Posts Tagged ‘ Led Zeppelin ’

Album of the Week 19-2017: Led Zeppelin – Presence


For some reason, ‘Presence’ turned out to be Led Zeppelin’s slowest selling studio album. Maybe because its sounds significantly more stripped down than ‘Houses Of The Holy’ and ‘Physical Graffiti’, but ultimately, I prefer it even to some of the band’s classic albums. The record shows Led Zeppelin reconnecting with its roots, attempting to capture the essence of what made them so good in the first place. And succeeding at it surprisingly well. ‘Presence’ is a muscular hard rock record with excellent songwriting and an unusually strong emphasis on Zeppelin’s brilliant rhythm section. It is simply everything I’d want from them.

‘Presence’ was written and recorded during a tumultuous time for Led Zeppelin. Singer Robert Plant was seriously injured due to a car accident and the recordings had to be rushed due to the studio being booked by The Rolling Stones, which may be why the album isn’t loaded with extra touches like its two predecessors were. Instead, it focuses on the power within band and has the distinct live feel that made the debut so exciting seven years prior as a result. Drummer John Bonham and bassist John Paul Jones sound bigger than ever and the compositions truly focus on the band’s strengths.

The album is bookended by two of the best songs the band has ever recorded. ‘Achilles Last Stand’ is probably the most carefully arranged song on the album and basically feels like proto-heavy metal, due to its propulsive, galloping rhythm and Jimmy Page’s almost orchestral-sounding, layered guitar work. It feels significantly shorter than just over ten minutes. The other masterpiece is ‘Tea For One’, which – after a misleading intro – is essentially a minimalistic slow blues, into which Page’s sparse riffs inject a dark, almost doomy vibe. It’s number one on my list of Zeppelin songs that don’t get the love they deserve.

While those two tracks take up almost half of the album’s running time, they are hardly the only enjoyable songs on the record. The band’s adaptation of Blind Willie Johnson’s gospel blues song ‘Nobody’s Fault But Mine’ quickly became a live staple, which is easily justified by its drive and strong build-up. ‘For Your Life’ has a spontaneity that brings back memories of the self-titled debut, though with a cleaner production and the sleazy, dirty fifties groove of ‘Candy Store Rock’ makes the song a true hidden gem. The other two songs are just good, but figuring that this is Led Zeppelin, “just good” is still far above average.

Although ‘Presence’ never enjoyed the same classic status, it is every bit as good and consistent as ‘Led Zeppelin IV’ was. In the end, the most important reason why I prefer ‘Physical Graffiti’ to this is really that it has twice as much Led Zeppelin. On ‘Presence’, the band strikes a better balance between spontaneous jams and meticulously arranged songs than they have done before or since. I can understand why it’s somewhat lost between the sprawling majesty its predecessor and the confusing experimentalism of its follow-up, but the fact is that this is the band’s final masterpiece and a treat to fans of Zeppelin’s trademark rock sound.

Recommended tracks: ‘Achilles Last Stand’, ‘Tea For One’, ‘Candy Store Rock’

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Album of the Week 47-2016: Robert Plant and the Strange Sensation – Mighty ReArranger


“My peers may flirt with cabaret / Some fake the rebel yell / Me, I’m moving up to higher ground / I must escape their hell”. Sure, these words may come across a bit arrogant, but they’re very true first and foremost. Not a single member of any legendary group had a solo career that has been so consistently focused on constantly reinventing himself the way that former Led Zeppelin singer Robert Plant does. Not even George Harrison and Paul Simon. Hungry to discover folk music from all the corners of the world and determined to stay relevant, Plant’s solo output is consistently amazing.

What is it that makes Plant’s discography so good? Mainly that he stubbornly refuses to repeat himself. Whether he does a contemporary take on the Zep sound (‘Manic Nirvana’) or immerses himself completely in different styles (‘Shaken ‘n’ Stirred’), he is convincing rather than embarrassing. ‘Mighty ReArranger’ manages to be both extremes at the same time. There are big, beefy Zeppelin-esque riffs and Plant’s voice is of course one of a kind, but the textures and rhythms borrowed from Middle-Eastern, American and North and West African folk music give the record a clear identity of its own, not to mention a layered approach that slowly reveals its secrets over repeated listens.

