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LED ZEPPELIN

Prog Related • United Kingdom


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Led Zeppelin biography
Led Zeppelin formed in 1968 as a residue of The Yardbirds. Jimmy Page was the last remaining member and had to fulfill some concert obligations in Scandinavia. Page teamed up with John Paul Jones, with whom he worked with on previous session engagements, and they decided to form a band together, after contributing to Donovan's Hurdy Gurdy Man album , they started searching for a singer and a drummer to complete the band. Page went to see Robert Plant on recommendation by Terry Reid (Terry didn't want to do the vocals, he also turned down DEEP PURPLE for that matter), and immediately loved his voice and stage appearance, Robert Plant on his turn recommended John Bonham for drums with whom he played before in his Birmingham based band "Band Of Joy". The band members hit it off immediately and together they went on the Scandinavian tour as 'The New yardbirds". Considering their intend of forming a rock band they needed a proper name. Keith Moon once commented on the New Yardbirds show "This band will go down like a lead balloon" and derived from that came the new name of the soon to be legendary band Led Zeppelin.

Over the years Led Zeppelin came in many guises, from the heavy blues rock that dominated their first two albums, to the folk and acoustics that made up half of their 3rd and 4th album, and the more funky, even slightly progressive Houses of the Holy, and the bombastically baroque Physical Graffiti to the classic rock that prevailed in their last two albums. Led Zeppelin can be categorized as a heavier continuation of what Cream set in motion, with blues drenched, folk inflected and guitar dominated rock, using all the different styles rock could be played in, from blues, to folk, funk, pop, classical elements, Rock and Roll and metal, with side-steps that even included country and reggae, as well as psychedelic and large portions of what can be considered progressive rock. Aside from being a great rock band, their influence was felt throughout the heavy rock spectrum.

Typical elements in Led Zeppelin sounds are the funky electric guitar drives, delicate and technical acoustic guitar pieces, sophisticated multi-layered arrangements, a fabulous rhythm section with heavy drumming from John "Bonzo" Bonham and great groovy bass lines and keyboards from multi-instrumentalist John Paul Jones, and ...
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The Complete BBC Sessions (3CD)The Complete BBC Sessions (3CD)
Box set
Rhino Records - No SAI 2016
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$16.39 (used)
Led Zeppelin IV (Remastered Original Vinyl)Led Zeppelin IV (Remastered Original Vinyl)
Remastered
Atlantic Catalog Group 2014
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Led Zeppelin II (Deluxe CD Edition)Led Zeppelin II (Deluxe CD Edition)
Atlantic 2014
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Led Zeppelin I (Remastered Original Vinyl)Led Zeppelin I (Remastered Original Vinyl)
Remastered
Atlantic 2014
Vinyl$17.39
$17.24 (used)
Physical Graffiti (Deluxe CD Edition)Physical Graffiti (Deluxe CD Edition)
Remastered
Atlantic Catalog Group 2015
Audio CD$12.26
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Houses Of The Holy (Deluxe CD Edition)Houses Of The Holy (Deluxe CD Edition)
Remastered
Atlantic Catalog Group 2014
Audio CD$9.87
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Led Zeppelin III (Deluxe CD Edition)Led Zeppelin III (Deluxe CD Edition)
Atlantic 2014
Audio CD$9.76
$5.43 (used)
BBC SessionsBBC Sessions
Import
Atlantic 1997
Audio CD$9.86
$1.37 (used)
Mothership (2CD)Mothership (2CD)
Atlantic Catalog Group 2015
Audio CD$6.87
$6.01 (used)
How The West Was WonHow The West Was Won
Atlantic 2003
Audio CD$9.98
$1.79 (used)
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LED ZEPPELIN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LED ZEPPELIN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.01 | 798 ratings
Led Zeppelin
1969
3.94 | 761 ratings
Led Zeppelin II
1969
3.91 | 741 ratings
Led Zeppelin III
1970
4.37 | 976 ratings
Led Zeppelin IV
1971
3.89 | 712 ratings
Houses Of The Holy
1973
4.05 | 734 ratings
Physical Graffiti
1975
3.39 | 518 ratings
Presence
1976
2.92 | 483 ratings
In Through The Out Door
1979

