The Cavern
Rock & Words
LED ZEPPELIN II (Album, 1969)
Artist: Led Zeppelin (B+)
Recording Dates: Jan – Aug 1969
Release Date: October 22nd, 1969. UK
Record Label: Atlantic Records
Producer: Jimmy Page
Rating: 10 (MUST HAVE)
Era: Hard Rock (1968-???)
Subgenre: Hard Rock
Best Song: Whole Lotta Love
Tracklist: 1) Whole Lotta Love; 2) What Is And What Should Never Be; 3) The Lemon Song; 4) Thank You; 5) Heartbreaker; 6) Living Loving Maid; (She's Just A Woman); 7) Ramble On; 8) Moby Dick; 9) Bring It On Home.
Ah, Led Zeppelin II, a truly difficult album to review… The problem with Led Zeppelin is that their best album was their debut, and the others have many flaws that can be considered both positive and negative. Despite having excellent material on the other LPs , despite the riffs becoming more polished, the musicians' technique evolving to the point of becoming universal virtuosos, and the band generally gaining more sonic power, they also began adding more filler over the years, exaggerating certain passages, resorting to idiotic lyrics, and Plant using his exasperating vocal filler that could drive even Buddha himself crazy.
This second installment, then, isn't as exquisite as its predecessor, but it's not bad either, and it's perhaps more "wild" in certain parts, so to speak. There are much more powerful songs, like the opening track, or spectacular riffs and solos like "Heartbreaker ," but they also begin to include weaker or unnecessarily long songs.
We could say that this album is a kind of transition between the heavy dose of superb Hard Blues on the first album and the "mystical period" that would follow. That is to say, the "Brown Bomber," as he is also known, rocks out big, and we can find songs full of energy and with vestiges of the innovative spirit of the first album; but we also begin to find some folk and pop ballads, or even some lyrics with Tolkienian references that will later invade us like a swarm of locusts.
immediately noticeable is the way the music explodes and hits you like a ton of bricks. When you hear the first notes of " Whole Lotta Love" blasting from the speakers, it's like a direct hit to the face. It's a song that shocks with its sheer energy and can be a real knockout if you're not used to it, or if you haven't heard it in a while. The album is generally considered by the media to be an improvement, and it undoubtedly cemented Led Zeppelin 's worldwide fame, achieving higher sales (400,000 copies pre-ordered and dethroning Abbey Road from the top spot upon release) and being considered one of the most influential albums of all time. I have my doubts about it being an improvement, but at least the band tries not to stagnate with the same sound. It's clear that it's not the best of that famous "Tetralogy" that comprises Led Zeppelin's early albums. I think we can all agree that I and IV are somewhat superior . But it must also be acknowledged that it's a great album, far superior to what other hard rock bands were doing at the time, like Shades of Deep Purple or Grand Funk, for example. Keep in mind that it was released in 1969… It was still the sixties, and in the sixties, nobody, NOBODY, sounded like Led Zeppelin ! So, it's neither the best nor the worst in their catalog. It's a great album, full of adrenaline, that you can listen to and enjoy without any problem, and features incredible bass work.
One of the harshest criticisms is that this album plagiarizes other musicians. For example, it's said that " Whole Lotta Love" is a rip-off of Willie Dyxon's "You Need Love"; that "Lemon Song" is a rehash of Howling Wolf's "Killing Floor"; and that the " Squeeze " section is a copy of "Lemon Song." "My Lemon" is by Robert Johnson; or that "Moby Dick" is a copy of " Toad " by Cream. I think the influences are undeniable. At that time, Page based much of his mastery on everything he learned from the old bluesmen , but adding a huge amount of volume, so it's hard to imagine he didn't have sounds that came from these geniuses. But to call it plagiarism? Well, they might be right. The truth is that Page took melodies or figures "borrowed" but amplified them to their fullest potential. Without these "plagiarisms," we would have missed some of the most glorious moments in rock. But it's true, they aren't 100% original, and they never bothered to credit their true authors unless there was a lawsuit involved...
