In Through The Out Door

All transcriptions taken from Jeff Lybarger's Song of the Day Webpage!

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"In The Evening"
Today's choice for "song". Track I, clocking in at 6:48, "In The Evening".

Somehow this seems typical, trying to articulate on a song called "In The Evening" while it's bloody 5:00am. Ever onward... Jimmy starts out with some eerie bowed guitar while Bonzo sounds like a thunderstorm creeping up behind you. Robert utters the title of this song and then...BASH, "Houston, we have lift off". An incredible Page riff and Bonham just tearing it up with Jonesy holding the bottom end down tight. This is a MONSTER. Remnants from that pissed off "Presence" era?

Jimmy playing his blue Stratocaster and squeezing the life out of it. Zeppelin shows the world HOW to rock. Plant's voice sounds so smooth, the way he hits certain notes and glides in and out of the riff, showing that he just kept getting better and better. The chorus, " Oh, oh I need your love..." takes a totally new direction and when everything stops, just before they re-enter the main theme, the anticipation keeps our ears glued to the speakers.

Jimmy's solo, wow, what a beautiful solo. Another song with-in a song. That wicked sound you first hear at the start of his solo is Jimmy depressing the whammy bar down very fast and letting it "fall" back into position. Jimmy has said he wanted people to hear that and go "What the hell"?, well, he achieved just that. The solo has bite, great chops, emotion, and then things slow down and Jimmy lays some beautiful blues on us as a topper. Pure freakin creative genius. The "sonic architect" in all his glory.

My favourite lyric in "...Evening" is the line, "Hey, it's lonely at the bottom, nasty at the top, and as you stand in the road, ain't no way you gonna stop". Very prophetic and soooo cool the way he says "nasty". "...Evening" was only played live at the tail end of Zeps career, 79-80. The Copenhagen versions were really good. I personally don't care for the ' 80 versions, it was too fast and Jimmy's guitar was lost as the keyboards dominated. Fortunately Page/Plant revised this on their "No Quarter" tour, and that is my favourite live version. You had this beautiful Egyptian orchestra intro, and when the song kicked in it was played at a slower tempo, much more powerful and Jimmy's guitar really stood out. The slow middle section included a bit of "Carouselambra" and then there's the "It's got to stop, it's got to stop..." section. Those of you who saw them and/or have boots from that tour know what I mean.

So, there you have another in the long line of classic Zeppelin. Another testament that even toward their end they could out-rock any band around.

"South Bound Saurez"
Perhaps not regarded as one of Zeppelin's greatest achievements, but for me this song always brings a smile. It conjurs up images of good times and warm days, so with that thought in mind, let's enter In Through The Out Door, and take a trip back to track two, clocking in at 4:11, "South Bound Saurez".

A rollicking piano courtesy of John Paul Jones rings this track in. Up tempo and boogie woogie filled, Page joins in with stabbing riffs on the Gibson, and Bonzo keeps things steady with his usual flair and a constant hi-hat. There is a light-heartedness to this track, which is really a welcome breather after the very *thick* "In The Evening". The groove and the feel good vibes are felt in Robert's lyrics as well, as he embellishes' on one of his favourite topics: The Chase.

"Baby, when you walk that sweet walk,
oh you walk it good, yes you walk it good...
Baby, when you talk that sweet talk,
it sounds so good, oh so good...

With a little bit of, o' concentration,
and a little bit of helping hands,
yeah and a little bit of, raving madness,
hey you know it makes me feel baby,
both my feet are back on the gound..."

I like the way Robert doubles some of the lines here. It's like he does it purposely just slightly off. Not trying to be perfect, and that looseness comes across in very cool way. Almost sounds like he's talking the lines in the background. Another neat aspect to this song is the way Jimmy lays back, allowing John Paul's piano to lead the way. So many guitarists have to be out in the front at all times, but Jimmy, always thinking of what is best for the SONG, does what is required here. This approach, not only on this song, but throughout the Zeppelin catalog, is another example of what set them apart from most other bands. Nobody steps on the other guys toes, and that mutual respect, for each other, and the song, is too often missed in music today.

"And when the rhythm takes it,
it feels so good, oh so good,
Baby, if it keeps a shakin'
it'll do you good, yeah so much good...

With a little bit of, o' stop a shakin', shakin'
and a little bit of, slide right down...
whooo, just a little bit of sweet con-carne, yeah
it makes me feel, makes me feel,
got my feet on the ground..."

