Posts Tagged ‘Led Zeppelin’

Led Zeppelin’s debut record had barely hit the shelves by the time they started recording this one, with the majority of the record being written while the group were out on tour. While their first record had seen them showcasing their love of blues-rock and turning the volume up a little bit, Led Zeppelin II was where the group decided to kick into overdrive, turning it up another notch and truly making a name for themselves.

From the second that the album bursts into ‘Whole Lotta Love’, the listener knows they’re in for something special. As the album continues into the likes ‘Living Loving Maid (She’s Just a Woman)’, ‘Ramble On’, and the unforgettable riff of ‘Heartbreaker’, it becomes clear that this was the point where Led Zeppelin were at their ferocious best, wowing their audience with a stunning second record before they unleashed their magnum opus just a couple of years later.

“On the second LP, you can really hear the group identity coming together,” Jimmy Page recalled years after its release. While Zeppelin recorded their first album in three weeks after a single, two-week Scandinavian tour, Led Zeppelin II was cut over six months on tour in London, New York, Vancouver and Los Angeles, with the band carrying the master tapes along the way in a steamer trunk.

“It was quite insane, really,” Page said. “We had no time, and we had to write numbers in hotel rooms. By the time the album came out, I was really fed up with it. I’d just heard it so many times in so many places. I really think I had lost confidence in it.”
In reality, they made one of the greatest, heaviest and raunchiest albums ever, steeped in both Delta and Chicago blues, Sixties psychedelia and gentle-to-bone-crushing dynamics. Highlights ranged from the chugging, apocalyptic chaos of “Whole Lotta Love” to the bullet-fast fuzz riffs of “Heartbreaker” to “Bring It on Home,” a juke-joint blues gone mad. “They were the first numbers written with the band in mind,” Page told writer Mick Wall later. “It was music more tailor-made for the elements you’ve got. Like knowing that Bonzo’s gonna come in hard at some point, and building that in.”
Less than four months after the release of their first LP, in January 1969, Atlantic Records was already prodding the band for new material in time for the Christmas season. In April, Zeppelin headed into London’s Olympic Studios with engineer George Chkiantz. “Whole Lotta Love” was one of the first tracks they worked on; it was constructed from a riff Page invented during one of their 15-minute-plus live versions of “As Long As I Have You,” with Robert Plant adding lyrics taken straight from Muddy Waters’ 1962 single “You Need Love.” They finished it in New York with Hendrix engineer Eddie Kramer, who helped execute the terrifying middle section, incorporating a variety of sounds: Page’s slide guitar mixed backward, his eerie theremin, a female orgasm and a napalm-bomb explosion. Said Page, “It’s sort of what psychedelia would have been if they could have got there.”

Guitar solos were recorded in studio hallways; Bonham played the percussion part to “Ramble On” on a guitar case, a drum stool or a garbage can (no one recalls which), and his showpiece “Moby Dick” solo was patched together from several recordings in separate studios.
The recording methods may have been ad hoc, but the results were fully realized. “What Is and What Should Never Be” used stereo mixing to send Page’s guitar and Plant’s squeals ping-ponging from speaker to speaker as if mimicking a bad acid trip. “The Lemon Song” – their version of Howlin’ Wolf’s “Killing Floor” – was cut live in the studio, seamlessly time- shifting from smoky cool to frantic boogie, Plant howling, “Squeeze my lemon till the juice runs down my leg!”
“Thank You,” a folk hymn drenched in 12-string guitar and organ, was Plant’s first writing effort, penned for his wife during a time of intense changes; in less than a year, the band had gone from slogging it on tour in snowy English car rides to weeklong stays at the Chateau Marmont, watching Elvis Presley from the front row in Vegas and mingling with L.A.’s groupie elite, the GTOs.
Amid all this chaos, Zeppelin remained focused and worked feverishly. A studio perfectionist, Page refused to get distracted. In July, on the night the group celebrated its gold record for Led Zeppelin at the Plaza Hotel in New York City, the guitarist sent the band straight to the studio afterward.
“There was an urgency to being in the States,” Bonham said. “I remember we went out to the airport to meet our wives, got them back to the hotel and then went straight back to the studio and did ‘Bring It on Home.’ We did a lot that year like that.”
“I could see the battle fatigue taking its toll on Jimmy,” road manager Richard Cole said, describing a London session. “His face seemed drawn. The circles under his eyes were getting darker. He started smoking more cigarettes than usual.”
It paid off. Even “Living Loving Maid (She’s Just a Woman)” – a twangy rocker Page said he wrote about “a degenerate old woman who tries to be young,” and which he later said was his least-favorite Zeppelin song – was undeniable. By August, they had finished recording, Kramer and Page mixing the LP in two days at New York’s A&R Studios on a 12-channel Altec board. “It was the most primitive console you could imagine,” Kramer said.
Released October 22nd, 1969, Led Zeppelin II went on to sell 3 million copies within six months, taking the Number One spot from Abbey Road in December. “Whole Lotta Love” hit Number Four in the U.S. in January 1970, foreshadowing heavy metal more than a decade early.
“Our whole lives changed,” Plant said. “It was such a sudden change we weren’t sure how to handle it.”

On the second LP, you can really hear the group identity coming together,” Jimmy Page recalled years after its release. While Zeppelin recorded their first album in three weeks after a single, two-week Scandinavian tour, Led Zeppelin II was cut over six months on tour in London, New York, Vancouver and Los Angeles, with the band carrying the master tapes along the way in a steamer trunk.

'Led Zeppelin II'

Less than four months after the release of their first LP, in January 1969, Atlantic was already prodding the band for new material in time for the Christmas season. In April, Zeppelin headed into London’s Olympic Studios with engineer George Chkiantz. “Whole Lotta Love” was one of the first tracks they worked on; it was constructed from a riff Page invented during one of their 15-minute-plus live versions of “As Long As I Have You,” with Plant adding lyrics taken straight from Muddy Waters’ 1962 single “You Need Love.” They finished it in New York with Hendrix engineer Eddie Kramer, who helped execute the terrifying middle section, incorporating a variety of sounds: Page’s slide guitar mixed backward, his eerie theremin, a female orgasm and a napalm-bomb explosion. Said Page, “It’s sort of what psychedelia would have been if they could have got there.”

The looming dissolution of the Beatles, after a stirring run of creative genius, signaled that everything would be different in the ’70s. They released their final album in Abbey Road, though the earlier-recorded Let It Be would follow, after some post-session doctoring from Phil Spector. They weren’t the only ones who departed: The original Jimi Hendrix Experience, Eric Burdon and the Animals and the Jeff Beck Group fell apart, even as Rolling Stones co-founder Brian Jones died. The warm feelings of Woodstock were quickly forgotten in the bloody aftermath of Altamont.

The death of Brian Jones, July 3rd , Brian Jones had long since relinquished his role as a major contributor to the band he founded, the Rolling Stones, when he drowned in his swimming pool at his home in Cotchford Farm, the estate formerly owned by A.A. Milnes, author of the ever popular children’s book, Winnie the Pooh. He had been fired by the Stones the month before due to drug use and increasingly erratic behavior, leaving Jones more or less out in the cold as far as any further recording ventures were concerned. Initially ruled “death by misadventure,” the verdict was later questioned when rumors spread that a construction worker named Frank Thorogood actually murdered Jones and had made a deathbed confession to a confidante. In 2008, the Sussex police department declared it was no longer investigating the claim. Nevertheless, Jones became the first member of the so-called 27 club, whose membership now includes Jimi Hendrix, Janis Joplin, Kurt Cobain, Amy Whitehouse and a number of other artists whose lives ended at the fateful age of 27. His death also ended a prolific and profound era for the Stones, which many still argue, was the most creative period of their collective career.

At the same time, bands appeared that would dominate the decade to come. Led Zeppelin released their acclaimed first and second albums in ’69, laying a sturdy foundation for superstardom. Zeppelin seemed to arrive as a fully formed new blues-rock variant, harder and louder than anything that had come before. In fact, after touring together extensively, the band arrived in the studio with this material so well rehearsed that they only needed 36 hours spread out over two weeks to complete the album. Its influence, however, has endured – not just as a template for their own career, but also for untold legions of soon-to-be-famous heavy-metal purveyors.

