Favorite Zeppelin Album

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POLL: Favorite Zeppelin Album
I 17% (2)
II 33% (4)
III 0% (0)
IV 25% (3)
Physical Graffiti 17% (2)
Other 8% (1)
StevenSeagal
1/29/08 12:03:28PM
My personal favs are 1 then 2. Like the darker blues stuff.
Rich78
1/29/08 12:24:26PM
Overall had to go for II.

Number 1 is the greatest debut album by anybody anywhere.

If I'm just having a toke and chillin, then 3 normally comes out.

And 4 has some of the best tracks they've ever done.

Houses of the Holy wasn't bad either, certainly deserves a mention.

So, all of them really. Excluding the majority of in through the out door, presence and coda.
D0wnUnd6e6r
1/29/08 12:26:28PM
You seem to be forgetting a few titles here:

House of the Holy
Presence
Coda
In through the out door
The Song Remains the same (Wich is probly my fav.)
BBC Sessions
How the West was won
StevenSeagal
1/29/08 12:47:12PM

Posted by D0wnUnd6e6r

You seem to be forgetting a few titles here:

House of the Holy
Presence
Coda
In through the out door
The Song Remains the same (Wich is probly my fav.)
BBC Sessions
How the West was won



only room for so many on the poll list. Thats why i put other. Cuz in my opinion, though the named albums are good, the numbers are a lil better. Coda doesnt really do it for me. Thats the only one im not too fond of.
D0wnUnd6e6r
1/29/08 1:06:59PM

Posted by StevenSeagal


Posted by D0wnUnd6e6r

You seem to be forgetting a few titles here:

House of the Holy
Presence
Coda
In through the out door
The Song Remains the same (Wich is probly my fav.)
BBC Sessions
How the West was won



only room for so many on the poll list. Thats why i put other. Cuz in my opinion, though the named albums are good, the numbers are a lil better. Coda doesnt really do it for me. Thats the only one im not too fond of.



Ah sorry man wasent aware of that... yeah then it is kinda hard to do a poll for zeppelin albums lol... I'm just really into their live album as I said the song remains the same is awesome.
hippysmacker
1/29/08 1:37:00PM
2 or 4 for me. Tough call.1 -4 were there best days IMO. I'm not a musician , but some of my friends who are rave about physical graffiti.
emfleek
1/29/08 1:59:21PM
IV

When I was a Zepplin fan, I couldn't live without it no matter where I was going or where I had gone.
zephead
1/29/08 3:18:52PM
Gotta go with Physical Graffiti. It's tough call between that and IV.


From the opening lick of "Custard Pie", with its multi-layered guitar and Robert Plant's lyrical lifts paying homage to both Bukka White's "Shake 'Em on Down" and "Drop Down Daddy" by Sleepy John Estes, the Mighty Zep show that they haven't forgotten about the strength of the Delta Blues. "The Rover" plays on a menacing riff by Page and an unbelievable bottom end held together expertly by John Paul Jones where the bassist comes dangerously close to overshadowing his guitarist with funked out, lazy but quick fills.

While drummer John Bonham easily holds his own on the first two tracks, it's during the epic slide guitar led blues of "In My Time of Dying" where he thunders through his strongest drumming ever on a Zeppelin record (a title taken away one album later on the song "Achilles Last Stand"). Going clear past any other drummer in history in terms of power and intensity, Bonzo matches Page note for note when not bashing away rolls left and right, only to lead the stop and start at the three-forths mark of the song. Plant's pleas for Jesus to "Make up his dying bed" would later cast a pall over the band, imaginary or not, but surely some price had to be paid for the unbridled power and magnitude of the piece.

"Houses of the Holy", held over from the sessions that produced the album of the same name is one of the more pop based songs that Zeppelin has recorded, while "Trampled Underfoot" became a showcase for John Paul Jones and his use of keyboards; unlike Deep Purple, but breaching into what later became known as heavy metal all the same.

"Kashmir", and its lofty orchestral arrangement rising and falling throughout, provides a vehicle for Plant and Page to wax on their Middle Eastern fascination. No one in the mid-seventies driving around in tricked out Mustangs and small block Camaros had clue about what all this talk of "all I see turns to brown" was, but it sounded bad ass nonetheless. Diluted somewhat by incessant radio play over the years, in the context of the rest of Physical Graffiti, it loses none of the original muscle.

