Published on Apr 2, 1997
After leaving The Yardbirds, Jimmy Page busied himself with
session work (rumor has it he played the classic riff on The Kinks’
“You Really Got Me”) until he put together a new band of local
musicians thirsty for the big time. Although he originally planned
on naming the group The New Yardbirds, he thankfully changed his
mind, partly due to the by-now famous Keith Moon quip that his new
ensemble “would go over like a lead zeppelin.”
And what a band they were! Yeah, they ripped off old blues
artists, but they did so brilliantly. Besides, that was just a
small part of their recorded output, although for some reason most
critics seem to harp on that side of their legacy. Anyway, I’ve yet
to hear a bluesman record a song as majestic or powerful as “Babe
I’m Gonna Leave You” or “Dazed And Confused,” with Robert Plant’s
anguished and orgasmic screams, John Bonham’s monstrous drumming,
and Jimmy Page’s laser guitar solos and thundering riffs.
Page also lends great guitar solos to “Good Times Bad Times” and
the relentless rocker “Communication Breakdown,” whose breathtaking
speed would make future punk bands’ complaints about these
“dinosaur rockers” laughable. “Your Time Is Gonna Come” should
destroy any claims against Zeppelin’s greatness, with its gorgeous
acoustic and organ fills showcasing their versatility (their power
was never questioned). “Black Mountain Side” is a surprisingly
succinct acoustic instrumental showcase that once again proves that
Page is far more than merely an over-amped blues imitator.
“How Many More Times” is a tremendous blues workout that closes
out the album on a high. On this song Led Zeppelin shows their
mastery of pacing with a series of sizzling climaxes, while each
musician shines without getting in each other’s way. A band in the
truest sense, Led Zeppelin boast some of the greatest performers
ever to try their chosen instruments, yet their songs always came
before all else. “How Many More Times” also shows their willingness
to go over the top, with Plant’s outrageous, spastic singing
leading the way.
Ironically, the two Willie Dixon covers, “You Shook Me” and “I
Can’t Quit You, Baby,” are the album’s weakest songs, proving that
Led Zeppelin were at their best when unleashing a fury (or a
beauty) all their own.