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For Wolfmother the Song Remains the Same
Here’s a game drunk people love to play: pick a band. Any band.
On second thought, make it a young band with, say, one album under its belt… two at the very most. Then compare that band to one of the top ten rock acts of all time.
Music enthusiasts have been known to spend entire weeks playing this game. And why not? It’s like shooting whales in a thimble.
It’s been going on for years, decades even. It started back in ‘69 when a pot-addled college student named John Mendelsohn wrote a review of Led Zeppelin I for his school newspaper. He called Page and Plant a couple of hacks; said the band’s sound was derivative and bland. He stopped just short of saying he preferred Joan Baez’s version of “Babe, I’m Gonna Leave You.”
Mendelsohn was particularly fond of his review. So fond, in fact, that he sent it off to the boys at Rolling Stone, who were apparently also high and thought, hey, let’s print the fucking thing.
Led Zeppelin went on to become arguably the greatest rock ‘n’ roll band of all time. Mendelsohn went on to start his own blog. You should check it out. He sells quirky little T-shirts on there.
So it goes.
But history is a funny thing, and generally speaking, music journalists are the last to learn from it. So here we are, deep in the throes of 2007, faced with another rock band that riffs like Zeppelin, sounds like Sabbath, and looks kind of like the Bilbo Baggins Experience. And guess what? The critics are split.
Some critics think them the harbingers of hard rock heaven. Others think them a glorified tribute band. I know of at least one critic who is thinking, “Wait a minute. Did I miss something or have these guys only released one full-length LP?”
Is it fair to compare Wolfmother to Led Zeppelin? Probably not, if for no better reason than Led Zeppelin has more accolades than Wolfmother has songs. They’ve got four decades worth of history in their corner. They’ve got Jimmy Page, Robert Plant and John Bonham.
Wolfmother’s got an ex-photographer from Brisbane named Andrew Stockdale.
Zeppelin’s lyrics are steeped in black magic and Tolkien lore. Wolfmother’s lyrics are vague and often hollow—Zeppelin’s “Misty Mountain” is Wolfmother’s “Pyramid”, their “Queen of Light” is Wolfmother’s “Woman.”
In order to draw a fair comparison between the two, it seems only right to go back to a time when Led Zeppelin was still on their way up. When Zeppelin I was released, Page already had the Yardbirds in his rearview mirror. Plant and Bonham were former members of Crawling King Snakes. Wolfmother, on the other hand, rehearsed in the same room as Pink Floyd, left Australia to finish their first album in L.A.—an album that was recorded in the same studio where Nirvana recorded Nevermind.
But Wolfmother’s reputation, much like their acclaim and their sound, is always elevated by attaching itself to the legendary bands that came before them. It’s what Mendelsohn might call musical nepotism, which means they’re either the biggest sham in rock ‘n’ roll history or arguably the greatest band that ever lived.
Wolfmother’s live sets incorporate infinite bridges of sound, sprawling guitar solos, and a sort of jam band feel ramped up to 78 RPMs. But their compositions (much like their lyrics) lack the complexity and structure of even the earliest Zeppelin songs.
Yes, Mr. Mendelsohn, it’s entirely true that a lot of what made those early Zeppelin records great finds its roots in the Delta Blues tradition, but Zeppelin, like every epic band before and after them, took that tradition and stretched it to its elastic edge, creating something new and all-together decadent in the process.
Up till now, Wolfmother has done a fairly decent job of tracing Zeppelin’s blueprint. The question is, are they capable of going outside the lines enough to 
inhabit a space all their own?
Can their songs evolve to a point where people wonder who the next Wolfmother will be? Can they inspire critics to write crafty little essays about their long-standing relevance? Can they manage to cement their legend by having their drummer ingest enough vodka to drown a baby elephant?
We won’t know the answer to those questions until well after the release of Wolfmother II. But all indications point to no, except, of course, for the drummer thing, which wouldn’t be all that difficult to pull off.
Without longevity, Wolfmother’s just another dustbin classic, wedged between Gary Glitter and Adam Ant. To date, their debut LP has sold roughly one million copies. Zeppelin, on the other hand, has sold well over 20 million albums since 1991 alone—a full decade after they originally called it quits.
Perhaps that’s because Led Zeppelin—more than any other band from that era—embodies what hard rock was all about during the 1970s. They have the timeless ability to rekindle that feeling for countless generations of music fans who came along well after the fact.
Therein lies the difference: When you think Zeppelin, you think the ‘70s, which is good, ’cause that’s where they made their mark. When you think Wolfmother, you think the ‘70s, which is bad, cause it’s almost 2010.
It’s not a bad thing to be inspired by those that came before you. All the greats were influenced by someone. But find a way to contribute a new verse; something that sets you apart as opposed to just lumping you in.
