What can i do zeppelin

General Comment I think this song is just about a girl that plant was in love with. It talks about how much he loves her in the beginning, so i dont think it could be about a hooker. I think he refers to her as his "street corner girl" because she wasnt true to him and thats what he thinks of her as.

I think the line General Comment everyone basically said what i was going to say, but anyways this is an excellant song, a classic Zildjian on April 10, Link. My Interpretation This song is about an unrequited love. The man I don't think is RP is in love with a woman who simply doesn't love him to the degree to which she would make a commitment.

He speaks of the people together going to church with some envy, as he is seeking a women who will be by his side in front of God. He wants a more traditional committed relationship while she still wants to plat the field. She is definitely not a prostitute, "the street corner" girl is meant to be derogatory not literal. Either way, our hero is conflicted because he is in love, she is beautiful, and the sex is great as she is well-practiced. She makes no secret about her willingness to at a minimum play the field and at worst, be the town flouzee.

You hear him sing "Yeah No Yeah No Yeah No" to voice how conflicted he is whether to enjoy what he can and hope for a commitment or be true to his values and leave. The last line, which is my personal favorite in any Led Zeppelin son, voices his conclusion: "I got a worried mind sharing what I thought was mine.

General Comment i think this song is about his love for a girl that was from the wrong side of the tracks. He loves her and wants to be with her but, he can't deal with this othr side of her anymore.

Hence the title" Hey Hey what can I do. THis is proven when he is talking about everyone else being with the one they love while he is walking the streets looking for his "street corner girl". And it's also proven when he sings the line " my little lover does a midnight shift. And he keeps saying that she son't be true, I don't know either way , i love this tune. It's definetely one of my favorites and it amkes me wonder if Robert Plant really did date a hooker.

I love how romantic most of Led Zeppelin's songs are when u actually read the lyrics. What a ladie's man. You can see why read all here. And Welcomed your input. Going to decide to put this You Tube Lyric song in my Fbook page. General Comment My platoon sings this as a cadence on our regular 24km route marches. This is the perfect song for that - kudos to whoever started it! Bedow on July 29, Question Can anyone show or discover proof interviews, original record liner notes, scans or pictures of the handwritten lyrics, etc.

To me, the answer would shed a great deal of light on the nature of the conflict. It would also either support or cast doubt as to wether or not she is a prostitute. Sorrow, remorse I think this would make for a far more interesting character and story.

Supposedly this is a rare record and at one time a mostly unknown song. I imagine getting a definitive answer on a minute change five decades ago will be a hell of a challenge. Any proof would be much appreciated! Ain't no doubt. Artists - L. Rate These Lyrics. Why not add your own? Log in to add a tag.

Probably the least interesting song on Zoso. It grinds along, and we never find out why the owls are crying in the night. The band at theirmost charming, until you concentrate on the words. A lot of it was received nonsense, and of course they were products of their time. But their inability to see beyond that is a strong part of the case against the band. I find the muddled production and the tedious outro kills it, though.

A real mess. The other is leaden, labored, and comes across as contrived. Then ending fanfare is swell, however, another examples of the Page throwaways that would be the pride of many other bands. A quiet, not-quite-convincing number from III.

Page was trying to show breadth, which was fine. One of the very long jams on Physical Graffiti , a major statement and a bid for critical respect.

First, you consider that time has not been kind to such constructions. The long, linear arcs seem torpid. Yes, those are some neat guitar sounds, delivered with majesty, but they are repeated ad infinitum, and often at somewhat slow speed. On the other hand, you get both slow and fast here. But then you reflect again that time has not been kind to such constructions.

A moody acoustic number with a distinctive model tuning. The tabla is by a guy named Viram Jasani, one of a very small number of guest players on a Led Zeppelin album.

Repeat for six to eight minutes. This is by any standards a minor Zeppelin song, but the loud-soft dynamics, more subtle here than in a lot of Zep tracks, and the bright sense of sound and space in the recording, work well. And yet another great fanfare outro. Docked ten notches for song theft.

Bron-Yr-Aur is a remote cabin the band would go to to write. It was said not to have electricity or running water; Page paid for a caretaker. A nice-sounding, somewhat humble love plaint. Ten years into his career as a star, Plant seems to be discovering that need and vulnerability can be sexy, too.

Page contributes a restrained guitar attack. The band generally did a great job on their album covers. III had a distinctive spinning wheel hidden inside the record sleeve, with die-cut holes designed to show all sorts of things as you spun the wheel. Marks Place in New York, with the windows cut out to let various pictures on the inner sleeve show through.

In Through the Out Door was even more novel. Sold in a brown-paper wrapper, the actual album sleeve featured different photos from a bar scene, and on the back, a variety of odd close-ups of the scene, in black and white, made out of what looked like Ben-Day dots. Turned out that if you put spit or water on them, they turned color! Of all the acoustic-based numbers the band had recorded up to the fourth album, you had the feeling that the band was stretching to include the music, rather than letting it grow organically out of their process.

To me, this is the track that shows how a truly heavy band could soften things up convincingly. Another statement of guitar and studio dominance by Page. The beginning, a huge, swaggery beat, is a little show-offy, but the groove it eventually hits — yet another of those minor Page riffs that would mark the high point of a lesser band — is a heavy one, indeed. Houses of the Holy is the band at their height. The abstract songs here are even more abstract.

