Word: goode
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Dates: during 1960-1969
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...Every indication is that it will be a real good drive," said Mrs. Samuel Bojar, chairman of a group of Harvard faculty wives assisting the drive. She said that the first two days had brought "far more response than in the past years...
...three finest songs on Led Zeppelin's first album illustrate the foremost capacities of the group. "Good Times Bad Times" is based, as is usual with their songs, on an energetic riff rather crudely syncopated but irresistibly developed. Page plays a brief solo characterized by his enormous intervals and rapid triplets: Bonham employs complex drum pedals; Jones adds a sinuous independent bass line: and Plant insinuates a tone of bemused disconsolation into the song's eternal situation of calumniating fate. "Dazed and Confused" deals with incoherent man in the face of a latter-day Cressida. After a sufficiently stunned introduction...
...toxic banquet of credulous infatuation. "Ramble On" is the structural successor to "Babe I'm Going to Leave You," in which several sections are unified by Plant's masterful use of slight dynamic and tempo adjustments. "Ramble On," perhaps Led Zeppelin Il's finest song, also affords a good illustration of the group's use of several guitar timbres in order to avoid monochromaticism. The good taste of "Ramble On" helps to balance "Whole Lotta Love" and "The Lemon Song." which while partially humorous, possess the grace of a lecherous cheese-monger...
...over a beat which is itself reforming is beyond the demonstrated capacities of any other drummer. No drummer has ever carried a bad song with such unfailing strength as Baker did with "White Room." Yet Bonham proceeds primarily by a method of complementary rhythmic motives which, at least in "Good Times Bad Times" and "Ramble On," are the equal of Baker. Bonham's solidity of striking, his footwork, and dynamic range are comparable to Baker, while his talent for long-term organic development of genuinely complex rhythms compares disadvantageously with Baker...
...gestures toward the return to simple instruments with a wittily languid harmonica part, punctuated by an indolent "Watch out, watch out." Their signature blend of innuendo, vaguely arrogant virtuosity, and exhilarating braggadocio return home with unexpected lightness as the harmonica quietly arrests the song with a sarcastic but still good-natured wince of a glissando. So the album which began with a laugh ends with a smile...