“Your Time Is Gonna Come” is a song by English rock band Led Zeppelin, released on their 1969 debut album Led Zeppelin.
Guitarist Jimmy Page played an out-of-tune Fender 10-string steel guitar on this track. Page stated that he learned how to play the steel guitar only during the sessions for the first album. Bassist John Paul Jones played an organ, using a pedal to create the bass. The lyrics concern an unfaithful girl who will pay the price for her deceitful ways.
The only known performance of this song at Led Zeppelin concerts is a short snippet during a show at Tokyo on 24 September 1971 during the “Whole Lotta Love” medley, of which a bootleg recording exists. The name of the bootleg is Light and Shade.
Jimmy Page performed “Your Time Is Gonna Come” on his tour with The Black Crowes in 1999. A version of the song performed by Page and The Black Crowes is on the album Live at the Greek.
Slash, the lead guitarist of Guns N’ Roses, has said that “Your Time Is Gonna Come” is his favourite Led Zeppelin song. Record producer Rick Rubin has remarked, “It’s like the drums are playing a big rock song and the guitars are playing a gentle folk song. And it’s got one of the most upbeat choruses of any Zeppelin song, even though the words are so dark.”
“Whole Lotta Love” is a song by English hard rock band Led Zeppelin. It is the opening track on the band’s second album, Led Zeppelin II, and was released in the United States, several countries in Europe, and Japan as a single; as with other Led Zeppelin songs, no single was released in the United Kingdom. The US release became their first hit single, being certified Gold on 13 April 1970, having sold one million copies. It reached number one in Germany, and number four in the Netherlands. Parts of the song were adapted from Willie Dixon’s “You Need Love”, recorded by Muddy Waters in 1962; originally uncredited to Dixon, a lawsuit in 1985 was settled with a payment to Dixon and credit on subsequent releases.
In 2004, the song was ranked number 75 on Rolling Stone magazine’s list of the 500 Greatest Songs of All Time, and in March 2005, Q magazine placed “Whole Lotta Love” at number three in its list of the 100 Greatest Guitar Tracks. It was placed 11 on a similar list by Rolling Stone. In 2009 it was named the third greatest hard rock song of all time by VH1. Already part of their live repertoire, “Whole Lotta Love” saw its first official release on the LP Led Zeppelin II on 22 October 1969 (Atlantic LP #8236). In 2014, listeners to BBC Radio 2 voted “Whole Lotta Love” as containing the greatest guitar riff of all time.
“The Ocean” is a song by English rock band Led Zeppelin, from their 1973 album Houses of the Holy. “The Ocean” refers to the sea of fans seen from the stage at Led Zeppelin concerts, to whom this song was dedicated.
The intro and chorus (the main riff) are in 15/8; the song is in a 4/4 beat in the verses and the latter part of the song. The voice on the intro is drummer John Bonham referring to the takes: “We’ve done four already but now we’re steady, and then they went 1, 2, 3, 4!” They had tried to record it four times previously but could not get it right, prompting the chant.
“That’s the Way” is a ballad by English rock band Led Zeppelin from their third album, Led Zeppelin III, released in 1970. Like several of the tracks on the album, it is an acoustic song and is particularly noted as being one of the most gentle and mellow compositions in the Led Zeppelin catalogue.
The studio version features Jimmy Page playing acoustic guitar in open G♭ tuning, pedal steel, dulcimer, and bass guitar while John Paul Jones plays mandolin. There is no presence of John Bonham’s drums on the track, and light tambourine and bass guitar is added towards the end of the song.
“Thank You” is a song by the English rock band Led Zeppelin from their 1969 album Led Zeppelin II, written by Robert Plant and Jimmy Page.
“Thank You” signalled a deeper involvement in songwriting by singer Robert Plant: it was the first Led Zeppelin song for which he wrote all the lyrics. According to various Led Zeppelin biographies, this is also the song that made Jimmy Page realise that Plant could now handle writing the majority of the lyrics for the band’s songs. Plant wrote the song as a tribute to his then-wife Maureen.
The song features Hammond organ playing by John Paul Jones, which fades into a false ending before concluding with a crescendo roughly ten seconds later. This has created a problem for radio stations wishing to play the track, which must decide whether to accept the dead air or cut it off. Some stations run an edited version with the silence eliminated. For the recording of this track, Page played on a Vox 12-string guitar. It was also one of the few Led Zeppelin songs on which Page sang backing vocals.
