In Through The Out Door

[Jahfin]

Due to the guidelines of the site, I don't think we can promote links for "unofficial releases". But I do own close to 100 shows, half of which are great listens regarding sound quality and performance. The two Copenhagen shows they did just before Knebworth were some of the best ever. I can't provide you with a site or anything (although they are not hard to find) but youtube is safe to mention and there are a decent supply of full shows and sparatic songs. My favorite years are 69, 72, the european tour of 73 and 77. The 1980 tour has some good ones too depending on the date. 1970 and 71 are the hardest to find in good quality. 75 has some good soundboards but Plant suffered from throat problems for most of the ones I've listened too. Back to the ITTOD era, I recommend you find the two Copenhagen shows from 79.

I found a site a while back with some downloads, I just need to go back and sift through them. Thing is, and this is a problem I thought I'd never have but ever since the advent of the internet, I've accumulated more music than I can ever possibly listen to (I'm referring here to friends gifting me with music, not downloads). Hell of a problem to have but there you go.

[kaiser]

I want to get Dave Lewis's "Feather In The Wind - Over Europe 1980" book. It's a limited edition apparently. There's so little info available regarding the last year of the band as far as press & published photos. The book has 250 pictures of the tour in it, some were published in Classic Rock Magazine a few months back & they looked great. And Dave Lewis is a great chronicler of the band as far as his writing, just the facts, no conjecture, just tells it how it happend in all his articles on the band. To most of us that tour wouldn't have even existed if not for the bootlegs that came out in the late 80's.

[kaiser]

http://youtu.be/WHGRSkxZ1Lw

[kaiser]

http://youtu.be/K7KZCNb9o50

The extended outtake for those who could use a little more love in their lives via a guitar outro. Haters are gonna hate...

[kaiser]

http://youtu.be/ov1L4kRpM

Well that link didn't work...

[kaiser]

I am just defending my view on ITTOD. Kaiser on the other hand has the much more difficult postion to defend. Especially the part where ITTOD is better than LZ2. OUCH!

I think you just aren't listening to what I have been saying; you keep getting my points wrong, and are too quick to draw false conclulsions.

Regarding Presence: What I said was that in my opinion Led Zep 1 through PG represented the very best six album run as has ever occured by any band. If they had retired after PG it would have been one hell of a accomplishment. Presence then was for me just "extra". It is an okay album, but nothing really great; I only like two of the songs on it. But I never said that it was intended as outakes or extra material like Coda was; you just didn't read correctly what I was saying. Presence represented the end of the line for me in terms of Zeppelin's career, and ITTOD only proved it ... in my opinion.

Is that better?

I understood completely what you were TRYING to say, you just didn't say it & I asked you to explain it several times to make your point clear but rather than doing that you would just barrel on with something else. I agree that LZ1-PG is the classic run, Presence is a big drop off for me yet I'm a fan of ITTOD. I know you never said either was ever intended as outtakes or extra material, I didn't think you were saying that, but now you have made yourself clear so their is no misunderstanding here for myself or anyone else who read your comments. Better? Most definately.

Edited as I didn't see that top bit at first. There's nothing to defend about either LZ2 or ITTOD, you either like both, prefer one to the other, or dislike both. I prefer one to the other. Nothing to defend here, & no one else should either for having a preference or liking or disliking something... & that's a point I have made several times & unfortunately I'm doing it yet again.

[SuperStatic]

I've always found ITTOD to be one of the more interesting works by the lads. I have no proof but I always feel the album was very much a Robert Plant influenced piece (although JPJ obviously had a lot of effort in it as well), I can hear some of his later solo effort in there, I swear I can, esp his earlier work. Little nods to what he would focus on in the future.

Oddly enough I could hear the same "nods" to the future in Jimmy's effort as well. The opening segment from Lucifer Rising springs to mind (for some reason I always had the idea that Presense, LR and Outrider share a connection, dont ask me why). And his overall "taking a back seat" (His scarce and understated Solo efforts or effort to be exact). Dunno its just my ideas and of course could be totally off.

But I love the album, just not as much as some of their other stuff, but it holds its own as an experimental effort. But unlike a lot of other fans I wouldnt have wanted them to use it as a template for their standard future albums, would have worn thin pretty quickly IMO.