In the summer of 1969, Zeppelin was a band on the rise. Its self-titled first album, released in January of that year, reached Number 10 on the Billboard charts in the U.S., and peaked at Number 6 in the U.K. The band’s pairing of blues, folk and psychedelia eventually would make it the biggest band of the 1970s, “as influential in that decade as The Beatles were in the previous one,”  Zeppelin would play more than 40 gigs on their Summer of 69 tour of U.S.A.

Chicago issued the first of what will eventually be four straight multi-album projects, A band with a bright horn section and a scalding guitarist, Chicago was really all about dichotomy back then. Four songs from their introductory double album would enter the charts, through to 1972’s Chicago V. 

Mick Taylor joined The Stones, sparking their most heralded period – though one that was marked by a turn toward darker subject matter. Rolling Stones, ‘Let It Bleed’ was aptly titled, the second in a quartet of genius albums by the Stones echoed all of the very real apprehensions surrounding this era – like a gritty yin to the Beatles’ utopian yang on ‘Abbey Road.’ Mick Taylor’s arrival also ushered in a harder-edged sound, which combined to create one of rock’s most visceral triumphs. It’s sexy, foreboding, topical and dangerous, sometimes all at once.

Altamont – December 6th was one of the darkest days in music history, Altamont sealed the lid on the promise of peace and love that was capped by Woodstock, and did so within mere months following that celebratory event itself. The Stones, who headlined the sprawling festival in the California desert, may have had good intentions to offer a free concert, but enlisting the Hell’s Angels as security was a terrible idea. Though the line-up was stellar—CSNY, Santana and Jefferson Airplane reprised their roles from Woodstock, along with the Flying Burrito Brothers providing an excellent add-on—an aura of violence and uncertainty pervaded the proceedings. Both Jagger and Airplane singer Marty Balin were accosted the former as he left his chopper, the latter onstage and the death of concert goer Meredith Hunter by a pack of Angels who claimed they saw him wielding a gun, ensured the fact that an idyllic utopian era of the ’60s was quickly come to an end.

‘Abbey Road’ was always a far more fitting send off for the Beatles than ‘Let It Be’ could have ever been. It’s among Paul McCartney’s brightest, most artistically satisfying, moments. But John Lennon’s punctuations (and, to a quickly emerging degree, George Harrison’s) undoubtably make it so. Moments away from imploding, they arrived for these sessions as distinct individuals, rather than stylized mop-topped group. Yet, for a moment in time and for this one last time, the Beatles’ separate personalities seemed to work again in service of the whole.

The Beatles Final Concert, January 30th, Although the Beatles’ impromptu performance on the rooftop of their Apple headquarters in London’s central environs was rumored to be a tryout for a return to live concerts, it was in fact part of the band’s final hurrah. The tumultuous sessions for their album Let It Be exposed a group in disarray, and indeed, a mere nine months after this live six song set—all culled from tracks they had been working on at the time The Beatles were officially broken. Filmed to provide a cap on the ill-fated Let It Be film, it’s still an exhilarating experience to watch the four former Fabs giving it a final go for the curious crowds below. “Hope we passed the audition,” John says before vacating the premises on orders from the police. Yes, Mr. Lennon, indeed you did.

Nick Drake, ‘Five Leaves Left’ was an autumnal yearning which surrounds these folk-rock recordings, and that’s likely the reason Drake was overlooked in his time. Even smart assists from Richard Thompson, then of Fairport Convention fame, couldn’t push this delicately conveyed album into the public consciousness back then. Sadly, Drake only had five years left. He died at age 26 in 1974 of an overdose.

This daring debut by prog rock band King Crimson, ‘In the Court of the Crimson King’ still remains prog’s standard bearer, the best example of a then-emerging movement that sought to combine musical concepts with rock. ‘In the Court of the Crimson King’ was also a template for how this seemingly ever-evolving band would operate, as their lineup almost immediately flew apart. The core pair of Robert Fripp and Greg Lake was all that remained by the time King Crimson set about recording a follow-up.

The Kinks ‘Arthur,’ a triumph of rock with a British sensibility subtitled “Or the Decline and Fall of the British Empire,” never gets the short-hand praise of contemporary works like the Who’s ‘Tommy.’ That’s likely because it’s less ambitious. But it’s also far more listenable – like a rock musical, rather than a rock opera. Hailed as one of rock’s first great concept albums, ‘Tommy’ – like so many examples in that genre – sometimes suffers creatively at the expense of furthering the plot. But at its best, this represents the Who at their finest. And there’s no questioning how the album opened up new narrative possibilities for pop composers.

The Who Performed Tommy for the First Time, April 22nd Notably, the concert in Devon, England, preceded the album’s official release by a month. Although other offerings can claim to be the first real rock operas—The Pretty Things’ S.F, Sorrow and the Kinks’ Arthur, among them—The Who were the only band to take the unusual step of performing an album in its entirety. They’d later take Tommy to some of the world’s great opera houses, elevating rock in both intellect and intent.

The debut of supergroup Blind Faith, June 7th, Heralded as the first true “super group”—a term that would resurface continuously in the years that followed Blind Faith was based on an all-star union between guitarist Eric Clapton and drummer Ginger Baker of Cream and vocalist/keyboard player Steve Winwood of Traffic, with bassist Ric Grech, formerly of Family, added later on. Although Clapton in particular was wary of the implications involved in such a high profile ensemble and equally concerned about inviting the tempestuous Baker into the fold—he agreed to pursue the possibilities, owing in small part to the fact that he and Winwood had worked together in a short-lived ad hoc outfit called Powerhouse a few years before. The group’s less than spectacular live debut at Hyde Park further exacerbated Clapton’s concerns, and after a single spotty album and tours of Scandinavia and the U.S., the group disbanded later that year.

Dylan Reemerges at the Isle of Wight, August 31st, Dylan had been largely absent from public view since a 1966 motorcycle accident drove him into self-imposed seclusion. Other than his work with the Band at Big Pink, he chose to spend time with his family and record an album, Nashville Skyline, a shocking departure from any album he had offered before. Consequently, the announcement of his appearance at England’s Isle of Wight Festival attracted an extraordinary amount of interest, including the curiosity of various Beatles, a Stone, Eric Clapton, Pink Floyd’s Syd Barrett and a still gestating Elton John. Rumor had it that Lennon, Harrison and Starr might join Dylan onstage, and although that proved false, Dylan alone was enough to mesmerize the masses. Dressed in a beige suit, his hair cut short, he performed a 17-song set with backing from the Band, a concert that included several classics from his catalog as well as tracks from Nashville Skyline and its immediate predecessor, John Wesley Harding. It’s still considered a landmark performance today.

That was probably to be expected for a generation still reeling from shocking assassinations and an ever-escalating war. So, too, was a move toward nostalgia for the old ways. Bob Dylan Having hinted at his intentions on the more rustic ‘John Wesley Harding,’ Dylan definitively left behind protest music for a head-long dive into deep country for the charming, determinedly happy ‘Nashville Skyline.’ In its own way, this was revolutionary too as he went country, even as his old backing musicians in The Band released a determinedly homespun self-titled masterpiece. The Byrds also splintered, with two members Gram Parsons and Chris Hillman left to dive deeper into their passion for country and western music. The resulting album, unfortunately, did little on the charts – but it proved to be a well-spring of inspiration for descendent bands like the Eagles. breaking away to form the Americana-focused Flying Burrito Brothers.

Although there had been several gingerly moves to find common ground between the disparate realms of country music and rock ’n’ roll early rock pioneers Elvis Presley, Carl Perkins, Buddy Holly, Jerry Lee Lewis, the Everly Brothers and Rick Nelson all had claims on country—in the divided America of the late ’60s, followers of the two styles were decidedly distinct. Nevertheless, the Byrds and the Buffalo Springfield effectively made efforts to narrow that divide, making it only natural that the two groups they spawned, the Flying Burrito Brothers and Poco respectively, would, to paraphrase the title of the latter’s debut album, pick up the pieces. As a result of releases like The Flying Burrito Brothers’ debut, The Gilded Palace of Sin, in February 1969, country-rock blossomed, spearheaded by the influence of “cosmic cowboy” Gram Parsons (a member of both the Byrds and the Burritos) before later finding a permanent bond with the release of the Nitty Gritty Dirt Band’s Will the Circle Be Unbroken, featuring members of both the new guard and the old, two years later.

