It's also hard to tell how the memory of history in the long term will be. If records had been made in 1700, we would probably talk less about Mozart or Bach and more about the performers.
And who knows how the way we can revisit any recordings and films today will affect future generations and the way they remember things?

Ok, I will concede that when I said history will remember the stones and not led zeppelin i was just voicing my opinion and i might be wrong. but i'm not.

[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

Quote
jackflash1129
My personal opinion is that in the 60s the Beatles were killing the stones, and likewise Zeppelin in the seventies..

I don't know how anyone could think that Zeppelin was killing the Stones in the 1970s? In rock lore I think their output was neck and neck in the 70s.

Quote
SonicDreamer
In the 1970s, when Led Zeppelin were an active force they outsold the Stones both on record sales, concert attendance figures and revenue (particularly in the USA).
Cheers,
SonicD

They outsold the Stones in concert attendance only because they toured more. The Stones were the bigger attraction when they did tour and drew the bigger crowds and higher gross despite what Zeppelin myth says.



Edited 1 time(s). Last edit at 2015-05-24 22:36 by stanlove.

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stanlove

Quote
jackflash1129
My personal opinion is that in the 60s the Beatles were killing the stones, and likewise Zeppelin in the seventies..

I don't know how anyone could think that Zeppelin was killing the Stones in the 1970s? In rock lore I think their output was neck and neck in the 70s.

i remember listening to rock radio from 75-81 and i don't recall ever hearing a track off black and blue, and only IORR off the eponymous album. on the other hand, led was absolute king of rock radio, stairway to heaven played constantly, kashmir, dancing days, whole lotta love, communication breakdown, etc. they just dominated. some girls owned the summer it came out, and tattoo you the summer it came out, but it was soon back to led zep. i would say the stones and the who were probably tied for a distant second in terms of airplay.

i lived in the midwest in the states; maybe it was different elsewhere.

I live in Michigan, where both bands were huge. I did hear stuff off BnB. Fool to Cry and Crazy Mama were on. I'd say there was a pretty even balance between Zep and the Stones being played.

Quote
stanlove

Quote
SonicDreamer
In the 1970s, when Led Zeppelin were an active force they outsold the Stones both on record sales, concert attendance figures and revenue (particularly in the USA).
Cheers,
SonicD

They outsold the Stones in concert attendance only because they toured more. The Stones were the bigger attraction when they did tour and drew the bigger crowds and higher gross despite what Zeppelin myth says.

They outsold the Stones in albums only because more people took Zep albums home from the store.

Zeppelin may have toured more, but that's because the demand for them was sick. I'm not saying the Stones couldn't have toured almost every year also, but they only toured North America every three years, 69, 72, 75, 78 and 81. We could assume that the build up, from them being off the road for three years each time, aided in them being n such demand when they returned. Zeppelin remained in the highest of demand without taking years off and had to constantly add new dates and shows to almost every spot they scheduled to play.

I'm 45 in July, born in 1970. The firs time I ever remember hearing about who the Rolling Stones were, was in 1979 on the Heroes of Rock and Roll documentary, hosted by Jeff Bridges. So they weren't a current to me at age 9. The Bee Gees were current to me and the Beatles felt current because the Red and Blue albums were all over the town, in both vinyl and 8 track. A year later in 1980 I remember hearing Emotional Rescue and She's So Cold on the radio a lot and being told it was the Stones. When I would hear older 70s songs like Fool to Cry, Heartbreaker and IORR, I remember thinking I must have heard them as a small child in the mid 70s because they were recognizable, although I didn't associate those titles to a band when I was really young. However, Led Zeppelin was everywhere. I remember the name Led Zeppelin when I was around 7 in 77. That's the year Elvis died and the first year I remember being aware of Popular music names. Led Zeppelin was one of them. The Rolling Stones were not, at that point, to me. Not that it means much, I was just a dumb kid. But I'm just using it to make a point that even a young kid from West Virginia knew of Zeppelin in the late 70s.

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

Not exactly asking them. It's "hoping to prevent the future release of the remastered Led Zeppelin IV album".

And that ain't gonna happen.

Quote
pricepittsburgh
Zeppelin may have toured more, but that's because the demand for them was sick. I'm not saying the Stones couldn't have toured almost every year also, but they only toured North America every three years, 69, 72, 75, 78 and 81. We could assume that the build up, from them being off the road for three years each time, aided in them being n such demand when they returned. Zeppelin remained in the highest of demand without taking years off and had to constantly add new dates and shows to almost every spot they scheduled to play.