LED ZEPPELIN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.77 | 265 ratings
The Soundtrack From The Film The Song Remains The Same
1976
4.27 | 148 ratings
BBC Sessions
1997
4.38 | 191 ratings
How The West Was Won
2003
4.56 | 119 ratings
Celebration Day
2012

LED ZEPPELIN Videos (DVD, Blu-ray, VHS etc)

3.97 | 141 ratings
The Song Remains The Same (Film)
1990
4.44 | 152 ratings
Led Zeppelin
2003
2.83 | 8 ratings
Rock Milestones Led Zeppelin's IV
2005
3.75 | 4 ratings
The Led Zeppelin In Concert (extract from 'The Song Remains The Same')
2005
3.75 | 4 ratings
Complete Rock Case Studies
2009

LED ZEPPELIN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.16 | 6 ratings
2 Originals Of Led Zeppelin
1974
2.40 | 235 ratings
Coda
1982
2.22 | 8 ratings
The 10 Legendary Singles
1989
3.92 | 43 ratings
Led Zeppelin (Box set)
1990
4.12 | 78 ratings
Remasters
1992
3.88 | 24 ratings
The Complete Studio Recordings
1993
3.90 | 22 ratings
Boxed Set II
1993
3.55 | 38 ratings
Early Days: The Best of Led Zeppelin Volume One
1999
2.89 | 36 ratings
Latter Days: The Best of Led Zeppelin Volume Two
2000
3.71 | 59 ratings
Mothership
2007

LED ZEPPELIN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.34 | 22 ratings
Good Times Bad Times
1969
3.84 | 29 ratings
Whole Lotta Love
1969
4.09 | 22 ratings
Immigrant Song / Hey, Hey, What Can I Do
1970
4.73 | 35 ratings
Stairway To Heaven
1971
3.52 | 12 ratings
Black Dog/Misty Mountain Hop
1971
4.06 | 18 ratings
Rock And Roll / Four Sticks
1972
3.80 | 23 ratings
D'yer Maker
1973
4.10 | 21 ratings
Trampled Underfoot
1975
3.74 | 15 ratings
Wearing And Tearing
1982
3.84 | 12 ratings
The Girl I Love
1997
4.06 | 18 ratings
Whole Lotta Love
1997

LED ZEPPELIN Reviews


Showing last 10 reviews only
 Led Zeppelin IV by LED ZEPPELIN album cover Studio Album, 1971
4.37 | 976 ratings

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Led Zeppelin IV
Led Zeppelin Prog Related

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

4 stars One of the foremost albums in rock, along with "Machine Head", "Dark Side Of The Moon" and "Boston", this is one of those albums that you will see on the shelves of just about every single person you know and their parents and aunts and uncles and former college roommates' dogs' owners' third cousins', too. And there's good reason for it; Led Zeppelin's fourth release, whatever you want to call it, is a really solid album.

Normally I'm not a fan of Led Zeppelin, whether it's because I can't stand Robert Plant's voice (OooooOOOH MaaMaa Mamaghg) or because I find Jimmy Page's playing sloppy or his tone tinny, but those unfortunate elements are nowhere to be found on this album. Instead we find a collection of 8 coherent, well-written songs performed in a collected but exciting manner. The album strikes a good balance between hard rock and folk sensibilities. I don't care for the folk songs, such as "The Battle Of Evermore" and "Going to California" as much, but the folk work on "Stairway To Heaven" is sublime, regardless of whether or not you believe to be plagiarized from Spirit's "Taurus". The hard rock numbers really are the winners here, though, with "Black Dog", "Rock And Roll" and the blues rock "When The Levee Breaks" standing on par with, or above, proto-metal contemporaries Deep Purple, Black Sabbath and Uriah Heep.

The album isn't quite tight or innovative enough for me to call it a masterpiece, but it is still a great album for rock fans to have. If you haven't heard this album yet, go listen to it right away.

