ass much more to the fore and demonstrates just what a fluent technician of the instrument he really is. During the slowed-up passage, he plays some achingly beautiful notes against Pages stretching mezzo forte solo that are not nearly as evident on the issued mix. As song heads for climax, Plant is all over the place on the pleading Gotta have all your love phrasing, before it all comes to a shuddering halt. Listening to the playback of this track must have been a moment of true reformation for the four, as it crystallizes everything that was positive about 1978 Led Zeppelin.Another track that certainly displayed the conjunct, legato melody, consonant harmony, verse and chorus form, and fortissimo dynamics was Carouselambra. Set in major key, this song uses a quadruple meter with allegretto tempo. A rather muddy vocal mix utilizing homophonic unison somewhat dulled the effect of the released version, and here an eight-minute alternate take reveals again what a potentially lethal contemporary track this was. The arrangement and the vocal is very similar to the finished article, though differences include a Plant giggle during the intro, a less echoed effect on the vocal during the slowed-up section, and a curious wah-wah bass sound in evidence during the fade. The track cuts off abruptly before the intended crescendo is realized.An instrumental alternative version of Carouselambra, virtually monophonic except for a few overdubs, is a further indication of the potency of the song. John Paul Jones conjunct and relentless keyboard effects drive it along, behind which Bonzos fortissimo drumming is quite exemplary. The middle section finds Page interweaving some delicate guitar from which Jones reverberates the synthesizer into the finale. Instead of the usual fade out, this version is extinguished by a prestissimo snare attack from Bonham.Finally to Wearing And Tearing. Set in major key, with forte dynamics, quadruple meter, and presto temp...