I'm 45 in July, born in 1970. The firs time I ever remember hearing about who the Rolling Stones were, was in 1979 on the Heroes of Rock and Roll documentary, hosted by Jeff Bridges. So they weren't a current to me at age 9. The Bee Gees were current to me and the Beatles felt current because the Red and Blue albums were all over the town, in both vinyl and 8 track. A year later in 1980 I remember hearing Emotional Rescue and She's So Cold on the radio a lot and being told it was the Stones. When I would hear older 70s songs like Fool to Cry, Heartbreaker and IORR, I remember thinking I must have heard them as a small child in the mid 70s because they were recognizable, although I didn't associate those titles to a band when I was really young. However, Led Zeppelin was everywhere. I remember the name Led Zeppelin when I was around 7 in 77. That's the year Elvis died and the first year I remember being aware of Popular music names. Led Zeppelin was one of them. The Rolling Stones were not, at that point, to me. Not that it means much, I was just a dumb kid. But I'm just using it to make a point that even a young kid from West Virginia knew of Zeppelin in the late 70s.

My point is Zeppelin people go around pointing to their record attended concerts and use it to claim they drew bigger crowds then the Stones, but they ignore the records that the Stones set. They also point to the record breaking 73 show that broke the Beatles record and say that's proof they were the biggest, yet the Stones smashed that record many times during the 70s and smashed Zeppelin's records and the Stones charged more so they obviously had easily the bigger grosses.. I think and its pretty clear that the Stones were a bigger attraction when they did tour but Zeppelin toured more so its hard to say one was bigger then the other despite the Zeppelin myths of drawing the biggest crowds. I just saw a list of the biggest 249 concerts ever and the Stones are on there 6 times from the 1970s and Zeppelin only once at 115. You would never know that if you just listened to Zeppelin myth makers. And I was around at the time and it seemed like the Stones tours were the bigger deal.



You were young but I don't think there were a lot of people that didn't know who the Stones were the 1970s. I agree that if you just went by the 1970s output Zeppelin was the bigger band but that was only among young people. There was also plenty of older people who grew up in the 1960s who loved the Stones and didn't care or even know much about Led Zeppelin. I am the youngest of 10 kids and I can tell you none of my older brothers or sisters could tell you anything about Led Zeppelin while they all alot about the Stones. That goes for their friends also, never heard any of them listening to Led Zeppelin.

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stanlove
I was around at the time and it seemed like the Stones tours were the bigger deal.

Well backstage the Stones had Capote Warhol or Howling Wolf. LZ had... Linda Lovelace (in L.A. in 1975. Plant thanks her during of the shows).

A difference of class, no doubt!

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

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roller99
I wish someone would put out an album of LZ songs, and claim they wrote them.

What a great friggin' idea! lmfao. No doubt Page stole his share of ideas from others, but often times he was pretty good at developing them to a point they were something else entirely. And in the end, in some cases, we've got to be grateful because, for instance, what Zep did with Stairway was heads and shoulders above what Spirit did with the original lick, imo. As a fan the theft thing bothers me much less because the end result was so good.

Still lots of respect to Zeppelin for calling it quits when Bonham died.

peace

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roller99
I wish someone would put out an album of LZ songs, and claim they wrote them.

Gary Clark Jr practically did that. He lifted the title from the Stones and the Soli from Led Zeppelin.

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Naturalust

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roller99
I wish someone would put out an album of LZ songs, and claim they wrote them.

What a great friggin' idea! lmfao. No doubt Page stole his share of ideas from others, but often times he was pretty good at developing them to a point they were something else entirely. And in the end, in some cases, we've got to be grateful because, for instance, what Zep did with Stairway was heads and shoulders above what Spirit did with the original lick, imo. As a fan the theft thing bothers me much less because the end result was so good.

Still lots of respect to Zeppelin for calling it quits when Bonham died.

peace

I know, I agree with you. I'm still a big LZ fan, they were an awesome band whether they stole or not. They could be in the room with you playing "happy birthday" and you'd be blown away...

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roller99

Quote
Naturalust

Quote
roller99
I wish someone would put out an album of LZ songs, and claim they wrote them.

