The Cavern
Rock & Words
THE SONG REMAINS THE SAME (Led Zeppelin, 1976)
Artist: Led Zeppelin (B+)
Recording Dates: Jul 27, 28 y 29 del ‘73
release Date: September 28th, 1976. UK
DiscográficaRecord LabelProducter: Jimmy Page
Rating: 9
Era: Hard Rock (1968-???)
Subgenre: Live Album
Best Song: Dazed & Confused
Tracklist 1) Rock And Roll; 2) Celebration Day; 3) The Song Remains The Same; 4) The Rain Song; 5) Dazed And Confused; 6) No Quarter; 7) Stairway To Heaven; 8) Moby Dick; 9) Whole Lotta Love.
It's curious that one of the most powerful machines in rock history, Led Zeppelin, who had a devastating and apocalyptic reputation live, has so few official live recordings. Zeppelin, along with The Who and Cream, must have been one of those bands that knocked you off your feet and changed your life live, without needing all the makeup, pyrotechnics, and paraphernalia that were added in the 70s. Simply the powerful music and the overwhelming personalities of the band members. The curious thing is that there are very few official recordings. There's, of course, Live at the BBC, which I've always found cold (all of them, not just Zeppelin 's ) and more like a studio recording than the warmth and energy transmitted in a normal concert. And then there's this album, which was recorded along with the film during the nights of July 27-29, 1973, at Madison Square Garden. The album wasn't released until 1976. The thing is, it's not one of Led Zeppelin 's best performances either . Although Rolling Stone panned it with its scathing reviews, I have to agree with a line from their review : "the muses were missing." The band was beginning its decline in 1973. I think that up until 1972 their concerts were still a perfectly executed powerhouse, but by 1973, despite being at the height of their fame, they seemed tired and uninspired. There are better concerts, generally from their early period , playing in universities or smaller venues, although they are bootlegs . There's, for example, Live On Blueberry Hill from 1970, which is musically a masterpiece, and every live track surpasses the studio version. Unfortunately, the sound quality is very poor. And then there's Live At Southampton University , recorded on January 22, 1973, with the band still at its peak, and in terms of performance and balance with the sound, it is perhaps the best live album by the group that I have heard so far, although I insist that it did not have an official release.
But let's return to The Song Remains the Same. While far from perfect, it's still Zeppelin. It's still powerful. It's still a tremendous ride and a great display of energy and virtuosity. The album and film were recorded, as I mentioned, over three nights of the 1973 US tour. Eddie Kramer was the sound engineer, using a mobile studio, and then mixing it as best he could at Electric Lady Studios in New York and Trident Studios in London.
The film was also released in 1976, almost simultaneously. Many consider this the official soundtrack , including the band members themselves, although there were some initial differences. The film, for those who haven't seen it, is a mix of shots of the band arriving at the airport or traveling to Madison Square Garden, or in the hallways, interspersed with scenes of them performing the songs on the New York stage, and with absurd shots ranging from portrayals of mobsters killing each other to Tolkien-esque and fantastical visions, such as Plant riding in armor with a sword and traversing forests and lakes in a rather laughable fashion. We do, however, get a glimpse of Peter Grant's formidable personality in action. The video itself was planned as a documentary. Joe Massot was in charge of finishing the film, but Peter Grant didn't like the result and fired him in 1974, replacing him with Peter Clifton. Clifton noticed huge gaps, as well as sequence errors. The four members were supposed to wear the exact same outfits all three nights to avoid editing issues, but John Paul and Jimmy made slight wardrobe changes. Clifton recreated Madison Square Garden at Shepperton Studios to re-record the concert, film close- ups, and fill in the gaps. JPJ had just cut his hair, so he had to wear a wig. If you look closely at the film, you can notice these details, haha. But since there were still gaps, in 1975 they recorded the "extra" tracks corresponding to their magical-comedic-musical- Tolkien vibe .
The film is very peculiar. Although it's not perfect, it's impossible not to recommend it; it's the closest thing to a Led Zeppelin concert we 'll ever get, although many shots are distracting, and since the songs often last more than 10 minutes, it's easy to get caught up in these details and forget what's truly important: the music. I'm more of a fan of the album than the film, but it has its moments, like seeing Page playing the monstrous 26-minute version of " Dazed & Confused", complete with violin bow and a snippet of Scott McKenzie 's "San Francisco".
