John Paul Jones http://www.guitarworld.com/taxonomy/term/1181/all en The 10 Greatest Led Zeppelin Songs http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353 <!--paging_filter--><p><strong>From “Dazed and Confused” to “Achilles Last Stand” … from “Heartbreaker” to “Ten Years Gone” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s 10 best tracks.</strong></p> <p>With the recent-ish release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 10 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>If you'd like to explore this topic further, be sure to check out <a href="http://www.guitarworld.com/50-greatest-led-zeppelin-songs">The 50 Greatest Led Zeppelin Songs,</a> which also was written by Jimmy Brown. Enjoy!<br /> <br /><br /> <strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves—a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles—and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/BZ7CZ7nLWZ4" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two E#,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/CxEu0QN6nzk" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/o2AEnLAP9XY" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/n5PvAi8PTsI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dbmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dbmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/8RfOaAj7E5g" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/uiLKT5rPHBA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together—it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/4m2FhRv8xF0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="365" src="http://www.youtube.com/embed/ZQgYn23Xvck" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9#11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/YWOuzYvksRw" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/10-greatest-led-zeppelin-songs/25353#comments 10 Best 10 Best Songs January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Top 10 Guitar World Lists News Features Magazine Wed, 26 Aug 2015 17:32:49 +0000 Jimmy Brown 25353 at http://www.guitarworld.com Thirty Guitar Legends — Including Eddie Van Halen, Dimebag Darrell and Jeff Beck — Pick the Song They'd Most Want to Be Remembered By, Part 1 http://www.guitarworld.com/guitar-legends-eddie-van-halen-dimebag-darrell-jeff-beck-choose-song-want-be-remembered-part-1 <!--paging_filter--><p><em>From the GW Archive: This feature originally appeared in the May 2002 issue of </em>Guitar World<em>. The story has a "time capsule" theme: We asked several veteran guitarists to choose the one song they'd most want to be remembered by after many years. Here we are, 13 years later (Does that qualify as "many"?), opening the time capsule to examine its contents! Enjoy!</em> </p> <p>A few decades ago, NASA sent a probe called <em>Voyager</em> straight out of the solar system. Its mission: to make contact with alien intelligence. </p> <p>The capsule was crammed with artifacts—including greetings in more than 50 languages—intended to convey information about Earth's cultures. But just in case those items failed to communicate across language barriers, NASA also included a recording of Chuck Berry performing his rock and roll masterpiece "Johnny B. Goode." </p> <p>For a while after <em>Voyager's</em> launch, the joke around the agency was that a reply had been received from an alien civilization: "Forget the scientific shit," went the message. "Send more rock and roll!" But what songs should be sent? We at <em>Guitar World</em> decided the logical place to start would be the musicians themselves. </p> <p>In a project that started almost five years ago (hence the inclusion of George Harrison), we began asking many of the most influential guitarists in rock, blues and metal one deceptively simple question: "If you had to put one of your songs in a time capsule to be opened sometime in the future, which would you choose, and why?" </p> <p><strong>Check out Part 1 of the story below.</strong><br /> <em>Look for Part 2 later this week.</em><br /> <br /><br /> <strong>Eddie Van Halen (Van Halen), "Jump"</strong><br /> <em>1984 (1984)</em></p> <p>"I'll probably be playing "Eruption" at every show for the rest of my life, but I guess my time capsule choice would have to be 'Jump.' At the time I really wanted to do something challenging. </p> <p><em>Diver Down</em>, the album just before <em>1984</em>, was half cover tunes, and I <em>hated</em> it. Our producer had told me his theory that if you redo a hit, you're halfway there. But I'd rather bomb with my own shit than make it with someone else's. </p> <p>So that's when I built my own studio, 5150, which was a major step for me—not to prove any point but just so I could be myself and experiment musically. People were telling me, 'You can't use keyboards, you're a guitar player!" So that's when I wrote 'Jump.' Musically, it was a real departure. We had the challenge of integrating the keyboards and synths with the guitar for the first time. </p> <p>"The word 'pop' comes from 'popular,' meaning a lot of people like it. Ninety-nine percent of the reason I make music is to, hopefully, touch people with it. And this one touched the most people—so far."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/iKSyYGJHOGA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Dimebag Darrell (Pantera), "Fucking Hostile"</strong><br /> <em>Vulgar Display of Power (1992)</em></p> <p>"I think the kind of music we play will stand the test of time for however long. But if I had to pick just one, I'd go with the powerful, off-the-cuff statement that is 'Fucking Hostile.' </p> <p>"When it came out it definitely set the tone and pace for what we were about. I also think our boy Philip [<em>Anselmo, vocals</em>] got it perfectly right lyrically and we got it perfectly right musically. </p> <p>"So I believe that if somebody heard this song 500 million years from now, they'd go, 'Goddamn, these motherfuckers knew what they were talking about and sure had their jamming skills down'. Plus, I think people will always be hostile, which is another reason I went with this one."</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/E929gqIcwwI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>John Paul Jones (Led Zeppelin) </strong> </p> <p><strong>"D'yer Mak'er,"</strong> <em>Houses of the Holy (1973)</em><br /> <strong>"Stairway To Heaven,"</strong> <em>Led Zeppelin IV (1971)</em></p> <p>"I'd put 'D'yer Mak'er' in a time capsule so I would never have to hear it again or have to explain how to pronounce the title. There were only two types of rhythms that Bonzo [<em>John Bonham, drums</em>] hated playing—shuffles and reggae. </p> <p>"We were jamming in the latter style at Stargroves, the house we rented from Mick Jagger, and John was going along with it out of politeness, I think. Unfortunately, the jam turning in to a proper song. He did play some marvelous fills, but for me, the whole thing was buttock-clenchingly embarrassing. </p> <p>"I would also include 'Stairway To Heaven,' but for more positive reasons. It contains all the classic Zep elements, from folk/Celtic through jazz and r&amp;b to hard rock. It also encapsulates the soft-to-heavy dynamics that the band was famous for. </p> <p>"As for my own performance, it made me smile when a journalist once told me that he considered the bass line at the end of the song one of the finest ever recorded. Unfortunately, it happens to be underneath one of the finest <em>guitar</em> solos ever recorded!"</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/Qgucqyr-H7M" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/w9TGj2jrJk8" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Kirk Hammett (Metallica), "Motorbreath"</strong><br /> <em>Kill 'Em All (1983)</em></p> <p>"I chose it because it has the breakneck tempo we were so fond of in our early days—plus the lyrics set the tone for our lives over the next 10 years. </p> <p>"And unlike the songs we wrote later, 'Motorbreath' is under four minutes long!"</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/pqjHsV1fkhg" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Robby Krieger (The Doors), "Light My Fire"</strong><br /> <em>The Doors (1967)</em></p> <p>“I feel that ‘Light My Fire’ encapsulates the feel of the 1967 Summer of Love. Being in San Francisco or anywhere in California that summer seemed to be the beginning of a whole new way of life. One day at rehearsal, Jim [Morrison, vocals] suggested we all try and write some songs. I went home that night and wrote ‘Light My Fire’—it was the first song I’d ever written. </p> <p>"The long solo section was based on the modal playing of jazz great John Coltrane. Up until Miles Davis did <em>Kind of Blue</em> and Coltrane recorded ‘My Favorite Things,’ jazz had been mainly bebop, which involved a lot of fast, tricky chord changes. </p> <p>"So these guys thought, It’s easy to play over a bunch of chords and sound cool—but what can you do over just one or two chords? Can you play something that’s not just pentatonic—that’s based on a mode, a scale—over one chord, and take it farther out than anybody else has gone? </p> <p>"That was the start of modal playing, which influenced many rock musicians. My long, modal solo in this song was done over the same two chords John Coltrane soloed over on his version of ‘My Favorite Things’—A minor and B minor. So ‘Light My Fire’ helped light a fire for a new generation and opened people’s minds to a new vision. Almost four decades later, the song seems to remain timeless.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/cq8k-ZbsXDI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Warren Haynes (Gov't Mule), "Mule"</strong><br /> <em>Gov't Mule (1995)</em></p> <p>"'Mule' is a uniquely Gov't Mule song. I've never hear another song that sounds similar to it. </p> <p>"There are riffs that could be traced back to some of our early influences—which stretch from Cream to Hendrix to Miles Davis and James Brown—but the way the thing is structured doesn't really remind me of another song. And that was always important to us—that most of our songs can't be traced directly back to other songs. </p> <p>"'Mule' was written at the last minute in rehearsal, right before recording, and it's a first take, so that solos were on the fly—totally spontaneous. It has an awesome bass like from Allen Woody and [Blues Traveler vocalist] John Popper guests on harmonica. </p> <p>"And it has a political message; the title refers to the fact that when the America slaves were free they were promised '40 acres and mule' by the U.S. government, which most never received. Here we used it as a broader metaphor about social oppression in so many aspects of modern society."</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/dBAubJJt2mU" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Joe Satriani, "Time"</strong><br /> <em>Live In San Fransisco (2001)</em></p> <p>“If we can assume that they have DVD players in the future, then I would pick ‘Time’ from the <em>Live in San Francisco</em> DVD, because, for better or worse, it captures what we actually do night after night around the world. </p> <p>"Although it’s near impossible for me to look at myself on a television screen, I’ve learned to accept that that’s what everyone’s been seeing and hearing for all these years, and I have not yet been thrown in prison for doing it.