(excerpted from Proximity #28 - following is the first section of the article covering through 1971 - the actual issue contains the remainder of the piece covering the rest of Zep's career and up to the present)

There is something about the sound of Robert Plant. His voice is unique, startling, and primeval, and one of the reasons why millions of people spanning three generations have made Led Zeppelin one of the most enduring recording acts of all time. Unlike The Beatles, who featured up to four vocalists on each album, Zeppelin managed a similarly astounding diversity with only one voice.

The variety his voice achieved is due in part to Plant's own restless artistic nature, but also to the fact that his voice changed dramatically over the ten years Zeppelin recorded. The vocal on the first album (or his early singles) sounds almost like a completely different person than the one on Physical Graffiti and subsequent releases. It's no secret that he lost a lot of his range over the years, but his style developed significantly at the same time, as did his songwriting skills.

1969:

If there's one obvious characteristic of Plant's voice during Zeppelin's first year, it's his unbelievable power and range. Rock & roll fans were given an opportunity to hear a voice unlike any before it, explosive and unrestrained, at times an uncontrollable tidal wave of sound that remains unmatched in its originality and emotional impact to this day.

The April 26 return to San Francisco is probably the most ferocious of the group's performances captured in its entirety on tape. All four members deliver an unstoppable juggernaut of a concert, but Plant in particular gives a relentless, herculean effort. He absolutely screams his head off from the first verse of the then-rare set opener "Communication Breakdown," to the bombast of the embryonic and untitled "Whole Lotta Love." His voice occupies the same high G range as the January show, only much more often. "I Can't Quit You" has him frantically rising and falling so much in one phrase, it's incredible his vocal cords remained intact. During the usual guitar/vocal call and response in "Dazed," his voice runs away from him and he completely overshoots the guitar, leaving Jimmy to catch up! When they finish and the "official" solo starts, the excitement is tangible from the reaction near the taper's mic. By the time Robert duplicates his famous "gunnnn. . ." vocal climb in "How Many More Times," it's almost anti-climactic, as he'd been demonstrating equally amazing vocal gymnastics for the last hour. Another highlight in a monster show full of them occurs in what must be the ultimate version of "As Long As I Have You." After the manic "shake" jam and the usual Page feedback display, Percy lets loose with a truly blood-curdling scream. If the band was annoyed at being labeled a 'heavy metal group,' they only had performances like this to blame.

But the warning signs were already showing. Both of these shows were followed by performances that revealed a raw-throated Robert. Though they still have some great moments, they show the potential dangers of pushing the vocal cords too far. In fact, the second U.S. tour would be the last he could sustain so many ultra-high screams throughout an entire concert. The "How Many More Times" vocal climb would become progressively more difficult for him, rarely capturing the raw power of the album or early concert versions.

1970 - 1971:

The fall and spring tours of 1970 returned to longer sets featuring Led Zeppelin II material, though Robert would have his ups and downs, the lowest point resulting in the cancellation of the April 19 Las Vegas date. The time spent preparing the third album is well spent, as the group delivers their most varied selection of material yet. The diversity brings out the best in Plant, whose melodic and lyrical ideas grow by leaps and bounds. "Immigrant Song" is a turning point in which the band creates a new form of hard rock free of the blues influence so prominent in earlier numbers. The respite from the road also seems to have done Robert's vocal cords wonders, as he reaches well beyond the range achieved on II.

The outstanding Bath Festival and European concerts of 1970 led to the truly great U.S. tour, of which (as Luis Rey has noted) Percy was the shining star. Show after show he sings the concert of his life, his power and range seemingly inexhaustible. The September 2, 1970 Oakland concert is a perfect example-no warmup required, no breaking notes, just Plant in peak form from start to finish. He reaches way up to a high G a number of times throughout the set, not heard with any regularity since the early '69 tours, and with real power. His hair-raising finale in "Since I've Been Loving You" is every bit as remarkable as the album version. He uses the highest notes more sparingly than on the first tours, but the balance is more effective as a result.

After a killer performance, Robert surprisingly substitutes the second verse of "Communication Breakdown" with the lyric, "I got something you oughta know/I wanna tell you that my voice is blown," but then lets loose with another amazingly high shriek as the song climaxes. "Voice is blown," indeed!

The first half of 1971 continued this high standard, especially evident in his work on the fourth album. It's amazing to think that this landmark of rock was recorded only six months or so after III. Arguably Plant's best period, he combines his raw power with further developments in style that brought even more mood and subtlety to the Zeppelin table.

It's unfortunate that so little live material is available from this period, but what we do have is outstanding. The recording of Dublin, March 6, 1971 leaves a bit to be desired sonically, but the concert itself is a veritable orgy of enthusiasm. A bearded and hippie-d out Robert savagely belts out all the notes in "Black Dog" and "Stairway," a feat that would be impossible for him within the year. The Milan, Italy recording from four months later also shows one of his best voices ever.

The U.S. tour that year can be characterized by a more cautious Robert Plant. In his apparent eagerness to impress the Los Angeles audience with the road-tested fourth album material, he pushes his vocal cords to the brink. Though he manages the high phrases, there's a raspiness to his voice that shows he's pushing too hard, and he's forced to take it easier for most of the tour. The remarkable Fort Worth recording two days later still shows the effects of the L.A. effort. He comments on it prior to "Celebration Day," and during the song forgoes the usual high notes in the chorus.

By the time the band arrives in New York for the September 3rd Garden concert, he's in much better shape and perhaps due to audience tension, has a real aggressive edge to his performance. For the remainder of the tour his singing is strong and clear, though "Immigrant Song" now often plays the role of warmup song, those high Viking war cries suffering as a result. This does nothing to diminish the high caliber of the tour however, as the boys really begin to hit their stride, their already-amazing improvisational skills coming into full flower.

The Japanese tour was a monster. The entire group rises to the occasion to produce, arguably, the best five consecutive concerts in their history. Plant recovered nicely, nailing "Immigrant Song" and leading the others through the most spontaneous rock medleys ever, encompassing over twenty different songs, not to mention the first appearances of "Friends," "Tangerine," "Bron-Yr-Aur Stomp" and other various references. Robert's stamina is incredible, and the Tokyo hysteria inspires repeated "b-b-b-baby's" beyond belief. Only the final Osaka show requires any warmup time, but Plant's high confidence is reflected in his decision to attempt "Friends," one of his most demanding recorded performances. This justifiable confidence continued through the rest of the year with additional inspired appearances in the U.K.

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