Led Zeppelin-a-Day: "Royal Orleans" + FIN

"Royal Orleans", Presence
As the story goes, John Paul Jones picked up a lady friend - or so he thought! Lady friend was actually a dude lady, and shazam, tranny in JPJ's hotel room! JPJ and Dude Lady smoke a doobie, fall asleep with said doobie still lit, and the room goes up in flames. Don't say JPJ didn't know how to party. John Paul Jones claims he knew Lady was a Dude and they were hangin' like friends. And that the whole misinterpretation of sexes happened to someone else, elsewhere in the world. Well, okay. Whether or not John Paul Jones thought he was getting lucky, but then, you know, didn't, is of no importance. He still set a hotel room alight in the Royal Orleans hotel in New Orleans, hence the title. The song itself is fun and funky, with Page providing those riffs worthy of a James Brown record, and Bonham providing a light swing with bongos. Page's solo is fleeting but exciting. I don't rank this as one of my all time favorites, but its good enough.

And what? We're done? Well yeah, basically. I technically didn't review "The Ocean", "Ten Years Gone", "In the Light", and "Tangerine" with this project, but I did review them here. This was fun, wasn't it? Thank you to everyone who emailed saying they liked it throughout xx

Led Zeppelin-a-Day: "Boogie with Stu"

"Boogie with Stu", Physical Graffiti
Eh, "Boogie with Stu"... I'm hearing it differently right now. Its a cute little number, perfectly channeling those heroes of the 1950's. It isn't explosive, just fun and rollicking. Ian Stewart is an absolute luminary, and he more than anyone else carries this track. Toss in some mandolin, that slapping guitar, and things are pretty good. It isn't the most exciting thing Led Zeppelin ever did, no way! But it certainly isn't trying to be. Its a comfortable and content number. Smooth and spontaneous, I feel myself opening up to it.

Led Zeppelin-a-Day: "Custard Pie"

"Custard Pie", Physical Graffiti
Weeoo, so even though "Custard Pie" is off Physical Graffiti, I'm not a massive fan of it. Like most Led Zeppelin songs, I went through a phase with it, but its reign as a favorite didn't last long. It relies too heavily on standard bluesy goodness, even if they're pulling from such luminaries as Bukka White. Of course its just lovely to hear Robert Plant howling about "chewin' a piece of your custard pie", but overall the tune doesn't hit the spot. It does boast a few mesmerizing features, which never fail to enthrall me - such as JP's wah-wah solo, JPJ throwing down a bit of clavinet, and the harmonica solo that fades until the end of the track. In my mind, "Custard Pie" is eternally buddies with "The Rover". But I rarely ever play either one voluntarily.

Gear up dudes, its the final stretch!

Led Zeppelin-a-Day: "Rock and Roll"

An extended apology for being such an awful blogger as of late. I've been so busy! School, social life, transcribing interviews, preparing questions for interviews, with writing and sleep squeezed in there somewhere. By summer, I swear I'll be the most diligent blogger ever! But I'm not sure how rocky it'll be until then, just bare with me, because I genuinely adore doing this. I could stomp out these daily reviews with ease, but I like to take my time, which I don't have much of these days. But I am blogging now, so everything's alright! And for the record, I worship everything I've got my toes in lately. Mildly hectic, but all worth it.

"Rock and Roll", Led Zeppelin IV
"Rock and Roll" immediately calls to mind a mental image of the band ferociously stomping about the stage at Madison Square Garden. Its another tune which for a long while, I loathed and ignored. Its actually a pretty exciting number. An intoxicating throwback to the much-adored tunes of the fifties. John Bonham delightfully pays tribute to the late, great Earl Palmer - underrated drumming maestro, who blistered through countless classics. My favorite feat though, is Ian Stewart's glorious boogie woogie piano! I find Page's guitar pretty standard - driving and compelling, but standard. Ian Stewart gives the track a light swing, a lilt you have to stop to hear. But doesn't it just sound delicious? They also collaborated on "Boogie with Stu", but I'll side with "Rock and Roll" as the better track.

Seriously seven songs left... KEEP TRUCKING!

