Lastly, Robert Plant's vocals are over the top a little here and lack some of the original magic which can be found in the studio versions of the Led Zeppelin tracks. I'm not sure what others think of this album but I for one quite like it as a whole and although it runs for a very long time it is well worth listening to now and then.
Not too often though. All that said some of the variations and live gimmicks of the band detracts from the overall wonder of the album, therefore I give "How the West Was Won" a high three stars. The dynamic packaging looks really cool. Led Zeppelin in the progarchives! I knew they would add them sooner or later, I mean, they had to. I always wondered why they weren't considered in this site, they had their progressive sound with them, although not entirely prog.
But, anyway, here they are! I'll start with a review on this amaing 3cd set, "How the West was won". OK, this is a live album taken from performances in California, June The band was at its peak and was working on "Houses of the Holy", at the time. The sound quality is great and the performances Album) are great, as well. La Drone: A guitar chord which makes a 14 second introduction.
Immigrant song: This one's one of my favourites. The guitar and bass, those energetic drums, the screams from Robert Plant. This is not really a prog song, but it surely has this feel to it that reminds me of progressive music. Heartbreaker: A cool rock and roll song, with the band delivering a very powerful sound. There's a guitar solo, in the middle, by Jimmy Page, where he does what he knows in about 4 or 5 minutes.
A bit of Bach's Bouree can be heard. Black Dog: A great track with a lot of energy. I especially like how the guitar and bass are combined here, and how the main riff changes a couple of notes which really changes the mood of the song.
There are some tempo changes, too. Over the hills and far away: This one's a more "poppy" track, but it still has those wonderful guitar sounds by Jimmy Page, and the vocals are really good.
Since I've been loving you: A blues track. But, man, no ordinary blues track. I would call this "progressive blues". First, normal blues songs are not usually that long, and you can hear a more complex structure, changes I would say I feel this is kinda divided into different sections from the quiet beginning to the exploding ending.
Plant sings his soul out on this one, and there are some great keyboards by John Paul Jones when he plays electric piano, you can't hear it that much, but, when he jumps to the hammond organ, dude, you can hear it!
Stairway to Heaven: Well, everyone knows this one. I wonder why some of you don't consider it progressive. Man, this is full-blown prog! Those arpegios on the string guitar, the mellotron, the lyrics, the feeling! It has different sections and the progression of chords is Lets Have A Party - Led Zeppelin - How The West Was Won (CD progressive.
This one's really awesome, and should be appreciated by prog fans. That's the way: Two more peaceful and calm songs. They've got nice acustic string guitars and mandolin, which are combined nicely.
These are just like those typical acustic prog songs of the 70's. Quite folky, though. Bron-Yr-Aur-Stomp: A country-like song with really fast guitar and awesome bass playing. Dazed and confused: A minute version of the originally 6-minute blues song opens disc 2. This is a more prog version. The instrumental part is brutally enlarged.
Page grabbs a violin bow and plays guitar with it. This sounds extremely psychedelic and progressive. Robert Plant does some backing vocals there, making it sound even stranger. Then, when the whole band comes in again, they extend the instrumental part with excerpts from "Walter's walk" and "The crunge". The tempo changes are done spectacularly, especially when they go back to the soft part in the end. Just listen and enjoy. Dancing days: 2 shorter rock songs, with great guitars and vocals.
Moby Dick : John Bonham's moment. The originally 2-minute drum solo, is turned to a freakin' minute one!!! This guy was just awesome. How could he manage to play a totally insane drum solo for such a long time? There's a part with very psychedelic effects done by Jimmy's guitar, and screams from Robert Plant. This is interesting. The Ocean: A pair rock tracks with the band delivering great sounds. Full of power and energy. That's all I can say. If I keep on describing it, I wound be redundant.
This is what you can expect from this awesome band. So, although not FULLY prog, this is a must for your collection and it's a really important piece in the history of rock and progressive rock. I would not only recommend this to Led Zeppelin fans, but to rock fans in general, and prog fans should really give it a chance. If your looking for the proggy feeling, you've got it here! For years the only official live album for Zep fans to add to their collections was the disappointing soundtrack album "The Song Remains the Same.
