Glen T. Winstein
Glenster
Led Zeppelin Lift offs
The issue of uncredited lifts by Jimmy Page and others of the Yardbirds and
Led Zeppelin has been debated since the late 1960's. On July 27, 2007, interest
in it, and debates on the Internet, arose again after it was discussed on The
Howard Stern Show. The allegations are basically that the musicians acted like
the Jehovah's Witnesses leaders of rock and roll regarding their misuse of re-
search material to claim more for themselves than is fair to for money, so I did
some research about it. I like some Yardbirds and Led Zeppelin tunes, but I
also like good songwriting credit habits, so some of the improper crediting
seems unnecessary and uncool to me.
A batch of examples is at the next link.
http://www.warr.org/zep.html
niAnotherDay.
http://www.youtube.com/watch?v=owhCYl9hTu8
A batch of examples are at the "Turn Me On, Dead man" site.
http://www.turnmeondeadman.net/Zep/Originals.php
A few more examples are in an article by Will Shade (Jan., 2001, revised
March, 2008).
http://www.furious.com/perfect/jimmypage.html
http://www.furious.com/PERFECT/yardbirds2.html
This would be easier to demonstrate if someone supplied the evidence, which
includes recordings found on You Tube, which some people also have a problem
with. Oh, where, oh, where will we find such a disreputable person?
Cases for which I could find You Tube examples tunes by the Yardbirds or Led
Zeppelin and earlier examples and heard the connections between them yet saw
songwriting credit discrepancies, and a couple for which I didn't, are given
below. I like some of their stuff, but I also don't know a list of stolen stuff
as big for any other major act. It's like they want to be the Milton Berles of
rock and roll.
http://en.wikipedia.org/wiki/Milton_berle#Uncle_Miltie_offstage
Buster Keaton's "The Playhouse," 1921, ribbed Thomas Ince for doing something
similar--taking excessive credits for his movies.
http://en.wikipedia.org/wiki/The_Playhouse_%28film%29
In a few handfuls of cases, Led Zep is doing their version of John and Yoko's
vamping and screaming thing--making people say "we like a lot of your tunes--
what the hell are you doing? You're going around hurting people with that
stuff."
http://www.youtube.com/watch?v=SYqCpvzXGTE
"Stroll On"
"Smile On Me"
"White Summer"
"Babe I'm Gonna Leave You"
"Dazed and Confused"
"Black Mountain Side"
"How Many More Times"
"Whole Lotta Love"
"The Lemon Song"
"Moby Dick"
"Bring it on Home"
"Tangerine"
"Hats Off to (Roy) Harper"
"Since I've Been Lovin' You"
"Stairway to Heaven
"Custard Pie"
"In My Time of Dying"
"Trampled Underfoot"
"Boogie With Stu"
"Nobody's Fault But Mine"
"Stroll On"
"The Train Kept a-Rollin'" was written by Tiny Bradshaw, Howard Kay, and Lois
Mann. Bradshaw recorded it in 1951. It was recorded by Johnny Burnette and the
Rock and Roll Trio in 1956, the Yardbirds in 1965, and the Aerosmith version
from "Get Your Wings" was a hit in 1974.
http://www.youtube.com/watch?v=myswB5uM9uc
http://en.wikipedia.org/wiki/Train_Kept_A-Rollin%27
http://en.wikipedia.org/wiki/Tiny_Bradshaw
Johnny Burnette and the Rock and Roll Trio's version, 1956, is at the next
link.
http://www.youtube.com/watch?v=YtcVvWRvrIU
a-Rollin'" for the movie "Blow Up," 1966, but he didn't want to pay as much as
the copyright holders asked for. The Yardbirds rewrote the lyrics and called it
"Stroll On" to get it in the movie.
http://www.youtube.com/watch?v=YHNL5_2LspE
http://www.turnmeondeadman.net/Zep/RockAndRoll.php
http://en.wikipedia.org/wiki/Blowup
The songwriting credits for "Stroll On" are given to Jeff Beck, Chris Dreja,
Jim McCarty, Jimmy Page, and Keith Relf. Writing new lyrics for a song doesn't
honestly make it your song, though. (Don't you kids try it at home.) It would
have been better if they chipped in to help the director pay the regular royal-
ties or persuaded him to pick a different song.
"Smile On Me"
for comparison and because the solo breaks are cool.
http://www.youtube.com/watch?v=Jkf3yJTUZf4
Basically, it's a rewrite of two blues songs.
In 2001, Will Shade asked Jim McCarty if "Smile On Me" was based on an earlier
Yardbirds song--"Rack My Mind." Jim said, "Yeah, and 'All Your Love,' too, the
Otis Rush tune."
http://www.furious.com/perfect/jimmypage.html
"All Your Love (I Miss Loving)" by Otis Rush (during 1956 to 1958).
http://www.youtube.com/watch?v=_OafGFPbPsY
http://en.wikipedia.org/wiki/Otis_Rush
The melody of the verses have a structure similar to "All Your Love," and both
break into a faster part for the solo, but it's probably too basic a blues for-
mula to be a copyright violation. It's more a case of using someone else's
basic format to write your own basic blues song with.
"Rack My Mind" on "The Yardbirds" (also known as "Roger the Engineer"), 1966,
was based on "Baby Scratch My Back," 1966, by James Moore, who used the name
"Slim Harpo." The credit for "Rack My Mind" was given to Beck, Dreja, McCarty,
Relf, and Samwell-Smith.
http://en.wikipedia.org/wiki/Roger_the_Engineer
(I didn't see a You Tube version of "Rack My Mind" except for a recent live
version of it so I'm not sure how close the comparison is between the 1966 ver-
sion and "Baby Scratch My Back.")
http://www.youtube.com/watch?v=ponB_wjKX94
Slim Harpo "Baby Scratch My Back," 1966.
http://www.youtube.com/watch?v=vtvL5_6BFd8
http://en.wikipedia.org/wiki/Slim_Harpo
"Smile On Me" (with cool guitar solo breaks--don't let it be said I'm stingy
with the coolness credits when something is cool) is credited to Dreja, McCarty,
Page, and Relf.
"White Summer"
http://www.youtube.com/watch?v=vTvtZRYVeX8
Davy Graham wrote an arrangement for the traditional folk song "She Moved
Through The Fair" called "She Moved Thru' the Bizarre (Medley with Blue Raga)."
http://www.youtube.com/watch?v=cFB6xj1xHnM
http://en.wikipedia.org/wiki/She_Moved_Through_the_Fair
http://en.wikipedia.org/wiki/Davy_Graham
Jimmy Page practically made a recital of the distinctive things about it as if
it was meant to teach people how good Davy's version was. He gave it the name
"White Summer."
The credit for "White Summer" on "Little Games," 1967, by the Yardbirds, and
later Led Zep albums, was given to Jimmy Page. It's cool, but Page neither
wrote the song nor came up with the basic idea for the version. The title is
original.
What's next? Jimmy Page has a lovely follow-up song for the holidays--"White
Christmas." He'll be standing with a pipe by a fireside, "I'm dreaming...."
Then the ghost of Bob Hope comes out and slaps him right in the face. No, no,
no--sorry.
http://www.youtube.com/watch?v=9vPfOjAw5Z0
"Babe I'm Gonna Leave You"
http://www.youtube.com/watch?v=_R20sleJxr4
http://en.wikipedia.org/wiki/Babe_I%27m_Gonna_Leave_You
Anne Bredon wrote "Babe I'm Gonna Leave You" in the late 1950's.
http://en.wikipedia.org/wiki/Anne_Bredon
According to Wikipedia, Janet Smith came up with a version of it but lost
track of the authorship. "It became the opening track on Joan Baez in Concert,
Part 1. When this album was in production, Vanguard Records contacted Smith to
determine the authorship of the song. Because Smith was unable to track down
Bredon prior to the release of Baez's album, the song was credited as 'Tradi-
tional, arr. Baez' on Joan Baez in Concert, Part 1. Anne Bredon was properly
credited, however, in the Joan Baez Song Book, which was published in 1964."
The original 1962 Joan Baez version--the one credited as a traditional--from
"Joan Baez in Concert, Part 1" is at the next link. But it can't be the only
source for Led Zep's version because the lyrics have a lot of differences from
Led Zep's version. If Led Zep is the source of those differences for what they
thought was a traditional song it's weird, especially considering some of these
other examples, that originally Led Zep didn't claim any credit for the song-
writing--they only left out credit (and royalties) for Bredon.
http://www.youtube.com/watch?v=7eCNLY7ezJo
The Led Zep lyrics are at the next link.
http://www.azlyrics.com/lyrics/ledzeppelin/babeimgonnaleaveyou.html
At first, the first "Led Zeppelin" album, Jan., 1969, credited it as a tradi-
tional song arranged by Jimmy Page. But after Bredon's kid told her he thought
she did a Led Zeppelin song and she took legal action, it got both better and
worse--in 1990 it was changed to Anne Bredon/Jimmy Page and Robert Plant.
http://www.classicrockcentral.com/classic_rock_photo_gallery.cfm?fid=9&orderID=4
Now she has credit but it's part credit (so 1/3rd royalties) shared with two
that didn't think they wrote it but changed their minds and decided they did
after legal action began.
This segues nicely into:
"Dazed and Confused"
http://www.youtube.com/watch?v=-eIwfym0TbY
Jake Holmes wrote "Dazed and Confused" for "The Above Ground Sound Of Jake
Holmes," June, 1967.
http://www.youtube.com/watch?v=pTsvs-pAGDc
http://en.wikipedia.org/wiki/Jake_Holmes
http://en.wikipedia.org/wiki/%22The_Above_Ground_Sound%22_of_Jake_Holmes
Jake Holmes opened for the Yardbirds with Jimmy Page in 1967.