Oh! Forgot to mention that I did find time to see Jeff Beck at the Nokia Theatre on Saturday with my dad. He dazzled me, as I'm sure you can guess, and now I have to find the time to pen my review! But note to self: bring a notebook next time. I foolishly reached for my notebook, and thought, "If its important, I'll remember it." I sat, utterly inspired, with the sentences writing themselves. It was all so quick that its difficult to remember it all! But anyway, look out for that. xx

Led Zeppelin-a-Day: "I Can't Quit You Baby"

Out of exquisite group shots, so here's Jimmy Page in a chunky scarf!

"I Can't Quit You Baby", Led Zeppelin
Another bluesy scorcher which has never done a single thing for me. Perhaps as an Otis Rush devotee, I'd just rather listen to the original. Led Zeppelin's version lacks the explosive energy they typically brought the standard licks and grooves. They don't bring any fire or zest into the performance. Its just a bit boring. Wikipedia says this of the tune, "[It] ends up as one of the most successful pieces on the first album, with no flat spots and a perfectly symmetrical form, all within the classic blues tradition." I guess that's why I don't like it. It lacks the brilliantly eccentric and spontaneous flair of Zeppelin. It plays it too safe within the realms of "classic blues tradition". Live versions occasionally flirted with this energy, but overall, I simply don't dig this track.

Led Zeppelin-a-Day: "That's the Way"

"That's the Way", Led Zeppelin III
"That's the Way" is undoubtedly one of the most simple and beautiful things Led Zeppelin ever did. I held off on reviewing until the near-end of this project because I feel so strongly about it. Gentle, light, ethereal, with a near heavenly lilt, "That's the Way" is a most fruitful showcase of this very multifaceted band. It contains so much magic. Not only is Page in open G, he has also delicately woven in the always-awing pedal steel. Swift swelling of my heart. And not only does the pedal steel give the track such radiant warmth, JPJ is on mandolin! Its spring now. I look out my window to see the once golden mountain turning a blissful green, with the sun grazing its way through the overgrown wildlife. My favorite tree outside my window is no longer starkly bare as it was last week. "That's the Way" embodies so gracefully the mood of this revitalized season. Simple. Beautiful. Blossoming. Uniquely and purely perfect.

Led Zeppelin-a-Day: "The Wanton Song"

"The Wanton Song", Physical Graffiti
The captivating churning of "The Wanton Song"'s sensuous riff. Full volume, top skill, utterly contagious energy. If there is one thing these guys could do, it was translate a mood onto record. It seems oozing sensuality onto a slab of vinyl came quite naturally to them. Page fucking dominates, no contest - though I'll say Plant sounds rather scrumptious as well. Page is sharp and compelling, with that riff screaming, "Listen to me now. Get up and move." And his exquisite use of backwards echo and a Leslie... The way he slithers into that powerful solo, and momentously hops back into the track's initial momentum. Mystical and powerful, this track displays prime Page. Precisely why Presence and In Through the Out Door don't even compare.

Led Zeppelin-a-Day: "Tea for One"

Oh! I've missed a few days. I've been incredibly busy, and usually I would catch up supremely, but I have a confession... I don't want this project to end! And its almost over! I'm having a difficult time juggling a social life, school work, writing, and SLEEP. So sometimes this sort of thing takes a backseat, and I'm letting it, if only to go on longer. A California heatwave has come on, and I'd wish school would coincide with Mother Nature and let up, but I'm juggling greatness and having a lot of fun. After all, you've got to work hard to get what you want, so here I go, relentlessly doing it all.

To make up for the dark boredom of this post, here's Jimmy Page and his dad. Albeit, in a low-quality photo.

