Complete List Of Led Zeppelin Studio Albums And Songs

Feature Photo: Bruce Alan Bennett / Shutterstock.com

Our Complete List Of Led Zeppelin Studio Albums And Songs presents the band’s entire studio album discography. This list begins with Led Zeppelin I, which was released in 1969. It ends with their final studio album, In Through The Out Door, released in 1979. It does not include the Coda album, released two years after John Bonham’s death. We place that alum in our Led Zeppelin Compilation article because that was an album of unreleased tracks and was never designed by the band to be an official studio album.

I saw Led Zeppelin perform live in 1977 at Madison Square Garden. It was the most incredible concert I ever saw in my life. I have written about that show and the Led Zeppelin live experience multiple times on the site. There has never been a band that sounded like Led Zeppelin. There was also a mystique about the band that no other band, with maybe the exception of Pink Floyd, carried about them. This is a site that focuses on the study of Classic Rock History. Led Zeppelin is the most written about band on the site. That pretty much says it all.

This list presents the original releases for historical purposes. The studio reissues with the bonus tracks and disks will be published in a separate article.

Led Zeppelin (1969)

Released January 12, 1969

In the summer of 1968, the British rock ensemble the Yardbirds came to an end as founding members Keith Relf and Jim McCarty exited the band, followed by Chris Dreja who pursued a career in photography. This left guitarist Jimmy Page with the band’s name and the responsibility to fulfill concert commitments in Scandinavia. To form a new lineup, Page invited John Paul Jones, a well-regarded session musician, to play bass. Although he initially sought Terry Reid for vocals and B.J. Wilson from Procol Harum for drums, both had other commitments. Reid, however, suggested Robert Plant, leading to a meeting between Plant and Page in Pangbourne, Berkshire, where they discovered a strong musical connection.

Convinced by their synergy, Plant brought in his Band of Joy colleague, drummer John Bonham. The quartet, comprising Page, Plant, Jones, and Bonham, came together for their first practice on August 19, 1968, just before embarking on a Scandinavian tour under the moniker “the New Yardbirds.” During the tour, they performed a mix of Yardbirds classics and fresh tracks like “Communication Breakdown” and “Babe I’m Gonna Leave You.” Following their return to London, Page decided on a new direction for the band, adopting the name Led Zeppelin. The newly named group made their way to Olympic Studios late in the evening on September 25, 1968, to begin recording their groundbreaking debut album.

The first album, called Led Zeppelin I, marked their explosive entry onto the music scene. Unveiled in the US on January 12, 1969, and later in the UK on March 31, this groundbreaking record was launched by Atlantic Records.

Crafted in the autumn of 1968 at London’s Olympic Studios, this album came to life after the band was formed. It features a blend of fresh compositions from their initial jam sessions alongside creative interpretations of blues and folk standards. These recording sessions, which unfolded before the band had inked a deal with a record label, spanned 36 hours. The financial backing came directly from Jimmy Page along with manager Peter Grant. Page took the helm in producing the album, with the lineup completed by Robert Plant, John Paul Jones, and John Bonham. The album also features a guest appearance by percussionist Viram Jasani on one of the tracks. A childhood friend of Page, Glyn Johns, was tasked with mixing the tracks, while the memorable cover art depicting the Hindenburg disaster was the work of George Hardie.

Led Zeppelin I is renowned for its innovative blend of rock and blues, contributing to the nascent hard rock genre with immediate commercial success in the US and UK, climbing into the top 10 album charts in both nations. The album’s longer tracks didn’t fit the conventional single format for radio play, leading to the release of “Good Times Bad Times” with “Communication Breakdown” on the flip side as the sole single outside the UK. Despite this, the album’s tracks gained widespread recognition through play on album-oriented rock stations, cementing many of them as staples of classic rock radio and heralding the rise of Led Zeppelin’s storied career.

