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'''''Led Zeppelin III''''', the third album by [[England|English]] [[Rock music|rock]] band [[Led Zeppelin]], was released [[October 5]], [[1970]] by [[Atlantic Records]]. It was recorded between January and July 1970 at [[Olympic Studios]], [[London]] and [[Headley Grange]], [[East Hampshire]], then mixed at Ardent Studios, [[Memphis, Tennessee|Memphis]] in August 1970 during Led Zeppelin's [[Led Zeppelin North American Tour Summer 1970|sixth American concert tour]]. The album was produced by guitarist [[Jimmy Page]] and engineered by [[Andy Johns]] and [[Terry Manning]].
'''''Led Zeppelin III''''', the third album by [[England|English]] [[Rock music|rock]] band [[Led Zeppelin]]. It was recorded between January and July 1970 and was released [[October 5]], [[1970]] by [[Atlantic Records]].

==Recording sessions==
Many of the songs featured on the album were originally conceived at [[Bron-Yr-Aur]], an 18th century cottage in [[Gwynedd]], [[Wales]], on a hilltop overlooking the [[River Dyfi|Dyfi]] Valley, 3 miles north of the market town [[Machynlleth]]. There, Led Zeppelin vocalist [[Robert Plant]] and guitarist [[Jimmy Page]] spent time after a [[Led Zeppelin North American Tour Spring 1970|concert tour of the United States]] to play and compose new music. This remote setting had no running water electric power, and such settings signalled a slight change of direction for the band towards an emphasis on acoustic arrangements.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref>

After preparing the material that would emerge on the album, Page and Plant were joined by the other members of the band (drummer [[John Bonham]] and bass player [[John Paul Jones (musician)|John Paul Jones]]) at [[Headley Grange]], a run-down mansion in [[East Hampshire]], to rehearse the songs. With its relaxed atmosphere and rural surroundings, Headley Grange proved to be the favoured alternative to the discipline of a conventional studio.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref>

The album was then recorded in a series of sessions in May and June 1970 at both Headley Grange and at [[Olympic Studios]], [[London]]. Some additional work was put in at [[Island Records]]' new [[Basing Street Studios]] in [[Notting Hill]], London, in July, then mixed at Ardent Studios, [[Memphis, Tennessee|Memphis]] in August 1970 during Led Zeppelin's [[Led Zeppelin North American Tour Summer 1970|sixth American concert tour]].<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> The album was produced by Page and engineered by [[Andy Johns]] and [[Terry Manning]].


==Music==
==Music==
''Led Zeppelin III'' is widely considered a watershed release for the band, changing its focus from late 1960s hard rock to a more [[folk rock]] and [[acoustic]] inspired sound. These styles had been present to a lesser degree in the band's first two releases, but here it was the main style - and one that would remain prominent in the group's later albums. This change in direction endeared the band to many [[progressive rock]] fans who would never have listened to Led Zeppelin's established [[blues]] and [[Rock music|rock]] repertoire. With ''Led Zeppelin III'' the group's songwriting dynamic also changed, from Page's domination of the first two albums towards a more democratic affair in which all four group members offered up their own compositions and ideas - patterns that would continue in future sessions.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref>
''Led Zeppelin III'' is widely considered a watershed release for the band, changing its focus from late 1960s hard rock to a more [[folk rock]] and [[acoustic]] inspired sound.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> These styles had been present to a lesser degree in the band's first two releases, but here it was the main style - and one that would remain prominent in the group's later albums. This change in direction endeared the band to many [[progressive rock]] fans who would never have listened to Led Zeppelin's established [[blues]] and [[Rock music|rock]] repertoire. With ''Led Zeppelin III'' the group's songwriting dynamic also changed, from Page's domination of the first two albums towards a more democratic affair in which all four group members offered up their own compositions and ideas - patterns that would continue in future sessions.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref>

The album contains two songs which became key components of the band's live concert performances for many years: "[[Immigrant Song]]" and "[[Since I've Been Loving You]]". The first of these, written by [[Jimmy Page]] and [[Robert Plant]], is about the [[Norway|Norse]] invasions of England and was inspired by the band's recent performances in [[Iceland]]. "Since I've Been Loving You" is a classic, original blues in the key C minor featuring heartfelt interplay by all four group members. It would become a performance staple, especially from 1971 through 1973, replacing [[Willie Dixon]]'s "[[I Can't Quit You Baby]]" from the first album as the band's slow blues showcase.


