In the Houses of the Holy: Led Zeppelin and the Power of by Susan Fast

By Susan Fast

This quantity examines the strong ways that identification may be formed via rock song. in the course of the song, imagery and discourse surrounding the most leading edge and commercially profitable rock bands ever, Susan quickly probes such matters as structures of gender and sexuality, the production of delusion and using ritual, the appropriation of jap musics and the blues, the physicality of the track, and using the physique in functionality. The band's impact is tested via socially-situated musical research, in addition to an ethnographic learn of Led Zeppelin fanatics. quickly attracts on educational and journalistic writing in addition to a brand new interview with band member John Paul Jones. particular items tested comprise "Dazed and Confused," "Kashmir," "Stairway to Heaven," and "Whole Lotta Love."

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Additional resources for In the Houses of the Holy: Led Zeppelin and the Power of Rock Music

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The arrangement was worked out at the same time. ). There would also be partial or complete ideas that Page or myself would bring in to be worked on. Robert would always write lyrics and melody (if needed) last. This process seems to confirm that creating the instrumental parts to the song, including the melody, was considerably more important than the lyrics—that in the first instance words were simply a means of creating the music (and given Jones's comment that Plant's improvised lyrics were sometimes not modified in the final version, it would seem that what he came up with initially was often considered good enough).

In the Zeppelin version, this differentiation is much more sharply drawn, the fast guitar solo being very fast (the eighth note of the previous section becomes the quarter note of this one, making the second solo twice as fast as the first), the ^ sections being much slower than in the Yardbirds' version. Hence there is much greater drama, a much larger emotional soundscape vis-avis tempo, in the Zeppelin version. This is true for other reasons as well. For example, there is no lyrical ambiguity in Zeppelin's studio version, which has turned Holmes's piece of psychedelia into an agonizing blues lament—a musical/textual language distinctly absent in Holmes's original.

He supplements this pattern with triplet figures on the first and third beats toward the end of the solo, adding intensity and forward motion to Page's solo. In the Yardbirds' version, a smooth transition is made from the end of the bow solo into the beginning of the guitar solo, so that even though there is a change of meter, from ^ to \, a similar tempo is maintained between the two meters. In the Zeppelin version, this differentiation is much more sharply drawn, the fast guitar solo being very fast (the eighth note of the previous section becomes the quarter note of this one, making the second solo twice as fast as the first), the ^ sections being much slower than in the Yardbirds' version.

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