“They were a band of staggering proportion and incredible vision.” As the impressive push-and-pull dynamics (and Bonham-esque drum punctuations) of “Lonely Is the Night” attest, Squier spent many hours painstakingly dissecting that vision. Don’t Say No, Squier’s breakthrough 1981 album, went triple platinum partly because of “Lonely Is the Night,” which sounded like a more radio-friendly reinterpretation of the 1976 Zep track “Nobody’s Fault but Mine.” “I was very humbled by the ‘one-man Led Zeppelin’ comparisons,” Squier reflected in a 2006 interview. With his brash vocals, clanging guitar riffs and arena-shaking beats, Squier ably filled the immediate hard-rock void left by Led Zeppelin, who’d disbanded following John Bonham’s death in September 1980. “I would go and play with Jimmy Page and John Paul Jones any day of the week.” While many bands have successfully aped Zep’s priapic blues-stomp, Heart’s mandolin-driven “Dream of the Archer” (from 1977’s Little Queen) is the closest anyone’s ever come to replicating the spooky Brit-folk vibe of “The Battle of Evermore.” “Hypothetically, if they ever needed a lead singer and Heart was not active at the moment, then, sure, I would ,” Ann said in 2014. Ann wouldn’t even be averse to stepping in for Plant, should a Zep reunion require it.
He was like Eisenhower looking at Normandy Beach.” The band’s way with a swaggering groove was clearly Zeppelin-derived as well recorded just weeks after the release of Physical Graffiti, “Sweet Emotion” could easily be the slinky second cousin of that album’s “Trampled Under Foot.”Īnn and Nancy Wilson have worn their affinity for Led Zeppelin on their frilly sleeves ever since Heart began several of their hits (like 1977’s “Barracuda”) have featured Zeppelin-esque guitar riffs they’ve covered several of the band’s songs on stage (including a mind-blowing rendition of “Stairway to Heaven” at the 2012 Kennedy Center Honors concert) and they even called upon John Paul Jones to produce their 1995 acoustic live album, The Road Home.
“Jimmy Page was so young when they made their first record, but he’d spent so much time in the studio, he had the whole thing mapped out in his head. “We learned the arena-rock sound from their records,” guitarist Joe Perry told Rolling Stone in 2007. Though they were often touted (and occasionally derided) as “the American Stones,” Aerosmith actually felt a much deeper artistic kinship with Led Zeppelin. Montrose’s cascading blues licks, Hagar’s slap-back-drenched wail, Denny Carmassi’s thundering drums and the song’s cocky rock & roll thrust could convince any unsuspecting listener that the song is really an outtake from Led Zeppelin IV. “We could have been the American Led Zeppelin,” Hagar (who was fired by the guitarist after two albums) lamented in 2011, and “I Got the Fire,” a smoking track from 1974’s Paper Money amply backs up his claim.
Formed by Ronnie Montrose – a brilliant session guitarist with a flair for bluesy hard rock – and fronted by Sammy Hagar, a previously unknown singer with blond curls and powerful pipes, the original Montrose lineup was certainly cut from Zeppelin-esque cloth.
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