Location: Atlanta. Are you sure you're not listening to Metallica or Venom by mistake? Tuneless banging? I can think of about a hundred other bands who deserve that censure more than Zep.
Location: Baltimore. Honest folks, I tried, I really tried. Back in high school and college, I had vinyl copies of every Zeppelin album. I wanted to fit in, I wanted to be like everybody else, I wanted to like Led Zeppelin. It didn't happen. Okay, I respect Led Zeppelin and their fans, they were a great influential band, but as time goes by, they impress me less and less. I can listen to those same old Who albums time and time again all these years later, but Led Zeppelin holds no magic for me.
Location: Houston. Location: Germany. Their harder stuff is annoying and the acoustic stuff is esoteric mumbo-jumbo to me! Although I respect them as musicians and like some of their songs. Paddy , Jul 24, Location: Ontario, Canada. Zeppelin had an element of danger in their music, a feeling that it might go off the rails at any time, especially during their concerts.
Part of the reason I love them LarryDavenport , Jul 24, Location: Toronto. I can understand not liking them, I remember listening to "How Many More Times" after several years of ignoring rock music and thinking, "Well, this is pretty much garbage, isn't it?
Rock music is a corrupting influence, aesthetically. What I can't understand is characterizing them as "banging on their instruments with no thought of rhythm or tune. System of a Down, perhaps? Everything said about the "assaulting" nature of Zeppelin could easily apply to every hard rock band from the 70's.
Okay, so who's gonna be the first Zeppelin fan to start the inevitable retaliatory "Why do people like the Beatles" thread? Location: Hawthorne CA. I'm creeped out by the Archies, so I simply listen to something else.
What else is there to say? Maybe it's threads like this that's slowing everything down Location: Surprise, AZ.
I like the Zep, just not all of their songs. I especially like early Zep, actually the first 2 albums more than the rest. I guess whether or not you like them depends on whether or not you like hard rock. A few weeks ago I tried listening to System of Down, Green Day and another forgettable group but couldn't put up with the neverendingheadbangin style they typify although I do like their lyrics and ideas. Mike from NYC , Jul 24, Location: Franklin, TN. Jimmy Page is the greatest guitarist to ever walk the planet.
Bonzo is the best drummer there ever was or ever will be. Just listen to how precision perfect his drumming is-not only his timing, but his feeling and his improvisation. How these 4 guys ever came together is truly an act of God above.
To put it briefly, they alone pretty much encapsulate everything I love about music in one neat package. They are also very creative and sometimes they explore marvellously well other musical rhythms in their musics. Besides more the music is hard but it is not depressive and don't put us down, bored with the life. And the more I know and appreciate the music the more I try to know and to appreciate the musicians.
I love Led Zeppelin since i was a child very young 4 i think don't ask me why cause i don't remember. My father used to put Is Led Zeppelin audio tapes in the car and at the house, and when he didn't i would ask him to put them. Them I think the taste grew up with me, and now 15 years later they're are still my favourite band of all time.
Like a double grande espresso, their high-voltage, sensory-stimulating sound makes me feel more ALIVE. I don't like no music that puts me to sleep, ya know what I mean?
Since then I was hooked on music for life and my path as a music enthusiast, who would explore various genres over time, was predetermined. Listening to these timeless pieces of music becomes a journey back in time and triggers feelings of longing and nostalgia revisiting "Good Times, Bad Times".
For me, music therefore has a function of a diary and spiritual mirror. What I love specifically about Led Zeppelin is their heavy psychedelic guitar sound, which is absolutely unmistakable, Plant's remarkably powerful and versatile voice, and the four sympathetic characters behind the band.
Just like the four Beatles, I am not just a friend of their music, but a friend of the guys behind it. Line-up stability is an important factor to me, as a sympathy bonus. Infact another of my all time favourite bands has been comprised of the same four guys from the beginning. They have such a dynamic sound. The first 6 albums in my oppinion is perfect. I just love the dynamic of how the vocals, bass, Keys, drums, guitar. I love how they all love to fit together.
I've not been a Led Zeppelin fan long, but in a short time, they've become my favorite rock band. I like Led Zep for several reasons. First, I like more than a few of their songs, which is rare for me --I rarely like more than a couple of a band's songs. Second, they have colorful--and gifted--musicians. Jimmy Page, probably the most famous member of the band, is a guitar genius.
He also had a wild side like Plant. He has the Rock God swagger, but his on-stage mannerisms--not common for a heterosexual man--are cool as hell! The lyrics here are a wan mixture of hippie posturing and vague stabs at social import.
