The Cavern
Rock & Words
LED ZEPPELIN IV (Album, 1971)
Artist: Led Zeppelin (B+)
Recording Dates: Dec ‘70 –Mar ‘71
Release Date: November 8, 1971. UK
Record Label: Atlantic
Producrer: Jimmi Page
Rating: 10 (ICONICO ALBUM)
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Track: UUf , you choose, any of the ones in red can have that honor, including, of course, the one about the little Stairway.
Tracklist: 1) Black Dog; 2) Rock And Roll; 3) The Battle Of Evermore; 4) Stairway To Heaven; 5) Misty Mountain Hop; 6) Four Sticks; 7) Going To California; 8) When The Levee Breaks.
The question is a cliché, a very clichéd one, but still necessary… What can be said about this album that hasn't already been said? I think the greatness of this album is undeniable. If you ask most people which is the best Zeppelin album, the overwhelming majority will always answer with IV. Why? Because it includes “ Stairway to Heaven,” which will undoubtedly also be a favorite track in the Lead Airship's catalog, and also a serious contender for best ( cough) cough , more popular, cough (cough ) song of history. Undoubtedly, in terms of popularity, this album occupies a place in rock history alongside Sgt . Pepper's, Dark Side of the Moon, A Night at the Opera, and OK Computer , among the most popular, acclaimed, best-selling, and influential albums of all time. BUT (here comes Corvan to mess things up), just like these albums, being the most popular doesn't necessarily mean they are the best of their respective bands, and therefore, of rock history. They are good albums, but the reasons for this assessment will be seen in each case.
As for Led Zeppelin IV, it's tremendous, brimming with energy, huge riffs, perhaps the best guitar solos of Jimi's life, impeccable production, great balance in the songs, tremendous melodies, no filler, and specifically designed by Page and the rest of the band to silence critics (and boy, did they succeed) for the soft sound of III. The band set out to make a landmark album, and they achieved it, and that's perhaps what puts it below their debut. On the first album, the band sounds fresh, unpretentious, without obsessions, without mixing fantasy into the lyrics; the guitars reach their maximum power and balance; Plant doesn't yet overuse his vocal histrionics, and although not all the material is original, the covers are perfect and devastating. On IV, Robert's excesses appear, saturating the songs and filling them with Tolkien-esque fantasy , and the album, despite being enormous, is the most pretentious thing they ever did as a band.
The fourth album, as we've already mentioned, was specifically conceived to be a monumental record and silence the critics. What's important to highlight is that Jimmy Page insisted the LP be released without the band's name, without a title, without anything alluding to who it belonged to. Or is there anything on that precious record you must have somewhere that proves it's by Led Zeppelin? No? He doesn't even have a degree!!! Led Zeppelin IV is a name given by popular opinion because it made sense to continue the numbering of the previous albums, but that album has no name and isn't by any band! Page knew, of course, that despite this, it was going to be a hit (perhaps he had no idea it would become the third best-selling rock album of all time), but it was a premeditated plan to demonstrate that Led Zeppelin was a huge band and not just famous musicians resting on their laurels, as the critics claimed. In other words, Mr. Page was so hurt that he not only wanted to silence his critics by making a monumental album, but to kick their asses by proving he could make an album and turn it into a success without a single name on the cover.
The band then entered the newly opened Basing Street Studios, owned by Island Records , in December 1970. Jethro Tull was also recording their album * Aqualung * there at the time . After a few sessions, they decided to move to avoid scheduling conflicts, relocating to a Victorian mansion in East Hempshire (this is one of the few legendary albums that has nothing to do with Abbey Road), where they brought the Rolling Stones' mobile studio. The peaceful countryside and their distance from the media allowed them to relax and concentrate on the music, finishing the sessions relatively quickly. However, they weren't entirely satisfied with the audio mixes, so the release was delayed for several months until they were completely happy. And it's a good thing, because the sound of the entire album is impeccable, crystal clear despite the immense power of some tracks. The album was finally released almost a year after recording began.
Another issue that delayed the release was Page's insistence on omitting the title or name from the cover. The record label was horrified by the idea… How could they sell something without any introduction? Especially considering that Led Zeppelin was their biggest band at the time; how could they not capitalize on those two words , which were a goldmine in themselves?
