１～４までの流れでＺＥＰを聴いてきて、戸惑ったのがこの５th
しかし年月が経つほどに、中毒性を伴って好きになったのもこの５th

４での大成功から時間をゆったり取り、王者の余裕・貫禄と冒険性を見せつけた作品だと思います。
プログレ、ファンク、レゲエ、サイケ、ダンス、ラテンと様々な音楽要素を十分に吸収消化し、ＺＥＰ独自のハードサウンドに仕上げたその多様性・多彩性。
ＺＥＰが単なるハードロックバンドではないことを改めて証明したアルバムです。

１「The Song Remains The Same」からペイジのダブルネックの12弦ギターが冴え渡る２「The Rain Song」への流れは最高。
５「Dancing Days」に、レゲエ色の強い６「D'yer Mak'er」も大好きですね。
７「No Quarter」はこのアルバムのハイライトでしょう。

そして全編に渡ってボンゾのドラムが硬軟自在で、曲のニュアンスに合わせてきっちりと緩急をつけ、完璧に叩き分けています。
さすがと言いますか、このアルバムではほとんど目立ちはしないものの、陰ながら素晴らしい仕事を成している最高のドラマーだと思います。

6人のお客様がこれが役に立ったと考えています

役に立った

Amazon カスタマー

良きアルバム　間違いないです

2017年9月21日に日本でレビュー済み

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当時このアルバムは賛否両論が凄く激しかったんです　
僕は大好きでした
Zeppの中じゃ一番かなぁ？4枚目とセカンドが　その次で　プレゼンス　フィジカルはその後に来てるって感じですか
全部　好きなんですよ(笑)　でも　あえて　どれが良いって言われりゃコレ！と4枚目　って答えます　両者共に　アルバムの曲の流れが良いんです　
いやあ　70年代の音楽って何でこんなに良いんでしょう？Zeppにﾊﾟｰﾌﾟﾙにクイーンにキッスにエアロにボウイにボラン　ヒープにフロイド　エルトンにロキシ―等々　悪いのなんて皆無と言う位　勿論日本でも数々良いアーティストいますけどね
話　それましたが　このアルバムは良いです
じっくり聴いてみて下さい

7人のお客様がこれが役に立ったと考えています

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小笠原　健一

リズム隊

2018年5月11日に日本でレビュー済み

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ロック、ジャズ、ジャンルを問わずドラマーで誰が好きかと聞くと、ほとんどがジョン・ボーナムと答えが返ってくる。彼のドラミンぐの特徴は3連符と言われるが、一番すごいのはジミーペイジのギターリフに合わせ決して暴走しないことだ。それでいて決して他がまねできないドラミングをする。そしてジョン・ボーナムのリズムに合わせ、ジョン・ポール・ジョーンズのベースが音を刻む。彼も決して暴走しない。彼のソロアルバムを聴くとものすごく自由に奔走するベースラインを引いているのがわかる。しかしバンドの中ではジョン・ボーナムに合わせ、素晴らしいコンビを見せる。レッド・ツェッペリンと言えばロバート・プラント、ジミーペイジの2フロントと思われがちでそれは決して間違いではない。しかし私はリズム隊の2人が好きだ。どのアルバムでもこの2人のリズム隊は凄いがこの聖なる館では一層凄い。

9人のお客様がこれが役に立ったと考えています

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おうちゃん1642

隠れた名盤

2016年6月26日に日本でレビュー済み

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発売当時、あまりいい評価をされていなかった作品ですが、時がたつにつれ評価が上がってきた感じがします。
『Ⅳ』が金字塔のような作品でしたから、その後に出た本作は厳しい評価を受けたのはしょうがない気がします。
ツェッペリンのアルバムの中でも変った位置に置かれているアルバムですが、中身は斬新なアイデアが詰まっています。

3人のお客様がこれが役に立ったと考えています

役に立った

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Grant Dalwood

Love Zeppelin, awesome cd. As advertised

2023年10月13日にカナダでレビュー済み

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Super seller

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Amazon Customer

For the love of music

2016年4月28日にインドでレビュー済み

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Must have

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carlosnightman

Quick Reviews!

