Frank Zappa once said “So many books, so little time.” The same could be said about music, although some people seem to be able to consume both at the same time, which must be helpful. But Zappa is not the only musician looking to the literary world; books have inspired some of the greatest songs we know. Many people would compare lyrics to poetry, but in this case we’re looking at the prose that sparks creativity in artists. From classic hits through to the less likely references, we’ve put together some of the best literary adaptations in music…
Wuthering Heights by Kate Bush
Perhaps one of the best known literary adaptations in music, Kate Bush’s dramatic (and shrill) classic is brimful with the tragedy of Emily Brontë’s only novel. First published in 1847 under the pseudonym “Ellis Bell”, the doomed love of Cathy and Heathcliff has been a schoolroom staple of English Lit classes for decades. A prime favourite for TV adaptations, Bush’s version is perhaps the best known song to be inspired by Wuthering Heights.
Recorded in 1978, the lyrics were actually written by Bush aged just 18. Inspired by just ten minutes of a BBC mini-adaptation that aired on 1967 television, she also discovered that she shared her birthday with Emily Brontë (July 30). Singing as the ghost of Cathy, calling to Heathcliff from the bleak moors – and from beyond the grave – the track stayed at number one in the British charts for four weeks.
Bush actually fought hard with record label EMI to have Wuthering Heights released as the lead single for her album, The Kick Inside. A rare victory for a young artist, who was definitely more savvy than her floaty dresses and mystical demeanour might have indicated to unsuspecting label execs.
https://www.youtube.com/watch?v=Fk-4lXLM34g&w=560&h=315
Scentless Apprentice by Nirvana
Nirvana’s final studio album, In Utero, was released in 1993 amid all the usual promotion and press coverage. Alongside the barrage of standard questions from music journos, Canadian reporter Erica Ehm asked Kurt Cobain if his music was inspired by literature. The answer was yes, and that his favourite book was Perfume by Patrick Suskind and he “as a matter a fact…used that very story in Scentless Apprentice.”
“I read Perfume by Patrick Suskind about 10 times in my life, and I can’t stop reading it. It’s like something that’s just stationary in my pocket all the time. It just doesn’t leave me,” Cobain told Ehm during the interview. “Cause I’m a hypochondriac it just affects me – makes me want to cut off my nose.”
Originally written in German and published in 1985, Perfume is a dark and disturbing historical narrative that explores the relationship between smell and emotions. The protagonist, Jean-Baptiste Grenouille is an unloved orphan with an exceptional sense of smell, but no scent to his body. The opening lyrics to Scentless Apprentice follow Suskind’s writing; “Like most babies smell like butter / His smell smelled like no other.”
In the novel, Grenouille’s lack of scent disturbs his wet nurse who claims that normal babies smell like butter. The chorus refrain of “Go away” is a pretty stark reference to Grenouille’s realisation that he is in fact a misanthrope. The novel is also widely seen as an allegory for Hitler’s rise to power.
https://www.youtube.com/watch?v=GyxoQIQaogE&w=560&h=315
Killing An Arab by The Cure
Robert Smith has made a number of nods towards the high-brow literary world throughout his career with The Cure. Starting as they meant to continue, the very first intended single written by The Cure was directly inspired by the French philosophical novelist Albert Camus. Killing An Arab was recorded at the same time as the band’s debut LP, Three Imaginary Boys, but wasn’t released until 1980 when it featured on their next album, Boys Don’t Cry.
Viewed as controversial and offensive since its release, Killing An Arab was actually “a short poetic attempt at condensing my impression of the key moments in L’Étranger (The Stranger)” by Smith. The book tells the story of Meursault, a French Algerian lacking in empathy, who shoots an Arab man during an altercation on a beach. The lyrics tell the story from Meursault’s perspective, briefly examining his position as ‘the stranger’ who cannot connect with himself or the world around him.
