It seems almost beyond comprehension that Led Zeppelin's 4th elpee was released 49 years ago. The importance of such a landmark collection of songs and recordings is too so far reaching and significant that it's safe to say Rock Music as we know it would be very different without this music and the impact it has had over the years and decades.
It is, of course, Led Zeppelin's most famous work for a variety of reasons, but to the layman, the occasional fan, the curious listener, it has reached this peak of consciousness because of one particular reason - Stairway To Heaven. Worshipped, reviled, dissected, praised and blamed in pretty much equal measure at one time or another, it's been held up as the saviour of the western World on one hand and an accursed over long muse almost directly responsible for the 'saviours' of the Punk Scene to rise up, out of tune guitars in hand, and rescue comatose teenagers and save them from a life of simple, peaceful hippydom on the other.
But, there is SO much more to this record, this period, than one song could ever say, mean or signify. After III was almost universally lambasted by an uncaring, knife sharpened press waiting for what they saw as a wounded Gazelle ripe for slaughter at their slavering hands, By the time those barbed words were fish n chip paper, Led Zeppelin were already moving on. Rehearsal and recording sessions had already begun whilst Atlantic were promoting the follow up to Led Zeppelin II and fending off questions about the next gigs and plans.
These are just my observations, my thoughts. Frankly, you could easily write a book about the record (one or two already have to be fair), so this isn't my time or place for a historical, factual dissection. let's open this up, fitting alongside the widescreen masterpiece that this record indeed is.
In contrast to the speed that music is composed and released now (and has been for a couple of decades at least to be honest) Led Zeppelin wrote and performed at a ridiculously prolific rate, and to an ever higher standard. 18 or so tracks were auditioned and tested for III, 10 (plus the only non-elpee track of course) making the final cut. With the 4th elpee we have 11 (known) finished tracks and a plethora of ideas, riffs, curiosities and snippets that would be distilled and eventually bloom over the next 8 sides of studio wax Led Zeppelin would release over the next 5 years.
Anyway, the best 8 songs were chosen, perfected and presented. And their growing compositional maturity was shining through. Only 1 track leaned back, and let's face it the complete overhaul in just about every term (lyrics aside) from Memphis Minnie in 1927 to Led Zeppelin 44 years later could not be more striking. And the depth of songwriting is only one key ingredient. The performances are astonishing.
Robert reaches his highest, dizzy wail in Misty Mountain Hop, perfects his Golden God meets Howling Wolf Strut in Black Dog, and soars over the most potent band in the World with his primevil wail in Rock And Roll. And, to the shock of those who didn't really listen to III and ignored the whisper side of their light and shade doctrine, he proved to be a damn fine singer whether he's missing the West Coast, duetting with Sandy Denny or majestically adding a dimension to Jimmy's guitar symphony before he climbs the Stairway.
Jimmy too, sounds so confident, so at one with his playing. Black Dog not only boasts a masterful solo, both edgy and lyrical, crazed and controlled, but some fine harmony dynamics and layers of sonic textures. Wakey wakey, rise and shine, the Guitar Army is on the march! It's gorgeous to hear the sudden speaker slashes in Rock And Roll, the delicate harmonies in Misty Mountain Hop. The slide and phased swathes of insistent, relentless riffs rise and rise like the flood waters themselves in Levee, bringing the chaos, panic and confusion to life as his brilliant production swirls everything around Roberts moaning cadence. Genius.
Acoustically, Jimmy really comes to his own on these tracks. Beautifully lyrical, with a great empathy for the song and the mood. The mandolin work is striking, perfectly fitting and quintessentially English, the perfect backdrop for Robert and Sandy's playlet. And it ALL comes together on Stairway To Heaven. From the bucolic, cautious themes, gradually yet deliberately adding layer on layer of guitars, each adding without swamping or cluttering the sound and themes. And then the fanfare. And THAT solo, complete with the perfect sympathetic harmonies at just the right moment before a climax like no other.
John Paul also brings so much to the table at these sessions. It was after all his muse, his humour and ability, that brought us Black Dog. He underpins Rock And Roll perfectly, provides a two pronged swing to The Hop. Four Stick features some new age sounding Synth work too, played with a careful session man's precision and ear for melody and arrangement. The recorders on Stairway, and his bass playing throughout, are perfect. One very important point to me is the space, the open sound, the way the songs breathe. Every note has to be right, has to mean something, to be there for a reason. And it all is.
And Bonzo. Much is made of the sound of the stairwell, the crunch. But the real key is his groove, his swing, his heart. No one could possibly sit still when Rock And Roll kicks in. Who doesn't 'air drum'to THAT snare roll as The Hop winds up to head for the Misty Mountain? And the forward thinking, why can't I damn near genius of doubling up his sticks to bring life to the turnaround riff of Four Sticks and take it somewhere no one would have thought of or deemed possible. And then there's Levee. THE most potent sex groove, swinging like no other, oozing power but with perfect almost clinical restraint. Add Jimmy's groundbreaking production to some unholy drum fills and you've brought side two to a climax that comes close to the 'perfect' peak of side one.
And what of the production? Dig out Master Of Reality, In Rock, Very Eavy, Very Umble. Compare them to this, they sound flat, dull and lifeless however good the music is. In fact, there's not much around today that can compete. Really. So far ahead of the game. Don't play the game, BE the game as Robert once mused.
The sleeve is perfect too, mysterious, mischevious, symbolic, odd and full of clues and talking points. And they got their way. The 'suicide album' is Led Zeppelin's commercial peak, and not only of theirs but one of music's too.
So, here's a final muse. Originally there was a thought to release the songs on 4 EP's. Including the 3 known outtakes, how would you assemble the EP's? Taking one for each symbol, each member. My choice would be -
Jimmy - Black Dog, Stairway
Robert - Battle Of Evermore, Going To California, Boogie With Stu
John Paul - Misty Mountain Hop, Night Flight, Down By The Seaside
Bonzo - Rock And Roll, Four Sticks, Levee
Ask me tomorrow, it'll be different!
