Whenever side two of Houses of the Holy graces my turntable, a familiar thought resurfaces: even the most revered albums have their moments of slight imperfection. For Led Zeppelin’s iconic fifth studio album, that moment often comes in the form of “Dancing Days.” While undeniably the album’s least celebrated track, nestled after the playful funk experiment “The Crunge,” “Dancing Days” emerges with a somewhat jarring, tonally peculiar riff. This song presents an intriguing contradiction: it’s arguably the most conventional track on Houses of the Holy yet simultaneously feels like an outlier within the album’s broader sonic landscape. Considering Led Zeppelin’s prior FM radio successes, exemplified by anthems like “Black Dog,” this paradox is somewhat unexpected. It suggests that the decision-making process behind single selection for Houses of the Holy, an album venturing into more diverse sonic territories, might have leaned towards a more accessible, if less representative, track. While “Over the Hills and Far Away” ultimately became the A-side single from Houses of the Holy, the inclusion of “Dancing Days” as its B-side clearly signaled a belief in its radio-friendly appeal by record executives.
The sonic architecture of “Dancing Days” is largely built upon a central riff, a creation by Jimmy Page that oscillates between unsettling dissonance and an undeniably catchy hook. Houses of the Holy showcases a wider spectrum of Page’s guitar artistry than perhaps any other Led Zeppelin record, and “Dancing Days” offers a glimpse into his exploration of sonic territories that were, perhaps, not yet fully mastered. The slightly off-key string bends within the riff initially hint at an Eastern musical influence, creating a sense of intrigue. However, as the song progresses through its 3 minutes and 43 seconds, this initial momentum seems to dissipate, leaving a sense of unrealized potential. “Dancing Days” aligns with the album’s overall trend of employing bright, cutting guitar tones even within morose, down-tuned compositions (the song is notably tuned to an unconventional DBGDGE tuning). Yet, beyond this distinctive riff and tone, the song struggles to cultivate further sonic depth.
Robert Plant’s lyrical contributions to “Dancing Days” do little to elevate the track beyond its instrumental foundation. His lyrics largely reside in the realm of vague generalities—the repeated affirmation “It’s alright” and allusions to an unnamed, vaguely defined “woman who knows” dominate the lyrical landscape. While this type of lyrical content is perfectly suited for classic rock radio formats, it falls short of the elevated lyrical standards established by the other seven tracks on Houses of the Holy. As a standalone song, its memorability hinges almost entirely on its central riff, and even that hook’s impact is most potent within the initial 30 seconds of the track.
However, despite its relative forgettability within the larger context of Houses of the Holy, “Dancing Days” strangely feels indispensable to the album’s overall character. Few bands in the history of rock and roll have consistently produced flawless masterpieces with every song they’ve written, and Led Zeppelin is no exception to this rule. With the notable exception of the hit-single-laden Led Zeppelin II, none of the band’s albums are entirely without perceived imperfections. My personal experience of Houses of the Holy—an experience I suspect resonates with many others—is inextricably linked to the presence of “Dancing Days.” It might be considered the black sheep of this otherwise exceptional collection of songs, but with all its inherent strengths and weaknesses, it nonetheless feels like an essential member of the Houses of the Holy family.
Previous entries in this series:
“Introduction/The Song Remains the Same”
“The Rain Song”
“Over the Hills and Far Away”
“The Crunge”
