Jimmy Page recently revealed that Led Zeppelin was approached to create a hologram of the band similar to what ABBA are doing with their digital concert ABBA Voyage.

Per The Guardian, “Well before there was talk of the Swedish pop group’s Voyage concert, the rock band was asked to do ‘that sort of thing’, Page told an audience at the Hay [film] festival [in Wales.] However, the musician and music producer said that he and his two surviving bandmates, Robert Plant and John Paul Jones, couldn’t agree, so the project ‘didn’t really get moving.’ Page said he didn’t think a virtual tour would work for his former band the Yardbirds, but indicated that he thought it might for Led Zeppelin.”

ABBA Voyage is based in London in the specially designed ABBA Arena at Queen Elizabeth Olympic Park. Per the concert’s website, “Agnetha, Björn, Benny and Anni-Frid have created the kind of concert they always wanted, performing for their fans at their very best: as digital versions of themselves backed by today’s finest musicians. Blurring the lines between the physical and digital, see the magic of ABBA brought to life using the latest in motion capture technology. It’s the greatest ABBA performance the world has never seen. Until now.”

A preview of ABBA Voyage can be viewed below with full details on the concert experience available at ABBAvoyage.com.

Much of Led Zeppelin’s catalog hasn’t aged at all... but this song about underage groupies has. The ick-factor on this track goes to 11. (EB)

This was a previously unreleased track from the recent Zeppelin catalog reissue campaign orchestrated by Jimmy Page. Sometimes, bonus tracks on reissues deliver hidden gems, and sometimes, they’re tracks that should’ve just been hidden. This instrumental is a case of the latter. (EB)

Similar to “10 Ribs & All/Carrot Pod Pod,” this is just another unreleased track used to justify a reissue campaign. (EB)

An instrumental jam that didn’t make it to the band’s second LP, it was poppier sounding than the rest of the album, opening with a bright, R&B-tinged organ riff. It’s interesting to imagine what this could have turned into, but as it stands, it’s a curiosity, not a classic. (BI)

There are plenty of “epics” in the Zeppelin catalog, but this is the only one you’ll likely find yourself thinking, “Is it over yet?” Much like an actual carousel, this song goes around and around without really going anywhere. (EB)

For a band whose catalog is so steeped in blues, this blues track is just one big “meh.” (EB)

Long bootlegged and finally getting an official release on the reissue of ‘The BBC Sessions,’ the less-than-sterling audio quality doesn’t do this track any favors. The song as a whole didn’t bring anything alarmingly great to the BBC reissue other than just simply being something we hadn’t heard before. (EB)

A previously unreleased outtake from the 2015 ‘Coda’ reissue, it oddly sounds more like something Greta Van Fleet would release now than Zeppelin. (EB)

The band performed this song just once, on June 6, 1969, on the BBC show ‘Chris Grant's Tasty Pop Sundae.’ Unreleased until 1997’s ‘BBC Sessions’ collection, the band shared the songwriting credit with bluesmen Sleepy John Estes, Willie Dixon and Robert Johnson, whom they borrowed from here (and elsewhere in their catalog). (BI)

This track starts off with a bang thanks to a dueling Page and Bonham, but it doesn’t go anywhere further than that. (EB)

There were a handful of standouts on ‘Coda,’ but unfortunately, this ‘Houses of the Holy’ outtake wasn’t one of them. (EB)

“Darlene” was perceived as likely being a hooky track, but it comes off more repetitive (almost boring) than anything. (EB)

This would be a throwaway track on any other Zeppelin album, but it holds its own on ‘Presence.’ But if it weren’t for the beyond catchy “la-la’s” this song would be a tough listen. (EB)

The only single released from ‘Presence,’ “Candy Store Rock” is an attempt at a rockabilly romp, but it just lacks the Bo Diddley energy Zeppelin were clearly trying to channel. (EB)

