Rocks In The Attic #133: The Honeydrippers - ‘The Honeydrippers: Volume One’ (1984)

Imagine a band with Robert Plant on vocals, and Jimmy Page, Jeff Beck and Nile Rodgers all on guitar. That’s who The Honeydrippers are. Put together in the early ‘80s by Atlantic Records president Ahmet Ertegün, this is a very short (17 minutes) collection of five ‘50s R&B covers.

As a standalone album, it’s pretty poor. It suffers from a mid-‘80s production, which takes away any of the smoky ‘50s atmosphere they were aiming for, and replaces it with a crystal-clear sound reminiscent of throwback records of the time. It might have gone down a little better if it had been released a year later, in the wake of the ‘50s nostalgia stemming from 1985’s Back To The Future, but other than a very successful single (Sea Of Love), it seems to have faded into history.

For a Zeppelin fan, it’s a nice little curio - Plant and Page reunited on record for the first time since the death of John Bonham, with Page’s fellow Yardbird Jeff Beck thrown in for good measure. Rounding out the ‘supergroup’ is Nile Rodgers on guitar (and production duties) and Blues Brother Paul Shaffer on keys.

It’s a shame this project was never repeated. I’d have been interested to hear volumes two, three and four. Although maybe they wouldn’t have given the fourth one a title.

Hit: Sea Of Love

Hidden Gem: Rockin’ At Midnight

Rocks In The Attic #128: The Kinks - ‘Golden Hour Of The Kinks’ (1971)

Another compilation that exists solely in my record collection because it was handy to have in my record bag when DJing.

You have to love The Kinks though - they’re unfairly put to the side when ‘60s beat groups are mentioned. Usually, there’s The Beatles and The Stones, and nothing else. For me, The Kinks fit nicely in the middle between those two bands - they match the songwriting peaks of The Beatles (not as consistently as Lennon & McCartney, but certain songs are the arguably the equal of The Beatles’ singles), but they retain the rough edge (and murky production values) of The Stones.

This particular compilation is pretty poor, however. Their cover of Louie Louie is listed on the sleeve as ‘Lovie Lovie’, which makes you wonder what sort of moron put the sleeve together, when they can misspell one of rock and roll’s universal staples. Secondly, Lola is missing from the collection - even though this was put together a year after that single’s release. It is a budget release though, so Pye Records presumably only allowed the release of their older ‘60s output.

I think more than any other ‘60s band - The Beatles and The Stones included - the template for riff-driven guitar-based rock can be traced back to The Kinks. Dave Davies is a fantastic guitarist in this respect - coming up with short guitar hooks for his brother to write songs around.

During the formation of Led Zeppelin in 1968, Jimmy Page was undecided whether he should form a full-on heavy rock band, or a lighter folk rock band akin to Pentangle. Page played as a session musician on The Kinks’ debut album, and I don’t see it as a coincidence that he then went on to be the flag-bearer throughout the ‘70s for Dave Davies’ brand of riff-based heavy rock.

Hit: You Really Got Me

Hidden Gem: Victoria

Rocks In The Attic #116: Bob Dylan - ‘Bob Dylan’ (1962)

I’m guessing this isn’t one of Dylan’s favourites. Although - and maybe because - there’s only a few Dylan compositions on here, most of the album doesn’t really fit with his later albums. It’s almost as though he hadn’t worked out to be the enigmatic, mysterious folk singer that everybody knows now.

There’s a whole lot more fun on this album than on later ones - he spends a few moments whooping and hollering on some of the songs (especially Freight Train Blues), which sounds out of character with the serious personality he would become. The liner notes explain that one of his strongest influences is Charlie Chaplin, and that he would borrow some of the actor’s gestures on stage. That sounds pretty terrible - but I guess this influence manifests itself in something like the ‘music video’ that accompanied Subterranean Homesick Blues.

There’s not really a ‘hit’ on this album - but plenty of songs that are familiar in retrospect. Probably the most famous song on here - his cover of House Of The Risin’ Sun was made world-famous by The Animals two or three years later. Similarly, In My Time Of Dyin’ was popularised by Led Zeppelin on Physical Graffiti, and the song Highway 51 suggests that Dylan was listening to the same vein of blues that Jimmy Page would later base his supergroup around.

Hit: House Of The Risin’ Sun

Hidden Gem: In My Time Of Dyin’

Rocks In The Attic #84: Led Zeppelin - ‘Led Zeppelin’ (1969)

Although this is only (only!) the 84^th entry in the Rocks In The Attic blog, this is actually the 100^th disc I’ve reviewed, taking into account all the double- and triple-albums that I’ve wrote about so far.

A few weeks ago I covered the Truth album by Jeff Beck - released prior to this debut by Led Zeppelin, and an album Jimmy Page must have had at the front of his mind when planning and arranging this.

