HTWWW Review (fwd)

[buckeye <buckeye@xxxxxxxxxxxxxxx>]

- ---------- Forwarded message ----------
Date: Sat, 17 May 2003 22:36:44 EDT
From: "HmmrOfThor@xxxxxxx" <HmmrOfThor@xxxxxxx>
To: "buckeye@xxxxxxxxxxxxxxx" <buckeye@xxxxxxxxxxxxxxx>
Subject: HTWWW Review

Hi Bruce. I tried posting my review of HTWWW on FBO but for some reason it
didn't go through. Could you please forward this? Thanks...appreciate it.

Regards,
- -G

Here it is:

Disc 1
Drone/Immigrant Song/Heartbreaker/Black Dog/Over The Hills And Far Away/Since
I've Been Loving You/Stairway To Heaven/Going To California/That's The
Way/Bron-Y-Aur Stomp

In the midst of the Drone opening, we hear Bonham's four-point count into the
opening swagger of Immigrant Song with Plant in full throat screaming out the
battle cry. The marshall tempo of the track puts the listener on notice that
the band is on attack mode from the get go. From this opening foray
Led-Zeppelin can be described appropriately in one wordâ?¦tight! An immediate
segue into a ferocious Heartbreaker driven by Page's machete riffs, the group
displays an execution of speed and precision. The track grooves along with
the familiar nice middle solo which Page plays with dexterity. No fingers
caught in the strings! Black Dog is next which includes the Out On The Tiles
intro. In the subsequent tours, Plant involved the audience in a call and
response in the chorus. Being that the song is quite new, we just hear him go
at it alone. It even includes the Jelly Roll lyrics! Over The Hills And Far
Away follows with Plant altering the opening lyrics a bit. It was quoted that
this was usually where Page warms up his Gibson Les Paul. This number just
rolls! Slowing down the pace, Since I've Been Loving You, the band's own
blues signature, shines as the band follows a near copy of the studio version
which by their own admission was done live. Plant is obviously at the top of
his vocal capabilities during this tour where you don't hear the strain and
cracking which would be apparent in the latter years. Plant then introduces
the Stairway To Heaven to a rousing reception which contradicts his later
recollection that the audience was quiet during such a moment and reaffirms
Page's that it wasn't. The track does not have the clinical [to me anyway!]
feel of the BBC version but an airy quality about it. Page's solo here as in
all the previous numbers is smooth with none of the sloppiness he is quite
known for. After the power of the first few numbers, time for a sit down for
the acoustic set. Going To California is sung with heartfelt conviction given
where they were at the time. The stereo effect is obvious with excellent
placement of Page and Jones' acoustic instruments. That's The Way is done in
the same manner. I find it amazing the Plant has such a great singing voice
during the quiet numbers which he has never been fully given credit for. If
there was a track that illustrates it, this certainly does. Closing out disc
one is Bron-Y-Aur Stomp with its hoe-down, festive qualities. You can't help
but think the place is turned into a big country barn as the band and the
audience get into it. In the end, Plant yells out "Stryder" which all
Zeppelin fans know is a loving ode to his dog.

