Classical Composer Reaction/Analysis to LED ZEPPELIN: KASHMIR | The Daily Doug (Episode 598)
Вставка
- Опубліковано 8 чер 2023
- #ledzeppelin #kashmir
In this #masterpiecefriday edition of #thedailydoug, I'm going into the Daily Doug vault to access my reaction to Kashmir by Led Zeppelin. I recently reacted to the entire double album, Physical Graffiti, over on my Patreon. Here's just a taste of that full reaction. I hope you enjoy!
Reference Video: • Kashmir (1990 Remaster)
Daily Doug Merch: www.bonfire.com/store/the-dai...
Catch up on my full album reactions at my Patreon!
JOIN THE NEW EXCLUSIVE DAILY DOUG COMMUNITY!
Patreon: / doughelvering
Instagram: / doug.helvering
Facebook: / helvering
Twitter: / helvering
Vimeo: vimeo.com/user146736659
The Daily Doug Directory: docs.google.com/spreadsheets/...
What i find pretty cool with this song is that the drums are in 4/4 and the instruments are in 3/4, so that they meet in the 12th measure.
Interesting. I had always thought of the verses as everyone playing in 4/4, in but in groupings of three measures instead of the usual four. You can count it like that as well, but I think you're right, based on where the accents fall
It's in 6/8 time over 4/4 drums in the verses
'Oh, let the sun beat down upon my face/ With stars to fill my dreams/ I am a traveller of both time and space.' This song is so epic in scale and scope. Zeppelin at their mighty best.
It really is genius. The talent those 4 gentlemen possessed was unparalleled in rock and roll.
Ten Years Gone is the true epic on that album, you should do that one too.
Definitely!
Yes it is. I like it so much that I want it played at my funeral... 😉😁
The best song on the double album, imo.
By far. Ten Years Gone is a masterpiece, the template for Zep greatness.
@@jfxpals108 Yes, indeed. Kashmir was always the song that was pretty much everybody's favourite on the release of the album - mine, too - and maybe even for 2 or 3 decades. But, with age, the maturity of TYG has only gained in stature and in its appreciation by the fans.
Bonham does not rush the beat. It gives the song so much...and he could go nuts when it was time...In My Time of Dying off that album another great example of how much he added to that band...
One of greatest rock songs in history. People will be listening to this for centuries.
The drumming in this song always gives me the goosebumps
It's a master class.
Most bands would get another drummer if they left or passed away...not Led Zep, because they all knew no one could do what he could do.@@testodude
My drum teacher used this as a way of teaching 4/4. Kick on 1 and 3 and snare on 2 and 4 with 8ths on hi hat. It's amazing how many songs use this basic groove 👍
John Bonham was a different beast and Led Zeppelin would not be the same without him, so they didn't keep going when he died. Saw them live in Cincinnati in 1976. Incredible
@scole5402 so true , no Bonzo no Zeppelin
Robert called this song the definition of Led Zepplin his favorite song
This truly is one of the greatest rock songs in history. I think some of the orchestrations are Jon Paul Jones on the melotron.
I was to see them at the Garden, but Bonzo passed and all shows cancelled. Man was I bummed. He passed on my Birthday and I got my first Zep album on my Birthday in 1970. I wanted so much to see them live. This album just blew me away.
Now ya got it. JPJ on the Mellotron, middle eastern scale (not Native American) and Bonham’s single bass triplets, fills and hits behind the beat (like no one before or since) phased cymbals and snare are all impeccable. Anyone who missed the seventies, I’m truly sorry. Nothing compares, nothing. 🤘😎
80's had their technical moments and power, but I do agree that 70's had that magic. My older cousins music, they were born late 50's to mid-60's, as a kid I used to sit and listen to their LP's
I bought Physical Graffiti on the day of its release in the UK. Three months later I got to see them two nights running at Earls Court Arena, at the peak of my appreciation of the band.
Good times. 😃
@@Rich6Brew Right on. Was fortunate to catch them twice. Good times. Was in New Orleans with tickets where and when the show and tour were canceled. The news of Robert’s son passing ended it for many of us, who never saw them together live again. Regards
February 1975, myself and 3 friends drove around 3 hours or so up to St. Louis for my first ever concert, Led Zeppelin. We mail-ordered the tickets, which didn't come by the original scheduled date, but those dates were postponed. I remember hearing that Jimmy Page had broken a finger in a train door early on, and that might have been the delay.
