Unlike many of their contemporaries from the late ’60s, Led Zeppelin was never seen as a singles band. They gained prominence during the album era and played a significant role in shaping it.
However, they did release singles – 12 in total, between 1969’s Led Zeppelin I and 1979’s In Through the Out Door. Additionally, songs like “Stairway to Heaven” from 1971’s Led Zeppelin IV became radio staples and charted much later.
Four songs were released from their debut album, followed by four more from 1969’s Led Zeppelin II and 1970’s Led Zeppelin III. “Whole Lotta Love (b/w “Living Loving Maid”) became a gold-selling Top 5 hit on the Billboard singles chart. “Immigrant Song” and “Black Dog” also reached the Top 20.
What Are the Best Led Zeppelin Deep Cuts?
By the time Led Zeppelin reached 1973’s Houses of the Holy, six of its songs had been released as A- and B-sides, with “D’yer Mak’er” (b/w “The Crunge”) hitting the U.S. Top 20. “Fool in the Rain,” Led Zeppelin’s last major single, narrowly missed at No. 21.
This means those songs can’t be included in any discussion about Led Zeppelin deep cuts. Their fourth album, which is twice diamond-certified and an international Top 5 hit, became so ubiquitous that none of its material can truly be considered overlooked.
READ MORE: Top 10 Most Head-Scratching Led Zeppelin Lyrics
So where does that leave us? With plenty of tracks from 1975’s jam-packed Physical Graffiti double album, for starters. (However, this would not include “Kashmir,” which was never officially released during Led Zeppelin’s original era but is hardly an undiscovered gem.) Only two songs were subsequently issued from 1976’s Presence: “Candy Store Rock” b/w “Royal Orleans,” though neither charted.
The band also released material from their vaults with 1982’s Coda, which came out after their split. This provides more than enough content for a ranked look back at Led Zeppelin’s Top 20 Deep Cuts:
No. 20. “Your Time is Gonna Come”
From: Led Zeppelin I (1969)
A song characterized by remarkable juxtapositions, “Your Time is Gonna Come” is so unique that it’s great. John Paul Jones’ searching, Procol Harum-esque organ introduces dark lyrics about a cheating partner before Robert Plant delivers one of his most soaring choruses. The heavy drum pattern contrasts sharply with the dreamy acoustic sound. Then there’s Jimmy Page’s slightly out-of-tune Fender 800; he once claimed to have learned to play this 10-string steel guitar during these very sessions.
No. 19. “Ozone Baby”
From: Coda (1982)
This energetic track was simply too dynamic for the more pop-oriented In Through the Outdoor. Thus, “Ozone Baby” became one of three outtakes featured on a collection of post-breakup odds and ends. There’s a bittersweet irony here as Led Zeppelin skillfully plays off the post-punk sounds of the time. “Ozone Baby” hinted at a new era that never came to fruition. “We knew how to make that s— up,” Plant later told CBC, “but we were too busy trying to write eight-minute epics about crossing the Atlas Mountains.”
No. 18. “Wanton Song”
From: Physical Graffiti (1975)
“Wanton Song” has a chaotic quality that reflects its origins in soundcheck jams during a U.S. tour in 1973. Yet, as is often true with Led Zeppelin, real craftsmanship underpins everything. Page employs intriguing effects and echo to create great tension while John Bonham adds new dimensions to a funky rhythm reminiscent of 1971’s “Immigrant Song.” Plant’s somewhat rough vocal matches the salaciousness of the lyrics, although he would later refine it in subsequent performances of this song.
No. 17. “For Your Life”
From: Presence (1976)
This track serves as a fierce critique of the excesses prevalent in Los Angeles during the era when Plant and Page wrote most of Presence, even though it was completed far away in Munich. The lyrics target superficial relationships and rampant drug use while Bonham unleashes powerful yet surprisingly agile polyrhythms. Plant later described it as “a bitter treaty with rock ‘n’ roll,” with Page matching his venomous attitude strum for strum.