Jimmy takes off with a fuzzed out solo, showing his touch for a catchy "left of heaven" solo was still in tact. Jimmy really goes for it here, and the guitar lines, while brief, are very effective. His solo does everything a solo should, it lifts the song up, without taking away from anything, and then, just as quickly as he entered, he's gone, and it's back to the main riff.

Robert runs through another verse, and as we get to the closing section, he kicks into the "Sha na na na, sha na na na la" part. Sections like this and the outro on the "Ocean" are so cool, you just can't picture any other ROCK band doing these things. The fact that Zeppelin did do it, and could get away with it, reveals just how diverse the talent in the band was. And is. Always expect SOMETHING different from them.

This song has one of Robert's funniest lyrics ever in it. In the closing verse he sings: "And I'm so glad, so glad, so glad, so glad, and I'm good, oh so good". YES, Mr. modesty he ain't. But he's right you know, he IS good.

Zep never did perform this live in concert, but who knows what the future of Page/Plant may hold. One of only two songs that Zeppelin recorded that did not list Jimmy as a songwriter. This is a Jones/Plant collaboration. In Through The Outdoor has it's fans, and its detractors, but I have always admired this album, many good songs, and it showed the talents of John Paul Jones more, from writing, to playing, to arranging.

"Fool In The Rain"
Inside the brown paper bag lies quite an album. John Paul asserts himself more and Zeppelin takes on a slightly different feel. Today, track three shall be our destination, clocking in at 6:08, "Fool In The Rain".

One thing that completely caught me off-guard at Zepfest ' 96 in Cleveland was how many DGers/Zep fans there are that don't like this album, and particularly this song. I had never known anybody who didn't like it. Maybe it's too "pop" in some places, or too keyboard heavy, I don't know, but I still think it's a helluva good album, and once again showed the diversity of Led Zeppelin.

"Fool..." starts off with a bouncy beat and a happy kind of feel to it. Certainly it doesn't sound like your typical "pop" song, and at 6:08 it is certainly to long for most radio programmers, yet it gets played a lot. Why, you ask? Simple, it is a good song. Robert sounds very good and Bonzo is terrifying throughout, especially the middle section.

As the song starts the feeling is very upbeat, Jimmy laying back and Robert enters,

"Oh baby...
Well there's a light in your eye that keeps shining
like a star that can't wait for the night
I hate to think I've been blinded baby why can't I see you tonight"?

As the song continues at the same happy tempo Robert tells a story of a lost love, someone that has promised to be true, but obviously wasn't. I love that contradiction, happy music, sad lyrics.

"... I'm standing here feeling blue, blue, ah, babe I'm blue
Oh well

Now I will stand in the rain on the corner
I'll watch the people go shuffling downtown
another ten minutes no longer
and then I'm turning around, round..."

That "feeling blue, oh well" part is just classic. I love the way he so nonchalantly says, "Oh well". It's like he's hurting, but, ya know, what the hell can ya do? Anyway, after he sings the "light of the love that I've found..." things take a drastic turn. Everything stops, we hear a whistle, can you believe that, a whistle right in the middle of a Zeppelin song, and then Bonzo takes over. And I mean TAKES OVER!!!

This middle section is so amazing. Jonsey gets things started with some cool piano licks. Then Bonzo enters. The drumming there sounds like at LEAST two drummers. Maybe three!!! But no, it's just Bonzo! The man was simply phenomenal. Listen closely to what he plays here, slowly building into a crazed frenzy, faster, fasTER, FASTER!!! Then, right back into that mid-tempo groove from earlier, with some great Bonham fills to boot.

Jimmy follows with some cool fuzzed out lines. His leads at this point are just so expressive. Dripping with emotion. Adding yet another colour to the Page arsenal, with that heavy "fuzz".

Back to the verse section and Robert takes us home.

"Ooh now my body is starting to quiver
and the palms of my hands getting wet,
oh I got no reason to doubt you baby
it's all a terrible mess

And I'll run in the rain 'till I'm breathless
when I'm breathless I'll run 'till I drop,
hey The thoughts of a fool's kinda careless
when's just a fool waiting on the wrong block"

I don't know about you, but "when I'm breathless I'll run 'till I drop" to me is a beautiful line.

"Fool..." was a song largely inspired by South American samba music that Robert had heard while taking in the World Cup in 1978. This explains the speeded up mid section. So cool how Zep would totally change directions in the middle of a song, and not only keep our attention, but always landed squarely on their collective feet.