Being mail order, they were the worst seats I've ever had for a show. Up in one of the top rows, off to the right of the stage, slightly behind the backdrop. I watched Jimmy mostly from the back, but I could see his entire corner of the stage. Plant wandered in and out of view. Bonham I only saw through the backdrop. JPJ I couldn't see at all.
Despite that, it was the best show I've ever seen. To date. And, I'd like to point out that this concert happened just before the actual release of Physical Graffiti. So, the first time we heard any of it, was live that night at that show. A show that was 3-1/2 hours long with 3 encores, the last with the house lights still up. We stood in a floor level entryway to watch that one, because everyone was leaving and the band came back out for the third encore.
And, maybe because I couldn't actually see JPJ at the time, but I can still remember my reaction when they kicked into Kashmir that night. I literally leaned forward searching what I could see of the stage area, thinking to myself, "Where's they hide the orchestra?" For a moment, before I realized it was JPJ's keyboards at work, not an orchestra.
That was an incredible night. No idea where we were going, just drove into St. Louis and "looked for the lights" to find the stadium. When we left, we just drove away from the traffic, to somewhere in the city, where we discovered White Castle, which none of us had seen before. Then we found our way back out to the interstate and back to Illinois. Crashed in Carbondale in a dorm room for the night.
I so wanted to go to that concert, but being only 14 my parents wouldn't let me. My drive would've been about 3.5 hours as well, grew up in the Kansas City area, still live here :)
@@Ledzepnut I grew up Metropolis, IL, down in the southern tip of Illinois. I was actually born across the river in Paducah, so I have a KY birth certificate, though I was raised in Illinois. Paducah was just where the good hospital was.
Pretty much any venue where a recording artist might perform was generally at least an hour away. Though I did actually see Ted Nugent in a wrestling arena in Paducah sometime in 75/6. Which is a big reason why that Zeppelin concert was my first, when I was 18. And, a friend drove, I didn't have a car yet. There really wasn't any place to go, without a car and someone to drive you.
I saw them again in 77, up in Chicago, the first year I was in the Navy. Slightly better seats, not quite so high up, still to the right of the stage, but at least in front of the backdrop. Unfortunately, that show aborted about 1/2 hour into it. They announced that they were taking a break and left the stage. I'm sitting there thinking, "Wait a minute, last time, they played 3 hours without any breaks. What's this?" Followed by an announcement the show was cancelled.
It's documented that Page was sick that night. It's rumored that the sickness was heroin. I can attest that, for the last couple of songs they played, a roadie had put a chair on stage behind Page, and he played sitting down.
However, I can also attest to the constant barrage of fireworks going off in the air, over the heads of those with floor seats. Even as Plant was begging them to stop, while pacing the stage. The band's performance started great, and quickly descended into the feeling they just didn't care anymore.
So, my feeling is that Page may have been sick, but the crowd that night didn't really give the band a reason to persist, either.
I did finally see Page, from in front, for a full concert, later in 85. With the Firm, in Jacksonville, FL.
Bonzo is playing in 4/4 time and the bass, strings and guitar are playing 3/4 feel timing -- it all matches up - links up -- and hits on every 12th beat during verses. It's brilliant ! ❤❤❤ They were geniuses and worked around rhythms.
Bonzo played in front of the beat sometimes, on top of the beat sometimes and behind the beat sometimes - he could drive and push a rhythm.
Having listened to 200+ Led Zeppelin bootlegs you will hear Bonzo do so many things -- some of his fills were insanely complex and seem humanly impossible.
John Bonham and Jimmy Page recorded the drums and guitar without bass, strings or vocals. I have the recorded tracks of them doing this.
When a song reaches classic status, it becomes the engine of many dreams. Another perfect song from the greatest rock band of all time!
"The Engine of Many Dreams" would have been a great ELP album title. :)
That opening riff, those opening lyrics, solidified by that bass and drum. Perfection.