 Led Zeppelin III by LED ZEPPELIN album cover Studio Album, 1970
3.91 | 741 ratings

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Led Zeppelin III
Led Zeppelin Prog Related

Review by Prog Leviathan
Prog Reviewer

2 stars Like all Led Zeppelin albums, Led Zeppelin III is enshrined in the hard rock temple. It shows the original gods of rock kicking ass, churning out smokey blues, and even experimenting with folksy acoustics. However, there's a reason that none of these Zep songs ever get played on the radio: they just aren't that good. LZ III isn't a terrible album, in fact, the fact that the band tries a few new sounds is commendable, but Page and company feel like they're in transition from the raw hard blues of LZ II and the more nuanced and complete sound of LZ IV.

"Immigrant Song" is the de facto killer cut from this record. It smashes in the door and your face with aggressive chugging and banshee wails, but when all is said and done, it's over practically as soon as it starts, and it doesn't give us anything to remember except that one big riff. Very over rated when it comes to the list of top Zep songs. "Friends" shows off a more complex arrangement, using a bouncing acoustic riff with odd rhythms and string backing, probably one of the better songs, but unfortunately it doesn't have any "wow" moments to stick with the listener. The other big cut from this album, "Since I've Been Loving You," is another keeper, but still a mixed bag. Page rocks his guitar solos but Plant's vocals are unexpectedly weak and bland. He sounds like he's trying improv or be soulful, but he's really just exposing how much the band is ripping off American blues.

"Out on the Tiles" is noteworthy only for the up front bass work of Jones, while the largely acoustic songs that follow just don't resonate with me. Again, not exactly bad, just sort of strumming for time. The band sounds good, but it almost feels like they don't really know what to do with these songs. A good example is "Bron-Y-Aur Stomp," a folksy dance song that is basically a pastiche of New Orleans-style jazz. Zeppelin sometimes gets criticized for basically ripping off black blues musicians and I think that this commentary applies strongly to a lot of Led Zeppelin III. Robert Plants' vocals in the finale, "Hats Off To Roy Harper" are actually pretty offensive, despite any actual affection to the band's inspiration. It just doesn't work.

So while LZ III is a nice album to come on occasionally during a classic rock party mix, it's much less fun than the band's other, heavier and more exciting albums.

Songwriting: 2 - Instrumental Performances: 3 - Lyrics/Vocals: 2 - Style/Emotion/Replay: 2

 Physical Graffiti by LED ZEPPELIN album cover Studio Album, 1975
4.05 | 734 ratings

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Physical Graffiti
Led Zeppelin Prog Related

Review by Losimba

4 stars Physical Graffiti is recognized as one of the strongest Led Zeppelin albums, some even say that it is the most "proggy" one. While I definitely agree with the first statement, I'm not too sure about the second one. True, the album runs over a total of nearly 83 minutes. True, 3 of the 15 songs exceed the 8 minute mark. But is that enough?

There is one main point against defining Physical Graffiti as a prog album: There's little variety in the style of the songs. Only Boogie With Stu, which is the boogie the title hints at, acoustic Bron-Yr-Aur and the ballads In The Light and Black Country Woman are different from the rest. All other songs are dominated by strong and heavy guitar riffs, though most of them are more complex than the average hard rock riff of the time. Ok, the intro parts of those songs show some variety, too. And there is of course Kashmir with its string arrangement and complex patterns which certainly qualifies as a prog song.

But as I wrote in an earlier review, an album doesn't necessarily have to be prog to get a high rating from me. It only has to be of high quality which is certainly true for Physical Graffity. I already mentioned Jimmy Page's strong guitar work, but the other musicians performances follow up closely and occasionally surpass him. Especially drummer John Bonham has never performed finer and more energetical than on this album. The same can be said about John Paul Jones on bass and keys and vocalist Robert Plant. He may never qualify as an opera singer, but he did exactly what the song needed in all 15 cases.

I might edit the rating up to a 5 after I've had another quiet hour with Led Zep IV (which will most certainly retain its provisional 5 star rating) to find out whether I feel a difference in quality (and liking) between the two albums. But for now, I go for very strong 4 stars.

