{"id":90687,"date":"2025-05-10T18:18:08","date_gmt":"2025-05-10T18:18:08","guid":{"rendered":"https:\/\/www.europesays.com\/uk\/90687\/"},"modified":"2025-05-10T18:18:08","modified_gmt":"2025-05-10T18:18:08","slug":"the-one-song-jimmy-page-said-was-too-different-to-release","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/uk\/90687\/","title":{"rendered":"The one song Jimmy Page said was too different to release"},"content":{"rendered":"

\"Jimmy<\/p>\n

(Credits: Far Out \/ 2025 Paradise Pictures Ltd)<\/p>\n

Sat 10 May 2025 15:30, UK <\/p>\n

Every band has to take each song on an album-by-album basis. There are many cases where a song could be great in the context of a record, but if it doesn\u2019t manage to measure up to everything else they were doing, there\u2019s no sense in trying to recreate everything around serving one great track. It\u2019s about creating the right journey to take the listener on, and Jimmy Page<\/a> felt that some of the best Led Zeppelin tracks didn\u2019t always make it onto great Zeppelin albums.<\/p>\n

Whenever sequencing one of their records, there was no question that Page was the boss behind everything. He had been the one who founded the group, and even when some other producers had other ideas about how the band should sound in the mixing stages, it wasn\u2019t uncommon for Page to be there every minute or show someone the door when he thought they had overstayed their welcome when making suggestions.<\/p>\n

When going through their entire output, Physical Graffiti marks a strange middle ground for their music. Every single thing one could ask for in a Zeppelin album is accounted for somewhere on there, but when someone has captured their essence that well right out of the gate, where the hell are you supposed to go from there?<\/p>\n

Although Page found his answer by turning up the guitars louder in the mix on Presence, they often started to feel slightly fractured. Robert Plant\u2019s voice was far from the booming quality that most had known due to his car crash, and while In Through the Out Door gave fans some more adventurous tunes to latch onto like \u2018Fool in the Rain\u2019, it was also the moment where the keyboards started to become far more prominent in the mix.<\/p>\n

That can be the kiss of death for any other band, but John Paul Jones always knew how to make his keyboard lines have the same amount of grit as Page\u2019s guitar. It could be absolutely devastating when it wanted to be on tracks like \u2018All My Love<\/a>\u2019, but considering how many great moments were downbeat, the album could have used a song like \u2018Wearing and Tearing\u2019 to bring some edge to the mix.<\/p>\n

But for Page, it was always about what served the album correctly, and he wasn\u2019t going to put a great song on the record if it didn\u2019t complement the rest of them well, saying<\/a>, \u201cThe album was so much lighter, it wouldn\u2019t have fitted. \u2018Wearing and Tearing\u2019 was \u2018One, two, three, four, charge.\u2019 My goodness! It was like an assault. It wasn\u2019t in character with something like \u2018All My Love.\u2019\u201d<\/p>\n

When it did finally see a release on Coda, though, it\u2019s easy to see what Page meant. The song is fantastic in the context of being a compilation, but listening back to what they were doing at the time, this was the kind of riff that would have fit in better on something like Houses of the Holy, where the focus is both the dark and the light sides of their sound.<\/p>\n

Hell, if the band hadn\u2019t gone through having to make Coda to put a bow on their career after John Bonham\u2019s passing, this could have been an excellent way for Page to kick off one of his solo albums as well. Zeppelin was always his baby, and he was never going to find his way out of its shadow, but had his collaboration with someone like David Coverdale had this tune, it may have been even more epic than it already was. <\/p>\n<\/p>\n

Related Topics<\/p>\n

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