"Tea for One", Presence
I have another confession. I've come to conclusion maybe Led Zeppelin wouldn't have gone on to be continuously brilliant. When looking for some sort of "truth", its best to look at what life has shown you. Case in point, following Physical Graffiti, Led Zeppelin mostly declined. Things were not looking up. I mean, sure, Jimmy Page and John Bonham wanted a straight-forward rock and roll record following In Through the Out Door, but both were still heavily involved with their substances of choice. Realistically, this project could very well have been a disaster. Led Zeppelin and the eighties? It just sounds awful. So love and admire Zeppelin as I do, I've realized even Presence may slightly resemble a band on its death bed. Don't get me wrong, I love and admire Presence as well, but the spiral has begun. Occasionally magical, you have a few gems. But then you have a few half-assed numbers that don't really stand up. Maybe they would for a mediocre band, but Presence followed a great deal of momentous brilliance from this lot. But then again, I feel Presence is a kind of "for Led Zep fans only" album. I think the bravado of "Achilles Last Stand" will impress any rock fan, but will a random Joe fully comprehend the broody, funk bliss of "For Your Life"? An outside listener may be more apt to fall for "Royal Orleans", if only for that shuffling rhythm and encompassing riff. Coming around to today's subject, "Tea for One", I'd say it doesn't hold as a stand-out. The band would beg to differ, as its been personally acclaimed as one of the album's savior. They aimed for "laid-back blues" and they got it. Its dynamic and melancholy, yes. The crescendos and layers are mystical, sure. But it lacks the heart-wrenching emotion of its very close sibling "Since I've Been Loving You", and I'm simply using that as an easy example! It nearly crystallizes murky depression, but it isn't strong. It isn't a sterling display of forlorn emotions, its a lacklustre show of a band going down. And again, Page hits some desirable notes, but it lacks that punch. Its watered down. I can't see "Tea for One" being any different, but all I can say is, it is no favorite of mine. Not bad even, just not that wonderful, power, eloquently articulated emotion I know and love of Led Zeppelin. My heart isn't to my ankles, that's all.

Led Zeppelin-a-Day: "Communication Breakdown"

"Communication Breakdown", Led Zeppelin
Frankly, I don't like "Communication Breakdown". Its obnoxious and less than intoxicating. I might have liked it just a little when I first discovered it, very early in my Led Zeppelin education -- but now, no! Its so dull and boring. Its a galloping riff and Page's guitar playing is wondrously possessed, but its absolutely nothing compared to other galloping riffs and wondrously possessed guitar tonality! Its a cop-out, a cover-up. They give you this blasting performance, which is, in fact, boring. And I'd just like to stuff a sock in Robert Plant's mouth. His vocals irritate me greatly here. The other day I was told, "You know, for being such a big fan of Led Zeppelin, you sure do hate them a lot." I was insulting the lacklustre power of the Knebworth performance, probably. Me, hate, and Led Zeppelin don't even go in the same sentence together. BUT, I'm so adoring, that I'm able to be honest when something isn't magical. I adore the moments that are magical, and expect as much. So I'll be the first to say when its not.

Led Zeppelin-a-Day: "Black Dog"

"Black Dog", Led Zeppelin IV
Oh, "Black Dog", what can I say about you? People just love "Black Dog". They expect a great deal of applause when they put it on. I'm the first to say, "'Black Dog'? Really?" I mean its legendary,  of course... The elaborate JPJ-penned riff is fantastically busy. The band is gutsy and strong! They immaculately groove with a powerful force. Robert Plant howls, exclaiming things like, "A big legged woman ain't got no soul!" These are the type of things I fancy. Oh, this project will conclude soon. Everything harmonizes, rhapsodizes! Everything simply gels. Its catchy and so goddamn accessible. It isn't surprising its been such an enduring smash with the general public. The song fades out with the excitable outro solo from Mr. Page, and its just overall a happy number. So whoopdidoo, "Black Dog" is fine, sure. But don't expect me (or anyone else!) to be so utterly impressed when you put it on. Nope, I'm afraid you'll have to dig a little deeper than that. I'm so happy with this project, really. Will I have anything left to say about the band once its through? Its funny, because I've realized that the type of writing you do, more particularly how songs effect you, depends on your mood! The basis is essentially in tact. A good song isn't going to be bad on a bad day. Nor will a bad song suddenly become good! But the little details, not the broader picture... That definitely depends on the day. I've never written so regularly, not before this project. Now I can't even imagine not writing just at least simple snippet everyday. It led me to closely examine these songs... Some songs with which I had an incredibly refined opinion, others with which I came to some sort of conclusion. Its been fun. Sometimes tiresome. Occasionally, I thought, "Do people want to read about this stuff so frequently?" But then a really great song would come up, and I'd say, "Well, I want to write about it so frequently. That counts." And it isn't over yet! But if anyone has been kicking and screaming over such excessive LZ coverage (but then why why WHY would they be reading this blog, really? I can't go a few posts without bringing them up!) then be prepared for the completely random hoopla that is my iPod. I'll be randomly selecting one song a day once this little shindig of a project is over. I'm really excited to write about things I just normally wouldn't sit down to write about. But I've still got a bit more of Led Zeppelin to cover -- so hold tight! xo.

