Showing posts with label The Song Remains The Same. Show all posts
Showing posts with label The Song Remains The Same. Show all posts

Tuesday, July 28, 2015

On This Day 28 July

Fenders.  It's what was happening.
1958 28 July On This Day Gene Vincent and the Blue Caps release Hot Rod Gang EP 

1984 28 July On This Day Jimmy Page with Roy Harper - Cambridge Folk Festival
♪  Short and Sweet (Jimmy Page with Roy Harper)

  • 1967 The Yardbirds - Sacramento, CA at Governor's Hall
  • 1973 Led Zeppelin - New York, NY at Madison Square Garden (day 2 of 3)
  • 1984 Jimmy Page with Roy Harper - Cherry Hinton Hall, Cambridge Folk Festival
1973:
Day two of the Madison Square Garden show. More firecrackers. The band was asked to wear the same outfits for the sake of the filming that was being done. Mr. Jones was the only one of the four who didn't comply.

1984:
We don't think of Jimmy Page as a folk guitarist, but of course he has demonstrated he can play any musical genre he wants to, and do it well.

The Cambridge Folk Festival's first show was in 1965.  Paul Simon and just about a dozen others were on the bill, and 1400 tickets were sold. Simon earned £15 for his performance. Since then the festival has expanded and now includes non-folk performers as well. In 2014 there were more than a hundred acts featured over four days, including Van Morrison, SinĂ©ad O’Connor and Rosanne Cash.

1984 Jimmy Page with Tony Franklin, Roy Harper - Cambridge Folk Festival

1984 Jimmy Page with Roy Harper - Cambridge Folk Festival

1984 Jimmy Page with Roy Harper - Cambridge Folk Festival

1984 Jimmy Page - Cambridge Folk Festival

1984 Jimmy Page with Roy Harper - Cambridge Folk Festival

Monday, July 27, 2015

On This Day 27 July

And it's whispered that soon, if we all call the tune, then the piper will lead us to reason. 
~ Stairway to Heaven
1973 27 July On This Day Led Zeppelin at Madison Square Garden, NYC (show 1 of 3)

  • 1967 The Yardbirds - San Francisco, CA at Fillmore Auditorium
  • 1969 Led Zeppelin - Woodinville, WA at Seattle Pop Festival
  • 1973 Led Zeppelin - New York, NY at Madison Square Garden

1973:
"Originally, we saw the whole essence of our live performance as something that the audience listened to very carefully, picking up on what was going on, the spontaneity and musicianship. And you can’t do that if you’re running around the stage all night, or at least we couldn’t back then.” By 1973, however, “we were much more ambitious, in that respect. We really wanted to take the live performances as far as they could go".
~Jimmy Page, Mick Wall interview, Times Online 1 Nov 2008

"The kind of speed we were moving at, the creative juices in the air, the whole thing was just an absolute mixture of adrenaline, chemical, euphoria ... and there were no brakes. We couldn't stop what was happening. We had no idea what it even was. But we just kept trying, pushing forward, every show."
~Robert Plant, from liner notes by Cameron Crowe for The Song Remains the Same, 2007.
1973 Jimmy Page/Led Zeppelin at MSG

1973 Eddie Kramer & Jimmy Page at MSG

Jimmy Page from 'The Song Remains The Same' movie footage (Stairway to Heaven)

Jimmy Page from 'The Song Remains The Same' movie footage (Stairway to Heaven)

Mage Music jimmypagemusic.blogspot.com

♪  Glimpses (Yardbirds, Fillmore West 1967) YouTube
♪  Top 50 moments (Led Zeppelin, Madison Square Garden 1973) YouTube
♪  The Ocean (Led Zeppelin, Madison Square Garden 1973) YouTube
♪  Stairway to Heaven (Led Zeppelin, Madison Square Garden 1973) YouTube

Saturday, July 25, 2015

On This Day 25 July

"He was such a stylist.  I don't think anybody ever managed to play the same way as Scotty."
~ Jimmy Page, at Gibson guitar party for Scotty Moore, 1999
1999 25 July On This Day Jimmy Page presents Gibson Signature guitar to Scotty Moore
♪  Mystery Train (Jimmy Page) Soundcloud

