Hello! Thank you for coming along with me on this journey. You are joining me on the third part of this worship series. If you would like to catch up, you can read Worship and the Tabernacle and Is Your Worship Really Worship?
To evaluate means to assess, to determine the significance, worth, or value of (dictionary.com). We are going to determine the value of worship songs and where it fits in a worship service.
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You have calmed down a bit. The thoughts of the morning are fading into the background. The music is transitioning and ready to take you into the Inner Court. There you see the Lampstand that represents all that Jesus did for you and the Table of Showbread that reminds you that God wants communion, a relationship with you.
Houses of the Holy is the fifth studio album by the English rock band Led Zeppelin, released on 28 March 1973 in the United States and on 30 March 1973 in the United Kingdom by Atlantic Records.[4][5] The album benefited from two band members installing studios at home, which allowed them to develop more sophisticated songs and arrangements and expand their musical style. Several songs subsequently became fixtures in the group's live set, including "The Song Remains the Same", "The Rain Song" and "No Quarter". Other material recorded at the sessions, including the title track, was shelved and released on the later albums Physical Graffiti (1975) and Coda (1982). All instruments and vocals were provided by the band members Robert Plant (vocals), Jimmy Page (guitar), John Paul Jones (bass, keyboards), and John Bonham (drums). The album was produced by Page and mixed by Eddie Kramer. The cover was the first for the band to be designed by Hipgnosis and was based on a photograph taken at Giant's Causeway in Northern Ireland.
Although critical response was mixed, Houses of the Holy became a commercial success, later receiving a Diamond certification[6] by the Recording Industry Association of America (RIAA) in 1999 for at least 10 million copies sold in the US. In 2020, the album was ranked at number 278 on Rolling Stone's 2020 list of the "500 Greatest Albums of All Time".[7]
By 1972, Led Zeppelin had achieved sustained commercial and critical success from both their studio albums and live shows. They were keen to record on location using the Rolling Stones Mobile Studio as it had been an enjoyable experience for their untitled fourth album, released the previous year.[8] After touring Australia, in April 1972 the group decided to take the mobile studio to Mick Jagger's home, Stargroves, a manor house and country estate in Hampshire. Eddie Kramer returned as recording engineer.[9]
Some songs from the album had initially been tried out in earlier sessions, such as "No Quarter", which was first attempted during a session at Headley Grange Estate, in East Hampshire.[10] Both guitarist and producer Jimmy Page and bassist / keyboardist John Paul Jones had installed home studios, which allowed them to arrive at Stargroves with complete compositions and arrangements.[8]
Page's home studio used some of the equipment from Pye Mobile Studios, which had been used to record the Who's 1970 live album Live at Leeds.[11] Because of his home studio, he was able to present a complete arrangement of "The Rain Song", including non-standard guitar tunings and a variety of dynamics, and "Over the Hills and Far Away", featuring multiple guitar parts. Meanwhile, Jones had developed a new arrangement of "No Quarter". Once the group were settled in Stargroves, they composed the other songs through jam sessions together. Further recording took place at Olympic Studios in May, and during the band's 1972 North American tour additional recording sessions were conducted at Electric Lady Studios in New York.[8] Some songs recorded during these various sessions did not make it onto Houses of the Holy, though several were released on later albums. A series of rock 'n' roll covers, including songs that appeared on Elvis Presley's Elvis' Golden Records, were recorded at Electric Lady Studios, which remain unreleased.[8]
The album's opening track, "The Song Remains The Same", was originally a Page-composed instrumental called "The Overture". Plant added lyrics that referred to the group's experiences on tour, and it was given a working title of "The Campaign". His lead vocal was sped up slightly in the final mix, while Page played an electric twelve string guitar and a six-string electric. For live performances, he used the Gibson EDS-1275 double-neck guitar that was also used for playing "Stairway to Heaven" in concert.[15]
"Over the Hills and Far Away" was written about the hippie lifestyle, including references to the "open road". The song was developed in two halves, with a quiet acoustic section leading into a livelier electric one. The song was one of the first to be introduced into Led Zeppelin's live set, being first played in mid-1972.[15]
