In Through The Out Door

[slave to zep]

I have come to my senses............

ITTOD is a perfect Zeppelin album, just like the rest of their albums are perfect. Nothing they ever did is bad in any way shape or form. Every studio bootleg recording is also perfect.

Every live show recording available is perfect, either authorized or private. Nothing they ever did was not the greatest rock recording every made.........until the next recording they made which would then be the perfect one.

There is never a need or reason to question any song sequence to any of their LP's, ever. Every former member of Zeppelin should always rank Number 1 in any poll...........forever.

Percy ought to give up his nonsense roots/blues/swamp music that he's currently into and agree for a Zep reunion tour............a reunion tour that should go on until they can no longer play anymore.

Everything is beautiful.

[dazedcat]

I know Slave, it's just easier this way

[tmtomh]

This thread is a bit like ITTOD itself: lots of good ideas, but also a couple of overly long, endlessly repeated, not-terribly-interesting riffs that don't really seem to accomplish much. For those who find Carouselambra tedious, just read the back-and-forth about fact vs. opinion and who is a better fan, and you'll have the same experience. :-)

Seriously, though, I find the song analyses more compelling than the overall album assessment.

I think In the Evening is a fantastic song and certainly belongs in the pantheon of great Zep openers. Say what you will, but this band knew how to begin an album. When a great song like Custard Pie (or I suppose TSRTS or ALS, depending on your taste) is the "weakest" opening song in a band's career, that's saying something!

Whenever I listen to Fool in the Rain, I smile - can't get more subjective in evaluation than that I suppose, but I think it's a great song. Not a "typical" Zep song, perhaps. But I think it's got a great pop riff, and Bonham's drum fills make it uniquely Zep - pop on top, sledgehammer foundation. I've never heard another "pop" song like it and I doubt we ever will. As for the samba whistle, don't forget the massive popularity of Pele and Brazilian football (soccer) at the time. Football was a passion of Plant's - and remember those rehearsal pics of him wearing the Brazil team t-shirt? Overall I think this is just another example of their globe-trotting experimentation, from '72 Bombay onwards.

As for Carouselambra, I've never liked it, but I totally understand why others do like it. I respect the infusion of synths, and I also like the lyrics as well as the Eastern influences. For me personally, though, the three components just don't come together in a package I'm drawn to.

Finally, as for swapping tracks, I think Wearing and Tearing is a fantastic song (except for the 8 seconds of Plant slurring "medication!" at the end), and would've been great either as the last track on Side 1, or the 2nd to last track of the album. It also would've been interesting to see Bonzo's Montreux on Side 2, in roughly the same spot as Moby Dick had been. Finally, I think Hot Dog, South Bound Saurez, Darlene, and Ozone Baby are all more or less interchangeable in terms of setting the tone on the record. I would say any two would suffice, and my personal choices would be Darlene and Hot Dog.

[Walter]

Jumping in at the deep end, for your first post here, aren't you tmtomh?

Enjoy yourself and welcome!

[tmtomh]

Yeah, I thought of that, but too late!

And thank you very much for the welcome. Hopefully I won't wear it out! :-)

[kaiser]

This thread is a bit like ITTOD itself: lots of good ideas, but also a couple of overly long, endlessly repeated, not-terribly-interesting riffs that don't really seem to accomplish much. For those who find Carouselambra tedious, just read the back-and-forth about fact vs. opinion and who is a better fan, and you'll have the same experience. :-)

Seriously, though, I find the song analyses more compelling than the overall album assessment.

I think In the Evening is a fantastic song and certainly belongs in the pantheon of great Zep openers. Say what you will, but this band knew how to begin an album. When a great song like Custard Pie (or I suppose TSRTS or ALS, depending on your taste) is the "weakest" opening song in a band's career, that's saying something!

