A short introduction to Led Zeppelin
“In the days of my youth…”
In this post, I will explain why you should give Led Zeppelin another listen.
I’ll start by telling the story of how their story began. I’ll then write about the “good things” of Led Zeppelin. At the end, you’ll have a link to a Spotify playlist with cool songs.
How it all began
Led Zeppelin is made up of four guys.
The late John Bonham, at the drums (also known as Bonzo or the human missile — I made that up), Jimmy Page on the guitar(s), John Paul Jones on bass guitar, keyboards (piano, synthesisers, organs) and Robert “Percy” Plant, the white-armoured singer with the sometimes (especially before 1973) angelic voice.
Jimmy Page was a session guitarist in London in the 1960s. He was hired by producers to play some guitar parts, sometimes replacing original band members because they were too wasted or something. When Jeff Beck left the Yardbirds, Jimmy took lead guitar.
Soon, the Yardbirds decomposed. Not to worry, Jimmy Page had another musical project in mind.
A trend in 1968 was for hard rock (listen to the beautiful record Beck-O-La by the Jeff Beck Group). Jimmy wanted balance.
Something between light (acoustic music, Californian soft rock) and shade (Jeff Beck’s hard rock). Music that would masterfully employ dynamics (the relative “loudness” of music, like p for piano and ff for fortissimo).
But for this quest, Page needed companions.
John Paul Jones was an accomplished musician, playing a lot of bass for a lot of people. He was staying at home all the time. Fed up, his wife suggested he should join a band and she had read that Jimmy Page was recruiting! She thus told her husband.
Jonesy picked up the phone and called Jimmy, telling him that if he were looking for a bassist, he was his man. Jimmy replied “well, I’m going up the country, to the Midlands as Terry Reid (whom Jimmy wanted for lead singer) told me there was a singer I had to meet. I’ll tell you when I get back how it goes”.
Jimmy, along with Peter Grant, his big and wide manager, took a train to some village called Kiddminster or something in the West Midlands (a most desolate place—I’ve lived there).
On stage, he would see a a smiling man with a blond mane shaking his hips, pouting and singing. Jimmy wondered if this guy preferred the sight of himself in the mirror and girls, or music. His name was Robert Anthony Plant.
Nonetheless significantly impressed by his singing abilities, he asked young Robert (who was 19 at the time) if he wanted to join a band. Robert said “sure and if you’re looking for a drummer I know a guy”.
Robert was friends with John Bonham.
Bonzo was stealing cars and working in construction when he was not playing the drums (he famously said “drumming is the only thing I’m good at” yes John, yes indeed).
The four of them met in a basement in London. An awkward moment, since they didn’t know what to play. Suddenly, Jimmy suggested the Yardbirds number called “Train Kept A-Rollin”. Then, and this is what the people who were there said, there was the demonstration of unnatural, almost surreal synergy between the four guys.
We have liftoff! The rest, as they say, is history.
Why is Led Zeppelin’s music so great?
To me, it’s a combination of factors.
Excellence & synergy
When you listen to a Zeppelin song, you can let your mind wander and focus on each instrument individually, including the vocals. The production is still sounding very modern, thanks to Jimmy Page’s impeccable technique.
The variation in the guitar sounds is sometimes very subtle, but there’s always a difference. Not two bars are the same on When The Levee Breaks, for instance.
Robert’s singing, especially in the early days (69–72) was agile and to the point. But you already know too much about Jimmy and Robert, the genius also lies in the rhythmic section of the band.
The Drums
Before Led Zeppelin, most bands used to “crush” the drums’ sound. John Bonham, with his ferocious and thunderous attack (he was a big guy who was building buildings, unlike other rock drummers) had a distinctive sound. Everyone recognises Led Zeppelin when they hear the first seconds of “When The Levee Breaks”. Bonham used the biggest kick drum and the biggest sticks possible. He had an amazingly deft touch and inhuman time-keeping abilities. He could alternate between intense attacks and softer taps (listen to the transition in The Lemon Song). His passion for funk and soul records made his drumming style quite groovy, unlike other hard rock bands. It’s a passion he shared with the other member of the rhythmic section, Led Zeppelin’s bassist John Paul Jones. This is why girls were dancing in Zeppelin concerts and weren’t dancing in Black Sabbath’s or Iron Butterfly’s concerts. Jimmy recognised Bonham’s uniqueness and made the drums a central instrument in the music of Led Zeppelin.
