Even the most legendary bands have songs that don’t quite hit the bullseye. Take Led Zeppelin, for instance. Their music is the soundtrack to countless road trips, their live shows the stuff of legend. But even these titans of rock produced a handful of tracks that, while interesting in their own way, don’t quite measure up to their usual brilliance.
This article delves into ten of those lesser-known Led Zeppelin songs. We’ll explore tracks that were perhaps interesting experiments but never quite reached the heights of their iconic anthems.
It’s not a takedown, but rather a celebration of their vast discography, a reminder that even the mightiest bands have B-sides (or, in this case, lesser-known cuts). Buckle up as we unearth some hidden gems (and a few, well, not-so-gems) from Led Zeppelin’s vast musical treasure trove.
10. “For Your Life” (Presence, 1976)
Led Zeppelin’s 1976 album Presence offered a promising start with “For Your Life”. The opening riff is a captivating blend of space and groove, setting the expectation for a soaring track.
However, the melody struggles to match the initial excitement, meandering without a strong hook. While Plant’s lyrics offer an intriguing glimpse into someone’s battle with cocaine addiction, they’re ultimately not enough to elevate the song from mediocrity.
9. “Wearing and Tearing” (Coda, 1982)
“Wearing and Tearing”, a leftover track from the In Through The Out Door sessions, finally emerged on Led Zeppelin’s compilation album Coda in 1982. While not a terrible song, it lacks the depth and complexity usually associated with Zeppelin’s work.
The fast-paced track feels more like a straightforward rocker than a Zeppelin classic. Rumors suggest the band aimed to match the energy of punk, but this attempt to prove their relevance seems unnecessary for a band of their stature.
8. “The Crunge” (Houses of the Holy, 1973)
“The Crunge” from Houses of the Holy started as a jam session inspired by James Brown’s funky grooves. While aiming to capture Brown’s infectious energy, the track falls short.
The melody lacks the soulful hooks that Brown effortlessly delivered, and the groove itself feels uninspired. Plant’s lyrics, including the humorous “has anybody seen the bridge?” add a touch of amusement, but aren’t enough to save the song from mediocrity.
7. “Hots On For Nowhere” (Presence, 1976)
Presence‘s “Hots On For Nowhere” hints at internal friction within Led Zeppelin. Plant’s lyrics, interpreted as a jab at guitarist Jimmy Page and manager Peter Grant, express frustration (“I’ve got friends who will give me fuck all”).
However, the music fails to capitalize on this tension. Repetitive riffs and uninspired funk grooves create a sense of aimlessness, and the song’s over four-minute runtime feels even longer due to its lack of direction. The frustration hinted at in the lyrics never translates into a compelling musical experience.
6. “Bonzo’s Montreux” (Coda, 1982)
“Bonzo’s Montreux” from Coda offers a glimpse into John Bonham’s drumming prowess. Released posthumously after Bonham’s death, the track features electronic effects added by Jimmy Page.
While the effects provide a marginally more interesting soundscape compared to the epic “Moby Dick”, it remains a drum solo at its core. Drum solos, however well-played, can often feel like self-indulgent filler, and “Bonzo’s Montreux” is no exception. Perhaps Page would have been wiser to leave the original, unadulterated version on the vault shelf.
5. “Moby Dick” (Led Zeppelin II, 1969)
Led Zeppelin II‘s “Moby Dick” features a thundering drum solo by John Bonham, widely regarded as one of rock’s greatest drummers. However, the song itself struggles to hold listener interest.
Drum solos, once a staple of rock concerts, can often feel dated and self-indulgent. While Bonham’s technical skill is undeniable, “Moby Dick” feels like a relic of a bygone era. The opening riff is solid, but it quickly gets overshadowed by the lengthy solo, leaving the listener wanting a more complete musical experience.
4. “Candy Store Rock” (Presence, 1976)
Presence, often considered Led Zeppelin’s weakest album, offers “Candy Store Rock” as a prime example. While Robert Plant himself listed it as a favorite from the record, the song fails to capture the magic of their usual work. Plant’s attempt to inject rockabilly flair with his vocals falls flat against an uninspired riff.
The repetitive “oh baby baby” lyrics quickly lose their charm, and the scat outro feels like a desperate attempt to salvage the song. “Candy Store Rock” lacks the structure and focus of a truly compelling track, resembling more a formless jam session than a cohesive musical piece.
3. “Royal Orleans” (Presence, 1976)
“Royal Orleans” might raise a chuckle with its rumored inspiration: John Paul Jones setting fire to the hotel after a smoke session with a friend. While the alleged story adds a touch of amusement, the song itself falls short musically.
Led Zeppelin’s attempt to incorporate funk elements around a couple of decent Page riffs feels uninspired. “Royal Orleans” isn’t terrible, but it lacks the spark and innovation typically associated with the band’s work, ultimately fading into forgettable territory.
2. “Hats Off To (Roy) Harper” (Led Zeppelin III, 1970)
“Hats Off To (Roy) Harper” from Led Zeppelin III feels more like a playful experiment than a finished song. Jimmy Page explores a bluesy fingerpicking style with some intriguing studio effects, while Robert Plant adopts a deliberately distorted vocal reminiscent of an old recording.
However, despite the sonic tinkering, the song itself lacks substance. It feels like a jam session that never quite gels, ultimately failing to capture the attention of the listener and landing with a thud on the cutting room floor (or perhaps it should have).
1. “Walter’s Walk” (Coda, 1982)
Coda‘s “Walter’s Walk” exemplifies the fate of tracks that don’t make the cut on a Led Zeppelin album. The song lacks the cohesion that defines their best work. The music, reportedly recorded much earlier than the vocals, feels directionless.
The various elements meander along without ever truly connecting, creating a sense of disjointedness. “Walter’s Walk” serves as a reminder that even the most legendary bands can produce material that falls short, highlighting the importance of a unified vision when crafting a song.