Plant was in his late fifties when ‘Mighty ReArranger’ was recorded, but his backing band The Strange Sensation consists of people with indie, jazz and trip hop backgrounds, while guitarist Justin Adams grew up in Egypt and produced Mali’s mighty Tinariwen and brings a knowledge of the African music that Plant loves so much to the table. All these influences blend in a way that shouldn’t work, yet it does. Songs like ‘The Enchanter’ and the brooding ‘Tin Pan Valley’ sound like Massive Attack jamming with Led Zeppelin, while ‘Takamba’ and ‘Somebody Knocking’ have distinct desert blues leanings.

Another asset of ‘Mighty ReArranger’ is that a lot of attention has been spent on its flow. This isn’t just a collection of songs, it is designed for a listener’s maximum attention span. It builds up from the acoustic-based ‘Another Tribe’ and the accessible rocker ‘Shine It All Around’ through some more experimental moments like the folky ‘All The Kings Horses’, the Byrds-inspired hippie rock tune ‘Dancing In Heaven’, the aformentioned ‘Tin Pan Valley’ and the subdued, yet rhythmically throbbing ‘Let The Four Winds Blow’ until it ties all ends together in the title track. And the bar boogie Ray Charles tribute ‘Brother Ray’ is a nice epilogue.

Despite the consistently high level of Plant’s solo output, ‘Mighty ReArranger’ is the record I revisit most. Possibly the presence of an actual backing band gives Plant a solid basis to work with and as a result, it’s about the music as much as it is about his performance. It speaks volumes about his versatility that everything sounds equally convincing, no matter if it touches upon hardrock, blues, indie, folk or world music. If you’re into one of those genres, you will do yourself a favor by checking this record out. You’ll probably end up liking the others as well.

Recommended tracks: ‘Tin Pan Valley’, ‘Let The Four Winds Blow’, ‘Freedom Fries’

Album of the Week 37-2016: Led Zeppelin – Presence


Led Zeppelin’s untitled fourth album is generally considered their best work, along their two-disc magnum opus ‘Physical Graffiti’ and possibly the rawness of their debut. Opinions on their seventh studio album ‘Presence’ are a little more divided, but I personally consider it the last of their perfect albums. It’s a relatively heavy affair, which may have been disappointing to those who enjoyed the sprawling nature of ‘Houses Of The Holy’ and ‘Physical Graffiti’, but if you view the album for what it is – an excellent bluesy Hardrock record – it’s thoroughly enjoyable. And a lot more influential than you might think.

‘Presence’ came together in a time of turmoil for Led Zeppelin. The band was more popular than ever – they even outsold the Stones – but the touring machine had stopped because of the injuries Robert Plant sustained from a serious car crash in Greece. He allegedly recorded the entire album from a wheelchair. Maybe the touring hiatus saved the rest of the band some energy, because this is easily their most “live” sounding record. The songs are relatively simple in terms of arrangement, but that’s also where quite a lot of the album’s propulsive spirit stems from; Jimmy Page’s riffs and John Bonhams drums are all over the place.

As a Heavy Metal fan, there’s no way I couldn’t enjoy opener ‘Achilles Last Stand’ (sic). It’s simply impossible. Its galloping rhythm predates Iron Maiden’s debut album by a few years, but it’s consistently strong and works wonders in terms of dynamics. The other book end is another long song and it’s one of Led Zeppelin’s most underrated masterpieces: ‘Tea For One’ starts out with an uptempo Rock feel, but quickly transforms into a slow, brooding, minimalistic blues with excellent riff work and a mindblowing vocal performance even by Plant standards. It’s like a darker, riffier brother to ‘Since I’ve Been Loving You’ and should have been valued as least as much as that one.

The shorter songs are every bit as impressive. The band’s take on the traditional gospel song ‘Nobody’s Fault But Mine’ is really their own thing and one of the few songs they took to the stage from this record. ‘For Your Life’ has an irresistible start-stop feel, which almost makes it feel heavier than it actually is. ‘Candy Store Rock’ is one of those forgotten classics of which I really like the restrained, yet powerful rhythm and the fifties R&B licks courtesy of Page. ‘Royal Orleans’ is another one of those unconventional, yet recognizable songs. I think they were shooting for something Funky here. They didn’t quite succeed, but the results are great nonetheless.

