All of us, every single man, woman, and child on the face of the Earth were born with the same unalienable rights; to life, liberty and the pursuit of happiness. And, if the governments of the world can't get that through their thick skulls, then, regime change will be necessary.
Monday, April 06, 2009
Battle of the Bands
That's George Benson feller's a pritty good gee-tar player.
My favorite period for Zeppelin is the 71-75 period, but the early period shows that they were destined to be the greatest.
Although I love Robert Plant, I must say, my favorite works by Zep are the ones that Page most obviously masterminded, such as Zofo, Presence, Houses of the Holy, and Physical Graffiti.
I'm guessing Robert Plant would say that those were the albums he had the most to do with, as he is the one who brought in the Eastern influence, but clearly Page was inspired on those albums. The layered guitar work is just beautiful (as you and I have discussed before).
The album that Plant and Page did (UnLedded) in the 90's was a beautiful example of their synthesis. Their respective talents had clearly diminished, but in a way, their minds were even more present on that album. Plants singing lacked power, but was more precise, and Page's work with the orchestra was magnificent.
Interesting that you say that. I have had it in my mind for years to write a novel based upon the song Since I've Been Loving You.
I am inspired by the whole song and it's eery intensity, but particularly by the line, "I opened up my front door and hear my back door slam."
Thing is, that song embodies the mystery of love, sadness, longing and obsession for me. And that line sums it up. You open up to a person/God, or they/He opens up to you, and at the same time, something disappears, and you are left with a mystery. And, if one feels intensely, this becomes very painful, and produces the feeling of longing.
I remember seeing a movie a long time ago, a movie I hated, I believe it was called Autumn Sonata, but it had one beautiful part where the husband (of about 50) told his wife, "I long for you," and she said (with bitterness), "how can you long for me, I'm sitting right here next to you."
But, the truth is, we all become mysteries to each other. We slip away from each other, even as we reveal ourselves.
And truthfully, these are the things I hear in Zeppelin's music.
By the way, that thing which disappears is their infinititude. A person expresses themselves in particulars which hint at the infinity of their spirit. But, the minute the particular is expressed, one is confronted by the fact that the other can not live up to their own infinitude.
Even in our experience with God, we see Him only in glimpses. We are clearly aware of His Infinitude, but our glimpses reveal very little, and we are left longing.
I learned not to fear infinity, The far field, the windy cliffs of forever, The dying of time in the white light of tomorrow, The wheel turning away from itself, The sprawl of the wave, The on-coming water.
The river turns on itself, The tree retreats into its own shadow. I feel a weightless change, a moving forward As of water quickening before a narrowing channel When banks converge, and the wide river whitens; Or when two rivers combine, the blue glacial torrent And the yellowish-green from the mountainy upland, -- At first a swift rippling between rocks, Then a long running over flat stones Before descending to the alluvial plane, To the clay banks, and the wild grapes hanging from the elmtrees. The slightly trembling water
I have come to a still, but not a deep center, A point outside the glittering current; My eyes stare at the bottom of a river, At the irregular stones, iridescent sandgrains, My mind moves in more than one place, In a country half-land, half-water.
I am renewed by death, thought of my death, The dry scent of a dying garden in September, The wind fanning the ash of a low fire. What I love is near at hand, Always, in earth and air.
The lost self changes, Turning toward the sea, A sea-shape turning around, -- An old man with his feet before the fire, In robes of green, in garments of adieu.
A man faced with his own immensity Wakes all the waves, all their loose wandering fire. The murmur of the absolute, the why Of being born falls on his naked ears. His spirit moves like monumental wind That gentles on a sunny blue plateau. He is the end of things, the final man.
ALL FINITE THINGS REVEAL INFINITUDE: The mountain with its singular bright shade Like the blue shine on freshly frozen snow, The after-light upon ice-burdened pines; Odor of basswood on a mountain-slope, A scent beloved of bees; Silence of water above a sunken tree : The pure serene of memory in one man, -- A ripple widening from a single stone Winding around the waters of the world.
8 comments:
Thank you.
Ro
Ro,
I am also a big, big Led Zeppelin fan.
My favorite period for Zeppelin is the 71-75 period, but the early period shows that they were destined to be the greatest.