“Tangerine” is a folk-rock song recorded by English rock band Led Zeppelin and released on their 1970 album Led Zeppelin III. Led Zeppelin biographer Ritchie Yorke notes, “‘Tangerine’ had been written by [Jimmy Page] years earlier and the Yardbirds had attempted to record it on at least one occasion”.
The song is based on a strummed twelve-string acoustic guitar rhythm with pedal steel guitar fills that give it a country rock sound, reminiscent of pieces by Neil Young around the time. “Tangerine” has been performed in concert by Led Zeppelin at different points in their career and has been recorded by other musicians.
“Rock and Roll” is a song by the English rock band Led Zeppelin, which was first released as the second track from the band’s fourth album in 1971, with a guest appearance by The Rolling Stones pianist Ian Stewart.
Befitting its title, the song is based on one of the most popular structures in rock and roll, the twelve-bar blues progression (in A). “Rock and Roll” stands as one of the best-known songs in the band’s catalogue.
Led Zeppelin guitarist Jimmy Page has said that this song came to be written as a spontaneous jam session, whilst the band were trying (and failing) to finish the track “Four Sticks”, at the Headley Grange mansion they had rented in Hampshire, England to record the track. Drummer John Bonham played the introduction in triplets and Page added a guitar riff. The tapes were rolling and fifteen minutes later the basis of the song was down. Said Page:
“Over the Hills and Far Away” is the third track from English rock band Led Zeppelin’s 1973 album Houses of the Holy. It was released as a single, with “Dancing Days” as the B-side, in the US.
Jimmy Page and Robert Plant originally constructed the song in 1970 at Bron-Yr-Aur, a small cottage in Wales where they stayed after completing a gruelling North American concert tour. The song was first called “Many, Many Times”, as shown on a picture of the original master on the Led Zeppelin website.
Page plays a six-string acoustic guitar introduction and repeats the theme with a 12-string acoustic guitar in unison. In an interview published in Guitar World magazine’s November 1993 issue, Page commented on the construction of the song:
GW: There’s an acoustic guitar running throughout the song. Did you play a main acoustic and then overdub an electric?
Page: No, we played it through entirely as you know it, but I was playing electric.
GW: So you simply edited out of the beginning?
Page: Yeah, that’s right. “Presumably”. It sounds that way. It sounds like the acoustic is going straight through.
Plant’s vocals enter on the next repetition. He tenderly offers himself to the “lady” who’s “got the love [he] need[s].” The acoustic guitars build in a crescendo toward the abrupt infusion of Page’s electric guitars along with drummer John Bonham’s and bass guitarist John Paul Jones’ rhythm accompaniment.
Through the pre-verse interludes and instrumental bridge, “Over the Hills and Far Away” stands out as an example of Jones and Bonham’s tight interplay. Following the final verse, the rhythm section fades out, gradually replaced by the echo returns from Page’s electric guitar and a few chords played by Jones on Clavinet. In the final 8 bars, Page executes a linearly descending/ascending sequence and then concludes with the idiomatic V-I cadence on synth imitating a pedal steel guitar.
“In My Time of Dying” (also called “Jesus Make Up My Dying Bed” or a variation thereof) is a traditional gospel music song that has been recorded by numerous musicians. The lyrics “Jesus goin’ a-make up my dyin’ bed” appear in historian Robert Emmet Kennedy’s Mellows – A Chronicle of Unknown Singers published in 1925, on Louisiana street performers, and also listed in the Cleveland Library’s Index to Negro Spirituals. They refer to a deathbed and were inspired by a passage in the Bible from Psalms 41:3 “The Lord will strengthen him upon the bed of languishing, thou wilt make all his bed in his sickness”.
“Immigrant Song” is a song by the English rock band Led Zeppelin. It is built on a repeating riff and features lyrical references to Norse mythology, with singer Robert Plant’s howling vocals mentioning war-making and Valhalla. The song was included on their third studio album, Led Zeppelin III, and was released as a single, which charted in several countries. Several live recordings have also been issued on Led Zeppelin concert albums and other artists have recorded renditions of the song.