  • 1966 The Yardbirds - Bath, England at Bath Pavilion
  • 1967 The Yardbirds - San Francisco, CA at Fillmore Auditorium
  • 1969 Led Zeppelin - West Allis/Milwaukee WI at Midwest Rock Festival 
  • 1995 Page & Plant  Unledded Tour - London at Wembley Arena 

Winfield Scott "Scotty" Moore III (1931-) is an American guitarist and recording engineer who backed Elvis Presley between 1954 and the beginning of the Hollywood years. Many of his performances are considered precedent-setting.  He was inducted into the Rock and Roll Hall of Fame in 2000.

Scotty Moore used a thumbpick (a flat pick with a loop to slip your thumb into) to create his own unique finger-picking style. He also used an EchoSonic guitar amplifier with built-in tape echo.  He started out with a Gibson ES-295. Gibson created a Scotty Moore Signature guitar that was presented to Moore at a private party at North London's Air Studios.  (At about 3:19 on the video hear Jeff Beck tell Jimmy Page to shut up!)

Associated Independent Recording (AIR) was founded in 1965 by Beatles producer Sir George Martin and his partner John Burgess.  The  studio has operated in three locations: Oxford Street, London (1970-1991), Montserrat Island, West Indies (mid 1970s-1989) and AIR Lyndhurst Hall, London (1991-present).  

1995 Page & Plant Unledded Tour - London at Wembley Arena
♪  White Summer/Black Mountain Side (Led Zeppelin, Midwest Rock Festival Milwaukee 1969) YouTube
♪  Communication Breakdown (Led Zeppelin, Midwest Rock Festival Milwaukee 1969) YouTube

♪  Orchestra soundcheck (Page & Plant, Wembley 1995) YouTube
♪  Wanton Song (Page & Plant, Wembley 1995) YouTube
♪  The Song Remains the Same  (Page & Plant, Wembley 1995) YouTube
♪  Full show  (Page & Plant, Wembley 1995) YouTube


Thursday, July 23, 2015

On This Day 23 July

Things don't always go the way you think they should.
1985 23 July On This Day - but these events didn't actually happen on this day
  • 1966 The Yardbirds - Buxton, England at Buxton Pavilion Gardens Ballroom 
  • 1973 Led Zeppelin - Baltimore, MD at Baltimore Civic Centre
  • 1977 Led Zeppelin - Oakland, CA at Oakland-Alameda County Coliseum
  • 1979 Led Zeppelin - Copenhagen, Denmark at Falkoner Theatre
  • 1985 Robert Plant with Jimmy Page appearance - East Rutherford, NJ 
  • 1995 Page & Plant - Unledded Tour - Birmingham, England at NEC Arena (day 2)
1973:
The famous scene in The Song Remains The Same, with Peter Grant venting his rage at the venue's promoter, was taken at the Baltimore Civic Center concert on this date. 

1977:
Led Zeppelin's huge Stonehenge backdrop for the Oakland 23-24 concerts was the basis for some funny stuff later on. Black Sabbath had commissioned a Stonehenge stage set for their 1983 Born Again tour (Stonehenge is the second track on the Born  Again album).  That band couldn't use the stage set because it had been mistakenly constructed too big to haul around.  Coincidentally, at the same time the writers of This Is Spinal Tap created a scene with a Stonehenge set that turns out to be way too small to use. The two didn't copy each other (a 20-minute cut of the movie with that scene dates from before the Black Sabbath tour).  Thus, we might conclude that both were inspired by Led Zeppelin at Oakland.
 
1977 Jimmy Page/Led Zeppelin at Oakland


1977 Led Zeppelin's Stonehenge backdrop at Oakland

1979:
This was Led Zeppelin's first concert in almost two years.  It was kept low-key -- tickets were actually available to purchase at the door -- because it was a warm-up for Knebworth.  

1985:
The On This  Day post for July 23 is incorrect - let's blame it on the webmaster and not Jimmy Page (why not!).  The Firm played Meadowlands (Brendan Byrne Arena) in East Rutherford, NJ on May 9th.  Les Paul was introduced onstage.  The video for The Firm's Satisfaction Guaranteed (in which Les Paul played the bartender), was filmed in New York City on May 11, 1985.  The band returned to England shortly after. 