Whenever I listen to Fool in the Rain, I smile - can't get more subjective in evaluation than that I suppose, but I think it's a great song. Not a "typical" Zep song, perhaps. But I think it's got a great pop riff, and Bonham's drum fills make it uniquely Zep - pop on top, sledgehammer foundation. I've never heard another "pop" song like it and I doubt we ever will. As for the samba whistle, don't forget the massive popularity of Pele and Brazilian football (soccer) at the time. Football was a passion of Plant's - and remember those rehearsal pics of him wearing the Brazil team t-shirt? Overall I think this is just another example of their globe-trotting experimentation, from '72 Bombay onwards.

As for Carouselambra, I've never liked it, but I totally understand why others do like it. I respect the infusion of synths, and I also like the lyrics as well as the Eastern influences. For me personally, though, the three components just don't come together in a package I'm drawn to.

Finally, as for swapping tracks, I think Wearing and Tearing is a fantastic song (except for the 8 seconds of Plant slurring "medication!" at the end), and would've been great either as the last track on Side 1, or the 2nd to last track of the album. It also would've been interesting to see Bonzo's Montreux on Side 2, in roughly the same spot as Moby Dick had been. Finally, I think Hot Dog, South Bound Saurez, Darlene, and Ozone Baby are all more or less interchangeable in terms of setting the tone on the record. I would say any two would suffice, and my personal choices would be Darlene and Hot Dog.

Great post Welcome.

[tmtomh]

Great post Welcome.

Thanks!

[Rock Historian]

This thread is a bit like ITTOD itself: lots of good ideas, but also a couple of overly long, endlessly repeated, not-terribly-interesting riffs that don't really seem to accomplish much. For those who find Carouselambra tedious, just read the back-and-forth about fact vs. opinion and who is a better fan, and you'll have the same experience. :-)

Seriously, though, I find the song analyses more compelling than the overall album assessment.

I think In the Evening is a fantastic song and certainly belongs in the pantheon of great Zep openers. Say what you will, but this band knew how to begin an album. When a great song like Custard Pie (or I suppose TSRTS or ALS, depending on your taste) is the "weakest" opening song in a band's career, that's saying something!

Whenever I listen to Fool in the Rain, I smile - can't get more subjective in evaluation than that I suppose, but I think it's a great song. Not a "typical" Zep song, perhaps. But I think it's got a great pop riff, and Bonham's drum fills make it uniquely Zep - pop on top, sledgehammer foundation. I've never heard another "pop" song like it and I doubt we ever will. As for the samba whistle, don't forget the massive popularity of Pele and Brazilian football (soccer) at the time. Football was a passion of Plant's - and remember those rehearsal pics of him wearing the Brazil team t-shirt? Overall I think this is just another example of their globe-trotting experimentation, from '72 Bombay onwards.

As for Carouselambra, I've never liked it, but I totally understand why others do like it. I respect the infusion of synths, and I also like the lyrics as well as the Eastern influences. For me personally, though, the three components just don't come together in a package I'm drawn to.

Finally, as for swapping tracks, I think Wearing and Tearing is a fantastic song (except for the 8 seconds of Plant slurring "medication!" at the end), and would've been great either as the last track on Side 1, or the 2nd to last track of the album. It also would've been interesting to see Bonzo's Montreux on Side 2, in roughly the same spot as Moby Dick had been. Finally, I think Hot Dog, South Bound Saurez, Darlene, and Ozone Baby are all more or less interchangeable in terms of setting the tone on the record. I would say any two would suffice, and my personal choices would be Darlene and Hot Dog.

Good post for a "newbie" or otherwise... i appreciate and respect your opinion on this. I'm in the Carouselambra "thumbs up" camp, as I'm sure your aware of after reading the thread. I like it for all the reasons you mentioned, and I'll admit that the last section does sound a little off key to me put up against the first and second section-it has a sort of "goofy" sound to the keys, but it grew on me after a number of listens. I think it's one of the most challenging, advanced-risk taken tunes they ever recorded. The mix could have been better, but if you listen to what's going on in that song-every instrument is a fuckin beast. The drums, the progressive walking bass line the colors of the guitars weaving in and out - with it's middle eastern tone (he played the double-neck on this one) , and the lyrics. I think it's one of their finest accomplishements and vastly underrated-regardless of the majority that sides against it. It will always be a favorite of mine. And thanks for the input on Wearing and Tearing. I think it would have fit just proper on the album.