This was a very cheap album to make. Zeppelin’s manager Peter Grant paid for the 36 hours of studio time himself, and then sold the tapes to Atlantic Records. A studio cost of just £1,782 led to the record grossing more than £3.5 million. Not a bad return for a record company.

If I had to choose one album over the other, I’d go with Zeppelin’s debut, only because the songs fit together that little bit better. Led Zeppelin and Truth are very similar though. They even share a cover - You Shook Me - but the majority of the songs could be interchangeable. Both albums have soulful vocals, by Robert Plant and Rod Stewart respectively. The guitar work on each album (both players are ex-Yardbirds) is of a higher quality than most players at the time (and more in line with the likes of Hendrix and Clapton); and the bass is top-notch (by John Paul Jones on Led Zeppelin, and future Rolling Stone Ronnie Wood on Truth).

The real point of differentiation is the percussion. There’s nothing wrong with the drums, by Mick Waller, on Jeff Beck’s album. They keep time, as they should. But they’re not a patch on Bonzo’s debut. The opening track on Led Zeppelin - Good Times Bad Times - could almost be renamed How To Play Drums by John Henry Bonham. You can ignore everything else about that song and just concentrate on the drums - they are the very definition of a perfect drum track.

Hit: Dazed And Confused

Hidden Gem: Black Mountain Side

Rocks In The Attic #70: Led Zeppelin - ‘Coda’ (1982)

This album goes a long way to confirm that when bands choose not release material when they record it, there’s usually a good reason. That’s not to say this is a bad album - it’s nowhere as near as bad as the atrocious In Through The Out Door - but for a Led Zeppelin album, it’s pretty poor.

Released two years after the death of John Bonham, this is Page’s way to get out of a contractual agreement (they owed Atlantic Records a fifth album from when they started the Swan Song label to release their own work). The songs are mostly left-over pieces that didn’t quite make the albums they were originally recorded for, together with a couple of live tracks (where they’ve removed any audience noise, to make them sound like they were recorded in a studio).

The real issue is that the album is very disjointed, which you would expect from an album that collects songs from across their entire career, from 1969 through to 1978. There are also a few notable omissions - Baby Come On Home and Travelling Riverside Blues, which would eventually surface on Boxed Set in 1990 and Boxed Set 2 in 1993, and are better than anything included here.

Hit: We’re Gonna Groove

Hidden Gem: Bonzo’s Montreaux



Rocks In The Attic #61: Jeff Beck - ‘Truth’ (1968)

It took me a long time to track this down on vinyl. If Led Zeppelin albums are numbered, this could almost be titled Led Zeppelin 0.

Released a couple of months before Led Zeppelin (I) was recorded, this also features heavy blues arrangements by an ex-Yardbird (Jeff Beck), and a soulful white singer (Rod Stewart) providing vocals. It also features a reworking of the Willie Dixon song You Shook Me, which would also grace the first Zeppelin album.

Apparently Jeff Beck and Jimmy Page fell out over that one - with Beck claiming that Page stole his idea to do a heavy blues version of You Shook Me. You can understand this - even if Jimmy Page did come up with that idea first, Beck beat him to the punch and Page simply shouldn’t have put it on the first Zeppelin album.

Rounding out Beck’s  band are Ronnie Wood on bass, and noted blues explosion drummer Mick Waller.

You can’t help but compare the two albums - they’re very similar - but for me the first Zeppelin album is slightly more cohesive, but only just. Page even features on the Truth album, credited as the writer of Beck’s Bolero - an instrumental with Beck and Page on guitar, John Paul Jones on bass, Keith Moon on drums and Nicky Hopkins on piano.

At the end of the day, I’m not a huge fan of either album. There’s something very dirge-like about both albums, as though both architects are trying to outdo each other with a (very) heavy blues album, and without the adequate quantity of light (to balance out the shade), they can both be very hard to listen to.

Hit: Shapes Of Things

Hidden Gem: Beck’s Bolero

Rocks In The Attic #28: Various Artists - ‘Good Morning Vietnam (O.S.T.)’ (1988)

This is a great film. I’ve always been slightly dubious about Robin Williams, after I heard that on the stand-up circuit he used to shamelessly steal material from other comedians; but in terms of energy and improvisation, there’s no other comic actor to touch him, except maybe Jim Carrey.

Like Jim Carrey, Williams’ best roles are those which are comic with a huge slice of realism involved. Good Morning Vietnam is one of those films, and the music contained on the soundtrack are a great reminder of the happy / sad dynamic that the movie puts across.

I’ve never been a fan of soundtrack albums that have dialogue interspersed with the music tracks, but it works so well here, essentially because Williams is playing a DJ - so the whole album sounds like a radio program. This is probably the first time I heard Them’s version of Baby Please Don’t Go (with a young studio musician named Jimmy Page playing guitar).

Hit: What A Wonderful World - Louis Armstrong

Hidden Gem: Baby Please Don’t Go - Them