No. 16. “Bring It On Home”
From: Led Zeppelin II (1969)
Led Zeppelin paid tribute to – and expanded upon – “Bring It On Home” just a few years after Sonny Boy Williamson II released his seminal version. They echo Williamson’s single at both the beginning and end but infuse it with far more carnal danger before inserting an original midsection that rattles with creativity. However, Led Zeppelin did not credit the original composer, leading to a significant lawsuit over copyright infringement.
No. 14. "Ten Years Gone"
From: Physical Graffiti (1975)
This trippy epic was shaped by Page prior to Led Zeppelin’s early-1974 sessions at Headley Grange. Page recalled that there are multiple sections and movements within “Ten Years Gone,” which he had constructed before entering the studio. An emotional turn by Plant almost elevates it into their best power ballad aside from “Stairway to Heaven.” However, this intricate arrangement required John Paul Jones to play an unwieldy triple-neck guitar during live performances.
No. 15. “Hots On for Nowhere”
From: Presence (1976)
“Hots On for Nowhere,” despite its upbeat vibe, stemmed from discontent during Plant’s lengthy recovery following a car accident; he mentions friends who offer him support or those who give him nothing at all. Page’s accompanying solo is tough yet customary until he unleashes an eye-popping twang in the middle using a tremolo arm on a Lake Placid Stratocaster reportedly borrowed from Gene Parsons of Byrds fame.
No. 13. “Custard Pie”
From: Physical Graffiti (1975)
“Custard Pie” also emerged from sessions at Headley Grange that produced enough material for about three sides of music; instead of making careful cuts for a single LP release, Led Zeppelin chose to fill out their double-disc release with earlier leftovers that were occasionally less interesting. Ultimately, they lost considerable momentum after starting strong with “Custard Pie.” Page ran his explosive guitar solo through an ARP synthesizer, making it almost worth the price of admission.
No. 12. “The Song Remains the Same”
From: Houses of the Holy (1973)
The band had played numerous shows by now and accumulated plenty of stories to tell; this made it easy for Plant to add road-themed lyrics to what began as a Page instrumental simply called “The Overture,” intended to precede “The Rain Song.” His inventive arrangement led Led Zeppelin into a nifty half-tempo section on “The Song Remains the Same” before ramping up to a furious conclusion; it’s a glimpse into the creative inventiveness that characterizes this often-overlooked LP.
No. 11. “How Many More Times”
From: Led Zeppelin I (1969)
This track features Page using his iconic violin bow for a second time after its introduction on “Dazed and Confused,” which does not qualify for this list since it was a B-side to “Babe I’m Gonna Leave You.” Both songs had been developed since Page’s early Yardbirds days by piecing together various elements into a larger whole; according to Page, “How Many More Times” was played live in studio settings.
The song showcases some impressive bow work by Page; he noted he improved significantly with this technique over time.
No. 10. “In My Time of Dying”
From: Physical Graffiti (1975)
This song finds Led Zeppelin transforming Blind Willie Johnson’s timeless gospel tune through Bob Dylan’s cover from the ’60s into their own version featuring layers of guitars by Page and another inventive time signature from Bonham; despite its complexity, “In My Time of Dying” was largely recorded just as it sounds live.
“This is Led Zeppelin just going for it for an eleven-minute song,” Page explained to Rolling Stone, highlighting all its changes and musical intricacies.
No. 9. “Thank You”
From: Led Zeppelin II(1969)
In his first complete set of lyrics ever written, Robert Plant offers an ode to … marital bliss? This track bears similarities to Jimi Hendrix’s contemporary song “If 6 Was 9,” which includes lines echoing “If the sun refused to shine” and “If mountains fell into sea…” Interestingly enough, “Thank You” also features Jimmy Page playing an acoustic solo.
Led Zeppelin had small ways to surprise even in their earliest days.
No.8.”No Quarter”
From: Houses of the Holy (1973)
“No Quarter” stands as a triumph of quiet innovation showcasing Jones’ overlooked genius while exemplifying striking diversity found on Houses of The Holy . Did this make for great album? Not if listeners hoped for more sludgy derivative early songs instead “No Quarter” confirmed that band who began by ripping off old blues artists had brilliantly synthesized those early influences into something new.
