Jimmy Page Interviewed in the New York Times

On May 15, 2014, The New York Times published an interview with Jimmy Page. He’s remastering Led Zeppelin’s catalog again. I have no problem with his concern about Led Zeppelin’s legacy but then they get around to talking about Led Zeppelin’s music being sampled:

Q. In part because of Led Zeppelin’s classic riffs, you guys are right up there with George Clinton and James Brown as sources for samples. And, of course, you did something yourself with Puff Daddy involving “Kashmir.” So how do you feel about your music being sampled for hip-hop records?

A. In a creative sense, it’s fantastic. Even if you don’t play an instrument, you’re writing new things. These guys come up with some amazing work, in the electronics and the mixing. I find it really fun to listen to. As far as the business side of it, however, the issue of sampling is thorny. The problem is people not getting paid for performances, Across the board, they are being pirated. Their music gets played, and they don’t get paid. I have a problem with that. I really do.

Q. You’ve also been on the other side of that debate, especially on the first couple of Led Zeppelin records, where you were criticized for using the material of Chicago blues greats, especially Willie Dixon, without acknowledging their authorship.

A. Yeah, but he got credited.

Q. But only after a lot of legal wrangling, so I wanted to ask in retrospect how did that happen, and once it was brought to the attention of your management, why did they resist it?

A. I had a riff, which is a unique riff, O.K., and I had a structure for the song that was a unique structure. That is it. However, within the lyrics of it, there’s “You Need Love,” and there are similarities within the lyrics. Now I’m not pointing a finger at anybody, but I’m just saying that’s what happened, and Willie Dixon got credit. Fair enough.

As I’ve said elsewhere, Led Zeppelin is among the greats. Yet I’ve always been bothered by their resistance to cite their sources, even after their not only their success was assured, but their lasting legacy, as well. What this interview shows is that over the years Jimmy Page has learned to choose his words carefully–saying “not getting paid for performances” as opposed to not getting paid for creative work or songwriting, for example–and he’s skillful in framing the issue in such a way as to minimize his own plagiarism. Instead he implicates Robert Plant in Led Zeppelin’s history of not properly citing sources, even though there are numerous examples where he was unwilling to give credit where credit was due (for example, “Dazed and Confused“, “Boogie With Stu”, “Black Mountain Side” and “Tangerine“). Whether the lift was Robert Plant or his own, Jimmy Page had no intention of giving credit to a variety of songwriters and only did so under threat of legal action.

Led Zeppelin: Plagiarism? “Whole Lotta Love”

Robert Plant loved the erotic imagery used by bluesmen and the swaggering sexuality expressed in the blues, so much so that he would often lift lines here and there from various blues classics.  On occasion, however, he borrowed a little too much.  Such is the case with “Whole Lotta Love,” which opens the 1969 album Led Zeppelin II.  “Whole Lotta Love” was initially credited to Jimmy Page, Robert Plant, John Paul Jones and John Bonham.  In 1985, however, Variety reported that Willie Dixon sued Led Zeppelin, claiming that “Whole Lotta Love” was largely plagiarized from “You Need Love,” written by Dixon and recorded by Muddy Waters as a single for Chess Records in 1962.

To be fair, “Whole Lotta Love” is a creative piece of work that demonstrates Led Zeppelin’s originality. The lyrics, however, do not meet this standard. The opening verse of “Whole Lotta Love” (You need coolin’/Baby, I’m not foolin’/I’m gonna send you/Back to schoolin’/Way down inside/Honey, you need it/I’m gonna give you my love) is readily identifiable from Willie Dixon’s lyrics for “You Need Love” (I ain’t foolin’/You need schoolin’/Baby, you know you need coolin’/Woman, way down inside/Woman, you need love) The next verse of “Whole Lotta Love” (You’ve been learnin’/Baby, I’ve been learnin’/All them good times/Baby, baby, I’ve been yearnin’/Way, way down inside/Honey, you need love/I’m gonna give you my love) strays a little from the original, but is still recognizable (You got yearnin’ and I got burnin’/Baby, you look so sweet and cunning/Baby, way down inside/Woman, you need love/You got to have some love/I’m gon’ give you some love). Robert Plant also takes the words from this verse and turns them into a vocal break near the end of the song. In addition, Robert Plant briefly quotes Howlin’ Wolf at the end of “Whole Lotta Love” with the lines “Shake for me, girl/I wanna be your back door man.” Actually, Plant was once again quoting Willie Dixon, as both of the songs “Shake for Me” and “Back Door Man,” though popularized by Howlin’ Wolf, were written by Dixon.

