the 1960’s British Invasion then you undoubtedly know of The Beatles. When you listen to the harmonies on those early Beatles songs, thank The Hollies. They were pioneers for that style at the time. Are you a fan of Crosby Stills, Nash (and Young)? Thank The Hollies. They were Graham Nash’s first band. How about the music of Elton John and his long musical legacy? Thank The Hollies. He was the session keyboardist for them in the ’60s. Were you into Led Zeppelin in the ’70s? Well thank The Hollies for the early session careers of Jimmy Page and John Paul Jones.
“Hear! Here!” was the Hollies’ second album in the United States. It’s basically, with a couple of track changes, a U.S. version of their third album in Britain, simply titled “Hollies”. Even though the Hollies were very popular in Britain and “Hollies” broke into the top 10 on the U.K. album charts (peaking at number 8), Their U.S. record label was wary of its success here so they didn’t release “Hear! Here!” until two moths after its British counterpart, and only then, only after replacing two of the songs with the Hollies’ currently released U.S. singles. Despite the changes, the album only made it to the 145 position in the U.S. charts, its sales dwarfed by the popularity of albums by The Beatles and The Rolling Stones.
What would the Yardbirds have been without either Clapton, Beck, or Page on lead guitar? Well, in 1984, they were known as “Box of Frogs”.
In the 1960’s, the Yardbirds were at their core, Jim McCarty on drums, Chris Dreja on rhythm guitar, and Paul Samwell-Smith on bass – and they had a knack for picking awesome lead guitarists. Unforfortunately those lead guitarists had a knack for pursuing solo careers. First Eric Clapton, then Jeff Beck. By the time Jimmy Page joined for their third go-round, the founding members decided to call it quits. In the wake, Jimi Page went on to form Led Zeppelin, which he nearly called “The New Yardbirds” (but that’s another story).
Perhaps realizing that great music is not created by lead guitarists alone, McCarty, Dreja, and Samwell-Smith regrouped in the ’80s along with guitarist and vocallist John Fiddler, rebranding themselves on their self titled album as “Box of Frogs”.
Perhaps realizing that this was magic in the re-making, they were joined on some songs by Beck and Page. Sure, Clapton didn’t participate in the reunion, but Rory Gallagher jumped in on a couple; even better, in my humble opinion.
One of the greatest things about the resurgence in the popularity of vinyl is bonus content.
Just like when albums started to be reissued on CDs, sometimes the record companies feel the need to include incentives to get music lovers to buy – or rather re-buy – recordings that may already be in their collection.
So how do you get someone who already owned an original copy of Led Zeppelin’s debut album to buy it on vinyl again? You include a previously unofficially released live recording with it as a bonus second album. And if you didn’t still have the original vinyl copy of “Led Zeppelin” because you had a cheap turntable that wore it out way back in the day?
The bonus records here is from a French radio broadcast in late 1969 of a Led Zeppelin concert performed in Paris about a month before. Zeppelin’s second album had just been released and the show included songs from both albums, including the John Bonham drum solo extravaganza “Moby Dick”. Bonham’s solo here differs significantly from what appeared on Zep’s first official live album, “The Song remains the Same”.
The thing I find funny, and what is unique with the bonus content included with This vinyl re-release of Led Zeppelin’s eponymous debut, is that there is more bonus content than original material – four sides compared to two. This live recording could have easily been released as a stand-alone new release, and I would have still bought it. But hey…bonus, bonus!
Frankenmuth Michigan, about an hour and a half drive north of Detroit, has for as long as I can remember, been known for its German cultured shops and the infamous chicken dinners served at Zehnder’s and The Bavarian Inn restaurants. But in late 2017, Frankenmuth became known for something else – Greta Van Fleet – one of the hardest rocking quartets since … dare I say … Led Zeppelin.
The comparisons between Greta Van Fleet and Zeppelin come with no apologies from the band members who are huge Zep fans. But they are also quick to point out that they are not by any stretch, a Led Zeppelin cover or tribute band.
Still, if you like Led Zeppelin, and wish there were more bands around today that recorded that kind of music, well, you need to pick up either “Black Smoke Rising” their debut four song EP or “From The Fires”, their first full length LP.
Right now, my vinyl collection only includes the “Black Smoke Rising” EP, but trust me, that will soon be rectified.
In my opinion, “Lucifer’s Friend” has got to be the worst name for a band, unless they worship the devil, which these guys did not. Maybe they wanted to one-up Black Sabbath in that area because they thought it would sell. But Black Sabbath took their name from the title of an old Boris Karloff horror film. “Lucifer’s Friend” had no other connotation. I don’t know why they chose “Lucifer’s Friend” as the band’s name, but I think it was a bad choice that cost them much deserved success. Especially since they were a band that could have out-heavied any band that was around in 1970, when their eponymous debut came out.
Picture Black Sabbath meets Uriah Heep mixed with a combination of Led Zeppelin, Iron Maiden and Deep Purple. Now picture how cutting edge and heavy that was back in 1970. The only bands that maybe equaled them back then were Sabbath and Zeppelin and that’s a maybe.
So why has almost no one ever hear of Lucifer’s Friend, at least not outside of Germany, where they hailed from? I can’t say for sure, but I really think it came down to their name. It was just too dark, too evil sounding. I think too many people didn’t want to listen past the name.