CD Track Listings:

“Good Times Bad Times” – 2:46
“Babe I’m Gonna Leave You” – 6:42
“You Shook Me” – 6:28
“Dazed and Confused” – 6:28
“Your Time Is Gonna Come” – 4:34
“Black Mountain Side” – 2:12
“Communication Breakdown” – 2:30
“I Can’t Quit You Baby” – 4:42
“How Many More Times” – 8:27

Led Zeppelin II (1969)

Released October 22, 1969

Led Zeppelin II burst into existence amidst the whirlwind of Led Zeppelin’s hectic schedule, stretching from January to August 1969, filled with relentless touring across Europe and America. The birth of each track was based on the band seizing fleeting moments of creativity in the interludes between their electrifying performances. Studios across the UK and North America became their temporary sanctuaries, where the raw energy of the road was harnessed and transformed into music, lending the album its distinctive vibrancy and immediacy.

The crafting of this album was an odyssey that spanned continents, from the storied rooms of Olympic and Morgan Studios in London to the eclectic vibes of A&M and Sunset in Los Angeles, and beyond to Memphis and New York City’s vibrant recording scenes. Despite the patchwork of studios and the less-than-ideal recording conditions, the album emerged as a masterpiece, a testament to Page’s visionary leadership and the collective brilliance of Led Zeppelin.

Led Zeppelin II showcased a pivotal shift in the band’s sound, weaving through the realms of blues-infused tracks and pioneering a guitar riff-centric approach that would define their music. No one played a guitar lick better than Jimmy Page. This was the band’s heaviest album until they released Physical Grafitti a few years later. The album’s repertoire includes six original compositions alongside three dynamic reinterpretations of classic Chicago blues numbers by legends Willie Dixon and Howlin’ Wolf. Initially, The band did not credit those songwriters, but in later issues of the album, they added their names to the credits. This has always been a sore point on both sides of the argument over Led Zeppelin’s use of blues songs into their original material. The iconic track “Whole Lotta Love” stood out as the album’s sole single, achieving top-ten status across numerous global markets, despite the band’s practice of not releasing singles in the UK.

Led Zeppelin II’s commercial prowess marked their first ascension to the number one spot on both UK and US charts. The creative genius behind the album’s artwork, David Juniper, earned a Grammy nomination for Best Recording Package, highlighting its artistic impact beyond its musical boundaries. By November 15, 1999, the Recording Industry Association of America (RIAA) had awarded the album a 12× Platinum certification, acknowledging US sales of 12 million copies.

CD Track Listings:

“Whole Lotta Love” – 5:34
“What Is and What Should Never Be” – 4:46
“The Lemon Song” – 6:19
“Thank You” – 4:49
“Heartbreaker” – 4:14
“Living Loving Maid (She’s Just a Woman)” – 2:39
“Ramble On” – 4:34
“Moby Dick” – 4:21
“Bring It On Home” – 4:21

Led Zeppelin III (1970)

Released October 5, 1970

By the dawn of the 1970s, Led Zeppelin had already clinched significant commercial triumphs in both the UK and US with their initial albums. Craving a well-deserved respite after the whirlwind of recording Led Zeppelin II amidst tours and funding those sessions with album profits and concert earnings, the band sought solace. It was Robert Plant who proposed a retreat to Bron-Yr-Aur, a secluded 18th-century cottage nestled in the Welsh Snowdonia, perched atop a hill with sweeping views of the Dyfi Valley, a short distance from Machynlleth. Plant was familiar with this serene spot from family vacations.

The cottage’s rustic charm, devoid of modern conveniences like electricity and running water, nudged Led Zeppelin towards a nuanced musical shift, favoring acoustic sounds. Jimmy Page reflected on how Bron-Yr-Aur’s peaceful ambiance offered a stark counterpoint to their hectic 1969 tour schedule, influencing their songwriting to lean more towards acoustic guitar work. Page’s style during this period drew inspiration from folk maestros like Davey Graham and Bert Jansch, known for their inventive use of alternate tunings. Plant mentioned the band’s fervor for evolution, their eclectic tastes broadening to include the likes of John Fahey. This period marked Led Zeppelin’s deliberate pivot, showcasing their versatility and eagerness to explore diverse musical landscapes beyond their established rock dominion.

Many fans choose Led Zeppelin III as their favorite album, although they are definitely in the minority. It is without question an outlier in their catalog. It was an album they needed to do for so many reasons. No matter what you may think of this wonderful album, one thing for sure is that it set up the anticipation for the band’s next release, which would perhaps become, the greatest rock and roll album ever released.