Although the album version was remastered and released in 2007 with more tracks , this is one of those legendary albums, like Deep Purple's Live in Japan, remembered for its original 9-song tracklist . The differences between this original and the film are that "Black Dog" appears in the movie but not on the album; " Celebration Day" appears on the album but not in the film; and " Since " is included in the movie . “I’ve Been Loving You,” the intro to “ Heartbreaker ,” “Bron- Yr - Aur ,” and a rare track called “Autumn Lake,” none of which were released on the original album. Additionally, some of the tracks on the album and in the film are from different interpretations. “The Ocean” and “Misty Mountain Hop” were not originally on either album or film, but their versions were included on the reissued album.
The night kicks off with “Rock & Roll”, where Bonzo launches into that intro -beat reminiscent of Little Richard’s “Keep a Knockin’”, sending the crowd into a frenzy. They roar before Page even unleashes the powerful riff. Here, you have to listen closely to Jimmy, who manages to play both guitar parts from the studio version with just one, and he does it brilliantly, making the transitions seamlessly. And the power chords ! Wow , they sound slower or more pronounced here, I don’t know, but there’s something Pete Townshend-esque about them, and I can almost picture him doing the “windmill” when I’m not watching the movie. The guitar work is phenomenal, with the brontosaurus-like riff and a more raucous, but inspired and incredibly powerful solo. If anyone doubts Page’s virtuosity, they only need to listen to this track. The downside is that Plant isn't quite at the same level; he lowers the tone and power a bit compared to the original, ultimately diminishing its punch. The production isn't the best either. I suppose both the engineer and the director tried to clean up and clarify the sound as much as possible, but the vocals, drums, and bass sound muddy, and Bonzo could have shone a bit more. Well, at least the guitar, which is the star of the song, does stand out. They don't extend it too much, just 20 or 30 seconds longer than the studio version, making it the second shortest song of the concert. All in all, the guitar work is a real highlight.
"Celebration Day" follows, linking back to the previous track. After the apocalyptic ending, Page continues to whip around with his guitar, creating sonic tsunamis until Plant enters with vocals, and then the drums and bass join in simultaneously to establish the rhythm. Robert delivers a better vocal performance, although it still doesn't surpass the original, and the choruses " mamma " “ I’m so happy, ” he sings with a certain lack of enthusiasm. The rhythm section shines, with an incisive Bonzo constantly adding fills and flourishes, while Jonesy plays those delightful, elastic guitar riffs at breakneck speed. Page’s first solo is identical to the studio version, and the second is more improvised, but somewhat disorganized, with noticeable gaps from the studio-repeated guitar tracks. I like the version, perhaps the best I’ve heard live of this song, but maybe it’s because even the version from Legends of Zeitung III doesn’t impress me much. At the end, we hear Rob greeting the audience with his now-legendary “Good evening ! ”
The album's title track continues. Plant presents "The Song Remains The Same" from his so newly The album Houses of the Holy was released . Page lets out a screaming note, builds suspense, and then launches into a solo guitar solo, surpassing that symphony of who-knows-how-many guitars layered upon layer in the studio. The brilliant sound of the 12 strings is unmistakable. And in the colossal intro , one of Zepp's longest and most complex, the three musicians truly shine. Pure virtuosity. Sometimes I have to rewind three times to follow each instrument. Unfortunately, the vocal part comes at 1:50, "I had a dream …". You can't fault Robert for that; I think he even sings it better here. The problem is that I don't particularly like this part in the studio either, but again, the ones who come up are Bonzo and JPJ, who make small but masterful variations, especially in the slower sections. And then, during the accelerations, they transform once again into an instrumental machine, leading into Page's impressive solo, which at times surpasses the studio version even though it's missing about 17 guitars. All in all, the band shines, and at times all four members appear inspired and perfectly in sync.
The echoes of Plant's final scream still linger as the crystalline, melancholic notes of "The Rain Song" begin. One of my favorites by the band. This version is very similar to the original, slightly slower, more measured, but at the same time more emotive and warm. Jones handles the Mellotron masterfully, creating that soft, dreamlike, summery atmosphere. Bonzo plays a discreet role, playing his toms like bongos for a good portion of the song. Plant sings with inspired energy, perhaps his best performance on the album. And Jimmy sounds great, combining his crystalline notes with Jones' textures. The climax at 5:10 is more powerful, with Bonham pounding his drums and Page adding more distortion, so the Mellotron is more hidden than it should be. A great performance, showing that they can also envelop the audience in sensitive atmospheres live. At the end, the ecstatic applause of the audience can be heard.
