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The Led Zeppelin In-Frequently Mumured Trivia List v1.1

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                              THE
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                   |____|ED  /____|EPPELIN  
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    | |   |  _|            | |\/| |           | |        | |__
    |_|N- |_|  REQUENTLY   |_|  |_|URMURED    |_|RIVIA   |____|IST

                              V1.1

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     0.0 - Table Of Contents

  0   Administrivia

  0.0 Table Of Contents
  0.1 Disclaimer & Distribution Information
  0.2 Introduction



  0.3 Credits
  0.4 Dedication

  1   The Music

  1.1 Pink Carnations, Pickup Trucks And Other Lifts
  1.2 Hats Off To Strange Song Titles
  1.3 What About The Studio Chatter?  Nah, leave it, yeah.
  1.4 Will Someone Answer That Phone!
  1.5 Intuitive Interpretations
  1.6 Miscellaneous Song Trivia
  1.7 Record Store Rock
  1.8 Favourite Songs, Albums

  2   The Band

  2.1 The Golden God : Robert Plant
  2.2 The Sorceror's Apprentice : Jimmy Page
  2.3 The Omnipresent Force : John Paul Jones
  2.4 The Engine Room : John Bonham

  3    Other Trivial Pursuits

  3.01 The Trivia Remains The Same
  3.02 Electric Green Tennis Courts And Other Cover Art
  3.03 Plantations And Other Onstage Musings
  3.04 Trivia Of Illegitimate Origin
  3.05 Meet The Press
  3.06 Zeppelin Miscellania
  3.07 Shaking The Tree
  3.08 Coverdale/Plant
  3.09 Like Father Like Son
  3.10 The Led And How To Get It Out
  3.11 Jimmy And The Beast
  3.12 Zeppelin Mediawatch
  3.13 Breaking Up Is Hard To Do
  3.14 Pezed Pellni Anagrams
  3.15 Nevaeh Ot yawriatS
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     0.1 - Disclaimer & Distribution Information

     Please read the following carefully.

     DISCLAIMER
     The information contained within this file is not claimed to be
     certified, unquestionably, literal truth.  The compiler of the
     document cannot be held responsible for any innaccuracies or any
     damage incurred through the misuse of this information.  Do not
     eat this document, you may do yourself serious harm.  This file
     is not claimed to be the original work of the compiler, it has
     been compiled from a variety of sources, which where known have
     been noted.

     DISTRIBUTION GUIDELINES
     This file is not to be archived in any way shape or form without
     the express permission of the author.  It is not to be posted,
     in whole or excerpted, on the news without the express
     permission of the author.  It is also not to be circulated by
     any Internet service provider as part of its services for any
     fee, no matter how small.  This document is envisioned as being
     mainly for personal amusement, and while you can go ahead and
     print yourself out a copy, you are not permitted to repackage,
     reformat or circulate this document in any way which would
     derive profit, be it monetary, or otherwise, in any way
     whatsoever.  If unavailable, a duly appointed representative of
     the author can grant exemptions to these guidelines as he or
     she sees fit.  However, in all cases the decisions of the
     compiler regarding what is done with this document are to be
     adhered to rigidly, and to the letter.
----------------------------------------------------------------------
     0.2 - Introduction

     A few quick points to begin with:
       1) This is an obscure Led Zeppelin trivia file. :-)
       2) It is not meant to replace the FAQL, supercede, or in
          any way degrade it.  This is purely a companion document,
          and the FAQL should be your first reference point for
          certified information with established accuracy.
       3) This document is flexible, if you have more information on
          any topic here, or a suggestion for an addition, or more
          importantly, and please raise these, a correction, it will
          be acted on.  New sections are already being put together,
          so look out for future updates.  Information will be
          removed from this file if it is felt to be inappropriate
          by the compiler or a substantial body of opinion.
       4) The compiler can be contacted at the following email
          address: 
 This email address is being protected from spambots. You need JavaScript enabled to view it.
 , valid until the
          end of 1995 at least.

      Welcome to the Led Zeppelin Infrequently Murmured Trivia List!
      This list has been compiled by Steven Wheeler, who began this
      most ardous of tasks in May 1994, before presenting the first
      version in October 1995.  The compiler spent many, many man
      hours on this, so flames are NOT appreciated, but on the other
      hand, constructive criticism, suggestions, additions,
      corrections, etc. are more than welcome.
           This document seeks to draw together all the interesting,
      amusing, perplexing, or just plain anecdotal information that
      has arisen on the topic of Led Zeppelin.  At the time that
      the compilation process began, there was no storage place for
      these often quite useful pieces of information.  So, to fill
      that need this document was created.  I hope you find something
      of interest here.
           There are a lot of people that I need to thank for their
      help in compiling this, and I have probably lost the names of
      a lot of you, so please if you see something here of yours, let
      me know so I can credit you.  The ones I have remembered are
      listed in the Credits section.
           Most of all, I view this as me putting something back
      into a Mailing List from which I have dervied a lot of fun and
      enjoyment during my involement.  Thanks y'all!

      Steven Wheeler
      
 This email address is being protected from spambots. You need JavaScript enabled to view it.
 
      Launceston, Tasmania, 30/04/95.
      Last Updated : 06/11/95.
----------------------------------------------------------------------
      0.3 - Credits

      As mentioned above, there are a lot of people I have to thank
      for assisting me in putting this file together.  My primary
      source was the Digital Graffiti mailing list, so the first
      thankyou goes to everyone who been associated with that over 
      the years.
      This is a list of people who have either provided me with
      information directly, or who are authors of files at the ftp
      site I utilised, or who posted notable contributions to the
      list from which I was able to glean useful information.
           Thor Iverson, Kingston Arthur, Hugh Jones, David S.
           Koukourou, Maurice Maes, Matt Hill, Steve Portigal,
           Steve Kilpatrick, Ville Silltanen, Risto 'Rise' Pohjonen,
           J.D. Falk, Brian Sagar, Brett Noris, Chris Milazzo,
           Michael Chilton, Matt McGrath, Larry Ratner, Colin Irwin,
           Phil Humphreys, Michael Gallagher, Theresa
           Regli, Michael Ayoob, Dave Wright, Scott Miller, Bryan
           Durall, K.T. Scott, Aaron W. Proulx, Timothy Lindsey,
           J.D. Considine, Percy, Glenn M. Saunders, Stephen Minnoch,
           Mark S. Nyhus, Buster Harvey, Rich Kellerman & Cliff
           Weaver, Scott Swanson, Duncan Watson, and Bill O'Neill.
     In addition to this, my primary resource for cross-checking
     various pieces of information was Dave Lewis's excellent "Led
     Zeppelin: A Celebration".  Highly recommended for any Zeppelin
     fan, an unparallelled Zeppelin reference work.  Additionally,
     Dave Lewis's "Complete Guide To The Music Of Led Zeppelin" also
     proved rather useful, and again, highly recommended.  Many
     magazines provided sources for ideas and information as well.
     Among them: Mojo, Rolling Stone, Guitar World, Q, Vox, Guitar
     Player and Record Collector.
     A big thank you also to the proofreader of this opus, fellow
     COBOL++ enthusiast, beaver keeper and highway chile Mr. Andy
     "Speed-Racer" Wagliardo.
----------------------------------------------------------------------
     0.4 - Dedication

                 "To the memory of Ayrton Senna da Silva
                                1960-1994

           To the heroes who prove, by the events of their lives
                         and sometimes their deaths,
                 that some dreams are worthy of any price
                    and bring adventure back to a world
                          without knights in armour."

       Taken From "Darklord Of Mystara" by Thorarinn Gunnarsson.
----------------------------------------------------------------------
     1.1 - Pink Carnations And Pickup Trucks

     Blues tradition has never had a problem with artists borrowing 
riffs, lyrics or techniques from other artists.  Given the extensive 
grounding in the blues that Led Zeppelin had, it is unlikely they 
were acting in anything but this spirit when they entered the studio 
to add their own touches, revisions and additions to the blues legacy
of artists that preceeded them.  In some cases this got them into 
serious copyright trouble, a lot of which was to do with the lyrics.  
In an interview with _Guitar_World_ in December 1993 Jimmy Page said,

            "As far as my end of it goes, I always tried to bring 
        something fresh to anything that I used.  I always made sure 
        to come up with some variation.  In fact, I think in most 
        cases you would never know what the original source could be.  
        Maybe not in every case, but in most cases.  And Robert was 
        supposed to change the lyrics, and he didn't always do that -
        which is what brought on most of our grief.  They couldn't 
        get us on the guitar parts or the music, but they nailed us 
        on the lyrics."

 o "Babe I'm Gonna Leave You" - On all the box set releases, and re-
   releases since 1990, a credit has been added for Anne Bredon, an
   obscure folk musician who wrote and recorded the original song in
   the 1950s.  Back in the 1980s her son was intrigued to hear his
   mother playing what he and the rest of the world thought was a
   Led Zeppelin song.  After asking her why she was doing this, a
   quick trip to a solicitor saw her name added and her contribution
   recognised.  Led Zeppelin's version is not that reminiscent of
   Bredon's original though, the Zeppelin version borrows from Joan
   Baez's cover of the song.  When Jimmy and Robert got together at
   Jimmy's Pangbourn home in 1968 to evaluate each other, Page told
   Plant he had an arrangement of this song in mind which had a lot
   of "light and shade".  Contrary to what Richard Cole claims, 
   Plant did not pick up a guitar and play Page the riff, because he
   didn't play guitar at the time, and both Page and Plant have both
   said it was Jimmy that played the riff for Robert, and not the
   other way around.
 o "You Shook Me" - The song is a cover of a Willie Dixon song of the
   same name.  The following extract from the song is borrowed from 
   Robert Johnson's "Stones In My Passway" : 'I have a bird that 
   whistles, and I have birds that sing, I have a bird that whistles,
   and I have birds that sing.'  Prior to Zep's cover of this
   song, the Jeff Beck group released a cover on their album "Truth"
   and Beck later claimed Page copied his arrangement.  The truth of
   the matter is, though, that it was a very popular cover in England
   at the time, and including it on their album did not amount to the
   plagiaristic claim Beck levels at Led Zeppelin.  The song was
   originally recorded by Muddy Waters.
 o "Dazed and Confused" - This began as an acoustic folk tune in 
   the sixties by New York folk singer Jake Holmes before Page re-
   arranged it for the Yardbirds as "I'm Confused."  The song first
   appeared on Holmes's 1967 album "The Above Ground Sound Of Jake
   Holmes".  For the Yardbird's version, the title and the lyrics
   were changed, completely altering the original meaning of the
   song, which in Holmes' version is about an acid trip.  For their
   cover Led Zeppelin revived the original title, but not the lyrics
   nor the original meaning.  The reason the Yardbirds changed the
   title was probably to avoid legal action, in the same way they
   changed the title of "Train Kept A-Rollin'" to "Stroll On" for 
   the "Blow Up" soundtrack.  On the Page-vetoed "Live Yardbirds 
   Featuring Jimmy Page" the song is listed as "I'm Confused".  The
   guitar solo following the bowing section was lifted intact from 
   the Yardbird's "Think About It" where it was originally composed 
   and played by Page.  The violin bow technique Page uses during
   the song is territory he had previously explored with the 
   Yardbirds on "Glimpses" and "Tinker Tailor Soldier Sailor".  John
   Paul Jones's bassline is from the Yardbirds version, where Paul 
   Samwell-Smith was the bass player.
 o "Black Mountain Side" - According to Page, "I wasn't totally 
   original on that riff.  It had been done in folk clubs a lot.  
   Annie Briggs was the first one that I heard do that riff.  I was 
   playing it as well, and then there was Bert Jansch's version."
   However, Briggs cites her source for the song as being Bert Lloyd,
   a collector of old folk songs, who according to Briggs assembled
   the song from fragments.  The riff though, again according to
   Briggs, comes from Stan Ellison, who composed the accompaninment
   on the version Briggs recorded.  Bert Jansch went and wrote a
   different guitar part for his version which appeared on his 1966
   album "Jack Orion".  Page probably learned the old Irish folk song
   from folk musician Al Stewart during a session where Page turned
   up to play on Stewart's cover of the Yardbird's song "Turn Into
   Earth", the b-side for his single "The Elf".  Stewart recalls
   that between takes he showed Page how to play the riff and that
   Page seemed really taken with it.  Stewart later realised though,
   that he showed Page the wrong tuning for what he thought was
   Jansch's version, D modal, but which wasn't.  That actual tuning,
   DADGAD is acknowledged as an invention of folk musician Davey
   Graham.  Out of this confused set of sources, Jansch apparently
   contemplated legal action but those acting on his behalf gave up.
   Viram Jasnai plays tabla drums to add a feel similar to an Indian
   raga.
 o "Communication Breakdown" - Borrows from Eddie Cochran's "Nervous 
    Breakdown."
 o "I Can't Quit You Baby" - Originally by Willie Dixon, a Page
   arranged version found it's way onto the first album.  A live 
   version, not the soundcheck as claimed, appears on Coda.

 o "How Many More Times" - The song is in part inspired by Howlin' 
   Wolf's "How Many More Years."  Prior to Led Zeppelin, Plant 
   played this in the Band of Joy with John Bonham.  Page takes his 
   solo from The Yardbirds "Shape Of Things."  The imagery of "Rosie"
   and "The Hunter" is borrowed from Albert King's "The Hunter", 
   which was most likely originally by Booker T. and the MGs, some 
   of whom formed a backing band for Albert King for a while.  
   Zeppelin's version is lyrically related to a cover called "How
   Many More Times" by Gary Farr and the T-Bones (from liner notes by
   Giorgio Gomelsky, one-time producer of The Yardbirds).  At one 
   point during the instrumental section the band play an excerpt 
   from the Page composition, "Beck's Bolero."  The main riff from 
   the song is very similar to that of the song "Night Comes Down", 
   which Page played on during his session days.  A song by Howlin' 
   Wolf, who Jimmy claims is who he thought he was borrowing from,
   called "Come Back Home (Take 1)" features a very similar riff as 
   well.  This song can be found on "Howlin' Wolf: Memphis Days - The
   Definitive Edition Volume 1" on Bear Family Records.  It has been 
   remarked upon that the riff also has a vague similarity to the one
   from Pink Floyd's "Money".
 o "Whole Lotta Love" - The riff is Page's but the lyrics are taken 
   from Willie Dixon's "You Need Love."  Plant has said, 
        "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 (it was in fact 7 years) and 
        influence that...well, you only get caught when you're 
        successful.  That's the game."
   The middle section which was edited for the original release as a
   single features Page and Eddie Kramer doing a lot of "random knob 
   twisting."  Apart from that, sounds of sirens, screams, demolition 
   sounds, an orgasmic wail from Plant can be heard.  Page also uses 
   backwards echo, a technique he pioneered with the Yardbirds and in 
   a Mickie Most session.  In 1985 Willie Dixon sued the band over 
   their use of his lyrics.  An out of court settlement was reached.
   A similar `sound' is achieved by the Small Faces on their 1966 
   debut album with the track "You Need Loving."
 o "The Lemon Song" - This track, cut live in the studio, is an 
   amalgam of Led Zeppelin's blues influences.  The major influence 
   for this was Howlin' Wolf's "Killing Floor."  With lyrics and an 
   instrumental section borrowed from it, it is not surprising the 
   band was sued for it.  The suit was settled out of court.  The 
   "squeeze my lemon" sequence comes from Robert Johnson's 
   "Travelling Riverside Blues."  It is likely that Johnson borrowed
   this himself, from a song recorded in the same year, 1937, called
   "She Squeezed My Lemon."  Albert King's "Cross Cut Saw" was also 
   an influence.  Some lyrics are also common to Lightning Slim's 
   "Hoodoo Woman", such as `You take all my money and give it to 
   another man'. "Killing Floor" has also been recorded by Jimi 
   Hendrix, notably.
 o "Moby Dick" - Originally titled "Pat's Delight" after Bonham's 
   wife Pat, the version that appears on "Led Zeppelin II" was edited
   down from a much longer version.  The riff is from the track that 
   the band recorded for the BBC on June 16th 1969, "The Girl I Love"
   that was never used.  That song was originally written by Sleepy 
   John Estes under the title "The Girl I Love, She Got Long Curly 
   Hair."  Some of the drum parts were lifted from George 
   Suranovich's drum solo from the Arthur Lee song "Doggone."  The 
   Led Zeppelin equivalent for Bonham of Cream's "Toad" for Ginger 
   Baker, some of the inspiration was probably derived from there.  
   The guitar part also draws on a song from Bobby Parker, the
   bluesman Page tried to sign to Swan Song, that song being "Watch
   Your Step."  The song can be found on Parker's album "Bent Out Of
   Shape."  But the story does not stop there.  Parker, in  the liner
   notes for "Bent Out Of Shape" recalls, `It was a takeoff on 
   "Mantecna" by Dizzy Gillespie.  I started playing the riff on 
   guitar and decided to make a blues out of it."  The Spencer Davis
   Group in the UK, with Steve Winwood on vocals, covered the tune 
   where it was a big hit.  John Lennon said the guitar for riff on
   "Day Tripper" started  out as a variation on this theme.
 o "Thank You" - Robert wrote the lyrics for this touching ballad 
   for his wife at the time, Maureen.  The guitar in this song has 
   chordal similarities to Traffic's "Dear Mr. Fantasy."  Rumour has
   is that Page during his days as a session player was the guitarist
   on that particular song, although this is unproven.  Additionally,
   some of the lyrics are taken from an earlier song by Jimi Hendrix,
   "If 6 Was 9", from the "Axis: Bold As Love" album.
 o "Bring It On Home" - The beginning and end of this song draw 
   directly from the original verison of this song by Sonny Boy 
   Williamson, who performed it under the same name.  Zeppelin even 
   tried to recreate the peculiarities of Williamson's voice at the 
   beginning for the opening section.  To do this, Robert Plant is 
   singing through a harmonica microphone and amplifier.
 o "Since I've Been Loving You" - Features a brief lyrical nod to 
   Moby Grape's "Never."
 o "Out On The Tiles" - The lyric `see my rider right by my side' 
   bears a distinct resemblance to Robert Johnson's `Goin' to 
   Rosedale with my rider by my side' from his song "Travelling 
   Riverside Blues".
 o "Gallows Pole" - A new version of a traditional folk song which
   according to Dave Lewis can be traced back to Leadbelly, whose
   version was called "The Gallis Pole."  The version this draws more
   on was by Fred Gerlach.  The song "The Hangman's Knee" on Jeff 
   Beck's "Beck-Ola" album employs a similar lyrical theme, that of 
   the appeal to the hangman.  Leadbelly's "The Gallis Pole" actually
   has the line, `Friend, did you get me silverm friend you get me
   gold, what did you get me dear friend, keep me from the Gallis
   Pole?', and he then repeats that line substituting friend for
   father, mother and wife.
 o "Tangerine" - A Page composition left over from his days in the
   Yardbirds, written for his girlfriend at the time, Jackie
   DeShannon.
 o "Bron-Y-Aur Stomp" - The introduction is lifted from 
   "The Waggoner's Tale" by Bert Jansch, a traditional song.  The
   subject matter, Plant's dog, includes a few lifts from the 
   traditional folk tune "Ole Shep" where the dog in question had 
   its existence terminated for some obscure reason.  Plant's dog is
   named "Strider" and is, according to the song, "a blue-eyed 
   merle".
 o "Hats Off To (Roy) Harper" - The lyrics to this song draw heavily 
   on Bukka White's "Shake 'Em On Down."  Also covered by Joe Lee
   Williams and Blind Lemon Jefferson.
 o "Black Dog" - Page admitted recently that the vocal arrangement on
   this song was influenced by Fleetwood Mac's "Oh Well."  The song 
   is built around a bass riff by John Paul Jones.
 o "Rock And Roll" - The drumbeat borrows from the drumbeat from 
   Little Richard's "Good Golly Miss Molly/Keep A Knockin."  Page has
   said that they were trying to achieve a similar feel to those 
   songs.  Ian Stewart plays piano.
 o "Stairway To Heaven" - It has been murmured that there is a vague
   similarity between the opening notes of this song and those of a
   song by Johnny Rivers called "Summer Rain".  Another suggested
   source for the introduction chords is The Chocolate Watch Band's 
   "And She's Lonely".  The solo chords are also similar to the 
   chords of Dylan's, and Hendrix's, "All Along The Watchtower", 
   though the chord progression is hardly uncommon and any direct 
   influence is also unlikely.
 o "When The Levee Breaks" - A radically different version of an old
   blues song originally written and performed by Memphis Minnie and 
   Kansas Joe McCoy which they recorded on June 18, 1928.
 o "The Song Remains The Same" - The beginning of the song, and the
   layered chords that give the song its impetus is a very similar 
   effect to that used by Jimmy on the Yardbird's ong "Tinket Tailor 
   Soldier Sailor" from the "Little Games" album.  The resemblance 
   is quite apparent even to a casual listener, and, the song also 
   features some early experimentation from Jimmy with the violin 
   bow, which was to become his trademark in later years.  The violin
   bow also appears on another track from that album, "Glimpses".
 o "The Crunge" - A play on James Brown's "Sex Machine", complete 
   with lyrics about missing bridges.  In this song Brown frequently 
   says "Take it to the bridge, take it to the bridge" and as "The 
   Crunge" has no bridge, the search for the bridge at the end can be
   explained by this.
 o "D'Yer Mak'er" - Initially an attempt to recreate a 1950's doowop
   feel, Rosie and the Originals, although this was warped by a 
   subtle reggae influence.
 o "Custard Pie" - The lyrics to this song also draw on bluesman 
   Bukka White's "Shake 'Em On Down."  Other reference points that
   Dave Lewis cites are Sonny Boy Fuller's "Custard Pie Blues,"
   Blind Boy Fuller's "I Want Some Of Your Custard Pie," and Big
   Joe William's "Drop Down Daddy," which was the most important of
   these three.  However, the earliest source for this seems to be
   Sleepy John Estes song "Drop Down Daddy" in 1935, which preceeds
   Blind Boy Fuller by five years.  Sonny Terry covered it with the
   title "Custard Pie Blues."
 o "Trampled Underfoot" - The lyrics are thematically similar to 
   those in the song "Terraplane Blues" by Robert Johnson, and more 
   recently the Rolling Stones' "Brand New Car."
 o "In My Time Of Dying" - Page borrows a riff from Bob Dylan's 
   version on his first album.  The song was recorded by Blind Willie
   Johnson as "Jesus Make Up My Dying Bed", which has more in common
   with the Zeppelin version than Bob Dylan's.  The Animals song 
   "Bury My Body" also features some of the lyrics of this song,  
   "Leave me, Jesus  leave me.  Why don't you meet me in the middle
   of the air.  And if my wings should fail me, won't you provide me
   with another pair", albeit altered slightly.  The Animals give 
   credit to Al Kooper for their version.  Kooper jams with Hendrix 
   on "Electric Ladyland" and his most recent work is doing 
   soudntracks, such as the NBC series "Crime Story".  While he may 
   have written the music for the Animals, the lyrics are most 
   certainly derivative of "Jesus Make Up My Dying Bed".  Plant has
   cited Josh White's 1933 song "Jesus Make Up My Dying Bed" as a
   source for Zeppelin.  A similar version appears on the self-titled
   album by the Canadian band Fear Itself, whose "In My Time Of 
   Dying" is credited to Ellen McIlwaine, the band's lead singer and 
   slide guitarist.  Besides many musical and length similarities, 
   the Fear Itself version ends with the line, "My dying... cough."
 o "Kashmir" - The way the string section echoes around Page's guitar
   in this song harks back to the earliest Page and Jones 
   collaborations, such as on the Yardbird's song "Little Games" 
   where Jones's arrangement for the strings seeks to achieve a 
   similar effect.
 o "Down By The Seaside" - A guitar section in the song apparently 
   sounds reminiscent of "Signs" by the Five Man Electrical Band, 
   however, "Signs" was released in August 1971 while Zeppelin had
   been working on "Down By The Seaside" since 1970, so any
   resemblance between the songs is likely to be the other way
   around.
 o "Ten Years Gone" - Part of this song, the slow part then the 
   several chord lead into the solo, sounds like the opening bars of 
   "Band On The Run" by the Beatles or the part where the Beatles 
   lyrics go `If we ever get out of here.' 
 o "Boogie With Stu" - This track features the "sixth" member of the
   Rolling Stones, the late Ian `Stu' Stewart, and it borrows from 
   Richie Valens "Ooh My Head," which in turn was based on Little
   Richard's "Ooh My Soul."  There is a credit on the track for Mrs.
   Valens, Richie's mother, as the band heard his mother never got 
   any royalties from Richie's songs.  The result was that the band
   was sued!  A working title dreamt up by Plant was "Sloppy Drunk."
 o "Nobody's Fault But Mine" - The lyrics are borrowed from Blind 
   Willie Johnson, although the song has thematic similarities with
   Robert Johnson's "Hellhound On My Trail."  Robert Plant has the
   following to say about this song, "First of all, it's public 
   domain because he's been dead so long, and secondly it wasn't his
   song in the first place - nobody knows where it comes from."
 o "Candy Store Rock" - During the `Nanananananananah, yeah' vocal 
   section the riff being played as the same one in "Walter's Walk"
   which is being played as Plant sings `I've been walking the floor
   over you'.  One of the bass riffs resembles one from "The Wanton
   Song".
 o "Hots On For Nowhere" - A riff from this song might also have been
   borrowed from "Walter's Walk".
 o "In The Evening" - James Carr has a song entitled "In The Evening,
   When The Sun Goes Down", but the two are not similar.
 o "I'm Gonna Crawl" - Dave Lewis points to the influence of people 
   such as Wilson Pickett, O.V. Wright, and Otis Redding.  Lewis 
   cites Pickett's "It's Too Late" as a reference point.
 o "Poor Tom" - Owen Hand, a little-known friend of Bert Jansch
   recorded a couple of albums during the 1960s, one of which 
   featured the song "She Likes It", shares a few licks with "Poor
   Tom".
 o "Darlene" - This song features a line borrowed from Don McLean's 
   "American Pie".  "With a pink carnation and a pickup truck..."
 o "We're Gonna Groove" - Originally written by Ben E. King and James
   Bethea, Led Zeppelin recorded this way back in 1969.
 o "Travelling Riverside Blues" - Like "When The Levee Breaks" this 
   is a much changed cover of an old Robert Johnson song originally
   recorded in 1937.  The song "Don't Know Where I'm Going" by Norm
   Gallagher also features the section about the `rider', although
   it is obvious that Gallagher also borrowed this section from 
   Johnson.  Moving from the lyrics to the music, there are some 
   lifts from Johnny Winter's "Leavin' Home Blues" and another Johnny
   Winters song, "I'm Yours She's Mine".  This song was performed
   rather unsteadily by the Rolling Stones at their free Hyde Park
   Concert in 1969, and although credited to Jagger and Richards, is
   usually credited to Johnny Winter.
 o "White Summer" - This Page composition draws upon Davey Graham's
   "She Moved Through The Fair", credited to a traditional 
   arrangement, but performed in a DAGDAD tuning.  Interestingly,
   when page performed the "White Summer/Black Mountain Side" medley
   live he also frequently played an excerpt of Bert Jansch's 
   "Casbah".  A 40 second excerpt was played by Page at the Anderson
   Theatre Yardbirds concert that appeared on a quickly withdrawn
   album, "Live Yardbirds With Jimmy Page".  Another Page performance
   of this medley, at a 1969 concert at Houston, Texas, includes a
   section of the Anne Briggs song "Go Your Way My Love", also
   recorded by Bert Jansch a year later than Briggs in 1967.  Page
   also tossed in bits and pieces of the never completed instrumental
   "Swan Song" to this medley when playing live in the late 1970s.
----------------------------------------------------------------------
     1.2 - Hats Off To Strange Song Titles
    
    Even a cursory glance at the Zeppelin back catalogue would cause
most music buyers some puzzlement as they struggled to pronounce
"Bron-Y-Aur" or scratched their head in wonderment at a song title
like "The Lemon Song".  In many cases the cause of this confusion
can be cleared up quite easily with a bit of research in blues
history, or the band's history, or the most valuable account, that of
the primary songwriters for the band, Page and Plant, the latter of
whom wrote the lyrics and most likely came up with titles for a lot
 of the songs.

 o "Dazed and Confused" - The title neatly fits both the original 
   lyrics about an acid trip and Plant's diatribe on getting the
   runaround from a woman.
 o "The Lemon Song" - The title is drawn from the "squeeze my lemon" 
   lyrics in the song which are borrowed from Robert Johnson's 
   "Travelling Riverside Blues."  Elements of the song use Howlin'
   Wolf's "Killing Floor" as a source, the title of which is a
   synonym for being in serious trouble, or being mistreated.
 o "Living Loving Maid (She's Just A Woman)" - Thought to be a
   reference to an aging and persistent groupie on early American
   tours.
 o "Out On The Tiles" - The title means the same as a slang term such
   as `Out On The Town.'  Page recently said that song may have drawn
   on some drunken lyrics Bonham came up with about drinking such as
   `Now I'm feeling better because I'm out on the tiles.' 
 o "That's The Way" - Another song written during the highly
   productive  time Page and Plant spent together at the cottage,
   this was originally titled, "The Boy Next Door."  
 o "Bron-Y-Aur Stomp" & "Bron-Yr-Aur" - The title, which is correctly
   spelled `Bron-Y-Aur,' and, pronounced `Bron-Yar,' is the name of a 
   derelict cottage in South Snowdonia in Wales where Page and Plant 
   retreated to write some songs and get to know each other before 
   the third album was recorded.  It has been attributed as having 
   several meanings, and Welsh is a language best left to the Welsh.
   The most common translation is "breast of gold."  Another version 
   is offered by Cameron Crowe, "...Bron-Y-Aur, so-called for the 
   stretch of sun that crossed the valley every day."  The working 
   title for "Bron-Y-Aur Stomp" was "Jenning's Farm Blues."  This 
   early version was quite different from the song that finally 
   appeared on the album, particularly as it was not acoustic.
 o "Hats Off To (Roy) Harper" - Roy Harper is an eccentric folk 
   singer who was a friend of the band.  Harper is perhaps better 
   known for his involvement with Pink Floyd, and David Gilmor in 
   particular.  Harper can also be heard on the Pink Floyd song 
   "Have A Cigar," and a variety of recordings with Jimmy Page.
 o "Black Dog" - Named after a black labrador that was a frequent 
   visitor to the Headley Grange studio during recording sessions.
   According to "Unplugged" producer Alex Coletti, this dog is the
   one that can be seen during the Slate Quarry sections of the MTV
   "Unledded" special.  However, this seems exceedingly unlikely,
   and the dog in the "No Quarter" video is a black Russian
   wolfhound, which may or may not be related to the dog in Plant's
   "Little By Little" video.  Additionally, onstage, Plant used to
   introduce "Black Dog" saying how the dog was `...too old to
   boogie anymore..." and "...he'd go down the road to boogie with
   his old lady and be too tired to get back home...'
 o  "Misty Mountain Hop" - The title is drawn from "The Hobbit" by
   J.R.R. Tolkien, the Misty Mountains being a location in the book.
 o "Four Sticks" - Bonzo plays the drums with four sticks, two in
   each hand, hence the title.
 o "The Song Remains The Same" - Originally titled "The Overture" 
   when it was an instrumental before Robert added lyrics.  This
   song was also known as "The Campaign" at one point.
 o "The Rain Song" - The working title for this song was "Slush",
   a reflection on its smooth, flowing nature.
 o "The Crunge" - The title and lyrics are a parody of what Dave
   Lewis calls `...the James Brown/'take it to the bridge' school
   of funk mannerisms.'  The song is rendered undanceable however
   by Bonham's beat and the band `...named this non-dance cult 'The 
   Crunge'...'  There were plans at one stage to release this as a
   single with the cover being a picture of the band doing the dance
   steps for the song.
 o "D'Yer Mak'er" - The title to this song is pronounced in the same
   way as "Jamaica" and may have several meanings.  The song sounds 
   a bit like reggae so the title may be a reference to that.  Also 
   possible is that the title is drawn from an old music hall joke 
   along these lines,
        `Two men are sitting in a pub. One says to the other, "Me 
        and muh wife are goin' to the west indies." The other asks 
        "Jamaica?"  The first one replies, "No, she wants ta go."'
   Another school of thought has it that D'Yer Maker is a Jamaican 
   term equivalent to the phrase `Did you make her?' or `Did you 
   score?'  Plant has been attributed as saying this, although no 
   firm reference has ever surfaced.
   Yet another theory is that it is a British/American term as in the
   Beatles' "Lovely Rita": `Thinking that he has already made her...'
   In conclusion, it is probably a combination of elements of these
   theories, and when said with a Cockney accent it apparently sounds 
   very much like `Jamaica.'  Knowing Plant's lyrical style, and 
   preoccupation with the opposite sex, sexual connotations are
   highly likely.
   However, the answer to this was provided by John Paul Jones in a
   1993 radio interview, celebrating the 25th Anniversary of the
   formation of Zeppelin, where he indicated that the name comes
   from the jokes about the wife going on holiday.
 o "Kashmir" - As the geographically aware would have noticed, 
   Kashmir, the place, is not in, or even anywhere near, Morocco, 
   which was the inspiration for Plant's lyrics.  The lyrics describe 
   a car trip Page and Plant took across the Moroccan desert, yet 
   Kashmir, not really a specific city, more of a region, is 
   comprised mostly of fertile farmlands.  Furthermore, it is 
   situated at the foothills of the Himalayas, the tallest mountain 
   range in the world, and has been the subject of fighting between 
   muslims for years, fighting which contines to this day.  About the 
   only thing that Kashmir might have in common with the song is it's 
   history of religious mysticism, which would attract Plant, 
   although there is no record of any band member ever having visited 
   there.  The lyrics describe sand, heat, and endless desert, so the 
   choice of song title is hard to explain.  It may be Plant trying 
   to evoke the imagery of some sort of metaphorical "paradise", in 
   the same way people talk about places like Hawaii.  However, he 
   has the terrain and geography completely wrong.  Most likely, he
   just though that the title just sounds great, which it does.  The
   song was originally titled "Driving To Kashmir".
 o "The Wanton Song" - Despite also being the name for a type of 
   Chinese appetizer similar to a spring roll, although it's spelled
   Won Ton, this title is more likely a reference to `wantonness'
   which dictionaries variously define as capricious, luxuriant,
   licentious or sportive, and generally more fun than Chinese
   appetizers.
 o "Black Country Woman" - This song was originally know as "Black
   Country Woman (Never Ending Doubting Woman Blues)," in reference
   to a final spoken line from Plant that was left off the album
   version, `What's the matter with you mama, never-ending, nagging,
   doubting woman blues.'  The `Black Country,' the area around
   Birmingham where Plant and Bonham were from, was so known because
   it had formerly been an important iron-working and coal-mining
   district.  Whether the women in the area have assumed distinct
   characteristics as the title infers is open to debate.
o "Boogie With Stu" - The song is named for the participation of the
   Rolling Stones resident boogie-woogie pianist Ian Stewart, who was
   for a time a member of the Rolling Stones, but was deemed `too 
   normal' by then-manager Andrew Loog Oldham and subsequently became
   the band's roadie and long-term associate until his death in 1985
   while the Stones were working on the "Dirty Work" album.  The
   snippet of honky tonk piano at the end of side two of that album
   is their triubte to him.
 o "Achilles Last Stand" - The recording of "Presence" was a
   magnificent achievement considering Plant was confined to a
   wheelchair the whole time due to his car accident.  Legend has
   it that the first time this song was played back to him after he
   had done the vocals Plant fell out of his wheelchair he was so
   taken with it.  Given that he had a broken heel at the time and
   his superb vocal performance on this song the title may well be
   self-explanatory.
 o "South Bound Saurez" - The title is a mispelling of "suarez", a
   Spanish word for a party, similar to the French "soiree".
 o "Carouselambra" - The name is a reference to the band thinking
   the song sounded a bit like Carousel music.
 o "All My Love" - The working title for this song was "The Hook",
   due to its commercial nature.
 o "Poor Tom" - The title refers to the main character in the song,
   the ubiquitous Tom, who was the seventh son, and thus did not
   inherit any land or property and was poor in terms of material
   possessions.
 o "Ozone Baby" - The title may be some sort of dated equivalent to
   bimbo, or airhead, with similar connotations.
 o "Wearing And Tearing" - A gesture from the band to the emerging 
   punk music genre, which harboured a pathological dislike of the 
   band, which never failed to mystify Page, seeing them as rock 
   `dinosaurs.'  This  may be regarded as a sort of `we're just as 
   screwed up as you are' type response to the punk movement's
   disdain for the band.  Plant has been attributed as saying it is
   partly about the lifestyle of a rock star which certainly fits in
   with this idea and the hectic feel of the song.
 o "Jennings Farm Blues" - The title of this unreleased song,
   although it is available on bootleg studio outtakes, is the name
   of the farm where Plant lived at the time of the song.
----------------------------------------------------------------------
     1.3 - What about the studio chatter?  Nah, leave it, yeah.

