I'm that way with Bob Seger. Our only classic rock station close enough to get clearly had a program director that loved Seger. A rotation of his stuff was played more than once an hour and they played "Fire Down Below" super heavy. I never liked that song and hearing it so much got me to the point that I couldn't stand to listen to any of his stuff, even though I liked a lot of it back in the 70's/80's.
I know what you're saying there. I liked Bob Seger well enough in the 70's/80's but the classic rock stations around here don't seem to know that he recorded songs other than "Night Moves" or "Main Street".
If you are going there:
Browne was another that was run into the ground on our classic station, but not as bad as Seger.
Ahem.
I feel that way about Geddy Lee's voice, but their music is so good that I still listen to them. As far as Zeppelin and melody, harmony, and structure, it is there in spades, but it's the guitars and keys of Page and Jones. Most of the songs after the first couple of albums were deeply orchestrated, but used layers of different sounding guitars and keys instead of a traditional orchestra. A listen to Archilles' Last Stand with a good set of headphones will explain what I mean. Each time you listen to a later Zeppelin song, it seems like you can pick out a different guitar part hidden in the mix behind the main guitars and Hammond or Mellotron.
I don't listen to top 40 stations anymore, but back in the day, when a song was high on the charts, they might well play it more than once an hour
That can turn anyone against a good song.
Doug
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I feel that way about Geddy Lee's voice, but their music is so good that I still listen to them. As far as Zeppelin and melody, harmony, and structure, it is there in spades, but it's the guitars and keys of Page and Jones. Most of the songs after the first couple of albums were deeply orchestrated, but used layers of different sounding guitars and keys instead of a traditional orchestra. A listen to Archilles' Last Stand with a good set of headphones will explain what I mean. Each time you listen to a later Zeppelin song, it seems like you can pick out a different guitar part hidden in the mix behind the main guitars and Hammond or Mellotron.
And I agree, Floyd was awesome. I can listen to Gilmour solo all day. Every time I channel surf and find him on Palladia, I stop and listen to his live music. They gave Clapton the title of "Slowhand", but Gilmour is the one that deserves it.
What I liked about them was Slash's guitar tone. I saw them live before they hit it big, opening for Aerosmith. Slash's live tone was incredible that night, especially compared to all those hair metal guys with their generic sounding Jackson/Charvel/ESP/Kramer/ Strat copies going through loads of effects into crappy sounding solid state amps. (but having an empty Marshall stack or ten onstage for looks.) Slash was so drunk he could barely stand, but his guitar playing was awesome that night. I could only wonder how much better (or worse) it would have been had he been sober.
I really liked that little movie as a kid. The Point. Me and My Arrow was kinda the main track from that wasn't it? I have that one in my collection of Harry's tunes. Is that the one you're speaking of? Wasn't the cover for that album a needlepoint of Oblio and Arrow or something close?
As far as Zeppelin and melody, harmony, and structure, it is there in spades, but it's the guitars and keys of Page and Jones. Most of the songs after the first couple of albums were deeply orchestrated, but used layers of different sounding guitars and keys instead of a traditional orchestra. A listen to Archilles' Last Stand with a good set of headphones will explain what I mean. Each time you listen to a later Zeppelin song, it seems like you can pick out a different guitar part hidden in the mix behind the main guitars and Hammond or Mellotron.
If you limit them to what you hear on radio, and don't particularly like those songs enough to dig into them, yes, but there is much more to them that that. Archillis' Last Stand is probably the most layered and orchestral using guitars (probably a dozen) and keys instead of a traditional orchestra. However, Going To California is an acoustic guitar (two in the studio track) and a mandolin. Lyrically they ranged from simple American (stolen/borrowed) blues to deep mystical content. Zeppelin ranged from simple acoustic folk, to hard rock, to orchestral excess...similar to the Moody Blues if comparing their complete bodies of work. They obviously sound different, but they are still similar in many ways.
