Led Zeppelin (album)

Led Zeppelin
Type	Studio album
Artist	Led Zeppelin
Release Date	12 January 1969 (US), 28 March 1969 (UK)
Recorded	October 1968 at Olympic Studios, London.
Genre	Hard rock, blues rock, folk rock
Language	English
Length	44 min 50 sec
Label	Atlantic Records
Catalogue	Atlantic SD 7208 (US), Swan Song SSK 59402 (UK)
Producer	Jimmy Page
Engineer	Glyn Johns

Led Zeppelin is the eponymous début album of English rock band Led Zeppelin. It was recorded in October 1968 at Olympic Studios in London and released on Atlantic Records on 12 January 1969. The album featured integral contributions from each of the group's four musicians and established Led Zeppelin's fusion of blues and rock. Led Zeppelin also created a large and devoted following for the band, with their unique hard rock sound endearing them to a section of the counterculture on both sides of the Atlantic. Although the album initially received mixed reviews, it was commercially very successful and has now come to be regarded in a much more positive light by critics.

Background

In August 1968, the English rock group The Yardbirds had disbanded. Guitarist Jimmy Page, The Yardbirds' sole remaining member, was left with rights to the group’s name and contractual obligations for a series of concerts in Scandinavia. For his new band, Page recruited bassist John Paul Jones, vocalist Robert Plant and drummer John Bonham. During September 1968, the group toured Scandinavia as The New Yardbirds, performing some old Yardbirds material as well as new songs such as 'Communication Breakdown', 'I Can't Quit You Baby', 'You Shook Me', 'Babe I'm Gonna Leave You' and 'How Many More Times'. The month after they returned to England, October 1968, Page changed the band's name to Led Zeppelin, and the group entered Olympic Studios in London to record their début album.

Recording and production

Recording sessions

In a 1990 interview, Page said that the album took only about 36 hours of studio time (over a span of a few weeks) to create (including mixing), adding that he knows this because of the amount charged on the studio bill. One of the primary reasons for the short recording time was that the material selected for the album had been well-rehearsed and pre-arranged by the band on Led Zeppelin's tour of Scandinavia in September 1968. As Page explained, '[the band] had begun developing the arrangements on the Scandinavian tour and I knew what sound I was looking for. It just came together incredibly quickly.'

In addition, since the band had not yet signed their deal with Atlantic Records, Page and Led Zeppelin's manager Peter Grant paid for the sessions entirely themselves, meaning there was no record company money to waste on excessive studio time. In another interview, Page revealed that the self-funding was to ensure artistic freedom, 'I wanted artistic control in a vice grip, because I knew exactly what I wanted to do with these fellows. In fact, I financed and completely recorded the first album before going to Atlantic. ... It wasn't your typical story where you get an advance to make an album — we arrived at Atlantic with tapes in hand ... Atlantic's reaction was very positive — I mean they signed us, didn't they?'

The group recorded their songs reportedly for £1,782. Led Zeppelin's debut album went on to gross more than £3.5 million, just short of 20,000 times more than they invested.

For the recordings, Page played a psychedelic ally painted Fender Telecaster, a gift from Jeff Beck. This was a different guitar from those he favoured for later albums (most notably a Gibson Les Paul). Page played the Telecaster through a Supro amplifier. He also used a Gibson J-200 for the album's acoustic tracks.

Production

Led Zeppelin was produced by Jimmy Page and engineered by Glyn Johns, who had previously worked with The Rolling Stones and Small Faces. The album was recorded on an analog 4-track machine, which helped to give the record its warm sound. According to Page, 'The first album is a live album, it really is, and it's done intentionally in that way. It's got overdubs on it, but the original tracks are live.'

Page reportedly used natural room ambience to enhance the reverb and recording texture on the record, demonstrating the innovations in sound recording he had learned during his session days. Up until the late 1960s, most music producers placed microphones directly in front of the amplifiers and drums. For Led Zeppelin Page developed the idea of placing an additional microphone some distance from the amplifier (as far as twenty feet) and then recording the balance between the two. By adopting this 'distance equals depth' technique, Page became one of the first producers to record a band's 'ambient sound' — the distance of a note's time - lag from one end of the room to the other.

Another notable feature of the album was the 'leakage' on the recordings of Robert Plant's vocals. In a 1998 Guitar World interview, Page stated that 'Robert's voice was extremely powerful and, as a result, would get on some of the other tracks. But oddly, the leakage sounds intentional.' On the track 'You Shook Me', Page used the 'backward echo' technique. It involves hearing the echo before the main sound (instead of after it), and is achieved by turning the tape over and employing the echo on a spare track, then turning the tape back over again to get the echo preceding the signal.

