The Cavern
Rock & Words
HOUSES OF THE HOLY (Led Zeppelin, 1973)
Artist: Led Zeppelin (B+)
Recording Dates: Jan – Ago 1972
Release Date: March 28th, 1973. UK
Record Label: Atlantic
Producer: Jimmy Page
Rating: 8
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Song: No Quarter
Tracklist: 1) The Song Remains The Same; 2) The Rain Song; 3) Over The Hills And Far Away; 4) The Crunge; 5) Dancing Days; 6) D'Yer Mak'Er; 7) No Quarter; 8) The Ocean.
What happened to Zeppelin ?! Well, they started experimenting. This is Zeppelin's most diverse album in terms of genres. You want funk? Here 's some funk! Do you want reggae? Here's some reggae! Do you want a breathtaking Viking song? Here's something that will chill your soul! Do you want a sublime ballad? Here's the most beautiful song in the world with a monumental guitar performance! All of that is here! Do you want Hard Rock? Um … I’m not so sure about that… you decide.
The album isn't bad, but it's not amazing either, and for me , it marked the beginning of Zeppelin's decline. Well, there's still Physical. Graffiti , where they returned to their roots, but the lack of Zepp's creativity and power would become more evident in Presence and subsequent albums. They would never again reach the mastery of I and IV.
But put yourself in their shoes. 1973. By this point, the band had already released Led Zeppelin IV. They were the biggest rock act on the planet, the most spectacular virtuoso ensemble to date, the successors to the Beatles. " Stairway to Heaven" was, for many, THE greatest song of all time. They were the undisputed kings and could do anything. So they did. They were at a point where anything—and I mean anything—they released would have gone multi-platinum . So it could have been worse. The guys simply decided to expand and try things outside of blues and step out of their comfort zone, and, in hindsight, it was the obvious next step . A risk or a whim, whatever you want to call it, but they couldn't afford to stagnate, and the reviews would have been even worse had they released Led Zeppelin V. That it didn't work out for them is another matter, but there is a certain merit to this album.
The album has some spectacular moments, and a couple of top-notch songs, so in some ways, it's not too far off the level of Led Zeppelin III. But aside from those two gems, the rest of the songs on this album, while not necessarily bad, sound a bit bland by Led Zeppelin's standards. The band tries to be diverse, and this attempt falls somewhat flat. True, we criticize them for lacking variety, and when they do try, we criticize them for attempting it. The point is, this album demonstrates that Jimmy Page feels a bit uncomfortable with songs that stray from the blues, and since the guitar is the main pillar of Zeppelin, if the guitar isn't in its element, the rest of the group also feels uncomfortable, no matter how hard Jonesy and Bonzo try.
The album was recorded in 1972. The band borrowed Rolling Stones' mobile studio in Stargroves . They had already begun developing some of the songs during the Headley Grange sessions for Album IV, such as "No Quarter ," the album's best track. Wow ! Can you imagine if "No Quarter " had made it onto Album IV? Once they had the demos, John Paul Jones and Jimmy Page took the tracks to their homes, where they had recently set up their own studios. Each worked on adding embellishments and finishing touches, allowing Jones to polish the superb keyboard arrangement of "No Quarter ," while Page added the 17 guitars on "The Song Remains. " The Same ” and working on the sweet arrangements of “The Rain Song,” where I believe he also invented two or three guitar riffs. Several of the songs they composed during this period were left out and would be included on later albums, mostly Physical . Graffiti , which had to be released as a double album. Therefore, the title track is not included here, as it was decided at the last minute not to include it, a truly unusual situation for an album.
Besides the inclusion of diverse genres and the move away from the blues, the album begins to show a departure from the fantastical and magical -comedic tendencies in Plant's lyrics. The closest example would be "No Quarter ," but on this occasion, the lyrics manage to capture the spirit of old Scandinavian legends and fit the song surprisingly well, along with some mystical glimpses in "The Rain Song," which, curiously, are the best tracks on the album. The rest of the songs have different inspirations: "The Song Remains the Same " is an attempt at a guitar suite by Page. " D'Yer" “Mak’Er ” is basically a reggae song, and the funny thing is that its name refers to the phonetic pronunciation British people use for “Jamaica.” I’d always pronounced the song title as “ Daier Meiker,” but it’s actually pronounced with a London accent as “ Dyaimeique .” But that doesn’t stop Led Zeppelin from being one of the bands that gives their songs the most absurd titles. “The Crunge ” is an abominable funk tribute to James Brown; “The Ocean” was for their “sea of followers” and includes an a cappella middle section specifically for fans to sing along to at stadium concerts (and then we blame Queen for inventing sing -alongs). songs ) and with a Doo-Woop-style coda. “The Rain Song” was inspired by George Harrison's remark to Bonzo: “You don't have any ballads.” So the band set about creating a true ballad, and the first two chords are the same as those in “ Something ” as a kind of tribute to George. John Paul took the opportunity to debut his newly acquired Mellotron on this track.
