Led Zeppelin should reform

The 70's was the decade when giants walked the earth, and there was no greater behomoth than Led Zeppelin. They had it all - the originality (despite plaguiarising Willie Dixon, joan Baez, Bert Jansch, Jake Holmes), the songs, the stage presence, the musicianship, the production, the management and the mysticism. If you believe in such things then the stars were definitely aligned when JPJ, Pagey, Percy and Bonzo came together to record their first album and appear as the New Yardbirds and 'The Nobs' during those early days of 1969. There rise to stardom has been well documented but by farthe best account can be found in Mick Wall's biography. ('Hammer of the Gods' and Richard Cole's insights gives another perspective but they are unendorsed by the band). Classic album followed classic album and each tour surpassed the last until the tragic death of John Bonham on 25th September 1980. I remember that day when I was in the VIth form and my friend  Pip turning up at school with a black arm band on. The statement fromthe band soon after came out as a press release and stated: 

“We wish it to be known that the loss of our dear friend and the deep sense of undivided harmony felt by ourselves and our manager, have led us to decide that we could not continue as we were.” 

This was a deeply profound statement and, in my view, a correct one. The chemistry of that lineup could never be re-created again. Some bands could re-invent themselves with new personnel e.g. The Rolling Stones, Whitesnake and The Who - but Led Zep were the pinnacle. You cannot improve on perfection. Who knows what musical direction they would have taken if Bonham hadn't rolled over onto his back after his vodka binge. Maybe they would have become dysfunctional with Pagey's cocaine and heroin addiction, or perhaps Plant's solo ambitions would have pulled them apart anyway.

 They briefly reunited for a Live Aid concert in 1985, in Philadelphia, PA. In 1988 they join forces again for a brief concert, this time with Jason Bonham, John Bonham's son on the drums. The concert was not received very well by critics (and significantly the band reflected that it wasn't their finest moment). Then came the news that the remaining 3 members and Jason were to come together at the O2 arena, London for The Ahmet Ertegun Tribute Concert. It was a benefit concert held in memory of music executive Ahmet Ertegün on December 10, 2007.

My initial reaction was 'No - Planty is going to be straining to reach the high notes and Page will be playing like his fingers are stapled together'. The Gods had passed their zenith. The gig broke records as "The Highest Demand for Tickets for One Music Concert" equalling 20 million requests for the reunion show rendered online.

My final verdict on the show (as revealed in the 'Celebration Day' DVD) was 'better than expected - but still no comparison with Earl's Court or Madison Square gardens in the 70's. Guitars were downtuned for the O2 show and compromises were made. To me we should remember them as they were. Plant made the right decision after the gig to carry on woth his solo projects e.g. The Band of joy and Alison Krauss partnership. His music has shown progression in this realm and his voice operates in it's natural realm. Jimmy should do a 'Santana' and put out an album of original material with other hand-picked musos - there would be plenty who would be willing to hook up with him. Jonesy demands high respect as an arranger and occasional forays with 'Them Crooked Vultures'. I say let the legend live on in our memories rather than be defaced by a mistaken attempt to resurrect past glories.

'Slip of the tongue' represented Whitesnake's nadir

How many times have I read in 'buyers guides' or discographies of Whitesnakes output where SOTT is represented as a nosedive by the 'Cov? Really? Let's just have a look at some ofthe discs which DC brought out a few year's later. What about 'Restless Heart' and 'Into the Light?' I can almost hear some of you asking 'Restless what?'. Precisely. A more bland and dismal set of tunes you couldn't hope to come across. But everyone wants to blame the stalling of the 'Roger Moore of rock' on Stevie Vai. Now first off, SV has to be one of the most virtuosic guitarists in the universe. DC brought him in because he wanted an injection of 'majesty' to the guitar work .... And he got it in spades. SV has coloured the palette of Dave Lee Roth, Graham Bonnet and Frank Zappa. His contributions to SOTT are sublime. Take his solo on 'Wings of the storm' for example. His guitar sounds like a leviathon unleashed. For a more sensitive side, consider his sitar-like playing on ' Sailing Ships'. Songs from this album still feature in Whitesnake's current live show e.g. 'Judgement Day'  and 'Cheap and Nasty' . OK there were some turkeys on there as well - why they had to do an updated version of 'Fool for your Loving' I shall never know - the original from the 'Ready an' Willin' album was a true classic. But we can forgive DC this minor indiscretion. SOTT was the album which presaged Whitesnake's triumphant re-appearance at Donongton in 1990. Watching the recently released DVD of this awesome show reveals Whitesnake at the height of their game. They had the tunes, the stage presence and the clothes - what's not to like? My favourite line-up will always be the Moody/Marsden/Lord years but SOTT was a natural progression from 1987. So, if you don't like Vai's tenure, why do you accept the Sykes incarnation which saw the real turnaround from Heavy Blues to pop metal? So, I'm off now to listen to the title track and imagine DC strutting the stage of Donington in his metal studded leather jerkin, accompanied by Aldridge, Sarzo, Vandenberg and, of course, the legendary Vai.