</p> <p>“The song is interesting to me, compositionally, because the verse is almost like a child’s melody played over the simplest riff. Then the second part of the song jumps into all of this complex harmony and a whole bunch of key changes. The solo section recreates the same scheme, and eventually the song changes meter. The song provides a wild journey of how to construct an interesting instrumental.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/hAzyLwjKiN0" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Ace Frehley (Kiss), "Shock Me"</strong><br /> <em>Love Gun (1977)</em></p> <p>“I picked this song not only because it’s a well-known Kiss anthem but because it has deep personal significance for me. The song is based on an actual life-threatening experience I had onstage with Kiss in the Seventies in Lakeland, Florida. </p> <p>"At the beginning of the concert I was coming down the staircase and when my hand touched the railing I was electrocuted, thrown back and knocked out for about 10 seconds. </p> <p>"The roadies carried me down the rear staircase, behind the wall of Marshalls. I woke up with electrical burns on my hands and totally shaken. Paul [Stanley] announced what had happened, and the concert was delayed for approximately 10 minutes. The whole audience starting chanting ‘We want Ace, we want Ace!’</p> <p>“I was so disoriented from the incident that I really didn’t think I was going to be able to do the show. But when I heard 15,000 people chanting my name, my adrenaline started pumping and all I could think was, The show must go on! I continued, even though I had almost no feeling in my hand for the remainder of the concert. All I can say is thank God my guardian angel was hovering above me that evening.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/3slccS4nslI" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Jeff Beck, "Where Were You"</strong><br /> <em>Jeff Beck's Guitar Shop (1989)</em></p> <p>“This is probably the best thing I ever wrote, and it’s a milestone in my playing. It’s where I began to forge a unique new style. The key thing was discovering how I could use bent harmonics. </p> <p>"That’s basically taking false harmonics and, by bending the whammy bar, constructing melodies and tunes with it—which is something I took even farther on my last album, <em>You Had It Coming</em>. The inspiration for ‘Where Were You’ was the Bulgarian female choir record <em>Mystere des Voix Bulgares</em>. It’s so astonishing when you hear it—it’s like a religious experience. </p> <p>"When these women all hit a note together, it’s the most amazing sound you’ve ever heard. They sing these kind of broken scales with quarter-tone intervals. It’s extremely emotional music. I realized this was another tonal palette I could experiment with, because the guitar is capable of doing that, particularly with bent harmonics and the whammy bar.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/NomkmxUgzps" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Michael Schenker (M56) "Lipstick Traces"</strong><br /> <em>UFO-Phenomenon (1974)</em></p> <p>“This is one of the first songs I did with UFO, when I was just 18 years old. I’m sure I could pick it apart and find places where a bend is out of tune or something, but the song itself has always been magical for me. </p> <p>"I have always had very good technique and that has been important to me, but it is not an end in itself—it is a means of expressing just what you want to say, and I feel I did that with this beautiful melody. </p> <p>"I express every emotion I have through my music—from the darkest and angriest to the most passionate and joyful—but ultimately I have to pick the song that gives me the biggest sense of calm and pace. Because when it comes down to it, I am a romantic guy.”</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/az6SKfnf3QA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Tom Morello (Rage Against The Machine), "Killing in the Name"</strong><br /> <em>Rage Against The Machine (1992)</em></p> <p>“ ‘Killing in the Name’ contains some of my favorite elements of guitar playing: it’s got the huge riff, the propulsive chorus and the ‘angry insect’ guitar solo. </p> <p>"The song also features a dissonant breakdown, followed by the ‘cavalry charge’ outro, which makes for a fine rocking time all around. These are all things that I enjoy, and that was the very first time they all came together in one song. ‘Killing in the Name’ was RATM’s first single, and it launched our sound as a band as well as my sound as a guitarist in a defining way. </p> <p>"I have two parallel voices in my guitar playing—the quirky-noises-as-musical-passages concept and the anthemic riffage—and they are well-represented in this song.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/8de2W3rtZsA" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>Joe Strummer (The Clash), "If Music Could Talk"</strong><br /> <em>Sandinista! (1980)</em></p> <p>“On my recent album, <em>Global a Go-Go</em>, I had this breakthrough where I was able to do the album from my intuition rather than from my intellect. </p> <p>"Me and the band just turned up every day, and it was like the music was telling us what to play. Music, lyrics, solos—it was all of one piece, done in the moment. </p> <p>"When I think back, the only similar experience happened when the Clash hit New York after touring, and we went right into the Sandinista! sessions. It was very similar in that we had nothing prepared, and a lot of the album just took off by itself. On ‘If Music Could Talk’ I recorded two vocals: one on the left side of the stereo mix, and the other on the right side. And the two vocals were done one right after the other. </p> <p>"I just love hearing those vocals, even though it doesn’t fuckin’ work that well, because I can hear myself extemporizing, straight off the bat, on my feet, in the moment. And as I was reminded on my last album, music really can talk—to us and through us.”</p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/VA6PrJeDfSo" frameborder="0" allowfullscreen></iframe><br /> <br /><br /> <strong>George Harrison (The Beatles), "While My Guitar Gently Weeps"</strong><br /> <em>The Beatles (1968)</em></p> <p>“When we actually started recording this song it was just me playing the acoustic guitar and singing it [this version appears on the Beatles’ <em>Anthology 3</em>—GW Ed.], and nobody in the group was interested. Well, Ringo [Starr, drums] probably was, but John [Lennon, guitar/vocals] and Paul [McCartney, bass/vocals] weren’t. </p> <p>"When I went home that night I was really disappointed. I thought, Well, this is really quite a good song—it’s not as if it’s shitty! The next day I happened to drive back into London with Eric Clapton, and while we were in the car I suddenly said, ‘Why don’t you come and play on this track?’ </p> <p>And he answered, ‘Oh, I couldn’t do that—the others wouldn’t like it.’ Eric was reluctant because there hadn’t ever been any prominent musicians on our records. Finally, I said, ‘Well, sod them! It’s my song and I’d like you to come down to the studio.’ </p> <p>"So Eric showed up, and suddenly everybody started behaving and not fooling around so much. And the song came together nicely. Eric didn’t think his playing sounded ‘Beatles-ish’ enough. So we put the ‘wobbler’ on it, which is what we called ADT [Artificial Double Tracking, the basis of flanging—GW Ed.] </p> <p>"When I played it in concert with Eric over the years he would play it differently every night. Gary Moore did some shows with me and he also played exceptionally well on this one. I think guitar players like this song because it was structured in a way that gives them the greatest excuse to just wail away.” </p> <p><iframe width="620" height="365" src="https://www.youtube.com/embed/oDs2Bkq6UU4" frameborder="0" allowfullscreen></iframe></p> <p><em>Stay tuned for PART TWO of "One for the Ages"!</em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jeff-beck">Jeff Beck</a> </div> <div class="field-item even"> <a href="/eddie-van-halen">Eddie Van Halen</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/guitar-legends-eddie-van-halen-dimebag-darrell-jeff-beck-choose-song-want-be-remembered-part-1#comments Articles Dimebag Darrell Eddie Van Halen GW Archive Jeff Beck John Paul Jones May 2002 Interviews News Features Magazine Wed, 24 Jun 2015 15:35:31 +0000 Guitar World Staff 19473 at http://www.guitarworld.com The 50 Greatest Led Zeppelin Songs http://www.guitarworld.com/50-greatest-led-zeppelin-songs <!--paging_filter--><p><strong>From “Dazed and Confused” to “You Shook Me” … from “Tangerine” to “The Lemon Song” … from “Trampled Under Foot” to “Stairway to Heaven” … <em>Guitar World</em> presents a critical analysis of the classic-rock group’s best tracks.</strong></p> <p>With the recent release of <em>Celebration Day</em>, the concert film immortalizing Led Zeppelin’s historic and most likely final reunion concert at London’s O2 Arena on December 10, 2007, guitarist-producer Jimmy Page reminded the world just how profoundly great and enduring his band’s music is. </p> <p>In homage to what is arguably hard rock’s most innovative group (and certainly its most influential), what follows is a tour of 50 of the most celebrated Led Zeppelin songs, with a focus on the guitar playing, songwriting and arranging genius of the quartet’s visionary founder. </p> <p>Compiling such a finite list presents tough choices for anyone, as the band’s recorded output of great music during its heyday was impressively prolific by any standard and includes well over 50 gems.</p> <p><strong>50. “D’yer Mak’er” (<em>Houses of the Holy</em>)</strong></p> <p>This lighthearted but heavy-sounding song, the title of which is intended to be pronounced “D’you Make Her,” was conceived as a playful melding of a Fifties doo-wop-style repeating chord progression and the quirky, syncopated rhythms of Jamaican reggae. </p> <p>Page makes good use of sliding sixth intervals on the song’s verse riff, providing a thin-textured but catchy and harmonically effective accompaniment to Plant’s vocals. His guitar solo, like so many of his others, is noteworthy for its tasteful, lyrical phrasing and emotive use of bends and finger vibratos.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/aoxQBvcKa9Y" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>49. “Tangerine” (<em>Led Zeppelin III</em>)</strong></p> <p>Like “Thank You,” this folky ballad, written exclusively by Page, offers good bang for your musical buck, in terms of packing a lot of expression into a handful of melodically embellished open “cowboy” chords. </p> <p>Jimmy achieved a rich texture by performing the song’s main guitar part on a 12-string acoustic and handsomely decorated the chorus with authentic country-style pedal-steel licks, for which he used lots of oblique bends and a wah pedal to accentuate their weeping sound. </p> <p>The chorus, played in the happy-sounding key of G, provides a welcome contrast to the somber feel of the verse and solo sections, which are in A minor. Also noteworthy is Page’s short and sweet slide solo, played with a thick, overdriven tone that effectively sustains his vibrato-ed notes and enhances their singing quality. </p> <p>He thoughtfully describes the underlying chord changes in his slide melody by closely following the chord tones as he works his way up to the highest note on the neck.