CD Track Listings:

“Immigrant Song” – 2:23
“Friends” – 3:54
“Celebration Day” – 3:29
“Since I’ve Been Loving You” – 7:23
“Out on the Tiles” – 4:07
“Gallows Pole” – 4:56
“Tangerine” – 3:10
“That’s the Way” – 5:37
“Bron-Y-Aur Stomp” – 4:16
“Hats Off to (Roy) Harper” – 3:42

Led Zeppelin IV (1971)

(this album was never officially named Led Zeppelin IV on purpose by the band)

Released November 8, 1971

In the wake of their third album’s release in late 1970, Led Zeppelin opted to step back from the limelight of touring to delve into the creative process for their next project. Rejecting lucrative offers, including a televised New Year’s Eve concert, the band sought the solitude of Bron-Yr-Aur, a rustic retreat nestled in the Welsh countryside of Snowdonia. This tranquil setting, previously a source of inspiration, became the backdrop for the genesis of new musical ideas.

The recording odyssey for what was to become a monumental album commenced at Island Records’ newly minted Basing Street studios in London. The initial sessions kicked off with “Black Dog” on December 5, 1970. Despite considering the opulent Stargroves, owned by Mick Jagger, as a potential recording venue, its steep costs led the band to Headley Grange, a Victorian estate in Hampshire. The choice of Headley Grange was not just financially motivated but also driven by the desire for a recording environment that was both comfortable and conducive to creativity. The use of the Rolling Stones Mobile Studio, facilitated by engineer Andy Johns, allowed for a flexible recording setup. Johns, coming off the back of his work on the Rolling Stones’ Sticky Fingers, brought invaluable experience to the table. The mobile studio’s capabilities were complemented by the informal atmosphere of Headley Grange, encouraging spontaneous musical expressions that captured the band’s raw energy and creativity.

The essence of Headley Grange’s impact on the recording process is encapsulated by Jimmy Page’s reflections on the necessity for a space where the band could relax and naturally engage with their music. This setting, devoid of typical distractions, fostered an environment where the band could fully immerse themselves in their craft, leading to a rich tapestry of sounds that would define the album.

Following the foundational recording sessions, Led Zeppelin proceeded to Island Studios to add overdubs, further enriching the album’s sonic layers. This phase was succeeded by a mixing session at Sunset Sound in Los Angeles, upon Andy Johns’ suggestion, marking a critical phase in the album’s production. However, the initial mixing results did not resonate with the band’s vision, prompting a reevaluation of the material after their spring and early summer tour.

The decision to remix the entire album by Page in July, coupled with deliberations over the album’s artwork and format, underscored the band’s commitment to achieving a sound that truly represented their artistic evolution. The contemplation over releasing a double album or a series of EPs reflected the band’s experimental approach and their desire to push the boundaries of conventional rock albums.

The album opened up with the great track “Black Dog” which got its name from a stray that wandered around the Headley Grange studio. Its iconic riff was a Page-Jones collaboration, with its unique a cappella breaks inspired by Fleetwood Mac’s “Oh Well.” “Rock and Roll” sprang to life during an impromptu jam session at Headley Grange, with Bonham crafting the intro from a riff reminiscent of Little Richard’s “Keep A-Knockin.'” “The Battle of Evermore” emerged from Page’s experimentation with a mandolin, while Plant’s lyrics drew from his fascination with Scottish history and the struggle for independence. The song is notable for its vocal duet with Sandy Denny of Fairport Convention, marking the only Led Zeppelin track to feature a female vocalist.

Of course, we couldn’t write about Led Zeppelin IV without mentioning “Stairway to Heaven.” The song evolved from its acoustic beginnings to include an entire band arrangement that ended with the legendary Jimmy Page guitar solos and Robert Plant’s iconic vocals. If you were a teenager in the 1970s, you will remember how monumental this song was.

Side Two opened up with “Misty Mountain Hop,” which captures the band’s social commentary, inspired by Plant’s observations of a student-police clash. Jones’ electric piano sets the tone for this track, with its title nodding to Tolkien’s The Hobbit. “Four Sticks” earned its name from Bonham’s unique approach of using four drumsticks to create the song’s driving rhythm. The song’s recording proved challenging, with numerous takes to capture its essence. The album’s acoustic outlier and a song that sounded like it could have been released on Led Zeppelin III was the breathtaking track “Going to California,” The song was supposedly inspired by the band’s admiration of Joni Mitchell and their experiences mixing the album in Los Angeles. “When the Levee Breaks” reinterprets a classic blues number by Memphis Minnie and Kansas Joe McCoy, reimagined with Bonham’s powerful drum intro, recorded in Headley Grange’s lobby to capture its echoing quality.