The Stooges, ‘The Stooges’ This album’s wiry, first-take feel was no put on: Three songs from the Stooges‘ titanic debut were written in a single day, after their label said the album needed more material, then banged them out live. The ferocious results gave the nascent heavy metal genre new fire, presupposed far-off punk, and scared the hell out of parents everywhere.

Creedence Clearwater Revival began to come into their own here, reaching heralded high points with “Born on the Bayou” and “Proud Mary.” The rest of ‘Bayou Country’ doesn’t always reach that level, but the album is nevertheless surrounded by a sense of expectancy. They’re discovering themselves with every revolution of this album, and it’s a fizzy joy to hear. The second of an incredible run of three CCR albums from 1969 codifies every great thing the earlier ‘Bayou Country’ pointed toward. Sharply drawn, ‘Green River’ is just as sharply played – with none of the period-piece noodling that had occasionally seeped into their first two albums. John Fogerty dilated his muse on ageless cuts like “Bad Moon Rising,” the title track and “Lodi,” and Creedence finally found its true voice.

The Allman Brothers Band an accomplished debut as they blended rock, blues, jazz and a distinctly Southern sensibility to came up with something uniquely and forever their own. Taken for granted in today’s multi-cultural melting pot, ‘Santana’ marked the big bang of Latin rock. Within a year, congas and timbales had found their way into the music of the Rolling Stones, Sly Stone, Jimi Hendrix and Miles Davis, among many others. But it all started here, as ‘Santana’ blended mind-blowing, genre-bending musical explorations with more compact songs like the rambunctious Top 10 hit ‘Evil Ways’.

Jimi Hendrix forms the Band of Gypsies, October and with the release of Electric Ladyland, Jimi Hendrix was at the height of his prowess, but the break-up of the Experience left him without a band and bereft of new recordings. His band at Woodstock, ostensively dubbed “Gypsy Sun and Rainbows,” found him expanding his original trio concept and reuniting with his former army buddy, Billy Cox. The aggregate, which Hendrix referred to as “a band of gypsies” when interviewed on The Dick Cavett Show, fell apart soon after, although Cox continued on bass and joined Hendrix for some informal recording dates with Buddy Miles. It was a natural combination; Miles had subbed for Experience drummer Mitch Mitchell on two tracks used for Electric Ladyland, and the trio went on to record a few demos and rehearse for an upcoming concert at the Fillmore East that would span New Year’s Eve. The self-titled album, released on Capitol Records to satisfy a contractual obligation, became the band’s only official recording, but clearly pointed the way to a more racially charged sound Hendrix was working on for the future.

Woodstock, August 15th-18th, If ever there was a single gathering that served to define the spirit of the ’60s, those three days spent in the muddy fields of Yasgur’s farm in upstate New York takes the prize. It wasn’t always pleasant—despite an amazing array of rock’s most influential artists (Jimi Hendrix and Janis Joplin, CSNY, Santana, Jefferson Airplane, Richie Havens, et. al.), the traffic, the mud and the scarcity of supplies (other than the acid of course) tended to test the resolve of all involved. Still, it was that spirit of love, peace and music that pervaded the proceedings over all, assuring a communal embrace while setting the precedent for festival gatherings, a basic blueprint that remains relevant to this day.

Jefferson Airplane, ‘Volunteers’ was the last album to feature both Marty Balin and Spencer Dryden, ‘Volunteers’ blended a few bucolic moments (featuring guest stars Jerry Garcia and members of CSNY) in with the now-expected psychedelic rock – but that’s not this album’s best-remembered legacy. Instead, it’s a series of molten, occasionally profanity-laced rebukes of the American status quo. They left the ’60s with a bang.

Joining together for the first of what would become a string of free-wheeling, muscular successes alongside his band Crazy Horse, Neil Young blows a hole in the comfy folk-rock conventions of ‘Everybody Knows This Is Nowhere’ in fact, has a lot more in common with the wild eclecticism of his work with Buffalo Springfield, but with a new tone that’s both sharper and looser.

Records in  heavy rotation in my bedroom included the debut album from Led Zeppelin, Led Zeppelin II, The Beatles Abbey Road , The Who’s Tommy, King Crimson’s In The Court Of The Crimson King a great record,one that for its time was truly unique, The Rolling Stones Beggar’s Banquet which never left my turntable and the follow-up release Let It Bleed, Neil Young’s masterpiece Everybody Knows This Is Nowhere, Zappa’s Hot Rats which help change my musical perspective, Fleetwood Mac’s Then Play On, CSN debut, Blind Faith’s one and only official release which is also a very strange record, Nashville Skyline by Bob Dylan, The MC5’s Kick Out The Jams, Isaac Hayes’ Hot Buttered Soul which arrived unexpectedly when I did not respond in time to a record company selection deadline and glad I got this gem,Chicago Transit Authority double set before they shortened their name to Chicago,  Jethro Tull’s Stand Up, Live Dead, The Doors Soft Parade, Pink Floyd’s Live Ummagumma, Jefferson Airplane’s Volunteers, and Procol Harum’s A Salty Dog.

Few events in American history caused as much upheaval as the war in Vietnam. Young people took to streets and college campuses, protesting a conflict that they viewed as little more than an excuse for a murder machine entangling thousands of young draftees. Not surprisingly, musicians supplied the soundtrack against which protest was pursued. With the sound and imagery flashing across television screens night after night, it was only natural that people would find respite in an array of anthems—“Fortunate Son” by Creedence Clearwater Revival, “Street Fighting Man from the Rolling Stones,” “For What It’s Worth (written about the riots on Sunset Strip) by Buffalo Springfield, “Machine Gun” from Jimi Hendrix, Country Joe and the Fish’s “Vietnam Song” and “Volunteers” which came courtesy of Jefferson Airplane. All served to remind the youth of the country that they weren’t alone in their determination to sway some sentiment and avoid the bloodshed overseas.

No photo description available.

This relatively unknown band formed out of the Yardbirds‘ ashes and recorded an eponymous debut album. Spearheaded by guitarist Jimmy Page, the band was predicted to “go down like a lead zeppelin” by Keith Moon, drummer for The Who. The album was recorded in September and October 1968 at Olympic Studios, London, shortly after the band’s formation. It contains a mix of original material worked out in the first rehearsals, and remakes and rearrangements of contemporary blues and folk songs. The sessions took place before the group had secured a recording contract and were paid for directly, and took 36 hours and less than £2,000 to complete.

Released on the 12th January 1969, Led Zeppelin’s self-titled debut arrived out of the ashes of guitarist Jimmy Page’s former group, the Yardbirds. With singer Robert Plant, bassist John Paul Jones and drummer John Bonham, the record built upon the heavy blues sound created by Cream, the Jimi Hendrix Experience and Page’s one-time bandmate Jeff Beck by adding elements of American and British folk and Indian music into the mix. Along with Black Sabbath and the Who, as well as less popular but influential acts such as Blue Cheer, they would also help pave the way for heavy rock in the ’70s.

Now, 50 years later, Led Zeppelin I stands up to the test of time. From the opening chords of “Good Times Bad Times” to the closing notes of the blues saga “How Many More Times,” there isn’t a single dull moment on the whole album. Songs genres bounce from hard rock to deep blues to folky, three styles that the band would embrace throughout their career. Transitions like “Black Mountain Side” a steel-string acoustic guitar ballad, into “Communication Breakdown” a fast-paced rocker, immediately showcased this band’s extraordinary talent. For the recordings, Page played a psychedelically painted Fender Telecaster, a gift from friend Jeff Beck after Page recommended him to join the Yardbirds in 1965, replacing Eric Clapton.

But for all the originality found in the virtuoso musicianship and Page’s production, Led Zeppelin has a checkered history with regards to songwriting credits. Although Willie Dixon was listed as the writer of “You Shook Me” and “I Can’t Quit You Baby,” four of the seven other tracks have roots in songs composed by other artists.

Led Zeppelin was recorded with almost no overdubs in London’s Olympic Studios by musicians still looking for a shared language. “Nobody really knew each other,” said Plant, who had never been in a high-caliber studio before. “I’d go back to the playback room and listen. It had so much weight, so much power — it was devastating. I had a long way to go with my voice then, but the enthusiasm and sparking of working with Jimmy’s guitar … it was so raunchy.” That raunch was rendered overwhelming and spectral by Page, who placed mics all over the studio to get a vérité sound that might recall the raw, big-room ambience of old Chess and Sun records. Uncredited engineer Glyn Johns added to the effect by putting Bonham’s drum kit on a riser to enhance his “phenomenal” sound. Much has been made of Bonham’s power (the beat on “Communication Breakdown” is nearly punk-speed), but Jones was just as impressed by his restraint: “John kept a really straight beat on slow numbers like ‘You Shook Me” he recalled.