     Across the Zeppelin catalogue, various songs incorporate some 
form of additional dialogue.  This ranges from unintelligible
background chatter to timeless lines such as "Shall we roll it 
Jimmy?"
 
 o "You Shook Me" - The way this song is produced there are echoes
   all over the place, and if you turn the volume right up and listen
   to it on headphones, occasionally you can hear faint sounds such
   as at 0:24 in the left speaker which sound like far off voices.
   Much more obvious is Plant's laugh at 1:45, and his "Ooh, ooh,
   ohh..." at 3:18.  Harder to pick is what sounds like Plant
   crooning something along the lines of "Doobee-doo-doo..." at 4:45,
   which you can just make out through the static in the right
   speaker if you listen very closely.  A few other miscellaneous
   moans from Plant can be heard at 3:35 and 3:56.
 o "Your Time Is Gonna Come"  - Right at the very end of the song,
   just as the first notes of "Black Mountainside" are about to be
   played, and this is first noticeable at about the 4:33 mark, Plant
   can be heard to say what sounds like 'Wait for ya, Wait for ya...'
 o "Friends" - Before the song starts and for the first few moments
   once it begins talking can be heard in the background, what is 
   being said though is impossible to make out.  However, at about 
   the 0.09 mark, just as the bass guitar starts, Jimmy can be heard
   to exclaim 'Fuck!'  About the same time someone can be heard 
   saying 'Ssh!'  Why Page says this is not clear, maybe Jones 
   started before he was ready, and possibly the other person was 
   telling the people speaking in the background to quieten down.  
   One of the voices in the right channel sounds like Peter Grant.
 o "The Lemon Song" - Plant can be faintly heard to yell something
   unintelligible at the 1:58 and 2:04 points in the song.  This can
   be heard in the left channel.
 o "Since I've Been Loving You" - Just before Page's solo starts 
   Plant shouts 'Watch out!'  This happens around 3:38 into the song.
   Also worth noting is Plant's "Oh..." at the 53 second mark as Page
   and Bonham really begin to wind up.
 o "Out On The Tiles" - Between the 10 and 11 second marks a voice 
   can be heard in the left channel to say what sounds like `Stop.'  
   Also, at the 1:23 mark Page clearly says `Stop'.  He did this to
   remind himself to get the timing straight on the riff because he 
   kept screwing it up in practice.  Or so rumour has it.  However, 
   the voice actually sounds more like Plant than Page, and the 
   rumoured explanation for that is that Page was making faces at him
   as he was trying to do the vocal track.
 o "Tangerine" - The count in which goes 'one, two' and then barely
   spoken, 'one, two, three, four, one, two,' is provided by Page.
 o "The Crunge" - at the end of the song in a continuation of the 
   final lyrics about looking for a bridge, Plant asks, 'Where's that
   confounded bridge?'  Anyone in doubt as to whether it's Plant 
   should have a close listen to the version of "Whole Lotta Love" on
   the bootleg of the 13/7/73 Detroit show.  During the theremin 
   section Plant exclaims, `Where's that confounded bridge?!' in 
   exactly the same voice as he does on the studio version of "The 
   Crunge".  Jimmy and engineer George Chkiantz can be heard talking
   before Bonzo comes in on the intro.  The conversation sounds 
   something like,
    Jimmy Page      : "One more straight away George."
    George Chkiantz : "You like it?"
    Jimmy Page      : "Right... [obscured by the start of the song]"
 o "The Ocean" - at the start of the song Bonzo says, 'We've done 
   four already, but now we're steady, and then they went, one, two, 
   three, four...'  He is referring to the number of previous takes 
   they had done on the song.  Also, at the 4:20  mark Plant very 
   clearly half sings "Oh, so good".  This song also features some 
   rather unusual, for Zep, backing vocals which start around the 
   3:40 mark in the form of 'Doo wop doo, doo wop doo...'  Also at 
   this point, buried in a background part of the mix Plant can be 
   heard to say `I'm sorry, I'm sorry, I'm sorry, yeah'.  He then 
   does some `woo-hoo-hoo' style harmonising before apologising 
   again.  There is some other stuff he seems to be singing but it
   is unintelligible.
 o "In My Time Of Dying" - Getting towards the end of the song, Plant 
   half sings 'Oh, feels pretty good up here... pretty good up here.'  
   Surely the understatement of the century.  At the end of the song 
   a discussion something like this takes place,
    Someone         : [loud cough]
    Plant           : [sings the last line of the song]  "Cough." 
    Bonzo           : "That's gotta be the one... hasn't it?"
    Someone         : [continued quieter coughing as Bonzo says the 
                       above]
    Ron Nevison [?] : "Come and have a listen then."
    Jones [?]       : "Oh yes, thank you."
   Other discussions are taking place in the background but it is 
   not possible to make out what is being said.  Also noticeable is 
   someone coughing at the 40 second mark.
 o "Black Country Woman" - at the start of the song which was 
   recorded outdoors at Headley Grange an airplane can clearly be
   heard flying overhead and the following conversation takes place,
    Eddie Kramer : "Shall we roll it Jimmy?  We're rolling on, er..."
    [Someone]    : "One."
    Eddie Kramer : "One, oh, one again."
    [laughter]   : [Plant?]
    Eddie Kramer : "Can't keep this airplane on."
    Robert Plant : "Nah, leave it, yeah.
 o "Boogie With Stu" - After the song finishes laughter can clearly 
   be heard, the last laugh in this case certainly sounds like it is 
   most likely Plant.  The first laugh on the other hand could well
   be Page.
 o "Achilles Last Stand" - Some listmembers with amazing hearing
   claim to be able to heard a very faint "Yeah" somewhere between
   the 7:17 and 7:20 point in the song, just between the second and
   third of four note bends Jimmy is doing at the time.  The exact 
   point of the sound is around 7:18.
 o "Hot Dog" - The `One, two, three, four' count-in, where Jones can 
   be heard to noodle on the bass momentarily as `three' is said, 
   sounds like it's more likely to be Jones than Page.
----------------------------------------------------------------------
     1.4 - Will someone answer that phone!

     There seems to be a wealth of unusual and interesting background
noises, and in some cases foreground noises, in Led Zeppelin songs, 
some of which are so obvious you really wonder how you missed them 
when you listened to that song the first 5,000 times.

 o "Good Times Bad Times" - A suggsted explanation for the hollow 
   sound that Bonzo makes during the opening of the song is that he 
   might have been hitting a cymbal stand.  The sound is a crisp, 
   metallic type sound, which gives the impression that a hollow 
   object of this nature is being struck.  On the other hand, this 
   could well be a cymbal.
 o "I Can't Quit You Baby" - Referring to the version on the first 
   album, the odd metallic sound heard on "Good Times Bad Times" 
   recurs through this song as well, which suggests it is probably 
   a cymbal.  It doesn't sound as hollow on this song.
 o "Whole Lotta Love" - Plant can be clearly heard to laugh just
   prior to the start of the song.  The middle section features a lot
   of randon knob twisting in the studio from Page and Eddie Kramer.
 o "The Lemon Song" - A gong can be heard right at very beginning 
   of the song.
 o "Moby Dick" - Careful listening to this song reveals a variety of
   noises which could range from Bonham moving about on the drum 
   stool to various sqeaking noises, probably drum pedals.  There is
   a particularly odd scraping noise at 1:58.
 o "Immigrant Song" - The odd buzzing sounds at the beginning of the
   song are tape noises coupled with the count in.
 o "Friends" - The fret buzz in parts of the song is due to the 
   guitar being in a different tuning where the sixth string is 
   quite loose, which combined with poor fingering at that fret 
   causes the string to buzz on the fret.  The tuning Jimmy is 
   using is a C tuning, C, G, C, G, C, E, where the low E is tuned 
   down 2 whole steps.
 o "Celebration Day" - The drone that carries over from "Friends" is
   there to compensate for the rhythm track which was accidentally 
   erased during recording.
 o "Since I've Been Loving You" - the bass drum pedal has a clearly
   audible squeak about which Page recently said, 'It sounds louder 
   every time I hear it!'  Also, as Plant is singing the first line 
   of the song, "Working from seven..." while he sings "from" a 
   strange wheezing sound can be heard in the left channel.
 o "Bron-Y-Aur Stomp" - Some interesting extra instruments in this 
   song are spoons and castanets, all played by John Bonham.
 o "Black Dog" - In the early stages of the song Bonzo can be heard
   clicking his drumsticks together, keeping time for the band.
 o "Stairway To Heaven" - Not really a weird sound, but the subject
   of some occasional discussion in the wind instrument being played
   at the start of the song.  It is a recorder and it's being played
   by John Paul Jones.  This instrument was incorrectly claimed to be
   a mellotron by _Q_ magazine in 1995.
 o "Misty Mountain Hop" - There is a mistake in this song in the line
   that begins "There you sit...", but the band apparently felt the
   rest of the take was too good to warrant discarding it.
 o "Four Sticks" - There is the sound of possibly either a cough or
   someone exhaling at the five second mark of the song.  Then again 
   in the left channel at the 41 and 43 second marks, a very similar 
   sound, that sounds like an exhalation.  This occurs again at 1:51.  
   Someone, possibly Page, may have had a microphone a little too 
   close to their face.  The same sound, although fainter and closer 
   to the middle in terms of the channels, occurs at the 30 and 37 
   second mark.
 o "When The Levee Breaks" - The titanic drum sound was created 
   through experimentation by Page and Andy Johns with Page's 
   penchant for distance miking.  In perhaps the ultimate case of 
   this, they had Bonzo set up his kit, a brand new one, in the 
   stone stairwell at Headley Grange and experimented with 
   microphones in various positions before placing one a few flights 
   of stairs above him.  A similar technique was used by producer
   Don Was and the Rolling Stones on the  song "Moon Is Up", where
   drummer Charlie Watts is playing at the bottom of a stairwell.
   Right near the end of the song, where the sound is panning all
   over the place, the basic riff is also played backwards at one
   point.  The idea of reversing riffs is not all that uncommon, 
   Jimi Hendrix did it frequently.
 o "The Rain Song" - Bonham's squeaky drum pedal can be heard on this 
   song.  The string on this song are not real and are actually John 
   Paul Jones on a mellotron, an early synthesizer.
 o "Over The Hills And Far Away" - Another track where Bonham's 
   squeaky pedal can be heard, most clearly from about the three 
   minute mark onwards.
 o "The Crunge" - Again, a sequaky drum pedal can be heard, 
   especially at the start of the song where just the bass and the 
   drums are being played.  Page can be heard to depress the whammy
   bar, he used a Stratocaster on this song, at the end of each 
   phrase.
 o "Dancing Days" - Another track on "Houses Of The Holy" where 
   Bonham's squeaky drum pedal was somehow overlooked.
 o "No Quarter" - In a _Guitar_World_ interview Page revealed he 
   lowered the track half a tone to make "the track sound so much
   thicker and more intense."  Plant's voice is also slightly 
   flanged, while Page uses a theremin to create the moaning of
   "the dogs of doom" that Plant sings about.
 o "The Ocean" - A phone can clearly be heard ringing at about the 
   1:38 point in the song.  The sheet music that accompanies the box 
   set has the word `ring' printed twice above the percussion tab 
   of this song, so the inclusion of the phone sounds like it was 
   intentional.  As well as this, there is also the sound of the 
   squeaky bass drum pedal that is present on "Since I've Been 
   Loving" you, which is most apparent in the early parts of the 
   song.  And, yet more odd noises occur at 1:59-2:00 and 2:12-2:13 
   where it sounds like someone is making the `c' sound, as in the 
   first letter of the word `cat'.  Just as Bonham comes to "Two" in
   the introduction you can hear the first five notes far off in the 
   distance, the result of some sort of production glitch.
 o "In My Time Of Dying" - Some members of the list with very keen 
   hearing have in the past claimed to have heard the sound a 
   television makes when it's turned on, about half  way through this
   song.  The sound they are hearing  is produced by the high voltage
   power supply, or more specifically, the flyback transformer, 
   of the tv which is somewhere around 32,000 volts for color 
   televisions.  Not so much a weird noise, as an anomaly, at the 
   5:44 mark it sounds like Bonham misses a beat.  Them cymbals 
   continue as they are but at that time it sounds a bit like a 
   drumbeat is missing.
 o "Houses Of The Holy" - Recorded initially for the album of the 
   same name, the squeaky drum pedal that can be heard on a lot of 
   the tracks from that album can also be heard on this song.  At 
   the 3:41 mark a strange sound, resembling a bird call, can be 
   heard clearly.
 o "Kashmir" - The orchestra riff that is first heard at the 1:19 
   point in the song can be heard earlier, in the left channel, very
   faintly, after each line of the first verse, such as at 0:25, 
   0:34 and 0:43.  What this is, is the original track using the
   orchestra that was wiped off, but a slight "ghost" of that
   recording remains and is slightly audible.
 o "Night Flight" - A strange hissing sound can be heard for around 
   half a second in the right channel before the organ starts.
 o "Ten Years Gone" - The squeaky bass drum pedal that was noted in 
   "The Ocean" and "Since I've Been Loving You" occurs here as well, 
   although slightly quieter than on both previous occasions.  Also, 
   at the 2:59 mark, and faintly in the left channel, a strange sound 
   can be heard, which has been suggested as the sound of a guitar 
   being plugged in.  Another sound, sounding much more like a guitar 
   being plugged in occurs between 5:44 and 5:47.
 o "Sick Again" - Bonzo can be heard to cough faintly at the end of 
   the song.
 o "Achilles Last Stand" - Despite Page's assertions that there 
   weren't any keyboards on "Presence" between 6:54 and 7:00, on the 
   ascending runs with the staccato background guitar, you can hear 
   what sounds very much like a keyboard.  It could also be an 
   extremely affected guitar sound though.  Bonham is said to groan 
   at one point during the song, but the time for that is unclear.
 o "For Your Life" - Plant makes two weird noises after the lines, 
   'Wanna find myself a crystal, Payin' through the nose.'  The two 
   noises sound very much like a snort, most likely a play on the 
   line about crystals and paying through the nose, in reference to 
   cocaine.  This starts at around the 5:30 point in the song.
 o "In The Evening" - The third Zeppelin song on which Page uses the
   violin bow, the others being "How Many More Times" and "Dazed And
   Confused", the unusual noises in the guitar solo are caused by the
   springs of a fully depressed whammy bar.
 o "Fool In The Rain" - An odd noise can clearly be heard at the 1:05
   point in the song.  The sound occurs just after the line `And you 
   said that you'd always be true'.  The sound is most likely Plant, 
   and may be some sort of play on that line.  The sound itself is 
   like a sort of `ppttt' noise made with the lips.  A suggested 
   explanation for this involves the meaning of the prior line of the
   song.  When someone makes a hand shape like a gun with a clenched 
   fist, extended fore-finger and raised thumb, the sound they most 
   commonly make when they `fire' the gun is similar to this noise, 
   a sort of `ppttt' noise made with the lips.  Hence, it may be that
   Plant was firing off a shot at someone that had not been true to 
   him.  This is a rather tenuous theory however.
 o "Carouselambra" - The unusual sounds that have been described as
   `percolating' that occur in this song are most likely to be Bonham
   hitting some sort of drum as they follow a rhythmic pattern, which
   rules out other explanations such as perhaps a bong.
 o "Wearing And Tearing" - At the 0:19 mark a sound that is similar 
   to a phone ringing, one of the newer ones, not the older ones that 
   actually make a ringing noise, can be heard in the right channel.
----------------------------------------------------------------------
     1.5 - Intuitive Interpretations

     Proposing what a particular song is about is usually futile,
unless  the artists has clearly spelled out what the meaning is,
and even then there is plenty of room for personal interpretation,
a largely speculative process.  One song can mean many different
things to  different people.  The aim of this section is not to
engrave in  stone what the song is supposed to mean, but to just
present some interpretations.

 o "The Lemon Song" - The frequent references to a "killing floor" in
   this song hightlight a recurrent theme in blues lyrics.  The term
   does not specifically refer to a slaughterhouse or abbatoir, but a
   situation, after you have been, for example, cheated on, dumped 
   by your woman, ignored, or hurt, or some such unfortunate 
   predicament.  The term is probably used an analogy, as a man could
   see an animal being slaughtered, and then when his wife cheats on 
   him for example, saw a similarity in terms of feeling that way.
   This is only a subset of the song's lyrical themes however.  The
   concept was popularised by Chicago bluesman Howlin' Wolf in his
   appropriately titled song, "Killing Floor", from whence the riff 
   to this song is derived.
 o "Ramble On" - The reference to `the darkest depths of Mordor' is 
   one of the several Tolkien references in Plant's lyrics.  Mordor 
   is, in _Lord_Of_The_Rings_, essentially a wasteland, obviously
   artificially so because of Sauron's, the `dark lord' in "The 
   Battle Of Evermore", poisonous sphere of influence.  Mordor is
   surrounded by a mountain range that encloses it on three sides.
   Another Tolkien reference is the line referring to Gollum.  He is
   more pitiful than evil.  He was once a Hobbit-like creature who 
   fell under the power of the ring and became a monster that he is.
   His entire essence is now controlled by the ring.  The evil one
   that is mentioned as accompanying Gollum could be one of a variety
   of characters, such as Saruman, Morgoth, a ringwriath, however,
   Morgoth was not a contemporary of Gollum's in Tolkien's world.
   Another part of the song that may be related to Tolkien is the
   section about "spreading roots", "goin' round the world", "gotta
   find my girl".  In "Lord Of The Rings", Frodo and Sam wander into
   the forest after being captured by the Orcs.  While there they 
   meet an old Ent called Treebeard who tells them the story of the
   Ents' loss and subsequent search for the Entwives.  More likely
   though, this is part of Plant's recurring lyrical theme of having
   to find his woman, a neverending search further chronicled in
   "Going To California".
 o "Immigrant Song" - The inspiration for the lyrics for this song 
   are said to have come from a trip to Iceland in June 1970, which
   goes some way to explaining the Viking overtones of the song.
 o "Since I've Been Loving You" - One of the most interesting lyrical
   moments in this song is Plant's updated blues cliche', the "new
   fangled back door man".  "Back door man" is a term used to 
   describe a woman's secret, or alternative lover, who may enter the
   house via the back door to preserve the secrey of the affair.  
   Plant's spin on this, the "new fangled" version, may imply that 
   the lover has a unique style, or is particularly up-to-date in 
   appearance or some other detail about him.  It could also be that 
   he is reflecting that times have changed since this ancient blues
   mannerism was first used.  Another song that revolves around this
   concept is the Doors' "Back Door Man".
 o "Tangerine" - Written during Page's days with the Yardbirds, he
   wrote this for his then girlfriend Jackie DeShannon.  Marianne
   Faithfull in her not-to-be-taken-too-seriously autobiography,
   _Faithfull_, recalls an instance where she was in a hotel room
   next to theirs and that Page was through his involvement with
   DeShannon making the transition to being "interesting".
 o "That's The Way" - The song centres on the dissolution of a pair
   of star crossed lovers.  This song has been interpreted as having
   pro-conservation themes, although the generally peaceful nature 
   of the song may have been in part inspired by the unrest Plant 
   witnessed first-hand during his travels across the USA in 1970.
   Plant has said that it was about the loss of a friend, with a 
   divergence into various social and environmetal issues.
 o "Bron-Y-Aur Stomp" - The song is about Plant's dog Strider, which
   in Plant's words is a "blue-eyed merle".  This is likely to mean 
   the dog is a Collie, by breed, with blue-grey fur speckled or 
   streaked with black.
 o "Black Dog" - It has been suggested the lyrics are about Plant's
   feelings towards fat women.
 o "The Battle Of Evermore" - With some imagery borrowed from Tolkien
   and lyrics inspired by a book Robert was reading at the time about
   Scottish border wars, it is likely that the song is a compilation
   of elements of these two sources.  The lyrical reference to
   `ringwraiths' is an indication of the use of some middle earth
   imagery.  The actual ringwraiths reference, "The ringwraiths ride
   in black..." refers to the Nazgul in Tolkien's middle earth.  The
   Nazgul were evil servants of the Dark Lord, also referred to in 
   the song, Sauron, who roamed the earth in search of the one ring 
   to rule them all, the magic ring of invisibility found by Bilbo 
   Baggins in _The_Hobbit_.  The Nazgul were referred to as 
   "Ringwraiths" by common peoples.  Another line from the song 
   "Bring it back, bring it back..." is interpreted by some as the 
   rapidly fading links between England and the magic of the past.  
   The lines "The magic runes are writ in gold, to bring the balance
   back" are interpreted by some as meaning the band had found or 
   regained some sense of balance, although this is very probably not
   what Plant was singing about.  Additionally, the Queen of light
   referred to is Galhadriel, and a ringwraith is a human that fell
   under the power of Sauron and now lives as a "shadow" or being on
   another plane of existence.  A ringwraith is essentially one of
   Sauron's henchmen and were dedicated to finding the ring and to
   bring it back to Sauron.  They also dress in black.  Some other
   lyrical ideas are supposed to have come from "The Magic Arts In
   Celtic Britain" by Lewis Spence.
 o "Stairway To Heaven" - The meaning of this song has to be one of 
   the most enduring musical debates of all time.  Australian 
   comedian and tv personality Andrew Denton has throughout his tv
   career expressed his complete ignorance of the meaning and sought
   to enlighten himself.  He finally gained his chance to ask the
   man who wrote the words what the phrase "If there's a bustle in
   your hedgerow" actually means, and Plant related an idea, after
   checking with Jimmy to see whether he should pass on the Freudian
   meaning, and being told not to, which bears a striking resemblance
   to one aired in _Guitar_ magazine several years ago.  The winner 
   of a contest in that magazine as to what the meaning was also
   concerned himself with that particular phrase.  The theory had it
   that a hedgerow can also be defined as a "bush", which is also a
   slang term for the female genitalia.  A bustle is a disturbance or
   some similar dispruptive activity.  Supposedly this refers to a
   woman's period.  The May Queen, mentioned in the next line of the
   lyrics, symbolizes a woman's first period, and thus the two lines
   taken together relate to a woman's coming of age.  Plant's reply
   to the question on _Denton_ was, "What it is, it's the beginning 
   of Spring, it's when the birds make their nests, when hope and the
   new year begins.  And it's nothing to do with any of that weird
   stuff you read about in America!"  These two explanations at
   a stretch can be reconciled, so one part of the song is thus about
   a woman's coming of age.  Jimmy has also said that one of the
   original lyrical inspirations was a woman they both knew.  This 
   may be so, but the "lady" in the song appears to be some sort of
   reference to materialism.  The song is reportedly based on a
   number of Celtic myths and also drew on English literature such
   as "The Faerie Queene" by Edmund Spenser.
 o "Misty Mountain Hop" - Despite a title that is a location drawn 
   from J.R.R. Tolkien's "The Hobbit," from what Plant has said about 
   the lyrics, it sounds much more likely that the song is something
   to do with an afternoon in the park and some illegal substances.  
   A rough paraphrase of Plant's words is that it about is the


   trouble one can get into when spending an afternoon in the park
   with some `cigarette papers.'  Another source says that the song
   is written about a love-in near London that was broken up by the
   police.
 o "Going To California" - The song is, according to Plant, about the
   unrequited search for the ultimate lady.  He would often adlib, 
   "It's infinitely hard," when they played the song live.  At 
   Knebworth in 1990 Plant added, "Do you know what?  It's still 
   hard."
 o "When The Levee Breaks" - The story behind this song is that, 
   after the civil war, many black freemen and former slaves settled
   on farms in an area along the Mississippi side of the Mississippi
   river.  This area, known as the Delta, is from Greenville north to
   Memphis, Tennessee.  Obviously, this is not the only delta on the
   Mississippi, and should not be confused with the one south of New
   Orleans.  The reason for settling in this area was the richness of
   the soil, primarily because of semi-annual floodings  In response 
   to this phenomenen a 45 foot tall dirt levee, a ridge of soil, was
   constructed along the side of the river for mile after mile.  
   Early in the century, a series of floods managed to penetrate the 
   levee and flood the area, devastating crops and farms.  Thousands 
   of familes moved upriver to Chicago as a result of this, and also
   due to the hope that jobs were plentiful and homes inexpensive in 
   that area.  However, levees were not just the haunts of farmers.
   Criminals such as prostitutes, bootleggers and thieves often lived
   in levee camps, as the people who ran them found it very hard to
   enforce the rules and were prepared to turn a blind eye to their
   activities.  In such an environment, early bluesmen found a place
   to play and learn their trade, people such as Robert Johnson, 
   Tommy Johnson and Son House.  The levee camps were dangerous 
   places and if a musician failed to impress the patrons there was a
   good chance he could be in serious trouble.
 o "The Song Remains The Same" - Zeppelin's tribute to world music, 
   and the varieties they experienced on their travels.
 o "Over The Hills And Far Away" - A song about the joys of the open
   road and `acapulco gold', a popular slang term for marijuana.  Roy
   Harper, a Zeppelin associate and the subject of the last song on 
   "Led Zeppelin III" actually has a song of that name.
 o "The Crunge" - In a song that is basically a James Brown parody, 
   the closing spiel from Plant, `Where's that confounded bridge?' is
   a reference to the fact that there is no key transition at that 
   point in the song.  A musical "bridge" is a segment wherein there 
   is a key change from the tonic key, so at that point in the song, 
   Plant is looking, probably in jest, for the key change, without 
   which the band is stuck in the same key forever, and the song 
   doesn't end.  The point at which the bridge is first mentioned is 
   after the band has been playing the riff in the same key several 
   times, hence Robert's search for a transition.
 o "Dancing Days" - This positive, upbeat song was inspired by music
   Robert and Jimmy heard in Bombay during their stopover there.  
   Eddie Kramer recalls the band dancing on the lawn at Stargroves 
   during the playback for this song.
 o "The Ocean" - While it is generally agreed that the "Ocean" Plant
   refers to is his view of the crowd at a concert from the stage, 
   less obvious is his reference to his three years old daughter at 
   the time, Carmen.  Carmen is now grown up, and is married to 
   Plant's bass player Charlie Jones.  The couple brought a son into
   the world in early 1995, making Robert Plant a grandfather!  In
   several live versions of "The Ocean" Plant changed the lyrics to
   "She is only four years old" to keep up with Carmen's age.  The
   line "Playin' in the moonshine, rockin' in the grain" is a clear
   reference to grain based alcohols, which were the most common ones

   during the Prohibition period in America, when the term moonshine 
   was coined to describe illegal liquor.  A term was also coined for 
   the people involved in the production and distribution of the 
   alchohol, bootleggers, a term which has also been used to describe 
   those who illegally tape concerts by artists such as Led Zeppelin.
 o "In My Time Of Dying" - This antiquated song froma round the turn 
   of the century is the cry of a man on his deathbed as he tries to 
   have his life and soul justified.  It is a cry from the edge of 
   the grave, an impassioned beg for mercy, and an attempt to ensure 
   a place in heaven for the man's soul.  Hence, the lyrics have, 
   quite literally, got to be "It's gotta be my Jesus" and "Oh my 
   Jesus" as it would make no sense, in such a moving, spiritual song
   which gradually builds up to a brilliantly executed catharsis, for
   Plant to start yelling out the name of some woman, Gina being the
   suggested name he uses.  However, when peformed live Robert did
   sometimes swap the Jesus for Georgina or Gina, depending on what
   sort of variations took his fancy on the night.  But, on the album
   version it would make no sense for it to be anything other than 
   Jesus.  This ties in with the cultural values and beliefs 
   prevalent in the culture Zeppelin came from, and from the 
   spiritual side of the blues, as the original performer of this 
   song, Blind Willie Johnson, sought to convey.
 o "Achilles Last Stand" - Given Plant's enthusiasm for mythology the
   lyrics seems thematically linked to the Trojan war during the 
   Hellenistic age.  On the other hand, the rumour persists that
   Plant, in a wheelchair with his leg in a cast due to a car 
   accident at the time of the session for "Presence", literally 
   fell out of his wheelchair when he first heard the completed
   song.  Given his leg injury, the title may indeed be a reference
   to this incident.
 o "Nobody's Fault But Mine" - Another Blind Willie Johnson song, 
   this has a similar lyrical theme to "In My Time Of Dying", a man
   on his deathbed or staring death in the face taking responsiblity
   for his sins and seeking redemption by doing so.
 o "Royal Orleans" - Rumours have persisted for years that this song 
   is about John Paul Jones and some rather decadent exploits at the 
   Royal Orleans Hotel.  The line about `kissing whiskers' infers 
   some sort of involvement with a drag queen.  In the song, Jones 
   is referred to as John Cameron, to avoid naming him directly.
 o "Hots On For Nowhere" - The reference to `Corner of Bleeker and
   nowhere' sounds like it might be a reference to Bleeker Street, in
   which case there are several he might be referring to.  There is a
   Bleeker Street in New York City, in Greenwich Village, which is 
   home to many aspiring musicians and is the location of some small 
   bars that Jimi Hendrix and others played in before they became 
   famous.  Also, this Bleeker Street is very close to the building 
   on the cover of "Physical Graffiti", and may be adjacent to, or 
   actually converge with St. Marks Place at some point.  There is 
   also a Bleeker Street in London which is famous for having lots of
   pubs on it.  New Orleans, in keeping with the delta blues style of
   the album, may also have a street named Bleeker.  Another lyrical
   reference to Bleeker Street is in the Simon and Garfunkel song 
   "Bleeker Street".  The rest of the song is something of a diatribe
   by Plant against close friends "who would give me fuck all", the
   people in question apparently being Jimmy Page and Peter Grant.
 o "Tea For One" - A melancholic reflection by Plant on the time he
   was separated from his wife after their car accident.
 o "Hot Dog" - Unsurprisingly for Plant, this is a song about women.
   There are several theories that have been postulated as to what
   it's about, the funniest being that it is about having a 17 year
   old girlfriend dump you.  It is claimed that Robert once said that
   the song is about a woman who he used to mess around with in 

   Texas, but this is not confirmed.  The song though, is filled with
   jokes about the way Americans speak, with several extremely corny
   puns such as "U-Haul" instead of "Y'all", "Set down" instead of
   "Sit down" and so on.  One particular line, "Hangin' round for 
   more, ah more" would appear to be play on the French word "amour"
   or the Spanish "amor", both meaning love.  The word "Dungarees"
   also makes its only appearance in a Zeppelin song.  The use of the
   word "U-HauL' is a reference to U-Haul moving vans, as the girl
   involved is going to Texas and needs to move her belongings also.
 o "Carouselambra" - An observation about the person who is the
   object of the song is disguised by references to the past, who,
   according to Plant, will one day realise it was written with him
   in mind and say, "My God!  Was it really like that?"
 o "Poor Tom" - Tom, according to the lyrics, is a family's seventh
   son.  Thus there is little left for him to inherit in terms of
   land or money because  the six previous brothers have taken it 
   all.  However, in occult lore, negro mysticism and other belief
   systems, a dispensation for this is the influence of seven which
   is considered a lucky number, the seventh son may have a variety
   of supernatural powers to compensate for his reduced birthright.
   This is referred to in Muddy Waters' "Hoochie Coochie Man", also
   written by Wille Dixon, amongst others.  The magical powers seem 
   to relate quite often to having good luck with women.  Wille 
   Dixon also wrote a song called "Seventh Son" about the belief that
   the seventh son was lucky.  However, the poverty aspect of his 
   predicament means he has to live the blues which probably appealed 
   to blues songwriters.  Basically, as the seventh son, you may be 
   poor in material riches, but may be able to make up for this by 
   developing non-material riches.  Another group to have recorded a 
   song about this is Iron Maiden with their song, "Seventh Son Of A 
   Seventh Son".  The seventh son of a seventh son is even luckier 
   than than a seventh son, and is as legend has it, blessed with 
   incredible magic powers.
----------------------------------------------------------------------
     1.6 - Miscellaneous Song Trivia

 o A suggested explanation for the intriguing question of whether the
   version of "I Can't Quit You Baby" on "Coda" comes from the
   rehearsal or the actual concert that same evening, is that if Page
   had proper audio equipment set up to record the show, then if it
   was multitracked, that would give him the opportunity to stereo
   separate it at a later date.  The recording of this show may have
   been intended for the long mooted live box set, or retrospective.
 o The issue of whether the "Coda" version of "I Can't Quit You Baby"
   is from the rehearsal or the subsequent show is further brought
   into question by the video clip purporting to be from that date
   that features an identical version.  Either, it is from the show
   that night, or a very well attended rehearsal.
 o Zeppelin were nowhere near the first people to play and popularise
   "Train Kept A-Rollin'".  The song was already a standard for the
   beat boom bands of the sixties, and Page's previous band, The
   Yardbirds, although before his time in it, did the most to
   popularise it at the time.  It was re-recorded during Page's stint
   with the band as "Stroll On" for the Antonioni film "Blow Up".
   The only change was to the lyrics, which were re-written, the
   reason being that they were unsure that they could obtain
   permission to use it from the copyright holder.  That version may
   feature Page on either bass or guitar, no-one seems to be sure.
   The song was originally written by Tiny Bradshaw, L. Mann, and H.
   Kay and recorded by Tiny Bradshaw's Big Band in 1951.  Originally
   it was a jump blues tune, but was re-recorded as a rockabilly
   song by The Johnny Burnette Trio in 1956.  The guitarist involved
   was Paul Burlison, who sometimes filled in for bluesman Howlin'
   Wolf's guitarists, Hubert Sumlin and Wille Johnson, and was a
   major influence on Jeff Beck.  The Yardbirds first recorded the
   song in 1965, and then again in 1966 for "Blow Up".  Zeppelin
   played the song at their first meeting, and then on their early
   tours.  It made a re-appearance on their last tour and was
   mentioned by Plant as being on the next album, indicating that
   they intended to cover it for the next album, which was of course
   never made.  When Page jammed with Aerosmith at Donington in 1992,
   just before his solo Aerosmith lead singer Steven Tyler shouted
   "Stroll on, Jimmy!"  Aerosmith are noted fans of the Yardbirds and
   their version of the song can be found on their "Gems" album, and
   a newer version on the box set "Pandora's Box".
 o The Rolling Stones' resident honky-tonk pianist Ian Stewart, who 
   was originally the sixth Rolling Stone, is the man responsible for 
   tinkling the ivories on the Zeppelin songs "Boogie With Stu" and
   "Rock And Roll".  Apart from the Stones and Zeppelin, Stewart, now
   deceased, also appears on some songs with Howlin' Wolf from the
   London Sessions for Wolf.  Stewart died before the Stones "Dirty
   Work" album came out and the snippet on honky tonk piano on the
   fadeout from the album is a tribute to him.
 o On "You Shook Me" and "Bron-Yr-Aur" Page is using backwards echo,
   a technique he pioneered during his time with the Yardbirds.  By
   playing a solo once, flipping the tape over and recording over the
   solo and some studio tricks he managed to get the echo preceeding
   the signal.  The effect is quite odd at times, for example the
   brass section on the Yardbirds song "Ten Little Indians" uses this
   technique, and it sounds like the song is going backwards.  The
   backwards echo in "You Shook Me" is right near the end of the 

   song.
 o "The Rain Song" was recorded in the key of G on "Houses Of The 
   Holy" but was performed in A in concert.  In a 1990 interview 
   in _Guitar_World_ Page said this was because the studio version
   used an odd tuning and the live version was an approximation.
 o "In My Time of Dying" is recorded in the key of A on "Physical 
   Graffiti", but was performed in G live.
 o A parody of "Stairway To Heaven" by Little Roger And The
   Goosebumps which involved combining the lyrics from the theme to
   tv show "Gilligan's Island" received little radio coverage when
   it was released thanks to Zeppelin's manager Peter Grant's use of
   some strong arm tactics to prevent it from getting any airplay.
 o The solo to "Stairway To Heaven" was done in several different
   takes by page on a Fender Telecaster.  Hence, there are several
   alternate takes that have not seen the light of day, but remain
   in the vaults on the master.  Page said one of his _Guitar_World_
   interviews that he recorded three different solos and then picked
   the best one.
 o A version of "Whole Lotta Love" was recorded as the theme song for
   BBC's "Top Of The Pops" show by a group called C.C.S., and led by
   influential English bluesman Alexis Korner.  The cover had a big
   band feel, with a flute used to emulate the vocals in the middle
   section.  A single of it was released on Mickie Most's RAK label.
   Despite the obvious watering down of the song, the "Way down 
   inside" lyrics was kept for this cover.  This rendition can be
   found on at least two compilation albums in the U.K., "The No.1
   70's Rock Album" and "The Premier Collection Of Instrumental Hits
   Vol.3."
 o "Kashmir" has been covered by The Dixie Dregs on their reunion cd,
   "Bring 'Em Back Alive".  Steve Morse emulates the vocal melodies
   on guitar, while the bass, keyboards, strings and drums replicate
   the original parts.
 o Due to the primitive analog recording equipment used by the band
   in the early days, there was frequent leakage between the tracks.
   This was certainly the case with Plant, whose voice was so strong
   it seeped across the tracks.  This is also the explanation for 
   the reason the orchestra can be faintly heard in "Kashmir" some
   time before it appears at the correct point.  This may have been
   due to a decision not to have the orchestra appear that early in
   the track, and so the tape track with the orchestra part was 
   erased.  However, because of the signal strength, it had already
   seeped onto other tracks, whichever was next to it, and thus can 
   be heard faintly.  The leakage of vocals in songs such as "You
   Shook Me" and "How Many More Times" can be explained similarly.
   With the quipment at the time it was probably not noticed, but
   with the clarity of today's stereo equipment it is possible to
   notice these things.  Alternately, when it was decided that the
   orchestra would not be used at that point the tapes were erased
   but the tape was saturated, and the oxide on the tape had been
   re-arranged with such force it was not possible to comepletely
   erase the sound.  Another theory has it that pre-groove echo may
   be to blame for these type of phenomena.  When the Mother record
   which is used to press the acetates is cut, if the signal is too 
   hot what happens in that the actual sound waves on the record 
   itself bleed over to each other.
 o A sample from "Misty Mountain Hop" has turned up in an Adidas
   Tennis Shoe commerical, broadcast in the U.S.A.  The sample is set
   to a hip hop type background beat.  This only serves to remind us
   that the band no longer has any sort of control over their music
   when artistic control is not stipulated in the sale.  All the
   rights apparently belong to Atlantic these days, with only Plant
   admitting he has sold all his rights to the music.  The sample
   again turned up in a commercial tied into the 1994 World Cup in
   the U.S.A. which began with the voice-over, "In my country,
   England, we call it football..."
 o "When The Levee Breaks" was only performed twice by Zeppelin, both
   times on the early dates of the 1975 tour, Rotterdam and Chicago.
   The presence of that and "How Many More Times" on the setlist was
   due to Page's injured finger which prevented him from playing the
   live staple "Dazed And Confused".  Unfortunately, both the live
   recordings of "When The Levee Breaks" are of a low quality.  At 
   the Chicago gig, both Page and Plant were ill at the time.  The
   song was rarely performed because it involved a lot of effort to
   set up the stage for the song, with Bonham and his drumkit in a
   specially prepared pit onstage.
 o Rumour has it that the rhythm track at the beginning of 
   "Celebration Day" that was wiped, was erased by Richard Cole.
 o The first song Led Zeppelin ever played together was the
   Yardbird's "Train Kept A Rollin'."
 o Pagey is unsure just how many overdubs he did on "Achilles Last 
   Stand."   One anecdote about this song is when Page presented the 
   song to the band, Jones did not see any scale in what Page was 
   playing.  Page had to explain what it was in detail before Jones 
   could understand.
 o On the album "Led Zeppelin," the duration of "How Many More Times"
   is listed as 3:30, not even close to the actual duration of 8:28.
   Rumour has it that this was done so that discjockeys would think
   it was within the time limit for what was considered appropriate
   for airplay and it would thus get played at least once.
 o "Walter's Walk" was among the tracks overdubbed by Jimmy at the
   Sol in 1982, and actually may also have vocals overdubbed by Plant
   at the same time.  People who heard the track at this time confirm
   this.
 o Jimmy plays a strat on "The Crunge" and depresses the whammy bar
   at the end of each phrase.
 o Jimmy lowered "No Quarter" half a tone in the studio, "...because
   it made the track sound so much thicker and more intense."
 o At one of the October 1972 shows at Budokan Hall in Japan Plant
   introduced "The Song Remains The Same" as "The Campaign" as the
   band had no title for the song at that stage.  It was also known
   as "The Overture" and "Zep" at other times before the band settled
   on a title.
 o The backing vocals for "The Battle of Evermore" are Sandy Denny of
   Fairport Convention.  Sandy Denny was also a member of the group 
   The Strawbs and another group called Fotheringay.  Her premature 
   death in 1978 was due to a brain haemmorhage caused by falling
   down a flight of stairs.  Ties between Fairport Convention and
   Zeppelin are numerous ranging from a jam between the two in 1970
   to the late inclusion of Fairport's Dave Pegg in an incarnation
   of The Band Of Joy and his appearance along with former Fairport
   members Richard Thompson, and Maartin Allcock on Plant's "Fate Of
   Nations."  The book "Rock Movers and Shakers" claims that Plant
   was part of a group with Dave Pegg called The Exception (or The
   Exceptions) that around 1967 released a single called "The Eagle
   Flies On Friday".  The book though is fairly vague about whether
   Plant was actually a member of the group or whether he sang lead
   vocals on that song.  However, in an interview in the now defunct
   _Nirvana_ fanzine, Pegg said that while he had jammed with Plant
   and Bonham he was never in a group with them.
 o The first time "Stairway to Heaven" was performed live was on
   March 5, 1971 at Belfast Ulster Hall.  This was prior to the
   release of the untitled fourth album and the performance was
   partly intended to determine if they should even place it on the
   album.  They played it perfectly and  when they were finished
   there was a deafening silence in the crowd.  Plant turned around
   to the band and said, "I guess we'll scratch that one."  When he
   turned back to the crowd Plant saw one lighter going in the far
   back of the center.  The crowd went into an incredible ovation
   for the band and they wound up repeating the song immediately
   again.  The accuracy of this story has not been established.
 o The album "Stairways To Heaven" is an album of covers of "Stairway
   To Heaven" by a very eclectic collection of artists ranging from
   Rolf Harris (largely unknown in the USA, but famous in Australia 
   and the UK for such gems as "Tie Me Kangaroo Down Sport" and an 
   advertisement for British Paints) to Kate Ceberano (Australian
   jazz/pop/soul singer).  The songs come from the tv series "The
   Money Or The Gun" a weekly tv show on Australia's ABC network that
   took a humourous look at various issues raning from prostitution 
   to physical disabilites.  The latter episode entitled "The Year Of
   The Patronising Bastard" won an international award.  The host of
   the show, Australian comedian and tv show host, Andrew Denton
   seemed endlessly fascinated with what "Stairway To Heaven" meant
   and he had a different artist perform the song on each episode,
   which is where the album comes from.  A compulsory interview
   question during each show was what the interviewee thought of the
   song.  The performances of all the versions are collected together
   on a video with the same title as the album.  Rolf Harris's cover,
   complete with `wobble board', was released in the UK and charted
   surprisingly well.  It also resulted in some London bikers 
   declaring a fatwah against Rolf Harris, which they have sadly not
   followed through...  The covers of "Stairway To Heaven" are by the
   following.
        Kate Ceberano and the Ministry of Fun, John Paul Young,
        Pardon me Boys, Nick Barker and the Reptiles, Rolf Harris,
        The Australian Doors Show, Sandra Hahn and Michael Turkic,
        Helen Jones, Robyne Dunn, Neil Pepper, The Rock Lobsters,
        Toys went Bersek, Jodie Gillies, The Beatrix, The Fargone
        Beauties, and others.
 o There has been some speculation over time about who it was that
   blew the whistle in "Fool In The Rain."  It turns out that a
   Chicago blues harmonica player, Norton Buffalo, was in the studio