Led Zeppelin-a-Day: "Four Sticks"

Only two sticks here!

"Four Sticks", Led Zeppelin IV
"Four Sticks", how wondrously hypnotic. Such power and fury, from the very start. The entrancing rhythm, the four sticks! John Bonham boasts such musical strength, with the wild beat holding court. But that strange, spiraling guitar riff, as it abruptly stops, and then excitably explodes! The entire track is just so remarkable and vivid. Robert Plant isn't saying much of anything, yet is expressing a great deal -- with his titillating yelps and hums. Uggh, just such an alluring number. Its grandiose mood, demanding your attention, forcing you to move move move! Startling, sensuous, rich, and sublime -- oh, I love when JP throws that fuzz over. Everything elevates to a new high, and the intensity of Led Zeppelin has fully taken over. Commanding and magical, "Four Sticks", I love.

Led Zeppelin-a-Day: "For Your Life"

"For Your Life", Presence
Though not a favorite, "For Your Life" reigns as a standout track off Presence. The band's choice to perform it at their 2007 reunion was random and laudable. The aforementioned inaccessibility of Presence did make "For Your Life" a bit of an obscure gem, but it was a gem worthy of the significance built when a song suddenly startles you, even after such a long period of familiarity. The song takes time to build. It possessed that dark and sensuous touch of Presence. When the guitars aren't soaring and harmonizing, as on "Achilles Last Stand", everything is dropped very low, making the entire album very thick and moody. As I've said, the strains under which Led Zeppelin were placed are certainly evident. Sometimes this doesn't work, sometimes it really does. It works here. The track slowly escalates from the leading groove, stumbling into another. Page performs a sublimely funky lick, with the whole band following in pure funk form. I love that lick. They do use it quite frequently, but its possessive and alluring. Rather than being turned off by it, you simply become more captivated. The lick itself transforms, with the band carrying it to new heights. Page's solo isn't one of his best, I'd say. Certainly when I think of a great Jimmy Page guitar solo, I don't think of "For Your Life", but listening to it now, I catch his guitar going on small tangents. He has a masterful way of tossing in oddball notes, its very subtle and unexpecting. The word "oddball" sort of implies something is gonna stick out and grab you. Its immensely subtle, very swiftly thrown in, but its very tasteful and characteristic of his charismatic style. "For Your Life" is a good number, buried deep in the expansive catalog of Led Zeppelin -- showcasing the band at a raucous time in their career. Possibly one of the last great Led Zeppelin songs.

Led Zeppelin-a-Day: "The Rain Song"

"The Rain Song", Houses of the Holy
I've been listening to "The Rain Song" a great deal lately. Despite its title, it goes marvelously with a sun-kissed day, and also the wee hours of the night, just before bed. Though I've heard the song endlessly, as it ranks as one of my very favorites, its poignancy never seems to fade. The delicately ethereal lilt, the grandiose sounds of JPJ's ascending Mellotron, matched with the intimate and gentle coos of JP's Danelectro - and the way they all come together - its timeless and heavenly. Light and sweeping, it cradles you into its realm, elegantly building into an epic, with its emotion boldly in tact all the way through. Robert Plant gracefully sprinkles his vocals throughout, as he leads the band's showcase of versatility. And did I mention, the guitar sounds shatteringly gorgeous? Yes. I didn't even know he played a Danelectro on it until recently, because he played it on the double neck live. And that note that I've mentioned before, you first hear it at :29. Everlasting, yes. And beautiful -- absolutely.

