Led Zeppelin IV Sessions
October 1970 - October 1971

OCTOBER 1970 - BRON-YR-AUR COTTAGE, MACHYNLLETH GWYNEDD, WALES
Page and Plant goes to cottage for writing the material later found on Led Zeppelin IV. After some time, they began recording on Island Studios.

NOVEMBER 1970 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Commonly attributed to be recorded somewhere between January and February 1971, these rehearsals more likely occurred during this period of time. Both Black Dog and Stairway To Heaven are sounding here still much primitive yet when compared with its more maturated versions from following sessions. It might be during these days the band started recording using Rolling Stones Mobile Studio.

Recording Includes: Stairway To Heaven (take 1, instrumental), Guitar/piano improvisation, Black Dog acoustic (take 1, instrumental), Black Dog acoustic (take 2, instrumental), Black Dog electric (several takes, with and without vocals), No Quarter (with pre-vocals line), Stairway To Heaven (take 2, instrumental), Stairway To Heaven (take 3, instrumental), Stairway To Heaven (take 4, instrumental), Guitar improvisation, Stairway To Heaven (take 5, with vocals), Stairway To Heaven (take 6, with vocals) [ cut throughout ].
Source: Incomplete excellent cassette demo recordings. 43 minutes.

Bootleg LP Reference(s): And IV To Go (Early Times Music Inc), Inedits (no label), & Led Zeppelin IV Studio Rehearsals January 1971 (RL Records)

Bootleg CD Reference(s): IV Sessions (Wendy Records), All That Glitters Is Gold (Celebration Definitive Masters), Another IV Symbols (Tarantura), Evolution Is Timing 2 (Empress Valley Supreme Disc box), In A Workhouse (Tarantura), The Lost Sessions Volume 9 (Eelgrass & Empress Valley Supreme Disc), Sessions (Antrabata Reference Master box & The Diagrams Of Led Zeppelin), Stairway To Heaven Session (Empress Valley Supreme Disc, original & reissue), Studio Magik - Sessions 1968-1980 (Godfatherecords box), Studio Sessions Ultimate (Scorpio box), Ultra Rare Tracks Vol. #1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music)

      Probably one of the most essential moments of Led Zeppelin in the studio ever achieved. Especially in hearing the development of Stairway To Heaven from its shy acoustic beginnings to its masterpiece conclusion. The first take of Stairway To Heaven shows that the song was thought initially as a fully instrumental run-through of the opening theme played at normal speed, faster, and then returning to normal. Black Dog rehearsals are also very intriguing. The first two takes are just instrumental guitar exercises, sharing familiar passage, where Page tries to figure out the best tempo and breaks. Then we have several electric takes with and without vocals. At this stage the song has yet to be fully worked out and Plant is improvising lyrics on the spot - something he would continue to do on stage for many years. By this time, the band is clearly still having difficulty mastering the famous riff, until Jones shouts out instructions and leads the band on the bass guitar. Page, followed by Bonham, hit into a groove with Bonzo shouting his approval. The final take is a very confident delivery, soon to be evolved into a version we all know. No Quarter is the earliest known reference to this epic piece, three years before its official release. Even in this primitive stage, the basic melody and structure of the song is present, although it is a bit too up-tempo. Robert scats vocals and Jimmy plays a solo before the tape runs out. The next couple of tracks come again from the Stairway To Heaven rehearsals. The takes third and four are still instrumental ones, and features Page and Jones working on the brakes and tempos. The fifth take is joined by Plant adding vocals to it and Jones adding recorders at the beginning, to bring the song closer to the recognizable version. The sixth take adds also Bonham coming halfway through, and Jimmy plays the embryonic guitar solo. A must-have!

NOVEMBER 11, 1970 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
When The Levee Breaks is yet still under its initial title, If It Keeps On Raining.

Recording Includes: When The Levee Breaks (rough mix).
Source: Complete superb soundboard recording. 4 minutes.

Official LP Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song)

Official CD Reference(s): Coda "deluxe" and "super deluxe" editions (Swan Song)

      A simply sensational discovery of one of their most heavy songs with a totally alternate laid back swampy feel. It is also faster in tempo to the original album version. The vocals have a sparse low register echoed scat singing element to them, adding to the almost soundcheck run through quality of the piece. It certainly has a total groove of its own with a pummelling bass line from Jones. Bonham's playing is funky as hell, with a distinctive snare drum sound. It fades slightly and then reappears with Robert moaning a muted "going home" refrain. In fact, this fades far too early, you really want it to go on and on, such is the delightful jam like quality of it all.

