Okay, I only know enough about music to be dangerous, having taken piano lessons about 60 years ago, studying it again briefly more than 40 years ago, and dabbling with it off and on for much of my life. But I believe I know enough to correct a few misunderstandings here. Maybe a real musician will come along to augment or correct my comments.
First, the term “triplet time” is an original coining of the OP, and not a standard musical term. “Triplets” are a real thing in music, but they are NOT what the OP meant by:
Here is the definition of a musical triplet.
A triplet—a type of “tuplet”—is a group of three notes played inside another note-length. It’s a portion of musical time that’s been split rhythmically into three equal parts. A triplet is identified by a small " 3" above or below its note beam, bracket, or slur.
A triplet group’s total duration is equal to two of the original note-values contained within. For example, an eighth-note triplet spans two eighth-note beats (one quarter-note); a quarter-note triplet spans the length of a half-note, and so on.
The page in the link gives examples of what Triplets sound like, and they are not what the OP describes as “1 and uh 2 and uh 3 and uh 4 and uh….”
That sounds like a 3/4 time signature*, as others are saying, although IMHO it would more properly be counted as “one two three, one two three,” where each “one” marks the start of a new measure.
Except that the first song the OP gives as an example of “triplet time” is not written in 3/4 time. It is 4/4.
Among the things that make this song sound bouncy is syncopation: the first word in each phrase is an eighth note behind the beat. The second half of the song drops that syncopation. But there is no triple beat in this song. It is 4/4 all the way through.
However, the Led Zep song does have a triple beat and while it can be written in 4/4, it is probably better in 12/8 time.
(Sorry for the low-res images.)
This does have the “one and uh two and uh” rhythm the OP talks about, although I would usually call it out “one-two-three-four-five-six.” Although 3/4 time is relatively rare in pop music, time signatures with even multiples of three – usually 6/8 and 12/8 – are much more common, particularly in blues songs like House of the Rising Sun. Other examples include the Beatles’ Norwegian Wood, and Queen’s We are the Champions.
But the OP is apparently looking for songs that switch time signatures, and other posters have given several good examples.
Virtually all of it is in 7/4 (a very unusual signature), except for the guitar solo that starts at about 2:55, which is 4/4.
Floyd’s Shine On You Crazy Diamond also has some notable time changes, including from 6/8 to 12/8, which gives the impression of doubling the tempo, and from 6/8 to 4/4. See here.
Ninjaed by @Maserschmidt!
*The lower number in the time signature indicates which note – half-note, quarter-note, eighth-note, etc. – is worth one beat, and the upper number is how many beats to the measure.
And to anticipate any lurking pedants, yes, I know that time signatures are NOT fractions, and shouldn’t be written as such. But it’s much easier in this context to write them that way, so sue me.