Good Times Bad Times, A Visual Biography

J. Prochnichy and Ralph Hulett Review Part Two The introduction by Anthony DeCurtis is a remarkable recounting of the times and events in popular music in the late sixties. The rock movement and the maturation of the audiences that bought popular music were experienced by DeCurtis, not merely read about. As a writer I know of the urge to draw parallels, make wide, grandiose statements and earth-shattering allusions (recall I admitted to this pitfall in episode one). The so-called music “cognoscenti” – meaning the rock intellectuals and critics who demand respect – need to have their say. Similarly, DeCurtis attaches his metaphors and cerebral generalizations. In late 1967, Jimmy Page hustled to bring together “The New Yardbirds.” Recruiting the type of musicians he envisioned, forming the band – and getting their shit together quickly – was straining to say the least. He was also busy writing vast stretches of blues-based music. In addition, we can imagine how extremely busy he was talking endlessly with the frustrating recording industry. Jimmy Page wanted total creative control (as DeCurtis points out). The band was not going to be marketed by empty suits in plush sky rise offices. Even in light of these critical elements that had him scurrying around London in 1967-68, critics like to draw creative, interesting images. On the self-titled first album, the silk-screened cover is an image of the explosion of the Hindenburg. DeCurtis contends that Page had vision of ‘lead and air’ as central to the identity of the band. Viewing this album in retrospect, the cognoscenti again must have their say. ‘Lead and Air’ is the myth that grew as the band developed. Many critics imagine that “Lead and Air,” was the source of the name Led Zeppelin. Though this is a fresh-sounding allusion that makes sense after the fact, it is very doubtful that Jimmy Page would ever claim those tags. The name came from the mind of the late Keith Moon when he heard that Page was forming a new band. He chided Page and said something to the effect of “I hope your new band goes over like a lead balloon.” Though DeCurtis mentions this in his concise introduction, he goes on to say that this ‘coupled nicely with Page’s notion…’[of what the band would represent]. Oh give me a break. While listening to How Many More Times ones definitely has visions of a lofty “lead and air” interpretation by Jimmy Page. Another fancy theme associated with the band by Decurtis and others is the obvious contradiction of ‘darkness and light.’ The era that Zeppelin grew out of truly had elements of darkness and light. The excitement and highlights of the NYC scene counters well with the dark underbelly of the rock culture of the time. This theme runs though DeCurtis’ introduction and is even applied to events beyond control…the hideous darkness of Manson and Altamont are slammed against the airy brightness of the ‘Summer of Love.’ Again, from thought springs dreams. However, the descriptions of the mood and tempo of the NYC rock atmosphere are revealing, rare, crisp, and refreshing. The mental images of budding rock stars and their immediate success is a classy cue to continue reading – with anticipation. Episode three will be out in a couple of weeks or less. #