   at the time, and there is some speculation that Page invited him 
   to perform the task.  Page plays on one of Buffalo's albums, "Draw
   Blues," so this seems a logical assumption.  Although for such a
   small part, the task may well have fallen to the group member who
   seemed to play anything, John Paul Jones.
 o Zeppelin's last concert was on July 7, 1980 in Berlin at the
   Berlin Eissporthalle.  This concert in an interesting twist of
   fate saw the band play one of the longest, if not the longest,
   version of "Stairway To Heaven" they had ever played.
 o The whereabouts of the tapes of "Baby Come On Home" were unknown
   for years until they turned up, according to rumour, in a bin
   outside a studio in London in time to be included on "Box Set 2".
   To add to the confusion, the tapes were labelled "New Yarbirds."
 o The first Zeppelin recordings enter the public domain in the year
   2018.
 o On Box Set 2, the two Bonham percussion tracks, "Moby Dick" and
   "Bonzo's Montreux" are both track 13 on disc one and two
   respectively.
 o The similarity between a section of the solo in "Heartbreaker" and
   Edward Van Halen's solo piece "Eruption" has been noted
   frequently.  Edward admits Page is where he got the inspiration
   and in a _Guitar_World_ interview before the release of the Van
   Halen album "OU812" said,
        "As far as the hammer-on thing is concerned - I never really
        saw anybody do it okay?  I'm not saying, `Hey, I'm bitchin',
        I came up with it,' but I never really saw anybody do it.
        But I got the idea a long time ago when I saw Led Zeppelin
        back in '71 or something like that.  Page was doing his
        guitar solo before "Heartbreaker," or in the middle of it
        [hums guitar riff].  He stood there playing [hums some more],
        and I think, `Wait a minute, open string, pull off.  I can 
        do that.  Use that finger up here, and use this as the nut,
        and move it around.'  That's how I first thought of it, and
        I don't know if anybody else did it.  I just kind of took it
        and ran with it."
   "Eruption" appears on the group's debut album, "Van Halen".
 o Some "Stairway To Heaven" trivia.  "Stairway" is the biggest
   selling piece of sheet music in rock history.  It seels about
   15,000 copies every year on average these days.  In total, over
   one million copies have been sold.  It has been broadcast on
   radio over three million times.  There is a Muzak version
   available, and rightly so, in a solo harp format.  These tidbits
   come from the Columbia House monthly catalogue.
 o The outtakes that were collated on "Physical Graffiti" were
   recorded as follows.  "Houses Of The Holy" was recorded in 1972,
   obviously as the title track for that album, at Olympic Studios.
   "Black Country Woman" and "The Rover" were recorded at the same
   time as "D'Yer Mak'er".  "Bron-Y-Aur" was originally recorded for
   the third album.  The following Jimmy Page quote is taken from
   "Led Zeppelin In Their Own Words" by Paul Kendall.
        "As usual, we had more material than the required 40-odd 
        minutes for one album. We had enough material for one and a 
        half LPs, so we figured let's put out a double and use some 
        of the material we had done previously but never released.
        It seemed like a good time to do that sort of thing, release 
        tracks like Boogie With Stu, which we wouldn't normally be 
        able to do."
   Stephen Davis, a name to mention in a mumble at most, claims that
   "Down By The Seaside" was recorded along with "Bron-Y-Aur" for
   the third album as well.  Also, "Night Flight" and "Boogie With
   Stu" were from the fourth album sessions, while "Houses Of The
   Holy", "Black Country Woman" and "The Rover" were destined for
   "Houses Of The Holy".  Thus, after collating this, we are left 
   with the initial version of "Physical Graffiti" containing, on
   the first record, "Custard Pie"/"In My Time Of Dying"/"Trampled
   Underfoot"/"Kashmir", and on the second, "In The Light"/"Ten
   Years Gone"(the origins of which go back earlier too)/"The Wanton
   Song"/"Sick Again".  This would amount to in total, the album and
   a half, or so, of material Page describes.
 o In the album version of "Misty Mountain Hop", a listmember once
   claimed that after the lines "Why don't you take a good look at
   yourself and describe what you see?  And baby, baby, do you like
   it?" one of the band members loses sync and all of a sudden
   they're playing the riff a quarter note apart.  The lapse isn't
   rectified until Plant does his loud breathing, when the band gets
   back in sync.
 o It was not unusual for Zeppelin to debut a song on tour before it
   came out on an album.  Here is a brief, and by no means exhaustive
   list of examples.
   - "Led Zeppelin" : "Dazed & Confused", "I Can't Quit You Baby",
   "You Shook Me", "Babe I'm Gonna Leave You", "How Many More
   Times" - through late 1968, and very early in 1969.
   - "Led Zeppelin II" : "The Lemon Song" (as "Killing Floor" in
   early 1969), "Whole Lotta Love" - mid 1969.
   - "Led Zeppelin III" : "Since I've Been Loving You" in early 1970.
   - "(Untitled)" : "Stairway To Heaven", "Black Dog", "Rock And
   Roll" (first introduced as "It's Been A Long Time"), "Going To
   California", "Four Sticks" at least once, all in early 1971.
   - "Houses Of The Holy" : "The Song Remains The Same" (initially
   was introduced as "The Campaign" or "Zep"), "The Rain Song", "Over
   The Hills And Far Away", "Dancing Days", all in late 1972 and
   early 1973.
   - "Physical Graffiti" : "Sick Again", "In My Time Of Dying", 
   "Kashmir", "Trampled Underfoot", "The Wanton Song" at least once,
   all in early 1975.
   - "In Through The Out Door" - "In The Evening" and "Hot Dog", both
   at Knebworth, and the prior warmup dates.
   Additionally, early versions of some songs from "Led Zeppelin II"
   were played throughout 1969.  "Moby Dick" was originally titled
   "Pat's Delight" after Bonham's wife.
 o The origins of an acoustic version of "Black Dog" are somewhat
   unclear, however, it is not Zeppelin.  One theory has it that it
   is taken from a collection of Zeppelin samples called "The Slog".
   The acoustic guitar and keyboard accompaniment may have been
   performed by one of the well known Zeppelin tribute bands such as
   The White.  The sample is a looped vocal track taken from the
   album version of "Black Dog".  On the other hand, it has been
   claimed that this acoustic version is taken from rehearsals for
   the fourth album.  Thor Iverson's funk-enhanced FAQL however,
   states that the acoustic version is by a now defunct tribute band
   called No Quarter.
 o Jimmy has said that the only time Zeppelin repeated themselves was
   with "Since I've Been Loving You" and "Tea For One".  These tracks
   have quite a bit in common.  Both are minor blues, and both in the
   same key, C.  The changes aren't the same, but both have a similar
   feel, until "Since I've Been Loving You" gets louder.  The live
   versions of "Since" moved closer to "Tea For One" over the years,
   although the 1980 version was a bit of a send-up.
 o The answer to the question of who does the backing vocals on "Hey
   Hey What Can I Do" is unclear.  It sounds like it might be an
   overdubbed Plant vocal in the left channel, but it also sounds
   like it might be more than one person, in which case it might be
   either or both Page and Jones.
 o The length of some of Zeppelin's live jams is staggering.  The
   version of "Dazed And Confused" on the bootleg "From Boleskine To
   The Alamo", lasts around 30 minutes.  The version of "Dazed And
   Confused" from the 27/3/75 show at the L.A. Forum on the "Electric
   Orgasm" bootleg, is even longer clocking in at over 43 minutes.
   During the 1975 tour, when this song was performed live,
   renditions of 30 minutes and longer was not an uncommon
   occurrence.  Another famous jam of this nature was at the Dallas
   Pop Festival in 1969 where the band stretched "How Many More
   Times" to twenty minutes duration.
 o The performance of "White Summer/Black Mountainside" that appears 
   on the various boxed sets was taken from the live performance 
   taped by the BBC at the London Playhouse on 27/6/69.  The version 
   of "White Summer" at the end of the "Another White Summer" cd is 
   from the Julie Felix Show, on UK tv, taped in May 1970.
 o When Zeppelin played "Whole Lotta Love" live, Plant would often
   ad-lib a few lines from John Lee Hooker's "Let That Boy Boogie".
   At the end of one of the Knebworth '79 shows, they eventually end
   with "Whole Lotta Love", and Jimmy, exhausted after two hours of
   playing is exasperated to hear Plant sing "One night, I believe I 
   told you this before, but one night I was laying down and hear my 
   mamma and pappa talking..."  However, Page gets his revenge as
   after that Plant goes to walk off the stage and Page puts up his
   index finger, indicating one more song, then starts playing 
   "Communication Breakdown".
 o When "No Quarter" was being recorded, everything but the drums were
   recorded, then slowed down, then the drums were recorded at this
   slower playback speed.  The studio version is around the key of
   C# minor, while the live version is in D minor.
 o One of the reasons "When The Levee Breaks" has such an impact 
   is because everything apart from Plant's vocals were recorded at
   normal speed then played back slightly slower.  The song is 
   pitched between the keys of F minor and F# minor, but the effect
   of the slowed tape was to put it a little flat of true F#.
 o The strings and horns on "Kashmir" are authentic, and are not
   mellotron enhanced as "The Rain Song" is.
 o "Travelling Riverside Blues" features a very unusual guitar setup
   from Page.  It's played on a 12 string electric guitar with an
   open G tuning, possibly a Nashville tuning, which creates a rich
   ringing tone, so when you finger chords they seem very tight
   because all the notes are in and around the same octave, creating
   a lush multi-tracked type of sound, especially when played slide
   style.
 o 
----------------------------------------------------------------------
     2.1 - The Golden God : Robert Plant

 o Robert Anthony Plant was born on August 20, 1948 in West Bromwich,
   Staffordshire, England.
 o Before Led Zeppelin, Plant's previous bands included The Crawling
   Kingsnake Blues Band, Black Snake Moan, The Delta Blues Band, and
   The Band of Joy.  The first and last of these also featured John
   Bonham.  The name for the first band, The Crawling Kingsnakes, is 
   most likely derived from a John Lee Hooker song of the same name.
   Plant's appreciation of Robert Johnson is well documented and the
   source of the name for the third band is not hard to work out.
 o When he met Page, Plant was singing in a band called Hobbstweedle.
 o "Thank You" is written for his first wife Maureen who he met at a 
   Georgie Fame concert and later married her, having three children,
   Karac, Carmen and Logan.
 o Robert and Maureen were married on November 9, 1968 in London.
   The reception was the band's first show billed as Led Zeppelin at
   the Roundhouse, Chalk Farm.
 o Plant released a single as a solo artist containing "Our Song"/
   "Laughing Crying Laughing" which was followed up by "Long Time
   Coming"/"I've Got A Secret."  Both flopped on the charts.
 o Robert Plant did not receive any songwriting credits on "Led
   Zeppelin" as he was still under contract to CBS at the time.
 o Plant's symbol on the fourth album uses the feather of Ma'at, the
   Egyptian goddess of justice and fairness, and is the emblem of a
   writer.  In the past Plant has said that it comes from the ancient
   Mu civilisation.
 o When "Stairway to Heaven" was played live Plant made a habit of
   adding the line "Does anyone still remember laughter?" to it.
   On one date on the 1977 tour Plant changed this to, "Does anybody
   remember... forests?"
 o Plant's son Karac died suddenly from a stomach infection during a
   Led Zeppelin tour of the USA, at New Orleans on July 26, 1977.
   The song "I Believe" from Plant's "Fate Of Nations" album tries to
   deal with the tragedy.
 o Robert's second son Logan Romero was born on January 27, 1979.
 o Plant's bass player in his current solo band, Charlie Jones is
   married to Plant's daughter Carmen.
 o Plant played the flute during his 1988 tour.
 o A suggested reason for the non-inclusion of lyrics to "Manic
   Nirvana" are the numerous and potentially embarassing Zeppelin
   references.
 o "Ship of Fools" from "Now and Zen" is seen by some as a metaphor
   for how Plant saw his relationship with Page at the time.
 o Several songs Plant has released during his solo career contain
   lyrical references to Led Zeppelin :
   - "Easily Lead" : At the 3:43 point in the song Plant invokes a
   family call of "I've been lonely, lonely, lonely..."  He then
   follows that up with his much repeated "Little girl, little girl,
   little girl..." mannerism at the 4:01 mark, and then at 4:06
   utilises the "Shake for me girl..." motif from "The Lemon Song".
   - "Tall Cool One" : This song contains some samples from Led 
   Zeppelin that Jimmy was apparently not thrilled about.  Towards 
   the end of the song Plant wails "Hey baby, hey baby, goin' down, 
   goin' down..." in time honoured fashion a la "Black Dog" and "When
   The Levee Breaks".
   - "White Clean And Neat" - As the song fades out Plant can be 
   clearly heard to wail, 'Baby, baby, since I've been loving you...'
   - "Big Love" : Towards the end of the song Plant raps '..One time 
   I saw Las Vegas, I stopped in a Motel, I stopped in the same room 
   as Jimmy Page, They just finished remodelling it from the '75 tour
   but I've got my free air miles..."
   - "Your Ma Said You Cried In Your Sleep Last Night" : This 
   contains an entire verse from "Black Dog", 'Hey, hey, mama...'
   - "Liars Dance" : A song about a song, in this case "Stairway to
   Heaven," and Plant's intense dislike of it.  `...leave it to the
   lady there who's sure, she won't back again, I know she won't be
   back agin, I'm sure she won't be back again.'
   - "Calling To You" : Right at the end of the song Plant 
   evocatively exclaims, 'Oh Jimmy!'  This is preceeded by the phrase
   `Fading away, just fading away' which is repeated three times.  
   What this means in relation to the call to Jimmy is unclear.
   - "Memory Song (Hello Hello)" : Released at around the same time
   as the "Coverdale/Page" album this song may be Plant having a go
   at Jimmy over his involvement with Coverdale in that project,
   which itself is interpreted by some people as Jimmy getting back
   at Robert for refusing a reunion.
   - "Promised Land" : The harmonica sounds very much like the one
   on "When The Levee Breaks", while other parts of the song have a
   similar rhythm to "Hey Hey What Can I Do."  The dissonance sounds
   reminiscent of "She Said" from "Manic Nirvana."  Plant also 
   borrows some lyrics from "When The Levee Breaks."
   - "The Greatest Gift" : Right at the very end of the song, some
   recorders, or a similar sounding instrument, can be heard to play
   what sounds like an excerpt from "Stairway To Heaven."
   - "Great Spirit" : Plant borrows some lyrics from "Celebration 
   Day"  and "The Song Remains The Same."
 o A pink 1959 Chrysler Imperial Crown convertible once owned by 
   Plant and with the motto "50s Rock'n'Roll For Ever" painted above 
   the number plate now forms part of the Yorkshire Car Collection 
   and was exhibited in a 1991 "Cars of the Stars" show at 
   Birmingham.
 o Rumours linking Plant to Canadian singer Alannah Myles 
   romantically, proved to be true, and there is a suspicion the 
   song "29 Palms" is written about her.  Alannah opened for Plant 
   on his "Manic Nirvana" tour and some time later had a baby, the 
   father of which is reputedly Plant.  Plant reinforced the idea 
   that the song may be about Myles when he said it was "...my ideal-
   love-affair-gone-wrong song."  29 Palms is an actual place, an 
   army base and community out in the middle of the California 
   desert.  Plant may have played a concert there during his "Manic
    Nirvana" tour.
 o Roy Harper's song "Evening Star" was written for Plant's daughter
   Carmen on the occasion of her wedding to Charlie Jones.
 o Plant sold his rights to the Led Zeppelin material in the early
   1980's, although he still maintains 1/3 creative control, but he
   doesn't get any royalties from the sales of Led Zeppelin albums,
   hence his comment when being interviewed by Letterman about
   Zeppelin being more rewarding for Jimmy these days.  Robert has
   used this control to veto the 20th anniversary single of 
   "Stairway to Heaven" and the use of any Zeppelin material in the
   film "Dazed and Confused."
 o The song "Watching You" from the "Manic Nirvana" album was used by
   the NBC tv network in the USA when advertising "Dateline NBC."
 o Plant allowed "Tall Cool One", complete with Zeppelin samples, to
   be used for a Coke Classic commercial in the USA, a move he now
   regrets.  This gives him the dubious honour of being the only
   member of Zeppelin to have sold off part of their legacy.
 o The producer of "Now and Zen" and "Shaken 'n' Stirred", Tim
   Palmer, also works with Tin Machine.
 o Legend has it that Plant was inspired to start singing after he
   heard Bobby Parker's version of "Blues Get Off My Shoulder."
 o The drummer on "Shaken N Stirred," Richie Hayward, also played
   with Little Feat.
 o Plant's guitarist on his initial solo outings, Robbie Blunt, had
   his most recent involvement with Plant at a jam at a Los Angeles
   show on June 14, 1988.  The crowd were somewhat miffed with Plant,
   as he had made it sound like he was being joined by Page, only to
   turn out that it was Blunt.  Blunt also played on the first album
   by Edie Brickell and the New Bohemians which was coincidentally
   recorded in the same studio as Plant's "Principle of Moments"
   album which Blunt played on.
 o Plant made a guest appearance with the band Rockpile on the track
   "Little Sister" on the "Concert For Kampuchea" charity album.  The
   track is also on two other albums, "Rockpile Live In Concert
   1979", and "I Hear You Rockin'", both by Rockpile.
 o During the Zeppelin years Plant only ever played harmonica and
   tambourine onstage.  However he did take a few solos on his two
   most recent tours.  He also played bass during the abortive 1986
   studio reunion, as well as playing guitar on his duet of "Down By
   The Seaside" with Tori Amos on the "Encomium" Zeppelin tribute
   album which reportedly led to Jimmy making him promise never to
   play guitar in the studio again!  However, in 1966 when Robert got
   some publicity for his "You Better Run" single, one article
   mentioned that Robert was a skilled multi-instrumentalist, playing
   guitar amongst other things.  In a 1977 interview, Plant said that
   he played guitar on four Zeppelin songs, one of which is probably
   "Boogie With Stu", and interestingly, another may well be "Down By
   The Seaside".
 o Plant's favourite song from his "Now And Zen" album is "White,
   Clean And Neat."  Another of Plant's solo favourites is "In The
   Mood" from "The Principle Of Moments."
 o The sample at the beginning of "Tie Dye On The Highway" is from
   the original Woodstock.
 o The song "If I Were A Carpenter," originally by Tim Hardin, and 
   one that Plant covers on "Fate Of Nations" was a song he used to 
   perform with John Bonham in the Band of Joy.  Another cover was 
   by Bob Seger on the album "Smokin' O.P.s."  In an interesting 
   coincidence, in the liner notes for a collection of Hardin's 
   VERVE recordings is the following anecdote.
        "He [Hardin] hated it [the military] when he was in. He was 
        stationed at Okinawa, San Diego and Twentynine Palms, 
        California."
   The coincidence being of course, that the same Plant album 
   features the track "29 Palms".
 o In recent interviews Plant says he has been listening to music 
   from Julian Cope and Blind Melon, amongst others, in recent times.
   Plant's daughter Carmen is also a Blind Melon fan and reportedly
   asked Plant why he doesn't make songs like theirs anymore.
 o "Calling To You" sounds reminiscent of Metallica's "Wherever I May
   Roam."
 o There is a very intriguing sample in the song "Nirvana" from
   "Manic Nirvana" which can be heard at around the 3:10 point in the
   song.  It goes as follows, "Can you hear the thunder?  Can you
   hear the thunder?  My love, cascading towards you in a torrent
   of...  don't go, listen, listen.  Let me try my song and dance..."
   There is also a sound like a saxophone in the background.  Where
   this comes from is unknown, although as Plant got "Your Ma Said
   You Cried In Your Sleep Last Night" from his jukebox, it may well
   be there too.  But given Plant's interest in pop trivia it may
   well be from some very obscure source.
 o When Plant played live on PBS at the time of "Fate Of Nations" he
   wore a t-shirt commemorating a deceased Egyptian singer called
   Abdel-Halim Hafez.  The words "HAFEZ" and "HAWEL TEFTEKERNY" are
   on the shirt.  The latter words are the title of one of Hafez's
   songs, "Try To Remember Me."
 o During Plant's 1993 appearance on the Letterman show, the CBS 
   orchestra played "Black Dog" and "Misty Mountain Hop."
 o Plant features on the soundtrack to "Porky's Revenge" from 1985.
   The catalogue number for the soundtrack is Columbia JS 2275 (US)/
   CBS 70265 (UK).  His back band, listed as the "Crawling King
   Snakes" is an all-star unit that probably featured Dave Edmunds.
   The song they contributed to the soundtrack is "Philadelphia
   Baby".
 o Plant's song "Messin' With The Mekon" takes it title from a
   fictional character in the comic "Dan Dare" which appeared in the
   British boys magazine _Eagle_ during the life of the magazine
   between 1950 and 1970, when it merged with _Lion_.  The Mekon was
   the head of the alien race, the Treens, who inhabited the northern
   half of the planet Venus.  The capital of their territory was
   Mekonta.  Unlike the rest of the treens which were vaguely
   humanoid, the Mekon was of much smaller build with a bulbous head,
   and hovered around on a small platform.  The Mekon as Lord of the
   Treens was possessed of infinite wisdom and intelligence.  The
   Treens incidentally, were green.  One of the more well-known Dan
   Dare stories saw him travel to Venus to try and get the assistance
   of the civilisations there to help the earth which was suffering a
   major food shortage.  Venus is, according to the story, split in
   half by a flame belt along it's circumference, the northern half
   inhabited by the hostile and imperialist Treens, while the south
   was inhabited by the pacifist race, the Therons.  In the interests
   of not spoling the story, no more details will be provided.
   Compared to the comics of today such as "Sandman", those in
   _Eagle_ such as "Dan Dare" have aged gracefully, and are still an
   enjoyable read.  A great source of material from "Eagle" is the
   book:
        Morris, Marcus (Editor), The Best Of Eagle, Michael Joseph
        Limited, London, 1977.
   Given that Plant was born in the late 1940's he probably read this
   particular boys magazine while he was growing up, as it was very 
   popular at the time.
 o The book, Plant, R., Journey Into Light, Cassell, London, 1972,
   was not written by Robert Plant, but Ruth Plant, and is about is
   about forty years communication with a brother in the after life.
   Another author listed is yet another R. Plant, Ralph Plant.
 o The "Fate Of Nations" tour had a bit of an Indian flavour to it
   with concerts opening with the song "Dil Cheez Kya Hai" by Indian
   singer Asha Bhosle from the film "Umrao Jaan" being played just
   before Plant took to the stage.  Also, one of the tour t-shirts
   had an image of the goddess Lakshmi sitting in a lotus flower with
   Plant posturing beneath it.  Plant was also seen wearing a t-shirt
   with a picture of the arab world's best known singer Om Kalsoum on
   the front of it during some shows.
 o The video accompanying Plant's song "I Believe" from his "Fate Of
   Nations" album features a lot of poetry, that has been likened by
   one list member to that in the video game "Final Fantasy II" -
   although given what Plant wrote "I Believe" about, this is
   unlikely to be a source.
 o The song "Tall Cool One" uses a riff borrowed from "Train Kept A-
   Rollin'".  Considering the tongue in cheek nature of the song, its
   resemblance is probably intentional.
 o The first line of the song "White, Clean And Neat" from Plant's
   "Now And Zen" album opens with the lyrics, `13th day of August 
   '54, I was 5 years old, depending where you're counting from..."
   There has been some discussion on the list regarding the
   reccurrence of some numbers regarding Zeppelin, in this case 54
   being the number of tracks on the 1990 box set "Led Zeppelin".
   The age Plant gives is correct for that date, but the relevance
   of that particular date remains a mystery.  It may just be a date
   Plant conjured up as one fit the lyrics.
 o Plant's current residence is somewhat uncertain, he maintains a
   farm in Wales, quite likely Jennings Farm, but also has a
   residence in England.  The latter caused him some trouble a few 
   years back when he wanted to install some new windows as the local
   authorities deemed it to have some heritage value.
 o While Page has claimed several classical composers, such as
   Penderecki, as influences, Plant has only recently admitted some
   admiration for Gustav Mahler.
 o Robert's divorce from Maureen was a quiet and amicable parting
   which occurred in 1983.
 o The concert program from Plant's "Manic Nirvana" tour contained an
   excerpt from Robert Palmer's book "Deep Blues" pages 59 and 60,
   which deals with the murky legends regarding the mystical and
   occult roots common in blues lore.  Robert Johnson is the subject
   of many of these legends, the most common of which being, he sold
   his soul to the devil by playing at a crossroads at midnight, and
   thereby acquired his remarkable skills.  The excerpt from the book
   states the stories are rooted in voodoo lore from the African
   Yoruba religion.  The black man at the crossroads is Legba, a
   trickster figure.  Slave legends also portray the devil as a
   trickster figure, but their vision of the devil is quite different
   from the traditional christian one.  The stories about Johnson and
   the devil persist to this day, and were probably a result of the
   overly religious black communities of the time and the awe in
   which storytellers with the talent of Johnson were held.
 o Robert puts in an appearance on the soundtrack to "Wayne's World
   2" playing "Louie Louie" with his band.  The lyrics are slightly
   varied from the original though, and apparently the chords are
   wrong.
 o Plant's most prominent pre-Zeppelin band, The Band Of Joy,
   recorded several songs prior to their breakup.  The most notable,
   "Adriatic Sea View", was made available by Diane Bettle-Lovett of
   the _Nirvana_ fanzine on an audio cassette some years ago.  The
   tape was compiled to benefit several Wolverhampton charities.  The
   cassette was entitled "In The Forest".
 o Robert appeared on the _Today_ show on December 20, 1993.
 o There is a book available about Plant, featuring rare photos of
   him at home, and others of him live in concert, during and after
   Zeppelin, entitled "Thru The Mirror".
 o "Albion", a place mentioned several times in lyrics by Plant, is
   the ancient name for Britain.  The name has been largely forgotten
   and is now used only in a romantic sense when conjuring up images
   of the Britain of old.  Albion was the chapter of British history
   before the country was invaded by successive waves of Romans,
   Vikings and Saxons.  The last part of England to retain this aura
   is the Welsh border area around Herefordshire and Shropshire.
   With many ancient and medieval ruins, graves and assorted
   surviving phsyical evidence this may well have served as the
   inspiration for some of Plant's lyrics.  This is very likely
   since he was born and raised not that far from there.
 o Plant got the lyrics "Blues falling down like hail" from the
   Robert Johnson song "Hellhound On My Trail".
 o Robert's 1993 appearance on the Spanish tv show "En Vivo" must
   surely rank as one of his oddest tv appearances.  For the
   interview Robert and his band of the time were interviewed through
   two interpreters.  When asked why he doesn't play "Stairway To
   Heaven" any more, Plant replies "I forgot the words!"  By this
   time, guitarist Kevin Scott MacMichael had dozed off and the next
   question was to drummer Michael Lee, who was asked why Plant hired
   him.  Lee replied to this by saying it was because he had great
   eyebrows.  The Plant band performed a horrendous, only partially
   live version of "29 Palms", after which Plant thought they had
   finished only for the overdubbed start of "If I Were A Carpenter"
   to be played.  Plant who had sat down, had to leap to his feet to
   get back in sync with the song and managed to forget the opening
   lyrics.  The rest of the band was caught similarly unawares, with
   Dunnery and Johnstone caught guitar-less while the song was
   starting.  The least chaotic aspect of the show was the airing of
   the "I Believe" video just after the interview and before a 
   commerical break, which was followed by the semi-live performance.
   Of the instruments, all but the guitars were live, which were the
   only instruments mimed for some reason.
 o Plant made an appearance on the show "Center Stage" in 1993,
   playing "What Is And What Should Never Be", "Thank You", "If I
   Were A Carpenter", "Going To California", "Whole Lotta Love", "29
   Palms", "Tall Cool One", and "Ramble On".  This was with his
   "Fate Of Nations" era band.  Robert even played guitar on an
   untitled blues tune similar to "Look Over Yonder's Wall".  On the
   tv broadcast he did not play on any other songs, and his playing
   on that particular number was reportedly fairly dodgy.
 o The "Hiawatha Express" bootleg includes a recording of Plant
   teaching his five yeard old daughter at the time, Carmen, her
   ABC's.  This canbe heard on the bootleg just before the "In My
   Time Of Dying" rehearsals.
 o Plant is renowned for messing up lyrics when peforming live, even
   the ones he had written.  He trims down the verses of his song 
   "Ship Of Fools" when he plays that live, and has been known to
   repeat verses from "What Is And What Should Never Be".  But, the
   song he seems to have had the most trouble with in recent years is
   "Kashmir", and, in both cases, at high profile events.  At Live
   Aid he came in with the coda too early, Jimmy still had 8 measures
   left in his solo.  At the Atlantic 40th Anniversary shindig, he
   repeated an entire verse of "Kashmir", only realising after he had
   started it the second time, he sang, "Oh father of the four winds,
   fill my sails... again!"  He also managed to miss nearly every
   verse entry when they played "Misty Mountain Hop" at the Atlantic
   gig as well.
 o Plant was scheduled to perform at the Alexis Korner Memorial
   Concert at Buxton Opera House on April 17, according to the
   February 1994 issue of _Q_.  Also listed as performers, were Paul
   Jones, Bill Wyman and Charlie Watts.
 o Robert is one of the guest artists on the Martin Allcock compiled
   "Fairport Songbook" Fairport Convention live 2CD set.
 o A photo of Alannah Myles appeared in the February 10, 1994, issue

   of the _Victoria_Times-Colonist_ paper where she is a wearing a
   "Robert Was Here" belt buckle.
 o It is occasionally claimed that a demo version of "Sixes And 
   Sevens", from Plant's "Shaken 'n Stirred" album, exists of 
   Zeppelin experimenting with the tune.  This is not the case, as 
   it is taken from a tape of demos for the Plant album, of around 
   thirty minutes duration, containing this and other songs from the 
   album in demo form.  The Zeppelin bootleg that is the source of
   this misunderstanding is called "Round & Round" and features the
   Chicago, July 6 1973 soundcheck, widely mislabelled as the one
   from Minneapolis in 1975.  What happened was that the company 
   that made the cd took off a few of the songs that were played at 
   the soundcheck, such as "Hungry For Love" and "Reeling And 
   Rockin", and put the demo of "Sixes And Sevens" on there, for 
   reasons best known only to them.  This same mistake was also made
   on the "Uncensored" bootleg, where the demo was said to have
   originated from a 1975 soundcheck, the soundcheck of which they
   were referring to was 1973 anyway.  The song was not demoed
   until the early 1980s.
 o Plant was nominated for a Grammy Award in 1993 for his vocals on 
   "Calling To You", from the "Fate Of Nations" album, in the Hard
   Rock Performance category.  The other nominations were, "Plush" 
   by Stone Temple Pilots, "Cherub Rock" by Smashing Pumpkins, 
   "Leave It Alone" by Living Colour, and "Highway To Hell" by AC/DC.
 o A rumour started by Diane Bettle-Lovett, formerly the owner of the
   "Nirvana" fanzine, was that the guitarist listed as featuring on
   Plant's "29 Palms" single, Rainier Ptcaek, was in fact a pseudonym
   for Plant himself, both having the same intials.  This is untrue, 
   as Ptacek, is a real person, a blues guitarist from Tucson,
   Arizona in fact.  He has a deal with Demon records, and
   apparently, Plant heard him, liked what he heard, and asked him to
   join him in the studio.
 o A short interview with Plant is included in the second part of the
   two part documentary on Atlantic records "Hip To The Tip: The 
   Independent Years".  Plant is filmed in a darkened room wearing a
   pair of sunglasses and with a single light shining on him, giving
   him a rather cliche'd appearance.  Around this a clip of "Whole
   Lotta Love" from "The Song Remains The Same" is played.
 o The lyrics to the song "Tall Cool One" may be a bit more clever
   than they appear on the surface.  It appears to draw some
   comparisons with the animal kingdom.  At one point Plant is trying
   to reconcile a woman's doubts about him by saying his animalistic
   desires are tempered by the fact that he is also in love with her,
   `Lighten up baby I'm in love with you'.  The line about `With my
   one hand loose I am to satisfy' could be compared to the way cats
   and other animals of that persuasion hold their prey in position
   with one hand while using the other to tear it open.  However, in
   this case Plant is obviously not intending to tear the object of
   his desires to shreds.  Cats can often appear to have bloodshot
   eyes, while humans get them from not sleeping much, which might
   explain the line about `Bloodshot eyes'.
 o A particularly interesting interpretation of the Plant song
   "Calling To You" posted to the list claimed that the cry of `Oh
   Jimmy!' is meant in anything but a conciliatory sense.  And
   examination of the lyrics at various parts of the song support
   this assertion.  The lyrics are hard to make out in places
   however, so this is open to question.
        (2:38) Greed call call, greed call, When ya gonna stop?  You 
               stole the keys to the gates of the castle of love.
        (3:48) Greed call call, What ya gonna say?  Standing in the
               shadows as the words kept fading away.
        (4:09) Greed called ? (sounds like Jimmy?), What, you won't
               stop?
               You stole the keys to the gates of the castle of love.
        (4:34) Greed called called, What you won't say.
        (4:38) Standing in the shadows of our work and's fading away,
               Just fading away, Just fading away.  Oh, Just fading 
               away (repeated several times)
        (5:40) Ooohhhh Jimmy!
   Could the lyrics of this song share thematical influences with the
   "Anti-Stairway" song "Liar's Dance" on Plant's earlier "Manic
   Nirvana" album?  If this is the case, the castle of love might
   represent the Zeppelin sound and mystique.  In which case, it 
   follows that Plant feels that Jimmy is degrading himself in
   letting greed get the better of his musical intentions and was
   wasting his musical heritage.  This view is supported by some
   rather derogatory comments Plant made on Letterman about what he
   thought of Jimmy's motives.  However, it all seems like high
   hypocrisy from someone who sold "Tall Cool One" to Coca Cola for
   use in one of their commericals.
 o The Wolf's head logo Robert adopted during his solo career,
   notably on the "Now And Zen", "Manic Nirvana" and "Fate Of
   Nations" albums is a likeness of the logo of his favourite
   football club, the English third division side Wolverhampton
   Wanderers.  The symbol appears on the front cover and on the
   cd of "Now And Zen", which also features Jimmy's ZoSo logo which
   indicates which tracks he played on.  In the case of "Manic
   Nirvana" it appears on the cd again, on the rear cover, and
   throughout the cd booklet.  It only appears only once on "Fate Of
   Nations", on the front of a cap which is being worn backwards by
   a boy watching the traffic in one of the pictures in the cd
   booklet.
 o A performance by Robert Plant at New York's Bottom Line was set to
   be released by Razor & Tie Music as "In Their Own Words: Volume
   1", with other artists to follow.  However, his performance does
   not appear on volume one.
 o An interview with Plant was conducted in early 1994 for MTV's "24

