关于Zep的研究转贴^_^

这个照片是从一个关于Led Zeppelin的超长的帖子那里的^_^
那个帖子很长、里面有很多关于Zep的细节和8卦:):) 【下面是从豆瓣Zep小组转来的！！嘻嘻】^_^

原文
There’s a plethora of “hip” reviewers on epinions who have taken shots at Led Zeppelin IV and its AOR warhorse “Stairway to Heaven” as overrated, clichéd, uneven, or whatever. I think that part of the trend is the passage of time—everything is more likely to whacked the longer it is around, even DaVinci is blasted for having a short attention span. Part of the trend is that it’s, well, fun, to fire away at rock icons. There’s also the problem of trying to think of something new to say about an album that is over thirty years old and that every informed music fan has heard dozens if not hundreds of times. So why not take some potshots?

For myself, I’ve never been much of a Zeppelin fan. I have enormous respect for the band’s musical ability—Jimmy Page is undeniably, absolutely undeniably, one of the great rock guitarists, Bonham a great rhythm drummer, if not very technically proficient . But I’ve never cared at all for Robert Plant’s singing, whose high-pitched wailing I find annoying at best (although he does have good range and knows how to hold a note). More importantly, the music doesn’t do a whole lot for me. I prefer a lot of other hard rock bands—I’m much more likely to listen to the Who or Stones, for example, not to mention the plethora of new bands now floating around, although you’re not likely to hear them on your FM radio.

So it is with that bona fide—no Zep fan I—as well as my long-time background in guitar, that we come to this review of Zeppelin IV. For the fashionable critics, here’s a shot of my own: this is one of the greatest, and most important, hard rock albums ever recorded. And what I’m going to tell you why, focusing a lot on the story and the sound of the album.

Which brings me to some criticism of my own. A lot of epinions reviewers think its enough to “describe” a CD’s songs, and talk about whether they’re “edgy” or “sweet” or “it moves my soul” or it’s “fantastic” whatever BS cliché du jour strikes their fancy, and then quote some lyrics, and that’s enough for an HR. OK, if that’s the standard, fine. But that’s not particularly informed, and it doesn’t tell ME much about a CD. I think it’s very important to focus on sound—that’s what it’s all about—and how did the musicians get that sound, and why.

So courtesy of some research I’ve done, I’m going to give some info on this superb album, and forget about all that silly speculation about what all the symbols mean. Let’s get to the music.

Here are the basics. Zep was under serious internal pressure to top their three previous platinum albums. Looking for some variety, Page stumbled upon Headley Grange, a three-story English country house that had originally been a workhouse. The key thing: incredible, varied acoustics. The band borrowed the Rolling Stones mobile recording unit, and much of the album was recorded here (along with London’s Island studio) along with “Down by the Seaside”. “Boogie with Stu” (a jam with the late Ian Stewart), and “Night Flight”, all from the “Physical Graffiti” album.

“Black Dog” opens the CD with one of the most famous riffs of all time and played by every 70’s garage band in America. It was written by bassist John Paul Jones in A minor resolving to an A major chord. The song’s aggressive guitar sound came from plugging Page's Gibson Les Paul sunburst into a mic channel, triple tracking it, and compressing the hell out of it.

Concert favorite “Rock and Roll” follows (Zep closed with this when I saw them at the old Chicago Stadium in 1977, the last show they ever played in Chicago). Bonzo Bonham began by stealing the drum riff from Little Richards’ “Keep a Knockin” and Page broke out his 59 Les Paul (which will now cost $75,000 for one that wasn’t even OWNED by Page). Ian Stewart played keyboards here instead of Plant. The song floats around in A Mixolydian, especially an A5 power chord, and rolls back and forth and back again, standard blues stuff and the solo won’t kill your ordinary average teenage superstar.

“The Battle of Evermore” is one of the weaker cuts, Celtic folk music evidently written under the influence of Tolkien (before HE because a cliché) with references to the Dark Lord, ring wraiths, angels of Avalon, and so on. Enough said.

That song of songs, “Stairway to Heaven”, closed side one. It’s much like the 1st Movement of Beethoven’s 5th Symphony: we’ve heard it so much we don’t listen to it anymore. Here’s a suggestion: listen to it closely with headphones and let me know what you think. The hell of the thing is the song’s simplicity: the first half is basically a bunch of appegiated chords in A minor that any hacker who knows some finger-picking can play. Page played the acoustic bits on an old Harmony (now in the Rock and Roll Hall of Fame) backed by a 12-string Fender electric. The main solo was on a Telecaster played through a Marshall (others were with a 59 Les Paul) and the story is that Page only played a few off-the-cuff takes on the Tele and just picked the one he liked. By the way, “bustle in you hedgerow” was a throwaway line.