This was also one of the ideas Robert wanted to try out to keep things evolving, essentially keeping his interest. It seems that he was starting to put forth a more assertive hand on things at this time.

"Fool...", released as a single, climbed the charts to number 21. Pretty impressive for a six minute plus song. They never did perform this song in a live setting, probably too much for Jonsey to cover. Certainly it would have been an interesting number to hear live, especially Bonzo and that middle section.

So, to those who don't care for "In Through The Out Door", please reconsider. This is a really good album. Different, but good. What a follow up to "Presence"! As for "Fool...", I will repeat what I've said before, the drumming on this song is simply out of this world. If for no other reason, listen to Bonham. Incredible.

"Hot Dog"
Ever onward, as someone once said. OK then, how about we venture down south and give good ol' Audrey a visit? What, you don't know who Audrey is? Well she was this ever persistent little groupie who was constantly following our dear Robert around. Seems she just wouldn't leave him alone. So he dedicated a song to her. Down deep in the heart of the lone star state we go, from the "In Through The Outdoor" album, track four, clocking in at 3:17, "Hot Dog."

Roy Clark joins Led-Zeppelin? Sure sounds like it from that intro. Jimmy kicks in with a very fun (and funny) attempt at some good old fashioned country rock. Whoa, hang on a second! Led-Zeppelin in a hoe-down? Oh man, these guys will try anything. Of course considering the time when this was recorded helps explain some of Jimmy's, umm, short comings. His accuracy wasn't quite there, but hey, maybe he meant it to be that way, who knows? The solo is a scream, only Pagey could come up with that one.

While Bonzo is as solid as usual, it is John Paul who really shines through on this track. His honky tonk piano is just amazing. His versatility as a musician is quite evident, as he effortlessly eases into this song. In fact he shines on the entire "Outdoor" album, showcasing his talents many times over. The piano solo in the intro is happy and fun, and really helps set the vibe for the entire piece.

A song about a certain "girlfriend" of Robert's who lived in Texas and was always there whenever the group hit the state. Robert's lyrics are a hoot as well. Reflecting on personal experience here or making it up? Who knows with Robert. The tongue is very much planted deep in his cheek.

"Well well well I just got into town today,

to find my girl has gone away...

She took the greyhound at the general store

I searched myself I searched the town,

but when I finally did sit down...

I found myself no wiser than before...

She said we couldn't do no wrong

no other love could be so strong...

she locked up my heart in her bottom drawer...

Now she took my heart she took my keys

from in my old blue dungarees...

and I'll never go to Texas anymore..."

Well what to say after that? You just have to love the humour that Zeppelin, and particularly Plant, exhibited during their career. The ability to carry that over to song and do it well is something to be much admired. Robert's lyrics are just too funny in this song, but my favourite line is this: "I took her love at 17, a little late these days it seems, but they said Heaven's well worth waiting for." 17? A "little late?" That has to be Pagey telling him that: "Gotta get 'em when their 14 Robert." Then the classic line that follows: "I took her word I took it all, beneath a sign that said U-haul, and she left angels hangin' 'round for more."

Ah yes, a bit of humour is what we need, and Zeppelin is the perfect vehicle for that. "Hot Dog" began its life at rehearsals in London as they dove into some old fifties songs to warm up. A nod to Elvis and all of their rockabilly heroes, a brief "light" moment for the band, both in the studio and on the stage. "Hot Dog" was premiered at the Copenhagen warm up shows in 1979, and would stay in the set for the Knebworth shows as well as the 1980 "Over Europe" tour. An actual promo video was made for "Hot Dog" and released by Swan Song to the record industry. The video contained footage of the Knebworth performance.

The ability to poke fun at oneself is a very good trait. A good lesson that we would all be wise to adhere to. So have a laugh, have some Zeppelin, and remember... smile people, it's only life.

Today that we will examine one of Robert‟s greatest songs ever, from a lyrical standpoint and one that many people don‟t have any idea as to what he‟s singing about. Now I don‟t claim to have some insider information and I am not here to tell you that my feelings and thoughts on this song are the be-all, end-all of truth, it is quite possible that I am completely off base and wrong on every aspect. But, until Robert sits down and clarifies it for us, it is left to us to decide for ourselves. So pull out your copy of “In Through The Outdoor” and turn to side two, track one, another lengthy piece, clocking in at 10:34, “Carouselambra.”

