Editing Houses of the Holy (section)

==Composition==
The album was a stylistic turning point for the band. The composition and production laid foundations for subsequent releases. According to the band's biographer Dave Lewis, "while the barnstorming effect of the early era was now levelling off, and though devoid of the electricity of ''[[Led Zeppelin (album)|Zeppelin I]]'' and ''[[Led Zeppelin II|II]]'', the sheer diversity of [[Led Zeppelin III|the third album]], and lacking the classic status of [[Led Zeppelin IV|the fourth]], ''Houses of the Holy'' nevertheless found its rightful niche."{{sfn|Lewis|2012|p=130}} The album largely abandoned their previous music's weighty, dark [[blues rock]] distortion in favor of a clean, expansive rock sound—as evinced by Page's sharper, brighter guitar tone. It was also likely the most eclectic musically of their albums, in the opinion of ''[[Consequence of Sound]]'' writer Kristofer Lenz, who observed [[Swing (jazz performance style)|swing]] rhythms on "Dancing Days", and experiments with [[reggae]] and [[psychedelic music]] on "D'yer Mak'er" and "No Quarter", respectively.<ref name="COS"/> [[Pete Prown]] and [[HP Newquist]] have called it "a diverse collection of rockers, ballads, reggae, funk, and fifties-style rock 'n' roll".<ref>{{cite book|last1=Prown|first1=Pete|last2=Newquist|first2=Harvey P.|year=1997|title=Legends of Rock Guitar: The Essential Reference of Rock's Greatest Guitarists|publisher=[[Hal Leonard Corporation]]|isbn=0793540429|page=61}}</ref>

===Side one===
The album's opening track, "[[The Song Remains the Same (song)|The Song Remains The Same]]", was originally a Page-composed instrumental called "The Overture". Plant added lyrics that referred to the group's experiences on tour, and it was given a working title of "The Campaign". His lead vocal was sped up slightly in the final mix, while Page played an electric [[twelve string guitar]] and a six-string electric. For live performances, he used the [[Gibson EDS-1275]] double-neck guitar that was also used for playing "[[Stairway to Heaven]]" in concert.{{sfn|Lewis|1990|p=53}}

"[[The Rain Song]]" was composed at Page's home studio, including the entire arrangement and the vocal melody.{{sfn|Lewis|1990|p=53}} He was inspired to write the song after [[George Harrison]] complained that Led Zeppelin "never did any ballads".{{sfn|Lewis|2012|p=132}} The opening chords are the same as Harrison's song “[[Something (Beatles song)|Something]]” from [[The Beatles]]' ''[[Abbey Road]]''.{{sfn|Lewis|2012|p=132}} The backing track was recorded at Olympic, with a working title of "Slush". Plant added some sensitive lyrics which matched the music, Jones added a string section played on the [[Mellotron]], while Page played acoustic and [[Danelectro]] electric guitars in various different tunings.{{sfn|Lewis|2012|p=132}}{{sfn|Lewis|1990|p=53}} The song was regularly performed live, with Page using the Gibson EDS-1275. [[Page and Plant]] revived the track for their 1994–95 tour.{{sfn|Lewis|2012|p=132}}

"[[Over the Hills and Far Away (Led Zeppelin song)|Over the Hills and Far Away]]" was written about the hippie lifestyle, including references to the "open road". The song was developed in two halves, with a quiet acoustic section leading into a livelier electric one. The song was one of the first to be introduced into Led Zeppelin's live set, being first played in mid-1972.{{sfn|Lewis|1990|p=53}}

"[[The Crunge]]" was written by Bonham and developed out of a jam at Stargroves. He decided to create a funk beat that stepped on and off the beat, making it impossible to dance to. Plant improvised a set of lyrics in the manner of [[James Brown]] over the music, parodying Brown's "Take it to the Bridge" vocal style towards the end of the track. To further show that the song was a tongue-in-cheek joke, the group considered putting "dance steps" to the song on the cover at one stage. The track was occasionally performed as an impromptu piece in concert, usually in the middle of another song such as the fast guitar solo section in "[[Dazed and Confused (Jake Holmes song)|Dazed and Confused]]".{{sfn|Lewis|1990|p=54}}

