Song 180: “Dazed and Confused” by Led Zeppelin, Part Two — “Inspiration is What You Are to Me”

Part 2, inspiration, that's what you are to me.

“Before we begin, this episode contains some brief discussion of sex with underage girls,”

attempted rape and drug and alcohol abuse. If those subjects are likely to upset you, you may wish to read the transcript or skip this episode. When Jimmy Page, Peter Grant, and Chris Dreyer, started their plans for the new yard birds, Page, who, from the start, was going to be the leader of this band, had to make

a simple choice between art and commerce. On the one hand, the music page was listening to most of the time, was acoustic folk music,

music not a million miles away from what the other X-yard birds were doing actually.

There was a pan of the English folk block guitar styles of bird-jansh and David Graham, and the music he enjoyed most at this point was by people like Pentangle, or the incredible string band, who were combining English traditional music, psychedelic mock music, and jazz to create something utterly unlike anything that's been heard before. But on the other hand, Jimmy Page also liked money.

He liked money a lot. This is the character trait that gets brought up more than any other by anyone who has spent any time at all around him.

“Peter Grant once said, "If you want to bump off Jimmy Page, all you have to do is throw”

topants in front of a London bus." He intended this new band to be a major, major success, and money would have full control of. He and Grant formed their own company, Super Hype, which was to own everything involving the band, with Grant taking care of the business and page the artistry.

For deal, much like that between Frankie Valley and Bob Gordio was done on a hand shake.

Grant would never have a contract with any musicians he managed, and Page and Grant both

needed were only two ways of making money as a British band. You needed to focus on either Britain or America. If you were going to focus on Britain, you needed to have hit singles, and lots of them.

“The British pop industry always moved fast.”

You were only as good as your last hit record, and if you'd had a hit three months ago, everyone wanted to know what you'd done lately. And as the yard birds feasted experience approved, there was no guarantee of getting a hit record no matter what you did. They'd had one of the most successful producers, whose formula had worked for everyone

from Dunl oven to Lulu, and a track record of top 40 hits with their earlier line-ups. I knew everything they'd done for a couple of years had flopped. But in America there was a new way of getting successful, which didn't require hit singles. There was a circuit of large venues, largely put together by Frank Barcelona at Premier

Talent Agency, a booking agency which specialised in mock bands, the first agency to do so.

Barcelona divided the US up into territories, and had preferred venues and promoters in each territory. People we've heard of before, like Dunlore and Bill Graham. Between that circuit and the new FM radio stations that was bringing up, primarily in college towns, and which played album tracks rather than singles.

It was now possible for a particular kind of band to make a great deal of money by playing America without a hit single at all. But the kind of band that was having success in the US at this point wasn't playing psychedelic folk. The bands that were having that kind of success were playing what was being called heavy music.

It sounds like I am but to fly. If you wanted to have reliable success then, you wanted to target America, and you wanted to play heavy music. So page had a choice. Should he play heavy music and make money, or should he play music inspired by the folk

guitarist he was seeing at less cousins, and make the music he wanted to make.

He was going to make music that would pay a lot of attention to dynamics.

“Most of the bands that were having success in America were doing extended heavy gems, but”

ones that had very little dynamic variation, they would start at one level of intensity and stay there, with people taking solos, and maybe getting faster and louder towards the end. But the main effect was a hypnotic, entrancing one. The audience would get lost in the music as it lasted for 10, 15, 20 or however many minutes.

But page was going to make music with loud heavy passages and, often in the same song, with quiet, folkier passages. Inspired by people like Bert Jange, John Bern, and David Graham. There was going to be light and shade in this music, are playing a pop session player sense of dynamics and structure, a folk guitarist technique, and the old yard birds

rave up formula, so then you have your rock music.

“The planning came up with was to put together a band on the same lines as the Jeff Beck”

Group or the who. A group in fact, there would be much like the one that had recorded Beck's Bolero a couple of years earlier. He would be the only guitarist, and there would be a front band with a great voice, draer on bass, and the best drummer he could find. The only problem was that he couldn't

actually find a front man or a drummer, at least at first. He had multiple ideas for both of course, but nobody was interested. For the drummer, he approached the mongovers B. J. Wilson, the drummer with vocal Harvom, who had played with him on the session for Joe Cockers with a little help from my friends, and as the drummer, the drummer with the Jeff Beck Group.

Then Clim Catini, who, after leaving the tornadoes, had become one of Britain's top session drummers. The first two turned the drop down, sticking with the bands that were in.

While Catini never got back to Peter Grant about the offer, as he was too busy playing

sessions. Catini has since played on dozens of UK number one hits, for everyone from Benny Hill 12 in Stardust. Similarly, he was unable to find a singer to join the new yard birds, pages initial top for lead singer, according to Richard Cole, was Danny Hottom, a session singer for

Hannibal Barra Records, who had one minor hit on his own name with Moses and Mainbowls, which had made number 73 in the U.S.

“But that's what we heard in the episodes I never learned not to love, Hottom had found”

his own new group, which was soon to be one of the biggest groups of the 70s, three dog night. So instead, page started looking around London. They considered a few people, but Steve Winwood was busy with traffic. Steve Marriette was just about to leave the small faces, but page was still where we have

done Arden's threats of violence against anyone who poached him. And Joe Cocker and Chris Farlow were both having successful solo careers. The next singer he turned to was Terry Reed. The former lead singer of Peter Jay and the Jay Workers, who had been on the same bill as the Albert, on the Rolling Stones, and I continued a turn or in 1966.

Reed was interested, but there were three different stories, all of which might part

would be true, one, the one Reed always told them which seems plausible, is that Reed had

agreed to do two U.S. tours supporting the Rolling Stones, and told page that he couldn't join pages new band unless he got compensated for the lusting come from those tours. Another, the way that some of those associated with Superhyped told the story, is that Peter Grant mentioned in the office that page wanted Terry Reed to be the singer of his new group, a Mickey Mouse, who at the time was working with Grant, quickly signed

lead up to a solo contracting room to fistard him. Not letting his new client join the band as his associate was managing. And the third story, as told by Peter Grant, is the grant was against the idea because Reed was already signed with the most organisation, granted work with him, and found Reed's father too difficult, and dissuaded page from going with him.

Reed instead stayed as a solo artist, working with most, who produced several attempts that hit singles for him. Like his version of Super Long's My Supergirl, Donovan's

Reed, who died last month, was regarded by most of his peers as the best blues

“boxing room written, but most planned to make him a star was very far from successful.”

Reed's only entry in the UK charts in any capacity, was an archival album he released in 2016, spending one week at number 95 on the album charts. Although he would go on to be a respected, cool artist, but while he didn't end up singing in the new yard birds, he did end up punching the way to the man who would.