This song, if you are so inclined, is a gateway to a place without name, where time and space are reversed and you are never the same when you return. Take that ride, my people.
They say Robert sings in a different timing than the 4/4 drumming as well. Yes JPJ on the Mellatron and synth.synthetic. The drum fills are amazing as well...well it's Bonham so... 😁
Hi Doug, it’s great to see some Led Zeppelin on the channel, big fan from the UK here, cheers
This is far and away my favorite Led Zeppelin track. The arrhythmic strings around the straight 4 percussion is fantastic. I also love the lush soundscape. Add in highly phased out crash cymbals and I'm just a total sucker. The transitions throughout the song are fantastic and the use of the bass trombone is extremely subtle and a fantastic addition.
As great as this song is, In My Time of Dying is my favorite song off this album. And In the Light is right up there also. One of my favorite things about Zeppelin (among many) is that so many of their songs are so eclectic, yet they all sound like Led Zeppelin.
My favourite LZep song!
Yep. In the Light has always been my favorite from this album, then In My Time of Dying. Kashmir is a masterpiece of course, but In the Light always appealed to me more.
Heard this live for the first time in Spring of 1975 at the Dallas Convention Center and I thought In My Time Of Dying was indeed spectacular!
Bonham was incredible In My Time of Dying, absolutlety incredible.
Yes powerful song, I love drumming to it.
The most impressive thing on that song is the drum time signature is 4/4 and the strings are on a 3/4.
This song is a monument to the culture, technique and ingenuity of JOHN PAUL JONES. All the aspects that Mr. Helvering picks during this review are JPJ's doings. All of them. It would have been nicer if explicit credit had been given to this marvellous composer.
Yes! While Plant, Page, and Bonzo often get all the flowers, it is absolutely JPJ who is responsible for bringing the sophistication to Zeppelin that carried them further than being primarily a blues-based band.
Hi. I thought Kashmir was written by Page, Plant & Bonham. Do you mean the mellotron arrangement? I do agree about JPJ. A musical genius.
JPJ was always a great musical arranger, even before Led Zep.
@@pauljennings7595During this latter part of Led Zeppelins life Bonzo was usually pissed and Mr Page was addicted to Smack and 14 year old groupies, Robert and Mr Jones were basically in control. JPJ was the arranger for the band and was since the start as he was an arranger before Jim asked him to join.
Saw this live in concert in 1977, this song stood out like no other. Incredible. That drive thru the desert in Morocco must have been frightening.
This was written either during or returning from a trip to Morocco. This entire song is brilliant, and all kept nicely tight by the great drumming by John Bonham.
One of the best songs ever written, Led Zeppelin is magic.
Led Zeppelin put on their big boy pants and never took them off...their final performance was Kashmir at Celebration Day when they were in their 60s epic Swan Song...more than worth checking out...mandatory
There's a shamanic impulse to this music, or maybe the rhythms that wind up a whirling dervish. Very skilfully arranged with a Western musical palette.
Bron Y Aur is also on this album. What a tremendous range of music. Incredible.
And Down By The Seaside.
Let's not forget Boogie with Stu, Night Flight and Black Country Woman. And Down by the Seaside. Little gems on an album full of big gems.
@@NT-fo3me I have listen to this album hundreds of times. Back around 1984, studying art, had a two hour painting class. Had this on cassette Walk Man, listen to the whole album while painting. Great times.
You really need to see the live Celebration Day performance Doug. One of the best I've seen of any song.
A masterpiece of controlled tension, Kashmir is Zeppelin's crowning glory. A unique combination of wonderful lyrics, amazing orchestration, and a otherworldly, almost orgasmic vocal performance courtesy of Mr Plant, at the height of his considerable transportive abilities. The stuff of magic, indeed.
All these years later there's still nothing like it, and like all truly great art it remains timeless.
Plant’s voice is transcendent throughout!
Monumental tune and album. The sound that J.P.Jones manages to give to the keyboards is one of the most wonderful and pleasant that a rock fan can hear. It's fantastic!
