Houses of the Holy: Difference between revisions
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'''''Houses of the Holy''''' is the fifth album by [[England|English]] [[Rock music|rock]] band [[Led Zeppelin]] released by [[Atlantic Records]] on [[28 March]] [[1973]]. The album title is a dedication by the band to their fans who appeared at venues they dubbed "Houses of the Holy." It was the first Led Zeppelin album to not be, at least unofficially, titled after the band. |
'''''Houses of the Holy''''' is the fifth album by [[England|English]] [[Rock music|rock]] band [[Led Zeppelin]] released by [[Atlantic Records]] on [[28 March]] [[1973]]. The album title is a dedication by the band to their fans who appeared at venues they dubbed "Houses of the Holy." It was the first Led Zeppelin album to not be, at least unofficially, titled after the band. |
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==Recording sessions== |
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==Overview== |
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Much of this album was recorded in Spring [[1972]] at [[Stargroves]], the country estate in [[Berkshire]] which was owned by [[Mick Jagger]]. Some songs from the album had been initially been tried out earlier, such as "[[No Quarter]]", which was first attempted during a session at [[Headley Grange]].<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> |
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Several of the songs were demoed at the personal studios of guitarist [[Jimmy Page]] and bass player and keyboardist [[John Paul Jones (musician)|John Paul Jones]]. These studios had both been recently installed in the two musicians' respective homes. This enabled them to complete the arrangements which had been laid down earlier.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> In particular, Page was able to present complete arrangements of "[[The Rain Song]]" and [[Over the Hills and Far Away (song)|Over the Hills and Far Away]]", while Jones had honed "No Quarter".<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> |
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A further bout of recording took place at [[Olympic Studios]] in May 1972. Some songs which were recorded from these sessions did not eventually make it onto ''Houses of the Holy'', namely "[[Black Country Woman]]", "[[Walter's Walk]]", "[[The Rover (song)|The Rover]]" and also the title-track, "[[Houses of the Holy (song)|Houses of the Holy]]". All of these songs were released on later Led Zeppelin albums.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> |
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==Music== |
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This album was a stylistic turning point in the lifespan of Led Zeppelin. [[Guitar riff]]s became more layered within [[Jimmy Page]]'s production techniques and departed from the [[blues]] influences of earlier records. In the album's opening opus, "[[The Song Remains the Same (song)|The Song Remains the Same]]", and its intricate companion suite, "[[The Rain Song]]", [[Robert Plant]]'s lyrics matured toward a less overt form of the [[mysticism]] and fantasy of previous efforts. ''Houses of the Holy'' also featured styles not heard on the first four Led Zeppelin albums. For example, "[[D'yer Mak'er]]" is a [[reggae]]-based tune; "[[No Quarter (song)|No Quarter]]" features foreboding keyboard sounds and an acoustic piano solo from bassist [[John Paul Jones (musician)|John Paul Jones]]; "[[The Crunge]]" is a [[funk]] tribute to [[James Brown]]; and "The Rain Song" is embellished by Jones on [[mellotron]]. The album's closing song "[[The Ocean (song)|The Ocean]]" is dedicated to "the ocean" of fans who massed to [[Led Zeppelin concert tour chronology|Led Zeppelin concerts]]. |
This album was a stylistic turning point in the lifespan of Led Zeppelin. [[Guitar riff]]s became more layered within [[Jimmy Page]]'s production techniques and departed from the [[blues]] influences of earlier records. In the album's opening opus, "[[The Song Remains the Same (song)|The Song Remains the Same]]", and its intricate companion suite, "[[The Rain Song]]", [[Robert Plant]]'s lyrics matured toward a less overt form of the [[mysticism]] and fantasy of previous efforts. ''Houses of the Holy'' also featured styles not heard on the first four Led Zeppelin albums. For example, "[[D'yer Mak'er]]" is a [[reggae]]-based tune; "[[No Quarter (song)|No Quarter]]" features foreboding keyboard sounds and an acoustic piano solo from bassist [[John Paul Jones (musician)|John Paul Jones]]; "[[The Crunge]]" is a [[funk]] tribute to [[James Brown]]; and "The Rain Song" is embellished by Jones on [[mellotron]]. The album's closing song "[[The Ocean (song)|The Ocean]]" is dedicated to "the ocean" of fans who massed to [[Led Zeppelin concert tour chronology|Led Zeppelin concerts]]. |