Reed, once it became clear that he wasn't going to take the job, suggested to page

that he and Dre are go to the West Midlands to see a singer he'd often been on the same bill as. And so it was that page and Dre are visited the West Midlands College of Education

“and World Soul, to see a band with the ridiculous name, Obstweedle.”

A lot of sources have the band name as "Hobstweedle" with an age, but that's probably people mistranscribing a bromy accent, the repostes that clearly show the spelling. The band was unimpressive, but the lead singer, Robot Planned, was much better than the band he was performing with. Planned was several years younger than page, only 19 years older than the time while page was 24. But he was already a veteran performer, though

up to that point in unsuccessful one. Planned, like almost every kid born in the late '40s, had become a big Elvis fan as a small child. But by the time he was 13 or 14,

“he was already something of a budding scholar of the blues. Getting a paper round and using”

the money to buy records, I've Robert Johnson's King of the Delta Blues Singers. Saying

later, when I first heard preaching blues and last farewell going down by Robert Johnson,

I went, this is it. By the time he was 15, he was a fair blues harmonic a player, and had ambitions of being a singer. He sat in with a band of school friends, the Jory Men, when they're singer got ill. Although they wouldn't let him stay with the band once a singer got better, as they all had band uniforms and didn't have won the fitting. Each 16, he went to his first proper

blues show, seeing sunny boy Williams and two in Birmingham, unable with several British acts who have intersected this story in one way or another. The yard birds, dispenser Davis group, whose vocalist Steve Windwood would later be briefly considered by page for the new yard birds, and Long John Baldien is Huchikuchi Men featuring about Stuart. At that show, plant went up to Williams and her to your mind and tried to introduce himself. When

Williams and Reactor does one might expect, plants sneaked into his dressing room and stole the harmonica as revenge. Coincidentally, page had precise the emotions before, recorded an album with Williamson for George O'Gamelsky. Plant spent the next few years singing in a variety of local blues bands with names like The Cfallen Kings Nakes and Black Snake Mowen. On the fringe of Birmingham's R&B scene,

bands from the area were getting signed up at this point and hoped the Birmingham would be the next Liverpool. Some, like the Spanter Davis group or the Moody Blues, would have some success. But others like the Senators whose she is a marred open the drum beat compilation, when no hit wonders.

him to become an accountant. Even though by the age of 16 he already knew that he only

“ever wanted to make music. It was after a gig with the Cfallen Kings Nakes, the Vopper Plant”

first met John Bunum, the drummer on that track by the Senators we just heard. Bunum was

three months old than plants but was already married, mutseling at his first child. Bunum had played with many bands around the Birmingham area, playing at one time or another with several future members of the Moody Blues, and with Roy Wood and Trevor Burton, later of the move. At the time he was in a band called Way of Life, whose base player Dave Pegg would later go on to join Fairport Convention. Bunum came up to plant and told him that his

band were great but that their drummer was rubbish and that he was better. So Bunum was the

“drummer with the Cfallen King stakes, and he and plant became friends. But Bunum had a habit”

to be the quitting bands, because he was known as the best drummer on the scene, and so it would get a better offer, or being fired, because he was allowed player who had drowned out the other band members, and had very little discipline and would show off. Soon he had quit the Cfallen King stakes and been lured back to Way of Life at a higher pay rate. When Bunum left, the group split up, and Plant moved on to another local band, the Tennessee teens, who renamed

themselves listen, and modeled their stage show after the move, who had become the biggest band yet to come from the West Bidlands. However, Plant almost became the singer with a different band.

“Neville Holder, who also had occasionally been a moody for bands that Plant was in,”

was playing rhythm guitar with a band called The In-Betweens, and suggested that they should get Plant in as their singer. However, their base player, Jim Lee, vetoed it, saying that if the got in a fifth member they would make less money each. So Holder continued as the lead singer of

The In-Betweens, who was shortly to change their name first to Amphos slide, and then to the

name by which they became famous, slide. Both listen and The In-Betweens would often play the same bills, were booked by the same agents, and were good friends. So what happened next is all the more surprising. Listen got signed to CBS records on the strength of Plant's voice, and put out a single, a cover version of The Rascals U-Between, which was actually planned back by session musicians as they were able to think the rest of the band would be up to scratch.

But some announced to them, The In-Betweens had also got a record deal, and their first record came out the same day as listens record. And it, too, was a cover version of U-Between by the Rascals, produced by Jimmy Page's old acquaintance Kim Fowley, who at the time had moved to the UK, and was living with PJ Probe. The receptionist from the booking agency, the book them both, claimed in one biography of

Plant, that at one point she actually had not a holder on one phone line, and mobile plants on the other, both asking her which record she liked best. For the record, she told them both that she preferred theirs, but she secretly preferred the in-betweens version. On surprisingly, since both bands were playing to the same audiences in the same area, neither record was a success at all. As shame, as both are actually very good records. The lack of success caused

listened to split up, and Plant was making so little money he had to move him with his girlfriend and her parents, and live off the money she was making as a shop assistant. He was 18 at this point, and promised that if he hadn't become a star by the time he was 20 he would give up music. After listening to split up, CBS, who had only been interested in Plant anyway, decided to go

ahead with a solo career for him. His first single, our song, appeared to be an attempt to

give Plant the kind of career that Tom Jones or Engelbert's on bidding card.

Plant hated the experience of recording that track, apparently needing 90 takes to get a performance

“to produce was satisfied with, and the record only sold 800 copies. A follow-up did no better,”

and Plant was dropped by the label. For a while, he tried to have a career in cabaret using the stage name Robert Lee, and he also briefly sang with a big band whose leader knew his father, but he was getting nowhere and having to supplement his income by working on a building site. Plant was though starting to get inspired by the new music coming from the west coast of America.

In particular, the 3 bands he would always cite as major inspirations,

Moby Grape, Buffalo Springfield, and especially Love. As he said in 1970, all that music from the west coast just went bang, and there was nothing else there for me after that. Three years before I had been should've been listening to Sonny Boy Williamson.

“Now I was sobbing to Arthur Lee. Arthur Lee would continue to be one of Plant's biggest vocal”

influences throughout his career, and while Plant kept his blues influences, he now wants to make music like the west coast musicians. He was also starting to get influenced by bands

at the incredible string band, and all the bands were played on John Peel's video show with the

perfume garden. Over the course of 1967 and early 1968, Plant was in three different bands, all called Band of Joy. When he got himself fired from the first group, he formed a second band of the same name who performed with warpains on their faces. The original band of Joy carried on for a while, but changed their name to the good egg, when Plant's band started to become more successful. Then the members of the second band of Joy

“quit, and Plant formed a third band of Joy, including the keyboard play of embassies from the original”

one, along with his old drummer from the fallen king snakes John Bonham, and guitarist Kevin Gammond, who had previously played with the great reggae singer Jimmy Cliff. Bonham was band made from way of life, Dave Pegg, also briefly joined the band, but didn't end up sticking around.