2016年2月15日に英国でレビュー済み

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It wasn’t until this, their fifth album that some critics and even fans felt that the band was finally slipping, having peaked. This was more experimental than anything they had done up until this point, with forays into Eastern sounds and even, gasp, disco. Time has been kind to the record though, and now we can look back and appreciate it fully. There is at least one song which we could have done without, a couple that many will see as forgettable, but still some big songs and a few underrated ones. Underrated seems to be the key word here, as many people leave this albums out when they list great Zeppelin albums. Have another listen, and hopefully you’ll be surprised at the depth of writing and music on display.

‘The Song Remains The Song’ is a joyous opener, and in spite of the song title, this is a new sound and direction for the group. The drums are not as thunderous, but there is a wall of sound production which ensures there is still a heap of volume and power. Page’s guitar are jangly, but typically fast, accurate, and Plant gives some vocal acrobatics which become grating at their higher moments.

‘The Rain Song’ is an atmospheric one, for me definitely evoking memories of looking out through clouded windows at the seemingly neverending rain, the gently strummed chords in the intro like ceaseless dripping. There are some long, peaceful instrumental moments in this song, with soft vocals in the sparse verses. Plant seems to employ a number of unusual vocal distorts and tricks throughout this album, and while that is certainly true here, those are put firmly in the background. The vocals are almost drawn, drawls, there is a looseness to them meaning the melodies come more from the music than the singing. With superb work from JPJ in the background, and the usual sturdy stuff from Bonzo, the song reaches a thunderous crescendo with a few minutes remaining, or at least it seems so as it is only momentary, the final moments being a louder, more dramatic retread of the opening.

‘Over The Hills And Far Away’ has one of my favourite Zep introductions, another wonderful acoustic piece from Lord Page. It’s a spirited return to the sounds of Led Zep III, with Plant bringing back some idealistic vocals and cutesy melodies. Once the drums kick in the song takes on a heavier approach, a streamlined funky collection of riffs to make another strong track. There is nice overdubbed guitar work for the solo, sounding a little bit disco, a little bit rock, and a large part fun.

‘The Crunge’ continues the funky sounds, and within moments it’s clear that this is unlike anything the band has recorded so far. Frequently voted among the worst songs the band has ever written, it is a clear misstep, but there is still a certain charm. Plant is alarming with his wailing, there are weird synth noises, and while the music and performances are fine, it simply sounds too cheesy for a band as powerful as this. The band show with the next track that they can experiment with other genres successfully, this one though is a bit of a cult mess.

‘Dancing Days’ is a terrific fusion of rock, and more dance oriented genres, with the emphasis clearly on the rock side whilst retaining the Zep sound thanks to powerful drums and a fantastic riff. Catchy and repetitive like the best Disco tracks, though free of all the dated and cheesy stuff, this is an interesting song, and another strong one on this underrated album.

‘Dyer Maker’ is yet another unique track, with a fun vibe, great guitar work almost blown away by Bonzo stoutly refusing to play his drums quietly in an otherwise soft song. Influenced by growing reggae popularity, it is a bit of joke song, but it’s one I wholeheartedly enjoy – the band are exploring a sound they haven’t touched upon before, they sound like they are having a great time, and they succeed at claiming the style as their own. With amusing lyrics, catchy melodies, it’s one which many fans don’t enjoy, but I’ll always defend it.

‘No Quarter’ is definitely the precursor to the much more renowned Kashmir, but it is certainly not an inferior version of that epic, instead standing on its own as a fantastic, eerie, downbeat and doom laden rocker. It’s an extremely moody song with a variety of production tricks played to enhance the mood. The peaking of progressive rock, with its studio trickery and focus on mood clearly holds influence over this one, and yet again Zep take all the important pieces from another genre and meld them into their own style. Oscillator effects and a lot of compression on the guitars and synth, and even on the vocals, as well as the dynamic tonal changes throughout and the Eastern tinges give a distinct sound which again sounds unlike the standard Led Zep track, but also unlike anything else.

‘The Ocean’ is introduced by some Bonzo banter, annoyed at the number of takes, but finally getting it right. This is a more typical Led Zep track – big bluesy riff, stomping drums, rocking vocals etc. Aside from some unusual timing, it’s a straightforward, unremarkable track, at least until the last minute when the song suddenly changes into a honkey tonk blues breakdown. A dedication to their fans, it’s a decent track, and a decent song to end with.

