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"The Pop Life" (Coda review)


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"The Pop Life" Coda review

New York Times Dec 8, 1982

by Robert Palmer

AMERICAN record retailers have been waiting for several years now for a new album from the British supergroup Led Zeppelin. It doesn't really matter that the group has been officially defunct since the death of its drummer, John Bonham, in 1980.

Nor does it matter that Led Zeppelin's blues-based style and emphasis on flashy, bombastic guitar and drum solos have been reduced to cliche by younger heavy-metal bands and ridiculed as both excessive and hopelessly outmoded by punk and new-wave rockers. Out there in America's heartland, the majority of teen-age rock fans still prefer Led Zeppelin and bands that are even older - the Who, the Rolling Stones - to the current crop of rock performers. These teen-agers have made Led Zeppelin's early 1970's hit ''Stairway to Heaven'' the most requested song on FM radio, and they are the record buyers that retailers have been hoping to attract with ''new product'' from the band.

''Coda,'' recently released by Swan Song/Atlantic, is the first album of Led Zeppelin material since John Bonham's death, and a timely answer to the prayers of record-store owners, record executives dismayed by the continuing sales slump and America's white male teen-agers. It did not have to be very good to be just what the dfctor ordered, and it isn't. It consists of eight previously unreleased tracks, four from Led Zeppelin's early years, 1969-72, and four from 1976-78. These are essentially leftovers, tracks recorded for earlier albums and not included for one reason or another.

Most of the music on the album's first side is turgid British blues; some listeners will find the side skimpy at just under 15 minutes, but others will find it mercifully brief. The more recent material on Side 2 is much better. ''Darlene'' is the album's highlight, a simple, straightforward rock and roll number with echoes of the 1950's rockabilly so admired by Led Zeppelin's lead vocalist, Robert Plant. Jimmy Page, always a proficient guitarist, is much more impressive on ''Darleen'' and the somewhat similar ''Ozone Baby'' than he is recycling blues cliches on Side 1, and the more rocking material also suits the band's rhythm section better.

Nevertheless, there really isn't much first-rate music here for the price of an album. But try telling that to the teen-age rock fans who are flocking to buy ''Coda,'' which is already zipping up the bestseller charts and will almost certainly be one of the biggest hits of the holiday season. The album's success dramatically underscores the very curious state of pop music today. New music is appealing mostly to an older, more literate audience in the big cities, while the younger fans in the hinterlands cling to the groups and sounds that appealed to their older siblings and, in the case of bands like the Rolling Stones and the Who, to their parents.

At best, ''Coda'' is just what its title says, a coda, a kind of musical postscript to the band's career that ought to appeal primarily to die-hard fanatics and collectors. The fact that it was one of the most eagerly awaited rock albums of the past few years and is selling like hot cakes says more about the remarkable conservatism of today's pop music than it does about the accomplishments of Led Zeppelin.

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I did read something about how in '79 record sales were so low because so many new bands were trying to break in with the new punk/wave movement such as the sex pistols and the cure that although records were selling, not one TRUE record was selling. There was so much competition that no record labels could really find a name to sell for big $.

You had Sex Pistols, Minor Threat, Misfits...And you had The Cure, etc. etc. All on different labels trying to make a buck. (damn the greed!) I think the originality was gone at this point because of pressure from the record companies on the bands to make a hit! ...And then Led Zep. came back to save the day. I'm sure some great albums were made in '79 such as Pink Floyd The Wall, I was only 2 at the time, even today ITTOD and Floyd's The Wall are the only albums which people my age are familiar with. Unless we're talking disco and Saturday Night Fever!

I can see that review to a point. The beginning of the 80's was just as lost as the end of the 70's. Everyone trying to make a buck and it ended up being a band that hadn't performed for 2+ years when "Coda" was released that actually made decent profits.

I think Page wanted to do what he and the late Bonham had wanted to do with ITTOD..Make a heavy album and not so soft. Well, This was it. I give the album 7/10 stars for 2 reasons:

1. The album was too short.

2. This kind of goes with #1; More time could have been spent on a compilation album than was used; meaning why leave out hey hey..why leave out Fire, etc. etc.. To me this was the sell out album to just put it out as fast as possible before the holidays to make lots of $!

But it's such a rocking EP. I Can't Quit You Baby and Wearing and Tearing are def. highlights.

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I did read something about how in '79 record sales were so low because so many new bands were trying to break in with the new punk/wave movement such as the sex pistols and the cure that although records were selling, not one TRUE record was selling. There was so much competition that no record labels could really find a name to sell for big $.