(Another story: there’s a rumor that George Harrison inspired “Stairway”. Wrong. He was beefing to Bonzo one night about Zep never doing ballads, so Page wrote “The Rain Song” for him and even stole a couple of chords from “Something” in it.)

On side two, “Misty Mountain Hop” is another standard rocker that could have been on the second album, featuring some up-mix electric piano by Jones. “Four Sticks” is a somewhat sinister guitar line by Page that resolves into a nice chorale. The timing is very complex and difficult to play. The band was having real difficulty with the song (in fact, switched to “Black Dog” in the middle of it). But Bonzo Bonham went to a Ginger Baker (the great ex-Cream drummer) concert, got mad, and to top Baker the next day he picked up FOUR sticks, two in each hand, and kick-started the band into fixing the song. This is followed by more nice acoustic work by Page on “Going to California”, a true stoner song (I know what I’m talking about here, my Northwestern fraternity brothers would get cooked on side two of this album instead of studying p-chem and mechanics) that, like “Evermore”, has never done much for me.

The album’s closer is the banging, echoing blues classic “When the Levee Breaks”. How did they get that great drum sound? They set up a second drum kit in the massive entrance hall at Headley Grange, hung some mics from the second floor, added echo and compression, and there you were. Page played a Fender 12-string tuned to open-G and added backward echo on the harmonica parts (the echo PRECEDES the signal). The song is a great tribute to the Chicago blues.

And there’s a point for all you budding rockers out there. Why can’t you get that great sound off the tune you’re trying to learn? Why? I'll tell you why. It's because the guys who recorded it have forgotten more about recording, engineering and mixing than you will EVER, EVER know. Backward echo on a harmonica? Jeez. This is an extraordinarily complex art form, and they have access to equipment you’ve never even heard of, much less are able to buy, because a lot of it isn’t made any more or costs a fortune. My advice: just go buy a decent modeling amp or effects box, and don’t get too frustrated.

The last story here is one of near disaster. Page took the master tapes to Los Angeles for mixing (where he experienced an earthquake amidst thoughts of “mountains and canyons start to tremble and shake” from “Going to California”) and, upon returning to London, the band discovered that the tapes were all screwed up, something had happened to the highs and people went nuts. Page had to remix the whole thing and was lucky enough to discover that the “Levee” tapes were fine because he feared he could never recapture that sound.

There you have it, some of the story behind one of the great albums. Put away your prejudices. Put on some headphones. Give this a very careful listen. Then tell me it’s not a five-star album.

I’m prepared to be convinced.

原來有翻譯：背后的故事
关于《Led ZeppelinIV》以及专辑中的“Stairway to Heaven”，现在已经流行起了一些负面评论，说它被高估，说它已经是陈词滥调，说它太过晦涩，呵呵说什么的都有。类似的批评已渐成趋势了。我认为这种趋势一方面因为是时间的打磨——所有艺术品的艺术效应都会随着时间的流逝而淡化一些，达芬奇不也曾一度遭受质疑吗？另一方面，我们已经习以为常了，就是一些人总是针对摇滚乐开炮，矛头自然集中到那些经典作品上。当然，还有一部分原因：总有人喜欢对那些已经被大家普遍认可的作品发表一些另类的评论。既然要批判，那就让我们来有根有据地批判一下。

首先，我从来不是一个Led Zeppelin迷，但我对他们的音乐才华一直是抱有极大的尊敬地！Jimmy Page，自然毫无疑问是最最伟大的摇滚吉他手之一。Bonham，一个拥有超凡节奏天赋的伟大鼓手，虽然他的技术还不能说是完美无暇。但我从来对Robert Plant的唱功不感冒，他的高音让我很不舒服。当然，不可否认他音域宽广，且对曲调的把握能力极强。其实Led Zeppelin的音乐并不对我的胃口。在硬摇滚风格中，我对许多乐队的喜爱胜过于Led Zeppelin。比如我更喜欢The Who和The Rolling Stones，当然还有现在的许多新乐队（你很难在电台里听到人们点播这些非主流的音乐）。

我有长期从事吉他音乐的经验，且以一个非Led Zeppelin迷的身份（相对来说中立、客观一点），来谈谈我对《Led ZeppelinIV》的看法。首先我就想对那些时髦另类的“评论家”说：这张专辑的确是史上最伟大、最有影响的硬摇滚作品之一！我马上就会告诉你原因，让我们把注意力集中到这张专辑本身，真正来了解它的音乐与音响，以及它们背后的故事。