CD Track Listings:

“Black Dog” – 4:54
“Rock and Roll” – 3:40
“The Battle of Evermore” – 5:51
“Stairway to Heaven” – 8:02
“Misty Mountain Hop” – 4:38
“Four Sticks” – 4:44
“Going to California” – 3:31
“When the Levee Breaks” – 7:07

Houses of the Holy (1973)

Houses Of The Holy [Deluxe Edition][180g Audiophile Original Vinyl 2LP]

Released March 28, 1973

By the time 1972 rolled around, Led Zeppelin was riding high on the wave of both commercial triumphs and critical acclaim, buoyed by their powerful studio recordings and electrifying live performances. The band had become huge, especially after the success of “Stairway To Heaven.” Following a tour in Australia, the band set their sights on Stargroves, Mick Jagger’s lavish Hampshire estate, to lay down new tracks, with Eddie Kramer once again at the helm as the engineer.

The genesis of some tracks for the upcoming album could be traced back to previous sessions; for instance, “No Quarter” had seen its first iteration at the Headley Grange Estate in East Hampshire. Can you imagine if No Quarter had originally been released on Led Zeppelin IV, for which it was initially written for? Both Jimmy Page, doubling as guitarist and producer, and John Paul Jones, the band’s bassist and keyboardist, came to Stargroves equipped with fully fleshed-out compositions, thanks to the home studios they had each set up.

Page’s personal studio allowed him to craft “The Rain Song” with its unique tunings and dynamic range, as well as “Over the Hills and Far Away” with its intricate guitar layers. This is an important point because in the early 1970s, home studios were not a common thing. Recording equipment was expensive, and only rock gods like a Jimmy Page could afford to have home studios. It’s a far cry from the last twenty years with the advent of computers and digital recording software. The recording saga extended to Olympic Studios in May and even spilled over into the band’s 1972 tour across North America, with sessions at New York’s Electric Lady Studios. Not all pieces from these varied recording stints found their way onto Houses of the Holy; some were held back for future releases.

For the album Houses of The Holy, Led Zeppelin stepped away from the powerful blues influences of the first two albums while straying from the acoustic vibrations of their third album and the mystical complexities of the fourth. For their fifth album, Led Zeppelin put the pedal to the metal, delivering an album of straight-up rock and roll in a style that only they could generate. It also set the tone for the band’s next album, which many feel, including this writer, was the band’s best album of their career.

CD Track Listings:

“The Song Remains the Same” – 5:30
“The Rain Song” – 7:39
“Over the Hills and Far Away” – 4:50
“The Crunge” – 3:17
“Dancing Days” – 3:43
“D’yer Mak’er” – 4:23
“No Quarter” – 7:00
“The Ocean” – 4:31

Physical Graffiti (1975)

Released February 24, 1975

Led Zeppelin’s initial foray into what would become Physical Graffiti began in November 1973 at the iconic Headley Grange in Hampshire, a location steeped in the band’s history for its role in producing their fourth, eponymous album. The sessions utilized Ronnie Lane’s Mobile Studio, a choice that reflected the band’s preference for the familiar, yet creatively fertile environment of Headley Grange. During this period, Jimmy Page and John Bonham laid down the instrumental foundations for what would evolve into the epic “Kashmir.” However, these early sessions were abruptly cut short, with studio time being passed on to Bad Company for their own debut album work. Rumors circulated about John Paul Jones’ health issues, but underlying these were deeper concerns; Jones was feeling estranged from the band’s relentless touring schedule and even contemplated leaving the group.

The band regrouped at Headley Grange in early 1974, embarking on a productive phase in January and February where they crafted eight tracks under the engineering expertise of Ron Nevison. Robert Plant later referred to these as “the belters”, a collection of tracks that showcased the band’s experimental edge and cohesive dynamism. The relaxed and spontaneous environment of Headley Grange once again proved conducive to creativity, fostering a space where the band could freely explore and refine their musical ideas. John Bonham emerged as a particularly pivotal figure during these sessions, contributing significantly to the songwriting and arrangement process, a testament to his integral role within the band’s creative nucleus.

