Up until about 3 days ago, I was in the latter category, I am sad to say. I always knew that there was more to it, but hadn’t really investigated too much. My specific sub-category was the “I know how it goes and just deal with it” type. So, running up against the limits of this interpretation, I was compelled to search the interwebs for advice. I found this article by Chris Milillo. I don’t know him, but I have to give him credit for opening my ears to this. I decided to take his approach a little further and develop some programmed tracks to help with rearranging the emphasis in the drum intro so that a regular ole Zep loving bass player like me can understand. First… the storied intro to Rock and Roll. Think: Cadillac commercial. No, think: awesome!

Mass Confusion:

If you’re like most people, you assume that the great John Bonham is starting on the “one”. That is, you take the very first snare/hat hit to be the first beat of the measure in common time. You would be wrong. I never really questioned it. Partly to blame is my love for Zep. I just assumed that since they were all bad-asses that it made sense to them and Bonzo knew exactly what he was doing. Well, I was right in a way. It did make sense to them and Bonzo DID know what he was doing. That is because he was paying homage to early rock and roll (as is the rest of the song both lyrically and musically). I am just not from the right generation to have really recognized it instantly like Page, Plant, and Jones would’ve. Here is what Bonzo is tipping his hat too, most likely:

Little Richard’s “Keep a Knockin’”

So, it’s pretty obvious after hearing that that there is more to the Zep intro. There is. The first beat is not the “one”, but rather the “and of three”. Once you can count it out and retrain your brain to start where Bonzo’s is starting, then a whole new world will exist for you and your love of Zep (I’m assuming that if you are still reading this you are probably not a casual fan of Zep).

So, let’s get started on the lesson. I cranked up Garage Band and brought up a simple Rock Kit sound to substitute (however poorly) for a vintage Ludwig Vistalite kit. This first file is the intro with emphasis added to the true “one” of the intro. I also added a strong kick drum to count it off and keep your ear on the beat throughout. Here it is:

Emphasis on the “one”:

The next step to really drive it home is that I made it swing! Swinging has the effect of, amongst other desirable effects, distinguishing the even eighth notes from the odd ones. This means that instead of a string of beats that all sound the same and are evenly spaced, you can distinguish whether an eighth note is a “number” or an “and”. One usually counts eighth notes like this: “one-and-two-and-three-and-four-and-one-and….” etc. for common time (4/4). With no swinging and no volume emphasis, they can all run together. Think of your drummer sound checking his snare by hitting it over and over consistently to determine a mic level. Which snare hit serves as the “one”? Kind of an irrelevant question, you might tell me. If he or she were swinging the beat, you could at least tell me whether each note was a “one, two, three, four” or an “and” of those notes. Get it? What Bonham plays on Rock and Roll is like the no-swing effect. It’s really straight and hard to tell where the “number” notes are. If you add some swing to it, it becomes obvious and is really easy to find the proper beat. Let’s hear it with swing!

As in “to swing”

Now, listen to the original again and feel groovy:

That is where my analysis ends. It really helps me get it. I like it so much that I think everyone deserves to know about this. I think it is more fun to listen to now. I really understand where the boys were going with this song. Have fun and happy listening.