What a great friggin' idea! lmfao. No doubt Page stole his share of ideas from others, but often times he was pretty good at developing them to a point they were something else entirely. And in the end, in some cases, we've got to be grateful because, for instance, what Zep did with Stairway was heads and shoulders above what Spirit did with the original lick, imo. As a fan the theft thing bothers me much less because the end result was so good.

Still lots of respect to Zeppelin for calling it quits when Bonham died.

peace

I know, I agree with you. I'm still a big LZ fan, they were an awesome band whether they stole or not. They could be in the room with you playing "happy birthday" and you'd be blown away...

Speaking of which...





Probably even a few here like LongBeach72 who were at that show.

peace

There is a difference between being creative and original. Often times, the original idea is very basic and needs added creativity. Zeppelin were highly creative.



Edited 1 time(s). Last edit at 2015-05-26 07:12 by pricepittsburgh.

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roller99

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

The Zep stealing claims are highly overblown. Because of a few lawsuits that resulted in them having to add credits of original lyric or melody writers (Never both) people assume that all their covers or reworked songs didn't give proper credit from the start. On I Can’t Quit You Baby, they did give credit to Willie Dixon from the start on their debut album, as well as You Shook Me. The same goes for When the Levee Breaks on Zeppelin IV. They gave credit to Memphis Minnie from the start. Also, Babe I’m Gonna Leave You was listed by Zeppelin as Traditional, arranged by Jimmy Page, because that's the way it was listed on Joan Baez’ version. There was no internet back then. If a record said traditional, then Zeppelin assumed it was accurate. And no one tried to sue Joan Baez for getting it wrong, did they? Of course not, because Zeppelin is where the money was. So much for integrity of the original poet. As for Dazed and Confused, their lyrics were totally original, but they took the bass line and title. Had they changed the name, I doubt anyone would have noticed because they added so much to it even beyond their original lyrics. Chester Burnett was only able to sue over the lyrics of the Lemon Song, because some of the lyrics were the same, but they did originally give credit to Burnett on the early UK pressings of Zeppelin II, and they called the song by its original title Killin Floor. Dixon only sued over A Whole Lotta Love for the same reason, because of some of the lyrics.But no one sued Steve Mariott for his earlier reworking of Dixon's You Need Love, which used even more similar lyrics than Zep used. Again, a money thing, not an integrity or ethical one. The suit by Dixon over Bring it on Home was misleading. Zeps song was all an original song except for the intro which paid tribute to Sonny Boy Williamson's style, and the suit over Boogie With Stu was another lame one because they gave credit to Ritchie Valens mom, but the Publishing Company wanted paid and didn't care. Gallows Pole was always listed as traditional too. Lead Belly did not write it. Same with Nobody’s Fault but Mine, Custard Pie and In My Time of Dying. All three of those tracks were first recorded by Blind Willie Johnson, but he wrote none of them. People want to assume Johnson and others who had popular recordings, wrote them when they did not. Now with Stairway, we’re talking about a very short section of the intro that was probably deep in Page’s subconscious from hearing it previously. Stairway changes dramatically after that. The link below shows you how many songs use that intro even before Spirit and Zeppelin.

[www.youtube.com]

Quote
pricepittsburgh

Quote
roller99

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

The Zep stealing claims are highly overblown. Because of a few lawsuits that resulted in them having to add credits of original lyric or melody writers (Never both) people assume that all their covers or reworked songs didn't give proper credit from the start. On I Can’t Quit You Baby, they did give credit to Willie Dixon from the start on their debut album, as well as You Shook Me. The same goes for When the Levee Breaks on Zeppelin IV. They gave credit to Memphis Minnie from the start. Also, Babe I’m Gonna Leave You was listed by Zeppelin as Traditional, arranged by Jimmy Page, because that's the way it was listed on Joan Baez’ version. There was no internet back then. If a record said traditional, then Zeppelin assumed it was accurate. And no one tried to sue Joan Baez for getting it wrong, did they? Of course not, because Zeppelin is where the money was. So much for integrity of the original poet. As for Dazed and Confused, their lyrics were totally original, but they took the bass line and title. Had they changed the name, I doubt anyone would have noticed because they added so much to it even beyond their original lyrics. Chester Burnett was only able to sue over the lyrics of the Lemon Song, because some of the lyrics were the same, but they did originally give credit to Burnett on the early UK pressings of Zeppelin II, and they called the song by its original title Killin Floor. Dixon only sued over A Whole Lotta Love for the same reason, because of some of the lyrics.But no one sued Steve Mariott for his earlier reworking of Dixon's You Need Love, which used even more similar lyrics than Zep used. Again, a money thing, not an integrity or ethical one. The suit by Dixon over Bring it on Home was misleading. Zeps song was all an original song except for the intro which paid tribute to Sonny Boy Williamson's style, and the suit over Boogie With Stu was another lame one because they gave credit to Ritchie Valens mom, but the Publishing Company wanted paid and didn't care. Gallows Pole was always listed as traditional too. Lead Belly did not write it. Same with Nobody’s Fault but Mine, Custard Pie and In My Time of Dying. All three of those tracks were first recorded by Blind Willie Johnson, but he wrote none of them. People want to assume Johnson and others who had popular recordings, wrote them when they did not. Now with Stairway, we’re talking about a very short section of the intro that was probably deep in Page’s subconscious from hearing it previously. Stairway changes dramatically after that. The link below shows you how many songs use that intro even before Spirit and Zeppelin.