This third line-up of the band of Joy toured around the UK, playing venues at the Marquee and

London, and a club of go-go in Newcastle. As well as doing a brief tour of a support for Tim Moes, the focusing of who popularized Hey Jo and Morning Jew, and who had been in a band with J. Holmes, as we heard last episode. The band of Joy also recorded a few demos, mostly cover versions of the kind of songs that Plant now enjoyed. Like a version of Buffalo's Springfields for what it's worth, and a version of Hey Jo, which would model the moes as arrangements.

Also the model for Jimmy Hendrix is hit with the song, but with Plant's vocal sounding volume influence by Arthur Lee singing on Loops' faster version of the song. But no record labels interested in the band of Joy, and Bonham left the group to play with Tim Moes. Bonham was only with Rose for a short while, but he played on at least one BBC session for John Peel's show, with Rose. After four tracks for that session, the one that shows Bonham's

playing ability after most is a version of the old banjo standard Fuggy Mountain Breakdown, re-titled Fuggy Mountain Breakdown on my with Mustard, which has definite signs of Bonham's latest style. With Bonham gone, the band of Joy split up. Trevor Bergnath the move had given Tony Sikunda the move's major, a copy of their demo, and Plant and Gowland recorded another demo for

Sikunda, but that came to nothing. Plant then hooked up briefly with Alexis Corner, returning to his Blues Roots, and the two recorded a couple of tracks together with Corner's piano player Steve Miller, not the American guitarist of the same name, which are the first recordings that show off what Plant could actually do on vocals and harmonica. For the first time, Plant was actually singing in a studio, like Robert Plant.

more with Plant, maybe doing an album together, but Plant was also very aware that he was about

“to hit that deadline of 20, the point at which he'd have to quit using and get a real job”

if he wasn't successful, and that was all the more pressing as his fiancee was pregnant. While he was waiting for stuff to happen with Corner, he formed another band, Obstweedle, with his friend Bill Bonham, no relation to John, and they started playing pubs around Birmingham, playing the same woebie group and love covers that the band had joy of playing. And it was that band that Jimmy Page, Chris Dreyer, and Peter Grant came to see,

on the 20th of July 1968. One month to the day before Plant's 20th birthday and the promised end of his music career. Before the gig, Page mistook Plant for a roadie, but when he saw Plant on stage, he was bold over by his performance. Page's only concern was that someone with that much obvious star power who hadn't already been discovered, must have something wrong with him. Was he impossible to work with or something? But still, Page was desperate for a singer,

“and even if Plant turned out to be difficult, he was obviously good. Plant got back to his”

lodgings a few days later to find a tight run from Peter Grant, saying, "Fireworks in Robot Plant, tried funding you several times, please call if you are interested in joining the yard birds." Now Plant had a decision to make. Jimmy, the in-between space player, would later relate to conversation he had with Plant, where Plant was talking about the yard birds off of it saying he would rather play the blues with corner than play pop with the yard birds.

But then at the end of the night he saw lead drive off in his sports car. The in-between hadn't yet had a hit record, but they were making serious money as a live act. And shouted, "Nice car! I guess I'll have to start playing pop!" Plant went down to meet up with Page at Page's house in Pangborn, which he found hugely impressive, and which rather confirmed for him that he'd made the right choice at least financially,

“in joining what he had assumed was a pop band. But what both men found, more importantly,”

was that they were sympathetic musically. The tasted and perfectly aligned, Page had no time for bands like Love and Buffalo Springfield who planted odd. But they both liked the pop R&B of the Spencer Davis group in the small faces. They both liked the blues, and they both had a love of folk music. In particular, Page played Plant when he was favourite records,

Joe Baez's first of unreadance, "Baby, I'm gonna leave you."

Both agreed that that was exactly the kind of material that they wanted to do, and that they could work up something interesting from it. But they still needed a drummer. Page had asked most of the session players in you, and they had all turned him down, as at Keith Moone, but Plant had a suggestion, his old friend John Bonham. Page and Grant went off to see Bonham play the Tim Moes and were impressed.

Bonham, at least at first, was less impressed with the idea of joining the yard birds, he was making more money with roads than he had ever made before, and not only that, but a lot of big-name singers were asked him to join their bands, including some like Chris Farlo and Joe Kucker, who paid to play with him and considered his new yard birds, while he wanted to join a bunch of haspenes. And not only that, but Bonham's wife was dead set against the idea. Not the idea

of joining the yard birds, but of going off with Robert Plant, who she thought of as someone who

dreamed big, but never actually had any success. Bonham had twice been in bands with Plant,

and twice they'd gone nowhere, he had a good job now making 40 quid a week, and here came his old mate Plant once again trying to drag him off on a hairframe scheme. Eventually, though, Bonham agreed. Partly it was for the opportunity to be part of a band, to help shape the material he was playing rather than just playing a frontman songs. Bonham was never someone who hit his light under a bushel. He would play five minutes soloes during Tim Moses sets, for example.

But also, it was because Paige wanted him so much that he offered to give him a vastly increased salary. Early on in the new band's career, everything was coming out of Paige's pocket. And rather than getting equal shares, the other three band members were his employees. And so Paige offered to pay Bonham 25 pound a show for UK gigs, 50 pounds for European gigs, and 100 pounds for American ones, and they already had a 10 dates Scandinavian tall lined up.

He'd been making more than a night from the new yard birds than he made in a week with Tim Moses. That was enough to sway both Bonham and his wife, and he agreed to turn up through a hersel on the 12th of August. But actually there was still one member of the new yard birds to join.

the only original member of the yard birds still with the band, didn't stick with the new yard birds.

“He was still involved with the planning on the 20th of July, when he went with Paige's”

C-planned, but by the 12th of August when the new band rehearsed for the first time he was out.

Depending on which version of the narrative you read, either he decided he didn't want to carry on in the music business, and wanted to be a photographer. And left Paige looking for a new bass player, or he bowed out gracefully with no hard feelings when Paige got enough of him a better player. Either way Dreyer wouldn't make music again until the early 80s. When he and his former yard birds bandmates Paul Samuel Smith and Jim McCarty

formed a new band, Box of Frogs, and then Dreyer and McCarty toured with a new lineup of yard birds from 1992 through 2013. When Dreyer retired due to ill health. In this place,

“came Paige's old session colleague John Paul Jones. Jones have been getting antsy about playing”

sessions ever since a few months earlier when he played a super session album titled No Introduction necessary, which on various tracks in featured Paige, Climcarty and E, the drummer that Paige considered for his new band. Big Jim Sullivan, Albert Lee, and Nicky Hopkins, all backing a new singer named Keith DeGroot, a little bunch of rockabilly covers. . Jones had enjoyed that, just jarring with a bunch of his friends.