The most Jimmi agreed to was to include four symbols, one for each member of the band, which would become as iconic as the burning blimp or Icarus. Page's symbol was the letter Zoso , which he designed himself, and to this day he hasn't uttered a word about its meaning. Some say it's related to a medieval symbol representing Saturn, but Page insists it's a symbol rather than a word. With no title for the album, people took to the game of " name the album," and besides the obvious "The Fourth," many others suggested it. Album , Untitled , The Hermit, Runes, etc. , was also known as Zoso , and Four Symbols.
John Paul Jones's logo is a circle with a triquetra in the middle—a circle divided into three parts and joined in reverse inside another. Bonham's logo consists of three interlocking circles, and Plant's is a feather in the middle of a ring. The record label seized upon the only thing they had for publicity, and soon these four symbols were in the hands of the press and plastered on every poster imaginable throughout the British Isles. It wasn't really necessary, and Page proved not only that he was right, but also that Atlantic's fear of failure was unfounded. Even without names or titles, the first verse of the first song left no doubt that it was Robert Plant, and the colossal riff that followed left no room for doubt about the virtuosos behind it. Jimmy Page not only created a tremendous album with his bandmates and silenced many critics, but he also demonstrated that the Led Zeppelin brand isn't in a name or symbols, but in the music itself.
The album opens with “Black Dog”, which continues that great Zeppelin tradition of starting albums with a killer rocker of immense quality. The riff is intoxicating, and as I mentioned, the album could have been released under the name Top Cat and His Gang, but the band's sound is unmistakable from the very first note. This song has been compared to Fleetwood Mac's “Oh Well” and The Who's version of “Young Man Blues,” not so much for the complex riff that seems to lengthen and shorten, twist and turn, and take on a life of its own—and which essentially shapes the entire song—but rather for its constant entrances and exits. Incidentally, the riff this time was by John Paul Jones. Apart from that, I don't see any similarity, and on the contrary, the structure of the riff is much more elaborate and the entrances are more explosive and play with changes of time, which are not always 4/4, so it was a very difficult song to perform live as well as in the studio (if you turn up the volume, you will be able to hear Bonzo marking the time with the cymbals so that they can come in synchronized after the a cappella verses). Furthermore, the band is in top form, with a dark, menacing sound, full of hooks, with bridges to break the heaviness of the riff ( hey baby, pretty baby…) and even Plant's “ah-ah… Ah-ah ah- ahhh … Ah-ah-AHHHHHHH” sound good this time. Not only that, but at 3:49 he hits the highest note in the entire Zeppelin discography (and I think in any solo album) in a heart-wrenching scream that reaches the A5. Page's solos are out of this world, with a dual guitar during the coda that begins at 3:35. Bonzo and Jones manage to make the rhythm section sound devastating, like bombs falling from the sky and thumping in the background. One of the band's great, great classics and a live staple, but they had to tweak it slightly so as not to get lost in the time changes and entrances. By the way, the title is based on a stray black dog that used to hang around them during the sessions; no, it wasn't a red-eyed, demonic apparition, but a stray dog they adopted for a while, and I'm not sure if any of them ever actually took home. I'd like to take this opportunity to emphasize, if I haven't already, that many of Zeppelin's songs have absolutely nothing to do with the lyrics, and seem like they were pulled out of thin air, like, "Give this song the most absurd title you can imagine," haha.
