Kamran
10-29-2006, 12:05 PM
In today’s world everything is actually revolving around the RSS Feeds, Cingular, and infotainment, and Earth is just a miniscule part of that world. We live in a world that’s always online with more coverage and better reception, which is killing humanity – the quality or condition of being human – as we know it; not that I’d intrinsically know beyond VH1 drug culture specials, Wikipedia, or Forrest Gump.
Because I was born into this world where not love, society, or even God rule but telecommunications, I unquestionably have more friends on Myspace and Facebook than I do in real life; in actuality I have like four friends compared with my 300+ “Now Online” friends. And then there are people whom I don’t know, desperately want to be friends with, but probably never will be beyond the realm of the Interweb.
And instead of patiently waiting for a rumored new record that may or may not exist, we now know everything about a record before it’s even released; now we patiently wait for the record to leak three-months in advance so we can use our Oink accounts, then our You Send It’s, then our Soulseek’s, then our Limewires, then burning our 192kb leak to a CD-R so we can share with our friends and listen in our cars, then we all become music critics who ultimately determine the potential future and success of said band’s newest release; if the leak buzz is bad, except it to do poorly. There are no surprises left in new releases. Come Tuesday, we know exactly what’s good, what we’re going to buy, and who we’re going to promote. There’s no devotion to bands anymore, where regardless of what Saturday Night Wrist sounds like, we’d still buy it because we love the Deftones and we need to hear it for ourselves. But fuck, it’s a whole lot easier and cheaper, ain’t it?
The point of this seemingly pointless war on technology is that there was once a simpler age not that long ago, when no one knew what to expect from new music releases. There was a time when no one had ever heard an RIYL for Elivs; nothing had ever equated to Pet Sounds; and Sgt. Peppers hadn’t become the best album ever made. Even after that – when music was explosive and orgasmic and revolutionary and overwhelming and improbable and essential and irresponsible – rock and roll had barely developed into what it’s considered today. Travel back 36-years ago this month, and you’d be around for one of the most monumental moments in rock history and the birth of metal: Led Zeppelin – III.
http://www.decoymusic.com/images/missedalbums/ledzeppeliniii.jpg
Before Zeppelin, there was only one rock band – excluding Elvis – that swaggered supremely – that being the Rolling Stones. But when founding members Keith Relf, Chris Dreja, Jim McCarty left the Yardbirds in 1968, guitarist Jimmy Page was left without a band and legal obligations to perform in Scandinavia under the Yardbirds moniker, he began recruiting a lineup for the New Yardbirds.
Seeking a stellar vocalist, Page began his hunt before being referred to relatively unknown vocalist Robert Plant and his former Band of Joy drumming counterpart John Bonham, before adding Yardbirds’ occasional studio bassist John Paul Jones to the lineup. The New Yardbirds were born, if only for a short period.
By 1969 the power-trio-plus-one unexpectedly exploded the entire world of rock n’ roll under their new name, Led Zeppelin – and without the help of Oink. Immediately Zeppelin redefined rock, spawned heavy metal, and upped the Stones’ strutting ante with their debut eponymous album. Initially greeted with fan endorsement but critical uncertainty – most notably Rolling Stone’s John Mendelsohn – Zeppelin became an instant icon for musicians, fans, and ultimately, society by contributing to rock’s presence as a movement and not just loud music. While bands and artists like the Beatles and Bob Dylan might’ve contributed more for rock n’ roll from a social standpoint, Zeppelin defined the modern rock star. For decades to come, Page’s heaviness and style would be duplicated by nearly every hard rock band – not to mention his “mysterious guitarist” image; Plant’s paint-peeling vocals would become the blueprint for metal vocalists, as would his overt, braggadocian stage presence; and Bonham’s drumming… well, as Slater would say, “You couldn’t handle that shit on strong acid, man.”
