John Paul Jones would answer, “Yes.” I have contemplated this question for some time now: is Led Zeppelin worthy of being labeled a “progressive rock” band? Although best remembered for the being the premier hard rock band of the 70s, Led Zeppelin could easily fit into the category of progressive rock-at least to some extent. For a band that never released a single, never performed on “Top of the Pops” (or any other television program), and was able to get away with leaving their name off their album covers, the Zep certainly achieved a level of success unmatched by any other band during the “progressive” era. Please bear with me as I detail the history of Led Zeppelin’s gradual transition from blues-based rockers to true “progressive” artists.

The history of Led Zeppelin’s music demonstrates that they are indeed worthy of the “prog” label. Bursting on to the scene with Led Zeppelin I in 1969, the band’s early repertoire was dominated by blues-inspired songs, but early on they were showing signs of being something more than just a hard rock band. Dazed and Confused, memorable for Jimmy Page’s use of a violin bow on guitar strings to eerie effect, which demonstrated just how willing these virtuosos were willing to go to break the mold, one step at a time. Was the album truly “progressive” in the way we think of the word? Perhaps not, but it was a step in the right direction.

Led Zeppelin II was not a significant departure from the first album, many of the themes remaining the same (namely, women and sex), and most of the songs still bluesy in their origins. II, however, did introduce the rock n’ roll world to Tolkien and his masterpiece The Lord of the Rings in the excellent folk-rock piece Ramble On. And so began the marriage of Tolkien and the (progressive) rock world, thanks to Robert Plant’s fascination with Middle Earth. An odd match, perhaps, but it was a wonderful union indeed, one that would inspire generations of future progressive rock artists. (Also, observe the uncanny resemblance between Robert Plant and Theoden. Coincidence? I think not).

Led Zeppelin III demonstrated yet again the willingness of the band to experiment with various styles. An eclectic album to say the least, the boys shift from metal (Immigrant Song) to blues (Since I’ve Been Loving You) to traditional folk (Gallows Pole, That’s The Way, Bron-Y-Aur Stomp) rather seamlessly. Although the decision to include more folk and traditional music was not as well received, III has grown in popularity and respect over the years. It was not until the next album, however, that Zeppelin placed themselves firmly on the mantle of progressive rock.

By 1971 Led Zeppelin had developed such a following that they neglected to put their name on the album cover: and it did not hurt them in the slightest. As a matter of fact, Led Zeppelin IV proved their most successful album, and one of the most influential albums of all time. IV may also be considered their first “pure” progressive album. Although Black Dog and Rock and Roll retain the “standard” rock sound, the rest of the album is undoubtably unique in its composition. The Battle of Evermore, an explicit reference to Middle Earth, and Misty Mountain Hop pay homage to Plant’s favorite literary land. Going to California is a pleasant yet intricate folk song dedicated to Joni Mitchell, the Canadian singer who supposedly captured the hearts of both Page and Plant. Four Sticks may be the first “math rock” song ever composed, a song so complex that it was only performed by the band once in concert. When the Levee Breaks features explosive drums from John Bonham and fine harmonica work from Plant. Finally, there is the iconic Stairway to Heaven, an eight minute long epic with enigmatic lyrics that starts off slowly and builds up to a climax of one of the most impressive guitar solos in rock history. If that does not fit the “progressive” mold, then I don’t know what does.

Zeppelin’s repertoire only became more progressive after the immense success of IV. Houses of the Holy featured two more Tolkien-inspired songs: the folk-rock Over the Hills and Far Away, and the haunting No Quarter. Physical Graffiti not only featured their longest song (In My Time of Dying, eleven minutes), but also perhaps their greatest one: Kashmir, one of the finest progressive rock songs ever composed. Backed by an orchestra, Plant, Page, Bonham, and Jones unleashed in this full scale epic of travels in a far off land, a theme explored by progressive rock groups past and present. Their next album, Presence, although perhaps their weakest, nevertheless featured the powerful (and progressive) opener Achilles Last Stand, as well as the catchy rocker Nobody’s Fault But Mine. Zeppelin’s next and final album (although they did not know it at the time) remains their most progressive. In Through the Out Door is dominated by John Paul Jones’ synthesizers and keyboards, and he is more than a competent keyboardist. His work prior to this album (Trampled Under Foot, No Quarter, The Rain Song) was impressive, but he truly shines on Zeppelin’s last album. In the Evening and Fool in the Rain prove he is more than capable on the keys, but it is his frenetic yet dexterous playing on the lengthy and cryptic Carouselambra that established Jones’ place in the canon of great prog rock keyboardists. This claim may be a stretch to some, as most identify Jones as a bassist, but I would urge the reader to listen to these songs mentioned above before arguing otherwise.

After John Bonham’s untimely death in 1980, the band split up, each man going his own direction. Jimmy Page, one of the most versatile guitarists to ever grace the stage, actually teamed up with Chris Squire and Alan White of Yes to form XYZ (X-Yes and Zeppelin). Although the project was aborted after a short time, it nevertheless demonstrated Page’s willingness to form what could have been a truly “progressive” super-group.

I hope this piece did not drag on for too long, but I felt it necessary to delve deep into and explore the fascinating world of Led Zeppelin. Many consider this group to be among the best, if not the best, in rock n’ roll history, but to me they are more than a standard rock n’ roll band. In my book, they were also one of the finest progressive rock bands of all time.