[the chase]

I've always found ITTOD to be one of the more interesting works by the lads. I have no proof but I always feel the album was very much a Robert Plant influenced piece (although JPJ obviously had a lot of effort in it as well), I can hear some of his later solo effort in there, I swear I can, esp his earlier work. Little nods to what he would focus on in the future. Oddly enough I could hear the same "nods" to the future in Jimmy's effort as well. The opening segment from Lucifer Rising springs to mind (for some reason I always had the idea that Presense, LR and Outrider share a connection, dont ask me why). And his overall "taking a back seat" (His scarce and understated Solo efforts or effort to be exact). Dunno its just my ideas and of course could be totally off. But I love the album, just not as much as some of their other stuff, but it holds its own as an experimental effort. But unlike a lot of other fans I wouldnt have wanted them to use it as a template for their standard future albums, would have worn thin pretty quickly IMO.

I agree completely.

In The Evening remnds me of Who's to Blame from DW2.

I also hear Robert's influence all over this album.... Much more than anybody else..... and rightfully so.

He had alot going on in his life at the time. Life changing events.

[Rock Historian]

If you understood what I was saying, then why did you ask me to repeat it? I have noticed that you do that with everyone else who also posts an opposing view to yours. If there is something that you didn't understand in my post, ask a specific question for clarification. "Barreling on" seems to be what your responses/posts look like; making 5 -10 counter points without a breath or a paragraph break.

Lets talk music!

[Rock Historian]

You started this discussion, did you want to go deeper into analyzing music from ITTOD?

Sure, it's music, isn't it?

[kaiser]

If you understood what I was saying, then why did you ask me to repeat it? I have noticed that you do that with everyone else who also posts an opposing view to yours. If there is something that you didn't understand in my post, ask a specific question for clarification. "Barreling on" seems to be what your responses/posts look like; making 5 -10 counter points without a breath or a paragraph break.

Why? I already explained that you didn't make yourself clear & when I asked you to respond to that query you repeatedly ignored it, unlike when you asked how I could like some songs over others I responded immediately to make myself perfectly clear. I'm wasn't going to assume my hunch on what you meant was correct, I wanted no doubt that my hunch on what you said was correct. When you ignored my repeated requests, as you sidstepped the question which opened up other possible interpretations as to what you meant, you would launch into something else after each time I asked. Now you answered it, no more sidestepping, so it's clear. It could have been cleared up the first time I asked, not several times later as it was... but it's done.

[kaiser]

It's not that I intended to ignore your repeated questions, but I feel that if you took more time to read (listen to) my posts before snapping out another response, you would see that you already had the answer.

It appeared that you did ignore my requests but I'm glad you responded as it's now cleared up. I had to explain myself several times throughout the thread over my preferences, an analogy I made, etc to make it clear with others. If they didn't agree or like my cleared up explanation, fine, but in the end I made myself clear so there was no room for their interpretation. I now don't have to interpret your earlier statement, it's clear, even if I still don't agree with all of it. Anyway, again thank you for clearing it up. I'm fine to move on from this.

[Sagittarius Rising]

After deep analysis. the reading of the tarot, I-Ching, star charts for Nov - Dec1978 when the album was recorded, and of course my trusted Ouija board and assorted entrails this is my scientific conclusion: This music represents what the band were doing at that time and is damn good music in a different direction than what most Zep fans are / were used to. There you go, and if you don't believe me Jesus also came down and told me as well.

Now let's move on to more important issues...how about a spelling contest???

[Rock Historian]

1.) In the Evening - A common Zeppelin style groove with a solid bass line and simple driving drums. Very unique intro and use of the tympani/orchestra drums with the flange effect on top. One of the few songs recorded with Page playing a strat. Great use of the whammy bar. Let's not forget the riff-which most Zeppelin songs are built around. The middle/break section shows the light and shade contrast, how they could go from heavy to light as a feather with some nice chords and colors-back to heavy again. Plant's lyrics and vocals are also powerful with a take no prisoners attitude. Great opening track.

2.) South Bound Suarez - Not your typical Zeppelin tune. A southern rockabilly (New Orleans) style stomper with some nice guitar work. It's a fun tune to listen too. Not a direction that is suitable, but they seem comfortable and confident in the heart of the song. Nice piano work by Jones, and again some good vocal work. Bohnam steps it up mid-way through with the triplet bass drum beats and consistant 16th notes on the hi-hats throughout the song. Cool solo by Page with the "twangy" tone fits in nicely for this type of song. Not a classic peice of work, but worth listening to for the sake of the enjoyment and obscurity it represents.

3.) Fool in the Rain - The closest thing to a Zeppelin pop song although it's done with taste. A piano driven riff, Page lays low following Jones until his solo mid-way through with the use of an MXR Blue Box effect pedal to produce the octave sound which almost sounds like a bass guitar is playing right along with every note. A very cool samba beat breaks in before Page's stand out moment to produce some unbelieveable drum and piano work. A very unique and original tune that shows once again how versatile Zeppelin where.