You had Sex Pistols, Minor Threat, Misfits...And you had The Cure, etc. etc. All on different labels trying to make a buck. (damn the greed!) I think the originality was gone at this point because of pressure from the record companies on the bands to make a hit! ...And then Led Zep. came back to save the day. I'm sure some great albums were made in '79 such as Pink Floyd The Wall, I was only 2 at the time, even today ITTOD and Floyd's The Wall are the only albums which people my age are familiar with. Unless we're talking disco and Saturday Night Fever!

I can see that review to a point. The beginning of the 80's was just as lost as the end of the 70's. Everyone trying to make a buck and it ended up being a band that hadn't performed for 2+ years when "Coda" was released that actually made decent profits.

I think Page wanted to do what he and the late Bonham had wanted to do with ITTOD..Make a heavy album and not so soft. Well, This was it. I give the album 7/10 stars for 2 reasons:

1. The album was too short.

2. This kind of goes with #1; More time could have been spent on a compilation album than was used; meaning why leave out hey hey..why leave out Fire, etc. etc.. To me this was the sell out album to just put it out as fast as possible before the holidays to make lots of $!

But it's such a rocking EP. I Can't Quit You Baby and Wearing and Tearing are def. highlights.

I don't think it was a sellout album so much as a contractual obligation to the record company.

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I don't think it was a sellout album so much as a contractual obligation to the record company.

Good point. I'm sure they were pressured at the time to just put it out. Just wish now they could put it out if they had done it their way like the re-release of TSRTS.

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Good point. I'm sure they were pressured at the time to just put it out. Just wish now they could put it out if they had done it their way like the re-release of TSRTS.

I'm sure if they had their way they would have not put it out at all, and the leftover tracks would have shown up on the box sets

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I don't think of Coda as a "saviour".. Either do I agree with the reviewer regarding that side 2 is the better part of the record. My favourite track is "We're Gonna Groove", but on the other hand, I'm a big fan of British blues..

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In 1979, as an 11 year old kid, I was listening to KISS', "Dynasty" (very disappointed in their turn to disco) Van Halen II, Queen's, "Jazz" and "Live Killers" albums as well as Cheap Trick's, "Live At Budokan" until "In Through The Outdoor" was released.

I remember my older brothers buying the different versions of album covers. All were released with the paper bag covering the jacket, so you didn't know what you had until you opened it.

http://en.wikipedia.org/wiki/1979_in_music

I remember when "Coda" was released in 1982. It was the only real album that I remember listening to for a while during that time (other than previous albums).

Radio was killing us with John Cougar's, "Hurts So Good" and "Jack & Dianne", Toto's, "Rosanna" and "Africa", Asia's, "Heat of the Moment", Chicago's, "Hard To Say I'm Sorry" and Steve Miller's, "Abracadabra" (every five minutes). MTV was new with all its videos (from it's launch in August, 1981).

http://80music.about.com/od/80smusic12/tp/...lbumsof1982.htm

R B)

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The most interesting thing about "CODA", besides "Wearing and Tearing", was the album cover itself.

Taken from an old Jewish Kabbalic text, Jimmy pulled the neatest "trick" out of his Hat with those "broken record" symbols...that's when I knew Jimmy was saying goodbye - for now.

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The most interesting thing about "CODA", besides "Wearing and Tearing", was the album cover itself.

Taken from an old Jewish Kabbalic text, Jimmy pulled the neatest "trick" out of his Hat with those "broken record" symbols...that's when I knew Jimmy was saying goodbye - for now.

cover by hipgnosis-broken discs are negative photos of sweeping piped irrigation circles

here's a link to an agricultural photo"

mystical jewish kabbala irrigation circles

this kabbala stuff is a bunch of hooey

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heres some more for ya, thickie...

irrigation circles for jughead

more evidence...

wow! what's this?

how irrigation circles look from space (look familiar?)

they're everywhere!

pictures of pivot irrigation is not a mystical symbol.

i'm sorry...for you.

Ya know beat...I'd almost buy this evidence, if Jimmy were an agriculturist and not a "occultist"...but so far as I know - he doesn't farm on the Loch or in Brazil. He does however research metaphysics. So, that being the case, I'll go with door number 2 and pick the Kabbalah version instead of the "farmer's almanac" system.

But, I gotta tell you - you DO provide an interesting case with these pics...you almost had me for a second.

Nice job.

