{"id":92249,"date":"2019-01-12T18:26:21","date_gmt":"2019-01-12T16:26:21","guid":{"rendered":"https:\/\/ngradio.gr\/?p=92249\/"},"modified":"2019-01-12T18:26:21","modified_gmt":"2019-01-12T16:26:21","slug":"led-zeppelin-inside-bands-landmark-debut","status":"publish","type":"post","link":"https:\/\/ngradio.gr\/en\/news-el\/music-en\/led-zeppelin-inside-bands-landmark-debut\/","title":{"rendered":"\u2018Led Zeppelin\u2019: Inside the Band\u2019s Landmark Debut"},"content":{"rendered":"

The members barely knew each other when they began recording their first LP, but all the pieces were in place: blues, power and incredible musicianship<\/p>\n

It only takes the first two seconds of the first song on their first record for\u00a0Led Zeppelin<\/a>\u00a0to make crystal clear exactly what they intend to do \u2014 and exactly what they intend to do\u00a0to you<\/em>. In the opening to \u201cGood Times Bad Times,\u201d the band drops a two-note attack that falls like a cartoon safe, clearing the air for\u00a0John Bonham<\/a>\u2019s syncopated groove,\u00a0Jimmy Page<\/a>\u2019s swift-sword guitar and\u00a0Robert Plant<\/a>\u2019s high-end howling about sex so loud it gets the neighbors talking. \u201cIt really wasn\u2019t a pretty thing,\u201d Plant later said. \u201cIt wasn\u2019t supposed to be a pretty thing. It was just an unleashing of energy.\u201d<\/p>\n

He could\u2019ve been talking about the entire album. Recorded in 30 hours of studio time stretched over a three-week period (\u201cI know because I paid the bill,\u201d Page said), Zeppelin\u2019s debut was hardly a high-concept affair; its making has been compared to the\u00a0breakneck daylong session<\/a>\u00a0the Beatles pulled to cut\u00a0Please Please Me<\/em>\u00a0in 1963. Yet the essential elements the band would expand on over the next decade are all in place: There\u2019s a miasmic psychedelic blues trip (\u201cDazed and Confused\u201d), high-def Fifties revisionism (\u201cCommunication Breakdown\u201d), shifts from tender ballad to metal body slam (\u201cBabe I\u2019m Gonna Leave You\u201d), and rips-cum-retooling of folk, blues and even classical on\u00a0John Paul Jones<\/a>\u2019 Bach-bitten organ intro to \u201cYour Time Is Gonna Come\u201d \u2014 all unified by the band\u2019s undeniable brute force.<\/p>\n

Zeppelin had rehearsed the material (all selected by Page) on a brief tour of Scandinavia in the summer of 1968, shortly after Page had left the Yardbirds. In many ways, they were a collection of opposites: Page was the London-scene superstar on par with Jeff Beck and Eric Clapton; Jones was also an established studio pro; folkie Plant and wild-man wild card Bonham were unknown outlanders who\u2019d previously played together in a group called Band of Joy. \u201cI knew exactly what I wanted to do with these fellows,\u201d said Page, who might have had his pick of post-Yardbirds supergroups (one possibility included Keith Moon and Beck) but wanted a band where he could enjoy \u201cartistic control in a vise grip.\u201d<\/p>\n

One of the first songs Page suggested to Plant was \u201cBabe I\u2019m Gonna Leave You,\u201d a tumultuous reimagining of an American folk standard Page learned from a Joan Baez live record \u2014 a unique choice for four British blues studs. On \u201cBlack Mountain Side,\u201d Page turned to English folk for inspiration, modeling the song on guitarist Bert Jansch\u2019s recording of a Gaelic traditional song called \u201cBlack Water Side.\u201d\u00a0Led Zeppelin<\/em>\u00a0is rife with these kinds of nicks and allusions, and it\u2019s where the notion of Zeppelin as\u00a0unapologetic kleptos<\/a>\u00a0was born \u2014 from the Howlin\u2019 Wolf\u2013inscribed wrecking ball \u201cHow Many More Times\u201d to the Eddie Cochran\u2013biting rocker \u201cCommunication Breakdown.\u201d (Decades later, Jansch told journalist Mick Wall that Page still couldn\u2019t look him in the eye.)<\/p>\n

