In My Time Of Dying
Led Zeppelin · Celebration Day [2012]
All I want for you to do is take my body home
Well, well, well, so I can die easy (X2)
Jesus, gonna make up my dyin' bed.
Meet me, Jesus, meet me. Meet me in the middle of the air
If my wings should fail me, Lord. Please meet me with another pair
Well, well, well, so I can die easy (X2)
Jesus, gonna make up.. somebody, somebody...
Jesus gonna make up... Jesus gonna make you my dyin' bed
Oh, Saint Peter, at the gates of heaven... Won't you let me in
I never did no harm. I never did no wrong
Oh, Gabriel, let me blow your horn. Let me blow your horn
Oh, I never did, did no harm.
I've only been this young once. I never thought I'd do anybody no wrong
No, not once.
Oh, I did somebody some good. Somebody some good...
Oh, did somebody some good. I must have did somebody some good...
And I see them in the streets
And I see them in the field
And I hear them shouting under my feet
And I know it's got to be real
Oh, Lord, deliver me
All the wrong I've done
You can deliver me, Lord
I only wanted to have some fun.
Hear the angels marchin', hear the' marchin', hear them marchin',
hear them marchin', the' marchin'
Oh my Jesus... (repeat)
Oh, don't you make it my dyin', dyin', dyin'...
(someone coughs)
cough...
(Studio Chatter: "That's gonna be the one, isn't it?"
"Come have a listen, then. "
Oh yes, thank you.")
In My Time Of Dying
Led Zeppelin's 'In My Time Of Dying' stands as a monumental exploration of American blues traditions within the band's expansive discography. Originally recorded for their 1975 album Physical Graffiti, the track is a sprawling, hypnotic interpretation of a traditional spiritual, showcasing the group's mastery of extended instrumental passages. The performance featured on the 2012 live album Celebration Day captures the raw energy of their 2007 O2 Arena concerts, highlighting the enduring power of their live sound. John Bonham's thunderous drumming anchors the piece, while Robert Plant's vocal delivery conveys the weight of the source material. This recording remains a definitive example of how the band transformed regional folk and blues into epic rock anthems, cementing their legacy as innovators who bridged the gap between traditional roots music and heavy rock.

