Led Zeppelin (1975) Ten Years Gone [Essay]

Where do I begin with this exquisite love ballad from the English hard rock band famous for their raunchy sound. The hidden masterpiece of Physical Grafitti; this is really the hidden gem of the band's entire discography particularly on their grand double album. By the mid 70s Zeppelin got better at creating epic compositions in their expert genres (blues, folk and rock), they often could come up with exciting new sounds. They dabbled with world music, bright eastern textures, progressive melodies and funkified grooves; all elements used in todays gem. Ten Years Gone strays far from any discernible genre and is the greatest gem of a band whose entire track list consisted of 85% underrated/lesser known tunes that were on par with their hits in terms of songwriting and creative ideas.

 Starting when a shaded semi acoustic guitar strums hesitantly back and forth between ragged pauses, John Paul Jones' bass soon enters on the second repeat bringing it in line before breaking out wildly into a truly iconic progression. This central progression is based on descending guitar hammer-ons with a electric sitar twanging away the central note riff over it. This motif is the best use of  Jimmy Page's  mid 70s concept of the 'Guitar Army', as used on Black Dog and Achilles Last Stand to lesser effect, the distorted bed of guitars plays the progression underneath like a majestic orchestra.  Plant then enters on the slow guitar passage as it returns with an 'Avian' metaphor for love over time using the comparison with eagles leaving the nest. It just about works due to his excellent choice of words for 'sound over meaning' fitting the nostalgic, syrupy vibe of the song. Then there is the liquid smooth solo by Jimmy Page; one of his best exemplifying 70's soft rock in a original, triple tracked slide style similar to George Harrison. Then a rocking bridge section thunders along with Plant questioning 'Did you ever really need someone..and need em bad?!' Then follows more flutterings of electric sitar, heavily rolling alongside the Harrisonesque- slide guitar before a return to the quiet verse.

The returning jazzy, semi- acoustic chords seem to present a glorious romance that weaves in and out of the vivid present (chorus) and hazy past (verses). This was of-course all about a past girlfriend of Robert Plant's; exactly ten years before this tune's release, before the fame, in his innocent school days and how he would relate to her again.
 The final riff is another multitracked, slide guitar piece this time played as a hard rock counter point to the earlier descending progression; the storm of emotions about the past rain down with Plant's doubled harmonies of 'Ten Years Gone, Holding On, Ten Years Gone'. The pure passion in the ending as the vocals become shrill and heavily pitched, almost like an angelic choir, Plant on solo lead sings defiantly 'I'm Never Going to Leave You'; you believe he means it too. The re-occurrent hammer ons of the electric sitar progression poke through the mix like a representation of cold reality; always interrupting romance.Or possibly imitating the ticking of a clock counting down on our relationships; Time is Relentless and this song is fascinating!

 At the most simplistic we could call this a power ballad, but that takes away from the sophisticated progressions, refined mix of textures and guitar styles; laidback Jazzy chords, smooth multi-tracked slide guitars weeping away, deep electric sitar motifs etc. In live concert the band would perform this song with JPJ's three necked acoustic guitar and the wah wah drawls of Page's B String Bender Telecaster, though not as refined it is still a startling statement mainly due to Plant and his conviction for his long lost and more importantly quickly fading flame. I'm sure he still thinks about her..

The Band (1975) It Makes No Difference

The Band excelled at very soulful vocals that could also be achingly delicate, just like this Rick Danko track full of fantastic watery, weepy guitar work from Robbie Robertson along with powering saxophone licks from Garth Hudson. The song isn't an epic ballad but a touching love song with some killer lines 'It Makes no Difference, where I turn, I can't get over you when the flame still burns' and a heartbreaking emotional delivery from Danko that establishes this as a rock solid ballad full of sincerity. Thanks Rick! A soulful dose of Americana, beautiful.

Led Zeppelin (1971) Four Sticks

 An oft forgotten track from probably the mother of all heavy rock albums, heavy a term here used for dynamic music based on extreme contrasts than just loud, aggressively played hard rock or metal. On the mighty Zeppelin's fourth and entirely untitled album, unless you count some rune based symbols, the most delicate pluck of a mandolin was as importantly to the most droning and distorted power chord ringing out in a sonic wonderland, Four Sticks having a veyr unique sound that made it stand out on this stand out set of tunes.