   Hours In A Day Of Rock And Roll".  Plant, on tour at the time,
   mentioned his next destination was New Orleans where he "would
   talk to transvestites, because they were friends of John Paul
   Jones!"  Plant also claimed the reason he does what he does is
   because he is "socially incapable of dealing with real life"
 o A vague resemblance in style between Plant's version of "If I Were
   A Carpenter" and The Kink's "Celluloid Heroes" has been noted.
 o In mid-1968 Plant recorded a song with English blues legend
   Alexis Korner, "Operator", which can be found on Korner's "Bootleg
   Him" double album (Rak SRAK 514).  The album was originally issued
   in 1971 and re-released in 1986.
 o Plant was one of the performers at the Freddie Mercury Tribute
   Concert, and during the performance of the Queen song "Innuendo"
   he slipped in a few lines from "Kashmir", "O father of the four
   winds fill my sails" etc.  Plant also performs "Thank You/Crazy
   Little Thing Called Love" on the video.
 o Plant contributed a harmonica solo to his former-guitarist Francis
   Dunnery's first solo album, "Fearless".  That particular
   contribution can be found on the track "The King Of The Blues."
 o Director Richard Linklater went to the extreme length of sending
   a video tape of him personally pleading to Plant to let him
   include the song "Rock And Roll" in his movie "Dazed And
   Confused".  The film is about a group of teenagers in the 1970s
   and what they get up to on the last day of school.  The film
   featured a lot of classic seventies songs such as Aerosmith's
   "Sweet Emotion".  Both Jimmy Page and John Paul Jones approved the
   inclusion of the song, but Plant, for reasons best known to
   himself, refused to allow it to be used.  This meant it couldn't
   be used, as agreement from all three surviving members of Zeppelin
   was required.  There is no Zeppelin content in the film anyway,
   and Linklater was of the opinion that Plant's "people" rather than
   him were behind the refusal, actually expressing his doubts that
   his pleas ever got to Plant himself.
 o A picture of Plant appears in the book _Eight_Days_A_Week_, which is
   a photographic history of rock.  Plant is shown whilst singing, and
   is wearing a t-shirt emblazoned with the name of a group called
   "Bobby And The Brains".
 o Plant appeared on BBC's "Tops Of The Pops" in 1993, performing "29
   Palms".  He did so completely live, not lip synched as most other
   performers do on the show.
 o Robert's voice was artificially lowered in pitch by studio means 
   on his early solo recordings in order to make him sound more like 
   a `crooner'.
 o The following Plant anecdote appeared in the June 1993 issue of
   _Boston_ magazine.
        "Susan Anton, Mo Vaughn, and Taylor Dayne have all stopped 
        in at Joe's American Bar & Grill in the last few months, 
        but waitress Beth Turchan doesn't get excited anymore.  Not 
        after her blunder with Robert Plant, the legendary voice of 
        Led Zeppelin.
             Turchan's trouble started, she says, when another 
        waiter sang a line from "Simply Irresistible" in honor of 
        Plant. "No, that's a Robert Palmer song," Turchan told him, 
        but her coworker's crooning must have kept ringing in her
        ears.
             When Plant, who had refused autograph hounds all night, 
        was leaving, Turchan extended her hand and said, "Mr. 
        Palmer, may I have your autograph?" 'I'm not Robert Palmer, 
        love," replied Plant, "but would you like an autograph?" 
        He gave her one, and even used his own name."
 o Plant did an acoustic set for Italian radio in May 1993, which
   comprised an interview, with several interviewers and Plant
   replying in English, and acoustic performances by Plant, Dunnery,
   and MacMichael of songs such as "Going To California", "You Shook
   Me", "Living Loving Maid", a surprising choice, and, "29 Palms".
 o In another 1994 radio appearance, Plant hosted a BBC show in May
   where he played excerpts from "Fate Of Nations" and selections of
   his choice, incorporating a variety of world music, and a new
   acoustic rendering of "Whole Lotta Love (You Need Love)", with
   the "(You Need Love)" added to appease a legal finding against
   Led Zeppelin.
 o Robert played a concert for charity at a Kidderminster supermarket
   in 1988, covering a variety of songs by Sting, Bryan Adams, and
   the covering "Rock And Roll" with the backing band.
 o Plant put in an appearance at Woodinville Stock 94, minus Page who
   was rumoured to be joining him, and played what was reportedly an
   excellent set.
 o There is an interview disc from the "Manic Nirvana" era available
   where Plant admits his voice was somewhat "dormant" between 1981
   and the "Now And Zen" era.
 o Plant was very much into the hippie ethos during the Zeppelin 
   days, as evidenced by by his apparel at the early concert at Bath
   and through his love for Californian music.
 o In, or around 1982, Plant performed at a benefit concert for the 
   family of a guitarist in Worcester who had died recently, at the
   Stourport Civic Hall in front of around 200 people.  Plant's
   initial appearance for the evening was with a band called The Big 
   Town Playboys, with Jason Bonham on drums.  This set was mainly
   comprised of old standards such as Billy "The Kid", and Emerson's
   "Red Hot".  After their set, the Big Town Playboys were followed
   by a  variety of local bands until, around 12:30, Plant re-emerged
   onstage with Robbie Blunt and Jason Bonham.  After a few rhythm
   and blues standards, Plant made the surprise announcement to the
   crowd that, "An old mate of mine was in town today so he's dropped
   in to play".  To the astonishment of those present Jimmy Page then
   appeared onstage.  They jammed out a few more rhythm and blues
   standards, then moved on to to "Black Dog" and "Rock And Roll" to
   conclude the evening.  This all took place before a crowd of about
   200.  This sort of cameo appearance by Plant was not uncommon in
   the Worcester area at the time, and he popped up frequently to jam
   with local bands in Stourport.
 o "The Movie Show" on SBS in Australia in mid-1994 showed a brief
   excerpt from a black and white Australian art-type film going to
   the Venice Film Festival, accompanied by "Greatest Gift" from 
   Plant's "Fate Of Nations" album.
 o _Q_ magazine's 1993 awards ceremony saw an award go to singer/
   songwriter Tori Amos, and there was at least one picture of her
   and Robert Plant together at the ceremony.
 o An English magazine claimed in 1994 that Plant had had a facelift
   by showing picture of him at the 1990 Knebworth show and several
   years later.  This is obviously not true, you only need to see
   Plant being interviewed on television to see that he has plenty of
   facial wrinkles.
 o Both Page and Plant were backstage at the Fairport Convention 
   Annual Reunion at Cropredy on Friday, August 12th, 1994, and were
   scheduled to play on Saturday night, but didn't for reasons that
   were described as "problems with the Performing Rights Society".
   Rumour has it that this was because Plant had run off with Roy
   Harper's wife, the one prior to the one who ran off with Nigel
   Kennedy the violinist who appeared on the Plant song "Calling To
   You".  Harper and Plant were apparently not getting on that well
   since Kennedy's appearance on "Fate Of Nations", but Plant's
   behaviour seems to make a mockery of gestures from Harper such as
   writing the song "Evening Star" for Plant's daughter Carmen.
 o During the Freddie Mercury Tribute Concert, Plant gave an 
   interview to MTV's Kurt Loder, and said that he was completing an
   album that was very much in the vein of the Seattle grunge sound,
   and that the album would be available around October 1992.  What
   happened to this album and material is unclear, as "Fate Of 
   Nations" could hardly be described as being grunge.  On the topic
   of grunge, Plant has gone on the record praising Soundgarden a
   few times in recent years.
 o Richard Cole's, erm, interpretation, of where Plant got the, much
   overused by the media, nickname Percy is that the band were 
   sitting around watching a gardening show on tv, the host of which
   was called Percy, and who took great delight in growing his plants
   to perfection.  However, it has also been claimed the nickname
   sprung from Plant's campy onstage behaviour and effeminate type of
   mannerisms in the early days of the band.  Another possible source
   of the nickname was The Kink's rock-opera, later made into a film
   starring Hwyel Bennet, called "Percy".  The film was named after
   the main character whose preoccupation in life was his libido and
   inordinately large genitals.  On the other hand, Percy may have
   just been a one-time joke that has been cliche'd by the media, and
   not really a regularly used nickname at all.  More recently, Plant
   has been referred to as Planty by his ex-guitarist and friend
   Francis Dunnery.
 o The nature of relations between Plant and Paul McCartney would
   appear to at least be cordial, if the photo of him, his son Logan,
   and Paul and Linda McCartney backstage at Knewbworth in 1990 is
   any indication.  Going back further, Plant joined McCartney 
   onstage during one of the latter's concerts in 1979.  That 
   particular jam session took place at the 29/12/79 concert at the
   Hammersmith Odeon by Wings for a Kampuchea benefit show.  Also
   onstage with Plant were Jones and Bonham, while Page had attended
   a Wings gig on December 2 in Brighton, and Plant and Bonham had
   popped up at a Wings show on December 12 in Birmingham.  Jones was
   later to appear on McCartney's "Give My Regards To Broadstreet".
 o On at least one of his 1990 dates Plant and his band played a
   portion of "Give Peace A Chance" and the Beatles song "Things We
   Said Today" just before he played "Living Loving Maid (She's Just
   A Woman)".
 o In the video for "Hurting Kind" Plant's plays a white `Flying V'
   style guitar, and rather sparingly too.
 o At the end of the credits on his "Mumbo Jumbo" video it lists
   Plant as the Executive Producer, and then at the bottom of the
   screen, "If you can't take a joke...!" appears.
 o Storm Thorgerson, the guru behind the renowned sleeve designers
   Hipgnosis, and long-time Pink Floyd associate, was the director
   for the video for Plant's songs "Big Log" and "In The Mood".
 o Plant's "Heaven Knows" video was filmed in Morocco.
 o Plant contributed the track "If It's Really Got To Be This Way"
   to "Adios Amigo", a tribute album for Arthur Alexander, who was
   an early influence on Plant's singing.  The album is on the Razor 
   & Tie label.  Arthur Alexander was one of the first soul artists,
   his combination of blues, country and '50s rhythm and blues was
   instrumental in laying the foundation for later artists such as
   Otis Redding and James Carr.  Early in their careers both the
   Beatles and the Rolling Stones covered his songs, "Anna", and "You
   Better Move On" respectively.  The following quote from Paul
   McCartney is taken from the liner notes from Alexander's last
   release, "Lonely Just Like Me", on Elektra.
        "If the Beatles ever wanted a sound it was R&B. That's what
        we used to listen to, what we used to like, and what we 
        wanted to be like.  Black, that was basically it.  Arthur 
        Alexander."
   Another of his better known songs is "Every Day I Have To Cry".
   His career was anything but consistent however, as he was ripped
   off with a disturbing regularity, and suffered the rigours of
   long term drug abuse and a downturn in his career that lasted for
   several decades.  He was poised to make a comeback in the early 
   1990s with a performance for the "In Their Words" series at The 
   Bottom Line in 1991, which was followed by a new album in 1992.  
   In a cruel blow Arthur Alexander died at just 53 only a short 
   time after the album, "Lonely Just Like Me" was released to rave 
   reviews.  His performance for the aforementioned series can be
   found on "In Their Words Volume One", also on the Razor & Tie
   label.
 o The song "Oompah (Watery Bint)" is a b-side recorded during the
   "Now And Zen" period, appearing on the "Hurting Kind" cd single,
   and features a series of amazing screams from Plant towards the
   end.
 o There were rumours doing the rounds in 1988 that Plant was in
   some sort of relationship with Joan Jett, who was opening for him
   at the time on the "Now And Zen" tour.
 o Various explanations have been offered for the changes that have
   taken place in Plant's voice.
   - Up to the mid-1970s Plant had very bad teeth, but he later had
   them corrected, which may cause a change in how his voice sounds.
   - Cocaine snorting can result in a deviated septum, which leads to
   a constantly running nose, although this can be corrected by
   surgery, which has the effect of making a voice more nasal.
   - Plant was known to smoke pot in the early days of the band.  In
   small quantities, some singers claim that it improves such things
   as lung capacity and gives a nice crisp, clear sound.  This leads
   to the rather tenuous theory that after Plant became less frequent
   in his use of pot,in the late 1970s, his voice changed.
   - Plant and the rest of the band smoked cigarettes, and these
   alone have well-documented effects upon the throat and lungs to
   name but a few things.
   - More likely is that Plant permanently damaged his voice by
   pushing it too far, too often, and scarring his vocal chords.
   - Certain types of surgery, such as cosmetic surgery, can have
   varying effects on the voice, not that it is proven that Plant has
   ever had any.
 o The song "Calling To You" is in a phrygian mode.
 o "The Honeydrippers: Live At The Bluenote Derby in 1981" released 
   by Box Top Records in 1984 is nothing to do with Plant's band of
   the same name, as in 1981 their formation was still a few years
   away.  Plant's Hondeydrippers band is rumoured to have featured
   Paul Schaeffer, who is nowadays in charge of the CBS Orchestra on
   "Late Night With David Letterman".  Plant did however do gigs
   dating back to 1981 with bands called "The Skinnydippers" and
   The Honeydrippers".
 o At the time of the "Unledded" special with Jimmy Page, Plant was
   said to be dating Indian singer Najma Akhtar, who sang with him
   on "The Battle Of Evermore".
 o The girl in Plant's "Hurting Kind" video is rumoured to be his
   daughter.
 o Robert Plant was spotted on October 29, 1994 around 4.00pm at
   Avebury, near Bath, Bristol.  Avebury has similar attractions to
   Stonehenge for tourists.
 o Plant has often asserted his admiration for Sonny Boy Williamson
   II, and how he believes he is a great model for how musicians 
   should be when they get older.  Whether this amounted to the
   rumour that Plant stole one his harmonicas is unlikely though.
 o Alannah Myles' most recent album makes a few pointed references
   to Plant, such as in the liner notes a notation, "those who you
   recognize between the lines", as well as song lyrics beginning
   with "Heaven knows...".
 o Zeppelin's former publicist, B.P. Fallon, in his book about the
   1994 U2 Zoo TV Tour reports that Plant's favourite U2 song is
   "Salome~", and that he actually quite likes Bono, and in a phone
   call to Fallon compared him to Ral Donner, an English Elvis
   copier who Elvis stole "The Girl Of My Best Friend From", and
   as Plant is said to practically worship Ral Donner, that is high
   praise indeed.
 o Plant once suggested that Zeppelin gigs should conclude with a
   cover of The Incredible String Band's "Hedgehog Song", but was
   chastised by Bonham.
 o According to a 1988 interview, Plant had an operation on his
   throat around 1973/74 that rendered him unable to sing or talk
   for weeks.  One particularly inane rumour I heard recently was
   that this operation was undertaken by Hindu religious leaders
   in India.
----------------------------------------------------------------------
     2.2 - The Sorceror's Apprentice : Jimmy Page

 o James Patrick Page was born on January 9, 1944, in Heston, 
   Middlesex, England.
 o When Jimmy appeared on the "Huw Wheldon Show" in 1956, after 
   playing a brief excerpt from "Mama Don't Wanna Play No Skiffle 
   No More," he said he wanted to become a biotechnologist and work
   with germs.
 o Jimmy's first job was as a lab assistant, giving him something in
   common with Henry Rollins, whose tales of rat and animal problems
   can be found on his "Talking From The Box" spoken word double cd.
 o Page's early inspiration to play guitar came from the Elvis 
   Presley song "Let's Play House."
 o Jimmy stopped playing guitar for two years while he went to art
   school.
 o Jimmy Page has known Jeff Beck since he was 11.
 o When questioned about which songs he did play on as a session
   player, especially ones where some controversy as to what his
   exact role is has arisen, Jimmy usually pleads ignorance and
   points out that it is hard to remember exactly what he did given
   the huge amount of sessions he was playing at the time.
 o Jimmy was a session guitarist for three years, playing on 
   literally hundreds of recordings of an incredibly diverse nature 
   playing anything from a few licks to a solo.  Various estimates
   have him playing on anything from 50% to 90% of the records that
   were recorded in England between 1963 and 1965.
 o Page was the favoured session guitarist of producer Shel Talmy, 
   and ended up doing session work on songs for The Who and The Kinks 
   as a direct result of this.
 o As a session player, Page's involvement with Herman's Hermits has 
   been a source of much controversy, possibly due to a wrangle 
   between Page and the producer.  One rumour has it that he played 
   on all their early hits, although a more likely scenario is that 
   he played on several of them.  In the case of Herman's Hermits,
   the backing tracks for their songs were usually cut while Peter
   Noone and the rest of the band were on tour.
 o The Who song "I Can't Explain" features Jimmy in a minor role.
   Although there is a story that Jimmy played the main rhythm part
   while Peter Townshend played the solo.
 o Page supplied the rhythm guitar for The Kink's "You Really Got Me"
   and "All Day And All Of The Night", which has not really been
   contested by Dave Davies.  What he has contested however is that 
   Page played the solos in these songs, which he almost certainly 
   didn't, they don't sound very Page-like at all.  However, Page may
   well have played the main riffs in both these songs which prompted
   Elliot Easton to claim in _Guitar_World_ that if he did play the 
   riff in "You Really Got Me" then he invented heavy metal there and 
   then.  Page claims he contributed "bits of feedback" to The Kinks 
   song "I Need You" which appeared on one of their early albums.
   Further fuel for the debate comes from Ray Davies autobiography
   _X-Ray_, where he says that Page was present but he didn't do the
   solo.
        "When we went upstairs to hear the playback in the tiny 
        control room, we found it crowded with onlookers and assorted
        musicians.  Among them was Jimmy Page, who cringed as it came
        to Dave's guitar solo.  Perhaps Page was put out about not
        being asked to play on the track, and we were slightly
        embarassed by the amount of jealousy shown by the eminent
        guitarist.  Perhaps he thought Dave's solo was inferior to
        anything he could have played, but Dave not only invented a
        sound, but also had every right to play whatever solo he felt
        fitted the track."
   However, the released track is the third take of the song and 
   while Dave Davies features on the first and third takes, Page
   may be on the second.  Ray Davies also says that Page played the
   tambourine on the Kink's first record, attempting to minimalise
   Page's contribution.  However, the song both Page and Davies agree
   features Page is "I'm A Lover Not A Fighter" which Jimmy plays 12
   string guitar on.  A few other tracks on that particular album
   also feature Jimmy playing rhythm guitar, but he denies ever
   having tambourine on any Kinks record.
 o Page has long been rumoured to feature on songs by Van Morrison's
   Them such as "Baby Please Dont Go", "Here Comes The Night", 
   "Gloria", and "Mystic Eyes".  The exact details are unclear, and
   while the first two are likely, he may have played bass on "Baby 
   Please Don't Go", there is some doubt about "Gloria", but his 
   fiery style is very evident on "Mystic Eyes".  He probably also 
   played on the b-sides of all these songs.  However, as with The 
   Kinks, by saying he played on these songs does not automatically 
   mean he played lead guitar on them.  But as "Gloria" was the
   b-side of "Baby Please Don't Go" he probably played on at least
   one of those two songs.
 o Page may have played on several songs by Donovan such as "Sunshine 
   Superman" although the long held belief that Jimmy played on 
   "Hurdy Gurdy Man" has been questioned recently, with the
   contention that it is in fact Allan Holdsworth, and not Page.
   Jones on the other hand, who most certainly did work on the track
   says it was Alan Parker.  Donovan in a radio interview in 1988 on
   KCRW in Santa Monica, said that it was Holdsworth not Page, as
   they tried to get Page but he was unavailable, and tried out a new
   young guy, Holdsworth, instead.  An answer to this perplexing
   question that could be seen as definitive came from Allan's wife
   Claire, when she was asked this by a member of the Allan
   Holdsworth mailing list.  The response she gave was (included
   without permission), "Allan is bemused by the number of people,
   including Donovan, who have said that he played on that song -
   because he didn't!!  He thinks it might have been Ollie Halsell
   but he is dead now so I guess we can't ask him."  Page, who denies
   playing on it claimed in a 1977 interview that it was Alan Parker.
   To confuse matters further, in the liner notes for Donovan's
   "Trouabdour" box set it claims Page played on the track.
 o A bootleg 2 cd set called "James Patrick Page: Session Man" 
   features many of Page's notable early performances as a session 
   man with bands such as The First Gear, Dave Berry & The Cruisers,
   and Lulu And The Luvvers.  A portion of these probably also 
   feature John Paul Jones who was the leading session bass player 
   and arranger at the time.  However, these album aren't really
   bootlegs.  The record label, AIP, sidestepped any possible legal
   problems by licensing the album through a third party, the "Jimmy
   Page Fan Club."  Greg Shaw, President of Bomp/AIP records had
   this to say on the matter in the May 12, 1995 "Special Independent
   Label Issue" of _Goldmine_.
        "I wasn't constrained by the traditional way of doing things:
        going through legal departments and making sure every
        contract is 100 percent firm.  Most of the best reissues are
        done by going directly to the artist, maybe circumventing
        people who are the legitimate owners.  I wasn't too sure
        about the legality of the _Pebbles_ [a reissue compilation]
        so I worked with these Australian guys and had them issued
        there, but after a couple of years it appeared there wasn't
        going to be a problem.  So I started the AIP label."
 o Page's favourite guitar solo is said to be the one from "Reeling 
   Away The Years" by Steely Dan.  The guitarist responsible is 
   Elliot Randall.  This detail comes from a postcard circulated by
   Metal Leg advertising a show featuring Elliot Randall in a band 
   called Chain O'Fools, on February 5, 1994, 10.30pm, at Le Bar Bat,
   311 W. 57th St., New York City.  The quote on the postcard reads,
   "My favorite guitar solo of all time was Elliot Randall's on 
   Reelin' in The Years".
 o For information relating to Jimmy's symbol please refer to the 
   FAQL for a detailed explanation.  The most recent theory that 
   seeks to explain it has it that it that it symbolizes a near-
   death or Tantric sex experience to unify the worlds of the 
   living and the dead, and thus to reveal the secrets of the 
   universe.  A few points are worth clarifying.
   - It is not a word that can be prounounced "Zoso".
   - The symbol was designed by Jimmy, and the only person he has
     revealed its meaning to was Plant, long ago, and he has since
     forgotten.  Nigel Eaton, hurdy gurdy player on the Page & Plant
     world tour was reported in _Q_ as having asked about it and
     been greeted with a deathly silence.
   - It is also unlikely to symbolize Cerebus, the guardian hound at
     the gates of hell.
   - It is not a stylisied "666".
   - The closest thing to an explanation from the man himself came on
     his November 1994 appearance on _Denton_ with Plant.  At the end
     of their interview a member of the studio audience yelled 
     "What's your symbol mean Jimmy?"  After some confusion as to 
     what was being yelled, understanding dawned on Plant's face and
     he replied "Frying tonight".  Page did not elaborate further.
   - It most likely has absoluely nothing to do with Curious George
     The Monkey, known as Zoso, a character in English children's 
     books.
   - It doesn't have anything to do with the pyramid of Zoser in 
     Egypt.
 o The "Wall of Sound" phenomenen that is attributed to Page as some
   sort of invention can be traced back to Phil Spector in the days 
   before multi-track recorders.  John Coltrane was attributed as 
   having a wall of sound too, but this was a reference to his 
   playing and arranging style and not his production techniques.
 o An amusing story relating to the guitarist from Jethro Tull is 
   that Page was passing through the studio when the guitarist was 

   recording the solo for "Aqualung" and recognizing a prior 
   acquaintance waved to him, nearly distracting the guitarist enough
   to break his concentration and ruin the solo.
 o Page was not a fan of Jethro Tull's live performance, labelling 
   them as "Jethro Dull."
 o Carlos Santana in the notes for "Viva Santana," hails Jimmy Page's
   studio and compositional genius, `He really is the Stravinsky of 
   the Les Paul.'
 o Like Paul McCartney, Page admits to having no real grasp of 
   reading sheet music, although he can puzzle it out given time.  
   When he began his session career he had to be taught the basics by
   fellow session man, "Big" Jim Sullivan.  But even then Page found
   it difficult and time consuming to work out what he was supposed
   to be playing.  Tony Meehan once recalled, 
        "He came down and I knew right away that he was faking it.  
        He couldn't read the music I'd written for him.  But he was
        doing well enough on his own - I switched him from lead to
        rhythm guitar and all went well.  The session was at IPC 
        Studios in 1962, and I'm positive the song we did, 
        "Diamonds", was the first number one record that Jimmy had 
        ever played on."  
   Even today Jimmy admits he is not that great at reading music,
   although he says he is better at writing it down.
 o In October 1982, Page received a 12-month conditional discharge 
   for drug related offences.
 o Jimmy donated the Yamaha acoustic guitar he used on the 1975 world
   tour as a prize in a local radio contest in 1982.  On the guitar 
   he wrote, "This guitar was stolen from Jimmy Page, Led Zeppelin 
   (Officially of course)."
 o Jimmy owns Aleister Crowley's former residence Boleskine House, 
   and at one stage opened a shop called Equinox, with a front door 
   facing an alley adjoining a shopping center, which sold various 
   items of Crowley paraphenalia.
 o Jimmy Page performs the guitar solos on two tracks from Plant's 
   "Now And Zen" album, "Heaven Knows" and "Tall Cool One."  In each 
   case, in the cd booklet Jimmy's ZoSo symbol is used to indicate 
   which songs he played on.  The Zeppelin samples were added to 
   "Tall Cool One", which annoyed Jimmy immensely.
 o The Rolling Stones album "Dirty Work" features Jimmy on "One Hit 
   (To The Body), and according to the "Rolling Stones Complete 
   Studio Recording Sessions" also on "Back to Zero."  Page is 
   credited in the liner notes as having played on the album, but 
   apparently the reason the songs he plays on are not identified is
   for contractural reasons.  Page does not play the solo on either 
   track.  On "One Hit (To The Body)" Page plays a modified Fender 
   Telecaster with a GeneParson/Clarence White B-String Bender, which
   he also used on the ARMS tour, with the Firm and on the "Outrider" 
   tour.
 o The soundtrack to the film "Death Wish II" features Page 
   experimenting with a Roland Guitar Synthesizer.
 o Contrary to Plant, Page loathes the tacky imitation of Dread 
   Zeppelin.
 o The theme song to the tv show "The Wonder Years" features Page.
 o Page recently identified one of his influences as the contemporary
   classical composer, Krzysztof Penderecki (1933-), particularly his
   use of dissonance for dramatic effect.  Some further details on 
   this composer reveal how his influence may have been felt by Page,
        "It is a remarkable aspect of Penderecki's career that he has
        been able to, and almost from the first, to write music of 
        wide and direct appeal which makes use of advanced vocal and 
        instrumental effects and places no long-term reliance on 
        tonality.  His success may be ascribed in part to his 
        treatment of momentous subject matter, whether religious or 
        secular: tearing conflicts, drama, mourning and victory are 
        his strong points.  ...  In his vocal writing for example, 
        prayerful psalmody appears alongside singing, speaking, 
        shouting and impressions of uproar."
 o Page entered into an agreement with Kenneth Anger to supply the 
   soundtrack for Anger's film "Lucifer Rising", which had some
   Crowlean content.  Page even let Anger use the cellar of Boleskine 
   House for filming.  But in the end Page only delivered twenty 
   three minutes of material, which Anger thought was useless.  Anger 
   went public with his displeasure in 1976 slamming Page as an 
   addict and a pretentious dabbler in the occult, something that 
   must have annoyed Page as he always seemed to take his studies 
   quite seriously.  Anger himself is deeply involved in such 
   matters, he likes to call himself a satanist although probably in 
   much the same way as Aleister Crowley did.  The music eventually 
   came from Bobby Beausoleil, a member of the Manson family.  The 
   Page material was released on a soundtrack album of uncertain 
   legitimacy on the label Boleskine House Records, BHR 666, 1987.  
   The pressings were very limited edition, and were done on blue 
   vinyl at 45 rpm, although other coloured vinyl is rumoured to
   exist, and the final recordings may not be entirely Page content
   alone.  The music itself consists of a lot of theramin driven
   material.  Interestingly, director Anger, who was a friend
   of Anita Pallenberg, wanted to cast Mick Jagger and Keith Richards
   in the film, with Mick in the role of Lucifer.  In the end, Anger
   cast Marianne Faithfull along with Chris Jagger, brother of Mick,
   although he lasted only a day on the set before being sacked.  The
   story behind this particular film is related in Marianne
   Faithfull's autobiography, _Faithfull_.
 o The raging guitar track for Joe Cocker's cover of "With A Little 
   Help From My Friends" is Page.
 o Page is featured on two tracks on Stephen Stills' solo album 
   "Right By You."
 o Page made the album "Whatever Happened to Jugula" with Roy Harper.
 o Page's technique is by his own admission `sloppy,' something he 
   finds amusing considering he took lessons from John McLaughlin, 
   reputedly one of the `cleanest' guitarists ever.
 o At a concert in Chicago in 1977 Page experienced stomach cramps 
   and the show was called off after "Ten Years Gone."
 o Some information on one of Page's toys, the theremin:
        "This is the first device to use alternative means of 
        interaction to produce music.  It was invented by Leo 
        Theremin, a Russian living in England, in the 1930's, and 
        was made popular in the 1960's by Sun Ra.  The instrument 
        produces sine-wave sounds by the beat frequencies between a
        reference RF oscillator and an oscillator tuned by the change
        in capacitance between an antenna and the performer's hands, 
        arms or body caused by movement.  The closer you came to the
        antenna, the higher the capacitance and higher the pitch. 
        Later versions of the instrument have volume control from a 
        second antenna.  The Theramin is used at the beginning of the
        Beach Boys' song "Good Vibrations".  Bob Moog, of synthesizer
        fame, built these as a way to make money while in college."
 o Singer Chris Farlowe who contributed vocals to Page's "Outrider" 
   album had been involved with Page previously, when Page as a 
   session player had played on Farlowe's 1966 album "14 Things To 
   Think About" and on the single "Out Of Time/Baby Make It Soon."  
   In a long and varied career Farlowe also performed with Atomic 
   Rooster ("Made in England", (1972), and "Nice & Greasy", (1973),
   Colosseum ("Daughter of Time", (1970), "Colosseum Live", (1971)),
   and under his own name ("Chris Farlowe Band Live", (1975)).  
   Farlowe also did a lot of covers of Rolling Stones material during
   the 1960's.
 o Jimmy gets a mention in the `Inspiration and Coolness' section of 
   the liner notes for Bob Rock's most recent album.  Coincidentally, 
   the third produer of "Coverdale/Page" Mike Fraser engineered 
   Rock's album.  Rock, a Canadian producer and musician is also 
   known for his work with bands like Motley Crue ("Dr Feelgood"), 
   Metallica, The Cult, and Bon Jovi.
 o According to MTV, a man in Palm Springs, California, recently 
   built a swimming pool in the shape of Jimmy's double neck Gibson 
   guitar.  The pool is over 59 feet long, 23 feet wide, and cost 
   over $87,000 to build.  The pool is even accurate to the extent of
   including the knobs on the guitar which double as underwater bar 
   stools.  Only in America.
 o Over the years Page has jammed with, amongst others, Aerosmith, 
   Bon Jovi, Jaco Pastorius, and Mason Ruffner.
 o Jimmy has a guest spot on Norton Buffalo's album "Draw Blues," 
   which also features Jeff Beck, Buddy Guy, and Dan Ackroyd.  There
   is some speculation that it was Buffalo who blows the whistle 
   during "Fool In The Rain."  A possible highlight of the "Draw 
   Blues" album, judge for yourself, is a harp `duel' between Beck, 
   Guy, and Ackroyd.  The album is available on Japanese import, and
   features a cover of Cole Porter's "Being The Beguine" with Jeff 
   Beck playing blues sitar.
 o Joe Walsh gives Jimmy a mention in the liner notes for his early
   seventies album "So What?"  The link between Jimmy and Joe is that
   Joe gave Jimmy a 1959 Gibson Les Paul guitar, which is Page's 
   second string guitar.  It has been modified in several areas by 
   Page's recording studio maintenance engineer, Steve Hoyland.  The 
   guitar has a custom bridge that raises the strings in the 
   following manner:
                                _  _
                          _  -        -  _

