Possibly the funkiest Zep track: Jones inspired by Stevie Wonder's "Superstition" rocks a clavinet and Page a wah-wah, and they ride Bonzo's proto-disco beat. Plant works a sexual metaphor with automobile imagery echoing Robert Johnson's "Terraplane Blues. Page picked up this tune from a Joan Baez record. Their cover is the kind of heavy jam on a familiar song that bands like Blue Cheer and Vanilla Fudge were doing — but few were drawing on American folk music, and no one was jamming as precisely and viscerally.
You can sense their eclectic restlessness here; Jones and Plant heard a samba song while watching the World Cup, which influenced the Latin-jam middle section. Page called it "a springboard for what could have been. A sci-fi blues lament that amplifies Blind Willie Johnson's stark original; Plant confesses his sins and scrapes notes from the bottom of his throat, and the opening may be Page's last truly epic blues riff — billowy and distant, like an SOS from an alien world.
Page's solo was a heavy-metal textbook full of pyrotechnics that, per legend, inspired a young Eddie Van Halen to reimagine the possible. After recording this at Mick Jagger's country home Stargroves in England, the bandmates were so excited they went out on the lawn and danced to it. The music — most strikingly, the searing slide-guitar line — was inspired by Page and Plant's trip to Bombay. The lyrics are an almost Beach Boys-like vision of Edenic summer ease.
Not "Dire Maker," as it's generally known, but a rough phonetic riff on "Jamaica," this began with the notion of playing reggae music, a new phenomenon in What emerged was a sort of rock-steady heavy-metal doo-wop jam; Plant's giddy vocals turn a string of stuttered vowel sounds into one of the band's catchiest pop songs.
Written shortly after Page and Plant's expedition to Bombay, this raga-tinged track was originally intended as an instrumental. It's Zep at their sunniest, celebrating music's universality just as they had become arguably the biggest band in the world.
One of the most arresting displays of their love of folk music — Sandy Denny of Fairport Convention is featured, with Page on mandolin which he'd never played before. It's also their fullest evocation of The Lord of the Rings , with allusions to wraiths and mountainside warfare. Amazingly, this uncharacteristically poppy boogie-rock sugar shot was Zeppelin's first single that didn't make the Top Plant sings a pure-hearted come-on over Page's open-road strumming, then the band kicks in for three minutes of fleet, booming choogle.
One of Plant's earliest songwriting attempts is allegedly about an affair with his wife's younger sister. Its woozy production and bulldozer gearshifts from tender, pastoral verse to demon-steed chorus make for music strung between lover's plea and torrid fantasy. Dedicated to their sea of fans, "The Ocean" drops a knotty, funky beat that air drummers have been screwing up for decades. It's also a showcase for Bonham the vocalist; he and Jones make a rare appearance on backing vocals for the outro, and when he counts the band in at the opening, he sounds like a cross between a pirate and a rapper.
"What Is and What Should Never Be" is a song by English rock band Led Zeppelin. It was written by Jimmy Page and Robert Plant and was included as the . What Is and What Should Never Be Lyrics: And if I say to you tomorrow / Take my hand, child, come with me / It's to a castle I will take you / Where what's to be.
This psychedelic-blues beast became the centerpiece of their stage performances for years. Singer-songwriter Jake Holmes recorded the original version in Page reimagined it for Zeppelin's debut, and their ever-expanding live jam on his arrangement, featuring Page's epic bowed solos, often stretched out as long as 45 minutes. The down-stroke riff of "Communication Breakdown" comes very close to punk seven years ahead of schedule.
The lyrics allude to Eddie Cochran's "Nervous Breakdown," but if the song got its spark from the Fifties, Zep's deranged attack was something brutally new. Zeppelin's prettiest song: Page's gentle acoustic fingerpicking weaves together with Jones' mandolin, while Plant tries on some country twang. Rumored to be written about Joni Mitchell, it could just as easily be about any California girl "with love in her eyes and flowers in her hair.
The Zeppelin canon is full of mysteries, but none greater than this: How can a song about flower people and Tolkien be so crushingly funky?
Page sprays shrapnel while Plant evokes fertility rites and drugged-out tarot readings. I want to receive notifications about featured artists and news. What can I say? Improve your playing via easy step-by-step video lessons! It may not be Shakespeare, but as Plant later said, songs like "Black Dog" "make their point.
Jones' humid electric piano locks in with Page's headlong riff and Bonham's slippery avalanche of a groove, as Plant evokes a fracas between cops and hippies that makes him want to escape to the fantastical peaks alluded to in the title. Plant later said the lyrics were about "being caught in the park with wrong stuff in your cigarette papers.
Zeppelin were struggling to rehearse "Four Sticks" when Bonham spontaneously played the now-famous snare and open-high-hat drum intro to "Rock and Roll," which imitates the first few bars of Little Richard's hit "Keep A Knockin'. This is Zeppelin as bad-trip blues band, with lyrics cribbed from Memphis Minnie about an epic flood and freaky, drowned-world production by Page, using heavy echo, backward harmonica and slo-mo playback.
Bonzo's drums, recorded in a stairwell at Headley Grange, are so ginormous they became a classic sample most famously opening the Beastie Boys' Licensed to Ill. No hard-rock song has ever had a more ominous opening line: "We come from the land of the ice and snow. Plant started fantasizing about vikings and wrote in the voice of a Norse chieftain leading a sea invasion and expecting to die.
It "was supposed to be powerful and funny," he said. Page's menacing staccato riff could scare Thor into surrendering, and Plant's Tarzan holler adds another layer of primal barbarism. The first song on the first album introduces the band with a declaration of surly defiance "I don't care what the neighbors say" , a stun-gun riff and a restless, syncopated drum pattern, which Page cited as evidence of Bonham's "amazing technique.
The song where Plant first nails his mystic-storyteller alter ego combines familiar folk-blues concerns — hitting the road, looking for a woman — with a riff on J.
Tolkien's The Lord of the Rings. It starts with Page's acoustic strumming and Bonham patting out a rhythm probably on his knees, possibly on a guitar case or a drum stool; no one seems to recall.
Then the chorus crashes in and Page switches on, flinging knife-edge licks while Plant turns from a Hobbit back into a sex machine. Plant's lyrics were born from an endless car ride through southern Morocco, and his second howl around the four-minute mark may be his most spectacular vocal moment. Plant called it "the definitive Zeppelin song. Catch the wind, see us spin, sail away Leave today, way up high in the sky But the wind won't blow You really shouldn't go, it only goes to show That you will be mine, by taking our time.
Oh, the wind won't blow and we really shouldn't go And it only goes to show Catch the wind, we're gonna see it spin We're gonna sail, little girl. Compartilhar no Facebook Compartilhar no Twitter. Nos avise. Traduzida por Hector , Legendado por Marcio. Recomendar Twitter. Playlists relacionadas. Mais acessados. Khalid Ed Sheeran. Aplicativos e plugins.
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