“Good Times Bad Times”

As the opening track on Led Zeppelin’s first album and their debut single, it was the first music from them that many people heard. And yet, according to reports, the band rarely played “Good Times Bad Times” in concert. Bits of the song were occasionally included in their early days as part of a full performance of its b-side, “Communication Breakdown,” but it’s believed that the only time they played it in its entirety was their 2007 reunion concert, when it opened the show. Perhaps John Paul Jones explained why they never played the whole song until then when he spoke with Rolling Stone after the show. “That’s the hardest riff I ever wrote, the hardest to play,” he said. “But it was a good starter, because everybody had to focus.”

“Babe I’m Gonna Leave You”

Jimmy Page heard “Babe I’m Gonna Leave You” on Joan Baez’s In Concert, Part 1 record. Baez didn’t know that the song was written by Anne Johannsen (later Bredon) — she’d learned it from another folksinger, Janet Smith — so she credited it, as was often the case with folk songs, as traditional, with Baez providing the arrangement. Zeppelin followed suit, with Page credited as the arranger. In the ’80s, Smith heard Led Zeppelin’s version and contacted Bredon about the lack of credit. Bredon worked out a deal with Zeppelin’s publishing company, Superhype, and, since the early ’90s, has received 50 percent of the songwriter’s royalties.

“You Shook Me”

As with “Babe I’m Gonna Leave You,” “You Shook Me” was another example of what Pete Seeger called the “folk process,” whereby music evolves by building upon existing works. In 1962, Muddy Waters took an instrumental recorded a year earlier by one of his Chicago blues contemporaries, Earl Hooker, added lyrics by Willie Dixon, which he sung in tandem with Hooker’s guitar, and released it as “You Shook Me.”  Jones, Plant and Page took a solo on Hammond organ, harmonica and guitar respectively. Page put backwards echo on the track, which was then a novel production device.

Six years later, Waters‘ track was reinterpreted twice within a few months of each other. Jeff Beck recorded a blistering take for the album Truth, but Led Zeppelin’s version redefined the song even further. In addition to more-than doubling the original’s length (Muddy’s was under three minutes while Zeppelin’s lasted nearly six-and-a-half minutes), with Plant wailing away on the harmonica and Jones, who also played on Beck’s rendition, taking a keyboard solo. Plant also changed the lyrics to have the woman in question leaving the singer instead of being involved in an extramarital affair.

“Dazed and Confused”

“Dazed and Confused” With its slow, descending bass-line, the song lingers in the mysterious before punching its way into hard rock legend. Add in a guitar solo played with a violin bow, and you have yourself an instant classic.

Originally written by Jake Holmes, who didn’t receive credit until he sued the band in 2011, “Dazed and Confused” was first heard by Page after Holmes opened up for the Yardbirds in 1967. The Yardbirds had covered the song regularly in concert during 1968, and performed it for several radio and television sessions. But as with the other covers, it underwent a few changes by the time Led Zeppelin recorded it, including the famous solo where he played guitar with a violin bow. Although Page didn’t invent the technique — it was used by Eddie Phillips of the Creation on “Making Time” — he learned about it through David McCallum Sr., with whom Page was chatting during a session. The song was an important part of Led Zeppelin’s live show throughout their early career, and became a vehicle for group improvisation, eventually stretching in length to over 30 minutes. The improvisation would sometimes include parts of another song, including the group’s “The Crunge” and “Walter’s Walk” (released later on Houses Of The Holy and Coda, respectively), Joni Mitchell’s “Woodstock” and Scott McKenzie’s “San Francisco (Be Sure to Wear Flowers in Your Hair)”. It was briefly dropped from the live set in 1975 after Page injured a finger, but was re-instated for the remainder of the tour. The last full live performance during Led Zeppelin’s main career was at Earl’s Court, London later that year, after which the violin bow section of the song’s guitar solo was played as a standalone piece.

As Page recalled, “[O]ne of the violinists came to me one day and he said, ‘Have you ever considered playing a guitar with a bow?’ And I said, ‘Well, I don’t think it’ll work.’ Because the strings are uniformed wheres a violin is arched. And he said ‘Well here’s my bow. Would you like to try?’ And I said ‘Absolutely.’ So I tried it and i could see there was massive potential. After that I went and bought my own bow.”

“Your Time Is Gonna Come”

Page pulled out another weapon from his bag on “Your Time Is Gonna Come,” the track that opens the second side, with a pedal steel guitar entering the mix during the first chorus. As with “Good Times Bad Times,” the song didn’t feature into their live set, with its only known performance coming at a 1971 show in Tokyo during the “Whole Lotta Love” medley. However, Page brought it out during his 1999-2000 tour with the Black Crowes, as heard on their Live at the Greek: Excess All Areas live album.

“Black Mountain Side”

The instrumental “Black Mountain Side” is another instance on the record where the folk process calls into question the authorship of the work. Bert Jansch, a fixture on the British folk scene, recorded his own version of the traditional Irish folk song “Down by Blackwaterside” in 1966. Page adapted Jansch’s arrangement, added a tabla for percussion, gave it a new name and claimed it as an original.

By the time of Led Zeppelin’s release, Jansch had already formed Pentangle and released a pair of albums. A year later, Basket of Light reached No. 5 on the British album chart. They split in 1973, with Jansch eventually returning to his solo career, although several reunions followed until his death in 2011.

As Colin Harper noted in Dazzling Stranger: Bert Jansch and the British Folk and Blues Revival, Jansch never sued Page because he was never in a position to afford the legal costs involved. But it remained a sore point with him throughout his life, particularly when his path crossed with Page’s.

“The thing I’ve noticed about Jimmy whenever we meet is that he can’t look me in the eye,” Jansch said in 2007, later adding, “Well, he ripped me off, didn’t he? Or let’s just say he learned from me. I wouldn’t want to sound impolite.”

“Communication Breakdown”

While much has been made about Led Zeppelin’s influence on the development of ’70s hard rock and metal, and punk’s overall disdain for those styles, “Communication Breakdown” turned out to be influential on Johnny Ramone. As Mickey Leigh of the Rattlers wrote in I Slept with Joey Ramone: A Family Memoir, he performed the riff note-for-note for the future Ramones guitarist, and he dug how Page created the riff’s power using only downstrokes.

“Most people don’t realize that,” Leigh recalled Ramone as saying. “That’s how rock & roll should be played. All of it! Everything should be a down stroke.” Drummer Marky Ramone confirmed the influence, saying that Johnny “loves Jimmy Page and he also likes ‘Communication Breakdown.’ Even though he’s not the lead guitar player, those are rhythm songs. That’s why he likes that stuff.”

“I Can’t Quit You Baby”

Another Willie Dixon composition, “I Can’t Quit You Baby” was made famous by Otis Rush in 1956. But for all of the inspired call-and-response interplay between Plant’s vocals and Page’s guitar, the take released on Led Zeppelin has never been a favorite of the guitarist.

“There are mistakes in it, but it doesn’t make any difference,” he told Guitar Player in 1977. “I’ll always leave the mistakes in. I can’t help it. The timing bits on the A and Bb parts [the power chords] are right, though it might sound wrong. The timing just sounds off. But there are some wrong notes. You’ve got to be reasonably honest about it.”

“How Many More Times”

While many of the tracks on Led Zeppelin have their antecedents in one specific song, the eight-and-a-half minute album-closing “How Many More Times” drew its influence from several sources. Zeppelin honed their virtuosity into compositions; even the eight-minute “How Many More Times” was designed for maximum impact. “There was very little free-form anything,” said Johns. “They were very hard-working. The Stones took nine months to make a record; these guys took nine days including mixing.”

“That has the kitchen sink on it, doesn’t it?” Page told Brad Tolinski. “It was made up of little pieces I developed when I was with the Yardbirds, as were other numbers such as ‘Dazed and Confused.’ It was played live in the studio with cues and nods.