The Bass
Jimmy Page, in addition to being the founder and lead guitarist, was the producer. This means he chose which track to lay where and how when mixing. Jimmy, recognising an equivalent talent in John Paul Jones, often mixed the bass track’s volume a tad higher than the guitar track. This is why you can hear the bass so well on Zeppelin’s records. The bass is the bridge between rhythm and melody. It’s the binding sound of rock music. Hearing it clearly, as performed by a virtuoso delivers great pleasure.
Most importantly, while Robert and Jimmy were generous in their games while they were playing, John Paul was more of a teaser. The placement of some of his notes is brilliant. I’m thinking about the bass in The Rain Song, about the piano in D’yer Maker.
Performance
I get my Zeppelin highs from listening to them play live. This is where you can really hear the inhuman connection there is between them. In the early days, they were as tight as Robert’s jeans.
None of their songs would be the same when they would play them live. The raw energy is captivating. Their best live album is thankfully available legally, it’s called How The West Was Won. You should listen carefully and hear how amazingly well they play together. Especially Going to California (Jimmy and John Paul on the electric mandolin) or Bring It On Home (Jimmy and John Paul, then Jimmy and Bonzo).
They were insanely resistant as well.
Most of their concerts lasted more than two hours. In the beginning, they would play old-time rock and roll songs because their meagre repertoire did not suffice and the crowd would not let them leave. They could play 27 minutes of Whole Lotta Love with medleys and directly start playing another song right after. They could keep a rhythm (listen to John Paul playing the same riff on the bass for 4 minutes straight on Dazed and Confused live).
Such quality of performance is viscerally satisfying and rather unique, especially when you’ve been listening to these songs since you were a kid.
Communion
This is, to me, the factor that makes Led Zeppelin really stand out.
Each concert was a communion between the musicians and the crowd. Of course, everyone was tripping on hard shit. We still see that nowadays. But basically, it went like this: Jimmy is fucking Robert with his guitar and Robert moans accordingly. The rest of the crowd mentally undresses Robert with determination. The intensity of the communion was thus sexual. You can still feel it decades after (or maybe I’m crazy).
It could boil down to one song, Dazed and Confused.
The most satanic bass line you’ll ever hear would start the song that often lasted more than 20 minutes when played live (7 minutes for the studio version, the longest was 45 minutes at their Earls Court concert).
The song starts quite energetically and then, at some point, the music stops, Jimmy takes a violin bow and starts toying with his guitar. At this point, it’s like he is calling demons. The song becomes frightening. It’d send shivers down your spine. I would imagine the crowd, tripping hard, must have felt quite bad at this point in the song.
Not to worry.
Led Zeppelin were the guardians of people’s trips. They’d make you feel really bad and then, suddenly, the bass and the drums come rescuing you with power and rhythm (see this text by William Burroughs on the matter).
The Playlist
This is by no means a definite playlist, the best playlist or anything.
But if you listen to all of these songs and still say Led Zeppelin is meh, then there isn’t a lot more I could do.
Here’s the link:
The songs
Travelling Riverside Blues — BBC Sessions — 1969
This one is here because of the guitar riff, which sounds like Jimmy delivering his inner fluids to the world. Also notice Robert’s “alright!” that he screams at the beginning. Bold for a 21 year old. It’s a Robert Johnson cover. I personally believe the lyrics are inspired from Dylan.
From A Buick 6 — Highway 61 Revisited 1965 Bob Dylan:
“I got this graveyard woman, you know she keeps my kid
But my soulful mama, you know she keeps me hid”
Travelling Riverside Blues — BBC Sessions/Coda 1969/1980 Led Zeppelin:
“Asked sweet mama, Let me be her kid
She said, « You might get hurt if you don’t keep it hid”
Nobody’s Fault But Mine — Presence — 1976
This is from their 1976 album Presence, their seventh. Written by Robert. Perhaps it is about the beginning of the end for Zeppelin. Robert’s voice was not as great but the music is fantastic. Three notable things: the harmonica solo (Robert’s not such a bad musician), the beautiful rhythm section (bass & drums) that play a complex start/stop trick when the voice and the guitar are going “lalalala” in the middle of the song and the distortion on the bass (we could hear the 80s coming).
When The Levee Breaks — Led Zeppelin IV — 1971
The intro that changed the music world, informing bands that drums should be given a proper place. This song is a beautiful layover of many tracks, masterfully produced by Jimmy. The harmonica track is just the delayed echo, that’s why it has a rather low tonality. After the second verse (time 2:39), when Robert sings “And don’t it make you feel bad when you try to find your home, you don’t know which way to go” you can hear one of Zeppelin’s finest moment. This song is a like a symphony of guitars and may just be their best track.
