The Cavern
Rock & Words
LED ZEPPELIN III (Album, 1970)
Artist: Led Zeppelin (B+)
Recording Dates: Nov '69- Aug '70
Release Date: Oct 05, 1970. UK
Record Label: Atlantic Records
Producer: Jimmy Page
Rating: 8
Era: Hard Rock (1968-1975)
Subgenre. Hard Rock
Best Song: Since I’ve Been Loving You
Tracklist: 1) Immigrant Song; 2) Friends; 3) Celebration Day; 4) Since I've Been Loving You; 5) Out On The Tiles; 6) Gallows Pole; 7) Tangerine; 8) That's The Way; 9) Bron-Y-Aur Stomp; 10) Hats Off To (Roy) Harper.
After the smash hit that was Black Sabbath II, which still had the world reeling, critics and fans alike were expecting the heaviest album ever, something that would blow the two albums Black Sabbath had released that same year out of the water… However, Page and Plant were exhausted and overwhelmed after the success and world tour of Black Sabbath II, so in early 1970 they retreated to a small farm called Bron-Y- Aur to recharge and detox from fame for a while. This explains the album's tranquil and mystical character . Bron-Y- Aur was the Beatles' equivalent of India, allowing the band to compose several acoustic tracks that reflected the peace they were seeking. After compiling enough material, they recorded some of the songs at Headley Grange in Hampshire, in the Rolling Stones' mobile studio, far from the hustle and bustle of London. This is why this is the band's most acoustic and folk-infused album, which made it a favorite among die-hard fans and opened the door to fans of more progressive and folk-oriented music . However, fans and media outlets expecting something similar to the power of the previous two albums were disappointed, and even Rolling Stone was merciless in its reviews, accusing it of being a cheap imitation of Crosby, Stills & Nash (&Y), a sad attempt at Dylan (!!!???), uncritical noise, and so on. But these criticisms were erased from the archives as the album became a classic over time.
Albums I, II, and IV are easy to listen to and digest. Houses of the Holy is a bit more difficult. And Physical Graffiti and this one are even more so. Led Zeppelin III, then, I don't think is a disappointment, but it is a slight step down from its predecessors, since its nature is different; many songs are very melodic, but they lack that "magic," remaining merely good. It's not Zeppelin's best album either, as many claim, but it has its charm, which emerges after several listens. Among its strengths, it's the first album with completely original material ( and no plagiarism!! ) from the band, and above all, it has slightly more mature lyrics, without any hobbits or orcs in sight. Page showcases his skills with the acoustic guitar, and the album is undoubtedly imbued with "Babe I'm Gonna "Leave You" is featured throughout, only divided into two sides. Side A of the LP contains the electric, powerful, and crushing material, with the most "metal" song in Zep 's entire repertoire , " Immigrant Song," and what I consider to be Led Zep's best song, " Since "I've Been Loving You," both timeless classics in the history of rock.
The B-side, meanwhile, features purely acoustic or acoustic-based material, some very melodic and cute songs like “Tangerine” or “ That's The Way”, which work very well and are very well finished, but none of this side reaches the intensity of “Babe I'm Gonna " Leave You." The album, then, was unfairly criticized by some and overrated by others. I take a middle ground; it's neither the best nor the worst, simply a slight dip, but worthy of that great initial Zeppelin tetralogy . It's not even as acoustic as many claim, tearing their hair out. They simply experimented with separating an electric side from an acoustic one, but Jimmy Page showed his interest in developing his talent with the Spanish guitar from the very first album. It's nothing new, it just stands out more because of the format and because this time there's more of the electric material.
The album opens with “Immigrant Song”, a brutally powerful and savage track, the heaviest in Zeppelin's repertoire. It continued the band's tradition of opening albums with maximum force and, on its own, should have satisfied those who wanted to see Led Zeppelin kick Sabbath's ass. If any Led Zeppelin song should be considered metal, it's this one. Now, those critics who say this is a soft, folk album, what the hell does that have to do with James Taylor or Joan Baez? The song begins with that killer, fast, and devastating riff, featuring one of John Paul Jones's best and most aggressive bass lines and Plant's heart-wrenching vocals, with that now-classic " ahhAHHHahhh … AHHH!!! " that's part of Robert's vocal theatricality, but which on this occasion adds enormous weight to the track. The lyrics are the first to evoke Viking themes, sung from the perspective of warriors rowing on icy seas, and therefore the voice sounds captivating with that cold, dark, echoing, and savage effect, making references to the gods and Leif Erickson. The verse "The hammer of the gods" will drive our " Ships to New Lands " led many to call Zeppelin's music "The Hammer of the Gods." It also served as their opening song until 1972. Musically, there's little more I can add. It's a work of art, with a simple yet devastating structure, where there's perfectly balanced teamwork and each and every member contributes significantly to such a perfect result, and it closes masterfully with those " uhhhh"s. uhhhh Uhhhh …” like wind whistling across frozen lands, adding to the song's darkness. My only complaint is that it's only 2:20 long, but there have been afternoons when I've spent hours listening to just this song without any problem.
