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"Kashmir" is considered to be one of Led Zeppelin's most successful songs; all four band members have agreed that it is to date one of their best musical achievements.<ref>Led Zeppelin: The Definitive Biography by Ritchie Yorke</ref> [[John Paul Jones (musician)|John Paul Jones]] suggested that it showcases all of the elements that made up the Led Zeppelin sound,<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> while [[Robert Plant]] cites it as his favorite Led Zeppelin song overall. In an interview he gave to ''[[Rolling Stone]]'' magazine in 1988, Plant stated that "Kashmir" was "the definitive Led Zeppelin song." He also said in an audio documentary that he loved this song not only because of its intensity but also because it was so intense without being considered "[[heavy metal]]", a label no one in the band liked. During a television interview in January 2008, Plant named "Kashmir" as his first choice of all Led Zeppelin songs that he would perform, commenting "I'm most proud of that one".<ref>http://www.tightbutloose.co.uk/main.html</ref>
"Kashmir" is considered to be one of Led Zeppelin's most successful songs; all four band members have agreed that it is to date one of their best musical achievements.<ref>Led Zeppelin: The Definitive Biography by Ritchie Yorke</ref> [[John Paul Jones (musician)|John Paul Jones]] suggested that it showcases all of the elements that made up the Led Zeppelin sound,<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> while [[Robert Plant]] cites it as his favorite Led Zeppelin song overall. In an interview he gave to ''[[Rolling Stone]]'' magazine in 1988, Plant stated that "Kashmir" was "the definitive Led Zeppelin song." He also said in an audio documentary that he loved this song not only because of its intensity but also because it was so intense without being considered "[[heavy metal]]", a label no one in the band liked. During a television interview in January 2008, Plant named "Kashmir" as his first choice of all Led Zeppelin songs that he would perform, commenting "I'm most proud of that one".<ref>http://www.tightbutloose.co.uk/main.html</ref>


The song is centered around a signature chord progression guitar riff, which first appeared on Page's home-studio work tapes.<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> It was initially a tuning, an extension of a guitar-cycle that Page had been working on for years. This was the same cycle that would produce "[[Black Mountain Side]]", "[[White Summer]]" and the unreleased track, "Swan-song".<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> As bass player and keyboardist [[John Paul Jones (musician)|John Paul Jones]] had been late for the recording sessions, Page used the time to work on the riff with drummer [[John Bonham]]. Plant added the middle section, and Jones later added all the string parts.<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref>
The song is centered around a signature chord progression guitar riff, which first appeared on Page's home-studio work tapes.<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> It was initially a tuning, an extension of a guitar-cycle that Page had been working on for years. This was the same cycle that would produce "[[Black Mountain Side]]", "[[White Summer]]" and the unreleased track, "Swan-song".<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> As bass player and keyboardist [[John Paul Jones (musician)|John Paul Jones]] had been late for the recording sessions, Page used the time to work on the riff with drummer [[John Bonham]]. The two [[demo (music)|demo]]ed it late in 1973.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9.</ref> Plant later added the middle section and in early 1974 Jones added all the string parts.<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref><ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9.</ref>


The guitar was played in an [[guitar tuning|alternative guitar tuning]]: the strings are tuned to 'Open Dsus4' or [[DADGAD]]. The body of the song also has a different beat between the guitars and the drums. The drums play the standard 4/4 time signature with a double stroke on the bass drum, while the guitars create tension by playing against it in [implied] 3/4 time.<ref>Janovitz, Bill. [http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:6orv20oc05ja "Kashmir"], [[All Music Guide]]: "The main body has the drums playing a 2/4 time signature, while the rising musical theme tags along greatly by playing in 3/4 time." </ref> Drummer [[John Bonham]] has been cited as the source for the main 3/4 riff and has an official credit as co-songwriter. Bonham's drums feature a phasing effect courtesy of an early Eventide phaser supplied by engineer Ron Nevison.<ref>Guitar World, May 2005</ref> Plant has stated that Bonham's drumming is the key to the song: "It was what he didn't do that made it work."<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref>
The guitar was played in an [[guitar tuning|alternative guitar tuning]]: the strings are tuned to 'Open Dsus4' or [[DADGAD]]. The body of the song also has a different beat between the guitars and the drums. The drums play the standard 4/4 time signature with a double stroke on the bass drum, while the guitars create tension by playing against it in [implied] 3/4 time.<ref>Janovitz, Bill. [http://www.allmusic.com/cg/amg.dll?p=amg&sql=33:6orv20oc05ja "Kashmir"], [[All Music Guide]]: "The main body has the drums playing a 2/4 time signature, while the rising musical theme tags along greatly by playing in 3/4 time." </ref> Drummer [[John Bonham]] has been cited as the source for the main 3/4 riff and has an official credit as co-songwriter. Bonham's drums feature a phasing effect courtesy of an early Eventide phaser supplied by engineer Ron Nevison.<ref>Guitar World, May 2005</ref> Plant has stated that Bonham's drumming is the key to the song: "It was what he didn't do that made it work."<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref>