4.) Hot Dog - Not to be taken too seriously. A rendition of country/rockabilly which emerged from pre-production rehearsals-running through Elvis and Ricky Nelson tunes. Page uses a device called a B-Bender on the solo. Plant devoted some of the lyrics to a girl he knew, Texas and U-Haul. That alone classifies it as nothing more than a fun track. One of the most unpredicatable and unlikely numbers in the Zeppelin cataloge. Not completly horrible but by Zeppelin standards, not their finest of moments.

5.) Carouselambra - Driving track from the very first keyboard note. One of the longest recorded songs by Zeppelin, coming in around 10:38. Page's guitar and Plants vocals are almost buried in the mix which makes it difficult at times to hear. However, these are some of Plant's deepest lyrics that represent his feelings of family, loss of a child and the rebuiling of his place within his music. Broken into three sections-the first and last being keyboard driven-the middle section has a classic Page moment, with a simple yet monster riff that takes over the song, until it changes completely into something new for the final section of the tune. Some incredible drum work by Bonham and a fluid, progressive bass line by Jones drive the song into submission.

6.) All my Love - A true artistic expression of loss from Robert Plant. Written for his son Karac, it is a nice ballad that remains one of Plants finest moments as a vocalist. A keyboard based song with Page revealing some nice complimentary notes throughout the song for color, along with some nice acoustic work. The keyboard solo is a memorable, note for note moment that has taste and class written all over it. It's the kind of thing you can hum to yourself. It gives the song a slight boost mid-way through. Not a direction common for Zeppelin, but In it's own place-it's a nice track.

7.) Im Gonna Crawl - Fantastic blues with modern synthesizers, gives this track a fresh sound. Some great/classic solo work by Page and nice colors throughout. Bonham is playing off of Plant's vocals, building up the tension and releasing it as the song moves through it's emotions. Plant is very dramatic and powerful. He lets out a great scream towards the end of the tune that has me wanting to listen again and again. Not alot of guitar overdubs here. Just a straight up modern blues tune with emotion and confidence- as Plant croons on about his lady giving him good lovin' and doing anything to get back to her - even if he's gotta crawl!!! . A great "getting back to their roots" ending to an album full of experiments and change.

[Jeff George]

In through the out door is my least favorite. Physical Graffiti being my favorite with Houses and III a close second. I like In The Evening and Fool in the Rain a little. But compared to the studio stuff of the late 60's early 70's, to me there is no comparison. I always wondered what they would sound like if John Bonham didn't pass. After ITTOD, I wouldn't expect anything mind-blowing from them. I think their best work was behind them. But who knows?

I once read Jimmy Page did not like the direction the band was going on In Through The Out Door. I can't say I blame him. Hot Dog is just awful as well as quite a few tracks on that album.

[Jeff George]

I wasn't really keen on " All my Love "

Jimmy Page

[Electrophile]

In The Evening is in my Top 5 Led Zeppelin songs of all time.

[Jeff George]

Of course it is.

"The whole universe is a giant guitar" (Utopia, 'Last Of The New Wave Riders')

I couldn't agree more! Rock n Roll in general wouldn't exist without the guitar and tube amps.

[ally]

In The Evening is in my Top 5 Led Zeppelin songs of all time.

That and I'm Gonna Crawl.....they oooz Zeppelin

[fenderbass]

1.) In the Evening - A common Zeppelin style groove with a solid bass line and simple driving drums. Very unique intro and use of the tympani/orchestra drums with the flange effect on top. One of the few songs recorded with Page playing a strat. Great use of the whammy bar. Let's not forget the riff-which most Zeppelin songs are built around. The middle/break section shows the light and shade contrast, how they could go from heavy to light as a feather with some nice chords and colors-back to heavy again. Plant's lyrics and vocals are also powerful with a take no prisoners attitude. Great opening track.

2.) South Bound Suarez - Not your typical Zeppelin tune. A southern rockabilly (New Orleans) style stomper with some nice guitar work. It's a fun tune to listen too. Not a direction that is suitable, but they seem comfortable and confident in the heart of the song. Nice piano work by Jones, and again some good vocal work. Bohnam steps it up mid-way through with the triplet bass drum beats and consistant 16th notes on the hi-hats throughout the song. Cool solo by Page with the "twangy" tone fits in nicely for this type of song. Not a classic peice of work, but worth listening to for the sake of the enjoyment and obscurity it represents.