An undoubtedly pleasant acoustic tune from the ‘Houses of the Holy’ recording sessions, but it just doesn’t stand out among the other stellar tracks on ‘Physical Graffiti.’ (EB)

Perhaps it suffered from having to follow “Achilles Last Stand,” but “For Your Life” just seems to drag. Plant’s vocals sound strained, but that’s likely due to him still recovering from a nasty car accident. It makes you wonder what could have been if he was at full health. (EB)

The elements of a great song are here, but “Night Flight” just doesn’t take off. (EB)

“Poor Tom” would be an album track for an average band, but Zeppelin cut it from the ‘Led Zeppelin III’ sessions. The harmonica at the end of the song is absolutely killer. (EB)

The “Stu” in the song’s title is Ian Stewart, a founding member of the Rolling Stones, who was relegated to non-membership status by their original manager Andrew Loog Oldham; he deemed the pianist’s cleancut image inappropriate for the band. A fan of early rock and roll and “boogie-woogie,” Ian Stewart was the perfect guy to tickle the ivories on this song. The songwriting credit was split between all four Zep members, Stewart and “Mrs. Valens,” the widow of Ritchie Valens, as they built the song around Valens’ ‘50s-era hit “Ooh My Head.” (BI)

Based on the Ben E. King song “Groovin’,” “We’re Gonna Groove” was originally intended for ‘Led Zeppelin II.’ While that record has no fat on it at all, this would have fit in well if Zeppelin decided to make their sophomore album ten tracks long instead of just nine. (BI)

Another blues arrangement. This time the inspiration was based on Bukka White’s Delta blues song “Shake ‘Em On Down” as an ode to Zeppelin friend and folk singer Roy Harper. (Fun fact: Harper provides lead vocals on Pink Floyd’s “Have a Cigar.”) It’s a weird closing song for ‘Led Zeppelin III’ but nonetheless enjoyable. (EB)

This cover of Willie Dixon’s “You Shook Me” isn’t bad, but compared to other Zeppelin blues arrangements and interpretations, it just doesn’t measure up. (EB)

An outtake from ‘Led Zeppelin IV,’ its dreamy, Neil Young-influenced twang would’ve been a bit out of place on that album but fits in nicely on the mellow side three of ‘Physical Graffiti.’ (EB)

An outtake from ‘In Through The Out Door,’ this showed that the band could be as aggressive as the punk rock and new wave bands that were all the rage by the end of the ‘70s. Why it wasn’t included on the album is a mystery. (BI)

A subtly brilliant instrumental track that serves as a great transition between the mellow “Your Time Is Gonna Come” and the intense “Communication Breakdown.” (EB)

The closer of side one on ‘Led Zeppelin III,’ “Out On the Tiles” starts off well enough with a strong riff, but it comes off as repetitive by the song’s end. It’s not bad by any stretch, but it just always feels like the song as a whole could’ve been more. (EB)

Zeppelin would sample from the well of Willie Dixon multiple times, but sometimes they got a bit too close to that well, and didn’t give credit, resulting in legal battles. And like many times in their history, they would settle out of court and rectify the song credit omission. Regardless, “Bring It On Home” still brings ‘Led Zeppelin II’ to a solid close. (EB)

A lovely instrumental from Jimmy Page, this was an outtake from ‘Led Zeppelin III,’ but it made a nice home for itself as a palate cleanser of sorts on ‘Physical Graffiti’ after “In the Light.” (EB)

A fun honky-tonk jam, Jones on the piano is the obvious highlight to this track. (EB)

Essentially a John Bonham solo song. “Bonzo’s Montreux” features his powerful and innovative drumming; Jimmy Page added some electronic effects to the percussion-fest. Most drum pieces are only interesting to drummers; that’s not the case here. If this had been released during his lifetime (it was recorded in 1976), it may have become as iconic as his “Moby Dick” drum solo. (BI)

A live cover of a 1959 rockabilly classic by Eddie Cochran, this is Zeppelin at their most raw, and their most fun. (BI)

