Ditch Your Debt Gremlin

My introductory impression of Led Zeppelin came from songs like ‘Dazed and Confused’, ‘Whole Lotta Love’ and ‘Achilles’ Last Stand’. These songs blared out of my sister’s stereo system. They sounded like a hammer smashing through a glass object. This experience came before the repackaging, remastering and remixing of their material, which only brought out the guitar riffs more. The vocals and keyboards came through more clearly. At that point, I recognized them as one of the great bands of the seventies and genuinely accomplished entertainers and artists.

I was perchance sixteen when I firstborn put them on myself. I may have waited a few years due to the cover of ‘Houses of the Holy’ which struck me as rather odd cultish exploitation. I think the basi album I genuinely listened to was ‘Physical Graffiti’, a good example of their diversity. I was without delay mesmerized with their folk and blues elements, even though I would never argue versus good old-fashioned hard rock. It was just that the themes of sex grew a little repetitious over the years, with all the music channels and radio choosing to play ‘Black Dog’ over ‘Friends’, ‘Misty Mountain Hop’ and ‘Kashmir’.

I envision myself hanging outside the tour bus in hopes of obtaining an autograph or perhaps, located in the middle of the standing crowd within twenty-five metres of the band. Footage from the movie, ‘The Song Remains the Same’, enticed me. I ought to have watched that movie twenty or more times. A friend of mine was obsessed with Nirvana and ‘The Lost Boys’, which bored me. She likewise showed ‘The Gremlins’ with regards to twenty-five times. She genuinely liked the share with the blender, which sickened me.

In a past life, I believe I was a Led Zeppelin fan. Surrealistic images flow through my head like a chunk of glacier ice headed down the river towards the rapids. Before disaster, a sense of untrue calm strikes. Their music was like being caught in the eye of a storm. Their hard riff-rock with arguably the best and heaviest drum and bass lines ever played, struck me like lightning and sounded like thunder.

The introductory time I heard of them, they afraid me. I had heard of some genre called heavy metal, which I assumed my sister to be welleducated of. Her Anthrax, AC/DC, Iron Maiden and King Diamond tapes held her busy. The media and respective activist groups equated heavy metal to the

music and message of Satan, attacking groups like Black Sabbath and Twisted Sister for their supposed links to the occult.

Later on, I would assume that too much experimentation with pot and runes was going on. Apparently, Page used to read Aleister Crowlie. Perhaps those books were behind the occult themes of ‘No Quarter’ and respective blues obsessions with the Devil. I don’t believe in the occult or even the existence of the devil, but it seemed to work for Led Zeppelin. What I find strange is that persons actually put on an Ozzie Osbourne album and take him seriously. I applied to amuse myself with their praise of Thor, the Norse God who doesn’t exist. I had been a born-again Christian out of a sheer need for acceptance. Never that severe regarding it, I would ditch the church by removing each layer of costume piece-by-piece until they rested in a little pile, then move on without the needless superficial layering in my own skin.

Before that moment of confrontation with Led Zeppelin, I had listened principally to classical music, soul, dance and light rock fare from groups such as R.E.O. Speedwagon and INXS. Madonna albums filled my shelves. I applied to have her pictures all over my wall. After that, I would lose finish interest in so-called pop stars and effort out into the world of hard rock.

The sarcasm of Led Zeppelin’s effigy didn’t escape me. They could put me in a actually good mood when I was down. Albums like ‘Houses of the Holy’, ‘Physical Graffiti’ and ‘In through the Out Door’ were meant for pure listening enjoyment. It is hard to feel sorry for yourself when challenged by ‘Fool in the Rain’ or the pure beauty and loving expression contained ‘All my Love’, both off their last true studio album. Coda was just filler, and good filler at that. It offered them an escape from contract obligations and gave contemporary fans of Led Zeppelin something a little extra. Hardly brilliant but it did feature ‘Ozone Baby’, ‘Walter’s Walk’ and ‘Darlene’, all of which stay favourites of mine in the Led Zeppelin repertoire.

U2, as passionate a band as they were, at times came throughout as lofty. I never doubted Bono’s sense of heroism. Their ideals were desirable and notable, though occasionally unrealistic. Maybe this is why I have a deeper appreciation of the spiritual and sensual side of U2, more so than their political sides. ‘Sunday Bloody Sunday’ may rile humans up into challenging the idea of war, but it won’t put a stop to it. It is doubtful that a lot of people even consider joining an anti-war activist group after hearing this song.