 Led Zeppelin III by LED ZEPPELIN album cover Studio Album, 1970
3.91 | 741 ratings

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Led Zeppelin III
Led Zeppelin Prog Related

Review by maryes

3 stars LED ZEPPELIN III , in a overall evaluation, this album is an anachronism in Led Zepp's first half "flight". That is characterized by the almost complete absence of Page's guitar solos ( with a brilliant exception in track 3 "Celebration Day" and track 4 " Since I've been Loving You"). Even so there are other high points, like the riff and arrangement of track 5 "Out On The Tiles" ( a melody and rhythm very complex). Beside the Side 2 ( in vinyl) is very beautiful and unveil (definitively) the Zeppelin's acoustic vein. How somebody can contest the great arrangements of tracks, like "Gallows Pole" (with the banjo accompaniment), "That's The Way" ( with 12 string-guitar ) and " Bron-Y-Aur Stomp" ? Another great moment be in track 2 "Tangerine" with a lap-steel or bottleneck guitar intervention. In resume... if you are an admirer (like me) of country music ( with a progressive "brushstroke") as for instance Crosby,Stills, Nash & Young certainly you appreciates this album . My rate is 3,5 stars !!!
 Presence by LED ZEPPELIN album cover Studio Album, 1976
3.39 | 518 ratings

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Presence
Led Zeppelin Prog Related

Review by wbiphoto

5 stars I was 13 years old when this album came out and it blew me away then and nearly 40 years later continues to amaze me. It's the last great LZ record and the culmination of everything that Jimmy Page worked so many years to achieve(in various interviews he's been quoted as saying that Presence is his favorite LZ album). His dream of creating an electric guitar orchestra was finally realized in spades on this grand, 'plugged in' masterpiece. Les Pauls and 12 string SGs here, there and everywhere! The record should come with a label: "No acoustic guitars were harmed during the recording".

Presence is 'Cosmic Hard Rock' meets 'White Funk' with some blues and prog on the outer ends to hold everything together. Interestingly, this record came out one month before Rush's 2112. Needless to say, the summer of 1976 was a memorable time for this lad growing up in the shadows of the NYC skyline.

Some knock the record because of the many multi-tracked guitar pats. Who cares! Get over it. The recording studio, from the day that Sgt. Pepper's hit the market, has been and will continue to be used as an instrument. This record mandates headphone listening to truly get what Page was going for. The guitars are so clear, and well-spaced in the aural landscape, with enough distortion and overdrive to give the hardest rockers of the day a run for their money. And, as expected, the drumming is about as good as anything that has ever been done in the rock realm. Achilles Last Stand is without a doubt Zep's crowning 'prog' moment. A piece that transports the listener to a Tolkien world in a ten minute span.

An item of note is Jones' bass work(ie. Nobody's Fault But Mine). Presence is one of those records where the listener can be tricked into believing that on some passages the bass guitar is actually the bass drum. I don't know how Page was able to get such a thick, tight bass sound without it spilling over onto the other instruments(very careful compression, perhaps?). If you're into music production, then Presence should be somewhere near the top of your "must listen" list.

The instrumental highlight of the record is Page's rapid fire right hand rhythms during the closing minutes of Achilles Last Stand; funky, nasty, jazzy and HEAVY....all at once! His most masterful electric right hand work to date. His mastery of 12 string arpeggios and Les Paul sweep picking is showcased on the heavy, bass driven rocker "For Your Life". The multi-tracked guitar assault continues until the last note is played on the melancholic, blues masterpiece "Tea For One".

One down note: This is not a record that one seeks for lyrical enlightenment; after all, on one of the songs(Royal Orleans) Plant instructs the listener on how to avoid gonorrhea and transvestites while hooking up with prostitutes in New Orleans!

Lyrical shortcomings aside, Presence is a masterpiece in every sense of the term. The Zep reached an electric peak on this outing that was approached tentatively on other records, but never quite reaching the heights of this 1976 gem.

Forget what the naysayers will write and say. Get this record and listen to it loud...VERY LOUD....with a substantial woofer, if at all possible!

******************************** ***** F I V E - S T A R S ***** ********************************

 Coda by LED ZEPPELIN album cover Boxset/Compilation, 1982
2.40 | 235 ratings

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Coda
Led Zeppelin Prog Related

Review by Guillermo
Prog Reviewer

3 stars I have discovered that I still have not written a review for this album!

