PHILIPPE PARINGAUX CHRONICLE MAGAZINE ROCK & FOLK

PHILIPPE PARINGAUX CHRONICLE MAGAZINE ROCK & FOLK

Led Zeppelin 2 (Shm-CD) (CD)

Customer Review

PHILIPPE PARINGAUX CHRONICLE MAGAZINE ROCK & FOLK N ° 34 November 1969 Page 67/69
2 albums 33 RPM 1969 Ref: 921021 Atlantic
I do not know the exact reference of this second album of Led Zeppelin, I have the model's hands. They are doing well at Barclay International this disc is not yet released in the US, that of Vanilla Fudge either. Franzais, touchours to the forefront ... Well, that said, Led Zeppelin took an important turn, can not afford to disappoint after the success of his first album. And Jimmy Page Group does not disappoint. It does not take more turns, too. The disk resembles in many ways the first is to say that it is of the same quality. Zeppelin's music, both wild and elaborate, structured even in its excesses, stretched to the limit, found his style and should not, in the future, deviate significantly. At most she shall allow and she will enrich some internal or external inputs, but from the first album, the essential was already found and laid foundations. That's why this disc is like the previous one, thin things to note: Page if he did not change his way, indulges in a few small sound fantasies that are reminiscent of Jimi Hendrix. These are however only drafts, frills one would be tempted to write; there is indeed no question Page embarking on these familiar delusions to the great Jimi (and in which any other than him could be lost) without the risk of serious injury to the unity of the group. This balance so miraculously found and claiming some precautions. Without exception, the themes of this record are excellent, bluesy may be less than the first, more sophisticated (eg the very beautiful "Thank You" whispered on an organ by a carpet Plant finally calmed down and that demonstrates that it is also comfortable on the ballads in the most total knockouts). Always full of feeling, chopped ("Heartbreaker" - but that breaks, many breaks, too many breaks) slowed or accelerated at will, in their moments punctuated by cymbals John Bonham banging on the fly. It is ultimately very different from traditional account and what the Jeff Beck Group, in this, primarily: Jimmy Page is content to accompany Plant, to emphasize his speech without encroaching on its domain ever. Beck instead, OJEU behind Stewart, together with him, and it would be enough to erase the voice of the second to hear the first real solos. In addition, the sound of Beck is absolutely different from that page, the more stifled, more varied too. Beck's game also differs from that page in that it is both less linear and much more flexible. Page is a great guitarist, that's obvious, but it is also clear that his game to something mechanical and monotonous in its brilliance. Beck instead, explores the possibilities MELODIQUES (Page is an explorer too, but sounds) of his instrument, providing its soli richness and inventiveness that are found in only two or three pop guitarists at best. Last difference, finally, between the two groups, the design of the rhythm section (not to mention of course the piano); at Zeppelin, Bonham and Jones provide the tempo and simply punctuate some strong passages; in Beck, Wood and Newman, the latter very "jungle" are bent on creating a background teeming, dense and play WITH the three great voices of the group instead of playing behind them. You may prefer one or the other music, the music of Zeppelin, sharp, sharp as a blade without coldness, or that of the Beck Group, burning constantly kneaded dough and kneaded, the boundaries of the confusion sometimes. It may be easier to love both. The spirit behind their creation is the same.

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