By the time the second disc, or third side rolls around, a respite is given from the weight of the first six songs.

"In the Light" is the true centerpiece of the record, and is quite possibly the best example of the light and shade Page was chasing. More than just a ballad, it builds and builds until falling away in a crescendo of wailing guitar flurries. The gentle and intense acoustic piece "Bron-Yr-Aur" is the perfect segue into "Down By the Seaside", which shifts from many soft "ooohs" and "aaaahs" in the chorus into a dark beat indicative of the upcoming foray back into an edgier tilt.

"Ten Years Gone" is the blueprint (though "Stairway to Heaven" is to blame) for most of the ballads that came to fruition in the '80s. Plant becomes wistful and regretful while Page lays down a passionate solo culminating in Plant begging for someone to identify with his longing "Did you ever really need somebody -- and really need them bad?"

"Night Flight" has Bonham showing his Buddy Rich style of drumming while "Boogie With Stu" gives the rest of the band a shot at honky tonk courtesy of sometime Rolling Stone pianist Ian Stewart. "Black Country Woman", from the infamous Stargroves sessions, begins with engineer Eddie Kramer attempting to remove the sound of an airplane flying over the outdoor recording session. Plant tells him to "leave it in" while the band gets caught up in a moment of an acoustic "Hey, hey mama . . . why you treat me mean? That's all right, I know your sisters too". It's subject matter of pining for girl who's broken him down, and realizing that a good blues piece is coming from it, makes it all the easier to dismiss the woman with a "Whas' a matter wit you mama?"

"The Wanton Song" and album closer "Sick Again" are the stereotypical all out assault that Zeppelin is often categorized as. On the latter, Bonham pounds away at the high hats before pulling back to let Page rip into a fiery solo, setting Plant up for some golden god sexual innuendoes that he laid into with the utmost in ego -- all of which, like the rest of the record, is appropriate and well-deserved.

At over 15 times platinum according to the RIAA, Led Zeppelin obviously did something right. The double record wasn't a case of '70s gluttony, but rather an encapsulation of a band in their prime who were just dead on top of their game. This was when their craft was honed and Zeppelin was a well-oiled machine. The riffs were coming from left and right, and there was no reason to hold them over until a later release. It was just before tragedy and drug addiction began to eat away at the core of the band, leaving only the angry and defiant Presence and the John Paul Jones attempt at salvation, In Through the Out Door. Then Bonham died, Plant renounced the group, Jones disappeared, and Page got lost in the mire of the '80s.

With that, Physical Graffiti is the true testament to the greatest rock group that there ever was. Unfortunate for the musicians they influenced who don't get it, Led Zeppelin was more than just the aggressive salvos of guitar, bass, drum and caterwauls of a singer with a blonde mane in tight jeans. Physical Graffiti shows that like no other, light and shade can be accomplished -- deftly.

SmileR
1/29/08 5:41:24PM

Posted by D0wnUnd6e6r

You seem to be forgetting a few titles here:

House of the Holy
Presence
Coda
In through the out door
The Song Remains the same (Wich is probly my fav.)
BBC Sessions
How the West was won



Mine too! The version of the Rain Song on it is amazing!
StevenSeagal
1/30/08 8:16:48AM

Posted by zephead

Gotta go with Physical Graffiti. It's tough call between that and IV.


From the opening lick of "Custard Pie", with its multi-layered guitar and Robert Plant's lyrical lifts paying homage to both Bukka White's "Shake 'Em on Down" and "Drop Down Daddy" by Sleepy John Estes, the Mighty Zep show that they haven't forgotten about the strength of the Delta Blues. "The Rover" plays on a menacing riff by Page and an unbelievable bottom end held together expertly by John Paul Jones where the bassist comes dangerously close to overshadowing his guitarist with funked out, lazy but quick fills.

While drummer John Bonham easily holds his own on the first two tracks, it's during the epic slide guitar led blues of "In My Time of Dying" where he thunders through his strongest drumming ever on a Zeppelin record (a title taken away one album later on the song "Achilles Last Stand"). Going clear past any other drummer in history in terms of power and intensity, Bonzo matches Page note for note when not bashing away rolls left and right, only to lead the stop and start at the three-forths mark of the song. Plant's pleas for Jesus to "Make up his dying bed" would later cast a pall over the band, imaginary or not, but surely some price had to be paid for the unbridled power and magnitude of the piece.

