Led+Zeppelin

=**[|LED ZEPPELIN]**= **Thank You** has lyrics similar to those of "If Six Was Nine" by Jimi Hendrix. **Tangerine** borrows its first verse (and its music) from an unreleased song by the Yardbirds titled "Knowing That I'm Losing You." This may not count, however, since Jimmy Page //was// in the Yardbirds. **Black Dog** throws out blues references over and over , but this is mostly coincidental.
 * LED ZEPPELIN (1969) **
 * Babe I'm Gonna Leave You **(Anne Bredon) was passed from Bredon, a Berkeley folk singer, to Janet Smith, another  Berkeley folk singer who in turn passed it to Joan Baez.
 * Black Mountain Side ** is a rewrite of Bert Jansch's "Black water side" (trad.)
 * Dazed and Confused **is from //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The Above Ground Sound of Jake Holmes //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">['67, Tower Records ST 5079].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">How Many More Times **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> is a complex mix, beginning with the Howlin' Wolf source "No Place To Go" (aka "You're Gonna Wreck My Life".) "Beck's Bolero," "Kisses Sweeter Than Wine" and Albert King's "The Hunter" are sources for interludes. The song then goes to two Alexis Korner songs, "O Rosie" and "Steal Away" from //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">On the Move //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> ['68]. Both of these songs originated with Alan Lomax field recordings, the first a prison song, the second a religious song that became a freedom song in the Civil Rights movement.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">I Can't Quit You Baby **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">(Willie Dixon) was recorded by Otis Rush in 1958 [Cobra], but his 1966 version on //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Chicago/The Blues/Today //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> [Vanguard] is a more direct influence.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">You Shook Me **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">(Dixon, Lenoir) is a Muddy Waters song.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 16px;">Communication Breakdown **<span style="font-family: 'Times New Roman',Times,serif; font-size: 16px;"> was "inspired" by Eddie Cochran's 1958 song "Nervous Breakdown."
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">LED ZEPPELIN II (1969) **
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Bring It On Home **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">(Willie Dixon) was originally by Sonny Boy Williamson II ['63].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">The Lemon Song **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> is primarily based on Howlin' Wolf's "Killin' Floor" but also takes lines from Robert Johnson's "Traveling Riverside Blues."
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Moby Dick **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">morphed from a version of Sleepy John Estes' "The Girl I Love, She Got Long Curly Hair" into an instrumental with a drum solo. The remaining riffs are similar to Bobby Parker's "Watch Your Step" ['61].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Whole Lotta Love **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">(Dixon) is "You Need Love" by Muddy Waters ['62].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">LED ZEPPELIN III (1970) **
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Gallows Pole **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> derives from Leadbelly's "Gallis Pole."
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Hats Off to (Roy) Harper **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> is a blues amalgam, drawing primarily from Bukka White's "Shake 'Em On Down" and Oscar Woods' "Lone Wolf Blues <span style="font-family: 'Times New Roman',Times,serif; font-size: 16px; line-height: 23px;">, <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; line-height: 1.5;">" but also with bits from Sonny Boy Williamson's "Help Me."
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Since I've Been Loving You **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">drew its lyrics from Moby Grape's "Never" ['68, //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Grape Jam //<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Bron-y-aur Stomp **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> borrows its guitar riff from Bert Jansch’s “The Wagoner’s Lad” ['66; see above for more on this folk song].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">LED ZEPPELIN IV (RUNES/ZOSO) (1971) **
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Stairway to Heaven **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">borrows its opening riff from Spirit's "Taurus."

<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">**Rock 'n' Roll** opens with a drum solo that sounds like that at the beginning of "Keep a Knockin'" by Little Richard.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">When the Levee Breaks ** <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">has its origins in Memphis Minnie's 1929 recording, and although it is much more revised, the song actually credits her name.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">PHYSICAL GRAFFITI (1975) **
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Boogie With Stu **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">is a rewrite of Ritchie Valens' "Ooh My Head" and is credited <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; line-height: 1.5;">to <span style="font-family: 'Times New Roman',Times,serif; font-size: 16px; line-height: 23px;">"Mrs. Valens," Ian Stewart and <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%; line-height: 1.5;">all four members of Zep.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Custard Pie **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">is an amalgamation of several blues sources. Bukka White's "Shake 'Em On Down" is often cited as the source, but more important are Sleepy John Estes' "Drop Down Mama" and Blind Boy Fuller's "I Want Some of You Pie"; Sonny Boy Williamson's "Help Me" also contributes lines.
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">In My Time of Dying **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">has its roots in Blind Willie Johnson's "Jesus Make Up My Dying Bed" ['27] and Charley Patton's "Jesus Is Dying-Bed Maker" ['29], but it is more clearly influenced by Josh White's version ['33, recorded as "Well Well Well" in '44 and "In My Time of Dying" in '45]. Bob Dylan also had a variation of this song ['62].
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">PRESENCE (1976) **
 * <span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;">Nobody's Fault But Mine **<span style="font-family: 'Times New Roman',Times,serif; font-size: 120%;"> was inspired by Blind Willie Johnson's song of the same name, but is largely original.