Moby dick ledzepplin-40 Greatest Led Zeppelin Songs of All Time – Rolling Stone

Named after the whale in the novel Moby-Dick by Herman Melville , it was also known by the alternate titles "Pat's Delight" early — version with completely different guitar riff and "Over the Top" with "Out on the Tiles" intro section and original closing reprise during various points of the band's career. The tune emerged after Led Zeppelin guitarist and producer Jimmy Page would often catch drummer John Bonham jamming in the studio, recorded parts of it and then pieced it all together. Only Page and bassist John Paul Jones play the tune's Drop-D blues -based riff with Bonham's drums—as a power trio —at the very beginning and the very end of the tune, leaving the remainder open for Bonham alone. The structure of the main riff is that of the twelve-bar blues. Singer Robert Plant did not sing at all and in concert would simply introduce Bonham to the audience before the tune started.

Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin

Book Category. During their early — tours it was known as "Pat's Delight" a reference to Bonham's wifefrom — it was "Moby Dick" and during Led Zeppelin's North American Tour it was "Over the Top" as the solo began with the opening riff to " Out on the Tiles " before segueing into a lengthy drum solo in the same time ending with a "Moby Dick" riff. Written shortly after Page and Plant's expedition to Bombay, this raga-tinged track was originally intended as an instrumental. Rumored to be ddick about Joni Mitchell, it could just as easily be about any California girl "with love in her eyes and flowers in her hair. Plant later said the lyrics were about "being caught in the park with wrong stuff in your cigarette papers. When played live, Bonham's drum solo would last as little Moby dick ledzepplin 6 minutes Moby dick ledzepplin, more frequently, as long as 30 minutes, while the rest of the band would leave the stage after Moby dick ledzepplin played the introduction. This is Zeppelin as bad-trip blues band, with lyrics cribbed from Memphis Minnie about ledzelplin epic flood and freaky, drowned-world production by Page, using heavy echo, backward harmonica and slo-mo playback.

Daddy myspace layout. "Moby Dick"

Italian single label. Sunday 14 July Scrobbling is when Last. View all similar artists. From Wikipedia, the free encyclopedia. It was also included on the film's accompanying soundtrack. Replace video. Saturday 11 May Sunday 11 August There was an issue displaying the shoutbox. Sunday 27 October Saturday 26 October

The structure of the main riff is that of the twelve-bar blues.

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  • Named after the whale in the novel Moby-Dick by Herman Melville , it was also known by the alternate titles "Pat's Delight" early — version with completely different guitar riff and "Over the Top" with "Out on the Tiles" intro section and original closing reprise during various points of the band's career.
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Named after the whale in the novel Moby-Dick by Herman Melville , it was also known by the alternate titles "Pat's Delight" early — version with completely different guitar riff and "Over the Top" with "Out on the Tiles" intro section and original closing reprise during various points of the band's career. The tune emerged after Led Zeppelin guitarist and producer Jimmy Page would often catch drummer John Bonham jamming in the studio, recorded parts of it and then pieced it all together.

Only Page and bassist John Paul Jones play the tune's Drop-D blues -based riff with Bonham's drums—as a power trio —at the very beginning and the very end of the tune, leaving the remainder open for Bonham alone. The structure of the main riff is that of the twelve-bar blues.

Singer Robert Plant did not sing at all and in concert would simply introduce Bonham to the audience before the tune started. Studio outtakes from the Led Zeppelin II sessions reveal that the drum solo recorded was edited down from a much longer version.

Bonham's drum solo was often played at Led Zeppelin concerts from the first North American tour in November , being his solo performance showcase on concert tours through Over this period it went through three different name changes. During their early — tours it was known as "Pat's Delight" a reference to Bonham's wife , from — it was "Moby Dick" and during Led Zeppelin's North American Tour it was "Over the Top" as the solo began with the opening riff to " Out on the Tiles " before segueing into a lengthy drum solo in the same time ending with a "Moby Dick" riff.

When played live, Bonham's drum solo would last as little as 6 minutes or, more frequently, as long as 30 minutes, while the rest of the band would leave the stage after having played the introduction. It was also included on the film's accompanying soundtrack. Both of them were cut to a shorter version. From Wikipedia, the free encyclopedia. Der Ochse in der Roggensemmel und andere Musikanekdoten in German.

Voyageur Press. Retrieved 1 August Omnibus Press. Record Collector Led Zeppelin songs. Led Zeppelin. Scandinavia U. Discography Songs Awards and nominations Bootlegs Cover versions by others Led Zeppelin songs written or inspired by others. Book Category. Namespaces Article Talk.

