newly discovered Led Zep promo

[sonic boogaloo]

exciting as hell

 

[Bulltrout]

Very cool

 

[atquinn]

Perhaps the greatest debut rock single of all time.

 

[ra0ulduke]

That's quite a find.

 

[Gilmourisgod]

Damn, what a great bassline. I never understood why JPJ was considered under-rated. The guy was a Monster.

 

[BassBrass]

a JPJ tutorial. Someone says in comments on youtube, the band had been together six months at this point! I can tell the recorded version was still fresh in mind to do this syncing (and not opening it to longer improvisation)

 

[Slevage]

Damn, what a great bassline. I never understood why JPJ was considered under-rated. The guy was a Monster.

Under-rated by who? Nobody in my circle.

 

[Slevage]

It’s been said that Page’s Telecaster sound was responsible for the sale of many Les Paul’s he’s commonly photographed with.

 

[SactoBass]

Rock godz.

 

[JTNuney]

Clips like that are why teenage me simply *HAD* to have a burst/tort/RW Jazz.

(Eventually got one, only to learn that it didn’t come with JPJ’s talent.)

 

[pfschim]

cool!

never heard JPJ referred to as under-rated. Certainly one of the greats!

 

[DeepHz]

Thanks for the Memories!!!!!

 

[Gilmourisgod]

Maybe i should have said "overshadowed" rather than "under-rated", must have been hard to compete with Page and Plant on stage, not that he tried. He was the multi-instrumentalist glue that held it all together while Page, always a bit of a sloppy guitarist, wandered off into the stratosphere. I was disappointed to see how dismissively they treated him after Zep broke up, but I guess they were never really "friends" in the true sense, more of a business partnership. My wife and I saw the "Becoming Led Zeppelin" in theater, which was excellent, and I learned a lot about Page and JPJ's studio musician background. I think it's on Netflix now. Great movie, but it only covers the really early days, I was hoping they'd make a Part 2.

 

[31HZ]

Imagine casually dropping the needle on that in 1969 and hearing the riff, the groove, and those stutter-triplet kick accents with no context, just dropped out of the sky.

 

[J Wilson]

Imagine casually dropping the needle on that in 1969 and hearing the riff, the groove, and those stutter-triplet kick accents with no context, just dropped out of the sky.

I was 14 in 1969, and I can tell you that at that time, you somehow knew this was going to be something big and different. It simply had a gravity and an authority that set it completely apart from anything else out there. Only to be followed by LZ3 with the seemingly-strange acoustic wanderings, then the masterwork of LZ4. There was Zeppelin . . . . and then everything else, and coupled with the music was expert management who kept their appearances in interviews or much of any kind of public face extremely rare. Their shows sold out instantly.

For me, 2 things always kept them separate from most any other heavy rock:

They were all over the place stylistically so the albums were never monolithic: From 'Going to California' to 'The Wanton Song' to 'Hangman' to 'Kashmir', they could make almost anything work, so the albums never became the same song times 8 or 10.

In a long ago interview in GUITAR WORLD, JPJ was asked about how so many later bands rhythm sections were influenced by his and John Bonham's work, he replied they were all missing one thing ingrained deeply in their background: He and Bonham were deeply affected by Jamerson and Benny Benjamin, the greatest of the Motown rhythm sections. He felt younger cats did not know about them, and they were missing a big key to what they did.

And make no mistake: In a band of equal giants, still, there IS no Zeppelin without John Paul Jones.