Plant really wails on this album closer accompanied by Jones’ synth, but it’s hard not to get wistful when listening to it now, knowing that what it really was was the end of Zeppelin. (EB)

Another cover of yet another 1959 rockabilly classic by Eddie Cochran, it was recorded by the band in ‘69 for the BBC show ‘Chris Grant’s Tasty Pop Sundae.’ John Paul Jones seems to be having a blast on the piano; indeed, it’s one of Zeppelin’s most joyful performances. (BI)

While Zeppelin always wore their blues influences on their sleeves, on “Hot Dog” they put their love for rockabilly and ‘50s rock and roll on full display. Is it their greatest song? No, but it’s fun hearing Robert Plant’s Elvis Presley impression. It may have worked better as a B-side, though. (BI)

The other standout track from ‘Presence’ (along with “Achilles Last Stand”) “Nobody’s Fault But Mine” is Zeppelin’s take on Blind Willie Johnson’s “It’s Nobody’s Fault But Mine” and features a mean harmonica solo from Plant. The start-stop nature of the song can be jarring, but like many other effects and techniques, Zeppelin finds a way to make it work. (EB)

One of the highlights from ‘Coda’ that was leftover during the recording of ‘In Through The Out Door.’ If the then-current state of Zeppelin was different, it would’ve been fascinating to see what more they could’ve done with this track in studio. (EB)

John Paul Jones and his synthesizer are front and center on this track, the second longest on ‘Physical Graffiti,’ with ebbs and flows that are utterly hypnotic. (EB)

You almost feel like you’re intruding on Jimmy Page and Robert Plant when you listen to this acoustic jam from the “Led Zeppelin III’ sessions. “Key To The Highway” was popularized by Big Bill Broonzy, and was also covered by Eric Clapton with Derek and the Dominoes, John Lee Hooker, the Band and the Steve Miller Band. “Trouble In Mind,” meanwhile, is a blues song from the 1920s that has appeared in the repertoires of Nina Simone, Jerry Lee Lewis and the Spencer Davis Group. (BI)

Of the two Willie Dixon covers on Zeppelin’s debut, “I Can’t Quit You Baby” is the superior by leaps and bounds, even though it doesn’t stray too far from the source material. Plant’s acrobatic vocals don’t hurt either. (EB)

Zeppelin’s tribute to James Brown wasn’t quite as successful as their many tributes to their blues heroes, but “The Crunge” is one of their funniest songs, particularly when Robert Plant puts his spin on Brown’s “take it to the bridge!” cry: “Has anybody seen the bridge? Have you seen the bridge? I ain't seen the bridge! Where's that confounded bridge?” (BI)

It makes sense why many of Zeppelin’s “unreleased” cuts didn’t make it onto whatever album their respective recording session was attached, but “Hey, Hey What Can I Do” not making it on ‘Led Zeppelin III’ is still baffling. It was notably the b-side to “Immigrant Song” on the track’s U.K. release but wouldn’t get an official release stateside until 1990. (EB)

A standout on side four of ‘Physical Graffiti,’ “The Wanton Song” is certainly one of the more straightforward hard rock tracks on the entire album thanks to the energetic riff from Page. (EB)

Known for its unusual time signatures and John Bonham’s use of two sets of drum sticks (hence its title), “Four Sticks” is truly a showcase for Bonzo and yet another example of his brilliance. (EB)

John Paul Jones and his clavinet makes its first appearance on the opening track of ‘Physical Graffiti,’ but it wouldn’t be the last, and the best was yet to come. As for the lyrics, it doesn’t take a cunning linguist to figure out what this one’s about. (EB)

“Squeeze me baby, 'till the juice runs down my leg.” Even the less-than-astute could figure out what’s going on here. Howlin’ Wolf, of course, would soon after receive a writing credit on the track, which was more than a little inspired by his own “Killing Floor.” (EB)

