No Quarter: Jimmy Page & Robert Plant Unledded
Filed Under: Music, Reviews | Article Tags : DVD review , music on dvd
By: Erik Swift
February 2005
|
The death of Led Zeppelin drummer John Bonham on September 25, 1980 was their end. Months later, fans were crushed when Robert Plant, Jimmy Page and John Paul Jones announced they wouldn’t entertain the concept to continue, even under a different moniker. A year earlier, The Who had seemingly acquired Kenney Jones with relative ease to replace the late Keith Moon behind the drum kit – how come Zep couldn’t do the same? Unlike the Who, creaking and sputtering to an inglorious finish after two albums with Jones, this move magnified the majesty of Zep. The trio distanced themselves from their collective past: Plant refused to sing any Zeppelin songs in concert, Jones became a successful producer and arranger while Page exiled himself temporarily with heroin.
Their paths occasionally reunited them, first in 1985 at Live Aid. 1988 saw them gather together at the Atlantic Records 40th Anniversary concert, while Page and Plant did guest spots on each other’s respective solo efforts, “Outrider” and “Now And Zen.” The threesome performed with Bonham’s son Jason at the youngster’s 1990 wedding, and rumors intensified when Pagey strolled out for a ripping encore during Plant’s Knebworth set that same year. By 1993, Page got tired of waiting for his mates and did the unthinkable: he recorded the album “Coverdale/Page” with former Whitesnake vocalist David Coverdale, someone who had always drew frequent comparisons to Plant. The catchy “Pride And Joy” ran all over radio and they toured overseas. Plant had to be royally pissed, but as his “Fate Of Nations” tanked that summer, he awoke from his solo stupor and called Page.
Here enters MTV. The cable network had gone on the air 8 months after Zeppelin’s official demise, revolutionizing the music business in the process. By 1994, it had turned from being an institution into being in need of institutionalization. Music videos were becoming more rare on the channel than an LP bonus track, but in between a steady stream of “The Real World” marathons the diamond in the rough at MTV was its hallowed “Unplugged.” The series had produced wonderful moments from Pearl Jam, Paul McCartney, Stevie Ray Vaughan, Aerosmith, Lenny Kravitz, Eric Clapton and Nirvana. Behind the scenes, everyone whispered that a Zeppelin reunion would be the bomb. Much of their greatest work centered on Page’s acoustic prowess, but if they would only agree…makes your mouth water doesn’t it? A full show from Page, Plant and Jones was nullified when the neither the guitarist or singer bothered to punch up Jones’ digits (JPJ would later publicly embarrass them at Zeppelin’s induction into the Rock And Roll Hall Of Fame about this). The fruits of the Page/Plant experiment aired on October 12, 1994 as “Unledded,” which has premiered on DVD courtesy of Atlantic/Warner Strategic Marketing.
At first, the moment the rock world waited for is a bit of a letdown. After a few aerials over Marrakech and Wales to visually set the mood, Page and Plant aren’t blowing away thousands in a stadium or even hundreds in a club or studio – they’re playing in a fucking forest! Surely a lesson had been learned from the dismal fantasy sequences that ruined “The Song Remains The Same”…hadn’t it? “No Quarter” isn’t one of the better Zeppelin songs either, but there they are performing it under a dewy tree as if Gollum is going to join in on a jew’s harp. During the decent “Thank You” that follows, we finally see who’s backing them – Plant regular (and son-in-law) Charlie Jones on bass, Michael Lee on drums and Porl Thompson, a recent defector from The Cure, on guitar. “What Is And What Should Never Be” features some stellar bluesy slide work from Page, but by the time “The Battle Of Evermore” starts, feet are tapping. Having someone else play John Paul Jones’ bass parts is one thing; layering over his other contributions with a bunch of Egyptian dudes wielding bodhrans and a hurdy gurdy is distinctly another. Plant’s vocal partner, Najma Akhtar, is an adequate but wide-eyed performer that seems nervous, and she tries too hard to enhance “Evermore.” A jarring moment occurs at 17:46 as Plant actually rolls his eyes! Wait a minute! These guys fronted Led Zeppelin, rocked millions and tossed nubile groupies off their backs like they were fur coats in New Orleans. They CAN’T suck…but at this point “Unledded” is barely smoother than a Kobe Bryant Colorado vacation.