Keith Relf of the Yardbirds changed some lyrics and Jimmy Page added a middle
section for a Yardbirds version. Page rewrote the lyrics again for the first
Led Zep album.
http://www.youtube.com/watch?v=58mQvW0ROag
http://www.furious.com/PERFECT/yardbirds2.html
The 1969 Led Zep credit is Jimmy Page. According Will Shade, when he asked
Holmes when he knew about the Led Zep version, Holmes said, "When the album came
out! And then, stupidly, I never followed up on it," Jake Holmes said. "In the
early 1980's, I did write them a letter and I said basically: 'I understand it's
a collaborative effort, but I think you should give me credit at least and some
remuneration.' But they never contacted me."
The Will Shade article also contains this segment of a 1990 interview in Musi-
cian magazine with Jimmy Page:
Musician: I understand "Dazed & Confused" was originally a song by
Jake Holmes. Is that true?
Page: [Sourly] I don't know. I don't know. [Inhaling] I don't know
about all that.
Musician: Do you remember the process of writing that song?
Page: Well, I did that with the Yardbirds originally... The Yardbirds
were such a good band for a guitarist to play in that I came up with a
lot of riffs and ideas out of that, and I employed quite a lot of those
in the early Zeppelin stuff.
Musician: But Jake Holmes, a successful jingle writer in New York,
claims on his 1967 record that he wrote the original song.
Page: Hmm. Well, I don't know. I don't know about that. I'd rather
not get into it because I don't know all the circumstances. What's he
got, The riff or whatever? Because Robert wrote some of the lyrics for
that on the album. But he was only listening to.... we extended it
from the one that we were playing with the Yardbirds.
Musician: Did you bring it into the Yardbirds?
Page: No, I think we played it 'round a sort of melody line or some-
thing that Keith [Relf] had. So I don't know. I haven't heard Jake
Holmes so I don't know what it's all about anyway. Usually my riffs
are pretty damn original. [laughs] What can I say?
Jimmy sure sounds guilty. Will Shade asked Yardbird Chris Dreja what he
thought about Page's 40-year denial. Chris said, "It's the guilt."
I'm agreeing with Jake Holmes on this one. Holmes should get partial credit,
and people should ask for and get permission first before copyrighting a combin-
ation they create with someone else's song.
See the section below on "Tangerine."
"Black Mountain Side"
http://www.youtube.com/watch?v=nUMGuvmVmxI
http://en.wikipedia.org/wiki/Blackwaterside
Bert Jansch wrote an arrangement of the traditional Irish song "Blackwater-
side" and released it on the 1966 album "Jack Orion."
http://www.youtube.com/watch?v=hkX7Q2J7k48
http://en.wikipedia.org/wiki/Bert_Jansch
Jimmy Page did a slightly embellished version except without the vocal, called
it "Black Mountain Side," and released it in 1969.
"The accompaniment was nicked by a well-known member of one of the
most famous rock bands, who used it, unchanged, on one of their records,"
Jansch was quoted as saying in Doug Kennedy's 1983 "The Songs and Guitar
Solos of Bert Jansch."
http://www.furious.com/PERFECT/yardbirds2.html
The Led Zep credit is Jimmy Page. Page didn't write the song. He has a fol-
low up soon to be released--"Foggy Mountain Breakdown," featuring his new style
of snazzy pickin.' (The rumored follow-up is tentatively titled "Dueling
Danelectros.")
http://www.youtube.com/watch?v=Q6p11TrVOrE
http://www.youtube.com/watch?v=icMTVV5Lwaw
"I Can't Quit You Baby"
http://www.youtube.com/watch?v=WfwLUkzKx9k
http://en.wikipedia.org/wiki/I_Can%27t_Quit_You_Baby
It's a blues song Willie Dixon wrote for Otis Rush, 1956, and credited to
Dixon. I just added it to this list because it lends support to the idea Led
Zep knew Dixon was the author of the other songs of his they didn't credit him
for originally.
http://www.youtube.com/watch?v=Uy2tEP3I3DM
"How Many More Times"
http://www.youtube.com/watch?v=BWMfw6dgoF4
http://en.wikipedia.org/wiki/How_Many_More_Times
Thanks to the "Turn Me On, Dead Man" web site for most of the information
given below.
http://www.turnmeondeadman.net/Zep/HowManyMoreTimes.php
The title and basic structure come from the Chester Burnett "Howlin' Wolf"
tune "How Many More Years," 1951, shown in a 1966 performance at the next link.
http://www.youtube.com/watch?v=4Ou-6A3MKow
The lyrics...
"I was a young man, I couldn't resist
Started thinkin' it all over, just what I had missed
Got me a girl and I kissed her and then, and then
Whoops, oh Lordy, well I did it again"
...come from the Weavers' song "Kisses Sweeter Than Wine," which was a hit
for Jimmie Rodgers in 1957:
http://www.youtube.com/watch?v=IjbHfkKH05A
"Well, when I was a young man never been kissed
I got to thinkin' it over how much I had missed
So I got me a girl and I kissed her and then, and then
Oh, lordy, well I kissed her again"
The origin of "Kisses Sweeter Than Wine" was a traditional Irish song "Drim-
min Down," which was given a blues chording by Leadbelly for "If it Wasn't for
Dicky," 1937, which Pete Seeger changed the chorus of a bit and Lee Hayes wrote
new verses for.
http://en.wikipedia.org/wiki/Kisses_Sweeter_than_Wine_%28song%29
The lyrics...
"Well they call me the hunter, that's my name
They call me the hunter, that's how I got my fame
Ain't no need to hide, Ain't no need to run
'Cause I've got you in the sights of my gun"
Hunter" by Steve Cropper and Donald "Duck" Dunn of Booker T. and the M.G.s while
backing up Albert King, 1967, with a change to the second line and "love"
dropped from the fourth. (Cover version at the next link.)
http://www.youtube.com/watch?v=bv4mlflN6Bc
http://en.wikipedia.org/wiki/Booker_T_and_the_MGs
http://en.wikipedia.org/wiki/Albert_King
"They call me the hunter, that's my name
A pretty woman like you, is my only game
I bought me a love gun, just the other day
And I aim to aim it your way
Ain't no use to hide, ain't no use to run
'Cause I've got you in the sights of my love gun"
"Alexis Korner--On the Move" features "O Rosie," credited to "Trad. Arr. Korn-
er" and "Steal Away" which Robert Plant co-wrote with Alexis Korner and Steve
Miller and recorded in 1968.
The lyrics...
"Oh, Rosie, oh, girl
Steal away now, steal away
Little Robert Anthony wants to come and play"
...of "How Many More Times" refer to two songs by others. Alan Lomax recorded
them in the southern USA. "Oh, Rosie" is a prison work song Lomax recorded in
1947 or 1948 for "Prison Songs: Historical Recordings from Parchman Farm 1947-
48, Volume 2." "Steal Away" originated in the days of US slavery and is a
Christian spiritual for "Negro Religious Songs and Services." "Steal Away" was
also sung as a "freedom song" by activists in the civil rights movement in the
1950s and 1960s.
"Steal Away" by Mahalia Jackson with Nat King Cole
http://www.youtube.com/watch?v=-O5hz5KnSdc
"Rosie" recorded by Alan Lomax
http://www.youtube.com/watch?v=AuaPIDUQF5U
(According to the "Turn Me On, Dead Man" web site, the bass line is like that
of the Yardbirds' cover of Howlin' Wolf's "Smokestack Lightning," which is es-
pecially clear on the Dec., 1965--before Page was a member--version by the Yard-
birds on the BBC Sessions collection. Dunno--I couldn't find it on You Tube.)
The song is credited to Bonham/Jones/Page. Robert Plant, the fourth member of
Led Zep, would have claimed the songwriting credit, too, but according to Wiki-
pedia:
- "As with all the other tracks on Led Zeppelin's debut album, Robert Plant
didn't get a writing credit for this song due to unexpired contractual obliga-
tions, but he undoubtedly had a large influence in its construction."
- "In an interview he gave to Guitar World magazine in 1993, Page stated that
the song 'was made up of little pieces I developed when I was with the Yard-
birds, as were other numbers such as 'Dazed and Confused.'"
- "...all new Led Zeppelin releases since 1993 have co-credited the song with
Chester Burnett via arrangement with his publishing company, ARC Music. Cover
versions by many artists, such as the LA Guns 1999 version on the album Shrink-
ing Violet, however, are not credited to Burnett."
If Burnett gets 1/4th credit, after legal proceedings, for just the basic
structure and title, a couple others, Lee Hayes and the Booker T. lyricist of
"The Hunter," are owed remunerations, too. Led Zep has another original compan-
ion song saved up for release: "How many more roads must a man walk down before
you call him...." arranged by Les Zimmerman.
Further answering the age-old musical question, "How do they come up with them
so fast?":
"Whole Lotta Love"
http://www.youtube.com/watch?v=x2ynq_NcpT4
http://en.wikipedia.org/wiki/Whole_Lotta_Love
Willie Dixon wrote "You Need Love" in 1953. McKinley "Muddy Waters" Morgan-
field recorded it in 1962.
http://www.youtube.com/watch?v=85kqedTLTJM
http://en.wikipedia.org/wiki/Willie_Dixon
http://www.turnmeondeadman.net/Zep/WholeLottaLove.php
The Small Faces, with Steve Marriott's vocal, did a version called "You Need
Loving" in 1966. They neglected to credit Dixon and credited it to Lane/Mar-
riot.
http://www.youtube.com/watch?v=LkQpZpFLpv4
http://en.wikipedia.org/wiki/Small_Faces
In May, 1966, Jimmy Page, Jeff Beck, Keith Moon, and John Paul Jones recorded
some things and they (I think it was just the first three?) and John Entwistle
considered forming their own group.