A somewhat underrated song in the Zeppelin canon, the band never performed it in its entirety. The “if we could just join hands” chorus may have seemed trite, especially as punk rock’s influence was making everything remotely hippie-ish seem out of touch. “The Rover” had a long gestation period: Jimmy Page and Robert Plant allegedly started work on the song during the writing sessions for 1970’s ‘Led Zeppelin III,’ and they started recording it during the ‘Houses Of The Holy’ sessions. It was definitely worth the wait. (BI)

“Baby Come On Home” was recorded during the ‘Led Zeppelin I’ recording sessions, but it wasn’t released until 1993 as the focal point of ‘Led Zeppelin Boxed Set 2.’ It makes sense why it was left off Zeppelin’s debut, but this Hammond organ-fuelled beauty of a tune still managed to net success on the Billboard Mainstream Rock Songs chart peaking at number four over a decade after Zep’s demise. (EB)

The second appearance of Jimmy Page’s bowed guitar on Zeppelin’s debut, “How Many More Times” brings ‘Led Zeppelin I’ to a close in epic fashion and sets the table for what was to come a mere nine months later on ‘Led Zeppelin II.’ (EB)

An undeniable, incredible groove, “Friends” served as the first acoustic taste on the mostly unplugged ‘Led Zeppelin III’ (“Immigrant Song” opens the album, “Friends” is track two). The John Paul Jones-arranged string section on the track takes things to a whole new level of sublime. (EB)

Side two of ‘Led Zeppelin I’ kicks off with this track, and it brings a complete mood change to the album thanks to John Paul Jones’ organ playing. (EB)

Another arrangement triumph, the source material for “Gallows Pole” comes via the traditional folk song "The Maid Freed from the Gallows," which was covered by Lead Belly in 1939, but Zeppelin more than made it their own. (EB)

One of the few true gems released after their breakup, Zeppelin’s take on this Robert Johnson song was originally recorded in 1969, but upon its official 1990 release, it made its way up the Billboard Mainstream Rock Songs chart peaking at number seven. (EB)

It wasn’t Zeppelin’s first song about heartbreak and it certainly was not the last, but thanks to the steel guitar, it might be the band’s loveliest song about love lost. (EB)

Easily one of the coolest songs ever to feature spoons and castanets, which were somehow made badass thanks to John Bonham, this jam sees Zeppelin go “ham” on folk music without losing their edge. The song title, of course, is a shout out to the infamous Wales cabin where they wrote a majority of ‘Led Zeppelin III.’ (EB)

An about-face on side two of ‘Houses of the Holy’ following upbeat jams “Dancing Days” and “D’yer Mak’er,” it’s one of the most haunting tracks in the entire Zeppelin catalog and shows just how much John Paul Jones can change the mood of the room with his piano playing. (EB)

Three years on from their last album, ‘Presence,’ rock fans may have wondered if Zeppelin still “had it.” “In The Evening,” which opened ‘In Through The Out Door,’ established that the band was still powerful (if not quite as great as they’d been a few years earlier). Jimmy Page unleashes one of his best riffs here, and also melts faces with his amazing guitar solo. (BI)

Not just a classic song, but the title of the band’s one and only full-length reunion concert from November 19, 2012 (and the subsequent live album). Although oddly enough, they didn’t actually perform “Celebration Day” at the show. “My, my, my, I'm so happy… I'm gonna join the band” was how thousands of budding musicians reacted to hearing Zeppelin’s music in 1969 and 1970… and in the decades since. (BI)

Is it a love song about two lovers from different worlds or is it a song about two friends from different worlds? Perhaps, it’s both. One thing for certain is that it’s one of Zeppelin’s best acoustic songs in their entire catalog. (EB)

Led Zeppelin wasn’t all about lust, and they proved that with “Thank You,” which is an unbelievably sweet love song. With lyrics like, “When mountains crumble to the sea/There will still be you and me,” it’s hard not to swoon, regardless of your gender… or your dating status. (EB)