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==Album sleeve design== |
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[[Image:HOTHcover.JPG|thumb|300px|left|''Houses of the Holy'' album cover, outer gatefold]] |
[[Image:HOTHcover.JPG|thumb|300px|left|''Houses of the Holy'' album cover, outer gatefold]] |
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The cover art for ''Houses of the Holy'' was inspired by the ending of [[Arthur C. Clarke]]'s novel ''[[Childhood's End]].'' (The ending involves several hundred million naked children, only slightly and physically resembling the human race in basic forms). It is a collage of several photographs taken at the [[Giant's Causeway]], [[Northern Ireland]], by [[Aubrey Powell (designer)|Aubrey Powell]] of [[Hipgnosis]]. The two children who modelled for the cover were Stefan Gates and his sister Samanatha Gates.<ref>[http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=500606&in_page_id=1773 Solved: Mystery of the iconic Led Zeppelin album cover and its golden-haired children]</ref> The photoshoot was a frustrating affair over the course of every morning for a week. The desired sunrise never appeared due to constant rain and clouds and many of the models were never used. The results of the shoot were less than satisfactory, but some accidental tinting effects in post-production created an unexpectedly magical album cover. The inner sleeve photograph was taken at [[Dunluce Castle]] near to the Causeway. It was initially released with a paper collar wrapped around the cover, printed with the band and album name, that had to be broken or slid off to access the record. This hid the children's bottoms from general display, but still the album was either banned or unavailable in [[Spain]] and some parts of the [[Southern United States]] for several years. The cover was rated #6 on [[VH1]]'s 50 Greatest Album Covers in 2003. |
The cover art for ''Houses of the Holy'' was inspired by the ending of [[Arthur C. Clarke]]'s novel ''[[Childhood's End]].'' (The ending involves several hundred million naked children, only slightly and physically resembling the human race in basic forms). It is a collage of several photographs taken at the [[Giant's Causeway]], [[Northern Ireland]], by [[Aubrey Powell (designer)|Aubrey Powell]] of [[Hipgnosis]]. The two children who modelled for the cover were Stefan Gates and his sister Samanatha Gates.<ref>[http://www.dailymail.co.uk/pages/live/articles/showbiz/showbiznews.html?in_article_id=500606&in_page_id=1773 Solved: Mystery of the iconic Led Zeppelin album cover and its golden-haired children]</ref> The photoshoot was a frustrating affair over the course of every morning for a week. The desired sunrise never appeared due to constant rain and clouds and many of the models were never used. The results of the shoot were less than satisfactory, but some accidental tinting effects in post-production created an unexpectedly magical album cover. The inner sleeve photograph was taken at [[Dunluce Castle]] near to the Causeway. It was initially released with a paper collar wrapped around the cover, printed with the band and album name, that had to be broken or slid off to access the record. This hid the children's bottoms from general display, but still the album was either banned or unavailable in [[Spain]] and some parts of the [[Southern United States]] for several years. The cover was rated #6 on [[VH1]]'s 50 Greatest Album Covers in 2003. |
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Jimmy Page has stated that the album cover was actually the second version submitted by Hipgnosis. The first, by artist [[Storm Thorgerson]], featured an electric green tennis court with a tennis racquet on it. Furious that Thorgerson was implying their music sounded like a "racket", the band fired him and hired Powell in his place.<ref>Brad Tolinski and Greg Di Bendetto, "Light and Shade", ''Guitar World'', January 1998.</ref> Thorgerson did, however, go on to produce the album artwork for Led Zeppelin's subsequent albums ''[[Presence]]'' and ''[[In Through the Out Door]]''. |
Jimmy Page has stated that the album cover was actually the second version submitted by Hipgnosis. The first, by artist [[Storm Thorgerson]], featured an electric green tennis court with a tennis racquet on it. Furious that Thorgerson was implying their music sounded like a "racket", the band fired him and hired Powell in his place.<ref>Brad Tolinski and Greg Di Bendetto, "Light and Shade", ''Guitar World'', January 1998.</ref> Thorgerson did, however, go on to produce the album artwork for Led Zeppelin's subsequent albums ''[[Presence]]'' and ''[[In Through the Out Door]]''. |
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==Release and critical reaction== |
