Led Zeppelin (album)

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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 minutes 50 seconds
Label	Atlantic Records
Catalogue	Atlantic SD 7208 (US), Swan Song SSK 59402 (UK)
Producer	Jimmy Page
Engineer	Glyn Johns

Led Zeppelin is the eponymous debut 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[edit]

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'.^[1] 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 debut album. In late 1968, Peter Grant arranged a series of gigs at British clubs, where Zeppelin received a mixed audience reception.

Recording and production[edit]

Recording sessions[edit]

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.^[2][3] 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.^[4] 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.'^[5]

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.^[6] In another interview, Page revealed that the self-funding was to ensure artistic freedom:

The group recorded their songs reportedly for £1,782.^[8] Grant then made a highly publicized recording contract with Atlantic Records, the same label that had turned Cream into a phenomenon. Atlantic was looking for the next 'supergroup', and Grant had convinced them that Led Zeppelin was It. Atlantic executive Ahmet Ertegun had not even heard the tapes from the first Led Zeppelin recording session when he brought out his chequebook and wrote Grant a US$200,000 advance. More significantly, Grant insisted that the band retain full control over their music. Atlantic's initial promotion of the band was as follows: 'Top English and American rock musicians who have heard the [first Zeppelin] tracks have compared the L.P. to the best of Cream and Jimi Hendrix, and have called Led Zeppelin the next group to reach the heights achieved by Cream and Hendrix.' Led Zeppelin's debut album went on to gross more than UK£3.5 million, just short of 20,000 times more than they invested.

For the recordings, Page played a psychedelically painted Fender Telecaster, a gift from Jeff Beck.^[9] 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.^[10] He also used a Gibson J-200 for the album's acoustic tracks.^[11]

Production[edit]

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 analogue 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.'^[12]

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.^[13]

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.'^[14] 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.^[15]

Artwork[edit]

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.'^[16]

The album's back cover features a photograph of the band taken by former-Yardbird Chris Dreja.^[17] The entire design of the album's sleeve was coordinated by George Hardie, with whom the band would continue to collaborate for future sleeves.^[18]

Hardie recalled that he originally offered the band a design based on an old club sign in San Francisco, California — 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.^[19] 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.^[20]

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.^[21]

Composition[edit]

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 centrepiece: 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).^[22] 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.^[23]

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'^[24] On 'You Shook Me', Plant vocally mimics Page's guitar effects - a metallicized 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:

Reception[edit]

The album was advertised in selected music papers under the slogan 'Led Zeppelin - the only way to fly'.^[26] 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.'^[27] 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'.^[28]

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, and 28 March 1969, in the United Kingdom. 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.^[29] 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.^[30]

Legacy[edit]

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

According to Lewis:

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.^[32]

Reviews[edit]

Accolades[edit]

* denotes an unordered list

Track list[edit]

• '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.^[43]

• 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[edit]

Album[edit]

Singles[edit]

Sales certifications[edit]

Note: (*) Remastered sales only

Certification history[edit]

Credits[edit]

References[edit]