Smith has often regretted how Killing An Arab has been so misinterpreted and how it has been viewed as racist and inciting of violence.
https://www.youtube.com/watch?v=SdbLqOXmJ04&w=560&h=315
Lotion by Greenskeeper
Most people are familiar with Anthony Hopkins and Jodie Foster in the blockbuster version of The Silence Of The Lambs, but like many movie classics, the film was first a book. Published under the same title by Thomas Harris in 1988, the serial killer Buffalo Bill and his penchant for human skin were invented by Harris.
Chicago band Greenskeeper were inspired by the fictional psychopath to write their hit Lotion, included in the track listing on their 2004 album Pleetch. A sparse yet addictive piece of indie, the song follows the musings of Buffalo Bill as he goes about his daily life of imprisoning captives in the deep hole in his basement, walking his little dog and making sure everyone moisturises properly.
Always returning to his famous insistence that “It puts the lotion in the basket”, there is also a dark humour to the sordid subject matter. A particular favourite moment of mine from James Curd’s lyrics; “The night is very cold / I’m feeling kind of weak / I think I’ll make myself a cap from your right buttocks cheek”
https://api.soundcloud.com/tracks/12604140
Ramble On by Led Zeppelin
The 1960s and 70s found many artists fascinated by fantasy and philosophy, particularly with the arrival of mind-expanding psychedelia and “intellectual” prog rock. Even one the era’s most famous bands, Led Zeppelin were not averse to delving into fiction for inspiration. References to J.R.R. Tolkien’s iconic fantasy opus, The Lord Of The Rings, are rife throughout Zeppelin’s writing.
Perhaps the most famous example is Ramble On, taken from their 1969 album Led Zeppelin II. Co-written by Jimmy Page and Robert Plant, the highly descriptive lyrics parallel Frodo and Sam’s fictional journey. From the opening line “Leaves are falling all around” (which is likely to have been lifted from Tolkien’s poem Namárië), through to mention of Mordor and Gollum. Even the lyric “Got no time to for spreading roots” references the hobbits’ stint with the animated tree race of the “Ents”.
Led Zeppelin continued to reference LOTR across other songs well. Led Zeppelin IV in particular featured songs like Misty Mountain Hop and The Battle Of Evermore. Anyone familiar with the novel will recognise references to “ring wraiths” and magic runes. Misty Mountain Hop probably takes its title from the mountains of Middle Earth, but the song places Tolkien’s writings as a totem for the peace movement of the ’60s instead of taking inspiration from the story itself.
https://www.youtube.com/watch?v=S0NFaQcTJsg&w=560&h=315
2+2=5 by Radiohead
Radiohead are well known for the intelligent commentary that is often inherent in their music. Born out in the Oxford countryside during the 1980s, like so many Britpop era bands they were the product of traditional English education. Giving them both an eclectic knowledge of music, and a creative dislike of the school system.
It seems unsurprising that Radiohead would look to the literary world for inspiration, and even less so that they would find it in George Orwell’s prophetic, dystopian novel 1984. 2+2=5 (The Lukewarm) was the third single from Radiohead’s 2003 album Hail To The Thief. The title matches the “symbol of unreality” used by Orwell to illustrate the concept of an imposed falsity. In Orwell’s imagined authoritarian world, inhabitants are subjects to “doublethinking” where their on beliefs are replaced by political propaganda.
The song features the familiar low-key menace of Radiohead, mixing alt-rock with electronic elements. Thom Yorke once said of the album that he “desperately tried not to write anything political … But it’s just fucking there.” The alternative title for 2+2=5 of The Lukewarm is also apparently inspired by the works of Dante who described “the lukewarm” as those inhabiting just the edges of the inferno.
https://www.youtube.com/watch?v=lstDdzedgcE&spfreload=10
Image: Broadsheet
If you had thought you had heard everything there was to hear from Led Zeppelin, think again. The band are set to release an expanded and updated version of their Complete BBC Sessions, which features previously unheard material. One new song, Sunshine Woman, has now been made available ahead of the September release.