Jimmy Page did join Robert Plant onstage in Meadowlands, E Rutherford, NJ for the encores, Mean Woman Blues and Treat Her Right.


1985 Jimmy Page & Les Paul at Meadowlands

1985 Jimmy Page, from The Firm Tourbook



Monday, May 25, 2015

On This Day 25 May

Three and a half hours of show this last night at Earls Court in 1975.
1975 25 May On This Day Led Zeppelin final performance at Earls Court Exhibition Hall
Dave Lewis says in his book, Led Zeppelin: The Concert File, "..there was no holding Jimmy back tonight. He soloed as if his life depended on it." More from Dave Lewis' TBL on this last night at Earls Court
  • 1968 The Yardbirds - San Francisco,CA at Fillmore Auditorium
  • 1969 Led Zeppelin – (opens for a Who concert) Columbia,MD at Merriweather Post Pavillion
  • 1973 Led Zeppelin - Denver,CO at Denver Coliseum
  • 1975 25 May On This Day Led Zeppelin final performance at Earls Court Exhibition Hall
  • 1977 Led Zeppelin - Landover, MD at Capital Centre
  • 1986 The Firm - Concord,CA at Concord Pavilion
  • 1995 Page & Plant - Unledded Tour - Tacoma,WA at Tacoma Dome

1975 after the final Earls Court performance, Page & Plant left for Morocco (posted 25 May On This Day)

1975 a few days after the final Earls Court performance, Page & Plant left for Morocco (posted 25 May On This Day)

1975 Dave Lewis' tickets for Earls Court

1975 Earls Court stage - such a small thing for such a big event (Photo Steve Selwood)

1975 Jimmy Page at Earls Court (photo H. Mylett)

1975 Earls Court - The final bows (photo source Dave Lewis)

1975  Jimmy Page takes last bows at Earls Court (photo Chris Walter)

♪  No Quarter (Led Zeppelin, Earls Court 05/25/1975) YouTube
♪  The Song Remains The Same (Led Zeppelin, Landover 05/25/1977) YouTube
♪  Yallah (Page & Plant, Unledded 1995) YouTube



Sunday, August 24, 2014

Perchance to Dream

“I had a dream. Crazy dream. Anything I wanted to know, any place I needed to go...
~ Led Zeppelin, The Song Remains The Same

Mage Music 86
Mage Music 86  Perchance to Dream   jimmypagemusic.blogspot.com

Dreams aren't merely entertaining (or scary… or tedious) stories in your head with tidy beginnings and endings. But they also aren't just random neurological blips that the unconscious mind stitches together that, upon wakening, you may or may not make sense of.

Dreams are in fact something much bigger than either of those things. Dreams are your brain's tuning in to the infinite (what Edgar Cayce called the Akashic records*, the place outside of time and space that is the energy that is Magick). 

The infinite has no beginning or end, and neither do dreams.

Dreams are like turning on the TV in the middle of a long-running series, watching for five minutes and then turning it off. You don’t get an enticing beginning and a tidy ending watching for that brief amount of time, but you do get a glimpse of something much bigger than the fragment you perceived. From that little snippet you can generally figure out something about the ongoing story line. You also understand that the five minutes you watched was not the complete story in itself, no matter how complete it seems.

Dampers, filters and wah-wah pedals

The infinite is, of course, too much for direct human interaction. Fortunately for you and me, living beings are equipped with the innate ability to dampen down the information from the Universe to a more tolerable level. Over time the mental filters that do this are altered by experience and by stored emotional reactions to that experience. Like camera filters that distort color or guitar effects pedals that manipulate sound waves, the output – dreams – no longer resembles the original input.

So the “story” you think you experienced while you were sleeping isn't an actual independent story but is rather the memory of a finite segment of the infinite. What you remember, the dream, is only a filtered approximation of the long-running series that is the Akashic records. In order to make sense of this experience your mind, hardwired for pattern recognition, edits the package to make a story of it, a pattern. Thus the points where you started and later stopped tuning in seem like a beginning and an ending – although they aren't. You've tuned into an ongoing story.