Sometime during the last couple years of Jimmy Page's tenure with the Yard-
birds, 1966-1968, a hostile reaction came from the Small Faces' management when
they were asked if Steve Marriott could be the vocalist for the potential new
group.
http://www.furious.com/perfect/yardbirds2.html
According to an interview by Steven Rosen for Modern Guitars, May 24, 2007,
Jimmy Page said this about Steve Marriott and his management:
"He was contacted, and the reply came back from his manager’s office: 'How
would you like to have a group with no fingers, boys?' Or words to that effect.
So the group was dropped because of Marriott’s other commitment, to the Small
Faces."
For Led Zep's version of "You Need Love," "Whole Lotta Love," Robert Plant
used Steve Marriott's vocal style, including a variation of the same kind of
break near the end of the song the Small Faces used ("Woman...you need...
love...."). It has Willie's words and basic blues construction but sounds
more--a whole lotta more--like Steve Marriott.
(It also has one of those "Magic Carpet Ride," Steppenwolf, 1968, solo sec-
tions where nobody solos but just makes sounds or whatever for five minutes or
so, an idea John and Yoko unfortunately elaborated on seemingly interminably
from around this time for several years, possibly the fault of heroin use in the
case of John and Yoko. We're not sure if that part's a matter of songwriting
credit or blame. Page was financing organized crime buying their cocaine, then
heroin, throughout his time with Led Zep, too. Everybody listening to the Led
Zep break speeds past it to the part where the band comes in with "womp womp"s
like "I Ain't Got You" by the Yardbirds with Eric Clapton except used in the
first of pairs of measures instead of the second of pairs.)
http://www.youtube.com/watch?v=mSTuONwPaN8
http://en.wikipedia.org/wiki/Jimmy_Page#Drug_use
http://www.drugstory.org/drug_traffic/cartel_organized.asp
http://organizedcrime.ca/drugs_e.asp
Led Zep originally credited "Whole Lotta Love" to Jimmy Page and Robert Plant.
Since the lawsuit was settled out of court in 1985, the name Willie Dixon was
added to Jimmy Page, Robert Plant, John Bonham, and John Paul Jones. I guess
Steve didn't play fair about crediting Dixon either (or Jimmy was PO'ed about
what happened when he talked to Small Faces' management) so Led Zep considered
him as disqualified. Actually, it owes at least as much to Steve, though. The
basic song, not determined by arrangement, solos, and tempos, should recognize
Dixon via Marriott.
Like "Babe I'm Gonna Leave You," it got better and worse the same way: two
more Led Zep members decided they helped write the song since it was first re-
leased, so the claimant got an even smaller fraction of the royalties--1/5th.
Sound-alike recordings have become a matter of identity ownership litigation
in recent years, too. I'm no entertainment lawyer, but I wonder if it matters
regarding the Steve Marriott impression.
According to Wikipedia: "In the 1980s, singer Bette Midler sued over a sound-
alike song being used in a commercial which sounded too close to the original.
In the 1990s, guitarist Carlos Santana sued over a commercial music bed that
closely imitated his playing and arranging style."
http://en.wikipedia.org/wiki/Sound-alike
http://www.variety.com/article/VR102585.html?categoryid=16&cs=1
(See "Bring It On Home.")
"The Lemon Song"
http://www.youtube.com/watch?v=39P9vpH5aCw
http://en.wikipedia.org/wiki/The_Lemon_Song
Chester "Howling Wolf" Burnette wrote "Killing Floor."
http://www.youtube.com/watch?v=uJy9kWfClGM
http://en.wikipedia.org/wiki/Howlin%27_Wolf
The Electric Flag covered "Killing Floor," Michael Bloomfield on lead guitar,
for "A Long Time Comin,'" April, 1968. The Electric Flag's version (with cool
solos) changed "first mind" to "second mind," which Led Zep used.
http://www.youtube.com/watch?v=Tq3NwCHm-4U
http://en.wikipedia.org/wiki/Electric_Flag
(The quote at the start of it is by Pres. Lyndon Johnson: "I speak tonight for
the dignity of man, and the destiny of democracy. I urge every member of both
parties...")
(I guess the sax solo near the end of it correlates to the section of noises
near the end of "Whole Lotta Love" except the sax soloist actually does some-
thing.)
song through this period.
http://www.youtube.com/watch?v=hwwpXvQDsjc
http://en.wikipedia.org/wiki/Jimi_Hendrix
Robert Johnson wrote "Travelling Riverside Blues" and recorded it on June 20,
1937. Led Zep did a cover of the song for the BBC in 1969 so probably got the
lemon part of the lyrics from Johnson's last verse, though the euphemism had
been used before.
http://www.youtube.com/watch?v=eoednwhKoZI
http://en.wikipedia.org/wiki/Travelling_Riverside_Blues
According to the Wikipedia article on "The Lemon Song": "The song borrows sig-
nificantly from Howlin' Wolf's 'Killing Floor", which was a song Led Zeppelin
often incorporated into their live setlist during their first concert tour of
the United States. For the second and third North American tours the song
evolved into 'The Lemon Song,' with Plant often improvising lyrics onstage.
However, despite Howlin' Wolf's influence on the arrangement, the album sleeve
of Led Zeppelin II initially credited only the four members of Led Zeppelin."
The right column of that Wikipedia article only credits those four, too.
According to the Songfacts site: "On the original British copies of Led Zep-
pelin II, the label on the record lists 'Killing Floor' as the third track and
is credited to Chester Burnett (Howlin' Wolf's real name), while the liner lists
'The Lemon Song' and credits Led Zeppelin."
http://www.songfacts.com/detail.php?id=315
According to the Wikipedia article on "Killing Floor": "The song was retitled
'The Lemon Song' and after legal involvement on the part of Chester Burnett's
publishers, the song was credited to 'Page/Plant/Jones/Bonham/Burnett.'"
http://en.wikipedia.org/wiki/Killing_Floor_%28song%29
The basic song, not determined by arrangement, solos, and tempos, should not
only at least but primarily recognize Wolf, who ended up listed last in the
credits. (For those keeping score on the home game, mention could be made of a
small lyric contribution by the Electric Flag.) Credit for the lyrics added by
Robert Plant should have been added after permission was granted to add them if
permission was granted.
However, unlike "Babe I'm Gonna Leave You," Led Zep seems to have seen some-
thing coming on this one and was already prepared to say all of them helped
write the song so the most the claimant would get (and derive from Led Zep roy-
alties) is 1/5th.
"Moby Dick"
http://www.youtube.com/watch?v=f2xdHS1nBYc
http://en.wikipedia.org/wiki/Moby_Dick_%28song%29
http://www.youtube.com/watch?v=gWyFo_KK0gg
http://www.lyricsmode.com/lyrics/s/sleepy_john_estes/the_girl_i_love_she_got_long_curly_hair.html
http://en.wikipedia.org/wiki/Sleepy_John_Estes
"The Girl I Love" was covered by Led Zeppelin for the BBC on June 16, 1969 and
was broadcast on Chris Grant's Tasty Pop Sundae on June 22, 1969.
http://www.youtube.com/watch?v=byos2Tr5KrM
http://www.lyricsmode.com/lyrics/l/led_zeppelin/the_girl_i_love_she_got_long_black_wavy_hair.html
"The Girl I Love She Got Long Black Wavy Hair," on the 1997 album "BBC Ses-
sions," 1997, credits Bonham/Estes/Jones/Page/Plant.
The riff Led Zeppelin used for it sounds like a slight variation of the riff
Bobby Parker came up with for "Watch Your Step," 1961. (It was also nicked by
John Lennon for "I Feel Fine," 1964, and given a bit more of a variation, and
added to with more of a song, than Led Zep used--see the You Tube video below
for John's explanation about trying to avoid accusations of theft. Below that
is a link for Ray Charles' "What'd I Say.")
http://en.wikipedia.org/wiki/The_Girl_I_Love_She_Got_Long_Black_Wavy_Hair
http://www.youtube.com/watch?v=mJCzjF7MvpM
http://www.youtube.com/watch?v=65FOQpQpSwc
(John didn't fare as well with making a slight variation on a line from "You
Can't Catch Me" to write "Here come old flat top, he come groovin' up slowly"
for "Come Together." But he did get to make friends with Chuck Berry after the
settlement. I think he meant to get Chuck again later, though, by having Yoko
scream during "Memphis" on "The Mike Douglas Show." Then Chuck seems to have
gotten John back by having the sound turned off on John's guitar solo and Yoko
during "Johnny B. Goode.")
http://en.wikipedia.org/wiki/Come_Together
http://www.youtube.com/watch?v=h9kgu71d81U
http://en.wikipedia.org/wiki/Memphis%2C_Tennessee_%28song%29
http://www.youtube.com/watch?v=45V1Q_C2Wpc
http://en.wikipedia.org/wiki/Johnny_B_Goode
"Moby Dick," using the same riff as Led Zep used on the BBC but no vocal, was
released on "Led Zeppelin II" in Oct., 1969. The songwriting credit is Bonham/
Jones/Page. It's really just the basic blues changes used for a riff song,
though, and it's basically identifiable as Bobby Parker's riff.
"Bring it on Home"
http://www.youtube.com/watch?v=wZgMG6lxU7I
http://en.wikipedia.org/wiki/Bring_It_On_Home
Willie Dixon (see "Whole Lotta Love") wrote "Bring it on Home."