Comprised of two discs worth of live performances by Zeppelin, the BBC Sessions was recorded between 1969 and 1971. Originally released in 1997, Jimmy Page has overseen the production of the “complete” reissue. Speaking about the sessions, Page said that “The BBC Sessions show in graphic detail just how organic the group was,” he said. “Led Zeppelin was a band that would change things around substantially each time it played…We were becoming tighter and tighter, to the point of telepathy.”
Image via Overdrive
The Complete BBC Sessions expands to a triple disc edition, which includes liner notes for each session, contributed by Dave Lewis. With eight unreleased songs added to the track listing, the collection will feature a long lost radio show by Zeppelin. Broadcast in April 1969, the session has acquired mythic status amongst fans, after it was thought to have been lost.
The session showcases the only known recording of Sunshine Woman, as well as I Can’t Quit You Baby and You Shook Me. A second recording just two years later, with unreleased versions of Communication Breakdown and What Is and What Should Never Be, is also added to the tracklisting. For Zeppelin devotees, it should make for an interesting record of the young band’s amazing progression in such a short time.
[youtube https://www.youtube.com/watch?v=qoqQnR8NOVI]
You can listen to the newly unveiled Sunshine Woman here. A gritty piece of true rhythm and blues; hefty Zeppelin riffs, bar blues piano and harmonica and Robert Plant’s familiar vocals all come together in this track, which Page has described as “basically made up on the spot”.
The Complete BBC Sessions will be release September 16 via Atlantic/Swan Song, check out the full track listing below:
Disc One
01. You Shook Me
02. I Can’t Quit You Baby
03. Communication Breakdown
04. Dazed And Confused
05. The Girl I Love She Got Long Black Wavy Hair
06. What Is And What Should Never Be
07. Communication Breakdown
08. Travelling Riverside Blues
09. Whole Lotta Love
10. Somethin’ Else
11. Communication Breakdown
12. I Can’t Quit You Baby
13. You Shook Me
14. How Many More Times
Disc Two
01. Immigrant Song
02. Heartbreaker
03. Since I’ve Been Loving You
04. Black Dog
05. Dazed And Confused
06. Stairway To Heaven
07. Going To California
08. That’s The Way
09. Whole Lotta Love (Medley: Boogie Chillun/Fixin’ To Die/That’s Alright Mama/A Mess of Blues)
10. Thank You
Disc Three
01. Communication Breakdown
02. What Is And What Should Never Be
03. Dazed And Confused
04. White Summer
05. What Is And What Should Never Be
06. Communication Breakdown
07. I Can’t Quit You Baby
08. You Shook Me
09. Sunshine Woman
Image: Mojo4Music
Domestic violence is probably as old as music itself, so it’s no surprise there’s a litany of songs written about it, because of it, in protest of it – you get the idea. Beyond that, many musicians themselves are guilty of the heinous act. The way we treat those people within the industry is loaded, the way we consume (or don’t consume) their music as fans inherently fraught. What happens when your fave turns out to be problematic?
In recent days, one such incident resurfaced. Sydney band The Rumjacks announced a mammoth 35-date tour and frontman Frankie McLaughlin‘s 2012 conviction (and subsequent sentence) came back into public attention. Those who remembered the press coverage of McLaughlin’s conviction (it was very public) voiced their completely valid concerns about what kind of message this tour was sending re: the music industry as a safe and welcoming space. Suddenly, many of the venues didn’t want The Rumjacks playing on their stages anymore.
The public reaction to this has been, er, mixed at best. Responses ranging from relieved to annoyed pepper the web, with the predictable “he’s done his time, when do we stop maligning him for this?” line popping up particularly often. If, like me, your initial reaction to this kind of opinion is to roll your eyes, it can be difficult to see why that’s worth unpacking – but it is. McLaughlin served a “sixteen month custodial sentence” for three incidents of assault against his partner of the time. For the sake of anyone reading who might find it harrowing or upsetting, I’ll spare the details, but the court transcript can be found here. The Rumjacks, at the time, condemned McLaughlin’s actions in a Facebook post, and went on hiatus.
