Review Summary: *Robert Plant Norseman wailing intensifies*
As iconic as the first two Zeppelin records are, their third saw them hit a whole new level of maturity. The blues jams and reinterpretations of other people’s songs certainly still had their place, but the band is less reliant on them here. Their growing interest in folk and word music around this time is well-documented, not to mention the recording’s rustic setting, and there seems to be a concerted effort to put in more substantial songwriting overall.
With that established, it’s a little funny how out of place Immigrant Song is compared to the rest of the album. It’s a fantastic track whose signature combination of muscular chugs and battle cry no doubt played a direct hand in forming more than one metal sub-genre, but that adventurous blast is quite a contrast from the more laid back tunes ahead. The brief two minute length might end up working in its favor, allowing it to quickly blend into the background before getting too played out while leaving the listener hungry for more.
And while this is characterized as Zeppelin’s folk album, the varied moods make for a very multi-faceted experience. “Gallows Pole” adeptly gives the Zeppelin twist to a traditional ballad, injecting enough gradual heaviness and percussion to highlight the narrative’s escalation while still allowing its pastoral aura to color the experience. I also enjoy the droning exotic swells on “Friends,” the funky hoedown feel of “Celebration Day,” and the chunky yet easygoing riff set on “Out on the Tiles.” There’s some familiarity in the blues of the seven-minute “Since I’ve Been Loving You,” but it feels more grandiose and heartfelt than anything that came before it.
“That’s the Way” is a particularly overlooked track that deserves to be highlighted more. The music is sweet with its filters conveying a dreamlike mood but the lyrics are what truly make it stand out, detailing two friends that society tries to pull apart. Its theming is emotionally poignant but also open to interpretation, letting us see that there’s more to Robert Plant than his himbo hollering.
On the flip side, I’ve never been particularly enthused about the closing “Hats off to (Roy) Harper.” Its loose exercise of running through an old standard is certainly in character and the presentation fits as a low pressure way to cap things off. I’ve just always found it to be rather structurally stiff and the vocal effect gets to be a bit much.
Overall, Led Zeppelin III isn’t an album that is usually hailed among their best but it’s arguably one of the most integral to their development. It bridges the gap between the band’s youthful foundation and the more mystical efforts to come while offering its own share of classic songs and stellar deep cuts. The musicianship is as top notch as you’d expect and the broader influences are splendidly integrated. It may not be the first Zeppelin album to listen to but anybody looking to do a proper exploration can consider this essential listening.