We continue with “Dazed & Confused”. Listening to this almost 27-minute version, I realize I've wasted countless adjectives like monstrous, apocalyptic, colossal, epic, dinosaur-like , etc. They should be reserved for songs like this one, which is the very definition of all of them. There will be people who might not like it or who might find it repetitive, excessive, and boring to hear the box of tricks of this magician called Jimmy Page for almost half an hour. But most of us are simply ecstatic before this display of virtuosity and power. It begins with that sloooooow , sleepy, dark descending riff by Jones. The two harmonic guitar tones and Bonzo's ethereal gongs. What an entrance! From the very beginning, there's a much more powerful and terrifying feeling than the original. Listen to Bonham as they extend the intro … The rest is pure magic. I can't possibly describe 27 of the most glorious minutes in rock, as it would take several pages. It's something you have to hear before you die. I'll simply highlight the way they build tension, in a slow crescendo that makes the Doors look like amateurs. The way Page inserts solos with the utmost fluidity and naturalness, at 5:30, during the pauses and bursts, and without warning, Robert is suddenly singing "San Francisco (Flowers In Your Hair)," leading into another incredible wah- wah solo , and at 8:30, beginning Page's superb violin bow solo (which ends up broken), experimenting and sounding sometimes angelic, sometimes like whale song, always a prelude to the end of the world, playing with feedback , receiving standing ovations, and creating one of the most stellar moments in rock history. If the gods of Olympus played electric guitar, they'd surely do it in a very similar way. Although Page undoubtedly steals the show, all three musicians display virtuosity, with a masterful, at times lightning-fast, perfectly synchronized rhythm section, seemingly reading each other's minds to maintain the complex structure and support Page. While Robert occasionally goes overboard with his vocal theatrics, it's still enormous , colossal. Few songs of this length can keep me on the edge of my seat in the same way. And regardless of how many times I've heard it, I always find a new surprise or detail to marvel at. Anyone who says Zeppelin wasn't experimental should shut up and listen to these 27 minutes. In fact, any band in formation should absolutely watch and listen to this entire masterclass before their first rehearsal.
“No Quarter” is another titanic, dark, icy song that also evokes the old gods, but this time the Norse ones. It's one of my favorite tracks by the band, and this version doesn't disappoint; it even improves upon the studio version, extending the intro , with a more prominent wah pedal in the complex riff, longer and more elaborate solos, and even Robert sounds better than on the studio recording. I don't know, the band manages to recreate a greater sense of mysticism, mystery, and texture. The absolute star, of course, is John Paul Jones, with that watery electric piano that I don't know how he manages to make sound like real ice. The solos are colossal, both the keyboard and guitar solos, and the sections where they intertwine and seem to create a dialogue between two instruments: fire and ice. Ha! In fact, this song could be the perfect soundtrack for George R.R. Martin's tremendous saga. Not the Beatles producer, but the author of Game of Thrones. But I digress. The thing is, this is another one of those songs where everything comes together perfectly. The instrumental level is at its peak, and they work both individually and collectively, blending seamlessly and functioning as one to create those otherworldly atmospheres. I often complain about Robert's fantasy lyrics. Here, they not only work, but the music itself is capable of transporting you to remote and fantastical worlds. The version ends up being five minutes longer than the original, but it never ceases to be captivating. Despite the constant mid-tempo, there's always tension, every solo is perfectly placed, and the little bursts of energy are truly brilliant. In the end, Robert simply says "John Paul Jones at piano," prompting perhaps the most heartfelt ovation of the night from the audience.
We continue with epic songs. “Stairway to Heaven” is Zeppelin's most well-known and acclaimed song. This version is good, very faithful to the original in the first part, although I don't know if it's just my nerves or if it's slightly slower. Robert also adds some inflections and details, but without overwhelming it, singing with confidence and more emotion. Jimmy plays his double-neck Gibson SG here ( a really cool guitar, I want one like that), playing the first part with the lower section, in a clean and crystalline tone. Jones plays the flute intro , which has always struck me as breathtakingly beautiful, medieval in its beauty. Here, the contrast between Jones' descending scale and Jimmy's ascending scale is perhaps more noticeable. At 2:20, JPJ makes a small change in the last flute section to lead into the second section, where Robert begins to add more " Ahhh's " and " Ohhh's ." The keyboard effect changes to a subtle piano sound behind the guitar, and Jimmy is now using the upper arm, adding a bit more effect. At 4:20 comes the part that makes the live version unique, with Robert asking, “Does anybody remember laughter ? At 4:50, Bonzo comes in to give it more punch, adding more fills and energy to this version. Jones continues on keyboards, and it doesn't sound like he's using a bass piano like Manzarek 's , so I assume the bass that comes in is played by a session musician. The song keeps increasing in volume, with more differences from the studio version, Jimmy adding swift and elegant embellishments. At 6:00, a long scream ends the "Ballad" section, distortion kicks in, Bonzo unleashes his full potential with the flourishes, and yes, here it comes: At 6:30, that heartbreaking beauty of the solo . He modifies it quite a bit, lengthening the beginning and creating tension, playing with scales, changes in tempo, and working pure magic. The curious thing is that he changes it enormously, but it's still " Stairway ," the grandeur of the solo is still felt in the sequence of each note, even though it's improvised and loses some of the power of the original guitar solo. Bonzo is getting more and more unrestrained, doing drum rolls and running all over the place. The drums kick in whenever they get the chance. At track 9 comes the climactic part of the solo (it seems to run out of time and end up being too short) before Plant enters for the furious final section, which literally takes us to heaven. Almost eleven minutes of epic beauty. A good version, but I think Jimmy should have incorporated more of the original guitar solo. I'm not against what he does here, but it seems he discards the most important parts that make the studio version's solo the best in history. And at times, Plant goes overboard again. I know it's impossible to surpass the original guitar solo, and there's no point in repeating it note for note, but in my opinion, it doesn't surpass the studio version, and that's why I can't give it a top mark.