Though regarded as an album-oriented group, “Immigrant Song” is one of the band’s several hit records on singles radio, and the song’s popularity has led to its featuring in compilation albums by the band such as in 1992’s Led Zeppelin Remasters and 1999’s Early Days: The Best of Led Zeppelin, Vol. 1.
“Hey, Hey, What Can I Do” is a song by the English rock group Led Zeppelin, released in 1970 as the B-side of “Immigrant Song” outside the United Kingdom.
It is the only non-album track the band released before their 1980 breakup, appearing on the Atlantic Records UK various artists LP, The New Age of Atlantic, released in 1972. The song was first released on CD in September 1990 on the 4-CD Led Zeppelin Boxed Set collection.
Initial 7″ single pressings of the song featured a slightly longer, gradual fade that ends abruptly when the tape is turned off. Subsequent pressings had a quicker fade, presumably to avoid the sudden end. This is the version that has been featured on every CD release prior to 2015. The 2015 expanded edition of Coda features an even shorter fade, excising the acoustic guitar fadeout altogether.
In 1992, as a 20th anniversary release, “Immigrant Song”/”Hey, Hey What Can I Do” was released as a “vinyl replica” CD single. In 1993, “Hey, Hey What Can I Do” was included on The Complete Studio Recordings 10-CD box set, as one of four bonus tracks on the Coda disc as well as the subsequent 12-CD Led Zeppelin Definitive Collection box set released in 2008. In 2015, the song was also included on disc one of the two companion discs of the reissue of Coda.
In 2007, Led Zeppelin released the track online along with the rest of their back catalogue, as a bonus track on Led Zeppelin III. The song was also released as the B-side of the “Stairway to Heaven” 7″ 45 RPM picture disc.
The song was never performed at a Led Zeppelin concert, however Page and Plant did perform the song on the accompanying tour for their 1994 live album No Quarter: Jimmy Page and Robert Plant Unledded. Page also performed the song with The Black Crowes for their 2000 album Live at the Greek.
“Heartbreaker” is a song from English rock band Led Zeppelin’s 1969 album, Led Zeppelin II. It was credited to all four members of the band, having been recorded at A&R Studios, New York, during the band’s second concert tour of North America, and was engineered by Eddie Kramer.
“Heartbreaker” opens Side II of the album, and is famous for its memorable guitar riff by Jimmy Page, along with its unaccompanied solo, which he improvised on the spot. It was voted as the 16th-greatest guitar solo of all time by Guitar World magazine. “Heartbreaker” was ranked No. 328 in 2004 by Rolling Stone magazine, in their 500 Greatest Songs of All Time.
“Going to California” is a ballad written and performed by the English rock band Led Zeppelin. It was released from the band’s untitled fourth album in 1971.
In 2012, Rolling Stone ranked “Going to California” number 11 on their list of the 40 greatest Led Zeppelin songs of all time.
The song’s wistful folk-style sound, with Robert Plant on lead vocals, acoustic guitar by Jimmy Page and mandolin by John Paul Jones, contrasts with the heavy electric-amplified rock on five of the album’s other tracks. Page’s guitar is in the DADGBD tuning.
“The Maid Freed from the Gallows” is one of many titles of a centuries-old folk song about a condemned maiden pleading for someone to buy her freedom from the executioner. In the collection of ballads compiled by Francis James Child in the late 19th century, it is indexed as Child Ballad number 95; 11 variants, some fragmentary, are indexed as 95A to 95K. In the Roud Folk Song Index it is number 144. The ballad exists in a number of folkloric variants, from many different countries, and has been remade in a variety of formats. For example, it was recorded in 1939 as “The Gallis Pole” by folk singer Huddie “Lead Belly” Ledbetter, and – the most famous version – in 1970 as “Gallows Pole”, an arrangement of the Fred Gerlach version by English rock band Led Zeppelin, on the album Led Zeppelin III.
“Friends” is the second track from the 1970 album Led Zeppelin III, the third studio album of English rock band Led Zeppelin. Jimmy Page and Robert Plant wrote the song in 1970 at Bron-Yr-Aur, a small cottage in Wales where they stayed after completing a gruelling concert tour of the United States. Biographer Stephen Davis called the acoustic number “Jimmy’s [Page’s] last stab a psychedelia”.
