LED ZEPPELIN III

Led Zeppelin produced one of their finest albums here. Album 3 was kind of the time when they stepped back and put out an album where as 1 and 2 seemed more like sessions in which they put down on record the extreme momentum they had going. Acoustic numbers dominate here and are extremely good, this is in my opinion their second best effort. Robert Plants voice is more refined, Jimmy Page's guitar is doing quite well especially on since I been loving you, and Bonham and Jones contribute an awesome rhythm section. Only complaint, the last song is quite terrible. A waste of a decent performace from page and plant. Great stuff men! Not essential to a progger but for a Zeppelin fan this one is awesome!

After extensive touring the previous year, Led Zeppelin retreated to a cottage near Bron- Yr-Aur and started working on their third album, which was received with a little sceptisism by the record buying public, for Led Zeppelin stepped down from the heavy track and began playing a more folkish accoustic style, which dominated the album.The A-side is still mostly electric guitar driven, but the B-side is almost exclusive accoustic guitar, a concept they will use again for their fourth album to great succes.

Immigrant Song starts the album in a heavy fashion, a Keltic/Gothic heavy metal piece, with fabulous drum and bass play, and great screams from Plant. Friends is the first of many accoustic pieces, brilliant acoustic guitars, soft delicate drumming, and a symphonic synth line (augmented with vocal chants), beautifully held together by Robert's voice. two great songs to start the album with. Next in line is the slightly dissapointing poppish rock of Celebration Day very well sung, and great guitars, but somewhere it fails to deliver for me. But that is soon forgotten when Since I've Been Loving You sets in. The ultimate heavy blues song, with utterly great electric guitar passages from Page, very good rhythm section as provided by Bonham and Jones, and Robert Plant in great form. really great, though admittedly it took me a couple of spins before it clicked with me. The first side ends with Out On The Tiles build around great drums and fabulous bass lines.

The second side of the album is dominated by acoustic guitar sounds, sparsely using the electric guitar, mostly for creation of a symphonic orchestrated sound. And boy, does Jimmy Page know how to play acoustic guitar (rethoric question, the answer is obviously yes). Starting wih a reworking of the traditional folk song Gallow's Pole a great piece, with a continuous fastening pace, exploding in a fabulous fast paced final, fabulous bass line from Jones. The next song is the beautifull Tangerine, a beauty that continuous with That's The Way. To pick up some speed with the electrifying Bron-Y-Aur Stomp brilliant. The album closes with Hat's Off to Roy Harper. Roy harper was a folk artist of those days, and admired by Jimmy Page (who played on Stormcock by Harper under pseudonym of "S. Flavius Mercurios" and some other contributions). A really estranging sound, with distorted acoustic guitars, and Plant's vocal far back in the mix, brilliant if you like such experimentations.

In conclusion, Led Zeppelin III is a great album, and it probably was needed for them to make this album, widening their scope and putting more emphasis on their acoustic folk side, to counterpoint the heavy stuff they did previous to this album. With the next album they will make the perfect blend, this falls slightly behind, hence the three stars. But don't let a low rating scare you, any Led Zeppelin album is a worthy adition to your record collection. Listen yourself, this will become a favourite if you like acoustic guitar music.

Like all Led Zeppelin albums, this is required listening.

Of the early Zep albums, the only one I did not grow allergic to following my massive overdose is this one. Mostly because it did not seem to get played at parties quite as much as the other albums did (or should I say that only one side got played), the second acoustic side most likely repelling the young rockers. Graced with an elaborated artwork, with its spinning disk, this album is a bit schizophrenic with two distinct facets of the group opposed with each its own side of the wax.

With the first side an electric affair, starting out on the vibrant Immigrant Song (another short effective Communication Breakdown and Sab's Paranoid-like scorcher), the highlight is the lengthy blues epic, Since I've been Loving You where Plant manages so much drama that the same kind of spine chills run down your body as there was with the debut Babe, I'm Gonna Leave You. But while the cold-feeling Celebration Day and the acoustic Friends are a bit overshadowed, they retain their qualities.

It is mostly the acoustic second side that kept me spinning the vinyl throughout the 90's (no more than once a year is my guess) and the folk rock developed here can appear progressive, with most of the tracks enthralling and exciting as the Bron-Y-Aur Stomp, and the intriguing Hats Off To Roy Harper and the lovely Tangerine. One of Zep's most secretive vinyl side in their discography.

Often overlooked (compared to other Zep albums) by rockers of my generation, This album is ultimately the most rewarding of their career. And with this album, it was really clear that they were close to their maximum potential.

Since I had seen them in concert while touring their second album and witnessed the incredible grandeur that was "Since I've been loving you" I really expected another blues/rock barnburner in the same spirit as the first two when this LP hit the shelves. However, after being electrified by the kickbutt impetus started by "Immigrant Song" my favorite band in the world at the time turned into Simon and Garfunkle. That's a little severe, I know, but at the time that's the way I felt. It was as if they were trying so hard to show another side of themselves that they disappeared completely. The years have softened me a bit concerning this effort and I can now more truly appreciate the skill and workmanship that went into its creation but I can never shake the memory of the disappointment that I felt initially when the last song ended and I was left sitting there idly and morosely spinning the strange wheel on the LP's cover. Had they not recovered so incredibly well on the fourth album they may have lost me as a fan forever but I guess this was just a stage they had to go through to exorcise some particular demons or something. Whatever it was, it left me feeling a little empty and I found myself instinctively reaching back for I & II for fulfillment, satisfaction and nourishment for the rock and roll monster that lived in my soul.

Having said all that childlike crud, the plain fact is that I couldn't accept the truth that these guys were truly "progressive" and I wasn't. Not at that stage in my young life, anyway. I pouted and wanted them to stay the same but that would've made them grow stale and insignificant. The material on this album may not be on the same lofty plateau as what appeared on the two that preceded it but these songs are indicative of a band that was not content to be just another loud blues outfit aka Cactus or others of that ilk and era. I finally got over my funk about this disc and can now appreciate it for what it is. A good record.

Another good album by one of the most iconic rock bands ever - though clearly not a very iconic prog band. It's got a bunch of unsophisticated hard-rock songs, Zeppelin's specialty, but where the magic lies in this album is the acoustic songs on the second half. Gallows Pole and Tangerine are two of Zeppelin's best songs. But the best song on this album, I have to say, is without a doubt Since I've Been Lovin' You with a very bluesy feel, and an unforgettable riff.

For a long time I couldn't remember the name of this song, and kept searching for it through my Zeppelin songs trying to find it. I would say "Oh, it's not on III, I know III too well, let's look for it on Houses of the Holy!" I finally found it on a collection of my friend's, and memorized the title. When I came home I slapped myself in the face when I found it on III. Oh well!

This is my favourite Zeppelin album, and unfortunately, the copy I uploaded on the computer SKIPS! And I lost it! Unlucky.

In contrast to the revered untitled, this album is good all the way through. IV has high points, but the low points are very low.

Even in acoustic setting, Zepp still rocks!

As the band had been very successful with their previous two albums, Page and Plant took an initiative to bring the band members altogether to compose the new album with different kind of environment. They made a trip to a remote cottage Bron-Yr-Aur where they could write, compose and play material for their upcoming album with natural surroundings. They could even play all day long, all night long with quiet environment using candle-light and limited electric power supply. That might be the reason why the material that would emerge as Led Zeppelin III album contains more acoustic version and remarked the change of the band's music direction. If on the previous albums Page virtually controlled everything in composing the album material, with this third album they took more democratic approach. The result is an excellent rock album with a balanced mixture of heavy electric stuffs and acoustic exploration. Even with an acoustic set, Led Zeppelin still rocks!

The album was released on October 5, 1970 (delayed by two months from the original schedule) with advanced orders of nearly a million! It spent four weeks at the top of Billboard chart. It entered British chart at number one and remained there for three weeks. It returned to the top for a further week on December 12. The LP cover was a gatefold jacket containing a rotating wheel behind the front panel. That panel was perforated, thus allowing for the partial viewing of the wheel.

The album starts with a ground-breaking tune that sets heavy rock music apart "Immigrant Song" which has a very unique fast tempo beats. It's a very short track (2:25) but it proves successful to create the whole atmosphere of a great album. Oh yeah, I like the syncopated beats remarked by jaw dropping drum work of Bonzo combined with Paul Jones tight bass line. The recording quality is quite dry and crispy - with very minimum bass sound mixing - that makes this song so powerful. The first acoustic exploration of the band comes out at second track "Friends" (3:54) where the band also introduced the eastern nuance. If you observe in details you might find the symphonic nuance this track produces and it has influenced today's prog music scene. Observe it! "Celebration Day" (3:29) demonstrates Page heavy rock riffing combined with a forceful vocal work by Plant. This track nearly didn't appear at all in the album. This was due to studio oversight, the intro was crinkled on the mater tape, making it impossible to thread, but by segueing the swirling link from "Friends" into the guitar riff and Plant's opening lyrics, the song was salvaged.

Wanna listen to one of the best blues tunes ever? It's not coming from the blues master like John Lee Hooker, Taj Mahal, Buddy Guy or BB King! It's down here with "Since I've Been Loving You" (7:23). Well, you know it very well that this song has proven itself as a great blues-rock style with pondering vocal work by Plant. "Out on the Tiles" (4:07) brings back Page unique guitar riff strengthened with dynamic and loud drum work by John Henry Bonham. I can sense the groove of this track especially when I concentrate on the beats that Bonzo provides. "Gallows Pole" (4:56) is an acoustic outfit using acoustic guitar moving from slow paced tempo and in a crescendo into faster tempo combined with mandolin. The remaining tracks "Tangerine" (3:10), "That's the Way" (5:37), "Bron-Y-Aur Stomp" (4:16) and "Hats Off to (Roy) Harper" (3:42) represent great exploration on acoustic set by the band.

Overall, it's an excellent heavy rock music presented in a balanced acoustic as well as electric setting.

"Nothing is useless. Even a spoilt clock shows the right time twice everyday!"

Zeppelin's most under-rated album?

I certainly think so. After the release of two seminal hard rock albums in 1969, the members of Led Zeppelin retreated to a small house in Wales called Bron-Yr-Aur to focus on writing some new material. What they came up with incorporated elements of folk music into their blues rock style, and it works perfectly well.

Zeppelin hadn't forgotten how to rock though. The opening track "Immigrant Song" is two and a half minutes of excellence which wouldn't have seemed out of place on their last two albums. With majestic lyrics telling tales of Viking conquests and Plant's wailing vocals, this one is not to be missed!

Another stand-out track is "Since I've Been Loving You". A slow and bluesy number featuring arguably one of Plant's greatest vocal performances. Page adds a brilliant guitar solo as well. Another slower introspective track is "Tangerine", a personal favourite of mine which had its origins in an old Yardbirds song.

There rest of the songs are a good solid collection. "Bron-Yr-Aur Stomp" and "Out on the Tiles" are both fun and catchy numbers, while "Friends" and "Gallows Pole" are are much more haunting.

Not quite a five star effort, but definately not one to miss.

After some "n" times listening to the entire Zepp catalogue, this album is by far my favorite one! Sure it is not a typical LED ZEPPELIN and other albums contain more strong individual songs. But this one shows the diversity of their influences and capability of their songwriting and composing. Largely acoustic and folk-oriented (but in a mystical, psyche way), "Led Zeppelin III" is a remarkable collection of songs, that can be heard over and over (unlike some other huge hits on other albums). Plant on this one shows real potentials of his unique voice, without excessive screaming that was to influence hordes of macho metal red neck maniacs in the years to come. Progressive psychedelic folk at its best!

IMO, LZ became a better band with each album until "Houses of the Holy". This album shows the band in very good fom, with an album divided in two halves: electric music (side one) and acoustic music (side two).

My father bought this album as an Import, and by this reason it has the original cover design, which was very original for the time.

IMO, the best songs fom this album are:

"Since I`ve Been Loving You": a song very influenced by Blues, played and sung with energy and feeling, showing very well the skills of each musician, particularly John Bonham. The song increases in energy from start to finish until the final climax. One of the best songs from LZ.

"Out on the Tiles", which credits Bonham with Page and Plant as songwriter, shows the drummer in great form. I think that he overdubbed another drum track for this song. It is one of the best from the album.

"Tangerine": one from the acoustic songs, that could have been a hit as a single.

"That`s the Way": one of the best from this album, also played with acoustic guitars.

The songs that I like less are "Bron-Y-Aur Stomp" and "Hats Off to (Roy) Harper", which sound as fillers, IMO.

I think that LZ wanted a balance between electric and acoustic songs. This was an interesting idea.

This is where Led Zeppelin really began the era of epic albums IMHO. Right up until Physical Graffiti. But III does not have a bad moment on it. The more accoustically influenced album was a significant shift of what lay further on up the road as well. The album starts off with the superb ' Immigrant Song' great riffs and vocal by Robert Plant. This leads into ' Friends' which is followed again by another excellent track ' Celebration Day'. Not an easy track to sit still to! ' Since I've Been Loving You' is a return to the more bluesy sound and is a real slow, steady burner, vocals again excellent by Plant.It is pretty useless waxing lyrical about the musicians making up Led Zeppelin because they are all/were all of such high calibre that it is a major statement of the obvious.Side two of the old vinyl started with the increasingly building in temp ' Gallow's Pole'. This is followed by the dreamy ' Tangerine' and one of the highlights of the album. A great chorus too. ' That's The Way' is a lazy sounding tune, really expressing the title of the track in the song's delivery.' Bron -Y-Aur - Stomp' is a fun jam and ' Hats Off To Roy Harper' is an unusual end to III with it's psychedlic overtones and backward playing vocal tracks. Jimmy Page and Roy Harper collaborated later on to make some memorable music together and a fitting tribute to end the album. This is by far the best album so far and even greater releases were lurking. It must be hard to improve on perfection. Five stars all the way.

