Houses Of The Holy: Behind Led Zeppelins Roof-Raising Classic Album

Table Of Content

• The Meaning Behind The Song: Houses of the Holy by Led Zeppelin
• What is the lasting legacy of “Houses of the Holy”?
• The Electric Prunes ‘Release of an Oath’
• The Cover
• 'Led Zeppelin IV': How Band Struck Back at Critics With 1971 Masterpiece
• Episode 12 Behind The Counter 2024: Thorne Records, Edinburgh
• Remastered Original Vinyl

This message was driven home on 1971’s fourth LP (the one most people call Led Zeppelin IV). Its centrepiece, Stairway To Heaven, conveyed more of the band’s light and shade, and became a hit on US FM radio. Rolling Stone critic John Mendelssohn described their self-titled 1969 debut album as “weak, unimaginative, limited, monotonous”, sparking a tense relationship between the band and the press that was never resolved. Rise Against frontman Tim McIlrath explains the meanings behind some of their biggest songs and names the sci-fi books that have influenced him.

The Meaning Behind The Song: Houses of the Holy by Led Zeppelin

Diverse and confident, ‘Houses Of The Holy’ is an impressive follow-up to Led Zeppelin’s monolithic fourth album. Led Zeppelin drew from various influences, including mythology, spiritualism, and introspection. The band sought to create a song that would challenge their listeners and push the boundaries of their own creativity. The song’s lyrics also showcase a sense of paradox and duality, touching upon the juxtaposition of light and darkness, good and evil.

Exploding heads and mellotrons: The story of Led Zeppelin's Houses Of The Holy - Louder

Exploding heads and mellotrons: The story of Led Zeppelin's Houses Of The Holy.

Posted: Mon, 12 Apr 2021 07:00:00 GMT [source]

What is the lasting legacy of “Houses of the Holy”?

It poses profound questions about the nature of reality and the complex interplay between opposing forces. Through poetic and cryptic expressions, the band manages to capture the enigmatic nature of existence, leaving room for individual interpretation and contemplation. The CAS shop features a print of the “Houses of the Holy” album cover signed by Hipgnosis here. Led Zeppelin underwent a massive tour in support of Houses of the Holy, which found the band glitzing up their stage show with lasers, mirror balls, pyrotechnics, fancier outfits and more. It’s a long way from here to, say, Physical Graffiti’s Sick Again, three years on, where he sings about a gang of predatory LA groupies. If one single song summarises the (almost) innocence of Houses Of The Holy, then it’s Dancing Days, also premiered at those ’72 shows, and one of the best Led Zeppelin tracks you’ll never find on any official ‘best of’ compilation.

The Electric Prunes ‘Release of an Oath’

Kramer was excited to discover that Page and John Paul Jones had recently installed their own home studios, which meant they arrived at Stargroves with fully-arranged demo versions of several new songs, including Over The Hills And Far Away and No Quarter. “Houses of the Holy” exemplifies Led Zeppelin’s ability to create timeless music that transcends generations. The song’s enduring appeal and continued popularity contribute to the band’s enduring legacy, reminding audiences of Led Zeppelin’s unparalleled artistry and their profound impact on rock music. Upon its release, “Houses of the Holy” resonated deeply with audiences, solidifying Led Zeppelin’s status as musical innovators. The song’s complex lyrics and haunting melodies captivated listeners, further cementing the band’s reputation for pushing musical boundaries and challenging conventional norms.

The Cover

Released on March 28, 1973, Houses of the Holy was anything but the same as its predecessors. The song baffled listeners not used to their long-haired, white rock bands playing dance music, even if Zeppelin’s definition of dance music (see also Physical Graffiti’s Trampled Underfoot) usually suggested a man dancing with one foot in plaster. Nowadays, though, it just sounds like “the giggle” that Page told the press it was.

The song’s powerful instrumentation, intricate lyrics, and thought-provoking themes have solidified its place in the annals of rock music history. Originally meant to be the title track for Zeppelin’s previous album of the same name, it was not included on the record because it did not fit in well with the other songs. Page and John Paul Jones had both installed home studios, which allowed them to bring more fully formed tracks to their bandmates. The excesses that would ultimately render Zeppelin inconsistent in concert had not yet sunk their claws into the band, so when the jamming began - during February 1972 in Dorset, England, and then in May at Mick Jagger's home, Stargroves, in Hampshire - the four were as hot as ever.