As Aaron Krerowicz noted, the bass line that kicks it off has its roots in the Yardbirds‘ live cover of Howlin’ Wolf’s “Smokestack Lightning,” and its title and opening verse were rewritten from another Wolf track, “How Many More Years,” while other verses borrow from Albert King’s “The Hunter” and Jimmie Rodgers’ “Kisses Sweeter Than Wine.” The rhythm from another cut off Jeff Beck’s Truth, the Page-composed “Beck’s Bolero,” shows up around the three-minute mark.

Page brought back the bow for the solo. “I think I did some good things with the bow on that track,” he told Tolinski, “but I really got much better with it later on. For example, I think there is some really serious bow playing on the live album [The Song Remains the Same]. I think some of the melodic lines are pretty incredible. I remember being really surprised with it when I heard it played back. I thought, Boy, that really was an innovation that meant something.”

ENGLAND - 1969: Rock band 'Led Zeppelin' poses for a publicity portrait in 1969 in England. (L-R) John Bonham, Robert Plant, Jimmy Page, John Paul Jones. (Photo by Michael Ochs Archives/Getty Images)

Led Zeppelin was produced by Page and engineered by Glyn Johns, both of whom had known each other since teenagers in the suburb of Epsom. According to Page, most of the album was recorded live, Two other songs from the Olympic sessions, “Baby Come On Home” and “Sugar Mama”, were left off the album. They were released on the 2015 reissue of the retrospective album Coda.

thanks to Ultimate Classic Rock

Image result for the rolling stone mobile studio images

Mobile recording studios have a longer history than you might think. As early as the 1920s, record companies in both the U.K. and the U.S. were experimenting with location recording, albeit with incredibly primitive equipment. This was the pre-magnetic tape era, after all.

In the U.K., the pioneer was EMI, closely followed by its chief rival, Decca. The purpose, for the most part, was to record live concerts of classical music, and while the equipment changed out of recognition during the following 30 years or so, that purpose remained: to capture live performances.

By the time rock music arrived around the mid ’60s, a new generation of mobile studios appeared that would capture some of the most important recordings of the era. And curiously, most of them were not recordings of live gigs. That was because the mobile studio soon became used as much for the freedom it offered artists to record in domestic locations as for capturing their stage performances.

Digital technology has helped bring about the demise of the mobile truck since the turn of the millennium. Now, artists can of course record on devices as small as an iPad (to name but one famous example, Damon Albarn recorded the Gorillaz album The Fall in just that way). Even if you don’t want to be quite as stripped-down as Albarn, a laptop armed with plugins and a small digital mixer can offer almost as much as a fully fledged mobile studio at far less cost.

However, before the mobile trucks rumbled off into the distance, the freedom they provided in that short period produced some remarkable recordings. Here are six of them.

The Who, Live at Leeds (1970)

This album, still regarded by many critics as the finest live rock LP ever, was originally designed to be Live at Hull and Leeds. It was recorded by the Pye Records mobile on eight-track analogue tape machines installed beneath the auditorium in a cloakroom. At this stage, mobile trucks were used simply to carry recording equipment to a gig. That equipment then had to be removed, assembled, and used in whatever space could be found.

With nothing more than split cables from the vocal, speaker, and drum microphones, the two recordings were plagued with technical problems. Some of the bass track from Hull was lost, and the Leeds concert suffered from crackles, which have caused controversy ever since. Years later, when the crackles were erased using digital wizardry, some fans objected that they removed the authenticity of the recordings.

Originally released as a single six-track vinyl LP, Live At Leeds has since appeared in many incarnations, some with and some without the infamous crackles. The Hull gig recorded the night before (February 13th) has been released, too, with John Entwistle’s missing bass parts replaced with carefully synced recordings from Leeds. There are those who claim that Live At Hull 1970 is even better than the raw and powerful Live At Leeds. They can both be heard on the 40th Anniversary collectors’ edition.

Led Zeppelin, IV (1971)

You could toss a coin over whether Led Zeppelin’s III or IV was the more significant album, but it doesn’t really matter for our purposes—both made very extensive use of the Rolling Stones Mobile (RSM) and were released before two other other landmark RSM recordings, the Stones’ Exile On Main St. and Deep Purple’s Machine Head.

A former 18th-century poorhouse, Headley Grange in Hampshire was the chosen venue, as it had been for much of Zeppelin III. The majestic sound of John Bonham’s drums—sampled a thousand times and still used today—was created in wood-paneled Headley Grange with a pair of distant Neumann condenser mics. It has probably never been equalled.

The Rolling Stones, Exile On Main St. (1972)

Just as The Who’s Live At Leeds is regarded by some as their finest hour, so the Stones’ Exile On Main St. stands as a testament to the band at its peak—even if a wobbly one at times.

In 1970, Mick Jagger bought Stargroves, a country house in Hampshire. The band’s pianist and tour manager, Ian Stewart, suggested that in order to make full use of it, they needed their own mobile studio. This saw the birth of the most famous truck of them all, the Rolling Stones Mobile. It is one of the few things you can use the word legendary about without risk of exaggeration.

Unlike earlier trucks, the Stones Mobile had a control room inside the vehicle, so it really could go anywhere and do almost anything. The band used it to record most of the Sticky Fingers album, and a year later, beset with taxation problems, they decamped to the Villa Nellcôte in the South of France, with the RSM following.

The sessions that followed have become the stuff of rock legend and lore. Beside the technical problems imposed by an unsuitable recording environment—a cramped, damp basement—and compounded by an erratic power supply, the band’s “personal issues” should have made the resulting album a shambles. Indeed, engineer Andy Johns described them as “the worst band in the world” for much of the time. But somehow, in true Stones fashion, what emerged from the chaos was one of rock’s most memorable and charismatic albums. It just reeks of authenticity thanks, at least in part, to the location and the way in which most of it was recorded.

Deep Purple, Machine Head 1972

If Exile On Main St. really put the Stones Mobile on the map, it was Deep Purple who immortalized it in “Smoke On The Water.” The song recalls the night in 1971 when the Casino in Montreux, Switzerland burned down following a gig by Frank Zappa and The Mothers Of Invention.

The plan had been to record the next Deep Purple album in the Casino, but the fire put paid to that. A couple of other venues in the town were hastily found for the recording sessions, which produced, among others, “Smoke On The Water,” the lyrics of which refer to the RSM as “the Rolling truck Stones thing.”

The Who, Quadrophenia 1973

On the face of it, this seems an unlikely album to have emerged from a mobile studio, and in fact it was made at an unlikely location, too. Ronnie Lane’s Mobile (known as the LMS) was parked in Battersea, south-west London for much of the recording of Quadrophenia, in an urban jungle outside a still uncompleted Ramport Studios, which The Who were in the process of building.

Ronnie Lane, the ex-Faces bass player, had chosen an American Airstream trailer for his mobile studio, and Bad Company, Led Zeppelin (notably on Physical Graffiti), Rick Wakeman, and Eric Clapton were just some of the musicians who would make excellent use of it. Of all the British golden-era mobiles, Lane’s was one of the most successful.

Radiohead, OK Computer 1997

There were many impressive albums recorded using mobile studios between The Who’s Live At Leeds in 1970 and Radiohead’s OK Computer in 1997, and there were more mobiles than we have space to include here, among them Jethro Tull’s Maison Rouge, Virgin’s Manor Mobile, and Mickie Most’s RAK.

By the late ’90s, however, the era of the truck was coming to an end—and OK Computer provides fitting mood music. Relatively inexpensive and highly portable digital equipment and computers meant that the need for a large studio on wheels was passing.

In fact, OK Computer wasn’t recorded using a truck at all, but it epitomizes why mobile trucks had been so popular: location recording enabled a band to work at their own pace, in their own way, in an environment completely unlike an essentially sterile fixed-site studio.

For this album, which Rolling Stone described as “the last masterpiece of the alt-rock movement,” Radiohead were given a reputed £100,000 by their record company. Their producer Nigel Goodrich used it to buy recording equipment for use in St Catherine’s Court, a spectacular manor house near Bath in Somerset, owned at the time by actress Jane Seymour. In the same way that the natural acoustics of Headley Grange helped Led Zeppelin achieve astonishing looseness, vitality, and depth, so St Catherine’s Court added its brooding presence to a haunted, dark, and troubled album.