When the band fully reformed after his release, nothing more was said about the conviction beyond an interview with White Ribbon at BIGSOUND 2015 as part of their now seemingly defunct #notON campaign. The Rumjacks’ participation in the conference in the first place was a point of contention. QMusic eventually approved after lengthy discussions to this end. Now, in light of the media coverage, The Rumjacks have released another statement via their Facebook:
https://www.facebook.com/TheRumjacks/posts/10154348011235450
It’s difficult to find evidence of the band or McLaughlin’s alleged extensive commitment to “the principles of #notON” beyond last year’s interview and this statement. That’s important. Sure, there’s been no lying or even necessarily hiding from his conviction, but it sure as hell hasn’t been a self-started point of discussion across the band’s career since it happened. As a public figure in the aftermath of a domestic violence conviction (“the aftermath” means forever, by the way – victims don’t get to just wake up one day and forget about these incidents), McLaughlin has been in a unique position to give voices to the voiceless. To promote open and honest discussions about domestic violence, rehabilitation, the justice system, all of it. To fundraise, even. It’s nice he met with a charity once. His statement above is a good one. But for some it may appear to be too little, too late.
It’s relatively impossible to talk about this issue without touching on Chris Brown, so let’s keep it brief. Brown’s assault of Rihanna resulted in him being barred from entering Australia. The enormity of his public status kept his actions in the news for years. It’s still being talked about – it will likely follow him for the rest of his career. A key reason for this? His reaction, and the nature of his music. His lyrics are often misogynistic at best, downright violent at worst. His response to the far-reaching consequences of his actions were tone deaf at best, and showed no contrition at worst.
Pictured: A dickhead
Obviously The Rumjacks’ reaction hasn’t been anywhere near as inappropriate as Brown’s (because there hasn’t really been one until now). So let’s take a look at their music. The Rumjacks are a Celt-punk band, so obviously there’s a particular language/ethos that usually goes hand in hand with that. The upshot is not pretty.
To where & whom i asked to know
She smiled, a cruelly mocking blow
She’ll never smile that way again
I ruined her for other men
And sent her to her wintry end with a..– Murder Shanty, The Rumjacks
To be fair, on The Rumjacks’ website, there’s a statement above the lyrics to that particular song that reads “Relax, geez.. its only a tale of the passing of the seasons & the cycle of life, if Nick Cave had written it youd be jerking off by now. [sic]” But it’s not really a lone example. Many songs refer to women as being whores, easy, dirty, or otherwise objectionable. Violence and alcohol abuse (which McLaughlin purports to have previously struggled with) are also recurring themes. I’m not a psychologist or a doctor, but I wonder how healthy or otherwise it might be for someone who’s had those issues to be making a living off the glamourising of them? To see crowds of people screaming these sentiments back at him?
In comparison to Chris Brown, The Rumjacks’ level of stature is low. They definitely have a solid fanbase, but they’re not in the public eye as much as him – not even close. Perhaps this is how the conviction, so publicly reported on at the time, managed to be mostly buried if not forgotten altogether.
So what does this mean for companies, entities, and fans that choose to stick by The Rumjacks, or indeed any artist with a history like this? Are they tacitly supporting violence? Funding it, even? Are fans of their music giving the old “separate the artist from the art” ideology a burl? As mentioned at the start of this article, The Rumjacks are not the only band in this position. By and large, the entire world seems mostly willing to overlook the absolutely disgusting actions of Jim Morrison, John Lennon, Led Zeppelin, Dr. Dre and so many others. Sure, social media didn’t exist back then, but it does now. Most people are aware of what happened, but, presumably due to their musical legacies and perhaps because their atrocities were committed all those years ago, they’re willing to turn a blind eye. Does that make them terrible people?