4.3 stars

After the slightly disappointing Led Zeppelin II which didn't bring anything new to the sound of Led Zeppelin, the band shows here better songwriting, less heavy songs, and of course the acoustic music featured in the second side of the disc.

The musicians are at their best here. Robert Plant proves once again that he's one of the best singers in his era, John Bonham's excellent drumming adapts to any style of music played in this disc, Jimmy Page shows that he's not all about playing hard rock rifs, and John Paul Jones demonstrates how essential his keyboards in Since I've Been Loving You and once again makes up the impressive rhythms of the music of Led Zeppelin.

For anyone who deeply enjoys the hard rock of the previous albums, there's still some of that music here. The opener starts the album with a tight rhythm, powerful riffs, and mighty screams from Plant. Celebration Day is an outstanding rock&roll song with a very catchy chorus, easily one of the highlights of the album. Out of the Tiles is a very well done song, driven by good guitar riffs.

There is only one "blues" song in this album, but what a song! Anyone who questions the skill of Jimmy Page and the reason he's so admired should listen to this gem. The guitar cries, soars, screams and flies for the whole song. Meanwhile, Plant probably gives his best vocal performance in here, showing impressive versatility and emotion. The other star here is John Paul Jones with his organs. He never shows off, just plays the perfect accompaniments for the song. Overall, a wonderful song.

Trying a softer set of songs worked fine. The eastern-flavored "Friends" is highly interesting, with an unusual acoustic guitar theme, string arrangements, and Plant's memorable singing. Gallow's pole is a good fast-paced folk song with mandolins and an electric guitar solo at the end. That's the Way is a simple, yet gorgeous acoustic song with nice melodies. Bron-Y-Aur-Stomp is a fun Country song done the Zeppelin way, with a steady beat, acoustic guitars, slide guitar solos, and great singing as always. The real highlight has to be Tangerine, its beauty has to be heard to be believed. The acoustic riffs, vocal melodies, and melodic guitar solo are among Led Zeppelin's best music ever recorded. Unfortunately, Hats Off to Roy Harper doesn't work. It is a psychedelic unmelodious mess that is painful to listen.

Check this album out! It is very accessible and enjoyable.

Yes, I think it is their most underrated and ultimately their best album. It's special to me two because it was among the cassettes with Supertramp's "Crime of the Century", the first two legitimate albums I got to be familiar with back in the day. I'm far from being any kind of Zeppelin historian, but I do enjoy their music, although very selectively. This to me is the cream of the crop.

"Led Zeppelin III" is quite different from the previous two releases, they abandon most of their blues tendencies in for a softer folksy sound. There are also a couple of rocky moments like the dreadful "Immigrant Song" but the album is largely enjoyable with it's light hearted sound and creative lyrics. Subtle guitar melodies, and unusually sweet vocals from Robert Plant.

Highly recommended, the blend of sweet acoustic guitar, folk centered songwriting with an overtone of rock is highly enjoyable.

Highlights: Gallows Pole, Friends, Tangerine

This is a more mature LED ZEPPELIN with over half the songs being of the acoustic variety.Thus they threw their fans a curve with this one but kudos to them for making the music they wanted to play.

Of course the opener "Immigrant Song" is anything but an acoustic tune. With Bonham's pounding drums and Plant's battle cry, this is just over 2 minutes of fury. I also love the lyrics, it's all perfect except for the length of the song. "Friends" has an interesting acoustic melody. I was never overly fond of this one. It blends into "Celebration Day" an uptempo, fun song. "Since I've Been Loving You" is a great blues song with some good organ and an extended guitar solo from Page. But the star of this song is Plant, an absolutely amazing performance. I wonder what some of the old blues players would think of this amazing vocal display.

"Out On The Tiles" is quite catchy, and Bonham's in great form.The guitar is outstanding ! "Gallows Pole" features acoustic guitar and passionate vocals. Some good drumming 2 minutes in. "Tangerine" is probably my favourite song on the album and it goes so well with the acoustic song that follows "That's The Way". "Bron-y-aur Stomp" is ok, not a big fan of this one, or the next one which is an ode to Roy Harper.

I guess out of the first six amazing albums ZEPPELIN put out this one is my least favourite. It still is an incredible record that I like to listen to once and a while. I mean who has put out six straight albums that can compare to these ones ? Perhaps RUSH from "2112" to "Signals" , or GENESIS from "Trespass" to "Trick Of The Tail". A low 4 stars.

Fragile

For me, this was a lull between two greats, in much the same way as Yes' "Fragile" was a slight but definite dip in their catalogue.

Things start off in pure rock mode, with the sublime "Immigrant's song", one of Led Zeppelin's most commercial yet loveable pieces. The lyrics are inspired by the Viking invasions, the band having (then) recently played in Iceland. The song was a minor hit for the band in the US, where it was backed by the rare but excellent non album B- side, "Hey hey what can I do". Things quickly turn gentler as the acoustic sounds which dominate the album open "Friends". The band had retired to an isolated cottage in back- country Wales to work on the album, the convivial surroundings apparently persuading them to lighten up. The rare strings on this track may be seen as a precursor to "Kashmir" on "Physical Graffiti".

"Since I've been loving you" reverts to the band's blues influences of the previous album, and thus sounds a little out of place here. The songs was in fact recorded for the second album, but dropped for reasons of space. It went on to become a cornerstone of the band's live act, being substantially extended in the live environment.

The closest John Bonham gets to a drum solo here is on his co-composed "Out on the tiles", a rather forgettable pop rock piece with a driving Jimmy Page riff. "Gallows pole" is a variant on a traditional folk song which itself has many variations. Led Zeppelin's version is based on folk singer Leadbelly's interpretation, the instrumentation reverting to the acoustic sounds which dominate the album. "Tangerine" is a pleasant Jimmy Page number with some fine guitar work. The song is a gentle love song with unusually romantic lyrics and pedal steel guitar. The following "That's the way" is taken from the same mould, the pace quickening but the folk mood remaining for "Bron-Y-Aur Stomp", not to be confused with the correctly spelt "Bron-Yr-Aur," from "Physical graffiti".

The album closes with a tribute to the legendary Roy Harper (who is probably best known in these parts for his vocal performance on Pink Floyd's "Have a cigar"). The song, which consists only of vocals by Plant and guitar by Page, is in reality an amalgam of blues standards, not Harper songs, which would have been better being replaced on the album by the aforementioned "Hey hey what can I do." This has to be one of Led Zeppelin's poorest recordings, and acts as a distasteful closer to the album.

"Led Zeppelin III" is for me an adequate but unexciting album, with occasional highlights. When considering the band's catalogue as a whole, the many acoustic tracks here make for a fine contrast with their generally heavy material. When gathered in the form of a single album however, the results are out of character and undemanding.

In terms of prog influences, "Led Zeppelin III" probably had the less than any other of the early albums. Some prog folk bands may have explored similar territories, but their roots in that area were well established by the time this album was released. Indeed, the most influential part of the album is probably the wonderfully original sleeve, complete with 12" rotating cardboard wheel.

Led Zeppelin changed his direction (for a while) on a little bit more elaborated style, folky, acoustically oriented. Songs like "Since I've been lovin' you", "Celebration day" and the opening track, remain being classic rockers numbers; but the special and new touch comes from the acoustic tracks, as "Friends", "Gallows Pole", "That's the Way" and "Bron-y-aur Stomp". For that reason, this album is a brilliant moment of Zep's early discography, an unique chance to listen to this hard-rocker band making folky songs, with a pleasant and personal style.

Personally, I've had enough listening to Led Zeppelin I and II, played with that typical power and simplicity coming from a hard-rock band's debut: agressive riffs, hard beats and Plant screaming such a dying pig. In the other hand, Zep III is an intelligent offer, being delightful as much for rockers as for curious people that want to know them.

THE ACOUSTIC ONE

This was my entry album to Led Zep (in October 1971). Before this, I only knew the single "Whole Lotta Love"/ "Livin Lovin' Maid" (what a single)! After the tornado of Led Zep II, and the subsequent touring in the US (more than two years, almost non-stop), the band was looking for some retreat to record their third album. They found it at Bron-Yr-Aur, a small cottage in Wales.

The rather "countryside" mood of the location might have influenced their inspiration for what will remain their main acoustic effort. IMO, Plant has never been in better shape before. He is fantastic throughout the album. Page recalls : ""It was the first time I really came to know Robert," says Page. "Actually living together at Bron Y-Aur, as opposed to occupying nearby hotel rooms. The songs took us into areas that changed the band, and it established a standard of traveling for inspiration... which is the best thing a musician can do".

The fabulous "Immigrant Song" with the high-pitched Plant voice is one of their most brilliant songs. It will be a classic opener for their live performances. No subtlety here : strong, heavy rock. It is a warrior song (reference to the Valhalla : Vikings paradise), it was very much influenced by their visit to Iceland : "We come from the land of the ice and snow, From the midnight sun where the hot springs blow". It will be released as a single (but not in the UK). One of their very few, since Led Zep was an album band.

Next one is the very good acoustic "Friends" (Page/Plant). There is a conversation going on before the tracks really starts. I found a written transcription for it : "Look at the [&*!#] going off. Turn it down a little. It must be Happy New Year ! Alright Jim? I never have touched there! Oh piss off ! Jim? He's falling out over it. Get out you [%*!#]er! Separate it, separate it. It's [&*!#] Walter ! There's a [%*!#] up on it. Ten. Fuck..." (last one credited to Jimmy).

Background orchestration is somewhat Middle-East oriented (Plant is fascinated by this region). Already an indication for "Kashmir" maybe ? It flows nicely into "Celebration Day" which is a more traditional Led Zep song. Great riff, solid rock my friend.

Jones will co-sign three songs on the album (of which the sublime "Since I've Been Loving You"). Although I'm not really into blues (to say the least), this number has a so passionate mood that I always succumbed to its incredible guitar solo (but not only). The drumming from Bonham is gigantic here. The sound that comes out of his drum is incredibly heavy. His bass drum was over-dimensioned to reach such a result. This is an anthology piece of rock music. One of my two preferred ones in their whole repertoire. Just sit, listen and appreciate.

"Since." was written well before this recording. As soon as during the Led Zep II sessions. The band had played it live frequently. It was replaced by "Whole Lotta Love" on the album. But who can blame them for this ? It was the only track from the third album that the band had played live prior to the recording sessions. Page did his guitar solo in one take. He knew a bit the song already since the inspiration for it was "New York City Blues" which he wrote with the "Yardbirds".

"Out On The Tiles" features Bonham in the song-writing (hence the title which is slang- oriented and means: a night on the town. With his reputation, it was always great partying. It's a kind of "love" song : "I got me a fine woman, who says that I'm her man, A-one thing that I know for sure, gonna give her lotta lovin'. Like nobody, nobody, nobody, nobody can". Again Bonham's heavy drumming is fabulous and so, so efficient. This solid hard/heavy-rock track is another great piece of music : good guitar riff, very strong backing band and Plant, as usual...The anecdote around this song is that Page can be clearly heard saying "Stop" at 1:25 . The legend will tell that he did so to remind to get the timing right because he kept messing it up during practice... Anyway, a great number to close this excellent side one (five stars level, IMO).

The most controversial side of any Led Zep album, opens with the wonderful "Gallows Pole". It's a traditional English song revisited by Page. this is what it is mentioned on the album sleeve. Still, the original folk song was recorded in 1939 as "Gallis Pole" by folk singer Lead Belly (1939).

Starting as a nice little folk tune, the beat grows throughout and "Gallows Pole" ends up in an extraordinary "call & response" session from Plant and the backing vocals. Rhythm having reached its climax and being real rocky by now. This song is extraordinary when played live (I saw Page/Plant performing it during their world tour in 1998, Ghent). It was a fabulous moment of the concert.

The next duo of tracks belong to the most subtle and quiet Led Zep songs. Melodies are very nice in both acoustic numbers. These will be highly criticized by the rock press at the time of release. Plant will mention, that if Led Zep hadn't been doing this, they would have written songs like "Whole Lotta Love" for ever. And he did not want this. Who can blame him ?

"Tangerine" has its origins in an old Yardbirds song (but it was never released as such). These two songs "That's The Way" and "Tangerine" (together with another one or two - "Going To California" , "Bron-Y-Aur Stomp") will be the core of their acoustic set during concerts while Page / Plant / Jones will almost sit on the edge of the stage to bring more feeling to the audience. These were marvelous moments even if they are of course not the favorite ones of the hordes of Led Zep fans from the early days (to which I belong).

These acoustic tracks will attract a new category of fans who were more keen on folk songs. Old fans, though, will get more trouble with them. I must say, that at the time of discovery, I was not too enthusiast about them, but time has worked on me and when I decided to re-purchase their whole catalogue in CD format (which I did in December 1998), I re-discovered these tracks with a different view but not to such extent to have them in my top twenty faves from the band. Average songs, that's it.

"Bron-Y-Aur Stomp" is another highlight of this album. Even if it's an acoustic song, the rhythm is fabulous. The solo introduction from Page is just great, and his complex play during the whole song is a real "chef d'oeuvre". Bonham, once again, sets the pace brilliantly. I have always wondered how an electric version of this song would sound...but I'll never know. The intro was "borrowed" from an old "friend" : Bert Jansch ("The Waggoner's Tale" is the title of his song). It's the second time that Page will do this (first one was ""Black Mountain Side" on their debut album).

It's a "countryside" love song (hell! I'm getting lyrical here) : "As we walk down the country lanes, I singin' a song, Hear me calling your name. Hear the wind whisper in the trees, Telling Mother Nature 'bout-a you an' me". Plant will refer to a blue-eyed merle : "Tell your friends all around the world, Ain't no companion like a blue eyed merle". Plant's dog was . a blue eyed merle. Its name was Strider and it is also mentioned in "The Lords Of The Rings"... Plant will refer to "Strider" when performing the song on stage (just mentioning "Strider" at the end of the song).