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/WCFDo3XSUsQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>48. “Custard Pie” (<em>Physical Graffiti</em>)</strong></p> <p>This opening track from <em>Physical Graffiti</em> features a punchy, Les Paul–through-Marshall–driven “crunch riff” behind Plant’s sexually euphemistic lyrics, many of which were borrowed from songs by early American bluesmen of the Robert Johnson era, specifically “Drop Down Mama” by Sleepy John Estes, “Shake ’Em on Down” by Bukka White, and “I Want Some of Your Pie” by Blind Boy Fuller. </p> <p>Like “Houses of the Holy,” “Custard Pie” is built around a repeating two-bar riff based on an open A chord. </p> <p>As in other songs, Page makes great use of rests in the song’s main riff, which allows it to “breathe” nicely and draws attention to the vocals and drums. Jimmy’s penchant for jazz/R&amp;B harmony is manifested in the G11 chord he plays—in place of the perfectly acceptable straight G chord—near the end of each of the song’s verses, which are loosely based on the 12-bar blues form. </p> <p>The guitarist makes clever use of the wah pedal in his solo, which he begins with a repeating oblique-bend phrase that, with added wah-wah inflections, sounds like a toddler throwing a tantrum. The solo is also noteworthy for the way Page melodically acknowledges the chord changes by touching upon their chord tones as opposed to simply riffing away on the key’s major and minor pentatonic scales.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/0VH6kF8jlwA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>47. “That’s the Way” (<em>Led Zeppelin III</em>)</strong></p> <p>Like “Bron-Yr-Aur,” this mellow acoustic song was inspired by the serenity and pastoral beauty of the Welsh countryside during Page and Plant’s working vacation at the remote Bron-Yr-Aur cottage in 1970. </p> <p>The band performed the song live in open G tuning, but the studio version sounds in G flat, which is most likely the result of the instruments being tuned down a half step (or a possible manipulation of the tape speed in the mastering process, similar to what Page did with “When the Levee Breaks”). </p> <p>Jimmy strums the song with a pick and makes great use of ringing open strings within his chord voicings, even as he moves away from the open position. Particularly cool are the reverb-soaked pedal-steel licks that Page overdubbed, for which he alternates between major and minor pentatonic phrases—again, a fine example of “light and shade.” </p> <p>Also noteworthy is the climbing outro progression, for which Jimmy again combines open strings with notes fretted in the middle region of the neck to create unusual, lush-sounding chord voicings. </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/TANKvE3sI3w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>46. “In the Light” (<em>Physical Graffiti</em>)</strong></p> <p>Jimmy broke out his violin bow once again and put it to great use in this song’s extended intro, providing a low, eerie, sitar-style drone as a backdrop to Jones’ mystical, echoing “bagpipe” melodies, creatively conjured on a synthesizer.</p> <p> Also particularly cool is the ominous-sounding descending blues-scale-based guitar riff that comes crashing in at the end of the intro (at 2:45) and the menacing, angular verse figure that follows, against which Page overdubbed a twangy, ringing open G note, played in unison with the D string’s fifth-fret G and treated with a shimmering tremolo effect.</p> <p>The song’s bright, triumphant-sounding final theme, introduced by Jones on a Clavinet at 4:09, stands in stark contrast to the hauntingly dark minor key-based sections that precede it—another example of “light and shade.” </p> <p>Also worth noting is the ascending major scale-based lead melody Page plays over the theme’s repeating progression at 4:25 and the way it moves in contrary motion to the descending bass line, a compositional technique regarded as one of classical music’s slickest moves.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/C3jRK-sdTSE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>45. “For Your Life” (<em>Presence</em>)</strong></p> <p>Page broke out his 1962 Lake Placid Blue Fender Stratocaster for this darkly heavy song about the excesses of drug use in the L.A. music scene, tastefully employing its whammy bar to create well-placed, woozy sonic nosedives. </p> <p>The song’s midtempo groove features sparse and restrained but fat-sounding guitar-and-bass riffs that include wide, dramatic “holes of silence” that are crossed only by the drums, vocals and a shaken tambourine. </p> <p>The arrangement really starts to develop at 2:07, as Page introduces a more ambitious new riff in a new key that’s propelled by a short machine-gun burst of triplets that further enhances the tune’s earthy midtempo groove. Jimmy’s solo, beginning at 4:17 is noteworthy for its melodic inventiveness, quirky phrasing and wailing, drooping bends.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/YSAtGNFPLXk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>44. “Friends” (<em>Led Zeppelin III</em>)</strong></p> <p>As mentioned earlier, Page employed the same open C6 tuning on this song that he used on “Bron-Yr-Aur” (low to high, C A C G C E), again employing the open strings as drones to create a mesmerizing, hypnotic effect. </p> <p>In this case, Jimmy is strumming heartily with the pick, as opposed to fingerpicking, and plays double-stop figures against ringing open notes to create hauntingly beautiful melodies, making extensive use of the exotic-sounding sharp-four interval (Fs in this case), as well as the bluesy flat-three (Ef) and Arabic-flavored flat-nine (Df), conjuring an intriguing East-meets-West kind of vibe. </p> <p>As he later did in “The Rain Song” and “Kashmir,” the guitarist moves a compact two-finger chord shape up and down the fretboard, played in conjunction with ringing open strings, in this case to craft an enigmatic-sounding octave-doubled countermelody to Plant’s vocals. As a finishing touch, a string ensemble, arranged by Jones, was brought into the studio to double and dramatically reinforce the countermelody.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/D8240QPQrNI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>43. “Trampled Under Foot” (<em>Physical Graffiti</em>)</strong></p> <p>Inspired by the cleverly euphemistic lyrics of Delta blues legend Robert Johnson’s 1936 composition “Terraplane Blues” and the funky grooves of James Brown and Stevie Wonder, this muscular song features Jones stretching out on a Hohner Clavinet keyboard and a hard-stomping, almost relentless one-chord vamp that’s broken up periodically by a brief string of accented chord changes, over which Page plays wah-inflected, Steve Cropper–style sixth intervals. </p> <p>Jimmy uses his wah pedal very creatively throughout the song and creates exciting aural images by treating his guitar with ambient reverb, backward echo and stereo panning effects, especially toward the end.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jBku3rJ0Xe0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>42. “Houses of the Holy” (<em>Physical Graffiti</em>)</strong></p> <p>Built around a fat-sounding strut riff, this song is nothing but a good time. Particularly cool is the way Page and Bonham shake up the riff’s solid eighth-note groove throughout by playing off each other with quirky, syncopated 16th-note fills, such as those at 0:38 and 0:42. </p> <p>Also noteworthy is Page’s resourceful use, during the verses, of progressively descending triad inversions on the top three strings (not unlike those used by Pete Townshend in the Who’s “Substitute”), which provide an effective contrast to both Jones’ angular bass line during this section and the meaty main guitar riff.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/sn_3s9wmZuQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>41. “The Rover” (<em>Physical Graffiti</em>)</strong></p> <p>This song’s sexy main riff, introduced at 0:23, embodies that trademark “Led Zeppelin swagger,” resulting from Page’s clever application of pull-down bends on the lower four strings, which he uses to “scoop up to” target pitches from a half step below and make his guitar sing, just as he had done earlier on the low E string in his main riff to “Dazed and Confused” and with whole-step bends in the previously mentioned “Over the Hills and Far Away” inter-verse riff. </p> <p>The effect is accentuated in this case by the use of a phaser, which makes Jimmy’s guitar sound almost as if it’s played through a talk box. </p> <p>Also noteworthy are Page’s elegantly crafted, flamenco-flavored solo and the decorative second guitar part heard during the song’s choruses, for which Jimmy arpeggiates the underlying chord progression, in the process adding an attractive countermelody to the theme without obscuring Plant’s vocals.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/XikK2RJdZ18" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>40. “Dancing Days” (<em>Houses of the Holy</em>)</strong></p> <p>Page takes a riff-building approach on this light-hearted yet powerful rocker similar to that used by Keith Richards on many Rolling Stones classics, such as “Brown Sugar,” “Honky Tonk Women” and “Can’t You Hear Me Knocking.” </p> <p>Making great use of open G tuning (low to high, D G D G B D) and the convenient one-finger major barre-chord shapes it affords, he uses his fret hand’s available middle finger, ring finger and pinkie to add harmonic “extensions” and embellishments to index-finger barre chords. </p> <p>Page’s fascination with the Lydian mode, specifically its s4 interval, manifests itself in a musically compelling way in both the song’s sassy intro riff and its punchy verse and chorus riffs, all three of which convey a strong feeling of tension-and-release, as the harmonically turbulent s4 resolves downward in each case to the stable major third. </p> <p>Particularly cool is the soaring slide melody, a neatly executed overdub first appearing at 0:56, which requires quick position shifts and carefully attention to intonation (pitch centering).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jBku3rJ0Xe0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>39. “Bron-Yr-Aur” (<em>Physical Graffiti</em>)</strong></p> <p>Conceived during Page and Plant’s legendary 1970 retreat to Bron-Yr-Aur cottage in rural Wales and recorded during the sessions for Led Zeppelin III, this ingenious fingerstyle-folk instrumental is performed in the same open C6 tuning as “Friends” (low to high, C A C G C E). </p> <p>Page weaves the tune’s melodic themes into an impeccably uninterrupted stream of forward and backward 16th-note arpeggio rolls across the strings, with lots of droning open notes and unisons creating a rich natural chorusing effect and a lush, pastoral soundscape that puts the piece on par with the works of renowned late 19th-century impressionistic composers Claude Debussy and Maurice Ravel.