Plant’s vocals dance beautifully with the late Sandy Denny’s on this mandolin ballad, which is also one of the more subtle nods to Lord of the Rings from the Zeppelin catalog. Fun fact: Denny was the only guest vocalist to ever record with Zeppelin. (EB)

One of Zeppelin’s funkiest numbers, the song is powered by John Paul Jones’ electric piano and John Bonham’s heavy drums. The “misty mountains” are a clear Tolkien reference, but the song’s lyrics deal more with hippies and cops than Hobbits and dragons: after “sitting on the grass” with people who had “flowers in their hair” asking, “Hey, boy, do you want to score?” a police officer showed up. “[He] Said please, hey, would we care/To all get in line… Well, you know, they asked us to stay for tea And have some fun.” If only all busts were that friendly! (BI)

In the realm of songs about loss, this one doesn’t get enough of its due. A tribute to Plant’s 5-year-old son, Karac, who died from a stomach virus, “All My Love” is as beautiful as it is devastating. (EB)

This track was the b-side to “Whole Lotta Love,” which is strange considering how it’s literally inseparable from “Heartbreaker,” and radio still plays both tracks together as if they are one song. But the riffs on “Living Loving Maid (She’s Just A Woman)” are oddly complementary to those in “Whole Lotta Love.” (EB)

It’s difficult to choose the best example of how great Zeppelin was at song arrangements, but “In My Time Of Dying” certainly has to be in the running. Zeppelin transformed a traditional gospel tune into a blues-rock opus; the song clocks in at 11-minutes, but it feels like much less. (EB)

Robert Plant himself has cited this as his finest vocal performance with Zeppelin, and who are we to argue? It also has one of his best lyrics: “Upon us all a little rain must fall,” indeed. (BI)

An uninitiated listener might mistake this for a Who song for the first minute and a half: Jimmy Page’s clean and rhythmic guitar sounded like something Pete Townshend might play, John Paul Jones’ bass is reminiscent of John Entwistle’s “lead” bass playing and John Bonham’s heavy drumming is a bit Keith Moon-y. Also, the song has the epic feel of Tommy’s opening “Overture.” Of course, when the song slows down and Robert Plant comes in with “I had a dream…” you know that you’re listening to Zep. It’s a perfect opening to the sprawling and ambitious ‘Houses Of The Holy’ album. (BI)

One reason why Zeppelin defies categorization is that they were so good at so many things. Sure, they influenced every hard rock and metal band who followed them, but they were also amazing at creating beautiful acoustic songs. “Going To California” is a prime example. (BI)

Ostensibly an instrumental Page/Jones/Bonham jam, Page and Jones split after about a minute (and return at the end), giving John Bonham a showcase for his powerful yet tuneful playing. Most drum solos get old after you’ve heard them a few times: that’s not the case with “Moby Dick,” which stands proudly alongside the rest of ‘Led Zeppelin II,’ and alongside the rest of the band’s catalog. (BI)

On “D’Yer Mak’er” (pronounced more like “did you make her” than “dire maker”), Led Zeppelin looked to Jamaica for inspiration. Like the Beatles’ “Ob-La-Di, Ob-La-Da” a few years earlier, it may not have been legit reggae, but it became a rock radio classic in the States. And the “Oh, oh, oh, oh, oh, oh!” chorus makes the song an irresistible earworm. (BI)

“Did you ever really need somebody/And really need 'em bad/Did you ever really want somebody/The best love you ever had.” Plant’s lyrics add significant heft to the track, which Page had planned to be an instrumental. While the instrumental could have stood alone, the lyrics take “Ten Years Gone” to another level. (EB)

There’s a lot of competition for the title of “Jimmy Page’s Greatest Riff,” but “The Ocean” may own it; at the very least, it’s in the top five. It also has pretty cute lyrics, a rarity in the Zeppelin canon. “I'm singin' all my songs to the girl who won my heart,” Robert Plant wails. “Now, she's only four years old, and it's a real fine way to start!” He was, of course, singing about his daughter. (BI)