While it’s hard, if not impossible, to overstate Led Zeppelin’s brilliance and lasting influence, I feel that music fans generally attach themselves to a limited number of their albums, while really, each and every one of their first seven records is just about perfect. ‘Presence’ is definitely the first one I’d suggest someone who leans towards Hardrock. Sure, some of the songs need some time to sink in, but it’s always been that way with Led Zeppelin. In hindsight, maybe the forced touring hiatus was a blessing in disguise. Whatever the reason, ‘Presence’ should be heard by anyone who loves good Rock music.

Recommended tracks: ‘Achilles Last Stand’, ‘Tea For One’, ‘Candy Store Rock’

Best of 2014: The Albums

Yes, it’s that time of year again. And let me start out by saying that 2014 was a slight disappointment in terms of new releases. Sure, one of the best Dutch Rock albums in ages was released (look for it at number one) and that wasn’t the only impressive release this year, but in all honesty, most of the releases I anticipated were live documents and reissues. Some surprisingly strong comebacks and a few new bands that blew me away did compensate for the initial disappointment though.

Make no mistake though: each and every one of these albums is worthy of your time and attention. This year’s number one is one of the albums I played most throughout the year and restored my faith in the fact that the Rock scene hadn’t drowned in its own self-importance or hit song obsession.

1. Navarone – Vim And Vigor

Oh, how I love this record! Navarone already was one of Holland’s most promising bands, but with ‘Vim And Vigor’, they made one of my favorite records in recent years. While the song durations may hint at a more compact direction, the album is surprisingly adventurous. It shows Navarone exploring all the corners of their versatile Rock sound. There are loads of seventies Hardrock riffs, but also a few songs consisting of a more rhythmical contemporary approach, Southern Rock-style ballads and psychedelic passages, all tied together by concise songwriting, massive choruses and Merijn van Haren’s fantastic, powerful voice. ‘Vim And Vigor’ is obligatory for every Rock fan of any kind. And good luck trying to play it more than I have.

Recommended tracks: ‘Time’, ‘Wander’, ‘Indigo Blue’

2. D’Angelo – Black Messiah

Now where did that album suddenly come from? D’Angelo had been working on ‘Black Messiah’ for over fourteen years and we have been told it was nearly done since 2011. It was worth the wait though; ‘Black Messiah’ is almost as good as ‘Voodoo’. But where ‘Voodoo’ was seductive, ‘Black Messiah’ is militant. Or at least socially conscious. It’s a grower for sure, in the sense that the album slowly reveals its secrets over repeated spins, in all of their grooving, riotous and at times psychedelic glory. This is ‘There’s A Riot Goin’ On’ for the 21st century. Very much so, in fact. Even though D’Angelo sticks to his story that he rushed through the final phase of the album – once again: I chuckled – it’s obvious he worked hard at once again creating a unique work of art. He succeeded.

Recommended tracks: ‘Betray My Heart’, ‘The Charade’, ‘1000 Deaths’

3. Sanctuary – The Year The Sun Died

With Nevermore, a band I loved intensely, gone – or, if you will, on hiatus – this reunion of Warrel Dane’s and Jim Sheppard’s former band is the second best thing I can wish for. Then again, because of the modern production and Dane’s current vocal range, it does sound a lot like Nevermore. While the song patterns don’t vary greatly throughout the record, the riffs call for headbanging, the choruses are catchy and recognizable and the soaring guitar leads are just fantastic. This may not be the falsetto screams and old style Power Metal riff festival that ‘Refuge Denied’ was, but this is a clever contemporary Metal record with all the elements that make Heavy Metal so amazing in the first place firmly in tact.