Disc 2

Dazed And Confused/What Is And What Should Never Be/Dancing Days/Moby Dick

Disc two opens with Jones' imposing bass notes announcing Dazed And Confused.
Bonham manages to add some gong crashes adding a creepy feeling to its
initial entry. This number has been regarded as Page's personal concert tour
de force during the group's repertoire until its retirement prior to the 1977
sets onwards. It has developed from a ten minute opus to at times a forty
five minute marathon. Whatever the fan prefers depends upon one's tasteâ?¦and
patience! This particular version clocks in at a MERE twenty five minutes.
Page's playing is controlled yet spontaneous while Plant adds yelps and
staccato vocal ad-libs throughout displaying not a hint of wear on his voice.
During the violin bow segment, there is an echo effect when Page slaps it on
his guitar but none of the panning effect on The Song Remains The Same
soundtrack. A couple of pleasant surprises follows as the band breaks into an
instrumental rendition of Walter's Walk accompanied by
"Na-na-na-na!Na-na-na-na!" scat singing by Plant mimicking Page's riff.
Slowing down, yet another one is unleashed as the yet unreleased The Crunge
is played with Page doing his homage to the funk genius of Jimmy Nolen. It is
sans the lyrics with only Plant yelling "Do the Crunge!" at a point. Not only
does the band display its sense of humor but an awareness of other musical
styles which is their strenght individually and as collective whole. Variety
is indeed the spice of life! As the number winds down, Bonham brings closure
with an impressive machine-gun like drum coda flexing his muscles for his
turn three numbers later. In an attempt to cool off and let the audience
regain their senses after such a hammering, a lazy What Is And What Should
Never Be is next. With its easygoing vibe, it just does that though it is
still a rocking number. Afterwards, Plant announces a track off their new
album coming in the summer of 1973. It is Dancing Days in all its snaking,
shenai rhythmic charm. Page even adds a touches of the wah-wah pedal in the
number's ending. A cue to go backstage, relax, refresh and maybe a couple of
groupies, Plant hands the audience to Bonham's vehicle Moby Dick. Though drum
solos can be a test of stamina to the listener as well, I admit I even
enjoyed this one! From sticks to hands and back to sticks, it was an example
on why Bonham is regarded as one if not THE greatest rock drummer of all
time. No pretense but just someone going on feel with what he invented along
with what he emulated from others with mostly the former. On to disc three.

Disc 3
Medley: Whole Lotta Love-Everybody Needs Somebody To Love-Boogie
Chillun'-Let's Have A Party-Hello Mary Lou-Going Down Slow-The Shape I'm
In-Whole Lotta Love/Rock And Roll/The Ocean/Bring It On Home

Now the party starts! Whole Lotta Loveâ?¦behold the mother of all riffs! After
the monster opening riffs and verses, Page's theramin freak-out section wails
out. There is an effective panning through it but only in a minimal amount.
It encapsulates and covers the band's wide kaleidoscopic musical taste from
blues to the basic rock of their childhood idols. The rhythm section of Jones
and Bonham is rock solid forming the base, keeping in time for wherever both
Page and Plant choose to go. From the joyous Solomon Burke "Everybody Needs
Somebody To Love" to their variant on Muddy Waters' "Boogie Chillun'" to
Plant aping Elvis and Ricky Nelson on "Let's Have A Party" and "Hello Mary
Lou" respectively then back full circle to the blues chestnuts "Going Down
Slow" and "The Shape I'm In". Page shows how adept he is with the different
genres while at the same time acknowledging his influences from legendary
guitarists Scotty Moore and James Burton. The Bonham high-hat and power
chords ring in Rock And Roll. Plant singing the tune at a higher key than the
versions of later tours . Short, compact, to the point with a good solo and a
sweet closing chorus from Plant! Yet another new number from the upcoming
album is announced, this one being "The Ocean". This has the opening intro
count in from Bonham where he also adds his own vocals to the chorus. Again,
it follows note for note the version from the Houses Of The Holy LP but still
has some spontaneity. Clearly, the band is really enjoying themselves. To
bring the concert to a close, an encore of Bring It On Home is the finale.
With it's skipping blues rhythm, the audience claps along with the band's
opening riffs. One of the more underrated tracks from Led-Zeppelin II, it
takes on a different identity live. It has the call and response play between
Page and Bonham then followed by an admirable harmonica solo from Plant.
Figuring that it is the last song of the evening, the audience joins in
flowing in along with the groove. Exhausted, wrung out, both Led-Zeppelin and
the audience call it a night and bid each other farewell.

In conclusion, this set is a worthwhile presentation of Led-Zeppelin's sheer
power and brilliance on the concert stage. None of the at times rote,
mechanical vibe of the 1973 and 1975 or the excess of the 1977. Plant is in
fine form vocally, Page's guitar playing is excellent with the band driven
along by the unshakeable rhytmn section of Jones and Bonham. The recording
itself is superb. So sonically clean that even the squeak of Bonham's kit
comes through. This was the Led-Zeppelin in between their fabulous
improvisational early tours of the early years and their more scripted shows
of the mid to late ones. Personally, I feel that the only thing that would
match these shows were the grand Earls Court shows of 1975. Play it loud!