In today’s modern world, there are ways to appreciate art without lining the pockets of the artist… but does that truly make a difference? Is it actually possible to separate the two out at all? Art is, after all, an extension of the artist. A reflection of who they are and how they see the world. And if that’s the case, how ethical is supporting it in any way?
If you need to talk to someone after reading this article, or you or someone you know is experiencing domestic violence, please call 1800 RESPECT or contact Reach Out Australia.
Image: The Rumjacks Facebook
One of the biggest bands in musical history, Led Zeppelin, have more than stood the test of time and are still some of the greatest music to listen to even today. So with the announcement overnight that they are set to release a remastered version of their 1997 BBC Sessions, which was a collection of both studio and live recorded tracks, their fans should be understandably ecstatic.
The tracks were recorded between 1969 and 1971, so it’s all pretty early stuff from the English rock band, but the interest lies in seeing what Led Zeppelin were like before they became such big names. For a greatest hits collection, fans will likely have picked up Mothership in 2007, which was a remastered compilation of some of their biggest songs such as Whole Lotta Love, Immigrant Song, and of course, Stairway To Heaven.
https://www.youtube.com/watch?v=TRjH_gJbUqQ
The special thing about this new release of BBC Sessions, aside from the remastering (which is always nice), is the inclusion of eight previously unreleased recordings. Included in the set will be the first broadcast of the afore mentioned Stairway To Heaven as well as a song which was never actually studio recorded.
Sunshine Woman was broadcast by the band back in 1969, and this was recorded by a fan on an AM Radio in Europe at the time. The BBC’s archives were wiped and the broadcast was lost, but the fan reportedly came forward recently and with the help of the band’s guitarist Jimmy Page, restored the recording to reasonable quality.
So if you’re a fan of Led Zeppelin, whether a seasoned Zep veteran or you’ve just heard Stairway on the radio for the first time, pick this up! The new BBC Sessions are set to be released in September of this year.
Image: All About Jazz
Led Zeppelin‘s Stairway To Heaven is one of the most iconic songs in the world – but was it stolen from another band?
There’s been much media coverage of the Michael Skidmore v Led Zeppelin et al case so far, but now, courtroom proceedings have finally begun. Skidmore, a trustee for the late Randy Wolfe (aka Randy California), alleges that the opening chords of Stairway were stolen from Wolfe’s 1967 instrumental track Taurus, by his band Spirit.
Robert Plant and Jimmy Page appeared in court over the matter, but didn’t speak a word to each other.
Back in April, US District Judge Gary Klausner suggested that the jury might find that there’s a “substantial” likeness between Taurus and Stairway. Fancy yourself an expert on these matters? You can compare the two below.
[youtube https://www.youtube.com/watch?v=gFHLO_2_THg]
[youtube https://www.youtube.com/watch?v=w9TGj2jrJk8]
Of course, there’s a lot more to these sorts of lawsuits than just whether or not the two songs sound similar.
Led Zeppelin’s lawyers have already made the case that the chord progression used at the beginning of Stairway is so cliche that it doesn’t warrant copyright protection. There’s obviously something to be said for that argument, but the fact that Zeppelin & Spirit toured together in the late 60s doesn’t exactly look great.
It’s shaping up to be a pretty entertaining case to follow, whatever the outcome. The plaintiff’s lawyer, Francis Malofiy, has rattled off a long list of notable witnesses who would help Skidmore argue his case. The list includes Linda Mensch (the wife of big-wig manager Peter Mensch, who previously managed Jimmy Page), former Spirit members Mark Andes and Jay Ferguson, music tycoon Lou Adler, and Brad Tolinski, the editor of Guitar World who wrote Light and Shade: Conversations with Jimmy Page. In stark contrast, the defense’s witness list is just one name long: Led Zeppelin bassist John Paul Jones.
