Led Zeppelin’s legacy is untouchable, but even the greatest bands have their missteps. With a catalog packed with groundbreaking rock anthems, it’s easy to overlook the rare moments that didn’t quite measure up. While their best songs defined a generation, a few tracks stand out for all the wrong reasons.
This isn’t about tearing down the legends—it’s about acknowledging that no band, not even Zeppelin, is immune to a few lackluster moments. Whether it’s an uninspired riff, awkward lyrics, or an experiment that didn’t land, these songs just don’t hold up against their towering classics.
With that in mind, we’ve sifted through their vast discography to pick out ten tracks that don’t live up to their legendary status. Some might be divisive, others widely accepted as misfires—but they all share one thing: they don’t sound like the mighty Zeppelin at their best.
10. “For Your Life”, Presence (1976)
“For Your Life” kicks off with a groovy, spacey riff that promises something special. However, the song never quite builds on that momentum, meandering without a strong hook or dynamic progression. It feels like it’s searching for a spark that never ignites.
Lyrically, Robert Plant addresses the dangers of cocaine addiction, offering a finger-wagging critique of excess and indulgence. While the story is intriguing, it doesn’t elevate the song beyond its middling musical foundation.
Overall, “For Your Life” is a rare misstep on Presence, an album already known for its uneven reception. Despite its potential, this track fails to live up to Zeppelin’s usual standards of innovation and energy.
9. “Wearing and Tearing”, Coda (1982)
Recorded during the In Through The Out Door sessions but shelved until Coda, “Wearing and Tearing” is Zeppelin’s attempt at matching the raw energy of punk rock. Unfortunately, it lacks the sophistication and depth that fans expect from the band.
The track’s frenetic pace and aggressive tone are admirable in theory but feel forced in execution. It’s as if Zeppelin were trying too hard to prove they could keep up with emerging trends rather than staying true to their strengths.
While not outright bad, “Wearing and Tearing” feels out of place in their catalog. It’s a decent effort but pales in comparison to the groundbreaking work that cemented their legendary status.
8. “The Crunge”, Houses of the Holy (1973)
Inspired by James Brown’s funk grooves, “The Crunge” from Houses of the Holy was born out of a jam session. Despite its playful intent, the song struggles to capture the infectious rhythm and charm of its inspiration.
Robert Plant’s humorous lyrics, including the famous line “Has anybody seen the bridge?” add some levity but fail to make up for the song’s lack of memorable hooks or strong grooves. It feels more experimental than fully realized.
Ultimately, “The Crunge” stands as an oddity in Zeppelin’s discography—amusing for its novelty but far from essential listening.
7. “Hots On For Nowhere”, Presence (1976)
“Hots On For Nowhere,” from Presence, reflects Plant’s frustrations with both Jimmy Page and manager Peter Grant during a tumultuous period for the band. However, any emotional weight in the lyrics is undermined by uninspired musical execution.
The song cycles through repetitive riffs and ill-fitting funk grooves that fail to leave a lasting impression. At nearly five minutes long, it drags without offering much variation or excitement along the way.
While it provides insight into Plant’s state of mind at the time, “Hots On For Nowhere” is ultimately forgettable—a filler track on an album already considered one of Zeppelin’s weaker efforts.
6. “Bonzo’s Montreux”, Coda (1982)
This drum-centric track from Coda serves as a tribute to John Bonham but struggles to hold interest beyond its novelty value. Page added electronic effects to Bonham’s solo, giving it a unique texture but failing to make it musically compelling.
Drum solos are notoriously divisive among listeners, and “Bonzo’s Montreux” does little to change that perception. Even Bonham’s immense talent can’t save this track from feeling like an indulgent afterthought.
While it might appeal to die-hard fans or drumming enthusiasts, most listeners will find it skippable—a curiosity rather than a classic.
5. “Moby Dick”, Led Zeppelin II (1969)
“Moby Dick,” from Led Zeppelin II, is perhaps rock’s most famous drum solo—but that doesn’t make it enjoyable for everyone. The iconic riff that bookends Bonham’s solo is excellent, but what lies between is polarizing at best.
Drum solos often feel like relics of another era, and even Bonham’s virtuosity can’t fully justify this track’s extended runtime. For many listeners, it feels more like a live showcase piece than an essential studio recording.
While “Moby Dick” highlights Bonham’s technical brilliance, it lacks replay value compared to Zeppelin’s more dynamic songs—a relic rather than a revelation.
4. “Candy Store Rock”, Presence (1976)
“Candy Store Rock,” another track from Presence, attempts to channel rockabilly influences but ends up feeling half-baked. The riff lacks direction, leaving Plant’s energetic vocals to carry most of the weight—and they don’t quite succeed.
Plant’s repetitive “oh baby babys” grow tiresome quickly, and his scat outro feels like an improvised attempt to salvage an uninspired jam session. The song lacks cohesion or any standout moments to elevate it above mediocrity.
Despite Plant reportedly favoring this track from Presence, “Candy Store Rock” remains one of Zeppelin’s weaker efforts—forgettable and unpolished.
3. “Royal Orleans”, Presence (1976)
“Royal Orleans,” also from Presence, stands out more for its humorous backstory than its musical content. Allegedly inspired by John Paul Jones’ misadventures in New Orleans involving a hotel fire and a transvestite companion, the lyrics are amusing but not enough to save the track.
Musically, the band attempts a funky groove around Page’s riffs but fails to create anything particularly memorable or engaging. It feels like filler material rather than a standout moment on an album already lacking in highlights.
While not outright bad, “Royal Orleans” is ultimately forgettable—a quirky anecdote rather than an enduring classic.
2. “Hats Off To (Roy) Harper”, Led Zeppelin III (1970)
This experimental blues track from Led Zeppelin III feels more like an inside joke than a serious composition. Page combines snippets of acoustic blues songs with bottleneck guitar while Plant’s distorted vocals add an old-timey effect—but none of it really gels into something cohesive or compelling.
The song’s fragmented structure makes it feel unfinished, as though it was included on the album more for fun than for its musical merit. While some might appreciate its quirky charm, most listeners will find it underwhelming compared to Zeppelin’s usual brilliance.
“Hats Off To (Roy) Harper” is an odd detour in their catalog—interesting as an experiment but ultimately disposable.
1. “Walter’s Walk”, Coda (1982)
“Walter’s Walk,” released on Coda, suffers from disjointedness due to its patchwork origins—there’s speculation that Plant recorded his vocals years after the instrumental tracks were laid down during earlier sessions in 1972. This lack of cohesion is evident throughout the song’s runtime.
The riffs feel aimless and repetitive, while Plant’s vocal delivery doesn’t quite mesh with the instrumentation, creating a sense of disconnection between the song’s elements. It meanders without building any momentum or emotional impact.
As with many posthumous releases on Coda, “Walter’s Walk” serves as an example of why some tracks remain unreleased—it simply doesn’t meet Zeppelin’s usual high standards. Let me know if you’d like further tweaks.