Led Zeppelin: How the West Was Won

From George Crumb to Led Zeppelin.  Maybe this is a pandemic-induced escape from harsh reality and a yearning for them good ol' days of yore when untold legions of teenage boys rocked out to the bombast and bravado of the mighty Zep, but recent months found a rekindled interest in the mothership. How the West Was Won arrived in the mail a couple of days ago and yesterday the triple-disc set, recorded in Los Angeles and Long Beach in June 1972, was listened to twice and it's playing again now.

So, yes, the wails, extemporaneous yelps and other utterances of Robert Plant have been criticized a lot as the apex (or nadir) of so-called "cock rock," and, sure, 25 minutes of "Dazed and Confused" might leave some listeners in those states (though that diversion into "The Crunge" is fun), and, OK, excess may be found in many forms, but, this 2003 compilation from the archives is, as Jimmy Page simply stated in the briefest of notes (no booklet, no photos, or fawning commentary): "Led Zeppelin at its best."

First, this is a band that strode the stages of the stadia of the world like a colossus and the playing is exceptional (and there is quite a comparison to be made to The Song Remains the Same, the only live document we knew at the time and the film of which was seen at a couple of midnight showings at a local theater).  Jimmy Page's jaw-dropping skills (not just the monster and endless supply of riffs and fleet, complex solos, but all aspects of his phenomenal playing, including the filigree, like a little Baroque quote and other touches here and there, and flourishes) is everywhere in ample evidence.  Plant, allowing for his over-enthusiasm, displayed impressive power and has to be credited for projecting to massive crowds above the maelstrom.

The real joy for this listener, though, returning to this material after four decades (!), though, is a fuller appreciation for John Bonham's incredible drumming (his "Moby Dick" showcase aside, cool as that is for someone who does like drum solos), with its diversity, drive and impeccable timing.  Then, there is the quiet, unobtrusive, but essential, contributions of John Paul Jones, who held so much of this together.  A bass player par excellence, a solid keyboardist, and a very fine mandolin player, to boot, Jones really deserves more appreciation for what he provided to the band.

How the West Was Won is bursting with great performances, too many to mention, but two elements really stand out.  The 23 minutes of "Whole Lotta Love" include some fun excursions into "Let's Have a Party," "Hello Marylou," and "Going Down Slow," that show how important early rock was to these guys and which are just plain fun.  Then, there's a staple of Zep concerts from the era, which importantly broke up the aural pummeling, in the form of the acoustic interlude.  The trio of "Going to California," "That's the Way," and "Bron-Yr-Aur Stomp" are really gorgeous, with Plant's more restrained vocals working very well, buy especially with Jones and Page beautifully playing in sync on mandolin and guitar.

There is diversity, a bit of experimentation (whatever listeners then and now make of that), sheer power, undeniable fluency, ambition tending occasionally to excess, and, yes, fun.  While Zep were routinely knocked for lacking the artistry of The Beatles, The Stones, or The Who, comparisons can be unfair and their gargantuan 3-plus hour shows were diverse and, most importantly, entertaining, which is supposed to be the point.  So, whatever the point, a revisitation after forty years is proving to be fun, at a time when that has been sorely lacking.