Artwork

Led Zeppelin's front cover, which was chosen by Page, features a black-and-white image of the burning Hindenburg airship. The image refers to the origin of the band's name itself when Page, Jeff Beck, Keith Moon and John Entwistle were discussing the idea of forming a group, Moon joked, 'It would probably go over like a lead balloon.'

The album's back cover features a photograph of the band taken by former-Yardbird Chris Dreja. The entire design of the album's sleeve was coordinated by George Hardie, with whom the band would continue to collaborate for future sleeves.

Hardie recalled that he originally offered the band a design based on an old club sign in San Francisco — a multi-sequential image of a zeppelin airship up in the clouds. Page declined but it was retained as the logo for the back cover of Led Zeppelin's first two albums and a number of early press advertisements. During the first few weeks of release in the United Kingdom, the sleeve featured the band's name and the Atlantic logo in turquoise. When this was switched to the now - common orange print later in the year, the turquoise - printed sleeve became a collector's item.

The album cover received widespread attention when, at a February 1970 gig in Copenhagen, the band were billed as 'The Nobs' as the result of a legal threat from aristocrat Eva von Zeppelin (a relative of the creator of the Zeppelin aircraft). Countess von Zeppelin, upon seeing the logo of the Hindenburg crashing in flames, threatened but failed to have the show pulled off the air.

Composition

The conceptual originality of the album was displayed on tracks such as 'Good Times Bad Times' and 'Communication Breakdown', which had a unique and distinctively heavy sound new to the ears of young music-buyers in the late-1960s. 'Communication Breakdown' would become monumental in its influence. Led Zeppelin also featured delicate steel-string acoustic guitar by Page on 'Black Mountain Side', and a combination of acoustic and electric approaches on their adaptation of 'Babe I'm Gonna Leave You'.

'Dazed and Confused' is arguably the album's centerpiece: a foreboding arrangement featuring a descending bass line from Jones, heavy drumming from Bonham and some powerful guitar riffs and soloing from Page. It also showcased Page playing guitar with a violin bow (an idea suggested by David McCallum Sr., whom Page had met while doing studio session work). The bowed guitar in the middle section of the song brought psychedelic rock to experimental new heights, especially in extended stage versions, building on Page's earlier renderings of the song during the latter days of The Yardbirds. 'Dazed and Confused' would become Led Zeppelin's signature performance piece for years to come. The bowed guitar technique is also used on 'How Many More Times', a song which features a 'Bolero' riff and an improvised shift in cadence.

Many of Led Zeppelin's earliest songs were based on blues standards, and the album also included two songs: 'You Shook Me' and 'I Can't Quit You Baby' On 'You Shook Me', Plant vocally mimics Page's guitar effects - a metallicised version of the 'call and response' blues technique.

In an interview he gave in 1975, Page offered his own perspective on the album's music:

‘

For material, we obviously went right down to our blues roots. I still had plenty of Yardbirds riffs left over. By the time Jeff [Beck] did go, it was up to me to come up with a lot of new stuff. It was this thing where [Eric] Clapton set a heavy precedent in the Yardbirds which Beck had to follow and then it was even harder for me, in a way, because the second lead guitarist had suddenly become the first. And I was under pressure to come up with my own riffs. On the first LP I was still heavily influenced by the earlier days. I think it tells a bit, too... It was obvious that somebody had to take the lead, otherwise we'd have all sat around jamming for six months. But after that, on the second LP, you can really hear the group identity coming together.

’

Reception

The album was advertised in selected music papers under the slogan 'Led Zeppelin - the only way to fly'. It initially received mixed reviews. As was noted by rock journalist Cameron Crowe years later: 'It was a time of 'super-groups,' of furiously hyped bands who could barely cut it, and Led Zeppelin initially found themselves fighting upstream to prove their authenticity.' Conversely, in Britain the album received a glowing review in the Melody Maker. Chris Welch wrote, in a review titled 'Jimmy Page triumphs - Led Zeppelin is a gas!': 'their material does not rely on obvious blues riffs, although when they do play them, they avoid the emaciated feebleness of most so-called British blues bands'.

The album was very commercially successful. It was initially released in America on 17 January 1969 to capitalise on the band's first U.S. concert tour. Before that, Atlantic Records had distributed a few hundred advance white label copies to key radio stations and reviewers. A positive reaction to its contents, coupled with a good reaction to the band's opening concerts, resulted in the album generating 50,000 advance orders. It stayed on the Billboard chart for 73 weeks and held a 79-week run on the British charts. By 1975 it had grossed $7,000,000.

Legacy

The success and influence of the album is today widely acknowledged, even amongst those critics who were initially skeptical.