"Hat's Off", the closing number is rather weak. Jimmy playing sliding guitar while Plant distorted voice is not of the best effect. This song is credited to Charles Obscure, who was a pseudonym for Page. The title referred to Roy Harper who was a British folk- singer. Page appreciated him a lot for never having sold off to the record industry. He will play with him several times (on stage or in the studio). Roy Harper was the lead singer on the song "Have A Cigar" ("Wish You Were Here" from the Floyd). The song is a collage of excerpts of old blues songs written by blues veterans (Bukka White and Oscar Woods). They won't be credited as such, unfortunately. This song will never be played live (guess why).

It is a poor closing number for this great album. As Led Zep II, this one will top both the UK and the US charts. Led Zep will be voted the best band of 1970 in the Melody Maker's poll. For the first time in nine years The Beatles were dethroned.

AT THE TIME OF RELEASE, NO ONE WOULD HAVE EVER CONSIDERED THIS ALBUM AS PROG RELATED. NOTHING HAS CHANGED IN THE MEANTIME. STILL IT'S A GREAT ALBUM OF ONE OF THE GREATEST BAND OF ROCK HISTORY.

Four stars.

..............

A beautiful rock album, which is getting better as it's getting older... And no, let me say it right away - it's not a masterpiece, but it approached that status as close as possible for a four-star album.

An acoustic album, my arse. It's true, the majority of the tracks here are (very) acoustic-oriented, but few tracks are whipping your ears with a raging electric monster, balancing this album well. I never had an impression this album is very "acoustic".

However, that is not very relevant, really, the artistic value of the songs is what counts, ergo:

The pile of electrics

Electric songs are not eclectic. But they are awfully good, starting from opening "Immigrant Song" with dumb, simple, and yet so catchy guitar riff, to the typical Zeppelin electric journey in "Celebration Day" (with excellent bass line with jazzy influence, ah, John Paul, you hidden jazzer, you!), to the brilliant, rumbling "Out On The Tiles" with (again) catchy riff. And let's not forget "Since I've Been Loving You", band's ultimate blues effort, but frankly, it's a little bit overrated in my opinion, or at least overplayed. Don't ask me why; when I was at the peak of my "blues is the best" period, I never really appreciated this one, save for the excellent musicianship.

The pile of acoustics

What? Friends? How? Sounds simple, but actually, it isn't...add a teaspoon of Eastern influences (India) and a few nasty sounds of unknown origin (how on Earth did Page produced them?).

And now, three in a row. "Gallows Pole", "Tangerine" and "That's The Way" are all in my top 10 Led Zeppelin tracks list. "Gallows Pole" contains best banjo played in rock (country-rock) music ever, "Tangerine's" magical acoustic chords are just cuddly, "That's The Way" represents Plant as a top notch lyricist, and musically is equally good, dreamy, full of reverb and gentle passages.

The last two songs are delving deeper into the blues roots and the last song is simultaneously delving to the sound experimentation as well: "Bron-Yr-Aur Stomp" proves that frenetic, flashy and overall good performance doesn't have to be necessary in the electric-song wrapping, not even from the band world renowned as inventors of heavy metal. If you can imagine the best possible (and, ehm, progressive) sing-along-around-the-fire song, you'll get the idea. The album's closer is, as I said, a "blues meets sound effects" effort. I'm wondering what they wanted to say with this one; it's a little bit of a missed idea, but it's worth confronting with your brain cells; it's certainly the scariest acoustic blues piece that I've ever heard.

..............

This album is an essence of "four and a half stars" term. A couple of weaker (but not bad) moments scattered here and there, but in general, this album aged very well. The wrinkles are getting prettier every day. To be listened to, enjoyed, and learned from.

This album evolves the band's style towards more innovative sounds, still though remaining on quite commercial levels. The songs are tied together and form nice continuums, like the opening's heavy "Immigrant Song" morphing as more oriental sounding acoustic "Friends". The latter mentioned was later covered also by the American ethnic prog group Azigza, among several others paying homage for this commercially successful hard-rock group. "Celebration Day" returns to more basic uplifting hard rock paths, and "Since I've Been Loving You" is the long wrist cut wailing blues after a lady, getting a better musical treatment on their 1976 live double album. The rest of the tracks are also quite ok rock tunes, but they contain some features affecting my appreciation along with all of the classic material from this band: A lack of being able to touch my inner feelings. A totally subjective vantage point but important for me, and it cannot be a question of overall style appreciation, as I liked their obvious innovators and the heavy rock groups of their time sharing many stylistic similarities. These albums were nice background records to play when boozing together with friends as a teenager, but they didn't stand the test of time for me. Just my personal problem though. If you like slightly artistic 1970's classic hard rock, you probably won't be disappointed with this album.

REVIEW PART ONE First review, and i don´t have much idea of what to type in, first, i would consider that not many people would be seeing my review and that would be an insult to the few that are doing it, who is a prog fan, to tell the hystory of Led Zeppelin. So, i´ll share just my opinions of this great album. Perhaps not the most ponderated, or vanagloriated, at least not much in front of the two other previous albums, to be honest , at first, i was a bit scheptical, and I didn`t payed nuch attention, but after listening to it very carefully, I noticed lots of things hidden in the fantastic creation of Plant, Page, Bonham and Jones Although, like a good musician in my case, or music listener, we have to detect beauty from the least known to the music beast that have traveled along the paths o music. Immigrant song, the first thing that comes to me when i listen this name, is "THE HAMMER OF THE GODS". I would probably imagine a hammer from plants screams banging against my head. I remembe this song was difficult to me in guitar, because i was still amateur in the arts of music (still think I am amateur) and I always think, HOW DO THEY DO THAT, take such two passive notes, and turn them in a masterpiece, followed by ambiental chords, which also bang in your head like waves of psychedelic seas. if you notice the drums are synchronized with the riff, or at least with its rythm. Vocal work: nothing to say, his screams already say it. Friends: the guitar very well structured, as a gutar player I admire that, bu also you can notice like a very deep and indian-like sound at the back, just try to imagine the song without it and you will say -2what the f+++ ? you will understand if you try buzz buzz buzzz buzzzzzzzz zzzzz talanaalalalalalalatalalalalalatalalalalaallllllalalalalalalalalal SUDDENLY IT BECOMES OTHER SONG Celebration day: I don`t have a particular taste for this type of songs , although i think is a masterpiece, as the others, the solo is particularily good, perhaps sometimes is better that a solo is short and substancial. Since i`ve been loving you: Yes , i`m gonna talk a lot, but don`t worry i`m tired of my "voice" too, soo the others songs will have a litle revew or perhaps i make a second review, we will see. This song is gentle, sutile, it suddenly conquered my heart from the first notes, and kept me in front of the speakers, the arpeggios also gets you more into plant`s payne and screams, I just dream in the day i`ll be able to do something half as good. For the lovers of the Zeppelin`s blues this is just toooooo smooth and tooooooooo beautiful, the solo blows the head of a rinoceront and then it cuts in half my soul, and I just don`t want it to finish, a little touch in the end of the keybord, and it explodes AGAIN, for a last arpeggio, followed for Plant, "over my front door, hear my backdoor slam.." ohhhhhhhhhh hhhhhhhhhhhhhhhhhhhhhh hhhhhhhhhhhhhhhhhhh yeah it makes me dra(?) tarataraaaareaaaaaaa aaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaaaa aaaaaaaaaaaaaaaa just tooo damn good. and it starts to slow i`m in the floor ohhhhh. TOTAL ORGASM. follow the second part, if you get until here

In addition to being one great album, Led Zeppelin lll was, in many ways, their most progressive offering. The LP was a respite of sorts influenced by the pastoral sounds of CS&N and the wave of acoustic folk that had steeped into the contemporary scene. The band, recuperating from two years of non-stop work and touring, found the British countryside ideal for musical inspiration and allowed a deeper, more internal and markedly acid-dosed element into the music. Page, Plant, Bonham and Jones wrote some of their best material during this period, songs that would continue appearing on future albums years later and when the shouting was over, Led Zeppelin's third studio session stood as a near- flawless event at the zenith of their power, inspiration and synergy.

Weighty and warlike, 'Immigrant Song' screams of the Nordic conquest of Europe. The strangeness of 'Friends' is a moving tribute as it transitions into the quirky and soulful 'Celebration Day'. The album's shining moment, 'Since I've Been Loving You', is warm and sympathetic with one of the most soaring vocal performances in music history, guitar spilling over with emotion, a heartfelt organ performance from Jones, and Bonham's unshakable clockworks. 'Out On the Tiles' concludes the first half and shows this outfit's clever and unmistakable rock stylings. Page's steel strings and Jones' upright bass take over for the rest of the show, giving us one gem after another; the maudlin and desperate folk tale 'Gallows Pole', the loss in 'Tangerine', forbidden love and Old World courtship of 'That's the Way', square dance thud of 'Bron-Y-Aur Stomp' and psychedelics of 'Hats Off to Roy Harper'. Detached finally from their metal chains and from the world, Zeppelin were able to make a music they never did again and though they went on to produce better sounding albums, nothing ever out did this one for integrity and depth, and makes their fourth sound adolescent and inelegant by comparison.

An ambitious album that ultimatly misses the mark due to the uneven quality of the songwriting. The boys stretch their wings and find flying on their own, without the aid of the blues giants they'd relied on, to be a difficult thing.

The first three songs on the album form a suite: the thoughtful 'Friends' connects the powerful 'Immigrant Song' and 'Celebration Day'. The wonderful segue from 'Friends' into 'Celebration' gets me every time. It is the first hint that LED ZEPPELIN are prepared to allow progressive sensibilities to influence their music.

'Since I've Been Loving You' is a colossus. There simply isn't a more powerful blues number out there. You haven't heard it? Go to it now. I'll wait.

This album irritated me no end when I ws a teenager. I had a mono system, and I could hear only half of most of the songs. It wasn't until the late 1970s, when I heard this album the way it was supposed to be heard, that I fell in love with it. 'Hats off to Roy Harper' makes a lot more sense with both channels!

Back now? Right: from here the quality of the songwriting becomes uneven. 'Out On The Tiles' is not worth the vinyl space given it. However, the next three tracks signal LED ZEPPELIN'S folk influences clearly. All excellent tracks. I can take or leave the last two, however. I'm not in support of those reviewers who see side 2 as superior to side 1, as none of these tracks (save the beautiful, naive Tangerine) are important parts of the LED ZEPPELIN canon.

A good album, a necessary step to what came next, but not a destination in itself, LED ZEPPELIN III is worth a listen.

LED ZEPPELIN “III” 3.5

Being tired from endless tours, ZEPs decided to have a break. They’ve moved to a countryside for a while and this reflects the whole mood and nature of their third, nameless as usual album. Most of them are less heavy, played on acoustic guitars, with noticeable influences/quotations from English/Irish/Scottish folk music. Only some songs like opening “Immigrant Song” (I remember hearing it in “Shrek III” and falling from my chair amazed), “Celebration Day” or “Out on the Tiles” bear some kind of old craziness. Album shines with warm sincere tracks like “That’s the Way“, “Tangerine”, “Bron-Yr-Aur Stomp”, but unquestionable highlight here is “Since I’ve been loving you” – one of the best solos I ever heard from Jimmy, pure eargasm! Standards-like “Gallows Pole” and “Hats off to Harper” sound amazingly fresh, and oriental experiments continue in weird “Friends” tune. ZEPs proved with their third album that they’re NOT another ROLLING STONES, “the louder the better”-kind of band. From here proggers should start, from here serious ZEPs begin.

Best tracks: “Since I’ve been loving you”, “Immigrant Song”, “Gallows Pole”, “That’s the Way”, “Bron-Yr-Aur Stomp”

So the lads decided to take the dogs and bongs to the country for some quality time around the firepit. Who can blame them? I'm certain it was probably the most idyllic moment in the collective memory of the band, being away from the madness and making magic music in the "small derelict cottage" that painted a "somewhat forgotten picture of true completeness." [notes Page at the time] So what were the musical achievements? One of the most listenable album for older fans who burned out on 2 and 4 in their youth. A nice mix of rock, country and blues. A gem.

Immigrant Song, Celebration Day, and Out on the Tiles are rather straightforward Zep rockers, Celebration Day having a great solo. Friends and Gallows Pole are dark acoustic numbers with a very dramatic sense of foreboding and imagination. That's the Way and Bron-Yaur Stomp comprise the fireside sing-along segment of the album, the former featuring some delicately beautiful guitar and rather introspective lyrics by Plant standards. Hats Off to Harper features those vocal distortions I've always hated though it has some nice guitar work. That leaves the two stellar tracks: the obvious being the great blues number Since I've Been Loving You, which is preferable live of course. The less obvious trophy here is the gorgeous, under the radar Tangerine. Listen to it again sometime with fresh ears. Melodically wistful with the kind of trademark page solo that makes him my favorite guitarist. Nothing wrong with simple when it sounds like this.

3 will always be overshadowed by its brothers 2 and 4 but I will probably always play it more than those two. Not essential but certainly recommended for most rock collections. Around 3 ½ stars.

ZEPPELIN entered the 70´s as the band of the decade: rich, famous & electrified. Many important & bombastic gigs and a huge selling were enough reasons to give ZEPPELIN the status of "supergroup". Nobody were wrong. At that time, ZEPPELIN was free to improve it HARD-BLUES and even experience many other ways of produce top-quality rock´n roll music. Considering that in 1970 the band achieved a high level of personality and stage experience, some changes were noticeable in the band production. Page & co. started to play with studio paraphernalia, altough not missing the groovy vein that established them. Jones were free to start using acoustic instruments of fine quality, like many kinds of mandolins (and we should not forget that the guy was a quite nice keyboardist). LED ZEPPELIN III is mainly a semi-acoustic album. And what an album. The great point here is: the band continued to produce high-level hard rock (as IMMIGRANT SONG, an anthem, and CELEBRATION DAY) but Page clearly showed that this album would define a new dressing in ZEPPELIN´S sonority. The kind and gently acoustic atmosphere of brilliant songs like THAT´S THE WAY, TANGERINE, GALLOWS POLE & FRIENDS proved that those guys have much more to offer tham the press and fans could imagine. From the mistic approach of the mainly acoustic songs to the countrysh fellin´of BRON Y AUR STOMP, Page, Plant, Bonham and Jones recriated a new way to make folk music without loose the heavy "solution" that ZEPPELIN found to personalize their style in the 70´s. Before finishing this review we MUST remember that the album carries one of the best hard-rock ballads ever: SINCE I´VE BEEN LOVING YOU, a masterpiece filled by an incredible feelin´of melancholia, totally washed by a harsh and memorable Page´s guitar solo. It´s history my friends, and it´s LED ZEPPELIN III. Get it.