The song also includes many distinctive musical patterns of classical [[Music of Morocco|Moroccan]], [[Music of India|Indian]], and Middle Eastern music. Orchestral brass and strings with electric guitar and [[mellotron]] strings are used in the song. This is one of the few Zeppelin songs to use outside musicians. Session players were brought in for the string and horn sections. According to Jones, "The secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts [two or more notes to a line] are allowed, but keep them to a minimum. Think melodically."<ref>[http://www.geocities.com/jpjkeys/mellotron.html John Paul Jones' Mellotron<!-- Bot generated title -->]</ref>
The song also includes many distinctive musical patterns of classical [[Music of Morocco|Moroccan]], [[Music of India|Indian]], and Middle Eastern music. Orchestral brass and strings with electric guitar and [[mellotron]] strings are used in the song. This is one of the few Zeppelin songs to use outside musicians. Session players were brought in for the string and horn sections.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9.</ref> According to Jones, "The secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts [two or more notes to a line] are allowed, but keep them to a minimum. Think melodically."<ref>[http://www.geocities.com/jpjkeys/mellotron.html John Paul Jones' Mellotron<!-- Bot generated title -->]</ref>


Originally called "Driving to Kashmir", the lyrics to the song were written by Plant in [[1973]] while driving from [[Goulimine]] to [[Tantan]] in the [[Sahara Desert]], [[Morocco]].<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> This was despite the fact that the song is named for [[Kashmir]], a region in the northernmost part of the [[Indian subcontinent]].<ref name=RS2006>{{cite journal |last=Gilmore |first=Mikal |title=The Long Shadow of Led Zeppelin |journal=Rolling Stone |issue=1006 |date=[[August 10]], [[2006]] |url=http://www.rollingstone.com/news/story/11027261/the_long_shadow_of_led_zeppelin/print |accessdate=2007-12-09 }}</ref> As Plant explained to rock journalist [[Cameron Crowe]]:
Originally called "Driving to Kashmir", the lyrics to the song were written by Plant in [[1973]] while driving from [[Goulimine]] to [[Tantan]] in the [[Sahara Desert]], [[Morocco]].<ref name=complete>Liner notes by [[Cameron Crowe]] for ''[[The Complete Studio Recordings (Led Zeppelin album)|The Complete Studio Recordings]]''.</ref> This was despite the fact that the song is named for [[Kashmir]], a region in the northernmost part of the [[Indian subcontinent]].<ref name=RS2006>{{cite journal |last=Gilmore |first=Mikal |title=The Long Shadow of Led Zeppelin |journal=Rolling Stone |issue=1006 |date=[[August 10]], [[2006]] |url=http://www.rollingstone.com/news/story/11027261/the_long_shadow_of_led_zeppelin/print |accessdate=2007-12-09 }}</ref> As Plant explained to rock journalist [[Cameron Crowe]]:

Revision as of 12:55, 7 April 2008

"Kashmir"
Song

"Kashmir" is a song by the English rock band Led Zeppelin from their 1975 album Physical Graffiti.

Overview

"Kashmir" is considered to be one of Led Zeppelin's most successful songs; all four band members have agreed that it is to date one of their best musical achievements.[1] John Paul Jones suggested that it showcases all of the elements that made up the Led Zeppelin sound,[2] while Robert Plant cites it as his favorite Led Zeppelin song overall. In an interview he gave to Rolling Stone magazine in 1988, Plant stated that "Kashmir" was "the definitive Led Zeppelin song." He also said in an audio documentary that he loved this song not only because of its intensity but also because it was so intense without being considered "heavy metal", a label no one in the band liked. During a television interview in January 2008, Plant named "Kashmir" as his first choice of all Led Zeppelin songs that he would perform, commenting "I'm most proud of that one".[3]

The song is centered around a signature chord progression guitar riff, which first appeared on Page's home-studio work tapes.[2] It was initially a tuning, an extension of a guitar-cycle that Page had been working on for years. This was the same cycle that would produce "Black Mountain Side", "White Summer" and the unreleased track, "Swan-song".[2] As bass player and keyboardist John Paul Jones had been late for the recording sessions, Page used the time to work on the riff with drummer John Bonham. The two demoed it late in 1973.[4] Plant later added the middle section and in early 1974 Jones added all the string parts.[2][4]

The guitar was played in an alternative guitar tuning: the strings are tuned to 'Open Dsus4' or DADGAD. The body of the song also has a different beat between the guitars and the drums. The drums play the standard 4/4 time signature with a double stroke on the bass drum, while the guitars create tension by playing against it in [implied] 3/4 time.[5] Drummer John Bonham has been cited as the source for the main 3/4 riff and has an official credit as co-songwriter. Bonham's drums feature a phasing effect courtesy of an early Eventide phaser supplied by engineer Ron Nevison.[6] Plant has stated that Bonham's drumming is the key to the song: "It was what he didn't do that made it work."[2]