The album cover is one of the band's most unsettling, based on Arthur C. Clarke's book "Childhood's End." The cover is a fold-out, revealing eleven naked children climbing a mountain toward an orange sunset. The photograph encountered printing problems, resulting in the children appearing in shades of purple and the sky in orange, giving it a more sinister appearance. Furthermore, it was the first album to feature a title: Houses of the Holy, breaking with the tradition of their first four albums, and it would be the only one with all the letters printed.
The album opens with “The Song Remains The Same”, which is somewhat disappointing when that huge, fast, and ferocious intro riff gives way to a weak, slow, and forgettable melody. The music is good at times , but Plant's vocals ruin it completely. The song was originally conceived as an instrumental, so the instruments sound magnificent: the bass is incredibly fast and complex, the drums are powerful, and the guitar… Well, Page had envisioned this song as a suite for 17 guitars, each layering on top of the other. At times, I imagine Jimmy with a baton and 17 musicians playing simultaneously like an orchestral suite, but instead of violins, they're all playing their Gibson EDS-1275 12-strings, Telecasters , and Rickenbackers. The idea was to create a kind of instrumental intro for "The Rain Song," but the song grew longer and more complex, and Plant's insistence on adding a slower section to accommodate his vocals ultimately ruined the track. Furthermore, this is one of his most glaring vocal excesses; he shouts and moans too much, completely destroying a song that had potential. In the end, the song isn't as dark as it initially seems, nor is it truly luminous as the verses attempt to portray it; it's neither sad nor fun. Ultimately, it's not bad, but it's not good either. Jimmy's good intentions are understandable, and musically the fast sections are impressive (following the guitar sequences is breathtaking), making it one of the most difficult songs to replicate live, but it ultimately lost its original purpose, and it's not a devastating rocker like the other opening tracks on previous albums.
Next up is “The Rain Song”, which teeters on the fine line between super cute and cheesy . I lean more towards the super cute side . As I mentioned, this song came about because of George Harrison's comment that they didn't have any real ballads. So Jimmy set about creating the most beautiful song in the world. Robert wrote some pretty decent lyrics, and while they're not without a touch of fantasy, I must say it's one of my favorites and suits a Led Zeppelin song perfectly . Vocally, Robert sounds excellent, sentimental, and much more sincere than he usually seems, without overwhelming the song with his exclamations. Robert himself would say it was the best vocal performance of his career. Musically, it's a powerful, delicate ballad, mostly acoustic, over which layers of instrumentation are gradually added, from electric guitars and orchestrations to Jones's newly acquired Mellotron and the drums that enter discreetly and martially around 3:40. By the five-minute mark, the song explodes with considerably more energy, though without becoming overwhelming and maintaining its original tempo. After a brief climax, it returns to a tranquil conclusion. A beautiful, absolutely beautiful song. To those who tell me it's overly sentimental and saccharine , I won't argue, but it touches me deeply. The guitar work is colossal, complex, and who knows how many tones Page invented for this song. We'll hardly find another ballad so majestic, where every detail is geared towards creating that kind of emotional warmth it leaves us with.
Then there's "Over the Hills and Far Away", which I've never found particularly wonderful, even though everyone seems to love it. It has a good acoustic intro with a 12-string guitar, but it's far too long. Around 1:30, the drums and bass finally kick in with a massive force. That's the Zeppelin problem ; you're suddenly getting used to a peaceful, harmless folk song, and out of nowhere, they hit you with a monstrous, distortion-laden riff and completely turn the tables. In the end, it's not exactly a rocker , it's not a folk song, and you're left wondering what just happened. In this case, neither the melody nor the different riffs really convince me, and it's kind of like a second version of "Ramble On." The good thing is how Bonzo and Jonsey complement each other to create a tremendous rhythm section. And all in all, it's not bad; you might not like it, but it's easily listenable.