 Dominated right from the go by the pounding 'tree trunk' drumsticks (two sets of them hence the title) of John Bonham and the fast paced, fuzz toned riff that was a million miles away from the superficial eastern psychedelic and raga rock scene of the 60s but a more earnest imitation of the kind of mind bashing power and enlightenment of tantric mantras. The simple note riff has the groundbreaking riff based sound they debuted on their debut album tracks like Communication Breakdown. And like their music it goes down some novel shifts, first for the chorus we go to another simple melody this time played on a mandolin though still sounding eastern with it's interesting use of ascending scales you could almost imagine a raga vocal choir singin along to it. This mix between eastern heavy rock and Old English folk gives this track a Prog Rock label earned by the mystical Yes like lyrics based on certain imagery to possibly illustrate kicking a drug habit or a breakup? Plant's sensual delivery has an eerie double track to it as he achingly sings somewhat in agony about 'when the owls cry in the night','when the pines begin to cry', and a number of 'baby, baby' lyrics probably more than any other song almost running into the rock star archetype he pretty much created.

 Then another sequence begins on a early Yamaha keyboard which had a flat, odd sound like a sampled orchestra or mellotron, this closing multi-tracked Moog sound layered over a relentless drum beat and a gigantic riff is pretty much the template for the song, Kashmir, two albums later; look at the structure of the song included Plant's Arabic, atonal style of wailing at the end it's all a dry run for their 1975 epic track.

Neil Young(1970) After the Gold Rush

A great song in the pantheon of singer songwriters, it's ambiguous subject matter, stream of consciousness lyrics and intimate delivery make it along with the work of Joni Mitchell and CSN's quieter moments the definitive work of 70s folk rock movement. Far from the larger, grander effrots of James Taylor, Jackson Browne and Dan Fogelberg who looked to soul and the Rock crowd for bigger arrangements this is pure minimalism, using as little as possible to suggest and hook you in and keep you engaged and active.

In fact it's in the small croak of Neil Young's tender vocals backed by a segregated piano arrangement that creates such a warm, intense feeling but an indiscernible emotion; is this a sad song or a song of hope or maybe of fear? The ending lines of the verse are the only ones to be repeated, to full effect, are the best "Thinking about what a friend had said, I was hoping it was a lie". The title is never sung or spoken in the song but based on some of the lyrics such as environmental ones I think this song belongs in the same canon as Hotel California; a rich text or literature on the hedonism of South California and the American Dream. So when after a beat the flugelhorn comes in it's perfect, it's again mixed small and central reflecting the track's delicate naivety, a circular melody as well with that deep,thick sound like a blocked nose it matches the strong nasal quality of Young's voice. The almost sci-fi last verse looks ahead to the future completing this epic saga yet that felt so personal ..

Dan Fogelberg (1975) Once Upon a Time

A glistening folk rocker this is my favourite of Dan's work powered by a romantic melody. The warm harmonies and the ringing out of electric and acoustic guitars is strong but the lyrics reign supreme such as the opening line 'Every morning you wake up alone, and you shake up your soul; but nothing stirs' or '..all the others simply don't compare, she's always on your mind, but once upon a time you had her theeerrrre! '

Hall and Oates (1974) Youre Much Too Soon

 A breezy song on a heavy album, the infamous Hall and Oates War Babies album. The third album was the final nail in their deal with Atlantic Records it was too dominated by Prog soundscapes full of an array of early synthesizers and electronic sounds like wirring wails, bomb shelter sirens and sharp bursts of noise. It also caught them at the height of their glam rock style, displaying some half speaking deliveries

The song displays their old school soulful tones but is full of sunny, bright blues licks that compliment their thin, undulating falsettos. If some of the experiments don't work this is a largely salvageable effort from an album tough on accessibility; concept album about technology and the life of a performer. It mixes a lot of Producer Todd Rundgrens ideas into the pot that he would use on his band Utopia including prog transitions like signals and rapid genre and tempo shifts. It also boasts a unique mix of glassy synthsizers, thin and funky guitars, radio transmissions and kettle whistle audio signals

Ambrosia (1975) Drink of Water

 This debut from the South Cali Prog group had strong shades of pop and smooth soul sensibility hinting at their future AOR sound, but here they come as a more diverse and radio friendly Yes with 5 to 6 minute songs full of energetic virtuoso playing mixing soaring on point two part harmonies, organs and acoustic/ electric guitars with a dynamic edge lacking from most Prog rockers. While this album produced direct classics like Holding on to Yesterday and Time Waits for NO One it is album tracks like the murky, distorted funk of Mama Frog with it's excerpt of Jabberwocky recited mid song that shine out, another album track that stood out was this one. Drink of Water displayed the band's best tendencies on this excellent debut; it opens with a loud gospel chorus before going into a quiet verse that plays out like a parable, it continues into a bluesy power ballad style with strong shifts but the echoey, underwater vibe increases with subtle use of effects through out.