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Gi76yMCXxtQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>38. “No Quarter” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>This fully realized, extended performance of John Paul Jones’ keyboard showcase piece packs the same kind of dynamic punch and slow-jam rhythmic drama as “Since I’ve Been Loving You” and demonstrates both Jones’ and Page’s penchant for modal jazz and their respective skills at building extended, story-like solos over a one-chord vamp. (Incidentally, it is performed in standard tuning, a half step higher than the studio version from <em>Houses of the Holy</em>, for which the instruments sound a half step below concert pitch.) </p> <p>Also noteworthy are the two jarring, prog-rock-flavored chords in the song’s pre-chorus, Bfadds11 and Efadds11, first heard at 0:58 and 1:06, respectively.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/k5R9MB-edJ8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>37. “The Wanton Song” (<em>Physical Graffiti</em>)</strong></p> <p>Like “Immigrant Song,” this composition’s main riff demonstrates how alternating octaves combined with a strong, syncopated rhythm can create a compelling, heavy-sounding riff, and it’s safe to say that it probably inspired bands like Living Colour and Rage Against the Machine to pen their similarly styled riffs. </p> <p>And like “Out on the Tiles” and “The Ocean,” the use of wide, recurring “holes of silence” in the guitar and bass parts while the drums and vocals continue, creates pronounced dynamic and textural contrasts, which add to the song’s appeal. </p> <p>The instrumental interlude section that ensues after the second and fourth verses (at 0:59 and 2:03, respectively) provides a stark contrast to the raw power of the alternating-octaves riff and introduces a surprisingly jazzy chord progression within such a heavy rock song, with overdriven diminished seventh chords—something few other rock guitarists outside of Yes’ Steve Howe or Dean DeLeo from Stone Temple Pilots would have the vision and daring to use—employed as harmonic pivots to modulate to new keys. </p> <p>Page’s Leslie-treated minor-seven chord riff that ensues brings to mind the Isley Brothers’ 1973 R&amp;B hit “Who’s That Lady” and further demonstrates the breadth of Page’s stylistic influences.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/nrfQZ_anNYM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>36. “How Many More Times” (<em>Led Zeppelin</em>)</strong></p> <p>This lengthy final track from Led Zeppelin’s debut album and live set-closer in their early days was a favorite improvisational vehicle for the band, with open-ended jam sections that allowed Page to stretch out with scorching lead licks, reverb-drenched violin bow excursions and wah-wah-inflected chord strumming. </p> <p>As Jimmy told <em>Guitar World</em> in 1993, the song “was made up of little pieces I developed when I was with the Yardbirds, as were other numbers, such as ‘Dazed and Confused.’ ” He adds, “It was recorded live in the studio with cues and nods.” </p> <p>Embodying an eclectic blend of stylistic elements, the song features an interesting variety of rhythmic grooves, from a jazzy swing feel, to a straight-eighths funk beat, to a Latin bolero rhythm somewhat reminiscent of the previously recorded Jeff Beck instrumental “Beck’s Bolero,” on which both Page and Jones had played.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/NBqbuGgt0Us" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>35. “Gallows Pole” (<em>Led Zeppelin III</em>)</strong></p> <p>Led Zeppelin’s creative arrangement of this sardonic, centuries-old, storytelling Celtic folk song titled “The Maid Freed from the Gallows” begins very modestly, with Plant’s pleading vocals accompanied solely by Page’s quiet acoustic strumming. </p> <p>It builds in stages to a full-blown bluegrass-style “hoe-down,” with a mandolin and acoustic 12-string joining the fray midway through, followed by bass, drums and, finally, banjo (played by Page) and overdriven electric lead guitar, on which Page cleverly plays major pentatonic licks to conjure the sound of a country fiddle. </p> <p>The arrangement’s ambitious development is not unlike that of “Stairway to Heaven” in its magnitude and creates a similarly dramatic effect.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Tza0zaJUW9w" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>34. “Out On the Tiles” (<em>Led Zeppelin III</em>)</strong></p> <p>This “forgotten classic” features another of Led Zeppelin’s signature octave-doubled, single-note “stomp riffs,” this one played at a faster tempo than most of their other similarly crafted songs, with Bonham grooving on one of his favorite funky drumbeats as Page and Jones lock-in on a tricky bass melody that drops an eighth note at the end of the first and third verses (at 0:24 and 1:40, respectively). </p> <p>Particularly cool- and powerful-sounding are the accented pulled bends on the low E string between the A power chords in the intro riff. It’s also worth pointing out that this is one of the very few uptempo Led Zeppelin songs that does not include a guitar solo; it doesn’t need one. </p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Uv2E8-Irn6c" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>33. “You Shook Me” (<em>Led Zeppelin</em>)</strong></p> <p>Led Zeppelin’s convincingly worthy cover of this Chicago-style slow blues song (written by Willie Dixon and J.B. Lenoir) showcases their thorough assimilation of and deep adulation for the style and ability to take it to the next level of intensity through each band member’s musical virtuosity and artistic depth of feeling. </p> <p>Page’s slide work, performed in the challenging and potentially unforgiving mode of standard tuning, is impeccable here, as he shadows Plant’s vocal melody with spot-on intonation and coaxes sublime vibratos from many of his sustained notes. </p> <p>Equally laudable is Jimmy’s wailing guitar solo, played without a slide, for which he employed tape echo and epic reverb effects to create breathtakingly soaring trails of cascading, screaming licks during the solo’s and song’s climax.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/dbwG0u3hb7M" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>32. “Celebration Day” (<em>Led Zeppelin III</em>)</strong></p> <p>This playful, uptempo rocker was built around a slinky slide riff conceived by Jones, the genesis of which he described in his column in Guitar World July 1997: “I came up with the intro/verse riff to “Celebration Day” while playing and old Danelectro baritone guitar like a lap steel, using an unusual, low open A7 tuning (low to high: A A A E G Cs), a steel bar and a nut saddle to raise the strings.” When performing the song live, Page would adapt this riff to standard-tuned guitar. </p> <p>On the recording, Page crafted a complementary and similarly slinky bend lick to play over the song’s main A-riff following each verse (initially at 0:24). </p> <p>Similar to what he later did between the verses in “Over the Hills and Far Away,” the guitarist uses pulled bends on the bottom two strings to reach up to the last note of each phrase he plays, in this case adding a bold, shimmering vibrato to each bend.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/o5cgrsWnPvo" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>31. “Four Sticks” (<em>Led Zeppelin IV</em>)</strong></p> <p>Named after Bonham’s literal use of four sticks on the track (two in each hand), this tribal dance–like song features exotic rhythms and harmonic modalities that conjure images of Near Eastern and North African wildernesses from an earlier century. </p> <p>The arrangement is built around three guitar riffs, each incorporating an open-string bass pedal tone, or drone. As mentioned previously, Page used, for the song’s primary riff, the same “bending away from a unison” trick he employed in his “Whole Lotta Love” riff, with equally haunting results. In this case, he strums the open G string together with that note’s fretted equivalent on the D string’s fifth fret and pushes the fretted G slightly sharp by bending it upward (away from the palm).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/jyZc2Xqav_4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>30. “Thank You” (<em>Led Zeppelin II</em>)</strong></p> <p>Before “Stairway to Heaven” or “The Rain Song” were ever conceived, this well-written, timeless love song displayed, along with “Babe I’m Gonna Leave You,” a sensitive, emotional side of Led Zeppelin, one that didn’t have to do with sexual lust or scorn. (Gee, what was George Harrison complaining about in commenting to Led Zeppelin that their songbook was lacking ballads?) </p> <p>Layering tracks of acoustic and clean 12-string electric guitars, Page weaved a tapestry of warm harmony behind Plant’s tender, low-key vocals and crafted an elegant single-note acoustic solo, one often celebrated and emulated for its melodic appeal by players such as Slash. </p> <p>Also noteworthy in “Thank You” are Page’s melodic 12-string runs behind Plant’s vocals during the song’s final two verses, specifically at 2:31 and 3:14.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/28BAZ_EFSt8" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>29. “Bring It On Home” (<em>Led Zeppelin II</em>)</strong></p> <p>Like their other blues covers, Led Zeppelin’s reading of this Willie Dixon blues song has their unique artistic, stylistic stamp all over it, from its funky bass-and-drums groove, octave-doubled single-note riffs and Page’s soulful use of string bends, which, incidentally, Jones aggressively mirrors an octave lower on bass during the song’s main riff. </p> <p>Page added to the riff, at 1:54, a decorative high harmony line, as he would later do with riffs in “Black Dog,” “The Ocean” “Achilles Last Stand” and other songs, in each case further building the arrangement and enhancing its appeal. His harmony notes here form sweet-sounding sixth and third intervals based on the E Mixolydian mode.</p> <p>The song’s middle verse sections sport a particularly bad-ass guitar riff, first appearing at 2:04 and built around sixth-interval double-stops, again based on the decidedly bluesy-sounding E Mixolydian mode. Notice how Page divides and orchestrates this riff into two separate guitar tracks, which he pans hard left and right in the stereo mix, accentuating the riff’s call-and-response quality.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/N_zTz5A_7Aw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>28. “Living Loving Maid (She’s Just a Woman)” (<em>Led Zeppelin II</em>)</strong></p> <p>Following on the heels of “Heartbreaker,” this playful and more light-hearted rocker features some of Jimmy’s most tasteful “power-pop” guitar parts. He recorded the song’s primary rhythm tracks on his Fender electric 12-string (the same guitar he used in the studio on “Stairway to Heaven” and “The Song Remains the Same”). </p> <p>As in “Heartbreaker,” “Good Times Bad Times,” “Communication Breakdown” and other songs, he liberally employs his go-to “Hendrix-style” thumbed chord “grips,” which, lacking the low fifth of a conventionally fretted major barre chord, add sonic clarity to his chord voicings. </p> <p>Jimmy’s solo in this song is short and sweet, featuring emotive bends and vibratos and culminating in one of his trademark chromatic climbs up the B string.