Number 577 - Led Zeppelin
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Led Zeppelin
"All of My Love"
(1979)
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Genre:Rock
Art by AMGram
You are all probably thinking, i could write the Definitive 1000 songs on 1979 alone huh? Pierre from Perilous Pierre hit a point upon regarding the next entry "Brian Hyland" and was wondering if another certain 60s hit was going to be included. Now i promise you all, that the 50s & 60s true classics are indeed featured. The reason it might seem a bit thin so far in the countdown is that they are probably more higher up the order of merit. Yes, that is the case.
By the by, this particular song by Led Zeppelin is one of my personal favourites and not once did Robert Plant have to scream into the microphone, although that's not necessarily a bad thing - no one had a better set of pipes than this man. Not even a Scotsman!
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By the by, this particular song by Led Zeppelin is one of my personal favourites and not once did Robert Plant have to scream into the microphone, although that's not necessarily a bad thing - no one had a better set of pipes than this man. Not even a Scotsman!
Art by SteveHarradine
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The End of Zep
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Art by galean
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Despite rumours that Cozy Powell, Carmine Appice, Barriemore Barlow, Simon Kirke, or Bev Bevan would join the group as his replacement, the remaining members decided to disband Led Zeppelin after Bonham's death. They issued a press statement on December 4, 1980 confirming that the band would not continue without Bonham. "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." [Source:Wiki]
About The Song itself
Art by damnengine
"All My Love" is one of only two Led Zeppelin songs which Jimmy Page had no part in writing (the other being "South Bound Saurez", also from In Through The Out Door). In an interview he gave to Guitar World magazine in 1998, Page stated that he and John Bonham "...both felt that In Through the Out Door was a little soft. I wasn't really keen on "All My Love". I was a little worried about the chorus. I could just imagine people doing the wave and all of that. And I thought, that's not us. That's not us. In it's place it was fine, but I wouldn't have wanted to pursue that direction in the future." [Source:Wiki]
For more Led Zeppelin see Number 957
For Robert Plant see Number 845
For Brian Hyland see Number 578
What does Rolling Stone think about Led Zeppelin?
Hearing John Bonham play the drums is the aural equivalent of watching Clint Eastwood club eight bad guys over the head with a two-by-four while driving a derailed locomotive through their hideout. Either you are horrified by all that blood on the floor, or you wish you could do it yourself. No one's ever going to accuse Bonham of subtlety, but everyone should give him credit for consistency. Even on Led Zeppelin's worst effort (Houses of the Holy), he flails with so much exuberance that I find myself hoping that thugs from strange foreign countries will attack me on the street so I can play "Moby Dick" on their strange foreign heads.
Sadly, Bonham's exuberance on In through the Out Door is matched only by Robert Plant's appetite for inanity. Never a power as a lyric writer, Plant has followed a simple pattern in his singing: when Jimmy Page gave him great guitar riffs to phrase around, Plant was great. When Page didn't, Plant wasn't. On their masterpiece, "Dazed and Confused," for example, Plant made the same old misogyny sound like profound insight, while Page thundered through his orchestral guitar rumble.
Side two consists of three of the least effective songs the band has ever recorded. "Carouselambra," the opener, is built on an extremely lame keyboard riff and clocks in at an absurd 10:28. Repetition to weave a hypnotic effect has always been part of the Zeppelin sound, but what they are repeating here is not worth the effort. "All My Love" and "I'm Gonna Crawl," both slow and incorporating synthesized violins, let the record peter out instead of climax. Side one qualifies as occasionally interesting — particularly the heavy-metal square dance, "Hot Dog," and Bonham driving a locomotive through the mariachi (I think) beat in the middle of "Fool in the Rain"—but the only cut I'll return to with any enthusiasm is "In the Evening."
I thought Van Halen was going to be the next Led Zeppelin until they succumbed to the law of diminishing returns on their second album. Now — with Page's creativity apparently failing and no one able to compensate — even Led Zeppelin is not Led Zeppelin. I wonder who wants the throne bad enough to take it. (RS 302)
For Robert Plant see Number 845
For Brian Hyland see Number 578
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Hearing John Bonham play the drums is the aural equivalent of watching Clint Eastwood club eight bad guys over the head with a two-by-four while driving a derailed locomotive through their hideout. Either you are horrified by all that blood on the floor, or you wish you could do it yourself. No one's ever going to accuse Bonham of subtlety, but everyone should give him credit for consistency. Even on Led Zeppelin's worst effort (Houses of the Holy), he flails with so much exuberance that I find myself hoping that thugs from strange foreign countries will attack me on the street so I can play "Moby Dick" on their strange foreign heads.
Sadly, Bonham's exuberance on In through the Out Door is matched only by Robert Plant's appetite for inanity. Never a power as a lyric writer, Plant has followed a simple pattern in his singing: when Jimmy Page gave him great guitar riffs to phrase around, Plant was great. When Page didn't, Plant wasn't. On their masterpiece, "Dazed and Confused," for example, Plant made the same old misogyny sound like profound insight, while Page thundered through his orchestral guitar rumble.
Side two consists of three of the least effective songs the band has ever recorded. "Carouselambra," the opener, is built on an extremely lame keyboard riff and clocks in at an absurd 10:28. Repetition to weave a hypnotic effect has always been part of the Zeppelin sound, but what they are repeating here is not worth the effort. "All My Love" and "I'm Gonna Crawl," both slow and incorporating synthesized violins, let the record peter out instead of climax. Side one qualifies as occasionally interesting — particularly the heavy-metal square dance, "Hot Dog," and Bonham driving a locomotive through the mariachi (I think) beat in the middle of "Fool in the Rain"—but the only cut I'll return to with any enthusiasm is "In the Evening."
I thought Van Halen was going to be the next Led Zeppelin until they succumbed to the law of diminishing returns on their second album. Now — with Page's creativity apparently failing and no one able to compensate — even Led Zeppelin is not Led Zeppelin. I wonder who wants the throne bad enough to take it. (RS 302)
Rolling Stone Top 500 Songs ranked this song at Number (Whoa.. did you not read our review?) and the Album ranked at Number (Oh please, it sounded like a get well card)
This song has a crowbarred rating of 72.7 out of 108 pts
Tags:Led Zeppelin, 1979, Rock, Robert Plant, Jimmy Page, Perilous Pierre,YouTube, Music Video, Rolling Stone Magazine, Crowbarred, New Zealand, Crowbarred Unleashed, The Definitive 1000 Songs Of All Time, Mellow Mix Volume 1, Mellow Mix Volume 2, Mellow Mix Volume 3, Mellow Mix Volume 4, Mellow Mix Volume 5, Mellow Mix Volume 6, Mellow Mix Volume 7, Mellow Mix Volume 9, Mellow Mix Volume 10, Mellow Mix Volume 11, Mellow Mix Volume 12
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