Who knows what the jury will decide, and exactly what impact a ruling in Skidmore’s favour might have. We imagine it’d look something like this:
[youtube https://www.youtube.com/watch?v=xXlYt5JCrZw]
Image: Reuters: Carlo Allegri/Hans Deryk
After kicking around for a solid 45 years, Led Zeppelin’s definitive Stairway To Heaven is sounding a little to similar to a slightly older song. And now it’s been taken to court.
In a decision made on Friday, U.S District Judge Gary Klausner decided that the opening chords to Stairway and the 1967 instrumental song Taurus by Spirit were a little too similar. Now, a jury will decide whether or not plagiarism had been committed by Led Zeppelin songwriters Jimmy Page and Robert Plant, Straits Times reports.
The trail is scheduled for May 10, and will see both Page and Plant tried for Copyright Infringement.
https://www.youtube.com/watch?v=xd8AVbwB_6E
The lawsuit was brought forward by Michael Skidmore, who is a trustee for the late Randy Wolfe, AKA Randy California, the guitarist and songwriter from Spirit.
Skidmore noted that the idea for Stairway To Heaven may have come to Page after he saw Spirit perform, as the bands toured together in 1968 and 1969.
Judge Klausner noted that the jury could find “substantial” similarity between the opening two minutes of both songs, which were “arguably the most important and recognisable segments of the songs.”
“While it is true that a descending chromatic four-chord progression is a common convention that abounds in the music industry, the similarities here transcend this core structure…what remains is a subjective assessment of the “concept and feel’ of two works … a task no more suitable for a judge than for a jury” wrote Klausner.
Klausner also noted that a trustee can only get 50% worth of the damages awarded, as outlined in a contract signed by Wolfe in 1967.
“This case, from our perspective, has always been about giving credit where credit was due, and now we get to right that wrong” stated Francis Malofiy, lawyer for Skidmore.
Given the relentless legal practises of Zeppelin, this seems to be a case that could turn into one of the uglier shit-fights the industry has seen this year.
However, despite the controversy surrounding the song, it is highly unlikely that a successful appeal could tarnish the legacy of one of the most influential bands of all time.
Get the popcorn.
Image: All Music
Back in 1995, Iggy Pop made some interesting comments about the state of American rock music, fashion and more. Specifically, he’s called out the legendary, endlessly influential Led Zeppelin, claiming that he “could never stand” them. The letter, penned 21 years ago, was addressed to Joshua Berger, a journalist at Plazm Magazine.
This is hardly Pop’s first diss, having famously insulted bands like The Clash and U2 across the years. As well as noting that he cannot stand Led Zeppelin, along with all other 60s and 70s music, he breaks down the problems with folk rock, the “worship” of “supermodels,” Calvin Klein advertising and more. It’s biting and harsh, and really interesting.
View the letter below, and read the transcription here, courtesy of Dangerous Minds:
WARSAW
PHLASH: nation of midgets
the arts in America today are above all else. Successful artists live like gods. They are REMOTE and useless. the painting and sculpture generally on offer ranges from coy & cute to incomprehensible & huge. Everybody’s sick of it, but it’s exactly what it’s patrons deserve. These people are corrupt and frigid. America today is a nation of midgets led by dwarves. The midgets are small and normal. The dwarves are small and warped. The sickness comes from the top down.
The ‘music’ is mostly 60’s and 70’s rehash, esp. LED ZEPPELIN, who i never could stand in the first place. Also ‘folk-rock’ is back as ‘alternative’. gimme a break. the ‘bands’ dress this mess up in various ‘HIP’ clothes and ‘political’ postures to encode a ‘lock’ on social belonging which you can open by purchasing a combination of products, especially their own, none of them have fuck-all to say.
I hate the inane worship of gross ‘supermodels’ and i positively loathe Calvin Klein ads and that whole school of photography. it is not beautiful. Our gods are assholes.
