The song very nearly didn’t make it onto the album due to a cock-up in the studio where an engineer accidentally erased the drum part that was intended to open the track. ![]() Page and the band, it seemed, were resolutely opposed to repeating what they had done before ![]() The bass playing is beyond incredible and the guitars interact really well-there's a heavy-riffing guitar, which is answered by a funky guitar.” There's tremendous momentum in the way they play together. In Rolling Stone, record producer Rick Rubin wrote that Celebration Day "feels like a freight train, even though it's not one of their heavier songs. Page’s solo is a succinct masterclass in melodic lead playing, yet retains the swaggering delivery he had by then become known for. Parts of the track were performed in standard tuning, while the energetic slide riff was recorded in open A tuning. It contains layered guitar riffs and slide parts - all intricately arranged by Page to create a richly textured, highly optimistic-feeling, piece. The album’s third track, ‘Celebration Day’, is one of the finest examples of their successful mixing of genres and ideas. Often misunderstood as “the acoustic album”, Led Zeppelin III is a sophisticated work that represents a leap towards a cohesive “Led Zeppelin” sound. ![]() The band didn’t even play the track at their 2007 reunion show, while others from the album such as No Quarter and The Song Remains the Same were given the chance to live and breathe on stage once again.Ī particularly memorable rendition of The Ocean, however, can be found in Led Zeppelin’s 1973 Madison Square Garden performance, where Page and Bonham bounce off each other with abundant charisma as they deliver the riff that air guitarists and air drummers alike would come to make a pig’s ear of for decades to com The song doesn’t get played as much as it should these days - with tracks like Whole Lotta Love, Kashmir, and “the-song-that-shall-not-be-played-in-guitar-shops” dominating radio play and countdowns of the greatest moments in rock. In the hands of other musicians, such daring, jolting tangents could provide something of a car crash, but in the capable hands of Page, Bonham, Plant and Jones, we are treated to an absolute joyride. As if that wasn’t unusual enough for an early ‘70s rock tune, the track takes a remarkable stylistic shift just after the guitar solo and, around the 3 minute mark, switches to 12/8 timing and a rousing “doo-wop” pastiche outro.
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