According to Lewis:

‘

Time has done nothing to diminish the quality of one of the finest début albums ever recorded. There's an urgency and enthusiasm about their performance that retains timeless charm. The nine cuts offer a tour de force of powerful yet often subtle dynamics ... And let's not forget the fact that with this album, Page virtually invents the guitar riff as a key songwriting component.

’

In 2003, VH1 named Led Zeppelin the 44th greatest album of all time, while Rolling Stone ranked it 29th on the magazine's list of the 500 greatest albums of all time. It is widely regarded as marking a significant turning point in the evolution of hard rock and early heavy metal.

Reviews

Reviewer	Country	Review	Year	Score
Scott Floman (Goldmine)	United States	Rock and Soul Album Reviews	2002	A+

Accolades

Publication	Country	Accolade	Year	Rank
The Times	United Kingdom	The 100 Best Albums of All Time	1993	41
Rolling Stone	United States	The Rolling Stone 500 Greatest Albums of All Time	2003	29
Grammy Awards	United States	Grammy Hall of Fame Award	2004	*
Q	United Kingdom	The Music That Changed the World	2004	7
Robert Dimery	United States	1001 Albums You Must Hear Before You Die	2006	*
Classic Rock	United Kingdom	100 Greatest British Rock Album Ever	2006	81
Uncut	United Kingdom	100 Greatest Debut Albums	2006	7
DigitalDreamDoor	United States	The 100 Greatest Rock Debut Albums	2006	2
Rock and Roll Hall of Fame	United States	The Definitive 200	2007	165
Q	United Kingdom	21 Albums That Changed Music	2007	6

* denotes an unordered list

Tracklist

Album information

Track listing: Side 1: 'Good Times Bad Times' (Jimmy Page, John Paul Jones, John Bonham) – 2:47 'Babe I'm Gonna Leave You' (Jimmy Page, Robert Plant, Anne Bredon) – 6:41 'You Shook Me' (Willie Dixon, J. B. Lenoir) – 6:30 'Dazed and Confused' (Jimmy Page) – 6:27 Side 2: 'Your Time Is Gonna Come' (Jimmy Page, John Paul Jones) – 4:41 'Black Mountain Side' (Jimmy Page) – 2:13 'Communication Breakdown' (Jimmy Page, John Paul Jones, John Bonham) – 2:30 'I Can't Quit You Baby' (Willie Dixon) – 4:43 'How Many More Times' (Jimmy Page, John Paul Jones, John Bonham) - 8:28

• 'How Many More Times' was listed as 3:30 on the record sleeve deliberately by Jimmy Page in order to trick radio stations into playing the song.

• Robert Plant participated in songwriting, but wasn't given credit due to unexpired contractual obligations resulting from his association with CBS Records.

• Some cassette versions of the album reversed the order of the sides. For these versions, side one began with 'Your Time Is Gonna Come' and ended with 'How Many More Times', while side two began with 'Good Times Bad Times' and ended with 'Dazed and Confused'.

Chart positions

Album

Chart (1969)	Peak Position
Canadian RPM Top 100 Chart	11
UK Albums Chart	6
US Billboard The 200 Albums Chart	10
French Albums Chart	115
Japanese Albums Chart	36

Chart (1970)	Peak Position
Norwegian Albums Chart	16
Spanish Albums Chart	1
German Albums Chart	32
Australian Go-Set Top 20 Albums Chart	9

Singles

Year	Single	Chart	Position
1969	'Good Times Bad Times'	US Billboard Hot 100 Singles Chart (Pop Singles)	80

Sales certifications

Country	Sales	Certification
Canada (CRIA)	1,000,000+	Diamond
France (SNEP)	100,000+	Gold
Switzerland (IFPI)	25,000+	Gold
Germany (IFPI)	100,000+	Gold
Argentina (CAPIF)	30,000+	Gold
Australia (ARIA)	140,000+	2× Platinum
United States (RIAA)	10,000,000+	8× Multi-Platinum
Spain (PROMUSICAE)	80,000+	Platinum
United Kingdom (BPI)	600,000+	2× Platinum*
Netherlands (NVPI)	30,000+	Gold*

Note: (*) Remastered sales only

Credits

Personnel

Musicians: Jimmy Page – acoustic, electric, and pedal steel guitar, backing vocals, producer, remastering, digital remastering Robert Plant – vocals, harmonica John Paul Jones – bass guitar, organ, keyboards, backing vocals John Bonham - drums, percussion, timpani, backing vocals Additional musicians: Viram Jasani - tabla on 'Black Mountain Side' Production: Peter Grant – executive producer Glyn Johns - engineer, mixing Chris Dreja – back liner photo George Hardie - sleeve design Barry Diament - original CD mastering engineer (mid-1980s) George Marino - remastered CD engineer (1990)