Well. This album was mostly released as a "recording contract filler" two years after the death of John Bonham. It is a collection of previously unreleased tracks and short in playing time (aprox. 34 minutes).

"We´re Gonna Groove" and "I Can`t Quit You Baby" are two Blues covers which were recorded live in 1970 but were overdubbed in the studio years latter. Both are not very interesting for me.

"Poor Tom" is an outake from their third album from 1970 with great drums by John Bonham.

"Water`s Walk" is an outtake from their "Houses of the Holy" album from 1973.

The most interesting songs from this album for me are the three outakes from their "In Through the Out Door" album ("Ozone Baby", "Darlene" and "Wearing and Tearing"). The three songs are the best from this album, very energetic, with "Wearing and Tearing" being the best song from this album, with great guitar playing by Page and great drums playing by Bonham. "Wearing and Tearing" was played at the Knebworth Festival from 1990 by Plant`s band with Jimmy Page as guest. That was the first time that I listened to this very good song during a TV broadcast from this Festival.

"Bonzo`s Montreux" is a very good solo drums and percussion composition by John Bonham recorded in 1976, done with several overdubbs and very good and energetic rhythms. This composition also shows why Bonham was considered as one of the best drummers in Rock. This recording was augmented by some sound effects done by Page to be released in this album.

In conclusion: "Coda" is an uneven compilation album that was released mostly as a "record contract filler", mostly interesting for the most die-hard fans of the band. I don`t listen to this album very often, but I prefer the songs from the original Side Two of the L.P. (tracks 5 to 8).

 Whole Lotta Love by LED ZEPPELIN album cover Singles/EPs/Fan Club/Promo, 1969
3.84 | 29 ratings

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Whole Lotta Love
Led Zeppelin Prog Related

Review by Guillermo
Prog Reviewer

4 stars Well. This is a review that I write with some nostalgia as both songs from this single were the first songs that I listened from LED ZEPPELIN when I was 4-5 years old in 1969-70. My father bought this single at that time,and both songs were played a lot in the radio in my city.

"Whole Lotta Love" is a very good song, very well recorded and mixed, and it has a lot of interesting things in arrangements and in sound terms. Maybe it is one of the "signature songs" from the early days of the band, very heavy, with great drums playing by John Bonham. I can`t remember if the original single which my father bough was released in Stereo, but as the single was lost with the passing of time, in 1977 I bought an E.P. which included "Whole Lotta Love" in Stereo and the E.P. also included "Communication Breakdown" and "Inmigrant Song" in Stereo too. A great sounding E.P.

"Living Lovng Maid (She`s Just a Woman)" is another very good song from their second album, maybe more Pop Rock oriented and maybe more proper for radio playing than "Whole Lotta Love". Anyway, both songs were very popular in my country in those days and even several years later.

 Wearing And Tearing by LED ZEPPELIN album cover Singles/EPs/Fan Club/Promo, 1982
3.74 | 15 ratings

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Wearing And Tearing
Led Zeppelin Prog Related

Review by Guillermo
Prog Reviewer

4 stars Maybe this "special limited edition" single (as it says in the scan of the cover included in this website) was released to promote their "Coda" album from 1982. And it seems that it was a good idea for both songs to be released as a promotional single, but I don`t understand why it was released as a limited edition single. Maybe it was only done to make it a collectors`s item.

Both songs were recorded in late 1978 during the recording sessions for their "In Through the Out Door" (1979) album, which is one of my favourite albums from LED ZEPPELIN.

In the case of "Wearing and Tearing" (composed by Page and Plant) I think that it is a very good song, very energetic and much better than other song which was composed by Page and Plant for that album, called "Hot Dog", which is maybe one of the weakest songs in that album. I think that "Wearing and Tearing" deserved a place in that album instead of "Hot Dog", and maybe could have been a Hit if it was released as a single from that album instead of being released as a single from "Coda" three years later.

"Darlene" (composed by Bonham, Jones, Page and Plant) is not as good as "Wearing and Tearing" but it is also better than "Hot Dog". Unfortunately, in 1979 the time playing limitations of the L.P.s did not allow these songs (with also another outake from that 1979 album, "Ozone Baby", also a good song and also composed by Page and Plant) to be included in that 1979 album. All songs from those recording sessions are very good, even if "Hot Dog" is not as good as all the others.