A bit of a letdown for some of the hardcore headbangers out there, Led Zeppelin III is an underrated and underappreciated album that highlights their maturing sound, hightened sensitivity and attention to dynamics and demonstrates the versatility of the band. Still very heavily laden in blues, the album is largely acoustic in a number of songs. There is still something for the neanderthal headbanger to appreciate in the driving beat of Immigrant Song, but this record clearly states that the band was not going to submit to formula and had its own agenda. The result is a highly moody album that features a heightened aesthetic and opened doors to explore other areas outside of blues rock. It is an excellent album overall that lacks the immediate appeal of Led Zeppelin I and II. It requires repetitive listens to appreciate the subleties. It is well worth the effort.

The only Zep album I still listen to from this Behemoth of a rock band. It features 4 of Zep's strongest ever songs and overall has an earthy vibe to it which is cold, yet appeals in an intellectual kind-of-way.

My long-term music tastes are normally of a tribal kind, and of long instrumental jams or of detached sonic experimentation. Led Zep's anthems of Stairway, Ramble On, Dazed & Confused, Kashmir, Whole Lotta Love etc were great when I discovered them at age 16 & 17 back in 1996/97...but as my tastes looked to progress these anthems became boring.

Led Zep III's strength lies in the apparent inaccessibility of its songs...they last. Below a song-by-song with marks out of ten:

Immigrant Song - 7

A nice dancy groove and juicy drumming with dramatic cries of ah-aaaahs - this song is not really anything special but it does serve as an opener.

Friends - 8

Catches the ear with ominous strings complementing dramatic verse delivery from Plant.

Celebration Day - 5

This song is out-of-place. It feels like it would prefer to be in Led Zep II rather than here. Still, it's an ok and straight rocker, but I skip this one...bland.

Since I've Been Loving You - 9

An anthem that doesn't get annoying! It has a fragmented, epic blues feel and an emotionally soaring delivery from Plant.

Out on the Tiles - 5

A rather non-event song this one, mid-paced. One of those songs that I have to play to actually remember what it sounds like.

Gallows Pole - 9

Yeah! Masterful build-up to when the fat snare drum kicks in. A real party this one.

Tangerine - 6

Shades of Led Zep IV here, Tangerine sounds like it could develop into an epic ballad but instead comes up with a weak chorus, then fails to go anywhere else.

That's the Way - 7

Quite nice to sing-a-long too this one.

Bron-Y-Aur Stomp - 9

Tss- tomp! Tss- tomp! Tss- tomp! Tss- tomp!

Hats Off to (Roy) Harper - 9

Dark twisted blues of the kind I wish there was more of from Led Zeppelin.

So an album of 4 great songs which are still great more than a decade after first discovery, plus a couple of good ones and a couple of weak ones makes...a 3.6-star album (okay a 4).

Except for a couple of tracks (Immigrant Song, Since I've Been Loving You), the entirety is acoustic, almost folk. For the ones who waited for a heavier album than Led Zeppelin II, it was a little bit deceiving. For the label Atlantic too, I guess. But when you'll listen to the whole album, You'll see this is one of the best records Led Zep' made. Everything's great. I especially love (in fact : adore) Tangerine, Celebration Day and the two electric songs I quote in the beginning of my review. This is a perfect release, but the follower album would be much better - yes, it's possible !...

Progressive related ((( yeah ))) , the right description for the third Led Zeppelin album in 1970 from Atlantic . This album was more than essential to fulfill the Zep collection , in fact it was the necessary bridge for the band between hard rock & prog related folk-blues - rock in special blend from the main Page - Bonham - Jones & Plant . I saw many concerts for the band during my 70's trips to england ,simply the best in their field , Yardbirds in new shape and new line-up , promising the lovers of heavy blues rock with lot of potential . As far as the album concern , good production ,amazing team work and full of harmonies . 4.5 stars for since i've been loving you , tangerine & immigrant song . 5 stars for Friends & gallows pole ................... YU'RES trully ((Tracks Toni))

At some point in 1970 (or thereabouts), someone must have come up to Jimmothy Page and said, "Hey man, I dig your heavy blues and all that, but can't you play anything else?" And it must have hurt the man deeply. I mean, he slept with an acoustic guitar, and I guess he felt it was time the world needed to know that. So he and Iron Butterfly here got together and put out Led Zepp III: The Folk Album; aka, Lead Zeppelin III: The First Truly Boring Led Zeppelin Album.

But how not to alienate our thirteen-year-old boy fan base? AHA! Let's open with a crunchy headbanger! Thus, "Immigrant Song" enters the halls of history as the first heavy metal song about Vikings (and far from the last). Much like "Hole Lotta Love," it's got a simplistic, but undeniably catchy riff, and is probably the best song on the album. No, seriously, I really like this song. It's so stupid, it's fun. And awesome. Just ignore Plant's moans, and focus on how sadly short it is (live versions got a guitar solo at the end).

Now, on to the folk! "Friends" is a toe-tappin', if harmless, acoustic piece. I like the ominous, and probably "Kashmir" leaning, keyboard (string?) effects in the background; I just wish they'd been attached to something with a little more substance. This bounds right into "Celebration Day," a country- ish ditty. It's pretty solid, with tight instrumentation and soloing, but the lyrics are pretty retarded. Plant wailing, "I'm so happy, I'm gonna join a band?" Sadly Robert, you're already in one.

Some folks like the seven-minute sprawler "Since I Been Loving You," but I think it's a little much. It's one thing for a blues to leak emotion; it's another for it to leak sap. I don't believe Plant for one minute when he tells us he's "gonna lose [his] ever lovin' mind." The later re-tread "Tea For One" is far more intelligent and impressive (and doesn't have that dopey organ). Thank goodness Page can still solo like a bluesman.

"Out on the Tiles" is an effective, if not jaw-dropping, hard rocker, with a nice chorus. It's also a little longer than need be. Slightly better is "Gallows Pole," but then again, with a name like that, who could screw it up? Basically a folk showdown (or hoedown, mayhaps), "Pole" is a fast ballad that contains lots of genuine sentiment; or, at least, genuine instrumentation.

"Tangerine" is trying to be bleak, and perhaps it succeeds, but I can't help feeling like it would have been better in the hands of someone else. It can't decide if it wants to be moody folk, or downbeat country, so it lives somewhere in the middle of the road, but it sorta works anyway. "That's the Way" wants to follow the same path, but has none of "Tangerine's" charm and it's twice as long, it just ends up being boring.

"Bron-Y-Aur Stomp" pretty much lives up to the "Stomp" part, with the Zepsters trying to channel the Rolling Stones right down Plant's vocal style. It's pure country, and kinda stupid, but kinda fun all the same. Besides, the guitar picking within and throughout is Jimmy's best stuff with the acoustic on the album.

But just in case you thought that Led Zep had gone totally insane, we close with "Hats Off to (Roy) Harper," a totally insane piece of blues mockery. At least, I hope it's mockery, because if they were serious about this thing...suffice to say that it brings to mind all the best material off of Led Zep II, only if it had been REALLY ANNOYING instead of really cool. The only thing more irritating than the guitar effects during the "solo spots" is Plant, who is six times as bad through a variety of voice distorters and echo machines. Thanks for a crappy ending to an album I already wasn't in love with boys.

Yeah, so, they screwed up. Who can blame 'em? They didn't want to release the same album a third time in a row. The problem is, the boys still have Viking aspirations with their mandolins and banjos. Therefore, the roots rock stuff is sometimes fun, sometimes lame, and always stupid. Either way, most of this material is listenable, but would have been much more impressive in the hands of...oh, I dunno, Family or The Strawbs or someone.

As for the standards? I dunno what to say. The hard rockers are still intact, if very lean this time around, but the blues? Grr. I REALLY don't know what to say there. Blues was always Zep's best point. That's what made II so awesome. Why they'd totally abandon that and replace it with ugly experimentation ("Hats Off") or almost campy cliché ("Since") is beyond me.

Point is, this record feels very out of place in the Zep canon. They wouldn't start making weird goof-ups like this until a few years later, and even then, they had enough experience under their belts not to make total assholes of themselves. Just cling onto the first couple of songs and be glad that nothing here is all that long. Because then we'd REALLY be in trouble.

After the bombast of their previous album Led Zeppelin III came as a bit of a surprise to the critics at the time due to the fact that it was largely acoustic based, particularly on side 2. This came about not only for the reason that Zeppelin were always striving to move forward and not repeat themselves, but also because much of it was written on a holiday taken by Robert Plant and Jimmy Page at a cottage in Wales called Bron-Y-Aur. Taking acoustic guitars along they would write material around the campfire on the summer evenings.

It wasn't all acoustic though. In fact opening track Immigrant Song is one of the bands most celebrated rockers with its unison Jimmy Page/John Paul Jones riff and John Bonham following every note on the drums. Plant Viking influenced lyrics are brought to life with his war cry screams on this, one of their greatest album openers. The heavy rock quotient also consists of Celebration Day, another classic Zeppelin rocker that due to the beginning of the master tape being damaged very nearly didn't make it. They got round this by fading it in from the end of preceding track Friends. Good job they did too as it's another brilliantly executed moment with its incessant driving multi-layered riffing from Page and another great Plant vocal. The third of the heavier tracks, Out On The Tiles ended side 1. It's an often overlooked gem with its stop/start Page riff and Bonhams solid, dextrous and weaving bass drum work.

Since I've Been Loving You is the bands greatest blues moment full stop. It's a slow blues starting quietly with a masterly build to a powerful climax. Page plays one of his greatest solos ever and the same can be said of Plants vocal performance, beautifully phrased and on top of his game; absolutely brilliant. Jones adds some well placed organ and Bonham keeps it simple but effective on the drums.

The use of acoustic guitars was nothing new to Zeppelin; used to great effect on I on Babe, I'm Gonna leave You and Page's acoustic showcase Black Mountain Side and II had Ramble On. Friends is the first and is actually the only acoustic track on side 1. It's not one of the better ones however and alongside Page's guitar Jones wrote a string arrangement and uses his Moog near the end.

Side 2 is where all the great acoustic moments lie. Gallows Pole is a traditional folk tune and is brilliantly executed. Starting with just a single acoustic guitar and Plants voice it builds to a climax being in turn joined by mandolin, bass, drums and banjo turning into a galloping acoustic rocker. Tangerine is a lovely laid back piece. Page also plays some pedal steel as well as acoustic and Jones and Bonham are in and out where required keeping the rhythm solid and simple and Plant gives a fine yet restrained vocal performance. That's The Way follows suit with a lovely reflective vocal from Plant and no drums present at all. Page adds a bit of electric guitar for colour but apart from that it's just acoustic and mandolin.

Bron-Y-Aur Stomp is a song written about Plant's dog. It's a fun track and the title gives you a good idea of the type of tune it is, driven along by Bonham's repetitive single note bass drum and high hat. Page plays some fine guitar and Plant turns in another good vocal performance. Hats Off To (Roy) Harper is a disappointing way to close an excellent album. Just Page on a single acoustic guitar and Plant with a heavily treated vocal, no doubt trying for an authentic 30's sound but it ultimately goes nowhere and is one of the bands less satisfactory moments on any album.

Although acoustic instruments would go on to feature on future Zeppelin albums they wouldn't be there in the quantity they were on III so as a result this is quite unlike any other. It turned out to be a very worthwhile venture though being one of the most diverse albums of their career, as well as one of the best.

Led Zeppelin III was released in 1970 and was something of a surprise for many. The two first Led Zeppelin albums had been more or less blues rock but Led Zeppelin III incorporates a couple of new elements that really makes this album stand out in Led Zeppelin´s discography. I have a special relationship with Led Zeppelin III because it was my very first meeting with Led Zeppelin. I knew a guy who worked on a garbage disposal central and he occasionally found old LPs that people had thrown out. He came by one day and gave me a whole box of different LPs and one of the LPs in that box was Led Zeppelin III.

The music is still mostly based in the blues rock tradition like on the first two albums from Led Zeppelin but the band has chosen a more folky acoustic approach on this album. It´s most evident on Side 2 of the original LP with songs like Tangerine, Bron-Y-Aur Stomp and That's the Way. On side 1 of the original LP we´re presented with classics like Immigrant Song and the excellent slow blues Since I've Been Loving You. Friends needs to be mentioned as well as it´s one of my alltime favorite Led Zeppelin songs. Really dark and beautiful.

The musicianship is more tight this time compared to the first two albums from the band. It´s such a joy to listen to Jimmy Page playing acoustic guitars and pedal steel guitar.

The production on Led Zeppelin III is the best on any Led Zeppelin album. By far the most polished sound. I really like the production which gives the songs the right sound and mood.

If I should ever be tempted to give a Led Zeppelin album 5 stars I would be tempted to do so in this review. Led Zeppelin III is my favorite Led Zeppelin album but a 4 star rating will do.

If this website wasn't call 'ProgArchives',i'd certainly give this early Zeppelin material 5 star ratings,for being delicate,intelligent and still very hard rocking albums.