The song starts out with a little noodling and studio chatter. Peter Grant’s voice (uttering “start”) can be heard in the background, of the right channel, before the guitars of Jimmy Page kick in. The guitar tuning for the song is an open-C6 chord (C-G-C-G-C-E). The same tuning was used by Page on the songs “Bron-Yr-Aur” and “Poor Tom”, which were recorded during these same sessions. Page used an Altair Tube Limiter to enhance the acoustic quality of his Harmony guitar, a device recommended to him by acoustic guitarist Dick Rosmini. This same device was later used by Page on “All My Love”, which was included on Led Zeppelin’s In Through the Out Door album.
“Kashmir” is a song by the English rock band Led Zeppelin from their sixth album Physical Graffiti, released in 1975. It was written by Jimmy Page and Robert Plant (with contributions from John Bonham) over a period of three years with lyrics dating to 1973. The song became a concert staple, performed by the band at almost every concert after its release. The song has been described as one of Led Zeppelin’s two most overtly progressive epics.
Page and Plant released a longer, live version, recorded with an Egyptian/Moroccan orchestra, on No Quarter: Jimmy Page and Robert Plant Unledded (1994) and continued to perform the song with an orchestra on their 1995 tour.
“Down by the Seaside” is a ballad by English rock band Led Zeppelin from their 1975 album Physical Graffiti.
The song was originally written as an acoustic piece by Jimmy Page and Robert Plant at Bron-Yr-Aur, the cottage in Wales where they went after their 1970 concert tours of North America.  It was then recorded in 1971 as an electric arrangement and was intended for release on Led Zeppelin IV but was held over and eventually placed on Physical Graffiti to complete the double album.
The title may be a reference to the Neil Young song “Down by the River” and the somewhat nasal inflection in Plant’s vocals may be an homage to Young’s distinctive voice. The song alternates between soft and hard-rocking sections and changes in tempo, with the lighter sections employing a tremolo effect on the guitar, or possibly by running it through a Leslie speaker, to give an ‘underwater talking’ feel. John Paul Jones plays a Hohner “Electra-Piano” electric piano on the track. “Down by the Seaside” was never performed live at Led Zeppelin concerts.
Plant later recorded “Down by the Seaside” as a duet with Tori Amos for the 1995 Led Zeppelin tribute album Encomium.
“The Wanton Song” is a song by English rock band Led Zeppelin from their sixth studio album, 1975’s Physical Graffiti.
The song came about as the result of a jam session at rehearsals and features a sharp, aggressive riff from guitarist Jimmy Page, which like “Immigrant Song” found Page switching back and forth between two notes one octave apart. Lyrically it is mainly about sex, specifically sex with a “wanton woman”.
For his solo, Page employed a backwards echo (where the echo is heard before the note), and also put his guitar through a Leslie speaker cabinet, to create a doppler effect with a Hammond organ. This was a technique Page had himself used as far back as his work with The Yardbirds, and faced serious opposition from audio engineers when he tried it on the earliest Led Zeppelin recordings.
“Darlene” is a song by English rock group Led Zeppelin. It was recorded at Polar Studios in Stockholm, Sweden during the In Through the Out Door sessions in November 1978.
Due to space constraints, the song was not included on In Through the Out Door. It was left unreleased until 1982, when it was included on the album Coda. It was one of three songs recorded at Polar Studios which were omitted from In Through the Out Door and later released on Coda, the other two being “Ozone Baby” and “Wearing and Tearing”.
John Paul Jones plays barrelhouse piano on this track. Jimmy Page performs 1950s rockabilly-style riffs throughout.
This is the only song from the In Through the Out Door sessions which was credited to all four members of the band. It was never played live at Led Zeppelin concerts.
“Dancing Days” is a song by English rock band Led Zeppelin. It appears on their 1973 album, Houses of the Holy, and was released as a single in the US. It was recorded at Stargroves, England in 1972. It was inspired by an Indian tune that Jimmy Page and Robert Plant heard while traveling in Bombay. This was the first track from the album to be offered for radio play by Atlantic Records. It was premiered on 24 March 1973 on the BBC Radio One Rosko lunch time show.