Within a two-years, Led Zeppelin would release two more albums – the former being II, which officially catapulted the band into super-mega-stardom. But on October 5, 1970, Zeppelin released III, their heaviest yet most dynamic work to date. On previous albums, the band – who was maliciously accused of stealing black music – sounded much like the other Yardbirds spin-off, Cream. Sure, that’s more of a monumental compliment rather than a diss, but Zeppelin wanted to expand on the electrified-blues, bass riff – the foundation to nearly all hard rock and heavy metal. With III, the band maintained a blues base but also developed into the most uniquely heavy band in existence through innovative playing techniques and the incorporation of Celtic folk into their now trademark sound.
Exploding ears and popping cherries everywhere, III opens with undeniably the heaviest track in history, “Immigrant Song.” Acting as the engine for III, “Immigrant Song” showcases Zeppelin building even further from blues, with an edgy, relentless, totally unique rhythm section – lead by Page’s pulsating groove – and Plant’s wah-pedal wail. Musically, there was no peer to the song at the time – but thousands would soon follow. Written by Page and Plant, “Immigrant Song” might also be the beginning of a new genre altogether, thanks to the lyrical content revolving around Scandinavian Vikings seeking new lands; where Amon Amarth be without “Immigrant Song”?
Despite the lead power of “Immigrant Song,” it’s only one miniscule aspect of the growth shown by Led Zeppelin on III. Everyone knew the band could crank out Richter scale riffs at decibel-smashing volume as shown on I and II, but not until III did Zeppelin showcase their ability as versatile, dynamic songwriters. On III, the quartet expanded their sound with their expanded Celtic folk influence and made a statement that they don’t have to play blues – and they don’t even have to play electrified – to be truly iconic musicians.
http://www.decoymusic.com/images/missedalbums/ledzeppelin2.jpg
III’s biggest growth from earlier Zeppelin albums is the notable acoustic songs, like “Friends,” an acoustic number with bongos, violins, cellos, and the first sign of eastern music influence that would carry through the rest of the band’s discography. “Friends” easily could’ve been electrified, but the simple decision to do otherwise vastly expanded Zeppelin’s outreach to fans and potential for growth, and it sent a message that the band was more than just a cockrocking group of headbangers. This statement is made throughout III, with acoustic blues and Celtic folk tracks like “Gallows Pole,” “Tangerine,” “That’s the Way,” “Bron-Y-Aur Stomp,” and “Hats Off to (Roy) Harper.”
But Zep never lost their roots in blues – as shown in one of the band’s most popular tracks “Since I’ve Been Loving You” – and straight-up ass kicking – as shown in “Out of the Tiles.” The former, while a truly excellent blues-rock song, was intended as a showcase for all four members in a structured jam session. “Since I’ve Been Loving You” is a keystone for III, bridging Zeppelin’s roots in blues with the new sounds they were experimenting with; furthermore, it acted as one of the band’s most frequently performed live songs, allowing each member to show how good he was. “Out of the Tiles” – like “Immigrant Song” – is a pure rock song, and showed Zeppelin’s growth beyond blues. However seemingly awkward those proto-metal songs may seem amongst acoustic blues and folk-rock, if absolutely nothing else, it showed that Zeppelin was the best pure rock band on the planet, regardless whether they needed amps or not.
And even though the band’s succeeding album would ultimately be more popular and epic as a whole, III was unquestionably the most critical album in Zeppelin’s career, not including their debut; as explosive as it was, there are only so many ways you can make a heavy blues-rock record, and by III Led Zeppelin knew it. Without promotion, a lead single – although “Immigrant Song” was released later – and little airplay, III shook the world of rock n’ roll without the hype and warnings we get in today’s music scene. Released on October 5, 1970, III would be certified gold only three days later. When SoundScan came into play for accurate copy sales, it would ultimately go sextuple platinum by 1999 (6 million copies). No leaks, YSI, or invites necessary. Sales numbers aside, III – along with the rest of Zep’s catalogue – marked the beginning of pure, swaggering rock idea and the birth of metal.
http://www.decoymusic.com/images/missedalbums/ledzeppelin1.jpg
Led Zeppelin is a band for everyone – absolutely – but here’s the male listening experience according to Chuck Klosterman from his book Killing Yourself to Live, “Every straight man born after the year 1958 has at least one transitory period in his life when he believes Led Zeppelin is the only good band that ever existed. And there is no other rock group that generates this experience…. Led Zeppelin is the most legitimately timeless musical entity of the past half century; they are the only group in the history of rock n’ roll that every male rock fan seems to experience in exactly the same way.”