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/OKI1k7LSAIE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>27. “Going to California” (<em>Led Zeppelin IV</em>)</strong></p> <p>Page also used open strings and unison notes to great effect on this acoustic folk masterpiece. Tuning both his low and high E strings down to D (in what is known as double drop-D tuning), the guitarist plays dreamy hypnotic arpeggio figures that feature lots of ringing, repeated notes played on different strings. </p> <p>With its blend of English and American folk-guitar styles (think Bert Jansch meets Merle Travis), “Going to California” is a finger stylist’s delight. Particularly compelling is the dramatic bridge section beginning at 1:41, played by Page in the parallel minor key, D minor. If you listen closely, you’ll hear two acoustic guitars fingerpicking different inversions of the same chords, thirds apart.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/S0Kbbjw28P4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>26. “What Is and What Should Never Be” (<em>Led Zeppelin II</em>)</strong></p> <p>Like “Ramble On,” this song is another masterwork study in dynamic and textural contrasts. Page begins each verse by strumming a breezy two-chord vamp using jazzy, George Benson–approved dominant ninth and 13th chords with a clean, mellow tone, as Jones plays one of his celebrated brilliantly lyrical, complementary bass lines. </p> <p>Taking advantage of the wide range of gain and overdrive afforded his Les Paul/non-master–volume Marshall tube amp pairing, Page cranks up his guitar’s volume on the choruses, resulting in a beefy crunch tone that perfectly suits the powerful riff he crafted for that section. </p> <p>The song also features one of Jimmy’s most tasteful slide solos, carefully executed in standard tuning and thus without the harmonic safety net that an open tuning affords.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/doKNr52rHdk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>25. “The Ocean” (<em>Houses of the Holy</em>)</strong></p> <p>On par with “Heartbreaker” and “Black Dog,” in terms of embodying that trademark Led Zeppelin octave-doubled single-note “stomp groove,” this song’s iconic intro/main riff demonstrates just how effectively heavy-sounding rests, or “holes of silence,” can be when sandwiched between notes in just the right places. </p> <p>This riff, as well as the power-chord-driven and similarly punctuated verse figure, are made to sound even more dramatic by the ambient room sound surrounding John Bonham’s drums, to which Page, the producer, rightfully deserves credit for his visionary use of distant miking techniques.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/JvoG36nUcSU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>24. “Rock and Roll” (<em>Led Zeppelin IV</em>)</strong></p> <p>The ultimate hot rod–driving song and tribute to Chuck Berry, this uptempo, straight-eighths blues-rock anthem features irresistibly boogie-woogie-like rhythms and a killer guitar solo that begins with Page playfully pulling off to open strings before ascending the neck with a daringly acrobatic chromatic climb somewhat reminiscent of his climactic lead in “Communication Breakdown.”</p> <p>Particularly artistic is the way Page lays back rhythmically during the song’s verses with sustained power chords, providing an effective, welcome contrast to the relentless eighth notes of the bass and drums.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/GonQSHxzb1k" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>23. “The Lemon Song” (<em>Led Zeppelin II</em>)</strong></p> <p>Borrowing from Howlin’ Wolf’s 1964 blues hit and eventual standard, “Killing Floor,” Led Zeppelin created a derivative work that became a classic unto itself, showcasing their own renowned Memphis soul–style interactive blues-rock jamming, dynamic sensibilities and each individual musician’s fat tones. </p> <p>Not content to just play the song’s climbing intro riff on his low E string, Page employs hybrid picking (pick-and-fingers technique) to pair each low melody note with the open B string, creating a pleasing midrange “honk.” </p> <p>Also noteworthy in this arrangement is Page’s substitution, on the five chord in the song’s repeating 12-bar blues progression, of a minor seven chord, Bm7, for the customary dominant seven chord, which would be B7 in this case, creating a darker, more melancholy sound.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/Zyhu2ysqKGk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>22. “Babe I’m Gonna Leave You” (<em>Led Zeppelin<em>)</em></em></strong></p> <p>Another acoustic masterpiece, this song features a bittersweet circular chord progression presented as ringing, fingerpicked arpeggios. Particularly noteworthy is the way Page spins numerous subtle melodic variations on the theme throughout the song (check out the one at 3:40), sweetening the aural pot with dramatic dynamic contrasts. </p> <p>This may be one of the most perfectly recorded and mixed acoustic guitar tracks ever. Notice how, in the song’s intro, the “dry” (up-front and un-effected) acoustic guitar is in the left channel while the right channel is mostly “wet,” saturated in cavernous reverb.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/iP9xMobANJM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>21. “When the Levee Breaks” (<em>Led Zeppelin IV</em>)</strong></p> <p>This track is revered for, among other things, its epic drum sound, resulting from the cavernous acoustics of Headley Grange and Page’s ingenious distant microphone placement, as well as his decision, as producer, to slow down the tape speed in the mastering process. </p> <p>Led Zeppelin’s cover of this blues song, written and first recorded in 1929 by Kansas Joe McCoy and Memphis Minnie, also features great slide playing by Page in open G tuning (low to high, D G D G B D). Due to the slowing of the tape speed, however, the pitch of the recording was lowered by a whole step, so the song actually sounds in the key of F.</p> <p>Page performed this song’s two guitar tracks on his Fender electric 12-string. Its additional strings, in conjunction with the open tuning, enhanced the unison and octave-doubling effect of many of the notes in the guitar parts, which already incorporate unison notes. The result is a huge wall of droning G and D notes with a natural chorusing effect that mesmerizes the listener in a way akin to the chorus chords in “Kashmir.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/wEKkJHSO8A0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>20. “The Battle of Evermore” (<em>Led Zeppelin IV</em>)</strong></p> <p>For this mystical-sounding folk-rock gem, Page and Jones traded the instruments they play on “Going to California,” with Page taking up the mandolin and Jones strumming acoustic guitar. According to Page, “ ‘The Battle of Evermore’ was made up on the spot by Robert and myself. I just picked up John Paul Jones’ mandolin, never having played one before, and just wrote up the chords and the whole thing in one sitting.”</p> <p>Page’s mandolin sound on this song is epic, which is partially the result of his taking advantage of the cavernous, majestic natural reverb of the location where he recorded his tracks, which was in the foyer of a large, old stone house in rural Wales called Headley Grange. (This location, by the way, is where several other tracks on <em>Led Zeppelin IV</em> and <em>Physical Graffiti</em> were recorded, most notably Bonham’s drums on “When the Levee Breaks.”) </p> <p>Page additionally doubled/layered his mandolin tracks on this arrangement and employed a tape echo effect, with a single repeat, timed to echo in an eighth-note rhythm relative to the song’s tempo, resulting in a continuous stream of percolating eighth notes.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/WGAKeHQUx-U" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>19. “Immigrant Song” (<em>Led Zeppelin III</em>)</strong></p> <p>With its fiercely galloping rhythms, jagged backbeat accents and ominous-sounding flat-five intervals, this ode to Viking pillage no doubt helped fuel the lustful creative fire behind hordes of heavy metal bands like Iron Maiden, Celtic Frost and Mastodon that came of age in the years following the song’s 1970 release. </p> <p>Particularly sinister-sounding is the way Page plays, during the song’s outro, an atypical second-position G minor chord shape over Jones’ C-note accents, in the process creating a highly unusual voicing of C9(no3).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/Q1lzfz_TjWI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>18. “Good Times Bad Times” (<em>Led Zeppelin</em>)</strong></p> <p>This punchy opening track from the band’s debut album set the stage for Zeppelin’s juggernaut conquest of the world of hard rock. Page octave-doubles Jones’ nimble, angular bass line on his slinky-strung Fender Telecaster, adding shimmering finger vibrato at just about every opportunity. </p> <p>The guitarist’s scorching, Leslie-effected lead licks, with their gut-wrenching bends and tumbling triplets, convey a man on fire and poised to win the West.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/6TdDqv0qRqw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>17. “Nobody’s Fault but Mine” (<em>Presence</em>)</strong></p> <p>Led Zeppelin’s turbo-charged reinvention of this traditional American gospel blues, or Negro spiritual, song was inspired primarily by singer and acoustic slide guitarist Blind Willie Johnson’s 1927 recording of it. Zeppelin’s version is built around a mesmerizing, laser beam-like guitar melody, which Page played with distortion and a flanger effect and doubled, both in unison and an octave higher, with Robert Plant additionally scat singing the line, adding to its mesmerizing, bigger-than-life quality. </p> <p>Page’s aggressive exploitation of string bending and vibrato techniques, in both the main riff and his solo, adds to the soulfulness of the band’s arrangement. Also noteworthy are Jones and Bonham’s lock-step bass-and-drum syncopations, which further add to the power and drama of the band’s arrangement.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/esZ15n6_5JY" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>16. “Black Dog” (<em>Led Zeppelin IV</em>)</strong></p> <p>“Black Dog” was built around a snakey blues riff, initially written on bass by John Paul Jones and doubled an octave higher on guitar by Page. The rhythmic orientation of the song’s main riff to the beat has been the subject of heated debate among working musicians over the years, the point of contention being specifically where “one” is. </p> <p>When pressed for an explanation, Page was vague. But Jones, in his Lo and Behold column in <em>Guitar World</em> December 1996, states that this deceptive riff should be counted with the first A note — the root note of the song’s key and the fourth note of the riff—falling squarely on beat one. (Drummer John Bonham’s big cymbal crash on beat two is one of the things about this riff that throws a lot of people off.) </p> <p>Page enhanced the riff later in the song, at 3:18, by overdubbing a parallel-thirds harmony line. In the 1993 GW interview, the guitarist noted, “Most people never catch that part. It’s just toward the end, to help build the song. You have to listen closely for the high guitar parts.”