A lot more than he enjoyed most sessions. He'd been able just to play music that they all liked rather than playing whatever rubbish some producer he didn't respect wanted into play, and he hadn't had to write orchestral charts. He'd been making a lot of money as a session

“based player in a ranger, but he was getting burned out. Like John Barnum, he wanted to make”

music that would be his, not music that other people wanted. His wife suggested him that he might want to join a band rather than keep playing sessions, and initially he told her that the were no bands or a worth joining. He wanted to play with good musicians. But then she told him that she'd seen him while as the music magazines that Jimmy Paige was forming a band, and suggested he get in touch. Jones had obviously played a lot with Paige, and was impressed with his musicianship.

And so called Paige up and said that if he wanted a bass player, Jones was available. Dreya said later, "I wasn't John Paul Jones and Jimmy McCarty was not John Barnum. These were the pivotal players who created that sound." I knew about John Paul and I thought, "You're not going to top that Jimmy. You're a lucky man there." At that point he was a better bass player than Jimmy was a guitar player, and of course he understood music. There was no way I was going to

interface myself between him joining the band. And you couldn't have met a nice guy, what a real ace gentleman he was. The former met up on August the 12th 1968 for their first rehearsal.

It was a bit cautious at first. Plant and Barnum had never met Jones, and the band members all

had wildly disparate taste in music. Though there was some overlap, they had to get a set together quickly for the yard birds' time that was going to take place soon. And so Paige was casting around for songs they all knew and couldn't find any. He suggested Dreya kept a role in the yard birds live staple, and quickly told Jones who had never heard the song, what the chords were. The song would become part of the new band's live set for the next year or two.

The new band immediately jellled, and after playing that one song they knew that they could work together. There were still some problems initially. Barnum had attendants each were of a play. He could play with sensitivity and restraint. He'd just often chose not to. That problem was solved relatively quickly by Peter Grant explaining to Barnum, the Jimmy Page was the bus, and if Paige told Barnum to be more of a strained,

Barnum would either be more of a strained, or he would be both out of the band and out of the nearest window. Barnum took the lesson to heart, and many people have credited this decision to tame Barnum's wild-man accesses. With a line come to grow and become someone who played for the song

rather than just to show off. Don't have no doubt about it. Barnum would always show off.

Barnum and Jones became the new band secret weapon. Paige's the guitar hero and planted the

formed that day, talks about the rhythm section. Barnum's influence from jazz musicians

“like Jean Krouper, his boyhood idol, and Jones' arrangement skills and the influence of”

Motown-based player James Jamerson, were very different from the influences of most of the rock bands coming up, who were already were mostly only listening to other rock bands. As mentioned last episode, her this point Jones only had two rock albums, revolve from pet sounds, and was far more interested in soul and rock. They quickly worked up a set of old-yard birds-like favourites like Trane Kepta Rollin and

Dazed and Confused. Blue's covers like Howling Wolves, How Many More Years. Their version of Babe I'm gonna leave you. And a couple of soul covers that plan to been performing with Obstereedle. The new group were good, and they knew it, and worked well together. Though there was some amusement among the other three when, at the end of the rehearsal, Paige insisted on the mall chipping in a few pens for the beans on tost cities and drawing a break.

“There was just one problem before the band could go much further though,”

and that was Mickey Mouse. Paige absolutely did not want Mickey Mouse to produce anything his new band did. He had hated the experience of working on the yard birds tracks with most, and he had heard bad things about the way that most had taken control of the Jeff Beck Group sessions and sideline their singer mods to it. Terry V later said it was discussions about joining the band. Jimmy was only in the yard birds for five minutes, but he wasn't going to

allow her a piece of the album with Mickey. Nobody was going to produce the new group, but Jimmy. But Grant had to deal with most, the grand would look after the management to most the production of every artist either to come. There was only one thing for it, Grant would have to call his old friend out of millions. Grant told most that he had been given on the short time to live, and he wanted to leave as much when he is possible to his wife and kids.

Would Mickey see his wife giving up his half of Jimmy Paige's new group, so that Pete could make as much money from them as possible in what little time he had left.

Most agreed. And now the new group would free to record the first album.

The first album of course, being three-week hero by the has been Kruna PJ Probe. Jones have been hired as a manager, contractor, and bass player for Probe's first of many attempts at comeback albums. Putting charge of getting the musicians together for the sessions, he chose Paige's more of the guitarist. Gave bonus first session work as one of the two drummers for the album, and got planned in on tambourine, harmonica, and backing vocals

to give his new band mate a bit of extra cash. After that, the group went on their scam the navy and tour. There's not much to be mention about that tour surprisingly, and sadly no recordings of the shows appear to exist anywhere. But it became very clear very quickly that this new version of the art birds was something special. Plant was the one the other people were worried about, and would be for a while, but the new group still wondering if he was the

vimman for the job almost a year into their career, because compared to the others he had far less experience, but some of those worries at least were put to rest of the show in Stockholm,

where plants might vocalfway through the show when he carried on, and his voice was powerful enough

that the audience could still hear him even over the extremely loud instruments. When they got back to the UK, they were tight enough that Paige decided that even though the new group didn't have a record deal yet, they should go into the studio and record the set that had been playing. The group was still at this point performing as the new yard birds, but a strongly worded letter from Chris Dreyer's lawyers, pointing out that they'd only been given the right to the name

for the Scandinavian show was caused of ETHING, and they changed their name to Led Zeppelin, after Keith Moons joke about the Bexbullero session. I'd also it didn't hurt at the combination of a heavy metal in something flying, was reminiscent of I Am Butterfly, who were commonly very big in the US. The album would also be called Led Zeppelin, though now it's normally referred to as Led Zeppelin 1 to distinguish it from their later albums. The album would be entirely

funded by Paige with no advancement record company, so it had to be recorded quickly. They recorded it in Olympic studios over a period of nine days, with Glyn Johns, Paige's old friend who had

“recommended him for his very first session work, engineering. Or at least that's how Johns”

is credited on the final album, as we will see, though, credits can be deceiving. Johns was one of the most sought-after engineers of the period. He engineered almost all the stones as UK recordings from 1965 through the mid-70s, as well as records by the small faces, Chris Farlo, Penn Tangle,

de facto producer of the Beatles' Getback sessions. When Paige asked him to engineer an album by his

“new band. Johns pointed out that if there was no producer other than the band, Johns would end up”

essentially being the producer, and so he wanted production credits in a percentage, as was standard. As he said later, I went to see Pete to an Oxford street and said I needed to get an agreement, and he said no problem. We agreed to percentage of the retail price, which was normal, and we sure can. I wouldn't normally have gone into the studio without a contract, but because I've known Jimmy and John Paul since we were virtually kids,

it never entered my mind that there would be anything amiss. According to Johns, the production was

split, with Paige and Jones doing the arrangements while Johns took care of the side of things. But Paige was the sole credit to produce from the finished album, and Johns would never work with Paige again, though Johns was for the Randy engineered several subsequent Led Zeppelin

“albums. In these sessions, Johns accidentally discovered a new technique for recording drums,”

which he would make a trademark of his work in later years. He had moved what have the mics he usually used for recording drums to record a guitar over dub on one track, and when he put the mic back, he forgot to put it back on the same track as the other drums.