Led Zeppelin-a-Day: "Ramble On"

Tour program for one of their early tours... Don't care to find out which, judging by the photo I'd say '69, not later than '70. Anyhow, this photo is on my wall, "trippy" coloring and all!

"Ramble On", Led Zeppelin II
Such an incredible tune. Like so many others, "Ramble On" belongs to that rather large pocket of Led Zeppelin songs -- the ones that completely give it away, they're my favorites. The emotions leap at me, and I'm transported to that moment of discovery. "Ramble On" was a distinct moment of "getting it". Its a fairly obvious number, isn't it? That leads me to believe it was early in my education. It prefaced my Led Zeppelin II phase, I recall that. It was before I "llamaed" (a trademark dance move, for cramped cars only) to "Moby Dick". It isn't in the typical vein of II and maybe that's why I love it so. It isn't full of chunky riffs and blinding sensuality. Its light, delicate. If "Bring It on Home" is the cherry of Led Zeppelin II, then "Ramble On" is the whipped cream. A rare sensation, smooth and delectable. "Ramble On" commences with captivating, intimate rumblings -- yet just as it dips, it soars. Bold and broad streaks of intricately layered guitar. Perfect tone, bursting with optimism, joy, pleasure. Can't you hear it? Led Zeppelin were having an amazing day. The pitter patter of John Bonham's drum, that stunned me so, I thought the track was skipping. The jovial yet subdued bouncing of JPJ's bass, such a glorious asset of this track, which flirts so divinely with the light strumming of the guitar. And most of the all, the striking dance with which Jimmy toys. The goddamn epitome of "light and shade". It goes from gentle and subdued, then it all hits a high. A superlative moment. A gem among gems. As the song hits its stride on the chorus, you believe the apex has come. But masterfully, they bring it back down, until the addition of the radiant guitar harmonizing. And it just. keeps. building. The gentle bits become more elaborate, more alluring. Even when its tame, its still steaming. Robert Plant (poorly neglected, oh!) hums and wails -- hitting a stride towards the end, as they employ dizzying stereo production. As the song slowly closes, his vocals mystically hop from side to side. I trail him before he disappears, concluding a purifying moment.

So I've got a lot of Led Zeppelin-a-Day entries waiting, but I'll continue posting them daily from now on, instead of flooding pages with them. Almost through with this project! xo.

Led Zeppelin-a-Day: "D'yer Mak'er" + "Houses of the Holy" + "Stairway to Heaven"

Whoa dudes, I'm mega apologetic for skipping TWO DAYS. I've been seriously tired and super busy, but here I am, making up for it! Its getting to the point where I'm forgetting what I've reviewed already. I'm gonna have to craft a playlist, excluding those that I have already. But bam bam bam, I'm rambling! So let's just do this thaaaang:

FUCK, I thought I hadn't done "The Crunge" but apparently I have. Yes, that playlist is definitely necessary.

"D'yer Mak'er", Houses of the Holy
First of all, let's say: I'm very much American. And it took a long for me to get the "D'yer Mak'er" = "Jamaica" memo. Thankfully, I had a premonition I was wrong, so I simply didn't say the title aloud. But uh, there it is. With that aside, onto the tune itself! "The Crunge" and "D'yer Mak'er" were intended as jokes, and for being that, they come off very well. They aren't meant to be taken seriously, and their lighthearted feel is absolutely appealing. "D'yer Mak'er" is probably one of the first songs off of Houses of the Holy that I got into, and I used to quiz people. What's the most said word in the whole song? Its "I", not "oh", as you may expect. I love the smooth dub feel, with the chunky reggae guitar, and the doo-wop beat. Its breezy. Its fun, airy, and maybe a little dainty. An effective summer jam, I'm sure. It does just fine on Houses of the Holy, not bringing down, but keeping it casual and ethereal.