Whole Lotta Love
by Jimmy Page, Robert Plant,
John Paul Jones & John Bonham
(& Willie Dixon)

You need coolin’
Baby, I’m not foolin’
I’m gonna send you
Back to schoolin’
Way down inside
Honey, you need it
I’m gonna give you my love

Wanna whole lotta love

You’ve been learnin’
Baby, I’ve been learnin’
All them good times
Baby, baby, I’ve been yearnin’
Way, way down inside
Honey, you need love
I’m gonna give you my love


You’ve been coolin’
Baby, I’ve been droolin’
All the good times
I’ve been misusin’
Way, way down inside
I’m gonna give you my love
I’m gonna give you every inch of my love
Gonna give you my love


Way down inside woman you need love

Shake for me, girl
I wanna be your backdoor man
Keep it coolin’, baby

You Need Love
by Willie Dixon
performed by Muddy Waters

You got yearnin’ and I got burnin’
Baby, you look so sweet and cunning
Baby, way down inside
Woman, you need love
You got to have some love
I’m gon’ give you some love
I know you need love
You just got to have love
You got to have some love
you make me feel so good
You make me feel alright
you’re so nice, you’re so nice

You are frettin’ and I am pettin’
A lot of good things you ain’t gettin’
Baby, way down inside
Woman, you need love
I know you need love
You got to have some love

I ain’t foolin’
You need schoolin’
Baby, you know you need coolin’
Woman, way down inside
Woman, you need love
You got to have some love
She got to have some love

Robert Plant flippantly discussed this in an interview,

Page’s riff was Page’s riff. It was there before anything else. I just thought, ‘Well, what am I going to sing?’ That was it, a nick. Now happily paid for. At the time there was a lot of conversation about what to do. It was decided that it was so far away in time and influence… Well, you only get caught when you’re successful.

Bear in mind that when Led Zeppelin were recording their second album it had been only seven years since the release of Muddy Waters recording of “You Need Love”. When the lawsuit was filed in the 1980s, a lawyer for the Led Zeppelin’s record company, Atlantic Records, offered only the weak defense, “It’s strange that someone would wait all that time [to file a suit].” The case was settled out of court and recent Led Zeppelin releases have given songwriting credit for “Whole Lotta Love” to Willie Dixon along with all four members of Led Zeppelin. Willie Dixon used the money received from this settlement for the Blues Heaven Foundation, which he founded in 1984. The mission of the Blues Heaven Foundation is to “to help artists and musicians obtain what is rightfully theirs, and to educate both adults and children on the history of the Blues and the business of music.” Until his death in 1992, Dixon worked on behalf of other artists to ensure that they received the royalties they were due for their music.

Though Led Zeppelin had no doubt heard Muddy Waters’s version of “You Need Love”, the version of this song that appears to have most directly influenced them was by the Small Faces. The Small Faces released “You Need Loving” in 1966 and despite the slight retitling, this track is a straightforward interpretation of “You Need Love” that stays close to Muddy Waters’ version.

“You Need Loving” is credited to “Lane/Marriot,” demonstrating that Led Zeppelin weren’t the only ones who were reluctant to give proper songwriting credit. In a 1977 interview with Ray Coleman, Robert Plant referred to Steve Marriot, the lead singer for the Small Faces, as “the master of white contemporary blues.” Perhaps competing with Marriot, Robert Plant sounds very much like the Small Faces’ vocalist during the climactic vocal break (“Way down inside, woman, you need lo-o-ove”). The Small Faces’ “You Need Loving” included a similar vocal break, but Robert Plant draws out this line even more than Marriot had. Where Steve Marriot’s vocal break lasted 14 seconds, Robert Plant stretches this section out to 26 seconds

Marriot Plant Comparison
Robert Plant’s vocal break in “Whole Lotta Love” is nearly twice as long as Steve Marriot’s in “You Need Loving”

Still, Plant expressed humility in the Coleman interview, “I could never be compared with Steve Marriot because he’s too good, unfortunately! He’s got the best white voice, for sheer bravado and balls.” Steve Marriot, however, was not quite as gracious when he spoke about Jimmy Page and Robert Plant. In Steve Marriott: All Too Beautiful, Paolo Hewitt quotes Marriot as saying, “Jimmy Page asked me what that number was we did. I said, ‘it’s a Muddy Waters thing’.” He went on to say that Robert Plant was a big fan of the Small Faces. Marriot claimed, “He used to come to the gigs whenever we played in Kidderminster or Stourbridge,” and he felt that Robert Plant copied his interpretation of “You Need Loving” in “Whole Lotta Love.” “He sang it the same, phrased it the same, even the stops at the end were the same.”

It’s interesting that Willie Dixon never sued Ronnie Lane and Steve Marriot over “You Need Love”. Here Led Zeppelin’s popularity (and reputation as music thieves) made them more of a target for legal action than the Small Faces, even though though the Small Faces had drawn more freely from the original (Steve Marriot also lifted lines from “Land of 10,000 Dances” as he listed off several of the dances from that song). Willie Dixon may not have been aware of the Small Faces version. The only reason Willie Dixon was aware of “Whole Lotta Love” was that when his daughter, Shirli, was 13 years old, she heard the record at a friend’s house. She thought it sounded familiar so she borrowed it and played it for her father. After Willie Dixon’s death, Shirli Dixon-Nelson and Dixon’s widow, Marie, ran the Blues Heaven Foundation. It was through their efforts that the Blues Heaven Foundation moved into the restored Chess Records Studio at 2120 South Michigan Avenue in Chicago.


2120 S. Michigan Ave. in Chicago,
the former offices and recording studios of Chess Records and now the site of the Blues Heaven Foundation