This band had better melodic qualities but the same edge and explosive drums, soaring vocals and keyboard s that made Rush a success but they would instead pursue their own path into soft rock territory.

Clancy (1974) Working Together

Ok one more British soul track from the mid 1970s, this features a fresh heavy groove of twangy funky guitar full of the usual bluesy slides licks and jazzy scratching but with an upbeat vocal arrangement!

Kokomo 1975 - Sweet Sugar Thing

One track from their 1975 self titled effort is It Ain't Cool (To Be Cool No More)which has a cool groove while there is a nice call and response on 'Feeling This Way,'. Then album tracks 'Anytime' and 'Angel' are good diva soul songs exquisitely delivered, all on a extremely soulful album from unknown act Kokomo. The track supersonic funk of Sweet Sugar Thing is still probably the best from these soul belters from the UK accurately sounding like their a tight funk band from Philly, they were one of the precious few acts in the UK who embraced this sound; like Clancy who featured in our previous post.

Clancy (1975) Back On Love

A dour first album, a bit too sleepy soul sound full of electric pianos and laidback vibes plus dialled down funk but worth a listen.

T Rex (1972) Spaceball Richochet

A marvellous Marc Bolan patented cosmic folk ballad, SR is a throwback to the quirky acoustics of Tyrannosaurus Rex but with his new incarnation's love of eastern tinged strings and doo-wop vocals. The strong mystic vibe is entrancing though the lyrics still bare his light hearted brand of cynicism. The electric guitar also carries that stilted dirge like quality of 70s glam rock that reminds me of the horns of Memphis soul, it definitely adds an air of fatalism to this track and the similar Life's a Gas.

Foreigner (1977) Cold As Ice

This sophomore hit from the hard rock band's 77 self titled debut album, it is completely analogous from the album its on and the band's career, it's anchored by a striking piano beat and soaring call and response harmonies, musical qualities far removed from Mick Jones/ Lou Gramm's heavy vocals and guitar based power ballad sound which was more tight, stripped back and full of machismo. But Cold as Ice, an oft sampled track, is still their most memorable from the flurries of Al Greenwood's synth over that iconic piano march full of syncopated rhythm and shifting dynamics,layering of vocals it still has more light and shade than then their subsequent career. They were elements of the symphonic grandeur of prog and occasional folk, jazz and pop passages. The cascading harmonies and the upbeat pop ballad nature were what made the song stand out even if it was a misnomer of sorts of what the band specialised in. The lilting melody of the song is beautiful with it's layered backing vocals and thick guitar and synth lines full of a big colourful 70s production but the contrasting stops show a band that could handle changing tempos if not diverse ideas.

Styx(1974) Golden Lark

A mystical ode to love and loneliness full of beautiful lyrics and sentiment underlined by a pretty piano melody and Dennis DeYoung's soul touching serenity. A low lying ever-present synth adds a cinematic feel along with the percussion and harmonies added towards the climax.

America (1972) Don't Cross the River

A hugely underrated Dan Peek composition, the type of gem I look for. Though released as a single it didn't get further than 35 on the single's charts while Lonely People, Peeks signature tune did better.
Though I feel this is Peeks best song it's a shame didn't become his Billboard no 1 like his band mates tunes; Dewey Bunnell's spare, desert parched Horse with No Name and Gerry Beckley's smooth AM Sister Golden Hair. More heartfelt and less constructed a songwriter, Peek would never be able to complete a trilogy of no 1s for the trio, he wrote too much from the heart than the head.

 Don't Cross the River however carries a classic melody and memorable chorus, though possibly too short; most America singles were two minute wonders rarely making excursions. Masters at a quick setup the first verse with its chiming electric guitars and banjo lays the foundations for an emotive vocal from Peek about a girl out there 'on her own'. The lyrics seem to hit a chord with a youthful desire for escape and a new start.Another thing; why did George Martin give all America songs give that treated vocal sound leaving an ethereal if often times a surreal detachment that meant it harder to warm to them?

 

It's an exquisite song with a vibe similar to Sister Golden Hair and it's cool romantic folk rock melody dosent get better than this. But it's Peek's incredibly sincere delivery that is most heartbreaking about this very short song, it probably takes longer to read this post then hear the actual track.
 But what stays with you is the final refrain/warning/lesson; Don't Cross The River, If You Can't Swim The Tide

Styx (1973)The Grove Of Eglantine

A rip roaring rocker full of glistening vocals and absolutely brilliant guitar work, it's all played with pure passion and good times. The track rocks and soars!