Page finds true magic with Black Crowes
Emmett Malloy
Scene Music Critic
Particularly during its latter days, Led Zeppelin was the source of its own problems. By creating an elaborate, layered sound in the studio, the pioneering metal gods struggled to reproduce the mastery of its studio work in a live environment. Especially hampered and frustrated by the quartetÕs limitations in concert was guitar maestro, Jimmy Page. With only the backing of a bassist and a drummer, Page was overburdened with both rhythm and lead guitar responsibilities, and rarely in concert was he able to shine like he did in the studio.
Twenty years after drummer John BonhamÕs death (and consequentially the end of Led Zeppelin), Page found the blessing that he was always looking for Ñ a way to play Zeppelin in concert, without sacrificing the intense punch of the bandÕs studio work. With former vocalist Robert Plant happily enjoying a new life in an oldies cover band and former bassist John Paul Jones touring behind his first solo album, Page hooked up in late 1999 with the torchbearers of Southern rock, The Black Crowes. Basking in the richness of two extra guitarists and a keyboardist, Page was finally able to present Zeppelin classics in the full instrumental arrangements they deserved.
Touring in support of the groupÕs new album, Live at the Greek, Jimmy Page & The Black Crowes faced plenty of adversity even before stepping on stage at ChicagoÕs New World Theater for the June 24th opening night. Caught in a driving rainstorm (the show was rumored to be canceled because of the weather), concertgoers were all asking the same questions: Was it Zeppelin? Was it the Black Crowes with a new guitarist? Or was it possibly the worldÕs most expensive cover band (tickets were skimming the $100 range)?
What took the stage that rainy night in Chicago was a group of talented musicians who sounded more like the real thing than the Òreal thingÓ did. Opening with a ferocious rendition of Wanton Day, Page next demonstrated his six-string prowess with the thunderous guitar slide intro of ÒCelebration DayÓ. Within the fist 10 minutes of the show, the 56-year-old Page proved he was still the guitar powerhouse that he was more than 20 years ago.
However, Page would not have been able to take off on his solo flights without the help of Crowes guitarists Rich Robinson and Audley Freed, who together provided Page with the rhythmatic backbone that he could only dream of back in Zeppelin. By laying down the sonic foundation, the Crowes guitarists gave the Zeppelin epics such as IVÕs ÒMisty Mountain HopÓ and Physical GraffitiÕs ÒTen Years GoneÓ the space they needed to breathe. CrowesÕ keyboardist, Eddie Harsch also helped fill the groupÕs sound with some amazing licks on the organ.
Refusing to stand in Robert PlantÕs shadow, Crowes vocalist Chris Robinson delivered such Zeppelin classics as ÒHeartbreakerÓ and ÒIn My Time of DyingÓ in such a manner that honored the originals while making them his own. Despite his Mick Jagger-ish hippie dances, Robinson was a respectful interpreter of the Zeppelin catalogue. While at times sounding like a dead ringer for Plant, Robinson sang with the laid back, bluesy attitude heÕs known for with the Crowes.
Later on in the show, Page graciously returned the favor to the Crowes by stepping back and letting the Crowes roar through melodic classics like ÒRemedyÓ and ÒNo Speak No Slave.Ó Although a crowd pleaser, ÒShe Talks To Angels,Ó off the CrowesÕ debut album Shake Your Money Maker, was stripped of its acoustic integrity and instead given a strange dose of metal guitar. Furthermore, the groupÕs covers of old blues standards like ÒWoke Up This MorningÓ sounded out of place with the aural rock assault of Zeppelin material.
Making sure that all Zepheads went home happy, Page led the group through the frenetic fingerwork of ÒOut On The Tiles,Ó only to take them to Led Zeppelin heaven with a booming performance of the rock classic ÒWhole Lotta Love.Ó The groupÕs rendition was a note-for-note copy of album version, and it even featured the spacey sound effects during the bridge, which Page accomplished using some bizarre techniques and a metal rod.
In an era in the music industry when nostalgia is very lucrative as well as equally embarrassing (KISS comes to mind), it is easy to see why critics and fans alike have been somewhat skeptical of the Page/Crowes tour. However, the opening performance in Chicago immediately repudiated such claims that the tour was a way for Page to cash in on Zeppelin again. With one bandmate dead and the other two apathetic towards a reunion, he refused to let Zeppelin live only through the CDs. The June 24th Page/Crowes show was a celebration of the ZeppelinÕs legacy, and if it was a preview of the rest of the tour (which ends in New York early October), Jimmy Page and The Black Crowes have already exceeded all expectations placed on them.
All Scene Stories for Tuesday, August 29, 2000
