Led Zeppelin Best Songs Mp3 Download

A signed Led Zeppelin album comprehend | Mario Tama/Getty Images

Led Zeppelin was one of those bands that insisted on doing something new with every anthology. Aye, most of their work retained the impossibly-heavy blues rock audio they started with, anchored by Jimmy Folio'due south legendary riffs and John Bonham's earth-shattering drums, but the band always made room for departures into frail folk, Eastern music, reggae, funk, and synth experimentation.

In covering and so much basis, it'south amazing that the band remained every bit consistent equally they did across their eight original studio albums, merely that doesn't mean they didn't tape a few clunkers. These are, in this humble writer'southward opinion, the rare tracks that don't work, the worst Led Zeppelin songs of all time.

1. "I Can't Quit You Babe"

Led Zeppelin'south self-titled debut crystallized their iconic blues hard-rock dynamic at the very start of their career, and the album's only weak track is their passable encompass of Willie Dixon's "I Can't Quit You Baby." The ring members are all on-betoken, particularly Page, but the repetitive lyrics and slow pace make for a rather tiresome song on an otherwise riveting record.

2. "The Lemon Song"

Similar "I Can't Quit Yous Baby" before it, "The Lemon Song" is another ho-hum-burn down blues workout that simply goes on for likewise long without doing quite enough to go on things interesting. Worse however, the lyrics (with highlights like "squeeze (my lemon) till the juice runs downwards my leg") rank among the most juvenile Led Zeppelin ever recorded, which is actually saying something.

3. "Moby Dick"

"Moby Dick" starts off as a hateful instrumental rocker with a riff worthy of standing alongside all the other nifty ones on Led Zeppelin Ii, but then information technology devolves into a drum solo. John Bonham was evidently an astonishing drummer, but even he can't make an extended pulsate solo that heady to listen to. At least the song only lasts for four minutes on the tape, every bit opposed to the 15-minute-plus version they played live.

4. "Living Loving Maid"

Jimmy Page's to the lowest degree favorite Led Zeppelin song and i of mine also, "Living Loving Maid" is hardly two minutes long only notwithstanding finds a way to become annoyingly repetitive in that short amount of time. There'south a tricky primal riff, but the vocal relies and then heavily on it while offering niggling else, particularly when it comes to lyrical content.

5. "Celebration Twenty-four hour period"

1 of the few straightforward rockers on the folk-centric Led Zeppelin III, "Celebration Day" isn't necessarily bad, but it certainly pales in comparing to the high standard the ring gear up for themselves. Both Page's riff and Robert Plant'southward song claw are too weak to sustain much interest on what was clearly supposed to be one of the album'south biggest crowd pleasers.

vi. "Hats Off to (Roy) Harper"

Led Zeppelin Iii closes with an experimental track that's at least interesting, even if it isn't very accessible or even enjoyable. Congenital around Page's bottleneck slide guitar and Plant'south heavily-processed vocals, "Hats Off to (Roy) Harper" is a curiosity I'm glad exists, even if it can't mensurate upwards to the more straightforward strengths of the band'southward better tracks.

7. "Hots On For Nowhere"

After the exploration of their preceding releases Houses of the Holy and Concrete Graffiti, 1976's Presence feels like a return to basics that gets a fiddling also basic. Sometimes the songs are stiff enough to transcend the comparative simplicity of the anthology, but "Hots On For Nowhere" isn't one of those — instead, it chugs forth on a simplistic terminate-and-start riff without much of a song tune for an indifferent five minutes.

8. "Purple Orleans"

Everything I just wrote about "Hots On For Nowhere"? All that pretty much applies to "Regal Orleans," yet some other Presence track more forgettable than anything the ring had done earlier.

9. "Hot Dog"

Zeppelin'south final proper album In Through the Out Door is a softening of their before sound, relying more heavily on synthesizers and sidelining Page'due south guitar-work than earlier releases. That works fine for most of the album, but "Hot Canis familiaris" is just a lilliputian too goofy and whimsical for the band. The rockabilly throwback is a "dearest information technology or hate it" blazon of track, and I find myself falling squarely into the latter military camp.

10. "Carouselambra"

The band's final epic-length song is an unfortunate misfire with flashes of brilliance that don't quite make up for the balance of the vocal. Folio's guitar work is typically not bad in the song'due south midsection, but the lyrics are mixed far besides low beneath John Paul Jones' dated synthesizer in the song's first and last sections, making for an ugly, overcrowded sound.

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