There were two guys who called themselves Sonny Boy Williamson--John Lee
Curtis Williamson, "The Original Sonny Boy Williamson," and Aleck "Rice" Miller,
Sonny Boy Williamson II, who lived longer and lived to become more famous.
"Rice" Williamson recorded "Bring it on Home."
http://en.wikipedia.org/wiki/Sonny_Boy_Williamson_II
Part of the Williamson II version is included in the "Led Zeppelin II Influ-
ences" video by GianinniAnotherDay at the next link.
http://www.youtube.com/watch?v=owhCYl9hTu8
Led Zep added a middle section but didn't credit Dixon for the beginning and
end. As with "Whole Lotta Love," the beginning and end of this recording sound
more like cover versions, in this case with Robert sounding like he's doing an
impression of Williamson II. It was settled for Dixon, if not Williamson, out
of court, and is now credited to Willie Dixon, Jimmy Page, and Robert Plant.
Again, Led Zep should ask for and get permission before adding to someone else's
song and copyrighting it.
(Also see the end of the section on "Whole Lotta love" regarding sound-alike
recordings.)
"Tangerine"
http://www.youtube.com/watch?v=cD44OqJws0U
http://en.wikipedia.org/wiki/Tangerine_%28Led_Zeppelin_song%29
According to the article by Will Shade:
http://www.furious.com/PERFECT/yardbirds2.html
really be given a credit for that one," referring to the lyrics of the second
verse of "Knowing That I'm Losing You," which appear as the first verse of "Tan-
gerine."
http://www.youtube.com/watch?v=fPh1r32TCMY
The verse he referred to is:
"Measuring a summer's day
I only finds it slips away to grey
The hours they bring me pain."
http://www.lyrics007.com/Led%20Zeppelin%20Lyrics/Tangerine%20Lyrics.html
"Led Zeppelin III," 1970, gave the credit for "Tangerine" to Page, who also
suppressed the release of the later Yardbirds recordings the other surviving
Yardbirds wanted to release:
One was "Live Yardbirds Featuring Jimmy Page," released most recently on CD
in 2000, suppressed despite Jim McCarty, Chris Dreja, and Keith Relf's family
favoring the release.
According to Wikipedia: "Jimmy Page has obtained legal injunctions against
companies who have planned to reissue it on compact disc. For this reason, it
is the rarest Yardbirds album."
http://en.wikipedia.org/wiki/Live_Yardbirds:_Featuring_Jimmy_Page
"The Anderson Theatre show I didn't think was too bad--Jimmy says Keith had a
bad night," McCarty said. "I think it was more a case of doing 'Dazed and Con-
fused' pre-Zeppelin that made him withdraw it."
The other was "Cumular Limit," 2000, mainly the final studio sessions from
New York City in April, 1968. "Knowing That I'm Losing You" was kept off it,
then the CD itself was suppressed. It credited a live version of "Dazed and
Confused" as noted by Wikipedia: "A Yardbirds live recording from french TV ser-
ies 'Bouton Rouge' (recorded on 9 March 1968) was released on Cumular Limit in
2000, credited as 'Dazed and Confused' by Jake Holmes arr. Yardbirds."
It also credits "White Summer" to "trad. arr. Page." (Again, what about Davy
Graham? Poor little Davy, tears frozen to his cheeks standing out in the cold
with a cup.) Maybe Jimmy could change his name to "traditional" and get it over
with. ("Thanks for singing 'Happy Birthday To You' to me. I'll take bills,
checks, or credit cards.")
http://en.wikipedia.org/wiki/Cumular_Limit
http://en.wikipedia.org/wiki/Traditional_songs
"Hats Off to (Roy) Harper"
http://www.youtube.com/watch?v=2wUP06YD9fo
http://en.wikipedia.org/wiki/Hats_Off_to_%28Roy%29_Harper
The lyrics are almost entirely a mix from several blues songs, notably slight-
ly changed but recognizable lines from "Lone Wolf Blues" by Oscar Woods and
"Shake 'Em On Down" by Bukka White, with a slight variation of a couple lines,
also used in "Custard Pie," from "Help Me" by Sonny Boy Williamson II. It also
has the title phrase from "Brown Skin Woman" by either Sunnyland Slim or Howlin'
Wolf, and a couple of lines I don't know the original author of. The slide gui-
tar sounds similar to Mississippi Fred McDowell's version of "Shake 'Em On Down."
Thanks to the Turn Me On Dead Man site for a line by line analysis.
http://www.turnmeondeadman.net/Zep/HatsOffToRoyHarper.php
When I done quit hollerin', babe Shake 'Em On Down
I believe I'll shake 'em on down Shake 'Em On Down
Get me, baby, won't be late ?
You know by that I mean not seconds late ?
Must I holler, must I shake 'em on down Shake 'Em On Down
When I done quit hollerin', babe Shake 'Em On Down
I believe I'll shake 'em on down Shake 'Em On Down
Well, I ain't no monkey, I can't climb no tree Lone Wolf Blues
No brown-skin woman Brown Skin Woman
Gonna make no monkey outta me Lone Wolf Blues
Yeah, I ain't no monkey, sure can't climb no tree Lone Wolf Blues
I been mistreated, babe Lone Wolf Blues
I believe I'll shake 'em on down Shake 'Em On Down
Well, I been mistreated, babe Lone Wolf Blues
I believe I'll shake 'em on down Shake 'Em On Down
Listen, mama, put on your morning gown Help Me
Put on your nightshirt, mama Help Me
We gonna shake 'em on down Shake 'Em On Down
Must I shake 'em on down Shake 'Em On Down
Well, I done been mistreated baby Lone Wolf Blues
I believe I'll shake 'em on down Shake 'Em On Down
Gave my baby twenty-dollar bill Lone Wolf Blues
If that don't finish her, I'm sure my shotgun will Lone Wolf Blues
Yeah, I gave my babe twenty-dollar bill Lone Wolf Blues
Well, if that don't get that woman out Lone Wolf Blues
I'm sure my shotgun will Lone Wolf Blues
Yeah, I'll go shoot her, now
http://www.youtube.com/watch?v=M5iuGpLIK4c
http://www.seeklyrics.com/lyrics/Oscar-Woods/Lone-Wolf-Blues.html
Bukka White "Shake 'Em On Down," 1939
http://www.youtube.com/watch?v=JjCXIdLrD58
http://www.lyricsfreak.com/b/bukka+white/shake+em+on+down_10053522.html
http://en.wikipedia.org/wiki/Bukka_White
Mississippi Fred McDowell's version of "Shake 'Em On Down" is at the next
link.
http://www.youtube.com/watch?v=5FrE0bUKLbE
The lyrics of "Help Me" by Sonny Boy Williamson II.
http://www.harptab.com/lyrics/ly4919.shtml
"Hats Off to (Roy) Harper" is credited on "Led Zeppelin III," 1970, as a trad-
itional song, which precludes royalty payments, arranged by Jimmy Page (the
pseudonym Charles Obscure was used early on). What traditional song? Credit
should go at least to Oscar Woods and Bukka White.
"Since I've Been Lovin' You"
http://www.youtube.com/watch?v=vr9AsPogaGY
Led Zep released "Since I've Been loving You" on "Led Zeppelin III," 1970.
http://en.wikipedia.org/wiki/Since_I%27ve_Been_Loving_You
Moby Grape recorded "Never" which was released on the 1968 double album "Wow/
Grape Jam" (on the start of side one of the jam sessions). I couldn't find it
on You Tube.
http://en.wikipedia.org/wiki/Wow/Grape_Jam
Led Zep's Robert Plant was a fan of Moby Grape and used some of the lyrics of
"Never" for "Since I've Been Lovin' You."
http://www.lyricstime.com/jimmy-page-and-robert-plant-since-ive-been-loving-you-lyrics.html
http://www.azlyrics.com/lyrics/ledzeppelin/sinceivebeenlovingyou.html
Thanks to the Turn Me On, dead man" web site for the information below.
http://www.turnmeondeadman.net/Zep/SinceIveBeenLovingYou.php
The two songs are similar blues songs, and the lyrics of the opening verse,
bridge, and closing verse of the two are similar.
The first verse of "Never":
Working from 11:00 to 7:00 every night
Ought to make life a drag
And I know that ain't right
The lyrics of both otherwise share "the best of fools," "I love you, baby,"
and references to crying.
The lyrics of "Since I've Been Loving You":
Working from seven to eleven every night,
It really makes life a drag, I don't think that's right.
I've really, really been the best of fools, I did what I could.
'Cause I love you, baby, How I love you, darling, How I love you, baby,
How I love you, girl, little girl.
But baby, Since I've Been Loving You. I'm about to lose my worried mind, oh, yeah.
Everybody trying to tell me that you didn't mean me no good.
I've been trying, Lord, let me tell you, Let me tell you I really did the best I could.
I've been working from seven to eleven every night, I said It kinda makes my life a drag.
Lord, that ain't right...
Since I've Been Loving You, I'm about to lose my worried mind.
Said I've been crying, my tears they fell like rain,
Don't you hear, Don't you hear them falling,
Don't you hear, Don't you hear them falling.
Do you remember mama, when I knocked upon your door?
I said you had the nerve to tell me you didn't want me no more, yeah
I open my front door, hear my back door slam,
You must have one of them new fangled back door man.
I've been working from seven, seven, seven, to eleven every night, It kinda makes my life a drag...
Baby, Since I've Been Loving You, I'm about to lose, I'm about lose to my worried mind.
(The switch of 7 and 11 pm has Robert complain about working a four hour
shift, for some reason. It's not exactly one of those prison work songs about
inhumane treatment--long concert night?)
The lyrics of both otherwise share "the best of fools," "I love you, baby,"
and references to crying.