"Houses of the Holy", held over from the sessions that produced the album of the same name is one of the more pop based songs that Zeppelin has recorded, while "Trampled Underfoot" became a showcase for John Paul Jones and his use of keyboards; unlike Deep Purple, but breaching into what later became known as heavy metal all the same.

"Kashmir", and its lofty orchestral arrangement rising and falling throughout, provides a vehicle for Plant and Page to wax on their Middle Eastern fascination. No one in the mid-seventies driving around in tricked out Mustangs and small block Camaros had clue about what all this talk of "all I see turns to brown" was, but it sounded bad ass nonetheless. Diluted somewhat by incessant radio play over the years, in the context of the rest of Physical Graffiti, it loses none of the original muscle.

By the time the second disc, or third side rolls around, a respite is given from the weight of the first six songs.

"In the Light" is the true centerpiece of the record, and is quite possibly the best example of the light and shade Page was chasing. More than just a ballad, it builds and builds until falling away in a crescendo of wailing guitar flurries. The gentle and intense acoustic piece "Bron-Yr-Aur" is the perfect segue into "Down By the Seaside", which shifts from many soft "ooohs" and "aaaahs" in the chorus into a dark beat indicative of the upcoming foray back into an edgier tilt.

"Ten Years Gone" is the blueprint (though "Stairway to Heaven" is to blame) for most of the ballads that came to fruition in the '80s. Plant becomes wistful and regretful while Page lays down a passionate solo culminating in Plant begging for someone to identify with his longing "Did you ever really need somebody -- and really need them bad?"

"Night Flight" has Bonham showing his Buddy Rich style of drumming while "Boogie With Stu" gives the rest of the band a shot at honky tonk courtesy of sometime Rolling Stone pianist Ian Stewart. "Black Country Woman", from the infamous Stargroves sessions, begins with engineer Eddie Kramer attempting to remove the sound of an airplane flying over the outdoor recording session. Plant tells him to "leave it in" while the band gets caught up in a moment of an acoustic "Hey, hey mama . . . why you treat me mean? That's all right, I know your sisters too". It's subject matter of pining for girl who's broken him down, and realizing that a good blues piece is coming from it, makes it all the easier to dismiss the woman with a "Whas' a matter wit you mama?"

"The Wanton Song" and album closer "Sick Again" are the stereotypical all out assault that Zeppelin is often categorized as. On the latter, Bonham pounds away at the high hats before pulling back to let Page rip into a fiery solo, setting Plant up for some golden god sexual innuendoes that he laid into with the utmost in ego -- all of which, like the rest of the record, is appropriate and well-deserved.

At over 15 times platinum according to the RIAA, Led Zeppelin obviously did something right. The double record wasn't a case of '70s gluttony, but rather an encapsulation of a band in their prime who were just dead on top of their game. This was when their craft was honed and Zeppelin was a well-oiled machine. The riffs were coming from left and right, and there was no reason to hold them over until a later release. It was just before tragedy and drug addiction began to eat away at the core of the band, leaving only the angry and defiant Presence and the John Paul Jones attempt at salvation, In Through the Out Door. Then Bonham died, Plant renounced the group, Jones disappeared, and Page got lost in the mire of the '80s.

With that, Physical Graffiti is the true testament to the greatest rock group that there ever was. Unfortunate for the musicians they influenced who don't get it, Led Zeppelin was more than just the aggressive salvos of guitar, bass, drum and caterwauls of a singer with a blonde mane in tight jeans. Physical Graffiti shows that like no other, light and shade can be accomplished -- deftly.





Wow that was a hell of a post. I like the analysis.
RMFG_187
1/31/08 3:49:21AM
none of the above,

i listen to rap
RMFG_187
1/31/08 3:50:27AM

Posted by zephead

Gotta go with Physical Graffiti. It's tough call between that and IV.


From the opening lick of "Custard Pie", with its multi-layered guitar and Robert Plant's lyrical lifts paying homage to both Bukka White's "Shake 'Em on Down" and "Drop Down Daddy" by Sleepy John Estes, the Mighty Zep show that they haven't forgotten about the strength of the Delta Blues. "The Rover" plays on a menacing riff by Page and an unbelievable bottom end held together expertly by John Paul Jones where the bassist comes dangerously close to overshadowing his guitarist with funked out, lazy but quick fills.