They’d become one rock’s most deeply involving—and completely fearless—voices.
No .7."Nobody’s Fault But Mine"</ strong >
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From:<em> Presence </ em > (1976)
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Another ’20s-era Blind Willie Johnson song transformed by Led Zeppelin into stammering recollection their own fall grace.
Yet Plant’s positively vitriolic harmonica solo is anything but introspective.
A triple-tracked Page then took things up notch—actually several notches—by applying phaser while playing one guitar octave higher.
“Nobody’s Fault But Mine” might come off like loose jam first but actually all carefully constructed choreography.
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<strong>No .6."That’s The Way"</ strong >
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From:<em> Led Zeppelin III </ em > (1970)
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Led Zeppelin had begun hinting they contained multitudes.
“It was not all blood thunder,” Plant mused later Dan Rather.
“There was delicacy about it too.” That certainly true elegantly conveyed “That’s The Way,” written during retreat bucolic Bron-y-Aur Wales.
As song built emotional conclusion Page became something Swiss Army knife.
He added dulcimer atop track already included acoustic guitars pedal steel then dubbed Jones’ bass parts too.
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<strong>No .5."What Is And What Should Never Be"</ strong >
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From:<em> Led Zeppelin II </ em > (1969)
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This has fun kitchen-sink attitude.
Plant dabbled phased-out vocals while Page’s guitar swept side side across entire stereo spectrum.
As spun “What Is And What Should Never Be” also shined deft light this group’s two strengths:
It folky ruminative one moment brawny tough next.
John Bonham leads way.
Despite justifiable reputation stick-breaking pounder “What Is And What Should Never Be” underscored sweep Bonham’s considerable talents.
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<strong>No .4."In The Evening"</ strong >
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From:<em> In Through The Out Door </ em > (1979)
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A throwback their first albums very best sense word:
“In The Evening” kicked off<em> In Through The Out Door </ em > spiky riff might easily emerged decade earlier retained dizzying sense musical gumption eventually took collective career next level.
Only problem? As LP unfolds nothing else really matches leering thrillingly metallic plea love.
It remains Page’s best turn<em> In Through The Out Door </ em > studio project could’ve used lot more.
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<strong>No .3."Ramble On"</ strong >
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From:<em> Led Zeppelin II </ em > (1969)
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Plant’s storytelling begins combine stereotypical blues-dude pursuits looking woman never sticking around long some seriously mystic<em> Lord Of The Rings </ em > vibes.(Mordor Gollum Evil One presumably Sauron? – name checked late “Ramble On.”) Fun fact: remains unclear how Bonham created pattering rhythmic accompaniment.Either way Plant would return worlds J.R.R.Tolkien both “Misty Mountain Hop” “Battle Evermore.”
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<strong>No .2."Achilles Last Stand"</ strong >
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From:<em> Presence </ em > (1976)
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Plant offers first hint LP’s autobiographical turn alluding tax-exile status.He also chose title winked severe ankle injury suffered car accident:(Greek mythology Achilles brought down arrow heel.)Page piled six guitars while Jones added distinctive bass line.But no match Bonham monstrous drum work serves lead instrument song’s first half.Set standard shifting time signatures would dominate next wave heavy metal.
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<strong>No .1."House Of The Holy"</ strong >
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From:<em> Physical Graffiti </ em >(1975)
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It actually good thing Led Zeppelin left “House Of The Holy” off most recent studio album.This catchy pop-metal song grounded what could otherwise overloaded weirdly experimental project.At same time no Led Zeppelin track smartly married Plant’s idiosyncratic obsessions both fantasy sex:"<em> In my hand sword gold.Let me wander your garden seeds love I’ll sow.</em> ” Hard believe ever shelved even Bonham stubbornly squeaky kick pedal.
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<div class="photogallery-description"><p> It took while but finally got things right.</p></ div ><p class="photogallery-credit">Gallery Credit: Nick DeRiso</p></ div ><p style="text-align:center"><strong> Listen Kevin Shirley 'UCR Podcast'
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