According to The Pulse Of Radio, LED ZEPPELIN's Top 10 "worst" songs have been posted online by CheatSheet.com. Leading the pack is the 1969 "Led Zeppelin" track "I Can't Quit You Baby", which is deemed "passable" — although "the band members are all on-point, particularly (Jimmy) Page, but the repetitive lyrics and slow pace make for a rather boring song on an otherwise riveting record." Coming in at No. 2 is the "Led Zeppelin II" favorite "The Lemon Song", whose lyrics are described as "(ranking) among the most juvenile LED ZEPPELIN ever recorded, which is really saying something."The Top 3 is rounded out by the John Bonham workout "Moby Dick", which claims, "Bonham was obviously an amazing drummer, but even he can't make an extended drum solo that exciting to listen to. " In the book "Isle Of Noises: Conversations With Great British Songwriters", Page spoke about LED ZEPPELIN's songwriting approach. He said: "One of the things that you'll see in the LED ZEPPELIN music is that every song is different to the others. Each one has its own character; musically as much as lyrically. For example, 'Ten Years Gone' or 'The Rain Song', which has got a whole orchestral piece before the vocal even comes in. So yes, it was crafted in such a way that the music was really of paramount importance to setting the scene and most probably inspired the singer, in this case Robert [Plant], to get set into the overall emotion, the ambience of the track of what was being presented, and then hopefully inspire him to the lyrics." He continued: "Often we just had working titles. A good example of this and how it would change and mutate was 'The Song Remains The Same' leading into 'The Rain Song'. The original idea I had for that was an overture — as 'Song Remains The Same' is — leading into an orchestral part for 'The Rain Song'. I had a mellotron and I'd worked out an idea — John Paul Jones did it much better than me — coming into the very first verse. If it'd worked that way, there wouldn't have been any vocal until the first verse, you would have had this whole overture of guitars and then into the orchestral thing that opened up into the first verse. But as it was, when we were rehearsing it, then it actually became a song; the structure changed, there was another bit put in and then Robert started singing. That wasn't a bad idea to have an overture, a whole musical segment that took you into 'The Rain Song', but it worked out really well as it was. [Laughs] Whatever it was, you were constantly thinking all the time about it."
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