However, both would be eclipsed in with the release of How the West Was Won. Fresh from the release of their untitled fourth album, Zeppelin were at their peak, and this is perfectly demonstated here. A journey through their last four albums, the band gives a fantastic performance, and all four members are superb. Three songs Lets Have A Party - Led Zeppelin - How The West Was Won (CD around the twenty minute mark.
Both "Whole Lotta Love" and "Dazed and Confused" feature medleys of other songs intersprersed within them, which can become a little tiring. Bonham's legendary drum solo "Moby Dick" at nineteen minutes, is too much, even if it is a wonderful display of his talents. Four starts: Essential for Zeppelin fans, and worth a look for others too. Not really very much for a band that was famously renowned for its live gigs.
These recordings dated from two Californian concerts. Like in "The Song. Most of the tracks featured on this triple CD already exist on previous live records. But most of them are performed in such a great way that IMO it is the best live record that Led Zep has put onto the market so far maybe will Jimmy do some more research for their fortieth anniversary?
At this time the song was not as polished as during this tour. Plant sounds great in this difficult song. It is the best live version I know of the band all recordings considered.
Of course, this result was achieved by pasting from LA or duplicating from Long Beach the "screams" several times There will be the traditional wink to the Tull during "Heartbreaker" : Jimmy Page will play some notes from Johann Sebastian Bach's "Lute Suite No 5" better known as "Bouree".
But this will often take place. First part is from Long Beach, the remainder of the song is from LA. It will feature a wild and great guitar solo.
Great hard-rock. And even if they Lets Have A Party - Led Zeppelin - How The West Was Won (CD it already as soon as inthis song from HOTH is only featured once on a live album. The acoustic side of the song is almost skipped here. The song is really wild. As Album) of the Led Zep ones during a live performance. No compromise while on stage : the hardest rock is featured. All the ingredients of "Since. They play it now for more than two years and the complicity amongst the band member is really great in this number.
Can you imagine the luck of the audience? They will hear "Since. Isn't it heaven? This will also be the sequence during the original concerts.
These are my two favorite songs in the Led Zep repertoire. So, no need for a stairway, just need to listen and you're going there. I'm sure you see what I mean. This song one of the very few will be rendered as it was played without pasting work. What's make a Led Zep concert rather different than his fellow hard-rockers colleagues is that they will integrate a truly acoustic set which will feature three or four songs. It closes disc one superbly.
Let's see what is featured on the other two ones. And two of the three highlights of any Led Zep show in the early seventies till : crazy versions for "Dazed" and "Moby Dick". Both songs serving as pretext to Page and Bonham to show their skills to a devoted audience.
Again, if you're not really in Led Zep, these will be painful moments for you. For maniacs like me, you'll say at the end of each song : oh, it's already over! These are not the longest of the genre by no means. Just average in length : only twenty-five minutes for "Dazed" and almost twenty for "Moby Dick".
A lot of fun. Disc three features one of the most interesting long version of "Whole Lotta Love" with a great boogie and rock'n'roll medley. A fantastic moment for this third legendary track from onwards, this track will be more standardized again and will be played closer to its original version which is also great. It sounds fresher, faster, less heavy.
The rhythm is really wild. A great rendition. It is not featured in the proper sequence here. It was the last encore of the Long Beach Arena concert. It is my Led Zeppelin favorite live album. Of course three songs almost reach seventy minutes at times they clocked at ninety!
Shows will be extended to over three hours of music. No need for supporting act. Led Zep. And only Led Zep. Take it or leave it! If this had been released inI guess it would have been considered as another monument of live rock albums like the few ones I have already named in some reviews "Rock'n'Roll Animal""Slade Alive!
Five stars. I'm sure you can not wait any longer to get the whole track list of these two concerts, right? Here you go. Dazed won't be featured. The concert will stop with Rock And roll. Ps : Information referring to the cut and paste work from Jimmy comes from Eddie Edwards thanks to your great job.
If you are interested in having the full picture, ffeel free to post me a message. I'll be glad to provide you with his full details. Thank you, mas Tatan, You rock, man!
I was amazed with this CD package. Not that the songs contained in this package but with overall appearance of the CD. Firstr off, I really love the cover art design depicting the band's members in painting style and it is a reminiscent of the 70s. It made my pulse race faster than usual speed with the fact that the cover stimulated me to the memories of glory days of rock music.