"Since I've Been Loving You" is credited to Jimmy Page, Robert Plant, and John
Paul Jones. The Moby Grape lyricist should at least be included and should have
been asked if it was okay first.
"Stairway to Heaven"
http://www.youtube.com/watch?v=VJqKVoke5Ak
http://en.wikipedia.org/wiki/Stairway_to_heaven
"Stairway to Gilligan's Island" Little Roger and the Goosebumps
http://www.youtube.com/watch?v=KTCYLbFxTpI
http://en.wikipedia.org/wiki/Little_Roger_and_the_Goosebumps
"Stairway to Freebird" Monte Montgomery
http://www.youtube.com/watch?v=3M7dGdew2Ac
http://en.wikipedia.org/wiki/Monte_Montgomery
Randy California wrote "Taurus" and recorded it with Spirit in 1968. Spirit
opened for Led Zep on their 1st USA tour.
http://www.youtube.com/watch?v=ogTFdlbup24
http://en.wikipedia.org/wiki/Randy_California
"Stairway to Heaven" is on the untitled fourth Led Zeppelin album (also called
"Zoso"), 1971.
"Taurus" starts on the first four strings (counting down from the top) of Bm
and "Stairway to Heaven" starts on the first four strings of Am--two frets low-
er--on an acoustic guitar. They both make a descending chromatic run (one fret
at a time) from the low note--the 4th string, every 2nd beat 5 times. In both,
the notes of the 2nd and 3rd strings are maintained up to the 3rd time down the
run. The biggest difference so far is that "Stairway" adds notes on the 1st
string on the upbeat before each of those 2nd beats and each 2nd beat of that
run.
They both use the 5th note of the descending run for the low note of the notes
of a chord ("Taurus" uses D major 7 and "Stairway" uses the note F and adds Am)
for the whole 3rd measure. They resolve differently for the first few beats of
the 4th measure ("Taurus" uses the notes E and B and "Stairway" uses the notes B
and G then C and A).
Both repeat except do something different for the last beat of the 4th mea-
sure.
(I can't turn off Word Wrap for this site--sorry about it screwing up the
alignment below a bit.)
"Taurus" intro
E--------------------|--------------------|---------7---7-----|------------------|
B-----7-------7----|-----7-------7-----|-----7---7---7----|------------------|
G---7-------7------|---7-------7-------|---7-----7---7-5-|------------------|
D-9-----9-8-----8-|-7-----7-6-----6-|-5-----5---5------|---------------7-|
A--------------------|--------------------|--------------------|-7-----7---------|
E--------------------|--------------------|--------------------|---------7--------|
"Stairway to Heaven" intro
E-------5-7-----7-|-8-----8-2-----2-|-0---------0-----|----------------------|
B-----5-----5------|---5-------3------|---1---1-----1---|-0-1-1-------------|
G---5---------5----|-----5-------2----|-----2---------2-|-0-2-2--------------|
D-7-------6--------|-5-------4--------|-3----------------|----------------------|
A-------------------|--------------------|-------------------|-2-0-0---0--/8-7-|
E-------------------|--------------------|-------------------|----------------------|
The tempos and the basic use of sweetening (what might be moog strings used in
"Taurus" and wooden bass recorders used in "Stairway to Heaven") of the two
songs are similar.
http://en.wikipedia.org/wiki/Spirit_%28Spirit_album%29
(The passage also sounds like something Page favorite Davy Graham plays at the
start of verses of his uptempo rendition of "Cry Me a River," though the rest
isn't similar.)
http://www.youtube.com/watch?v=tWeejHJxGjs
"Taurus" doesn't use the opening eight measures for the rest of the melody.
Then the whole melody repeats.
"Stairway" repeats the eight measures to use them at the start of verses, and
the bass adheres more to the descending run than the guitar.
(Page allegedly denies that he based his version on that section of "Taurus"--
I haven't found a quote yet).
According to the Wikipedia article about "Stairway to Heaven": "In the liner
notes to the 1996 reissue of Spirit's debut album, songwriter Randy California
writes: People always ask me why 'Stairway to Heaven' sounds exactly like 'Taur-
us', which was released two years earlier. I know Led Zeppelin also played
'Fresh Garbage' in their live set. They opened up for us on their first Ameri-
can tour."
Below is an excerpt from Jeff McLaughlin, "Spirit's Still Willing: A Conversa-
tion with Randy California," Listener, Winter 1997, p.51.
http://www.turnmeondeadman.net/Zep/StairwayToHeaven.php
Listener: "Speaking of Led Zeppelin, the guitar introduction to your
1967 composition, 'Taurus,' is a dead ringer for Zeppelin's introduction
to 'Stairway to Heaven,' released in 1971. Did they ever acknowledge
their artistic debt to you? They must of known 'Taurus,' having per-
formed as your warmup band."
California: "Well, if you listen to the two songs, you can make your
own judgment. It's an exact.... I'd say it was a rip-off. And the
guys made millions of bucks on it and never said, 'Thank you,' never
said, 'Can we pay you some money for it?' It's kind of a sore point
with me. Maybe some day their conscience will make them do something
about it. I don't know. There are funny business dealings between
record companies, managers, publishers, and artists. But when artists
do it to other artists, there's no excuse for that. I'm mad! [laughs]."
Listener: "Well, take comfort in the fact that you're the true author
of one of the most instantly recognizable guitar riffs in rock history."
California: "Yeah, right...."
Randy drowned when he saved his son from a strong rip current at Molokai, Haw-
aii in Jan., 1997.
I think this might be a gray area. Jimmy was in the circumstances to hear
"Taurus," the other examples of this article show he wasn't shy about taking
other people's stuff (like Ed Norton helping himself to Ralph's refrigerator
in "The Honeymooners"), but what he took in this case may be basic enough, and
personalized his own way enough, that I'm not sure what a court would do with
it. The final test is if people recognize it, and about anyone does. But if
the court didn't rule in favor of the claimant, it would be left to be another
example we'd know of Jimmy taking something and not being forthright about it.
I don't know any examples of credit/royalty filching for the next Led Zep al-
bum, "Houses of the Holy," 1973. And again, that "The Rain Song" sure is purty.
This holy house didn't do anything wrong with the money from the collection
plate (other than that thing of financing organized crime to buy their cocaine).
Their next album was a double album of tunes, though, and apparently they
cracked under pressure like they did for the first one.
"Custard Pie"
http://www.youtube.com/watch?v=TFz5uqBPLnM
http://en.wikipedia.org/wiki/Custard_Pie
It's a blues done in a riff style. All of the lyrics are taken from "Drop
Down Mama" by Sleepy John Estes, recorded in 1935 by Estes with Hammie Nixon,
and "I Want Some of Your Pie" from 1939 by Blind Boy Fuller, with a line given
twice that was taken from the 1937 Bukka White version of "Shake 'Em On Down"
and a slight variation of a line, also used in "Hats Off to (Roy) Harper," given
twice from "Help Me" by Sonny Boy Williamson II.
http://en.wikipedia.org/wiki/Sleepy_John_Estes
http://en.wikipedia.org/wiki/Hammie_Nixon
http://en.wikipedia.org/wiki/Blind_Boy_Fuller
http://www.musicianguide.com/biographies/1608000184/Blind-Boy-Fuller.html
http://en.wikipedia.org/wiki/Bukka_White
http://en.wikipedia.org/wiki/Sonny_Boy_Williamson_II
Thanks to the Turn Me On Dead Man site for a line by line analysis of all of
the lyrics.
http://www.turnmeondeadman.net/Zep/CustardPie.php
Drop down, baby, let your daddy see Drop Down Mama
Drop down, mama, just dream of me Drop Down Mama
Well, my mama allow me to fool around all night long Drop Down Mama
Well, I may look like I'm crazy, I should know right from wrong Drop Down Mama
See me comin', throw your man out the door Drop Down Mama
Ain't no stranger, been this way before Drop Down Mama
See me comin', mama, throw your man out the door Drop Down Mama
I ain't no stranger, I been this way before. Drop Down Mama
Put on your night shirt and your morning gown Help Me
You know by night I'm gonna shake 'em on down Shake 'Em On Down
Put on your night shirt Mama, and your morning gown Help Me
Well, you know by night I'm gonna shake 'em on down Shake 'Em On Down
Your custard pie, yeah, sweet and nice I Want Some of Your Pie
When you cut it, mama, save me a slice I Want Some of Your Pie
Your custard pie, I declare, it's sweet and nice I Want Some of Your Pie
I Like your custard pie I Want Some of Your Pie
When you cut it, mama... mama, please save me a slice I Want Some of Your Pie
Chewin' a piece of your custard pie I Want Some of Your Pie
Drop down Drop Down Mama
"Drop Down Mama" by Sleepy John Estes
http://www.youtube.com/watch?v=JxBVxU6VVvg
http://www.youtube.com/watch?v=468XodYBFBc
The lyrics of "Help Me" by Sonny Boy Williamson II.
http://www.harptab.com/lyrics/ly4919.shtml
"Physical Graffiti," 1975, gives the credits as Page/Plant. Stripped to the
essentials, "Custard Pie" is a basic blues song, Page did a riff for it but Led
Zep didn't write any more than slight rephrasing of some lyrics, and Sleepy John
Estes and Blind Boy Fuller at least deserve to be included in the songwriting
credit since it's basically a blues medley assembled from the lyrics of two of
their tunes.
I don't want to seem too harsh. God forbid I don't show forbearance. But if
John Lennon can be brought to task for two lines from Chuck Berry's "You Can't
Catch Me," I'm saying "guilty."
If claimants come forward and win such a case, again Page and Plant are pre-
pared to try to reduce what the claimant gets to a fraction of the credit/royal-
ties.
