In case you just jetted in from another planet, a moderately successful band called Led Zeppelin received the Kennedy Center treatment this weekend (more on that HERE).
I don’t think anyone would have predicted this 40 years ago.
I certainly don’t think anyone could have anticipated this group getting love from a sitting president. But here they are, receiving props from the POTUS.
They continued the party, visiting with fellow honoree David Letterman last night (footage HERE).
Although I’ve written a bit about this band, I’ve yet to tackle their discography in any meaningful way (although I’m not certain I need to say anything more that what I’m already on record as stating: they are the only band in the history of rock and roll to not have a single sub-par song).
To pay tribute, today, I think it’s appropriate to pick a personal favorite from each of their studio albums. The only songs I have grown tired of are the ones that initially drew me into the fire (the ones that still get played all the time on the radio), so I shan’t be choosing any of those. Indeed, I thought it would be nice to select tunes that have managed to fly under the radar all these years.
“How Many More Times”:
(This, from their debut, the album that is most controversial regarding the band’s penchant for “rhyming and stealing” –of which, more HERE–, features snippets from Albert King’s “The Hunter” and Howlin’ Wolf’s “How Many More Years”. It also is an overture of themes the band would develop in earnest on subsequent albums, including Page’s patened bowing and the multi-part segues. Mostly it features a lean and very ravenous band about to conquer the world.)
“The Lemon Song”:
(Another one that takes an established blues masterpiece, in this case “Killing Floor” and expands on it, turning it into the perfect vehicle for the unit’s lock-step interplay. Every member is in top form here on this very black-and-blue workout. By the time Plant is done wailing, that lemon has been wrung dry.)
“That’s The Way”:
(Here, on their third album, Page showed his range and dexterity, employing the acoustic guitar to wonderful effect. This entire song is a tour de force, but the tasty slide-work that Page provides, starting at 2.35, will take your breath away.)
“Four Sticks”:
(John. Fucking. Bonham. Also features some of Plant’s more “I’m a genius, hear me roar” vocals.)
“No Quarter”:
(John Paul Jones is far and away the unsung hero and MVP of this band. In addition to his arranging prowess and under-celebrated bass playing, the texture and class he brought to the table with his keyboard skills is what made these gods so golden.)
“Houses of the Holy”:
(The would-be title track from the previous album, which the band wisely held onto; it sounds –and flows– much better on Physical Graffiti. And it also has the virtue of being an absolutely perfect song on every single level, including Bonham’s squeaky foot pedal. If you’ve never noticed it until now, you never will not notice it going forward. You’re welcome).
“Sick Again”:
(Double-album, so two tracks: this one is an ultimate album closer, and it had to be ideal for a two-LP set. Of the many glories herein, special mention of how early the guitar solo is; rather than building up to it, Page drops it early, for full impact, and lets Plant own the outro.)
“Hots on for Nowhere”:
(From the criminally unloved masterpiece called Presence; this delicious romp features one of Page’s weirdest, and most addictive solos.)
“Hot Dog”
(Yes, I’m going there. In fact, I already went there, in 2011, when I declared In Through The Out Door my top choice for albums that supposedly suck, but don’t (HERE). My take on this track: And then there’s “Hot Dog”. More than a few people would likely agree that this is the single-worst song Zeppelin recorded. Those people need to be reminded that Zeppelin did not make any bad songs and that, in any event, “Hot Dog” is a better song on every level than well-loved tunes like “Ramble On” and “The Immigrant Song”. On their early work Zep did not exhibit much, if any, sense of humor; certainly nothing self-deprecating. “Hot Dog” reveals the band (or more specifically, Robert Plant) at its most unguarded, and it is at once a hilarious and deeply respectful send up of older school rock. To understand—and appreciate—“Hot Dog” one needs to understand, and appreciate, Plant’s worship of Elvis. Importantly, Elvis had passed away only two years before, making this less a tongue-in-cheek tribute and than a genuine moment of worship. Also worth noting is that Page turns in one of his most truncated, but delectable solos: the mood is light, but the music is serious, and sensational.)
“Ozone Baby”:
(Bonus track, from the post break-up Coda. Stuffed with out-takes, like this one from the In Through The Out Door sessions, there is lots of 24 karat golden god and should not be slept on.)