Robert once gave an interview and when asked about “Carouselambra” he said it was about someone who would one day realize it was about them and they would be taken back by it and ask; „My God, was it really like that?‟

I have a theory as to who that „someone‟ is and also what this song is about. I am not going to explain it all because it might anger some people and it may give the impression that I am claiming something that I am not. I will say this though, in hopefully a rather typical, cryptic Robert Plant manner, that if you consider certain events that took place in 1977, and what has happened every year, it seems, since the three surviving members of Led Zeppelin first reunited for Live Aid, I don‟t believe that I am off the mark here.

I will also say that I can relate to this song in a very direct way. To me, and this is based on my own experience with certain people in my life who claimed to be “friends” but later proved they were not friends at all, this song is full of resentment and sadness. The lyrics tell the tale. All you have to do is study them, look at 1977… particularly the mid-summer of that year and what transpired shortly after that, and I believe the picture will become clearer for you.

The song starts off with John Paul‟s synthesizer playing a repeating three note riff before Bonham and Page join in and the song is as energetic as anything in their history, only here the synth is the lead instrument whilst Page‟s guitar is lower in the mix. A furious pace pushes the song forward, as if racing towards an imaginary finish line while showing, yet again, that Zeppelin knew no boundaries.

It was a song that literally shook people up when it was first released because this wasn't the type of song most expected from the band that brought you “Whole Lotta Love.” „Ever onward‟ was a Zeppelin motto, and on this song, as the 1970‟s were drawing to an end, ever onward was indeed at the heart of this classic track.

When Robert enters, his vocals are really buried in the mix, making it extremely difficult to discern what he‟s saying. I would assume that this was Plant‟s idea, though I have no idea why he would want these great lyrics, and another phenomenal  vocal performance, to be hidden away behind a wash of keyboards and drums.

Sisters of the way-side bide their time in quiet peace

Await their place within the ring of calm;


Still stand to turn in seconds of release

Await the call they know may never come

In times of lightness, no intruder dared upon

To jeopardize the course, upset the run;


All was joy and hands were raised towards the sun

As love in halls of plenty overrun

Ah-ah Ah-ah Ah-ah Ah-ah

Once again John Bonham is simply superb here. I've heard stories that he wasn't in the best of shape while recording this album, but listening to this song, or any song from “Outdoor,” leaves me questioning that thought process. He plays things that are so complex, so intricate, and yet he makes it all sound so easy. Not only is his timing impeccable, but the little fills he throws in throughout are just an absolute joy to listen to and would be another point of interest for any young aspiring drummers. Just check him out between 1:08-1:10.

Still in their bliss unchallenged mighty feast;

Unending dances shadowed on the day


Within their walls, their daunting formless keep;

Preserved their joy and kept their doubts at bay

Faceless legions stood in readiness to weep

Just turn a coin, bring order to the fray;


And everything is soon no sooner thought than deed

But no one seemed to question anyway

Ah-ah Ah-ah Ah-ah Ah-ah

Things change slightly just after this verse as the band keeps you guessing as per usual. Jimmy plays a cool riff as his guitar finally creeps up into the mix, but then suddenly we are back to the main synthesizer-driven theme.

How keen the storied hunter's eye prevails upon the land

To seek the unsuspecting and the weak;


And powerless the fabled sat, too smug to lift a hand

Toward the foe that threatened from the deep

Who cares to dry the cheeks of those who saddened stand?

Adrift upon a sea of futile speech


And to fall to fate and make the 'status plan'

And the Lord there in Heaven would never preach

I'm singin' 

Ah-ah Ah-ah Ah-ah Ah-ah

Oh-oh… oh-oh… oh-oh… ohhh

Oh… Oh… Oh…

During the “Oh-oh” sections the music shifts around a bit, alternating between Jimmy‟s riffing and mellower sections before finally, at 4:06, settling into a nice arpeggiated section from Jimmy and then, yet again, the song shifts down, turning the mood of the piece into one of reflection and mourning.

Where was your word, where did you go?

Where was your helping, where was your bow?


Page shines through this section, using the Gibson Doubleneck and playing some very fluid and hypnotic chords. Jimmy employed the use of a Gizmotron on this song, causing a deeper drone-like sound and adding sustain to the notes. Though the Gizmotron was extremely temperamental, making it a bit of a pain to work with, it does show here that it had its uses and could create some cool sound effects.