Zeppelin III is just as good as the previous one,but for totally diferent reasons.While the strenght of II lied in the rocking grooves and refreshed english rock simplicity,this one has flavours of folk and twelve-string guitar work.And,divided in two parts as it is,it's strenght and symbolism is undoubtly found in the second half,an acoustic twenty minutes long trip through folk and classic arrangements.Not that the first side is bad,by any means.

After all,the album kicks of with one of the band's ultimate clasics,no other than Immigrant Song.A very heavy tune(actually quite close to a primitive form of heavy metal)which lasts around two minutes,and grants the album a very strong opening.It is followed by the indian-flavoured Friends,with multiple vocal tracking by Robert Plant and exotic driving strings by Jimmy Page.I'm not sure,but maybe there's a mellotron lost somewhere in the rich arrangement.

Celebration Day is a very famous Zep song,but I happen to find it....just nice.Maybe it's overshadowed by great tracks in the album,but it still a good song.Following the line of the latter,there's Out On the Tiles,a decent track,but completely lost and out of place in the album.

And there is Since I've Been Loving You,one of th best blues numbers I've ever heard.A ten-minute jam with stunning guitar work by Jimmy Page(he truly gives another lesson of guitar playing here),and classic vocal performance by Plant.I've always believed in the incredible musicianship of all the members of the band,but the truth is that in this album,Page and Plant are the spotlights.

And we're off to the acoustic half.My absolute favourite track here is Gallows Pole,a classic English song arranged by Page and Plant in old folk fashion.I just love the way this song grows gradually,and how the multiple strings just start to appear out of nowhere.A totally forgotten track,unfortunately. The great success from this acoustic songs is Tangerine,also a very nice ballad playd in a twelve-string guitar by Page.There's really not much to it,other than a very simple verse/chorus structure with a short break halfway through,and a great intro. Follows a sequence of pleasently relaxing acoustic guitar pieces,which serve almost as a background for Robert Plant to show his love for classic folk. Unfortunately,the album's closed with one of the worse songs the band ever wrote.Hats Off to Roy Harper is a weird slide acoustic guitar track,with annoying volume pitches bubbling all the time. The album has it's flaws and it's maybe not for everybody,but I still think it is a bit underrated in the site.A solid 5 stars somewhere else simply for being Led Zep at it's prime,but here,four stars will have to do(again).

Led Zeppelin III 4/5

Hey, hey what an I do? I actually like this album so much that there isn't anything I can say bad about it. We actually see a tasteful blend of their heavy tendacies with delicate explorations into folk. Side 1 mainly explores the electric music that defined their first two releases. However, here the heavier music is much more refined and the acoustic tracks are pure gems.

Jimmy and Robert retreated to a cottage in Bron Yr Aur, where they prepared the material for this album. With no electricity, the cottage certainly served as a wonderful place for them to explore new directions. Thus we have the lovely folkish mood that permeates throughout this album.

'Immigrant Song' starts things off with the banshee wail of Mr. Plant. An early speed metal masterpiece with Norse mythology making up the lyrical content. One would think the band was ready to return to their excessive attack of the previous release upon hearing this song;however, 'Friends' is mainly an acoustic number, with haunting eastern influenced orchestration that builds the piece into 'Celebration Day'. A lovely rocker that dwarfs the excessive songs found on II, melodic and rocking!

Speaking of melodic and rocking, what a song 'Since I've Been Loving You' is. A true blues tune that would soon replace 'I Can't Quit You Babe' and 'You Shook Me' from Led Zeppelin's live act, this is the finest song to come out of their pre-IV electric catalouge (only 'Dazed and Confused' and 'How Many More Times' come close). Jimmy's playing is in sensational form, tasteful organ from JPJ and Robert excelling behind the mircrophone.

'Gallows Pole' oozes with folk mastery. One of my favorite pieces by Led Zeppelin and beginning the acoustic side of the album. 'Tangerine' witnesses Jimmy Page excel with beautifully played acoustic guitar, the solo is a prime example of the diversity and growth of this band. Now way could they have pulled this song off during 1969. 'That's the Way' witnesses Robert grow as a songwriting, introspective in relation to their previous take no prisoner approach. Listen to the interaction between JPJ and Jimmy.

'Bron Yr Aur Stomp' and 'Hats Off to Roy Harper' are also worth checking out but not as strong as the core folk influenced trio that preceeded them. Otherwise, the most diverse and exciting music Led Zeppelin had cut to this point in time. Enjoy!

In 1970 Led Zeppelin decided to work on their next album in Welsh cottage Bron - Yr - Aur. It's lovely place really. Too lovely to concentrate on work. I love British folk music and I think Jethro Tull is one of the greates bands on earth. But Page isn't Anderson. I don't even want to know what guys of Led Zeppelin were doing there and how much fun they had composing this album. But I know one thing. It's not even in 10% that good as Jehtro Tull's Benefit from the same year. Of course III it's still a bit hard rockcish stuff not completely filled with folk music ideas. Immigrant Song sounded much better live in 1972 but even on this album it's still quite good song. Since I've Been Loving You long boring blues. I know it's the most popular track on the album but to me it doesn't sound any good. Gallows Pole and Tangerine are pretty nice folk tunes but still not satisfying enough. Bron Yr Aur Stomp it's terrible song that was probably pure improvisation. I'm not getting it. This album doesn't deserve more that 2.5 stars. I don't think I'll ever become Led Zeppelin fan.

They love opening with so much heavy, then not following through, huh?

Yeah, Immigrant song is ferocious. And so very metal in its hard-edged approach. The vocal wails are entrancing, and it ends off so enjoyable, but I feel it is a bit too short. Not to mention how the album takes a dip in quality right after. They play acoustics, and I like it, but I've heard better. Friends has a nice melody, but doesn't seem too cohesive to me. Rather enjoyable and epic, though. Dark in appeal, and not too shabby.

Celebration Day pops up with some strange sounds. A sparse song which drops itself into the well of heavy. The guitar kind of disappoints me, though. If this was the best riff Page could come up with, I want to know what he was using to tear his mind apart, because this is some mediocre stuff. And they have to toss their decent streak out the window. Since I've Been Loving You. The blues song, the seemingly required amateur blues song with the repetitive guitar solo that we've heard a hundred times before. To be fair, the solo is pretty emotional, and a nice one. The song goes on for a bit too long, though. A cool song. Actually, this song is rather great. The lyrics aren't an absolute travesty (which is normally the case) and it comes off well. Soft with sparks of imaginative guitar. Possibly the album's peak. This song gets pretty dark. I like it a lot.

Bottom heavy with lyrics that make me cringe, we have the laughable Out of the Tiles. Is it me, or does it sound like the guitar track was recorded inside the belly of a whale? Some might like it, I don't. The vocal harmonies aren't fresh, and this sounds like filler. Banal filler (damn it, will I ever be able to write a review without using that word?) At least the riff (if you can actually hear it) is good.

More fine acoustic playing, this time it gets quick. The silky guitar lines are a fine listen. This album is entrenched in fun folk-ish work, and it suits well. Nothing awe-inspiring, but the build up is good. Tangerine is shorter, but a bit better. As it feels more emotional. That guitar is pretty, and the entire song is the most beautiful thing on the entire record. Melodic and a highlight. That's the way follows suit, and in a good way. I prefer the soft and acoustic side of this album much more than the rock side. The lyrics don't offend, and are warm in their delivery.

Bron-Y-Aur Stomp is Led Zeppelin does dueling banjos. It starts off soft and works its way slowly faster and harder until it turns into a good foot stomping tune, with those old time vocals. Not too impressive, but a dab of fun on a rather stuffy album. Sparse and shallow, but fun. Hats of To (Roy) Harper is the same as the previous track, if only a bit less manageable. It has some nice playing, though. Not offensive by any means, and another fine closer.

This album falters in respect to lyrics, as always. The songs sometimes aren't very cohesive, and they lose any potential momentum right after the first two minutes. Not to mention Out of the Tiles is plain weak.

Best Song - Since I've Been Loving You

Worst Song - Out of the Tiles

*** Solid Stars. Another good album.

We've come from the land of the ice and snow.

I'm a real fan of Zeppelins first four albums. In Zeppelins third Zep had managed to build their sound to a more versatile ground. The album would include a full out rocker song, maybe the best live tour opener ever, the overplayed "Immigrant Song". There's folkier tunes on the album that give a new dimension to Zeppelin, but my favourite on this album is the bluesy "Since ive been loving you" which just blows my mind everytime i listen to it. Plants high soaring screams and Pages immortal axes makes the skin on my back crawl. The fact that bassist John Paul Jones now had been given more freedom in experimenting the keyboards on Zep tracks really adds to the whole album. The bluesy organ that he adapts to "Since.." probably makes him one of the greatest multi-instrumentalists ever lived, and this was Zeppelin.

There's plenty on this album to like, except for the tracks i mentioned, i also like the Roy harper one and "Out on the tiles". The problem with this album is that it lacks the master touch that the first had shown, and what the latter would come to show. Still a great Zep album. 4 Stars

After unleashing a strong debut and a shaky follow-up it was now time for Led Zeppelin to really show what they were all about by breaking another important frontier in the Hard Rock genre.

This of course didn't happen on Led Zeppelin III since the band pretty much stopped doing the thing that made them original and went for a generic blues album. Well actually it was only Page and Plant, cause as soon as the rest of the band joins in we get some really enjoyable moments. Immigrant Song is an amazing album opener that creates high hopes on everything that was to follow. Unfortunately this is as close the band would get to excellence.

I really can't help it, the blues is dragging this album down for me and although I know that most people consider Since I've Been Loving You the pinnacle of this release I just don't see the appeal. But I guess that the saying "to each his own" fits quite well here. Eventually Led Zeppelin would rethink their strategy with the release of the next album that would revolutionize the way most people would look at the rock genre. It's really a pity that such a thing didn't happen here.

***** star songs: Immigrant Song (2:25)

**** star songs: Friends (3:54) Celebration Day (3:29) Gallows Pole (4:56) Tangerine (3:10) Bron-Y-Aur Stomp (4:16)

*** star songs: Out On The Tiles (4:07) That's the Way (5:37) Hats Off To (Roy) Harper (3:42)

** star songs: Since I've Been Loving You (7:23)

Total Rating: 3,45

Getting The Led Out

Acoustic music had always been integral to Led Zeppelin and the notion that they were a heavy metal band has always been an inaccurate supposition propogated by the music press. Ironically the moniker "Hammer Of The Gods " a favourite nickname applied to them by bookwriters and fans is a line taken from Led Zepelin's opening track "Immigrant Song" which is the only really earthshaking episode to occur on this acoustically derived album. When the line is actually considered within the context of the song with it's wailing battle cries and pounding main riff it is more reflective of early English history and Viking raiders and really had nothing to do with the heaviness of Led Zeppelin's music.

Fortunately the opening mayhem lasts a mere two and a half minutes before instruments such as mandolins, steel guitars and banjos and a moog synthesizer are introduced that had never been heard before on a Led Zeppelin record. Although acoustic folky rhythms wrested from the likes of Bert Jansch an Fairport Convention abound, Led Zeppelin III remains rooted in the blues albeit with a more puritanical resolve. The forthright blues rave ups " Since I've Been Loving You" and " Hats Off To Roy Harper" exemplify these intentions as if to say they weren't really four young English lads hellbent on desecrating the blues. If anything it certainly demonstrated the impact the band had created in the two short years since their inception.

Sometimes referred to as " The Cottage Album", much of Led Zeppelin III was concieved during a "working holiday" spent at a secluded run down cottage in the Welsh country side known as "Bron -yr-yaur" or in English " The Golden Breast". The after effects of treks through local forests and valleys were conducive to creative processes that produced such rustic compositions as "Celebration Day", "That's The Way" and "Bron-y-aur Stomp" which must have baffled fans who were expecting more of the thunder & lightning heard on Led Zep I & II. Nonetheless the album shipped gold and went to number 1 on both sides of the pond. "Immigrant Song" made it into the North American top 20 ( Led Zep only released singleds in the UK for promotional purposes as part of Manager Peter Grant's gameplan ) and could have been better replaced on the album by it's flip side " Hey Hey What Can I Do ", a folky lament for a lady of the night that themeatically predated the Police's 1978 smash "Roxanne".

Although the magic & mysticism that was to become part of the Led Zeppelin experience was still in the not-too-distant future, Led Zeppelin III actually foreshadowed the darkness that would prevail on subsequent works by the sureal psychedelic cover alone which was concieved by one of guitarist Jimmy Page's friend's from art school who went by the handle Zarcon. Contrary to what has been surmised, the idea behind the spinning disc and the conjecture that it was a revolutionary one is completely false. It was based on the concept of a volvelle or paper computer with rotating graphics that was used for mathematical calibrations that dated back to ancient times but had also become assciated with the occult and witchraft, something guitarist Jimmy Page had more than a passing fancy for. Early pressings even had inscriptions of Aliester Crowley quotes etched into the vinyl and are not as rare as some internet sources would suggest. The cover, despite it's bubble gum qualities, also illutrates the ctreative flexibility afforded to album designers back in the glorious days of vinyl who had larger canvasses on which to create their masterpieces. Modern British and Japanese CD releases have tried to replicate the original Led Zeppelin III spinning cover but with less impact than the original vinyl format size.

As for the music, which was largely dissmissed by the masses at the time who misunderstood the band's intentions. There were actually tracks like the aforementioned " Immigrant Song", "Out On The Tiles" and " Gallows Pole" that still possessed the power and glory of previous hard rcockers such as Whole Lotta Love which seemed to be the song singled out by fans for the band to top. "Gallows Pole" was based on an old blues standard entitled "The Maid Freed From The Gallows" which was popularized by American blues legend Huddie William Ledbetter or "Lead Belly" under the title "Gallis Pole" in the 1930s . Although the Zeppelin rendition here was based on a later version, the interpretive genius of Jimmy Page and Robert Plant can be appreciated by listening to the earlier "Lead Belly" recordings, one of which can be heard on "The Early Roots Of Led Zeppelin" compilation CD on Catfish Records.