"The Crunge" was written by Bonham and developed out of a jam at Stargroves. He decided to create a funk beat that stepped on and off the beat, making it impossible to dance to. Plant improvised a set of lyrics in the manner of James Brown over the music, parodying Brown's "Take it to the Bridge" vocal style towards the end of the track. To further show that the song was a tongue-in-cheek joke, the group considered putting "dance steps" to the song on the cover at one stage. The track was occasionally performed as an impromptu piece in concert, usually in the middle of another song such as the fast guitar solo section in "Dazed and Confused".[10]
"Dancing Days" was inspired by the enjoyable sessions at Stargroves, and the lyrics show a general optimism to life.[10] Kramer recalled the group dancing around in the garden at Stargroves, listening to the playback of the final mix. A promotional copy of the track was sent out by Atlantic for radio play in March 1973, as a preview for the album.[16]
"D'yer Mak'er"[a] originated with Bonham trying to combine reggae with 1950s doo-wop[b] by leaving a short off-beat. Jones later disapproved of the track, saying it was treated as a joke and not thought out well, but Plant thought it could be a hit and suggested it should be released as a single. Led Zeppelin's general policy was to not release singles in the UK, and though test and promotional pressings were produced there, the rest of the group vetoed the idea.[10][17] In the United States, it became a top 20 hit.[3]
"No Quarter" was composed by Jones. An early arrangement of the song was attempted for their fourth album, but abandoned. Jones reworked the track to add acoustic and electric piano, and various synthesizers. The track quickly became a live favourite, and was featured at every show from 1973 through 1979, providing Jones with an extended solo showcase in the middle, and a jam session with a variety of different styles. Plant revived the song for his 1990 tour, and it was performed by Page and Plant in 1994. Jones performed a solo instrumental performance on tour in 1999, and Plant performed it solo again in 2005. It was part of the set at the Ahmet Ertegun Tribute Concert in 2007.[18][19]
"The Ocean" began with Bonham shouting "We've done four already but now we're steady and then they went, one, two, three, four," referring to the number of takes already recorded. The title and lyrics refer to the group's fans and their devotion to the band. The middle of the track features an a cappella vocal break sung by Plant, Bonham and Jones, while the ending was another pastiche of the doo-wop style.[10]
The album's title track was recorded at Olympic and mixed at Electric Lady. It was ultimately left off the album, as there were enough tracks to fill two sides of an LP, and was released on the follow-up, Physical Graffiti in 1975.[20] That album also included two songs from Houses of the Holy's Stargroves sessions, "The Rover" and "Black Country Woman" (the latter recorded in the outdoor garden).[10]
Houses of the Holy was the first album by the group to have an explicit title that was not eponymous, but like the previous one, neither the band's name nor the album title was printed on the sleeve. However, manager Peter Grant did allow Atlantic Records to add a wrap-around paper title band to US copies of the sleeve that had to be broken or slid off to access the record.[15] The first CD release of the album in the 1980s had the title logos printed on the cover itself.[21]
The cover art for Houses of the Holy was inspired by Arthur C. Clarke's novel Childhood's End. The cover is a collage of several photographs which were taken at the Giant's Causeway, Northern Ireland, by Aubrey Powell of Hipgnosis. This location was chosen ahead of an alternative one in Peru which had also been considered.[22]
The photo shoot featured two naked child models, Stefan and Samantha Gates. It was a frustrating affair over the course of 10 days. Shooting was done first thing in the morning and at sunset in order to capture the light at dawn and dusk, but the desired effect was never achieved due to constant rain and clouds. The photos of the two children were taken in black and white and were multi-printed to create the effect of 11 individuals that can be seen on the album cover. The results were unsatisfactory, but some accidental tinting effects in post-production created a suitable cover. The inner gatefold photograph was taken at Dunluce Castle nearby the Causeway.[22] In February 2010, Stefan Gates was featured on a BBC Radio 4 documentary about the cover. He said there was something sinister about the image, though his sister disagreed. He also admitted never having heard the album. The programme ended with Gates returning to Giant's Causeway and listening to the album on a portable player, after which he said that a great weight had been lifted from him.[23] Samantha also appeared on the back cover of the band's 1976 album Presence. 152ee80cbc
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