Guitar played triple metre and tuned to DADGAD - an old folk guitarist's tuning carried mainstream by the great Davey Graham. Not only facilitates playing but gives that wonderful mysterious sense to the piece. Bought Grafitti summer 75. It still makes me shiver - but only when Jimmy plays it - not me :)
One other song comes along side Kashmir that's Stargazer by Rainbow from the album Rainbow Rising, another epic masterpiece with and eastern flavour, fantastic drumming from Cozy Powell, Dio's singing, Ritchie's guitar work plus Tony Carey on keys and Jimmy Bain on bass.
When Page/Plant reunited to tour in the mid 90s, they did a KILLER version of "Kashmir" with an orchestra as well as a Egyptian string/percussion ensemble (starting at 4:24 in clip below) that is AWE-some. The way the 4 piece band plays off the ethnic sounds and British orchestra sends chills up the spine from 7:50 onwards, especially when they start jamming at 8:50...holy schniekies!
ua-cam.com/video/9vbeilE0UrQ/v-deo.html
Bet me to it. The album is No Quarter.
Hate how they never bothered to include John Paul Jones, it was a DICK move. That's why I hate this version, much rather listen to the Celebration day one, where Robert actually sounds way better
Worked on the Jet they used in the US. Trashed it. Drummer did $10,000 plus damage using headliner as a practice pad.
Yes, Doug must listen to the Page and Plant version
If this is not progressive rock, then what is?
The hook in this song is so menacing. One of my favorite road trip tunes, especially while driving through the night.
I never once actively chose to play a Led Zeppelin song in my life but just by merely existing I ended up knowing quite a few pretty well.
This was the first song that I actively sought out.
Wish I had done that a long time ago…
Hearing this song 48 years ago in grade school was how I first discovered the band. Couldn't believe how it sounded and was completely blown away. Probably the most distinctive and reconizable rock song ever made. Nothing before or since has sounded like it despite it being a relatively simple riff. In a way it's almost like the rock equivalent of a Beethovan or Mozart song in that it will be played and listened to 100-200 years from now and maybe longer. It's already been 50 years..
I can listen to Kashmir over and over - every time I listen to it I find a bit more to it. Truly a wonderful composition and performance.
I was 14 when this album was released...this was the first song I listened to whenever I needed to step away for a while. Was lucky to see them in concert in 77.... I've enjoyed your channel, thanks for putting in the time.
The Page and Plant 1994 live version of this from their No Quarter DVD is AMAZING. They perform with a symphonic orchestra and an Egyptian orchestra and it is 12 min long with new formatting of the current sections and a beautiful extended solo from an Egyptian violinist. It is truly epic and I like it even better than this, which I love.
Listening to Doug's review and reading the comments is a real lesson in music appreciation. There is so much to this song that goes unnoticed to a casual listener like me.
Thats JPJ on the keys and Bass pedal synth, . the Led Zep man for all seasons and genuine multi instrumentalist and arranger.
"I've heard it, but it's a long time since I have."
Wouldn't know what that's like 🤘
It’s amazing that a double record composed of a bunch of discarded tracks from previous albums actually had so many epic songs and in fact, qualified as one of the best rock albums ever. Amazing and ironic.
I just love how Bonham is so understated yet powerful
"It originated from playing around on a tuning I'd been using quite a bit. They call it DADGAD, it's pretty similar to a sitar tuning actually.
We were doing some rehearsals, John Bonham was there, i don't know where the others were, they weren't actually there, this was at Headley Grange. I said i got this riff and he laid the rhythm on it.
So you got this riff that's like, round, circling round, and this cascade that goes over the top and it hits it's atonal point, that's cool. But, y'know,(laughs) that's one of those real hypnotic riffs".... Jimmy Page
I played it live 500 times and doubt we could have ever left it off the setlist. We got gigs because of it!
JHB's drumming is phenomenal. It's a masterclass on how to delay the beat.
What drives that song is Bonham's use of playing the back beat behind the beat in what is essentially a right hand lead flam using the hi-hat to hold the count trailing his left hand in what is actually a pretty wide gap for a flam. It creates tension and drive in a push pull effect. That coupled with is phenominal understanding and compositional choices of dynamic control and restraint in what he's doing made him just incredible. Add even one fill or a tom hit here or there and that entire piece would crumble. Bohham also had drum tech understandings of tuning schemes and his sound is exactly what he wanted to hear and he came up with those tunings schemes himself, with Jimmy Paige saying Bohnam was the best drummer he'd ever worked with with respect to understanding how to tune a drumkit and how that tuning related to the broader compositional and auditory aspects of a song.
