The most metal album Led Zeppelin recorded

When you search for the origins of heavy metal music, you will always find Led Zeppelin in the conversation. Despite all the sweet acoustic ballads and experiments of the group over the years, the constant of each album was a heavy and very strong music.

Just ask Geezer Butler, bassist of the Black Sabbath metal pioneer. "Zeppelin has paved the way for us," Butler said. "They were the heaviest thing until we arrived. They started the genre a lot.

On the first Zeppelin album, you have several types of heavy. On "Dazed and Confused", this is the worrying type that has become so popular afterwards. Then there was "Communication Breakdown", which was both metal and punk.

Led Zeppelin II has become even heavier, and the band has never fled from thunder on subsequent albums. But with PresenceZeppelin had his most metal moment. This disc had almost none of the keyboards and acoustic styles of other albums.

"Presence" contained the metal assault of "Achille Last Stand" and "Nobody's Fault But Mine."

You can not find songs like "It's the way" or even "Babe, I'll leave you" on Presence. In fact, you can not find John Paul Jones on the keyboard. Jimmy Page, who wrote the majority of the album's material with Robert Plant, has mostly kept his acoustic guitars.

At this stage of the group's life (late 1975), Led Zeppelin had already delivered masterpieces like "Stairway to Heaven" and "Kashmir". They had also closed the book on heavy blues performances with "In My time of Dying".

With "Achilles Last Stand", you get what the title promised: a seasoned warrior does not leave the battlefield before hitting almost everyone in sight. It was a metal attack.

Between Jones' bass bass, Page's crushing riff and John Bonham's drumming drums, there was no mistaking "Achilles" for anything other than metal. Plant's voice is the only thing you can describe as being mastered here, and in the end, it becomes too strong.

Then there was the uncontrolled assault of "Nobody's Fault But Mine." On this song, Plant joins the party with elegance with crying throats and a sinister harmonica part. Bonham's vicious percussion on these tunes has heavily influenced drummers such as Lars Ulrich of Metallica (see: "One").

The first disc of "Physical Graffiti" is also one of the biggest offers of Zeppelin.

Led Zeppelin did not opt ​​for all-metal for a reason: they considered their music much bigger than that. They never wanted to think of a dimension. You have a good overview of the group's philosophy on Physical graffiti, the only double album of the band.

Five of the six tracks go directly to the listener, with Page and Bonham to kill each song. The exception is "Houses of the Holy", which obviously comes from the sessions of the previous album. If you had replaced "The Wanton Song", it would be as heavy as Zep.

Of course, the second record of Physical graffiti The shot deafens the sound considerably with acoustic tunes and "Boogie With Stu". That was the goal. And even with rock monsters like "Custard Pie", the fun vibe of Bonham's drums stands out.

Said thus: Led Zeppelin went to the metal several times (especially on Presence), and the metal has never been so good.

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