IntroductionRecorded during September and October 1968, and released on the band's self-titled debut album in January 1969, Led Zeppelin's 'Dazed and Confused' is the most significant example of the group's approach to the translation of studio recordings into vehicles for improvisation and experimentation in a live performance context.1 One of the songs that guitarist Jimmy Page introduced to the other members of the band at their first meeting in London in 1968, 'Dazed and Confused' was to remain an integral part of Led Zeppelin's concert set lists until 1975, being performed at almost all of their concerts during this period. In her book In the Houses of the Holy: Led Zeppelin and the power of rock music, Susan Fast describes 'Dazed and Confused' as 'arguably the most important locus for musical experimentation' throughout the majority of Led Zeppelin's career.2Building on Fast's assertion regarding 'Dazed and Confused'-that the original recorded version constituted a 'blues lament', which in performance developed into an extended exploration of psychedelic3 and avant-garde experimentation4- this paper will explore the interconnected relationship between those characteristics that make the work a lament and their contribution to the work's capacity to sustain lengthy periods of improvisation. It will be argued that the ability of the song to support the extended guitar experimentation that became a feature of its concert performance stemmed from the dramatic potential of the original studio version-a drama that derived in many ways from its original conception as a lament. The aspects of the original studio recording that make it a lament, with a particular focus on the use of the guitar, will be examined with regard to their significance as crucial elements of the extended guitar improvisation that characterised subsequent live performances.'Dazed and Confused' as a Blues LamentLed Zeppelin's 'Dazed and Confused' was not an original work of the new band in 1968. A version of the song 'I'm Confused' had been performed by Page with his previous band, The Yardbirds, during 1967 and 1968. Both this and Led Zeppelin's later version drew heavily on a song, also entitled 'Dazed and Confused', by Jake Holmes, released in June 1967 on the album The Above Ground Sound of Jake Holmes.5 Holmes's original provided a significant model for Page, who made use of the vocal melody, aspects of the structure and, most significantly, the chromatically descending bass riff, identified by Fast as a reference to the descending lamento bass patterns of the seventeenth century.6Drawing heavily on Jake Holmes's version, Led Zeppelin's recording of 'Dazed and Confused' magnified the elements of the work that link it to the tradition of the lament. Holmes's descending chromatic bass line, which in his version is heard below repeated tonic chords on the guitar, is given total prominence at the opening of Led Zeppelin's version, the line being repeated twice as a bass solo, accompanied only by atmospheric harmonics on the guitar. This bass line continues as the sole accompaniment to the opening verse, after which it is repeated twice more, where it is doubled on guitars an octave and two octaves higher. The line again serves as the sole accompaniment for the second and third verses. The incessant use of the riff is interrupted only by the insertion of a short instrumental break between verses two and three, consisting of repeated dominant chords and a rising semiquaver pattern that contrasts with the descent of the bass. In this way, what for Holmes was a bass line working in conjunction with the guitar part, for Led Zeppelin became elevated to the status of a riff, which, typically of their approach to composition, was doubled on bass and guitar parts. Unlike Holmes's original, there are no other guitar parts that contrast with the riff, which permeates the whole of the musical texture.Another example of the intensification of the lament-like characteristics of Led Zeppelin's version in comparison with Holmes's original concerns the lyrics, which in Holmes's version retain a certain ambiguity of reference. …