Maybe with "In Through the Out Door" being an album on which the keyboards (mainly synthesisers in most songs and played by John Paul Jones, one of the main songwriters with Plant in this album) played a central role on most songs, and with all these three songs ("Wearing and Tearing", "Darlene" and "Ozone Baby") being predominantly guitar driven songs, maybe they were considered as somewhat different with the general sound of the album and that was the reason they were not included in "In Through the Out Door". But maybe they could be included in a new re-issue of the album on C.D as this format allows more time of playing.

"Wearing and Tearing" is one of the best songs from the last days of LED ZEPPELIN as a band.

 Led Zeppelin II by LED ZEPPELIN album cover Studio Album, 1969
3.94 | 761 ratings

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Led Zeppelin II
Led Zeppelin Prog Related

Review by maryes

5 stars n spite Led Zeppelin II, isn't the highest quotation album between the P A community, is my favorite album from LED ZEPPELIN. The album don't shows any weak moment. All tracks are very well "arranged" in a splendid "Dramatic Curve" captivating the audience without time for a "blink of the eye". The album starts with "Whole Lotta Love" (one of the more know tracks for the band) and his simple but energetic riff and the experimental middle section. Another detachable point in Led II as Jonh Paul Jones performance in whole disk , as for instance: Track 3 Lemon Song (the bass guitar line is wonderful) , Track 4 "Thank You" (due the hammond-organ arrangement) and Track 7 "Ramble On" (another fantastic bass guitar line). Some other high popints are Page's guitar in Track 2 "What is and What Should Never Be" and Track 5 "Heartbreaker". In short is a perfect album. My Rate is 5 stars !!!
 Physical Graffiti by LED ZEPPELIN album cover Studio Album, 1975
4.05 | 734 ratings

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Physical Graffiti
Led Zeppelin Prog Related

Review by voliveira

5 stars 9/10

More than the Kashmir album, in fact.

And here we are. This is my fifth entry in the catalog of Led Zeppelin, and this time they are already one of my favorite bands for a long time. Seeing the ratings here, he is the second best rated behind the band IV, but there is so much controversy surrounding it, especially with many questioning the real need for this to have been a double album - especially the D side, which is considered much weaker than the other. This is something that I'll talk later, but first let's deal with the context in which Physical Graffiti was released .

In 1975 Led Zeppelin was probably the greatest band in the universe. They were on top of the world, and the bands that arose wanted to be like them. Remember that the NWOBHM had not yet arisen, and prog was about to face the menace of punk. At this point Page, Plant, Bonham and Jones had already consolidated their careers, then came up with his most ambitious project: a double album where almost half of the songs had been planned (but not placed) on the previous albums.

The result? Another masterpiece. But the question I want to put out is that Physical Graffiti gathers everything the band has done so far - and with "everything", I mean all the sounds that had already been tried by the quartet. Here are the blues rock, psychedelic music, hard rock and metal raw, pompous progressive rock and even different elements such as oriental music and boogie-woogie. Not to mention its iconic case full of mysterious elements.

Maybe in the end is the fact that so distinguished a release from the band that has made me love this album . I mean, all the members are great as usual ( despite feeling that Plant 's voice seems more tired than on previous albums ) , but if I could choose two prominent figures would surely Jones and Bonham . Bonzo is a god of drums, it can not be denied , and for me he was always a man ahead of his time, both in terms of style, technique and methods of recording your instrument. I love the things he does on songs like In My Time of Dying ( in the middle section , where it doubles the speed compass on cymbal ) and Houses of the Holy , where we can hear a cowbell - beyond the anthology issue of The Rover (a song that I first met in the version of Dream Theater before hearing the original). And Jones... as a bassist he is truly phenomenal ( how its bass contrast with the guitar Page in In My Time of Dying is one of the great things that album ) , but for me it's like multi - instrumentalist he highlights . Just see how there is a strong use of clavinet on some songs like Custard Pie and Trample Under Foot , enriching the band's music .