Dream interpretation

The human mind not only reduces the saturation and filters the content of input so that the brain won’t be blown by contact with the infinite, but it also interprets what is received. Symbols are created as placeholders for infinite concepts that are simply too much to otherwise comprehend. Some would say these symbols are archetypes of the human unconscious, others believe they are entirely personal. They are both. 

The choice of symbols reflects the individual’s desires. The meaning of symbols reflects Universal truths. Symbolism is the human mind’s instrument that is used to get a handle on that which cannot be handled, on the microscopic and macroscopic levels.

The symbols and the artificial constructs of beginning and ending not only create a way for the human mind to interact with the infinite, but provide a way to remember the experience.  We call it story, melody, painting, dance. Vision. 

Magick. 



♫ ♪  ♫ ♪  ♫ ♪  ♫ ♪  ♫ ♪  ♫ ♪  ♫ ♪  ♫ ♪  

* “Akasha” means “aether” in both the elemental and metaphysical senses 


Saturday, February 2, 2013

Evolution

"What is important is that pursuit of something new and capturing that moment."
~ Jimmy Page (from Brad Tolinski's Light & Shade)

Mage Music 38

Rock and roll was was born from blues, country, jazz and the big band sound.  It was shaped for the teens and young adults of the 1950s and 1960s whose interests were very different from those of their parents' generation. The lyrics addressed topics that teens cared about - young love, young lust, young broken hearts, young loneliness - but the music itself was old and wise from the beginning, shivering with hidden meaning that was more enduring and universal than the immediate concerns of teenagers.

Rock as a musical genre has matured since then and so have the musicians who play it today - particularly those who were young when rock and roll first hit the airwaves and who have allowed themselves to grow up since then. Lyrics aside, the music has become more sophisticated, capable of conveying nuances and meaning well beyond the simple desires of youth.

And the Magick has changed, too.

Redefinition

As I write this week’s post, I’m listening to the audio of the O2 Concert yet again, paying close attention to the meaning-beyond-words conveyed through music by Jimmy Page. The evolution and maturity of the guitar work is obvious, something that is possible not only as a result of constant practice but also because of more than 25 years of life experienced between John Bonham’s death and those hours on stage in 2007.

No, it didn't sound exactly like 1980 or any other prior year in the active reign of Led Zeppelin - and why should it?  After all, the music of Led Zeppelin was that night just what it had always been: A musical expression of that moment in time, as individuals and as a band.  When they stepped onto the stage that night they weren't the same people they had been before and neither was the music.

The O2 Concert was the Led Zeppelin of 2007 - not 1977.  And, wow.

Wow because the music was great, of course - but even bigger wow because the Magick was not only still there, but better - richer, deeper, broader and more complex - then ever before.

The Led Zeppelin of 2007 had matured into something it could never have been 25 years ago.  Led Zeppelin - and Jimmy Page in particular - had always offered grace and depth and meaning (not to mention raw emotion and a violence and exultation of spirit), but never in such full bloom as they had on the O2 stage.  Like wine that had always tasted very, very good but that had finally aged to something extraordinary, in 2007 the music had evolved to a new plane of musical excellence.

And the Magick had evolved with it.

Evolution

There can be no Magick without the human component for Magick is solely a human thing.  It is a relationship and process and experience that is shared between Mage and the life force energy of the Universe.  Even when absorbed by multitudes through music, Magick is the personal experience of the Mage.  Quantum mechanics tells us that at the level of energy itself - which is the level where true Magick takes place - the observer must be considered part of the system being observed.  Thus the Mage is a component part of the process of Magick, not external to it.  

This means that every instance of Magick must necessarily be unique from all others, because a living human is changed by life from moment to moment as it is lived. As the Mage changes over time due to constant new input that life itself brings, the Magick must necessarily change.  

Mage and Magick evolve, and yet The Song Remains The Same.







Saturday, September 22, 2012

Mage Music 21: The Devil Made Me Do It

Have sympathy for the devil, for he does not exist...