</p> <p>Page and recording engineer Andy Johns tried a novel and ultimately successful experiment by triple-tracking the song’s rhythm guitar parts. As Page explained, “Andy used the mic preamp on the mixing board to get distortion. Then we put two 1176 Universal compressors in series on that sound and distorted the guitars as much as we could and then compressed them. Each riff was triple-tracked: one left, one right, and one right up the middle.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/npQbPpDF6hA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>15. “Ramble On” (<em>Led Zeppelin II</em>)</strong></p> <p>This song is all about contrasts, or as Page likes to say, “light and shade.” It begins with a mellow, folky acoustic strum riff pitted against a highly melodic Fender bass line for the verse sections, which lead up to a hard-hitting and highly inventive electric guitar–driven chorus riff. </p> <p>Page broadened the definition of the term “power chord” here by using the seemingly odd two-note combination of root and flatted seventh (Fs and E, respectively, played right after Plant sings “Ramble on!”), a pairing made even more unlikely by the fact that he plays it over John Paul Jones’ E bass note. The theoretical discord notwithstanding, it sounds great.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/a3HemKGDavw" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>14. “Black Mountain Side” (<em>Led Zeppelin</em>)</strong></p> <p>Page spices up this traditional Celtic folk melody with East Indian musical flavors, hiring a bona fide tabla drummer to accompany him on the track and injecting his own fiery Indian-style acoustic lead break into the arrangement. </p> <p>Check out <a href="http://store.guitarworld.com/collections/guitar-world/products/guitar-world-jan-13-led-zeppelin">the January 2013 issue</a> of <em>Guitar World</em> to learn the secrets to this iconic song.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/z0OYZm4RhFE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>13. “In My Time of Dying” (<em>Physical Graffiti</em>)</strong></p> <p>This 11-minute track was inspired chiefly by Blind Willie Johnson’s reading of the traditional blues-gospel song “Jesus Make Up My Dying Bed” as well as a similarly titled rendition from the same era by Delta bluesman Charlie Patton. </p> <p>Zeppelin’s inspired interpretation of the song features some of Page’s best slide guitar work (performed in open A tuning: low to high, E A E A Cs E), as well as one of the fattest-sounding drum tracks in this or any other band’s catalog, the result of Bonham’s unique touch and feel and Page’s miking and mixing techniques.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/yZgblTKscX0" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>12. “Kashmir” (<em>Physical Graffiti</em>)</strong></p> <p>Played in DADGAD tuning, which Page had previously used to great effect on both the Yardbirds’ “White Summer” and Led Zeppelin’s “Black Mountain Side,” “Kashmir” is built around four mesmerizing riffs, three of which involve the use of open-string unison- and octave-doubled notes, which create a natural chorusing effect and a huge wall of sound. </p> <p>Particularly noteworthy is the way Jimmy overlaid, at 0:53, the song’s menacing, ascending riff—the James Bond–theme-flavored part—on top of the recurring descending sus4 chord sequence. </p> <p>Page explained in the previously mentioned GW interview, “The descending chord sequence was the first thing I had—I got it from tapes of myself messing around at home. After I came up with the da-da-da, da-da-da part, I wondered whether the two parts could go on top of each other, and it worked! You do get some dissonance in there, but there’s nothing wrong with that. At the time, I was very proud of that, I must say.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/nQH3LtNePgI" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>11. “Over the Hills and Far Away” (<em>Houses of the Holy</em>)</strong></p> <p>This song is another study in contrasts, specifically between English/Celtic-flavored acoustic folk and Les Paul–driven hard rock. It begins with a playful, folk-dance–like acoustic riff, which Page initially plays on a six-string and then doubles on a 12-string, that gives way, at 1:27, to crushing electric power chords and a clever single-note riff, for which Jimmy incorporates pulled bends on the bass strings (first heard at 1:37). </p> <p>Particularly cool is the way the guitarist reconciles this electric riff with the strummed acoustic chords previously introduced at 1:17. </p> <p>Also noteworthy is the grooving James Brown–style funk riff behind the guitar solo and the rhythmically peculiar, harmonized ascending single-note ensemble melody that follows at 3:00. To top it all off, Page, the producer, concludes the song with a “false ending.” </p> <p>As the band fades out, at 4:10, a lone guitar emerges with a final variation of the folk riff from the intro, but all you hear is the 100 percent “wet” reverb “return” signal, which creates a mystical, otherworldly, “faraway” effect.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/6bD9t44JUD4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>10. “Heartbreaker” (<em>Led Zeppelin II</em>)</strong></p> <p>With its menacing, octave-doubled blues-scale riffs and sexy string bends, this song epitomizes the “Led Zeppelin swagger.” Interestingly, the verse riff features Jones strumming root-fifth power chords on bass, treated with overdrive and tremolo, while Page alternately lays back on decidedly thinner-sounding thumb-fretted octaves — a signature technique heard in his and Jimi Hendrix’s rhythm guitar styles — and punches barre-chord accents together with the bass and drums. </p> <p>Page recorded the song with his 1959 Gibson Les Paul Standard, which he had recently bought from Joe Walsh, playing the guitar through his newly acquired 100-watt Marshall amplifier. The song also showcases some of Jimmy’s most aggressive, inspired soloing, including a free-form, tantrum-like a capella breakdown section. </p> <p>Page recorded the breakdown while the band was touring the U.S., using a studio different from the one where the rest of the song’s tracks were cut. He was unaware that his guitar on that particular section was tuned slightly sharp of the rest of the tracks, which are at concert pitch. The discrepancy goes unnoticed to most listeners and only becomes obvious if one goes to play along with the entire recording.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/npoYQMPCOvU" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>09. "The Rain Song" (<em>Houses of the Holy</em>)</strong></p> <p>Performed in an unusual tuning (low to high, D G C G C D) with lots of ringing open strings and unison-doubled notes, this beautiful song features a sophisticated chord progression that was initially inspired by Beatle George Harrison, who challenged Page to write a ballad. </p> <p>After playfully evoking the verse section of Harrison’s “Something” on the first three chords of “The Rain Song,” Page veers off into an ultimately more ambitious and original progression. Particularly inventive and cool sounding is the Hawaiian-flavored dominant-ninth chord slide that precedes the first lyric line of each verse.</p> <p>When asked to explain why the studio version of “The Rain Song” is in the key of G while the live version, as heard in the film <em>The Song Remains the Same</em>, is in A, Page replied, “It surprises me to hear you say that, because I thought they were both in A. Okay, the [live] tuning is [low to high] E A D A D E. </p> <p>The only two strings that change are the G, which goes up to A, and the B, which goes up to D.” Page explained how he arrived at this unusual tuning. “I altered the strings around so that I’d have an octave on the A notes and an octave on the D notes, and still have the two Es,” he said. “Then I just went to see what finger positions would work.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/h1d4TLWmmcE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>08. “Ten Years Gone” (<em>Physical Graffiti</em>)</strong></p> <p>Like “The Rain Song,” this heart-warming yet heavy ballad demonstrates Page’s intuitive harmonic depth and sophistication, as he employs jazzy, “expensive”-sounding maj7, maj13, min9, dim7 and maj6/9 chords as effortlessly as Burt Bacharach, minus the associated schmaltz. </p> <p>The song’s instrumental interlude, which begins at 2:31, is particularly sweet and rich sounding. It features a laid-back, phaser-treated lead guitar melody with soulful double-stops over a bass, drums and clean, jangly rhythm guitar accompaniment. Also noteworthy is Page’s doubling of the chorus riff, first heard at 0:32, with an electric sitar.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/jYpydtdlWxA" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>07. “Communication Breakdown” (<em>Led Zeppelin</em>)</strong></p> <p>With its down-picked “pumping” eighth notes and syncopated power-chord stabs, this song’s urgent verse riff embodies the spirit of Chuck Berry–style rock and roll. Not surprisingly, it served as the quintessential prototype for both heavy metal and punk rhythm guitar. </p> <p>Page’s piercing, well-crafted solo, with its climactic, chromatically ascending unison bends, is like Berry on steroids and demonstrates that Page, on his new band’s freshman outing, was already thinking “outside the box,” both figuratively and literally (the physical “box” being a pentatonic fretboard shape).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/gOZCAjcYurE" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>06. “Since I’ve Been Loving You” (<em>Led Zeppelin III</em>)</strong></p> <p>Jimmy’s impassioned guitar solo in this highly dramatic Chicago-style slow blues song is among his most inspired and emotive. </p> <p>The song’s chord changes and structure are truly original, and in his rhythm guitar part Page plays an inventively slick turnaround phrase at the end of each chorus (initially from 1:06–1:12) that mimics a steel guitar, with a bent note woven into and placed on top of two successive chord voicings. </p> <p>What makes this phrase so interesting and enigmatic is how, over the second chord, Dfmaj7 (played on organ by John Paul Jones) Page bends a C note up to D natural—the flat nine of Dfmaj7—and manages to make it sound “right.” It’s something few musicians apart from Miles Davis would have the guts to do.</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/8RfOaAj7E5g" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>05. “Whole Lotta Love” (<em>Led Zeppelin II</em>)</strong></p> <p>This song has one of the coolest intro and verse riffs ever written. Not content to play it “straight,” as his blues-rock contemporaries might have done, Page inserts a subtle, secret ingredient into this part, giving it that x factor and a spine-tingling quality. </p> <p>Instead of playing the riff’s second and fourth note—D, on the A string’s fifth fret—by itself, he doubles it with the open D string (akin to the way one would go about tuning the guitar using the traditional “fifth-fret” method), then proceeds to bend the fretted D note approximately a quarter step sharp by pushing it sideways with his index finger. </p> <p>The harmonic turbulence created by the two pitches drifting slightly out of tune with each other is abrasive to the sensibilities and musically haunting, but the tension is short-lived and soon relieved, as Page quickly moves on to a rock-solid E5 power chord. “I used to do that sort of thing all over the place,” said Page. “I did it during the main riff to ‘Four Sticks’ too.”