Thursday, December 13, 2007
MOTHERSHIP SUPERIOR REVIEW
I thought it was Page who had most to win or
lose but the character of Plant that emerged in the songs was every
bit as fascinating as Page’s sonic sorchery.
Plant actually looks and sounds like he has spent the last 30 years
exploring the crevices and inner meaning of the tale woven in
Zeppelin’s music.
I know its all showbusiness illusion but he looks (and sounds) like
the eternal blues vagabond, the archetypal wandering western hero come
penitent who has been relentless in his pursuit of (and fidelity to)
the groove - whether hunting it down in Clarksdale, the Sahara or
India.
The depth of Plant’s connection and commitment to the songs called to
mind the rock n roll equivalent of Clint Eastwood in The Unforgiven.
It was the best kind of reunion where age and experience had brought
new depth to their art.
The collective determination of all 4 to revisit, face down and
reconquer the badlands of their past was neverless than thrilling
-viscerally and dramatically.
Zeppelin are a dance band and dancing to em as much as I was able to
in the O2 seated section I noticed a strange and compelling phenomenom
not even apparent at the Prince shows - actual snap, crackles and pops
of ELECTRICITY coming up through the floor of the old Millennium
Dome.
A product of punk for years I wouldnt allow myself to like Zep and in
a way at times what they did at O2 was everything punk set out to
destroy.
And it was mind blowingly brilliant.
Page with the violin bow in a green laser box was not so much
another number more a Magickal Ceremony using lights and nerve
shredding heart pounding brainbusting noise.
All that said there was no bigger thrill or fitting Ertegun tribute
than that supplied by Bill Wyman’s Rhythm Kings both before and after
the Zep performance.
Maggie Bell’s beautiful Do Right Woman and astonishing sets from Sam
Moore, Ben E King, Percy Sledge, Paul Rodgers and King Solomon Burke?
Thats what I call the Aftershow of the Gods.