Recommended tracks: ‘The Year The Sun Died’, ‘Frozen’, ‘Question Existence Fading’

4. OverKill – White Devil Armory

It’s not unusual for me to anticipate an OverKill album. They’ve been my favorite band – alongside Led Zeppelin – for ages. But it doesn’t happen very often that my blood gets boiling as quickly as it did upon first listening to ‘White Devil Armory’. This is OverKill’s East Coast Thrash Metal in all its aggressive, violent and full speed glory. It’s interesting that Dave Linsk’s lead guitar work infuses some of the songs with an almost triumphant old school Heavy Metal feel, most particularly in the amazing closing track ‘In The Name’, one of OverKill’s carreer highlights. ‘White Devil Armory’ should send all these young Retro Thrashing kids back to rehearsal in shame. And they’re only allowed when they come back when they have at least half the energy that Bobby ‘Blitz’ Ellsworth has today. Incredible.

Recommended tracks: ‘In The Name’, ‘Pig’, ‘Where There’s Smoke…’

5. King Of The World – KOTW

Almost exactly a year after their brilliant first album, there was a brilliant second album. As if it takes them no effort whatsoever. ‘KOTW’ confirms King Of The World’s status as the best Blues band in the Netherlands. Possibly in Europe. While the first album was one of the most versatile Blues records I had heard in a while, this one shows the band branching out even outside the borders of what is traditionally considered Blues by combining it with flourishes of Soul, Funk grooves and even some Rock riffs. And all of it with similar conviction and audible enthusiasm. And if that wasn’t enough to convince you, let me tell you that King Of The World is one of the very few Blues bands that can translate their live excitement to their records. ‘KOTW’ is proof.

Recommended tracks: ‘Beating Like A Drum’, ‘Living With The Ghost Of The Past’, ‘Hurricane’

6. No Sinner – Boo Hoo Hoo

Not only was No Sinner’s press day one of the most fun I have ever had – singer Colleen Rennison is awesome and their entire entourage is incredibly friendly – but the debut album of the Vancouver based band was one of the first albums I’ve loved this year. Rennison seems to love sixties Rock ‘n’ Soul as much as I do, possibly even more, and as a result, ‘Boo Hoo Hoo’ is a fantastic record that brings back memories of the best Janis Joplin, Big Mama Thornton and Ike & Tina Turner recordings. Eric Campbell’s guitar work does keep the songs firmly within the realms of Rock music though. It does sound like I have to see them in a smokey bar – are there still any of those left anyway? – for the full experience, but this album is as good as it gets if you need your fill on rootsy Rock music.

Recommended tracks: ‘September Moon’, ‘That’d Be The Day’, ‘Love Is A Madness’

7. Dir En Grey – Arche

It’s good to hear Dir En Grey try their hand at something more melodic after the more brutal approach of the last few records. The contemporary progressive leanings are retained though, resulting in – once again – a truly unique record. For me, the fact that Kyo equips his clean vocals more often is one of the album’s redeeming factors, but the songwriting is top notch once again. Where some passages of ‘Dum Spiro Spero’ were a bit of an aural blur, the songs on ‘Arche’ all have a face of their own and those faces may not be pretty (except for maybe ‘Kuukoku No Kyouon’), but they definitely all are worth interacting with. Because of the album’s layered nature, some of the album’s shining moments won’t immediately be at the surface. One of them, though – Shinya’s best drumming so far – is right where you can hear it.

Recommended tracks: ‘Un Deux’, Chain Repulsion’, ‘Kuukoku No Kyouon’

8. Joanne Shaw Taylor – The Dirty Truth

Okay, so I’ve never made a secret of my love for what Joanne Shaw Taylor does, but then again: her huge guitar work, her raw and heartfelt voice and her versatile songwriting leave very little to be desired anyway. After the wildly eclectic ‘Almost Always Never’, ‘The Dirty Truth’ is a more concise set of American Roots music. All the more impressive, given that Taylor is British. The Soul influences were always at the surface, but it seems like Taylor increasingly embraces funky grooves. And she’s got Memphis legend Steve Potts on drums here, so why not? The simple fact is that ‘The Dirty Truth’ is full of amazing Blues, Soul, Rock and Americana tunes played passionately by one of the biggest talents in the contemporary Blues scene.