[www.youtube.com]

Who cares if nobody sued Marriot or Baez. That is no defense for Zeppelin. I see people trying to throw everything at the wall to try and defend Zeppelin. My favorite is Zeppelin fans running around asking why people waited for so long to sue Zeppelin, like that's some kind of a defense for Zeppelin.

The part about nobody noticing that Dazed and Confused was stolen if they just changed the title is amusing, Its basically the same song.

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pricepittsburgh

Quote
roller99

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

The Zep stealing claims are highly overblown. Because of a few lawsuits that resulted in them having to add credits of original lyric or melody writers (Never both) people assume that all their covers or reworked songs didn't give proper credit from the start. On I Can’t Quit You Baby, they did give credit to Willie Dixon from the start on their debut album, as well as You Shook Me. The same goes for When the Levee Breaks on Zeppelin IV. They gave credit to Memphis Minnie from the start. Also, Babe I’m Gonna Leave You was listed by Zeppelin as Traditional, arranged by Jimmy Page, because that's the way it was listed on Joan Baez’ version. There was no internet back then. If a record said traditional, then Zeppelin assumed it was accurate. And no one tried to sue Joan Baez for getting it wrong, did they? Of course not, because Zeppelin is where the money was. So much for integrity of the original poet. As for Dazed and Confused, their lyrics were totally original, but they took the bass line and title. Had they changed the name, I doubt anyone would have noticed because they added so much to it even beyond their original lyrics. Chester Burnett was only able to sue over the lyrics of the Lemon Song, because some of the lyrics were the same, but they did originally give credit to Burnett on the early UK pressings of Zeppelin II, and they called the song by its original title Killin Floor. Dixon only sued over A Whole Lotta Love for the same reason, because of some of the lyrics.But no one sued Steve Mariott for his earlier reworking of Dixon's You Need Love, which used even more similar lyrics than Zep used. Again, a money thing, not an integrity or ethical one. The suit by Dixon over Bring it on Home was misleading. Zeps song was all an original song except for the intro which paid tribute to Sonny Boy Williamson's style, and the suit over Boogie With Stu was another lame one because they gave credit to Ritchie Valens mom, but the Publishing Company wanted paid and didn't care. Gallows Pole was always listed as traditional too. Lead Belly did not write it. Same with Nobody’s Fault but Mine, Custard Pie and In My Time of Dying. All three of those tracks were first recorded by Blind Willie Johnson, but he wrote none of them. People want to assume Johnson and others who had popular recordings, wrote them when they did not. Now with Stairway, we’re talking about a very short section of the intro that was probably deep in Page’s subconscious from hearing it previously. Stairway changes dramatically after that. The link below shows you how many songs use that intro even before Spirit and Zeppelin.

[www.youtube.com]

I like your passion Pittsburgh, but in making your case you end up convincing me that zep were either huge plagiarists or idiots.

Don't go into the field of law!