The album was recorded by the band while they were on tour in the UK, USA, and Canada. It was also Page's debut as a producer, a very respectable one at that, as I think the album's murky atmosphere perfectly complements the power of the music. The mix and echoes of " Whole Lotta Love" are excellent, as is the challenging mix and sound definition of Bonham's drums on "Moby Dick," although some of the credit also goes to sound engineer Eddie Krammer. Furthermore , it was the first time Page used the Gibson '59, so crucial to his sound and the instrument that made him famous. Plant, on the other hand, says that it wasn't until the recording of this album that he realized things were getting serious. Due to the pressures of their debut, he didn't feel entirely comfortable during the recording process , even considering leaving the band, but it was after Led Zeppelin II that the group truly solidified as a creative unit. Musically, it is perhaps Jonesy's best bass work, and one of the albums in general where this instrument has an impeccable and outstanding job: listen carefully to John Paul in "Lemon Song" and you will know what I'm talking about.
The cover, on the other hand, is one of my favorites of Led Zeppelin's. It's a photo of a Luftwaffe Jesta division, with the faces replaced by those of the band members and some other figures, either as a tribute or a joke. The brown color of the cover led to it also being known as "The Brown Bomber," and the first pressings included the tagline "The Only Way To Fly," which didn't appear on later pressings, making them highly sought-after gems.
Anyway… let's move on to the music:
The album opens with “Whole Lotta Love”, which, as I mentioned, is a monstrous and tremendous riff that can knock listeners out in an instant. The riff is so devastating that it's one of the few times I can justify, or at least understand, why Zeppelin is categorized as Metal rather than Hard Rock. It's no wonder Dee Snider refers to it as “The Demo of Heavy Metal.” The song begins with Page and his guitar; Jonesy joins in on the next verse, and then Plant kicks things off with “You need coolin ', baby I'm not " Fooling " features a powerful, high-pitched, and clear voice that together create a stampede or avalanche effect. And that's even though Bonzo doesn't enter until the chorus, after half a minute, giving it an apocalyptic feel. The drum sound is also spectacular. It sounds like Bonzo is using a cane or a mallet instead of drumsticks, but it still sounds precise and fast. John Paul Jones, for his part, almost steals the spotlight from Page, laying down a deep bass line, with a sound that stands out more than in the other songs and gives the song a kind of sexual tension. At 1:20, that middle section begins where a musical orgasm is created that perfectly matches the lyrics of the song, which are all about sex, and more sex. In short, this part is full of experimentation with dragging guitar effects and drums creating tension, while Page moans and screams. It's worth listening to with headphones, as they rotate from one ear to the other, creating a spectacular effect, although they could have shortened it a bit. At minute 3 Bonzo plays a tremendous drum roll that leads into the guitar solo (masterful, incendiary, and brief), and we return to the power of the original riff. The lyrics are misogynistic and quite stupid; they seem to have been written by a horny teenager: “ I'm gonna give you every inch of my love ”… How subtle! But let's be honest, when have we ever really cared about Led Zeppelin 's lyrics ? I think that in the other songs there may be debate and different opinions about whether they are good or bad, but there is unanimity in considering this one the star piece of the album and one of the best in the entire Zeppelin catalog.
The album continues with “What Is And What Should Never Be", a magnificent ballad that occasionally builds in intensity. One of Zeppelin's less pretentious ballads, it manages to envelop us with its delicate moments and slightly stronger, rockier sections . I've always found its chorus a bit odd, though catchy, with the "Uhhhhh …" fading away like a breath at the end of the choruses in a simply delightful way. A highlight of the album that also showcases their versatility in combining both sides of the coin. It's a shame Zeppelin 's other ballads weren't like this. I particularly like the quiet, bluesy solo at 1:35, with the music almost silent, which then gradually builds in intensity. The lyrics aren't great; it sounds like a love poem written by a teenager based on a scene from The Silmarillion , trying in vain to hide it. But ignore the lyrics and enjoy the music. Again, give Jones a listen. A charming song.
