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Ever Onward...
IN THROUGH THE OUT DOOR
Led-Zeppelin’s eight studio album. Recorded during the dead of winter at Abba’s Polar Studios in Stockholm, it is complete departure from the previous outputs with more keyboard and piano in the production courtesy of the no nonsense Jones taking over the helm. As Bonham and Page weaned themselves of their dependencies, the sober Plant and the disciplined Jones were the duo that clicked throughout the sessions. The stark contrast from the previous release's musical stylings once again confused their fanbase and the critics [as usual!] but managed to sell very well in light of the music industry’s troubles at the time.
In The Evening – After a swirling layered Jones keyboard intro augmented with Bonham tympani runs and Page bowed guitar solos, Plant echoes the main title and off we go. A grandiose, stomping little number marked by what sounds like abrupt tape splices but is really the gizmotron that Page employed. One of two numbers they would preview live at Knebworth. This was the weightiest number in the lot. Page played a Lake Placid Blue Telecaster for its live airings.
South Bound Suarez – Jones gets loose on this track with a cool piano boogie woogie intro. It swings effortlessly in four minutes and change. It has that good time feel similar to Hots On For Nowhere from Presence. It has Plant drawing from his Fifties idols with Page referencing his own with James Burton and Scotty Moore. To me, Suarez is just an unpretentious, uncomplicated. light-hearted fun listen.
Fool In The Rain – A track Plant composed with Jones that drew from his love of soccer. At the time The World Cup was happening with him donning his Brazil tee in rehearsals and later on offstage during the 1980 Tour Over Europe. It shuffles along nonchalantly until a samba party breaks out in the middle whereupon Page brings order to the proceedings with a mellow dissonant solo. I remember the late Gene Krupa on an interview on The Tonight Show mentioning this as one of his favorite Bonham efforts. Don’t know why but this track never really caught on with me.
Hot Dog – An homage from the band to the sprawling state of Texas as well as their mates from the ShowCo lighting gear company. It features great barreling honky tonk piano courtesy of Jones with Page’s slithering guitar work. Plant could’ve been writing about his gal pal Audrey Hamilton who was from the Lone Star country. And yes he was… Short but sweet that shakes the dust of one’s pick up truck and old blue dungarees.
Carouselambra – This is considered the last of Zeppelin’s epic numbers. Jones’ magnum opus is like a ride in a sinister merry go round. He and Bonham really go to town here. It is broken down into three sections with the middle being at a slower downshift. Page is practically non existent providing only rhythm guitar. No solos? Plant’s lyrics are just about indecipherable. I’ve always thought that this had a very Gothic feel like something out of an old time Hammer horror flick. There were plans to play this live as part of their set for the band’s U.S. The 1980’s Tour. It would have been something given how it took shape previewing the rehearsals at Clearwell Castle.
All My Love – A very pretty composition Plant wrote in remembrance to his fallen son Karac. Against a heavy backbeat, Jones unfurls a nice orchestral solo of sorts in the middle section with Page lacing in some delicate acoustic touches. Page wasn’t really enamored of this track subtly slagging it off as soft but I would say otherwise. One of three cuts off this album that they would play on their final tour of 1980. A reverb heavy outtake is out there that has a longer ending laden with nifty Page solos.
I’m Gonna Crawl – My favorite track on the album. Plant’s raw, passionate singing really drives it. His delivery reminded me of McCartney’s on “Oh, Darling!” as his vocals are tattered on the edges. Jones’ keyboard and Bonham’s drumming keeps a steady pace. It is slow burning in its intensity but does not drag. After Plant screams “Hit me!” [shades of James Brown!] Page lets fly a heavy, stinging solo. It is a powerful way to close the set and unbeknownst to them at the time, their career as a group. I find it ironic that they come full circle with this blues number. And a little bit…and a little bit…and a little bit...of my love! Let ‘em know, Percy.
It is not as hard hitting as its predecessors nor as varied yet it has its moments. After the brutal force and immediacy of Presence, ITTOD was more like waking up to a hangover, taking it slow and then finding your balance though unsteadily. It doesn’t beat your head in but eases you in for good time nevertheless. Later on Page mentions that how he and Bonham thought that it wasn't what they were about and looked forward to a heavier feel on the next LP. Sadly, that will never come to pass. Plant on the other hand was quite proud though adding that the band played it safe and did not swing the hammer. Sure it doesn’t have the primal power of the first two nor the sophistication of the fourth and Houses or even the diverse pallette of Graffiti, it stands on its own with its warmth unlike the cold, angry thrust of Presence. Comfortable maybe?
The packaging? Well, I remember at first seeing it in a brown paper bag then asking myself was there liquor in there [grin]? Then I found out that there were different covers done each via the vantage point of the individuals in the scene. Yes, I have all of them sans paper bag and LPs. Some soul was selling the full set at a swap meet so why not? One of these daze, I will fill the jackets with the LPs. Why? Well, cos’ I want to.
Also, there is the added cheap thrill that you could dampen the cover and it is supposed to change colors. I never did that deed. Why ruin a perfectly good inner sleeve? I suppose I could pick up a used one and have a go at it… Nah!
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