By now it can be universally agreed upon that 1969 was a standout year for music across the board. 1969 saw the release of Yellow Submarine and Abbey Road by the Beatles, Mick Taylor joined the Rolling Stones, Janis Joplin released her first solo album since leaving Big Brother & the Holding Company (I Got Dem Ol’ Kozmic Blues Again Mama!), the world was gifted the last song from Diana Ross with The Supremes (“Someday We’ll Be Together”), a month after man lands on the moon, music worshippers head to New York to foster peace and love at the iconic Woodstock Music & Arts Festival for the first time, and of course, your favourite music instrument supplier, Tom Lee Music, went into business. This exemplary year of music, ending a bombastic decade began with a bang in the form of a debut record by an unknown hard rock band, Led Zeppelin.

This self-titled album (often referred to as Led Zeppelin I) received unheard of success for a breakout. Succeeding acutely off the respite of blues, in the vein of groups like Cream and the Jeff Beck Group, Led Zeppelin combined harder rock sounds while leaning into the psychedelic undertones of the time. 50 years later this record is still looked to by musicians everywhere for inspiration. Transcending the end of the decade of love, it launched the collection from a group who would eventually be known as one of the greatest rock bands of all time.

This fresh, musically diverse group were very much still finding their footing. Something that seems to have worked throughout the album, with key facets being: dramatic and compelling.

“Good Times Bad Times”, 2:43
At the cusp of the final days of the Summer of Love, LZI starts with a bang! An arresting start, with sounds reflective of the global political climate endured in the previous 9 years. Starting off with an aggressive E chord, accompanied by heaps of guitar rhythm section exchanges, Jimmy Pages' prowess is quickly and effectively revealed through his Fender Telecaster.

“Babe I’m Gonna Leave You”, 6:42
Fun fact: this song is a cover originally recorded by Joan Baez and written by Anne Bredon. Traditionally a folk song, Led Zeppelin took it on, amalgamating hard rock and folk-rock. For much of this track Page rotates between his Fender Telecaster and a Harmony acoustic.

“You Shook Me”, 6:28
Originally by Chicago blues legend, Muddy Waters, LZ maintains the blues integrity (albeit lengthier) in their recording. Page accompanies Robert Plant’s wails using healthy doses of slide guitar, and even a bit of drawn out whammy vibrato. This track seems experimental for a Side A of a debut record. Combining interesting sounds (overdubs and electric piano) and employing a vast range of solos - Plant on harmonica, Page on guitar and John Paul Jones on the organ, plus arrangements from other classic blues songs - it’s no wonder the song is the length that it is.

“Dazed and Confused”, 6:26
Closing out Side A is another non-Zeppelin song. This tune, written by Jake Holmes, is a stellar close-out. It has a primal feel, with raw vocals and scratchy, electric guitar riffs. Not heard on the record, but during live performances, this song became a regular contender for one in which Page would use a violin bow to play his Telecaster.

“Your Time is Gonna Come”, 4:34
The songs on the B side of LZI are shorter in length for the most part. They take on a brand new feel, further aligned with the music trends of the mid-late 60s. There are a few key factors that take this track from ordinary to explosive. It’s the first time on the record that the band relies on a steady drum beat. Page played a 10-string Fender steel guitar and Jones is back on the organ, using a pedal to permit bass.

“Black Mountain Side”, 2:06
Page composed this instrumental English folk song and played it using a Gibson J-200 acoustic guitar. In English folk fashion, Page was eminent on emulating the sound of a sitar through the Gibson. He did so by tuning the acoustic to a Celtic tuning method (DADGAD).

“Communication Breakdown”, 2:28
LZ’s first lead single and song created as a group. It was created lyrically to accompany a guitar riff by Page. This tune is a true embodiment of Led Zeppelin. It’s one of the harder songs on the record, in early reviews being called metal. The identifiable heavy guitar riff was stated (by Page) to be difficult because of the “constant, quick downstroke with the pick”.

“I Can’t Quit You Baby”, 4:42
Another blues tune on the docket, this time by one of the band’s seemingly greatest influences, Willie Dixon (first recorded by Otis Rush). Though similar to the original version, LZ mixed things up by changing dynamics within the instrumentation. John Bonham and Page, in particular, are really given a chance to shine. It remains true to traditional blues composition in proportion to LZ’s newly found signature sound.

“How Many More Times”, 8:28
At over eight minutes in length, the final song on Led Zeppelin also happens to be their lengthiest. This track, inadvertently, is foretelling of what’s to come for the band; what they’re all about, including many more musical nods of inspiration (Howlin’ Wolf, Booker T. & the MG’s, the Yardbirds – Page’s previous band with Eric Clapton and Jeff Beck). This is also a song with writing credits from each member of the band, giving it a fully formed Led Zeppelin experience, complete with Page yet again using a violin bow to play his guitar.

Play guitar like Jimmy Page:

Fender American Original 50s Telecaster – Butterscotch Blonde Electric Guitar
Gibson Les Paul Standard 2019 – Heritage Cherry Electric Guitar
Squier by Fender Classic Vibe 50s Telecaster – Butterscotch Blonde Electric Guitar
Fender Players Telecaster Mn – Butterscotch Electric Guitar
Epiphone by Gibson Les Paul – Standard Plus Top Pro Cherry Sunburst Electric Guitar

 

 

 

 

Written by: Danica Bansie
Design: Lorelle Kjarsgaard