What Is And What Should Never Be — Led Zeppelin II — 1969
Another classic example of the light and shade idea. The bass line is really beautiful, just like the guitar work. Robert’s lyrics aren’t so great but it’s mostly about the music in this one. Have fun and focus entirely on the bass, you won’t be disappointed. At the end, it’s as if Robert was rapping. Neat.
Kashmir — Physical Graffiti — 1975
Once again, this is a beautiful symphony with many, many tracks. The eastern feel is given by the synthesiser. Robert Plant had the idea for this song in the Moroccan desert (Orientalism FTW). In the middle section when Robert wails like a banshee, Bonzo performs a memorable du-dum, du-du-dum (one-foot, “triple”-pedal). Heart-stopping technique.
The Rain Song — Houses of The Holy — 1973
At last! A rather calm song. Beautiful composition and piano by John Paul Jones. Delightful, calming music that shows another side of Led Zeppelin. Really interesting music when the synthesiser kicks in. At 3:25, Jonesy delivers one of the most beautiful bass lick of all time. Beatles who?
Heartbreaker (Live) — How The West Was Won — 1972
A live rendition of Heartbreaker. In my opinion, this is Jimmy Page’s finest guitar work. He said he was showing off to groupies in this concert. The “true” solo (there is no music when he plays the solo) is pretty great and includes some Bach at the end. Yes, you read that right. When the rest of the band kicks in when Page’s done, there is an unmistakeable feeling of ecstasy.
In My Time of Dying — Physical Graffiti — 1975
Alright.
This slide guitar riff and the “communication” between voice, drums and guitar is pretty hardcore stuff. It’s a cover from the traditional song (Bob Dylan covered it on his first album, albeit on a more acoustic version). It’s quite long but there are really interesting moments, especially after the two guitar solos when Robert goes “oh my Jesus”. I’m not aware of any band that can go in the studio today and record something like this. 11 minute of tight Zeppelin indeed feels pretty great.
Bron-Yr-Aur Stomp (Live)—How The West Was Won—1972
Playing with the audience, Robert sings backed by Bonzo. Excellent live acoustic guitar, it’s a story about Rober’s dog. At the end, he screams “Stryder” because he named his dog after Aragorn’s character in TLOTR. A fun moment during their best concert. For the last few verses, Bonzo starts playing with castanets. Groovy.
The Lemon Song — Led Zeppelin II — 1969
Robert was keen on sexual innuendos. This song features interesting lyrics such as “squeeze my lemon till the juice runs down my leg”. But what’s really interesting here is the rhythmic shifts. The tempo changes and you feel as if you’re listening to them jamming. The bass/drums interplay is out of this world. And the bass itself… Just listen to it.
Bring It On Home / Bring It On Back (Live) — How The West Was Won — 1972
Page said of this concert that it represented Zeppelin at its peak. And boy, do I believe him. This song is usually a 3-minute number on their second album but you can hear it fly as it should on this version. Once again, a masterful use of dynamics. If you listen carefully, you can hear them jamming at some point. A most beautiful way to conclude a concert.
The Ocean — Houses of The Holy — 1973
The most casually brilliant thing Led Zeppelin ever produced. No pretension, great rhythmic changes, a sticky riff, impossible drumming, amazing singing especially the “break” in the middle of the song. You can hear the telephone in the studio ring during the guitar solo. The Ocean refers to the ocean of people in front of the stage. The three year old girl who stole Robert’s heart in the song is his daughter, Carmen Jane.
Hey Hey What Can I Do—released on Coda but recorded during Led Zeppelin III—1970
A beautiful acoustic song of love, Robert’s vocal at their prime. The intensity builds up steadily as the song progresses. The rest of the band joins to sing the backing vocals around the end of the song. A masterful song, delivered in typical Zeppelin style.
Dazed And Confused (Live) — How The West Was Won — 1972
Jimmy Page had this song before he formed Led Zeppelin but it was written by Jake Holmes. This live version is the epitome of the “Communion” I wrote about earlier in this post. Although there are misogynistic lyrics (“soul of a woman was created below”) the demoniac bass line and top-speed solo should suffice to forget youth’s errors from memory. Page uses a violin bow in the middle section, creating new kinds of sounds.
They break from the song and play other numbers to extend the song.
Beautiful live jam.