...I wonder, can these irrigation systems be inspired by the Kabbalic theory also....hhmmmmm.

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Ya know beat...I'd almost buy this evidence, if Jimmy were an agriculturist and not a "occultist"...but so far as I know - he doesn't farm on the Loch or in Brazil. He does however research metaphysics.

...I wonder, can these irrigation systems be inspired by the Kabbalic theory also....hhmmmmm.

uhhh, being that the album's name is "coda" (the bringing of a musical piece or movement to an end)

due to the expiration of john bonham, who not only owned farms but worked them himself...

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I believe the actual irrigation circles on the album cover were located in Egypt. If anyone wants to draw a connection to Egyptology or the occult go ahead.

All kidding aside, Steve can you provide any info as to which band member decided on having the "circles" (whatever they are) picture as part of the back cover of CODA?

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All kidding aside, Steve can you provide any info as to which band member decided on having the "circles" (whatever they are) picture as part of the back cover of CODA?

I can't cite anything definitive. Suffice to say Jimmy enjoyed a close relationship with Hipgnosis and undoubtedly they devised album graphics consistent with Jimmy's input.

Robert was already focused on his solo career and JPJ was actually teaching electronic composition at Dartington College of Arts in Devon, not far from his (then) home.

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uhhh, being that the album's name is "coda" (the bringing of a musical piece or movement to an end)

due to the expiration of john bonham, who not only owned farms but worked them himself...

Yes, one can come to that conclusion. John did love the farm life...

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I can't cite anything definitive. Suffice to say Jimmy enjoyed a close relationship with Hipgnosis and undoubtedly they devised album graphics consistent with Jimmy's input.

Robert was already focused on his solo career and JPJ was actually teaching electronic composition at Dartington College of Arts in Devon, not far from his (then) home.

Thanks Steve...speaking of pictures - is this a pic of Scarlett (young blonde) and Jimmy? If so, who is the older woman?

JP_SP_Your_Child_01.jpg

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Ya know beat...I'd almost buy this evidence, if Jimmy were an agriculturist and not a "occultist"...but so far as I know - he doesn't farm on the Loch or in Brazil. He does however research metaphysics. So, that being the case, I'll go with door number 2 and pick the Kabbalah version instead of the "farmer's almanac" system.

But, I gotta tell you - you DO provide an interesting case with these pics...you almost had me for a second.

Nice job.

...I wonder, can these irrigation systems be inspired by the Kabbalic theory also....hhmmmmm.

I see you're back at this Kabbalist bit again. Funny because Jimmy's intention with the wheel in the Zeppelin III cover was intended to be a harvester's wheel.

And still again, all supposition and no substance. When I called you on your mentioning the Kabbalist Bahir in the other thread you responded by posting that you were just being a fool or something. And of course, you edited all your posts to lines of dots. But not before we quoted you. So I guess what I'm saying is "put up or shut up". Show your research Kabbalah man. Everyone else has. I sure have. The number 7? The ninth Sephirot? Where in the Bahir are you making this connection? Or are you just trolling?

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Hi Steve,all,

I can't cite anything definitive. Suffice to say Jimmy enjoyed a close relationship with Hipgnosis and undoubtedly they devised album graphics consistent with Jimmy's input.

Robert was already focused on his solo career and JPJ was actually teaching electronic composition at Dartington College of Arts in Devon, not far from his (then) home.

Well despite the 'folk-lore' and the mystery,for lack of better term,you never knew what was coming next with the band.The album cover or the music! B)

Maybe at the time they knew what ever they put on the cover,would be a ???? because albums covers were just as thrilling(maybe more) as the music itself.At that point,maybe they all trusted Hipnosis to come up with somethign that fit,...the title did for awhile,...

KB

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I see you're back at this Kabbalist bit again. Funny because Jimmy's intention with the wheel in the Zeppelin III cover was intended to be a harvester's wheel.

And still again, all supposition and no substance. When I called you on your mentioning the Kabbalist Bahir in the other thread you responded by posting that you were just being a fool or something. And of course, you edited all your posts to lines of dots. But not before we quoted you. So I guess what I'm saying is "put up or shut up". Show your research Kabbalah man. Everyone else has. I sure have. The number 7? The ninth Sephirot? Where in the Bahir are you making this connection? Or are you just trolling?

E-2012, IF I were trolling, believe me , I wouldn't be doing it on THIS Forum!

Despite your obvious disdain for my "approach" on this topic, I actually like your honesty and forth-right-ness. You're not a bad guy, not at all really.

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