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This was Led Zeppelin's last studio release on Atlantic Records, before forming their own label, [[Swan Song Records]], in 1974. It was also the only Led Zeppelin album that contained complete printed lyrics to each song. |
This was Led Zeppelin's last studio release on Atlantic Records, before forming their own label, [[Swan Song Records]], in 1974. It was also the only Led Zeppelin album that contained complete printed lyrics to each song. |
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The album receiving some mixed reviews upon its release, with much criticism from the music press being directed at the off-beat nature of tracks such as "The Crunge" and "D'yer Mak'er".<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> |
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In 2004, the [[industrial metal]] group [[Ministry (band)|Ministry]] released an album called ''[[Houses of the Molé]]'', a parody of the title of this album. The 1989 film ''[[Bill & Ted's Excellent Adventure]]'' pays homage to the album during the final scene, when the protagonists are delivering a presentation about ancient Greece (having recently visited it); they describe what they saw as follows: "470 BC. A time when much of the world looked like the cover of the Led Zeppelin album ''Houses of the Holy''". |
In 2004, the [[industrial metal]] group [[Ministry (band)|Ministry]] released an album called ''[[Houses of the Molé]]'', a parody of the title of this album. The 1989 film ''[[Bill & Ted's Excellent Adventure]]'' pays homage to the album during the final scene, when the protagonists are delivering a presentation about ancient Greece (having recently visited it); they describe what they saw as follows: "470 BC. A time when much of the world looked like the cover of the Led Zeppelin album ''Houses of the Holy''". |
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"[[Houses of the Holy (song)|Houses of the Holy]]" is also the name of a song which was recorded during the sessions for this album, but wasn't actually released until 1975 on the album ''[[Physical Graffiti]]''. Other songs recorded during the sessions for ''Houses of the Holy'' but not appearing on it include "[[Walter's Walk]]," "[[The Rover (song) |The Rover]]" and "[[Black Country Woman]]." |
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==Track listing== |
==Track listing== |
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Revision as of 12:34, 21 May 2008
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Houses of the Holy is the fifth album by English rock band Led Zeppelin released by Atlantic Records on 28 March 1973. The album title is a dedication by the band to their fans who appeared at venues they dubbed "Houses of the Holy." It was the first Led Zeppelin album to not be, at least unofficially, titled after the band.
Recording sessions
Much of this album was recorded in Spring 1972 at Stargroves, the country estate in Berkshire which was owned by Mick Jagger. Some songs from the album had been initially been tried out earlier, such as "No Quarter", which was first attempted during a session at Headley Grange.[1]
Several of the songs were demoed at the personal studios of guitarist Jimmy Page and bass player and keyboardist John Paul Jones. These studios had both been recently installed in the two musicians' respective homes. This enabled them to complete the arrangements which had been laid down earlier.[1] In particular, Page was able to present complete arrangements of "The Rain Song" and Over the Hills and Far Away", while Jones had honed "No Quarter".[1]
A further bout of recording took place at Olympic Studios in May 1972. Some songs which were recorded from these sessions did not eventually make it onto Houses of the Holy, namely "Black Country Woman", "Walter's Walk", "The Rover" and also the title-track, "Houses of the Holy". All of these songs were released on later Led Zeppelin albums.[1]
Music
This album was a stylistic turning point in the lifespan of Led Zeppelin. Guitar riffs became more layered within Jimmy Page's production techniques and departed from the blues influences of earlier records. In the album's opening opus, "The Song Remains the Same", and its intricate companion suite, "The Rain Song", Robert Plant's lyrics matured toward a less overt form of the mysticism and fantasy of previous efforts. Houses of the Holy also featured styles not heard on the first four Led Zeppelin albums. For example, "D'yer Mak'er" is a reggae-based tune; "No Quarter" features foreboding keyboard sounds and an acoustic piano solo from bassist John Paul Jones; "The Crunge" is a funk tribute to James Brown; and "The Rain Song" is embellished by Jones on mellotron. The album's closing song "The Ocean" is dedicated to "the ocean" of fans who massed to Led Zeppelin concerts.