The backing track is boring. The band somehow lacked authority at this point, really, to keep our interest through such throwback-y stuff. Aside from the driven middle section, pretty non-notable and definitely filler, but on Graffiti it passes for a breather. But this is one of the more anonymous songs on the release. Too much of Graffiti lacks the sparkling production of the band at their best.
A nice shrieking chorus. Probably the least interesting song on Zoso. It grinds along, and we never find out why the owls are crying in the night. The band at theirmost charming, until you concentrate on the words. A lot of it was received nonsense, and of course they were products of their time. But their inability to see beyond that is a strong part of the case against the band.
I find the muddled production and the tedious outro kills it, though. A real mess. The other is leaden, labored, and comes across as contrived. Then ending fanfare is swell, however, another examples of the Page throwaways that would be the pride of many other bands.
A quiet, not-quite-convincing number from III. Page was trying to show breadth, which was fine. One of the very long jams on Physical Graffiti , a major statement and a bid for critical respect.
First, you consider that time has not been kind to such constructions. The long, linear arcs seem torpid. Yes, those are some neat guitar sounds, delivered with majesty, but they are repeated ad infinitum, and often at somewhat slow speed. On the other hand, you get both slow and fast here. But then you reflect again that time has not been kind to such constructions. A moody acoustic number with a distinctive model tuning. The tabla is by a guy named Viram Jasani, one of a very small number of guest players on a Led Zeppelin album.
Repeat for six to eight minutes. This is by any standards a minor Zeppelin song, but the loud-soft dynamics, more subtle here than in a lot of Zep tracks, and the bright sense of sound and space in the recording, work well. And yet another great fanfare outro. Docked ten notches for song theft. Bron-Yr-Aur is a remote cabin the band would go to to write. It was said not to have electricity or running water; Page paid for a caretaker.
A nice-sounding, somewhat humble love plaint. Ten years into his career as a star, Plant seems to be discovering that need and vulnerability can be sexy, too. Page contributes a restrained guitar attack. The band generally did a great job on their album covers. III had a distinctive spinning wheel hidden inside the record sleeve, with die-cut holes designed to show all sorts of things as you spun the wheel. Marks Place in New York, with the windows cut out to let various pictures on the inner sleeve show through.
In Through the Out Door was even more novel. Sold in a brown-paper wrapper, the actual album sleeve featured different photos from a bar scene, and on the back, a variety of odd close-ups of the scene, in black and white, made out of what looked like Ben-Day dots.
Turned out that if you put spit or water on them, they turned color! Of all the acoustic-based numbers the band had recorded up to the fourth album, you had the feeling that the band was stretching to include the music, rather than letting it grow organically out of their process.
To me, this is the track that shows how a truly heavy band could soften things up convincingly. Another statement of guitar and studio dominance by Page. The beginning, a huge, swaggery beat, is a little show-offy, but the groove it eventually hits — yet another of those minor Page riffs that would mark the high point of a lesser band — is a heavy one, indeed. Houses of the Holy is the band at their height.
The abstract songs here are even more abstract. This is probably some great war epic, but all you really notice is the sound texture — is that a Leslie the vocals are going through? Not too much else going on, though. The closer to the second album starts out all folksy and bluesy, and then erupts.
The riffs are fine, but second-tier. A quick and dirty rave-up on the lagging second side of the debut. Page contributes some very crisp, very hard riffs. Percy finds some nice people in a park.
A little novelty rave-up from the multivaried last album. The remasters bring out some depth — and make audible the drums — in this lulling mood piece, in which guitars are barely audible. It it too long? A deceptive, gentle propulsive rush marked a gem from the last side of Physical Graffiti , anchored by a convincing strut of a guitar line. Almost 50 years ago, they were audacious reinterpretations of a catalogue still considered sacred.
Upped five notches for documentary value. An economical less than five minutes, positively breezy for this band rave-up that, over the years, has taken on more stature than it deserves. Another odd song from In Through the Out Door. Anchored by a simple synth line and a very spare back-up, it feels at first like a misfire. Another tribute to Bron-Yr-Aur, in a rare instrumental track.
Back in the LP day, side-openers counted for something. To my ears the song has a dry shrillness, a high-pitched trebly patina, that I associate with heroin. Houses of the Holy is not often noted for its extraordinary sonics. This very trebly, highly mechanical track is case in point. In the end, the band achieves something close to grandeur. Docked a notch or two for being the same song, repeated twice. Note how, in contrast to the severe crispness of most of his guitar riffs, here he lets the chords reverberate.
The result: an utterly anachronistic nostalgic hymn to the s. The leadoff track of In Through the Out Door has a panoply of guitar sounds that would stand with his most creative work; a flurry of notes melding into a huge bank of running sound that skids into full stops and then eases into lulling interludes. Late-career message from M.
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