Led Zeppelin's Greatest Deep Cut From Every Album

Led Zeppelin are one of the most influential rock bands of all time. The quartet released nine albums between 1969 and 1982, each of which spawned a plethora of FM radio hits and songs that are timeless. Zeppelin dominated the decade of the 70s with powerful, yet beautifully complex sounds that still inspires generations of fans and musicians.

While the group is best known for tracks like “Stairway to Heaven,” “Kasmir,” “When The Levee Breaks,” and “Over The Hills and Far Away,” there are some Led Zeppelin songs that haven’t been embraced by the masses. The group has some amazing deep album cuts that help define their sound and the way they progressed from a bluesy rock powerhouse to a progressive and psychedelic behemoth. Let’s shine a light on some of Led Zeppelin’s hidden gems from each of their nine albums.

9 "Wearing and Tearing"

'Coda' (1982)

Coda is the ninth and final studio album released by Led Zeppelin. It arrived in 1982, two years after the untimely death of drummer John Bonham. The album was compiled using studio outtakes and recorded live rehearsals. There are quite a few deep cuts on Zeppelin’s least popular effort. “Ozone Baby,” “Darlene,” and “Walter’s Walk,” are all good songs, but “Wearing and Tearing” is the one that truly stands up.

The song was pulled from the In Through the Out Door sessions and was recorded in Sweden, back in 1978. The song has a punk attitude and was clearly inspired by the genre spreading like wildfire in the UK with the Sex Pistols, The Clash and more having their moment. The song has a fast-paced energy with its major key opening ascending riff and incredible drumming. “Wearing and Tearing” was never performed live by Led Zeppelin, but Jimmy Page and Robert Plant played the song at their reunion at Knebworth in 1990.

8 "Carouselambra"

'In Through the Out Door (1979)

Clocking in at nearly ten-and-a-half minutes, "Carouselambra" is one of Led Zeppelin's most ambitious tunes. John Paul Jones takes the lead on the song, as he does on the majority of In Through the Out Door, with his use of synthesizers and complicated bass lines. Guitarist Jimmy Page supports the track brilliantly with huge sounding chords over the keyboard lines and his subtle playing on the slow section of the song.

"Carouselambra" tapped into the progressive side of the band with its lengthy run time, key changes and tempo shifts. It was a sign that the group was really pushing its boundaries and embracing new musical technology. Some fans believe the song strays from Zeppelin's roots, but it shows the band was not afraid to take musical chances. Led Zeppelin never performed this complicated song live.

7 "Tea For One"

'Presence' (1976)

"Achillies Last Stand" is by far the best song on Presence and is arguably one of Zeppelin's finest moments, but the bluesy "Tea for One" is the best deep cut on the 1976 album. The song was inspired by Robert Plant's loneliness while being out on tour without his family by his side. Like any good English native, Plant enjoys a good cup of tea, and he poured his soul into the nine-plus minute ode. He opens up his heart, singing: "There was a time that I stood tall, in the eyes of other men / But by my own choice I left you woman, and now I can't get back again." You can hear the heartbreak in his vocals on the track.

The song's bluesy vibe harkens back to "Since I've Been Loving You" off Led Zeppelin III, and also foreshadows the band's next foray into the blues on "I'm Gonna Crawl," from In Through The Out Door. Jimmy Page's searing guitar solo and Plant's heartfelt lyrics make this a powerful song that closes out the album.

6 "The Wonton Song"

'Physical Graffiti' (1975)

Physical Graffiti is the epic double album that spawned the Led Zeppelin classics "Kasmir," "Custard Pie," "The Rover," and "Trampled Under Foot." The diverse effort showcases the band's progressive rock influences on "In The Light," "Ten Years Gone," and their longest studio recording "In My Time of Dying," and taps into their folky side with acoustic songs "Boogie With Stu," "Black Country Woman," and "Bron-Yr-Aur."

"The Wonton Song" is a driving rock tune that captures the band laying down and absolute banger. The octave ripping guitar riff, combined with a powerful rhythm section and Plant's banshee make the song undeniable. Jimmy Page utilizes a Leslie speaker, a motorized rotating speaker cabinet that creates a swirling and tremolo effect, for his signature sound on the guitar solo. "The Wonton Song" was the opening number on Page and Plant's live show when they toured in the mid-90s.