"Houses of the Holy", Physical Graffiti
This song is really fun. I always find this one on random jukeboxes, and so it epitomizes sauntering around, mingling and the like.  The funky, distinctive, chunky riff. I love it. A riff group, simple and thriving. Yet, intricately dynamic... It doesn't happen too often. I love when his guitar goes off on those little tangents. There's mini solos and surprises throughout the whole song. The whole thing is just rollicking and enticing. Uncomplicated, but easily drawing you. "Are you dizzy when you're stoned? Let the music be your master." Its all very comfortably brilliant. It doesn't inspire reckless prose, fire and passion. No. But its just bouncy and energetic. Those synonymous ooh's. The guitar solo that indeed sounds more 1972 than 1975. All good. Comfortably brilliant, it fits.

The wizard behind the curtain.

"Stairway to Heaven", Led Zeppelin IV
The time is now! Hilarious. Let's just do it... I really can't do this without laughing. But I feel I owe it to make something great. It makes me laugh, because "Stairway" in itself, is a monument. Its snowballed into an anthem, a song that everyone knows. When you think of it, "Stairway" isn't immensely accessible. Folk guitars, recorders, endless solos. Yet, somehow, it has the ability to reach everyone. It makes me laugh, because it is so massive. Its the quintessence, a stroke of brilliance. My squeamishness simply reaffirms that. Its incredibly long, it experiences erratic fits -- and yet, it stands up. Still, and eternally. Jimmy Page has stated that it sums up the band, showcases their every whim... And as much as I want to say it isn't so, it is. Within a single number, they showcase their lilting and delicate side, they cross over to rambunctious and... fuck, I'll say it, HEAVY. Each member is delightfully exhibited. It isn't at all self indulgent in doing so either. Its masterfully thought out, with very particular arrangements. It sweeps and it soars. It roars and hums. And just builds and builds, to momentous heights. From a tiny grain of sand, to the tallest mountain. It manifests into an opus, and the band works in intense unison. Driving and abundant. Rich and exuberant. Everything to the extreme! Go go go! It hits unfathomable peaks, with the guitar just sounding so delicious. The tone, the movement. Its all there. For a brief instant, everything is superlatively immaculate. Sublime and utopian. Without a single flaw, untainted and UNRIVALED.

Led Zeppelin-a-Day: "Friends"

"Friends", Led Zeppelin III
"Friends" is another one of those songs that I'm not sure where it lies between rarity and classic. I think it leans more towards rarity, but I believe it to be one of the best Led Zeppelin songs of that era. It certainly ranks as one of my all time favorite off of III. It commences with atmospheric chatter, before the addition of one incredibly catchy riff. The entire song is absolutely magical, with the swell of the JPJ-arranged strings and the overall Eastern influence. "I'm tellin' you now, the greatest thing you ever can do now, is trade a smile with someone who's blue now. Its very easy, just-a." The whole track is very thick, though not necessarily dark. Closing with the Moog's drone, it ends a very compelling number. At just under four minutes, they crafted a track that is enduring and powerful.

Led Zeppelin-a-Day: "Nobody's Fault but Mine" + "Achilles Last Stand"

The hat... If it wasn't for the bow, I'd question who was beneath there.

"Nobody's Fault but Mine", Presence
 I really didn't get into Presence for a long time. I'd say of all the Led Zeppelin records, its the most inaccessible. Presence is a better album than In Through the Out Door, but takes more time to develop that taste. "Nobody's Fault but Mine" is one of the lesser, great Led Zeppelin songs. Meaning, its in the batch of great ones, but its not one of the best. All that...

Wow. So I did this last night, when I was supposed to -- and totally forgot that I never published it! Until right now, when I began writing the post for 3/11 (at 12:45AM, mind you). I wrote this when I wasn't connected to my internet, and IT DIDN'T SAVE. That has never happened to me -- typical computer disaster. My first. I was wise, and I left it open. I left my computer to watch The Killers (lame, but wait for my weekly wrap-up) and it FUCKING RESTARTED TO INSTALL UPDATES. So bye bye completed "Nobody's Fault but Mine" review, which I had not published because I wasn't connected to the internet, and had not yet adorned it with a photo! So um, that up there is all that blogger got. I'm gonna attempt to finish it now.