Next up is “Friends”, the most acoustic track on this first side. It features a decent riff and spectacular string arrangements by Jones (who, incidentally, wasn't credited despite these effects making up half the song), lending a majestic, almost oriental, gothic, and bizarre feel. Bonzo plays his drums in a tabla-like style to further enhance this sound. The song isn't rock in the usual sense, but it's not a sentimental ballad either, so I think it fits well on this side. Plant gives a great demonstration of his vocal range , and his melody is fun, although here it sometimes sounds annoying and exaggerated. Towards the end, a kind of tension or anxiety begins to build as the Moog synthesizer starts to swell, hovering as the other instruments fall silent to segue into the next song. By the way, the manager 's voice , Peter Grant, can be heard in the background at the beginning, before Plant starts singing.
Next comes another rocker, “Celebration Day” with a sound that's almost paranoid and convoluted due to the layered guitars and one of Page's most complex and unpredictable riffs. After its recording, the song almost didn't make it onto the album because the tapes containing the opening drum tracks were lost, but they saved it by adding a Moog synthesizer extension at the beginning , the same one that ends “Friends.” The strange effect on the guitars is due to the fact that there are two overlapping guitars, one tuned to standard pitch and the other tuned to A, although Page played it live on a 12-string guitar. The lyrics refer to New York and aren't a literary masterpiece, but they're decent, although Plant's frenetic phrasing makes them difficult to understand. It's not the best thing in Zep 's entire catalog , but it's a good song overall—fast, fun, with interesting guitar work and something sexy in the way Plant sings that "MAA-MAA-MAA-MAA I'M SO HAPPY! "
The fourth song is immortal, and it makes the whole album worthwhile. “Since "I've Been Loving You" is a sloooooooong , epic, rhythmic, and orgasmic blues. It was recorded in 1969 for the Album II sessions, but was ultimately replaced by " Whole Lotta Love". The song was performed almost live in the studio, with John Paul Jones playing spectacular keyboard arrangements on a Hammond organ and simultaneously laying down a superb bass line . pedals . Although the song was already structured, a good portion of the guitar solos were improvised during recording, giving it a fiery and unique touch. According to several critics, it supposedly has influences from Otis Rush's "Double Trouble " and Moby Grape's "Never," in addition to borrowing the intro from "New York City Blues" by the Yardbirds , Page's previous band. Except for the latter, the initial accusations seem highly subjective and unfounded to me. After all, this is a generic blues based on C minor; what sets it apart are the spectacular , fuzz -laden guitar arrangements , with rhythm changes during the solo itself, which carry the song through different climaxes using a myriad of resources and impressive technique, culminating in an apocalyptic finale. The music is difficult to describe; it's something you have to hear, an emotional rollercoaster where the instruments playfully create tension and then explode it, in a deliciously satisfying way. With "Hiz," I learned that this song can only be described as a sexual experience. The erotic charge of the music goes hand in hand with the changes in rhythm, and believe me, this is one of the best lovemaking songs ever written. It starts slowly, almost timidly; at 0:45 there's a sudden, brief explosion , then it slows down again. At 0:02, the intensity rises slightly without exploding, and a subtle crescendo begins until 2:45 when Plant takes it to the limit, as if walking a tightrope, until 3:15 when the instruments finally erupt in the song's first full musical orgasm. At 3:35, a lightning-fast and incendiary guitar solo begins, which then takes on more of a blues structure and cadence, demonstrating why Page is one of the top three guitarists in rock. By this point, the guitar has been steadily building in intensity, and at 4:50 it pauses for a spectacular scream from Plant. At 5:10, there's another full-blown climax with Bonzo's tremendous drum rolls. From there, the song slowly builds. At 5:55, Bonham once again unleashes a powerful drum performance, and at 6:15, the vocals explode, leading the song to its third climax, accompanied by a spectacular interplay of instruments. At 6:40, Plant promises, " One more, just one more..." and then takes a deep breath for a final explosion at 6:45. The song then slows down, like a lull afterward, before ending at 7:20. Wow ! I insist, this is something you have to hear. Without a doubt, my all- time favorite Led Zeppelin song. As a side note, this is also Plant's greatest vocal performance, reaching incredibly high notes and even climbing an octave for the final flourish. He sometimes overuses repetitions and monosyllables, but they don't clash with the changes in intensity and are bearable on this occasion.