In some ways this could be called my favourite Led Zep album – with 5 of the 8 tracks being previously rated by me on my ipod as 5 stars. A number of those 5 star tracks though may not be as essential or brilliant as 5 star tracks on more popular albums, and only one of the 3 remaining tracks can be said to be poor. Some fans may be put off by the different approaches to songwriting which the band take here, moving away, or more accurately, branching from their blues and hard rock roots. Regardless, the songs are still there, the songs are still strong – the songs remain the same. Sorry.

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Lümmel

einfach nur genial

2015年3月8日にドイツでレビュー済み

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Für mich ist Houses of the Holy vielleicht sogar das beste LedZep Album. Was hier geboten wird ist einfach nur atemberaubend und Abwechslung pur.
Angefangen von "The Song remains the same" über das ruhige, verträumte "The Rain Song" bis zum funkigen "The Crunge" und einem Ausflug in Richtugn Reggae "Dyer Maker" bekommt man so viele Ideen zu hören , nur um dann bei No Quarte nochmals das Gefühl zu bekommen irgendwo schwerelos zu driften.

Einfach nur ein großartiges Album!

1人のお客様がこれが役に立ったと考えています

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Ottavio

Stupendo, variopinto (e spesso sottovalutato) album "di transizione".

2013年11月8日にイタリアでレビュー済み

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Nella storia dei Led Zeppelin accanto ai celebratissimi quattro primi album e al vendutissimo mostro sacro Phisical Graffiti, si collocano altre produzioni discografiche da sempre ritenute marginali, minori, di qualità inferiore o trascurabili.

Sia detto una volta per tutte che questo è un errore enorme, poiché da un lato tutti gli album degli Zeppelin dovrebbero essere giudicati in relazione al periodo musicale e all'opera omnia del gruppo, dall'altro ha portato a non rendere giustizia ad album stupendi come questo Houses of the Holy, che contiene alcune tra le migliori cose del gruppo e si colloca a cavallo tra il IV del '71 e Phisical Graffiti del '75, ovvero i due maggiori successi degli Zeppelin, qualcosa come 40 milioni di copie vendute negli States.

Houses of the holy è per certi versi un album di transizione tra la prima intensissima fase (69/71) dei Led Zeppelin I,II,III,IV e il resto dell'attività del gruppo negli anni 70. È un album che segna il passaggio da una forma hard rock blueseggiante che spesso non riesce ad essere incanalata nella tradizionale canzone ad una serie di brani molto più definiti che esplorano le tendenze dei primi anni '70: progressive, funk, disco, reggae, etc...

The songs remains the same condensa in tre minuti gli elementi blues rock dei dischi precedenti e li integra con un riff portante dal sapore e dal suono progressive.

The rain song, è un lento acustico, dolce e bucolico con piano e archi che poco alla volta cresce impetuoso per poi spegnersi delicatamente.

Over the Hills and far away è una delle migliori canzoni degli Zeppelin, dove troviamo una perfetta unione di acustico ed elettrico, folk e hard blues. L'introduzione completamente acustica, un ottimo assolo elettrico e un grandissimo finale di atmosfera.

La parte centrale dell'album presenta un trittico che è un pugno nello stomaco per il fan medio degli Zeppelin e un tentativo di esplorare nuove strade, non sempre riuscito ma comunque ad ottimo livello.

The crunge è un funk rock, che ricorda addirittura i Red Hot Chili Peppers, con ottimo riff di chitarra e sezione ritmica all'altezza, il cantato è debole e la voce di Plant litiga timbricamente e ritmicamente con i canoni Funk.
Decisamente meglio dancing days, un ibrido rock ballabile con un riff stupendo, traballante e sospeso, e molte dissonanze nei fraseggi di Page.
Eccoci poi al Reggae-Rock di D'yer Maker, una canzone che è considerata una sorta di tradimento dai fan integralisti degli Zeppelin, ma in realtà è un piacevolissimo intermezzo esotico in cui Plant è molto più interessante.

Il capolavoro dell'album è No Quarter, un lento progressive ancora oggi attualissimo. Un brano sospeso, etereo, che vive sulla contrapposizione di tastiere liquide e pianoforte squillante, chitarra bassa e distorta e voce filtrata, in un alternarsi di pause e riprese. Veramente un pezzo evocativo.

Chiusura tradizionale per the ocean a concludere un album controverso, ma secondo me stupendo, vario e ingiustamente sottovalutato. Questi sono i Led Zeppelin nel 73, in piena forma ma in transizione tra i due picchi discografici della carriera.

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[逆輸入国内盤紙ジャケット] Houses Of The Holy

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