Showing posts with label john paul jones. Show all posts
Showing posts with label john paul jones. Show all posts

Thursday, May 22, 2014

The Song Still Remains the Same: the unauthorized etymology of Led Zeppelin songs. Stairway To Heaven

Stairway To Heaven
Taurus
We've brought you three articles on the history of Led Zeppelin songs and how some of their songs may just have been lifted from the works of others.

The song we first looked at was Dazed and Confused. We talked in-depth about how the song was taken from Jake Holmes' 1968 composition called, wait for it, Dazed and Confused. Read about and listen to both versions of Dazed and Confused here.

Then we wrote about Zep's Whole Lotta Love and how that was lifted, vocal style and all, from The Small Faces, who, in turn had lifted it from Muddy Waters. Read and listen to a side by side comparison of Whole Lotta Love here.

Most recently we talked about Led Zeppelin's Since I've Been Loving You and how that shares a more than passing resemblance to Moby Grape's 1968 composition, Never. Read about and listen to both Since I've Been Loving You and Never here. 

In the news today is the story of Led Zeppelin's signature song, Stairway To Heaven. The family members of the late Randy California, guitarist for the band, Spirit, have brought a lawsuit against Led Zeppelin and Atlantic Records alleging that the iconic opening riff of Stairway To Heaven was lifted from Spirit's 1968 song entitled Taurus.

Led Zeppelin, in both 1968 and in 1969, opened for Spirit numerous times and would have had ample opportunity to hear the number performed both live and on record.
"It was such a pretty moment, and it would typically come after a big forceful number and always got a good response," [founding band member, Mark] Andes told Bloomberg. "They would have seen it in that context.... It is fairly blatant, and note for note. It would just be nice if the Led Zeppelin guys gave Randy a little nod. That would be lovely."" [Los Angeles Times, May 22, 2014]
For the sake of brevity, we'll just say, you be the judge. We formed our opinion years and years ago. Now is your chance to play both Sprit's Taurus and Led Zeppelin's Stairway To Heaven back to back. And then ask yourself, does anyone remember laughter?

Enjoy, and let us know what you think.

Until next time, we'll see you On The Flip-Side!

Thursday, August 29, 2013

The Song Still Remains The Same: the unauthorized etymology of Led Zeppelin songs. Bring It On Home

Bring It On Home - Led Zeppelin
Bring It On Home - Sonny Boy Williamson
We are back (after a long hiatus) with our fourth installment of The Song Still Remains The Same: the unauthorized etymology of Led Zeppelin songs. You know, that little thing I do where I look at a song Led Zeppelin claims to have written, and then play you the original song...that they didn't write.

We started with Dazed and Confused. 
Then we looked at Whole Lotta Love.
Then we analyzed Since I've Been Lovin' You.

Today, we look at Bring It On Home.
The last song on the October 1969 release of Led Zeppelin II is a song called Bring It On Home. As you can see from the above label scan, it is a song that Jimmy Page and Robert Plant have claimed to have written. The song is a laid back blues shuffle with Robert Plant's trademark billy-goat styled vocal delivery. Plant pleads with his lover:
Bbbbaaaaabbbbbwwwaaaayyyyy. Well,  Bbbbaaaaabbbbbwwwwaaaayyyyy, I'm going to bring it on home to you. I've got my ticket, I got that load. Join up, going higher, all aboard. I'm going to take my seat, railway bag. Ooh-ch'yeah. Watch this train roll down the track. I'm going bring it on home, break it on down now to you.
Ahhh, you can hear Robert Plant's native Mississippi accent as he drawl's out his pained lyrics.

Whoa. Wait. No. That's not right. Robert Plant isn't from Mississippi, he's from the UK. And Jimmy Page wasn't an itinerant sharecropper who made his way to Chicago after World War II. How did I mess this up? Oh yeah, Jimmy Page and Robert Plant didn't write the damn blues song! They stole it.

Sonny Boy Williamson (II) recorded the Willie Dixon penned song, Bring It On Home, in January of 1963 at Chess Studios in Chicago. However, the number wasn't released on Chess Records until February of 1966, shortly after Sonny Boy Williamson's death in Helena, Arkansas in 1965.
It's undeniable that it is the same song. Lawyers for Atlantic Records agreed and settled out of court for an undisclosed sum in 1972. Subsequent pressings of the record show Willie Dixon as the composer. Only one person seems to still believe it is a different song:
The thing with Bring It On Home, there's only a tiny bit taken from Sonny Boy Williamson's version and we threw that in as a tribute to him. People say, "Oh, Bring It On Home is stolen." Well, there's only a little bit in the song that relates to anything that had gone before it. Just the end.
--Jimmy Page as interviewed by Dave Schulps, Trouser Press, October, 1977. 
Well, to that, I just have to say...Huh? Just a little bit? It's the same frickin' song, Jimmy. It's not just taking the shuffle, it's not just lifting a lyric or two. It's not just that it's the same title. You even have Robert Plant even imitates Sonny Boy Williamson! It's the same thing Led Zeppelin did when Robert mimicked The Small Faces' Steve Marriott with Whole Lotta Love (aka, You Need Lovin').  You make call it an homage, Misters Plant and Page, but it's not. It's standing on the shoulders of others and pushing them down in the mud. Not OK lads.