   This makes it possible when playing the guitar with a violin bow
   to play individual strings, not just the top and bottom 'E' 
   strings.  Orchestral stringed instruments are constructed in this 
   way.  Another reason Page is credited on that album is that he
   played on the original take of "Country Fair", although that
   version didn't make it onto the album.
 o In a 1977 interview with _Guitar_Player_, Jimmy recalled how the 
   idea was suggested to him.
        "The first time I recorded with it was with the Yardbirds.  
        But the idea was put to me by a classical string player when 
        I was doing studio work.  One of us tried to bow the guitar, 
        then we tried it between us, and it worked.  At that point I 
        was just bowing it, but the other effects I've obviously come
        up with on my own using wah-wah and echo.  You have to put 
        rosin on the bow, and the rosin sticks to the strings and 
        makes it vibrate."
   Dave Lewis further hones this by revealing that the son of the
   session violinist who suggested it to Page was the actor David 
   McCallum of "Man From U.N.C.L.E." fame.
 o Page favours Herco Flex 75 picks.
 o Page was at one time involved with well-known groupie and tell-all
   author Pamela Des Barres.  Des Barres's book "I'm With The Band"
   linked the two, and Des Barres was interviewed for Stephen Davis'
   "Hammer Of The Gods" where she contributed the following slightly
   erroneous and suspect observation, "I believe that Jimmy was very
   into black magic and probably did a lot of rituals, candles, bat's
   blood, the whole thing.  I believe he did that stuff."  After 
   Page, Pamela married musician and actor Michael Des Barres, 
   although they have long since split.
 o Page married in 1988, and now has a son, James Patrick Page Jr.
   Page's daughter Scarlett is in her mid twenties.  Information on 
   who it is that Page married are sketchy, which is probably the way 
   he wants it, and we're happy to leave it at that.
 o Jeff Beck was supposed to play "Stairway To Heaven" with Jimmy on
   the ARMS video but is strangely absent and Jimmy can be seen to
   look up at Andy Fairweather Low after the song and ask "Where's
   Jeff?"
 o Chris Squire who was with Page in XYZ has said that one of the 
   songs XYZ did turned up on one of the Firm albums.
 o The `Jimmy' mentioned in the Rolling Stones song, "You Can't 
   Always Get What You Want", `...I was standin' in line with Mr. 
   Jimmy...  So I sung my song to Mr. Jimmy...', is not a reference
   to Jimmy Page.  Jimmy does feature though in the credits for the 
   Stones album "Metamorphisis" although it is unclear which tracks
   he played on.  Jimmy may have been involved in the early days of 
   the Rolling Stones during his days a session player and producer,
   no-one can say for sure.  He has played on an album with Ron Wood
   and Paul Rodgers, and Bill Wyman was present on the ARMS tour, so
   there is ample evidence the bands got on reasonably well, although
   Keith Richards has said he thinks Plant is a bit of an egomaniac.  
   The reference to Page on the back cover of "Metamorphisis" reads:
        "This new elpee is for your home rack
        with songs and stars to take you back
        Some old, some new, some gone, some due
        From days when people wrote for the fun of it
        And played for the hell of it
        With pictures taken when all was smart
        and just another piece of art,
        From sessions gone by, when friends dropped in
        to play or stay or grin and drink
        No one kept a list to say 
        Who played like this or clapped that way
        The toads of parking lots weren't around to state
        Pay up or you've got no sound
        So thank you Jimmy Page, John McLaughlin....
        ...John Paul Jones..."
   Two tracks on "Metamorphisis" that seem the most likely candidates
   for Page's involvement are "Heart Of Stone" and "Memo From
   Turner".  Keith Richards has admitted that the guitar part on the
   released version of "Heart Of Stone" was copied straight from
   Jimmy's demo tape.  Additional 1964 demos are avilable on other
   Stones bootlegs, including the recently released "Metamorphisis"
   pirate.
 o The guitar Page played at the Knebworth 1990 jam with Plant's 
   band was one of his Les Pauls equipped with a Gene Parson/Clarence
   White B-String Bender, evident from the small item that looks like
   a knob behind the bridge.  This cherry red guitar is the one Page 
   is holding on the May 1993 cover of "Guitar World."  It was his 
   main guitar on the "Outrider" tour.  This 1970's Les Paul is a
   goldtop that was repsrayed cherry red, and was used on the 
   "Unledded" special.
 o Jimmy's main guitars with the Firm were his 1959 Fender Telecaster
   with the B-Bender, and his sixties Lake Placid blue Fender 
   Stratocaster.
 o In 1963 Jimmy played as session guitarist on a song with Brian
   Auger and Sonny Boy Williamson, "Don't Send Me No Flowers" which
   is available on the Marmalade label.
 o In the future the former singer of Pink Floyd, now a solo artist,
   Roger Waters is due to record an album with Jimmy Page, if his 
   trend of recording with ex-Yardbirds guitarists continues.  Eric 
   Clapton features on Roger's first album "The Pros And Cons of 
   Hitchiking", and Jeff Beck features on "Amused To Death."
 o Jim Sullivan, who appears with Page on "No Introduction 
   Necessary", along with Page dominated the session player scene in
   London during the 1960's.  Sullivan was known as "Big Jim" while 
   Page was nicknamed "Little Jimmy."
 o One of Richard Cole's more interesting recollections is that when 
   he heard one of the band had died he assumed it was Page, probably
   due to Page's drug problems, his malnutrition, heavy drinking, and
   physical exhaustion.
 o Page has pointed out in interviews that he was surprised that 
   Zeppelin were not accused of copying Howlin' Wolf, as that is who 
   he thought he was borrowing from.
 o One of Jimmy's houses is Tower House in London.
 o From a live Paul McCartney album from the 1970's comes a song 
   called "Rock Show", the opening lyrics of which are, "Who's that 
   man walkin' 'cross the stage?  Looks like the one they call Jimmy 
   Page...".
 o Rumour has it that one Zeppelin song includes Page being sick and
   coughing constantly in the background, although which song this is
   has never been established, if it happened at all.
 o An album called "The White Album" by Phish features a song called
   "A Letter To Jimmy Page."  Phish have also been known to cover
   "Good Times Bad Times" and other Zeppelin songs as encores.
 o On tour it is likely Jimmy has several bows, as there have been
   instances where road crew complained of having no idea of where to
   get a bow restrung in the city the band had just arrived in.
 o Redd Kross have a song called "Jimmy's Fantasy", the first line of
   which is 'Climb the mountain with your fingertips.'
 o Contrary to popular myth, it is not Page that was playing with 
   Jimi Hendrix and Jim Morrison at The Scene, 301 West 46th St, on 
   March 6, 1968, in New York.  Page in an interview with "Guitar 
   World" in 1993, revealed he had never played with Hendrix.  The 
   guitarist in question is Johnny Winter, and not Jimmy Page.  The
   reason for the uncertainty is that Winter plays a small excerpt 
   from Page's "White Summer".  Page never actually played with 
   Hendrix, contrary to what is claimed in David Hendersen's "Excuse 
   Me While I Kiss The Sky", that Page and Hendrix jammed during the
   time of the Jimi Hendrix Experience in the autumn of 1968.  Page 
   has said that the only time he ever got to meet Hendrix was in a 
   bar, and that Hendrix was completely gone and there was no point
   in trying to talk to him, let alone jam.
 o As well as being the bass player in The Firm and Blue Murder, Tony
   Franklin has also played with Roy Harper.
 o Page attributes his string-bending style to Elvis Presley's 
   guitarist and Cliff Gallup.
 o Jimmy helped out on the ARMS tour, which was a benefit organised 
   for former bass player for the Faces, Ronnie Lane, who was 
   diagnosed with multiple sclerosis.  Lane's treatment was a 
   prohibitively expensive experimental snake venom treatement, which
   was at the time not available to other sufferers.  Some of the 
   participants were Jeff Beck, Eric Clapton, Steve Winwood, Bill 
   Wyman, Kenny Jones, Andy Fairweather Low, and Jimmy Page.  The 
   benefit concert was held in London, and a highlight was to be the
   appearance of Jimmy Page, being his first notable public 
   appearance in a long time.  The previous year Page had been 
   charged with drug related offences, and he did not look in the 
   best of health, very thin and pale, and didn't play all that well.
   The London shows were on September 20 and 21 1983 at the Royal 
   Albert Hall.  Page performed amonst other things "Who's To Blame" 
   (with Winwood on vocals), "Prelude" (The Chopin prelude he used 
   for "Death Wish 2"), and an instrumental version of "Stairway To 
   Heaven."  The finale was "Layla" with Beck, Page and Clapton 
   jamming, and "Goodnight Irene" with Ronnie Lane on vocals.  The 
   show then moved to the USA for dates in Dallas, Los Angeles, San 
   Francisco and New York's Madison Square Garden.  Paul Rodgers of 
   Bad Company replaced Winwood, and Joe Cocker turned up at some of
   the shows.  Page's playing improved steadily throughout the tour,
   with multiple dates played at each venue.  Page even spoke 
   onstage, something he rarely ever did with Zeppelin, the exception
   being during the 1980 tour.  A bow segment was added, and Page 
   began playing a song he and Paul Rodgers were working on called
   "Bird On A Wing" (A descdendant of the unfinished Zeppelin song 
   "Swan Song") which went on to become "Midnight Moonlight" during 
   The Firm years.  The instrumental version of "Stairway To Heaven" 
   also featured Jeff Beck and Eric Clapton joining Page for a jam at
   the end.
 o The debut album by a band called Cartoone credits Jimmy as the
   producer, and he is quite likely to have also played on it.  The 
   album was recorded in 1969, and according to "A Celebration" Page
   is featured as a guest artist on unspecified tracks, and he seems
   to recall playing acoustic rhythm guitar on the album in a couple
   of places.  Interestingly, the beginning of the song "Ice Cream
   Dreams" is very reminiscent of "Stairway To Heaven".  On the
   subject of this album, in _Proximity_#10_ the following appeared.
        "Another Atlantic release shortly following _Led Zeppelin_,
        the only redeeming feature of this album is the fact that
        Jimmy Page's name appears on the jacket.  His guitar playing
        is nowhere in evidence and the music is uniformly awful.
        Page claimed in an interview once that he thinks he strummed
        an acoustic guitar on a few of the tracks, and for that he
        receives equal billing with the band members on the jacket as
        'guest artiste'."
 o When playing "Heartbreaker" live, Page liked to segue into two 
   unusual covers midway through the song.  The first of these was 
   "Bouree", which is essentially Jethro Tull's popularised version 
   of Johann Sebastian Bach's "Lute Suite No. 5".  The other was 
   Simon and Garfunkel's "59th Street Bridge Song" or "Feelin' 
   Groovy" as it is sometimes called.  Page did this a lot on the 
   early tours, 1970 and 1971, less in the middle years, but again 
   on the 1980 encores.
 o In recent times Page is said to reside in Berkshire, adjacent to 
   his home studio.  Jimmy does not currently live in Aleister 
   Crowley's old home, Boleskine House, although he apparently still
   owns it.
 o Page and Jones get a "thank you" credit on the "Rock Aid Armenia"
   remake single of "Smoke On The Water" which featured amongst 
   others, Ritchie Blackmore, David Gilmour, Tony Iommi, Alex 
   Lifeson, Brian May, Bryan Adams, Bruce Dickinson, Ian Gillan, Paul
   Rodgers, Chris Squire, Keith Emerson, Geoff Downess, Roger Taylor,
   and Geoff Beauchamp.   
 o The Yardbirds song "Glimpses" feature some of Page early, and very
   psychedelic attempts to utilitise his bowing technique.
 o Jimmy has his own star on the "Rock Walk" at the entrance to the
   Guitar Center on Sunset Boulevard in Hollywood.  The inlay in the
   footpath has imprints of Page's hands and his signature.  Fellow
   guitar legend Edward van Halen was present at the unveiling and 
   was reported as saying the following in _Rolling_Stone_, "Led 
   Zeppelin is universally considered to be one of the heaviest bands
   of all time, and yet 90% of their music was acoustic.  I think 
   that's great!"  A photo of Page at the ceremony appeared in the 
   February 1994 issue of _Q_.
 o From early in Jimmy's career is a song he cut with Sonny Boy 
   Williamson II, "I See A Man Downstairs".
 o In interviews Page has stated he prefers AAD to DDD purely for 
   "feel".
 o Page's relationship with Lori Maddox is frequently brought up by 
   people such as Richard Cole and Stephen Davis in their quest to 
   find dirt on the band.  The exact nature of the relationship 
   remains slightly unknown, but if it what they claim it is, it 
   could well be judged illegal as she was 14 when they first started
   going out together.
 o While playing "Take Me For A Little While" during a Coverdale/Page
   show in Japan, Jimmy succummbed to the urge to throw in some licks
   from "Stairway To Heaven", the chords of which are the same.
 o Jimmy's 1965 solo single, "She Just Satisfies/Keep Moving" was 
   released on cd in 1991.  The song is very derivative of the Kinks
   song "Revenge" Kinks, which was co-written by Larry Page, manager
   of the Kinks, of whose recordings, Jimmy appears on several as a
   session player, probably including "Revenge".  This cd single is
   part 1 of a set of 12 Fontana collectable single reissues.  The
   single is also part of a boxed set of similar vintage and rarity
   recordings.
 o During the April 28, 1977 show at Cleveland, Page's "White Summer/
   Black Mountainside" very clearly contains a snippet of what was to
   become the Firm song "Midnight Moonlight".  The bootleg of this
   show, the night after the more common "Destroyer" bootleg, is
   available on a cd by the Japanese company Smilin' Ears.
 o The second part of the "Sha la la la" harmonies in "Fool In The 
   Rain" could well be Page.
 o "Babe I'm Gonna Leave You", "Ten Years Gone" and "Since I've Been
   Loving You" all illustrate Page's "light and shade" musical 
   philosophy.
 o In early 1994 _Guitar_For_The_Practising_Musician_ voted Page
   "Getting Better All The Time".
        "It's hard to see how Page - the acknowledged master of 
        creating guitar-driven songs - could get much better, but he
        did.  Despite what you think of Coverdale/Page, listen to 
        "Absolution Blues" and "Whisper A Prayer for the Dying" to 
        hear what a master sounds like when he puts his mind to it. 
        The riff in "Whisper" is as truly menacing as anything Page 
        has ever done."
 o At the April 21, 1977 show at the L.A. Forum, misfortune befell 
   Jimmy, when, early in the show, apparently after "Sick Again", his
   pants fell down!  After starting the show in his white suit, he 
   was forced to change into his black suit to avoid a repetition of 
   this unfortunate incident.
 o Page in the Zeppelin days had a habit of recycling riffs, or 
   making slight changes to them and turning them into new songs.  
   The guitar at the start of "Rock And Roll" sounds very similar to
   the one in "Boogie With Stu", played at a different speed.  These 
   are typical of Page's fixation with a position in A, which he uses
   a lot.  For example, "Hots On For Nowhere" uses the same thing, in
   E later in A, and the riff from that, in A, is used again in 
   "Walter's Walk".  This is also strongly reminiscent of the guitar
   in "Custard Pie".
 o The professionally shot footage from the August 11, 1979 Knebworth 
   show is officially unreleased and two possible explanations for 
   its recent appearance are, that it was among the material stolen 
   from Jimmy's house at the time of "Outrider", or that it was 
   secretly dubbed when Jimmy released the footage for use at the 
   Atlantic Records 40th Anniversary, where the footage was shown 
   during band changeovers.  Also stolen from Jimmy's house at the 
   same time were the extensive demos he had put together for his 
   upcoming "Outrider" album.  Originally intended to be a double 
   album, it eventually emerged as a single album thanks to the theft
   of so much material.  The burglary took place in 1987 at Jimmy's
   house where his home studio, The Sol, is located, in Cookham, 
   Berkshire.
 o Another unfortunate concert incident occurred when Jimmy jumped on
   stage with then musical ally David Coverdale for a jam session 
   with Poison.  This occurred at a show at either Reno or Las Vegas.
   The unfortunate incident involved Page falling into one of the 
   onstage pits, destroying one of Poison guitarist C.C. Deville's 
   prized Ibanez guitars, and having to be helped out of the pit by a
   roadie.  David Coverdale's contribution was to appear not to know 
   the words to several Zeppelin covers they did.
 o There is a Japanese release called "Jimmy Page Studio Works 
   1964-68" which collects together 27 tracks from that period that
   he played on.
 o In an article in _Musician_ dating back to the "Outrider" days, 
   Jimmy and the interviewer discuss songs that rip off "Kashmir".  
   While not mentioned during the interview, in a side bar, Robert 
   Plant's "Heaven Knows" is mentioned.  Page played the solo on
   this track.
 o The Firm that appears on the Dr. Demento compilation is not The 
   Firm that Page was involved in, not unless his Firm sampled old 
   Star Trek dialogue that is.  There is even a note on the 
   compilation that says "No connection with Jimmy Page's band".  
   The song was, apparently, called "Star Trekkin'" and featured 
   lyrics such as the following, `There's Klingons on the starboard 
   bow, Starboard bow, starboard bow, There's Klingons on the 
   starboard bow, Scrape 'em off, Jim!"
 o Page appears on an album by a band called Box Of Frogs made up of
   ex-members of the Yardbirds.  The core members of the group were
   Jim McCarty, Chris Dreja and Paul Samwell-Smith.  The lead 
   guitarists varied, with some appearances by Jeff Beck on the 
   first album, and Page on the second.  A 1986 album saw the 
   involvement of Rory Gallagher, but not Page.  Page's involvement 
   only came about in the first place after some well-publicised 
   whining that he had not been invited to contribute to the first 
   album.  The track featuring Page on the 1986 album is "Asylum".
 o And, should the question of what happened to former Yardbirds 
   vocalist Keith Relf, who only had one lung, be raised, the 
   following is a brief summary.  After the Yardbirds split, Relf 
   formed a new band in 1969, which lasted only one year by the name
   of Renaissance.  The band also featured Jim McCarty, and Jane 
   Relf.  After that, Relf's career was sporadic at best, until he 
   died tragically at the age of just 33 in May 1976, after being
   electrocuted in his Hounslow home.  Renaissance however, kept
   on going, and its later incarnations minus Relf have received
   much critical acclaim.
 o The version of "White Summer" on the "James Patrick Page - Session
   Man Volume 2" bootleg is credited to The New Yardbirds live at the
   Marquee Club 18/10/68.  This is almost certainly incorrect.  This 
   is more likely to be from the 27/6/69 performance at the London 
   Playhouse Theatre, broadcast by the BBC.  This version appears on 
   the recent box sets, and the bootleg of the performance is quite 
   common, and mostly known as "White Summer".
 o The mystery surrounding a Page guitar instrumental entitled "Swan 
   Song" has long intrigued Zeppelin fans.  The piece is a further 
   evolution of the exotic tunings that produced "White Summer/Black 
   Mountainside".  It in fact, was performed live, in small excerpts, 
   as part of this number on several occasions, particularly on the 
   last two Zeppelin tours.  It was then adapted to become "Bird On 
   The Wing" during the ARMS tour, and finally got an official airing
   as part of the Firm song "Midnight Moonglight".  By this stage, 
   however, it was a big progression from the earlier versions.  It 
   shares it's tuning with "Kashmir" too.  This version of the story 
   is endorsed by former journalist and Zep associate Cameron Crowe.
   Dave Lewis however, speculates that "Swan Song" may have been an 
   early version of "Ten Years Gone".  Furthemore, in the collectors 
   column in the magazine "Electric Magic", details were provided 
   about a bootleg of "Swan Song".  The details provided were, that 
   it runs roughly an hour or so in length and is broken up into 
   twelve sections.  Some of the sections contain bass, mellotron, 
   overdubbed guitar parts, and synthesizers, signs that it was 
   toyed with by the band, or at least someone else, on various 
   occasions.  The magazine described the piece as a musical diary 
   from about 1976 to 1980.  The source for this, if it is available,
   could possibly be the tapes that were stolen from Jimmy's house in
   the mid 1980's.  No other source seems likely, as Jimmy would
   not release music of this rough and unfinished nature to the 
   public.  Legend has it that the band was working on the song 
   during the "Houses Of The Holy" sessions, but stopped recording 
   when someone yelled out "Swan Song!", which then became the 
   working title for the album, and then the name of their record 
   label.
 o According to Page, Richard Cole was not privy to 90% of the things 
   he wrote about in his sleaze expedition "Led Zeppelin Uncensored".
 o "Dazed And Confused" was dropped from the setlist of the 1975 US
   tour for the first two weeks because Jimmy sprained his finger by
   catching it in a fence.  It was replaced with "How Many More
   Times".
 o The Rolling Stones song "Through The Lonely Nights" which appeared
   as a b-side on the single of "It's Only Rock'n'Roll (But I Like 
   It)", is rumoured to feature Jimmy Page on guitar.  The track was 
   a leftover from the "Goats Head Soup" sessions in late 1972 and 
   early 1973.
 o According to a Peter Grant interview aried on April 21, 1994 on 
   Q-107 Toronto, Jimmy bought Boleskine House, Aleister Crowley's 
   former residence around 1967.
 o The May 1994 issue of _Q_ magazine featured a competition where 
   readers had to guess the names of guitarists from pictures of 
   their guitars.  Jimmy was featured with the red Gibson double-neck
   in picture 20 with the hint "'60s session man."
 o During one of the 1980 performances of "Since I've Been Loving 
   You" Jimmy sounds rather wasted, as evidenced by his rather 
   bizarre behaviour and introduction and comments about his glasses,
   and multiple "Good evening"'s.
 o Legend has it that Page recorded all the guitar overdubs for 
   "Presence" in one night, including those on "Achilles Last Stand",
   an intensely harmonically complex song.
 o The 1967 Michaelangelo Antonioni directed film "Blow Up" features 
   a performance by the Yardbird's of "Stroll On", which is 
   actually "Train Kept A-Rollin'" with alternate lyrics.  The actual 
   performance takes place in a club, roughly sixty minutes into 
   the film, when the photographer main character is searching for 
   someone and stumbles into a club in his search for her.  The 
   people in the club look rather wasted and most are basically 
   motionless as the Yardbirds are playing.  The performance is 
   mimed, and Jimmy is miming his guitar parts on a yellow 1958 
   Fender Stratocaster given to him by Jeff Beck, which later that 
   year was repainted in psychedelic colours.  The main action during
   the scene takes place when one of Beck's amps strats to play up.  
   Despite some adjustments by singer Keith Relf and Beck it 
   continues to crackle.  Beck then thumps it a few times with the 
   cheap looking hollow-bodied guitar he is playing at the time.  A 
   sound technician scampers onstage and tries to correct the problem
   but Beck seems not to care and thumps the guitar against the amp a
   few more times, then takes it off and proceeds to destroy it by 
   jumping on it and breaking off the fretboard.  He tosses the 
   fretboard into the crowd, and the main character grabs it and runs
   out of the club frantically, only to discard it on the pavement 
   when he gets outside.  Beck can be seen putting on another guitar 
   right near the end of the clip.  The crowd is awoken out of their
   apathy by Beck's actions and the retrieval of the fretboard by the
   main character is preceeded by some raucous behaviour by the 
   crowd.  Jimmy is decked out in hip clothing, including a very cool 
   lapel badge for the performance and has a suitably trendy haircut
   and extensive sideburns.  The original soundtrack album to the 
   movie was released in March 1967 (MGM SE 4447) and "Stroll On" can
   be found on that.  There is some debate as to what instrument 
   Jimmy plays on what was one of the very few Yardbirds tracks to 
   feature both him and Jeff Beck.  Conventional wisdom may suggest 
   the second guitar part, but some will have us believe he played 
   bass on that particular song instead of the Yardbirds's regular 
   bass player Chris Dreja.  The reason Beck actually destroyed the
   guitar makes an interesting anecdote.  Antonioni had originally 
   wanted The Who for the scene, and at the time Pete Townshend had
   made a name for himself by breaking guitars onstage.  However, it
   turned out that Antonioni couldn't afford The Who so he hired the
   Yardbirds instead, and asked Beck to smash his guitar in keeping 
   with his original idea for the scene.  Beck is not known for 
   destroying instruments, and his reaction to this suggestion was 
   not recorded.  In 1995, Antonioni received an Oscar for a his
   cinematic achievements, during the presentation of which, a brief
   clip from "Blow Up" was shown, the tennis scene.
 o Page did some recordings around 1969 with American slide guitarist
   John Fahey at Olympic Studios.
 o The question of which Yardbird's songs featured both Page and Beck
   was addressed by page in a 1977 interview in _Guitar_Player_.  The
   portions in square brackets were listed in the original article as
   sources for the material.
        "`Happenings Time Years Time Ago' [The Yardbirds' Greatest 
        Hits], `Stroll On' [Blow Up], `The Train Kept A-Rollin'' 
        [Having A Rave-Up With The Yardbirds], and `Psycho Daisies' 
        [available only on the B side of the English single release 
        of `Happenings Ten Years Time Ago,' and an obscure bottleg 
        titled _More_Golden_Eggs_ (Trademark of Quality, TMQ-61003)],
        `Bolero' [Truth], and a few other things.  None of them were 
        with the Yardbirds, but earlier on just some studio things, 
        unreleased songs: `Louie Louie' and things like that; really
        good though, really great."
   Beck and Page are also both featured on the "Great Shakes" U.S.
   radio commercial, while the "Roger The Enginner" album which has
   both "Happenings Ten Years Time Ago" and "Psycho Daises" on it has
   recently been re-released.
 o Another guitarist who uses a Gibson double-neck guitar is Slash,
   the guitarist from Guns 'n' Roses, although his is a blue, navy
   blue colour.  His most notable use of it was on the version of
   "Knockin' On Heaven's Door" that the band played at the Freddie
   Mercury Tribute Concert that was subsequently released as a
   single.  Carlos Santana is apparently another who owns one of
   these guitars, while one, possibly a replica, hangs in The Hard
   Rock Cafe in New York.
 o Succubus Music Inc. is the name of Jimmy's publishing company,
   used since "Outrider".  The name is taken from that of a demon,

   one in the form of a woman who seeks to have carnal intercourse
   with men.  An incubus is the direct opposite of this.  If anyone
   meets one of these, please direct her to the compiler of this
   document for a stern talking to.
 o A picture of Jimmy appears in the book _Eight_Days_A_Week_, which 
   is a photographic history of rock.  Jimmy is decked out in a 
   cowboy outfit for the photo, with a hat which looks several sizes 
   too small.
 o Jimmy didn't attend the Gibson Guitars 100th Anniversary Show at
   Wembley Stadium in 1994.
 o A bootleg of outtakes from the "Outrider" album lists three tracks
   originating from the Sol Studio in February 1987, "Judas Touch", 
   "Muddy Water Blues" and a cover of "Train Kept A-Rollin'".  Paul
   Rodgers later released a song called "Muddy Water Blues" with
   Jason Bonham on drums.
 o The following extract regarding Page is taken from Jim Miller's
   _The_Rolling_Stone_Illustrated_History_of_Rock_n_Roll_, p. 457.
        "...Page, in contrast to Cream's trio of superstars, grasped 
        the importance of crafting a cohesive ensemble.  Taking his 
        cues from old Chess and Sun recordings, he used reverb and 
        echo to mold the band into a unit, always accenting the 
        bottom (bass and drums), always aiming at the biggest 
        possible sound.  As a result, the best of Led Zeppelin's 
        records still sound powerful, whereas Cream tracks like 
        "White Room" sound pale and disjointed."
 o Page was clearly not used to miming for videos when he made the
   video that accompanied The Firm's "Satisfaction Guaranteed".
   Jimmy himself admitted this, claiming he can never remember what
   he was supposed to be playing, making the miming difficult.
 o The February 1994 issue of _Guitar_World_ reported that Page was
   featured in the book _Gibson_-_100_Years_Of_An_American_Icon_.
   The book features more than 500 photographs of Gibson guitars
   through the years in the hands of artists such as Robert Johnson,
   Les Paul, Duane Allman, B.B. King, Slash, and Page.
 o Page introduced "Black Dog" on every night of the 1980 tour, and
   his erratic introductions indicate his fried and drug-affected 
   state of mind at the time.
 o Jimmy is responsible for the "Little drops of rain" backing vocals
   during the bridge in "Thank You".  Page may also be the one doing
   the "Ahhhh-uh-huh" parts near the end of "Gallows Pole".  When the
   band played live Jimmy infrequently did background vocals, most
   notably on "Whole Lotta Love", and with a somewhat inconsistent
   quality.  Back in the studio, the "All right, all right" backing
   vocals in "Candy Store Rock" sound as if they might be Page.
   Other songs with Page on back vocals include "Your Time Is Gonna
   Come", "Communication Breakdown", "Whole Lotta Love", "Living
   Loving Maid (She's Just A Woman)", and possibly "Good Times Bad
   Times" and "Baby Come On Home".
 o Page made an uncredited appearance on an album by the Dubliners in
   the early to mid 1960s.
 o Page has only ever been recorded once singing lead vocals, and 
   that was on his 1965 solo single "She Just Satisfies", on which
   he also plays most of the instruments, including harmonica.  The
   b-side, a song called "Keep Moving" which was co-written with 
   Barry Mason is arguably a better song.  The vocals on "She Just
   Satisifes", also written with Mason, do actually sound quite a 
   lot like Keith Relf, as does the harmonica, although most sources
   claim that it was in fact Page singing.  The song is available on
   the Yardbird's bootleg "More Golden Eggs".
 o In August 1998, Page joined Aerosmith onstage on at the Donington
   Monsters of rock festival for a couple of songs, then two days
   later he jammed with them again at the Marquee Club in London, in
   a five song set which included "Immigrant Song".  One of the tunes
   they jammed on at Donington was "Train Kept A-Rollin'", and just
   before the solo, Steven Tyler, Aerosmith's lead singer, yells 
   "Stroll on, Jimmy!" in reference to Page's participation in the
   Yardbird's cover of "Train Kept A-Rollin'" with alternate lyrics,
   "Stroll On", from the Antonioni film "Blow Up".  Aerosmith are
   noted Yardbirds fans and used to cover "Shapes Of Things" during
   their shows.
 o The first single Page ever played on, as opposed to the first hit
   single he ever played on, was a session for Englebert Humperdinck.
   John Paul Jones claims to have played on most of Englebert's
   sessions, so he may well be on the track too.  This question is
   used occasionally in radio competitons.
 o The first hit single Page played on was "Diamonds" by Jet Harris
   and Tony Meehan.
 o Page's daughter Scarlett attended the 1994 Led Zeppelin Convention
   organised by Dave Lewis.
 o Jimmy has reportedly said he wanted his new band in 1968 to be
   something along the lines of Pentangle.  That was until he heard
   Bonham play, which changed his mind completely.  Pentangle were a
   1960's English group who played similar material to Fairport
   Convention, but in a more traditional style.  Several very well-
   known musicians have come out of the band, including several major
   influences on Page, Bert Jansch and John Renbourn.  Another to
   rise to fame in Pentangle was upright bassist Danny Thompson, who
   has recently been playing with Richard Thompson, former Fairport 
   Convention member, and Indigo Girls.
 o One of Page's classmates at Art College was Sandy Denny, who later
   on became a singer for Fairport Convention and contributed vocals
   to "The Battle Of Evermore".
 o Former Fairport Convention member Dave Mattacks plays on Page's
   "Deathwish II" soundtrack.
 o The deleted, and withdrawn thanks to Page, Yardbird's album "Live
   Yardbirds With Jimmy Page" has turned up again on a cd called
   "Yardbirds Rare Concerts 1965-68".
 o An interview cd with Page is available where he discusses the 
   trials and tribulations of making "The Song Remains The Same".
   However, the sound quality is poor and the interview content is
   not that interesting.
 o Throughout his solo career, Page has written music that has
   complimented his vocalists, all of which have been much less
   versatile than Plant, and inhibited Jimmy in this way.  For
   example, the material he wrote with The Firm, such as 
   "Satisfaction Guaranteed" would not have worked with David 
   Coverdale, nor would "Whisper A Prayer For The Dying", from the
   Coverdale/Page album, have worked with Paul Rodgers.  Neither
   of these two could cover the terrain that Plant does which goes
   a long way to explaing why Jimmy's hasn't written songs like
   "D'yer Mak'er", "The Rain Song" or "Babe I'm Gonna Leave You" 
   during his solo career.  The plethora of vocalists on "Outrider",
   three in fact, John Miles, Chris Farlowe, and Plant, may have
   contributed to the unfocussed nature of the album. Robert Plant's
   involvement was minimal anyway, Page gave him the song and asked
   him to write some lyrics for it.
 o At one of the Knebworth 1979 shows Page broke a string during
   "Over The Hills And Far Away".  Plant mutters something like "He
   broke a string?" while Jimmy tries to continue, then gives up,
   strums a G chord and smiles at the crowd.
 o At a concert in 1970 Jimmy played a special solo as a tribute to
   Jimi Hendrix, soon after the death of the latter.
 o The following is one of the many, and in this case incorrect,
   interpretations of what Jimmy's symbol from the fourth album
   means.  The first step pyramid in Egypt was created in the third
   dynasty, under the rule of the Pharoah Zoser.  The pyramid's name
   is attributed to him in the same way most of the pyramids in Egypt
   are known.  The architect of this particular pyramid was a man
   called Imhotep.  All pyramids were considered to have an intensely
   spiritual nature, as the burial place of kings.  The early step
   pyramids were considered to be stairways to heaven for the spirit
   of the pharoah.  Hence it follows, well it doesn't actually, but
   never mind, that the centrepiece of the fourth album is the song
   "Stairway To Heaven" and if Jimmy's synbol was a word, which it
   isn't, it would be close to Zoser.  Unfortunately, this is the
   flaw in this theory, the symbol can't be pronounced as word.  But
   as Jimmy isn't telling us exactly what his symbol means, no-one
   can say for sure what it means.  However, there may be some sort
   of Egyptian content in its meaning, as Jimmy is known to have
   visited Egypt and been interested in the pyramids, plus Aleister
   Crowley was the conduit for what he considered to be some of the
   most significant knowledge he ever had access to while in Cairo
   from his guardian angel Aiswass.  It was there that he wrote "The
   Book Of Law" from the dictation of that particular angel.
 o Another theory on the infamous "ZoSo" symbol is that it is in 
   fact, nothing more than a smiling face with eyes, a nose and a
   mouth.  This is said to tie in with the supposed deep and
   meaningless ideology of the band, in that it looks complicated
   and mysterious, but probably means nothing.
 o A few excerpts from the book _On_Tour_With_Led_Zeppelin_ make for
   amusing reading.  In 1978 in _NME_ Nick Kent reported that Page
   had suddenly and for no apparent reason flown to Cairo, possibly
   because he saw UFOs on his tv screen.  The following extract is
   from a 1978 interview.
        "Another current favourite is the one about Pagey enjoying a 
        spot of television viewing, suddenly seeing UFOs on the 
        screen, grabbing his toothbrush and tearing off to Cairo, 
        presumably for a rendezvous with little green men."
   Page's response to this is fairly predictable.
        "That's because somebody didn't really read what I'd said, 
        and they were just being bloody stupid."
   The rumour was aired again in an interview the following year
   with some more detail.
        "We talk about Egypt for a minute or two.  Page's trip to 
        Cairo had, indeed, been the subject of some quite splendid 
        rumours.  On the first leg, I think it was, of that last 
        ill-fated Led Zeppelin US tour, it was said that one night 
        he'd been watching TV when the screen became filled with 
        flashing lines. Immediately, so the tale went, he cancelled 
        the next dates and flew off to Egypt."
   All this makes for just one more bizarre rumour to add to the
   collection.  The time this is supposed to have taken place is in
   May 1977.  Dave Lewis lists Page's visit to Cairo as being for
   a mid-tour break.
 o Jimmy's reunion with Robert Plant at the 1994 Alexis Korner 
   benefit concert was not the first time he had performed at an
   Alexis Korner show.  He also performed at a show on 6/5/84 along
   with Ruby Turner, Jack Bruce, Dick Heckstall-Smith, Charlie Watts,
   John Paul Jones, Ian Stewart, accompanied by a horn section.  The
   show was broadcast by Radio Trent and it is from that telecast
   that the bootleg "Jimmy Page And Friends", from the show at the
   Nottingham Palais, comes from.  The concert is also on 2 albums
   of the 10 album set "Strange Tales From The Road".
 o Page has only played with Beck a handful of times on record, but
   more frequently live.  When Paul Samwell-Smith quit the Yardbirds,
   Page replaced him on bass, and then swapped with rhythm guitarist
   Chris Dreja, playing dual lead guitar with Jeff Beck.  He also 
   appears, along with John Paul Jones, on the Page composed track, 
   although Beck disputes this, "Beck's Bolero" on Beck's "Truth" 
   album.  More recently Page played with Beck at the induction of 
   the Yardbirds into the Rock 'n Roll Hall Of Fame.  Only a handful
   of Yardbirds recordings feature both Beck and Page, "Stroll On",
   "Happenings Ten Years Time Ago", "Psycho-Daisies", "Beck's 
   Bolero" (from Truth), and "Great Shakes America", a jingle that
   was released on "Little Games Sessions And More".  On the
   Honeydrippers and Box of Frogs albums they appear on different
   tracks.
 o Page, Clapton and Beck all played together on the ARMS benefit,
   including jamming on Clapton's "Layla".  Page by himself played
   "Prelude", "Who's To Blame", "City Sirens", and "Stairway To
   Heaven" before joining Beck and Clapton for "Layla", "Tulsa Time",
   and "Goodnight Irene".  The three also played on the four date
   ARMS tour of the USA.  Page added a composition he was working on
   at the time with Paul Rodgers, later to become "Midnight 
   Moonlight", and had Clapton and Beck join him for the solo in
   "Stairway To Heaven".
 o Page jammed with Clapton at Guildford Hall on May 24, 1983,
   during a Clapton concert there, which wasn't bootlegged.
 o In a curious move, Page had Durban LaVerde overdub all of Tony
   Franklin's bass parts on "Outrider".
 o One of the most unusual theories on the meaning of Page's "ZoSo"
   symbol is that it was taken from the name for Curious George The
   Monkey, a famous character in Eglish children's books who was
   known as Zoso.  The adventures of George stem from his name, his
   innate curiosity, although when he got into unfortunate situations
   he was always saved by a Ranger.  What the connection might be 
   with Jimmy Page though is unclear, and as "ZoSo" is not actually
   a word, this theory can also be consigned to the ever-growing pile
   of discredited ideas.
 o The source of Page's red and blue ZoSo sweater is unknown, it may
   well have been a gift from a fan, but judging from the pictures of
   him in it, it looks a fraction too small.
 o Page didn't play on any of the recordings Clapton made with John
   Mayall's Bluesbreakers, but he did produce both songs on their 
   first single, "Telephone Blues"/"I'm Your Witchdoctor".  At the
   same session "Double Crossing Time" was also recorded, and Page is
   reasonably certain that this was the version that ended up on the
   classic "Beano" album, even though he is not credited on the album
   sleeve.  He was credited on the single though.  The Mayall and
   Clapton Bluesbreakers recordings are now the stuff of legend,
   with Jimmy crediting Clapton as being the first to marry the Les
   Paul guitar with the Marshall amplifier to create the "fat" sound
   that has become a rock trademark.  Jimmy's contribution to the
   proceedings is the echo-laden production which brings out the best
   in Mayall's falsetto vocals and Clapton's guitar.  Jimmy did
   however, reportedly, play bass on some Immediate recordings of the
   period.  Richie Yorke's biography also claims that Page produced
   the Bluesbreakers song "On Top Of The World", although this is
   somewhat uncertain.
 o The cd "The Early Eric Clapton Collection" features seven tracks 
   on which Page and Clapton are listed as having played together 
   in the "Immediate All-Stars".  All seven of these songs are 
   instrumentals and according to the liner notes all of the songs 
   recorded by this combination were instrumental.  These are the 
   frequently copied and redistributed Page/Clapton jams that were 
   released by the Immediate label much to the chagrin of Page and 
   particularly Clapton.  Also featured on the cd are three 
   Bluesbreakers tracks, including the two produced by Page for 
   their first single, and "On Top Of The World", as well as some 
   Yardbirds era material.
 o On the track "Tulsa Time" on the ARMS concert video during the
   Clapton/Beck/Page jam, the very country sounding solos were
   inadvertently blemished by Andy Fairweather-Low backing onto
   Page's volume pedal.
 o Two more cd's featuring early Page material are "British Blues
   Heroes", the first of which is based on Jeff Beck and features
   Jimmy on a couple of tracks.  The second is based on Clapton and
   features 3 or 4 tracks with Page.
 o The early Page Immediate outtake "Miles Road" is named after the
   location of Jimmy's parent's house.
 o "Miles Road", "Freight Loader", "Choker", "Draggin' My Tail",
   "West Coast Idea", "Tribute To Elmore" and "Snake Drive" were all
   recorded on a two-track reel-to-reel deck in Eric Clapton's
   mother's house in the drawing room, in London.  The jams took
   place in the period when Clapton was between stints with the
   Yardbirds and Mayall's Bluesbreakers.  These were later released
   by Immediate Records, who Page was working for at the time, who
   claimed that they had the rights to anything Jimmy had recorded,
   and asked him to tidy them up a bit for release.  Clapton, now
   along with Page a "marketable name" was furious about this, and
   felt that was Page was responsible.  Page claims that he had to
   hand over the tapes or he would be sued by Immediate, since they
   decided that the tapes were their rightful property.  Clapton,
   however, didn't buy this story, despite Page also being upset that
   the jams were released too, and this virtually destroyed their
   close friendship.  The relationship was not really healed until
   their appearances together on the 1983 ARMS benefit shows.
 o The rest of the personnel involved in the many Page/Clapton jams
   that have surfaced, may include luminaries such as Mick Jagger
   playing harmonica on one or more tracks.
 o Page is featured in the book "Koenige des Griffbretts" a German
   publication about guitar heroes, also featuring Duane Allman and
   Albert Lee.  The section on Jimmy is nearly 50 pages long and
   looks at his pre-Zeppelin session work in some depth.  It is
   unfortunate that there is no English translation available.
 o Page has recorded a large amount of material with Roy Harper over
   the years.  He features on all the tracks on Harper's "Whatever
   Happened To Jugula?", the song "Same Old Rock" on the "Stormcock"
   album, and a handful of the song on the live "Flashes From The
   Archives Of Oblivion" album.  Page plays both acoustic and 
   electric on the latter.  The "Lifemask" album also features Page
   on some tracks, including the 20 minute epic "The Lord's Prayer".
   Some other notable musicians that have appeared with Harper
   include John Paul Jones, Bill Bruford, David Gilmour, Keith Moon,
   Kate Bush and Tony Franklin amongst others.
 o The chair used by Page for "White Summer/Black Mountain Side" on
   the Coverdale/Page tour looks very similar to one he used when
   touring with Zeppelin.
 o Page is one of the people thanked on Adrian VanDenberg's album,
   imaginatively entitled, "VanDenberg".
 o Inevitably, over the years Page's dexterity has diminshed somewhat
   and the "fluttery" style and flexibility his left hand used to 
   have seems to have deteriorated.  The broken finger which Page
   suffered in 1975, may be troubling him, as he may be suffering
   arthritis from lingering damage caused by that mishap, which
   was probably accentuated by him keeping playing on that tour.  
   Another possible source of trouble for Page may be hinted at by 
   his admission that he didn't play guitar for nearly a year after
   Bonham died.  While this may be an exaggeration, a prolonged 
   absence from playing, and then playing again regularly might have
   increased the likelihood of getting arthritis in his previously
   broken finger.
 o Jimmy has two children, Scarlett from a relationship during the
   1970s, and a son James from his marriage during the 1980s which
   ended around 1994/95 and in _People_ was said to be leading to a
   a custody battle between Jimmy and his ex-wife for custody of
   James.  A story doing the rounds at the time "Outrider" when
   Jimmy was happily married has been told by Jon Miles.  Jimmy was
   late for a rehearsal, and upon ringing him up at home Jimmy's wife
   said in her Louisiana accent that "Jimmy cain't come to the phone
   right now, he chaingin' the baby's nappy".
 o It was widely reported around the time of "Unledded" that one of 
   the tasks Page had assigned to his publicist was to break in any
   new shoes he might acquire.  Additionally, those working for Page
   and Plant were assigned all sorts of menial tasks such as going
   out and buying cds for them.
 o Page joined the Yardbirds in controversial circumstances.  Going
   backstage after a particularly anarchic gig, he found bassplayer
   Paul Samwell-Smith on the verge of leaving and suggesting that
   singer Keith Relf depart with him.  In the end Relf stayed, but
   Samwell-Smith, an original member, left.  Page, at the time
   feeling his creativity was blunted by session work, offered his
   services to the band.  So, in July 1966, more than month after
   Samwell-Smith quit in May 1996, Page joined the Yardbirds on the
   second offer.  He turned down an offer to join the band when Eric
   Clapton left, feeling it would be unfriendly to Eric, so he
   suggested Jeff Beck.  Page spent a week acclimatising himself to
   the bass before joining.  However his position on bass seemed
   uncertain as he admitted that he and Beck had trialled a dual-
   guitar lineup in the studio in late 1966.  Page was officially on
   bass when the band recorded "Stroll On", however the second guitar
   part does not sound like Dreja, unless he had drastically improved
   overnight, so there remains some uncertainty as to what Page did
   in fact play on that track.  The reason for the relabelling of
   "Train Kept A-Rollin'" was that the publisher demanded more money
   from director Michaelangelo Antonioni than he thought it was 
   worth, so Relf rewrote the lyrics.  By the end of 1966, Beck's
   increasing unreliability led to Page's move to lead guitar and
   Dreja's relocation to bass.
 o The ARMS concert video which features Page has been released by
   M.I.A. under the alternative title "Rock Legends Part II".  The
   video is exactly the same as the ARMS concert video, except the
   packaging of course.  The interview is the same, where each of the
   three guitarists say who they enjoy playing with the most at the
   concert.
        Jeff Beck : "Jimmy!"
        Jimmy Page : "Jeff!"
        Eric Clapton : "Jimmy and Jeff!"
 o According to notorious groupie, and recently tell-all author Pam
   DesBarres, Page's daughter Scarlett was at one point going to join
   a convent.  This revelation appeared in her book "I'm With The
   Band".  Scarlett has been more recently spotted at Yale, and is
   now reportedly a photographer in London.  The gossip column in
   _Q_ magazine reported that she was at the "Unledded" tapings as
   a photographer.
 o The encore of The Firm's "Mean Business" tour was "You've Lost 
   That Loving Feeling".  An unusual choice.
 o The first couple of chords of The Firm's "Midnight Moonlight" bear
   a vague resemblance to "Wonderful One" from "Unledded".
 o The ARMS video captures a moment of inspired playing from Page,
   where in one move he changes from the 12 string to the 6 string 
   on his double-neck guitar, switches pickups, switches the active 
   neck, and adjusts both volumes in one fluid process.
 o Chorused and multi-tracked guitars were primarily an invention of
   Jimmy Page.
 o Jimmy's main guitar is a 1958 Les Paul Standard, in a flame-top
   finish.  The guitar has no serial number, and various changes have
   been made to it over the years.  The back pickup cover is chrome
   instead of nickel, and it has gold Grover tuning heads, and a 
   white selector cap in place of the original parts.
 o Jimmy's 1959 Les Paul Standard, also a flame-top finish, was a 
   gift from Joe Walsh.  Its neck has been shaved to give it a 
   similar profile to his 1958 Les Paul.  Further modifications have
   been made beneath the lower edge of the scratchplate, where two
   spring loaded buttons have been installed.  One is for setting
   the pickups to serial or parallel, while the other is for
   alternating between ordinary and phased guitar sound.  The regular
   pots have been discarded in favour of two push/pulls that provide
   coil tapping on either pickups, and the feature of offering all
   four coils in parallel.  These modifications were undertaken by
   Page's guitar technician, Steve Hoyland.
 o Page's Sixties Danelectro was assembled from the parts of two
   different Danelectros, and also features a retro-fitted Badass
   bridge.  This guitar is made from masonite, of all things, and
   has concentric volume volume/tone controls.
 o Page's legendary doubleneck is really not that unusual.  It is
   quite cumbersome though, featuring a 6 and a 12 string neck.  The
   guitar differs from the standard SG in that it is obviously wider
   and has a better sustain.  Each neck has a volume and tone control
   knob, but there is only one pickup selector, which is used with
   both necks.  The guitar also has a selector switch for having one
   or both necks active on the guitar's circuit.  To produce some
   sympathetic resonances Page usually had both necks active.
 o All of Page's electric guitars are strung with light gauge Ernie
   Ball Super Slinky Strings.
 o Page made a very brief appearance on the documentary "The History
   Of Rock 'n Roll By The People Who Made It", which was screen in
   Australia on November 3, 1995.  Page's appearance, all of five
   seconds in the guitar hero section where he was shown saying,
   "It's amazing what you can do with six strings," or words to that
   effect, was accompanied with some dramatic footage of his violin
   bow solo from "The Song Remains The Same."
 o This list is by no means comprehensive, but is a listing of some
   of the people who Page either player sessions for, or appeared on
   their albums, at various stages of his career from session man to
   established star.  Herman's Hermits and Donovan are not included
   because Page has claimed, with some evidence to support him, that
   he didn't play on any of  the records of either of these artists.
   The long running debate over whether Page plays on Donovan's
   "Hurdy Gurdy Man" can be settled, as Page says he was in the USA
   at the time and it was Alan Parker, the guitarist with Blue Mink,
   that did the session.  In the case of Herman's Hermits it is less
   clear cut.  Mutterings of legal action may have made Page rather
   secretive and there is a chance he did play on their records.
        Brenda Lee, Sonny Boy Williamson, Brian Poole And The 
        Tremeloes, Dave Berry, Everly Brothers, The Pretty Things, 
        Tom Jones, Lulu And The Luvvers, The Kinks, John Mayall,
        John Williams, Them, Twice As Much, Chris Farlowe, The
        Who, Crispian St. Peters, The Yardbirds, Jeff Beck, P.J. 
        Proby, Cartoone, Family Dogg, Joe Cocker, Al Stewart, 
        Screaming Lord Sutch, Roy Harper, Maggie Bell, Dave Barry, 
        Jet Harris And Tony Meehan, Robert Plant, Steve Stills, The
        Firm, Willie And The Poor Boys, John Paul Jones, The Rolling
        Stones, Box Of Frogs, Mannish Boys And Davey Jones, Carter
        Lewis And The Southerners, Neil Christian And The Crusaders, 
        The Redcaps, Mickie Most, The Brooks, Mickey Finn And The 
        Pills, Neil Christian, The First Gear, Billy Fury, Wayne 
        Gibson And The Dynamic Sound, The Sneekers, The Primitives, 
        Pat Wayne And The Beachcombers, The Lancastrians, The 
        Zephyrs, Judi Smith, The Outsiders, Nico, The Masterminds, 
        Bobby Graham, The Fifth Avenue, Glyn Johns, Gregory Phillips, 
        Jimmy Tarbuck, Twice As Much, Les Fleurs De Lys, Mickey Finn 
        And The Blue Men, Jackie DeShannon, The Dubliners, Paul Anka,
        Petula Clark, Cliff Richard, Johnny Hallyday, Burt Bacharch,
        Chris Ravel And The Ravers, Dave Berry And The Cruisers, 
        Mickie Most And The Gear, The Pickwicks, The Blue Rondos, The
        Talisman, Mickie Most And The Most Brothers, The Untamed, 
        Scott McKay Quintet, Sean Buckley And The Breadcrumbs, 
        Philamore Lincoln, Val Doonican, The Authentics, Brian Howard
        And The Silhouettes, Led Zeppelin.
 o At age 17, Jimmy occasionally jammed with British blues legend
   Cyril Davies.  It was at one of these jams that producer Mike
   Leander offered Jimmy some session work.
 o Jimmy was not the first person to use a violin bow with a guitar,
   that honour goes to Eddie Phillips of Creation, one of the bands
   managed by Shel Talmy, whom Page worked for.
 o During their 1966/67 tour The Yardbirds played and jammed with
   local bands in the areas they passed through.  One such artist was
   Fort Worth local-legend Scotty McKay, a musician with a career 
   that stretched back to the 1950s.  McKay and his band impressed
   The Yardbirds so much that Jim McCarty later produced a single 
   with him, "I Can't Make Your Way", with The Yardbirds, and sold
   it to EMI, although whether this features Page is unknown.  McKay
   also recorded a version of "The Train Kept A-Rollin'", and mailed
   it to Page, who overdubbed a jaw-dropping solo and returned it.
   This single is incredibly obscure, mainly because it was only
   pressed locally.
 o Some further info on the B-String Bender, invented by Gene Parsons
   and Clarence White, that Page used throughout his career with
   Zeppelin and right up to the current day.  The information is from
   _The_Guitar_Handbook_.
        "Also known as a "pull-string', this is a mechanical system 
        of levers and springs which allows you to raise the pitch of
        the top E or B strings, according to type.  It simulates some
        pedal-steel guitar techniques.  The rods and springs are 
        fitted into a cavity in the guitar body, and a pivoting arm 
        is connected to the string at the bridge.  A second arm is 
        attached to the strap button, so that pushing down on the 
        guitar at this point raises the pitch by a tone.  Palm pedals
        such as those made by Bigsby also allow you to raise one or 
        two notes without affecting others, whereas a tremolo arm 
        alters the pitch of all six strings."
   Page recently used this during "Thank You" for the "Unledded" 
   special.
 o The "No Introduction Necessary" album, recently re-released on cd
   as "Jimmy Page & Albert Lee", also features John Paul Jones on 
   bass.  Page and Lee do not apparently both play on any one song,
   and the ones Page played on are uncertain.  The rest of the band
   is Clem Cattini, drums, Nicky Hopkins, piano, Chris Hughes, sax,
   and Jim Sullivan, guitar.
 o The material Page recorded with blues legend Sonny Boy Williamson
   has been frequently bootleged over the years.  The other personnel
   on the album were, Brain Auger, keyboards, Joe Harriott, sax, Alan
   Skidmore, sax, Mickey Waller, drums, and Sonny Boy Williamson II
   on vocals.
 o The triple-necked guiar Jimmy used on "Unledded" was made by 
   Ovation, but where their triple necks usually go, mandolin, 6 
   string, then 12 string, Jimmy's goes, mandolin, 12 string, then 6
   string.
 o Page was the producer when Clapton was recording "I'm Your 
   Witchdoctor", and the somewhat older engineer, who was used to
   recording big bands and orchestras and was bewildered by Clapton's
   use of distortion and feedback made the famous comment that "This
   guy is unrecordable!"  Page had to convince him that he'd take
   full responsiblity for the session to put his mind at ease.
 o The original Led Zeppelin, the idea for which was formed at the
   session for "Beck's Bolero" was Page on acoustic guitar, Beck
   on lead guitar, Keith Moon, then unhappy with The Who, on drums,
   and not John Paul Jones, on bass, but Jon Entwistle, as suggested
   by Moon.  Stevie Winwood was the suggested vocalist but after they
   found out that he was unavilable, still heavily comitted to 
   Traffic, they tried getting in touch with Steve Marriott.  A
   message came back from his camp that said, "How would you like to
   play guitar with broken fingers?  You will be if you don't stay 
   away from Stevie".  After that the idea pretty much died, until
   Page put together his own version of the band.  It was at this 
   time that the famous naming incident with Keith Moon occurred.
 o Page worked out how to play pedal-steel guitar specially for
   "Your Time Is Gonna Come".
 o When Keith Richards went to see Zeppelin play he remarked to Page
   that, "You ought to get another guitarist; you're rapidly becoming
   known as the most overworked guitarist in the business."
 o In 1975, Page got together with Keith Richards and Rick Grech and
   recorded a song called "Scarlet".
 o At June 1984 tribute concert for bluesman Alexis Korner, a band of
   Jimmy Page, Jack Bruce, Charlie Watts, Ian Stewart, Paul Young and
   Ruby Turner, performed as The Alexis Light Orchestra.  The
   performance was broadcast on Radio Trent.
 o Original Rolling Stone the late Brian Jones recorded a soundtrack
   for the film "A Degree Of Murder" which featured his then
   girlfriend Anita Pallenberg.  Amongst the people who played on
   the album were Jimmy Page and Nicky Hopkins, both recruited to the
   project by Glyn Johns.
 o According to Rolling Stones biographer Phillip Norman, Page was
   one of the candidates considered to replace Mick Taylor when he
   left the band.
 o Page says his motivation to visit Morocco came from the
   encouragement of William Burroughs, who he did an interview with
   discussing the hypnotic power of rock and how it related to Arabic
   music in _Crawdaddy_ magazine.
--------------------------------------------------------------------------
     2.3 - The Omnipresent Force : John Paul Jones