Led Zeppelin III which is for the most part a joyous musical experience that shifted it's gears down from earlier harder edged blues blowouts. A more collaborative effort prevailed and the infrastructure to "Out On The Tiles" was even constructed from a drinking song that was invented by drummer John Bonham during nights "down the pub". The togetherness of the band was also exemplified by the acoustic "sit downs" that accompanied the songs in live performances and became a staple of their shows long before other " heavy bands" would capitalize on unplugged concerts and albums for novelty effect or for commercial gain. Page also focusses more on the production process and less on freaking out and consequently Led Zeppelin acquires more depth, the signifigance of which would become more evident with more hindsight.

Some of the most honest music that Led Zeppelin ever produced can be heard on Led Zeppelin III that has a wonderful trippy hippie jive to it that flows and grooves. It was pivotal in the sense that fans would anticipate each subsequent Led Zeppelin record not for the next skull crushing riff but for the unknowns which made them more than just the no 1 band on the planet. A very important and special Led Zeppelin album that was too hastily disregarded by fans and critics and perhaps the one which attracted the interest of fans of progressive rock because of it's production and predominant acoustic textures.

Album II had left me wondering how Zeppelin could have lost the powerful drive of the debut so quickly. But on III they reclaimed their edge. This album has only a few tracks that register as rock, but even with the abundance of acoustic material this album is entirely focussed and compelling again. They also recovered from the stagnation of the previous album and took a bold step forward by integrating lots of folk influences. There are even some signs of what later would become heavy metal.

The album kicks off with one of the highlights. Immigrant Song got all the adrenaline and energy you can expect from Zeppelin, it's packed into 2.25 minutes and driven forward by one of the first riffs in rock history that scream metal to me. The repetitive staccato riff, the furious speed of it (we're 1970 remember), the heavily pounding drums, Plant's piercing cry. It would all become typical features of the genre, all it took was Judas Priest picking it up and mixing it with the dark subject matter of Sabbath. And metal was born. But that's another story.

Apart from the two other rock songs (Celebration Day and Out On The Tiles), the bulk of the album is soft and folksy. But luckily it's not your typical woolly flower power campfire mellowness, this is folk with balls. On tracks like Friends and Gallows Pole Page's urgent acoustic guitar strumming and Plant's wail blow off the dust that usually lies in thick layers on the folk from those years. When Bonham joins with his heavily pounding drums, this folk simply rocks.

With its folksy touch, Zeppelin took a brave step forward. As usual, taking risks comes with a few flaws. On Tangerine for instance they fail to inject the folk material with their own touch, it's a pure folk song and not one that appeals much to me. That's The Way is another straightforward folk tune, but this one got a more compelling atmosphere, one of my favs here. There's only one a few true blues songs on the album, Since I've Been Loving You is a classic one that doesn't need an introduction. Hats off to Roy Harper is a bit of classic blues fun that closes the album on a pleasant tone.

Zeppelin III is a diverse and mature album, it's probably not the favourite of the rock fans in the Zeppelin audience, but it has next to no flaws and it offers something for everyone, for folkies, blues fans, rockers and even for metal fans that want to explore a genre original. It's not as strong as the debut but it's a Zeppelin album that I will never get tired off. 3.5 stars

UPDATE: Bumping this one up to three stars because..... well, it's Led Zeppelin. And I won't let what is potentially my favourite guitar solo ever reside in an album that I've given only two stars. If you swap 'Friends' with 'Tangerine', side one is really quite good anyway.....

REVIEW: This structurally unstable album is one of Led Zep's weakest. It's 60% acoustic, much in the same way 'I' was 60% blues and 'II' was 60% riff-rock. And that seems promising if you consider the few acoustic songs this band already had. But in practise it seems that Page and Plant are better off WITH a rhythm section than without.

Looking at the electric songs, I am divided. For on this album, there is potentially Led Zeppelin's finest example of slow blues (and if not, then at least Page's most spine-tingling guitar solo). But 'Since I've Been Loving You' is wedged in amongst a host of eccentric rock offerings which just don't groove like the songs on 'Led Zep II' did. The only one that makes sense is the overrated 'Immigrant Song', which is very quickly over. 'Tangerine' has a very nice electric "moment" but this is surrounded by excessive nylon noodling and Page's failed attempts at counting.

As for the acoustic tracks, these are worse, overall. There are two good ones 'That's The Way' and 'Tangerine', which is where they should have stopped at (and where they did stop on other albums). Even these have faults (as I mentioned, the counting). And then there are a whole bunch of other "attempts" to convey different genres which just don't work. 'Friends', on top of being on the wrong side, has an irritating Indian influence that doesn't "work" like Kashmir does. 'Gallows Pole' is too busy and too long. 'Bron-y-aur Stomp' is as advertised; a Welsh "stomp" about a dog. And annoyingly for Roy Harper, the track dedicated to him is probably Led Zeppelin's worst song ever.

This isn't the band's absolute worst album because of it's [albeit scarce] strong tracks. But it does have the most filler of any Led Zep record, and is the worst produced (it sounds very murky and gritty in places, and Bonham's squeaky drum needs fixing). The worthy material is buried too deep to be salvagable, so I'll continue only listening to 'Since I've Been Loving You'...

Perhaps feeling they had started to pigeonhole themselves with the incessant brain- bashing heaviness of II, the band took a roadtrip to Wales and made an album that largely emphasized the folk and acoustic aspects that had been present on their debut. The result was a fan favorite, and even I honestly felt for a long time that this was their best effort. Now, though, I'm definitely not among those who would think so, even if I've heard an interview where Plant says he feels this album is their finest moment.

The album is roughly split into a "hard" first half and a "soft" second half, with one acoustic song stuck into the first half for good measure. The first thing to note is that the "hard" numbers are nowhere near as suffocating as the kinds of hard numbers that made up II; you can definitely tell that the band really went out of its way to make this more "average listener"-friendly than II was, which probably wore down a lot of potential fans over its 40-odd minutes. Unfortunately, though, the hard numbers on here, on the whole, aren't as good as the best numbers on II. On the plus side, the album opens with the monstrously tight, fast and aggressive "Immigrant Song," which sounds more like a solid proto-punk-thrash number than a metallic rocker, and is all the better for it. Plant's voice is higher than it's ever been here, but it sounds good here, and the song only lasts about two minutes and change, so it's great. Also, the band does what is arguably its best blues number yet on this side, the terrific "Since I've Been Loving You." The melody is obviously stolen (though that's really the only place on the album where that can be clearly said; the band wrote most of its own material here), and Robbie tends to sound like an idiot when he goes on too long stammering instead of singing, but when he's actually singing, the track is pure gold. And man, that's one awesome guitar passage in the middle.

On the minus side, I have never been a fan of either "Celebration Day" or "Out on the Tiles." "Celebration Day" isn't exactly bad, but it's got such a, I dunno, "confused" feel to it that I just can't quite grasp what it is I'm really supposed to be getting out of it. It's just so messy that whatever driving power it was going for as a dumb driving rock song gets completely washed out, and it's not catchy enough to work as a pop-rocker or complicated enough to work as anything resembling prog. As for "Out on the Tiles," it's just too much like generic boogie-rock on one hand, and waaaaaaaaaaaaay too lightweight on the other, for it to particularly impress me.

This leaves the acoustic numbers, which I tend to like for the most part. The lone acoustic representative of side one, "Friends," is one that I've found I tend to like more than many others do; yes, Plant's screeching is pretty over-the-top intolerable in places, but there's just something about the menace that comes from the mix of the acoustic guitars and the Easterny strings that I can't help but really enjoy. Of course, it's awfully similar to "As You Said" by Cream in terms of general approach, but at least the melody is clearly original.

Side two opens with three real winners in the acoustic ballad (or, in the case of the first, acoustic ballad into acoustic rocker) department, the only drawbacks to them being (a) they're way too similar moodwise and (b) Plant doesn't sound any different singing them than he did singing about Gollum and whatnot on II, meaning that the pretty melodies of these songs aren't exploited to their full potential. "Gallows Pole" is a reworking of a traditional Welsh folk that tells the tale of trying to keep a loved one from getting hung, and it works almost start to finish; it's only in the end, when the band is 'rocking out' a bit and Plant is trying too hard to improvise new screeched lyrics, that the song starts to run out of gas. "Tangerine," completely written by Page, is even better, though, featuring a wonderful melody with a terrific little rising snippet here and there and a WONDERFUL gentle steel guitar solo. And finally, we have "That's the Way," which has some "sensitive," kinda immature lyrics that Plant still can't quite sing in a convincing manner (see: "Thank You"), but they're better than on that disaster (as is Plant's peformance), and that is one heck of a beautiful melody they came up with. Just get somebody else to sing it and you'd have a classic; as is, it's still close.

The last two songs don't really cut the mustard for me, though. "Bron-yr Stomp" is supposed to be traditional folk, but this song tells me that Led Zeppelin had about as much business doing straight-up traditional folk as The Byrds had attempting to do hard rock (see: Dr. Byrds and Mr. Hyde, arrgh). Holy cow I think it's obnoxious. And finally, "Hats Off (to Roy Harper)" is a goofy attempt at a blues cover a la the first half of "Bring it on Home," but where that at least started rocking in the second half, this is such a mess that all I'm really left with is a sense of, "huh?" It works as a novelty, but not much more, I'd say.

Still, for all of my relative complaining, I don't want to give this less than ****. The album flows extremely well, the balance between hard and soft is admirable (even if the songs in each category aren't necessarily), and some of the songs are great. And doggone it, it's a thousand times easier for me to listen to this one straight through than it is for me to listen to II straight through, even if that one has some better songs on it. Still, though, I wouldn't run out and get this first.

There will always be a debate whose band is the best rock'n'roll band ever. In my view, the best ever rock'n'roll band is Led Zeppelin as much as The Beatles was the best ever pop band. Led Zeppelin are/was head and shoulder above the likes of Rolling Stones, Who and everyone else. This album proves my point.

Led Zeppelin decamped to a Welsh cottage to make this album. Hence my reference to this album as their Welsh folk music album. Forget Led Zeppelin as a heavy thundering rock band. On this album, they almost makes a folk rock album. Which makes a very fascinating album, in my view. It is one of the best ever Led Zeppelin albums and that says a lot.

The opener Immigrant Song is a barnstorming song about the my forefathers from the north who pillaged Great Britain. As a Norwegian living in Great Britain, I take great pride in these lyrics. I should be ashamed of myself. Really ashamed. Anyway, it is a great song. Celebration Days too is a brilliant song. Since I've Been Loving You is a showcase for Jimmy Page and a brilliant song. Gallows Pole is a brilliant folk rock song. The same is That's the Way and Bron- Y-Aur Stomp.

In short, this album really showcase Led Zeppelin as a band with their roots in folk music too, in addition to their rock and blues roots. I think this is a fascinating album which bridges folk rock and rock in a perfect manner. It is not perfect and I do not care that much about the songs I have not mentioned above. But it is still a sure winner in my home. Every home should have their copy of this album, in my view.

4.5 stars

Led Zeppelin - III (1970)

Led Zeppelin is one of the important hard rock bands of the late sixties and seventies. There brutal style, theatrical vocals and often good musicianship has been the basis for a successful career. I myself am not much of fan of the band. I like some songs, but they made no albums I can listen to completely without loosing my attention. Most of the time the recording-quality and the weaker songs on their albums stop me from going to side two of the record. Furthermore I find it disturbing to hear completely different vocals in the studio than on the live concerts.

Having that said I must say I like this third album. It has some of my favorite Zeppelin-tracks and it was recorded with an acceptable result. The short, but powerful Immigrant song works is a nice hard-rock opener. Friends is a very progressive/psychedelic track with amazing acoustic guitars and a distinct vocal melody of Plant. Best song of the album. Since I've Been Loving You is an amazing blues-rock track with an innovative approach and sticky lyrics. The other tracks on side one focus on the hard-rock aspect of the music, whilst all the songs on side two focus on the acoustic-rock side of the band.

Conclusion. This record has some of my favorite rock songs of Zeppelin, but still I think of Zeppelin as a lesser band of the genre. This record is not very necessary for the progressive collection, but is a good addition for the hard-rock collection. Good, but non-essential it is then. Three stars, although I must say the first four tracks of the album deserve four stars.

With their third album, Led Zeppelin turned even further away from straight up blues rock (the only track in that category is Since I've Been Loving You, an excellent piece in that genre), and more toward prog and folk.

Sure, there is perhaps their greatest heavy rock song ever, The Immigrant Song, and the frenetic Celebration Day, but this is still though of as mostly Led Zeppelin's acoustic album, probably because it is more heavily swayed toward acoustic than any of their other albums. And great acoustic it is. Who can resist the unsubtle humor of Gallow's Pole?

Not their best, but a fine album of a very good band transitioning into a great band.

Led Zeppelin III. can be judged in the same way as its two wonderful predecessors.

Think about the situation in the "hard rock frenzy" year 1970. Each legendary group was competing in being hard, melodic, filled with riffs or at least full of brilliant solo performances. Black Sabbath released their dark debut and immortal Paranoid, Uriah Heep made also their raw debut, Deep Purple shocked with their classic In rock, Atomic Rooster, after their rather psychedelic debut, carved from the darkness their sculpture called Death walks behind you, Jethro Tull on their way to uniqueness offered the invincible Benefit, Wishbone Ash taught everybody how to play a rock ballad (e.g. Phoenix) also on their debut and I am still talking just about the Great Britain. The 1970 is the best year in the hard rock (and also rock) history without any doubt.

And what about Led Zeppelin? Their "hardened" blues was surely time-proven but they didn't want to stop evolving. Their third album crossed the borders (for the first time) of the style (which Led Zeppelin had helped to create, too) and dressed itself into the acoustic and a little bit folky habits. They were quite unique in this. From blues and hard rock to every thinkable poses only Jethro Tull and perhaps Vincent Crane and his Atomic Rooster (every album different and yet recognizable) can be compared with them. In the year 1970 the third album had no similarity in the hard rock world. The only worthy candidate I can imagine is the Rides again album by James Gang (unique electric and acoustic mix).

