In the misty morning where those iconic chords can still be heard ringing, Led Zeppelin formed their fifth studio record Houses of the Holy with an inevitable movement toward sophistication and adaptation. In one of the most consecutively banging records, Houses of the Holy is a supreme demonstration of the raw talent, innovation, and ability through writing.
The physicality of a Zeppelin record is almost transplanetary, stretching far beyond what can even be comprehended in a single listen. From the initial sounds, Houses of the Holy opens with “The Song Remains The Same” with an instantly crashing performance on the instrumentation before vocals ever grace the scene. With Jimmy Page as the head guitarist, John Paul Jones covers the bass and keyboards. Standing alongside him is John Bonham on the percussion, which then leaves Robert Plant to be the narrator through the often amber-burning journey.
Passionate, illustrative, and scientists of the craft, Led Zeppelin almost instantly invokes some sense of pride through their music. They can make a heavy rainfall feel less of a downer to a day and more of an uplifting experience. With the raging guitar solos thrown into the mix, the way that the drums become iconic through each track, and just how crafty the bass work is; Houses of the Holy is a stacked line-up for conscious potentiality. With every track, the bleeding factor of skill comes with the aptitude of the writing and ultimate prowess for wanting to produce.
From “The Crunge” or “Dancing Days”, from “Over The Hills and Far Away” to the masterfully manufactured “No Quarter”, Houses of the Holy is a masterpiece with little in room for improvement. The entire presentation is a stage act that relies entirely on an emotional draw from the fab-four. As Led Zeppelin reaches these almost impossible achievements through creation, “No Quarter” becomes this overwhelming warmth that gives chills from the first listen to the last. It is a gentle build that slowly adds more and more layering until everything comes crashing down in this train wreck of addictive resonation.
Not only are the lyrics engaging, but the way that Houses of the Holy shifts from being a rampant rock n’ roll animal to the then spaced out and mesmerizing. As expansion really plays a role, the real scope of Led Zeppelin changes with “No Quarter” at every passing. The low-tuned guitar that conflicts with Plant’s vocal approachability simply lights up the board and sets a humbling fire below the listener. The track is warm, growing, and eventually bursts to become something almost unrecognizable.
Houses of the Holy is a welcome introduction to the artistic endeavor that was Led Zeppelin. The band messes coherent sound while still pushing the boundaries to become pioneers in a land that was still light years behind. As everything falls into place, Houses of the Holy reigns on as a respectable master of hounds.