Tag Archive: John Bonham


Instant Classic

It was only just shy of 4 years into Led Zeppelin’s career, but they had already become larger than life figures. A lot of that has to do with the mystique that had grown up around them, but it was also because they’re a band of personalities. Jimmy Page alone is interesting enough to carry the band, but Robert Plant provides his own brand of sex and swagger, equaling Page at the very least.

The music and celebrity press of the day (a completely different animal than we have today) swarmed around them with copious words. Surprisingly little of it was positive, too. I think music reviewers were so upset over information about the band being so scarce, and it came out in their reviews of Led Zep’s albums. Some of the press about I, II, and III was not kind at all. It’s understandable that with IV, they decided to disappear.

IV was released without a title. Understand that; it wasn’t an eponymous album (though I was), but rather a completely untitled album. IV is just a convenient thing to call it since it’s their 4th album, and the previous two used Roman numerals. It’s also sometimes called Four Symbols, Runes, The Hermit (from the inner gatefold artwork’s similarity to a tarot card), and ZoSo.

The name “Led Zeppelin” doesn’t appear anywhere on the album. There isn’t even that picture of the Hindenburg from their first album to help you along. The band members also aren’t listed anywhere, nor are the song titles. There are no lyrics except the last 9 lines of “Stairway to Heaven,” and they’re not even titled as such. In fact, the only text that appears anywhere in the entire artwork is that of the aforementioned lyrics, and four inscrutable symbols.

It turns out the “ZoSo” thing is one of those symbols, and it wasn’t even meant to be text of any kind. These four symbols are representative of the four band members, the ZoSo symbol corresponding to Jimmy Page. In case you care, the feather is Robert Plant, the trinity is John Paul Jones, and the three circles is John Bonham.

Looking at it with a critical eye, this is suicide. Music artist simply can’t release and album with no information printed on the jacket. The fact that the album has no name seems minor to me when compared with the lack of text. No band name, no member listing, no song titles, no nothin’. What’s the reaction going to be of someone like me who encounters the album 19 years after it had come out? I was going, “hey, what’s this?” I didn’t get an answer. Most people lose interest without name recognition. Without a title and without text on the album jacket, the only hope IV has is to become very, very famous… which, of course, it did, and almost instantaneously.

It’s a little ironic, but Led Zep’s intention was to disappear with this album and allow the music to stand on its own, and IV brought them more fame and adulation than ever before. Critics were wetting themselves like excited puppies, the near-opposite of their harsh words for the confusing dichotomy of III.  And the 40+ years since IV came out have seen the four of them rise to mythical and god-like status, leaving mere celebrity behind.

If ever there was a case of an album being an “instant classic,” IV was it. I hate that term, myself. Part of something being classic is that it has stood the test of time, and that’s why it’s incredibly hard to tell new fad bands from musical acts that will still be talked about in 20 years. “Instant classic” is, therefore, a contradiction in terms.

But whether or not IV was an instant classic in 1971 doesn’t matter anymore. It’s classic because every song is fantastic, it sounds unique amidst its time, it can fascinate us regardless of when we encounter it, and it creates a zeitgeist, a sense that it exists outside of time; was, is, and is to come. IV is just one of those albums that will last forever.

Crystal Moments

When my parents gave me my first electric guitar (a used Hohner Les Paul) for Christmas, it was a turning point in my life. I started hearing music for not just a song or a melody, but for the individual instruments; the way the guitar plays off the bass, the way the drums vary in tonal quality, how a singer’s voice modulates to fit the emotional color of a particular song. But most of all, I noticed the vast number of sounds the electric guitar could make, the subtle differences between them, and how every single guitarist had the ability to create a sound all his own through combinations of different effects. It seemed limitless to me.

Before I started playing guitar, I didn’t really take Jimmy Page or Led Zeppelin seriously. Even then, I was only aware of Jimmy as a distant icon until I met Mike in college. But there was a moment of glorious realization when I was about 15, and I heard “Heartbreaker” on the radio in a friend’s car. I call instances like that “crystal moments”: times when you are truly listening to music, and something just clicks and you “get it.” When I first heard the guitar solo in “Heartbreaker,” that was a crystal moment. It was when I realized that I had only taken one bite of the first appetizer in an infinitely huge buffet of guitar delights.

For whatever reason God has divined, I no longer have access to those delights. The stroke I had when I was 21 left me with limited use of my right arm, making guitar-playing impossible. I could have gotten the arm back, but it just wasn’t in me; at the time, I had bigger things on my mind (like plowing through 2 bone marrow transplants to deal with the leukemia that my stroke tipped the doctors off to). But it remains that I used to play guitar, but now I don’t. And I still hear music in terms of the separate sounds coming together to make the soup of a song. Disparate parts making a unified whole; sound familiar?

John “Bonzo” Bonham

Back to II. “Moby Dick,” besides being a simple 12 bar blues, is a showcase for drummer John Bonham to let it fly. Maybe it’s just me, but the drum solos from the 60s and 70s seem rather unimpressive. When I look at drummers from the modern age, like Mike Portnoy of Dream Theater or Taylor Hawkins of the Foo Fighters, they seem so much more proficient than some drummers from earlier years. The godlike bands from the rock renaissance of the 70s had mostly mediocre drummers. At the very least, the recorded drum solos from that era were very unimpressive even if the drummers themselves aren’t. The exception to the rule is Ginger Baker from Cream; he was awesome.

John Bonham is a whole lot better than “Moby Dick” makes it seem. With juggernauts like Plant and Page in the same band, it’s easy to overlook the massive contributions Bonham made. I think Led Zep’s overall sound is as much a result of Bonham’s inspired drumming and Page’s guitar work or Plant’s vocal histrionics. It’s a shame that the only drum solo in Led Zep’s catalogue is sub-par.

At the cap, there is “Bring It On Home.” It starts as a soft, bluesy stomp powered by nothing but a simple guitar and a harmonica. The vocals sound like they’re underwater. Then a roaring to life, and the band pulls out the stops for the most aggressive and charging song on the album. The guitar takes a 180 from soothing and smooth to distorted and crackling. And the main riff encapsulates the entire quest of Led Zeppelin: blues music shifted into a heavy and aggressive form, turning it on its head.

With the arrival of Led Zeppelin, the landscape of the music world changed. That type of thing tends to happen around the turning of a decade. It happened in 1980 when punk music ceased being a revolution and became a corporate brand. It happened in 1991 when Nirvana made us all rediscover that rock and roll comes from our guts, not our wallets. It happened just before the new millennium when the boy bands took over the airwaves. And it’s happening even now with the meteoric rise of alternative folk bands like the Decemberists, Bon Iver and The Civil Wars. But the difference is this: all those other shifts at the decades existed on a pendulum – Led Zeppelin broke the pendulum. When they changed things, they stayed changed.

Tomorrow: the descent and demise of Brian Jones, a rolling stone.