The album contains two songs which became key components of the band's live concert performances for many years: "[[Immigrant Song]]" and "[[Since I've Been Loving You]]". The first of these, written by [[Jimmy Page]] and [[Robert Plant]], is about the [[Norway|Norse]] invasions of England and was inspired by the band's recent performances in [[Iceland]]. "Since I've Been Loving You" is a classic, original blues in the key C minor featuring heartfelt interplay by all four group members. It would become a performance staple, especially from 1971 through 1973, replacing [[Willie Dixon]]'s "[[I Can't Quit You Baby]]" from the first album as the band's slow blues showcase. Other fan favourites from the album were the rock songs "[[Celebration Day]]" and "[[Out on the Tiles]]", and the acoustic tracks "[[Bron-Y-Aur Stomp|Bron-Yr-Aur (Stomp)]]" and "[[That's the Way]]", the latter considered by Page to be a breakthrough for still-developing lyric writer Plant.<ref name=RS2006>{{cite journal |last=Gilmore |first=Mikal |title=The Long Shadow of Led Zeppelin |journal=Rolling Stone |issue=1006 |date=[[August 10]], [[2006]] |url=http://www.rollingstone.com/news/story/11027261/the_long_shadow_of_led_zeppelin/print |accessdate=2007-12-09 }}</ref> The song "[[Gallows Pole]]" is actually an arrangement of a traditional folk song by that name, also recorded by [[Lead Belly]] some thirty years earlier.
The album also featured the rock songs "[[Celebration Day]]" and "[[Out on the Tiles]]", and the acoustic tracks "[[Bron-Y-Aur Stomp|Bron-Yr-Aur (Stomp)]]" and "[[That's the Way]]", the latter considered by Page to be a breakthrough for still-developing lyric writer Plant.<ref name=RS2006>{{cite journal |last=Gilmore |first=Mikal |title=The Long Shadow of Led Zeppelin |journal=Rolling Stone |issue=1006 |date=[[August 10]], [[2006]] |url=http://www.rollingstone.com/news/story/11027261/the_long_shadow_of_led_zeppelin/print |accessdate=2007-12-09 }}</ref> The song "[[Gallows Pole]]" is actually an arrangement of a traditional folk song by that name, also recorded by [[Lead Belly]] some thirty years earlier.


==Release and critical reaction==
==Release and critical reaction==
''Led Zeppelin III'' was one of the most eagerly awaited albums of 1970, and advance orders in the [[United States]] alone were close to a million mark. Its release was trailered by a full page advertisement taken out in ''[[Melody Maker]]'' magazine at the end of September, which simply said "Thank you for making us the world's number one band."
''Led Zeppelin III'' was one of the most eagerly awaited albums of 1970, and advance orders in the [[United States]] alone were close to a million mark.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> Its release was trailered by a full page advertisement taken out in ''[[Melody Maker]]'' magazine at the end of September, which simply said "Thank you for making us the world's number one band."<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref>


Although the band's expanding musical boundaries were greeted warmly by some, detractors attacked the heavier tracks as being mindless noise, whilst the acoustic material was criticised by others for imitating the music of [[Crosby, Stills, Nash & Young]].<ref name=RS1985>{{cite journal |last=Davis |first=Stephen |title = Power, Mystery And The Hammer Of The Gods: The Rise and Fall of Led Zeppelin |journal = Rolling Stone |issue=451 |date=[[July 4]], [[1985]] |url =http://www.rollingstone.com/artists/ledzeppelin/articles/story/17537975/power_mystery_and_the_hammer_of_the_gods |accessdate=2008-01-15 }}</ref> Page commented that this comparison was unwarranted, stating in an interview he gave to [[Cameron Crowe]] that:
Although the band's expanding musical boundaries were greeted warmly by some, detractors attacked the heavier tracks as being mindless noise, whilst the acoustic material was criticised by others for imitating the music of [[Crosby, Stills, Nash & Young]].<ref name=RS1985>{{cite journal |last=Davis |first=Stephen |title = Power, Mystery And The Hammer Of The Gods: The Rise and Fall of Led Zeppelin |journal = Rolling Stone |issue=451 |date=[[July 4]], [[1985]] |url =http://www.rollingstone.com/artists/ledzeppelin/articles/story/17537975/power_mystery_and_the_hammer_of_the_gods |accessdate=2008-01-15 }}</ref> Page commented that this comparison was unwarranted, stating in an interview he gave to [[Cameron Crowe]] that:
Line 51: Line 60:
[[Image:Lef Zeppelin 3 001.jpg|thumb|The volvelle used on the front cover]]
[[Image:Lef Zeppelin 3 001.jpg|thumb|The volvelle used on the front cover]]