Just as quickly as the song slows down, it picks right back up again with more arpeggiated notes from Page before it once again resumes it slower, melancholy section.

Dull is the armor, cold is the day

Hard was the journey, dark was the way


And again the song picks up and once again I would be remiss to not mention the playing of John Bonham. No matter the style or genre of song, he could play it to perfection and the things he does during this song are simply more proof of his prowess as a drummer. When this section kicks back in, his drums 6 are just amazing and he plays a very cool pattern at the 6:18- 6:19 mark. It‟s some of the little things he did; the subtle things, that separated him from any other rock drummer.

As the next verse comes in Plant sounds defiant; almost angry! And it is Bonham‟s drums that reflect that and pound that point home.

I heard the word; I couldn't stay


I couldn't stand it another day, another day

Hey- ey another day… another day…

John Paul takes over again as he drives the song forward, pulsating notes charging from his synthesizer and Bonham furiously following him.

Touched by the timely coming

Roused from the keeper's sleep

Release the grip; throw down the key

Held now within the knowing

Rest now within the peace

Take of the fruit, but guard the seed

Page enters with a forceful guitar, switching from a rousing riff to stabbing chords out in rhythm as the song keeps building behind Bonham‟s manic drumming and Jonsey‟s ever present synth.

They had to stay! 

Held now within the knowing

Rest now within the beat

Take of the fruit, but guard the seed

Oh, take of the fruit, but guard the seed

As the song winds down we get treated to some wild sounding synth notes from Jonsey as Page and Bonham keep things going before the song just slowly fades out.

Sadly, Led Zeppelin never had the opportunity to perform this piece live, as Bonham passed during rehearsals for what would have been the 1980 US tour. “Carouselambra” was ear-marked as a piece for the new decade and would have certainly been an enthralling piece in a live setting.

During the Page/Plant tour in 1995/96, Robert would add a few lines from “Carouselambra” in the middle of “In The Evening,” often times mixing the lyrics around, sometimes changing them slightly, but that‟s as close as this track ever was to being played live.

For reasons that I cannot fathom, there are a number of Led Zeppelin fans who don‟t find favor with “In Through The Outdoor” and that is something that completely mystifies me. Some call it the “John Paul Jones album” and while Jonsey certainly has a lead role in the music, both the playing and writing, what he brings to the table with this album is simply stellar material.

I never have and never will understand people who criticize a band for expanding their horizons or reaching out and trying new things. And Zeppelin did this throughout their entire career; from the hard rock/blues of “Zep II” to the mellow, acoustic sounds on “Zep III,” from the many genres flirted with on “Physical Graffiti” to the back-against-the-wall angst of “Presence” and on through to the “John Paul Jones album.” This is what made Led Zeppelin so great and so unique. They never released the same album, not even close. 

“In Through The Outdoor” is filled with many great songs and triumphant moments and it‟s a shame that some fans choose to turn a blind eye to the brilliance that encompasses this material.

"All My Love"
When attempting to explain this next song to someone who is unfamiliar with Led Zeppelin – i.e., someone much younger – the best way that I can do that is to tell them to imagine baring their soul for the entire world to see and then facing the scrutiny that ensues because it isn't what most people expect from you.

And so it is today that we find ourselves trying to make our way “In Through The Out Door,” side two, track two, and the lovely and melancholy “All My Love,” clocking in at 5:53.

One of the few times in my life that I found myself in complete and total disagreement with Jimmy Page was the way he perceived this song. Page was quoted in a 1998 Guitar World interview that he “wasn't really keen on "All My Love". I was a little worried about the chorus. I could just imagine people doing the wave and all of that. And I thought, that's not us. That's not us. In its place it was fine, but I wouldn't have wanted to pursue that direction in the future.”

From the time this album was released in 1979, I have always adored this song. It is full of emotion and it is downright heart-wrenching at times and the lyrics by Plant are some of the best ever written, not just by Robert, but by anyone.

The kind of raw emotional out-pouring that is on display in this song is something that is sadly missing from most music and I feel it is that absolute honesty that really pulls me in and connects with me so deeply. Not to put any other band or musician down, but this isn't some Foreigner stadium anthem proclaiming „I want to know what love is…‟ This is just pure, naked emotion. It is Robert Plant stepping out from behind the curtain, lifting that sacred veil of secrecy that shadowed Zeppelin‟s every move.