"In My Time of Dying"
http://www.youtube.com/watch?v=Nhd3wEG4BXM
http://en.wikipedia.org/wiki/In_My_Time_of_Dying
Bed" was by Blind Willie Johnson recorded sometime between 1927 and 1930.
http://www.youtube.com/watch?v=rcHfWkwXjng
http://en.wikipedia.org/wiki/Blind_Willie_Johnson
Jimmy Page said he was influenced by Josh White's version, which adds the line
"Well, well, well, So I can die easy." It was recorded a few years after John-
son's.
http://www.turnmeondeadman.net/Zep/InMyTimeOfDying.php
Bob Dylan did a cover of it called "In My Time of Dyin'" on his first album,
"Bob Dylan," 1962, but didn't take songwriting credit for it. His version in-
fluenced most later versions.
http://www.youtube.com/watch?v=O9qwazJUJQA
http://en.wikipedia.org/wiki/Bob_Dylan
The lyrics to the versions by Josh White and Bob Dylan
http://www.bobdylanroots.com/inmytime.html
Psychedelic blues rock band Fear Itself did an extended jam version on "Fear
Itself," 1969.
http://www.youtube.com/watch?v=S3xmyJ7maT0
http://www.turnmeondeadman.net/Zep/InMyTimeOfDying.php
http://en.wikipedia.org/wiki/Fear_Itself_(band)
Lyrics for the Led Zeppelin version
http://www.sing365.com/music/lyric.nsf/In-My-Time-Of-Dying-lyrics-Led-Zeppelin/BC66CC01854766154825688700048FEF
Led Zep did the same song for "Physical Graffiti" in 1975 but all four agreed
to be at the ready from the start on this one and took songwriting credit for
it--Page, Plant, John Paul Jones, and John Bonham. They did put a picture of
Johnson on the cover, not that songwriting royalties are decided that way. Led
Zep did a distinctive version but it was a traditional song none of them wrote
with an added uptempo middle section. That would be "traditional; additional
music and lyrics by...."
"Trampled Underfoot"
http://www.youtube.com/watch?v=0pjH_1vBixc
http://en.wikipedia.org/wiki/Trampled_Underfoot
The clavinet part during the verses sound like a slight change of the one used
for "Superstition," which was written and recorded by Stevie Wonder in 1972.
The chords used at the end of verses sound like something simple done instead of
the chords the horns use in choruses. The vocal part stays in about the same
ball park, too.
http://www.youtube.com/watch?v=2OJsYwLs7yE
http://en.wikipedia.org/wiki/Superstition_%28song%29
"Physical Graffiti," 1975, credits it to Page/Plant/Jones. Jones played the
clavinet and said in an interview that the clavinet part is based on the one in
"Superstition."
"Boogie With Stu"
http://vimeo.com/176974
http://en.wikipedia.org/wiki/Boogie_With_Stu
Little Richard wrote "Ooh My Soul," 1957.
http://www.youtube.com/watch?v=85kqedTLTJM
http://www.lyricsmode.com/lyrics/l/little_richard/ooh_my_soul.html
http://en.wikipedia.org/wiki/Little_Richard
Baby baby baby baby baby,
Don't you know my love is true,
Honey honey honey honey honey,
Get up off of that money,
Love love love love love,
Ooh! my soul.
Baby baby baby baby baby,
Don't you know my love is true,
Honey honey honey honey honey,
Get up off of that money,
Kiss kiss kiss kiss kiss,
Ooh! my soul.
Baby baby baby baby baby,
Don't you know my love for you,
Honey honey honey honey honey,
Get up off of that money,
Love love love love love,
Ooh! my soul.
Gimmie gimmie gimmie gimmie gimmie,
Gimmie all the love you got,
Gimmie gimmie gimmie gimmie gimmie,
You got the best of lovin' now,
Love love love love love,
Ooh! my soul.
Ritchie Valens came up with new lyrics for the music in 1959. "Ooh My Head"
has the same rock and roll song construction with the vocalist doing the same
sort of things and the band dropping out during the last two measures of each
verse for the vocalist to do something for the title hook. Valens didn't credit
Richard but added a reference to "Tutti Fruiti," another Little Richard tune.
http://www.youtube.com/watch?v=xaTOMsrVg5s
http://www.youtube.com/watch?v=ZI970jmMuQE
http://www.lyricsdownload.com/ritchie-valens-ooh-my-head-lyrics.html
http://en.wikipedia.org/wiki/Ritchie_Valens
(Valens also referred to "Bony Moronie," a 1957 Larry Williams tune, "Peggy
Sue," a 1957 Buddy Holly tune written by Buddy Holly, Jerry Allison, and Norman
Petty, and "Lollipop," a 1958 tune recorded by Ronald and Ruby and The Chord-
ettes and written by Julius Dixson and Beverly Ross).
http://en.wikipedia.org/wiki/Larry_Williams
http://en.wikipedia.org/wiki/Buddy_Holly
http://en.wikipedia.org/wiki/Lollipop_%281950s_pop_song%29
Well, well, now, now baby
Let's just go all night long
Well, on, on, on, on, darlin
I just want you-to-go-on more
There won't be no tuttie fruiti
No lolly pop, c'mon baby just
Rock, rock, rock
Well, now, now, now, now, honey
We gonna rock all night
Well babe, babe, babe, babe, baby
We're just gonna go fine
Well on, on, on, on, darlin'
Ooh, my head!
Well, Bonie Moronie, Peggy Sue yeah!
They ain't gonna be around no more
Well, on now dit-a-little darlin
We just gonna party some more
Daylight, I love you darlin
Ooh my head! (now let's go)
Well now, now, now, now, baby
Keep me rockin on an on
Well I just reelin' till it's over
Oh,just all night long
Well, now
Ooh my head!
Alright, WAIL.....
Rock it out.....
Come on.....
My head is tired!
"Boogie With Stu"
"Been in town, my baby, We just got to rock on
Yeah, darling, we just got to go home
I don't want no tutti-frutti, no lollipop "Ooh My Head"
Come on, baby, just rock, rock, rock. "Ooh My Head"
Yeah-yeah-yeah-yeah, honey
We've been shakin' all night
Oh, darlin', we just got to roll right
Ooh, my head... rock on. "Ooh My Head"
Hey babe, hey babe [repeat]
I don't want no tutti-frutti, no lollipop "Ooh My Head"
Come on baby, just rock, rock, rock." "Ooh My Head"
Several of the "Boogie With Stu" lines that aren't direct lifts use "just" and
"all night" like "Let's just go all night long" and "We gonna rock all night" in
"Ooh My Head." It sounds like a cover of "Ooh My Head" with a few similar lines
made up for forgotten ones.
Led Zep covered "Ooh My Soul" but called it "Boogie With Stu" for "Physical
Graffiti," 1975, and credited it to Page, Plant, Jones, Bonham, Ian Stewart (the
"Stu" of the title), and the mother of the late Ritchie Valens--apparently, an
accommodation was made so Valens' mother would get Valens' royalty, which was
cut to 1/6th of what it should have been.
Overlooking the fact that none of them wrote it except whoever (probably Rob-
ert Plant on the spur of the moment) added a few lines to, and changed the title
of, "Ooh My Head" without permission, it's was good and bad mix of trying to
help Mrs. Valens but only gave Ritchie, via his Mom, partial credit and possibly
no royalties.
According to Wikipedia:
"In its credits, a 'Mrs. Valens' is mentioned as co-author in an attempt by
Led Zeppelin to pave the way for some of the royalties to reach Ritchie's moth-
er. Eventually, a lawsuit was filed and it remains unclear whether Mrs. Valens
received any payment."
http://en.wikipedia.org/wiki/Ritchie_Valens#Tributes
A Guitar World interview with Jimmy Page on the issue of taking money that
doesn't belong to you with spurious songwriting credits is at the next link:
http://www.iem.ac.ru/zeppelin/docs/interviews/page_93.gw
GW: "When you were borrowing from classic blues songs on the first
two albums, did you ever think it would catch up to you?"
Page: "You mean getting sued? Well, as far as my end of it goes, I
always tried to bring some thing fresh to anything that I used. I
always made sure to come up with some variation. In fact, I think
in most cases, you would never know what the original source could
be. Maybe not in every case--but in most cases. So most of the
comparisons rest on the lyrics. And Robert was supposed to change
the lyrics, and he didn't always do that--which is what brought on
most of the grief. They couldn't get us on the guitar parts of the
music, but they nailed us on the lyrics.
"We did, however, take some liberties, I must say [laughs]. But
never mind; we did try to do the right thing, it blew up in our
faces... When we were up at Headley Grange recording Physical
Graffiti, Ian Stewart came by and we started to jam. The jam turned
into Boogie With Stu, which was obviously a variation on 'Ooh My
Head' by the late Ritchie Valens, which itself was actually a vari-
ation of Little Richard's 'Ooh My Soul'. What we tried to do was
give Ritchie's mother credit because we heard she never received
any royalties from any of her son's hits, and Robert did lean on
that lyric a bit. So what happens? They tried to sue us for all
of the song!! We had to say bugger off. We could not believe it.
So anyway, if there is any plagiarism, just blame Robert [laughs].
"But seriously, blues men borrowed from each other constantly,
and it is the same with jazz. It is even happened to us. As a
musician, I am only the product of my influences. The fact that
I listened to so many various styles of music has a lot to do
with the way I play."