If you want to be considered a ‘70s revival band, you know, great. But keep this in mind: the ‘70s lasted an entire decade. Revivals rarely last more than a year or so.
Watch: Led Zeppelin “Misty Mountain Hop“ [at Youtube.com]
Watch: Wolfmother “Pyramid“ [at Youtube.com]
23 Comments
I dunno… Comparing a brand new band to Led Zeppelin using those metrics is just too easy.
The real metrics that matter seem to be:
In Zeppelin’s day, how many albums did LZ1 sell in the first year and how many other act’s were competing with Zep for the buyer’s dollar? If you are looking at sales metrics, those factors have to be included.
NOW, if you are looking at the merits of the music, that’s a different thing entirely. Almost 40 years later, it’s hard to imagine a”new” act that not derivative, unless they’re just weird (Mars Volta, anyone?). Wolfmother’s first CD is at once a breath of fresh air and a pair of comfy old slippers. But that’s because of it’s contrast with the current-day environment and the fact that it, while derivative, is unique in a sea of pop/hip-hop/emo noise.
excellent perspective. how many of us have been saddled with “the new springsteen” “the new “led zeppelin” ad nauseum. Truly memorable bands are that way because they’ve found or created new ground. If you haven’t already, check out LZ’s “How the West was Won,” which captures them at their performing peak. Top that.
Surely the band was aware of its stylistic forbears, but the way they write their music is one thing. It’s not entirely fair to hold the press’ critical comparisons against them. Being compared to Zeppelin is the kiss of death; no band could hold up to that on the strength of a single album, unless every metric of comparisons is employed, as Rob Rose pointed out. It may be furstrating to hear the Wolf-Zep gong banged again and again, but railing against it in a column only propogates it further. Perhaps if popular opinion was that Wolfmother is better than Zeppelin ever was — well, that would demand correction. But no one’s saying that. Critical comparisons are simply a reviewer’s attempt to assign definition the things inherently fluid, and when one band so clearly apes another, critics would be remiss if not to point it out.
Also, for the record, you’re in a glass house, Mr. Hill. It’s completely unfair to compare Mendelsohn’s blog to Zeppelin’s throne on Rock Mt Olympus. Whether wrong or right, rock writers are the unsung Moses-es of musicland, and it’s absurd to even conceive of such a comparison being fair. In the history of rock journalism, maybe half a dozen critics have made any kind of lasting name for themselves. It’s the nature of the beast. What right have you to condescend? Your jab is myopic at best, and at worst, discrediting.
i think the line
“When you think Zeppelin, you think the ‘70s, which is good, ’cause that’s where they made their mark. When you think Wolfmother, you think the ‘70s, which is bad, cause it’s almost 2010.”
pretty much says it all….and by the looks of the current music scene, we won’t see bands like Zep or Floyd or Sabbath again. nobody today has the cajones and the vision to make music that transcends the moment. the White Stripes will be a foot note 15 yrs from now, as will the Killers, etc. Remember Oasis? yeh, exactly.
Aw come on, CT. I think Wolfmother is a total joke, but there’s nothing less becoming than the whole “there will never be another sabbath or zep!” credo. It’s the hallmark of the old and out of touch.
But Wolfmother hasn’t slept with Pamela DeBarres…or have they?!
Like Rob Rose I think that you can’t compare old bands to new bands with all the changes in how music is distributed and upsorbed by the masses.
But unlike Rob, I dont think Zeppelin was any newer then any of the bands now. Everything is derivative. Led Zeppelin didn’t just fall out of the sky complete with some never heard before sound.
But you should be able to compare them based on the kind of music they play and the aesthetics they put forth. And, it’s especially nice to have this showdown between two bands, after reading review after review of new bands who are compared (sometimes rightfully so) to older bands. It gives the reader a sense of what they are getting into before they listen to it.
I agree with you, Headwig. The comparison is a mental starting point.
I think that the music produced between ‘65 and ‘75 was primarily brought about because of the “electrification” of the blues and other music forms that existed prior to that time, the willingness of AM/FM radio to play the new musical forms and the link between the new music and the emergence of the counter revolution.
This confluence produced a period of heightened creativity and technological innovation that stretched musical boundaries to new limits.
Ever since these limits have been tested, but they have not been significantly extended.
Two weeks ago, I took my 17 year old to see Roger Waters. He witnessed Dark Side in its entirety along with much of WYWH, Sheep and select cuts from the Wall among others. Ever since, Pink Floyd, Zep, Hendrix have dominated his sound system/DVD player. I don’t think this will be a short termed phenomenon.
By the way — has anyone seen the modern swedish psych/”classi”-style band Dungen live? That lead singer has the Robert Plant thing DOWN. The blond locks, the head toss, the tambourine, the pants so tight they might as well be painted on… They’re not a Zep rip-off, per se, but that dude does one hell of a Plant dance.