As with the single’s A-side, “Over the Hills and Far Away”, “Dancing Days” was introduced by the band in concert well ahead of its commercial release. Although a bootleg tape purports to prove it was first played at the Wembley Empire Pool in November 1971, evidence suggests its inclusion on this tape was a hoax. The earliest live documented reference is in Seattle on 19 June 1972 where the song was performed twice: once during the main set and again as an encore; it was then performed frequently during the rest of this tour, with a version appearing on the live album, How the West Was Won. With the release of Houses of the Holy, however, “Dancing Days” was largely dropped from concerts, although an abridged, acoustic version was occasionally performed during the 1977 U.S. tour. A full electric version was played as an encore on 13 July 1973 at Cobo Hall, Detroit, Michigan as featured on the “Monsters of Rock” bootleg.
“Celebration Day” is a song by English rock band Led Zeppelin, and the third track from their 1970 album Led Zeppelin III. The band’s last concert film and album, released on 19 November 2012, took their name from this song.
The song starts with a number of guitar chords played at high speed on top of a monotonic drone created with a Moog synthesizer. This connects the song musically with the preceding track on the album, “Friends”, which ends with the same buzz. Originally, one of John Bonham’s drum tracks was to be used in the intro of “Celebration Day”, but an engineer accidentally erased the recording. Unable or unwilling to re-record it, they used the synthesizer drone from the end of “Friends” to fill up the gap.
“Carouselambra” is the fifth track on Led Zeppelin’s 1979 album In Through the Out Door. The name Carouselambra is a reference to the first section of the song sounding similar to carousel music. It is the second-longest song the band recorded in the studio (after “In My Time of Dying”), at more than 10 minutes in length. John Paul Jones’ synthesizers dominates the song, with Jimmy Page’s guitar playing a supporting role.
With its early working title of “The Epic”, what would eventually be called “Carouselambra” was conceived during the band’s rehearsals at Clearwell Castle in May 1978. The song itself is split in three sections. The first section is a fast-paced showcase of Jones on synthesizer (he overdubbed bass guitar or already recorded it as part of the backing track), with Robert Plant’s vocals mixed down slightly underneath Jones, the drums of John Bonham and Page’s guitar chord progression. The second section is much slower in pace, highlighting Page’s use of the Gibson EDS-1275 double-necked guitar, the only time he used that instrument on a Led Zeppelin studio song, while Plant sings some reflective lyrics. The final section returns to an up-tempo beat, with all four band members performing in unison. Page’s deep, droning guitar sound was produced with a Gizmotron, a device that creates infinite sustain, unusual harmonics, and allows the guitar to sound like a string section.
Jones, in an interview, stated he had obtained the Yamaha GX-1 synthesizer from Keith Emerson. He later sold this GX-1 back to Emerson after Led Zeppelin’s last tour in 1980.
Plant’s vocals, particularly in the first section of the song, are somewhat buried in the mix and the words are difficult to discern. According to an interview Plant gave in 1979, the song was about someone who, when one day realising the song was written about them, would say, “My God! Was it really like that?” Later comments suggest that the singer meant his bandmates; the lyrics allegedly were a veiled description of their troubled creative chemistry.
“Bonzo’s Montreux” is a drum solo by Led Zeppelin drummer John Bonham. It is the seventh track on the band’s final studio album, Coda. It was recorded in September 1976 at Mountain Studios in Montreux, Switzerland. Jimmy Page added electronic effects afterwards.
The song was left unreleased until 1982, when it was included posthumously on the album Coda following Bonham’s death in 1980.
The song was also included on both of the band’s boxed sets, released in the early 1990s. It was presented in a medley with Bonham’s solo on “Moby Dick” on the first boxed set in 1990, and as an individual track on the second boxed set in 1993.
Although the version of Coda included on the career-spanning boxed set The Complete Studio Recordings featured the new songs that were released on the boxed set series, the “Moby Dick/Bonzo’s Montreux” medley (released on the first boxed set, in 1990) was omitted.
“Bonzo’s Montreux” was never performed live at Led Zeppelin concerts, however, Bonham would perform parts of the song during “Over the Top” in 1977.
“Black Dog” is a song by English rock band Led Zeppelin, the opening track on their fourth album (1971). It was released as a single in the US and in Australia with “Misty Mountain Hop” as the B-side, reaching number 15 on the Billboard Hot 100 and number 10 in Australia.
In 2004, the song was first ranked #294 on Rolling Stone’s list of the 500 Greatest Songs of All Time before being ranked at #300 in 2010. Music sociologist Deena Weinstein calls “Black Dog” “one of the most instantly recognisable [Led] Zeppelin tracks”.