But the thing that surprised me most was to see me postivamente here as there are plenty of songs that stand out far beyond Kashmir always cited . I am not denying the epicidade this song, but the question is ... Physical Graffiti is not limited to it alone ! Since opening Custard Pie , with killer riffs of Page blending the clavinet and bass Jones , I knew this was going to be a new experience . This is a song along the lines of the band , including up wah-wah solo and harmonica Plant. The Rover is another highlight , especially the melody of the chorus , absolutely unforgettable. So once we got the "pièce de résistance" of this album, the epic In My Time of Dying , the longest song the band has ever recorded - and like the other two above 10 minutes ( Achilles Last Stand and Carouselambra ) , is one of their best . It is interesting to see how their longer songs escape the usual prog "standards" . In My Time ... for example , is heavily planted in the blues rock , the plaintive vocals accompanied by slide guitar Plant Page, the contrasting Jones' bass and Bonham initially restrained drums . When this song explodes... wow . It is one of the best things I've ever heard of these guys , seriously. I feel a chill down my spine when the guitar tone of Page changes on your killer solo. After 7 minutes the music back to its initial theme , and at 8 we are presented with the following lyrics: "Oh my Jesus, oh my Jesus...", and the song explodes again, heading for his extended final ( Plant is having an orgasm here? haha ) . The song ends in a relaxed way , with the voice of Plant disappearing in the words "Oh, do not you make it my dying, dying, dying..." to reveal Bonham Robert coughing and then completing the last sentence: "cough". An epic classic.

Side B opens with Houses of the Holy, a direct and accessible metal. Funny that this song was rejected for the album which was intended - one that takes its title (a situation similar to the song Sheer Heart Attack by Queen, which is on the album News of the World). Trampled Under Foot is the weakest song on this first album, although containing a remarkable solo clavinet Jones. And Kashmir... what to say beyond what has already been said thousands and thousands of times? The classic opening, with powerful instrumentation strings accompanying the band in weight, creating this unique atmospheric and mystique that accompanies the rest of the song. A classic that speaks for itself.

Ok , everything is going well... but I have to say, C side of the album is actually my favorite . In my view it is completely flawless, with three of its four songs remain among my favorites of the whole discography of the band. It opens with the mystical introduction of In The Light , the band probably proggiest here (I thought that there was a synthesizer being used here, but is actually Page playing guitar with violin bow ). This song is quite slow , the vocals of Plant contributing even more to the mystical atmosphere of the song, while Jones performs a synthesizer. The structure will repeat it yet again, although in the end the extended solo Page is accompanied by the letters " In the light, everybody needs the light ." Bron - Yr- Aur is an acoustic piece beautifully performed by Page, who reminds me a lot Black Mountain Side 's first album (although without the tabla drum ). Down By the Seaside became a personal favorite of mine. I have this habit of loving the understated ... had never heard this song until you hear the album, and yet it was love at first sight. . The guitar effects used by Page are among some of my favorite moments of this guy, and for some reason always associate this song to something that the Queen could do (must be because of Seaside Rendezvous). It's an admittedly soft rock music, and we could tell that there is a ballad on this album, it would be her. Ten Years Gone was the second song of this album that I met after Kashmir, and since then I have been quite fond of it. Again Page is the star here, appropriating the electric sitar in the main parts of the song, while the lyrics about a relationship that Plant had. Even having heard other pearls of this album, this song is still signed as one of my favorites of all time.

And here we come... in the cause of discord. It is true that D side does not equal to others , and is in fact the weakest here - but not nearly the tragedy painting. Okay , I could live without Night Flight and Black Country Woman, which in my opinion are the weakest on the disc, but the rest I like (although admits Boogie With Stu is a guilty pleasure ). But The Wanton Song and Sick Again are some of the strongest records here, deliciously heavy songs showing the band in their full powers. The issue is not the songs that make up the D side - that is, in my view, it really sounds anticlimactic after everything we hear. I think if he had been traded to the B side things would have been better - agree, Kashmir would have been an even better closure to the album than Sick Again.

In the end, putting everything in balance, but this album is a masterpiece , but even with songs that have become some of my favorite of the group, not seen as superior to IV and Houses of the Holy. 4.5 stars, rounded up.

Thanks to Tuxon for the artist addition.

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