And what's going on here?

The first song is the immortal classic Immigrant song. Plant's yelling is legendary, but I have to mention one of the most classical pattern for drums that is often used here and there and each rock drummer will teach it, sooner or later. And here comes the first shock - the acoustic beauty called Friends. Zeppelin sound so convincingly as never before. And they don't need the wall of sound of their amplified instruments. Breathtaking! And the next song is a killer called Celebration day. Things can't be better.

On their debut they used to borrow so called blues standards. Here they created their own. Since I've been loving you! I can't desribe it to someone who hasn't heard. Just listen to the marvelous guitar solos that Page carved into his musical epitaph. Things can be better for sure!

Led Zeppelin produced rather rutine hard rock later, but here every single hard note had an energy compared to the common effort of every nuclear powerplants at the Old Continent and nearby surrounding. Out in the tiles is a proof. Or the next genius song called Gallows Pole. I can imagine this song in electric version and it would be a killer hard rock ride for sure. Even its acoustic version is perfect. From the acoustic songs on this album I like most the fragile and tuny Tangerine. It's the highlight of young Led Zeppelin. By the way, the b-side of LP has nothing to do with loundness. The same fragility is in the song called That's the way. Bron-y-aur stomp evokes me the spring meadow and the end of the recording offers me the great acoustic slide blues Hats of to (Roy) Harper.

For me this is the last genial and charming Led Zeppelin's album and I appreciate it unconditionally.

Always amusing to read biographies and articles that talk about the distress fans and critics went through when hearing this album for the first time. III was obviously a big shift, and after the pummeling of the classic "Immigrant Song' it's reasonable that fans would expect to hear more of II as the album went on.

What a surprise instead. Bands either branch out or stagnate, and one of those choices should be infinitely more satisfying to the listener than the other. If you're reading this as a fan, you won't need me to tell you what they did. So all the backlash must have been baffling to the band, as apparent in a quote from a Cameron Crowe interview with Page: "When the third LP came out and got its reviews, Crosby, Stills and Nash had just formed. That LP had just come out and because acoustic guitars had come to the forefront all of a sudden: LED ZEPPELIN GO ACOUSTIC! I thought, Christ, where are their heads and ears? There were three acoustic songs on the first album and two on the second."

And all that 'acoustic' is supported by a lot of electric guitar, with album and career highlight, 'Since I've Been Loving You,' 'Immigrant Song,' the creepy 'Celebration Day' and 'Out on the Tiles,' not to mention 'Tangerine' with some rare pedal steel guitar.

From the moody 'Friends' to the exceptional build-up that is 'Gallow's Pole,' III is full of shining moments that are as subtle as the wallop that comes from the electric songs. The sensitive delivery from Plant in 'That's the Way' or the clap and sing-a-long of 'Bron-Y-Aur Stomp' are all outstanding examples of Page on the acoustic guitar, and despite Bonham's enthusiasm, his ability to add to a song without dominating it.

This album foreshadows IV beautifully, and with hindsight it is clear that their next album had every chance of pulling everything they'd already tried together into a stunning work. Four stars here.

Zeppelin spread their wings a bit on this one, expanding the scope of their songwriting and musical expression from the firmly blues rock rooted approach of their first two albums. The most hard-rocking track on here, Immigrant Song, kicks things off with a proto-speed metal approach which is energising but rather outdone by Black Sabbath the same year with Paranoid. What's really interesting is what happens after that - we plunge into Friends, complete with driving acoustic guitar lines, subtle use of Moog, and a decidedly foreboding atmosphere, and we know we're no longer with the same old Zeppelin we used to know.

The band don't abandon the blues entirely - Since I've Been Loving You is one of their best slow blues rock songs, in fact - but they do delve deeply into acoustic experimentations. Apparently they were compared unfavourably to Crosby, Stills, Nash and Young when this one came out, which is just bizarre - CSNY were taking hippy folk into the 1970s, whereas here the Zeps are bringing a light acoustic touch to heavy, hard rock material, creating an altogether different sound. Although it's not very metal, it is more varied and more interesting than their earlier material.

This is often thought of as the softest of the Led Zeppelin albums. Following the first two heavy blues-rock records it's understandable how it was slated at the time, but it's good to see how many people appreciate it now.nThough sometimes it can still be too underrated. The punchy "Immigrant song" and "Celebration" give us some tastes of pumping hard-rock with the special "Friends" sandwiched in-between. "Since I've Been Loving You" is just mind-blowing! The essential blues-rock stinger alone makes this worth owning. Everybody who calls themselves a Zeppelin fan cannot fail to have it. The gems don't stop "Out On The Tiles", the super rhythmic "Gallows Pole", the beautiful "Tangerine"...simply all of it is just absolutely fabulous! "That's the way" is a mellow folky track. It's just great. The guitar is very crisp and fluid here. I love the stoney foot tapping "Bron-Y-Aur Stomp" very much and "Hat's off to Roy Harper"closes it all off with some smokin' hot acoustic blues. Again, it's great stuff! You can't go wrong with this!

This is my first rating for an album, although I have watched this site for some period of time. But this is not the main thing here. This, Zepellin III is a five stars album (like every album they have created). In the seventies I was a young boy, and I started to hear prog, oh what a discovery that was!Along with other things I had Zepellin III and what an album it was!!!The second part, with its folk resemblance, was a delight. And Since I"ve been loving you was an all time love. I hope you know the meaning. Now, being a rather folk albume than a rock (or rock progressive albume) was a bad thing, and people didn't think much and gave this masterpiece a low rating. I want to remaind that (and to everybody who is is hearing prog) that this isn"t rock(or rock"n"roll) or easy listening' but rather an intelectual effort to hear some educated music!! And there it was. In the seventies I had The first ones Zepellin I and II but what a discovery was III. If you are a proghead please give it a spin, and be open it deserve it (what an album!!!!)

ride my face to chicago

Hammer of the gods

Another excellent Zeppelin album that resides comfortably as one of the all time greatest albums in rock history. It is still proto prog not quite living up to essential to the genre but it is nevertheless a vital component of rock history. The album cover was a trippy psychedelic multi faceted art romp. As you spun the wheel the images changed and none of it made sense unless you were stoned. The super foursome were already legendary by the time this third release found its way into stores. I guess fans were wanting more killer riffs and blues heavy rock with acoustic moments and Plant's blazing vocals. On this album Led Zeppelin certainly delivered all that and more.

The opener is brilliant proto metal with a driving riff and freak out Plant screams. The lyrics were always engrained in my consciousness and are unforgettable, focussing on the Nordic adventures of rampaging Vikings preparing for Valhalla as they release their souls into the void, well that was my take on it. The lyrical phrases were perfect for the song; "Come from the land of the ice and snow.. hammer of the gods...... Valhalla I am coming.. whispered tales of war, a howling come, the tides of warm, we are your overlords.. " Perhaps Manowar took a leaf out of this songbook as it encompasses the exact content of their 80s metal. Of course Zeppelin were way ahead of their time but the influence of this song is insurmountable. Immigrant Song would perhaps be my all time favourite Zeppelin and all this in a paltry 2 minutes and 25 seconds.

After this short sharp blast, Friends is quite a breath of fresh air. The focus on acoustics and dark orchestration is really unsettling. The middle Eastern modality was akin to what The Beatles were doing on their Sgt Pepper opus.

The boisterous guitars and Plant roaring are a feature of Celebration Day. The Zep were masters of slow moody blues and the stunning Since I've Been Loving You is mind bending. Page is a man possessed on guitar with mega string bends and sweeps, he literally makes his guitar cry. The emotion poured out is augmented by pulsating basslines and slow drum patters.

That's the Way it Is features more acoustic and horns to augment the melancholy flavour. Plant sounds reflective, rather like he is speaking to a lost generation; "all the fish that lay in dirty water dying, have they got you hypnotised, yesterday I saw you kissing tiny flowers, But all that lives is born to die, And so I say to you that nothing really matters, And all you do is stand and cry."

Bron-Y-Aur Stomp is another fan favourite but I had to remind myself of what this sounded like as it was a less memorable track for me. It breezes along with manic folk slide acoustics on steel guitar and foot tapping percussion that sounds characteristically like a live festival, indeed it really is raw and sounds unfinished which is part of the whole illusion. It conjures up images of a traditional Welsh dance troupe out among the trees celebrating at a festival. A representation of hippy freedom.

Hats off to Roy Harper is another raw Delta swamp bluesy thing that has dominant scratchy steel guitar with Page sounding Like he is playing with a beer bottle up and down the strings. Plant breezes in with the voice of power, "shake 'em on down", and his voice warbles processed and it may even represent a drug induced state. Obviously the band did entice the drug culture and this is the type of song they would revel in under the influence.

The album has a heavy reliance on acoustic and folkish nuances. It ventures into some parodic dark humour with songs such as Gallows Pole. This one reminds me of what Iron Maiden did on Hallowed Be Thy Name, "cos at 5 o'clock they take me to the Gallows Pole, the sands of time for me are running low." In comparison, Zeppelin are rather restrained but still must have had an impact on metal giants of the 80s.

So here is the fourth 4 star album in a row for me. When will they reach masterpiece status as they are certainly worthy. The following fourth album put all things to rest.

Nowadays, this album is regarded as a classic, and a considerable amount of Zeppelin fans regard this as a favorite, if not their best. This took years though, as for awhile it was often regarded as a mistake in a way, with only "Immigrant Song" getting a ton of airplay on FM stations for awhile. As the years went by, this album proved to be a slow grower, with some of the other mellower tunes getting notice years after the album first came out. Now it's the folksy cool alternative album to the band's heavier stuff, although it's too bad the cover art has become so redundant due to the lack of the "wheel effect" the LP offered.

The same can be said for me concerning my opinion of Led Zeppelin III. Some of the tunes took multiple playing times to appreciate, and some just never got there. That can't be said about the opener, "Immigrant Song". A speedy rockin' opener, when I first heard this album, this song promised me that this was going to be Zeppelin's wildest and most bombastic effort. "Friends" tosses that impression into the trash bin of Expectations, but offers the listeners a gloomy and haunting experience. Robert sings at his witchiest here, all wide- eyed and possessed. "Celebration' starts off as some cool experimental acid rock before settling into a mid-paced rocker that to this day doesn't really impress me much. The rest of side one offers a slow blues number with some great solos and Robert going off the deep end at times to annoying in parts "7 7 7 to 11 11 11". Relax Rob. Take a breath. There's also "Out On The Tiles", a really cool rocker that could've seriously used a sweet guitar solo during the last minute over that simple sign-off riff.

Side two was the real head scratcher for those accustomed to Zeppelin as a heavy band. Pretty much everything is acoustic guitar based, with the last three tracks pretty much ditching the rock entirely. Some of the tunes are rather gorgeous, and "Gallow's Pole" matches the folk with some kicking drums and electric guitar wailing towards its dénouement, but man, the last two tracks I've never been able to get into, teetering between cornball and obnoxious with only that opening few seconds of "Hats Off..." being cool in a tripped out sort of way. This album could have used the Immigrant Song's single B- side "Hey Hey What Can I Do" or even "Down By The Seaside" to bounce off those last two ditties in order to make this album more essential.

Zep III was the band's attempt to show the world they weren't just about making a crazed racket, but a good portion of their fanbase wanted just that. Their next album would incorporate their second and third albums seamlessly into something incredible, but this album does possess certain charms.

Zeppelin took a dramatic turn of events with their third album by incorporating folk in large quantities. Unfortunately for me I'm simply not much of a folk fan at all.

Most of the folk sound can be found in 'Friends,' 'Tangerine,' 'That's the Way,' 'Bron-Y-Aur-Stomp' and 'Hats Off.' It's not as if they are terrible, they just seem overly simple and light and just do nothing for me.

I'm more pleased with the more rock songs in 'Immigrant Song,' 'Celebration Day,' and 'Since I've Been Loving You,' but even then most of them don't compare to what was on the previous album.

I would say this is nice to revisit once in a while, but is hardly Zeppelin's best.

4/10

For me, Led Zeppelin III is the weakest of their initial 4 classic releases. It took me a while to post my review of this one; it's been written for weeks. I guess I don't want to spend time posting reviews that are simply a laundry list of negatives. It's still Led Zeppelin, one of the most influential bands in rock music history. It earns 3 stars in my book; it's just not up to the level of the others. There is a lot of folk/blues on this record, but Led Zeppelin had already covered that territory before. Led Zeppelin II was more varied and more of a step forward.

Led Zeppelin III does contain a few of their classic tracks. "Gallows Pole" and the lovely "Tangerine" are real gems. They are preceded by "Since I've Been Loving You", one of their best tracks IMO. It's without a doubt one of the best melodies Jimmy Page ever wrote. I don't mean to be severely critical of Led Zeppelin III. Almost all of Led Zeppelin's output is excellent. Although this album may not achieve the same level of artistry as its siblings, they are all cornerstones in the development of heavy metal. Therefore, Led Zeppelin gets a solid 3 stars.

LED ZEPPELIN III , in a overall evaluation, this album is an anachronism in Led Zepp's first half "flight". That is characterized by the almost complete absence of Page's guitar solos ( with a brilliant exception in track 3 "Celebration Day" and track 4 " Since I've been Loving You"). Even so there are other high points, like the riff and arrangement of track 5 "Out On The Tiles" ( a melody and rhythm very complex). Beside the Side 2 ( in vinyl) is very beautiful and unveil (definitively) the Zeppelin's acoustic vein. How somebody can contest the great arrangements of tracks, like "Gallows Pole" (with the banjo accompaniment), "That's The Way" ( with 12 string-guitar ) and " Bron-Y-Aur Stomp" ? Another great moment be in track 2 "Tangerine" with a lap-steel or bottleneck guitar intervention. In resume... if you are an admirer (like me) of country music ( with a progressive "brushstroke") as for instance Crosby,Stills, Nash & Young certainly you appreciates this album . My rate is 3,5 stars !!!