“Black Country Woman” is the fourteenth song on English rock band Led Zeppelin’s 1975 album Physical Graffiti. It was originally intended to be part of the Houses of the Holy album, which had been released two years earlier.
“Black Country Woman” was an acoustic song recorded in the back garden of Stargroves manor house, in 1972 (around the same time as “D’yer Mak’er”). At the beginning of the track, recording engineer Eddie Kramer can be heard saying, “Shall we roll it Jimmy? We’re rolling on what, one, no, one again.” followed by saying “Don’t want to get this airplane on” about an aeroplane which is heard flying overhead, to which Robert Plant replies “Nah, leave it, yeah.”
Recording outdoors proved to be difficult. On one occasion at Headley Grange when Plant tried to go outside to sing the song in the quadrangle, he was attacked by a flock of angry geese.
“Baby Come On Home” is a song by English rock band Led Zeppelin. It was recorded during sessions for the band’s debut album but remained unreleased until 1993, when it was included on the compilation Boxed Set 2. The song was also included on the CD edition of the band’s ninth studio album Coda in The Complete Studio Recordings (1993) and Definitive Collection Mini LP Replica CD Boxset (2008). In 2015, the song was included on disc one of the two companion discs of the reissue of Coda.
The track stems from an old master reel labelled ‘Yardbirds. October 10, 1968’ (Led Zeppelin were called the “New Yardbirds” during their first months of existence). The master tape went missing for a number of years and allegedly turned up in a refuse bin outside Olympic Studios, following renovations in 1991. It was mixed by Mike Fraser for a much belated release in 1993, with a single to promote the Boxed Set 2.
The song was originally recorded under the title “Tribute to Bert Berns”, in honour of the American songwriter and producer who had died in December 1967.
On this track, Jimmy Page played guitar through a Leslie speaker and John Paul Jones played piano and a Hammond organ.
“Babe I’m Gonna Leave You” is a folk song written by Anne Bredon (then known as Anne Johannsen) in the late 1950s. It was recorded by Joan Baez (credited and became widely popular as “traditional”) and released on her 1962 album Joan Baez in Concert, Part 1; and by the English rock band Led Zeppelin, who included it on their 1969 debut album Led Zeppelin.
Other interpretations of the Bredon song include versions by the Plebs (1964 Decca Records UK/MGM Records USA, credited “Traditional, arranged Dennis”), The Association in 1965 (also doing a live version in 1970), and British pop singer Mark Wynter in 1965 (credited “Janet Smith”). Quicksilver Messenger Service recorded a variation of the song in 1967, which was covered by Welsh band Man on their album Maximum Darkness, recorded live at the Roundhouse on 26 May 1975. Miley Cyrus released a version that closely hewed to the Led Zeppelin version on SoundCloud in September 2014.
“All My Love” is the sixth track on Led Zeppelin’s 1979 album In Through the Out Door. Credited to Robert Plant and John Paul Jones, it is a rock ballad that features a synthesizer solo by Jones. It was written in honour of Plant’s son Karac, who died while Led Zeppelin was on their 1977 North American tour.
“All My Love” is a mid-tempo rock-style ballad, which biographer Nigel Williamson describes as “underpinned by a semi-classical arrangement of the kind popular at the time with the likes of Genesis and ELO”. The original working title was “The Hook”. The song was recorded between November and December 1978 at Polar Studios in Stockholm, Sweden. A studio outtake of an extended version of the song exists, timed around 7:55 (the song itself would be timed around 6:57). It has a complete ending, with Plant extending the last chorus with much ad-libbing and a twangy B-Bender guitar solo by Page. This version is found on several Led Zeppelin bootleg recordings.
Led Zeppelin performed the song during their concert tour of Europe in 1980. It was one of the most well received performances of the tour. “All My Love” is also included on the Led Zeppelin compilations Early Days and Latter Days, Remasters and Mothership.
“Achilles Last Stand”[nb 1] is a song by the English rock group Led Zeppelin, featured as the opening track on their 1976 album Presence. It was written by Jimmy Page and Robert Plant at Page’s house in Malibu, California, where they stayed for a month while Plant was recovering from injuries he sustained in a car accident in Greece in 1975. The song was then recorded at Musicland Studios in Munich, Germany. It is often seen as a precursor to the new wave of British heavy metal sound that would expand soon after.