Even the cover rocks already! Second, the design of three CDs being put inside the package is also awesome. This was also what my colleague Tatan had stated when he was as key speaker in a Saturday Night Rock program at FM radio station in Jakarta, sometime in March In Disc One of the live set, I found the opening "LA Drone" has made a very successful ambient creation just right before the seminal and powerful song "Immigrant Song" enters the scene. My oh my. I could immediately notice the explosive sound, led by John Bonham, the drumbeats are amazingly powerful.
Recent performances from Robert Plant highlight his reduced vocal range, but in he could go balls to the wall and "Immigrant Song" is a perfect example where Plant could reach that others could not.
Later comes the second most-played song in the acoustic guitar section of most guitar repertoires "Over The Hills and Far Away. The energy and enthusiasm are much better than the studio version that it breathes new life into a tired song. At the later part of Disc One, the band plays their great acoustic material from third album. From the way the music is played I can sense that owning a live record of Led Zeppelin one must be prepared to hear something different or in some cases "totally different from their studio records.
This also happened when I owned "The Song Remains The Song", and now with the "How The West Won" which shows the entire band's ability to improvise their music, from some vocal changes from Plant to alternative solos from Page to bombastic fills from Bonham and beyond. Originally released inthe album provides a captivating, if somewhat lackluster, snapshot of Led Zeppelin at the apex of their ascendancy to global domination as the biggest, boldest and loudest rock band in the world.
While the film itself is an artless mishmash of candid backstage clips, concert footage and four dubious fantasy sections one centering on each band memberthe soundtrack album thankfully focuses exclusively on the live concert material. Recorded by legendary sound engineer Eddie Kramer, the music is taken from three concerts the band performed at Madison Square Gardens on July However, this is not a casual element, since Dancing Days anticipates the long performance of "Moby Dick".
The nature of the piece, whose original version of only four and a half minutes is hosted by Led Zeppelin II, retains the quotationist and postmodernist vein of the first Zeppelins. In fact, the introduction lasts less than a minute, immediately leaving room for the evolutions of John Bonham, in a riot of primordial power that leaves no doubt as to why Bonham was also called The Beast as well as for his chaotic nature during the tours.
The long percussion solo is nowhere near a display of virtuosity and technicalities for superfine palates, on the contrary: although there are passages of great value from a technical point of view, the strength of Bonzo's performance lies in its wild, powerful nature. Thanks to Page's exceptional studio work, even the slightest nuance can be picked up on How the West Was Won, even the noise of the pedal chain or the grunts of Bonham as he plays.
Spectacular, when Bonzo takes his sticks out of the way and begins to drum with his bare hands on the drums, on the drum, on the gong, and wherever he happens without a predefined pattern. And I would like to remind you that John "The Beast" Bonham's instrumentation was not even remotely comparable to that of a modern drummer, of that school born and evolved Album) the 80s, and that all his power was born only from his vigor and from his primordial creative verve. Unfortunately, without having his figure squirming or concentrating in front of the drums, the show offered by the CD is once again only the palliative of a real live.
Nevertheless the effect is still exhilarating and hypnotic, so much so that one cannot help but imagine the hands and drumsticks hammering on cymbals and drums - until that final acceleration that anticipates the return of Page, Jones, and their distinctive riff. But it is only a moment: to close the piece is up to Bonzo, who squirms and writhes a little more in his bombardment, before writing the final word along with Jimmy Page's disjointed distortions.
Moby Dick concludes the second cd of the triple collection in an ideal way, opening to a cornerstone of the Zeppelin repertoire: "Whole Lotta Love" best translated as "a whole lot of love".
This track, taken from Led Zeppelin II and originally lasting five and a half minutes, is the longest of the entire collection, thanks also to the various covers "incorporated" in its performance.
The choice of the lineup, once again, is not accidental: Moby Dick, the penultimate track of the second album by the Zeps, perfectly framed the entire work together with Wholte Lotta Love, who opened it; here the positions are reversed, but the intent is the same. Whole Lotta Love is one of the most renowned songs of the entire Zeppelin catalog, and concentrates all the characteristic elements of the band in its first, thundering years of activity: first of all the "sneaking", since the piece owes a lot to "You Need Love "by Willie Dixon, song recorded in and performed by Muddy Waters.
