Turning the vinyl of Houses of the Holy to side two often brings a moment of realization: even masterpieces have their imperfections. For Led Zeppelin’s fifth studio album, that point of contention often lands on “Dancing Days.” Following the playful funk experiment of “The Crunge,” the somewhat jarring riff of “Dancing Days” emerges, presenting a tonal shift that can feel unexpected. While it might be considered the least exceptional track on Houses of the Holy, it also possesses a peculiar radio-friendly quality, a curious duality given Led Zeppelin’s history of FM radio hits like “Black Dog.” This apparent contradiction highlights the band’s evolving sound and the complexities of choosing singles from an album as diverse as Houses of the Holy. Considering the album’s broader sonic explorations, diverging from expectations set by epics like “Stairway to Heaven” towards the Bob Marley-esque funk of “D’Yer Maker,” it’s understandable that decision-makers might have leaned towards a more accessible track for radio play. Although “Over the Hills and Far Away” ultimately became the lead single from Houses of the Holy, “Dancing Days” served as its b-side, signaling that its commercial appeal was recognized within the record label.
“Dancing Days” is fundamentally built upon a central riff, one that is both strangely unsettling and undeniably catchy. Jimmy Page’s guitar work throughout Houses of the Holy is arguably his most diverse across any Led Zeppelin album, and “Dancing Days” exemplifies his willingness to experiment, even if the results were not always perfectly refined. The slightly off-key, string-bending nature of the riff initially hints at an Eastern musical influence, yet as the song progresses through its 3 minutes and 43 seconds, this initial intrigue somewhat dissipates, failing to fully capitalize on its initial momentum. Notably, “Dancing Days” shares the album’s characteristic bright guitar tone within a darker, downtuned sonic landscape (the song is tuned to an unusual DBGDGE tuning). However, beyond this intriguing riff and sonic texture, the song doesn’t develop much further.
Robert Plant’s lyrical contributions to “Dancing Days” don’t significantly elevate the track either. His lyrics largely revolve around vague themes and generalizations. The repetitive reassurance of “It’s alright” and mentions of an unnamed “woman who knows” are typical of classic rock radio fare, but they lack the depth and lyrical prowess found in the other seven songs on Houses of the Holy. As a composition, “Dancing Days” primarily relies on its hook for memorability, and even that hook’s impact is strongest within the first thirty seconds.
Despite its relative weakness within the context of Houses of the Holy, “Dancing Days” strangely feels indispensable to the album’s overall character. Few bands in rock history have achieved consistent perfection across their entire discography, and Led Zeppelin is no exception. With the possible exception of the hit-laden Led Zeppelin II, imperfections can be found on all of their records. However, the experience of listening to Houses of the Holy – an experience likely shared by many – inherently includes “Dancing Days.” It may be the less favored member of an exceptional family, but with all its quirks and shortcomings, it remains an integral part of the album’s identity.