Good Time Bad Times, a Visual Biography of the Ultimate Band J. Prochnichy and Ralph Hulett Review Part Two The introduction by Anthony DeCurtis is a remarkable recounting of the times and events in popular music in the late sixties. The rock movement and the maturation of the audiences that bought popular music were experienced by DeCurtis, not merely read about. As a writer I know of the urge to draw parallels, make wide, grandiose statements and earth-shattering allusions (recall I admitted to this pitfall in episode one). The so-called music “cognoscenti” – meaning the rock intellectuals and critics who demand respect – need to have their say. Similarly, DeCurtis attaches his metaphors and cerebral generalizations. In late 1967, Jimmy Page hustled to bring together “The New Yardbirds.” Recruiting the type of musicians he envisioned, forming the band – and getting their shit together quickly – was straining to say the least. He was also busy writing vast stretches of blues-based music. In addition, we can imagine how extremely busy he was talking endlessly with the frustrating recording industry. Jimmy Page wanted total creative control (as DeCurtis points out). The band was not going to be marketed by empty suits in plush sky rise offices. Even in light of these critical elements that had him scurrying around London in 1967-68, critics like to draw creative, interesting images. On the self-titled first album, the silk-screened cover is an image of the explosion of the Hindenburg. DeCurtis contends that Page had vision of ‘lead and air’ as central to the identity of the band. Viewing this album in retrospect, the cognoscenti again must have their say. ‘Lead and Air’ is the myth that grew as the band developed. Many critics imagine that “Lead and Air,” was the source of the name Led Zeppelin. Though this is a fresh-sounding allusion that makes sense after the fact, it is very doubtful that Jimmy Page would ever claim those tags. The name came from the mind of the late Keith Moon when he heard that Page was forming a new band. He chided Page and said something to the effect of “I hope your new band goes over like a lead balloon.” Though DeCurtis mentions this in his concise introduction, he goes on to say that this ‘coupled nicely with Page’s notion…’[of what the band would represent]. Oh give me a break. While listening to How Many More Times ones definitely has visions of a lofty “lead and air” interpretation by Jimmy Page. Another fancy theme associated with the band by Decurtis and others is the obvious contradiction of ‘darkness and light.’ The era that Zeppelin grew out of truly had elements of darkness and light. The excitement and highlights of the NYC scene counters well with the dark underbelly of the rock culture of the time. This theme runs though DeCurtis’ introduction and is even applied to events beyond control…the hideous darkness of Manson and Altamont are slammed against the airy brightness of the ‘Summer of Love.’ Again, from thought springs dreams. However, the descriptions of the mood and tempo of the NYC rock atmosphere are revealing, rare, crisp, and refreshing. The mental images of budding rock stars and their immediate success is a classy cue to continue reading – with anticipation. Episode three will be out in a couple of weeks or less. #

Led Zeppelin Book Review

Good Times Bad Times

Few acts in the vast library of music entertainment can be used in the same sentence as true art form. Millions will agree that Led Zeppelin does. Maybe not classical music aficionados.

In thirty years as a minor music journalist (Jam, Relix) I’ve seldom had shattering musical insight or scintillating prose.  I’m prone to overstatement and hyperbole.  Not this time. This book is titanic. It’s a pictorial of the original, true-to-form rock and roll band. The eight-page introduction is worth the cost of the book alone.

Led Zeppelin I was released to little fanfare in January 1969. Led Zeppelin II, released in October ‘69 really got noticed. 

My teenybopper friends and I weren’t introduced to them until the spring of 1970. The raw heat and dazzling lead guitar of Heartbreaker stunned us all.  At the big finish of that track, the two-second cue before Livin’ Lovin’ Maid had us reeling. Like a bucket of ice water in the face on a scorching day – refreshing and shocking – all we wanted was more. With a purple umbar-rel-a and a fifty-cent hat barges in with an entirely distinct rhythm, tone and signature.

I bought I and II the next day. 

Good Times Bad Times[1], by Jerry Prochnicky, long time researcher and rock writer and Ralph Hulett, music photographer/journalist combine their talents in grand fashion – almost twenty years after Zeppelin crashed.

I bought this book online six weeks ago and it arrived last week. Since then my head has been churning with Misty Mountain Hop, Ramble On, How Many More Times; as many as I can think of – Dazed and Confused, Street Corner Girl…then my mind scolds itself: what about Kashmir, In the Evening, When the Levee Breaks?  All are jamming my head – they fight for airtime but each is cut short by competing Zeppelin tracks…No Quarter, The Ocean, Nobody’s Fault But Mine… it’s as if the tracks have voices of their own – all demanding to be heard. Like rice sucking up water, my head is bulging to the breaking point – these treasures live on…it’s fantastic. 

I’m drunk with delight… You Know I’ve Had My Share — we’ll be back in three weeks.  

This blog post is the first of at least six on this 216-page 8 ½ X 11 hardback.

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[1] Abrams Publishing, New York, New York, October 2009

Book Review--Led Zeppelin

Led Zeppelin: Good Times, Bad Times: A Visual Biography Of The Ultimate Band will be released on October 1st via Abrams publishing. 

Coming Soon from Hardy Stone

Here's the new deal today...this question is also in my profile...the one about the british invasion

Jams in the attic

Yes, what do you mean by this reference? OK...how many ways has music effected you...more specifically, how has 70s music effected your life these days? Not in the sex, drugs, rocknroll bit, but in more eurethal ways. (I hate that KISS song, dion't you?)