Just when you think it’s time to stop the bleeding, “Gallows Pole” is unleashed. Page peels each brawny riff from his guitar so well that detractors have to clam it for a few minutes. The first good performance on “Unledded” kicks ass, gradually hitting a locomotive stomp that ends too soon. Its acoustic portion makes an easy transition from the studio setting to the Welsh countryside that “Nobody’s Fault But Mine” is filmed at. This traveling motif lands viewers in Marrakech for three newly written Page/Plant numbers performed with local musicians. Returning to Wales, the stage is set for a cooking take on Memphis Minnie’s “When The Levee Breaks,” while “Wonderful One,” another new composition, eases everyone back into the studio.
From this point, the song selection becomes very questionable. Ultimately, this lack of predictability makes “Unledded” work. Similar to the opening, “Since I’m Loving You” and “The Rain Song” are artist favorites, but not the most memorable of Zeppelin’s catalog. The impressive fourteen minutes these two songs last are, however, quite killer, and Page’s gorgeous solo on the former prompts rousing applause at its end. The great audio (either 5.1 surround sound or stereo) is best displayed on the latter – each string being plucked by the guitarists or the London Metropolitan Orchestra and the Egyptian ensemble (adding valuable depth) that join the band is clearly heard. Page’s artistry here is unparalleled, and his inconspicuous restarting of “That’s The Way” is so sublime that it’s hard to notice that the song had even stopped. The ensemble’s constant whirring bolsters a ghostly “Friends,” and Plant’s soaring wail matches them well. Closing his eyes and pointing his forefinger to the floor and opening his throat for the primal “Wooohooohooo” he patented long ago, the singer is on fire, complete with a bleeding knuckle. The crowd is really into it as “Kashmir” wraps it up, satisfying the front row headbangers.
The bonus material is lean. Including the video for “Most High” (from the 1998 follow-up “Walking To Clarksdale”) seems to not bode well for future Page/Plant DVDs. Besides, is that actually Jesse Camp? The interview states the obvious, and a Marrakech montage is 90 seconds of “huh?” A scorching “Black Dog” filmed for the American Music Awards makes up for it, and it’s the coolest thing Dick Clark has ever been associated with. Page’s springboard solo is as elastic as it can be, stretching into orbit and recoiling just as fast. The Zeppelin staple leaves you breathless. Why it never originally appeared as part of “Unledded” is hard to fathom, but it’s an absolute stunner as an extra.
MTV had huge ratings that October for “Unledded” and the Eagles’ “Hell Freezes Over” premieres. When both initially arrived, part of their allure was that both would sooth fans’ insatiable diet for quality audio/visual material of each band live. In Zeppelin’s case, the band had been rarely filmed in its day, and “The Song Remains The Same” wasn’t quite the concert film it should have been. The group’s 2003 self-titled DVD has since alleviated those concerns, but don’t think “Unledded” is now irrelevant. Page is on it the entire time – a double- and triple-necked master, his arsenal includes banjos, mandolins and a Theremin that makes “The Truth Explodes” the muscular best of the new numbers. Plant hasn’t lost anything here, and seeing these two onstage again exudes a powerful aura. That they cared enough to write new material instead of just dusting off old stuff is commendable. That their band cranks, especially Lee’s bruising beats on “Levee,” is also a plus. Fervent Zeppelin fans tearing hair out over a favorite’s omission can rest well – this has merit. Its globetrotting structure is what’s unnecessary, and concurrently makes the Page/Plant venture misfire. Filming “Nobody’s Fault” and “Levee” out in the middle of nowhere doesn’t work, especially when telephone wires sneak into view and squelch its justification. It’s bizarre, but that’s what “Unledded” is: an experiment.
Reviewer’s Opinion: RENT IT!!
Loading ...