While drummer John Bonham easily holds his own on the first two tracks, it's during the epic slide guitar led blues of "In My Time of Dying" where he thunders through his strongest drumming ever on a Zeppelin record (a title taken away one album later on the song "Achilles Last Stand"). Going clear past any other drummer in history in terms of power and intensity, Bonzo matches Page note for note when not bashing away rolls left and right, only to lead the stop and start at the three-forths mark of the song. Plant's pleas for Jesus to "Make up his dying bed" would later cast a pall over the band, imaginary or not, but surely some price had to be paid for the unbridled power and magnitude of the piece.

"Houses of the Holy", held over from the sessions that produced the album of the same name is one of the more pop based songs that Zeppelin has recorded, while "Trampled Underfoot" became a showcase for John Paul Jones and his use of keyboards; unlike Deep Purple, but breaching into what later became known as heavy metal all the same.

"Kashmir", and its lofty orchestral arrangement rising and falling throughout, provides a vehicle for Plant and Page to wax on their Middle Eastern fascination. No one in the mid-seventies driving around in tricked out Mustangs and small block Camaros had clue about what all this talk of "all I see turns to brown" was, but it sounded bad ass nonetheless. Diluted somewhat by incessant radio play over the years, in the context of the rest of Physical Graffiti, it loses none of the original muscle.

By the time the second disc, or third side rolls around, a respite is given from the weight of the first six songs.

"In the Light" is the true centerpiece of the record, and is quite possibly the best example of the light and shade Page was chasing. More than just a ballad, it builds and builds until falling away in a crescendo of wailing guitar flurries. The gentle and intense acoustic piece "Bron-Yr-Aur" is the perfect segue into "Down By the Seaside", which shifts from many soft "ooohs" and "aaaahs" in the chorus into a dark beat indicative of the upcoming foray back into an edgier tilt.

"Ten Years Gone" is the blueprint (though "Stairway to Heaven" is to blame) for most of the ballads that came to fruition in the '80s. Plant becomes wistful and regretful while Page lays down a passionate solo culminating in Plant begging for someone to identify with his longing "Did you ever really need somebody -- and really need them bad?"

"Night Flight" has Bonham showing his Buddy Rich style of drumming while "Boogie With Stu" gives the rest of the band a shot at honky tonk courtesy of sometime Rolling Stone pianist Ian Stewart. "Black Country Woman", from the infamous Stargroves sessions, begins with engineer Eddie Kramer attempting to remove the sound of an airplane flying over the outdoor recording session. Plant tells him to "leave it in" while the band gets caught up in a moment of an acoustic "Hey, hey mama . . . why you treat me mean? That's all right, I know your sisters too". It's subject matter of pining for girl who's broken him down, and realizing that a good blues piece is coming from it, makes it all the easier to dismiss the woman with a "Whas' a matter wit you mama?"

"The Wanton Song" and album closer "Sick Again" are the stereotypical all out assault that Zeppelin is often categorized as. On the latter, Bonham pounds away at the high hats before pulling back to let Page rip into a fiery solo, setting Plant up for some golden god sexual innuendoes that he laid into with the utmost in ego -- all of which, like the rest of the record, is appropriate and well-deserved.

At over 15 times platinum according to the RIAA, Led Zeppelin obviously did something right. The double record wasn't a case of '70s gluttony, but rather an encapsulation of a band in their prime who were just dead on top of their game. This was when their craft was honed and Zeppelin was a well-oiled machine. The riffs were coming from left and right, and there was no reason to hold them over until a later release. It was just before tragedy and drug addiction began to eat away at the core of the band, leaving only the angry and defiant Presence and the John Paul Jones attempt at salvation, In Through the Out Door. Then Bonham died, Plant renounced the group, Jones disappeared, and Page got lost in the mire of the '80s.

With that, Physical Graffiti is the true testament to the greatest rock group that there ever was. Unfortunate for the musicians they influenced who don't get it, Led Zeppelin was more than just the aggressive salvos of guitar, bass, drum and caterwauls of a singer with a blonde mane in tight jeans. Physical Graffiti shows that like no other, light and shade can be accomplished -- deftly.




ya and that is a PHAT post, didnt read it all but props for ur effort
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