Although similar thefts are often attributed to Led Zeppelin alone, as if it were a unicum of this band, it should be remembered that instead it was the use of the entire musical panorama of the time to rework, re-arrange and re-propose the classics, a necessary basis.
And anyway, Willie Dixon easily managed to get credit for the song. Another typical element of the first Led Zeppelin is given by the text, somewhat "dispersed" in the version of How the West Was Won but always remarkable? In fact, to the original text by Dixon, Page and Plant give some "additions": in practice they desecrate it almost totally, transforming a subtly sensual love song into a real compilation of sexually explicit allegories, very pulled up to pornography thanks to the orgasmic interpretation.
The synthesis is all in the title itself, in the expression "way down inside" and in stuff like "I'll give you every inch of my love". Once the scratchy sound of Page and Jones has been established, the most "primordial" elements of the band, namely John Bonham and Robert Plant, complete the intercourse, amidst inexorable hammering and screams of enjoyment.
In compiling the lineup, Jimmy Page has made a good decision not to offer the listener any respite, so that the disruptive Whole Lotta Love show is followed by another head-shaking staple: "Rock and Roll," performed at the Long Beach Arena.
The original studio version comes from Led Zeppelin IV, in which she follows the hard-hitting Black Dog opening the album in the most festive of ways. The lyrics of the song are simple and characteristic: it talks about the contrast between two realities in a man's life, the "current" one, static and boring in his "maturity", and the past one, when he "enjoyed doing rock'n roll. The meaning of the song lies in the wish to always return to have fun as in the best periods of life, leaving behind the ugliness and boredom.
If already the original version, born from a jam session, is a mix between a classic rock'n roll and the heavier sounds of Led Zeppelin, the interpretation at the Long Beach Arena leaves classicism only the basic structure, the blues twelve measures in "a". In fact, everything else is pumped up to the maximum: the beginning, with its typical riff, is brought to maximum power by an unleashed John Paul Jones and the usual Bonham, soon leaving room for the guitar evolutions of Jimmy Page, in a continuous dialogue between bass and guitar, between the riff of the instrumental and the voice of Robert Plant.
The latter does not fail to give a little show at the end, followed by Bonzo and then by the others, in a predictable but exciting final exploit. Rock and Roll is followed by three songs from the Los Angeles Forum performance, the last of our triple collection; the first is "The Ocean", a piece that at the time of the Californian performance is still unreleased, destined to be released the following year on the fifth Zeppelin album: Houses of the Holy.
The theme of the song is perfect for this part of the album, as in my opinion the epilogue seems the ideal moment to celebrate one's success. The Ocean, in fact, through the usual metaphorical and imaginative language of Robert Plant, speaks of the Led Zeppelin audience, of the oceanic crowds massed in front of the band, excited and at the same time almost overwhelmed by that mass.
At the end there is also a little gem of tenderness, when Plant suggests that the girl he refers to in the song, in theory a sensual love, is actually the daughter of only four years, Carmen Jane. If during the '72 live shows The Ocean represented a direct tribute to the public, on How the West Was Won the impression is to find oneself in front of a self-celebration, as well as a historical document, which states: "this was us, in front of to an ocean of partying boys and girls, these were Led Zeppelin ".
On a work of this kind, it is an assumption that fits perfectly. In its live version, the piece is magnified by a much heavier bass performance than its studio counterpart, as well as Bonzo's overwhelming drums. Even the small but constant improvisations of Page make everything a little more interesting and different than the song we already know, while Robert Plant can not help but follow the trend remaining on the lines, adding here and there screams and incitements, to unleash a little more on the excited and final party-goer, between sunny sounds and devoid of malice as rarely happens, in a Zeppelin product.
The Ocean, however, is only the preamble to the end of the party, because to close our triple collection there are two extremely representative pieces, one in symbiosis with the other: "Bring It On Home", written by Willie Dixon, and " Bring It On Back ".
Here we need to clarify, since the picture is beautifully confused. Led Zeppelin took only a small part of that song, which in their version constituted the introduction of the song and a final nuance, while the central part, the longer one, was totally the result of the band. The intention of the Zeps was to pay homage to Sonny Boy Williamson II, a bluesman famous - just like his father - for the use of the harmonica, who in '63 performed the most famous interpretation of Dixon's much-discussed song.
