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This volume examines the powerful ways in which identity can be shaped by rock music. Through the music, imagery and discourse surrounding one of the most innovative and commercially successful rock bands ever, Susan Fast probes such issues as constructions of gender and sexuality, the creation of myth and the use of ritual, the appropriation of Eastern musics and the blues, the physicality of the music, and the use of the body in performance. The band's influence is examined through socially-situated musical analysis, as well as an ethnographic study of Led Zeppelin fans. Fast draws on academic and journalistic writing as well as a new interview with band member John Paul Jones. Specific pieces examined include "Dazed and Confused," "Kashmir," "Stairway to Heaven," and "Whole Lotta Love."
- Sales Rank: #1233553 in Books
- Color: Black
- Published on: 2001-09-20
- Original language: English
- Number of items: 1
- Dimensions: 8.90" h x .70" w x 5.80" l, .88 pounds
- Binding: Paperback
- 272 pages
From Booklist
Documentation rather than biography is the raison d'etre of new books on aging rock superstars. Fast plumbs Led Zeppelin's depths, and though she overuses the dubious critical strategy of describing instrumental riffs in words ("Just under the surface of the melodic and rhythmic squareness is a harmonic and formal openness and irregularity that is highly significant in terms of the semiotics of the piece"), she offers entertaining and rewarding reading. For deconstruction of rock music, Fast has relatively much to work with in the Zep oeuvre, and "Stairway to Heaven," a familiar hit with pretensions to meaning, proves particularly rich. One of Fast's primary sources is Led Zeppelin bassist John Paul Jones, who hasn't been party to most of former bandmates Robert Plant and Jimmy Page's recent undertakings. He adds insight, but as ex-Rolling Stone Bill Wyman might about Mick and Keith's music. Mike Tribby
Copyright � American Library Association. All rights reserved
About the Author
Susan Fast is at McMaster University.
Most helpful customer reviews
29 of 29 people found the following review helpful.
Fascinating and insightful overview of a great band
By Adam J. Jones
I'm afraid the previous (one-star) review of this book reminds me of some of the clueless press coverage that Led Zeppelin received from certain rock critics during their heyday. (My personal favorite: a 1977 concert review in Rolling Stone that called John Bonham and John Paul Jones "the clumsiest rhythm section in rock.") So here's my take on Susan Fast's "Houses of the Holy": it's a thrilling book, one that should be read not only by every Zeppelin fan, but by anyone interested in popular music. In fact, it's probably the most sustained musicological treatment of any rock artist -- certainly any "hard rock" artist -- ever published. You come away shaking your head at Fast's scholarly energy and her penchant for coming up with striking, original insights into both Zeppelin and the broader "power of rock music."
The book is divided into five chapters, each focused on a particular Zeppelin song, and exploring a different aspect of the band's persona and musical output: intertextuality (musical cross-referencing), myth, "foreign" musical influence, physicality (the music's "pre-linguistic" appeal to the body), and gender. The structure allows for a minutely-detailed breakdown of individual songs -- perhaps too detailed for some readers -- and wider comments about Led Zeppelin and the rock 'n' roll art form they did so much to define.
Is the book a tough read? It depends on your perspective. The run-throughs of particular songs and riffs are, as mentioned, very detailed. There are passages of technical musical criticism that are Greek to me -- but I enjoyed reading them anyway, just for the pleasure of seeing Zeppelin's music receive the sustained and expert attention it deserves. The academic prose? Well, I have to confess I'm a university teacher with a graduate degree in the social sciences -- but I have no time for postmodern jargon and academic windbaggery. Fast's approach steers well clear of these shoals. Her prose is fluid, full of passion for her subject, and chock-full of fascinating observations and interpretations. She refuses to separate the music from the physicality of performing it and the experience of receiving it, as listener or audience member. The result is a well-rounded, subversive synthesis that presents Led Zeppelin whole, and easily doubled my understanding and appreciation of the band.
In a very democratic move that enhances the book's accessibility, "In the Houses of the Holy" gives a fair amount of space to the comments of Led Zeppelin's fans, whom Fast surveyed over the Internet and through an ad in a Zeppelin fanzine. The personal testimonies of what the band has meant to its devotees are moving, and the comments about mythological, musical, and gender aspects of Zeppelin -- carefully sifted and organized by Fast -- illuminate the band's enduring appeal. Fast was also able to carry on an email correspondence with Zep bassist John Paul Jones, who offers his own thoughts and recollections about the band's creative process and diverse musical influences.
Want to try before you buy? Go to FindArticles.com, and search for "Led Zeppelin." Fast's 1999 article for American Music, "Rethinking Issues of Gender and Sexuality in Led Zeppelin: A Woman's View of Pleasure and Power in Hard Rock," will come up at the top of the list. The essay appears in reworked form in her book, forming the heart of Chapter 5. It will give you a good idea of her style and argument, and features a lot of fan commentary besides.
If one misses anything in the book, it's more attention to the contribution of Jones and especially John Bonham, whose heavy but limber drumming revolutionized rock percussion. (Fast acknowledges her emphasis on vocalist Robert Plant and guitarist Jimmy Page.) Readers interested in Bonham can consult Chris Welch and Geoff Nicholls' book, "John Bonham: A Thunder of Drums," available here on Amazon. It doesn't take a scholarly-musicological approach like Fast's; but in addition to tracing the outlines of Bonham's short and booze-soaked life, it offers intelligent and technically informed insights into Bonham's drumming, including a song-by-song breakdown of classic Zeppelin cuts in the final chapter. Great photos, too.
9 of 9 people found the following review helpful.
Excellent academic study of Led Zep
By Passionate About Music
Due to subject matter, some books make their way to an audience for whom they are not intended. Books on popular musicians that are published by a UNIVERSITY PRESS are a good example. Maybe you can't judge a book by its cover, but you can judge a book by its publisher. This is from Oxford University Press. By itself, that tells you it's probably worth more than two stars.
So I hate to see this book criticized by three reviewers for being what it is, an academic study. For crying out loud, it's a book with lots of footnotes! The author is a college professor. So of course it's not going to be full of gossip about their manager punching someone out.
It is full of fascinating musicological and sociological insight. But to appreciate the book, those are the things you have to want to get out of it.
For the kind of book it is, it is one of the most READABLE books on a rock band that has ever been published.
12 of 14 people found the following review helpful.
a different approach
By A Customer
While I would certainly agree that you can overanalyze and lose touch with the emotional edge critical to LZ's appeal, I found Fast's academic approach refreshing. She brought up a number of aspects of the band's music and performance I'd never thought about before, e.g., the sexual interplay between Page and Plant. I also appreciated Jonesy's insights into the creative process, particularly the fact that the music always came first and then the lyrics. But I have to admit it would be interesting to hear from Page and Plant as well.
This is a good book for the thinking Led Zeppelin fan. And no, that's not an oxymoron. I think there are a number of us trying to understand why this band and its members continue to draw us in 20 years after their disbanding. This book is a step in that direction. But it won't titillate you with gossip about groupies and dionysian orgies. Look to Richard Coles for that.
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