All My Love—In Through The Out Door—1979
A song written for Robert’s son Karac, who unfortunately died very young. This song is really about the synth solo Jonesy delivers and the neatness of the accompanying guitar.
Since I’ve Been Loving You (Live) — The Song Remains The Same—1973
The best song from their third album. Here played live 1970 at the Madison Square Garden in New York. Emotional, profound, the starting guitar is a sound to behold. Some consider this song the best Blues song written by white people. And I understand why. Powerful stuff.
The quality of the vocals weren’t on point anymore, so make sure you listen to the studio version.
In The Light—Physical Graffiti—1975
A beautiful tapestry of guitars initiated by an alien sounding organ introduction. The song shifts from minor to major when Robert tells us we need the light. Sublime studio work. Page’s favourite song on Physical Graffiti.
Stairway to Heaven—The Song Remains The Same—1973
The only version you could listen to again and again. Page adds some jaw-dropping notes to the usual verse that’ll make you reconsider Stairway. His solo is very interesting. Watch and listen, people:
No Quarter—Live At Earls Court—1975
Surprise, this is not in the playlist (there’ll be instead the normal studio version). This rendition of No Quarter took place at Earls Court on the 24th of May 1975. What’s superb here is the true grand piano solo performed by Jonesy. Very Keith Jarrett-y. Very smooth. Suddenly Bonzo starts jamming with him and then Jimmy comes in. Fantastic.
Black Dog—Led Zeppelin IV—1971
Shifting rhythm. Back and forth play between vocals and music. Raw sexual power. A thundering guitar solo. Come on, man. What more can you want?
It’s the only song in its studio version from their fourth album but you should really listen to all of them. The black dog was just a dog that came inside their studio while they recorded this song. The riff was invented by Jonesy, not Page.
How Many More Times — Led Zeppelin I — 1969
Great use of dynamics and shifts in the rhythm. Very well made. The initial riff is so catchy that some youths at a Boston Concert in 1969 were bashing their heads bloody against the stage when listening to this song. Let’s remember that this song comes from Zeppelin’s first album. Robert Plant is only 21.
Their power is demonstrated here: the drumming, alternating between soft and hard, the bass, the guitar, dynamics. The quintessential Zeppelin song from their first album.
Gallows Pole—Led Zeppelin III—1970
A song that starts delicately but ends vociferously. Great, controlled progression. Typical Led Zeppelin style. The lyrics are quite good (they weren’t written by Plant). The only Zeppelin song containing a banjo. Listen to the lead guitar at some point, I think Jimmy wanted it to sound like a folk violin, if you know what I mean.
Whole Lotta Love (live) — How The West Was Won — 1972
Originally programmed to be released with their first album, Whole Lotta Love is the second album’s opener. The riff is one of the best in rock music because it’s so simple. Echoed overdrive. The lyrics are indeed sexual but it’s not the interesting bit.
This live version is quite fat and then it continues with further rock and roll songs within the same song.
Listening to the drop of the studio version at 6AM one morning was the real beginning of my love for the Zeppelin, on the 18th of April 2015.
In Conclusion
One thing that always comes to my mind when listening to Zeppelin is the idea of the “deal with the devil”.
The contemporary (Faust-inspired) legend is about the original bluesman Robert Johnson in Mississippi, in the 1920s. Robert was not a great guitar player. One day, he walked to a crossroads in the middle of the desert and met the devil. The devil tuned his guitar and played a few chords. The next day, Robert came to his village knowing how to sing, how to play like a fucking God and how to bend his guitar to his will, making weird noises and everything. A price had to be paid, however and Robert Johnson died at age 27 (he is the start of “curse of dying at 27” legend that took Jimi Hendrix and Jim Morrison, among others).
The rapid acquisition of mastery and fame is often referred as striking a deal with the devil. The same goes for Paganini, the Italian violist and, well, Led Zeppelin. Led Zeppelin’s deal involved fame, girls, money and music. The price may have been Bonham’s death at only 32 of age, marking the end of the band in September 1980 or the death of Robert Plant’s son at age 5 in 1977.
I just find the idea of four guys, coming on stage completely wasted, their shirts open and hair hanging down, destroying (in the good way) everything on their way pretty appealing. Much like Bob Dylan and other rock stars, Led Zeppelin had a commanding, magnetic presence on stage. Watching videos of them play live when they were young is mind-boggling. How can people play as well with so much intensity and mastery, so young? Where are these people today?
Want more?
If you liked something specific and need recommendations, contact me.
Thanks for reading!
And remember: Led Zeppelin — The Only Way To Fly!