-Kamran Rouzpay
Because I was born into this world where not love, society, or even God rule but telecommunications, I unquestionably have more friends on Myspace and Facebook than I do in real life; in actuality I have like four friends compared with my 300+ “Now Online” friends. And then there are people whom I don’t know, desperately want to be friends with, but probably never will be beyond the realm of the Interweb.
And instead of patiently waiting for a rumored new record that may or may not exist, we now know everything about a record before it’s even released; now we patiently wait for the record to leak three-months in advance so we can use our Oink accounts, then our You Send It’s, then our Soulseek’s, then our Limewires, then burning our 192kb leak to a CD-R so we can share with our friends and listen in our cars, then we all become music critics who ultimately determine the potential future and success of said band’s newest release; if the leak buzz is bad, except it to do poorly. There are no surprises left in new releases. Come Tuesday, we know exactly what’s good, what we’re going to buy, and who we’re going to promote. There’s no devotion to bands anymore, where regardless of what Saturday Night Wrist sounds like, we’d still buy it because we love the Deftones and we need to hear it for ourselves. But fuck, it’s a whole lot easier and cheaper, ain’t it?
The point of this seemingly pointless war on technology is that there was once a simpler age not that long ago, when no one knew what to expect from new music releases. There was a time when no one had ever heard an RIYL for Elivs; nothing had ever equated to Pet Sounds; and Sgt. Peppers hadn’t become the best album ever made. Even after that – when music was explosive and orgasmic and revolutionary and overwhelming and improbable and essential and irresponsible – rock and roll had barely developed into what it’s considered today. Travel back 36-years ago this month, and you’d be around for one of the most monumental moments in rock history and the birth of metal: Led Zeppelin – III.
http://www.decoymusic.com/images/missedalbums/ledzeppeliniii.jpg
Before Zeppelin, there was only one rock band – excluding Elvis – that swaggered supremely – that being the Rolling Stones. But when founding members Keith Relf, Chris Dreja, Jim McCarty left the Yardbirds in 1968, guitarist Jimmy Page was left without a band and legal obligations to perform in Scandinavia under the Yardbirds moniker, he began recruiting a lineup for the New Yardbirds.
Seeking a stellar vocalist, Page began his hunt before being referred to relatively unknown vocalist Robert Plant and his former Band of Joy drumming counterpart John Bonham, before adding Yardbirds’ occasional studio bassist John Paul Jones to the lineup. The New Yardbirds were born, if only for a short period.
By 1969 the power-trio-plus-one unexpectedly exploded the entire world of rock n’ roll under their new name, Led Zeppelin – and without the help of Oink. Immediately Zeppelin redefined rock, spawned heavy metal, and upped the Stones’ strutting ante with their debut eponymous album. Initially greeted with fan endorsement but critical uncertainty – most notably Rolling Stone’s John Mendelsohn – Zeppelin became an instant icon for musicians, fans, and ultimately, society by contributing to rock’s presence as a movement and not just loud music. While bands and artists like the Beatles and Bob Dylan might’ve contributed more for rock n’ roll from a social standpoint, Zeppelin defined the modern rock star. For decades to come, Page’s heaviness and style would be duplicated by nearly every hard rock band – not to mention his “mysterious guitarist” image; Plant’s paint-peeling vocals would become the blueprint for metal vocalists, as would his overt, braggadocian stage presence; and Bonham’s drumming… well, as Slater would say, “You couldn’t handle that shit on strong acid, man.”
Within a two-years, Led Zeppelin would release two more albums – the former being II, which officially catapulted the band into super-mega-stardom. But on October 5, 1970, Zeppelin released III, their heaviest yet most dynamic work to date. On previous albums, the band – who was maliciously accused of stealing black music – sounded much like the other Yardbirds spin-off, Cream. Sure, that’s more of a monumental compliment rather than a diss, but Zeppelin wanted to expand on the electrified-blues, bass riff – the foundation to nearly all hard rock and heavy metal. With III, the band maintained a blues base but also developed into the most uniquely heavy band in existence through innovative playing techniques and the incorporation of Celtic folk into their now trademark sound.