The third song is another Led Zeppelin classic, “Lemon Song”. This album isn't considered a bass masterpiece for nothing. Just follow Jones and try to deny it. The song begins with a simple but very effective riff, the guitar filled with a dirty effect. It's a slow, heavy blues number, like a medley of old blues songs reinterpreted and pumped full of Zeppelin -style TNT . Every section is spectacular: the slow ones, the fast ones, the transitions (except perhaps that spoken part of “ Squeeze”) . my “lemon ”)… At 1:30 we have a fiery, fast, emotive guitar solo, full of blues and fury, while JPJ launches into a bass solo in the background that's somewhat hidden by the difference in volume between the instruments, but is equally impressive. At 3 minutes the song slows down in what could be a good ending, perhaps finishing at 4 minutes with a magnificent and well-rounded song. But… when will these guys learn some self-control ??? The excessively long coda begins, in which Plant makes Robert Johnson's famous pun: “ Squeeze me baby, until the juice runs down my leg / Do squeeze squeeze me baby, until the juice runs down my " Leg, " and here begin Plant's vocal excesses, which become tiresome , unnecessary, and annoying for over two minutes. Fortunately, it doesn't go on as long here as in the BBC Sessions version, where you really want to shove a sack of lemons up Plant's ass, it's so repetitive, awful, and hateful, since he doesn't only make this tasteless joke/pun in this song. This is the kind of weapon Zep 's detractors use to claim their songs are bad. The truth is, Lemon Song is great, but Zep themselves detract from it by doing these kinds of blunders and giving their enemies valid arguments. In short, the song is very good, and the riff and the guitar and bass work, in particular, deserve a standing ovation, but from minute four onward, everything is superfluous. If they wanted to pay homage to Johnson, a couple of mentions of the phrase would have been enough. Well, at least there's another machine-gun solo from Page at the end that's worth it. grief.
Next comes “Thank You”. The song is lovely and catchy, with good harmony and full of pop touches, and Jones’s keyboard work is reminiscent of Flower Power. The song is dedicated to Maureen, Plant’s wife. Even so, the part “ When "Mountains Crumble to the See " sounds emotive despite being suspiciously similar to a verse from "Stand By Me." In any case, the atmosphere created by Jones's keyboards lends a majestic air to the song in the coda, and I like that false exit when the keyboards return for a brief final note. The guitar solo at 1:50 isn't particularly impressive, but it fits the song well and showcases Page's mastery of the acoustic guitar.
The fifth track is “Hartbreaker”, a misogynistic rocker with a tremendous riff that might sound silly at first, but it manages to gain a certain appeal, and you end up liking it after several listens. Because of this, it has become another classic for the band and has changed my perception of them over time, to the point where I consider it one of the highlights of the album. The song begins with the famous riff, simple but effective, which gradually builds. Then the bass line comes in, which is also spectacular and has the same powerful sound as in the first track. When the drums and vocals enter, successively, the song becomes one of the most powerful and glorious tracks in hard rock. The guitar solo is tremendous, starting with a slow crescendo at 1:50 after a brief silence. Page delivers one of his best solos ever, carrying the song at times solely with his guitar and his magic. At 2:50, the full instrumentation returns with a devastating effect, adding even more vertigo with the bass, which allows for greater speed in the solo with a relentless rhythm and a phenomenal drum performance by Bonzo. A truly great song, although it took me a while to recognize it myself.
We continue with high doses of adrenaline with "Living Loving Maid", another rocker with a great rhythm and quite fun. It has strength and power, an entertaining riff, and the tempo changes are quite interesting. However, it doesn't transcend being more than a decent average pop song disguised as hard rock. AC/DC made hundreds of songs in the same vein. It's short, fun, and has punch, but... Don't get me wrong, it's not bad, but it's not one of Led Zeppelin 's highlights either .
“Ramble On” is a song that feels superfluous on the album. I know some people like it, but frankly, I think it's a failed mix of acoustic folk with heavy parts, something they DID pull off with “ What Is And What " Should Never Be," retaining the ballad spirit, which they didn't need to repeat. The acoustic parts are flatter and lack harmony, and the loud parts are much heavier and don't seem to quite fit. Furthermore, this marks the beginning of Plant's lyrical fanaticism for Tolkien. I know there are other authors who make indirect references to Middle-earth and the Tolkienian aura, but here Plant borders on the ridiculous, and it won't be the only time: "' Twas in the darkest depths of Mordor, mm-I met a girl so fair / but Gollum and the evil warg crept up and slipped away with " That's why I say it's best not to pay too much attention to Zeppelin's lyrics, but this blunder isn't so easily overlooked. Besides, the electric riff in the chorus isn't as strong and memorable as the ones Page usually delivers, and Plant's screaming is a bit over the top."