I wouldn't expect that, but due to the very tight ranking system this album has to go with 3 stars. VERY difficult decision, but a necessary one.

Led Zeppelin II was very close to the debut, but this one is a clear step behind. Immigrant Song and Since I've Been Loving you are timeless, while the wonderful Tangerine is one of my favorite rock love songs.

While the rest of the album is definitely good (this is Led Zep we 're talking about for cryin' out loud!) it's not as significant as one would expect or demand from a band like this to compose.

3,5 stars, and the motivation they needed to create the juggernaut that was released a year after...

Like all Led Zeppelin albums, Led Zeppelin III is enshrined in the hard rock temple. It shows the original gods of rock kicking ass, churning out smokey blues, and even experimenting with folksy acoustics. However, there's a reason that none of these Zep songs ever get played on the radio: they just aren't that good. LZ III isn't a terrible album, in fact, the fact that the band tries a few new sounds is commendable, but Page and company feel like they're in transition from the raw hard blues of LZ II and the more nuanced and complete sound of LZ IV.

"Immigrant Song" is the de facto killer cut from this record. It smashes in the door and your face with aggressive chugging and banshee wails, but when all is said and done, it's over practically as soon as it starts, and it doesn't give us anything to remember except that one big riff. Very over rated when it comes to the list of top Zep songs. "Friends" shows off a more complex arrangement, using a bouncing acoustic riff with odd rhythms and string backing, probably one of the better songs, but unfortunately it doesn't have any "wow" moments to stick with the listener. The other big cut from this album, "Since I've Been Loving You," is another keeper, but still a mixed bag. Page rocks his guitar solos but Plant's vocals are unexpectedly weak and bland. He sounds like he's trying improv or be soulful, but he's really just exposing how much the band is ripping off American blues.

"Out on the Tiles" is noteworthy only for the up front bass work of Jones, while the largely acoustic songs that follow just don't resonate with me. Again, not exactly bad, just sort of strumming for time. The band sounds good, but it almost feels like they don't really know what to do with these songs. A good example is "Bron-Y-Aur Stomp," a folksy dance song that is basically a pastiche of New Orleans-style jazz. Zeppelin sometimes gets criticized for basically ripping off black blues musicians and I think that this commentary applies strongly to a lot of Led Zeppelin III. Robert Plants' vocals in the finale, "Hats Off To Roy Harper" are actually pretty offensive, despite any actual affection to the band's inspiration. It just doesn't work.

So while LZ III is a nice album to come on occasionally during a classic rock party mix, it's much less fun than the band's other, heavier and more exciting albums.

Songwriting: 2 - Instrumental Performances: 3 - Lyrics/Vocals: 2 - Style/Emotion/Replay: 2

The Best Zep album.

While most will have the fourth/runes album (because of "Stairway to Heaven"), followed perhaps by their debut and their Zep II (again, because of tunes that received widespread radioplay), fewer know this one. But it is has the best Zep tunes, and is best all-round. This is the pinnacle of their song-writing. The music is raw and ballsy like the earlier albums, yet more original and refined, and diverse. "Singe I've Been Loving You" is Zep's most rewarding and successful performance, a great blues burner with fine guitar solos and vocals. "The Immigrant Song" and "Gallow's Pole" are rockers, but far more interesting than 'Black Dog', 'Whole Lotta Love', or the banal 'Rock and Roll'. Zep III is where the band excels at softer numbers too, with "Tangerine", "Friends", "That's the Way" all quite musical, I think better than the softer songs on 4/runes. "Bron-y-aur Stomp" is unique in their catalogue, and both this and "Hats Off to Roy Harper" are great, fun, original tunes. While no Zep album is comparable to the top albums by the big-name progressive rock bands on PA, this one comes closest. I give it 8.2 out of 10 on my 10-point scale, which translates to 4 PA stars.

This is the magical album where Led Zeppelin started their unique eclectic musical journey, and so became an interesting band for open-minded progheads. Because the band decided to embellish their pivotal blend of R&R, hardrock and blues with a lush instrumentation and a folky touch. JP Jones played an important role in Led Zeppelin's new sound, he turned from a bass player into a multi-instrumentalist (bass, guitars and 'vintage' keyboards). But also Jimmy Page contributed hugely by not only playing the electric guitar but also a range of acoustic guitars. Another interesting element was John Bonham, no longer only a powerhouse drummer but also showing his great sense for timing and playing assorted percussion. And, last but not least, singer Robert Plant rose to the occasion, singing even more powerful bul also showing his beautiful mellow side.

1. Immigrant Song (2:25) : On this opener (still )no signs of another musical direction, what an exciting rock and roll atmosphere featuring a thunderous guitar riff and a steamy rhythm-section, topped by excellent vocals.

2. Friends (3:54) : A folky atmosphere with catchy acoustic guitars, Bonham delivers assorted percusson, Plant warm vocals and JP Jones surprises with captivating strings arrangements. The sultry atmosphere reminds me of their classic Kashmir, also oriental sounding.

3. Celebration Day (3:29) : Heavy rock and roll , coloured by fiery slide guitar, Page impresses again!

4. Since I've Been Loving You (7:23) : One of their best tracks ever! It starts with sensitive bluesy guitar and mellow Hammond organ (evoking Ten Years After), then a great build up featuring howling guitar runs, emotional vocals, the climax delivers an moving guitar solo, awesome drums and Plant in its full splendor.

5. Out On The Tiles (4:07) : Another strong Jimmy Page catchy and heavy guitar riff, with powerful vocals and a propulsive rhythm-section, this is trademark Led Zeppelin.

6. Gallows Pole (4:56) : An example of the 'new Led Zep' with exciting propulsive acoustic rhythm guitar and powerful bluesy vocals.

7. Tangerine (3:10) : What a beautiful ballad featuring warm acoustic rhythm guitar, tender vocals, halfway howling electric guitar runs and then the distinctive steel guitar.

8. That's The Way (5:37) : Another fine example of the 'new Led Zep' with dreamy acoustic rhythm guitar and vocals, accompanied by the versatile JP Jones on mandolin, a wonderful folky atmosphere.

9. Bron-Y-Aur Stomp (4:16) : A favourite of mine, I am delighted about my guitar hero Jimmy Page on the acoustic guitar (reminding me of the underrated acoustic virtuoso Rory Gallagher). Also a great vocal performance and subtle percussion contribution by drummer John Bonham.

10. Hats Off To (Roy) Harper (3:42) : This song is a tribute to the Old School blues with fat slide guitar, inspired vocals and a hiss in the sound that coloures the music like a kind of sound collage, very special.

How impressive that a band can deliver such a high quality variety, from the heavy Immigrant Song and Out On The Tiles to the the compelling bluesy Since I've Been Loving You and folky Tangerine and Bron-Y-Aur-Stomp. A big hand for Led Zeppelin!

For me, their best album so far. Starting up with an instant hard rock classic in Immigrant Song, the album soon comes to a more folky mood for most of the album, most of which are really nice ones (though some that appear on the later Unledded album I think work even better with that treatment), and it's got one of my very favourite Zep songs, as well as my favourite blues song ever (not that I know all that much about that genre, anyway). Unfortunatley, it's still got a few noisier songs that are not really my cup of tea.

Review Nº 665

"Led Zeppelin III" is the third studio album of Led Zeppelin that was released in 1970. It represents a maturity on the band's music with great emphasis on the folk and acoustic sounds. Although acoustic songs are featured on its two predecessors, this an album that is widely acknowledge for showing that Led Zeppelin was more than a merely conventional rock band and they could go out into a new musical territory. That surprised many fans and critics, and upon its release the album received rather indifferent reviews. However, "Led Zeppelin III" is praised and acknowledge as representing an important milestone in their career. It's generally considered one of their best and most fine works.

"Led Zeppelin III" has ten tracks. The first track "Immigrant Song" written by Robert Plant and Jimmy Page is one of Led Zeppelin's few single releases, having been released against the band's wishes. It's a very short track and the only one with a very fast tempo beat. This is a great opener to the album that introduces and help to create the unique and great musical atmosphere of the album. The second track "Friends" written by Robert Plant and Jimmy Page is one of the few Led Zeppelin's songs that include strings, arranged by John Paul Jones. It represents the beginning of the acoustic musical experience on the album. This is a great acoustic song with a brilliant acoustic guitar work and a soft and nice delicate drumming. It has also great synthesizer and vocal works. The third track "Celebration Day" written by Robert Plant, Jimmy Page and John Paul Jones is a more traditional Led Zeppelin song. It's a very good solid rock song with a great and nice riff and an excellent bass line. Despite being a very good track I think it's a little bit lost and out of the place on the album. Sincerely, I really think that it belongs more to "Led Zeppelin II". The fourth track "Since I've Been Loving You" written by Robert Plant, Jimmy Page and John Paul Jones is the lengthiest track on the album and is an epic blues song with great feelings and is very emotional too, and where Robert Plant sings wonderfully and unforgettably. Who usually read my reviews knows that I'm not a great blues' fan. However, this is a perfect song, one of the best blues' numbers I've ever heard, with an incredible musicianship between all band's members. The fifth track "Out On The Tiles" written by Robert Plant, Jimmy Page and John Bonham is one of the most aggressive songs in the band's catalogue and closes the first side of the LP, the most heavy part of the all album. This is another great rock song with good guitar riff, nice bass line, excellent heavy drumming and strong vocals. The sixth track "Gallows Pole" is a traditional song arranged by Robert Plant and Jimmy Page. It's an acoustic song with a simple guitar rhythm and where the mandolin, the electric bass guitar, the banjo and the drums are all added to it. This is a great song where the instrumentation builds up to a crescendo, increasing in tempo as the song progresses. The seventh track "Tangerine" written by Jimmy Page, has its origins in an old The Yardbirds' song, like several Led Zeppelin's songs written by Jimmy Page. The song begins with a false start, after which Page pauses to set the right tempo. It's a beautiful song in which during its length, the song continually changes tempo. The eighth track "That's The Way" written by Robert Plant and Jimmy Page is another acoustic song and like several other tracks on the album. It became as one of the most gentle and mellow compositions in Led Zeppelin's catalogue. As the previous song, this is one of the most calm and beautiful songs ever made by the band. The ninth track "Bron-Y-Aur Stomp" written by Robert Plant, Jimmy Page and John Paul Jones was named with that name because Bron-Y-Aur was the house in Gwynedd, Wales, where the band wrote much of the stuff of "Led Zeppelin III". This is another great and fabulous song that despite being an acoustic song its rhythm is completely frenetic, complex and electrify. The tenth and last track "Hats Off To (Roy) Harper" is a medley of fragments of several blues songs and lyrics written by some blues veterans. The song is a tribute to the contemporary folk singer and very close friend of the band, Roy Harper. This is a very weird song, which, in my opinion, the collage of the excerpts of the old blues' songs, doesn't work very well. It represents the weakest track on the album.

Conclusion: "Led Zeppelin III" remains as one of the best and most fine musical works released by the band. It shows, as I mentioned above, that Led Zeppelin was much more than a traditional rock and blues band. With this album, Led Zeppelin proves that they were one of the best and most complete rock bands in the world. It also proves that Robert Plant was one of the best singers in his era, that Jimmy Page was much more than a great hard rock guitarist, that John Bonham was a complete versatile drummer that could adapted to any kind of music, and finally, that John Paul Jones, behind an excellent bassist, could be a complete and great player able to perform any kind of music instruments. While not the towering achievement of its brothers in numerology, "Led Zeppelin III" remains one of the great albums in rock history, significant for its role in establishing the legend of this band that would become a fact with "Led Zeppelin IV".

Prog is my Ferrari. Jem Godfrey (Frost*)

Led Zeppelin were on the crest of the wave with their revolutionary "I" and "II", and hence the expectation for their next release was enormous, with a growing legion of fans eager to receive more voltaic shocks that Jimmy Page's riffs and Plant's powerful and erotic voice brought with them, and, as sometimes happens, the results would not necessarily be the expected ones. And a bit of that happened with "Led Zeppelin III" (1970), an album divided into two large segments with dissimilar orientations.

The first segment approaches (with the exception of "Friends") the hard rock sound of the band, as with Page's guitar riffs, John Bonham's intense percussion and Robert Plant's demonic screams in the combative "Immigrant Song", with the dark ezquizophrenia of "Celebration Day" and the anxious riffs of the lively "Out of the Tiles" and, on the other hand, the deep blues influences of the band, the deep blues influences are also present in the plaintive "Since I've Been Loving You", a very solid instrumental progression (courtesy of the Jones/Bonham duo) that supports Page's masterful guitar ramblings and solos and Plant's heartbroken singing giving his life in every verse, in one of the best moments, if not the best, of the album.

The second segment, nevertheless, shows a significant turnaround, no more thunderous and saturated walls of sound, and the Englishmen's undeniable taste for acoustic nuances takes over: the folk arrangement of "Gallows Pole", a traditional song of probable 18th century Anglo-Saxon origin, the beautiful and melancholic grey tone of "Tangerine", the reflective "That's The Way", attributable to the Page/Plant duo's inspirational sojourn in rural Snowdia (Wales), a place that also lent its name to the percussive agility of the also folk "Bron-Y-Aur Stomp", all tracks that make for an unexpected and unbeatable unplugged set. The haunting "Hats Off to (Roy) Harper", which borrows elements from legendary American blues representatives like Bukka White and Fred Mc Dowell, closes the album with a nod to the band's singer/songwriter friend Roy Harper.

Despite the initial feelings of bewilderment and suspicion generated by the unpredictable drop in revolutions, "Led Zeppelin III" is a great album (including its psychedelic cover art), and with hindsight it has achieved the recognition it deserved.

Very good.

4 stars