By Scott Calef
“Not a coda to Zeppelin’s legacy, yet a blast of metaphysical graffiti as suitable this day because the first time we heard the outlet chords of ‘Stairway to Heaven’. From Kant to ‘Kashmir’, from Freud to ‘Fool within the Rain’, Calef and corporate discover Zeppelin’s track in an introspective, suggestive demeanour valuable of either a blistering web page solo and a bawdy Bonham stomp.”
—BRANDON W. FORBES, co-editor of Radiohead and Philosophy
“Led Zeppelin’s albums, personalities, dwell performances, artwork, myths, impacts, and extra, all come lower than the microscope. Compelling insights and observations upload extra intensity to a subject matter that keeps to delight and encourage. every one bankruptcy is pushed by means of an unquenchable thirst for Zeppelin wisdom and pulls the reader deeper into the realm of Led Zeppelin . . .”
—DAVE LEWIS, editor, Tight yet Loose
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Additional resources for Led Zeppelin and Philosophy: All Will Be Revealed
Neither poets nor rhapsodes are quite in their right minds when they write or recite poetry, and they don’t have teachable skills that might be passed on to others. Consequently, on Socrates’s view neither poets nor rhapsodes create the works and performances we attribute to them. Rather, they’re mere conduits for the gods who take away their intellects and speak through them. At the end of the dialogue Ion is left both confused and flattered. Perhaps his vanity prevents him from appreciating Socrates’s irony.
Other groups kind of blend into one another and are hard to tell apart. Who but their keenest fans can tell the difference between Journey and Foreigner, or between Styx and Boston? ) But what accounts for the differences between a great, genre-busting band like Led Zeppelin and their followers? Granted, creativity in music, or in any of the arts, is mysterious, but there must be something that sets Led Zeppelin apart from so many other hard rock and heavy metal acts. What could it be? 15 Ion was what the Greeks called a ‘rhapsode’—a performing artist who recited or sang poetry to appreciative audiences.
A masterpiece by any reasonable standard, it was nevertheless dismissed by critics as a boring, airy-fairy departure from the blues-based rock that the band did best. 3 Houses of the Holy—one of the group’s most underrated efforts—received some of the worst reviews of all and it seemingly wasn’t until Physical Graffiti that mainstay rags like Rolling Stone had a kind word. But thereafter the band began to slip. The remainder of its catalogue—Presence, the Soundtrack, In Through the Out Door, and the posthumous collection of outtakes, Coda, proved somewhat uneven, frequently failing to capture the excitement of the band in its prime.