I would have to say that "Led Zeppelin III" is by far their most under-appreciated album to date. Many fans hardly recognize it for the beautiful music it contains. Sure, it's not as catchy, driving, grabbing as some of the more popular Zepp albums, but really that's the basis of its appeal. "III" is not something you can imagine filled football stadiums moshing to. It's what's in the background as you ask someone to pass the coffee on a Sunday. And critics, as many as their fans did at the same time, sold them out in the early 1970's. Zepp is heralded as a "Blues Metal Band" (sounds like an oxymoron to me) and people expected the same high pitched wisping Robert Plant vocals to accompany Page's blues riffs. But when "III" hit, everyone was disillusioned. Teased with "Immigrant Song" and Part 2 of Friends, "Celebration Day," no one could lower their heart rate in time to appreciate acoustic classics like "Tangerine," "Gallows Pole," and "That's the Way." Perhaps they could swallow the bluesy "Since I've been Loving You" or "Hats Off to Roy Harper" having been introduced to the same sound in their 1969 debut, but on the whole they were disappointed.

Years later "Immigrant Song," "Friends," "Bron-Y-Aur Stomp," and the unreleased "Hey, Hey What Can I Do" rank among Zeppelin's greatest songs. Page seemed to be the one taking all the risks, hanging up the legendary Les Paul to fiddle with alternate acoustic guitar tunnings (Open D 4th fret capo on "That's the Way," Open G tuning on "Bron-Y-Aur"). And after the dust has settled on the bands monster career, "III" is behind only "IV," "Houses of the Holy," and "Physical Graffiti" as Zepp's finest album.

If these guys had decided to release an album under the name "Joe and the Dudes" just to see how they'd do without their already famous name, this album would be long forgotten. In fact, in this day of wonderful recording quality and post-primitive guitar technology, I cannot understand why anybody listens to 80% of Led Zeppelin's _oeuvre_. Page's guitar always sounds twangy, Plant's falsetto is only slightly pre-Bee Gees falsetto, and the rhythm section ... well, let's put it this way, I'll take Mike and Alex. What do these guys have that 10 bands since haven't had? Only fame. Yuck. I give it three stars to denote mediocrity.

Sure it's supposed to be an "acoustic" album and "soft" but it actually is a super, well rounded affair. You get rockin' tunes ("Immigrant Song", "Out On The Tiles", "Celebration Day"), funky folk ("Bron Yr Aur Stomp", "Gallows Pole"), some kickin' blues or blues influenced tracks ("Since I've Been Loving You", "Hats Off To (Roy) Harper" which is "Shake 'Em On Down"), and a super ballad in "Tangerine". I & II are great but I think there's an earthiness and subtlety here that are missing from their first two efforts. IV/ZOSO is overrated because of 3 songs, and the later albums are by and large pretty damn good. But I'd say this is the most diverse album, and apart from metal heads' perspectives, their most accessible. I love Spinal Tap but sometimes you don't need to go to 11 to totally rock out... Led Zeppelin III proves it. Enjoy!

I feel sorry for people who bought this piece of garbage like I did.

After the thundering success of their first two albums, Led Zeppelin showed that they had more than just a heavy metal side. Led Zeppelin III has an acoustic based, earthy sound and in most places finds the band in a mellow mood. "Immigrant Song" opens the album with a driving kick that belies what will follow. "Friends" and "Celebration Day" show off Jimmy Page's skills on the acoustic guitar while retaining the power of their electric work. "Since I've Been Loving You" is a mournful blues dirge in which Robert Plant bleeds his heart out all over the song. John Bonham contributes the fine "Out On The Tiles". "Gallow's Pole" starts with a slow beat and then builds and builds and picks up speed like water rising in a dam. The water keeps getting higher and then tension builds in the song before it comes bursting free at the end. "Tangerine" is beautiful song that doesn't get many mentions as a great Zep song, but despite its seeming subtlety, it one of the most intricate of their songs and one of their all-time best. III is among the most critically bashed of their albums, but the acoustic nature of it was a precursor to the Unplugged albums of the 90's and the album deserves alot more credit than it gets.