![]() (Parents beware: These boys are sensitive and nasty.)Īnd while much has been made of the band’s liberal quotation of black American blues (including a 1985 copyright suit that dogged “Whole Lotta Love”), the reality-and legacy-was more complicated. Or-of course-how “Whole Lotta Love” snaps from its noodly, avant-garde middle section to its borderline-pornographic guitar solo. This also enabled them to take bigger, weirder chances: the frenzied breaks that punctuate the “The Lemon Song,” for example, or the way “Ramble On” moves from hearthside folk to bruising rock with an almost iridescent continuity. Time on the road showed: A couple of the tracks here-“The Lemon Song” (adapted from Howlin’ Wolf’s “Killing Floor”), the John Bonham drum spotlight “Moby Dick”-either originated or evolved live, while others (especially “Whole Lotta Love”) reflected a kind of ecosystemic relationship between the players that made the music much more direct. What had sometimes felt blocky or conceptual the first time around-British blues rock rendered slower, heavier, louder-now felt seamless, the sound of four players finding fluency in a new kind of language. In other words, that Led Zeppelin II came to exist at all was a feat that it was more radical, precise, dynamic, and fully realized than Led Zeppelin was-well, miracles are divine, and Led Zeppelin II was nothing if not the sound of earthbound hard work. In the interim, they dragged the album’s tapes between continents in a steamer trunk that got heavier at every stop. According to engineer Eddie Kramer, some of Jimmy Page’s guitar solos were recorded in hallways. Number of those months spent on tour: seven. Months between the band’s debut and the follow-up in question: nine. Some numbers on the making of Led Zeppelin II.
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