According to the Turn Me On, Dead Man web site, a phrase has been left out of
the version of the interview above, which should read ""Curiously enough, the
one time we did try to do the right thing, it blew up in our faces."
http://www.turnmeondeadman.net/Zep/BoogieWithStu.php
Uh, yeah--nice. I guess "the one time we did try to do the right thing" can
be taken as an admission about some of the other cases listed in this article,
though it would still be more responsibly reflected in credits and royalties,
which aren't determined by flattery in interviews. For those not familiar with
the UK slang Page used about Ritchie Valens' mother, the phrase means "f**k
off."
I'd assume the tunes for which songwriting credit is in question in this arti-
cle were ones both Jimmy and Robert were familiar with, and Page's credit is
also questioned in any of them in question, not just Plant. In other cases,
where it's strictly a matter of one of them whose responsibility is criticized,
it's usually over the music (instrumentals "White Summer," "Moby Dick," "Black
Mountain Side") and songs done or heard while Page, not Plant, was a member of
the Yardbirds ("Dazed and Confused," "Knowing That I'm Losing You," possibly
"Taurus") and traditional songs taken credit for (a couple of those instrumen-
tals and "In My Time of Dying").
Coming up with different arrangements or solos for others songs wasn't and
isn't typically a determining factor in songwriting credits. The issue has
evolved but that was generally understood long before Led Zeppelin made their
first record. One of the reasons it had evolved since the early 20th century
was to prevent ripoffs. There was and is the possibility of exceptions made due
to friendly agreements, though none of these cases seem to be matters of those.
http://en.wikipedia.org/wiki/Blackface#Legacy
Jimmy dodged the subject and put whatever blame he'd concede on his friend
Robert, describing himself as having done something that's commonly accepted.
(This part is more like an old Hope and Crosby movie.)
"Boogie With Stu" is Valens' "Ooh My Soul" as a matter of course and not de-
termined by flattery or flame wars, solos, or older cases of musicians getting
ripped off. If you wanted to offhandedly add a few lines to the lyrics of a
song and get credit you could if given permission. (Don't add a change to a few
lyrics in a live recording or come up with a different arrangement and put your
name in the songwriting credits on your own.)
But if you wanted to credit anyone beyond Valens by what had already been es-
tablished, you could more importantly add that Little Richard (whooo!) came up
with that construction but he wasn't credited, thanked, or given a picture on
the cover.
As with several previous examples, all four members of Led Zep were at the
ready to take songwriting credit for it, this time getting friend and pianist
Ian Stewart in on the act and including one of the two writers the basic song
idea really came from via their Mom. (Listen to it--how many people would it
take to write this thing? What's the 5th guy do--say, "Have it go on for anoth-
er verse"?) Being a good Mom, she chastised the young lads for their discrepan-
cy and was given the Led index finger for the trouble.
"Nobody's Fault But Mine"
http://www.youtube.com/watch?v=esZ15n6_5JY
http://en.wikipedia.org/wiki/Nobody's_Fault_but_Mine
"Nobody's Fault But Mine" by Blind Willie Johnson
http://www.youtube.com/watch?v=0PZIV0qI07M
Lyrics for both
http://www.turnmeondeadman.net/Zep/NobodysFaultButMine.php
The Led Zep version on their album "Presence," 1976, breaks up the rhythm and
changes most of the lyrics of the gospel blues created by Blind Willie Johnson
with a vocal and slide guitar. After changing "Superstition" enough to call
their own ("Trampled Underfoot"), they took a song from a second black blind
guy, this time getting their own copyright for an uncopyrighted song by one that
passed away.
According to Wikipedia: "Many of the lyrics in the song such as 'Devil he told
me to roll' are traditional although American blues singer Blind Willie Johnson,
recorded it first in December 1927. The 1927 version was about Johnson fretting
about physically not being able to read his Bible, being totally blind, and in-
curring the wrath of God. The song in a sense is apocryphal in that Johnson
later died from pneumonia that set in from sleeping on a wet mattress after the
roof burned off of his house. Johnson never applied for a copyright for the
song and so the band was free to apply their own."
That's probably how "White Summer" came to be credited to Jimmy Page, too. It
was a traditional song without a copyright, so he applied his own for a false
songwriting credit.
As with "How Many More Times," "Nobody's Fault But Mine" is recognizable as
based on a blues tune, and makes the specific one clear by using the title the
same way and featuring some slide guitar.
The lyrics otherwise have been changed to include old expressions like:
- "roll the log" for rolling a joint and/or a euphemism for sex,
- "hit the gong" for smoking opium (one example: "He took her down to China-
town, And he showed her how to kick the gong around" in "Minnie the Moocher" by
Cab Calloway and Irving Mills and recorded in 1931 by Cab Calloway),
http://en.wikipedia.org/wiki/Minnie_The_Moocher
- and "monkey on my back"--early 1900's slang for a burdensome responsibility,
usually referring to drug addiction.
http://www.urbandictionary.com/define.php?term=Monkey%20on%20your%20back
("You Can't Put That Monkey On My Back" by Hy Heath, Billy Haley, and Al Ber-
nard and recorded in 1939 by Frankie "Half Pint" Jaxon)
http://www.redhotjazz.com/jaxon.html
("stooped from carrying a thirty-five-pound monkey on his back" from p.43 of
the novel "The Man with the Golden Arm," by Nelson Algren, 1949)
http://www.bookrags.com/biography/nelson-algren/
http://en.wikipedia.org/wiki/The_Man_With_the_Golden_Arm_(novel)
("Monkey on my Back," 1957, in which Cameron Mitchell depicts the drug addic-
tion of boxer Barney Ross)
http://www.mgm.com/title_title.php?title_star=MONKEYON
"I will get down rollin' tonight" could refer to rolling a joint and/or having
sex.
http://en.wikipedia.org/wiki/Origins_of_rock_and_roll
http://en.wikipedia.org/wiki/First_rock_and_roll_record
Of the songs on this list, the lyrics of this song come the closest to being
candid about the Led Zep habit of sending funds to criminals for hard drugs.
(I smoked some herb around the time I graduated, but was put upon by some issues
later that made me realize first hand that the money didn't go to a benign ab-
straction.) By this time, Jimmy had advanced to heroin, which would be stupid
enough if it were grown with hydroponics in a nearby barn and they were giving
it away for free. Thankfully, he's since quit taking heroin, although in a
Wikipedia quote from Q magazine in 2003, "Page responded to a question as to
whether he regrets getting so involved in heroin and cocaine: 'I don't regret it
at all because when I needed to be really focused, I was really focused. That's
it. Both Presence and In Through the Out Door were only recorded in three
weeks: that's really going some. You've got to be on top of it.'"
http://en.wikipedia.org/wiki/Jimmy_Page#Drug_use
A related heroin concern is that from the early 1970's to the late 1980's,
Jimmy lived in a house once owned by a favorite of his, the occult peddler
Aleister Crowley who was also partial to heroin of the hard drugs he took, in
Crowley's case till the end of his life. Jimmy owned an occult book store and
publishing house that published a book of Crowley's in the early 1970's but has
since distanced himself from the occult.
http://en.wikipedia.org/wiki/Boleskine_House#Ownership_by_Jimmy_Page
http://en.wikipedia.org/wiki/Aleister_Crowley#Drugs
http://www.rotten.com/library/bio/religion/aleister-crowley/
http://en.wikipedia.org/wiki/Jimmy_Page#Interest_in_the_occult
The song is credited on "Presence" to Jimmy Page and Robert Plant. Since the
case for it being derived from a Blind Willie Johnson tune wasn't a legal obli-
gation, his name wasn't credited.
This actually isn't a surprising coverage of the ethics of the use of research
material to find brought up in association with concerns about the outlook about
it held by the JWs leaders.
The case I'm seeing has nothing to do with subjective reactions to songwriting
ability otherwise ("The Rain Song" sure is purty and the bass is especially cool
in "The Lemon Song"), and you don't get royalties from flattery in interviews,
just song writing credits, as any session musician in the '60's would know.
This is concerned with strictly ethical authorship crediting, and how the effort
to seem exclusive, especially for money, can make some people cook up the facts.
You can't copyright basics, like E A D chord changes of common lengths, or the
phrase "I love you," etc., just more specific things. A lot of this music and
these lyrics creations are such specific recognizable things. The talent shown
just makes glomming onto others' credits seem all the more unnecessary.
What makes the theft of millions of dollars especially stupid is that the
members of Led Zeppelin are all very rich and popular. This isn't a case of a
poor woman who stole a tin of tuna because she was starving. The song credits
in question are for about fifteen songs--most of a double album's worth, includ-
ing Yardbirds examples and ones that were sort of fixed, kind of. If the cred-
its were corrected, and that allowed to drift farther and farther into the past,
they'd still be rich, popular, and acclaimed as talented. It's like if Oprah
Winfrey stole a car to get wherever she went like someone in a Grand Theft Auto
game, or Paul McCartney tried to run out of the grocery store with his cart
without paying whenever he went shopping--it's that kind of stupid.
****
P.S. about Crowley (see "Nobody's Fault But Mine"), a white male UK-'centric
person still popular with some in the UK:
Crowley was a good example of how a guy can try too hard to seem exclusive.
He was another JWs leader type--a guy who never invented anything substantial
(came up with his own recipe of a stew of old mystic ideas, came up with a funny
turn of phrase now and then, if also some bad taste ways of straining to be dif-
ferent by symbolically phrasing sex or mystical things as if about murder or
pedophilia and such) but was an elitist, anyway. So, just like a JWs leader, he
cooked up a case for it.
Though Crowley took a lot of his specifics from outlooks outside of Christian-
ity (some of his symbolism was more book of Revulsion than Revelation), he bas-
ically reminded me of Charles Taze Russell and others of the late 1800's/early
1900's whose stance was an overdone caricature of the Protestant effort to res-
tore the original Christianity. They were trying to be exclusive about things
which were already covered too much in the mainstream to create any distinction
for them, so Russell and others played prophet and cooked things up, including a
proportionate amount of bashing of mainstream Christianity to declare exclusive-
ness.