Many people believe this is a dedication to Robert‟s young son, Karac, who died suddenly in 1977 at the tender age of five. And whilst there are a couple of lines that seem to indicate a strong connection to Karac and I believe are certainly about him, the song itself is, to me, Robert singing to his wife, Maureen, and how they must face the death of their son together and try to forge on as a unit.

It is a known fact that many couples who lose a young child eventually have their marriage fall apart. It is probably the single worst thing any couple could go through and for me to say that I could only imagine what Robert and Maureen were dealing with would be a grave injustice to them both, because I have no idea what that is like. I have not lost a young child and so there is simply no way I could even begin to fathom what that terrible sense of loss must be like.

To me, this song represents Robert communicating with his wife in the way he knew best; through song. I would imagine that they spent countless hours, days, weeks, months and perhaps even years, talking about this and trying to come to grips with it, and so perhaps this song is a sort of exorcism for Robert in that he can convey his feelings through his art. All I do know for sure is that this is one of the most eloquent and touching songs of love that has ever been written. And that‟s my main gripe with Page and his comment about this song, because surely he knew what it was about. I cannot comprehend Page being blind to the meaning behind this piece and therefor I just was completely shocked by his sentiments regarding this wonderful song.

This track was written by John Paul and Robert – one of only two Zeppelin songs not credited in any way to Page {the other being “South Bound Saurez”} and the song begins with some very mellow synthesizer from Jonsey before Bonham enters with a steady hand on the drums. Page intertwines some beautiful electric guitar lines as well as a very beautiful classical guitar for the solo. Page also employs the B-Bender Tele on this track.

While the music is, as always, top notch, it is the lyrics that are the heart of this song and they take precedence over everything else. There is no sense in breaking these lyrics up, so I will just post them in their entirety and allow you, the reader, to let these words and their beauty wash over you.

Should I fall out of love, my fire in the light?

To chase a feather in the wind

Within the glow that weaves a cloak of delight

There moves a thread that has no end

For many hours and days that pass ever soon

The tides have caused the flame to dim

At last the arm is straight, the hand to the loom

Is this to end or just begin?

All of my love, all of my love

Oh all of my love to you now

All of my love, all of my love

Oh all of my love to you to you now

The cup is raised; the toast is made yet again

One voice is clear above the din

Proud Aryan one word, my will to sustain

For me, the cloth once more to spin

Oh all of my love, all of my love

Oh all of my love for you now

All of my love, all of my love 

Yes all of my love to you child

Yours is the cloth, mine is the hand that sews time

His is the force that lies within

Ours is the fire, all the warmth we can find

He is a feather in the wind

Oh all of my love, all of my love

Oh all of my love to you now

All of my love

Oh oh, yes all of my love to you now

All of my love, all of my love

All of my – love… love…

Sometime… sometime… oh, oh Sometime… sometime… oh, oh

Hey, hey, hey, hey Hey, hey, hey

Ooh-ooh yeah It’s all, all, all, oh all of my love

All of my love, all of my love to you now

All of my love, all of my love

All of my love to - to you and you and you and yeah I get a little bit lonely

Just a little Just a little

Just a little bit lonely 

Just a little bit lonely

Hey – hey – hey…

What can you say? I don‟t know how he does it, but Robert never ceases to amaze me with his lyrical gift. I find myself even more in awe of his writing after I have spent time listening to Jimmy in The Firm or on the Coverdale/Page album and then I return to Zeppelin and I hear lyrics like these and all I can do is shake my head in awe.

I'm not putting Paul Rodgers or David Coverdale down either; they are both fine singers who have had very long careers doing what they love, but this… this is just something so special and so rare…

If you've ever seen the movie Amadeus with F. Murray Abraham as Salieri describing the first time he heard Mozart… and he says… "It seemed to me that I was hearing the voice of God…‟

I think that aptly describes the lyrics in this song as well as many other Plant songs, either in Zeppelin or in his solo career. The thing about “All My Love” is someone could read these words whilst listening to the song and not have a freaking clue as to what it‟s all about and yet, they would still be moved. That is something very special indeed.

Musically, the band is in perfect harmony with the emotion of the song and the sentiment that lies within. Bonzo shows great restraint, never stealing the spotlight, Jonsey plays some of the most beautiful synthesizer I've ever heard and his solo, which borders on classical, is quite a treat and Page, despite whatever misgivings he may have had about this tune, doesn't let it affect his performance. Everything he plays is just so perfect and fits the mood of the song in an absolutely impeccable manner.