Album sleeve design
The cover art for Houses of the Holy was inspired by the ending of Arthur C. Clarke's novel Childhood's End. (The ending involves several hundred million naked children, only slightly and physically resembling the human race in basic forms). It is a collage of several photographs taken at the Giant's Causeway, Northern Ireland, by Aubrey Powell of Hipgnosis. The two children who modelled for the cover were Stefan Gates and his sister Samanatha Gates.[2] The photoshoot was a frustrating affair over the course of every morning for a week. The desired sunrise never appeared due to constant rain and clouds and many of the models were never used. The results of the shoot were less than satisfactory, but some accidental tinting effects in post-production created an unexpectedly magical album cover. The inner sleeve photograph was taken at Dunluce Castle near to the Causeway. It was initially released with a paper collar wrapped around the cover, printed with the band and album name, that had to be broken or slid off to access the record. This hid the children's bottoms from general display, but still the album was either banned or unavailable in Spain and some parts of the Southern United States for several years. The cover was rated #6 on VH1's 50 Greatest Album Covers in 2003.
Jimmy Page has stated that the album cover was actually the second version submitted by Hipgnosis. The first, by artist Storm Thorgerson, featured an electric green tennis court with a tennis racquet on it. Furious that Thorgerson was implying their music sounded like a "racket", the band fired him and hired Powell in his place.[3] Thorgerson did, however, go on to produce the album artwork for Led Zeppelin's subsequent albums Presence and In Through the Out Door.
Release and critical reaction
This was Led Zeppelin's last studio release on Atlantic Records, before forming their own label, Swan Song Records, in 1974. It was also the only Led Zeppelin album that contained complete printed lyrics to each song.
The album receiving some mixed reviews upon its release, with much criticism from the music press being directed at the off-beat nature of tracks such as "The Crunge" and "D'yer Mak'er".[1]
In 2004, the industrial metal group Ministry released an album called Houses of the Molé, a parody of the title of this album. The 1989 film Bill & Ted's Excellent Adventure pays homage to the album during the final scene, when the protagonists are delivering a presentation about ancient Greece (having recently visited it); they describe what they saw as follows: "470 BC. A time when much of the world looked like the cover of the Led Zeppelin album Houses of the Holy".
Track listing
Side One
- "The Song Remains the Same" (Jimmy Page, Robert Plant) – 5:32
- "The Rain Song" (Page, Plant) – 7:39
- "Over the Hills and Far Away" (Page, Plant) – 4:50
- "The Crunge" (John Bonham, John Paul Jones, Page, Plant) – 3:17
Side Two
- "Dancing Days" (Page, Plant) – 3:43
- "D'yer Mak'er" (Page, Plant, Jones, Bonham) – 4:23
- "No Quarter" (Page, Plant, Jones) – 7:00
- "The Ocean" (Page, Plant, Jones, Bonham) – 4:31
Personnel
Led Zeppelin
- John Bonham – drums, backing vocals
- John Paul Jones – organ, mellotron, bass guitar, backing vocals, piano, synthesizers, harpsichord
- Jimmy Page – acoustic guitar, electric guitar, pedal steel guitar, backing vocals, producer
- Robert Plant – vocals, harmonica
Additional personnel
- Peter Grant – executive producer
- Eddie Kramer – engineer, mixing
- Keith Harwood – mixing
- Andy Johns – engineer, mixing (on "No Quarter")
- Bob Ludwig - mastering engineer
- Hipgnosis – sleeve art direction
- Aubrey Powell – cover photography
CD Mastering engineers
- Barry Diament - original CD (mid-1980s)
- George Marino - remastered CD (1990)
Charts
Album
| Year | Chart | Position |
|---|---|---|
| 1973 | Billboard Pop Albums (Billboard 200) | 1 |
Singles
| Year | Single | Chart | Position |
|---|---|---|---|
| 1973 | "D'yer Mak'er" | Billboard Pop Singles (Billboard Hot 100) | 20 |
| 1973 | "Over The Hills And Far Away" | Billboard Pop Singles (Billboard Hot 100) | 51 |
| 1973 | "Dancing Days" | Billboard Pop Singles (Billboard Hot 100) | 51 |
Certifications
| Certifier | Certification | Sales |
|---|---|---|
| RIAA (U.S.) | 11x Platinum | 11,000,000 |
External links
- Houses of the Holy ⚠ "
mbid" is missing! at MusicBrainz - Lyrics
- Cover art
- Cover art - Aubrey Powell