Considering the state of the band at this point, with Plant mourning the loss of his son, Karac, and Page and Bonham battling addiction, it’s amazing they were able to produce such an upbeat song. Then again, once you commit to a samba rhythm, you’re probably going to end up with an upbeat song. Sadly, however, this would be Zeppelin’s final single released before the untimely death of Bonham. (EB)

When thinking of Led Zeppelin, the old ‘American Bandstand’ phrase “It's got a good beat and you can dance to it” isn’t probably the first thing that comes to mind, but it definitely applies to “Dancing Days.” It’s one of the poppiest tunes in the band’s catalog. Sure, there are those who don’t care for it, but those people hate fun and should be ignored. (EB)

At ten and a half minutes long, it’s one of the band’s lengthiest tracks, and showed that they could be as proggy as their peers in Yes, King Crimson and Emerson Lake & Palmer. Its length may not have helped its popularity, but the song definitely has its fans: Chris Cornell and Temple of the Dog covered this song on their too-brief 2016 reunion tour. (BI)

Led Zeppelin weren’t blues purists, but they could have gone down that path, judging by this song. Propelled by John Paul Jones’ Hammond organ playing, the song features one of Jimmy Page’s best guitar solos. (BI)

More cowbell! Years before Blue Oyster Cult’s “Don’t Fear The Reaper,” John Bonham was hitting the cowbell on this song, originally recorded for the band’s 1973 album. Plant’s lyrics aren’t too subtle: “Let me take you to the movies/Can I take you to the show?/Let me be yours ever truly/Can I make your garden grow?” (BI)

Most punk rock bands either hated Led Zeppelin, or denied being influenced by them. And, of course, all punk bands love the Ramones. So, there’s a bit of irony in the fact that Johnny Ramone developed his guitar style by playing along to “Communication Breakdown,” as he revealed in the documentary ‘Ramones: The True Story.’ It’s one of Zep’s shortest songs, and one of their most powerful. (BI)

The clavinet is more closely associated with the funk music of the ‘70s (notably Stevie Wonder) than Led Zeppelin, but John Paul Jones’ playing of that electric keyboard is what makes this track so damn catchy and memorable. It’s perhaps the most toe-tapping hook in Zeppelin’s entire catalog. (EB)

A Plant/Page composition, it showed Zeppelin’s range, veering back and forth between crushing heavy rock and laid back jazz. Towards the end of the song, Plant starts scatting (“Oh the wind won't blow and we really shouldn't go…”) in what sounds like a precursor to rap and hip-hop. (BI)

‘The Lord of the Rings’ film franchise may have grossed an obscene amount of money, but never did director Peter Jackson make Tolkien’s trilogy this cool! Gollum would probably consider this song precious. Zeppelin fans sure do. (EB)

While Plant’s voice can move mountains, even a sustained vocal performance could still deliver the chills. This might be the best example of that in the entire Zeppelin catalog. (EB)

A song about moving on after heartbreak,”Over The Hills And Far Away” is a lyrical departure for Zep. Surely countless souls recovering from a breakup have taken solace in “Many have I loved, and many times been bitten/Many times I've gazed along the open road.” Translation: sure, you’ve been dumped, but this, too, shall pass. (BI)

Side one of ‘Led Zeppelin II’ closed with the beautiful love song “Thank You,” but when you flipped over to side two, listeners were greeted by this tale of lust coupled with another monster riff and solo from Jimmy Page. (EB)

There’s probably a lady (or man) who’s sure this song is ranked too low, but there’s good reason for it. Part of what made “Stairway” legendary was the legend behind it involving the band writing the song at Bron-Yr-Aur, an isolated cottage in Wales. However, Jimmy Page testified during the recent “Stairway” copyright lawsuit that the song wasn’t written at Bron-Yr-Aur after all. Is the song still an influential, incredible piece? Yes, but there’s no doubt that in recent years, “Stairway” just doesn’t glitter like it once did. (EB)