How many times have you read that rock & roll is connected with devil worship?  How many times have you read that Stairway to Heaven involves satanic backmasking?*   Black magic is scary, isn't it -  especially when it’s the music you love that is delivering the soul-eating content.  But, ahem…

I know this will break some hearts and maybe crush a few cherished beliefs (or fears), but the truth is that there is no such thing as Black Magick.  For that matter, there’s no such thing as White Magick, either.  I will wait while you wipe the tears from your eyes.

Magick Is Not 'Just Like Magic'
Quite early on I posted that Magick is not about stage shows or illusion, but rather is about transformation of a Mage’s personal reality through supernatural means or through knowledge of occult laws.  The word “occult” means, among other things, “hidden”.  In the case of Magick - although a lot of people like to believe that this means secret - in fact it just refers to the fact that the unknowable of the infinite is hidden from finite human senses.  A Mage is a person who can access the normally unknowable through use of a process incorporating desire, focus and ritual.  No tricks, no illusions… just Reality.

How simple it would be if all a would-be Mage had to do was sell his/her soul to the devil to gain the power of transformation, but alas, it isn’t so.  In fact, Magick turns to seem an awful lot like <gasp> work.

Yes, Magick is Work
I’m fond of definitions because they help us to stay on the same page when we're trying to communicate.  So let’s start with the definition of work: "Activity involving mental or physical effort done in order to achieve a purpose or result”.  This is, of course, a human-centric definition that includes not just the common tasks humans do in everyday life to bring home the bacon, but also the process and end result of an artist's or Mage's efforts (e.g. the work of Picasso or Beethoven, the Works of Aleister Crowley).  Not only that, but the word is used in physics to describe the transfer of energy in the known (to humans) universe - and in Magick it describes the same process in the hidden universe.

Work describes the process of change, regardless of what it is applied to.  Work requires energy - a basic law of the Universe that there is no way around.  It is also a law - and mystery - of the Universe, that although energy appears to be consumed, it is actually never used up.  It only changes form.  From the human-centric point of view of life on this planet it can be said that all things eat, all things are eaten.  Who's doing which matters to individuals involved, but the sum is no energy loss. It takes energy to live - one must eat to live, to live means to change (for example: repairing, replacing, growing cells), which means consuming energy.  Even the sun consumes energy as it burns its own gasses - but that energy is put out as heat and light.  No gain, no loss, just change.

You are there... somewhere
In metaphysical terms - Magick - work is the same.  The exchange of energies obeys the same laws of the Universe.  A Mage has the ability to affect how the energies change in the Universe, and thereby brings about change in the Mage's reality.  The core/central concept to Magick - and life - is that it is all transformation of energy.  In the Big Picture, the Universe knows that everyone who's eating is going to be eaten eventually so it doesn't ultimately matter much about the details.  So far, no devil involved here.


You Say Tomatoes, I say …

Bad boys are not evil boys. 

The notion of good and evil is a human one, used for convenience's sake so we can make sense of what each other is talking about.  These words are descriptions of our preferences, not about the actual properties of the things we’re describing.  A “good” thing is something a person has positive feelings about; a “bad” thing is something a person has negative feelings about.  Unfortunately, humans have a tendency to take the descriptors for their internal preferences and transfer them to external reality.  It doesn't make any difference.

A fact of life is that in a zero sum universe everything has a duality about it:  What’s good for one thing may be bad for another.  When a zebra is killed by a pride of lions, it’s “bad” for the zebra but “good” for the lions because they need to eat.  Nothing lives forever – death is not “bad”, it’s just something humans don’t happen to like very much, although studies of Near Death Experiences (NDEs) now challenge even that point of view.

Human preferences aside, the change from living to dead, from here to there, from young to old, from silence to guitar solo is ultimately just work, the change of form of energy.  When Mages change the nature of their own reality, that’s just work, too, even if we put a capital W on the word.  There is no law of the universe, like that of gravity (okay, okay, I know it's all theory) for good and evil.  Just look once more at that photo of our small, lonely planet Earth, then turn around and look at the next nebula over.  Human preferences only apply when there are humans present.  And thus while there is energy throughout the universe, there is no good or evil there.  That means that there is nothing intrinsically good or bad about a Mage's Work since Magick is a process for using the energy of the Universe, which itself is neither good nor bad – it just is.

