Getting the Led Out
Term-time in Oxford has left little opportunity for much else recently, though I have enjoyed sharing the music of Sibelius and Vaughan Williams with students. I’ve also been pleased to start to get a grip as a listener on Lutoslawski’s Concerto for Orchestra which is quite a tough work (an SACD on Chandos).
A listen to French composer Olivier Messiaen’s famous Quartet for the End of Time led me to his ‘chord of resonance’ (C E G Bb D F# G# B) which I used as the basis for a new piano piece. It has three parts and lasts about 14 minutes. I hope to add it to the Black Purple Blue piano pieces I sketched in January and release the music as a CD.
Led Zeppelin have been much in the news recently. A few weeks ago a story spread on the web that they were going to be subjected to a law-suit directed at ‘Stairway To Heaven’ on the grounds of plagiarism from Spirit’s 1968 instrumental ‘Taurus’. I wrote about this several years ago in an extended essay on ‘Stairway’ for Dave Lewis’ Tight But Loose magazine. Revisiting the story I incline even more strongly now in the negative – that the alleged borrowing has no real substance. But already I have encountered the idea which has spread that this law-suit has caused the delay of the release of the remastered Led Zeppelin IV. I’m pretty sure there is nothing in this at all and the release schedule was planned a long time ago.
As for the remastered albums (Led Zeppelin I-III) from the bits I’ve had a listen to I can say the CD versions certainly sound impressive, and anyone who has never owned these albums can certainly buy with confidence. The deluxe versions come with an additional disc of either live versions (in the case of the debut album) or studio alternate mixes, or one or two previously unreleased songs or covers. These make interesting listening, but are not compelling for the casual listener.
Listening to the band’s debut album the other morning, released in January 1969 and recorded in October 1968, it’s striking how much of a 1960s album it is, with clear reference points to a lot of 60s rock styles. This is not a criticism. I mention it because Zeppelin are generally thought of as a Seventies band. The arrangements on the first album have many fascinating and inventive details which are a joy to pick up. John Paul Jones’ organ intro for ‘Your Time Is Gonna Come’ always strikes me as the aural equivalent of summer sunlight bursting through opened curtains, a sharp contrast to the subterranean murk of ‘Dazed and Confused’ (which, if you’re familiar with their 27 minute live versions, seems to positively zip by here). ‘Your Time’ of course kicked off the second side of the vinyl.
The additional CDs demonstrate that Zeppelin were not the most prolific of creative teams in terms of quantity of material. This sounds a strange thing to say of a band that released five classic rock albums in as many years from 1969-1973, and it should also be remembered that they spent a huge amount of time on the road. Clearly there is almost nothing left over in the vaults. Also factor in the cover versions and various blues borrowings and this aspect increases. But it must also be said that whenever you play a Zeppelin borrowing next to its original the degree of transformation of that material is always staggering. For this, they can be forgiven much.
It will be very interesting to see what Jimmy Page has in store for the next three releases, and hopefully he will expand Coda to include the various odd things which do belong with I, II and III that have been omitted so far (like ‘Hey Hey What Can I Do’)