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Label: Phillips
Artist: London Philharmonic Orchestra
When someone mentions John Williams or James Horner, two of the most accomplished, brilliant composers living today (Williams did Star Wars, Jaws, and Indiana Jones, while Horner did A Beautiful Mind, Titanic, Braveheart, Glory, and Aliens), no one would ever dream of hearing Led Zeppelin in the same sentence. But describing Kashmir: Symphonic Led Zeppelin, there is absolutely no other way to go. Throughout the album you hear hints of William-esque trumpeted grand themes, and Horner’s highly poignant, and emotive string melodies. Neither of them collaborated on the album, but if one is familiar with their work, there is no mistaking the influence.
Kashmir is not Bach mixed with rock music; that would be the Tran-Siberian Orchestra. It is simply Led Zeppelin tunes looked at in an entirely new way; one that will probably irritate die-hard Zep fans like a film adaptation that didn’t stay “true enough” to the book. The same will be true for the classical-music loving people, although they probably wouldn’t pick up the album anyway, because its primary audience is Zeppelin fans. The ideal person to listen to the album would be a moderate fan of both Zeppelin and more orchestral-driven music.
The main standouts on the album are predictable standouts, but nevertheless, they are spectacular. I had always thought that "Stairway to Heaven" would make a wonderful song if an orchestra adapted it, and after listening to the adaptation, I think I proved myself right. None of the images conveyed in the original song are lost. The strings, playing Jimmy Page’s part have a perfect interpretation of his intro, and manage to crank out his solo flawlessly. When the Levee breaks, while not entirely maintaining the slow, plodding magnitude of the original, it is still a great exercise of talent on its own merit, with a furiously speedy and delightful melody and rhythm that makes you feel like you’re watching ET ride his bike, or one of Indiana Jones’ climactic action scenes. My opinion of "Kashmir" is the same as the original song, where some parts are brilliant, and others just drag on too long with Page’s Middle Eastern fixation.
"All my Love" sounds like a good classical song, but there was nothing memorable about it, and there is absolutely no way to tell that it isn’t just another classical song for NPR radio. The first and last song ("Dawn at the Great Pyramid," and "Kulu Valley"), drone on longer than any member of Zeppelin would appreciate, and although they are creative, they seem to begin and end the album like a concept album, which it isn’t. I would have preferred the orchestra taking a shot at something like Over the Hills and "Far Away" or "Achilles Last Stand."
The truth is, I absolutely
adore this album, and think the music is some of the most beautiful, enchanting
stuff I’ve ever heard. But is it what it claims to be? Not
entirely, but it’s not off the deep end either, and that is what makes
it acceptable to most people who would aspire to listen to it.
Mark Chenoweth 7/12/2005