Recommended tracks: ‘Wicked Soul’, ‘Wrecking Ball’, ‘The Dirty Truth’

9. Robert Plant – Lullaby And… The Ceaseless Roar

Robert Plant could easily just sit back and enjoy the benefits of once being the legendary frontman of the world’s ultimate Rock band, but his hunger to discover Folk music from all over the world is seemingly endless. That much is clear when you put on ‘Lullaby And… The Ceaseless Roar’; he moves from Americana to the Middle East and even has a Gambian griot in his backing band. Speaking of which: the Sensational Space Shifters brings back several members of Plant’s best backing band the Strange Sensation and even though the music isn’t quite as exuberant as on ‘Mighty Rearranger’ – the lullaby drowns out the ceaseless roar – the influence from African Rock and Blues is more than obvious. The results are often hypnotizing and haunting. It’s not an easy album to get into, but then again: regardless of your taste, Plant hasn’t ever released anything less than impressive.

Recommended tracks: ‘Embrace Another Fall’, ‘Arbaden (Maggie’s Babby)’, ‘A Stolen Kiss’

10. Triggerfinger – By Absence Of The Sun

For a minute, the mainstream Pop success of their cover of ‘I Follow Rivers’ – a decent cover of a terrible song – made me afraid of Triggerfinger’s future. I know I shouldn’t have; the Belgian trio has always done what they wanted and nothing else. As a result, ‘By Absence Of The Sun’ is yet another manifestatation of what makes Triggerfinger so good in the first place. It’s a record of very little subtlety. It’s raw, it’s powerful, it’s primal and has a few warts that make it all the more attractive. Also, it seems like someone finally succeeded in translating the sweaty energy of the band’s intense live performances to a studio record. Predecessor ‘All This Dancin’ Around’ was a collection of good songs, but ‘By Absence Of The Sun’ has been put just that little extra effort into to make it the hard working band’s ultimate mission statement.

Recommended tracks: ‘Halfway There’, ‘There Isn’t Time’, ‘And There She Was Lying In Wait’

11. The Tea Party – The Ocean At The End

Where the live documents from 2012 proved that The Tea Party was perfectly able to capture the spirit of their classic material, ‘The Ocean At The End’ is the proof that they’re still coming up with material that can easily stand the comparison with it. In fact, the band sounds more free and relieved than ever, giving ‘The Ocean At The End’ sort of a jam feel instead of the tightly composed productions that were ‘Transmission’ and ‘Triptych’. The Canadian power trio is obviously not afraid to experiment and although sometimes the Led Zeppelin influences are slightly too obvious – opening track ‘The L.O.C.’ sounds a ridiculous amount like ‘The Song Remains The Same’ at some points – the results are stunning. The title track is Jeff Martin’s crowning achievement as a guitarist; that guitar solo cuts right through your soul.

Recommended tracks: ‘The Ocean At The End’, ‘Cypher’, ‘The Black Sea’

12. The Backcorner Boogie Band – Faico Faico

Hailing from a part of the Netherlands that is litterally translated to “The Backcorner”, this is definitely the most aptly named band in this year’s list. Also, their music is just amazing. The lineup of the band is massive, but they’re all devoted to comibining Blues, Rock, Soul and even hints of Americana and Gospel into an irresistable cocktail. The results sound a little similar to The Black Crowes and The Rolling Stones and fans of those bands should know that this band can absolutely compare itself favorably to them. There’s a swinging rhythm section, a bunch of amazing singers, bombastic horns, killer guitar work and a rumbling Hammond organ and no one is trying to upstage or outshine anyone. This makes ‘Faico Faico’ the ultimate jam record released in the Benelux this past year and should be heard by anyone.

Recommended tracks: ‘Angels’, ‘When The Day Is Done’, ‘Lost My Job To A Chinaman’

13. Anthem – Absolute World

Because of bassist and band leader Naoto Shibata’s illness, Anthem was shortly on hold. When they returned, it wasn’t Eizo Sakamoto, but Yukio Morikawa who fronted the band. And while he hasn’t stood the test of time as good as his two-time predecessor, his spirit and passion are part of what make ‘Absolute World’ such a good Heavy Metal record. The songs courtesy of Shibata and guitarist Akio Shimizu are important as well; ‘Absolute World’ is Anthem’s most riff-driven album in a while and Shimizu seasons the album with a number of mindblowing guitar solos. This is quite obviously a band that is very heartfelt about old school Heavy and Power Metal and they succeed at getting that across even three and a half decades into their carreer. Well worth the import price that may be steep.

