When diving into Led Zeppelin’s discography, particularly the iconic album Houses of the Holy, it’s a common experience to discover that even masterpieces can have their perceived imperfections. For many, that track on side two might just be “Dancing Days.” Following the experimental funk of “The Crunge,” “Dancing Days” emerges with a riff that feels somewhat out of step with the album’s overall tone. While arguably the least exceptional song on Houses of the Holy, it’s also paradoxically radio-friendly, a curious contrast given Led Zeppelin’s prior FM successes like “Black Dog.” This duality is somewhat understandable; Houses of the Holy was a departure for the band, venturing beyond public expectations with tracks like the reggae-infused “D’Yer Maker” after the mythical “Stairway to Heaven.” Therefore, the choice for a commercially viable single likely leaned towards what was perceived as the most accessible, even if it wasn’t the deepest cut. While “Over the Hills and Far Away” became the lead single, “Dancing Days” served as its b-side, highlighting its perceived radio appeal in the eyes of record executives.
The sonic landscape of “Dancing Days” is sculpted primarily by a single, distinctive riff crafted by Jimmy Page. This riff is intriguing and catchy, yet it carries an unsettling quality. Houses of the Holy showcases a broader spectrum of Page’s guitar work than perhaps any other Led Zeppelin album, and “Dancing Days” exemplifies his willingness to explore uncharted sonic territories, even if his grasp on them wasn’t fully formed. The slightly off-key, string-bending nature of the riff initially hints at an Eastern musical influence, but as the song progresses over its 3 minutes and 43 seconds, this initial spark of momentum seems to dissipate. The song aligns with Houses of the Holy’s trend of bright, forward-sounding guitars contrasted with typically heavier downtunings – “Dancing Days” itself is tuned to an unconventional DBGDGE. However, beyond this interesting tonal contrast and the central riff, the song doesn’t fully capitalize on its initial promise.
Robert Plant’s lyrical contribution to “Dancing Days” doesn’t significantly elevate the track either. The lyrics largely revolve around vague generalities. Repetitive affirmations like “It’s alright” and mentions of an undefined “woman who knows” populate the verses. While this lyrical simplicity is perfectly suited for classic rock radio airwaves, it arguably falls short of the lyrical depth and complexity found in the other seven tracks on Houses of the Holy. The song’s memorability is almost entirely anchored to its central riff, and even that hook’s appeal is strongest in the initial moments.
Despite its relative forgettability within the larger context of Houses of the Holy, “Dancing Days” strangely feels essential to the album’s overall character. Very few bands in rock history have consistently produced flawless masterpieces with every song they recorded, and Led Zeppelin is no exception to this rule. Apart from the relentlessly hit-laden Led Zeppelin II, imperfections can be found across their discography. However, the experience of Houses of the Holy – an experience shared by many listeners – inherently includes “Dancing Days.” It might be considered the less favored sibling within an exceptional family, but with all its strengths and weaknesses, it ultimately feels like an indispensable part of the whole. Just as every family has its quirks, “Zeppelin Dancing Days” represents the slightly off-kilter, yet undeniably catchy, facet of Led Zeppelin’s legendary Houses of the Holy.