DECEMBER 1970 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
Since the Sunset Sound mix uses the tapes recorded during December 5 session in Island Studios, and the structure of the composition is already very similar, this alternate mix might have been also recorded around that period of time at the same location.

Recording Includes: Stairway To Heaven (alternate mix).
Source: Complete very good to excellent soundboard recording. 8 minutes.

Bootleg CD Reference(s): IV Sessions (Wendy Records), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Sessions Volume 9 (Eelgrass & Empress Valley Supreme Disc), Stairway To Heaven Session (Empress Valley Supreme Disc), & Studio Magik - Sessions 1968-1980 (Godfatherecords box)

      This is the alternate take that some have disputed its authenticity in the past. It certainly sounds still kinda rough in some spots when compared to its final album version. Much of the mix is like the official release, but Bonham places different accents here and there, and the vocal has no reverb effects yet. The recorders are radically less pronounced in the mix as they are present only in one segment for a very short time, and the famous guitar solo is constructed in almost completely different way and has a cool fuzz distortion. Page has been quoted that he recorded several different solos for the song to choose the best one, so this may be one of these attempts.

DECEMBER 5,1970 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM

Recording Includes: Black Dog (basic track with guitar overdubs).
Source: Complete superb soundboard recording. 4 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

      Another classic tune in its formative stage. The famous intro with those guitar tune-ups is yet not assembled. There's a greater emphasis on the double track vocals on the chorus, and you can here Bonham stick count in between verses. The guitar solo that closes the track on the official album has yet to be layered, allowing the listener to hear Plant's vocal ad libs more clearly in the mix. This accents phrases such as "push me baby" and "feels good'' to greater effect on the fade. Beside of these nuances, this take is much close to the album version.

DECEMBER 1970/JANURY 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Likely one of the mixing sessions of the material recorded between November 1970 and January 1971, and later even more extensively remixed and overdubbed before using on Led Zeppelin IV album. Going To California and The Battle Of Evermore were also yet more rehearsed and recorded around that time.

Recording Includes: Four Sticks (take 1, pre-vocal mix with count-in), [ cut ], drum clip, Four Sticks (take 2, rough mix with count-in), [ cut ], Black Dog (rough mix with count-in), [ cut ], When The Levee Breaks (take 1, rough mix with count-in and alternate lyrics), [ cut ], When The Levee Breaks (take 2, rough mix without drum intro and the second vocal verse).
Source: Incomplete superb soundboard recording. 28 minutes.

Bootleg CD Reference(s): IV Sessions (Wendy Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Bonzo's Last Stand (Empress Valley Supreme Disc), Control Monitor Mixes EP (Watch Tower), Eternal Magic (Empress Valley Supreme Disc 3CD), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), The Lost Mixes EP Volume 3 (Empress Valley Supreme Disc), The Smithereens (Akashic, 1CD & 3CD box), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      This is another bunch of alternate mixes that were whispered to be founded in a trash. The first take of Four Sticks is instrumental, and we can hear the entire rhythm lines. All the structure, instrumentation and breaks are exactly the same as the official release. It just does fade several seconds later. The second take of Four Sticks begins with Bonham playing the rhythm on drums, stopping and speaking about the sound being "African" before the tune begins again. This does sound also almost identical to the final album mix, as it has already assembled synthesizer overdubs. This version is also slightly clearer, and the vocals are kept in a slightly higher pitch. Black Dog begins with the same guitar tune-ups as on Led Zeppelin IV, but there is a count-in before the vocals begin. Bonzo's time keeping on the sticks is louder and the ending of the song contains a solo that was omitted from the album before the fade. The first take of When The Levee Breaks sounds much similar to the album version, but the lyrics are mostly different. Some differences in guitar overdubs can also be noticed in a few spots. The second take of When The Levee Breaks begins with the count-in mixed up with some guitar tone and Bonham talking in the control room. The opening drums are missing completely, the song begins with the first verse. The second verse is also absent here, as does some guitar overdubs. The overall structure is again familiar with the version known from the fourth album, except for the bass and drums that are just a tiny bit more exposed in the mix.

JANUARY 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Takes 4 through 7 features Sandy Denny on back-up vocals. Two final takes were later mixed at Island and Olympic Sound Studios and used to produce the final version released on Led Zeppelin IV album.

Recording Includes: The Battle Of Evermore (take 1, alternate lyrics), [ cut ], The Battle Of Evermore (take 2, alternate lyrics), [ cut ], The Battle Of Evermore (take 3, alternate lyrics), [ cut ], The Battle Of Evermore (take 4, instrumental with vocals bleed) [ cut ], [ cut ], The Battle Of Evermore (take 5) [ cut ], [ cut ], The Battle Of Evermore (take 6) [ cut ], [ cut ], The Battle Of Evermore (take 7) [ cut ].
Source: Incomplete very good to excellent soundboard recording. 40 minutes.