Recommended tracks: ‘In The Chaos’, ‘Sailing’, ‘Destroy The Boredom’

14. De Dijk – Allemansplein

Predecessor ‘Scherp De Zeis’ already saw De Dijk moving away from the French chanson influences that characterized part of their recent output and ‘Allemansplein’ is once again an almost fully Blues and Soul infused record. Because make no mistake: for a band whose lyrics are entirely in Dutch, De Dijk sounds remarkably American musically. The title track is one of the most sparse tracks in the history of the band and has this wonderful tension hanging in the air, making it reminiscent of their masterpiece ‘Recht In De Ogen’ in terms of atmosphere. As for the rest, there are the swinging riffs and horns that make every De Dijk album good, there’s just more emphasis on them than before. Another work that proves that De Dijk is much better than some Dutch people may think.

Recommended tracks: ‘Allemansplein (Wat Het Nooit Was)’, ‘Steen’, ‘Zelfs De Regen’

15. Umphrey’s McGee – Similar Skin

This one almost went by unnoticed in the stream of new releases I got to review. Am I glad I gave this one a chance anyway, because ‘Similar Skin’ is a sensational record. It’s hard to describe Umphrey’s McGee; they came from the nineties jam band scene, but they have more in common with Progrock in terms of style, despite several recognizable songs, guitar passages reminiscent of The Police’s later work, Funk grooves, Metal riffs and Jazzy instrumental prowess. There aren’t many bands that have a distinct sound and albums on which every song sounds different, but Umphrey’s McGee succeeds there. The only thing that could make the band better is a powerful lead singer; though all four singers in the band do quite well, none of them are lead singers. Don’t let that keep you from enjoying this highly surprising and versatile record.

Recommended tracks: ‘Hourglass’, ‘Bridgeless’, ‘Cut The Cable’

16. Triptykon – Melana Chasmata

Thomas Gabriel Fischer wanted to build upon the pitch black sound of ‘Monotheist’ some more after the demise of Celtic Frost and I’m happy he did; that record was a masterpiece and so was Triptykon’s debut ‘Eparistera Daimones’. And ‘Melana Chasmata’. Enormous monoliths of pitch black riffs and dirge-like tempos paint a bleak atmosphere that is impossible to escape as a humble, helpless listener. While this melancholic sound still rings through most of ‘Melana Chasmata’, it also contains some of the band’s most aggressive and defiant material so far. It’s remarkable how easily the band makes this transition from dreary Doom Metal to angry, Death Metal-like Thrash passages, but one thing is for sure: nobody does it like they do!

Recommended tracks: ‘Breathing’, ‘Tree Of Suffocating Souls’, ‘Waiting’

17. While Heaven Wept – Suspended At Aphelion

Those who still consider While Heaven Wept as a Doom Metal band will probably be disappointed upon hearing ‘Suspended At Aphelion’. This is definitely not Doom Metal anymore; this is huge, epic Power Metal driven by massive riffs, fantastic vocals courtesy of Rain Irving and a desolate, overwhelming atsmosphere. There are piano interludes and purely classical pieces, ballad segments, instrumental Progmetal violence and epic Metal chapters in a 40 minute journey that is designed to listen to in one go. For me, that was easy, because the album is so expertly written and well performed. Mainman Tom Phillips already deserved all the praise he can get for his ambition and the sheer scope of the record, but the quality of ‘Suspended At Aphelion’ more than justifies it. Interesting sidenote: the session musicians are remarkably significant for some of the pieces here.

Recommended tracks: ‘Indifference Turned Paralysis’, ‘Souls In Permafrost’, ‘Introspectus’

18. VandenBerg’s MoonKings – MoonKings

A couple of years ago, no one would have expected Adrian VandenBerg ever releasing a new album again; he had a wrist injury and spent his entire professional life painting. However, he apparently feels good enough to record another album and tour again. And the album is good! With a strong, young rhythm section, Vandenberg and singer Jan Hoving – who tries to sound like David Coverdale a little too hard at some points, but does fit the music really well – recorded a collection of energetic, Bluesy Rock ‘n’ Roll songs that just scream for the live environment. This isn’t just an exercise in nostalgia; the songs sound fresh and I applaud Vandenberg for not taking the road of least resistance by gathering a bunch of big names here. Let’s just hope that this is the first chapter in the new book of Vandenberg’s musical carreer.