Humans: Tool Users

What Mages or musicians or mathematicians plan to do with their work is something else entirely.  It’s all about intent, that is, why they are doing the work and what the desired outcome is.  A surgeon uses a knife to slice open a person to save a life; a murderer uses a knife to take a life.  The good or bad is not in the tool but in the intent of the tool user.  The gift of Lucifer was that of knowledge, symbolized by light.  We know Jimmy Page to be a deliberate and exacting musical artist - it can be no accident that he chose The Hermit, bearing light, to represent him in The Song Remains The Same. If this isn't a clear message about intent, then what is?

Intent is part of the Magickal process; the Mage’s intent is what determines the outcome – and it is up to the individual impacted by it to decide whether it is good or bad, black or white.  Devils?  Demons?  If they exist at all, they are the outcome of a Mage’s choice - not the source of the Magick.  Angels?  Fairies? Beauty, after all, is in the eye of the beholder.

And that, my friends, is why we all should have sympathy for the devil, for aside from human choice, there is no such thing.  Aside from human intention, there is no evil.  There is only energy of the Universe that Magickal processes use to perform work.  Whatever flavor of Magick it might appear to be, Magick is much, much more than the little labels humans give it.

[Note: Backmasking is a recording technique in which a sound or message is recorded backward to convey a subliminal message.  Ironically, Led Zeppelin isn't one of the groups listed as backmasking satanic content in Wikipedia’s list of same.  And even more ironically, the one song that is constantly cited for backmasking of satanic content everywhere else is Stairway to Heaven - the only song of Led Zeppelin's other than Houses of the Holy that has anything in its title containing spiritual words (good or evil).] 



Future post Hmmm.  I'm thinking maybe it's time to talk about alchemy.  But I might change my mind between now and next week.




This playlist: A little bit of naughty, then to heaven and beyond.

YouTube Playlist - The Devil Made Me Do It


Individual Songs 

1969  Led Zeppelin The Lemon Song (studio) Album: Led Zeppelin II

1975 Led Zeppelin Custard Pie (studio) Album: Physical Graffiti

1976 Led Zeppelin For Your Life (studio) Album: Presence

1977 Led Zeppelin In My Time Of Dying (live) Cleveland

1971 Led Zeppelin Stairway to Heaven (studio) Album: Led Zeppelin IV

1979 Led Zeppelin In The Evening (live) Knebworth August 4 1979  (Jimmy Page's every note here seems to be the cry of a living animal!)

1986 The Firm Dreaming (studio) Album: Mean Business (I'm not a Paul Rogers fan, but Jimmy Page's guitar work here is a nice close to this sequence of songs)


Sunday, June 24, 2012

Mage Music: The Sorcerer's Apprentices (Part 1)

Hubble image: Omega/Swan Nebula (M17)
It is extraordinarily difficult to forge a new path, to boldly go where no artist, musician or Mage has gone before.  Throughout history advances in art and science have been built on existing structures.  Success is a middle ground, a matter of balance:  Too much the same and it is boring (or today, we might call it plagiarism); too different and it is threatening or even totally non-understandable. 
It’s hard enough to forge a new path in the physical world, but when you are creating something that is more new than derivative and it is on non-physical levels, when you are exploring spiritual realms that have no boundaries and no words to describe them, when you must invent a way of describing where you are going at the same time you are going there, the challenges are more than compounded – they can be simply overwhelming.   Sometimes a Mage simply needs help.
Apprentices provide assistance to masters of all arts and crafts.  That help ranges from the most basic levels (fetch and carry) through to the most advanced levels where the apprentice is an actual partner of equivalent skill who can help the Mage achieve what cannot be achieved alone.  The master Mage is the one who directs the Work; the apprentices or partners provide directed support for the master Mage’s vision.
Jimmy Page has been a seeker of musical solutions since he first started experimenting with riffs that were not dictated by song arrangements created by others.  He began his explorations even in his session years; he began seriously pushing the envelope during his time with The Yardbirds; and in Led Zeppelin he was, it seems for the first time, freed to let his magic explode.