In this case, though, part of the reason for the grab-and-go aesthetic was the band\u2019s utter newness.\u00a0Led Zeppelin<\/em>\u00a0was recorded with almost no overdubs in London\u2019s Olympic Studios by musicians still looking for a shared language. \u201cNobody really knew each other,\u201d said Plant, who had never been in a high-caliber studio before. \u201cI\u2019d go back to the playback room and listen. It had so much weight, so much power \u2014 it was devastating. I had a long way to go with my voice then, but the enthusiasm and sparking of working with Jimmy\u2019s guitar \u2026 it\u00a0was so raunchy.\u201d That raunch was rendered overwhelming and spectral by Page, who placed mics all over the studio to get a\u00a0v\u00e9rit\u00e9<\/em>\u00a0sound that might recall the raw, big-room ambience of old Chess and Sun records. Uncredited engineer Glyn Johns added to the effect by putting Bonham\u2019s drum kit on a riser to enhance his \u201cphenomenal\u201d sound. Much has been made of Bonham\u2019s power (the beat on \u201cCommunication Breakdown\u201d is nearly punk-speed), but Jones was just as impressed by his restraint: \u201cJohn kept a really straight beat on slow numbers like \u2018You Shook Me,\u2019\u201d he recalled. \u201cTo play slow and groove is one of the hardest things in the world.\u201d<\/p>\n

This rarely acknowledged sense of restraint is a big key to the album\u2019s intensity. Zeppelin weren\u2019t the only band to merge heaviness and expansiveness, but where Cream and the Who pushed rock\u2019s boundaries into opera and jazz-touched improv, Zeppelin honed their virtuosity into compositions; even the eight-minute \u201cHow Many More Times\u201d was designed for maximum impact. \u201cThere was very little free-form anything,\u201d said Johns. \u201cThey were very hard-working. The Stones took nine months to make a record; these guys took nine days \u2014 including mixing.\u201d<\/p>\n

When\u00a0Led Zeppelin<\/em>\u00a0was released in January 1969, it went to the Top 10 in the U.S. and the U.K. charts, despite lukewarm reviews. The enormity of Zeppelin\u2019s innovation wasn\u2019t entirely easy to recognize. In an era of spiritual transcendence and tales of brave Ulysses, they\u2019d flipped teenage rock & roll\u2019s sex-zonked mania into something huge and seething and mythic-bestial. Eastern mysticism and Mordor and prom-ruling radio gold would all come later. This was something purer: Zeppelin as all-id power station. It was heavy metal.<\/p>\n

This article originally appeared in\u00a0<\/em>Rolling Stone\u2019s\u00a02013 collectors edition\u00a0<\/em>Led Zeppelin: The Ultimate Guide to Their Music & Legend.<\/p>\n

 <\/p>\n

Source:\u00a0rollingstone.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

The members barely knew each other when they began recording their first LP, but all the pieces were in place: blues, power and incredible musicianship It only takes the first two seconds of the first song on their first record for\u00a0Led Zeppelin\u00a0to make crystal clear exactly what they intend to ...<\/p>\n","protected":false},"author":6,"featured_media":92250,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4547],"tags":[9190],"class_list":["post-92249","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music-en","tag-led-zeppelin"],"acf":false,"yoast_head":"\n\u2018Led Zeppelin\u2019: Inside the Band\u2019s Landmark Debut - NGradio.gr<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ngradio.gr\/en\/news-el\/music-en\/led-zeppelin-inside-bands-landmark-debut\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Led Zeppelin\u2019: Inside the Band\u2019s Landmark Debut - 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