And yes, I understand that Sonny Boy Williamson tended to steal stuff too...like another person's entire identity! But we are dealing with just one deviancy at a time here.
Listen for yourself. Let us know what you think. Until next time, we'll see you On The Flip-Side!

Monday, September 21, 2009

Song of the Week: "Happenings Ten Years Time Ago", The Yardbirds

The Yardbirds are one of those bands whose shadow is larger than the actual profile of the band. They are a band that is revered by musicians and musicologists alike. They were inventive, musically stylish, aggressive, unpredictable and explosive. They are also known for spawning three of the greatest guitarists to step into the limelight in the nascent era of guitar heroes. Eric Clapton, Jeff Beck and Jimmy Page would all be birthed from the ranks of The Yardbirds. But any real follower of The Yardbirds bristles when the group is remembered for this selection of alums alone. The Yardbirds were much more than these three guitar legends.

The Yardbirds started in London with a fine young guitarist at the helm, Anthony "Top" Topham. Top Topham's parents (he was 16) thought little of his future and forced him from the supposedly deadbeat group. Good thing for the other members -- vocalist and harmonica player Keith Relf, drummer Jim McCarty, bassist Paul Samwell Smith, and rhythm guitarist Chris Dreja -- they new this introverted and moody kid from art school that used to play at the coffee house. He even was rumored to have a killer record collection. So off the 4 went courting their classmate. That classmate was none other than one Eric Clapton. The year was 1963 and the up and coming band made a play to get the residency at the Crawdaddy Club that was being vacated by a group who had to leave the residency to start touring. That group is of course, The Rolling Stones. The Yardbirds quickly built a following of blues enthusiasts who were attracted to the band for it's overdriven versions of obscure blues songs and the stellar finger work of their young lead guitarist as seen here performing Louise. Clapton was with the group when they recorded one of their finest works, a cover of the Billy Boy Arnold song, I Wish You Would. But Clapton bristled at requests to do the pop song, For Your Love, and departed the group for browner fields in the middle of the recording of their first album.

Half way through the recording of their first album, in steps publicly unknown guitarist Jeff Beck. While Beck was also a blues enthusiast, unlike Clapton, he was not a purist. Jeff Beck ushered in the era of musical experimentation that became the pinnacle of The Yardbirds' existence. The Yardbirds began drawing inspiration from disparate sources such as blues, jazz, country, raga, and rockabilly. (See this Flip-Side post from December, 2008 for an example of Beck's guitar work.) The result was a sonic explosion that sounded like nothing else in the UK or the US and had a tremendous impact on fellow musicians from Love to Jimi Hendrix to Aerosmith. Bassist Paul Samwell-Smith stepped forward as the group's primary songwriter, arranger and eventually producer. With Beck the group was at top form, as seen here in this live rendition of Bo Diddley's I'm A Man.

Shortly after producing the group's second album, Paul Samwell-Smith, tired of the touring, departed the group. In steps session guitarist Jimmy Page to replace Samwell-Smith on bass. The idea was to train Dreja how to play bass and have Page move over to guitar, giving the band perhaps the greatest guitar duo in history. That's where we pick up today's SoTW. It is the best of the three songs the two guitar legends recorded together. The song is Happening Ten Years Time Ago. It features Beck and Page and session bassist, John Paul Jones on bass. It was recorded in the summer of '66 and features some of the finest guitar tone you will ever here as Page and Beck duel with their Fender Telecasters through the lead as we hear distant voices under the siren swells.

This line up lasted for only three recordings and one film session, which can be seen here. Beck began to crack under pressure and left the group while on the road in California. Jimmy Page was left to carry the load for the band, and did a more than able job as the lone guitarist.


But all was not well in Yardbird land. Bad management, the loss of Jeff Beck coupled with the loss of Samwell-Smith and the changes in the music market, saw The Yardbirds playing a high school dance in Illinois one night, and a double theater show performance in Alabama the next night. With little enthusiasm left, in 1967, Relf and McCarty quit the band they founded.

Jimmy Page was still fresh and soldiered on for contractual purposes with The New Yardbirds, morphing the band into his new lineup he called Led Zeppelin (after The Who's Keith Moon stated that trying to keep the band afloat would go over like a Led Zeppelin). They would continue on with The Yardbirds set-list for a few months (as seen here) and eventually, become their own group and have one or two hits on their own accord.