Quote
treaclefingers

Quote
pricepittsburgh

Quote
roller99

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

The Zep stealing claims are highly overblown. Because of a few lawsuits that resulted in them having to add credits of original lyric or melody writers (Never both) people assume that all their covers or reworked songs didn't give proper credit from the start. On I Can’t Quit You Baby, they did give credit to Willie Dixon from the start on their debut album, as well as You Shook Me. The same goes for When the Levee Breaks on Zeppelin IV. They gave credit to Memphis Minnie from the start. Also, Babe I’m Gonna Leave You was listed by Zeppelin as Traditional, arranged by Jimmy Page, because that's the way it was listed on Joan Baez’ version. There was no internet back then. If a record said traditional, then Zeppelin assumed it was accurate. And no one tried to sue Joan Baez for getting it wrong, did they? Of course not, because Zeppelin is where the money was. So much for integrity of the original poet. As for Dazed and Confused, their lyrics were totally original, but they took the bass line and title. Had they changed the name, I doubt anyone would have noticed because they added so much to it even beyond their original lyrics. Chester Burnett was only able to sue over the lyrics of the Lemon Song, because some of the lyrics were the same, but they did originally give credit to Burnett on the early UK pressings of Zeppelin II, and they called the song by its original title Killin Floor. Dixon only sued over A Whole Lotta Love for the same reason, because of some of the lyrics.But no one sued Steve Mariott for his earlier reworking of Dixon's You Need Love, which used even more similar lyrics than Zep used. Again, a money thing, not an integrity or ethical one. The suit by Dixon over Bring it on Home was misleading. Zeps song was all an original song except for the intro which paid tribute to Sonny Boy Williamson's style, and the suit over Boogie With Stu was another lame one because they gave credit to Ritchie Valens mom, but the Publishing Company wanted paid and didn't care. Gallows Pole was always listed as traditional too. Lead Belly did not write it. Same with Nobody’s Fault but Mine, Custard Pie and In My Time of Dying. All three of those tracks were first recorded by Blind Willie Johnson, but he wrote none of them. People want to assume Johnson and others who had popular recordings, wrote them when they did not. Now with Stairway, we’re talking about a very short section of the intro that was probably deep in Page’s subconscious from hearing it previously. Stairway changes dramatically after that. The link below shows you how many songs use that intro even before Spirit and Zeppelin.

[www.youtube.com]

I like your passion Pittsburgh, but in making your case you end up convincing me that zep were either huge plagiarists or idiots.

Don't go into the field of law!

i had the same reaction! for most bands/performers you can find 1-2 controversies like this, that's just how the music business is. but when there is a long, long list it's hard to just explain it all away.

Check out the lead singer in Jason Bonham's latest version of The Led Zeppelin Experience:

Quote
Turner68

Quote
treaclefingers

Quote
pricepittsburgh

Quote
roller99

Quote
Turner68
[www.torontosun.com]

Spirit is suing Led Zeppelin and asking them to stop selling Led Zep IV until they pay up or take Stairway off the album.

Seems like the allegations just won't go away.

They aren't just allegations. Spirit used to open for LZ and Jimmy ripped the guitar progression off. If you ask Jimmy about plagiarism, he blames Robert for not changing the lyrics. If you ask Robert, he sneers at you and then tells you to talk to Jimmy. All but three of the songs on the first album are covers (rip offs). LZ had a great sound, but not a lot of talent as song writers. I wish someone would put out an album of LZ songs, and claim they wrote them.

The Zep stealing claims are highly overblown. Because of a few lawsuits that resulted in them having to add credits of original lyric or melody writers (Never both) people assume that all their covers or reworked songs didn't give proper credit from the start. On I Can’t Quit You Baby, they did give credit to Willie Dixon from the start on their debut album, as well as You Shook Me. The same goes for When the Levee Breaks on Zeppelin IV. They gave credit to Memphis Minnie from the start. Also, Babe I’m Gonna Leave You was listed by Zeppelin as Traditional, arranged by Jimmy Page, because that's the way it was listed on Joan Baez’ version. There was no internet back then. If a record said traditional, then Zeppelin assumed it was accurate. And no one tried to sue Joan Baez for getting it wrong, did they? Of course not, because Zeppelin is where the money was. So much for integrity of the original poet. As for Dazed and Confused, their lyrics were totally original, but they took the bass line and title. Had they changed the name, I doubt anyone would have noticed because they added so much to it even beyond their original lyrics. Chester Burnett was only able to sue over the lyrics of the Lemon Song, because some of the lyrics were the same, but they did originally give credit to Burnett on the early UK pressings of Zeppelin II, and they called the song by its original title Killin Floor. Dixon only sued over A Whole Lotta Love for the same reason, because of some of the lyrics.But no one sued Steve Mariott for his earlier reworking of Dixon's You Need Love, which used even more similar lyrics than Zep used. Again, a money thing, not an integrity or ethical one. The suit by Dixon over Bring it on Home was misleading. Zeps song was all an original song except for the intro which paid tribute to Sonny Boy Williamson's style, and the suit over Boogie With Stu was another lame one because they gave credit to Ritchie Valens mom, but the Publishing Company wanted paid and didn't care. Gallows Pole was always listed as traditional too. Lead Belly did not write it. Same with Nobody’s Fault but Mine, Custard Pie and In My Time of Dying. All three of those tracks were first recorded by Blind Willie Johnson, but he wrote none of them. People want to assume Johnson and others who had popular recordings, wrote them when they did not. Now with Stairway, we’re talking about a very short section of the intro that was probably deep in Page’s subconscious from hearing it previously. Stairway changes dramatically after that. The link below shows you how many songs use that intro even before Spirit and Zeppelin.