Now live Bonham embelished more but so did everyone else so Bonham was the total package a brilliant compostional studio drummer who played perfectly to the music -- not a single unnecessary note -- and a phenomenal live player as well.
Watch this live in 1979 in Knebworth!! Fire!! There is no way to pick a greatest album with them!
One of the things about Kashmir is it covers well, by different people and different genres. Always sounds good. Really good on a string quartet.
The verses are played in 6/8 time except the drums remain on the 4/4. That's why the rhythm seems to round the beat. Matches on each 12th beat only. Pretty cool stuff and elevates Bonzo's metronome abilities. 😊
Remember first time I heard it on the radio 40+ years ago. Had no idea who or what it was but was immediately blown away. I shoved a C90 tape in and started recording it. Didn’t realize the tape was near the end of the side and it stopped and cut off near the end when Plant sings ‘here is the path that leads me to that place, yellow deser’ and played it again so many times that to this day I still expect it to cut out there.
From Wikipedia:
Composition
Page uses a guitar tuning of D-A-D-G-A-D, which he had used for the instrumentals "White Summer" and "Black Mountain Side".[4][5] The song combines different rhythmic meters: the guitar riff is in triple meter, while the vocal is in quadruple meter.[6] Plant felt that the drumming was an important component of the song and that Bonham did not overplay his part.[7]
Page recorded a demo version with drummer Bonham late in 1973, when John Paul Jones was late for the recording sessions. Plant later added lyrics and a middle section; in early 1974, Jones added orchestration.[7][5] Session players were brought in for the string and horn sections for "Kashmir"[5] and Jones added a Mellotron.[8]
Hey Doug, you need to watch the live version of Kashmir recorded at Knebworth in 1979. Powerful performance!
I was there, both weeks.
@@asharmstrong6730 me too!
Session players were brought in for the string and horn sections for "Kashmir" and Jones added a Mellotron. The lyrics were written by Plant in 1973 immediately after Led Zeppelin's 1973 US tour. So you were right. Strings and Mellotron.
masterpiece
real horns on the studio recording. Plus mellotron. Amazing ear.
Monster tune. Saw them live in 77. Lots of great comments; didn't see any about Jimmy's guitar tuning so I'll add, since it is the crux of this song: Lots of guitar articles out there about this - he was in DADGAD tuning.
Jimmy Page played a Danelectro guitar on this song and it really gave it a unique sound. The entire album is epic, but you really need to review "Ten Years Gone". This song is good, I mean REALLY good. If a Zep tune is underrated, this song is it. It holds a special meaning to mean as I listened to it a lot while battling cancer. I caused me to reflect on life, though it wasn't really about such reflection. Still a great song, one of their best.
proof the danelectro is underrated
A Danelectro guitar Page used but I think most of the unique sound came from the alternative tuning used, namely D-A-D-G-A-D
@@KurtGAndersen, no argument there. Page tinkered all the time to get something new out of his guitars. But the Dano's lipstick pickups did give a different sound than a Les Paul. I do appreciate the info on tuning. I always wonder how players get a unique sound.
@@KurtGAndersen dadgad was how i learnt guitar, and how both my girls learnt guitar, but then again im from the uk where its a common tuning
@@gregwasserman2635 DADGAD is a pretty typical Celtic tuning. Think Page got it from Davey Graham.
It's an orchestra, with Page's guitar almost playing an understated gravely bass part, and it is John Paul Jones on mellotron weaving those dramatic middleastern ascending flavors to it.
A lot of the strings are Melron, but there is a full orchestra and a full horn section used in very limited discrete amounts. John Paul wrote the score. He was a very accomplished session, player, and composer before joining Led Zeppelin.
Oh, Robert, you "take me there" every single time! Great stuff!
Masterpiece is the right word! Thank you, Doug!!