The sessions had proved fruitful, and there were several songs left over. The other leftover, Walter’s Walk, only surfaced on the 1982 compilation Coda. In order to keep things down to single-vinyl length, the band reportedly left future classic songs such as "The Rover," "Black Country Woman" and most famously, "Houses of the Holy" either unfinished or unreleased following the recording sessions.

“There was a unity of spirit and a direction of sound”

Work began on the album in April 1972 at Mick Jagger’s Berkshire manor house, Stargroves. The Rolling Stones had moved to France a year before to avoid Britain’s punitive new tax laws and make Exile On Main Street. The four members of Zeppelin shipped over to Stargroves to rehearse and record their new material.

After taking a bite of the ham roll he said to his assistant, "breakfast". The rehearsals were halted late that evening and the band retired to Page's house—the Old Mill House in Clewer, Windsor. Another song deriving from jocular, light-hearted jamming, D’yer Mak’er sprang from an attempt to marry two highly unlikely bedfellows – reggae and doo-wop. Jimmy Page later confirmed this MO, telling Trouser Press that the song was “a cross between reggae and a 50s number, [Ricky Nelson’s] Poor Little Fool, or Ben E King’s things, stuff like that”. On paper, it sounds like quite a leap of faith, though it actually works quite well, with Jones’ skanking piano figures working off Bonham’s thunderous beats to create something unique in the Led Zeppelin canon.

A title track was originally recorded, but ultimately bumped from the album. “The key to Led Zeppelin‘s longevity has always been change,” Jimmy Page proclaimed in 1975. This restless sprit enthralled some fans and infuriated others, specifically the type who preferred that the band remain on one sonic plane. Moving past the high-octane thunder of the gods found on their early albums, the folky Celtic mysticism of Led Zeppelin III and the megalithic rock of Led Zeppelin IV, 1973’s Houses of the Holy sounds very much like a band gleefully pondering limitless possibilities. Entirely tongue-in-cheek, with the emphasis on fun rather than funk per se, The Crunge was an experiment Led Zeppelin enjoyed, and they even unleashed it onstage on occasion – usually as part of a medley within a 20-plus-minute version of Dazed And Confused.

The Arctic Monkeys 2011 song "Suck It and See" is titled after a British saying meaning you should try something to see if you like it. The line “Let the music be your master” can be interpreted as a call to embrace the power of music and its ability to transcend barriers. It encourages listeners to let go of their inhibitions and allow themselves to be absorbed by the music’s influence and emotional impact. And the 1973 North American tour, following a month's worth of arena dates in Europe, began six weeks after the LP's release with sold-out stadium dates in Atlanta and Tampa for a combined total of nearly 100,000. Meanwhile, on The Ocean, a sort of heavy metal sea shanty, Bonham’s drum fills challenged the jabbing rhythms on Led Zeppelin IV’s Black Dog for sheer unadulterated power. The Beastie Boys would later sample Page’s opening riff on The Ocean for their own She’s Crafty in 1986 (the lawsuit-tempting rappers also sampled Bonham’s monster drum pattern from When The Levee Breaks on IV for Rhymin’ & Stealin’).

The artwork was deemed inappropriate by some, although Led Zeppelin maintained that it was meant to symbolize the innocence and purity of youth. The title “Houses of the Holy” refers to the various realms or dimensions explored in the song. It suggests that there are multiple “houses” or spiritual domains accessible to those who seek enlightenment. The title serves as a metaphor for the diverse experiences and perspectives that exist beyond the physical world. The music itself adds to the overall meaning of the song, with its driving rhythm and soaring guitar solos. Led Zeppelin’s mastery of their instruments, coupled with the emotional depth conveyed through the music, helps to convey the weight and intensity of the song’s message.

Energised, confident and with their creative juices flowing, the band hired The Rolling Stones’ mobile recording truck for the sessions and Kramer was more than happy to indulge their experimental approach. The lasting legacy of “Houses of the Holy” lies in its ability to captivate audiences, provoke deep contemplation, and inspire artistic exploration. The song continues to be revered as one of Led Zeppelin’s most powerful and introspective creations, leaving an indelible mark on the world of rock music. Yes, “Houses of the Holy” faced some controversy upon its release due to its suggestive lyrics and album artwork, which depicted nude children climbing the Giant’s Causeway.