“When people talk about how good other guitarists are, they're talking about how they play within the accepted structures of contemporary guitar playing, which Pagey plays miles outside of.  I like to think of it as...a little left of heaven.”  Robert Plant, from forward by Cameron Crowe to Led Zeppelin, Volume I (Two Volume Songbook Set).
Mr. Page made careful choices in the musicians he chose to share his vision.  What made Led Zeppelin work was that Robert Plant, John Paul Jones and John Bonham each were no mere apprentices but extraordinarily gifted musicians themselves.  What made Led Zeppelin different was that that they separately and jointly understood the power of music to convey meaning and emotion, and were willing to explore musical pathways outside of the accepted musical structures of their time. 

Balance is magic is balance
Unlike classical symphonic music, almost all today’s popular music focuses on lyrics, with the lead singer almost always considered to be the band’s leader.  In a way this links back to the days when music was used to support story-telling and oral histories.  Lyrics are so important in modern music that the musical instruments have been relegated to mostly support for the vocals.
Where there are lyrics in music the human mind tends to focus on the words and to use the words to bring meaning to the song.  If there are words present, no matter how vague, humans use “pattern recognition” to provide context and meaning.  Pattern recognition is an ability humans share with animals; it is so strong in humans, however, that patterns will be found even when they don’t exist (images in clouds, for example).
It is significant, then, that although Robert Plant’s vocal presence is huge within the music of Led Zeppelin, lyrics are not always the focus of a song.  Mr. Plant’s voice often is not used to tell the story of the songs, but rather to suggest an approach to concepts just as strongly put forth by the instruments.  Mr. Plant wields his voice as an instrument rather than a conveyance of human language, and pure vocal sound intertwines with the guitar of Jimmy Page in a balanced manner that is a signature sound of Led Zeppelin.  Yet for all that the lyrics are not the story, the songs do not lack in meaning – human pattern recognition ensures that although people might not agree on what that meaning is, all are drawn to the powerfully meaningfulness of the music. 
This approach – the subsuming of vocals to the musical experience of four instruments rather than a human voice with three supporting instruments - is extraordinary; it is so rare as to exist virtually nowhere within the equivalent realm of modern popular music.  A classical symphonic concept applied to contemporary music, it is a key factor - mostly overlooked and under-appreciated - that secures Led Zeppelin’s place in musical history.  Perhaps more importantly, it also provides us with hope when faced with a musical future where there is no more Led Zeppelin.  For those who are open to this kind of larger-than-life concept of music, the desire to receive the grace and enlightenment of the vision, the need for connection to the Universe that was made present in our human world through that music still remains
Thankfully, although there is no Led Zeppelin today there is still Jimmy Page.

Beyond Led Zeppelin
Jimmy Page was, by all accounts, devastated by John Bonham’s death, and did not pick up a guitar for some time.  His partners in Led Zeppelin, meanwhile, moved on to pursue their own musical goals and the results are as good as anyone would expect from musicians the caliber of Robert Plant and John Paul Jones.  As exceptional as their music is, though - it isn’t Led Zeppelin.  It can’t be.
“We arrived at songs like 'Kashmir' because we kept moving forward and didn't try to recreate the past."  Jimmy Page, as told to Make Blake in Guitar World, May 2005.
More than a decade of working and living in intense partnership with friends and co-magicians of Led Zeppelin cannot be so easily replicated by any one of the remaining members of that band by himself.  It took the alchemy of the four to move forward as they did:  Growing up together, physically and musically traveling the same path, working towards a goal they shared.  They each had an intimate knowledge of the minds and souls of the others and frequented the same musical spheres.    
In the time that has passed, each of the three has continued to evolve musically, but not together.  They have each kept moving forward, but not on the same path.  They may somehow arrive in the same place, but their musical stories will not sound the same.
Today, only one of them retains the pure vision that drove Led Zeppelin, because it was his vision all along.  The question is, how can he now bring forth that vision to the world?
[To be continued]
Individual versions: