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https://www.youtube.com/watch?v=G6wLf0ucCaY

The original title was "The Boy Next Door." 'That's the Way' was constructed by Jimmy Page and Robert Plant during their post-tour holiday at the Bron-Yr-Aur cottage in Wales, where the duo relaxed with their families, took leisurely walks through the countryside, and wrote a large batch of material

Page's daughter, Scarlet Page, was conceived "about half an hour" after "That's the Way" was written during their time at the cottage.

https://hooktube.com/watch?v=nmO0OZC6Ifk

This is one of the most important occurrences of '60's Rock and Roll. The nexus of the people involved is legendary. The Yardbirds, the Who, (soon to be) Led Zeppelin, Cream, Jimi Hendrix, Duane Allman (Allman Brothers), Rod Stewart, et al. The recording session brought together a group of musicians, including Jimmy Page, Keith Moon, John Paul Jones, and Nicky Hopkins, who later agreed that the line up was a first attempt at what became Led Zeppelin. This was a major spark for a lot of what was to be for so many involved. Beck, Page, Hopkins, Jones, and Moon were pleased with the outcome of the recording session and there was talk of forming a working group and additional recordings. This led to the famous quip, "Yeah, it'll go down like a lead zeppelin", which Page later used, with a slight spelling change, for his new group. Page ascribed it to Moon, while Beck's and Led Zeppelin's later manager Peter Grant claimed Moon used the phrase "go down like a lead balloon", to which Entwistle added "more like a lead zeppelin". Entwistle, on the other hand, insists that he came up with the name independently along with the idea of using an image of "a Zeppelin going down in flames" for an album cover. Led Zeppelin biographer Keith Shadwick notes that forming an actual group at the time "was never a realistic option", due to existing contractual obligations.

The recording session for "Beck's Bolero" was conceived of as a side project for Jeff Beck while he was a member of the Yardbirds. "It was decided that it would be a good idea for me to record some of my own stuff ... partly to stop me moaning about the Yardbirds", Beck recalled. Also, the Yardbirds' management was encouraging individual band members to bring attention to the band through success in solo projects. Studio time was booked for May 1966 at the IBC Studios in London. To prepare for the session, Beck called on long-time friend and studio guitarist Jimmy Page, who had recommended Beck as Eric Clapton's replacement in the Yardbirds, to work up some ideas for songs to record.

Although there is a disagreement over credits for the composition, both Beck and Page agree that Page began by playing some chords on a twelve-string guitar using a rhythm based on Boléro. A melody line for guitar was developed along with a middle section to break up the rhythm, reminiscent of the Yardbirds' arrangements for "For Your Love" and "Shapes of Things".

With at least the outline of one song and Page on board to play guitar, Beck approached Keith Moon of the Who, whom he considered one of his favourite drummers. Moon was unhappy with the Who at the time and readily agreed to participate. To avoid a confrontation with Pete Townshend and Kit Lambert, the Who's manager, Moon wished to do so incognito. He recommended bandmate John Entwistle, who was similarly discontented with the Who, to provide the bass. When Entwistle did not show, studio musicians John Paul Jones and Nicky Hopkins were brought in at the last minute to provide bass and piano. There is an unsubstantiated account that Ritchie Blackmore may have been involved at the studio, but his participation has not been acknowledged by Beck, Page, or others at the session. For all their attempts at secrecy, Townshend learned of Moon's move. Beck recalled, "I remember [Pete] Townshend looking daggers at me when he heard it ... because it was a bit near the mark. He didn't want anybody meddling with that territory [his band, the Who] at all". Townshend also took to referring to Beck and Page as "flashy little guitarists of very little brain" for their perceived subterfuge (Page responded with "Townshend got into feedback because he couldn't play single notes"). In a later interview, Townshend explained: "The thing is when Keith did Beck's 'Bolero', that wasn't just a session, that was a political move. It was at a point when the group was very close to breaking up. Keith was very paranoid and going through a heavy pills thing. He wanted to make the group plead for him because he'd joined Beck." Differences with Moon were resolved and he returned to the Who shortly after the recording.

For the guitar parts, Beck used a Gibson Les Paul played through a Vox AC30 amplifier and Page played a Fender Electric XII twelve-string electric guitar. Halfway through the song, Moon smashed the drum microphone with his stick – "You can actually hear him screaming as he does it", Beck remembered, "so all you can hear from then on is cymbals!" After Moon and Napier-Bell left, Beck and Page added overdubs and sound treatments to complete the track. According to Beck, two or three songs were recorded at the session, but "Beck's Bolero" was the only track released.

https://www.youtube.com/watch?v=fBT3oDMCWpI

"In the Still of the Nite" is one of two songs that may lay claim to being the origin of the term/genre "doo-wop". The plaintive doo wop, doo wah refrain in the bridge has often been suggested as the origin of the term to describe that musical genre.

This was written by group member Fred Parris, who had joined the US Army. As a recruit, he travelled by train between Philadelphia and his home town of New Haven, and it was on these trips that he wrote the song. Soon after it was recorded, he shipped off for Japan, where he was stationed. When it became a hit, he watched from afar as a different permutation of The Five Satins was assembled to tour America - only two of the guys who recorded the song were part of this lineup. Parris wasn't discharged until 1958; when he returned, he set up a new version of the group and hit the road.

The song was recorded in the basement of St. Bernadette Church in the group's hometown of New Haven, Connecticut. They first tried recording the song in another New Haven building (on Whalley Avenue), but street noise degraded the recording. The church basement had great acoustics and was insulated from ambient noise, making it a perfect place to record. The group was managed by Marty Kugell, who distributed their material on his own label, Standord Records (small operations like this were common at the time). His friend Vinny Mazzetta was an altar boy at the church, and Mazzetta convinced the pastor to let the group use the basement on a Sunday afternoon following a church service. They used the church piano along with drums, a guitar, a cello tuned low for the bass sound, and a saxophone, which Mazzetta played.

In April 2010, the song ranked #90 on the Rolling Stone magazine's list of "the 500 Greatest Songs of All Time".