Led Zeppelin – The Lemon Song – Guitar Lesson

Led Zeppelin – The Lemon Song – Guitar Lesson – Ways to Play on a Les Paul electric guitar

Led Zeppelin were a British rock band that involved guitarist Jimmy Page, singer Robert Plant, bassist and keyboardist John Paul Jones, and drummer John Bonham. Created in London in 1968, the group’s weighty, guitar-driven sound, originated in blues and psychedelia on their early on albums, has definitely earned all of them recognition as one of the progenitors of heavy metal, though their unparalleled style drew via a wide range of influences, incorporating folk music.

Once changing their name from the New Yardbirds, Led Zeppelin signed a deal with Atlantic Records that afforded them significant creative freedom. While the band was truly primarily out of favor with critics, they attained substantial commercial success with albums like Led Zeppelin (1969), Led Zeppelin II (1969), Led Zeppelin III (1970), their untitled fourth album (1971), Houses of the Holy (1973), and Physical Graffiti (1975). Their fourth album, which features the track “Stairway to Heaven”, is among the highly prominent and influential works in rock music, and it served to help to secure the group’s recognition.

“The Lemon Song” is a track by the British rock band Led Zeppelin, featured on their 1969 album Led Zeppelin II. It was recorded at Mystic Studios in Hollywood when the band were on their second concert tour of North America.

VIDEO Original- Led Zeppelin – The Lemon Song

“The Lemon Song,” featured on the 1969 album Led Zeppelin II, is another of Led Zeppelin’s homages to the blues. On these sorts of tracks, Robert Plant was never ever fulfilled to take lyrics from just one source, but for the most part “The Lemon Song” draws on Howlin’ Wolf’s “Killing Floor.” According to Led Zeppelin: The Complete Guide To Their Music by Dave Lewis, on Led Zeppelin’s first American tour in 1969 they regularly included “Killing Floor” in their sets. Following that tour, however, they performed the song as “The Lemon Song” and recorded it under that name for Led Zeppelin II with songwriting credits given to Jimmy Page and Robert Plant.

“The Lemon Song” is entwined with sexual innuendo, and includes some of Led Zeppelin’s most blues-influenced playing. It was recorded essentially live in the studio, and no electronic devices were utilized to create the echo on Robert Plant’s singing. It was made solely by Plant’s voice and the acoustics in Mystic Studios, which was a 16 foot room with timber walls. One other significant component of this song is John Paul Jones’ challenging bass guitar performance.

The song borrows from Howlin’ Wolf’s “Killing Floor”, in which was a song Led Zeppelin frequently integrated right into their live setlist throughout their very first concert tour of the United States. For the second and third North American tours the song evolved into “The Lemon Song”, with Plant frequently improvising vocals onstage.

Some other lyrics, notably “squeeze (my lemon) till the juice runs down my leg,” can be traced to Robert Johnson’s “Travelling Riverside Blues”. It is likely that Johnson borrowed this himself, from a song recorded in the same year (1937) called “She Squeezed My Lemon” (by Arthur McKay). The song also borrowed from Albert King’s “Cross-Cut Saw”.

This Lemon Song sound to me appears to be like a small-sized amp pushing 6V6 tubes all the way– similar to the Fender Princeton that I use as a practice amp. Hear how the notes compress against a certain ceiling and kind of spread along it (just like smoke getting to the ceiling and spreading)? Complete small-amp-on-the-move sort of sound. 6V6 and 6L6 tubes are just what Fender used (and still utilizes), and each possesses a symbolic high end sizzle when driven to distortion. EL84 and EL34 tubes feature a smoother sound when distorted (smoother does not mean less crunchy, it just means smoother!).

To obtain that nasal kind of quality, Page has rolled off the tone knob on his gibson guitar most of the way, cutting a lot of the high end off the sound. Nevertheless since the amp is going to distortion, it develops a fair amount of high-end sizzle, this noise was actually recorded with a mike from a couple of feet out aiming towards the edge of the sound speaker– loads of body with just sufficient top to allow elocution. I would guess that Page played this guitar live in the room with Bonham and Jones for the reason that I may hear some small amount of it in the center channel, specifically where the drums come in.

The moment the song break into Jones’ bass solo, you can absolutely hear Page’s guitar vibrating. Notice specifically how every following echo gets rid of a little bit more high end sizzle. This sound is absolutely symbolic of a “tape echo” machine, like an Echoplex. Tape echoes are fundamentally tape recorders with a loop of tape passing over a record head and several playback heads. The input signal is recorded to the tape, which then moves toward the playback head. The measure of the echo is controlled by adjusting the speed at which the tape travels; at slower speeds, more time elapses before the tape reaches the playback head. To achieve quite a few echoes like we have here, some of that playback is fed back to the record head, which then passes over the playback head, and so on. This fed-back sound is called “regeneration.” Each moment, the signal lessens considerably, which chops off high end in particular.

This echo sequence is wonderful, simply because it’s one of those occasions that simply don’t take place anymore. Follow me on this one. On the downbeat, Page hits his low E-string, then reaches over and switches the tape-echo on, at that point hits a short jab to the E-string, which echoes. Not anyone carries out this type of “live” manipulation in the studio any longer. He creates two precisely the same echo noises, at that point on the third one he reaches over and turns up the regeneration and slides his pick down the string; notice how the third echo cycle lasts longer in comparison to the previous two. and all of that was done “live” in the studio, while Jones and Bonham were playing.

As soon as we hit the loud part once more, pay attention closely. On that downbeat the second the loud Les Paul/ Marshall sound re-enters, I fancy that I can certainly hear the punch-in; there certainly is just the slightest bit of static right as the guitar enters, which is charateristic of a punch-in.

What’s a “punch-in?” Think of a multitrack recording machine as a big tape recorder like your tape deck. With your tape deck, when you push “record,” the machine starts moving the tape and recording on both the stereo tracks. If you’re playing a tape and decide you want to record something, you need to first stop the tape, after that press “record” in order to begin recording. The tape deck will normally leave a slight gap between what existed before and what you’ve right now recorded, because the head that wipes out what was there before is slightly “ahead” of the recording head.

How to play The Lemon Song on Guitar Video

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Led Zeppelin – The Lemon Song Lyrics

I should have quit you, long time ago. [X2] I wouldn’t be here, my children, down on this killin’ floor.

I should have listened, baby, to my second mind [X2] Everytime I go away and leave you, darling, you send me the blues way down the line.

Said, people worry I can’t keep you satisfied.
Let me tell you baby, you ain’t nothin but a two-bit, no-good jive.

Went to sleep last night, worked as hard as I can,.
Bring home my money, you take my money, give it to another man.
I should have quit you, baby, such a long time ago.
I wouldn’t be here with all my troubles, down on this killing floor.

Squeeze me baby, till the juice runs down my leg. [X2] The way you squeeze my lemon, I’m gon na fall right out of bed.

I’m gon na leave my children down on this killing floor.

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