Exploding ears and popping cherries everywhere, III opens with undeniably the heaviest track in history, “Immigrant Song.” Acting as the engine for III, “Immigrant Song” showcases Zeppelin building even further from blues, with an edgy, relentless, totally unique rhythm section – lead by Page’s pulsating groove – and Plant’s wah-pedal wail. Musically, there was no peer to the song at the time – but thousands would soon follow. Written by Page and Plant, “Immigrant Song” might also be the beginning of a new genre altogether, thanks to the lyrical content revolving around Scandinavian Vikings seeking new lands; where Amon Amarth be without “Immigrant Song”?
Despite the lead power of “Immigrant Song,” it’s only one miniscule aspect of the growth shown by Led Zeppelin on III. Everyone knew the band could crank out Richter scale riffs at decibel-smashing volume as shown on I and II, but not until III did Zeppelin showcase their ability as versatile, dynamic songwriters. On III, the quartet expanded their sound with their expanded Celtic folk influence and made a statement that they don’t have to play blues – and they don’t even have to play electrified – to be truly iconic musicians.
http://www.decoymusic.com/images/missedalbums/ledzeppelin2.jpg
III’s biggest growth from earlier Zeppelin albums is the notable acoustic songs, like “Friends,” an acoustic number with bongos, violins, cellos, and the first sign of eastern music influence that would carry through the rest of the band’s discography. “Friends” easily could’ve been electrified, but the simple decision to do otherwise vastly expanded Zeppelin’s outreach to fans and potential for growth, and it sent a message that the band was more than just a cockrocking group of headbangers. This statement is made throughout III, with acoustic blues and Celtic folk tracks like “Gallows Pole,” “Tangerine,” “That’s the Way,” “Bron-Y-Aur Stomp,” and “Hats Off to (Roy) Harper.”
But Zep never lost their roots in blues – as shown in one of the band’s most popular tracks “Since I’ve Been Loving You” – and straight-up ass kicking – as shown in “Out of the Tiles.” The former, while a truly excellent blues-rock song, was intended as a showcase for all four members in a structured jam session. “Since I’ve Been Loving You” is a keystone for III, bridging Zeppelin’s roots in blues with the new sounds they were experimenting with; furthermore, it acted as one of the band’s most frequently performed live songs, allowing each member to show how good he was. “Out of the Tiles” – like “Immigrant Song” – is a pure rock song, and showed Zeppelin’s growth beyond blues. However seemingly awkward those proto-metal songs may seem amongst acoustic blues and folk-rock, if absolutely nothing else, it showed that Zeppelin was the best pure rock band on the planet, regardless whether they needed amps or not.
And even though the band’s succeeding album would ultimately be more popular and epic as a whole, III was unquestionably the most critical album in Zeppelin’s career, not including their debut; as explosive as it was, there are only so many ways you can make a heavy blues-rock record, and by III Led Zeppelin knew it. Without promotion, a lead single – although “Immigrant Song” was released later – and little airplay, III shook the world of rock n’ roll without the hype and warnings we get in today’s music scene. Released on October 5, 1970, III would be certified gold only three days later. When SoundScan came into play for accurate copy sales, it would ultimately go sextuple platinum by 1999 (6 million copies). No leaks, YSI, or invites necessary. Sales numbers aside, III – along with the rest of Zep’s catalogue – marked the beginning of pure, swaggering rock idea and the birth of metal.
http://www.decoymusic.com/images/missedalbums/ledzeppelin1.jpg
Led Zeppelin is a band for everyone – absolutely – but here’s the male listening experience according to Chuck Klosterman from his book Killing Yourself to Live, “Every straight man born after the year 1958 has at least one transitory period in his life when he believes Led Zeppelin is the only good band that ever existed. And there is no other rock group that generates this experience…. Led Zeppelin is the most legitimately timeless musical entity of the past half century; they are the only group in the history of rock n’ roll that every male rock fan seems to experience in exactly the same way.”
-Kamran Rouzpay