[www.youtube.com]

I like your passion Pittsburgh, but in making your case you end up convincing me that zep were either huge plagiarists or idiots.

Don't go into the field of law!

i had the same reaction! for most bands/performers you can find 1-2 controversies like this, that's just how the music business is. but when there is a long, long list it's hard to just explain it all away.

I was only clarifying the details. It was no an attempt at an all out defense. My point was that the stealing was overblown. As I said, people assume all of their covers or reworked songs never gave credit unless sued, when that's not the case and also that others being traditional, the didn't have to.
The things that people can legally copyright is pretty amazing. You can get sued over all most anything.

The reason I brought up Baez and Marriot, is to show that the suits are based on copyright infringement not plagiarism. You can't sue over plagiarism but everyone views you as terribly unethical for it. The suits for copyright infringement aren't based on the original artists worrying about their art, as with plagiarism. They are about getting paid if someone has the money. Otherwise they would sue all parties who did what Zeppelin did. But they don't because they know those acts may not have the money to settle as easily or to gain royalties for them, off those songs in the future.

Track listing for the 3 remaining albums companion discs - to be released on July 31st.

Presence

1. Two Ones Are Won
2. For Your Life (Reference Mix)
3. 10 Ribs & All/Carrot Pod Pod (Pod)
4. Royal Orleans (Reference Mix)
5. Hots On For Nowhere (Reference Mix)

[www.amazon.com]


In Through The Out Door

1. In The Evening (Rough Mix)
2. Southbound Piano (South Bound Suarez)
3. Fool In The Rain (Rough Mix)
4. Hot Dog (Rough Mix)
5. The Epic (Carouselambra - Rough Mix)
6. The Hook (All My Love - Rough Mix)
7. Blot (I'm Gonna Crawl - Rough Mix)

[www.amazon.com]


Coda

This one will have two companion discs :

Companion Disc 1
1. We're Gonna Groove (Alternate Mix)
2. If It Keeps On Raining (When The Levee Breaks - Rough Mix)
3. Bonzo's Montreux (Mix Construction In Progress)
4. Baby Come On Home
5. Sugar Mama ( Mix)
6. Poor Tom (Instrumental Mix)
7. Travelling Riverside Blues (BBC Session)
8. Hey, Hey, What Can I Do

Companion Disc 2
1. Four Hands (Four Sticks - Bombay Orchestra)
2. Friends (Bombay Orchestra)
3. St. Tristan's Sword (Rough Mix)
4. Desire (The Wanton Song - Rough Mix)
5. Bring It On Home (Rough Mix)
6. Walter's Walk (Rough Mix)
7. Everybody Makes It Through (In The Light - Rough Mix)

[www.amazon.com]

I got to give it to Stones. Zeppelin is great but there's only one great song that comes to mind: Stairway to Heaven! Stones although have many I can list.


STONES!

-RS


(Maybe I'm wrong)



Edited 1 time(s). Last edit at 2015-06-03 05:25 by RS.

Quote
RS
I got to give it to Stones. Zeppelin is great but there's only one great song I that comes to mind: Stairway to Heaven! Stones although have many I can list.


STONES!

-RS

You haven't heard much Led Zeppelin

Forgive the headline but couldn't resist it. Details of the last 3 Zepp reissues have been announced in Rolling Stone magazin. And the legndary Bombay Mix of Friends is there.


Led Zeppelin will end its yearlong reissue campaign next month when they put out deluxe editions of their final three studio albums. As with their previous releases, the group will unleash extras-packed editions of 1976's Presence, 1979's In Through the Out Door and 1982's Coda in a variety of formats on July 31st, with highlights including their 1968 rare recording of "Sugar Mama," songs the group made with the Bombay Orchestra and alternate mixes of every song on In Through the Out Door.