Like Russell, Crowley had left Protestant Christianity as a youth, so I about
wanted to have someone to lean over to and tell "I told you so" when I read "For
him, the main issue was the presence of an anti-christian element. The amazing
thing about those efforts is that Thelema and the O.T.O. did not want to substi-
tute christianity but return it to its original condition. Thus Crowley wrote
in 1944, entirely along Theodor Reuss' lines that it was the task of the O.T.O.
'to restore Christianity to its real status as a solar-phallic religion.'"
http://user.cyberlink.ch/~koenig/2006/pro/pene.htm
http://en.wikipedia.org/wiki/Thelema#Aleister_Crowley.27s_work
http://en.wikipedia.org/wiki/Ordo_Templi_Orientis
Like the JWs leader Rutherford, one notoriously bad way he played phony elit-
ist was with bigoted swipes against other groups of people--Crowley picked wom-
en, Jews, black people, and others. If some in his time may have tried to ex-
cuse their use of "ni**er" as just meaning "black" and not derisive for "black,"
he showed he meant the derogatory sense by using the "n" word for blacks, Indi-
ans, and Italians--non-blacks typically only considered it as meant as offen-
sive.
http://en.wikipedia.org/wiki/Nigger
"...we [British] always somehow instinctively think of the Italian as a nig-
ger. We don't call them 'dagos' and 'wops' as they do in the United States,
with the invariable epithet of 'dirty'; but we have the same feeling." ("Diary
of a Drug Fiend," Book I, Chap.9, 1922)
http://www.arcane-archive.org/faqs/crowleyracistfaq.php
"One cannot fraternize with the Chinese of the lower classes; one must treat
them with absolute contempt and callousness." ("Confessions," p.471, 1929, 1969)
http://www.arcane-archive.org/faqs/crowleyracistfaq.php
He advocated violence against lower class Chinese people and blood libel
against Jews.
http://en.wikipedia.org/wiki/Blood_libel_against_Jews
http://www.arcane-archive.org/faqs/crowleyracistfaq.php
According to Wikipedia, he defended "antisemitic pogroms in Kishinev Russia
and elsewhere, on the grounds that the murder of thousands of Jews was a ration-
al response to the implied danger of Jewish ritual cannibalism," and that "Human
sacrifices are today still practiced by the Jews of Eastern Europe," etc. Women
outside his cult were given as "'tolerable', he wrote, when they served the role
of solely helping a man in his life's work. However, he said that they were in-
capable of actually understanding the work."
He had the way of judging people by their looks, also shown by Charles Rus-
sell, that led to the eugenics favored by Joseph Rutherford and the Nazis ("GTJ
Brooklyn," pp.1a, 6, and 6a):
"One must further remark that each sign governs two main types...the active
and the passive. Thus Aries: the high brows, long face, aquiline nose, tall
thin muscular figure, shows the fiery and martial qualities of the sign. But
there is an evil and averse counterpart corresponding to the ovine nature. We
have the gross, hooked, pendulous proboscis; the thick, flabby, moist lips; the
patient stupid eyes, and timid, hunted gait of the bad type of Jew." ("Confes-
sions," pp.762,763, 1929, 1969)
http://www.arcane-archive.org/faqs/crowleyracistfaq.php
http://en.wikipedia.org/wiki/The_Confessions_of_Aleister_Crowley
It's not complicated--it's the usual 'centric view about groups the bigot
didn't see himself in except with the language a little more dressed up than
usual. If Crowley wanted to display compelling evidence that he was the spokes-
man for messages from higher eternal wisdom from the beyond--he claimed to have
channeled a being called Aiwass--he had the wrong phone numbers because he al-
ways started dialing with the phone number of the local bad dumb bar and just
used numerology to add extensions to it.
http://en.wikipedia.org/wiki/Aiwass
But something like the 'centric person who can name some exceptions among mov-
ie or sports stars of the group they demean, Crowley had exceptions for his big-
oted generalizations. It's not much of an exception, in fact it seems to play
a bit to both sides of the issue, but during the Scottsboro trial, he boasted
that he danced with whores of all colors.
http://en.wikipedia.org/wiki/Scottsboro_Boys
http://www.afro.com/history/scott/scotts.html
("Do What Thou Wilt: A Life of Aleister Crowley," Lawrence Sutin, p.366)
http://books.google.com/books?id=NU28kNVR_UsC&pg=RA1-PA366&lpg=RA1-PA366&dq=scottsboro+aleister+crowley+women+semen&source=web&ots=kMO3qhZFcp&sig=IXCWYcc54RKbAoA30KxnPzTvxhY&hl=en&sa=X&oi=book_result&resnum=1&ct=result
Some Crowley fans have alleged that there's an exception to Crowley's bigotry
in chap.IX "OF SILENCE AND SECRECY: AND OF THE BARBAROUS NAMES OF EVOCATION" of
Crowley's book "Magic in Theory and Practice":
"However, there is no doubt that an assemblage of persons who really are in
harmony can much more easily produce an effect than a magician working by him-
self. The psychology of 'Revival meetings' will be familiar to almost every
one, and though such meetings are the foulest and most degraded rituals of black
magic, the laws of Magick are not thereby suspended. The laws of Magick are the
laws of Nature.
"A singular and world-famous example of this is of sufficiently recent date to
be fresh in the memory of many people now living. At a nigger camp meeting in
the 'United' States of America, devotees were worked up to such a pitch of ex-
citement that the whole assembly developed a furious form of hysteria."
http://www.geocities.com/gothwitches/ac9.html
The Crowley passage is used by Mary Desti, Leila Wassell, and Hymenaeus Beta
on p.191, chap.4, of "Magick: Liber ABA," 1999, adding the phrase "these pseudo-
human brutes--many of them scarcely superior to their 'white' neighbors" after
"America."
http://books.google.com/books?id=o2KUQHX9yZcC&pg=PA191&lpg=PA191&dq=aleister+crowley++nigger+camp+meeting+&source=web&ots=NnEG7FJRJ8&sig=rA-_H2NNHEW4DtN42H67pi5iSyg&hl=en&sa=X&oi=book_result&resnum=6&ct=result
If the added phrase is actually by Crowley, it's not an exception to his rac-
ial bigotry. It just shows he bashed Christians of any color as less human than
himself.
Most notably, he considered followers of himself a special exception (like a
JWs leader would) that rose above the usual case. As it says in Wikipedia, his
stance was that "his own preferred 'master class' was above all distinctions of
race." This was always such a tiny group that Crowley could generalize away
condescendingly about whole groups of people otherwise. If he ever thought bet-
ter of it, he still used it for pandering to bring in the bigots.
He must have run into people who called him on having been stupid. But one
excuse attempted for this dubious bid for exclusiveness is based on the fact
that he'd worked in the USA for British Intelligence during WWI encouraging
German militancy to spur the US to enter the war--Crowley handled that by en-
couraging the sinking of The Lusitania (like Sept.11 except think passenger lin-
er instead of skyscrapers), studying the effects of peyote by slipping it into
people's food without telling them, etc. The attempted excuse is that he'd
been working secretly for the British government during WWII to show such Nazi
bigotry that he'd undermine its credibility.
http://thetruthseeker.co.uk/article.asp?ID=8835
http://en.wikipedia.org/wiki/RMS_Lusitania#Last_voyage_and_sinking
http://en.wikipedia.org/wiki/September_11%2C_2001_attacks
To get the feel of the lameness of the excuse, imagine being the bigot who
tried it sometime: "I'm not a bigot--I was hired by the government like James
Bond to act like one secretly--Churchill wanted to decide things with some tarot
card readings"....
http://en.wikipedia.org/wiki/Thoth_Tarot
But there's no evidence he was given the job (gee, I wonder why?), only that
he aspired to it. (The previous example of his outlook on southern US bigots
indicates he probably had the stance that the Nazi reasons weren't as good as
his.) And he hadn't written as if a script writer for Archie Bunker to show
bigotry was stupid, it was written like Archie wrote it himself and over a
broader range of years than those for WWII. As the horrors of the Nazis became
well known, WWII-era quotes like "Before Hitler was, I am" (an alteration of
John 8:58) led to his dwindling popularity.
http://en.wikipedia.org/wiki/Aleister_Crowley#Years_in_America.2C_1914-1918
http://en.wikipedia.org/wiki/Aleister_Crowley#After_the_Abbey
http://people.tribe.net/ionamiller/blog/e7ce4dc9-5570-4c6b-ae19-204452d95625
("Do What Thou Wilt: A Life of Aleister Crowley," Lawrence Sutin, p.249, 2000)
http://books.google.com/books?id=NU28kNVR_UsC&pg=RA1-PA247&lpg=RA1-PA247&dq=aleister+crowley+German+propaganda+agent&source=web&ots=kMO3loQB6l&sig=xziD8WkKj7EmAg8nNthyGrLocSY&hl=en&sa=X&oi=book_result&resnum=10&ct=result#PRA-PA252,M1
http://www.time.com/time/magazine/article/0,9171,934216,00.html
http://www.answers.com/topic/aleister-crowley
"Look--a bunny!"
What a yutz. Along with encouraging the deaths of innocent Lusitania passeng-
ers and long term hard drug use, he stands as a symbol through the generations
of a guy who didn't know how to party right. (Partier: "I got the keg and the
women are on their way." Crowley: "I'll get the pedophilia poems and the heroin
and get rid of the ni**ers." Partier: "Crowley, get the f*** out of here, will
you please?")
