Released
on October 22nd, 1969, Led Zeppelin II is turning 55 years old today.
After the smash success of their debut, its follow-up would be the first
album by the band to crack the #1 slot on the charts in both the US and
UK, as well as Canada, Australia, Spain and several other markets.
The
album came together in bits & pieces, and fits & starts, while
the band were on a breakneck touring schedule throughout both the US and
UK. Songs were mostly developed during jam sessions while setting up
for gigs, and recorded at whatever studio could be secured wherever the
band happened to be at the time. As such, a wide variety of facilities
were used, from high end, to what the group would describe as "a hut"
when they used a ramshackle 8 track facility in Vancouver, BC. With
this disparate range of studios being used to record the album, it was
something of an achievement that producer, Jimmy Page, managed to attain
a sense of cohesion with the album's sound and mix. Eddie Kramer
engineered the album and was quoted as saying, "The famous Whole Lotta
Love mix, where everything is going bananas, is a combination of Jimmy
and myself just flying around on a small console twiddling every knob
known to man." Kramer later gave high praise to Page for the sound that
was achieved: "We cut some of the tracks in some of the most bizarre
studios you can imagine ... but in the end it sounded bloody marvellous
... there was one guy in charge and that was Mr. Page."
The
music on the album was predominantly original compositions, with a
selection of interpretations of classic Chicago blues pieces. "The
Lemon Song" was a re-arrangement of Howlin' Wolf's "Killing Floor",
"Bring It On Home" was a cover of a Willie Dixon song originally
performed by Sonny Boy Williamson II. Of the originals, Whole Lotta Love
is the most well known, especially being that it was released as a
single outside the UK, against the band's wishes, I might add. Zeppelin
never released singles, as a matter of policy, so this was a rare
instance where the label edited down a track and put out a single
without the group's approval. The song would become a hit, charting in
many markets, and becoming a concert staple as well.
The
album sleeve design was from a poster by David Juniper, who was simply
told by the band to come up with an interesting idea. Juniper was a
fellow student of Page's at Sutton Art College in Surrey. Juniper's
design was based on a photograph of the Jagdstaffel 11 Division of the
German Air Force during World War I, the Flying Circus led by the Red
Baron. Juniper replaced four of the flyers' heads with photos of the
band members, added facial hair and sunglasses to some of the flyers'
faces or replaced some with the faces of other people. The blonde-haired
woman is French actress Delphine Seyrig in her role as Marie-Madeleine
in the film Mr. Freedom, a leftist anti-war satire by William Klein. The
cover also pictured the outline of a Zeppelin on a brown background
(similar to the cover of the band's first album), which gave the album
its nickname "Brown Bomber". The cover was nominated for a Grammy award
for best LP graphics in 1970.
Despite
the commercial success, at the time of its release, the album was
largely panned by critics, who simply weren't ready for an
interpretation of the blues that was so heavy and so dark. Many found
the album monotonous and overbearing. But it wouldn't take long for
reassessments to start aligning with the position that this was, in
fact, an album of unique distinction, setting a new tone for rock 'n'
roll that would become integral to the development of heavy metal music
in the decade to come. Today, you'd be hard pressed to find a Zeppelin
fan who doesn't rank this as one of their greatest records. The fact it
was created in such demanding circumstances, necessitating spontaneity
and ferocity, is what makes it stand out for many as the band's most
intense outing.
With the success
of the album, the band's touring began to ramp up in terms of the venues
they were playing, beginning in smaller clubs, then larger theatres,
and ultimately, coliseums. The band were truly on the map as the
biggest band in rock 'n' roll, and the coming decade would see them
enshrined as truly legendary performers.
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