Next up is “Out On The Tiles”, which has a frenetic rhythm and a very complex riff, but despite being faster than the previous track, it feels like a breath of fresh air in comparison. It's not entirely bad, but it sounds very generic, in the style of Nazareth. By the way, since this was never a fan favorite at concerts, they would later use the opening part of the riff as an intro to "Black Dog" to set the tone for Plant's entrance. I think it works better in that song. Anyway, it 's not awful, but it's never been one of my favorites, and as I mentioned, not for the rest of the fans either.
The B-side of the record begins with "Gallows Pole", which is nothing more than a folk song with a very simple structure. It grabs your attention through secondary factors like the arrangements and the almost hysterical vocals, but nothing more. It's actually quite repetitive. The only noteworthy aspect is the way the intensity builds towards the end while still remaining a folk song—that is, with a dry, frenetic drum sound, but without any distortion or electric guitars whatsoever. Instead, a banjo and mandolin gradually increase the speed, and Plant seems to lose his composure towards the end, making the song almost unbearable. But overall, in my opinion, it's a minor track that isn't offensive, but it doesn't stand out for anything in particular.
The seventh track is “Tangerine”, a beautiful acoustic ballad with a great riff that combines velvety guitar work with a swift, scaled arpeggio. The song is lovely, featuring a good slide solo in the middle section (and a great bass line to match), and it never loses its calm and simple essence by adding unnecessary distorted sections , although at times it does sound a bit heavy. The melody is sweet, the lyrics somewhat sentimental (Page wrote them when he was very young), and the vocals are perhaps a bit too low for Plant, but ultimately, it's one of the simpler ballads that shines the most, considering that ballads aren't Zeppelin's forte.
Next up is “That's The Way”, a song that continues the majestic atmosphere of “Tangerine,” with a lovely acoustic sound and a slide guitar that adds embellishments to the simplicity of the structure. And there it is, without as many changes or tricks as “Tangerine,” it at least manages to match it in beauty, with lyrics that seem more sincere. It could have been a great hippie anthem from the Summer of Love.
The tribute continues to the little corner where they found the peace and quiet to compose and record the album, “Bron-Y- Aur Stomp”, a very folky , upbeat, fun, and harmless track. Just notice how they clap along to the rhythm and you'll realize it's a joke. Nothing serious, it's the equivalent of “ All The Beatles' " Together Now" is as light as a feather, and therefore has no real significance in Zeppelin's discography, and even the fans themselves tend to forget it easily.
The album has a horrendous ending. “Hats Off To (Roy) Harper” is barely music at all, just some razor-sharp slide guitar riffs and Robert Plant screaming like a wounded animal in a cavernous, aged voice. Is it supposed to be a blues song, a tribute to Roy Harper, or perhaps an insult? I don't know, but if this album has the best song in Zeppelin's repertoire, it unfortunately also has the worst, or one of the worst. By the three-minute mark, if you haven't turned the song off, you'll have a dangerous urge to smash a mirror and slit your wrists after popping out your eardrums. Honestly, what a pathetic way to lose their style. They could have easily added a couple of minutes to the opening track instead of this unnecessary torture.
A good album all things considered. On balance, we have two phenomenal songs, two decent rockers , two acoustic ballads with majestic atmospheres that work well, three unremarkable folk songs , and one musical stinker. The album is cute, mystical, and daring, and they show greater intelligence in their lyrical writing, so it could have easily earned at least a 9, even though some of the acoustic material is inconsequential. But that final, jarring track forces me to give it, at most, an 8. Even so, it's highly recommended; just turn off the stereo before the end.
By Corvan
Aug/11/2009