The concept of a volvelle, based on crop rotation charts, was initially Jimmy Page's idea. However, the result was a meeting of minds as Zacron had been working on rotating graphics from 1965. Zacron felt that by not including text on the front of the cover, the art would endure.<ref>Daily Mail 'Live' Magazine, Dec 2 2007, interview with Zacron</ref>
The concept of a volvelle, based on crop rotation charts, was initially Jimmy Page's idea.<ref name=Complete>Dave Lewis (1994), ''The Complete Guide to the Music of Led Zeppelin'', Omnibus Press, ISBN 0-7119-3528-9</ref> However, the result was a meeting of minds as Zacron had been working on rotating graphics from 1965. Zacron felt that by not including text on the front of the cover, the art would endure.<ref>Daily Mail 'Live' Magazine, Dec 2 2007, interview with Zacron</ref>


In an article featured in the December 2007 issue of ''[[Classic Rock Magazine|Classic Rock]]'' magazine, Zacron claimed that upon his completion of the artwork, Jimmy Page telephoned him while he was in [[New York]] to express his satisfaction with the results, saying "I think it is fantastic".<ref>''"Hats Off to Zacron", [[Classic Rock Magazine]]'', December 2007</ref> However, in a [[1998]] interview Page himself gave to ''[[Guitar World]]'' magazine, he described the results as a disappointment:
In an article featured in the December 2007 issue of ''[[Classic Rock Magazine|Classic Rock]]'' magazine, Zacron claimed that upon his completion of the artwork, Jimmy Page telephoned him while he was in [[New York]] to express his satisfaction with the results, saying "I think it is fantastic".<ref>''"Hats Off to Zacron", [[Classic Rock Magazine]]'', December 2007</ref> However, in a [[1998]] interview Page himself gave to ''[[Guitar World]]'' magazine, he described the results as a disappointment:

Revision as of 05:43, 11 May 2008

Untitled

Led Zeppelin III, the third album by English rock band Led Zeppelin. It was recorded between January and July 1970 and was released October 5, 1970 by Atlantic Records.

Recording sessions

Many of the songs featured on the album were originally conceived at Bron-Yr-Aur, an 18th century cottage in Gwynedd, Wales, on a hilltop overlooking the Dyfi Valley, 3 miles north of the market town Machynlleth. There, Led Zeppelin vocalist Robert Plant and guitarist Jimmy Page spent time after a concert tour of the United States to play and compose new music. This remote setting had no running water electric power, and such settings signalled a slight change of direction for the band towards an emphasis on acoustic arrangements.[1]

After preparing the material that would emerge on the album, Page and Plant were joined by the other members of the band (drummer John Bonham and bass player John Paul Jones) at Headley Grange, a run-down mansion in East Hampshire, to rehearse the songs. With its relaxed atmosphere and rural surroundings, Headley Grange proved to be the favoured alternative to the discipline of a conventional studio.[1]

The album was then recorded in a series of sessions in May and June 1970 at both Headley Grange and at Olympic Studios, London. Some additional work was put in at Island Records' new Basing Street Studios in Notting Hill, London, in July, then mixed at Ardent Studios, Memphis in August 1970 during Led Zeppelin's sixth American concert tour.[1] The album was produced by Page and engineered by Andy Johns and Terry Manning.

