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Sampul albu, ini mendapat perhatian massa ketika, pada sebuah sesi bulan Februari 1970 di Kopenhagen, Led Zeppelin diundang sebagai "[[The Nobs]]" sebagai hasil dari ancaman hukum Eva von Zeppelin (saudara dari pembuat kapal terbang [[Zeppelin]]). von Zeppelin, ketika melihat logo ''Hindenburg'' terbakar, mengancam untuk menghentikan acara dari saluran radio.<ref name="Billboard Magazine">[http://www.billboard.com/bbcom/bookshelf/article_display.jsp?vnu_content_id=1001958757 Keith Shadwick ''Led Zeppelin 1968-1980: The Story Of A Band And Their Music'' (excerpt posted on Billboard.com)]</ref> Pada tahun 2001, [[Greg Kot]] menulis di majalah ''[[Rolling Stone]]'' bahwa "Sampul album ''Led Zeppelin''. . . menunjukan kapal udara 'Hindenburg' pada kejatuhannya yang agung, terbakar. Gambar ini cukup sukses untuk merangkum isi dari album ini: seks, bencana, dan barang-barang terbakar."<ref name=rsreview>{{cite web |url=http://www.rollingstone.com/reviews/album/104932/led_zeppelin |title=''Led Zeppelin'' review |accessdate=2008-01-04 |author=Kot, Greg |date=13 September 2001 |work=RS 877 |work=Rolling Stone }}</ref>
== CompositionKomposisi ==
TheKeaslian conceptual originality of thekonsep album wasini displayedditunjukan onpada tracks suchlagu-lagu asseperti "[[Good Times Bad Times]]", "[[Dazed and Confused (songlagu)|Dazed and Confused]]" anddan "[[Communication Breakdown]]", whichyang hadmemiliki asuara distinctivelyberat heavyyang soundkhas tountuk thefans earsrock ofmuda youngdi rockera fansakhir in the late1960-1960san. ''Led Zeppelin'' alsojuga featureddilengkapi delicatedengan [[steel-stringsuara acousticgitar guitar]]akustik byyang lembut oleh Page onpada lagu "[[Black Mountain Side]]", anddan akombinasi combinationpendekatan ofakustik acousticdan andelektrik electricpada approachesversi onadaptasi theirmereka adaptationuntuk oflagu "[[Babe I'm Gonna Leave You]]".
"[[Dazed and Confused (songlagu)|Dazed and Confused]]" isacap arguablykali thedikatakan sebagai inti dari album's centerpieceitu sendiri: asebuah forebodingaransemen arrangementyang featuringpenuh afirasat descendingdilengkapi dengan nada bass linemenurun fromdari Jones, heavyhentakan drummingdrum fromyang berat dari Bonham, anddan somebeberapa powerfulriff guitardan riffssolo andyang soloingkuat fromdari Jimmy Page. ItLagu alsoini showcasedjuga memperdengarkan Page playingyang guitarmemainkan withgitarnya adengan violinsebuah bowpenggesek violin (anide ideayang suggesteddisarankan byoleh [[David McCallum Sr.]], whomyang ditemui Page hadsaat metmelakukan whileperekaman doingdi studio session work).<ref>Welch, Chris (ed.) ''Led Zeppelin: Dazed and Confused, the Stories Behind Every Song''. (Page 23) Thunder's Mouth Press, 1998 ISBN 1-56025-188-3</ref> ThePermainan bowedgitar guitaryang indigesek thedi middlebagian sectiontengah oflagu the song broughtmembawa ''psychedelic rock'' ke toeksperimen experimentaldi newketinggian heightsbaru, especiallykhususnya inpada extendedversi stagetambahan versionspanggung, buildingmenciptakan onbentuk Page'sawal earliermusik renderingsPage ofyang thedulu songpernah during thedilakukan latterpada daysmasa ofakhir [[The Yardbirds]]. "Dazed and Confused" wouldakan becomemenjadi Ledlagu Zeppelin'skunci signaturesetiap performancekonser pieceLed forZeppelin yearsdi totahun-tahun comemendatang. The bowedTeknik guitarpenggesekan techniquegitar isjuga alsodigunakan usedpada onlagu "[[How Many More Times]]", asebuah songlagu whichyang featuresdilengkapi ariff berpola "Bolerobolero" riffdan and an improvised shift inpergantian-pergantian [[cadence (music)|cadence]] yang diimprovisasi dengan baik.<ref name = Complete/>
ManyBanyak oflagu-lagu awal Led Zeppelin's earliestyang songsberasal weredari basedlagu onstandar blues standards, and thedan album alsoini includedjuga threedilengkapi songsdengan composedtiga bylagu othersyang diciptakan oleh artis lain: "[[You Shook Me]]" anddan "[[I Can't Quit You Baby]]", bothkeduanya bydibuat oleh artis [[blues]] artist, [[Willie Dixon]]; anddan "[[Babe I'm Gonna Leave You]]".<ref name = Complete/> RegardingMengenai thelagu lastterakhir of theseini, atpada thewaktu timeitu guitaristgitaris [[Jimmy Page]] mistakenlymengira believedbahwa heia wassedang adaptingmelakukan aadaptasi traditionaldari [[folksebuah song]]lagu rakyat tradisional he had heard on a Joan Baez record, but this was corrected on subsequent rereleases after it was revealed that the song was composed by [[Anne Bredon]] in the 1950s.<ref name = Complete/> Dixon, on the other hand, received proper credit as the composer of his two songs on this album (although "You Shook Me" would later be additionally credited to [[J. B. Lenoir]]) but would go on to settle out of court with Led Zeppelin over partial use of other material of his on Plant's lyrics to "[[Whole Lotta Love]]". On "You Shook Me", Plant vocally mimics Page's guitar effects—a metallicised version of the "[[Call and response (music)|call and response]]" blues technique.
[[Jeff Beck]] had previously recorded "You Shook Me" for his album, ''Truth'', and accused Page of stealing his idea.<ref name = Complete/> With [[John Paul Jones (musician)|John Paul Jones]] and drummer [[Keith Moon]] of [[The Who]], Page had played on (and says he arranged) "Beck's Bolero", an instrumental on ''Truth'' that would be grooved into the mix of the ''Led Zeppelin'' jam "How Many More Times". These cross-pollinations led to a rift between Beck and Page, who had played in the Yardbirds together and been friends since childhood.<ref name="Hammer of the Gods">{{cite book | title=Hammer of the Gods (LPC) | year=1995 | author=Stephen Davis | pages= 44, 57 64, 190, 225, 277 | ISBN=0-330-43859-X }}</ref> In fact, it was Page who first suggested Beck for the Yardbirds' guitarist position when he was contacted by the band after [[Eric Clapton]]'s departure.
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