... goes on is absolutely thunderous. The band effortlessly sway between tempo changes, proving themselves to be an efficient unit. Such divine chemistry! The triple-tracked guitar is undoubtedly striking, but just sort of emotionless. John Bonham and JPJ hold down that killer rhythm, which is great and explosive. The harmonica sounds rough and delectable, adding yet another sublime element. And I'm listening, and Page's guitar is utterly dynamic. The whole song is great one, no doubt. But it fails me somewhere. Its a good song, but its missing that spark. Everything is a bit swift and emotionless. Like they just cranked it out, bam bam bam, "here you go"! The urgency and pressure under which Presence was crafted is immensely evident. On some it works in their favor. Not so much here. "Achilles Last Stand" certainly wins for token Presence epic. But that hasn't come up yet, so mum I go!

And now for tonight's actual post:

"Achilles Last Stand", Presence
Ho ho ho, do you enjoy how I played that? "Achilles Last Stand" is fucking marvelous. Rampant, volatile, and damn near dangerous. Staggeringly powerful and totally electrifying. Let's say I could only play one track to someone to prove the greatness of Led Zeppelin. "Achilles Last Stand" wouldn't be it. It isn't multifaceted enough. But if I had to prove Led Zeppelin to be an intense and heavy force, wild and unruly... That's "Achilles Last Stand". Which is a rather bitchin' trait, is it not? "Achilles Last Stand" emulates all of those words which I use so frequently to describe Led Zeppelin: dynamic, explosive, intricate, masterful. Everything is done with such sophistication, but its also untamed and ragged. And I dig that so much! As I was researching Jimmy Page's use of the B-Bender (edit: That makes it sound like he uses a B-Bender on this track. No, not that I know of), I came across something about how he is an overrated guitar player, because he made mistakes live, and probably wasn't even capable of note for note perfection. What a silly thing to expect from JP. What I'm talking about is the EXACT OPPOSITE of what those forum fools were discussing! His playing live, and in the studio, especially on this track, was fantastic. It was always inventive and he was CONSTANTLY exploring. That's the allure. The spontaneity and the rough nature. But it always had this underlying tidiness. Tidiness isn't the word, because that stuff could get straight up outlandish, but it was always conducive. He didn't go anywhere unnecessary. He took risks, but they well thought out and perfectly placed. Few songs showcase that better than "Achilles Last Stand". I normally associate "guitar army" with things like "Ten Years Gone". Lush build-ups and bursting pleasure. But "Achilles Last Stand" is a true GUITAR ARMY. Caps necessary! Its genuinely orchestral. I was going to say its also missing a certain emotional statement, but I'm calling myself out! That would be untrue of "Achilles Last Stand", I simply associated "emotion" too closely with melancholy. The guitar is climactic, even apocalyptic! It builds, it crashes, it scorches, and it PLEASES. He hits some of those great "happy/open" notes, as I call them. Its truly extraordinary. And seriously, John Bonham, John Paul Jones, Robert Plant -- the neglected lot of this blog, they're steaming here. Absolutely raging. JPJ is galloping. Along with John Bonham, a true powerhouse, they provided this great contrasted background for Page to layer on top of. And it all simply wouldn't have worked if those elements weren't all perfectly in place. I certainly dote on Jimmy Page as the master of that group, but don't get me wrong, I'm fully aware his talents alone couldn't have cut it. No one but those four. Its magical.

Led Zeppelin-a-Day: "Down by the Seaside"

