By Susan Fast
This quantity examines the strong ways that identification should be formed by means of rock tune. during the tune, imagery and discourse surrounding essentially the most cutting edge and commercially profitable rock bands ever, Susan speedy probes such matters as structures of gender and sexuality, the construction of fable and using ritual, the appropriation of jap musics and the blues, the physicality of the track, and using the physique in functionality. The band's impact is tested via socially-situated musical research, in addition to an ethnographic research of Led Zeppelin fanatics. quickly attracts on educational and journalistic writing in addition to a brand new interview with band member John Paul Jones. particular items tested comprise "Dazed and Confused," "Kashmir," "Stairway to Heaven," and "Whole Lotta Love."
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Extra resources for In the Houses of the Holy: Led Zeppelin and the Power of Rock Music
43 The importance of this view of music is in the idea of its spiritual possibilities, the depth of spiritual experience that was thought possible through listening to or making music, its capacity for profound meaning. In this respect, the aesthetic of some progressive rock musicians and their audience is not unlike that prevalent strain of nineteenth-century thought in which music was considered as a substitute for religious experience. In trying to decode this experience it is easy to trivialize it or to interpret it too narrowly.
61 The second part of Page's guitar solo (the "fast" solo) brings the piece to a climax. In live performance, this solo was marked by juxtapositions of a wide variety of musical styles—from funk to folk, blues, and rock—with no transition from one to the other. Page loves to try on one musical idea, explore it for a moment, and then abandon it for another, without an intervening transition. A perhaps less violent manifestation of this stylistic juxtaposition is a hallmark of several Led Zeppelin songs, the earliest being "Babe I'm Gonna Leave You" on the first album, which alternates between acoustic and electric sections.
In the case of "San Francisco," the mode has been changed from Mixolydian to Aeolian, and Plant confines himself to the narrow melodic range of a fifth. One of the most striking differences between the melody Plant sings and that of the original is the first interval: instead of the bright leap of a maj or sixth, Plant sings a minor third. The lyrics have transported him to a different time and place, both recalling the same Utopia: that of the counterculture, as represented by the two powerful symbols of San Francisco and Woodstock.