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Lell Zep’s, Iniglhrough

_ . 1 the WT Door ’ By George Barry

In the field of Rock music, a heading that takes in many and varied styles, one might find three main categories which are vying for the dominant role in the hearts and pocketbooks of today's youth. They are roughly what one might call progressive rock ( groups like Yes, Queen, Led Zep. etc. ), punk rock ( or new wave ), and commercial rock ( Foreigner, Cheap Trick, etc. ).

It is not really much of a battle,for the No. 1 spot is in the hands of the purveyors Of Disco at this present time. But rock, in its various forms ( and by rock I mean something that has some semblance of musical variation which one is hardrpressed to find in Disco ) has survived and prospered. One of the prime examples of this, success story is the group Led Zeppelin. Composed of rock's premier guitarist, Jimmy Page, vocalist" Robert Plant, keyboardistzbass player John Paul Jones,and drummer John Bonham, Led Zep has a very large and a very rabid group of fans world-wide. And they enjoy the enviable position of being able to do just about whatever the hell they like musically.

For this reason the advent of a new Led Zep album is always an interesting occurrence. Their latest offering, “ In Through the Out Door ”, is no exception. In what can only be described as a departure, Led Zep has, with this album, begun something of a new era. Recognizing the advent of the synthesizer, the band has allowed

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' particularly in a song like

’ THE UPEI SUN, Thursday, Oct. 25, 1979, page 12

RECORD REVIEW 2 l

e the talents of John Paul Jones as a keyboardist to come to the fore. It is for this reason that, while still being very much in evidence, the riffs of Pagés guitar seem to be taking on a slightly less dominant role. One need only look as far" as the previous studio album to see Page’s guitar pyrotechnics at their most scintillating. With “ In Through the Out Door ”, apart from an album like “ Prescence ”, Page and the band as a whole seem to have reached a sort of musical impasse. 0ne.chokes on the word mellowing when speaking of Led Zeppelin, but there does seem to be some hint of that kind of thing in this album. '

One might be somewhat disappointed at this turn of events for it would seem that the band has failed to answer the challenge offered by ' the punk rockers to get back to the roots of rock. This, however, is not necessarily so. Zeppelin is a band which has been around for close to a decade and.which has contributed a great deal to popular music. The tone of this album is no exception. The music on side two, for example, givesumprecedentedexposure to Jones and his keyboarding abilities, something which has been long overdue. Bonham, always a

, steady performer, lays down some very interesting

drum work on this album, while Page and Plant, undoubtedly the heart and soul of the band, seem somewhat detached. f

Songs like “ In the Evening ” are somewhat redundant in the light of the band's previous work, while the country rocker, “ Hot Dog ”, is only mildly amusing. “ Fool in the Rain ” is a decidedly commercial song with a pleasing melody, but it is on side 2 where one find the items of most interest. Page allows his guitar to relax e bit while Jones and Bonham shine,. gt “ Carouselambria ”.A.

Still, though the album is technically good and\has in it some interesting developments,wi ,V_r A one is still left with the feeling that no adyances fig s__ have been made on the band's previous efforts. _ After a recording lay-off of some three years, one expects something more from the band. But I don't take me wrong. The album is good and well worth giving a listen to. It is a must for Zeppelin fans although listening to it will hopefully be only an appetizer. If the band hopes- to remain an artistic presence as well as a commercial one, something more is going to have -to be done. The punk's are going to have to be 'answered, assuming, of course, they can be ,

lanswered. ‘

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