As with the previous reissues, Jimmy Page personally remastered each record, as well as the companion audio that appears on each LP's bonus discs. Each album will be available as a single disc – and the packaging for In Through the Out Door will replicate the brown paper that the vinyl came in.

The deluxe editions of Presence and Out Door will each contain a full disc's worth of bonus audio, while Coda will contain two. Vinyl will be available on a 180-gram pressing, and Out Door will include a special water-sensitive insert that replicates its original inner sleeve. There will also be deluxe vinyl, digital downloads and deluxe box sets which contain the deluxe editions on CD, vinyl and digital along with a hardbound book and a print of the original album cover.

The companion audio disc for the deluxe version of Presence – an album that the group recorded over 18 days in Munich – contains five previously unreleased reference mixes from the sessions, which show the album versions as works in progress. These tracks include alternate versions of "For Your Life," "Achilles Last Stand" and "Royal Orleans" and will contain the previously unreleased instrumental, "10 Ribs & all/Carrot Pod Pod (Pod)."

In Through the Out Door's companion audio features rough mixes of every song on the LP, including early versions of "All My Love" (titled "The Hook"), "Carouselambra" (titled "The Epic") and "I'm Gonna Crawl" ("Blot").

Finally, the deluxe edition of Coda – released two years after the death of drummer John Bonham – features two discs' worth of companion audio, which span recordings the group made between 1968 and 1974. The bluesy, rare track "Sugar Mama," which Led Zeppelin recorded at Olympic Studios during the sessions that became Led Zeppelin, is the most notable and is finally getting an official release. "Baby Come Home" also features on the bonus disc and culls from the same session. Similarly, the record contains the previously unreleased "St. Tristan's Sword," an instrumental that dates back to the 1970 sessions for Led Zeppelin III.

Coda's bonus material will also contain recordings from Page and Robert Plant's 1972 trip to India, where they performed an early version of "Four Sticks" (titled "Four Hands") and "Friends" with the Bombay Orchestra. The album will also include an early version of "When the Levee Breaks" from 1970 (titled "If It Keeps on Raining"), rough mixes of "The Wanton Song" and "In the Light" from the Physical Graffiti sessions and an instrumental mix of their 1970 recording "Poor Tom."

Led Zeppelin began their reissue campaign last June, when they put out souped-up editions of their first three albums. They continued their releases chronologically, putting out IV and Houses of the Holy in the fall and Physical Graffiti this past February.

Here are the track lists for the bonus discs of the final three reissues:

Presence (Companion Audio):

1. "Two Ones Are Won" ("Achilles Last Stand" – Reference Mix)
2. "For Your Life" (Reference Mix)
3. "10 Ribs & All/Carrot Pod Pod (Pod)" (Reference Mix)
4. "Royal Orleans" (Reference Mix)
5. "Hots On for Nowhere" (Reference Mix)

In Through the Out Door (Companion Audio):

1. "In the Evening" (Rough Mix)
2. "Southbound Piano" ("South Bound Saurez" - Rough Mix)
3. "Fool in the Rain" (Rough Mix)
4. "Hot Dog" (Rough Mix)
5. "The Epic" ("Carouselambra" - Rough Mix)
6. "The Hook" ("All My Love" - Rough Mix)
7. "Blot" ("I'm Gonna Crawl" - Rough Mix)

Coda (Companion Audio):

Disc One

1. "We're Gonna Groove" (Alternate Mix)
2. "If It Keeps On Raining" ("When the Levee Breaks" - Rough Mix)
3. "Bonzo's Montreux" (Mix Construction In Progress)
4. "Baby Come On Home"
5. "Sugar Mama" (Mix)
6. "Poor Tom" (Instrumental Mix)
7. "Travelling Riverside Blues" (BBC Session)
8. "Hey, Hey, What Can I Do"

Disc Two

1. "Four Hands" ("Four Sticks" - Bombay Orchestra)
2. "Friends" (Bombay Orchestra)
3. "St. Tristan's Sword" (Rough Mix)
4. "Desire" (The Wanton Song - Rough Mix)
5. "Bring It on Home" (Rough Mix)
6. "Walter's Walk" (Rough Mix)
7. "Everybody Makes It Through" ("In the Light" - Rough Mix)


Read more: [www.rollingstone.com]

There's a 3 disc edition of Coda which looks pretty good.

I really thought that this was about Sepp Blatter, Mike!