“Whole Lotta Love”
01. As a whole, the opening track shows off its bluesy rock core, picking up where Led Zeppelin left off, and allowing this second effort to feel like the logical extension of the first before it deviates.
02. Jimmy Page’s contributions throughout! I mean, it kicks off with one of the most recognizable riffs in all of rock music (one that just about every burgeoning guitarist has had to learn), and then Page complements it with an awesome soaring sound during the chorus, not to mention an additional killer guitar solo towards the end.
03. Robert Plant’s opening lines — “You need cooling/ Baby, I’m not fooling/ I’m gonna send ya/ Back to schooling” — are just as synonymous with the genre. As with a few Led Zeppelin classics, it comes from someone else (in this case, Willie Dixon’s “You Need Love”, for which he sued the band in 1985 and won), but they make it their own.
04. The sexuality of it all (which would become a Led Zeppelin staple). For one thing, Plant’s moans — which oscillate between stereo channels to increase the effect — represent the risqué nature of classic rock at its height. Also, the line “Shake for me girl/ I wanna be your back door man” is an overt double entendre, as its purported primary meaning relates to the blues-rock trope of a man escaping from an adulterous situation.
05. The choice to wait until just before the chorus for John Bonham to storm in. It shows strong dynamic range and really pulls you in once it gets going.
06. Speaking of ebbs and flows, the atmospheric break in the middle (which eventually gives way to Page’s solo) is striving, surreal, and even a bit sinister. It also signals how much more unpredictable and experimental Led Zeppelin II is compared to the debut, due in part to Page’s use of a Theremin.
07. How the tune became Led Zeppelin’s biggest single ever (reaching No. 4 in America, with “Living Loving Maid (She’s Just a Woman)” as the B-side) without them even wanting to release it. Going off of that, how Page fought against a shortened version coming out in the UK at the time. However, in 1997, a 4:50 edit was put out to commemorate the group’s 30th anniversary.
08. It spawned countless cover versions over the years, with artists such as Mary J. Blige, Jack Johnson, Alexis Korner, and Tina Turner taking a crack at it. Also, the Collective Consciousness Society’s version wound up being used for the BBC TV show Top of the Pops.
“What Is and What Should Never Be”
09. It’s one of the earliest times Page used his trademark Gibson Les Paul on a track. It’s also the premiere of Bonham’s Chinese gong, as well as the first time Page and Plant are credited as the sole writers of a piece.
10. Its subject matter — allegedly around the protagonists’ taboo desire to sleep with his wife’s younger sister — is finely alluded to with lyrics like “And if you say to me tomorrow/ Oh, what fun it all would be / Then what’s to stop us, pretty baby? / But what is and what should never be?”
11. The stark shifts between its sparsely contemplative verses (with a daydream vocal effect) and its riotous chorus.
12. The harmonies after the chorus. They’re understated but lovely.
13. The quirky way Plant pronounces “happiness.” It’s objectively so cool.
14. Page’s [un]intentional foreshadowing of “Living Loving Maid (She’s Just a Woman)” about three and a half minutes in.
“The Lemon Song”
15. The way it maintains Led Zeppelin II’s exploration of sexuality, particularly with racy imagery like ‘Squeeze me baby/ ‘Till the juice runs down my leg/ The way you squeeze my lemon/ I’m gonna fall right out of bed.” Of course, “squeeze my lemon” comes from two 1937 blues classics –Robert Johnson’s “Travelling Riverside Blues” and Arthur McKay & Roosevelt Sykes’ “She Squeeze My Lemon”, the first of which Led Zeppelin covered live in June 1969 — but they once again do something special with it.
16. Along the same lines, how it demonstrates their ability to modernize someone else’s song (in this case, “Killing Floor” by Chester Arthur Burnett aka Howlin’ Wolf). Actually, they initially called it “Killing Floor” and ultimately had to give Burnett credit as a co-songwriter. It’s blatantly similar to the original, but it’s also different enough to feel distinctive.
17. The Hendrix-esque style Page implements. In particular, it’s kind of like if “Foxy Lady” were grimier and followed a basic I-IV-V chord progression.
18. John Paul Jones’ bassline is consistently bouncy and intriguing — but also pretty simple — as it moves around Page’s strikes. It really stands out during the cooldown (about three minutes in).
19. The sudden tempo changes that keep you on your toes!
20. The bizarre echoes at the end. These little, signature touches deviate from the norm and brand the record as subtly weird.
21. In general, how it showcases their evolution as acoustic ballad songwriters (which would obviously continue on the acoustic-heavy Led Zeppelin III with gems like “Tangerine”). Sure, their debut had “Your Time Is Gonna Come”, but “Thank You” is a clear step beyond that, allowing Side A to end exquisitely.
22. The peacefully nostalgic fade-in, as it both sets you up for gentle splendor and expertly juxtaposes the aggressiveness of the prior three selections.
23. The fact that it’s a tribute to Plant’s then-wife, Maurine (so Led Zeppelin II finds him tapping into romantic cheating and commitment in nearly one fell swoop).
24. On that note, it’s the first song whose lyrics Plant wrote by himself — at Page’s suggestion — with bookended nods to Hendrix’s “If 6 Was 9” and wonderful original poeticisms such as “Tears of loves lost in the days gone by” in the middle.
25. Page’s backing vocal during the “Little drops of rain” portion, more so for how they cement his shared leadership with Plant than for their quality.
26. Jones’ Hammond organ accents, which are just about as important as Page’s twangy 12-string strums in terms of making “Thank You” so gorgeously affecting.
Click ahead for Side B and more reasons to love Led Zeppelin II…