We continue with “Moby Dick”, in a brutal 12-minute version. I suppose those who can't stand the original 4:20 will shoot themselves before they finish listening to this one. But I'm also sure that drummers will find it too short, haha. The truth is, it doesn't leave anyone indifferent. The riff is more brutal and heavy, with Page making his guitar spark, but at 1:15 they leave Bonzo alone (literally, in the movie) to do “that funny thing he knows how to do.” It's no wonder he was considered for a long time the most powerful drummer on the planet. Bonham was a tall, incredibly strong guy who hit the drums with unparalleled power, and he demonstrates this in the 10 minutes of the solo. The first part is more rhythmic, aiming for the highest possible number of hits per minute. Then he goes off-beat. Boogie . Around 5:20, he throws down his drumsticks and starts hitting them bare-handed, in a way I've seen many drummers attempt without ever being able to match. He starts to speed up, calms down, goes wild, plays with the tambourine, picks up his drumsticks again, focuses on the cymbals for a while, then goes full speed ahead on the bass drum (with just one pedal, for those metalhead show-offs who use double or triple bass drums). Anyway. In the film, there's a part where we see Jason, around 3 years old, hitting a small drum kit. At 11:10, he makes his majestic entrance again, and the other instruments return for the colossal exit and a final roll. "John Bonham, John Henry Bonham!" Rob shouts. Anyway, tremendous, although I know not everyone likes 12-minute drum solos.
We close with “Whole Lotta Love”, with its brutal, more aggressive, and sharp riff. Robert sings with everything he's got. His voice sounds slightly tired, but that raspy tone suits the song well. The downside is that he overdoes it a bit again. After 1:30, they start improvising and playing with the rhythms, creating a sort of disco-tinged boogie that mixes parts of “ The Crunge ” with Plant asking, “Does anybody? ” "Seen the bridge?" They continue jamming , and with that strange rhythm, they move into the bizarre orgasm section, with Jimmy creating spatial effects with the lyre and Robert screaming with a heavy echo. They keep jamming, but I don't think it's one of the band's best jams . The song loses power and darkness. At times, they recapture it when they return to " Whole Lotta Love" exactly as it is. Perhaps they should have ended it at 6:30, but then they continue with Robert singing , or rather, narrating the song, then doing a country jam that evolves into jazz, and... well. I would mark it in blue, but the fragments where they stick to the original are a real juggernaut in power and aggression. They should have played it exactly as it is this time.
In short, it's not a perfect album. None of the band members were satisfied, and it's not the best showcase of Zeppelin at their peak. Robert overuses those vocal inflections and exaggerations, and at times it becomes too saturated. Jimmy also seems determined to show off with so many solos, but some don't sound fluid, rather forced, lacking that natural magic that can be perceived, for example, in the aforementioned Live At Southampton University . But it's not terrible either; it's still a tremendous demonstration of power, and if you haven't heard Zeppelin's other underground live albums , you'll most likely be blown away when you hear this one. If you want a perfect live album, go to Live in Japan or Live at Leeds, which, song by song, surpass the studio versions without being copies, which is what truly makes a live album a valuable historical document ( why would I want to hear the songs exactly as they are on the album? ).
This isn't quite on the same level, obviously, but it's still Zeppelin, on their best world tour, before tragedies and addictions befell them and significantly diminished their sound. Despite its flaws, one can close their eyes and be swept away by this journey through time, because even in their slumber, Led Zeppelin surpass virtually every current band at their peak. Each member has their moment in the spotlight, and for long stretches, they manage to blend together, summon the muses, and become a devastating four-headed hydra.
By Corvan
Jun/29/2012