One thing binds together the albums featured here: none of them could have been made in a traditional fixed-location recording studio. In the case of recordings of gigs, it’s obvious why that should be. But a common quality shared by the albums featured here is the live ambience of an environment that wasn’t carefully designed to sound neutral. In the age of Pro Tools sameness, that is definitely something to be cherished.

There is another angle, too. Musicians often complain that “clocking in” to record every day is too much like going to work, especially in a traditional city-center studio. In a residential location, they can not only experiment with different sounds but also socialize and make music in a freer and more creative way. You may not be able to quantify that.

Led Zeppelin‘s soundtrack to their concert film The Song Remains The Samehas been remastered and will be reissued across multiple formats in September.

The band’s performances in July 1973, at New York’s Madison Square Garden, were recorded for the concert film, The Song Remains The Same. The soundtrack to the film, produced by Jimmy Page, was originally released in 1976. Recorded live at the conclusion of a North American tour in support of the band’s Houses of the Holy album

The release is scheduled for Sept. 7, which will mark the 50th anniversary of the first show Jimmy Page, Robert Plant, John Bonham and John Paul Jones ever played together. In addition to the Super Deluxe Boxed Set edition,

This reissue is similar to the recent reissue of their live album How The West Was Won, since the formats on offer include an expansive super deluxe edition box set that includes the remastered audio on two CDs and four vinyl LPs and a two-DVD set of The Song Remains The Samefeaturing the full theatrical version of the film plus bonus content including four performance outtakes that were not part of the original film:  Celebration Day, Over The Hills And Far Away, Misty Mountain Hop, and The Ocean. The box also includes a DVD of the entire album in Dolby Digital 5.1 Surround and PCM Stereo, a download card of all stereo audio content at 96kHz/24 bit, a 28-page book (with photos and an essay by Cameron Crowe), a replica of the Japanese program from 1977, and a print of the original album cover (as usual, the first 30,000 will be individually numbered).

9-disc super deluxe edition • Blu-ray audio • Full album 5.1 mix

As well as the big box, there’s a 4LP vinyl set, a blu-ray audio with the 5.1 mix (96kHz/24 bit) and surround mixes and a humble remastered two-CD package.

It’s worth noting that for the 4-LP set, Page made a change to the track sequence, allowing the 29-minute version of Dazed And Confused to be featured in its entirety on one side of vinyl for the first time.

The Song Remains The Same will be reissued on 7 September 2018.

Led Zeppelin 1

Whether you mark the genesis as the death of  The Yardbirds, the Scandinavian tour by The New Yardbirds or the band’s first show under the new name, Led Zeppelin’s birth, however gradual, takes place in 1968, on way to its crowning moment, the release of the band’s self-titled debut not two weeks into the new year, January 12th of 1969.

The story arguably begins back in 1966, when Jimmy Page joined The Yardbirds, first on bass as replacement for Paul Samwell-Smith, but then switching to guitar, where he shares those duties with Jeff BeckBeck was soon to depart, in October that year, Jimmy’s thoughts wandered off to bigger things, a supergroup of sorts, while he bides his time for nearly two more years with an act proving to be somewhat directionless. The Yardbirds would play their final show, a Bedfordshire gig, in July of 1968. At this point Jimmy is already in possession of most of the riffs and song ideas he would need in his next incarnation.

“We were a vehicle for what Jimmy wanted to do when he came in,” explains Yardbirds drummer Jim McCarty. “He had a pretty free rein, as all the guitar players did and he pushed The Yardbirds sound into more of a heavy metal context. He really was the master of the riff.”

Everyone was paying attention to the band’s star axeman. Recalls Steve Lyman, of legendary Michigan rockers SRC, who caught the band just before their demise, “The first British group that I actually saw perform live was The Yardbirds, at a small club in Ann Arbor, Michigan called The Fifth Dimension. I already had two albums by The Yardbirds at that time, so it was a real thrill for me to see this British group performing live. Jimmy Page was the guitar player at the time, because The Yardbirds went through various incarnations. Eric Clapton was their first guitar player, Jeff Beck and then Jimmy Page. I was mesmerized by that Yardbirds show. I was the lead guitar player in a band The Fugitives, which became the SRC, so seeing Jimmy Page play became a real thrill for me because I had been listening to these Yardbirds records on my record player and trying to figure out what they were playing.”

But in the summer of ’68, The Yardbirds, now splitting up, but nonetheless still committed to a Scandinavian tour. A new lineup to fulfill these dates was called for. After Chris Dreja bows out to begin a career as a photographer, session stalwart John Paul Jones is recruited. In the all important vocal slot, Jimmy had wanted on the team Terry Reid, but Reid demurs, suggesting a young Birmingham singer named Robert Plant. Robert is the one who brings along local drummer and hard-hitter John Bonham. Before the new foursome would hit the road, they perform a session for the P.J. Proby album Three Week Hero. A track there called “Jim’s Blues” would live on as the band’s first session together, on the technicality that Robert is present blowing some harmonica.

Original Judas Priest vocalist Al Atkins happened to be there to watch the formation of what would be called The New Yardbirds, the makeshift name the band used to fulfil those Scandinavian dates.

“I used to know Robert,” says Atkins. “We used to go for a beer together, and sometimes he’d borrow my microphone because he couldn’t afford one, if I wasn’t playing. We had one mic between the two of us. I had the best one. And a buddy of mine, ‘Are you playing tonight?’ ‘No, oh go on.’ It was great times. Robert’s roots have always been blues. He’s a very intelligent guy when you’re talking to him about the blues stuff. He knows everything about that. You can’t argue with him about anything on that subject. But I saw him before Zeppelin, when he was playing at Henry’s Blues House and Alexis Korner was playing on his own, a solo gig he got there, like a one-man band thing or something, and Robert got up and played harmonica and sang along with him.

Image result for led zeppelin led zeppelin 1st album images

“And then with Jimmy Page, they joined The Yardbirds, went over to Europe, came back, and next thing they were called Led Zeppelin. I went to see them play at Mother’s in Erdington. They were supporting Blodwyn Pig, and I think they got 75 quid or something. But when I saw him with Jimmy onstage that night I was totally blown away. And Bonham was absolutely out of his head. He was drunk, I think. And they did a set, and it was very mixed, including a lot of stuff that was going to be coming on the new album. They were loud, but they were brilliant. Robert’s voice had just changed overnight. I couldn’t believe the difference in his voice. Fantastic vocalist. And yeah, John Bonham, he couldn’t come back onstage. They did the encore and the drummer from Blodwyn Pig came on and played this blues thing with them and they just jammed the encore. The good ol’ days.”

Jimmy had made his mind up that they were going to blow everyone off the stage,” adds (now deceased) engineer Andy Johns, soon to be working closely with the band. “That’s what my brother told me. This is when Jimmy still had The Yardbirds thing going. Glyn said, ‘I was with Jimmy the other day, and Jimmy said, I’ve got this new lineup now, and we’re going to blow everyone offstage.’ So that was an intentional thing, to be as dramatic and as riff-conscious as possible. And Jimmy was a fabulous writer, and had a lot of great ideas in the studio, and was just wonderful to work with.”

But in August of 1968, even before the band’s dates in Scandinavia, Jimmy’s Yardbirds mate Jeff Beck would release his album Truth, which many a rock historian debate as the blueprint for what Led Zeppelin would become.

“Well, it was right around the same time,” explains Zeppelin bassist John Paul Jones. “I was on that Jeff Beck album and Jimmy was with The Yardbirds at the time, so my influence on the Jeff Beck album would probably be similar to my influence on the Led Zeppelin album, just like Jimmy. I don’t know, I suppose. You can come to the same conclusion with any number of blues-based rock bands. But it soon took off from there. Most of the songs we had done on the first album had been done by Jimmy and The Yardbirds as well. It was only things like “Good Times Bad Times,” which was a riff I brought in, that I wrote in the studio. That’s got John’s famous drum part, of course. John never used double bass. He did in fact bring in a double bass drum for rehearsal, and we played a couple of songs with it, but then we hid it when he went for lunch. When he came back it was gone.”