"Down by the Seaside", Physical Graffiti
Meow, "Down by the Seaside", a tiny chunk of my heart. Soothing and rollicking, I love love love. In a way, bad songs are easier to write about than really good songs. Especially one like "Down by the Seaside", which is so captivating and significant. I love the guitar, laden with tremolo, mingling with the intricate electric piano. Together, its utterly magical. Just the tone of the guitar, and that solo-esque interlude -- its truly majestic. The entire song wriggles between electrifying and that grandiose underwater, mesmerizing feel. "Down by the Seaside" makes me dizzy, extends my entire being into intense glee. And oh, its just a song. But I think that in itself is the most beautiful thing. To be so moved by something that is all in all quite simple. Its that sound as Jimmy's guitar dips and soars. Its so delicate and I simply revel in the sound in an unknown way. I can't say why these things make me feel the way they do, but they do! And if I look back at myself years from now, and think, "Oh, silly. It was just a song." I feel bad for me then! Its the greatest thing in the world for me. right now. To have a divine romance with words, and anticipate what the next word will be. Letting them serendipitously flow from me freely. Or having to stop and deeply ponder what I can say that can crystallize  my emotions, or some momentous sound on a record. Searching for the word, finding my voice, playing a single track over and over to GET it. I get it. "Down by the Seaside" is bite-sized happiness, and that is something that most be affably embraced. As the guitar floats, and Robert Plant coos, and the electric piano has sunken in so deep that its a part of you. As everything becomes quickly sinister and becomes deliciously funky, and yet just as quickly, transforms back into the lilting ballad that makes me feel indefinably GLORIOUS. The slow and crawling warmth which resounds from JPJ's keys just before every verse -- its simply perfection. Its everything all at once. And to think, Physical Graffiti holds endless moments like this. "Black Country Woman" and "Boogie with Stu" are practically boring, but to have such divine greatness elsewhere makes it that holy record to me. And its something I knew all along. I just want to shake my body and sigh, because that's what it does -- and I want to translate that into words. Am I getting it across, I wonder.

Mostly its this encompassing moment of truly indescribable feelings. Of really wanting to write. Of being truly, truly inspired! It makes me feel as I have the most extraordinary gift in the world. And I'm so grateful to utilize it. And I'll just keep learning to crystallize those emotions and splatter them all over a page. I want a bubbling stream of passion, I want to read these prose and feel those emotions. That's the goal.

Led Zeppelin-a-Day: "Heartbreaker"

Jimmy Page also used to incorporate Simon and Garfunkel's "The 59th Street Bridge Song (Feelin' Groovy)" into the solo.

"Heartbreaker", Led Zeppelin II
Oh, "Heartbreaker". That riff... A goddamn monument. I don't listen to this song too often, because its one of those obvious numbers. Can't take too much of it, but its sort of a joy too, in that way. The fact that Led Zeppelin have so many songs that are just so iconic, is rather thrilling. Even though the riff is a mild stroke of genius, I really enjoy the hearty bass rotating through a Leslie throughout the verses. The entire song is yet another that further proclaims Led Zeppelin II as one of the sexiest albums of all time. And it is! No contest! And then, that a cappella solo... Let's see, its very Jimmy Page circa 1969. And it sounds luscious, absolutely no doubt about that. Magnificent, jarring, and characteristically insane. But I also must admit that it isn't my favorite kind of Jimmy Page solo. Less emotional, more overtly showy -- not my favorite style. But then, bam! Right back into the leading momentum. That solo was adding after the rest of the song had been recorded, which is admirably unusual. Ah, and history also shows its the first recorded use of the Les Paul/Marshall stack combo. "Heartbreaker" just isn't one of my favorites, though sometimes it can certainly rev me up. But usually, not. So my enthusiasm is less than contagious...

Led Zeppelin-a-Day: "Misty Mountain Hop"

I keep finding Led Zeppelin photos in my all too large digital photo collection. So, I won't have to resort to a massive stream of solo Page photos just yet.

"Misty Mountain Hop", Led Zeppelin IV
How has this not come up yet?! I love "Misty Mountain Hop". With a title boasting such whimsy ("misty", "hop"!), its truly a bouncy and magical piece. JPJ absolutely dominating in a glorious way on the electric piano -- such an enchanting instrument! And oh, the riff that he and JP bring together with such glee. And John Bonham, he's incredible! I simply don't say it enough. He's purely a musical barbarian, providing that miraculous swing. So talented and inspired. In a word: exciting. The entire song is unabashed excitement. Funky and danceable, with such bright and animated lyrics. "They asked us to stay for tea and have some fun." Um, though Robert Plant often spoke of things like squeezing his lemon and pumping your gas, that tea line has always been one of the most sexy and bewitching lines ever. One of my favorites. Maybe not even sexy, because it all sounds so innocent. Playful, that's the word. And I love the guitar harmonizing. Truly, one of my favorite things in music is guitar harmonizing. And with Jimmy Page as my favorite guitarist, there is plenty to excite me.