</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/OhmmAFHwlEk" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>04. “The Song Remains the Same” (<em>Houses of the Holy</em>)</strong></p> <p>Like a getaway chase on a stolen horse, this ambitiously arranged song, with its galloping rhythms and fleet-footed solos, is guaranteed to give you an adrenaline rush. Particularly noteworthy is Page’s decision to overlay two electric 12-string guitars during the song’s opening chord punches, each playing different and seemingly irreconcilable triads, such as the pairing of C major and A major. </p> <p>“I’m just moving the open D chord shape up into different positions,” Page told <em>Guitar World</em> in 1993. “There actually are two guitars on this section. Each is playing basically the same thing, except the second guitar is substituting different chords on some of the hits.”</p> <p>He adds, “ ‘The Song Remains the Same’ was originally going to be an instrumental, like an overture to ‘The Rain Song,’ but Robert [Plant] had some other ideas about it! I do remember taking the guitar all the way through it, like an instrumental. It really didn’t take that long to put together — it was probably constructed in a day. And then of course I worked out a few overdubs.”</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/mmQ35xMxzd4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>03. “Stairway to Heaven” (<em>Led Zeppelin IV</em>)</strong></p> <p>Jimmy Page trampled over two rules of pop music with this masterpiece: it’s more than eight minutes long, a previously prohibitive length for pop radio formats, and the tempo speeds up as the song unfolds. </p> <p>“Stairway” is the epitome of Page’s brilliance as not only a guitarist, but also as a composer and arranger, as he layers six-string acoustic and 12-string electric guitars throughout the song in a gradual crescendo that culminates in what many consider to be the perfect rock guitar solo, performed on his trusty 1959 Fender “Dragon” Telecaster (his go-to guitar in the early days of Led Zeppelin).</p> <p><iframe width="620" height="360" src="//www.youtube.com/embed/9Q7Vr3yQYWQ" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>02. “Dazed and Confused” (live version, <em>The Song Remains the Same</em>)</strong></p> <p>Clocking in at more than 28 minutes, this marathon performance marks the apex of this song’s evolution and showcases some of Led Zeppelin’s most intense jamming and collective improvisation in a variety of styles. Page is at the height of his powers here, in terms of both chops and creative vision, never at a loss for a worthwhile musical idea. </p> <p>The otherworldly violin-bow interlude, beginning in earnest at 9:10 and spanning nearly seven minutes, is particularly inspired, and Page’s use of tape echo and wah effects in conjunction with the bow is absolutely brilliant.</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/ZQgYn23Xvck" frameborder="0" allowfullscreen></iframe></p> <hr /> <p><strong>01. “Achilles Last Stand” (<em>Presence</em>)</strong></p> <p>This epic, 10-minute song is Page’s crowning achievement in guitar orchestration. </p> <p>The ensemble arrangement, bookended by a swirling, unresolved arpeggio loop, really begins to blossom at 1:57, and from this point on, Page spins numerous melodic variations over top of the jangly, plaintive Em-Cadd9s11 chord progression that underpins most of the composition. </p> <p>Interestingly, Page previewed this chord vamp in the 1973 live version of “Dazed and Confused” that appears on <em>The Soundtrack to The Song Remains the Same</em>, beginning at 5:52.</p> <p>Thoughtful consideration was put into the stereo image of each guitar track, which keeps the entire recording crisp despite the dense arrangement. The song also features one of Page’s most lyrical guitar solos (and one of his personal favorites).</p> <p><iframe width="620" height="360" src="http://www.youtube.com/embed/p6S9oqJRclo" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/50-greatest-led-zeppelin-songs#comments GW Archive January 2013 Jimmy Brown Jimmy Page John Paul Jones Led Zeppelin Robert Plant Guitar World Lists News Features Magazine Fri, 09 Jan 2015 13:17:17 +0000 Jimmy Brown 17825 at http://www.guitarworld.com Led Zeppelin's John Paul Jones Announces Debut Album by New Project, Minibus Pimps http://www.guitarworld.com/led-zeppelins-john-paul-jones-announces-debut-album-new-project-minibus-pimps <!--paging_filter--><p>Minibus Pimps — a new project featuring Led Zeppelin bassist John Paul Jones — will release their debut album, <em>Cloud to Ground</em>, March 3.</p> <p>Minibus Pimps also features Norwegian ambient musician Helge Sten of Deathprod.</p> <p>The seven-track record will include live tracks recorded at various shows, musically fusing Seventies-style prog rock with elements of the Norwegian new music movement.</p> <p>As the U.K.'s <em><a href="http://www.theguardian.com/music/2014/jan/15/led-zeppelin-jones-minibus-pimps-debut-album">The Guardian</a></em> reports, <em>Cloud to Ground</em> incorporates sounds created by Kyma, a computer-based sound-design system that mutates organic instrument recordings. It's the same system Ben Burtt used to create lonely robot Wall-E's voice in the 2008 CGI Pixar film.</p> <p>Sten, a prolific producer who also has released music with Supersilent, said the album "contains composed and improvisational elements on an equal scale."</p> <p>The duo, who took their moniker from an experimental track by Beijing Sound Unit, is Paul Jones' latest project. It follows Them Crooked Vultures, a supergroup he formed in 2009 with Josh Homme and Dave Grohl.</p> <p>At this past August's Øya Festival, Norwegian singer, musician and producer Susanna recorded a few tracks with Sten and Paul Jones. You can check out "We Offer" below.</p> <p><iframe width="620" height="365" src="//www.youtube.com/embed/iITU-AcNG7Y" frameborder="0" allowfullscreen></iframe></p> http://www.guitarworld.com/led-zeppelins-john-paul-jones-announces-debut-album-new-project-minibus-pimps#comments Deathprod Helge Sten John Paul Jones Minibus Pimps News Wed, 15 Jan 2014 16:02:52 +0000 Damian Fanelli 20201 at http://www.guitarworld.com Led Zeppelin Make Appearance at 'Celebration Day' Screening, Won't Rule Out Future Shows http://www.guitarworld.com/led-zeppelin-make-appearance-celebration-day-screening-wont-rule-out-future-shows <!--paging_filter--><p>Earlier today, the surviving members of Led Zeppelin made a rare public appearance at the first screening of their upcoming film, <em>Celebration Day</em>, which chronicles their 2007 reunion show at London's 02 Arena. </p> <p>Taking questions from press after the screening, the band were asked from numerous angles if they would ever consider playing together again. In typically evasive fashion, Jimmy Page merely asked, "Can I just ask you all if you enjoyed the film?" When asked the same question, Robert Plant answered, "That would be kiss and tell."</p> <p><em>Celebration Day</em> will see a limited theatrical release on 1,500 screens on October 17, while a physical release of "multiple video and audio formats" is due out November 19 via Swan Song/Atlantic Records.</p> <p>You can watch the official <em>Celebration Day</em> trailer as well as a clip of "Black Dog" from the DVD below.</p> <p><iframe width="620" height="349" src="http://www.youtube-nocookie.com/embed/VbusDxLekPQ" frameborder="0" allowfullscreen></iframe></p> <p><iframe width="620" height="349" src="http://www.youtube-nocookie.com/embed/Khf8hw14Mwg" frameborder="0" allowfullscreen></iframe></p> <p><strong>Over the past 20 years, Brad Tolinski, editorial director of <em>Guitar World, Revolver</em> and <em>Guitar Aficionado</em> magazines, has interviewed guitarist Jimmy Page more than any other journalist in the world. Those interviews have led to a new book, <em>Light &amp; Shade: Conversations With Jimmy Page</em> (Crown Publishing), <a href="http://www.guitarworld.com/new-book-light-shade-conversations-jimmy-page-coming-october-23">which will be published October 23. Click here for more info.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/led-zeppelin-make-appearance-celebration-day-screening-wont-rule-out-future-shows#comments Jimmy Page John Paul Jones Led Zeppelin Robert Plant News Fri, 21 Sep 2012 14:49:36 +0000 Josh Hart 16798 at http://www.guitarworld.com Led Zeppelin Announce 'Celebration Day' Film Chronicling 2007 Reunion Show http://www.guitarworld.com/led-zeppelin-announce-celebration-day-film-chronicling-2007-reunion-show <!--paging_filter--><p>After nearly a week of speculation egged on by a mysterious countdown on the band's <a href="http://www.facebook.com/ledzeppelin">Facebook page</a>, Led Zeppelin announced the official release of <em>Celebration Day</em>, the film capturing the band's 2007 reunion show at London’s O2 Arena.</p> <p>While a CD/DVD release was widely speculated, <em>Celebration Day</em> will actually hit theaters first, being released by Omniverse Vision on 1,500 screens on October 17. You can buy tickets/view cinema listings at <a href="http://www.ledzeppelin.com/news/2012/09/13/celebration-day-cinema-listings">this location</a>.</p> <p>Details of the retail release have yet to be announced, but a posting on the band's <a href="http://www.ledzeppelin.com/news/2012/09/13/led-zeppelin-celebration-day">official website</a> promises "multiple video and audio formats on November 19 from Swan Song/Atlantic Records."</p> <p>You can view a trailer for the film below.</p> <p>The surviving members of Led Zeppelin were joined by Jason Bonham, son of their late drummer John Bonham, on December 10, 2007, for a 16-song set in honor of friend and Atlantic Records founder Ahmet Ertegun, who passed away almost a year ago to the date of the show.</p> <p>Ertegun was inducted into the Rock and Roll Hall of Fame in 1987.</p> <p>In other Led Zeppelin news, it was announced by John F. Kennedy Center for the Performing Arts that the band would be among the 2012 recipients of the Kennedy Center Honors, along with bluesman Buddy Guy, actor Dustin Hoffman and late-night TV host David Letterman.</p> <p>"Led Zeppelin's John Paul Jones, Jimmy Page and Robert Plant transformed the sound of rock and roll with their lyricism and innovative song structures," said Kennedy Center Chairman David M. Rubenstein, "infusing blues into the sound of rock and roll and laying the foundation for countless rock bands."</p> <p>The awards will be presented December 1, followed by an Honors Gala the following day, which will air on CBS later that month. There's no word yet on whether all or any of the band members will be in attendance.