“We loved Zeppelin,” says Nazareth guitarist Manny Charlton, also there to watch the band being born. “They were just an extension to what was going on with the guitar bands like The Who, on from The Beatles. It went from The Beatles to The Who and then into that blues boom thing, with the Jeff Beck Group. The Yardbirds and Cream, really, initially, we were doing the electric blues thing. The Yardbirds moved from that blues thing to another area, where they kept the same sound but they started writing what you would call riffs, and in some cases, like pop songs. A pop song but played with that power-trio lineup. Because initially when Cream started, they were doing ‘I Feel Free’ and stuff like that, basically writing pop songs to get away from the blues, to get away from ‘You Shook Me.’ But the Jeff Beck Group took it to another level, and then Led Zeppelin obviously did as well. But their first album was basically electric blues songs.”

Into the fall, The New Yardbirds would play their first date, September 7th, 1968, at the Gladsaxe Teen Club in Gladsaxe, Denmark, following up with another 10 days around Scandinavia. Significantly, the band have in their set  “Communication Breakdown,” which is recorded as soon as the band get back, in October of that year. It’s a small thing, but one might also call the recording of this bedrock Zeppelin track as the birth of the band. Indeed the song is a step up in intensity, away from other songs in the set at this time such as “Hush,” “The Hunter,” “Somethin’ Else” and “Train Kept A-Rollin’.”

In any event, 1968, as it pertains to the birth of the band, is next marked by the first show on British soil, October 4th at the Mayfair Ballroom, Newcastle upon Tyne. Conducting a brief British tour, the next benchmark is the band’s first show under the new name — Chris Dreja had issued a cease and desist order on the use of The Yardbirds moniker — on October 25th, at the University of Surrey in Battersea. And for the record, as the story goes, the band chose for its new title Led Zeppelin, because John Entwistle had suggested to Jimmy that his new “supergroup” would go down like a lead balloon. Into November, rough and tough manager of the band Peter Grant negotiates a $143,000 advance for his boys from Atlantic Records and the hype machine lurches into operation, never to wane across a full decade of dominance.

“We didn’t move into a style; I think we kind of created it,” muses John Paul Jones, on what the band brought into being over the nine-day burst of creativity in late 1968 that would result in the band’s debut album. “And if you would have asked me in 1969, as people did, what sort of band I was in, I would have said a progressive rock band. But then that became to mean something else. There you go banging up against categories again. That came to mean something else entirely. And then it was just sort of like blues rock, because the band was quite blues-orientated. And it was just the style, the way the members of the band played together. But in terms of actual riffs, well, anything with notes, lots of notes, like ‘Black Dog,’ ‘Good Times Bad Times’… those were my riffs. And anything that was kind of lurchy and chordy were Page’s riffs. That’s how you tell them apart.”

Related image

The impact of the band’s first album would be felt far and wide. “Led Zeppelin had just come out,” remembers Blue Cheer’s Randy Holden. “They were doing something entirely different. I went to see them at their gig at the Whisky, which was their first gig in California as far as I know. I liked their album; I thought they got a really heavy sound on the album, but then live they used these Rickenbackers and they’re the most god-awful sounding amps I ever heard, which really surprised me. But the record really came off great.”

Deep Purple bassist Roger Glover, “Led Zeppelin influenced me a lot because I was in a pop group called Episode Six and we were trying to get heavier and weren’t making it because we were just playing the same music but louder. When the album first came out, you could tell it wasn’t the loudness so much as a feeling, what you felt about the music rather than how they played it. Episode Six, as we were, weren’t the right combination of people to be heavy, and I gradually gained the impression that heavy music wasn’t for me because I didn’t like what we were playing — loud pop music. And I decided for a time to go into folk music. I’ve never been so struck by an album as I was by Led Zeppelin. It really left me open-mouthed. What they were playing was very simple stuff, loud and exciting, and it moved me. I suddenly wanted to be in a club playing that music — loud, straightforward, with simple guts. And by pure coincidence, just about that time I was offered a job with Deep Purple! But for Zeppelin, I might never have been in Deep Purple.

“I remember Jimmy played me the first Led Zeppelin album,” chuckles Yardbirds drummer Jim McCarty. “There was ‘Dazed and Confused’ and there was a Howlin’ Wolf-type thing, ‘How Many More Times” which is very similar to the stuff we’d been playing; it was similar to ‘Smokestack Lightnin’,’ I thought. And then there was another one which was similar. It was very well done, the first Zeppelin album; I thought it was very good. You can see the links, how easy it was to go from us to them.”

And like so many others that were there to bear witness to the birth of this great band, Foreigner guitarist Mick Jones had also found himself impressed with what Jimmy had put together. “At the time, I was cutting my teeth in France,” explains Jones. “Don’t ask me how, but I’d become sort of the musical director and producer of Johnny Hallyday, who you’ve probably heard of. He was sort of the French Elvis, as it were. And so we would go over to England to record, and we ended up with an engineer named Glyn Johns, who at that time, he worked with Steve Miller Band and later the Eagles. I think he had been working with the Eagles even before their record came out. But he had worked a lot with John Paul and Jimmy when they were session musicians.”

“And they happened to be session musicians on the stuff that I was doing for Johnny Hallyday. And so I was fully aware of who they were. And every time I was playing with Jimmy Page, he blew me away every time we went into the studio. I had so much respect for him as a guitar player. So that’s where our friendship developed. He would even come over to Paris with Glyn Johns and cut tracks over there. In fact, some of the music that we were doing with Johnny Hallyday provided the opportunity for Jimmy to work closely with Glyn Johns in preparing the first Zeppelin album. And I remember the day that Glyn took me into the studio, the back of Olympic Studios in London, and he said, ‘I’m going to play you a couple things on Jimmy’s project.’ And he sat down and played me ‘Communication Breakdown’ and it just blew me away. Just blew my mind. I couldn’t believe it. I had never heard anything as mean and powerful in my life. It just left me staggered.”

Millions across the planet were soon to feel equally staggered, but again, the groundwork and indeed so much more, was set in 1968, and really, much of it packed into the back half of the year. The breakdown in communication that caused the demise of The Yardbirds to the recording of “Communication Breakdown” takes no more than an astonishing four months, and by the end of the year, is a record that will forever change rock ‘n’ roll. Fully 50 years later, the impact of Led Zeppelin is still reverberating.

Words By Martin Popoff

Led Zeppelin Led Zeppelin - 1st [B] - Uncorrected - G vinyl LP album (LP record) UK ZEPLPLE672541

Image may contain: 4 people

Dazed and Confused” is a song written by American singer-songwriter Jake Holmes in 1967, It was described as “a stark, spooky folk-rock track with stinging reverbed lead guitar, Holmes‘ own pained vocals, and furiously strummed rhythm guitar that winds itself into an anguished climax. Holmes recorded the song for his debut album “The Above Ground Sound” of Jake Holmes and he performed it in the late 1960s and early 1970s on the New York City folk scene and the college coffee house circuit. The lyrics refer to the effects of a girl’s indecision on ending a relationship.  This version from Live Supershow 1969 .

In August 1967, Holmes opened for the Yardbirds at a Greenwich Village gig in New York According to Holmes, “That was the infamous moment of my life when ‘Dazed and Confused’ fell into the loving arms and hands of Jimmy Page.” When the track appeared on Led Zeppelin’s eponymous debut album in 1969, Holmes was aware of it at the time, but didn’t follow up on it: “In the early 1980s, I did write them a letter and I said basically: ‘I understand it’s a collaborative effort, but I think you should give me credit at least and some remuneration.’ But they never contacted me.

After hearing Holmes perform the song in 1967, English rock group the Yardbirds reworked it with a new arrangement. It became a centerpiece of the group’s tours in 1968, several recordings of which have been released. “Dazed and Confused” was further adapted later that year by Yardbirds guitarist Jimmy Page’s “New Yardbirds” group (soon to be rechristened Led Zeppelin) for their debut album, Led Zeppelin“Dazed and Confused” became a concert staple with solos that sometimes stretched the performances to 45 minutes.

When the Yardbirds disbanded in 1968, Page planned to record the song in the studio with the successor group he had assembled that summer. According to Zeppelin bassist John Paul Jones, the first time he heard the song was at the band’s first rehearsal session at Gerrard Street in London, in 1968: “Jimmy played us the riffs at the first rehearsal and said, ‘This is a number I want us to do’.” The future Led Zeppelin recorded their version in October 1968 at Olympic Studios, London, and the song was included on their debut album Led Zeppelin (1969). “Dazed and Confused” was the second song recorded at the Olympic sessions.