The abundance of material from these sessions quickly surpassed the confines of a traditional single album, prompting the decision to expand Physical Graffiti into a double LP. This format allowed the inclusion of previously unreleased tracks and various jam sessions, like “Boogie With Stu.” which Page felt wouldn’t fit on a standard album. The band then proceeded with additional overdubs, and Keith Harwood took on the final mixing duties at Olympic Studios in London during July 1974. The album’s title, Physical Graffiti, coined by Page, encapsulates the intense creative and physical effort invested in this ambitious project, symbolizing the band’s exhaustive energy and the extensive written material that formed the backbone of this iconic album.

Physical Graffiti marked a significant milestone in Led Zeppelin’s illustrious career as it was the inaugural album released under their newly established Swan Song Records, unveiled in May 1974. Prior to this, the band’s discography had been under the banner of Atlantic Records, which continued to distribute their music even after the launch of Swan Song. The anticipation for the album was set into motion with an announcement on November 6, hinting at a release date of November 29, aligned with the kickoff of their tenth US tour slated for January. However, unforeseen delays in finalizing the album’s intricate sleeve design postponed its launch, pushing the release to February 24, 1975, after the tour had commenced.

Upon its release, Physical Graffiti not only lived up to but exceeded expectations, amassing a substantial volume of advance orders that fueled its immediate commercial success. It quickly ascended to the top of the UK charts and made a remarkable entry at No. 3 on the US Billboard Pop Albums chart, eventually climbing to No. 1 and maintaining its position for six consecutive weeks. The album’s widespread acclaim was underscored by its achievement of platinum status based solely on advance orders, a testament to the band’s unfading popularity and the fervent anticipation surrounding the release. This momentum was so strong that it propelled all of Led Zeppelin’s previous albums back into the top-200 chart shortly after Physical Graffiti‘s release, a rare feat in the music industry.

Led Zeppelin offered a preview of the new material from Physical Graffiti during a pre-tour warm-up show in Rotterdam, Netherlands, on January 11, setting the stage for their extensive US tour that concluded in late March. The tour itself was a resounding success, paving the way for a series of sold-out shows at London’s Earl’s Court. The demand for tickets was unprecedented, prompting the addition of two more dates to accommodate the overwhelming interest. Critics and fans alike noted the band’s enthusiasm for performing the fresh tracks from Physical Graffiti, highlighting a rejuvenated energy in their live performances that perhaps eclipsed their earlier work. This period in Led Zeppelin’s career showcased their continued evolution as artists and solidified Physical Graffiti as a cornerstone in their legacy, and many fans favorite Led Zeppelin’s album.

CD Track Listings:

Disc One:

“Custard Pie” – 4:13
“The Rover” – 5:37
“In My Time of Dying” – 11:05
“Houses of the Holy” – 4:02
“Trampled Under Foot” – 5:36
“Kashmir” – 8:31

Disc Two:

“In the Light” – 8:46
“Bron-Yr-Aur” – 2:06
“Down by the Seaside” – 5:13
“Ten Years Gone” – 6:32
“Night Flight” – 3:36
“The Wanton Song” – 4:06
“Boogie with Stu” – 3:51
“Black Country Woman” – 4:24
“Sick Again” – 4:42

Presence (1976)

Released March 31, 1976

In 1976, Led Zeppelin unveiled Presence, their seventh masterpiece, under the banner of Swan Song Records, a label they had founded two years prior. This was the tour I saw as a sinteen year old form New York. This album emerged during a tumultuous chapter for the band, marked by personal challenges and a departure from their usual recording process. Despite its divergence from the band’s earlier work, Presence climbed to the pinnacle of charts in both the UK and the US, securing a triple-platinum status stateside.

The creation of Presence was a race against time, fueled by adversity. Robert Plant faced a grueling recovery from a severe car accident in the summer of 1975, leading to the cancellation of planned tours. This period of convalescence, however, became a crucible for creativity, with Plant and Jimmy Page, the band’s guitarist and producer, convening in Malibu to sketch out the album’s framework. This was a shift from the grandeur of their previous albums, with the band opting for a more stripped-down sound, devoid of keyboards and featuring minimal acoustic guitar.