Recommended tracks: ‘Line Of Fire’, ‘Close To You’, ‘Leave This Town’

19. Prince & 3rdEyeGirl – PlectrumElectrum

Since he stubbornly refuses to do anything the way anyone else does – and that’s his strongest feat – Prince released two albums simultaneously. ‘Art Official Age’ was a bit too modern and digital for me, but ‘PlectrumElectrum’ has Prince and his all-female backing band 3rdEyeGirl exploring the two things he’s best at anyway: guitars and grooves. The ladies – in particular bassist Ida Nielsen: holy shit! – do a fantastic job backing Prince on his most consistent set of songs since ‘Musicology’. Of course, the Funk and Soul influences are right there, but the songs rock surprisingly hard at some points as well. Maybe the purple one should consider releasing a live album with these ladies… And this material of course!

Recommended tracks: ‘AnotherLove’, ‘FixUrLifeUp’, ‘PlectrumElectrum’

20. Mastodon – Once More ‘Round The Sun

While the psychedelic masterpiece of ‘Crack The Skye’ will be hard to equal for Mastodon, they will always find new ways to challenge themselves and expand upon their existing sound and that alone would be a reason why each album of the Atlanta-based band is enjoyable at the very least. ‘Once More ‘Round The Sun’ is a more melodic record than ‘The Hunter’, though the basic sound is similar. As a result, most of the songs have a triumphant and – despite the band’s inaccessible nature – almost catchy vibe to them. If those are words that scare you as a Mastodon fan; don’t worry. Opposite material like the amazingly memorable ‘The Motherload’, there’s still stuff like the dark monster that is closing track ‘Diamond In The Witch House’. All worth your time!

Recommended tracks: ‘The Motherload’, ‘Tread Lightly’, ‘Once More ‘Round The Sun’

Album of the Week 22-2014: Led Zeppelin – Physical Graffiti


Explaining why ‘Physical Graffiti’ is my favorite out of all the amazing albums that Led Zeppelin recorded is quite easy. First of all, there’s the quantitative argument: it’s a double album, so there’s twice as much Zeppelin to enjoy. But even when you look at the quality of the material, it’s hard to love any Led Zeppelin album more than this one, though I can certainly see where the people who prefer ‘Led Zeppelin IV’ come from. On these two records, Zeppelin cultivates the wild experimentalism of ‘Houses Of The Holy’ without abandoning their heavy Blues roots.

Of course, everyone who knows their Rock music is familiar with the orchestral eastern mysticism of the downright amazing ‘Kashmir’, if only because it is quite likely the most imitated song in music history. The monolithic Blues of the 11-minute ‘In My Time Of Dying’ and the metallic Funk of ‘Trampled Under Foot’ quickly found their way into the regular live set of the British quartet, but there is so much more to enjoy here. Though the recording history of the album – where the band recorded more than an album’s worth of material and decided to include songs from earlier sessions – may suggest an odds and sods record, the consistency of the material is unbelievable.

While the first disc contains the most familiar material, taking a dive into the second one will prove just as rewarding. It’s where the obscure classics are hiding. For instance, not many people know ‘The Wanton Song’, but the contrast between Jimmy Page’s root note-octave riff, the awesome solo section and the melodic Leslie speaker driven riffs makes it irresistable. The epic ‘In The Light’, which is lead alternately by John Paul Jones’ synthesizer and Page’s enormous riff, brings together the best sections The Doors and Black Sabbath never dared to record and the beautifully complex ‘Ten Years Gone’ captures romanticism and melancholy in a way unheard of at the time.

Like many of the greatest bands in music history, Led Zeppelin was bigger than the sum of its parts. The thing is that even the sum of Zep’s members was already bigger than any other band at the time. The incomparable Robert Plant has the unique talent to conjure up more emotions than the words of the songs are stating and John Bonham’s only contender to the drumming throne at the time was Deep Purple’s Ian Paice. His power and performance in ‘Kashmir’ have yet to be matched. Page may have been a tad sloppy, but that gave his music its life. His ideas speak for themselves. Jones’ compositions on the album prove that he is the secret weapon to the group’s depth.