Page recorded the song in one take with a Telecaster and violin bow as he had performed it with the Yardbirds.  Singer Robert Plant wrote a new set of bluesier lyrics, according to Page though Plant is not credited on the album. Other sources say Page wrote the new lyrics himself. Whichever the case may be, Plant’s vocal is raw and powerful, delivered with “unrelenting passion.”Other than the lyrics and vocal, the song remained very similar to that performed by the Yardbirds earlier that year.

This bolt of lightning likewise illuminates the already thick and portentous soundscape further setting a tone for the impending sonic onslaught. John Bonham (drums) sneaks in with a rock solid downbeat beneath Plant’s opening line. During the bridge [Bonham] explodes front and centre with his trademark blend of keen rhythmic gymnastics and straight-ahead swinging percussive support. The band collectively combust throughout the remainder of the cut as they alternate between scintillating and scorching.”

Led Zep RSD 2018 cover

Limited Edition 7-Inch Single, Produced By Jimmy Page, To Be Released On Record Store Day Featuring Unreleased Versions Of “Rock And Roll” And “Friends”

Led Zeppelin are releasing something special for Record Store Day. Before the legendary band kicks off its 50th anniversary celebration this September, a special 7-inch vinyl single will arrive at independent record stores everywhere on April 21st from Atlantic Records and Rhino.  The single, pressed on yellow vinyl, will premiere two previously unreleased studio mixes: the Sunset Sound Mix of “Rock and Roll” b/w the Olympic Studios Mix of “Friends.”  Both of these tracks have been selected for this release by producer Jimmy Page.

“Rock and Roll” is only the third track released from the fabled Sunset Sound Mixes of Led Zeppelin IV.  The studio mix of “When the Levee Breaks” actually made the original album, while the mix of “Stairway to Heaven” was included on the 2014 Deluxe Edition.  The Olympic Studios Mix of “Friends” is described by the label as a “stripped-down version without the orchestration of the final mix, offering a true fly-on-the-wall feel from the band’s recording sessions for Led Zeppelin III at Headley Grange.”

This limited edition single will follow the release of the remastered How the West Was Won in multiple formats on March 23rd including the first ever vinyl and Blu-ray Audio editions (with the Blu-ray containing hi-res 5.1 surround sound). The live album features performances from Led Zeppelin’s landmark California concerts at the Los Angeles Forum and Long Beach Arena on June 25th and 27th, 1972, as sequenced to replicate one entire concert.

How The West Was Won (3CD/4LP/1DVD)

Led Zeppelin are undoubtedly one of the greatest live acts of the 1970s, but their only live album from the era — the soundtrack to 1976’s The Song Remains The Same — captured them on a rather limp night. This situation was finally resolved in 2003 when Jimmy Page combed through hours of tapes from the band’s 1972 tour and cobbled together this killer 18 track set. There are tons of Zeppelin bootlegs floating around, but none of them sound this crisp and alive, even though they occasionally cheated and combined multiple versions of a song into one. Highlights include a ferocious “Immigrant Song,” a 25-minute “Dazed and Confused” and a 23-minute “Whole Lotta Love” jam. “It’s Zeppelin at its best,” Page said in 2003. “Every single member of the band is in tip-top form. It’s the magic point where it takes on a fifth element.”

Fifteen years ago, Led Zeppelin issued How the West Was Won, premiering performances from the band’s June 25th and 27th, 1972 concerts at the Los Angeles Forum and Long Beach Arena.  Now, those seminal tracks have been newly remastered under the supervision of Jimmy Page for a surprise addition to the band’s Super Deluxe library – as well as in a variety of formats, all of which are due from Atlantic/Swan Song on March 23rd including the first-ever Blu-ray Audio and vinyl editions.  The remastered How the West Was Won arrives in advance of the band’s official 50th anniversary celebration, which will kick off this September.

How the West Was Won (a No. 1 album in the U.S. and a No. 5 in the U.K.) sequenced material from the Los Angeles and Long Beach concerts to replicate a single concert from start to finish as the band introduced songs from its then-unreleased fifth album, Houses of the Holy (which would be released nine months later), and looked back on its already-storied catalogue.  Among its 18 tracks are a 25-minute version of “Dazed and Confused,” a 21-minute blues medley built around “Whole Lotta Love,” and fiery takes on “Rock and Roll,” “Moby Dick,” “Immigrant Song,” “Black Dog,” and of course, “Stairway to Heaven.”

The remastered How the West Was Won will be available in the following versions:

  • CD – Remastered audio on three CDs;
  • Vinyl – Remastered audio on four 180-gram vinyl LPs;
  • Blu-Ray Audio – 96kHz/24 bit 5.1 (DTS-HD Master Audio Surround) and stereo mixes (PCM Stereo and DTS-HD Master Audio Stereo);
  • Streaming & Digital Download – Remastered audio; and
  • Super Deluxe Boxed Set:

o Remastered audio on three CDs and four 180-gram vinyl LPs.
o DVD of album in Dolby Digital 5.1 Surround and PCM Stereo, plus photo gallery.
o High-def download card of all stereo audio content at 96kHz/24 bit.
o A book filled with rare and previously unpublished photos of the band at each of the concert locations, plus memorabilia and ephemera.
o High-quality print of the original album cover, the first 30,000 of which will be individually numbered.

Look for all formats from Atlantic/Swan Song on March 23rd, and watch this space for information on further Led Zeppelin releases as the band’s  50th anniversary approaches!

Led Zeppelin, How the West Was Won (Atlantic/Swan Song 83587-2, 2003 – reissued 2018)

Day on the Green

Led Zeppelin’s eleventh—and final—American jaunt was in support of their seventh studio album, Presence ..

The 1977 tour was plagued by unfortunate incidents, with the most notorious occurrences taking place backstage at one of the last shows and a most tragic event bringing an end to the outing.

The vibes were bad before they even played a single gig. Large, menacing manager Peter Grant had recently gone through a nasty divorce, while guitarist Jimmy Page was incredibly thin, reportedly in the throes of heroin addiction. Throughout the tour, police had to be brought in to quell audience violence, culminating in a riot in Tampa; nineteen were arrested, 50 were injured. At multiple stops, a new crop of younger, wilder fans threw lit firecrackers on the stage, which would explode inches from the band members. During a Cincinnati show, a fan died after falling from the third level of the coliseum—the first tragic event of the tour. The trek was to run for three legs of dates from April through August. For the final leg, eleven stadium shows were scheduled. The band only played four of them.

On July 23rd and 24th, Zeppelin performed in front of sell-out crowds at Oakland Coliseum. Rick Derringer and Judas Priest opened. The shows were part of the recurring “Day on the Green” concerts organized by Bill Graham. The stage set was constructed to resemble the Stonehenge monument, and was likely the main inspiration for one of the funniest moments in the brilliant mockumentary, This Is Spinal Tap    (and before you say, “But what about…,” we debunked the theory that Black Sabbath’s Stonehenge stage influenced the film).

Led Zeppelin

Two nasty backstage episodes took place on the 23rd. The first happened when Peter Grant was asked by a member of Graham’s crew if he needed help getting down some stairs, which Grant perceived as a slight on his weight. John Bindon, a London gangster brought on by Zep as their chief enforcer for the tour, stepped in and knocked out the stagehand, who banged his head on the concrete floor. Later, Grant’s teenage son was about to remove a temporary sign to keep as a souvenir, but was sternly rebuffed by a member of Graham’s security team. This prompted drummer John Bonham to kick the guy in the balls, and then Grant and Bindon beat the man so badly that a shocked Graham had him rushed to the hospital. Graham also claimed that his production manager was hit on the head with a lead pipe.

 On the 24th, Graham’s security were looking for revenge, yet the show concluded without further incident. The following day at the band’s hotel, the SWAT team showed up and arrested Bonham, Grant, Bindon and tour manager, Richard Cole, who were charged with assault. After they were bailed out, the Zep entourage flew to New Orleans for the next show. Once they were settled in, Plant received a call from his wife and learned that his young son, Karac, had died suddenly on the 24th. Plant immediately flew home to England. Led Zeppelin would never play stateside again.

Footage from the July 23rd gig is available online. This first video appears to be professionally filmed, and was perhaps meant as B-roll for a TV news piece. The first note of the Zeppelin show is heard at the 5:55 mark. At 6:10, the camera zooms in for a closer look at the band and the Stonehenge stage set.

thanks dangerousminds.net