 o John Baldwin was born on January 3, 1946, in Sidcup, Kent,
   England.
 o John's first experience of playing music was playing the organ in
   a church choir as a child.  He reprised his talents on the organ
   for the song "Your Time Is Gonna Come" on the debut album.
 o John Paul Jones released a solo single entitled "Baja" produced by
   Rolling Stones producer Andrew Loog Oldham.  The flipside entitled
   "A Foggy Day In Vietnam" does not feature Jones and is thought to
   instead feature several members of the Rolling Stones.
 o Jones is responsible for the string arrangements on the Rolling
   Stones song "She's A Rainbow" from the album "Their Satanic
   Majesties Request."  "2000 Light Years From Home", from the same
   album, also has a string section so it seems likely that Jones
   did that arrangement for that as well.
 o Jones composed a piece called "Maastricht Time", which was
   performed by the Mondrian Quarter at the New Zealand Music
   Festival in 1993.
 o Jones and the band found touring with Jethro Tull a rather
   tiresome experience, Jones calling Tull's Ian Anderson "...a pain
   in the ass." Page labelled their live performance as "Jethro Dull"
   and Bonham suggested Tull should make an album called "Bore 'Em At
   The Forum."
 o Jones wrote an opera "The Happy Prince" in 1992, with some help
   from Manu Katche and Red Byrd.
 o Amonsgt the bewildering variety of things Jonesy has worked on
   since Zep split up is Macondo, a composition he wrote for steel
   drummer Ricardo Gallandro Maconda.
 o At one point in the 1970's Jones approached Peter Grant about
   leaving the band as he was sick of Page and Plant getting all the
   attention.  It dawned on him that perhaps he didn't necessarily
   want all the baggage that went with that and he continued with the
   band.
 o The variety of instruments Jones played in the studio and on the
   road is staggering.  Clavinet, mellotron, bass, organ, keyboards, 
   triple necked guitar with one six string guitar, a twelve string 
   and a mandolin as well as pedals in combination with this, bass 
   and keyboards.  The triple necked guitar was used on "Ten Years
   Gone".  Jones also sang backing vocals live, notably on "The
   Battle Of Evermore."
 o Jones once described a rendition of "Kashmir" the band did where
   he claimed they got completely lost in the song.  The point where
   it all started to go awry was where the song changes and he was
   responsible for giving the onstage cues.  They were saved by
   Bonzo who launched into a drum solo, and the band picked up again
   when he finished the solo and played the song out.  The
   performance was at Zurich in 1980 and appears on the bootleg
   "Silver Coated Rails" complete with some explanation from Plant
   to prospective bootleggers that Jonesy had messed up during the
   song.
 o In early concerts the loudness of Jones amps was partially
   designed to cover up when Plant forgot the words, something he has
   been known to do on occasion.
 o A John Paul Jones gets a credit for involvement in the music for
   the film "Splash" although it is hard to say whether it is the JPJ
   from Led Zeppelin or someone else with the same name.
 o Jones recorded a soundtrack album for the film "Scream for Help"
   which also features Page on the songs "Spaghetti Junction" and
   "Crackback".
 o Jones involvement in the Peter Gabriel album "Us" was apparently
   much more exentsive than was eventually released.  He is listed
   as having contributed to "Fourteen Black Paintings", and some more
   of his work may appear on "Plus From Us", an album of extra
   material from the people who contributed to Gabriel's "Us" album.
 o Jonesy made a guest appearance playing bass on the Butthole
   Surfers album "Independent Worm Saloon."  Ironic considering the
   band has a song called "Hairway To Steven."  Jones not only
   produced this album, but also played some bass on it as well.
 o The only time Jones has jammed with either of the remaining
   Zeppelin members outside the various reunions was on Plant's first
   solo tour, on December 4, 1983 at Colston Hall in Bristol.  Jones
   apparently made some negative comments about the experience to
   Page afterwards.  Of course, Jimmy appeared on two tracks on
   Jones' soundtrack to the film "Scream For Help."  But apart from
   these two things, the reunions and the choice of songs for the
   1990 box set he has had little to do with his former bandmates.
   Although more recently he jammed with them again at the induction
   of Led Zeppelin into the rock'n'roll hall of fame.
 o Jones produced Raging Slab's "Dynamite Monster Boogie Concert"
   album.
 o For some time now Jones has been rumoured to be working very
   slowly on a solo album.
 o Jones appears to have a very offbeat sense of humour, frequently
   giving very bizarre answers to questions during interviews.  One
   interesting case is where Jonesy jokingly proclaimed in _Rolling_
   _Stone_ that Bob Dylan's songwriting was slacking because he had
   found Jesus.  Months later Dylan announced that for real and
   released "Slow Train Coming."
 o Keith Emerson was the lucky recipient of a gift from Jones once,
   Jones giving him his GX-1 synthesizer.  Emerson later related how
   it had packed up and died him, rendered totally useless.  It was
   used though, such as for the Emerson Lake and Palmer song
    "Fanfare For The Common Man."
 o On several Zeppelin songs Jones uses a mellotron, which was
   basically the first sampler.  They're primitive by today's
   standards and required extreme amounts of skill and patience to
   get anything useful from.  The most interesting feature of the
   mellotron was it's use of samples, which were recorded on tape,
   causing a huge amount of problems to do with rewinding,
   durability, speed variations, the fragility of the unit, and a
   susceptibility to endless technical problems, meaning it was handy
   to have a technician around to fix it all the time.  Apart from
   Zeppelin, the Moody Blues also used a mellotron, notably on their
   song "Knights In White Satin."  Despite all it's shortcomings, the
   mellotron did have a very good string sound, which is why it is
   still used occasionally, and emulated, such as on the U2 song
    "One."
 o Jones appears on the album "No Introduction Necessary" along with
   Jimmy Page, Nicky Hopkins, the pianist for the Rolling Stones
   during some of their tours in the mid-seventies, Clem Catinni, the

   leading session drummer during the 1960s, Chris Hughes, who
   produced and played on Plant's "Fate Of Nations", Keith de Groot,
   Albert Lee, and Jim Sullivan.
 o Jones's symbol has been seen on the cover of a book about the
   Rosicrucians, a religious cult in the middle ages which was of
   some interest to Aleister Crowley and his fellow members of the
   Hermetic Order of the Golden Dawn, such as Westcott.
 o In the early stages of the band's career, Jones would appear to be
   the only group member fluent in reading and writing sheet music.  
   He would also have needed this skill to do his previous string 
   arrangements, such as on the Yardbirds song "Little Games".
 o One of the most obvious edits in "The Song Remains The Same" film
   is in "Whole Lotta Love" where Jones's shirt changes, clearly
   showing he didn't wear the same shirt at each concert.  Not to
   mention the section at the end where he takes off his bass twice.
 o On February 20, 1994, BBC 1 aired an hour or so of Zeppelin
   related material recorded during BBC sessions.  This included an
   interview with Jones which went something like this.
        Interviewer : So John Paul Jones, you are the keyboardist
                      with Led Zeppelin and you also do some
                      arranging?
        Jones       : No.
        Interviewer : OK, so you are the main composer and arranger
                      with Led Zeppelin?
        Jones       : No.
        Interviewer : Well, what are you then?
        Jones       : I'm a bass player and arranger.
        Interviewer : Damn, perhaps we should start this interview
                      again.
   This is apparently indicative of Jones wacky sense of humour.  A
   similar type of interview was conducted in the short lived
   _Keyboard_Player_ magazine.
 o Jones made an appearance with Lenny Kravitz, playing bass at the
   1994 MTV awards.  The reason for his appearance was that Lenny's
   regular bass player had quit shortly beforehand and, Lenny, very
   roughly paraphrased, thought that "Why not get the person who you
   were trying to copy?"
 o The reason for Jones's change of surname from Baldwin, is unclear,
   nor is a vague date known for when he did this.
 o Jones did the string arrangements for the songs "Drive",
   "Everybody Hurts", and "Nightswimming", on R.E.M.'s "Automatic For
   The People" album.
 o Jonesy was responsible for the string arrangements on Cinderella's
   "Heartbreak Station" album, for "Winds Of Change" and the title
   track.
 o A project of Jones's that has recieved several awards was his 
   original soundtrack for the adult animation "The Secret Adventures
   Of Tom Thumb".  The animation is about an hour long and belongs in
   the horror genre.
 o Less certain is Jones's involvement on an ancient Christmas single
   called "The Man From Nazareth" which supposedly features Jones
   doing the commentary.  A short exceprt from this appeared on BBC's
   "Tops Of The Pops" in a worst pop songs segment titled "TV Hell".
 o In 1994 John Paul Jones teamed up with Diamanda Galas, playing
   bass on her album "The Sporting Life" and co-writing some of the
   material.  The pair toured later in the year as well.  A video was
   made for the single "Do You Take This Man" which featues Jones
   playing a six string bass.  Galas's previous work centred around
   the theme of AIDS and subsequent deaths from it, after her brother
   and some of her friends succumbed to the disease.  The album with
   Jones is available on the Mute label and features him playing
   bass, and keyboards, as well as producing it.  Interestingly,
   there are no guitars on the album whatsoever.  The drummer was
   Pete Thomas, from Elvis Costello's Attractions.  Galas described
   it as "A collection of homicidal love songs".  One of Jonesy's
   comments was "With a voice like Diamanda's, a guitar would simply
   be a cosmetic device".  Diamanda has a rather frightening 3 octave
   range to her voice which she uses to full effect on the album.  An
   amusing picture of Galas and Jones in a car, with JPJ driving,
   appeared in a 1994 issue of _Musician_.  Some of Galas's previous
   albums were titled "Litanies Of Satan" and "Saint Of The Pit",
   while one of her songs from "Litanies Of Satan" was called "Wild
   Women With Steak Knives (The Homicidal Love Song For Solo
   Scream)".
 o In 1994 _Rolling_Stone_ reported that Jones was doing some work 
   with Michael Penn.  Jones' role in this case being that of
   producer, although this material has yet to surface.
 o 1994 was a busy year for Jones, he was also involved with playing
   and producing a live album from Heart, which was recored in 
   Seattle at The Backstage club, a 500 seat venue, over five nights.
   Jones played mandolin on most of the tracks, but on a few he 
   played piano and at different times, bass, one of which was "What
   Is And What Should Never Be".
 o In the summer of 1993 a DJ on a Boston radio station told an
   amusing, and supposedly true story, about Jones' visit to a music
   shop in New York City while there on a promotional tour recently.
   Jones reportedly walked into the shop and was inspecting some of
   the older equipment at the rear of the shop when a young store
   salesperson approached him, and not recognising him, asked if he
   could be of assistance.  Upon noticing that Jones was interested
   in older equipment he said, "Yeah this stuff is dated, but it's
   great, bands like the Stones and Led Zeppelin used this stuff all
   the time".  According to the story, Jones left the store laughing
   his head off.
 o John Renbourn was amongst the several people who contributed to
   Jones's "Scream For Help" soundtrack.  Jones later ended up
   producing Renbourn's 1987 album "The Three Kingdoms".
 o On Zeppelin's final tour Jones used a Yamaha GX-1 synthesizer, as
   well as on "In Through The Out Door", an instrument the size of
   an upright piano, that is notoriously unreliable.
 o Jonesy's main bass is a 1962 Fender Jazz.  This bass was used from
   his days with Jet Harris & Tony Meehan right up until the mid
   1970s.  He also used a Fender fretless upright bass for playing 
   songs like "Bron-Y-Aur Stomp" live for a time.  He also used a
   standard fretless bass, non-upright, bass.  In 1976 he got some
   new basses from Rick Baker, which are Alembic copies, and are
   frequently mis-identified as such.  One was an 8 string, which was
   used on "Nobody's Fault But Mine" and "Achilles Last Stand", while
   the other was a standard four string.  These were deployed on the
   1977 and 1980 tours, and with a lot less rounder tone than his
   jazz bass, on earlier material such as "Black Dog" he had a much
   increased presence.  8 string basses are not very common, a noted
   user being Pearl Jam's Jeff Ament, who also has a twelve string
   bass, with three groups of four strings.  At Live Aid Jones used a
   1952 Fender Telecaster bass, while he returned to the old jazz
   bass for the Atlantic 40th Anniversary Reunion, Jason Bonham's
   wedding, and the MTV Awards performance with Lenny Kravitz.
   Jones most notable other guitar is the triple necked monster he
   had custom built with pedals for performances of "Ten Years Gone"
   on the 1977 and 1979 tours.  The guitar has piezo pickups  which
   were still farily new at the time and were very trebly, which can
   be heard on various bootlegs.
 o Jones uses Hecro Grey bass picks.
 o Among the keyboards he has used over the years are a Hammond C3
   Organ, a Hohner Clavinet, a Fender Rhodes, a Mellotron 216, and a
   Mellotron 400, a Yamaha GX1 Organ and a Yamaha GP 70B electric
   grand piano.
 o At the time it was claimed that John Paul Jones was ill when he
   was absent from the sessions in November 1973.  However, it later
   transpired that Jones was seriously considering quitting the group
   to take up a position as choirmaster at Winchester Cathedral.
   Peter Grant strongly urged Jones to stay with the group and to
   give him some time to sort out his affairs Jones took a break for
   a few weeks.  The uncertainty regarding his future is supposed to
   have come about because Jones was overwrought from the incessant
   tours the group embarked upon.  Jones later decided not to quit 
   and resumed with the band at Headley Grange in early 1974.
 o Jonesy composed the theme music to the award winning BBC serial
   Odysseus.
 o In 1986 Jones wrote an organ piece fpr Christopher Bowers-
   Broadbent.
 o Jones contributed an instrumental to the Opal label's Music For
   Films compilation in 1989.
 o This is a list, by no means comprehensive, of artists and groups
   that John Paul Jones has worked with from his early session days
   right up until the present time.
        Jeff Beck, Madeline Bell, Dave Berry, Donovan, Downliner's 
        Sect, Family Dogg, Diamanda Galas, Graham Gouldman, Roy 
        Harper, Herman's Hermits, Jobriah, John Paul Jones, Ben E.
        King, Lulu And The Luvvers, Paul McCartney And Wings, The
        Mission, Andrew Loog Oldham Orchestra,  P.J. Proby, The 
        Rolling Stones, Del Shannon, Dusty Springfield, Rod Stewart,
        The Mighty Avengers, Billy Nicholls And The Mockingbirds,
        The Yardbirds, Marc Bolan, Greenbeats, High Society, 
        Manchester Mob, Tony Meehan, The Mindbenders, Paul And Barry
        Ryan, Marianne Faithfull, Burt Bacharach, Etta James, Tom
        Jones, Engelbert Humperdinck, Kathy Kirby, The Walker 
        Brothers, The Everly Brothers, Champion Jack Dupree, Led
        Zeppelin, Heart, The Lovemongers.
 o Jones put in some stage appearance in early 1991 with Red Byrd.
 o Jones was behind the movie soundtrack for the 1993 film "Risk".
 o Jonesy's symbol from the fourth album was taken from a book of 
   runes and symbolises a person with confidence and competence.  It
   shares the common characterisitc with Bonham's symbol of having
   trisected ovals, termed "yonics", which are in opposite aspects
   on the two symbols, indicating that the two symbols reflect two
   very different people.
 o In 1982, Jones taught Electronic Composition at Dartingnton
   College of Arts, Devon.
 o Jones appears on Paul McCartney's "Give My Regards To Broad
   Street", playing bass on the track "Ballroom Dancing".
 o Jones composed a trombone piece for Jim Fulkerson, for the
   Huddersfield Contemporary Music Festival in 1984.  The piece
   was titled "Showdown".
 o 1990 was a busy year for Jones.  He did the string arrangements
   on Cinderella's "Heartbreak Station", produced La Sura Dels Baus's
   "Noun" album, produced an album for his daughter Jacinda, set up
   a 32 track digital electronic studio near Bath, and a was
   commissioned to come up with a one hour duration multimedia show,
   Memory Palace, for Art Futura at the Seville Expo in 1992.
 o Jones composed and produced a multimedia show for a Mercedes Benz
   launch in 1991, as well as scoring a computer animation piece for
   Rebecca Allen, of Aimatica Spain.
----------------------------------------------------------------------
     2.4 - The Engine Room : John Bonham

 o John Henry Bonham was born on May 31, 1948 in Redditch, 
   Worcestershire, England.
 o Bonzo married Pat at 17, whom he met a dance.  They had two 
   children, Jason and Zoe.
 o Bonham's explosive power and endurance may well have come from his
   days as a hod carrier on building sites.
 o At one stage Bonzo owned 21 cars.
 o A notorious episode involving John Bonham was when he walked into 
   the Rainbow in Los Angeles and ordered 20 Black Russians, drank 
   them all quickly in succession and left.
 o Another incident saw Bonzo ride a Harley Davidson motorcycle 
   through the lobby of the Hyatt House Hotel in Los Angeles.
 o The hot rod John Bonham drives in "The Song Remains The Same" was
   originally imported by Jeff Beck in 1969 before being sold to 
   Bonham.  It is a "Blown Model T" with a 500bhp Chevy Engine, 1932
   Ford dropped beam, 1942 Ford front drums, 1962 Chevy rear axle, 
   Convair steering boxes and a Holeshot torque converter.  The car 
   was nicknamed "The Boston Strangler."
 o Jimmy has said that Bonzo was the reason the band had to buy 
   bigger amps.
 o When tempers flared in the band it was not unheard of for Robert 
   and Bonzo to dig up old arguments from their Band of Joy days, 
   such as who had paid for what in 1968.
 o Bonzo's symbol from the fourth album, the three linked circles 
   came from the same book of runes that Jonesy's came from, and is 
   meant to symbolise the man-wife-child trilogy.  Bonham's symbol
   has a common elements with Jones's, trisected ovals, or "yonics",
   which are in opposite aspect in their symbols, reflecting that
   they symbolise two very different people.  Plant has pointed
   out that it also looks like the emblem for Ballantine beer.  
   Another source says that Bonham picked the symbol at random, 
   simply because he liked it, and it reminded him of drumheads.  A 
   DJ in Britain, Danny Baker, came up with the interesting theory 
   that Bonham was sitting in the pub with his customary glass of the
   amber fluid and plonked it down on his beer mat a couple of times 
   and noticed what a nice little symbol the marks formed.  Jason 
   Bonham has said, on the same DJ's show that the symbol is the 
   man-wife-child trilogy rune.  The German company Krupp AG also 
   has a symbol with three interlocking circles, although it is the 
   opposite way up to Bonham's.  A German band called the Krupps has 
   used this symbol and pictures of zeppelins for album art.  Another 
   reasonably plausible thought, is that the symbol looks a bit like 
   a drum kit when seen from in front, with bass kickers, or above 
   with toms and cymbals slightly overlapping.
 o The drumbeat from "When The Levee Breaks" is the most frequently
   used sample in dance music, notably featuring in the hit song 
   "Relax" by Frankie Goes To Hollywood.  At one time the remaining 
   band members took legal action against The Beastie Boys for their 
   use of this drum sample.  The Beastie Boys use several Zep samples
   on their album "Paul's Boutique".
 o John Bonham, band manager Peter Grant, tour manager Richard Cole 
   and security man John Bindon were charged with battery after an 
   incident following a show at the Oakland Coliseum on July 23, 
   1977 involving the staff of promoter Bill Graham.  The source of 
   the incident was a member of Graham's entourage refusing to give 
   a carved wooden plaque with "Led Zeppelin" written on it that was
   hanging outside the dressing room door to Grant's son Warren.  
   Not only did the guard refuse the request, but he also slapped 
   Grant's son, which turned out to be a somewhat ill-advised idea.  
   According to notorious liar, crack addict and alcholic Tour 
   Manager Richard Cole, he stood in front of the door to a trailer
   while Grant and Bindon beat the man up.  However, before this, 
   Bonzo who had actually witnessed the incident, kicked the security
   guard in the groin before going onstage assuming that was the end 
   of it.  It wasn't and the performance was delayed while Graham 
   threatened severe legal action and vowed never to promote a 
   Zeppelin show again.  Other reports claim Bonham beat up three of
   Graham's other security men, and that the plaque had been 
   requested by his son Jason.  However, if this was the case Bonham,
   notoriously protective of his son, would probably not have gone 
   onstage so readily, so the story with Warren Grant at the centre 
   of it sounds more likely.  A civil suit for 2 million pounds for
   punitive damages was filed against the group.  The charges against
   Bonham, Grant, Cole and Bindon were heard in California, on 
   February 16, 1978, all of them escaped with suspended prison 
   sentences and fines.  The security guard in question, came out of 
   the whole incident the worst, as he needed hospital treatment 
   after the show for his injuries.  To make matters worse, the band 
   had to play another show in Oakland the following night.  Page 
   reportedly sat down for the entire performance.  Back at the hotel
   after the show the four involved were arrested, and were released 
   within two hours on $250 bail each.  Cole claims that before the 
   arrest it was necessary to rid the band's rooms of drugs and any 
   other illegal substances.  Things only got worse, as the following
   weekend Karac Plant died.  However, relations between the band 
   members and Graham appeared to have improved by the time of Live 
   Aid and the Atlantic 40th Anniversary show.
 o Dave Lewis in _A_Celebration_ rates Bonzo's top 10 performances 
   as,
         1) Moby Dick                   6) D'yer Mak'er
         2) Whole Lotta Love            7) In My Time Of Dying
         3) Poor Tom                    8) No Quarter (Live)
         4) Rock And Roll               9) Achilles Last Stand
         5) When The Levee Breaks      10) Hots On For Nowhere
 o Bonham's funeral was held in Rushock, Worcestershire.
 o Bozo's drumming is characterised by a tendency to play slightly 
   behind the beat rather than in front of it.  This gave Page a 
   solid base from which to expand his riffs, while Plant seems to 
   find a huge beat very inspiring, whether it is energy or volume 
   providing that power.
 o Bonham's symbol has also been observed on the side flap of a one
   pound container of Challenge Butter.
 o A 1982 issue of US _Playboy_ featured the following tribute to 
   Bonham, when he was inducted into their rock'n'roll Hall Of Fame.
             "John "Bonzo" Bonham was part of a well equipped army 
        that scaled the face of rock and roll until, for a few years, 
        there was nothing left but rock - power rock, heavy metal, 
        lude and lascivious rock.  For 12 years, Bonham's drumming 
        for Led Zeppelin managed to avoid setting the critics on 
        fire. They called him heavy handed, leaden.  That did not 
        deter the listeners who supported Bonzo from the beginning.  
        Led Zep's founder, guitarist Jimmy Page, described 
        encountering Bonham for the first time: "I couldn't believe
        how he was living his music.  When he gets into a trip, the
        audience goes with him."  He was inventive and unpredictable,
        raw and basic.  It was as though he recognized no rules, no 
        conventions.  Sometimes he'd drum with his hands, which 
        prompted one manufacturer to claim its drums were as tough 
        as Bonham.  Perhaps the same insistent push to the limit that 
        characterized his work crushed him in his private life.  On 
        September 25, 1981, as American fans lined up to buy tickets
        to Led Zeppelin's first tour since 1977, Bonzo, exhausted 
        from touring and drink, died in his sleep, yet another 
        casualty of rock and roll life.  Since then, the tour has 
        been cancelled and the band has called it quits, a rather 
        heartfelt testimonial to Bonham's talent.  We'll miss the 
        incredible timekeeper who could solo for 30 minutes and 
        leave his audience screaming for more.  He spawned hundreds 
        of imitators, but no one in the world plays drums the way he 
        did."
 o Bonzo's symbol has been sighted on a church steeple in Italy.
 o Bonham claimed that Zeppelin came away from the Earl's Court shows
   in 1975 with nothing more than a few hundred quid each to show for
   their efforts.
 o The drummer on Donovan's "Hurdy Gurdy Man", a song arranged by 
   John Paul Jones, is reputed to be Bonham, although this is very
   unlikely.
 o One of Bonham's defining characteristics as a drummer was his
   lightning fast bass pedal foot, and his amazing endurance.  He
   could also triplets and quads very quickly and with a very even
   rhythm, he didn't even need to build up to them, he could just 
   jump straight into them.  Several examples of this being in
   "The Song Remains The Same" film during his drum solo.
 o Bonham played Ludwig drum kits throughout his career with
   Zeppelin, even getting a custom miniature set made up for his
   son Jason.  He used Ludwig 2A sized drumsticks.
----------------------------------------------------------------------
     3.01 - The Trivia Remains The Same

     Regrettably at this time, "The Song Remains The Same" is still
the only official live concert released.  Despite being underrated by
most followers of the band, the surreal atmosphere and bizarre twists
the movie takes make it quite intriguing, but as more of a curiosity
than a blistering performance by the band.