Music

Led Zeppelin III is widely considered a watershed release for the band, changing its focus from late 1960s hard rock to a more folk rock and acoustic inspired sound.[1] These styles had been present to a lesser degree in the band's first two releases, but here it was the main style - and one that would remain prominent in the group's later albums. This change in direction endeared the band to many progressive rock fans who would never have listened to Led Zeppelin's established blues and rock repertoire. With Led Zeppelin III the group's songwriting dynamic also changed, from Page's domination of the first two albums towards a more democratic affair in which all four group members offered up their own compositions and ideas - patterns that would continue in future sessions.[1]

The album contains two songs which became key components of the band's live concert performances for many years: "Immigrant Song" and "Since I've Been Loving You". The first of these, written by Jimmy Page and Robert Plant, is about the Norse invasions of England and was inspired by the band's recent performances in Iceland. "Since I've Been Loving You" is a classic, original blues in the key C minor featuring heartfelt interplay by all four group members. It would become a performance staple, especially from 1971 through 1973, replacing Willie Dixon's "I Can't Quit You Baby" from the first album as the band's slow blues showcase.

The album also featured the rock songs "Celebration Day" and "Out on the Tiles", and the acoustic tracks "Bron-Yr-Aur (Stomp)" and "That's the Way", the latter considered by Page to be a breakthrough for still-developing lyric writer Plant.[2] The song "Gallows Pole" is actually an arrangement of a traditional folk song by that name, also recorded by Lead Belly some thirty years earlier.

Release and critical reaction

Led Zeppelin III was one of the most eagerly awaited albums of 1970, and advance orders in the United States alone were close to a million mark.[1] Its release was trailered by a full page advertisement taken out in Melody Maker magazine at the end of September, which simply said "Thank you for making us the world's number one band."[1]

Although the band's expanding musical boundaries were greeted warmly by some, detractors attacked the heavier tracks as being mindless noise, whilst the acoustic material was criticised by others for imitating the music of Crosby, Stills, Nash & Young.[3] Page commented that this comparison was unwarranted, stating in an interview he gave to Cameron Crowe that:

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.[4]

Although these negative reviews had a slight effect on sales at the time, Led Zeppelin III was still a trans-Atlantic #1 hit. The album spent four weeks at the top of the Billboard chart, while it entered that British chart at number one and remained there for three weeks (returning to the top for a further week on December 12).[1]

Following the lukewarm, if not confused and sometimes dismissive reception from critics, sales lagged after this initial peak.[2] However, with the passage of time Led Zeppelin III's reputation has recovered considerably. At the beginning of the 1990s it reached platinum, and as of 2008 it is certified 6x platinum.

Album sleeve design

Led Zeppelin III's original vinyl edition was packaged in a gatefold sleeve with an innovative cover, designed by Zacron, a multi-media artist whom Jimmy Page had met in 1963 whilst Zacron was a student at Kingston College of Art.[5] Zacron had recently resigned a lectureship at Leeds Polytechnic to found Zacron Studios, and in 1970 Page contacted him and asked him to design the third album's cover.

The cover and interior gatefold art consisted of a surreal collection of seemingly random images on a white background, many of them connected thematically with flight or aviation (as in "Zeppelin"). Behind the front cover was a rotatable laminated card disc, or volvelle, covered with more images, including photos of the band members, which showed through holes in the cover. Moving an image into place behind one hole would usually bring one or two others into place behind other holes. This could not be replicated on a conventional cassette or CD cover, but there have been Japanese and British CDs packaged in miniature versions of the original sleeve. In France this album was released with a different album cover, simply showing a photo of the four band members.

The volvelle used on the front cover

The concept of a volvelle, based on crop rotation charts, was initially Jimmy Page's idea.[1] However, the result was a meeting of minds as Zacron had been working on rotating graphics from 1965. Zacron felt that by not including text on the front of the cover, the art would endure.[6]

In an article featured in the December 2007 issue of Classic Rock magazine, Zacron claimed that upon his completion of the artwork, Jimmy Page telephoned him while he was in New York to express his satisfaction with the results, saying "I think it is fantastic".[7] However, in a 1998 interview Page himself gave to Guitar World magazine, he described the results as a disappointment:

I thought it looked very teeny-bopperish. But we were on top of a deadline, so of course there was no way to make any radical changes to it. There were some silly bits - little chunks of corn and nonsense like that.[8]

The album cover featured on the front page of The Daily Mail's Live Magazine in December 2007, which hailed Led Zeppelin III as "The greatest rock album of all time.[9] The feature was a tribute to both the artist and the group.