Although I love Robert Plant, I must say, my favorite works by Zep are the ones that Page most obviously masterminded, such as Zofo, Presence, Houses of the Holy, and Physical Graffiti.
I'm guessing Robert Plant would say that those were the albums he had the most to do with, as he is the one who brought in the Eastern influence, but clearly Page was inspired on those albums. The layered guitar work is just beautiful (as you and I have discussed before).
The album that Plant and Page did (UnLedded) in the 90's was a beautiful example of their synthesis. Their respective talents had clearly diminished, but in a way, their minds were even more present on that album. Plants singing lacked power, but was more precise, and Page's work with the orchestra was magnificent.
You need to write a book about rock. Reading your analysis is almost as pleasurable as listening to the music.
I know, I know - in your next life. . .
Ro
Interesting that you say that. I have had it in my mind for years to write a novel based upon the song Since I've Been Loving You.
I am inspired by the whole song and it's eery intensity, but particularly by the line, "I opened up my front door and hear my back door slam."
Thing is, that song embodies the mystery of love, sadness, longing and obsession for me. And that line sums it up. You open up to a person/God, or they/He opens up to you, and at the same time, something disappears, and you are left with a mystery. And, if one feels intensely, this becomes very painful, and produces the feeling of longing.
I remember seeing a movie a long time ago, a movie I hated, I believe it was called Autumn Sonata, but it had one beautiful part where the husband (of about 50) told his wife, "I long for you," and she said (with bitterness), "how can you long for me, I'm sitting right here next to you."
But, the truth is, we all become mysteries to each other. We slip away from each other, even as we reveal ourselves.
And truthfully, these are the things I hear in Zeppelin's music.
By the way, that thing which disappears is their infinititude. A person expresses themselves in particulars which hint at the infinity of their spirit. But, the minute the particular is expressed, one is confronted by the fact that the other can not live up to their own infinitude.
Even in our experience with God, we see Him only in glimpses. We are clearly aware of His Infinitude, but our glimpses reveal very little, and we are left longing.
I LOVE Since I've Been Loving You, and hear you about the longing. But, damn, man, just - WORD on the rest!
Praying you get the time to write the book, dude.
Ro
Thanks.
I have several projects I am working on. I'm always writing. I don't just blog. I have been pretty much writing endlessly for the last six years.
When I'm not working, I'm writing.
From "The Far Field", a poem by Theodore Roethke,
I learned not to fear infinity,
The far field, the windy cliffs of forever,
The dying of time in the white light of tomorrow,
The wheel turning away from itself,
The sprawl of the wave,
The on-coming water.
The river turns on itself,
The tree retreats into its own shadow.
I feel a weightless change, a moving forward
As of water quickening before a narrowing channel
When banks converge, and the wide river whitens;
Or when two rivers combine, the blue glacial torrent
And the yellowish-green from the mountainy upland, --
At first a swift rippling between rocks,
Then a long running over flat stones
Before descending to the alluvial plane,
To the clay banks, and the wild grapes hanging from the elmtrees.
The slightly trembling water
I have come to a still, but not a deep center,
A point outside the glittering current;
My eyes stare at the bottom of a river,
At the irregular stones, iridescent sandgrains,
My mind moves in more than one place,
In a country half-land, half-water.
I am renewed by death, thought of my death,
The dry scent of a dying garden in September,
The wind fanning the ash of a low fire.
What I love is near at hand,
Always, in earth and air.
The lost self changes,
Turning toward the sea,
A sea-shape turning around, --
An old man with his feet before the fire,
In robes of green, in garments of adieu.
A man faced with his own immensity
Wakes all the waves, all their loose wandering fire.
The murmur of the absolute, the why
Of being born falls on his naked ears.
His spirit moves like monumental wind
That gentles on a sunny blue plateau.
He is the end of things, the final man.
ALL FINITE THINGS REVEAL INFINITUDE:
The mountain with its singular bright shade
Like the blue shine on freshly frozen snow,
The after-light upon ice-burdened pines;
Odor of basswood on a mountain-slope,
A scent beloved of bees;
Silence of water above a sunken tree :
The pure serene of memory in one man, --
A ripple widening from a single stone
Winding around the waters of the world.
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