 o The shootout sequence at the beginning, with it's mafia overtones 
   is meant to symbolise Zeppelin taking it's revenge on the
   "faceless" critics.  Two of the people involved are band manager
   Peter Grant, and the road manager, Richard Cole.
 o At the beginning of the movie...
   - Peter Grant answers the phone, and and after receiving some news
     heads out for a drive with his wife in his vintage Bentley
     sports car, which is of course, British racing green.
   - Plant, his wife Maureen, and their two children Karac and
     Carmen, are fooling around beside a mountain stream before the
     messenger arrives on bicycle to pass on the tour dates.
   - Jones is reading a bedtime story to his children, "Jack and the
     Beanstalk."
   - The first clip of Bonzo has him on a tractor indulging his
     passion for adopting the guise of a gentelman farmer.  A short
     time later he is driving his "Blown Model T" hot rod to a nearby
     pub.
   - Jimmy is in the garden of his manor, previously owned by
     Aleister Crowley, sitting on a blanket with an acoustic guitar
     handy, cranking the handle of a hurdy-gurdy.  The music sounds
     suitably mystical.
 o The fantasy sequences are...
   Plant: Sailing in a small boat with an enormous welsh flag on it,
          and then a swordfighting scene with several knights, with
          the goal of saving a rather attractive princess.  This is
          in "The Rain Song."  The sailing sequence was filmed at
          Aberystwyth in Wales.
   Page : Climbing a mountain, at the top of which he meets a
          somewhat older version of himself, several hundred years
          older quite possibly, whois dressed in a white cloak.  
          This is in "Dazed and Confused."  The sequence was filmed
          at Loch Ness on December 10 and 11, 1973.
   Bonzo: Driving a dragster, happens during his solo.  Filmed at
          Santa Pod.  Bonzo also shows off his uncanny ability to
          ride at a motorcycle in a variety of seating positions and
          remain upright.  There is also footage of him at home with
          his wife Pat and son Jason belting out a rhtyhm on a custom
          made miniature drum kit.
   Jones: Travelling on horseback through graveyards and back to his
          house dressed in black wearing a mask.  This is in "No 
          Quarter."
 o Also in the movie...
   - Driving from the airport to the concert venue in a fleet of
     black limousines with some surrealistic shots of the city
     skyscrapers.  These scenes were taken from before the July 24
     show in Pittsburgh.
   - A scene where Peter Grant confronts promoters over a man selling
     unauthorised Zep memorabilia at the Civic Centre, Baltimore.
   - Several very lucky punters getting in for nothing thanks to some
     security guards.
   - Footage from various press reports and press conferences with
     Peter Grant regarding the theft of money from a deposit box in a
     hotel Led Zeppelin were staying in during the U.S. tour.  The
     last shot is of Peter Grant being taken downtown by the Police
     for questioning.  The police apparently suspected Richard Cole
     as being responsible.  The amount stolen was us$200,000 and the
     disappearance of a bellboy a few days after the event provided
     a rough scenario of what might have happened.  The money was
     never recovered, and neither Peter Grant or Richard Cole, or
     anyone associated with Zeppelin was ever charged.  The persons
     involved have also been claimed to be, at various times, a
     manager or desk clerk, who resigned under a cloud of mystery.
 o A few points to note... 
   - Page uses the violin bow in his solo.
   - Page uses the famed red double neck for "Stairway to Heaven".
   - Page uses the theramin during "Whole Lotta Love."
   - Plant's short sleeved demin waistcoat defies good taste.
   - Plant sings his famous added line in "Stairway to Heaven".
   - Jones performs the solo to No Quarter surrounded by dry ice.
   - Bonzo tosses away his drumsticks at one point and begins playing
     the drums with his hands during his "Moby Dick" solo.
 o The concert footage was filmed over three days at Madison Square
   Garden.
 o There is an alternate version of Plant's fantasy sequence in which
   his wife plays a much larger role.
 o At the beginning of Jones' fantasy sequence there is a scene where
   several men are being pursued down a foggy road by several other
   men on horseback.  If you look closely at the road you can see the
   double continuous lane markings down the middle of it, meaning of
   course the horses were overtaking the pedestrians illegally...
 o There appear to be two version of the film out on video, which can
   be distinguished by the endings.  One has "Stairway To Heaven" 
   playing as the screen fades to black, while the other has the
   Starship taxi-ing and taking off while "Stairway To Heaven" is
   being played.  The latter was the original ending in the movie
   version shown in cinemas.
 o The song "Autumn Lake" which is listed on the video cover, but was
   never actually recorded by Zeppelin is the song Page is playing on
   a hurdy-gurdy beside the lake as the camera approaches him through
   his garden.
 o The film is rife with editing and continuity errors.  One of the
   most obvious is Jones's changing shirt during "Whole Lotta Love".
   Jones also takes off his bass twice at the end of the show.
   Jimmy's hair changes it sweat content half way through one song,
   and the gong is lit at the end, yet in the next frame it's not.
 o Jones was the only member of the band unwilling to wear the same
   clothes at each of the Madison Square Garden gigs.
 o Contrary to the official word, the film and soundtrack do feature
   overdubs, probably mainly patches for glitches, in the guitar and
   keyboard work.  One such edit occurs in the middle of the violin
   bow solo, which is either an overdub or a snippet from another
   night's performance.  The music on the film does not match that on
   the album, nor that on an unedited bootleg from one of the shows,
   whilst Page had a studio installed in his home and spent months
   working on the soundtrack, all of which support the theory that
   the music was retouched.  The album version of "Dazed And
   Confused", for example, is from one night, while the movie version
   is from multiple nights.  The movie version of "No Quarter"
   deletes at least one guitar solo.
 o The actual filming took place over three nights at Madison Square
   Garden in New York, 27-29/7/73, with the additional backstage
   footage shot the previous three nights at Pittsburgh, Boston and
   Buffalo.
 o The complexity of filming such a show with multiple cameras was
   not helped by the crew who managed to miss a few bits and pieces,
   which meant that Zeppelin had to go to a soundstage in late 1975
   and early 1976 to act out the missing parts.  The easy way to tell
   these lip-synched sections is to look at Plant's teeth, he had
   them straightened between the original filming and the additions.
 o The caste used for Plant's fantasy sequence can also be seen in
   "Irish Tour '74" with Rory Gallagher, where he spends some time
   exploring and talking about that particular castle, Raglan castle.
 o A video came out in 1990 called "The First Cuts".  This exists in
   both bootleg and extremely rare official versions.  It is mainly

   comprised of outtakes from the film, minaly dealing with the band
   member's fantasy scenes, and also footage of "Moby Dick", "Dazed
   And Confused", "Whole Lotta Love", and "The Song Remains The 
   Same".
----------------------------------------------------------------------
     3.02 - Electric Green Tennis Courts And Other Cover Art

    From the simple cover of the first album to the multiple covers 
for "In Through The Out Door" Led Zeppelin always came up with a 
cover that was individual and could be easily identified with the
band.  Although Page says none of their covers were intended to be
part of some sort of concept for the album, they still make some
striking visual statements.
  
 o "Led Zeppelin"
   - The cover of the debut album, was a simple print chosen by Jimmy
     of the Hindenburg airship disaster.  One of the largest airships
     ever built, the Hindenburg was 245 metres long, 41 metres wide, 
     had a volume of 199,980 cubic metres, and a cruising speed of 
     125 kilometres per hour.  The picture was taken on May 6, 1937 
     as the Hindenburg approached its mooring mast at Lakehurst, New 
     Jersey.  At this point the hydrogen gas inside the airship 
     somehow ignited.  The exact cause of this has ever been 
     established.  Of the 97 passengers on board at the time, 35 
     perished in the ensuing explosion.  This disaster was the end of
     an era where huge dirigible airships such as the Hindenburg made
     regular crossings between the USA and Europe, mainly 
     transporting passengers.
   - The picture of the band on the back cover was taken by musician
     turned photographer Chris Dreja, a former bandmate of Page in 
     the Yardbirds.
   - To begin with the band name on the cover was printed in 
     turquoise, but this was soon changed to orange, creating a much
     sought after rarity.
   - The overall design was co-ordinated by George Hardie. 
 o "Led Zeppelin II"
   - The group of men on the front cover is a photgraph of the Jasta
     Division of the German airforce with the band members faces 
     inserted in place of those of the pilots.  The faces of band 
     manager Peter Grant and Richard Cole were also added.  The woman
     in the picture is Glynis Johns, the mother from "Mary Poppins".  
     Her presence in the photo is an obvious play on the name of 
     recording engineer Glyn Johns.  The other face added was that of
     bluesman Blind Willie Johnson.
   - The silhouette of the Zeppelin airship surrounded in brown gave
     this album it's nickname of "The Brown Bomber."
   - The centre spread is a lavish celebration of imagery and the 
     band members.  
   - David Juniper is credited as having come up with the artwork.
 o "Led Zeppelin III"
   - After the somewhat conservative covers of the first two albums, 
     the cover of III is a major departure.  Liberally splattered 
     with various bits and pieces of psychedelia and hippie imagery,
     and with its rotating wheel and cutouts, the overall feel does 
     not appeal to Page.
          "I knew the artist and described what we wanted ...  But 
          he got very personal with this artwork and disappeared off 
          with it.  ...  I wasn't happy with the final result - I 
          thought it looked teeny-bopperish. ...  There are some 
          silly bits - little chunks of corn and nonsense like that."
   - The man responsible for the art is only identified as Zacron, 
     which may be fortunate for his business reputation given the 
     lambasting from Page.
   - Original pressings of III have a quote from Aleister Crowley
     inscribed on the runoff matrix, "Do what thou wilt shall be the
     whole of the law."  The quote however, may not necessarily be
     somewhat older than that.  The Crowley version comes frim his 
     work "The Book Of The Law" which was dictated to him between 
     the 8th and 10th of April 1904.  Crowley actually lost this 
     manuscript for five years in the attic of Boleskine House, 
     eventually finding it again in 1909.  It was pointed out on the
     list that the phrase was the motto of the Abbe de Theleme in 
     Rabelais' "Gargantua And Pantagruel," `Fay ce vouldra.'  Crowley
     actually founded an Abbey of Thelema in Cefalu, Sicily in 1920 
     before being expelled from the country by Mussolini.  It was 
     also adopted by the Hellfire club as it's motto several hundred 
     years ago.  An interview with Page available on vinyl apparently
     has some details regarding this quote on the it's sleeve.  The 
     Crowleyian meaning is somewhat complex, suffice to say it does 
     not mean `Do what you want' as it may imply.
   - "So mote it be" is not a quote from Aleister Crowley, it is the
     last line of a passage used to bind a spell.
   - It would seem that there was an inscription on the runoff matrix
     of every issue of "III" right up until pressing ceased, with the
     sole exception of the mono white label promo version of the 
     album.
     o The first issue, Atlantic SD 7201, issued in November 1970
       has "So Mote Be It" inscribed on both sides.
     o The first issue a short time later with a "Gold Record 
       Award" sticker has "Do What Thou Wilt" inscribed on both 
       sides.
     o The white label promo, stereo version, has "Do What Thou 
       Wilt" inscribed on both sides.
     o The white label promo, mono version, as previously stated 
       has no inscription on either side.
     o The second issue, Atlantic SD 19128, in around 1972 has "Do
       What Thou Wilt" on one side, side two, only.
     o The second issue a "Gold Record Award" has "Do What Thou 
       Wilt" inscribed on side one only.
     o During the 1980s this continued with the "Do What Thou Wilt"
       quote only inscribed on one side.
   - Jimmy apparently had the quotes from Crowley inscribed on the
     runoff matrix without telling the rest of the band, who only
     found out about it after the album had been released.
   - The first few thousand UK pressings of "III" were reportedly
     impregnated with a "cannbis-smelling" resin.
   - The brief credit to Bron-Y-Aur was later to resurface almost
     verbatim on Page & Plant's "No Quarter".
 o "(Untitled)"
   - The artwork for the fourth album is much more in keeping with 
     the band's image.  In the words of Jimmy Page.
          "Robert and I came up with the design of IV together.  
          Robert had actually bought the print that is on the cover 
          from a junk shop in Reading.  We then came up with the 
          idea of having the picture - the man with the sticks - 
          represent the old way on a demolished building, with the 
          new way coming up behind it.  The illustration on the 
          inside was my idea.  It is the Hermit character from the
          Tarot, a symbol of self-reliance and wisdom, and it was 
          drawn by Barrington Colby.
               The typeface for the lyrics to "Stairway To Heaven"
          was also my contribution.  I found it in a really old arts
          and crafts magazine called `Studio,' which started in the 
          late 1800's.  I thought the lettering was so interesting I 
          got someone to work up a whole alphabet."
   - This album also saw the debut of the four symbols, one for each
     band member, which were used extensively to promote the album, 
     which bore no artist identification anywhere on the sleeve.  In
     deference to the rubbishing the band received from the critics 
     they left their name off to show that Led Zeppelin was more than
     just a name.  
   - The four symbols are arranged in a typical magical formation, 
     with the two strongest symbols, Page and Plant's, on the outside
     protecting the weaker symbols on the inside.
   - The picture of the man in white on top of a mountain with a 
     lantern, was drawn in pencil and gold paint by Barrington Colby
     and is titled, `View in Half or Varying Light.'  The original 
     was auctioned in a sale of rock'n'roll art in 1981.  This 
     imagery was reprised for Page's fantasy sequence in "The Song 
     Remains The Same."  If you hold this image perpendicular to a 
     mirror, the face of a black dog or dragon becomes apparent in 
     the mountain the man is standing on, or is if you believe some 
     people.
   - On one of the buildings pictured on the rear of the sleeve, a
     bareley legibile Oxfam poster bearing the sloagn "Someone dies
     from hunger everyday", can be seen.  Page intended the picture
     to be clearer bu the negatives let him down.
 o "Houses Of The Holy"
   - Led Zeppelin's most exotic album cover has to be the one for 
     this album.  And according to Page, the cover should look even
     better if it were not for some problems translating the colours 
     onto the album cover.
          "When the proofs for the album came back, they didn't look
          anything like the original artwork.  Again, we were on a
          deadline and there wasn't much to be done.  I suppose it
          doesn't matter now.  But back then it was a problem."
   - The photograph on the cover was taken by Aubrey Powell, who
     trekked to the Giant's causeway in Ireland, Peru was considered
     as an alternative, with two children to try and fulfil the idea
     that Jimmy, Robert and Peter Grant came up with.  Dave Lewis 
     provides more details,
          "This time they chose a collage print depicting a group of
          children mysteriously scaling the top of a mountain, which,
          according to Page, denoted the feeling of expectancy for 
          the music contained within."
   - Powell used a science fiction book "Childhood's End" as a
     basis for the cover, although some have pointed out a 
     resemblance to the pscyhedelic art of 1970's artists such as 
     Peter Max.
   - The children were originally meant to be silver, not purple.
   - This is the only Led Zeppelin album to feature song lyrics.
   - The sleeve is the first one commisioned by the band from 
     Hipgnosis, the firm founded by Storm Thorgerson responsible for
     a lot of the Pink Floyd album covers.  However according to Page 
     it was not a collaboration that got off to a good start,
          "We had commisioned them to design "Houses of the Holy" and
          this guy Storm came in carrying this picture of an electric
          green tennis court with a tennis raquet on it.  I said, 
          `What the hell does that have to do with anything?'  And he
          said, `Racket - don't you get it?'  I said, `Are you trying
          to imply our music is a `racket'?  Get out!'  We never saw 
          him again.  We ended up dealing with one of the other 
          artists. [laughs]  That was a total insult - racket.  He 
          had some balls!  Imagine.  On a first meeting with a 
          client!"
   - Rumour has it that one of the children on the cover is former 
     page three and centrefold model, and occasional singer, Samantha
     Fox.
   - The album was originally sold with a paper ring around it with 
     the name of the band and the album title on it, since this 
     wasn't listed elsewhere.  This was crudely reproduced by 
     Atlantic on the future cd release by stamping the name and album
     title slightly askew across the cover of the album.  This is the
     only piece of cover art not reproduced in "The Complete Studio 
     Recordings" (with the exception of the "In Through The Out Door"
     sleeve that changed colour when you added hot water to it).
   - The most ambiguous piece of artwork on this album is the picture 
     of an adult holding up what looks like a small child in front of 
     a castle.  One theory is that it is some sort of offering to the 
     Gods - which is very prophetic regarding the death of Plant's 
     son.  The children on the cover do look a bit like Plant's kids,
     especially after seeing them in "The Song Remains The Same".  
     _Q_ magazine disputes this, however, saying the girl is the same
     one as on the back of "Presence", which is somewhat unlikely.
 o "Physical Graffiti"
   - As with III, cutouts on the album cover allowed the record buyer
     to look inside the windows of the building at the various goings
     on inside.
   - A similar concept is employed on the Rolling Stones "Some Girls"
     album.  It is also identical in concept to Jose Feliciano's
     "Compartments", including the pull-out card and the "hidden"
     photos.
   - The building featured on the cover is at 97 St. Mark's Place in 
     New York City.  There is currently a used clothing store in the 
     basement appropriately called Physical Graffiti.
   - Down the middle right side of the fourth sleeve is a Marilyn 
     Monroe look-a-like getting undressed, doing what looks like a
     strip-tease performance.
   - Of the many pictures inside, quite a few are quite easy to see
     who they are while others a re pretty obscure.  The following 
     list lists the images from left to right in each row, top to 
     bottom.
     o Sleeve 1.
       A nun, ?, ?, ?, Charles Atlas, ?, Elizabeth Taylor as 
       Cleopatra, ? , Jimmy Page, A Zeppelin blimp, ?, ?, ?, John 
       Bonham & Robert Plant, Jerry Lee Lewis, The Queen.
     o Sleeve 2.
       King Kong, Robert Plant, ?, ?, ?, Some indians or Aztecs, Lee
       Harvey Oswald, John Bonham, ?, Jimmy Page, An old lady, ?, 
       Someone and an ape (!), A lady in her kitchen, A group of what
       appears to be naked Bonzo look-a-likes..., The Queen.
     o Sleeve 3.
       Planes, Peter Grant, Marlene Dietrich, ?, Neil Armstrong, ?, 
       John Bonham, ?, ?, A horse, An indian guru of some sort?, A 
       religious looking painting, ?, Two children, Scene from an 
       old movie?, John Bonham, The Queen.
     o Sleeve 4.
       ?, A cat, A foot on a doll, ?, John Paul Jones, ?, John 
       Bonham, I dread to think, A cowboy, Robert Plant, The Virgin
       Mary, a medieval looking painting, An angel, A woman putting 
       on stockings, Jimmy Page with someone who is obviously a 
       buddhist, Jimmy Page & John Paul Jones, The Queen.
   - Roy Harper gets a credit for photography although which photos 
     he took is unclear.  Also credited is the band's publicist at 
     the time, B.P. Fallon, most recently the "vibemaster" on U2's 
     Zoo TV Tour.  He has written a highly entertaining account of 
     that tour, "U2 Faraway So Close".
   - The identity of the figure sitting on the right hand set of 
     stairs is said by some to resemble John Bonham.  Those who 
     like to indulge in the sort of speculation that Beatles fans do 
     regarding the cover of "Abbey Road", interpret the presence of 
     Bonham as symbolic.  The two doors symbolize "There are two 
     paths you can go by" from "Stairway To Heaven", light and shade,
     two opposites, heaven and hell, a choice?  It's a big stretch
     at any rate.  What makes the building look a bit odd is the 
     seemingly unnecessary jumble of ladders, balconies and windows
     which cover the facade of the building.  The person sitting on 
     the steps has what looks like two black dogs in their arms.  A
     further twist on the door theory can be seen on the back cover
     where one door is brightly illuminated and shut, while the door
     inside the darkened doorway is open.
 o "Presence"
   - The artwork for Presence is dominated by "the object."  In the
     past it has been associated with the black slab-like object in
     2010.  In _Q_ Magazine in December 1992, Storm Thorgerson of
     Hipgnosis had the following to say,
          "I like pictures that don't necessarily have an 
          explanation off pat,"  Storm Thorgerson says of the 
          beguiling sleeves that cemented the reputation of  
          Hipgnosis, the design group he co-founded in 1968.  "I 
          remember the idea for Led Zeppelin's Prescence which was 
          to Tamper with nostalgic pictures of the '30s and '40s 
          with an object from the future, which was basically a 
          funny shaped black hole.  To me, it represented Zeppelin
          power, which people at home, or school, would have to 
          have a blast of every few hours, like the ultimate drug. 
          So the design was related to the band, yet extremely 
          tenuous, just as what makes music so rewarding is that it
          gives you your own pictures."
   - A similar concept, having an object in various strange 
     locations, is employed on the "Coverdale/Page" album cover.
   - "The Object" was actually copyrighted by Swan Song Inc. in 1976.
 o "The Song Remains The Same"
   - The details of the album cover are provided by Dave Lewis in 
     _Celebration_.
          "The movie poster and sleeve design depicted a run down 
          picture house, which was based on Old Street Studios, a 
          London rehearsal theatre they used to perfect the 1973 US 
          stage act prior to the tour."
   - An interesting contrast to the run-down building in the 
     foreground is what looks like a skyscraper or at least a 
     somewhat more modern and well maintained building in the picture
     that is behind the main scene.
 o "In Through The Out Door"
   - The cover for this album came in six different configurations, 
     all photos of the same bar room scene but each taken from the 
     perspective of a different person in the bar.  Each of the 
     photos shows the view that person had of a man at the bar 
     dressed in white, who bears a passing resemblance to Jimmy Page,
     setting fire to a small white piece of paper.
   - Perhaps the most curious feature of the scene is the thousands 
     of small pieces of white paper that are hanging from the walls 
     and ceiling, all very similar to the one the man at the bar is 
     about to set alight.  
   - The whole scene has a Caribbean feel to it, in keeping with some 
     of the tracks on the album like "Fool In The Rain" and "South 
     Bound Saurez."
   - One out of every two pictures that made up the album's front and
     back covers featured a smear which reveals the colours of the 
     photo under the greyish tint the photos have.  
   - When released the album covers were prepared so that if exposed 
     to warm water, their colours changed.  
   - A final touch was added by Peter Grant who insisted the albums 
     be sold in shrink wrapped paper bags so none of the buyers could 
     see which cover they were getting out of the six, which were 
     labelled A to F on the spine of the cover.  Dave Lewis estimates
     a full set of six original record covers in good condition is 
     worth around one hundred pounds.
   - Some vinyl versions of the album have the word `strawberry' 
     carved into the runoff matrix.
   - The bar that Aubrey Powell may have been trying to recreate for
     the cover picture is the Old Absinthe Bar, at 400 Bourbon
     Street, just around the corner from the Royal Orleans hotel in
     New Orleans.
 o "Coda"
   - This album of unreleased material and out-takes which was 
     released in 1982 is pretty plain compared to some of the other
     bands efforts.  The spartan and stark cover and packaging for 
     the album may be a reflection of the enormous loss the band 
     members still undoubtedly felt about the death of John Bonham.  
   - A coda can be defined as, "The closing section of a movement..."
   - The black discs on the front are in fact records.
   - However, another school of thought has it that the discs are 
     crop circles created by sprinkler systems.  If this is true, 
     then the re-appearance of crop circles on the box set covers is
     most intriguing.  Further details on this are that is when crops
     need to be irrigated they might be planted around a well, with 
     the sprinkler attached to the well.  This would account for the 
     "dry" ground surrounding the crop circles on the album cover.
   - Led Zeppelin guru Dave Lewis was consulted by the band during 
     the design process.
 o "Box Set : The Collection"
   - This deluxe 4 compact disc box set has a picture of a crop 
     circle with the shadow of Zeppelin blimp on it, as if the blimp 
     was flying overhead.
   - At the four corners of the box set there is a number.  The 
     numbers and what they represent are:
     o 54  : The number of songs on the box set.
     o 69  : (19)69, the year the first studio album was released.
     o 79  : (19)79, the year the last studio album was released.
     o (X) : The sideways '8' is the mathematical symbol for 
             infinity, representing of course, how long the music 
             will last.
   - Given the `mysterious' origins of crop cricles the cover picture
     was a perfect choice in keeping with the mystery and intrigue 
     the band had cultivated around itself during its career.
 o "Remasters"
   - This two compact disc set set features the same picture of the 
     crop circle used for the 4CD box cover, except that it is viewed
     from the opposite end.
 o "Box Set 2"
   - The now familiar blimp and crop circle theme with a psychedelic 
     twist to it.
 o "The Complete Studio Recordings"
   - The numerous attractions for buying this box set, all the 
     albums, all the original artwork and so on tend to ignore what 
     at first seems to be a chaotic haze of grey shades on the 
     outside of the box.  The picture is in fact the scaffolding and
     beams and so on that support the exterior skin of a Zeppelin 
     blimp and maintained the shape.  Each of the ten compact discs 
     also has a picture of the inside of a zeppelin on it, with no 
     two the same, or coinciding with the picture on the exterior of
     the box set.  A feature unique to this box set is the "garage 
     door" style flip top.
----------------------------------------------------------------------
     3.03 - Plantations And Other Onstage Musings


     The heading for this section is the term sometimes used to
describe Robert Plant's onstage utterances.  These ranged from simple
introductions to songs to humourous anecdotes and stories depending
on the circumstances.

 o From the 21 June 1977 performance at the L.A. Forum (on the 
   "Listen To This Eddie" 3CD bootleg).  Bonham was about to do his 
   solo, entitled "Over The Top" in those days, but apparently had 
   a problem with his drum hardware.  So Plant filled the time:
        "That was called Kashmir...let me take you there.  Bit of 
        trouble with the musical equipment here.  Right now, the 
        man who fought against the elements.  The man who fought 
        food poisoning.  The man who drinks Heineken.  The man who 
        doesn't get out of bed.  The man who hasn't got a cymbal.  
        The man who's having a chat with this man who knows the man
        who tunes Jimmy's guitar and comes from Scotland and doesn't 
        know the man they call Tim... but does know Audrey from 
        Dallas (thank you).  The man who now learns to construct 
        his own drum kit.  The man who's _not_ very professional.  
        (Shuddup, wait a minute!)  The man who said he could go back
        to a building site anytime (and we all agreed).  The man 
        who's holding up the show... the Rhinestone Cowgirl.  C'mon
        Bonzo, get on with it!  The man who played the Los Angeles 
        Aztecs and beat them 10-1 by himself.  C'mon, you silly 
        fucker!  The man one wonders: is he worth waiting for? ... 
        and doesn't realize there's a curfew here.  A childhood 
        friend, a man who many people once said...`never 'eard of 
        him,' John Bonham Over The Top!!!!"
 o From the Earl's Court 75 shows and the bootleg "Rock and Roll" 
   after the band performs Tangerine, Plant makes the interesting 
   observation,
        "That is the first time the four of us have sung together 
        on stage, or on record."
 o At a performance in Dallas on March 4, 1975 before "In My Time Of
   Dying" Plant goes some way to explaining whether Zeppelin were 
   more influenced by the traditional version or Bob Dylan's cover.
        "This is a tune that goes way back to the roots from which 
        all English people took their notes from, many, many years 
        ago; and strangely enough, it's called In My Time Of Dying."
 o Before the band performed "The Battle of Evermore" at the June 
   10 show in New York, Plant introduces the song by way of the 
   following explanation.
        "When we recorded this song we got a girl to help sing the 
        vocals and we are pleased to have her with us tonight.  
        Ladies and gentlemen, John Paul Jones on vocals.  John Paul 
        Jones on vocals!?"
 o From the "Silver Coated Rails" bootleg of the Earls Court show on 
   May 23, 1975, is a peculiar recital from the song "Cats In The 
   Cradle" by Cat Stevens.  At one point between songs Plant whines,
        "Old man take a look at my life, I'm a lot like you."
 o At the 25/3/71 show at the Paris Theatre, which was taped for the 
   BBC, Robert opens the show with the following preamble.
        "First of all, I'd like to say sorry about last week.  We did
        about 18 dates in 6 days, no at least 20 days.  And uh, my 
        voice kind of gave up altogether.  And we hope it's in better 
        condition tonight, but if it's not, cheer because you're on 
        the radio."
 o The following spiel from Plant preceeded the performance of "Over 
   The Hills And Far Away" at the March 29, 1973 show at Madison 
   Square Garden, New York.
        "We had a really good one last night, I don't know whether 
        anybody was here.  But, ah, what we intend to do try and 
        get it better every night.  So with your - only with your 
        co-operation can we do that. And you know what I'm talking
        about."
   The rendition of "Misty Mountain Hop" at the same show was 
   preceeded by another dose of Plant verbosity, this time directed 
   at a person in the crowd misusing firecrackers.  Plant points out
   that they are "no longer clever".
        "Now don't forget that will ya.  You up there with the 
        glasses."  
   Yet more dialogue from the same concert. this time towards the 
   end of the show.
        "At the end of my career, I should be able to give a 
        television programme on how to keep roses... but as that's 
        about a kiss away, it's out of the question..."
 o The bootleg entitled "From Boleskine To The Alamo" of the 1973 
   Fort Worth show has Plant providing a confusing introduction to 
   "Dazed And Confused".
        "We like to uh... in fact it's nothing to we it's something 
        to do with me... I'd like to dedicate this next one to an old 
        friend... if she's about, the Butter Queen"
 o On the 1980 tour Jimmy Page did some of the song introductions, 
   which was unusual for him, and the following proceeded the 
   performance of "Black Dog" at the Zurich concert.
        "We're gonna do a number it's called Strangers in the night 
        or fantasy dog town.  This is an old one... I don't know if 
        you can remember it or not because it's quite an old one... 
        it's called Black... Dog."
 o The L.A. Forum show of 27/3/75 saw the following humourous intro 
   for "Trampled Underfoot" from Plant.
        "I guess instead of a lemon song, this is a quart of oil 
        song... it's called Trampled Underfoot..."
 o At a show in Japan in 1971, John Bonham's suspicious departure 
   from the stage was accompanied by the following Plantation.
        "Bonzo gone bye, bye.  Bonzo gone for bath with Geisha, yes".
 o The following reminiscence from Plant is from Earl's Court in 
   1975.
        "The last time we played at Cardiff at the Lacarno the 
        equipment was set up but they wouldn't let us in cuz we 
        didn't have a tie on.  It was really, those were the days, 
        but have things changed that much? ...  This song is really
        for our family and friends...  It's a song of love in its 
        most (Page mumbles something) in its most innocent stages.  
        It's called Tangerine."
----------------------------------------------------------------------
     3.04 - Trivia Of Illegitimate Origin

 o The plethora of soundboard recordings from the 1980 tour suggests
   that there were some corrupted sound people behind the mixing
   desk.  In fact, this may not be the case at all.  When Jimmy's
   home was burgled prior to "Outrider" a large quantity of tapes
   were stolen, including professionally recorded shows.  Tt is not
   unusual for a band to record themselves to see how well their
   performance went, and this may have been done with a view to one
   day releasing the much talked about Live Retrospective.  Also,
   over the years it is possible that other members of the band's
   associates may have had tapes stolen from the.  It has also been
   suggested that some of the tapes come from roadies who got ahold
   of them "legitimately" and re-sold them later for large sums of
   money.  But, getting back to the mixing board operators, with an
   appropriate sum of money it may not have been hard at all to be
   able to persuade someone to tape the show for you.  Ironically,
   Zeppelin and their management seemed to think they were stemming
   the flow of bootlegs throughout their career.
 o At the Dallas Pop Festival on 31/8/69 Zeppelin put in an amazing
   performance.  However, due to time constraints they could only do
   one more song after "You Shook me" on the setlist, so they made 
   "How Many More Times" stretch out to twenty minutes in length!  
   With the crowd screaming for more they tossed in "Communication 
   Breakdown" to finish their set.
 o On the "Destroyer" bootleg at the 8:37 mark in "Stairway To 
   Heaven" just as Plant has sung "And as we wind on down the road"
   the guitar sound suddenly disappears, and the remainder of the 
   song is totally devoid of guitar, just keyboards, bass, and drums.
   The absence is really noticeable as Page was really howling up 
   that point.  The guitar sound is picked up for the next song 
   though, "Rock And Roll".
 o An album is available in America called "Bootleg Zeppelin : 
   Performed By John Vearity, Whole Lotta Love".  The album features
   the aformentioned individual playing covers of 16 Zeppelin tunes.
 o The performance of "Misty Mountain Hop" on the 17/7/73 Seattle 
   show, on the "Trouble In Vancouver" bootleg, is dedicated by Plant
   to the people who drove the buses from Vancouver to Seattle.  This
   refers to the cancellation of the scheduled Vancouver show, and
   how the people had to come from there by bus to see the band in
   Seattle.  The Vancouver concert was cancelled after rioting broke
   out while people were queuing for tickets.
 o An instrumental outtake of "Carouselambra" appears on the bootleg
   "In Through The Back Door".
 o The unreleased "Tribute To Bert Berns" is very similar to "Baby
   Come On Home" except that it is longer and has more of an organ
   presence.  This can be found on the bootleg "Strange Tales From
   The Road" which also contains the 1971 Bombay Symphony Orchestra
   recordings made by Page and Plant of "Four Sticks" and "Friends".
 o On the well known "Destroyer" bootleg at one point Plant says, 
   '...and the doctor was played by Larry Badgely.'  Larry Badgely 
   M.D. is a real person and was the doctor on that particular tour 
   as well as being a doctor for the Rolling Stones on their 1972 
   tour.  Relations between the band and Badgely were not particulary
   good with at least one claim that Page and Bonham were known to 
   dip into the good doctor's supply of painkillers.  Badgely is 
   known to have accused Page of pilfering qualudes from his medical 
   bag while on tour once.
 o The bootleg cd "Stockholm '69" features the band running down a 
   version of Otis Rush's "I Gotta Move" while Jimmy changes a string
   he broke on his guitar.  The song is listed on the cd, however, as 
   "I Fought My Way Out Of Darkness" though, another Otis Rush song.
 o "Hiawatha Express" has, amongst other things, three songs from 
   Plant's pre-Zeppelin band, The Band Of Joy, a cover of "Hey Joe",
   "Got To Find My Baby", and "For What It's Worth".
 o There is a bootleg interview available from Japan on the CGI 
   label, identifiable by the picture on the cover of the band with
   some Japanese women.  The band's name is misspellt as Led Zeppelin
   in the accompanying liner notes.
 o A bootleg entitled "Rare Tracks Vol.1", a Greek import, contains
   several interesting demo tracks of "Stairway To Heaven" amongst
   other things.  Sources for this material are probably the thieves
   who broke into Page's house and made off with a variety of his
   tapes.
 o Both the versions of "The Girl I Love" on the bootlegs "Shenadoah"
   and "Radio Session" fade out at about the same spot, during the
   second guitar solo.  The version on "Radio Sessions" has better
   sound quality.
 o Only a handful of performances of "As Long As I Have You" have 
   been captured on bootlegs.  The January 9, 1969 performance at the
   Fillmore West sounds like the band is still learning the song, as
   Jones plays a few bad notes, while the April version is much
   better realised, with several guitar solos and guitar/vocal unison
   transitions.  Other performances were on March 13, and May 19,
   1969.  The song was originally performed by Garnett Mimms but was
   written by B. Elgin and J. Ragavoy.
 o The recordings with the Bombay Symphony Orchestra of "Four Sticks"
   and "Friends" can be found on the bootlegs "Tangible Vandalism",
   and the appropriately titled "Bombay Symphony Orchestra", which 
   also several takes of each, along with Page acoustic material.
   The "Tangible Vandalism" bootleg also contains "Physical Graffiti"
   outtakes, third album session material, and recordings from 
   Liverpool, England.

 o "Poles And Sticks" is a notable bootleg.  It contains the only
   complete version of "Gallows Pole" and the only live version of
   "Four Sticks", from a performance at Copenhagen in 1971.  There is
   also the first live version of "Celebration Day", a 20 minute
   version of "Dazed And Confused", and a 21 minute "Whole Lotta 
   Love" medley.  Plant introduces "Four Sticks" as a new song there
   isn't a title for yet, and "Rock And Roll" as "It's Been A Long
   Time".
----------------------------------------------------------------------
     3.05 - Meet The Press