Though each and every one of the band’s first seven albums is as close to perfection as music can possibly get, ‘Physical Graffiti’ to me is just that little bit extra. It’s true that part of that is the album’s length, but that wouldn’t make much sense if the actual material didn’t back up the duration of the record. What Led Zeppelin gives the listener here is almost an hour and a half of the best material they could capture on vinyl a the time and every last minute of it is incredible. This is one of those albums that needs to be heard to be believed.

Recommended tracks: ‘Kashmir’, ‘Ten Years Gone’, ‘The Wanton Song’, ‘In My Time Of Dying’

Album of the Week 46-2012: Led Zeppelin – Celebration Day


Magical. That’s what it must have been like if you were at the O2 Arena in London on December 10th 2007, when the three surviving members of Led Zeppelin teamed up the the late John Bonham’s son Jason on drums for a one night only reunion show. Being the Led Zeppelin addict I am – I still think there’s nothing higher attainable musically than Zep – I of course entered the lottery for tickets. Didn’t win any, but this is almost as good. I don’t think I’ve ever looked forward to any release as much as this one. I counted down the days. But it was worth it: ‘Celebration Day’ shows a powerful, inspired performance by the best Rock band ever.

Most of the songs have been tuned down half a step to easier facilitate Robert Plant’s voice. It’s obvious from the first second of opening track ‘Good Times Bad Times’. Since Plant has a history of not playing Zeppelin stuff the way it has been released throughout his consistently amazing solo carreer, I don’t mind these little changes. And let’s not forget that the human voice does lower with age. And while Plant’s voice has inevitably aged, he handles this material incredibly well, albeit somewhat less over-the-top than on the originals. This causes him to sound like a reflecting old man rather than a young romantic on the eternal classic ‘Stairway To Heaven’. The subdued performance of the band backs him up there, adding a whole new dimension to an extremely familiar song.

Jason Bonham actually does a great job replacing his father. He has a powerful style that resembles his father’s and therefore makes him the only justified drummer. Just listen to him punishing his kit during a breathtaking version of ‘Kashmir’ – actually played in its original tuning, since it’s in an open D tuning – or ‘Nobody’s Fault But Mine’ (also featuring a mean blues harp courtesy of Plant) and you’ll have no doubt that it’s a Bonham playing. He also shares vocals with Plant on a strong rendition of ‘Misty Mountain Hop’ and does that well.

Pleasantly surprising is that the setlist for the night didn’t only focus on the obvious choices as ‘Stairway To Heaven’, ‘Black Dog’, ‘Rock And Roll’ and ‘Whole Lotta Love’. In fact, with ‘Ramble On’ and ‘For Your Life’, the band played two amazing tracks from their back catalog live for the first time. Especially the latter is executed incredibly well. Unsurprisingly, half of ‘Led Zeppelin IV’ is included, but traditional blues tributes ‘In My Time Of Dying’ and ‘Since I’ve Been Loving You’ are the songs that the band seems most comfortable with. And let’s not forget my favorite Led Zeppelin song ‘No Quarter’, a psychedelic masterpiece that is just as good as the studio version from the moment John Paul Jones kicks in with the dreamy fuzz piano part. I wasn’t there, but it was a near-divine experience this way anyway. Also, playing ‘Dazed And Confused’ even slower than it was recorded almost sends it into Black Sabbath territory. Awesome!

Critics will always find something to attack on these performances. Jimmy Page is still a sloppy guitarist, but I have always felt that that was what gave his playing and the songs their breath of life. And of course, it doesn’t sound exactly like it did in the seventies, but it would have missed the point if it did. The bottom line is that these guys can still create magical music together. And judging from the looks on their faces, they were having a lot of fun doing it.

Any fan of Rock music should own this piece of history. Period. And if you haven’t gotten it yet, be sure to get a version with the bonus dvd, as it features the entire show as it was done during the production rehearsal. A performance that is filmed with only one camera and that is overal somewhat looser, but no less enjoyable. Now if you’ll excuse me, I’m going to put on the dvd again, because one can never have enough Led Zeppelin.

Recommended track: ‘No Quarter’, ‘Kashmir’, ‘Stairway To Heaven’, ‘Nobody’s Fault But Mine’