There are continual ‘shock and rage’ movements in the performing/conceptual arts, but are they bringing anybody a good time? they bring filth death & loathing of self as fashion. I understand them, though. People are lost and frustrated, AND UNSKILLED.
Our country is stupid and degenerate. Nobody is here. People are starving. No one talks to you. No one comments. You are cut off. No one is straight. TV morons. A revolution is coming, and in reaction, a strongman will emerge. Everything sucks. Don’t bother me.
i hate it all. heavy metal. hollywood movies. SCHPOLOOGY! YeHEHCHH! – Iggy Pop
As Consequence of Sound pointed out, Pop doesn’t seem to hate Zep too much, considering he was spotted hanging out with guitarist Jimmy Page in 2014:
https://twitter.com/LedZepNews/status/507306666480918529?ref_src=twsrc%5Etfw
Iggy Pop released a phenomenal new album last week. Said to be his last studio album ever and produced by Josh Homme, you can read our review of Post Pop Depression here.
Image: Rolling Stone
There’s a small selection of bands who have cemented themselves as one of the greats. Unequivocally. Historically. Objectively. Legends.
We’ve covered a select few of these in previous Flashback Fridays, like The Beatles and Queen. But today, we’re reflecting on Led Zeppelin. Specifically, their sophomore album Led Zeppelin II, which came out in October 1969.
Many of our Flashback Friday features have focused on albums that influenced us at a particular time in our life – a break-up. An unwell family member. Growing pains. But Led Zeppelin have been there for me, and for most of you I imagine, through all of that and more. I cannot think of one instance in my life, where this album couldn’t have been the perfect soundtrack.
Today, I’m not here to share a particular intimate moment in my life, or to take you through any one story or moment in history. Today, I just want to remind you of an album that, if it didn’t directly change your life, undoubtedly changed the lives of the musicians you love the most. The aim of today is remind you of an album you might not have heard in a while, and to celebrate how fucking unbelievably great it is!
There’s probably three bands who have influenced me the most, personally, throughout my life. Led Zeppelin are one of them. This album in particular not only changed my life, but taught me about it – it taught me about music, it taught me about rock ‘n roll, it taught me about the electric guitar, about drum solos, about lyricism. It taught me more about love and sex than any stuffy school talk or awkward teen encounter, that’s for sure.
And the thing is, that I’m not the only one. You all know exactly what I’m talking about.
There’s something to be said about the notion of collective consciousness, and loving Led Zeppelin is one of those universal things that just happens. It might have been ten or fifteen years since you listened to this album, but once you do, you’ll instantly know. You’ll instantly remember. So pause that French deep house EP. Put down that underground Atlanta rap mixtape. Let’s do this. I don’t want to spend too much time picking apart the lyrics and riffs and solos, I just want you to fucking listen to this album.
It’s really, really easy to forget about the music that came before today, or before this year. Who are we kidding? You’re reading this blog, after all. Chances are that you fit within the demographic: triple-j-listening, Spotify-streaming, festival-braving, mid/late-twenties indie kid or hipster or club freak or hip hop head. At a time where the industry shifts so quickly that an artist is entirely forgotten if they don’t release a new song every month, listening to Led Zeppelin is like breathing in fresh (misty) mountain air.
To clarify, I’ll quickly explain why I chose to focus on Led Zeppelin II. Picking a favourite Zep album is an impossible feat. Being a massive blues fan I’m obviously a sucker for the slow and seductive opening tracks on I, but then you’ve got stuff like Immigrant Song and Since I’ve Been Loving You on III, and of course there’s Evermore, Going to California and Levee on IV. Then we’ve obviously got Houses of the Holy tracks like No Quarter and Physical Graffiti stuff likeIn My Time Of Dying and…. yeah, well, you see what I mean. The struggle is real. I chose Led Zeppelin II because it was the first Led Zeppelin album I ever heard. It was one of the first albums that, upon first hearing it, I literally did not listen to anything else for weeks. I eventually had to actually buy a second (and then third) copy of the CD because it wore down. And I doubt I’m the only one who knew that feeling.