The first pressings of the album included the phrases "Do what thou wilt" and "So mote it be", inscribed on the record acetate itself by engineer Terry Manning during the final mastering process. This phrase is from the core tenet of Aleister Crowley's philosophy of Thelema: "Do what thou wilt shall be the whole of the law. Love is the law, love under will. There is no law beyond do what thou wilt." Page was a scholar of Crowley's work, owns one of the world's most extensive private collections of Crowley manuscripts, artwork and other ephemera, and in the 1970s even bought one of his residences, Boleskine House on the shores of Loch Ness in Scotland.

Track listing

Side One

  1. "Immigrant Song" (Jimmy Page, Robert Plant) – (2:25)
  2. "Friends" (Page, Plant) – (3:54)
  3. "Celebration Day" (Page, Plant, John Paul Jones) – (3:29)
  4. "Since I've Been Loving You" (Page, Plant, Jones) – (7:23)
  5. "Out on the Tiles" (Page, Plant, John Bonham) – (4:08)

Side Two

  1. "Gallows Pole" (trad. arr. Page, Plant) – (4:58)
  2. "Tangerine" (Page) – (3:12)
  3. "That's the Way" (Page, Plant) – (5:39)
  4. "Bron-Y-Aur Stomp" (Page, Plant, Jones) – (4:18)
  5. "Hats Off to (Roy) Harper" (traditional) – (3:42)

Personnel

CD Mastering engineers

  • Barry Diament - original CD (mid-1980s)
  • George Marino - remastered CD (1990)

Charts

Album

Year Chart Position
1970 Billboard Black Albums 30
1970 Billboard Pop Albums 1

Singles

Year Single Chart Position
1970 "Immigrant Song/Hey Hey What Can I Do" Billboard Pop Singles 16

Certifications

Organization Level Date
RIAA – USA Gold October 8, 1970
RIAA – USA Platinum December 11, 1990
RIAA – USA 2x Platinum December 11, 1990
RIAA – USA 3x Platinum August 20, 1992
RIAA – USA 4x Platinum November 25, 1997
RIAA – USA 6x Platinum May 3, 1999

External links

References

  1. ^ a b c d e f g h i Dave Lewis (1994), The Complete Guide to the Music of Led Zeppelin, Omnibus Press, ISBN 0-7119-3528-9
  2. ^ a b Gilmore, Mikal (August 10, 2006). "The Long Shadow of Led Zeppelin". Rolling Stone (1006). Retrieved 2007-12-09. {{cite journal}}: Check date values in: |date= (help)
  3. ^ Davis, Stephen (July 4, 1985). "Power, Mystery And The Hammer Of The Gods: The Rise and Fall of Led Zeppelin". Rolling Stone (451). Retrieved 2008-01-15. {{cite journal}}: Check date values in: |date= (help)
  4. ^ "Cameron Crowe interview Led Zeppelin". 1975-03-18. Retrieved 2007-11-07. {{cite web}}: Check date values in: |date= (help)
  5. ^ Zacron - Led Zeppelin III Rock album cover Gallery
  6. ^ Daily Mail 'Live' Magazine, Dec 2 2007, interview with Zacron
  7. ^ "Hats Off to Zacron", Classic Rock Magazine, December 2007
  8. ^ Brad Tolinski and Greg Di Bendetto, "Light and Shade", Guitar World, January 1998.
  9. ^ Daily Mail 'Live' Magazine, Dec 2 2007, interview with Zacron
Preceded by Billboard 200 number-one album
October 31 - November 27 1970 		Succeeded by

Template:Led Zeppelin III

source: https://en.wikipedia.org/w/index.php?title=Led_Zeppelin_III&diff=prev&oldid=211605171