During their brief, 1980 Summer European tour, “All My Love” was played and possibly to Page‟s chagrin, was one of the better received numbers. Sadly, that would be Zeppelin‟s final 6 tour and we never had the opportunity to see where things might have gone as they headed into the 1980‟s.

Never the less, “All My Love” has stood the test of time as new generations of fans have discovered the song and fallen in love with it anew, keeping the torch for Led Zeppelin burning bright into the foreseeable future.

"I'm Gonna Crawl"
Attention Zeppelin shoppers, we are running a brown bag special in aisle 9 this morning. Please forgive our mess, as we are under construction to make our store a more pleasurable shopping experience for you. Please follow the arrows around the side of the building. You'll have to enter In Through The Outdoor, to track seven, clocking in at 5:28, "I'm Gonna Crawl".

John Paul opens this track with a gorgeous string arrangement via his synthesizer. At first listen you almost expect this to segue right into an old Gary Cooper movie, but then Bonzo makes his presence felt, and, ah yes, a classic slow blues, with a slight twist.

Jimmy lays back, playing some cool, mellow lines, letting Bonzo and Jonsey carry the plodding beat along. When Robert enters, his singing is relaxed, soothing, pulling the listener in, as if he is personally telling us of his affections toward the young lady that this song is about.

"Oh, she's my baby,

Let me tell you why...

Hey, she drives me crazy,

She's the apple of my eye...

Cause she is my girl,

And she can never do wrong...

If I dream too much tonight,

Somebody please bring me down..."

What an incredible vocal performance by Mr. Plant. The long drawn out, high scream on *down* is truly spine tingling. Bonham rattling off a quick fill behind Robert there, and then stopping, letting the awesome voice go it alone, then re-entering with the slow beat. Such a subtle touch, creating beautiful tension and release, playing off the vocals. Once again John Bonham demonstrates why he is THE drummer of all drummers. A lot of his most special moments are those that don't always stand out at first, but once you notice them you realise what he did couldn't have been done any better, or any other way.

"Hey, I love that little lady,

I've got to be her fool...

Ain't no other like my baby,

I can't break, golden rule...

Cause I get down on my knees,

Oh, I pray that the love won't die...

And if I hold this child please,

I don't know no reason why..."

Robert is on fire now, as the band begins to heat things up, the song starting to rock, he proclaims, "Every little bit, every little bit, every little bit, of my love, I give to you girl". Building and building, Zeppelin as a band reaching climax, and then, Jimmy takes over with one of his most soulful and sad solo's ever. As a guitarist Jimmy has been recognised for many things, but one thing that I've always felt he was overlooked on, is his ability to play blues without playing standard cliché` licks. You almost never hear the same old traditional blues licks that everyone else plays, and this certainly deserves mention.

"Hit me"

His solo on "Crawl" is full of emotion and energy. It sings, it cries, it releases all of the emotion built up in the lyrics. Jimmy feeds off of Robert, and following this masterpiece solo, Robert feeds off of Jimmy.

"I don't hafta go by plane,

I ain't gotta go by car...

I don't care just where my darling is,

people I just don't care how far...

I'm gonna crawl...

I don't care if I got to go back home

I don't care what I gotta say again baby...

She give me good loving....

My baby give me good loving...

Oooh, yes I love her, I guess I love her, yes I love her,

I'm gonna crawl...

And with that, a most emotional tale of love, the Led-Zeppelin reign would come to a close. The final track on the final released album while all four members were alive. Somehow, almost fitting that it ended with a blues song. Zeppelin made a career out of approaching songs with a different angle. Always putting their own twist on things, and this song is no different. Yet no matter how they approached any song, theirs always seemed to be so much better than anyone else could dare dream of coming close to.

Sadly, Zep never performed this song live. Who knows, if the 1980 U.S. tour had indeed happened they may well have performed it, but that's just speculation. A live rendition could have been very special, Bonzo would have been all over this one, and Jimmy's solo's would have evolved nightly, and of course Robert would have found the perfect vehicle to get lost in the blues and go off vocally. While "Since I've Been Loving You" had always been the live blues showcase of choice, it would have been intriguing to see them attempt something different. Robert and Jimmy got into some of that on their "No Quarter" tour, unleashing the first live showings of "Tea For One", but as of today, it's all up to our imagination as to how "I'm Gonna Crawl" would have sounded in concert.

So crank it up, close your eyes, and imagine...