Regardless of the reason, Lucifer’s Friend Is a band I am glad to have been turned on to in the early ’80s. They were a band that was too far ahead of their time for their own good – and in my opinion, a great band that chose a terrible name.
There are some albums that should be in everyone’s record collection…
There is a reason Led Zeppelin’s fourth record is so iconic. It is an incredible collection of songs that few bands have been able to equal. The album practically defines rock and roll from the ’70s – the golden age of vinyl. It has become an influential and inspirational focal point for generations of rock band. It became the goal of almost every rock guitarist to learn how to play “Stairway to Heaven”.
Led Zeppelin’s fourth album was the first record from the band that was well received by most critics, their previous album “Led Zeppelin III” being the most severely panned. Record buyers obviously agreed with the positive reviews, as it has become one of the biggest selling records of all time.
Referring to the album as “Led Zeppelin IV” is actually inaccurate. But then, how do you refer to an album that has no name? Zeppelin decided to officially not give it one. They even deferred from putting the band’s name anywhere on the album cover.
Fans often refer to it as “Led Zeppelin IV” for a couple of reasons. First off, It’s Led Zeppelin’s fourth album and it came out following “Led Zeppelin II” and “Led Zeppelin III”. Secondly, the inner sleeve shows four symbols that were created by each of the four band members. The album is also commonly referred to as is “Zoso” because the first of the four symbols was created by guitarist Jimmy Page which dolts that word.
Although it has sold millions of copies, it can be hard to run across an original copy of Led Zeppelin’s fourth album that is in excellent condition. Partly because many people in the ’70s did not know how to properly care for vinyl records (vinyl takes a little more TLC than CDs) and also because when CDs came out, unless someone decided to get rid of their entire collection, this was one of the few the had to hold on to. After all, there are some albums that should be in everyone’s record collection.
So I’m sitting here listening to Robert Plant’s new album, “Carry Fire”, which just came out today, and I’m wondering…how do I describe this? It’s not bluegrass, at least not in the traditional sense. There’s not a lot of fast picking in it. But there are certainly bluegrass roots in it. But then again, it’s got a very modern feel to it as well. These are songs that fit right in more with Arcade Fire, KT Tunstall, The National, Alison Krauss, Blackfield, and Radiohead than they do with bands from the classic rock era, when Led Zeppelin ruled. That’s not to say there’s not Zeppelin elements in here as well. But it’s more of the acoustical, eclectic, and experimental side of Zeppelin.
No, this isn’t an album you want to listen to if you’re in the mood for the Sonic bombast Led Zeppelin was known for. But it is the album to put on if you want to be absorbed by the sounds radiating from your speakers. This is an album worthy to be cranked up when no one else is home – but not for the purpose of playing air guitar like a fool because you think no one is looking. You want to let it surround and envelop you.
I have to say I was somewhat skeptical pre-ordering “Carry Fire”. A lot of classic rock era performers that are still making music today just try to rehash what they’ve done in the past. And that’s not to say they put out bad music. It’s just that a lot of the time, it feels like the same old same old. But then there are those performers who are true artists. They believe in branching out and trying new things. Sometimes what they do works. Sometimes it doesn’t. Whether it does or doesn’t, I always respect the effort and risk they took try something new. In the case of Robert Plant’s new album, it really, really works.
Most who grew up in the golden age of vinyl will be quick to claim that Led Zeppelin was one of the greatest bands ever. That’s a proclamation easily proven by their sixth album, “Physical Graffiti”.
Debuting at number one on both U.S. and U.K. record charts. 16 times platinum in the U.S. A double album that is ranked by Q magazine as the 28th greatest album of all time, and the 71st by Rolling Stone magazine.
That in itself is impressive. But consider this: Almost half of the songs on Physical Graffiti were throw-aways from previous albums – 7 out of the 15 on it.
Now ponder that for a moment…
Five Led Zeppelin albums preceded Physical Graffiti.
Five highly successful albums.
They obviously didn’t omit the wrong songs. But the the songs Zeppelin threw away still blew away almost all the songs by any other band at that time.
That’s a thought that blows me away every time I listen to Physical Graffiti.
Following the death of Led Zeppelin’s drummer John Bonham, there was some uncertainty about whether the band would continue on with someone different behind the kit. Eventually, the members of Led Zeppelin announced that they couldn’t continue on as they were, and the remaining three members went their separate ways. About a year and a half later, Robert Plant released his debut solo album,Pictures At Eleven.
Probably in keeping with what was felt fans wanted, the album has a very Zeppelin-esque feel to it, with Robbie Blunts guitar finding a tone very similar to that of Jimmy Page’s. But the album still had moments of Plant moving out of his comfort zone and into new musical territory. There was a heavier use of synthesizers on a couple of songs, and a notable difference in the feel of the rhythm section. Phil Collins, the drummer from Genesis, played drums on most of the tracks, delivering a looser R&B back beat than what was typically associated with Led Zeppelin. Cozy Powell, who played on only two songs, had a heavier style of drumming, more akin to John Bonham’s sound. Overall, the album delivered what Zeppelin fans wanted but still gave Plant a chance to forge something new.
In subsequent solo releases, plant would continue to diversify his sound. He also worked on a variety of other non-solo musical projects, including the Honeydrippers and a duet album with bluegrass musician and singer Alison Krauss.
Throughout his recording career Robert Plant has released over 35 albums, including his work with Led Zeppelin and other projects. He has a new album coming out this October.