===Side two===
"[[Dancing Days]]" was inspired by the enjoyable sessions at Stargroves, and the lyrics show a general optimism to life.{{sfn|Lewis|1990|p=54}} Kramer recalled the group dancing around in the garden at Stargroves, listening to the playback of the final mix. A promotional copy of the track was sent out by Atlantic for radio play in March 1973, as a preview for the album.{{sfn|Lewis|2012|p=135}}

"[[D'yer Mak'er]]"{{efn|The title comes from an old British joke – "My wife's gone on holiday?" "D'Yer Mak'er?" (which when pronounced quickly sounds like "[[Jamaica]]") "No, she went of her own accord."{{sfn|Lewis|2012|p=136}}}} originated with Bonham trying to combine [[reggae]] with 1950s [[doo-wop]]{{efn|This led to the remark "Whatever happened to [[Rosie and the Originals]]?" on the sleeve{{sfn|Lewis|2012|p=136}}}} by leaving a short [[Off-beat (music)|off-beat]]. Jones later disapproved of the track, saying it was treated as a joke and not thought out well, but Plant thought it could be a hit and suggested it should be released as a single. Led Zeppelin's general policy was to not release singles in the UK, and though test and promotional pressings were produced there, the rest of the group vetoed the idea.{{sfn|Lewis|1990|p=54}}{{sfn|Lewis|2012|p=136}} In the United States, it became a top 20 hit.<ref name=dyme>{{cite magazine|url=https://www.billboard.com/artist/led-zeppelin/chart-history/hsi/|title=Led Zeppelin D'yer Mak'er chart history|magazine=Billboard|access-date=25 July 2018|archive-date=25 July 2018|archive-url=https://web.archive.org/web/20180725163227/https://www.billboard.com/music/led-zeppelin/chart-history/hot-100/song/574029|url-status=live}}</ref>

"[[No Quarter (song)|No Quarter]]" was composed by Jones. An early arrangement of the song was attempted for their fourth album, but abandoned. Jones reworked the track to add acoustic and electric piano, and various synthesizers. The track quickly became a live favourite, and was featured at every show from 1973 through 1979, providing Jones with an extended solo showcase in the middle, and a jam session with a variety of different styles. Plant revived the song for his 1990 tour, and it was performed by Page and Plant in 1994. Jones performed a solo instrumental performance on tour in 1999, and Plant performed it solo again in 2005. It was part of the set at the [[Ahmet Ertegun Tribute Concert]] in 2007.{{sfn|Lewis|1990|pp=54,117}}{{sfn|Lewis|2012|pp=137–138}}

"[[The Ocean (Led Zeppelin song)|The Ocean]]" began with Bonham shouting "We've done four already but now we're steady and then they went, one, two, three, four," referring to the number of takes already recorded. The title and lyrics refer to the group's fans and their devotion to the band. The middle of the track features an a cappella vocal break sung by Plant, Bonham and Jones, while the ending was another pastiche of the doo-wop style.{{sfn|Lewis|1990|p=54}}

===Unreleased material===
The album's [[Houses of the Holy (song)|title track]] was recorded at Olympic and mixed at Electric Lady. It was ultimately left off the album, as there were enough tracks to fill two sides of an LP, and was released on the follow-up, ''[[Physical Graffiti]]'' in 1975.{{sfn|Lewis|1990|p=55}} That album also included two songs from ''Houses of the Holy's'' Stargroves sessions, "[[The Rover (Led Zeppelin song)|The Rover]]" and "Black Country Woman" (the latter recorded in the outdoor garden).{{sfn|Lewis|1990|p=54}}

Another track from the Stargroves sessions, "[[Walter's Walk]]", was eventually released on ''[[Coda (Led Zeppelin album)|Coda]]'' in 1982.{{sfn|Lewis|1990|p=54}}