Then comes "The Crunge", and that's when you're like, "What the hell were they thinking?" Were they supposed to be experimenting? Jamming? In fact, the song supposedly came about while jamming during rehearsals, and they ended up using James Brown as an excuse to dedicate a funk song to him. The song is awful. Awful! They should issue a public apology, not only to Mr. Brown, but to the entire universe for this piece. Led Zeppelin would end up paying for this song's karma with the "tribute" band Dread Zeppelin, and if you don't believe me, look up any song by this band. It's funky, but I can make funk without it being good. There are no hooks, nothing good about it. One wonders, how is it possible that a band capable of making such good songs is also capable of making such monstrosities? Perhaps the only redeeming feature is that Plant himself mocks the song towards the end, asking if anyone has seen the bridge… I suppose the bridge of the song. I would also ask about the chorus. Anyway, let's just say that the band atoned for this, one of their most horrible creations, with Dread Zeppelin.
Next up is “Dancing Days”, which, compared to the previous track, sounds like pure balm for the eardrums. It's not the best song, but it's quite decent—I think the best attempt at hard rock on the album. It has some pop sensibilities, but the riff is powerful and effective, the guitars soar in the verses, and Plant , surprisingly , sounds quite sober ( is he still hungover from “The Crunge ”? ). The song also has some Eastern influences due to the guitar tunings. It's not Zep 's best ; it's rather average.
Then there is “D'Yer” “Mak’Er”, which is the reggae experiment on the album. I don’t understand why it gets so much criticism. OBVIOUSLY it’s not going to sound like Bob Marley (just like “The Crunge ” doesn’t sound anything like James Brown), but here at least the bass and guitar give it a truly reggae feel , while Bonham’s drumming adds an unusual power for a song of this type. It seems like everyone was playing reggae except Bonzo, hahaha ! I find it fun, and I enjoy it quite a bit. I understand those who criticize it. They’re not going to find anything in this song comparable to “Baby I’m Gonna "Leave You," but it's light, harmless, and fun! That further Do they want to ?
Now comes the real highlight of the album. This is one of the best songs they ever made. Almost everyone agrees it's the best on the album, but few place it among the sacred cows like "Rock & Roll," "Black Dog," " Stairway to Heaven," and the like. It's "No Quarter", a tremendous song that encapsulates all the band's strengths: their ambition (which, in moderation, is always necessary), their instrumental virtuosity, their mysticism, their power, and their ability to combine tranquil passages with volcanic explosions. It's a Viking epic, written damn well and performed even better—slow, majestic, creating an atmosphere that truly evokes the feeling of being in a Nordic country witnessing legends of warriors who will never return. It's breathtaking. The credit almost entirely goes to John Paul Jones with his colossal work on synthesizers and Hammond organs, which, whether due to the equalization or the echo, create an icy, remote, ancient atmosphere that transports us to landscapes of white mountains, furious winds, and dragon-headed ships. And the lyrics! I rarely praise Plant for his lyrics, and this is one of those rare exceptions. For the first time, one of his mythological lyrics fits perfectly with the rest of the song, becoming an inherent part of it and not forcing us to ignore it as silly. In other words, this isn't a good Zeppelin song DESPITE the lyrics, but largely because of them, and I think this will be the only time I say that in their entire catalog. Vocally, he's also perfect, sounding desolate, convincing, almost on the verge of tears… Page's riff, for its part, is also sublime, superb, furious, and circular, and sounds like a dragon roaring and flapping its wings, slow but terrifying. The song is hypnotic, beautiful, wild, furious, a perfect machine, and proof that these guys were true geniuses. Possibly the only Led Zeppelin song I like more is “ Since "I've Been Loving You." Curiously, the third album is also a weak one, but both songs manage to salvage their respective albums.
The album closes with "The Ocean", which has a very cool riff , but not much else. Plant reverts to unmemorable melodies and his theatrical vocals. At 2:15, they all stop abruptly for a nice a cappella section, presumably one that would have gotten stadium crowds singing along. At 3:15, they shift gears to a more upbeat, doo- wop style , where Jimmy adds some interesting arrangements, but nothing groundbreaking. A decent ending, nothing special.
Okay. If you look closely, it's not so terrible. The thing is, it's not a very consistent album. It has a lot of average songs that still rock , but seem to have lost the punch and soul of their earlier albums. There's one absolute abomination, but in contrast, we have a sublime ballad. And finally, this is one of Led Zeppelin's best epic songs, capable of single-handedly elevating the album to something more than decent.
Led Zeppelin's problem is consistency. They're equally capable of creating breathtaking, dazzling songs that garner unanimous praise from fans and critics alike, and then the next track on the album is complete garbage. The thing is, while the former dominated their early albums, their creativity dried up over time, and good songs became the exceptions. Here we find ourselves in a middle ground, a balance that would continue on their next studio album, but it would mark the beginning of the decline of this once mighty Zeppelin.
Por Corvan
15/Oct/2010