</p> <p><iframe width="620" height="349" src="http://www.youtube-nocookie.com/embed/VbusDxLekPQ" frameborder="0" allowfullscreen></iframe></p> <p><strong>Over the past 20 years, Brad Tolinski, editorial director of <em>Guitar World, Revolver</em> and <em>Guitar Aficionado</em> magazines, has interviewed guitarist Jimmy Page more than any other journalist in the world. Those interviews have led to a new book, <em>Light &amp; Shade: Conversations With Jimmy Page</em> (Crown Publishing), <a href="http://www.guitarworld.com/new-book-light-shade-conversations-jimmy-page-coming-october-23">which will be published October 23. Click here for more info.</a></strong></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item even"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/led-zeppelin-announce-celebration-day-film-chronicling-2007-reunion-show#comments Jimmy Page John Paul Jones Led Zeppelin Robert Plant News Thu, 13 Sep 2012 14:59:07 +0000 Josh Hart 16722 at http://www.guitarworld.com The Top 5 Near-Led Zeppelin Moments http://www.guitarworld.com/top-5-near-led-zeppelin-moments <!--paging_filter--><p>I know what you're thinking: "What the hell is a 'near-Led Zeppelin moment'?"</p> <p>Good question. </p> <p>Four out of five scientists agree that a near-Led Zeppelin moment is a post-1980 live performance by one -- or two -- members of Led Zeppelin that captures -- in any number of ways -- some intangible spark of a classic Led Zeppelin performance. </p> <p>Note that this does not include group performances by all three living members of the band, because that particular collection of musicians -- whether it's Live Aid in 1985 or the O2 Arena in 2007 -- is actually billed as Led Zeppelin. And something can't be "nearly" something if it <em>is</em> that thing.</p> <p>The criteria I used to compile this list involves song choice, gear, the element of surprise, the quality of the performance and, of course, that intangible "cool" factor.</p> <p>Anyway, here they are: The Top 5 Near-Led Zeppelin Moments:</p> <p>05. <strong>John Paul Jones with Paul Gilbert and Nuno Bettencourt: "Nobody's Fault But Mine"</strong></p> <p>Here's John Paul Jones fronting a talent-packed lineup featuring Steve Hackett (Check out that harmonica solo!), Nuno Bettencourt, Paul Gilbert, Mike Szuter and Pat Mastelotto. </p> <p>Simply put, this is a rocking performance of a classic <em>Presence</em> tune. You've got a very happy-looking Jones wailing away on steel guitar in front of some Marshall stacks -- plus it's an instrumental, so you don't have to deal with the whole "Robert Plant doesn't quite sound like Robert Plant anymore" issue. </p> <p><strong>Guitar World Presents <em>Ultimate Guitar's Giants of Rock: Led Zeppelin</em>. Led Zeppelin is considered one of the most influential bands in rock-guitar history, and now GW and Ultimate-Guitar.com have joined forces to bring fans an extraordinary box set of Zeppelin tabs, magazines and collectibles. With more than three hours of video lessons, 10 song transcriptions and hours of reading material, this box set is the ultimate gift for Led Zeppelin fans and guitar players alike! <a href="http://store.guitarworld.com/products/ultimate-guitar-s-giants-of-rock-led-zeppelin/?&amp;utm_source=guitarworld.com&amp;utm_medium=article&amp;utm_campaign=nearZep">It's available now at the Guitar World Online Store</a>.</strong></p> <p><iframe width="620" height="383" src="http://www.youtube.com/embed/5YnkRTA8wtg" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>04. <strong>Coverdale/Page: "Black Dog"</strong></p> <p>This 1993 performance of "Black Dog" by Coverdale/Page in Osaka, Japan, benefits from several factors:</p> <p>First, you get some bonus Zeppelin, since the band teases the audience with several bars of "Out On the Tiles" from <em>Led Zeppelin III</em> (just like Zep used to do it). Then you have the ageless David Coverdale's very convincing vocals. </p> <p>Last but not least, there's the presence of one Jimmy Page, who launches into a lengthy -- and very Led Zeppelin-esque -- solo on a Gibson Les Paul at around 5:37.</p> <p><iframe width="620" height="495" src="http://www.youtube.com/embed/HRlx12uJqZM" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>03. <strong>Page &amp; Plant: "Kashmir"</strong></p> <p>In the 1990s, still-brooding, still-misty-eyed Led Zeppelin fans were treated to a nice surprise: two albums (one live, one studio) and two tours by the officially-working-together-again Jimmy Page and Robert Plant (No comment on how John Paul Jones felt about all this).</p> <p>In 1994, the duo, dubbed Page &amp; Plant, took part in a 90-minute MTV project called <em>UnLedded</em>, which was recorded in Morocco, Wales and London. In addition to a few new songs and several other Led Zeppelin classics, the show featured this brilliant rendition of "Kashmir." </p> <p>It features a fine-voiced Plant, a massive string section, a group of percussionists and Jimmy Page -- with another very nice Les Paul.</p> <p><iframe width="620" height="378" src="http://www.youtube.com/embed/DO1Bh7rZrog" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>02. <strong>Foo Fighters' Dave Grohl and Taylor Hawkins with Jimmy Page and John Paul Jones: "Rock and Roll"</strong></p> <p>One thing the previous songs on this list lack is the distinctive, heavy bass playing of John Paul Jones. That's not the case with this one.</p> <p>Throw in Jimmy Page (with yet another Les Paul) and the kick-ass drumming of Dave Grohl (Check out the spot-on drum solo at the end of the song), and you've got something that sounds quite a bit like Led Zeppelin -- at least in terms of the instruments! </p> <p>Grohl sums it up nicely near the end of the video when he says, "Welcome to the greatest fucking day of my whole, entire life." I'm sure he spoke for all the random Zeppelin fans who happened to have been in the audience at London's Wembley Stadium that night in 2008.</p> <p><iframe width="620" height="383" src="http://www.youtube.com/embed/ZRBsgRYPR-4" frameborder="0" allowfullscreen></iframe></p> <hr /> <p>01. <strong>Robert Plant with Jimmy Page: "Wearing and Tearing"</strong></p> <p>Before there was Page &amp; Plant, there were the increasingly frequent late-'80s Page-and-Plant pairings, including "Tall Cool One" and "Heaven Knows" from Plant's 1988 <em>Now and Zen</em> album and "The Only One" from Page's <em>Outrider</em> album, also from 1988.</p> <p>From that same era comes this note-perfect rendition of Led Zeppelin's "Wearing and Tearing" from the <em>In Through the Out Door</em> sessions, finally released on <em>Coda</em>. </p> <p>Led Zeppelin never performed this tune live, but Plant -- with special surprise guest Jimmy Page -- more than made up for it at Knebworth in 1990.</p> <p>Imagine you're in the audience, and you've come to see Plant's band, when all of a sudden, Page comes walking out with a red Les Paul ... </p> <p><iframe width="620" height="465" src="http://www.youtube.com/embed/ZpK8sZHD_Q4" frameborder="0" allowfullscreen></iframe></p> <p><em>Damian Fanelli is the online managing editor at </em>Guitar World.<em></em></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> <div class="field-item odd"> <a href="/robert-plant">Robert Plant</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/top-5-near-led-zeppelin-moments#comments Damian Fanelli Jimmy Page John Bonham John Paul Jones Led Zeppelin Nuno Bettencourt Paul Gilbert Robert Plant Blogs Features Sat, 23 Jun 2012 09:33:20 +0000 Damian Fanelli 12259 at http://www.guitarworld.com Led Zeppelin's 2007 Reunion Concert Raises Millions for Oxford University http://www.guitarworld.com/led-zeppelins-2007-reunion-concert-raises-millions-oxford-university <!--paging_filter--><p>Led Zeppelin's December 10, 2007, reunion concert at London’s O2 Arena -- a show that saw three rock legends revisiting their storied past -- will have a significant impact on future musicians.</p> <p>As announced this week (four years after the fact), proceeds from the event, which was staged as a tribute to the late Atlantic Records founder Ahmet Ertegun, make up most of the $45 million being donated by Ertegun’s widow, Mica Ertegun, to Engand's Oxford University. The donation, the largest in the University’s 916-year history, will be used to kick off the Mica and Ahmet Ertegun Graduate Scholarship Programme in the Humanities.</p> <p>John Paul Jones was present at the recent program-launch event, telling London’s Daily Mail that he is “very proud” of how the money is being used. </p> <p>Mica Ertegun added, “For Ahmet and for me, one of the great joys of life has been the study of history, music, languages, literature, art and archaeology. In these times, when there is so much strife in the world, I believe it is tremendously important to support those things that endure across time, that bind people together from every culture, and that enrich the capacity of human beings to understand one another and make the world a more humane place.”</p> <p>The concert featuring the band's three surviving members -- Jimmy Page, Robert Plant and John Paul Jones -- with drummer Jason Bonham, son of the late Led Zeppelin drummer John Bonham.</p> <p>Here's some non-terrible fan-filmed footage from the show, featuring "Good Times, Bad Times," "Ramble On" and the first few seconds of "Black Dog": </p> <p><iframe width="620" height="450" src="http://www.youtube.com/embed/tvmyX00qeso" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> <div class="field-item even"> <a href="/jimmy-page">Jimmy Page</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/led-zeppelins-2007-reunion-concert-raises-millions-oxford-university#comments Damian Fanelli Jimmy Page John Paul Jones Led Zeppelin Robert Plant News Fri, 02 Mar 2012 16:11:02 +0000 Damian Fanelli 14857 at http://www.guitarworld.com Video: Led Zeppelin's John Paul Jones Joins Seasick Steve at UK's Reading Festival http://www.guitarworld.com/video-led-zeppelins-john-paul-jones-joins-seasick-steve-uks-reading-festival <!--paging_filter--><p>Former Led Zeppelin bassist -- and current stage-hopping multi-instrumentalist -- John Paul Jones joined bluesman Seasick Steve during his performance at England's Reading Festival on Saturday, August 27.</p> <p>Check out the video of "It's a Long, Long Way," below.</p> <p>This was the third recent UK festival show where Jones and Seasick Steve have performed together; there was an Isle Of Wight show in June and the iTunes Festival in London last month. That show also featured Jack White and Alison Mosshart of Dead Weather. </p> <p>Jones also played on Seasick Steve’s 2011 album, <em>You Can’t Teach An Old Dog New Tricks</em>.</p> <p><iframe width="620" height="378" src="http://www.youtube.com/embed/Q7t8yJGezXI" frameborder="0" allowfullscreen></iframe></p> <fieldset class="fieldgroup group-additional-content"><legend>Additional Content</legend><div class="field field-type-nodereference field-field-related-artist"> <div class="field-label"><p><strong>Related Artist:</strong>&nbsp;<p></div> <div class="field-items"> <div class="field-item odd"> <a href="/led-zeppelin">Led Zeppelin</a> </div> </div> </div> </fieldset> http://www.guitarworld.com/video-led-zeppelins-john-paul-jones-joins-seasick-steve-uks-reading-festival#comments John Paul Jones Led Zeppelin Seasick Steve News Mon, 29 Aug 2011 15:45:48 +0000 Damian Fanelli 12528 at http://www.guitarworld.com