When he listened back to the next song recorded, he realized that for the first time he had

recorded drums in stereo, and that it made them sound much bigger than his previous technique of just giving one track to the drums. He rearranged the mics, so both the floor tum and snare mic were now pointing at the snare, but from opposite directions, acqua distant from it, and panned the tracks half left and half right, rather than have everything in the centre. The result was a bigadrum sound that he had ever achieved before, though it's also the case that

Balam was allowed to play other most. It's worth noting as well that Jimmy Paige is solo production credit, as well as evasing Johns's contributions. Also erased those of the other band members, particularly Jones, who everyone involved claims had a far bigger hand than the arrangements than he ever got credit for, possibly more so than Paige. Indeed, the first

loadsapplan album is a fascinating example of how credits don't always tell the full story

about who did what, and also of how there's a continuum from totally original, through totally plagiarised, with songs falling everywhere around that continuum. The album was made up of the set that had been performing live, and so many of the songs evolved from jams on cover versions, and sometimes the band didn't do a wonderful job of erasing the avarrogens. Of the nine tracks on the album, only two of the tracks now have the same song

writing credits on cover tissues that they had in the beginning, and one of those two arguably shouldn't. So let's go through the album track by track and look at where they drew from. The album opens with good times bad times, as song with his part to the originality end of our continuum. The track was originally credited to Paige, Jones, and Bunham, but more recently, his had planned credit and his advice as well. Plant was originally

not given any songwriting credits on the album at all, supposedly because he was still under contract CBS, the label he'd recorded is singles for. That makes little sense to me because that contract would have covered him as a singer, not a songwriter, and in which case it would

“surely be more important not to credit him for his vocals, but maybe he also had a publishing”

contract with them as part of the deal. Either way, Plant's name has now been added to five of the songs. The song was primarily a collaboration between Paige, who wrote the chorus, and Jones, who came up with the riff on a Hammondorgan. The song is a totally original one, though even the most original of songs has influences from other people. In this case, Bunham's drum part is inspired by a much simpler part that Carmen appeased played on the

vanilla footage as cover version of Ticket to my head. And according to a piece, one of Led Zeppelin also told him that Jones's riff was inspired by Tim Bogot's bass playing on the same track. Though this seems unlikely to me because, as I've said, Jones was almost completely ignorant of heavy rock music at the time.

We heard Jones buyers as a version of "Babe" I'm gonna leave you earlier.

“That song was written by Andrew Eden, a minor folk singer in 1958.”

And she performed it on various college radio stations and so on. [Music] Vedon's friend Jamit Smith heard the song and started playing it herself. And then

Jones buyers heard Smith's version on local radio and started performing it.

Buyers didn't realize that Smith was performing a song whose writer she knew, and so on

“buyers as 1962 live album, the first time the song was recorded for release. It was credited to”

traditional arranged by Jones buyers. Buyers was liked to inform that the song was by Eden and corrected the credit when she put out a song book. And so for example, when the association recorded their version in 1965, they gave "Bread in the Credit" [Music] But page had learned the song from a copy of "Bioza's album" which said it was a traditional song.

And so his article "Be Working of the Song" was initially credited to traditional arranged page.

Though "Planters" always claimed that it was him, rather than "Page" you came

over with the guitar figure. Though in this case, I tend to believe "Page" just claimed that it was his work. [Music] Unlike with several of the songs we're going to look at, this was an arranged mistake and dealt with appropriately. If a mandal noticed until the late eighties, when Smith's

song was listening to the album and his mother noticed that her friend's song was on it. "Bread" and got in touch with the group. And as it was fairly medically re-worked, the credit on that Zeppelin's version was amended to make her and page co-writers. And amended again later when "Planters" was added to the song, and "Feed and was given a lump saw in back royalties." The next song in the album is "You Shock Me", a cover of a blue standard.

[Music]

“That's how we started out as blue guitar, an instrumental by Earl Hooker.”

[Music] Leonard Chess, the owner of Chess Records, then bought the rights to that track from the label it was released on, and had muddy waters over the vocals on Hooker's backing track. Willie Dixon wrote the new lyrics, and Dixon was given sole songwriting credit on water as a single, despite the music being the exact same track that had been released with Hooker as the credit

as a composer.

The song was a favorite of Jeff Beck, and Beck copied the intro for the art bird's

“B-sides steel blues, an instrumental credited to Beck and Keith Melff,”

though the song dive bird is after that point. And last we heard last time, the Jeff Beck wrote because of the version if you shook me for their truth album, with lots to add some vocals and featuring Jumple Jones on keyboards. [Music] When Beck found out that Led Zeppelin had covered the song on their album,

“he apparently cried with fury. Page always claimed that he hadn't known that Beck had”

recorded a version, but that seems fashionly unlikely, given that Jones played on the track, Beck shared homage with the group, and the Jeff Beck group were explicitly abandoned that Led Zeppelin were modeling themselves on. Led Zeppelin's version was appropriately credited to Dixon, although J.B. Lennwarr's name has since been added to the credits, as it has on the original. Lennwarr was another blues singer, who somehow got added to the credits even though nobody seems

“clear on what if anything he contributed. The next track up his days didn't confuse.”

We heard last time how Jimmy Page and Jim McCarty had heard J.Cums play as original in New York, and went out and bought copies of his album. [Music] And how the song had then become a highlight of the year bird's live show for the last few months so that we have some existence. [Music]

The art bird's version, when live versions have been given archival releases,

has always had the songwriting properly credited to Holmes. The New York birds are continued

to include days to confuse in their set, in large did the same arrangement that the art birds had performed, and when the group recorded their album they included it. By this point, Page had read within the lyrics slightly, making them notably misogynist in a way Holmes's original lyrics hadn't been. [Music]

When the album came out, the credit read just Jimmy Page, and it remained that way until 2010. According to Holmes, when he first heard about Led Zeppelin had done, he was under the impression that the lore said that copying had to be exact, words and music, and if someone plagiarized your work but altered it, you weren't entitled to credit. Later, he realized that was not the case, but said, "I don't want Page to give me full credit

for this song." He took it and put it in a direction that I would never have taken it,

But give me at least half credit on it. It's probably more difficult to venture that song

“away from him than it would be any other song. And I have tried, you know,”

I've written letters saying, "Jesus, man, you don't have to give it all to me, keep half, keep two thirds." Just give me credit for having originated it. That's the sad part about it, but I don't even think it has to do with money. It's not like he needs it. It totally has to do with how intimately he's been connected to it over all these years. Page, over those same years,

would completely deny that the song was anything other than an original. Saying in an interview in 1990, I'd rather not get into it because I don't know all the circumstances.

“What's he got? The myth 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 wonder we were playing with the art birds." I haven't heard Jake Holmes, so I don't know what it's all about anyway. Usually my riffs are pretty damn original. It's notable that when confronted over plagiarism,

no matter what the song, page always blames plant, even when, as in this case, plant had no

songwriting credit. Eventually in 2010, Holmes took page to court and got the fair credit he wanted. The credit for Led Zeppelin's version of the song now reads, Jimmy Page inspired by Jake Holmes, and he gets a chunk of the money. Notely though, that wasn't the end of his legal battles.

“Recently the film becoming Led Zeppelin included the yard bird's version of the song,”

with Holmes' original lyrics, but still crediting pages, writer, and without Holmes' permission. Holmes took page, the song's publishers, and the filmmakers to court, and a settlement was reached in August this year. Side two of the album, open with your time, is going to come, another song which seems to be actually original, apart from a few blues floating-levels that can't really be attributed to a 21-mater.

[Music] Oddly, on the original release, while most of the other claimed originals were credits to page, Jones and Bonham, this one was credited only to page and Jones, though plant was later

added to the credits. That track became the first Led Zeppelin original ever to get covered.

The pop singer Sandy Shaw, given the chance to produce an album for herself for the first time, chose to be called an album of covers of hip artists like the Love and Spoonful, Dr. John the Night Triper, and the Rolling Stones. Among those tracks was her version of your time is going to come. [Music]

Next up, after a cross-fade, was black mountainside, an acoustic instrumental performed by page on guitar and table play at Vivram Jassani with none of the rest of the band on it. [Music] The songwriting credits on that one was solely to Jimmy Page, which was a bit of a source but a birdchange, who were a couple of years earlier had recorded this arrangement of the traditional

folk song "Black Waterside" [Music] [Music] As the eventual melody was a traditional one, though Junction's arrangement for the guitar was very much his own work. Junction's publishers decided it wasn't worth fighting over. Junction would like to say, the thing I've noticed about Jimmy whenever we meet now is that he

I wouldn't want to sound in polite. The next song on the album, "Communication Breakdown",

“supposedly evolved on stage from a version of any "Cocfinsong" nervous breakdown.”

However, this is one case where the resemblance is very very distant. I can hear very little connection between the "Cocfinsong" [Music] [Music]

And the Led Zeppelin one.

[Music] [Music]

“I can't quit you baby, was written by Willie Dixon, and first recorded by Otis Rush in 1956”

with Dixon on bass. [Music] [Music] This was one of two acknowledged covers on the album, both of them credited to Willie Dixon, unlike future Dixon credits on Led Zeppelin albums,

“this one was properly acknowledged at the time.”

[Music] [Music] And the final track of the album, "How Many More Times" is a patchwork of a few world of songs. [Music] [Music]

Credited at the time to page "Bunnam and Jones" with plant later added to the writing credits. The principal sources for the song are two hall and wolf tracks, both recorded in 1951. The better known of them is how many more years. [Music] But there's a close relationship to no place to go, which has a more direct

biblical resemblance, which has a very similar riff to how many more times. [Music] Again, please note that whenever he's pressed about resemblances between

Led Zeppelin originals and older records, page always tries to claim that the

riff's are his work in a original, and it's only plants lyrics that are ripped off, but while plant did have a punch on for plagiarizing old blues lyrics, page was more than happy to

plant quotes a couple of his own old x's corner collaborations, and there's also this section.

[Music]

“Which is based on the hunter, a song originally recorded by Elder King for Stacks,”

and written by Booker T in the M.G.s and Carl Wells. [Music] And also referencing Mr. Pitival, another Stacks record by Otis Redding, co-written by Redding and Steve Crop from the M.G.s. [Music]

The sessions for the album only lasted nine days, and were productive enough that they actually recorded two more tracks, or released until decades later. Every night of the Burt Burn song Baby Come On Home, recorded as a tribute to burns who had been

“a friend of pages, and a song called Sugar Mama, every night of happening 10 years”

time ago with blues lyrics, credited to page and plant. This is not the same as the song Sugar Mama and PJ Probe's three-week hero album. Though the title of that one might hypothetically have inspired the Led Zeppelin version, that page and plant credit would become more common from that point on. Most of the bands of originals from their second album forward were credited that way, cutting bottom and Jones out of the songwriting credits.

Jones later said, "In all honesty, I'd say that I probably should have paid much more attention to the writing credits in the earlier days of Zeppelin. In those days, I'd just say, "Well, I wrote that, but it's part of the arrangement, or something like that, and I'd just

“let it go, not realizing at the time that that part of the arrangement had more to do with”

dividing than just arranging something." I always thought that John Burnham's contribution was

much more than he ever received credit for. In fact, I know it was. He also said, "Zaptom was really a partnership between four people, and sometimes when you see songs with page, plant and everything, it makes it seem like it was a land and Macartney situation where they vote everything, and John and I just kind of learned the songs that Jimmy and Robert taught us. That's so far from the truth, it's ridiculous. However, whatever the truth was as to who wrote

or produced what. At this point, Jimmy Page's word was law. This was partly because at this stage, Peter Grant was loyal not to the group as a group, but the Jimmy Page as an individual. And partly because Page had financed everything. Because Page didn't want to spend much money, he had the group so well rehearsed before going into the studio, so the entire cost of the album was only 1,792 pounds, including the artwork. A photo of the hidden magazine asked for on the

front, and a photo of the four band members on the back. The back photo was taken by Chris Dreyer, one of the first commissions he got in his new career as a photographer. Glenn Jones was immensely proud of the results, and excitedly played the tracks for the other musicians he was working with at the time, but both Mick Jagger and George Harrison told him that they simply didn't get what he was so excited about, and weren't at all impressed. The mega stars of the

60s were not prepared for the 70s first super group. The group started playing clubs around the UK, but went down very, very badly, especially at first when they were still using the new yard

bird's name. The group would eventually become bigger in the UK, but they would never have the

same kind of successor over here as they would have in the US, where they concentrated their efforts. Ramp flew to the US and started doing the rounds of the record industry. Initially he had a handshake deal with Moastin at one of those for the North American rights to the band, and with Chris Blackwell at Island for the rest of the world. For what was a reasonable amount of money, but then fate stepped in, and by fate, I mean,

those discrepancy. It would take me walking, but I do the back yard we go walking, then you look into my eyes. It's a lot of those reminds of family. The only one who could ever pitch me was a son of a preacher man. The only one who could ever pitch me was a son of a preacher man. You see your world. You know, it's a good one.

you said Jerry Waxler, about the new group she'd heard that John Paul Jones was farming with Jimmy Page.

Jones had been the base player in a range on a lot of Springfield's records, some of which had also featured page on guitar,

“and she insisted that Waxler should sign this new super group, who were bound to be the best thing around.”

Waxler knew of page by reputation, and indeed from metting when page had visited the US and hung out with the old friend Bert Burns. Waxler had no interest in rock music at all. He loved blues, soul, and jazz, but at landing had been making a great deal of money by signing artists like the Vanilla Fudge and Creme to their atcoast subsidiary set up for pop music. Most of these acts have been signed by our meterton, who had decided the white guitar groups were the wave of the future,

but Waxler saw this as his chance to get another of those acts signed up. He agreed to sign Led Zeppelin without having heard a note of the band's music, purely on the basis of Dusty Springfield's enthusiasm for Jones, and pages reputation. They got an advance of more than $200,000. A huge sum in those days, especially for a totally unknown band, and total sale for every release. Atlantic had no right to change a note of the music, to release anything that Zappelin didn't

“approve, or to alter the artwork, and page had one more concession he wanted. He insisted that the”

albums would not be released on atco, the white pop label, but that Atlantic proper, the label that made Charles and Rita Franklin were released on. Peter Grant then decided to pay a visit to Clive Davis at Columbia for a chat. Davis assumed that Led Zeppelin would be recording on Columbia, because the yard birds had been signed to the label. Grant had a long chat with Davis, and Davis eventually said, "So we're going to talk about Jimmy Page," and Grant responded, "Oh, he's already signed

with Atlantic." Davis hadn't realized that when page had joined the yard birds, he hadn't been added to any of their contracts, and he was a free agent. Grant had just wanted to wine Davis up. It was announced to the press that the group had been paid the highest advance ever paid to a new group. A statement that might even have been true, and this simultaneously intrigued a lot of people wanted to see what this new band was like, and annoyed the underground music press. And at this

point, magazines like Rolling Stone were still seen as part of the underground counterculture,

“rather than the oppressive mainstream force their late became. The group of the worst thing you could”

be in the eyes of people like Rolling Stone, there were sellouts, all hype, in it for the money rather than the art. They were greedy breadheads. And indeed they were, in that they actually wanted to get paid while they thought they were worth. In a very short time, in fact, Led Zeppelin would revolutionize the economics of touring for big bands. Because once they were successful, Peter Grant would start demanding that rather than a flat fee, promoters would pay

the band 90% of the door of the seats. Something that the other big bands would copy once they saw

it was possible. Led Zeppelin would first band to make it possible to become really rich from life

performance. But that was to come in the future. For now, the group were going to start, they have not at the bottom, then at least at the bottom of the bill. Grant put together a list of venues that he wanted the group to play before the album came out in January 1969. Most of the same venues at Frank Barcelona were primarily a talent booked. The film or the grandeble room and so on. From boxing day 1968 through the middle of February 1969,

Led Zeppelin toured these venues, usually as the support for the vanilla footage. Sometimes further bands like I and Butterfly are contrary to you and the fish. By the end of that period, the headline has started to refuse to come on after Led Zeppelin. By the time they got to the Boston Tea Party, they ended up playing 12 on-course, running out of songs to do and just covering whatever old Elvis and little Richard songs all of the new. They lost money on that initial tour.

Page was still financing things, though the advancement Atlantic helped a lot, and became the first

large sums of money that plans are a bottom I'd ever seen. But the point was to make themselves known as the band to see in the US. While there were still stop playing pubs and student unions in the UK, there were headlines as a major venues in the US within a month that first album being released. The album was commercially successful, making the top 10, but it fired less while with the critics. John Mendelson's review in Rolling Stone ended, in their willingness to waste their considerable

talent on on worthy material, the Zeppelin is produced an album which is suddenly reminiscent of truth. Like the Beck Group, they have also perfectly willing to make themselves a two or more accurately one-and-a-half man show. It would seem that if Led to help fill the void created by the demise of a cream, they will have to find a producer and editor, and some material worthy of their collective attention. Led Zeppelin would have a famously adversarial relationship with

Atlantic wanted a follow-up, and quick, and the group needed to tour the US more. In a brief

“break between their first and second US tours, they went into the studio again, and started”

work on the album. Most of which would be caught on the road. We won't look at every track on the

second album titled Led's Up and Two, the way we did the first, but it's worth talking about

some of the highlights, and the first track cut for the album was one of the most famous tracks that the group cut, and another one with disputed credits. The song was based around the riff that Page has come up with, and was originally credited to the four band members. Page later explained, "I came up with the guitar riff for a whole

“lot of love in the summer of 68, and my houseboat along with Thames in Pangborne, England."”

I suppose my early love for big intro is by vocabilly guitarist was an inspiration, but as soon as I developed the riff, and you were strong enough to drive the entire song, not just open it. When I played the riff for the band in my living room several weeks later, during rehearsals for our first album, the excitement was immediate and collective. We felt the riff was addictive, like a forbidden thing. The riff is Page's composition,

but it bears a passing resemblance to Earl Hawke's guitar part on muddy waters as you need love,

“written by Willie Dixon. And above up plants, lyrics are much more than a little to that song.”

Hello while he was familiar with that track, Plank was probably not actually directly copying the original. Page's old immediate records colleagues are small faces, who are one of Plank's favourite bands, have recorded their own take on the song titled "United Loving", and credited to Steve Marietta Money Lane. Compare Plank singing when the instruments drop out. [Music]

With Steve Marietta Money Lane's "United Loving" [Music] When Willie Dixon discovered the resemblance in 1985, he sued, and now the song is credited to the four members of Led Zeppelin and Dixon.

Though according to Dixon's family, he never thought he got enough compensation.

As well as the famous riff, there was an extended instrumental section of the song on which Page plays the Theraman. An idea he had got from Mandy California, the guitarist from Spivet, who had played on the same bill with the group. [Music] As we'll see in a future episode, Page may have got some other ideas from Mandy California too.