Bootleg CD Reference(s): IV Sessions (Wendy Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Evolution Is Timing 2 (Empress Valley Supreme Disc box), In A Workhouse (Tarantura), Sessions (Antrabata Reference Master box & The Diagrams Of Led Zeppelin), Studio Magik - Sessions 1968-1980 (Godfatherecords box), & Studio Sessions Ultimate (Scorpio box)

      Likely a large chunk of one of the mixing sessions for The Battle Of Evermore. The first three takes featuring alternate lyrics that differs from the album version. It is interesting to hear Robert working out the song as he goes along. Him singing the tune by himself sounds one-sided and bare, and one can understand why they chose to invite Sandy Denny from Fairport Convention to sing on the track. This was a great idea really, as the wonderful call and response aspect and his lyrics show his deep appreciation and knowledge of Welsh history combined with the works of JR Tolkien that brings the song to life. Take four is an instrumental version with vocals bleeding underneath. This is the rendition that stands much closer to the official release, as we can hear familiar lyrics along with Sandy singing in the choruses already, and the overall instrumentation and vocal arrangements are also the same. The takes five to seven are all just identical to the final album version with Sandy's contribution. The only noticeable difference between them are the variations on the echo.

JANUARY 29, 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Page claimed that the companion mix of Misty Mountain Hop derived from work done at Sunset Sound Studios. However, the book included in the super deluxe edition attributes this alternate mix as deriving from Morgan Recording Studios, which was the location of the master mixing sessions. It is possible that the track actually dates to the period in which the album was being remixed in the United Kingdom. Alternatively, it is also possible that recording was done at Morgan at some point prior to final mixdown.

Recording Includes: The Battle Of Evermore (mandolin/guitar mix), Misty Mountain Hop (alternate mix), Going To California (mandolin/guitar mix).
Source: Complete superb soundboard recording. 12 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

      These three alternate takes shows Led Zeppelin IV in a work-in-progress scenario. The Battle Of Evermore is an instrumental mix. Awesome to have this great composition in this quality. It is very interesting to be able to hear the arrangement so clearly. Towards the end, it sounds like whoever was playing the mandolin got a little lost. The only bummer is that it fades too early. Misty Mountain Hop is the mix that missing vocal overdubs. Plant is still double tracked but is missing one or two higher vocal tracks. Everything is really clear and separate in this take, you can hear each instrument pretty well, and the drums sound absolutely incredible. The underwater effect on the vocals during the outro "ooh ooo oohs" is missing here. Except of this, it stands almost identical to the album version. Going To California is again an instrumental mix. It was always thought that gasp at the beginning was Plant. Obviously it is not true. As with every instrumental track, you can hear the arrangement and instrumentation so much clearer. Again, this version is also very similar to the one later released on the album.

JANUARY 30, 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE UNITED KINGDOM & ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
Rock And Roll is yet still under its initial title, Bin A Long Time. Ian Stewart plays the piano.

Recording Includes: Rock And Roll (alternate mix).
Source: Complete superb soundboard recording. 3 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

      The main thing we can say about this version is that with some of the guitar overdubs removed from the track, the main guitar riff has more of a fuzzy sound and has the feel as if it was recorded live. Plant is a little more behind the band too, but not too much. In the final mix used on the album, his vocals are more forwarded.

JANUARY/FEBRUARY 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
It was later mixed at Island Studios to be a part of Physical Graffiti album. This take was also used during initial mixing of Coda at The Sol Studio, Cookham, Berkshire, United Kingdom in 1981.

Recording Includes: Night Flight (rough mix with vocals).
Source: Complete excellent soundboard recording. 3 minutes.

Bootleg CD Reference(s): IV Sessions (Wendy Records), Coda Advanced Tapes (Boogie Mama), Evolution Is Timing 2 (Empress Valley Supreme Disc box), The Lost Sessions Volume 8 (Empress Valley Supreme Disc), & Studio Magik - Sessions 1968-1980 (Godfatherecords box)

      Musically, this song would be rather an odd tune on any of their albums, so we can guess Physical Graffiti was the ideal project to release it to the world. It also would be mostly forgettable if not for one of his most taxing studio vocal performance from Robert during the second verse and Bonzo's classic freak-out fill in the middle. This take is the same as the official cut.