Next up is “Rock and Roll”, which lives up to its title. The song is an explicit tribute to 1950s rock and roll, specifically to Little Richard, Page’s hero and inspiration, and it borrows the driving beat of “Keep a Knocking ” to kick things off in a fiery fashion. The song is simple on the surface, with the basic structure of a rock and roll tune . However , the guitar riff is complex, and never before has rock and roll sounded so powerful, explosive, and dark. The song emerged from a jam session after an unsuccessful attempt at the ending of “ Four.” “ Sticks .” Bonzo started the drums for “Keep A Knocking, ” and Page joined in to jam, taking a break from the current song. The riff we all know emerged, and in no time, the foundation was laid. They liked the jam session so much that they didn't hesitate for a second to work on it and include it on the LP. The bass line is a simpler, more distinct riff than the guitar, but played at full speed, keeping time with the drums. Ian Stewart (the Stones' keyboardist) adds a small touch with a fifties-style piano to round out the atmosphere. The solo at 1:25 is gigantic, starting with a new riff and then building to an ever-increasing speed, with Page delivering one of his best guitar solos. The balance is also impeccable, with no one instrument dominating the others, which makes the song shine even more. I insist, it's one of Zep 's simplest songs , but the retro feel and the combination of the Rock & Roll foundation with The gigantic guitar makes it magnetic and intoxicating. Ah! And check out Bonzo's drum roll towards the end!!! What a tremendous album debut!
"The Battle of Evermore" continues, where Page decides to shed his reputation for not experimenting with other instruments and picks up the mandolin to create a very pretentious song, but one that works well and gives the band a new sound. Of course, it's not as good as the first two, but it's not bad either. There's no distortion, of course; Page was simply tinkering with a John Paul mandolin, having never held one before, so he was just playing around and the chords came out. Page joined in and added those Tolkien-esque , fantastical lyrics. The lyrics are ridiculous, of course, but it must be acknowledged that they suit the mood of this type of song better than heavier tracks. Furthermore, Page overuses wailing and screaming, and has folk singer Sandy Denny backing him on backing vocals (hardly a woman to reach the required register). The song, then, isn't bad and at times achieves a majestic and remote feel, but that doesn't diminish its enormous pretentiousness . Barely OK, for refreshing the group's sound, but I think it clashes a bit with the rest of the material and Plant sounds unbearable at times, so you have to be in a certain mood to enjoy it.
And here comes the song everyone was waiting for. “Stairway to Heaven” is a massive song, and we have to admit it. It's also perhaps the most overrated and overplayed song in the universe, so much so that sometimes I can't even listen to it anymore. We had this song in the repertoire of my first band (Moby Dick), and it served as an encore at our show with Toncho Pilatos, which definitely won us the admiration of his notoriously tough audience. But the truth is, we got fed up with it and dropped it from the setlist. It reminds me of the scene in “ Wayne's World” where there's a sign in a guitar shop prohibiting this song. What more can be said about this masterpiece? As usual, Page's acoustic work is outstanding, creating a heavenly arpeggiated arrangement in a slow crescendo with perfect insertions from Jonesy (the keyboard-flute intro is like swimming among angels), until the switch to electric guitar amidst changes in rhythm and structure that gradually progress. The drums enter at 4:10, rather discreetly, subtly accompanying until 5:30 when those cuts out lead to a more powerful sound and the coda guitar solo. I've often heard this called the best metal song of all time, which I find absurd since it's not even a metal song... but the truth is, it must be a serious contender for the title of song with one of the best guitar solos in history. In the powerful section, the opening solo is incendiary, memorable, it takes us to paradise, without even being dazzlingly fast, but with a very melodic... historic sequence of notes. Unlike the previous ones, this song was written in different periods (each section at a different time), beginning during the recording sessions for Album III. It wasn't until this album that they managed to bring all the fragments together, with the final solo being the only improvised part. Page went into the studio to record several takes, and this was the best one after countless attempts that didn't satisfy him. The rhythm section is devastating here, supporting the solo without overshadowing it, but driving the song to ever-increasing intensity. Bonzo plays a short but enormous drum roll just before the final verses enter, and the song becomes a massive, magical, heavenly barrage of energy. The ending, with its perfectly crafted tranquility after such an orgasmic climax, is also remarkable and further highlights the song that closes Side A. In short, it's one of the most overrated songs in the universe, but it must also be acknowledged that it's great, truly great, and shows that Page is a fantastic guitarist not only with the electric guitar but also with the acoustic. The only criticism one can level at it is that it marked the beginning of generic metal ballads. It's no wonder Duran Duran cried next to the stage at the O2 Arena when the band played this song at their reunion; I think I would have too.