I've always loved Led Zeppelin you and man others have taught me WHY I love them. It was a new found interest when I was doing some sound engineer stuff.
This was recorded in a mansion called Headley Grange. There’s a story that during one of the takes of this a grandfather clock went off about halfway through and Bonham threw the clock down a flight of stairs.
Yep. John Bonham got a killer natural reverb sound on his drums thanks to the stone walls there. I believe he recorded the drums for "When the Levee Breaks" at the top of a stairwell.
No, this song/album was not recorded at Headley Grange. Only Zeppelin IV album, and some songs on Houses of the holy were recorded partially there.
Ooooohhhhh - I was waiting for this..... And I wasn't disappointed....
The truth can't be denied, Kashmir, ty Doug, good fun to listen to your analysis.
Yeah.. I did a roadtrip through Morocco.. Man, what a country!
Hi Doug - about your comment about cross cultural scales/modes - have a listen to "No Quarter" by Page/Plant. Here they collaborated with North African musicians and the flavour is as described.
Every time I hear this it puts me in mind of wearily making my way through a sun drenched landscape, my brow sweating in the hope of finding some respite from the oppressive heat, genius writing!
love how you break down this classsic tune Doung. This always fells like an out of body experiance to me.
Its ironic that they named the song Kashmir. I live in Kashmir and it is the furthest thing from a desert, with snow capped mountains, valleys with lakes, green meadows and saffron fields
because they never were in kashmir, and song's idea actually come to them when they were in sahara desert, if i remember correctly
Their on a desert road on their way to Kashmir...
When I saw them on the Physical Graffiti tour this was the highlight of the concert IMHO. Page played his guitar with a violin bow. The lazer light show was awesome!!!
Aloha and howdy. I'm six hours removed from Kentucky but loving this overdue reaction. I enjoy you enjoying my favorites.
One of my all time favourites ❤
Came here from the Porcupine Tree C/C video, great review! Thank you for going so in-depth with your thoughts and comments on the music, it really brings out the meanings in the song, both in the literal musical sense, and also by the emotional connotations and artists' goals with the songs. If you somehow see this, please do yourself a pleasure by checking out Marco Minnemann's solo work, it's a very great listen as well! I was going to try describing his music for you, but I think having a listen will be a better experience instead, which will do it better justice :)
A classic - such an amazing piece of work. This has been far and away one of my favorite tracks from this album and of all time. And yet I felt the revision on No Quarter was superior - that it somehow finally was completed / made whole.
The Eastern feel partly comes from Pages guitar, tuned to open DADGAD, from low to high.
John Paul Jones plays mellotron and did the orchestration. He is the often unsung hero of Led Zeppelin IMHO
So much to talk about with this song. So many commentators over the years have made a big deal about the lack of bass guitar on Prince's When Doves Cry. What about this? The lack of bass makes a huge contribution to the strange feel of it. And so many aspects of the mix seem so wrong when you single them out for attention - that paper-thin sounding, crummy little Danelectro guitar, the going-to-the-bother-of-getting-an-orchestra-in-and-then-burying-them-in-the-mix decision, the everything-quieter-than-everything-else mix (apart from the drums , obviously), the aforementioned lack of bass, the colossally loud drums. It's like they knew it had the potential to be really bombastic so they deliberately threw some spanners in at mix-stage decision time. And this also results in it having an element of ambient music to it, (as if there wasn't already enough going) - a story being told through texture and mood rather than through changes in musical topography - like the mystery and sensuality of driving through an endless (relatively unchanging) desert landscape. And then there's another stroke of genius in the way these arrangement decisions made it possible to recreate the piece so well live: Jonesy covering strings, brass and 'tron strings with aplomb. Jones and Page together dancing their rhythmic tricks around the gigantic groove. I have to mention Plant too. The sparsity of his contribution is really inspired. He new he didn't have to say much at all - that the music had already done the heavy lifting. I know Doug hasn't been a great fan of his singing, finding his pitch off. And he does sing a bit flat, but he plays with his limitations beautifully. He has a fabulous way of going for a big note, missing it slightly, and then sliding up to it, like he meant it (I'm sure he did sometimes). But what I love about his tendency to land a little flat is that it counters Jimmy's tendency to land a little sharp on his bends. He pushes just a little too far, which gives his playing that possessed, demonic edge. (Alex Lifeson is the only other guitarist I know of who picked up this habit). Lest we forget, the blues is about selling your soul to the devil - submitting all you have for the gift of being possessed by the creative spirit. It's a beautiful thing. Jimmy understood that. Do What Thou Wilt Shall Be The Whole of the Law (as in 'When You Have Identified Your Calling, Commit To It Completely.' That's what I always took it to mean.) And if that means playing your guitar a little sharp then find yourself a singer who sings a little flat. Do we get into the science of microtonality here or do we just let Arcane Magick do it's work? I know what Jimmy would choose.