It is best viewed as a psychological exploration into the mind of an extremist who no longer wishes to fight and get pushed around. In other words, U2 may help persons perceive the mindset of a Palestinian terrorist, but they cannot put a stop to their activenesses and the root causes of them.

After the failure of punk’s nihilism, somebody had to get up on stage and stand for something worthwhile. Bono was very good at providing something positive. A trip through U2land is like long travel down a dark tunnel towards the light. Unlike Morrissey, who wished for the car to explode while he was still in it, lest he couldn’t drive the vehicle off the side a road down a cliff to his end, U2 in truth believed there was a light at the end of the tunnel. They merely felt confrontation with darkness and ugliness was necessary in order to find the true source of that light.

At the very least U2 offered an substitute to the ‘no future’ ethos of hardcore punk and the pointless, trivial nausea of sixties counterculture with it is flowery obsessions, marijuana and free love. I could accuse Led Zeppelin of embracing the sixties, but they toyed with the frivolity of it. Their platform shoes and flared jeans provided a humorous anti-fashion antidote to the times. They didn’t take themselves that seriously. They were plainly rockers who enjoyed the lifestyle offered to them, all dressed up in pink bows and white synthetic pearls if need be. I am sure that Robert Plant and Jimmy Page could have done cabaret as drag queens, not that this bothers me, but their effigy belies the machismo that drove Led Zeppelin.

Contrary to the view of a lot of women, Led Zeppelin wasn’t a misogynistic band. They were looking for one thing only, namely sexual experience. They never degraded their female fans in any way that is known. They were merely the men at the bar who wait around for the prospects that women offer them, in an try to relieve their own boredom.

Contemporary feminism, with is anti-male agenda and obsession with turning women into men, would not judge past musicians fairly. Since feminism has become a totalitarian movement, similar to radical Islam, it have a tendancy to alienate innovative women, even those genuinely concerned when it comes to important issues such as harassment, abortion rights, equivalent remunerate for equivalent work, sexual assault and domestic violence. Of course, a simple rock band has little to do with serious, intimate social issues, but with feminist analysis, the real meaning of music could be lost, slaughtered to the higher cause of political correctness by extremist women who hate themselves and wish to be the very men they hate. Just a point of contention with the way that galore innovative feminists view pop culture, music and affiliated topics I had to make.

Many of Led Zeppelin’s best songs embraced a kind of cheesy romanticism, like an old cheating boyfriend who shows up at the door with a dozen tulips and a bottle of wine. ‘Rain Song’ and ‘The Song Remains the Same’ are perfective examples of this mentality. They likewise come off as humorous. If not one thing else, I may laugh at at old Zeppelin concert footage.

Cheese is key to success as a mainstream band. One of the reasons why the Smashing Pumpkins has faded into the woodwork is because they lacked a sure qualities, namely, humour, kitsch and bravado. E.L.O. also embraced these qualities, but they lacked the diversity of Zeppelin.

One of their outstanding intensities is their dedication to the blues. Led Zeppelin will have to more accurately be viewed as a blues-rock band rather of a heavy metal one. Blues is key to understanding the band, so if humans genuinely want to be grateful for them, they will have to go take a listen to blue artists such as Willie Dixon, Blind Lemon Jefferson, Howlin’ Wolf, Robert Johnson, Billie Holiday and others.

They also experimented with Eastern musical fare, namely the rhythms of Indian music, the strings of classical Arab music and a fondness of medieval music. Much of Western classical music was derived from established Arab music along with a good deal of of the instruments used in contemporary rock, blues and folk music. In the acknowledgement of the blues as an American folk music tradition, they went a little further than most. Aware that blues and jazz genuinely came from Africa and that folk music owed a debt to world, classical and traditionalisti Bedouin music, they took the time to explore North African and East Indian culture in hopes of learning more when it comes to their roots. Led Zeppelin may be the introductory band to hug world music and multiculturalism, the same way Bob Marley embraced internationalism and Western musical tradition.

Such written statements, I suppose, are lofty and too severe at best, perhaps beside the point at worst. The best thing any person may do is put on one of their albums and genuinely listen to them. If that fails, you may always dance and sing. At least Led Zeppelin permitted ‘heavy metal’ fans to do that, with remarkable melody, riffs and groove.

Ditch Your Debt Gremlin

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