He was then the final guitarist in the Yardbirds, a seminal British blues outfit whose previous guitarists were Jeff Beck and Clapton. There are enough conflicting accounts of the songs he’s played on to doubt some, but Page himself has said, for example, that that is not him on the Kinks’ “You Really Got Me,” but he is on the Who’s “Can’t Explain.” There was also work on a crazily diverse set of sessions: Van Morrison’s Them and Donovan, Tom Jones and Burt Bacharach, all the way to the blandest Muzak. Page was a prodigy of a new mold, a young man on the British blues scene who quickly became a coveted session player in the British pop factories of the time. The forest, in this analogy, was Jimmy Page. ( Rolling Stone’s critical history with the band was particularly - indeed, uniformly - clueless.) A lot of this had to do with not seeing the forest for the trees. Still, something big was going on, and many people at the time didn’t get it. Robert Plant’s lyrics - an amalgam of stolen blues lyrics, random and confused references to Norse and Tolkien mythologies, sullen misogyny, and utter nonsense - didn’t help matters. All the old terms used to explain this still apply: Zeppelin were a sledgehammer, a steamroller, a juggernaut, a leviathan, picking the music up, turning it into a club, and wielding it unmercifully, often on innocent bystanders and any nearby baby seals.
But the rock Establishment didn’t quite get the band at the time. Rock’s lumpenproletariat liked them a lot, and even those with finer sensibilities could not help respecting the band’s sonics, not to mention Page’s venturesome guitar chops. To celebrate, we’re re-running our original 2015 ranking of all of the band’s original studio work.
This week, the band’s 1973 album Houses of the Holy turns 50. We blink - and many years have passed five decades, in fact. Jimmy Page put an end to all of that with Led Zeppelin, the band that broke the blues and created something new - hard rock, heavy metal, whatever you want to call it. They were done with brio, but with probity and respect, too. Rock bands always fooled around with doing the blues louder and with less finesse, of course, but beyond that, folks like Eric Clapton were the models, with their sincere embarkations into the music. The blues were a serious matter, meant to be played a certain way. It’s difficult to remember now how precious the blues seemed to rockers in the 1960s. Photo: Maya Robinson and Photo by Michael Ochs Archives/Getty Images
0 kommentar(er)
