#ledzeppeliniii

okay thank you for waiting patiently - management

1. first lp you ever bought?

haircut 100 pelican west. top 5 albums of all time for me

10. last record you bought?

4 in one trip!

marquee moon - television

jump to it - aretha franklin

aretha’s greatest hits - aretha franklin

jt - james taylor

30. record(s) you want to buy next?

i’ve been hoping to find prefab sprout’s steve mcqueen in almost every record store i’ve shopped in for the better part of a decade to no avail. eventually i will cave in and buy it online but not yet. a hopefully more realistic find that i also really really really want is rejoice by the emotions

32. do you own any color vinyl?

yessss. i think i am going to include pictures because they’re Awesome

This quintessential classic rock group is best known for 8-track LPs that showcase in-studio experimentation, with their signature romp-’n’-stomp rhythm section, and their fuzzbox folk-blues sung in a roaring tenor voice. Best of compilations would generally include songs like “Whole Lotta Love”, “Rock and Roll”, “Heartbreaker”, and “Stairway to Heaven”, but this time the Zep went about this LP with a sideways step.

The record begins with that classic romp ‘n’ stomp bombast mentioned earlier with “Immigrant Song” then moves on to a quasi-psychedelic “Friends,” one of the most unique songs in the LZ catalog, and the first of its kind. Although Zeppelin has had experience doing acoustic songs, the benchmark track has a mystical Eastern feel, one whose melodic characteristics would not be found again until 1973 with Houses of the Holy. The album makes another turn into electric guitar country with “Celebration Day” and “Since I’ve Been Loving You”; the former put less emphasis on blues melodies and chord changes, while the latter is pretty much a straightforward, well-composed blues jam. The heavier, electric side ends with ”Out on the Tiles,” which sounds like something directly lifted from Led Zeppelin II.

Side Two marks the return of acoustically-oriented songwriting with “Gallows Pole,” not just with guitars, but with banjo, mandolin, and a fiddle thrown in the mix. “Tangerine” brings a country-folk flavor to the tracklist, reminiscent of Grateful Dead or Buffalo Springfield. The last three songs follow the same approach, but the mood and feel vary, and Jimmy Page still finds a few tricks to pull.

Overall the flow of the tracks is great, but I do find some flaws with this record. This record has arguably some of the best songs and some that leave the least impression. The main issue is, of course, the hard rockers. They aren’t necessarily bad, but at times they feel at odds with the songs that make the record special. If I could throw out one song, it would be “Out on the Tiles,” but then it would sort of throw the flow of the tracklist.

If I played this for someone who wants to learn more about classic rock, they could see why LZ3 didn’t sell very well, but I could easily invalidate that argument. Rock and roll were not and is not always about loud guitars. Even contemporaries like Black Sabbath knew this. This record showcases more of a sense of dynamics that the previous two Zeppelin records were aiming for but never attained, and the compositions couldn’t be lovelier. “That’s The Way,” in my opinion, is one of the most masterful works in the music genre ignored. This ultimately was a stepping stone for what many consider their magnum opus, Led Zeppelin IV.

Oct. 5, 1970: Led Zeppelin released their Led Zeppelin III record.

best links for media

trailer

https://youtu.be/1H0ebCdnSKM

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Immigrant Song

https://youtu.be/66ChMPV0LTg

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In The Studio