Has Bob Hill ever heard of John Paul Jones?
“nobody today has the cajones and the vision to make music that transcends the moment”
disagree. see:
radiohead,
the flaming lips,
bjork.
there are more…
radiohead???? oh goooodness.
Music has become so uncreative in the last 10 years that “mediocrity” has become the “new creative”. Watching the “Pyramid” video struck me as garage band Sabbath. Semi pro… How can anyone compare this cut to anything Zeppelin did…ever? It contains absolutely none of the creativeness, subtleties and musical interaction that made Zepplin the phenomenal band they were.
The bass player plays the same riff loud then soft then loud again, not changing even one note up… ever. Listen to John Paul Jones sometime. Every verse, chorus, bridge was played slightly different everytime around, every song!
The guitarist plays the same thing everytime around also in “wannbe” Tony Iommi fashion. Page was an endless well of new ideas and riffs.
And the drummer might as well be a metronome or a digital loop. Bonham defined and set the standard forever for rock drumming. Bonham was “part” of the music. You could isolate a Bonham drum riff and it you could name what song it is, as if Page started the riff to Misty Mountain Hop, you’d know what song it is in three notes…the same with a Bonham riff. Isolate Wolfmother’s drummer…it’s a metronome with zero creativity.
I agree that I’m not sure you can break new ground anymore musically, but you can at least still provide creative musicianship and musical interaction between the players.
After hearing Zeppelin 1, I couldn’t get enough! After hearing this cut from Wolfmother. about 3/4 of the way through..I had enough!
I would still rather Jerry Garcia was alive so I didn’t have to pay attention to any of this kind of talk…
“radiohead???? oh goooodness.”
ok, fine. i guess they don’t carry much weight with you. which i find strange. i’m not a sad radiohead obsessive by any means, but as far as ‘modern’ mainstream bands go i’d venture them as perhaps the most expansively creative.
musical boundaries are generally not pushed within the mainstream, as far as I’ve had the pleasure of noticing. this is partially to do with the way that the music industry (well, as far as major labels work) push bands. it is more financially feasable to push a band as a short-term fast-yielding investment.
music that isn’t derivative will always sounds ‘weird’, simply because the terrain it covers has (hopefully) not been covered extensively before.
no?
Idont need no stinking badges or music critics to tell me what i should or shouldnt like stick in your ear
Have all you missed Joe Bonamassa? He is covering evrybody while being creative and original at the same time in his own.
Wolf mother does not even compare to idividual talents of the Guitarist, Drummer, Singer and Bass Player. Zeppelin had the most talented musicians of their kind ever. They were and still are the most talented band of all time. Sorry Wolfmother’s out there, they are good but they can only wash zeppelin’s feet right now.
really, the point is what is derivative and what’s not.
“weird” or “challenging” rock music, it’s like beer. at first sip you think, ‘ew, kinda weird.’ and then after a few more sips you realize it’s one of the more amazing things the human race has going for it. then you also realize it’s not that weird at all, because your grandpappy always reeked of the stuff. and eventually you get around to drinking a classic brand of beer called Budweiser, and soon enough, you and your grandpappy are sitting around drinking beer together, telling fart jokes, at your cousins wedding.
Huh?
all rock music is somewhat derivative, even Zep, even when it’s the weirdest thing you’ve heard, and that’s quite okay, in my opinion. sometimes it’s all about what is tasty and in front of you at the moment.
like bob said, it’s what you do to try and add your own verse.
ok so when did you actually start listing to thier album? i can hear some good riffs and all your doing is comparing old to new. You forget that downloading songs back in the day of LZ1 was unheard of and if you wanted to listen to the album, you need a friend that bought it or you buy it! these days, its just a simple program and click away, if someone has a warez type program, bam they’ve got any album they want for free!
ok so comparing on album sales is just stupid…
The very fact you’ve manage to write a whole aricle comparing wolfmother to led amazes me… and if you didn’t enjoy the album, amazes me even more! wolfmother producing a hard hitting rock sound for the YOUTH i repeat YOUTH of today, NOT the oldies! young people! so we can enjoy what the 70’s had in todays society! and andrew is doing an amazing job of lead guitarest and vocals… needed 2 seperate people in led!
don’t get me wrong, i love led, but i am 16 and i love wolfmother.. i think at the moment i am representing the youth of today and shame on you for comparing! SHAME!
Wolfmother is great, I don’t understand how anyone can complain about a band that draws so many parallels to Sabbath And Led Zeppelin. And don’t say they aren’t creative, would any of you have dared to put a flute solo in “Witchcraft”? No. Some people say its confused, but I say its genius. Also, do you people honestly expect many musicians to play on the same level as anyone in Led Zeppelin? Led Zeppelin was full of musicians that were anything but average. You people disgust me.