This is probably some great war epic, but all you really notice is the sound texture — is that a Leslie the vocals are going through?

Not too much else going on, though. The closer to the second album starts out all folksy and bluesy, and then erupts. The riffs are fine, but second-tier. A quick and dirty rave-up on the lagging second side of the debut. Page contributes some very crisp, very hard riffs. Percy finds some nice people in a park.

A little novelty rave-up from the multivaried last album. The remasters bring out some depth — and make audible the drums — in this lulling mood piece, in which guitars are barely audible. It it too long?

A deceptive, gentle propulsive rush marked a gem from the last side of Physical Graffiti , anchored by a convincing strut of a guitar line.

Almost 50 years ago, they were audacious reinterpretations of a catalogue still considered sacred. Upped five notches for documentary value. An economical less than five minutes, positively breezy for this band rave-up that, over the years, has taken on more stature than it deserves.

Another odd song from In Through the Out Door. Anchored by a simple synth line and a very spare back-up, it feels at first like a misfire. Another tribute to Bron-Yr-Aur, in a rare instrumental track. Back in the LP day, side-openers counted for something.

To my ears the song has a dry shrillness, a high-pitched trebly patina, that I associate with heroin. Houses of the Holy is not often noted for its extraordinary sonics. This very trebly, highly mechanical track is case in point. In the end, the band achieves something close to grandeur.

Docked a notch or two for being the same song, repeated twice. Note how, in contrast to the severe crispness of most of his guitar riffs, here he lets the chords reverberate. The result: an utterly anachronistic nostalgic hymn to the s.

The leadoff track of In Through the Out Door has a panoply of guitar sounds that would stand with his most creative work; a flurry of notes melding into a huge bank of running sound that skids into full stops and then eases into lulling interludes. Late-career message from M. This supposedly novelty number, half reggae and half doo-wop, was done as a joke; Bonham and Jones were said to hate it, and the band responded balefully when it was released as a single against their wishes and became a significant radio hit.

Two ways to look at it: It is a crude faux reggae, to be sure, and kinda goofy. But somewhere on the road to novelty the band came up with something different. The bridge is a stunner. The mix is significantly different from many other Houses tracks. Lovely, doomed Sandy Denny was the one of a trio of magnificent British female singers in the s — the others were Linda Thompson and Christine Perfect, later McVie.

Her voice was at once powerful and delicate, and one of her legacies was this duet with Plant, which is where the real battle takes place. Soft Zeppelin at their loveliest. This plangent lyrical throwaway has been unjustly overlooked. You can hear fingers on the frets, nails or a pick passing across the strings, to add just a touch of humanity to spar with electronically treated pedal steel. It was a fitting end for this not-quite-human. To their credit, the other band members never considered moving forward.

There was a wan, highly uninteresting album of outtakes, Coda , and in the nearly 40 years since, but a small handful of instances where the three members played on the same stage at the same time. But it also meant that the band never had the chance to grow old and start to suck. I go into all this to point out that In Through the Out Door is a remarkable work by a band of their age, and on this song and several others, you can see the entire band moving forward toward a more mature music, past the thudding guitars and preening sexism.

This song, written by Jones and Plant, is case in point. I hear the sound of musicians having passed the point of needing to overwhelm their listeners. I hear a musician having passed the point of needing to overwhelm his listeners.

John Paul Jones contributes a somber keyboard interlude, and then you can hear him and his master Page duet. A blistering assault roughed up with sudden changes in dynamic and tone. The high-speed solos are articulate and true, and throughout he keeps layering on new guitar sounds.

Evil—esque lilt. This track is to my mind the most underappreciated in the Zeppelin catalogue. So what makes it work? Well, for one, things get really loud; Page tries mightily to approximate the sound of a mountain being dropped on your head. And finally, there are the words. Plant turns this simple situation into an emotional maelstrom of the first order.

Upped several notches for creating the sound of a mountain being dropped on your head. The opening guitar lines for decades were played by every young boy and girl with dreams of guitar-herodom alive in their heads. Sounds best on string, of course, but you can make an approximation with six.

Everything works, right up to the burst of abstract sound that sees the song out. Ominous beginning, another of those full-bodied Plant vocal performances, a half-dozen or so unique noises, Jones and Bonham both at top furious form — and the mother of all guitar barrages, too. Page does everything to a guitar you can do over the course of this song, from delicate harmonics to sawing it — and then beating it — with a violin bow. Compare, for example, the Who at their supposed best, on the longer tracks of Live at Leeds.

The Who were an impressive band, but a lot of their stuff is tedious. Docked three additional notches for songwriting theft. There are almost a dozen instances where the band has been accused, with varying degrees of seriousness, of ripping off lyrics or guitar riffs.

Of all of these, this is the clearest and most egregious. It was even credited to Holmes on a live Yardbirds album Page played on! One suspects that if Page had written the song, he would certainly have demanded a correction, and the royalties. Yet he took the credit for himself on at least two albums that have sold untold millions of copies, earning something in the neighborhood of a half-million in sales royalties and radio play.

Page has lied about it in interviews, too — but eventually settled out of court with Holmes. Just means we should remember that Page as a young man was a petty in this case, not so petty thief, and as an older man capable of lying about it when caught. Like everyone else, I have lost my ability to hear this song, dragged down as it is by overfamiliarity.