its the drum beat of Bonham that keeps it all together, page production at its best.
The driving, repeating rhythm makes sense now that you gave the back story of them driving through the desert as inspiration for the song.
That double beat on the bass drum
I haven’t heard this for years, really. And now, listening again here, I am totally flabbergasted at the complexity of it all. Like hearing it for the first time.
A true Masterpiece composition, the 4/4 and 3/4 diff playing between JPJ and Jimmy versus the mighty Bonham. Like JPJ said, ..well we meet every 12th measure..!
ELP Works....in your studio....nice! One of my favorites!
Ten years gone, in the light Doug
My favorite Zeppelin song by far.
Bought this album when it came out back in high school.
Yes on the album it's a mellotron, I'm pretty sure. If you watch the live performance from the seventies John Paul Jones is playing the mellotron on stage. In the '06 Celebration Day show he's playing a synthesizer.
You can lower my casket to this...Mighty Led Zeppelin
Kashmir, In The Light, and Ten Years Gone are the golden trifecta of Physical Graffiti.
Hey Doug, it's SO refreshing to see someone air drum in time! I was beginning to think that UA-cam must affect the audio of posts which. makes the audio and the video out of sync by a semiquaver or two, as people who drum along seem to be always off by that half a beat, even musicians! So thank you for reaffirming my faith in the forum here. As a drummer myself, I love the way the music syncs up with the beat every 12th beat! Such a great song! However, I'd like to take you up on your claim that is not bettered on the album. I know you've probably just listened to it, but can I suggest another deep listen to "10 Years Gone". Another LZ classic!
I recommend the 1979 live knebworth version, if you want to see a live version of it. That or the O2 Live Performance from 2007
Doug, you should check out a live version of this song.
Nebworth, 1979. Kashmir. The best version available. They had perfected this live by then. Amazing.
John Paul Jones added orchestration to the record. Session players were brought in for the string and horn sections and Jones added a Mellotron. Before joining Zepplin, Jones had worked as an arranger and session musician in London. He arranged songs for the Rolling Stones, Tom Jones, Herman's Hermits. Donovan, R.E.M., Cat Stevens, Rod Stewart, and Jeff Beck. There was more money to be made in Zeppelin than working as an arranger and session musician.
Headley Grange is about 2 miles up the road from me.
Where the lamb lies down...
Your comment @ 3:10, "Again, rhythmically off" - Imagine this. I saw the band 'Zebra' in East New Orleans during the early 1980s. Imagine my surprise when I saw the lead singer (three group band), Randy Jackson, singing and playing this off-beat on the guitar at the same time while singing this song. It was amazing! I mean, pat your head and rub your belly is one thing. I have never seen anything like this before.
The lyrics were written by Plant in 1973 immediately after Led Zeppelin's 1973 US tour. None of the group members had visited Kashmir. Instead, Plant was inspired during a drive through a desolate desert area of southern Morocco.
You have to listen to this live. Knebworth live 1979 and Celebration day 2007 w/ Jason bonham
YEAAAH This is a great album. I love Houses of the Holy!
The way Bonham holds this song together is absolutely incredible. It’s a lumbering beast and he’s steady as a rock.
masterful Mellotron work by JPJ, blended with real strings and brass. I recommend next to do Song Remains the Same / The Rain Song for epic Zeppelin. And revisit Procol Harum (Whaling Stories, The Fires Which Burned Brightly...really juicy enharmonic pivots and twists in the chord progressions)