FEBRUARY 1971 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
Extensive working on Stairway To Heaven and Four Sticks. Down By The Seaside was also recorded around that period of time and later used on Physical Graffiti album. Night Flight was overdubbed. Initial mixing of entire Led Zeppelin IV album, but abandoned because of mastering issues.

FEBRUARY 1971 - SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA
Very likely this session occured around the same time as the below date. With a bit of speculation we can say it might have been sourced from the tapes originally recorded at Island Studios, Notting Hill, London, United Kingdom on January 1971. Released on April 21, 2018 as a part of Record Store Day.

Recording Includes: Rock And Roll (alternate mix).
Source: Complete superb soundboard recording. Near 4 minutes.

Bootleg LP Reference(s): Rock And Roll/Friends (Atlantic)

      This is another alternate mix of Rock And Roll. When compared to the album version, the first thing you can tell is that it sounds a bit less bright, and the guitars are more in a narrow way, the overdubs and middle solo especially. The piano is also slightly less pronounced, giving the song a bit more rough feel. Beside these details, everything else is almost identical.

FEBRUARY 9, 1971 - SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA
Mixing session of tapes originally recorded at Island Studios, Notting Hill, London, United Kingdom on December 5, 1970.

Recording Includes: Stairway To Heaven (alternate mix).
Source: Complete superb soundboard recording. Almost 8 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

      Whooah! The legendary Sunset Sound mix. The added reverb in the beginning is a little distracting while listening on headphones, on a proper stereo it would be fine. One of the first major differences is that the recorders are hard cut instead of faded out at the second minute. This is a bit jarring but works with what Page said recently about each part of this song having definite transitions. There is an amazing clarity to the drums, something that is always fascinating to hear. Immediately after the guitar solo, we can hear Jimmy slide down the neck. Then there are extra guitar overdubs as well as missing vocal overdubs from Plant. In the final album mix, he's double or triple tracked. In this version there's only one track, the lower one. A few extra guitar licks are right after "to be a rock and not to roll" phrase too.

FEBRUARY 11, 1971 - SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA
Recorded under the title Boogie With Stew. Ian Stewart plays the piano. Mixing session of tapes originally recorded at Island Studios, Notting Hill, London, England.

Recording Includes: Boogie With Stu (alternate mix).
Source: Complete superb soundboard recording. Near 4 minutes.

Official LP Reference(s): Physical Graffiti "deluxe" and "super deluxe" editions (Atlnatic)

Official CD Reference(s): Physical Graffiti "deluxe" and "super deluxe" editions (Atlnatic)

     This is another impromptu rock and roll tune that evolved from one of their spontaneous studio jams. The lyrics were taken from the Ritchie Valens' song Ooh My Head. The mandolin is more prominent in this mix, whereas the piano and Robert's voice sits further back here. It fades out with no laugh as on the original version.

MAY 11, 1971 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM
Mixing session of tapes originally recorded at Island Studios, Notting Hill, London, United Kingdom on November 2, 1970.

Recording Includes: Four Stick (alternate mix with count-in).
Source: Complete superb soundboard recording. 4 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

     The first impression is that this alternate mix is much brighter than the album one. Bonham's hi-hat is also slightly more pronounced in this take. Synthesizer overdubs during the chorus are much more audible, as is Jones' bass. This is the exact same mix we have on the version that leaked on bootleg minus a short rehearsal at the start, but this take is kinda differently prepared. It sounds as it has been a bit more worked or polished. Other things worth noting are that Plant's vocals are not as high-pitched as on the version known from bootlegs.

MAY 19, 1971 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
Mixing session of tapes originally recorded Headley Grange Studios, Hampshire, United Kingdom on Rolling Stones Mobile Studio on January 29, 1971.

Recording Includes: When The Levee Breaks (alternate UK mix in progress).
Source: Complete superb soundboard recording. 7 minutes.

Official LP Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlnatic)

Official CD Reference(s): Led Zeppelin IV "deluxe" and "super deluxe" editions (Atlantic)

     One of the most rough out of all companion mixes used on Led Zeppelin IV. It shows how complex this composition really is. So many different parts and little accents that, when skilfully mixed together, create one of Zeppelin's most atmospheric songs. So much to mention here, you're better off listening to it on your own. This version sounds very similar to the intro-less version we have on bootlegs. For example, the intermittent reverse stuff which starts just a few seconds before sixth minute that sounds like a cow mooing is only present or particularly noticeable on these two. In any event, they seem more closely related to each other than to the finished version or the other full-length, faster one with different lyrics.

OCTOBER 1971 - SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA
Final mixing of Led Zeppelin IV album.