现在许多“评论家”都觉得详细描述一张专辑的音乐与音响细节是很无聊的。他们喜欢讨论对专辑的感受，“这张专辑太爽了！”，“这首歌太美了”，“这种音乐真的能触动你的灵魂”，“这简直就是无以伦比！！”。。。然后引用一些歌词，就算是一篇乐评了。这的确是一种评论风格，主观感受的确是衡量音乐的标准之一，但仅有这些内容是不够的，真正了解一部好的作品我们需要更多的东西。没错，这就是音乐（或者说声响）本身——这才是承载着所有内容的客观实体。我们还应该了解一下音乐家是如何得到这些声响效果的，以及他们为什么这样处理。

我做过一些相关的研究，所以现在想就这张经典专辑谈一些细节问题。别去思考专辑封套上的那些神秘符号的含义了，我们就谈真正的音乐。

首先要说一说，Led Zeppelin前三张专辑都是在非常随性的态度下完成的，尽管这些专辑后来都达到了白金销量。Jimmy Page起初用Headley农场的一栋三层的英式乡村楼房作为他们的工作室。他们的音乐让人不可思议的一点就是其音响效果变化多端，这是他们不断变动的制作环境造成的。看看乐队后来又租用了滚石公司的移动式录音棚，还有伦敦岛公司的录音室。Led Zeppelin前期的许多专辑都是在这些地方制作的，同时完成的还有“Down by the Seaside”、“Boogie with Stu”（该曲中Ian Stewart也参与了制作）、“Night Flight”，这些歌曲则收录在他们后期的《Physical Graffiti》专辑中。

“Black Dog”拉开了《Led ZeppelinIV》的序幕，歌曲中那个riff可能是摇滚历史上最著名的，七十年代美国所有garage风格的乐队都曾经演绎过此段落。这个riff是由贝司手John Paul Jones写的，riff的调性为A小调，再以一个A大调和弦分解。歌曲极富侵略性的吉他音效是Jimmy Page制成的（呵呵这里太专业了，偶翻不出，大家看原文吧：The song’s aggressive guitar sound came from plugging Page's Gibson Les Paul sunburst into a mic channel, triple tracking it, and compressing the hell out of it. ）

接着是我最喜欢的 “Rock and Roll”！Led Zeppelin在1977年芝加哥体育馆的演唱会中以这首歌作为结尾，我当时在现场观看的演出，这是他们最后一次来芝加哥。歌曲以一段鼓的riff开始，Bonham的这段riff其实是抄袭了小理查德的“Keep a Knockin”中的段落。接着是Jimmy Page的爆破式电吉他，他用的是“59 Les Paul”（这款琴即使不是Jimmy Page本人使用的，现在的每把售价也达到了七万五千美圆）。Ian Stewart（不是通常认为的Robert Plant）弹奏了曲中的键盘部分。歌曲在A混合调式中往复进行，最特别的是那个A5和弦。这样顶级的布鲁斯作品和solo可以让现在一些年轻的所谓“superstar”们无地自容。

“The Battle of Evermore”可能是专辑中最柔的作品。这首凯尔特民谣充满了“黑暗之主”、“指环魅影”、“精灵天使”之类的题材，很明显是受了托尔金作品的影响（他老人家的经典现在也被开始某些人认为是陈词滥调啦）。

专辑第一面的最后一首，就是著名的“Stairway to Heaven”。这首作品的情况有点类似于贝多芬第五交响曲的第一乐章：我们听得太多太滥了，以至于我们已不能真正地进入到音乐中。现在戴上耳机，仔细地去体会一下这首歌吧，然后再谈谈你的感觉。这首歌曲最大的特点是其清新质朴的风格。歌曲前半部分是简单得不能再简单的A小调吉他和弦，任何音乐爱好者只要稍微懂一点指法的就可以演奏。Jimmy Page用一把旧的木琴弹奏这段音乐（这把琴现在已陈列在摇滚名人堂中），并以一款12弦的Fender电琴作伴奏。后面那段solo是选自Jimmy Page在一次电视节目中的表演（用的是“59 Les Paul”电吉他）。Page只有极少数几次在电视节目中做过即兴演奏，他从中选取了自己最喜欢的一段放进了歌曲。歌词中那句“bustle in you hedgerow”其实是当时一则小广告的插语。

（关于这首作品还有一些故事：有一种谣言说Led Zeppelin是在George Harrison启发下创作了“Stairway to Heaven”，完全错误。Harrison的确有一次对Bonham说他们的民谣作品太少了，于是Zeppelin们就创作了“The Rain Song”作为回应。而即便是这首歌曲，他们也没有从Harrison的“Something”中抄袭过一个和弦。）

在专辑的第二面， “Misty Mountain Hop”又是一首顶级的摇滚作品（原本可以在他们的第二张专辑中作为重点收录的），John Paul Jones的经电声处理的钢琴演奏是歌曲的亮点。“Four Sticks”由Jimmy Page诡异的吉他旋律开始，最后以一个赞美诗般漂亮的结尾收场。对时间的把握是相当复杂和困难的，乐队在做这首歌时遇到了真正的难题（事实上他们曾一度停下来去做“Black Dog”）。这时Bonham去了Ginger Baker（伟大的前Cream乐队鼓手）的音乐会。他几乎要发疯了，为了要超过Baker的水准，第二天他每只手拿了两根鼓棒（一共四根棒子， “Four Sticks”）开始工作。这激励了Led Zeppelin的每个人，他们最终完成了作品。接下来是Jimmy Page带来的更精致的音乐作品“Going to California”, 这首歌我觉得挺呆的（我知道我在说什么，我那些西北联盟的朋友们甚至比我还不屑这张专辑第二面的一些作品），这是实话，这首歌和“The Battle of Evermore”类似，这样的音乐绝对不适合我。

专辑的最后一首，极富冲击力的、具有奇特声响效果的布鲁斯经典“When the Levee Breaks”。Led Zeppelin是怎样做出那些伟大的鼓声效果的呢？他们买了一套非常普通的鼓，放在Headley农场的一个非常空旷的大堂里进行演奏，在大堂上层楼的地板上放置拾音设备，然后加上回声和压抑的音效，就这样得到了那种特别的鼓声。Jimmy Page用一把12弦的Fender电琴弹吉他段落，并在口琴部分使用了回声效果（回声效果在信号处理前使用）。（我音乐知识有限，这段可能翻得很差。）这首作品对于“芝加哥布鲁斯”风格的音乐具有非凡贡献。

有一点是现在所有摇滚乐的新乐手们需要明白的：为什么你们即使挖空心思去学习也做不出 Led Zeppelin那样伟大的声响效果呢？我来告诉你们：因为Led Zeppelin的音乐家们根本不会象你们那样在乎录音工程、合成技术、混响这样的东西。而你会想到象他们那样对口琴使用回声处理吗？这才是真正的音乐制作的艺术。他们使用的许多设备你们根本不会去买，不是因为买不起，而是那些设备太普通太初级了，你们完全想不到。我的建议是：只需买一台象样点的扩音器或效果器就可以，不必去在乎设备简陋，最重要的是真正花心思在音乐上。

最后一个故事是和后来发生的一起灾难有关的。Jimmy Page拿着专辑的母带到洛山矶去混音，在那里他正巧遇上了地震（就象他们在“Going to California”里唱的“mountains and canyons start to tremble and shake（山峦和峡谷都开始颤抖）”那种场面）。回到伦敦后，他们发现带子都绞坏了（大概是人群混乱拥挤时发生的），Page只好再做了一次混音工作。奇怪的是“When the Levee Breaks”的带子竟然没有损坏，Page大呼幸运，因为他怕自己再也捕捉不到那种奇特的声响效果了。

现在我已经把一张伟大专辑背后的故事告诉你了。抛除你的偏见，拿起你的耳机，真正投入地听一听这样的音乐。然后你可以告诉我这不是一张五星级专辑的理由，我洗耳恭听。

【还有这里：关于JP的指法和声分析】

这个人弹的好、还比划打鼓、特别好玩^_^
【咬着把位+压着节拍器】
吉他弹的好的人、手比较快：
并没有提前离开旧的把位、但是好象能提前到达下一个把位
然后就有比别人充足的时间在新的把位动作、总是有富裕量
另外手看上去有劲道(长指爪、能疾弹^_^)：
把位抓的牢牢的、让人看上去心里有底


要是一直照Page就好啦^_^




光膀穿绣大牡丹花西装、绸缎喇叭裤！！这几个人学的特特特象象！！^_^估计贝司长得不像JPJ、悄悄躲起来啦猫在后面弹呢、哈哈


硬核球鞋、伞兵裤、周星驰民工背心！酷！^_^






小娃拍子蛮准呢、右肘动作稍有点小问题^_^






这有一个好玩的嘴solo的^_^
就这手歌子来说：Taylor Hawkins和John Bonham相比
Taylor Hawkins偏funk一些
这手歌子打得还可以、但是funk要是再多一点点、立刻就相当差啦！！
偏funk是许多新一代鼓手最大的问题：少不注意、就打油掉啦！！
具体来说：
- funk是音乐没有啦"3"的感觉：Jazz、blues、很多老摇滚的节奏驱动都是4-3的混合
3为4带来啦无穷的变化和节奏驱动力(如jimi的音乐)
但是funk、特别是那些油头滑脑的修正主义funk、吧3的感觉全部打没啦
- funk改变啦硬摇滚、金属等的"4"的感觉：我认为宁可硬、拙、重一些
也不要什么音乐都打那些funk groove！！^_^
很多现在的非主流、鼓都是一样的、这都是教条主义的funk groove害的^_^