The song also includes many distinctive musical patterns of classical Moroccan, Indian, and Middle Eastern music. Orchestral brass and strings with electric guitar and mellotron strings are used in the song. This is one of the few Zeppelin songs to use outside musicians. Session players were brought in for the string and horn sections.[4] According to Jones, "The secret of successful keyboard string parts is to play only the parts that a real string section would play. That is, one line for the First Violins, one line for Second Violins, one for Violas, one for Cellos, one for Basses. Some divided parts [two or more notes to a line] are allowed, but keep them to a minimum. Think melodically."[7]

Originally called "Driving to Kashmir", the lyrics to the song were written by Plant in 1973 while driving from Goulimine to Tantan in the Sahara Desert, Morocco.[2] This was despite the fact that the song is named for Kashmir, a region in the northernmost part of the Indian subcontinent.[8] As Plant explained to rock journalist Cameron Crowe:

The whole inspiration came from the fact that the road went on and on and on. It was a single track road which neatly cut through the desert. Two miles to the East and West were ridges of sandrock. It basically looked like you were driving down a channel, this dilapidated road, and there was seemingly no end to it. 'Oh, let the sun beat down upon my face, stars to fill my dreams...' It's one of my favorites...that, 'All My Love' and 'In The Light' and two or three others really were the finest moments. But 'Kashmir' in particular. It was so positive, lyrically.[2]

The song runs for 8:28, a length that radio stations usually consider too long to play. However, upon its release radio stations had no problem playing "Kashmir", especially after seeing "Stairway to Heaven", which was almost as long, do so well. (Original LP releases of Physical Graffiti incorrectly list the song's length as 9:41.)

"Kashmir" was played live at every Led Zeppelin concert from its debut in 1975. One live version, from Led Zeppelin's performance at Knebworth in 1979, is featured on disc 2 of the Led Zeppelin DVD. "Kashmir" was performed at Led Zeppelin's reunion show at the O2 Arena, London on December 10, 2007.

Other versions

  • The song's undercurrent of Arabic rhythm led to a cover version by Ofra Haza, a song previously unreleased on her 1995 album "Queen in Exile", but later released in 2003 on the album "Greatest Hits - Volume 2". Another version was also recorded on the 1995 single "Mata Hari".
  • Also Finnish Progressive Rock band Five Fifteen have recorded "Kashmir". It was released on Spinefarm HardCovers compilation in 2004.
  • Canadian hip-hop/rap artist Saukrates played the electric violin in an instrumental version, both as the opening and closing songs on his tour as an opening act for Nelly Furtado's 2007 Loose tour.
  • The classical crossover string quartet Bond covers it on their album entitled Shine.
  • On his live album Live A L'Olympia, Jeff Buckley plays a snatch of Kashmir at high speed with a comic falsetto voice, saying "I used to play Led Zeppelin, you know it's a 33rpm thing, you play it at 45? It was cool."
  • An acoustic version on Kashmir was recorded by the German-born Nouveau Flamenco guitarist Ottmar Liebert, featured in the "Best of Ottmar Liebert" compilation.

Cultural references

  • The lyrics to "Kashmir" are featured in the movie Ocean's Twelve. Matt Damon's character quotes the first two lines of the song in a scene with George Clooney, Brad Pitt, and Robbie Coltrane. The other three men say seemingly non-sensical phrases and upon Matt Damon's turn he does not know what to say so he quotes "Oh, let the sun beat down upon my face/stars to fill my dream/I am a traveler of both time and space/to be where I have been." After Pitt, Clooney and Damon leave the restaurant where the scene took place, Pitt gives Damon a derisive look and sarcastically says "Kashmir?"
  • The song was featured (again without lyrics) for the final round of the Irish game show 'It's a Family Affair' which was hosted by comedian Dara Ó Briain.

Sources

  • Led Zeppelin: Dazed and Confused: The Stories Behind Every Song, by Chris Welch, ISBN 1-56025-818-7
  • The Complete Guide to the Music of Led Zeppelin, by Dave Lewis, ISBN 0-7119-3528-9

References

  1. ^ Led Zeppelin: The Definitive Biography by Ritchie Yorke
  2. ^ a b c d e f g Liner notes by Cameron Crowe for The Complete Studio Recordings.
  3. ^ http://www.tightbutloose.co.uk/main.html
  4. ^ a b c Dave Lewis (1994), The Complete Guide to the Music of Led Zeppelin, Omnibus Press, ISBN 0-7119-3528-9.
  5. ^ Janovitz, Bill. "Kashmir", All Music Guide: "The main body has the drums playing a 2/4 time signature, while the rising musical theme tags along greatly by playing in 3/4 time."
  6. ^ Guitar World, May 2005
  7. ^ John Paul Jones' Mellotron
  8. ^ Gilmore, Mikal (August 10, 2006). "The Long Shadow of Led Zeppelin". Rolling Stone (1006). Retrieved 2007-12-09. {{cite journal}}: Check date values in: |date= (help)

External links

Template:Physical Graffiti

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