5 "The Crunge"

'Houses of the Holy' (1973)

"The Crunge" shows off the funky side of Led Zeppelin. The song begins with John Bonham's robust, odd-time signature drum intro. John Paul Jones joins in with one of the band's funkiest bass lines, followed by Jimmy Page's tasty chords that compliment the track. The 9/8 time signature of the main riff gives the song its off-kilter feel and immediately grabs the listener's attention.

The song's vibe is definitely inspired by the late-James Brown. In fact, Robert Plant gives the legend a nod when he sings: "I'm looking for the bridge / I ain't seen the bridge." In Brown's 1970 song "Get Up (I Feel Like Being a) Sex Machine," he teases the bridge multiple times by asking, "Should I take 'em to the bridge?," before finally launching into the change. "The Crunge," which famously does not have a bridge, ends abruptly when Plant says, "Where's that confounded bridge?"

4 "Four Sticks"

'Led Zeppelin IV' (1971)

It is slightly difficult to choose a deep track from Led Zeppelin’s untitled fourth album, commonly referred to as Led Zeppelin IV. The legendary LP was a watershed for the band and made them a household name with iconic songs "Rock and Roll," "Black Dog," "When The Levee Breaks," and "Stairway to Heaven," the band's most-streamed song.

“Four Sticks” is another tune that utilizes odd time signatures to create a mood. The four-minute song cycles between 5/8 and a swinging 6/8 time that gives it a unique feel. The song got its title from the fact that drummer John Bonham used two drum sticks in each hand to create the staccato tribal sound. Robert Plant’s improvised vocals at the end of the tune take it for a dark and psychedelic turn.

3 "Out on the Tiles"

'Led Zeppelin III (1970)

"Out on the Tiles" is one of Led Zeppelin's most underrated songs. Drummer John Bonham gets one of his few writing credits on the track, which was inspired by one of his sayings. Bonzo used to refer to going out to bars late into the night as going "out on the tiles." The song begins with a thunderous descending guitar and bass riff that opens up into a groove where Robert Plant's vocals shine.

The riffs keep coming over the verses and the chorus really opens up the tune with the catchy lyrics, "All I need from you is all your love / All you gotta give to me, all your love." The song was rarely played by the band, but they did use the opening riff as an intro to "Black Dog," in their concerts in the mid-70s.

2 "Bring It on Home"

'Led Zeppelin II (1969)

Led Zeppelin II spawned some of Zeppelin's best known songs, including "Whole Lotta Love," "Heartbreaker," "Livin' Lovin' Maid (She's Just a Woman," and the instrumental track "Moby Dick," featuring John Bonham's iconic drum solo. The effort was largely recorded on the road while the band was touring behind their first album. Zeppelin's reworking of Willie Dixon's classic "Bring It on Home" is one of the least streamed songs off Zeppelin's second album, yet it stands the test of time.

The cover begins, like Sonny Boy Williamson's 1966 version, with a slow blues progression that creeps along with Robert Plant’s harmonica and Page’s rhythm guitar. Just when the listener gets used to the vibe, the song stops and Page chimes in with one of Zeppelin’s best guitar riffs. It steers the song into a new upbeat sonic territory. Even though the band added an entire original section to the song, it's still considered a cover. The song goes full circle at the end as it slows down and closes with a blues turnaround and a final note on the harmonica.

1 "You Shook Me"

'Led Zeppelin I (1969)

It’s nearly impossible to pick a deep cut from Led Zeppelin I, which is a classic no-skip record and arguably the band’s best album. “You Shook Me” is a cover of the 1962 Muddy Waters and Willie Dixon tune. Zep laid down a powerful and heavy version of the tune with Page’s incredible slide guitar work and Robert Plant’s wild vocals. The slow groove 12-bar-blues laid down by Bonham and Jones combined with the psychedelic guitars make this deep cut stand out.

Every member of the band shines on the tune. John Paul Jones’ organ solo is beautiful and emotional, while Plant’s harmonica solo brilliantly follows. The song slowly builds and reaches a crescendo during Page’s guitar solo with Bonham’s incredible drum fills. The end of the tune uses a backwards echo effect, used by Page, on the guitar and Plant’s vocals to achieve its iconic psychedelic sound.