How can I begin to pick this apart? Not one single filler track, not one single boring moment, not one riff or bass line or drumbeat that wasn’t brilliant and revolutionary and packed with more talent than most artists on the radio today. I’ll just pick a handful of my own favourite moments. The rest of it speaks for itself.
Let’s start at the very beginning. That opening riff on Whole Lotta Love. One of the most recognisable, most exciting riffs of all time. Robert Plant’s soaring, sensual melody, later coming head to head with John Bonham’s drums before, of course, those legendary call-and-response solos. And Jimmy Page’s guitar work. I mean, goddamn. GOD DAMN.
No matter how many obscure musical black holes I disappear down, no matter how far I stray from rock and roll, I will always come back to Led Zeppelin. No matter how much weird glitch, or trip hop, or R&B, or minimal electronica or whatever-the-fuck else I listen to every day, I will always come back to Led Zeppelin. Always.
And I know you feel the same way.
Only three tracks deep, you come to one of my all time favourite songs. Not just from Zeppelin but all music. I love it so much that I have a tattoo of it. Not only is it musically brilliant and bluesy as hell with those deep riffs and John Paul Jones’ impeccable bass work, but The Lemon Song taught me more about sex than any other single experience in my life.
“Squeeze me baby, ’til the juice runs down my leg – the way you squeeze my lemon, I’m gonna fall right outta bed!” coupled with Plant’s voice and the flirtatious guitar-bass dance, is sexier than any goddamn song in the history of music (except possibly for Massive Attack‘s Angel, but that’s another story for another FBF.)
Then we come to the glorious Thank You. And the raunchy Heartbreaker. And eventually we find ourselves at Ramble On. One of the undisputed greatest Led Zeppelin tracks.
Between the Sympathy for the Devil-esque opener that’s as simple as it is identifiable, the romantic, fantastical, not to mention Lord of The Rings-referencing lyrics, and some of the most passionate and vocally diverse melodies in Robert Plant’s career, this is what rock and roll is supposed to sound like. This is it. If aliens descended upon the earth and demanded to know what rock and roll sounded like, THIS is what you would play for them (along with some Hendrix and Sabbath of course.) From the soft, delicate and sentimental opening to the all-out power of the chorus, from the stunning guitar harmonies to the full on freak-out outro, this song alone exemplifies everything I love about this band.
The album continues, and I could talk about it for hours. But so much has already been said. It’s time to just close your eyes and enjoy.
I can’t begin to describe how fun it’s been listening to this album on repeat again. I can only hope that I’ve inspired a few of you to spend your weekend jamming the fuck out to some of the greatest music that’s ever been made.
Well folks. Turns out there is a god.
After much speculation and rumour and wishful thinking, Jack White and Led Zeppelin’s Robert Plant came together during White’s recent headline set at Lollapalooza Argentina, for a very special rendition of Zep’s The Lemon Song. It’s the first time Plant has played The Lemon Song since 1995, when he and Zep guitarist Jimmy Page performed it in Norway.
It’s far from the first time that White has shown us his love for Led Zeppelin – or that Zep have displayed affection for the former White Stripes‘ frontman. Last September, Plant told Reddit that he loves “Jack White’s buccaneer spirit… I’d be happy to make a single with him.” In fact, he’s already picked out the song. It’s called Love Me, originally by The Phantom (listen here.) Plant will be visiting White’s hometown of Tennessee for Bonnaroo, so here’s hoping it happens then!
White has covered The Lemon Song a couple times live, including his historic headline performance at Bonnaroo last year. White has also co-starred with Jimmy Page in a documentary about the electric guitar, and both Plant and Page have sung White’s praise in interviews. So let’s hope that one day we’ll see all of these legends performing together in some form or another.
Watch it here. If this doesn’t give you shivers of happiness, I don’t know what will:
In any case, we couldn’t agree with Jack more: