John Bonham and John Paul Jones' isolated tracks from the song "Carouselambra", the fifth song of In Through the Out Door (1979). Support the channel with a donation: ko-fi.com/ludw...
There are reasons for that considering the two Rock Gods that played up front. Yhe people who know, know the Zeppelin sound was because of Jonesy, especially
Speed up the track and for the love of God, turn down Jimmy's power chords a little and turn up the bass and vocals... plus use sequencers and arpeggiators... and you have early Duran Duran. John Taylor in particular seems to have sprung fully formed and clad in armor (armed with an Aria) from JPJ's head.
A lot of great bands have a 'quiet one' who secretly holds everything together like glue, either musically or personally, when everyone else's virtuosity or ego threatens to blow it apart. They're usually, though not always, the bass player. See also: John Deacon, John Entwistle (why are they always called John?), Charlie Watts (oh okay, they're not), Ringo Starr ...
@@Postinaway It's called Funk. Bernie Edwards from the band Chic did everything for Duran and Power Station. Chic made the first ultimate funky bass line tune, "Good Times". And Led Zep stole a lot of songs from Black Blues artists from back in the day for witch they had to pay royalties. World's greatest cover band.
@@hellboundrubber4448 My first 45 rpm record purchase in my fairly lengthy life was "Le Freak" by Chic -- you don't have to tell me about funk. ;) Chic's Nile and Bernard were great rhythm artists and great producers; however, they were not primarily instrumental melodists. They seemed to be more about enhancing the sonic texture of a song while strictly stepping back into an accompaniment role rather than weaving countermelodies into their arrangements of a piece. Other American pop and R & B artists of the same day, with the Quincy Jones-Michael Jackson-Louis Johnson triumvirate springing quickly to mind, were more memorably melodic in their writing, as were British artists like Led Zep and on back to the Beatles under George Martin. Re: Power Station, it was Andy Taylor's venture in lead guitar after many years as a superb rhythm guitarist with Duran Duran (occasional brief bridge solos notwithstanding); ironically, with John Taylor it was the opposite, as working with Bernard as his mentor solidified his funk/slap technique but drove him off into rhythmland to the extent that it fed the canard (which some were dedicated to believing even in recent years) that ghost writers and arrangers had really written Duran Duran's songs in the band's heyday, rather than, as all we Gen X females knew, being the work of shockingly talented but fairly clueless young men who also happened to be very good looking! ;) John Taylor has always said Bernard inspired his playing, but while I think BE's playing and his classic bass grooves were astonishing, I hear nothing of them in JT's early playing. Moreover, Bernard did John no favors in allowing that "making of Power Station" video scene where is is clear that Edwards improvised and recorded the bass break in "Bang a Gong" which was used on the track while John sat there looking like Bernard's first year bass student. It is clear, there is a very stark line of demarcation between the Taylors' PS songs (Some Like It Hot, Communication, Still In Your Heart, and the Harvest for the World cover) and the Robert Palmer- Bernard Edwards tunes. John T has always said he was inspired by Chic's "Good Times", and while I can hear some Bernard elements that might have carried over -- the bouncy repeated notes, the playing of deep color tones in the bass rather than always the root notes of a chord -- I hear much more of Jones's and Johnson's melodic drive and ghost notes in JT's best work, which he had nearly abandoned by the time he left DD in the 90s.
One of John Paul Jones's masterpieces. The entire "In through the out door" album would deserve a suitable remix. I love this album, unlike many people. Thank you, anyway, for these isolated tracks. Thumb up, of course.
Being so radically different from Presence, I believe that In Through The Out Door was the beginning of the next evolution of Led Zeppelin. Such a shame we never got to see where it would wind up.
I read an interview with Page and he said that while he liked ITTOD he and Bonzo were of the same mind that it was too keyboard oriented and that they both wanted a more Rock sound in the next album. Unfortunately, as we all know, that never came to pass. Man, I would have LOVED to see what the band came up with on that next album!!!
Wasn't so much a new direction as it was Page and Bonham in the depths of substance abuse and unable to contribute to the songwriting process, so it was mainly Jones and Plant writing the songs. Jones had recently got a new synthesizer and was kind of enamored with it, hence the heavy synth influence on the album
I read an interview with Plant where he said the band was taking a direction that wasn't going "to be acceptable to the mass of fans" - wish it had happened.
You can hear so much nuance in the drumming during these isolated tracks. The ghost notes are tasty, and how he plays behind the beat is astounding. JPJ bass compliments Bonham perfectly.
It's weird listening to these old stems and noticing how they didn't fuss too much and occasionally left the odd slip-up in. These days everything is so sterile...pitch corrected....beat aligned....
today they craft lifeless bland soulless pasteurized processed music substitute Led Zeppelin was the very best and furthest evolution of feeling based music. They will always reign supreme in that regard, nobody has even come close. John Bonham and the chemistry between them was nothing short of magical.
Man would I love to get my hands on the rest of these isolated tracks. I always believed this song has so much power but the way it was recorded sounds like a blanket over it. Have almost every remastered version but they lack the explosiveness and true dynamics. Started playing with these tracks and results are awesome. Now I need to find the rest of the pieces of the puzzle..
This song has always been one of my absolute favs… and I agree…. Perhaps a real shift that was to bring LZ into the 80s in new and exciting ways. Don’t get me wrong, I like the bluesy side in the origins of the band but, like Rush, they were evolving on their own. I had tickets to see them in Michigan within weeks of JB’s passing. So sad. Might I also add… I think the more I’ve heard and read in the years since, JPJ was the unsung hero that drove so much in the band… and of the 4 brilliant guys… was sadly the least recognized outside of the band, that is.
Yes, this should have been included as a bonus track on the reissue - the rhythm section is quite buried in Page's mix of the song and you don't get to hear much of this with any clarity at all! Beautiful track, I would almost say it's better than the finished song.
I listened to this a few times when it came out, and didn't particularly care for it. Then one night I heard after getting really high, and I could hear every bass note perfectly. I sat there with my mouth hanging open. This song is proof that JPJ is the best bass player in rock.
If in life we all had music playing out loud as we walked I would buy the rights to this! I would walk every day and every night! My friends and neighbors would watch and listen with envy and say to themselves: “There goes one cool and happy bastard right there!”
Amazing! Sounds nothing like the song I have listened to thousands of times over the last 40 some years- I probably would have had a very hard time guessing!
Just bought you a coffee, Bro. Thanks again. If you could try Song Remains the Same, Dazed, Whole Lotta Love from the live TSRTS that would be awesome!! :)
@@ludwigson11 : Thank you. As a musician, it really helps to hear these epic performances in isolation. I actually do use MVSEP, but do mot get the same results you do. So thanks again.
Bass DEFINITELY needs to pumped up. Carousesalambra is at top 5 Zep song for me and I've listened to it a thousand times and the bass is just killer. Still...even on this mix you can barely hear it.
La prochaine fête à la maison c’est ´ carouselambra ´ , ´ achille last..’ ´many more time ´ , ´ song remains the same ´ , ´ celebration day ´ en versions bass / drums qui passeront la soirée .
Would be interesting to know for sure what tracks were laid down first. Sure seems to me that these rhythm tracks were first mainly cuz they are so tight in the groove together.
Yes, the finished song itself kinda lets this epic rhythm track down. If the song had been released on a maxi single, this absolutely should have been the B-side!
This tune is a JPJ bass solo disguised as a tune. Gotta say the keys he did over this are damn trippy. He could have been a techno/house music wizard..
Not a factor here of course, since this is drums and bass - but Robert was none too happy to realize that his lyrics were unintelligible in the released song. They are really buried in the mix, and he was proud of the lyrics. Can hardly understand a thing he sings.
The lyrics are profound and the delivery a masterpiece. Plant did a great job. The Song I can definitely put on repeat an hour straight when double dipped.
WOW! Whoever mixed this down, used a "TON-'O-GATES-'O-RAMAS" on Bonham's ORIGINALLY VERY OPEN drum sound...!!! Good for a disco dance floor, I assume. (???) BolsaChicaRadio
That gigantic bassline is one of the reasons they'd never try Carouselambra live. JPJ would certainly play the Yamaha GX-1, so the song would miss the bass, at least on the first of the three parts.
Don't forget those guys that backed up Jonesy and Bonzo either, they even tried to do some things on their own I believe, Plant and Page? Both having last names that start with the letter P, sounds a little fishy to me, but all and all I surmise The Four Lads did the kingdom proud.
Too bad this was buried in the mix. It was a great album but overproduced. Vocals were also buried on this song and on In The Evening. They should remix that record and let the instruments shine through. It emphasized synth too much, probalby because of the era.
Well said. I am a drummer and along with everything else he did, it was his sound that I loved the most. But this album was a major departure and let down. His drums sound flabby and tinny. Yes, Presence was the last one with the true Bonham sound, especially with ALS.