Side B opens with “Misty Mountain Hop”, which has a much stronger pop riff and is considered by many to be the weakest song on the album. It may well be the weakest, but I quite like it. The problem isn't the riff, which sounds great with those cool keyboards Jones added , but rather the vocal melody, a bit tiresome, like an Eastern mantra: “ walking "In the park just the other day , by ... yeah ! ", which, along with the few variations and its 4:30 length, makes it too heavy for such a dense rock -pop album. But I don't think it's a bad song at all that Led Zeppelin should apologize to the world for. It's fun and has a good groove , and even Four Non Blondes went so far as to call it their second-best song ever. Yes , it's true that the riff and melody might sound stupid by Led Zeppelin's standards, but a trillion bands haven't been able to create such a rocking and fun song in their lives . Furthermore, it would be one of the band's first experiments between hard rock and other more accessible rhythms, which would become more noticeable on subsequent albums.
Follow "Four Sticks" has a good riff, but the song basically belongs to Bonham, who actually plays with four drumsticks. This is because he couldn't achieve the intensity he wanted in the first takes with just a pair, so Jones joked, " Why don't you add another pair? " To everyone's surprise, he did, and it came out exactly as he'd hoped. The rhythm is relentless from beginning to end; it's intense. Suddenly, the riff stops, leaving Bonham alone with the drums, and then it returns, although it never seems to reach the intensity or drama of other tracks. Furthermore , Plant's vocals are very tiresome, maintaining very high notes throughout the song and phrasing too much, making it difficult to understand much. Well, this isn't exactly groundbreaking, haha.
Next comes “Going To California”, a ballad that , personally, has never really won me over. The low tones don't suit Plant very well, and after his performance on “ Stairway to Heaven” and “The Battle of Evermore, ” I think this one feels superfluous. Here, Page plays acoustic guitar and Jones plays mandolin (which Jimmi borrowed from this track to play around with on “The Battle”). Very folky , they again go overboard with the Tolkien-esque fantasy at the end, and it's not the band's usual style, although I admit it has its charm in the melodies and some of the arpeggio embellishments, which is why I'm not highlighting it.
Fortunately, the album closes with “When The Levee Brakes”, which, in fact, sounds cataclysmic and devastating, like a dam bursting. The song is a blues, but treated with impressive intensity, and I don't know if Bonham's drumming has ever sounded so tremendous, almost making us jump with that incredibly deep bass drum they recorded in a basement—and here we must applaud the production once again. The structure, then, is that of a generic blues, but the instrumentation is anything but. It has few changes, an opening riff that sounds like a tidal wave and could sound too repetitive were it not for Robert's great harmonica work, which surprises us and even includes a solo recorded in reverse. The vocals, for their part, were EQ'd differently in each verse, using phasing effects to give that sense of echo and distance in the middle of the storm, while the guitars sound sharp as lightning in their dialogues with the harmonica. The lyrics are inspired by the 1927 storm that flooded the Mississippi, and they really work this time, imbued with a certain darkness and pessimism that perfectly suits the apocalyptic atmosphere. Perhaps along with " Stairway ," it's the best track on the album, and it could rival " Jumpin ' Jack Flash" as the song with the most perfect balance between guitars, bass, drums, and vocals—in other words, impeccable teamwork, although the latter is much more heavily produced. A great closer that is generally underrated and not considered a classic of the band. By the way, have you noticed that the drums have been sampled a trillion times in hip-hop songs? It just goes to show you how far Zeppelin's influence extends.
Well, no matter how overrated this album is, that doesn't diminish its greatness and majesty in the slightest. After all, that's what it was created for: to be one of the greatest albums of all time, and it achieved that without a name on the cover. Inside, all you found was the lyrics to " Stairway to Heaven," and the only possible clue was Page's name as producer. But it's clear they didn't need names or publicity, since it has still sold over 37 million copies. The album bears the Zeppelin stamp, and at least four of their best songs, plus four other quite good ones with very interesting elements. No, it doesn't have the freshness of their debut, and some of Plant's vocal and lyrical flaws are already quite present, and for that reason, I think it's just slightly inferior… But even so, it's one of the few I own on original vinyl, and that can only mean it's a 10/10 and an absolute must-have.
By Corvan
Mar/22/2010
