Led Zeppelin was the greatest rock band of all time. The soaring vocals of Robert Plant. The blistering guitar riffs of Jimmy Page. The commanding drums of John Bonham. And behind it all was the glue—the secret weapon, if you will.
John Paul Jones
Yes, I have a soft spot for the understated keyboardist types, as I might live with one. And perhaps I’m biased in favor of the mundane family man, as I might be one myself. But personal leanings aside, this dude is worthy of reverence.
Born into a musical family, John Paul Jones gained his footing in the British music industry of the 1960s through production and session work, eventually teaming up with Page after the guitarist found himself with a band (the Yardbirds) but no musicians. That outfit would become Led Zeppelin, whose now-fabled sound was fortified by the subtle yet indispensable versatility of Jones. He was the most reserved of the bunch—the one who’s been married to the same woman since 1967—but also the most agile, demonstrated in his post-Zeppelin work.
But before we go there, let’s start with a look at his contributions to the legendary quartet from London.
Led Zeppelin Era
Casual music fans have been known to be dismissive of Jones’ role in the band, mostly because they’re not listening.
“Good Times Bad Times”
All great rock bands need a great bassist, and in that regard Jones was second to none, a fact he proved starting with the very first track on the group’s first album. Focus on 0:50-0:57 and 1:57-2:04.
“Trampled Under Foot”
As alluded to above, Jones also dabbled in the keys, using those skills to help the band take a few unexpected turns. In this funk-inspired track, he was actually jamming on a clavinet, the same thing that was used in Stevie Wonder’s “Superstition.” The instrument is central to the entire song, but focus on 2:05-3:10 for an unadulterated dose.
“All My Love”
With this piece—one that Page apparently couldn’t stand—Jones proved that when the egomaniacs surrounding him handed over the creative reins, he could carry the band. Check out 2:30-3:15 for a solo chased by some orchestral brilliance.
“Kashmir”
You’ve heard this timeless gem a thousand times. This time, listen for the orchestration and the keys—then imagine the track without them.
“Stairway to Heaven”
And what was Jones doing in Zeppelin’s magnum opus? Basically everything. During the iconic first part, he played a few different recorders, later jumping to the electric piano (2:14) and, of course, the bass (4:18).
Post-Zeppelin Era
Sadly, all good things must come to an end, and with Bonham’s untimely death in 1980, Led Zeppelin became a thing of the past. For Jones, that meant more time with his family, and true to his style, a quiet few decades of immense productivity. From solo work to film scoring to arranging to one-off collaborations, the relatively anonymous handyman continued to pad his resume. Here’s a random sampling of that portfolio.
“Zooma”
From his largely instrumental debut solo album Zooma, the eponymous opening track was the perfect place for Jones to showcase his chops on the bass.
“Who Was in My Room Last Night?”
Always ready to take on production work, Jones somehow managed to land that role with Butthole Surfers, the quirky band from San Antonio who used the former Zeppelin bassist to produce its album Independent Worm Saloon, which included this popular opening track.
“New Fang”
Among all of Jones’ collaborations, one that stands out is the supergroup Them Crooked Vultures, consisting of Josh Homme from Queens of the Stone Age on lead vocals and guitar, Dave Grohl from Foo Fighters on backing vocals and drums, and Jones on bass and keyboards. This may be their most recognizable track.
“Drive”
Jones also had a hand in Automatic for the People, arguably R.E.M.’s best album. Tasked with the orchestral arrangements, he didn’t disappoint, evidenced by the haunting opener.
“Everybody Hurts”
And on the same album, Jones added the critical touches to one of R.E.M.’s most-beloved works.
So the next time you dust off that old Led Zeppelin box set, make sure to listen for the quiet guy in the corner. You know, the one that facilitated the finest art of the 20th century.