The penultimate track is none other than the legendary "Moby Dick", a song hated by many and revered by even more. The song is an instrumental that begins with a monumental riff, one of Page's best. Powerful, incendiary, with mini-solos as bridges during key changes, it truly rocks . This section, in which all the instruments are present, is an ode to Hard Rock, where Page showcases his resources, imagination, and virtuosity on the guitar. However, the controversy begins in the first minute when the guitar and bass disappear to make way for an extended drum solo by Bonzo. Bonham had distinguished himself as the most important student of Keith Moon's school, but here he breaks with his mentor and takes up the work done by Ginger Baker on " Toad ," the first extended drum solo. It's not a copy, not by a long shot, and it certainly won't be the last epic drum solo in rock history, so I don't think those who call it a cheap imitation and completely lacking in originality are right. The truth is, I prefer when drummers shine by keeping the beat, not when they start making wild noises to show off their technique. So, from my point of view, this break with the Keith Moon school is a shame, whereas on Toad , at least the Cream drummer puts on an impressive display of his technique, perhaps slower, but more effective. Here, Bonzo completely breaks the rhythm from the first cymbal crash of the solo and doesn't do anything truly dazzling. I prefer listening to him within the structure of the songs, and I like what he does in the live versions more, even though they are infinitely longer. Those who know about drumming say it has merit because of the technique used, since he even plays a good portion of it bare-handed, but I agree with those who say it's excessively long. Perhaps a minute of just him keeping the rhythm would have made this a truly essential song, and he could have used that to his advantage at concerts to extend it for as long as he wanted. The rest of the instruments and the opening riff don't return until almost the four-minute mark, only for a brief, closing flourish. In live versions, Bonham stretches it out for almost 20 minutes, which is a real kick in the teeth and an insult to his fans' patience, but it must be acknowledged that at times he achieves passages far more interesting than this studio version.
The closing track, Part II, is “Bring It On Home”, a tribute to the Delta Blues of the old masters, with a production that sounds like an old vinyl record they've been dragging all the way across the Grand Canyon. Seriously! The song begins with a dirty acoustic guitar sound in the style of Mississippi blues , and a harmonica adding some embellishments. Then Robert Plant starts to sing, or at least it seems like he starts to sing, since the amorphous, mashed-potato sound is completely unintelligible. It sounds like he's singing with the harmonica in his mouth. Hey! Wait a minute! He IS actually singing with the harmonica in his mouth!!! At 1:45 , the electric guitar riff kicks in and the song ignites. The song then fills with energy, and Bonham delivers some tremendous arrangements, confirming what I was saying about them being at their best when they shine while driving the rhythm. JPJ also does a great job. They end it again with that swampy sound and the harmonica. The song isn't one of the band's classics. It's a generic hard blues track that could easily be described with the same adjectives as " Living Loving Maid," although that one has a blues foundation instead of pop. It's a somewhat weak rocker , but it doesn't assault your ears, and its four minutes don't drag. On the other hand, despite being a rather weak song, the instrumental performances are incredible, with Bonham's vocals making a strong statement and Jonesy delivering a masterful bass performance throughout the album.
In short… the album has many high points. There's no denying that Led Zeppelin was a group of virtuosos with tremendous mastery of their instruments, capable of creating explosive melodies and riffs. A great band. But here they demonstrate a lack of self-control, often overdoing it, ruining or at least devaluing songs that could have been perfect. That's why I mentioned at the beginning that this album is incredibly difficult to review. Basically, all the songs highlighted in black have points that could be highlighted in red or blue, depending on your perspective. The truth is, I prefer to focus on the magnificence of this album, undoubtedly a landmark that catapulted Zeppelin from theaters to stadium concerts, propelling them to worldwide fame. It's ironic and coincidental, but it's no coincidence that Led Zeppelin II displaced Abbey Road from the Billboard charts . The Beatles era was ending, and the Zeppelin era was beginning.
A great album, without a doubt, of tremendous historical importance, and after all, it's one of the best bass albums ever made... and you know how much I adore this instrument. A must-have.
By Corvan
Feb/27/2009
