“In My Time of Dying” is a song that already had a long history by the time Led Zeppelin recorded their version, which was included on their 1975 double-LP Physical Graffiti. With its roots in spirituals dating before the twentieth century, this song has been recorded under a number of titles. Perhaps the earliest recorded version was by country blues and gospel singer Blind Willie Johnson, who recorded it under the title “Jesus Make Up My Dying Bed” in 1927. This recording and others mentioned below are included in a MixCloud compilation embedded at the end of this post. Continue reading Led Zeppelin: Plagiarism “In My Time of Dying”→
Despite my criticisms about Led Zeppelin’s sorry history of not citing their sources I remain a Led Zeppelin fan. Physical Graffiti
has always been one of my favorite albums and I pre-ordered the Deluxe Edition of that album a few weeks ago. It arrived in the mail late last week.
As I’ve said elsewhere, though Led Zeppelin failed to give proper songwriting credit in several cases, they (almost) always brought something original to each recording, enough to justify partial songwriting credit. Two Led Zeppelin tracks, however, stand out as particularly flagrant examples of plagiarism: “Dazed and Confused” and “Boogie With Stu”. Recent releases now acknowledge that “Dazed and Confused” is “inspired by” Jake Holmes, though it took the threat of legal action to make even that insufficient alteration. The songwriting credits for “Boogie With Stu,” however, remain the same as when Physical Graffiti was released in 1975. Continue reading Led Zeppelin: Plagiarism? “Boogie With Stu”→
Following up on my post about the best releases of 2014, here is a Mixcloud compilation of some the best garage and psychedelic tracks to come out in 2014. The tracks are arranged roughly in order of preference. My favorite of the year is “For My Own” by The Mystery Lights.
It’s that time of year (well, maybe I’m a little behind) to put together a list of the best releases of the year gone by. Great garage/psych releases have continued apace, and plenty of great music was produced in 2014. The first list is full-length releases and the second is EPs & 7″ releases. As digital releases online have now become the norm, bands have experimented more with formats, both in terms of the variable length and the physical media bands choose to use. The cutoff I used for “full-length” release was roughly 20 minutes, which, I admit, is a fairly arbitrary choice. Even so, 2014 was notable for its wealth of short releases. Where my 2013 list had only 10 EPs & 7″ releases, this year I have 25. Continue reading The Turn Me On, Dead Man Best of 2014→
Greece has long had a very active garage/psych scene. Perhaps no one has done more to cultivate Greece’s enthusiastic garage/psych community over the years than George Markou, editor and contributor to Peace Frog and Gew-Gaw fanzines. Many notable bands have appeared on the CDs given away with these fanzines, as well as on the associated Nowhere Street label.
Dig the Now Sound (Thursdays at 10:00 pm eastern on Turn Me On, Dead Man Radio) plays standout recent garage/psych. The featured track this week is “Wars Most Won” by the Chicago band The Thons, self-described “surf scum punks and nice guys, too”. They’ve been waiting for a while for me to post this. We started corresponding in June but the summer has been a busy one for me in ways unrelated to Turn Me On, Dead Man, and I almost lost track of this. Still, Graham (guitar/vocals) and I have kept in touch through the summer. Continue reading The Thons on Dig the Now Sound→
On Led Zeppelin IV (or Untitled, The Runes Album, Zoso or whatever you want to call it), Led Zeppelin listed Memphis Minnie along with the four band members on the songwriting credits for “When the Levee Breaks”. In this case, Led Zeppelin fairly gives credit where credit is due in the creation of this monumental masterpiece. The lyrics follow Memphis Minnie’s original “When the Levee Breaks” but this is not a straightforward cover of that song. Led Zeppelin completely reworked the music into a heavy psychedelic track that bears only a distant relationship to the original. As performed by Memphis Minnie and Kansas Joe, “When the Levee Breaks” is a country blues number with spare but deft instrumentation. Kansas Joe sings and accompanies himself on guitar, while Memphis Minnie plays lead guitar with a “Spanish” tuning, according to Steve Calt in the liner notes for the Yazoo compilation Roots Of Rock (1991). Continue reading When the Levee Breaks→
One of the reasons Jimmy Page liked the name “Led Zeppelin” was that it suggested music that was both light and heavy. Jimmy Page’s vision for the group was to mix heavy, blues-based rock with acoustic, folk-influenced music. In their initial meeting, Jimmy Page and Robert Plant played a number of songs to introduce their musical tastes to each other. One of the songs Jimmy Page chose was an acoustic folk song Joan Baez had performed called “Babe, I’m Gonna Leave You”. Jimmy Page knew from the start that he wanted to rework this song in a style that would become characteristic of Led Zeppelin, contrasting heavy rock with the lighter acoustic sections. “Babe, I’m Gonna Leave You” was included on Led Zeppelin I with the songwriting credits “Traditional, arr. Page”. On recent reissues, however, this song is now also credited to Anne Bredon. Continue reading Babe I’m Gonna Leave You→