The Led Zeppelin Song John Bonham Hated
John Bonham - Bent Christiansen / Youtube
Led Zeppelin’s chemistry was undeniable—four distinct musicians, each a master of their craft, locked into a groove that made them legends. For most of their run, the band operated like a well-oiled machine, pushing boundaries and elevating rock music with each new release. But even the tightest units can have creative friction, and Led Zeppelin was no exception.
Though rarely discussed publicly, moments of compromise were woven into their story. The band’s refusal to pursue side projects kept all creative tensions internal. And while unity was often the goal, each member had to occasionally swallow their pride in favor of the group’s direction.
Drummer John Bonham, known for his precision and passion, was especially vocal about what he did and didn’t like musically. He was a powerhouse, a rhythmic force behind the band’s greatest moments. But there was one track that rubbed him the wrong way so deeply, he barely made an effort to hide his disdain: “D’yer Maker”.
Bonham’s Philosophy on Music
Bonham wasn’t just a drummer—he was a musical force who believed in energy, groove, and commitment. His playing was usually explosive, yet nuanced, giving Led Zeppelin its heartbeat. Whether the band was dabbling in blues, hard rock, or folk, Bonham shaped the music with unmatched style.
But even the most versatile players have their boundaries. Bonham had little interest in jazz and an even deeper dislike for reggae. While he didn’t openly slam these genres in public, he made his feelings clear within the band, especially when it came time to experiment.
According to bassist John Paul Jones, Bonham simply found reggae boring. It wasn’t the complexity or cultural distance that bothered him—it was the feel. Unlike the explosive drive of rock or the groove of funk, reggae’s laid-back pulse never clicked with him, and that tension came to a head on “D’yer Maker”.
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A Risky Left Turn on Houses of the Holy
By 1973, Led Zeppelin had built a reputation for redefining their sound with each album. Houses of the Holy pushed that further, diving into funk, doo-wop, and even reggae. The band clearly wanted to experiment—but not everyone was onboard with the direction.
“D’yer Maker” was their attempt to blend reggae and rock with a tongue-in-cheek sensibility. The track wasn’t a full embrace of the genre, but its offbeat rhythm and Jamaican-inspired title made its intentions clear. While Robert Plant’s vocals had a playful lilt and Jimmy Page’s guitar danced around the groove, something felt off at the core.
That something was Bonham. He didn’t refuse to play on the track, but he made sure his disapproval was heard—not through words, but through performance. He stuck to a repetitive, uninspired shuffle beat that offered no variation or punch. And for a band known for dynamic rhythm sections, it was noticeable.
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Recording Through Gritted Teeth
John Paul Jones later revealed that Bonham “wouldn’t play anything but the same shuffle beat all the way through” and essentially phoned in the performance. His heart wasn’t in it, and the result was a rhythm section that sounded half-awake—an oddity on any Zeppelin record.
Jones himself wasn’t a fan of the song either, but unlike Bonham, he gave it a proper go. He noted that in reggae, the relationship between drums and bass is everything. Without tight synchronization and commitment, the groove falls apart—and that’s exactly what happened here.
In hindsight, Zeppelin might’ve benefited from either skipping the track or bringing in a session drummer. But Bonham’s lackluster participation only served to highlight how personal and emotional music was to him. If he didn’t believe in it, he couldn’t fake it. And in the case of “D’yer Maker”, he didn’t even try.
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The Legacy of a Song Left Behind
Despite being released on a hugely successful album, “D’yer Maker” was never played live by Led Zeppelin. That’s telling. The band often brought even their strangest songs to the stage, but this one was quietly shelved, likely because Bonham wouldn’t entertain it.
Even fans remain divided. While some appreciate the band’s willingness to branch out, others view the song as an awkward misfire. It stands out—not in the way classics do, but as a curious experiment that never found its groove. Bonham’s indifference is part of why it never landed.
Ultimately, “D’yer Maker” is an outlier. It lacks the energy, commitment, and chemistry that made Led Zeppelin special. Bonham, usually a titan behind the kit, sounded ordinary here—and that, more than anything, sealed the track’s fate in Zeppelin lore.
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