Views Read Edit View history. By using this site, you agree to the Terms of Use and Privacy Policy. Italian single label. Blues rock [1] hard rock [2] [3].

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Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin

Moby dick ledzepplin. About This Artist

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Jimmy Page performing live onstage, playing his Gibson Les Paul guitar. On the In Through the Out Door seven-minute opener, Page augments his guitar with a Gizmotron, Jones plays Abba-fied synth, Plant wails about loneliness and Bonham makes like a crocked wildebeest. It's a nice marriage of Jones' love of electronics and the band's innate rock power, as well as its last sweeping anthem. With a winding synthesizer solo by Jones, the majestic "All My Love" is one of only two Zeppelin songs not written or co-written by Page.

It's Plant's mystical tribute to his son Karac, who died in at age five. According to a friend, Page "hated 'All My Love,' but because it was about Karac, he couldn't criticize it. Page showcases his manic acoustic-slide jangle, and Plant workshops the "squeeze my lemon" soliloquy he'd make famous on Led Zeppelin II.

Then Bonham came into the studio after spending some time in a pub and nailed it, holding two drumsticks in each hand hence the song's title. Page spent months on his solo to this epic — then settled on his original demo. Good thing: The slow blues is one of Zeppelin's most soulful moments, Page's guitar veering between spare and raucous attack, Jones playing blazing organ and Plant shrieking pure heartbreak.

The band's greatest country excursion dates back to a song written by Page and Keith Relf called "Knowing That I'm Losing You," from the last Yardbirds session, in Page resurrected it with new lyrics that Plant described as being "about love in its most innocent stages. One of Page's most gorgeous guitar displays, with acoustic and electric lines glistening alongside Jones' lush Mellotron chords. Per legend, it's a response to George Harrison's complaint that "you don't do any ballads" — although Plant and Bonham still make it roar at the end.

Think there are no bad songs on Led Zeppelin II? Page disagrees: He left this off their box set, and Zeppelin never played it live. Still, the fast, hard-twanging rocker about an aging groupie became a radio standard. Also awesome: Plant gasping about a woman "who took my seed from my shaking frame. Zeppelin's longest studio track transmogrified a gospel standard into a stadium hydra via Page's grinding slide, Jones' shape-shifting bass line and Bonham's massive hopscotch groove.

Live, Plant dedicated it to Queen Elizabeth in a joking allusion to the band's tax-exile status. Plant sings a grateful declaration to his wife, Maureen Wilson, and Jones' organ part is like a regal processional. The band's trippiest moment since "Dazed and Confused" was a showcase for co-writer Jones, who gets cool-jazzy on piano in the middle section as Page spins fluid lines. Recorded for the album of the same name, this stomping come-on was shelved for sounding too much like "Dancing Days," and resurrected for Physical Graffiti.

Page sprays shrapnel while Plant evokes fertility rites and drugged-out tarot readings. Rick Rubin has called it "one of their most compact-feeling songs. 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.

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? 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. Page turned it into a chain-saw ballet on his Les Paul over Bonzo's stealth groove, with snarling multitracked rhythm guitar tearing up the midsection. It may not be Shakespeare, but as Plant later said, songs like "Black Dog" "make their point. From the Elizabethan ambience of its acoustic introduction to Plant's lyrical mysticism to Page's spiraling solo, the eight-minute song is a masterpiece of slow-reveal intensity that withholds power, then ascends skyward like nothing in rock.

Led Zeppelin 's defining song — obscene, brutish and utterly awesome. His post-verbal singing is even dirtier, especially around the mark, where he starts saying "love," and then shoots his wad into a black hole of echo.

The ghost vocals were a happy accident, the result of a bleed-through from an unused vocal track that Jimmy Page decided to leave in. Years later, Plant freely admitted his heavy lyrical debt to "You Need Love," by uncredited blues-master Willie Dixon who sued and won ; "I just thought, 'Well, what am I going to sing? Now happily paid for. The midsection is a black-light head trip, a tornado of orgasmic moans, cymbal teases and shivering theremin foreplay, all magnified by wild stereo-panning.

Page's pumping riff — made with a metal slide and augmented with some backward echo — is one of the most straightforwardly bruising to ever come out of a Les Paul, and John Paul Jones and John Bonham back it up thrust for thrust. Said Page, "Usually my riffs are pretty damn original. What can I say? Share on Facebook Share on Twitter. Load Previous. View Complete List. Newswire Powered by. Close the menu. Rolling Stone. Arrow Created with Sketch.

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Moby dick ledzepplin

Moby dick ledzepplin