[tmtomh]

I think it's one of the most challenging, advanced-risk taken tunes they ever recorded. [...]. I think it's one of their finest accomplishements and vastly underrated-regardless of the majority that sides against it.

Thanks for your kind words; and I agree with what you say about the track - undeniably a bold, challenging song in the best spirit of the band's experimental history.

[dazedcat]

Another way to look at Carouselambra is like this; when Page along with George Marino personally remastered the Zep catalogue for that 1990 box set (which was a huge thing at that time), Page personally hand selected the various Zep tunes himself for that box set.

Carouselambra was left off, but Ozone Baby and Wearing and Tearing were included.........interesting ain't it.

Of course, he left Good Times Bad Times off of it too, but that's probably fodder for a different thread, if ever.

[dazedcat]

I honestly don't know. Box 2 seemed like filll in for the missing tunes, little more than that. Of course, I had to have that one too though. Those two sets have been my CD Zeppelin experience, I've never bought any other catalogue re-issues, never felt the need to.

[Jahfin]

I honestly don't know. Box 2 seemed like filll in for the missing tunes, little more than that. Of course, I had to have that one too though. Those two sets have been my CD Zeppelin experience, I've never bought any other catalogue re-issues, never felt the need to.

Nor have I.

[tmtomh]

Of course, he left Good Times Bad Times off of it too, but that's probably fodder for a different thread, if ever.

Yeah, what on earth was up with that? Never understood it.

As for OB and W&T being put on and C being left off, never thought about that before - good point! I wonder if he thought it was just one too many 7+ minute tracks (SIBLY, ALS, Kashmir)... of course that doesn't explain him not wanting it on Box Set 2 though...

[tmtomh]

Re GTBT, I think that was a marketing ploy to induce purchasers of the 4CD set to buy the 2CD 'Remasters' set as well, because GTBT was on that. I can't recall the durations of the 4 CDs - I'm pretty sure they were nearly full, and maybe I'm wrong here, but I expect they could've squeezed 2.43 more onto one of them.

Anyway, there were far more egregious omissions than GTBT, IMO - The Rover, to name but one.

That's what I always thought about GTBT - but I thought maybe I was crazy because it was just one song. The timing on the 1st CD (and the first three sides of the LP version) doesn't have 2:43 to spare - but over the course of the entire set I'm sure they could indeed have figured it out.

And The Rover - never thought of that; indeed another egregious omission. I suppose if hard-core fans had determined the track selection, there would've been a less even distribution of songs from each album (more from I and PG, fewer from ITTOD I presume).

[dazedcat]

Well, the two BBC tracks took up space but seeing as I'm sure they wanted some new content at that time they were necessary. "White Summer/Black Mountain Side" I could have done without if digital space was needed for a couple other omitted classics but that's just me. "Travelling Riverside Blues" was a keeper though.................

[zepscoda]

Carouselambra is one of my favorite tracks, takes me on a journey every time I hear it. It would have been played on the 1980 North American tour….what may have developed from those live jams could have launched the band into a new genre of music never known before, in my opinion ….but sadly we’ll never know……

Clearwater castle 1978:

[Dallas Knebs]

Bonham seemed to enjoy the opportunity

[zepscoda]

Yea, I love the drum rolls in Carouselambra, they seem to dance together with the beat so fluid like.

[Charles J. White]

The entire album is perfect. It clearly showed that Zeppelin had artistic roads to travel down as the 1980's were upon them, I love the whole fucking album to be honest - Carouselambra is actually one of my top 10 Zeppelin songs

[Dallas Knebs]

the bridge in Carouselambra is ridiculously deep- minimalist in structure redonkulous in touch

[Rock Historian]

the bridge in Carouselambra is ridiculously deep- minimalist in structure redonkulous in touch

I don't care what anybody says...That is a KILLER song...even though it might drag on a little too long, the three transitions of each section are so different from one another. I've written about this gem several times within this thread I created. Being a musician, I can appreciate this song and even though Page has minimal input, those two chords he hits at 4:21 and 4:25 (repeated throughout that section) send me chills. The bass playing is some of JPJ's finest work, and Plant's lyrics are some of the deepest. (where was your helping, where was your bow....) I'll go have another listen..............