3.) Fool in the Rain - The closest thing to a Zeppelin pop song although it's done with taste. A piano driven riff, Page lays low following Jones until his solo mid-way through with the use of an MXR Blue Box effect pedal to produce the octave sound which almost sounds like a bass guitar is playing right along with every note. A very cool samba beat breaks in before Page's stand out moment to produce some unbelieveable drum and piano work. A very unique and original tune that shows once again how versatile Zeppelin where.

4.) Hot Dog - Not to be taken too seriously. A rendition of country/rockabilly which emerged from pre-production rehearsals-running through Elvis and Ricky Nelson tunes. Page uses a device called a B-Bender on the solo. Plant devoted some of the lyrics to a girl he knew, Texas and U-Haul. That alone classifies it as nothing more than a fun track. One of the most unpredicatable and unlikely numbers in the Zeppelin cataloge. Not completly horrible but by Zeppelin standards, not their finest of moments.

5.) Carouselambra - Driving track from the very first keyboard note. One of the longest recorded songs by Zeppelin, coming in around 10:38. Page's guitar and Plants vocals are almost buried in the mix which makes it difficult at times to hear. However, these are some of Plant's deepest lyrics that represent his feelings of family, loss of a child and the rebuiling of his place within his music. Broken into three sections-the first and last being keyboard driven-the middle section has a classic Page moment, with a simple yet monster riff that takes over the song, until it changes completely into something new for the final section of the tune. Some incredible drum work by Bonham and a fluid, progressive bass line by Jones drive the song into submission.

6.) All my Love - A true artistic expression of loss from Robert Plant. Written for his son Karac, it is a nice ballad that remains one of Plants finest moments as a vocalist. A keyboard based song with Page revealing some nice complimentary notes throughout the song for color, along with some nice acoustic work. The keyboard solo is a memorable, note for note moment that has taste and class written all over it. It's the kind of thing you can hum to yourself. It gives the song a slight boost mid-way through. Not a direction common for Zeppelin, but In it's own place-it's a nice track.

7.) Im Gonna Crawl - Fantastic blues with modern synthesizers, gives this track a fresh sound. Some great/classic solo work by Page and nice colors throughout. Bonham is playing off of Plant's vocals, building up the tension and releasing it as the song moves through it's emotions. Plant is very dramatic and powerful. He lets out a great scream towards the end of the tune that has me wanting to listen again and again. Not alot of guitar overdubs here. Just a straight up modern blues tune with emotion and confidence- as Plant croons on about his lady giving him good lovin' and doing anything to get back to her - even if he's gotta crawl!!! . A great "getting back to their roots" ending to an album full of experiments and change.

a pleasure to read this. good song by song write-up! carouselambra, in the evening and i'm gonna crawl are my best 3

[Deborah J]

Hi Rock Historian:-) I also enjoyed your post^^^

[Rock Historian]

What a coincidence! This is the second thread where you have just suddenly appeared to defend Rock Historian's posts.

Just saying.

so, nobody has a right to comment on this thread, unless they want to disagree with me?? is that what your trying to say?

boy, you don't give up do you-like i said, you DO hold a grudge. are you gonna follow me around the forums now???

let it go son, leave me be-im just fine here without you-

keep up the arggravation and i will be right there with reggie29 who also gave you a MODS warning- talk about a coincidence.......

[Rock Historian]

As I mentioned elsewhere that I might (the Rush thread I think), I have had a play around with Carouselambra.

After some judicious pruning, it is now just under 8 minutes long - 7.56, I think. About 25% shorter, in other words.

I would like to share this with other posters who have said they don't like the song, to see what they think of my 'fat free' version, but I'm not sure how to go about this without getting shafted for copyright infringement. Can anyone let me know whether it would be ok to post it on Youtube, or to provide a Megaupload link?

Thanks!

I don't see why you wouldn't be able to post that on youtube. There are plenty of edited, remixed, etc.etc versions of just about anything. Also, if there are tons of unreleased tunes (you know what I mean) on there, I don't see the problem. You may have to state in your upload description that it was edited, just incase it is mistaken as the real deal. That's my thought on that- also would like to hear it.

[Rock Historian]

Ok, well I will try to put it on Youtube later, when my son gets home. I have never upped to Youtube. I tried making a 'movie' of it in Windows Movie Maker, but it won't save. He will know what to do. And maybe he can do a better job than me of synching the Zep track to my rap overdubs, can't seem to get them in the right places

Either that, or I can up it to Megaupload. Even a nut-sack like me knows how to do that, LOL.

Cool, post it! the more rediculous sounding, the better.

[Electrophile]

Let me guess; not a fan of the samba whistle? I find that bit a tad silly too, but it adds to the overall infectious joy of the song.