REVIEW: Page & Plant, Walking Into Clarksdale (Atlantic)
- Bill Holmes
During the heyday of Led Zeppelin, an interviewer asked Robert Plant what he thought lie in the band's future. He answered by saying that while he wasn't sure how long the band would continue as a unit, he felt sure that he and Page would always continue to write and play together, even if it was the two of them on stools in a small bar. History has shown that Zeppelin went out with a bang instead of a whimper, and although Page and Plant have survived (and even had success) apart, they are still each other's best foils. There never will be another Led Zeppelin, much to the dismay of their fans, and those looking for a rebirth of the band in Clarksdale will be sorely disappointed.
Engineer Steve Albini usually overwhelms whatever act he produces; yet here he probably deferred out of reverence. Instead, as much as they may want it not to be considered one, Page and Plant's production sounds like an attempt to make another Led Zeppelin record. Zep did draw heavily from Eastern influences, especially in their waning days, and parts of Clarksdale sound like they could pick up right where the last releases ended off. But Zep always had strong material and an undeniable flair that is not so consistent here.
Whether the record succeeds vocally depends on how you feel about Robert Plant as a singer. You might appreciate his efforts to avoid standard phrasing (and the way he uses his vocal tone as an separate instrument) or you might naturally make comparisons to older days. Fair or not, he just isn't as forceful as he was in his prime. When he stays within his limitations he exhibits the subtleties that veteran pipes can shine with, but when he tries to recapture Marshall stack moments (and these are thankfully few), it just doesn't happen.
Likewise, Page doesn't do a whole lot of wailing, preferring to mostly add short bursts of texture. He's played so many licks in his career that he even rips himself off now ("Over The Hills And Far Away" and "The Song Remains The Same" are just two of the signature riffs that the astute listener will pick up on.). Where he once was a very "busy" player, he now waits for his moments to insert a run or jack the volume. This is a good thing, actually - if you have your air guitar handy you'd be better served grabbing the aforementioned BBC Live disk to do the mirror dance with.
Moments truly shine - "Upon A Golden Horse" and "Burning Up" do catch a little fire, and Plant's bluesy vocal on "When I Was A Child" does hint that maybe he and Page could fulfill that ancient barstool prophecy. But "Please Read The Letter" sputters and never gets going, and "Blue Train" and "Sons Of Freedom" (a weak closing cut) are padded and indulgent. The best tracks are the opener, "Shining In The Light", whose jangly tone sets an early standard that's quickly eclipsed by the second and best cut, "When The World Was Young". The latter starts slowly and loosely, until the band kicks in for the refrain where Plant's strong vocals, Page's determined blast of sound and (gasp!) a hook all combine to win the listener's ear. This is the one song that not only would fit well on a Zeppelin record, it would probably be the single. In the salad days, the pure energy of the band could take average material up to a higher level. Despite a good rhythm section (and bassist Charlie Jones and drummer Michael Lee actually get writing credit on each track!) the weaker songs are easily exposed. They're not bad per se, but if it weren't two legends involved in the project, they'd never get the focus or attention they will inevitably get by their inclusion here.
The fans of both Page and Plant, as well as Zep fans, will naturally savor every second of this release and find value in each sonic warble and plucked note. Those who felt that the band was overrated and bombastic rock at best are going to find nothing here to change their mind. The truth is actually the middle ground. While nowhere near as exciting as 1997's BBC Live was (a release that truly could convert the non believers), Clarksdale does have its moments. It's no Physical Graffiti, but it's still light years better than No Quarter or any Page or Plant solo effort.
I imagine that repeated listens will being out more of the charm of the record. But regardless, if I were John Paul Jones, I wouldn't feel threatened at all.