However, although the bulk of the Led Zeppelin version was entirely original, Arc Music a branch of Chess Records sued the band and won it, forcing our beloved and unpunished "giveaways" to quote Dixon as the writer of the their song.
In order not to risk incurring criticism of any kind, on How the West Was Won the Dixon piece is credited only and exclusively to its original author, while the part written by Led Zeppelin becomes a song in its own right: Bring It On Back, precisely.
Bring It On Home translatable as Bring It Homelasts only the time of an introduction: a rapid execution of Plant on the harmonica, just in the style of the good Sonny Boy, rhythmic only by the guitar and the tambourine. Plant does little more than talk, with the tone of a storyteller typical of the musical and cultural trend he honored, until his harmonica fades to increasingly sad and vaguely sarcastic notes, always on the lines of the reference genre.
This whole introduction serves no other purpose than to load the sudden electric roar of Bring It On Back, which can be translated as bring it with you and therefore, from the title itself, indicative of its "depraved" theme.
Upon its release, How the West Was Won turned out to be a small phenomenon. While in the meantime Led Zeppelin DVD reached the top of the best-selling DVD ever a record held for three yearsthe triple collection of the "conquest of the west" reached the first place on the US billboard, winning two gold records and one platinum.
Even the critics, decades away from the old diatribes on Led Zeppelin, awarded the work five-star scores. The success of the work is deserved: How the West Was Won is a product of considerable value, both on the technical side and on that of the contents. Regarding the latter, there is little to add: we are talking about the most memorable classics of Led Zeppelin, extrapolated from two evenings that saw the British band in top form.
As for the technical side, however, our triple collection can boast a work of reworking in the studio by the best technicians in circulation, under the aegis of a production with controfiocchi and by Jimmy Page himself. The same Jimmy Page who, it is worth remembering, has always taken care of every single release under the Zeppelin brand, from the inception of the band to the breakup, and beyond. If we really wanted to find faults we could mention the lack of some super classic, such as Communication Breakdown, Babe I'm Gonna Leave You or No Quarter the latter recorded in that year.
A slice of fans, the more "eclectic" and less rocker, would probably have liked a digression towards some softer tracks, especially those hosted in the third Zeps album. However, evaluating these "shortcomings" negatively would be a really unjustified persistence: the choice of tracks has in fact very specific reasons, such as the quality of the rendering, not the same for all performances, the emblematic and referential aspect of a rather that another and, lastly, the fact that not all the famous Led Zeppelin songs have been played live, usually due to intrinsic technical limitations.
In my opinion, therefore, despite some venial sins, the lineup compiled by Jimmy Page borders on perfection and manages to honor, an incredibly difficult thing, to the memory of a band that has become legendary.
In conclusion, not only How the West Was Won is an unmissable document for Led Zeppelin fans, but also a pearl like few others for anyone who wants to have fun with a bit of healthy hard rock, a huge work that succeeds where no one believed. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever.
I feel the need to talk now about this triple live CD released in many years after the official dissolution of the group following the death of drummer John "Bonzo" Bonham.
Supercharger - Widemouth (CD), 1ère Valse In E Flat Major, Op. 83 - Bizet*, Tchaikovsky*, Gluck*, Debussy*, Ravel*, Chopin* - János, Computer Themes [Beveled Leaf] (Азазелло Remix) - WTF.FM - Vision (Cassette), LightVad 32 [pt2] - Various - [50+1] An Electronic Swindle (File, MP3), I Shot Ya (Rmx - Doo Wop - 95 Live Pt. II (Cassette), Vos Papier ! - Very Important Punk - Consommez ! (Vinyl, LP), Intro (Start To Play) - :papercutz - Lylac (CD, Album), Deus Otiosus - Death Lives Again (CD), A Question Of Time - Depeche Mode - Tour Of The Universe: Barcelona 20 / 21.11.09 (DVD), Miracle Cure (Radio Mix) - Blank+Jones* Sung By Bernard Sumner - Miracle Cure (CD), Variations 5-8 - Andreas Boyde - Brahms - The Complete Works For Solo Piano Vol.2 (CD)