In a band, one position generally contributes a great deal to their popularity. Simply put, vocalists and lead guitarists are showered with more attention, barring some exceptional cases. The spotlight shines on them, leaving what is known as the “unsung heroes”, comprising the bassist and the drummer, in the half-illuminated stage both literally and metaphorically.
For whatever reason, the Led Zeppelin bassist John Paul Jones, though one of the founding members of the band, didn’t share as much fame as Jimmy Page or Robert Plant during their time together.
Growing up in a family in which each expression was a melodic hum and each step a rhythm, music embraced Jones in the purest and most natural form, which meant that the bassist has always had a tune running through his veins. The musical tours that he took with his parents around England exposed him to different styles and artists, such as the blues singer Big Bill Broonzy, the jazz artist Charles Mingus, and the classical pianist Sergei Rachmaninoff, who left some of the most melodious impressions on his mind. However, it was the butter-smooth style of the Chicago-based jazz and blues guitarist Phil Upchurch that inspired Jones to take up the instrument.
Spending his initial years as a session musician and an arranger, Jones soon grew weary of the continuous process. He felt that it was burning out his passion for music by squeezing out creativity under the pressure of time: “I was arranging 50 or 60 things a month, and it was starting to kill me.”
The opportunity came his way in the name of Jimmy Page, and the guitarist pulled him out of the pit. Page, while reminiscing about the early stage of Zeppelin’s formation, said, “I was working at the sessions for Donovan’s Hurdy Gurdy Man, and John Paul Jones was looking after the musical arrangements. During a break, he asked me if I could use a bass player in the new group I was forming. He had proper music training, and he had quite brilliant ideas. I jumped at the chance of getting him.”
Although his contribution to the band’s success is undeniable, Jones is partially blamed for the lack of recognition. Somewhat a chameleon in nature, Jones liked to blend in the shadows of people and become invisible. He tricked people into believing that he was shy and polite while he carried on all his mischievous activities silently. He later said he “tried to stay out of the drift of the rock star’s path, mainly because I needed my sanity and freedom on the road”.
Jones might have been casual about his music, but that shouldn’t be our excuse for not celebrating his brilliance. Here are five isolated bass tracks of Led Zeppelin songs that establish him as an equal creative contributor.
John Paul Jones’ five best basslines:
‘Immigrant Song’
Written during the band’s tour of Iceland in the summer of 1970, the lyrics reference Norse mythology. The song was featured in the 1970 album Led Zeppelin III, but it was also released as a single and became a chart-buster.
Plant, who wrote the lyrics of the song, said, “We weren’t being pompous … We did come from the land of the ice and snow. We were guests of the Icelandic Government on a cultural mission. We were invited to play a concert in Reykjavik, and the day before we arrived, all the civil servants went on strike, and the gig was going to be cancelled. The university prepared a concert hall for us, and it was phenomenal. The response from the kids was remarkable, and we had a great time. ‘Immigrant Song’ was about that trip and it was the opening track on the album that was intended to be incredibly different.”
The isolated track featuring both the Johns – Jones and Bonham – proves they weren’t merely a “backing team”. Without their individual efforts, the song wouldn’t have gained the significance it enjoys today.
‘Heartbreaker’
The preceding album, Led Zeppelin II, contained some of the band’s most memorable songs. ‘Heartbreaker’, being one of them, opened the second side of the album. Recorded during the band’s second North American tour, it is said to be the source of the famous tapping technique.
Though the song is remembered by the opening guitar riff and freestyle solo by Page, Jones’ steady support on the bass guitar demands some credit. The bassist delivers a performance that exemplifies his virtuosity and versatility as a musician, seamlessly weaving intricate patterns that complement Page’s blistering riffs and Bonham’s thunderous pounding on the drums. Masterful.
‘Whole Lotta Love’
Another song from the same 1969 album garnered immense popularity not only in Europe but also in countries like the USA and Japan is ‘Whole Lotta Love’, becoming the band’s first hit single upon its release in the US in 1970. Allegedly, Jimmy Page conceived the catchy riff while on a houseboat on the River Thames during the summer of 1968.
The song begins with a loose blues intro and gradually transitions into a jazz form as it progresses. Jones’ semi-muted bass section in the middle of the song adds an intriguing dimension to the soundscape. While this detail may go unnoticed when listening to the song as a whole, it becomes crystal clear when the isolated track is heard.
‘What Is and What Should Never Be’
There are points on offer for guessing which album ‘What Is and What Should Never Be’ belonged to. Written jointly by Page and Plant, it was the first song for which Plant earned a credit for songwriting. Stephen Davis, the Led Zeppelin biographer, claimed that the lyrics reflected the real-life romance of Plant with his wife’s sister.
As usual, Page’s riff played on his Gibson Les Paul outshined others’ contributions. Hence, it’s all the more important to separately focus on the bass track by Jones, which, in this case, is mellow and groovy. Throughout this number, Jones demonstrates his flexibility as a bassist, seamlessly transitioning between intricate bass runs and solid rhythmic support.
‘Ramble On’
Yet another memorable track from the chops of Britain’s most aggressive rock back is ‘Ramble On’. Once again co-written by Page and Plant, the song drew its influence from the fantasy novel by J.R.R Tolkien’s The Lord of the Rings. Though it may well feature as a song the band members would rather forget, it’s one of their most beloved tracks.
It was probably one of those rare times when Jones shared the same amount of appreciation as Page for his winding bass style, which Michael Madden once described as a “Garter snake” playing. Like every song, Jones played his part sincerely, giving Page’s solos a boost and quietly asserting that Led Zeppelin was a rock hero.