[paul carruthers]

In Through The Out Door is my second favorite Zep album after Houses of the Holy. I don't know if I can put into words why I love it so much but here goes. The one word I remember hearing about ITTOD before I ever bought it was how "different" it was compared to other Zep albums. ITTOD is indeed "different" compared to the heavy bluesness of the first two albums or even the untitled fourth album, but what I came to appreciate about Zeppelin over time was how "different" alot of their latter days output was compared to their earlier work.

Frankly, I don't think Zeppelin would've been as great as they were if every album sounded the same. As for ITTOD, I love the much carped about use of synthesizers/keyboards/piano that's prevalent throught the record. To me it adds a dimension that was lacking from their previous album Presence, not that I'm knocking Presence, it's a great album in its own right, just a little one dimensional imo.

From the opening of In The Evening, to the closing moments of I'm Gonna Crawl and that blistering solo by Page, ITTOD proves to be a very worthy entry in the Zep catalog. And for me, Carouselambra is in my top five as far as Zep songs go. Thinking about it, if I had to make one change, I probably would swap South Bound Saurez for Darlene. Not that I don't like SBS, but to me it's my least favorite track of the album. I'll just wrap this up by saying I think ITTOD is a masterpiece and shows that times change and so do many great artists over the course of their careers. Led Zeppelin was no different.

[Dallas Knebs]

I will tell you this... the moment my room mates and I put the stylus on the vinyl and cranked ITTOD- the few moments of silence prior to the fade in of Bonham's tympani on In The Evening and then the vocals- best LZ intro ever for a first listen to an LP.

We had all agreed not to look at the liner/sleeve/packaging. Set the album on the turntable, dropped the stylus, cranked the volume... waiting....waiting.... << fades in and up to vocals >> and bam.

Loved it and still do. On first listen, felt like the LP was a few tracks short. We looked in the package to make sure we weren't missing another LP.

[The_Doc]

I don't care what anybody says...That is a KILLER song...even though it might drag on a little too long, the three transitions of each section are so different from one another. I've written about this gem several times within this thread I created. Being a musician, I can appreciate this song and even though Page has minimal input, those two chords he hits at 4:21 and 4:25 (repeated throughout that section) send me chills. The bass playing is some of JPJ's finest work, and Plant's lyrics are some of the deepest. (where was your helping, where was your bow....) I'll go have another listen..............

I agree, this is one of my favorite songs by them and without a doubt my favorite on this album. I also wonder what this song would have sounded like live and the jams they would have on it.

When I hear this it makes me think of the pop songs of the 80's and again how ahead of their time they were. Human League anyone?

My favorite rift of the song is the one that comes at 7:57 of the song.

[Duffy12]

The entire album is perfect. It clearly showed that Zeppelin had artistic roads to travel down as the 1980's were upon them, I love the whole fucking album to be honest - Carouselambra is actually one of my top 10 Zeppelin songs

. And for me, Carouselambra is in my top five as far as Zep songs go. Thinking about it, if I had to make one change, I probably would swap South Bound Saurez for Darlene. Not that I don't like SBS, but to me it's my least favorite track of the album. I'll just wrap this up by saying I think ITTOD is a masterpiece and shows that times change and so do many great artists over the course of their careers. Led Zeppelin was no different.

Same here.

Carouselambra is an absolute blistering masterpiece! Both this song and 'In the Evening' I would place in my top 10 Zep favorites.

Though I do have to wonder that had tragedy not stuck, if they had probably just one more great album in them to make before the goofiness of the 80's changing style of music would have ruined them. Like what happened to RUSH because of those synthesizers.

Also I like to wonder just how more awesome 'In Through the Out Door' would have been had it been combined with 'Coda' to make their 2nd studio double album.

.