Zeppelin’s update of the Kansas Joe McCoy and Memphis Minnie blues song released in 1929 was one of their finest moments. John Bonham in particular shines with one of his most iconic drum performances, but Robert Plant also adds some of his best harmonica playing and vocals. Many of Zeppelin’s peers covered early blues songs, but few of them captured the sense of dread that Zep did here. (BI)

Despite this track lifting and arranging Jake Holmes’ 1967 track of the same title -- initially without credit -- “Dazed and Confused” remains one of Zeppelin’s best songs thanks in large part to the soulful, angst-ridden lyrics and Robert Plant’s vocal performance. Oh, and Jimmy Page breaking out the bow doesn’t hurt things either. (EB)

A crushing Jimmy Page riff. John Bonham’s funky but powerful drumming. A 20-year old Robert Plant wailing, “In the days of my youth/I was told what it was to be a man.” And John Paul Jones’ understated but vital bass playing. Those elements kicked off the first song on side one of Led Zeppelin’s debut. It was also the band’s first single, so “Good Times Bad Times” provided a powerful introduction to the band for rock fans in 1969. At the end of the song, Plant sings, “Realize, sweet babe, we ain't ever gonna part,” and it was sort of prophetic: although the band would last only a little over a decade, millions of fans have never stopped loving Zeppelin, and they keep picking up new followers with each new generation. (BI)

Zeppelin had a knack for picking out the perfect opening album track and with “Black Dog,” it was a bold signal of what was to come on ‘Led Zeppelin IV.’ It's hard rock perfection, from Plant’s opening acapella intro to Page’s rolling solo bringing the track to a fading close. It’s also one of Zeppelin’s most successful singles peaking at number 15 on the Billboard Hot 100. (The only other Zeppelin single to perform better was “Whole Lotta Love,” which peaked on the Hot 100 at number four.) For any other band, a track like this would be the highlight of an album, but Zeppelin weren’t any other band, and ‘Led Zeppelin IV’ is certainly not any other album. (EB)

“Kashmir” was the closest thing a hard rock band came to Phil Spector’s “Wall of Sound.” It’s the best example of Zeppelin at their most ambitious. It’s so good, we’ll even forgive the band for allowing Puff Daddy to rap over it for the 1998 track “Come With Me” (which actually featured Jimmy Page!) from the Godzilla soundtrack. (EB)

While Zeppelin never liked being associated with heavy metal, this song did quite a bit to create the template for that genre: Page’s percussive riffing, Bonham’s heavy drumming, and of course, Robert Plant’s banshee vocals telling tales of vikings that come from “the land of the ice and snow.” Plant and Page may wince when asked about metal, but the feeling definitely isn’t mutual. (BI)

From Jimmy Page’s iconic riff and solo to the dizzying overdubs to Robert Plant’s wailing roar, “Whole Lotta Love” is perhaps the perfect example of Zeppelin’s overall bravado. Dripping with hard rock lust, “Whole Lotta Love” is the sound of a band that is confident and quite aware of the sheer force they are and aren’t afraid to share that with the world. (EB)

There have been a lot of rock and roll songs about rock and roll, and this one is surely one of the very best. Borrowing elements from the early days of rock and roll - a Chuck Berry-esque riff, rolling Jerry Lee Lewis piano and a drum intro reminiscent of Little Richard’s “Keep A-Knockin’” - Zep’s “Rock And Roll” is a love letter to the founders of the genre. Led Zeppelin’s members have always been passionate music fans so it’s fitting that on this, their greatest song, they pay tribute to the music that inspired them. Fun fact: Years later, Jerry Lee Lewis actually covered the song -- with Jimmy Page on guitar -- on his 2006 album, ‘Last Man Standing.’ (Brian Ives)

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