The track was released as a single in most countries and became a U.S. top 10 hit. The single was the full-length track, but a promo version was also sent out to radio stations with most of the Theraman stuff cut out. However, Peter Grant's rule about

not releasing singles in the U.K. are applied, and it was never released here.

studio musicians he had put together, CCS, led by Plant Soul Collaborator Alexis Corner.

“The air version made the top 20 and started a short run of hit singles for the group.”

And was also used for many years as the theme tune for "Top of the Pops". Making it almost certainly the most heard version of any Led Zeppelin song, at least in the U.K. I've seen some sources saying that the version used on "Top of the Pops" was a sound like remake by most of the same musicians, recording as the "Top of the Pops Orchestra"

to avoid the BBC having to pay royalties to make you most label. A week after recording the basic track for whole lot of love, the group went on their next U.S. tour, and the rest of the album was recorded, as Plant Lady spotted, on the rum between hotel rooms and the GTOs. The GTOs being a famous band of L.A. based groupies, several of whom took a

shine to the members of the band. It's this second U.S. tour that really gave the band a reputation

for access that they would keep for the rest of their career. As I've said from the very start, this podcast is about the music first and foremost. And I only talk about the more of unsavory

“aspects of musicians behaviour when they're important parts of the history, because sadly it would”

be much much easier to list the male rock stars of this period, who did not behave in frankly monstrous ways, until list those who did. On the other hand, the appalling behaviour with page and bannam particularly has become part of Led Zeppelin's history in a way that would make it irresponsible of me not to comfort. While people talk about the band having a bad reputation, if you look at the stories, whenever an individual of individuals are named,

it's always some combination of Jimmy Page, John Bonham, and the tour manager Richard Cole. While

no doubt both plant and Jones got up to their share of the kind of behaviour that all rock stars in their 20s do, and there were certainly at least aware of their bandmates behaviour and so complicit in that respect, the two only rarely get named as doing anything specific. Indeed Jones

“seemed to be separate from the others to an extent, sometimes travelling on their own, and barely”

ever gets mentioned as anything other than a gentleman. Within a few years, Jimmy Page's admiration for the occultist Alistair Crowley would lead to a room where among the groupy population of America, that Led Zeppelin had sold their soul to the devil in order to become mock stars. All that is, except John Paul Jones, who would refuse to send a contract. I will be covering Led Zeppelin more in the future, and those episodes will cover the

period where most of their most notorious acts took place, and I will also shortly be doing an episode which will focus very specifically on groupy culture, and the way musicians treated groupies, so I'm not going to deal with that too much in this episode. But it's worth noting the Steven this early on, both Bonham and Page were indulging in behaviour that most people would find revolting. Some of these behaviours, like an incident involving Bonham, Richard Cole,

some members of the vanilla fudge, a groupy and a freshly caught fish. Reports differ on whether it was a mud shark where Red Snapper, were consensual, at least on the part of the human involved, that fish probably had other opinions, and passed into rock legend as humorous stories getting exaggerated along the way. Frank Zappie even recorded a song called The Mud Shark after the vanilla fudge told him about their exploits.

But sadly, a lot of what went on was not consensual. The main source for a lot of the stories is Richard Cole, who was not the most trustworthy of narrators. He self-compessedly destroyed his brain with drugs and alcohol during the 70s, and did not have a reliable memory. And the living members of Led Zeppelin have denied some of the allegations he made. Plant, who comes off from Cole's stories far better than Page and Bonham, said, "These stories would filter out

from girls who'd supposedly been in my room when in fact they'd been in his, while Page said of Cole's Aussie biography. I'm so mad about it that I can't even bring myself to read the whole thing. The two bits that I have read are so ridiculously false that I'm sure if I read the rest of being able to sue Cole and the publishers, but it would be so painful to read that it wouldn't be worth it. So between my own desire not to get sued, the unreliability of the sources,

of detail about what went on on that tour. Other than to say that Jimmy Page has been documented,

“in multiple sources, is having a federal election at this time for girls who were significantly”

under the age of consent. While Ellen Sander, a journalist for life magazine, talking with the group to write an article on them, ended up not writing a article because on the last day of the tour, John Bonham sexually assaulted her, and it was only the intervention of Peter Grant that stopped him from raping her. But again, the worst was yet to come, and we'll be covered in future episodes. And this is a podcast about the music first and foremost.

And it was on that same tour that they recorded most of Led Zeppelin too,

“the album that turned them from a big band into the biggest band. Songs like "The Lemon Song"”

"I will give you my future, never miss you."

Which was credited to the four members of the band, until Hollywood pointed out the similarity to his own song, "Killing Floor." "I should have quit you." "I know time is over." "I should have quit you, babe." "Long time is over." "I should have quit you." "And what old, a man in court?" "If I had a father." "At which point his name was at the disco writer?" "There was also bring it on home."

“Which was credited to the four band members. At least till the eighties,”

when Willie Dexon noticed that it bore more than a little resemblance to a song he'd written in the song. "I'll bring it on home, you too." "I've done about my ticket. I've got my own loan." Dexon now has the songwriting credit for that track. And there was Moby Dick. That started out as a variation of Bobby Parker's Watch Your Step. The same song that the Beatles

had lifted for "I Feel Fine." But in that case, the track became basically just an excuse for a

drum solo for Bonham. A solo that was a few minutes long on the record, but could sometimes stretch to half an hour more on stage. [Music] Much of the rest of the album though was original material. With plant-in-particular stepping up as a live assist, writing songs about his wife, about his completed feelings for his sister-in-law,

and about her bits. Sometimes all in the same song. Well, Led Zeppelin won a bit a continuum of songs modeled on other people's records to bear in degrees, ranging from passing inspiration to our by plagiarism, the songs on Led Zeppelin too, an album that to this day is often considered the group's masterpiece, full of moments where by a modal distribution. There are a handful of songs that are just straight-lifts from someone else's

record, and a handful that are total originals. The album achieved many things. It established page and planters a songwriting team, released on the songs they actually wrote. It established

pages the producer. Where the first album had been recorded with Glenn Jones as the on the engineer,

this album had four different engineers and six different studios. Page was going to make sure that nobody was going to be able to take sole credit for the band sound except him, and it went to

after number one slaughtered the beginning of 1970. The sixties were over, and there was a new

“group at the top, and they had managed to do something that was both artistically satisfying,”

and incredibly lucrative. But at the end of 1969, the group were wealthy, famous, and already burned

out. How did we cover it from that burnout, and what they did with their start-up, is a story that

“will wait for another time. A history of rock music and 500 songs is brought to you by the”

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