Recording kicked off with fervor at Munich’s Musicland Studios, renowned for its cutting-edge facilities. Plant, still bound to a wheelchair, poured his soul into the vocals, while Page shouldered much of the production load. The entire album was laid down and mixed within an astonishingly brief span of eighteen days, a testament to Led Zeppelin’s raw energy and cohesion.

Presence stands out for its visceral hard rock essence and the sheer force of tracks like “Achilles Last Stand.”Despite its initial mixed reception and being the band’s least commercially successful album, it has gained appreciation over time for its raw intensity and the circumstances under which it was produced.

The album’s title, Presence, reflects the indomitable spirit that Led Zeppelin harnessed during these sessions. The iconic cover art, featuring “The Object”, added a layer of mystique to a band already full of mystique in the eyes of their fans.

CD Track Listings:

“Achilles Last Stand” – 10:25
“For Your Life” – 6:24
“Royal Orleans” – 2:58
“Nobody’s Fault but Mine” – 6:16
“Candy Store Rock” – 4:11
“Hots On for Nowhere” – 4:43
“Tea for One” – 9:27

In Through the Out Door (1979)

In Through the out Door (Deluxe Edition)

Released August 15, 1979

In Through the Out Door stands as a poignant chapter in Led Zeppelin’s storied journey, marking their final studio foray before drummer John Bonham’s untimely demise in 1980 led to the band’s dissolution. This album, encapsulating a period of tumult and transition for the band, was birthed over a brisk three weeks in late 1978 within the walls of ABBA’s Polar Studios in Stockholm, Sweden. Its release in August 1979 by Swan Song Records represented not just a return to the musical fray but a sonic evolution underscored by John Paul Jones’s and Robert Plant’s creative ascendancy.

The album’s title metaphorically alludes to Led Zeppelin’s arduous path back to musical relevance in the wake of personal tragedy and tax-induced exile from Britain. This backdrop of adversity set the stage for an album infused with introspection and a renewed musical direction.

The creative dynamics within Led Zeppelin had shifted by the time they congregated in Stockholm. Jones’s prowess on the keyboards and Plant’s lyrical ingenuity took center stage, reflective of a band navigating through its internal struggles. The recording sessions were marked by the absence of Page and Bonham’s full engagement, attributed to their battles with personal demons. This division within the band led to a daytime alliance between Jones and Plant, who sculpted the album’s foundational elements, with Page and Bonham contributing under the cover of night.

Jones’s experimentation with the Yamaha GX-1 synthesizer brought a fresh texture to the album, showcasing a partnership with Plant that had rarely been seen in the band’s previous works. This collaboration birthed tracks that leaned heavily on synthesisers, a departure from Led Zeppelin’s traditional rock roots.

Post-recording, the mixing process unfolded in the seclusion of Page’s Plumpton studio, further shaping the album’s distinct sound. Despite the wealth of material from these sessions, tracks like “Wearing and Tearing,” “Ozone Baby,” and “Darlene” were shelved due to space limitations, only to resurface on the posthumous compilation Coda.

In Through the Out Door is notable for its songwriting credits, with Jones co-authoring the majority of the tracks, a testament to his significant role in the album’s creation. It remains the only Led Zeppelin album devoid of Bonham’s songwriting input, highlighting the drummer’s subdued involvement during this period.

Despite the internal and external challenges faced by Led Zeppelin, In Through the Out Door emerged as a testament to their enduring legacy, capturing a band in flux yet still capable of achieving commercial success and leaving an indelible mark on the rock landscape.

CD Track Listings:

“In the Evening” – 6:49
“South Bound Saurez” – 4:12
“Fool in the Rain” – 6:12
“Hot Dog” – 3:17
“Carouselambra” – 10:32
“All My Love” – 5:53
“I’m Gonna Crawl” – 5:30

Professional Sources, research, experience, and citations

Charting information used in the analysis and research of the commercial success of these songs comes from Billboard Magazine Charts

https://www.billboard.com/charts/

The Story Of Classic Rock

Other sources for important factual information include the band’s website

https://www.ledzeppelin.com/

Further analysis and original thoughts are provided by the writer Brian Kachejian’s experience as a professional musician and music collector for over 50 years and his experience as a New York State certified music and history educator and professional music journalist with the New York Press.

These articles are updated regularly.