FOR IMMEDIATE RELEASE
FROM: BOB ROLONTZ

   ATLANTIC RECORDS SIGNS ENGLAND'S HOT NEW GROUP, LED ZEPPELIN,

             IN ONE OF THE BIGGEST DEALS OF THE YEAR

     Atlantic Records has signed the hot new English group, Led 
Zeppelin, to a long term, exclusive recording contract.  Although the 
exact terms of the deal are secret, it can be disclosed that it is 
one of the most substantial deals Atlantic has ever made.  Agreement 
for the group's services was made between Jerry Wexler, Executive 
Vice President of Atlantic Records, and Peter Grant, manager of the 
group.
     Led Zeppelin consists of four of the most exciting musicians
performing in Britain today.  They are Jimmy Page, leader of the 
group and lead guitarist; John Paul Jones, bassist, pianist, 
organist, arranger; John Bonham, drums; and Robert Plant, lead vocal
and harmonica.
     Jimmy Page is a former member of the Yardbirds, the group that
spawned the careers of two other great musicians, Eric Clapton and 
Jeff Beck.  Page joined the Yardbirds in 1966 and stayed with the 
group until it disbanded in the summer of 1968.  Prior to joining 
the Yardbirds he was one of the busiest session men in London.
     John Paul Jones is considered one of England's finest arrangers
as well as an outstanding bass player.  He is the arranger of 
Donovan's "Mellow Yellow", "Sunshine Superman", and "Hurdy Gurdy 
Man", and of the Rolling Stones' "She's A Rainbow."  Drummer John 
Bonham created a sensation with his drum solos while accompanying 
Tim Rose on his British tour in early 1968.  Vocalist Robert Plant 
is considered one of England's outstanding young blues singers, and 
has been involved in singing blues since he was 15.  All of the 
members of the group are in their early 20's.
     The pulsations surrounding Led Zeppelin have intensified ever 
since the group recorded its first (and as yet unreleased) album, 
which was produced by Jimmy Page, just a month ago in London.  Top 
English and American rock musicians who have heard the tracks have 
compared the LP to the best of Cream and Jimi Hendrix, and have 
called Led Zeppelin the next group to reach the heights achieved by 
Cream and Hendrix.  This Led Zeppelin LP will be released by Atlantic
early in January.
     Led Zeppelin is the eighth British group to be singed by 
Atlantic during the past 24 months.  The others are Cream, Bee Gees, 
Julie Driscoll-Brian Auger & The Trinity, The Crazy World of Arthur 
Brown, The Marbles, The Magic Lanterns, and Jimmy James & The 
Vagabonds.
---------------------------------------------------------------------------
     3.06 - Zeppelin Miscellania

 o The debut album was recorded in 30 hours spread over two weeks.
   The MTV Rockumentary though, claims it was 36 hours, while the
   original quote pertaining to this was something along the lines of
   "A little over 30 hours."
 o At a February 21, 1970 gig in Copenhagen the band was billed as 
   "The Nobs" as a result of a threat of legal action from aristocrat 
   Eva von Zeppelin.  She is reported to have said, "They may be
   world famous, but a couple of shrieking monkeys are not going to
   use a priveleged family name without permission."
 o Road manager and band associate Richard Cole was relieved of his
   duties for the band's last tour by Peter Grant because of a
   chronic cocaine addiction.  Sent to Italy to detox, Cole somehow
   ended up being mistaken for a terrorist involved in a bombing and
   was imprisoned temporarily.
 o On stage the band worked like this; Jimmy usually led the band
   unless Robert came up with a good lyrical segue, Bonham watched
   Jimmy for cues while Jones listened to Jimmy for cues.  When Jones
   and Bonham figured out where Page was heading, quite often in some
   very bizarre directions, notably during "Dazed and Confused", they
   were right there.  An example of Plant trying to direct the band
   were his attempts to get the band to segue into "Gallows Pole"
   from "Whole Lotta Love."  Something he never quite managed.  These
   details were provided by Jones.
 o The title than band had in mind for the studio album to follow 
   the 1977 tour was "Tight But Loose" but this ended up not being
   used as Plant's son Karac died mid-tour throwing the band's plans
   into chaos and resulting in everything being put on hold.
 o Led Zeppelin played to a total of 1,388,729 people on their 1977
   American tour.
 o The way the songs were selected for the 1990 box set was,
   according to Page, that Page got Jones and Plant to write down
   what they didn't want to be on the set and he went from there.
 o Peter Grant's frustration with the efforts of bootleggers to rip
   off his act is manifested in many incidents such as the one in the
   film "The Song Remains The Same", Grant destroying copies of the
   bootleg "Blueberry Hill" he happened to find in record stores, his
   rapid dissassembly and dispersal of any unauthorised recording
   equipment he came across at concerts such as at the Bath festival,
   and an infamous incident when he spotted a guy in the front row of
   the audience with a microphone.  Grant marched out and proceeded
   to destroy the equipment only to later find the man was a
   government employee monitoring noise levels.  This last incident
   occurred in Vancouver, and Grant apparently, according to Richard
   Cole, a phrase which seemingly guarantess inaccuracy, had to give
   Canada a wide berth until the arrest warrant for him was finally
   lifted.
 o When a show at Tampa, Florida in 1977 was rained out a riot broke
   out amongst the crowd.
 o From the May 1993 issue of "Guitar World", page 15.
        "In 1972 Jimmy Page flew to Washington D.C. to hear bluesman
        Bobby Parker perform, with the intent of signing him to Led
        Zeppelin's nascent Swan Song label.  The two guitarists
        jammed and Page gave Parker $2,000 to buy a tape deck and
        record a demo.  But Parker never completed the tape, and his
        great opportunity fizzled."
   Plant acknowledges Parker as an influence, and the interest of
   Page is also some indication of a similar feeling.  Parker was at
   the forefront of the British blues craze with his 1961 single
   "Watch Your Step" and in 1968 was brought to England and hailed as
   the new Hendrix.  Somehow it never quite worked out.  Parker
   released a new album in 1993, "Bent Out Of Shape" and must surely
   regret his failure to cut a demo for Jimmy.  "Moby Dick" is
   apparently very derivative of one of Parker's early songs.
 o Former tour manager Richard Cole has claimed he was only paid
   $1250 by Stephen Davis for his revelations which make up a large
   proportion of Davis' notorious book "Hammer of the Gods."
 o Rap group the Beastie Boys sampled Zeppelin at least twice, their
   song "Rhymin' & Stealin'" uses the drum track from "When The Levee
   Breaks," and "She's Crafty" uses guitar samples from "The Ocean."
   Both these songs are on their first album.  At one stage the
   Beastie Boys were sued by the group for their use of these
   samples.  One song "License To Ill" samples "Custard Pie", while
   on Paul's Boutique there are samples from "Moby Dick" and "The
   Ocean".  The Beastie also used a sample from "Rock And Roll".
 o The "Screaming Lord Sutch And Heavy Friends" album from 1970 which
   features Jimmy Page and John Bonham has also been released under 
   the title "Smoke And Fire."  Jeff Beck, Noel Redding and Nicky
   Hopkins also appear on the album.
 o A song by Jeff Beck called "Cathouse" on the soundtrack to 
   "Frankie's House" apparently bears some similarities to Zeppelin's
   "Heartbreaker".
 o The film "Sea Of Love" does not feature the cover of that song by
   the Honeydrippers, on which Plant sang and Page played guitar.
   It features the original version, and a cover by Tom Waits.
 o All the songs on Aerosmith's "Get A Grip" album are copyrighted to
   Swag Song Music Inc.  The band are noted Zeppelin fans, regularly
   doing great covers of the Yardbirds' "Train Kept A Rollin'"  Bass
   player Tom Hamilton has said Aerosmith wanted to be the American
   equivalent of the great English bands like Led Zeppelin and Cream.
   Guitarist Joe Perry thinks Aerosmith was more influenced by the
   Yardbirds though.  Jimmy Page jammed with Aerosmith at the 1990
   Donnington festival, and again at a Marquee Club show on August
   20, where they played five songs, one of which was "Immigrant
   Song."  Anyway, the copyright name may well be some sort of
   humourous name the band came up with in light of all this.
 o The band is known to have declined an invitation from Cynthia
   Plaster Caster to have their more private parts immortalized in
   stone.  Other artists such as Hendrix did have casts made.
 o One of the few occasions when Zeppelin allowed one of their songs
   to be used during a film was in the film "Fast Time At Ridgemont
   High."  The reason being that the director was Cameron Crowe,
   Zeppelin devotee, and a journalist who was popular with the band
   during their heyday, as he tended to write reasonable articles
   about them.  The song that is featured in the film is "Kashmir",
   and is accompanied with some interesting comments about the
   aphrodisiac-like effect of the fourth album, "And when it comes
   time to make out, pop in side one of Led Zeppelin IV."  Cameron
   Crowe's wife, Nancy Wilson of the Canadian rock group Heart, makes
   a guest appearance in the film, as the blonde girl in the sports
   car who flirts with Judge Reinhold.
 o An example of the attitudes from the music press in general and
   music critics to Led Zeppelin is shown by this extract from an
   essay written in 1969 by Jon Landau, "Rock 1970 - It's Too Late
   To Stop Now."
      "Led Zeppelin has now become the most popular of all the late 
      sixties British bands. Like their predecessors, they build
      their style on doubling bass and guitar figures, thereby
      creating a distored emphasis on the bottom sound range. It is
      a completely physical approach to sound that usually works
      better live than on records. Zeppelin's demeanor, like that of
      most of these groups, was loud, impersonal, exhibitionistic,
      violent and often insane.  Watching them at a recent concert I
      saw little more than Robert Plant's imitations of sexuality and
      Jimmy Page's unwillingness to sustain a musical idea for more
      than a few measures.
      "I got a sense that the real mood of the band is ennui. I sat
      there thinking that rock could not go on like this. There are
      those who are prepared to buy it now, but there is no future in
      it, and that is why groups like Led Zeppelin take it all now.
      They have no place to go, no place to grow into, no roots
      anywhere. And so there they were in front of 15,000 people,
      going through the motions- their `act'- in order to pick up a
      paycheck. Fifteen thousand people sat through it all hoping
      that somehow their expectations would be fulfilled. They
      weren't because in the words of a fine Bob Dylan song, `nothing
      was delivered.'"
 o An issue of "Time" magazine in October 1993 featured an article 
   categorizing various bands from the 1960's to the 1990's.  Led 
   Zeppelin was classified by them as a "60's Hard Rock Band."  In 
   keeping with this rather unusual interpretation of musical history
   Pink Floyd was categorized as an "80's Acid Rock Band."
 o Of all the strange places for Zeppelin to pop up, an episode of
   "Beavis & Butthead" has to rank up there.  The conversation that
   preceeded the airing of "Over The Hills And Far Away" went:
        Beavis    : This sucks!  It sounds like folk music!
        Butt-head : Shut up, ass wipe!  It gets cool.  Just wait...
 o The film "Bad Lieutenant," starring Harvey Keitel, features a song
   by rapper Schooly D. called "Signifying Rapper" which is basically
   "Kashmir" with a lot of rapping about violence over the top of it.
 o The Toshiba phone company in the October 4, 1993 issue of
   MacLean's magazine published an advertisment which purported to
   show a single of "Stairway To Heaven" and had the following
   accommpanying text:
        "Stairway to Heaven.  You're in high school. It's late.
        You've got your arms around someone.  It's playing.  A few
        years later you hear it on an elevator and can't wait until
        it stops.  But you find yourself admiring it for its
        durability.  And hope other things might wear that well.
        ."
 o "Travelling Riverside Blues" - In addition to the Rosedale
   mentioned in the song, it has been pointed out that Roseale is
   also an upmarket suburb in Toronto and a shopping mall outside St.
   Paul, MN.  It is however exceedingly unlikely Robert Johnson was
   referring to either of these, as his Rosedale is the one on
   Mississippi Highway 1, which is also known as the River Road, 45
   miles from Friars Point, which Johnson also mentions in the
   original version of the song.
 o There is an amusing parody of "Stairway To Heaven" called "Buying
   A Slurpee At 7-Eleven."  One of the verses begins, `There's a sign
   on the door, that says "Slippery Wet Floor", but you know those
   signs have no meaning.'  The parody was written and performed by
   Mark Davis, althoug very likely not the Mark Davis who was one of
   my lecturers in first year, and Rob "Iceman" Izenberg.  Another
   parody is "Elevator To Menswear."
 o The famous Swan Song symbol that Zeppelin adopted as the logo for 
   their record label was borrowed from an 1851 oil-on-canvas
   painting by William Rimmer entitled "Evening Fall Of Day."  The
   figure in the painting is the Greek sun god Apollo.  The painting
   is not, as some people would have you believe, of Icarus or
   Daedalus.  These two are also figures from Greek mythology.  
   Daedalus is, according to legend, supposed to have crafted a set
   of wings from feathers and wax for himself and Icarus which they
   could use to escape from their prison on Crete to freedom in
   Greece.  Unfortunately, Icarus being the younger of the two
   thought it might be a lark to fly a little higher, and flew too
   close to the sun which melted his wings and he plunged to his
   death in a sea, which is still known as the Icarian sea.  Icarus'
   first flight was also his swan song.  Daedalus also designed the
   labyrinth on Crete for King Mino's minotaur, which was the reason
   for his imprisonment, because he alone knew the secrets of the
   labyrinth.
 o The Swan Song label came into being in 1974 after Zeppelin's
   contract with Atlantic came up for renegotiation.  Peter Grant
   negotiated a deal whereby all the band's business affairs and his
   management of them would be handled by a separate label.  Dave
   Lewis lists some rumoured names as Eclipse, Slut, Slag, Deluxe,
   Stairway, and the name of their publishing company, Superhype.
   Lewis also writes that a sub-company owned by the band,
   Cullderstead, was registered for Swan Song as a business name.
   The name is taken from the title of an unfinished band
   composition, an instrumental, which Page had tagged as "Swan
   Song."  The song was another piece built around an exotic guitar
   tuning from Page.  Although the song was never finished, it most
   likely, according to Christopher Crowe, evolved into the Firm song
   "Midnight Moonlight."  Dave Lewis writes that "Swan Song" may have
   been an early version of "Ten Years Gone."
 o The "Wayne's World" and "Wayne's World 2" films feature a number
   of Zeppelin references.  In the first film when Wayne goes to a
   guitar store to buy himself his dream white Fender Stratocaster
   he starts to play "Stairway To Heaven" only to be interrupted by
   the store attendant who points to a sign in the store that says
   "No Stairway To Heaven".  Wayne is understandably aghast.  This
   sign is apparently quite common in music stores.  In the second
   film when Garth meets Kim Basinger's character in a laundromat he
   is wearing a t-shirt with the cover of the first album, the
   Hindenburg disaster, on it.  A quote from Wayne from the first
   film, "Look at Led Zeppelin, they didn't make songs people liked,
   they left that to the Beegees."  The mirthmobile, is, by the way,
   an AMC Pacer not a Pinto.  The actor who plays Garth, Dana Carvey,
   is apparently a huge Zeppelin fan, which might explain the
   plethora of Zeppelin references.  In the second movie when Wayne
   and Garth visit the home of the legendary roadie, they pick up a
   photo album of him and the bands he had toured with and a touched
   up photo of the roadie, Page and Plant is shown.  Wayne states the
   bleeding obvious by asking, "Hey, is this you with Led Zeppelin?"
   On all video and cable releases of the first "Wayne's World"
   movie, to "Stairway To Heaven" that Wayne is supposed to be
   playing in the music store are overdubbed with random, distorted
   guitar as the film-makers didn't have permission to use the real
   intro.
 o _Rolling_Stone_ magazine, in an unsubtle attempt to rewrite
   history, and create the impression that they loved all the
   Zeppelin albums to death when they were first released, 
   re-assessed all of them for their recently released Album Guide.
   When first released, _Rolling_Stone_ was particularly dissmissive
   and scathing of most of Zeppelin's output.  This institutional
   bias has now been dissipated with the addition of Zeppelin fans
   such as David Fricke to the writing staff.  The revised ratings
   are on a scale of one to five stars.
        "Led Zeppelin"               ****
        "Led Zeppelin II"            ****
        "Led Zeppelin III"           ****
        "Untitled"                   *****
        "Houses of the Holy"         **** 1/2
        "Physical Grafitti"          ****
        "Presence"                   *** 1/2
        "The Song Remains the Same"  ** 1/2
        "In Through the Out Door"    ***
        "Coda"                       ** 1/2
        "Led Zeppelin" (Box Set)     **** 1/2
 o Similarities have been noticed between the riff in the
   introduction to "Under The Bridge" by the Red Hot Chilli Peppers
   and the intro riff in "Achilles Last Stand."
 o Several Zeppelin songs contain drug references, whether directly
   or indirectly through slang terms.  Probably the most widely used
   drug by the band, Plant admits this, was marijuana, which is
   referred to in "Over The Hills And Far Away" in it's "Acapulco
   Gold" incarnation.  `I live for my dream and a pocket full of
   gold'.  Plant added the "Acapulco" during live versions.  
   "Stairway To Heaven" also contains a line, `..all that glitters is
   gold' although this is probbably not a drug reference.  "Misty
   Mountain Hop" has the aura of some drug induced haze and when 
   discussing the origins of the song Plant has hinted at the
   presence of drugs at a London sleep-in busted up by the Police.
   "Dazed And Confused" originally known as "I'm Confused" when
   performed by Jake Holmes was about an acid trip, but the lyrics
   were changed for the Zeppelin version, although a few lines hint
   at its prior lyrical theme.  Harder drugs such as cocaine were
   used by the band later in its career and are mentioned in "For
   Your Life" where Plant even makes snorting noises.  Another song
   about the band's overindulgences, "The Rover" also contains drug
   references amongst other things.
 o During an appearance on "The Tonight Show" in America Plant
   claimed that Zeppelin used to try and sound like black guys from
   Chicago, a claim supported by their choice of covers, several from
   Chicago bluesmen.  The Chicago blues style itself is markedly
   different from other dominant blues styles, such as Delta, Texas
   and Memphis.  It relies less on acoustisc instruments than these
   others, and can cover more traditional band elements in the form
   of extra musicians.  Some notable exponents of Chicago blues as
   Buddy Guy and Robert Cray.  Chicago blues was also the first blues
   variety to gain a major following among young British musicians in
   the 1960's, although some of the leading musicians of the time
   such as Page, Clapton and Richards moved on from Chicago quickly
   to other more sparse styles such as Delta.  However, Zeppelin
   probably sounds closer to the Memphis style which incorporates
   electric and acoustic elements.  A Delta blues influence is also
   present with both Page and Plant readily proclaiming their 
   admiration for Robert Johnson the acknowledged "King Of The Delta
   Blues".  Memphis is in turn a derivative of the Delta style.
 o The whole issue of whether or not "Stairway To Heaven" contains a
   backmasked message is surrounded by emotive and irrational
   arguments.  One of the foremost sleaze expeditions on Zeppelin is
   Stephen Davis's "Hammer Of The Gods".  Within this illustrious
   tome, he asserts the common theory that the message is "Here's to
   my sweet Satan" on page 9 of the book.  Yet on page 309 he asserts
   that when "Stairway" is played backwards at a slower speed the
   message is "I live for Satan".  Additional sources for this debate
   include the christianmentary "Hell's Bells : The Dangers Of Rock
   And Roll" wherein the theory is espoused that the message is "My
   sweet Satan.  No other made a path for it makes me sad whose power
   is Satan."  Next up is renowned religious freak Monty Python who
   claimed to hear the message "Spam spam spam" over and over
   throughout the entire duration of the song.  Of a slightly more
   factual nature, Henry T.F. Rhodes has claimed that in black masses
   prayers are sometimes said backwards, although presumably this
   only affects the word arrangements.
 o Another persistent claim is that the bandmembers, often with the
   claimed exclusion of Jones, sold their souls to the devil.  This
   helps to explain Plant's car crash, his son's death, Bonham's
   death and a multitude of other unfortunate occurrences.  A slight
   twist on it is that Pagey was very close to the devil because his
   daughter was not injured in Plant's car crash, although the devil
   must not have liked one of his houses as it fell into the sea.  No
   such public misfortunes befell Jones and so it logically follows
   he didn't sell his soul to the devil.  But the whole idea of
   someone selling their soul to the devil for their success and fame
   seems to be a recurrent theme with celebrities dating back to
   the nineteenth century.  One example was Paganini who had to get 
   his mother to write a letter stating his father was not the devil
   in order to appease a French town.  Musicians seem to feature
   prominently on the list of celebrities well-acquantined with the
   devil, such as Jim Morrison, Eric Clapton (who is also God), John
   Lennon, Ozzy Osbourne, Alice Cooper and Kiss, which is of course
   stands for "Knights In Satan's Service".  Outside the field of
   music others include Walt Disney (check out Fantasia), Carol
   Lombard, and even corporations such as Proctor & Gamble.  From
   these examples, it appears that when people cannot find a rational
   explanation for the talent some people possess they begin to look
   for unusual explanations, hence the eventual claim that the person
   in question is in league with the devil, which is a quick, and
   easy way to get back at them I guess.
 o Along with the recurring number 54 in relation to Plant and
   Zeppelin, the number 10 seems to pop up quite frequently as well.
   In "How Many More Times", `I've got ten children of my own', in
   "Heartbreaker", `It's been ten years and maybe more since I first
   laid eyes on you', in "Ramble On", `Been this way ten years to the
   day', and in "Ten Years Gone", `Ten years gone, holding on'.  A
   slightly tenuous extension of this theme is that the number 10 is
   sacred to the ancient Cail Li'n cult of gaelic origin in a similar
   way that 7 recurs in the bible.  Plant may have been trying to
   invoke some sort of mystic power or magical influence by repeating
   the number in the lyrics to songs.  A comparison is that in the
   bible many things are grouped in sevens, the days of creation,
   seven plagues in Egypt, and the number of apocalyptic horsemen.
   Much more likely is that it seemed a suitable timespan for the
  lyrical theme.
 o One of the bands formed out of the ashes of the Yardbirds was
   Together.  This featured Keith Relf and Jim McCarty but not Page.
   The band's style could be said to be soft acoustic rock.
 o Led Zeppelin's first five album were released on reel to reel
   format.  According to Rick Barrett the first three albums are
   numbered with roman numerals on the spines of the boxes while the
   fourth album just has the band member's four symbols.  However,
   Barrett in an impressive display of attention to detail notes that
   there is a second version of "Led Zeppelin II" on this format,
   which features the roman numerals on the spine as the normal
   version does, but also the phrase "The only way to fly".  This is
   apparently very rare and would be worth a quite considerable
   amount of money to a collector, such as Barrett.
 o Zeppelin are rumoured to have performed some christmas carols at a
   show during the early seventies.
 o The Bombay Orchestra with which Plant and Page recorded version
   of "Friends" and "Four Sticks" in 1971 features along with western
   style instruments, native Indian ones such as tabla drums and
   sitars.  While an interesting experiment, the recordings were
   never released offically and are only available on bootlegs.  The
   project is said to have run into problems because Page complained
   that the orchestra members didn't keep time in the Western style
   and some of them drank rather a lot.
 o When last mentioned, sales of "The Complete Studio Recordings" in
   the USA had been certified "Gold", meaning sales of 500,000 units.
   Sales of the first Box Set have reached one million, four times
   platinum.
 o Rehearsals for "In Through The Out Door" took place at Clearwell
   Castle in May, 1978.
 o The working title for "Coda" was "Early Days And Latter Days".
 o Another Zep clone band in the style of Kingdom Come were an outfit
   that went by the name of Zebra, who supposedly did a cover of "The
   Ocean".  Another group lumped into the Zep clone category, and
   unfairly so according to some, is Canadian group The Tea Party.
   On their "Splendor Solis" album is a song called "Sun Going Down"
   which features the following lyric, `I think my wings have fallen
   below, Jesus I need another pair, St. Peter at the gates of heaven
   won't you let me in?'  Random coincidence?  The singer, in all
   fairness, sounds more Jim Morrison than anyone else.  Yet another
   Zeppelin clone band is The White.  The singer from this outfit,
   Michael White, is apparently so good at reproducing Plant's voice
   that it's eerie.  Interestingly, Michael White is the mananger of
   The Tea Party, and The White and The Tea Party both use the same
   studio, in Vermont.  A gig by The White in the U.K. was attended
   by Plant's bass player Charlie Jones, and his wife, Plant's
   daughter Carmen.  It was suggested to Plant himself that he check
   out the band and he has, although his thoughts on their
   performance are not recorded.  The Tea Party recently played on
   the same bill as Page and Plant.
 o In the gap between tracks 8 and 9 on Van Morrison's "Tupelo Honey"
   album ("When That Evening Sun Goes Down" and "Moonshine Whiskey")
   there is the sound of someone exhaling that is reportedly a dead
   ringer for Plant's exhale at the beginning of "Whole Lotta Love".
   "Tupelo Honey" was released in 1971 as a follow-up to the very
   successful "Moondance" album.  The question of whether or not this
   is sampled is a major stretch of the imagination however, so it
   can be classed as random coincidence.
 o The Spanish seaside town of Malgrat de Mar has a bar called 
   "Zeppelin" which is run by a group of Zeppelin fans and
   enthusiasts.  The bar also sells a t-shirt with it's logo on it
   for tourists, the logo being a picture of "Mr. Zeppelin".
 o The Rock And Roll Cafe in New York City, situated at 149 Bleeker
   Street, at one point several years ago featured a Zeppelin tribute
   band called Four Sticks every Monday night.  The tribute band was
   preceeded by a Hendrix tribute band.
 o Peter Grant's bathrobe from the cancelled 1980 U.S. tour with "Led
   Zeppelin The 80's, Part One" emblazoned on the back was spotted by
   a listmember for sale in a Boston store for around US$700.  
   Judging by the size of Grant at the time you certainly get your
   money's worth though!
 o Punk "Musicians", a term I use with some trepidation, were
   renowned for bucketing Zeppelin.  Johnny Rotten who once labelled
   the band, "boring old farts", was reported in _Q_ magazine as
   having contacted Plant recently to get the lyrics for "Kashmir" so
   PIL could cover it.  An even more derisive quote, is Paul Simonon
   of the Clash's, "I don't even have to hear the music, just looking
   at one of their album covers makes me want to throw up".
 o The street that the building depicted on the cover of "Physical 
   Graffiti" is on is St. Marks Place, New York City.  The street
   runs right through Greenwich Village.
 o The punk band Unsane does a cover of "Four Sticks".
 o Led Zeppelin are the only band to have had all their albums reach
   the Billboard Top 10.  Of these ten albums, six went to number
   one.
 o During his drum solo on their 1994 tour, Aerosmith drummer Joey
   Kramer would sometimes incorporate a section from "Poor Tom".
 o A song by Soundgarden, title unknown, uses the "Killing Floor"
   riff from 1969.  This is the riff where an E is played twice,
   count out a measure, and a "Boom Boom" style riff is then
   played, at about half the speed John Lee Hooker plays it.
 o The riff from "In The Light" was borrowed by the guitarist from
   Stone Temple Pilots, sped up, made heavier and simplified and
   incorporated into either "Sex Type Thing" or "Wicked Garden".
 o On the 1994 Aerosmith tour, guitarist Joe Perry was known to play
   a bit of "Dazed And Confused" during his solo which usually led
   into "Sweet Emotion".  He did this at Aerosmith's Woodstock 1994
   appearance.  This seems to be a common trend among guitarists, 
   with Slash also doing this with Guns 'n Roses.  On the Metallica 
   box set "Live Shit: Binge & Purge" during one of the concerts on 
   video bass player Jason Newsted begins playing the start of "Dazed 
   And Confused" at the end of his bass solo.  Guitarist Kirk Hammett 
   then chips in with the psychedelic guitar chords from the song.  
   They also play a snippet from "Moby Dick" later in the concert.
 o The band Brother Cane have a song called "Make Your Play" which
   features some slide work reminiscent of that in "In My Time Of
   Dying".
 o Kristin Hersh's "Your Ghost" cd single features a cover of "When
   The Levee Breaks".  This can be on the "Strings" album.
 o Duran Duran's cover of "Thank You" appears on the soundtrack to
   the film _With_Honors_.
 o The CBC show "This Hour Has 22 Minutes" uses the same burning
   Zeppelin footage in the beginning of their show as appears on
   the cover of the first album.
 o The Powder Monkey's album "Smashed On A Knee" features a similar
   picture to that on the first Zeppelin album, except that is was
   taken a few moments later.
 o Heart is a band that wears its Zeppelin influences on its sleeves,
   but in places it does sound a bit too derivative.  Two examples
   are the songs "Barracuda" and "Magic Man" which imitate "Achilles
   Last Stand" and "Immigrant Song" respectively.  Also, the end of
   "Straight On" is a lift from "The Crunge".
 o Unlike during "The Song Remains The Same", for the two Knebworth
   1979 dates, the band dressed identically on both occasions.
 o A radio station in Florida found out the hard way that an all
   Zeppelin format was not a viable idea when it kicked off its
   transmissions by playing "Stairway To Heaven" fifty times in a
   row.  Within two weeks the station had gone broke and had had to
   resort to the usual dull and unvaried commercial format.
 o At a Minneapolis date on his 1994 tour Billy Joel and his band ran
   down a cover of "Good Times Bad Times" with the introduction "This
   is one of my all time favourite songs".  Before that he had
   instructed the band to "Let's do that one we were fooling around
   with before".  Billy played rhythm guitar for this song.
 o In the first story, _The_Langoliers_, in Stephen King's _Four_
   _Past_Midnight_, one of the characters says the following,
   "Sometimes, when I'm sure my music teacher isn't around, I play
   old Led Zeppelin songs," he said. "That stuff _really_ cooks on
   the violin.  You'd be suprised."
 o The programme for Zeppelin's 1979 Knebworth gigs was a little
   ahead of their record company.  It listed the new, at the time,
   album, "In Through The Out Door", as being "Available now on
   Swansong records and tapes".  In fact, the album was not available
   at the time of the concerts, and was delayed for some time. An
   advertisement for HMV records also in the programme was more
   accurate, in that it listed all the previous Zep albums, showing
   sleeves and prices, but not "In Through The Out Door".
 o A music convention in Toronto, Canada, in early 1994 featured
   Peter Grant as a keynote speaker.
 o A classical guitar recital at the Berklee College of Music
   attended by a member of the list in early 1994 included a song
   listed on the programme as "Bob Pix On Lead - Jimmy Page and
   Robert Plant".
 o Rapper Ice-T has been known to use Zeppelin samples such as the
   drum beat from "When The Levee Breaks", commonly used in rap and
   dance music anyway, and the bass riff in "Heartbreaker".
 o On March 29, 1975 Led Zeppelin made music history by becoming the
   first band to feature their entire back catalogue, all six albums,
   on the album charts at the same time.  That was the first and so
   far, last time that has happened with that quantity of albums.
 o The 1969 Sony Super Show film features Zeppelin along with Eric
   Clapton and Steven Stills, amongst other.
 o The shows that Zeppelin recorded for the BBC have been rebroadcast
   in recent years on the syndicated shows "In Concert" and
   "Superstars In Concert" on American radio.  Some of the material
   may no longer exist in BBC archives, and these radio broadcasts
   are the ones that turn up most frequently as bootlegs.
 o The Kentucky Headhunters, an American group obviously, are noted
   Zeppelin fans.  Some members of this band claimed to have been
   signed to Sawn Song at one point, as mentioned in the FAQL.
 o Yorke's book on Zeppelin contains the following illuminating
   statistics regarding album sales in the USA.
       1st. The Beatles = 56 million albums sold.
       2nd. Led Zeppelin = 45 million albums sold.
   These figures do not include the sales of either of the box sets
   or "The Complete Studio Recordings".
 o An unknown Soundgarden song reputedly features the riff, or a
   very similar one from "Friends".
 o The organist who played during Rangers home hockey games at
   Madison  Square Gardens in the early 1990's had a repertoire which
   included "Kashmir".
 o Richard Cole, possibly not the well known one among Zeppelin fans,
   manages the Zeppelin tribute band Physical Graffiti.
 o An interesting Zep legend relates to their 1968 show at Denver,
   26/12/68, which was the first date from their first US tour.
   There was a snowstorm in Denver at the time and Zeppelin were
   stuck there without their equipment and expected to do a show at
   the Coliseum.  Using borrowed equipment Zep went ahead with the
   show and whilst Plant was singing at some point the microphone
   went dead.  Plant, reputedly, tossed it aside and continued
   singing without it.
 o In June 1994, WHJY-FM in Providence broadcast the statistic that
   74% of the members of President Clinton's administration believed
   that Led Zeppelin was a fuel additive.
 o At the 1994 Zeppelin convention, some newly unearthed footage of
   Page and Plant at an Australian press conference was shown.  Only
   about 10 minutes long, the piece is an interesting curiosity.
 o The film "The Client" features several references to Led Zeppelin.
   The kid in the film who witnessed the murder is seen wearing a
   Zeppelin t-shirt, and the lawyer asks the rather rhetorical 
   question of whether the kid likes Zeppelin.  The kid is under the
   impression that the lawyer has no idea about Zeppelin and is just
   trying to worm her way into his trust.  He asks her what her
   favourite Zeppelin song is, and she replies, in a rather unusual
   response, the live version of "Moby Dick".  The kid then asks her
   to name the first four albums, which she does, even explaining
   that the fourth album is officially untitled but is commonly
   referred to as "IV".  The film incidentally is based on a John 
   Grisham novel.
 o A series of comics entitled "The Led Zeppelin Experience" were
   published in 1993 by Revolutionary Comics in California.  As with
   Australian bootlegs in recent years, the covers loudly proclaim
   their unofficial nature.  However, the comics are content just to
   rip off Richard Cole's tired old road stories, doing little but
   translating them into pictorial form.  However, one issue does
   get a little more interesting with an exceprt from Aleister
   Crowley's "Magick In Theory And Practice" printed on the inside
   cover.
 o A song was released in 1993 called "She Likes To Make Love To Led
   Zeppelin" which had a lyrics that touched on various album and
   song titles.
 o A 1994 song by Bomb The Bass contained several references to Jimmy
   Page and how "The song remains the same".
 o The exact pronunciantion of Bron-Y-Aur, the cottage in Snowdonia,
   Wales, where Page and Plant retreated to to write the songs for
   "Led Zeppelin III", is unclear.  Welsh being one of the hardest
   languages to understand, it is obviously not pronounced as it
   appears.  The word apparently originated in old Welsh dialects,
   and one school of thought has it that it is pronounced brom-rar.
   However, Robert has been heard to pronounce it bron-rar.
 o In a section of Alice In Chain's "I'll Stay Away" where the
   acoustic part ascends, then descends, it sounds similar to the
   guitar in Zeppelin's cover of "Travelling Riverside Blues".
 o Legend has it that after their August 18, 1969, show at the
   Rockpile in Toronto, Zeppelin carried on playing acoustically
   outside the venue on the street for an hour or so.  Nobody paid
   much attention to them as they were not well known at the time.
 o The band members major influences could be stated as follows:
   Jimmy Page - Early rock 'n roll, electric blues, Carnatic 
                (Indian), Celtic folk, and Arabic music.
   Robert Plant - folk rock (Californian bands), psychedelia,
                  acoustic blues, Arabic, and Indian later in life.
   John Paul Jones - Motown, Jazz, Rock, and Classical arrangements 
                     for non-standard instruments.
   John Bonham - Jazz, Rock, and Funk.
 o Led Zeppelin's admiration of The Beatles is an established fact.
   The famous "Blueberry Hill" bootleg features them inserting a
   quick nod to "I Saw Her Standing There" during a "Communication
   Breakdown" medley.  They also played "Please Please Me", in 
   parody, on at least one occasion, and on the 1980 tour played
   "Money", with Phil Carson, at some shows.
 o Stephen Davis, author of the notorious "Hammer Of The Gods", has
   claimed that Zeppelin performed "Purple Haze" during concerts on
   their 1973 tour.  This is uncertain, but during "The Song Remains
   The Same" just after the bowing section and as Robert is saying
   "Do it!" Jimmy plays what sounds like a snatch of "Foxy Lady".
 o Frank Hannon, guitarist from the band Tesla, has a red Gibson
   double-neck guitar like Page's which he uses for the Zeppelin-
   influenced "Love Song".
 o Boston band Fury And The Slaughterhouse, a local band from Boston
   appear to be adept Zeppelin thieves, with one of their songs
   featuring a direct sample from the beginning of "D'Yer Mak'er",
   and the drums from "When The Levee Breaks".
 o "The Ten Legendary Singles" a special New Zealand-only release
   features the standard ten Zeppelin singles in a seven-inch box
   set with a picture of a Zeppelin over Berlin during World War II
   on the cover.  This is an official release, although a printing
   error results in the A and B sides being reversed on the singles
   for "Whole Lotta Love", "D'Yer Mak'er" and "Candy Store Rock".
 o The Australian release of "Led Zeppelin II" featured the band on
   the inside front cover instead of the bomber on some pressings.
 o The hilarious rock-spoof-pseudo-documentary "This Is Spinal Tap"
   features more than a few digs at Zeppelin.  The most obvious is
   guitarist Nigel Tufnell's "bowing" solo where he plays his guitar
   with a violin, as opposed to Page using the bow.  The band's
   manager also appears to be modelled on Peter Grant, and one of
   their many previous drummers choked on vomit, although it was
   someone else's, and as someone in the film points out "You can't
   really dust for vomit".  The film also takes swipes at most
   obviously Black Sabbath, although the Stonehenge gag may also be
   a poke at Zeppelin's "Stonehenge" theme at their Oakland show in
   1977.
 o The slogan for Zeppelin's 1980 tour was "Cut The Waffle", which
   meant trimming down the hour-long-jams and endless solo, with the
   exception of the drum solo, making Zeppelin a far leaner outfit
   than for years.
 o Mention has been made of a resemblance between the Soundgarden
   song "Superunknown" and "Misty Mountain Hop".
 o Zeppelin's last show was at Eissporthalle, Berlin, Germany, on 
   July 7, 1980.
 o Phish has been known to cover "Good Times Bad Times" in concert,
   one such occasion being 24/7/93 at Greatwoods, Massachusetts.
 o The appalling quality of the sound and video footage of the 1979
   Knebworth show available on various bootlegs, may be for a reason.
   The footage was originally stolen from Jimmy's house, and while
   the thieves most likely didn't get the master tapes, they may have
   purposely denigrated the quality to enhance the value of their
   copy.
 o Japanese Zeppelin tribute band Cinnamon take the whole idea of a
   concept band to its extreme.  They have been playing together 
   since 1979, and are so obsessed with accuracy that they introduce
   each number by title, tour, venue and date, playing the song 
   exactly as it was performed that night.  Hailing from Nagoya, they
   go under the names of Robart, Jimy Page, John-G, and Bonzow.  An
   album of their original material is, for some reason, entitled 
   "Led Zeppelin", while their latest work, "Cinnamon III", which 
   features a parody of the "II" cover, is a 58 song medley of
   Zeppelin classics performed in 56 minutes.  Jimy Page when he is
   not reproducing the performance of the other Page owns and works 
   in a drugstore, while Robart runs a Nagoya language school named
   "Woodstock".
 o On a Red Hot Chilli Peppers bootleg the band segues momentarily
   into "Dazed And Confused".
 o On October 21, 1994 _The_Guardian_ printed the following comment,
   "Robert Plant and Jimmy Page confirmed that they turned down an 
   offer of $100 million to reform Led Zeppelin.  So there is a 
   God..."
 o A standup comedian, whose name is not known, does a sketch about
   what old rock stars are doing these days.  He says he pulled into
   a gas station where Robert Plant was working, and Plant walked 
   over, popped the hood, had a look around underneath and wailed
   "You need coolant..."
 o There is a golf video avilable called "Fairways To Heaven" which
   has the title emblazoned on the cover in the font Zeppelin used
   for "The Song Remains The Same".
 o At an early 1972 concert at Mohawk College in Hamilton Ontario,
   Rush is reported to have played "Stairway To Heaven" as part of
   their encore.
 o "How Many More Times" has appeared on the soundtrack of at least
   one film, who's title is not widely known, but also includes at
   least one song by Steve Miller.  This film is "Homer", from 1969.
   The catalogue number for this album is Cotillion SD 9037 (US)/
   Atlantic 2400 137 (UK).  This is mentioned in Robert Godwin's
   "The Illustrated Collectors Guide To Led Zeppelin (3rd Edition)".
 o Television advertisements for the film "Deer Hunter" and maybe
   also the film itself used "Dazed And Confused" as background
   music.
 o There exists a musak version of "Tangerine" that can be heard in
   various elevators.
 o The Swan Song label was dissolved several years after Zeppelin
   ended, but not before "Coda" and Robert Plant's first solo album,
   "Pictures At Eleven" were released on it.  The other artists on
   Swan Song mostly resigned with Atlantic, with a few exceptions.
   Bad Company soldiered on minus Paul Rodgers, while Dave Edmunds
   switched labels.  A recent retrospective of his work contains all
   his Swan Song material.  Other artists simply lost their recording
   deals thanks to Swan Song's demise.  Jimmy Page's soundtrack to
   "Deathwish II" also appeared on Swan Song.
 o The publishing companies used throughout the Zeppelin years were
   Superhype and Flames Of Albion, both set up by Jimmy but also used
   by the other bandmembers to administer their rights.  For those
   unfamiliar with how this works, these companies then sign with one
   of the major administrators such as ASCAP or BMI.  These companies
   are reponsible for collecting the royalties generated by other 
   people using the songs, such as companies publishing music books.
   Fees generated from radio and video broadcasts and live covers are
   also administered by these companies, usually at a standard rate
   regardless of the artist.  However, depending on the band's status
   in the industry, their management may take it into their hands to
   see that the various fees are paid.  These companies also handle
   such things as songwriter disputes, and disputed credits for song
   authorship, such as the recent Michael Bolton/Isley Brothers 
   dispute, which bypassed this mechanism and ended up in court.
 o Led Zeppelin were one of the few 1970's bands, big bands that is,
   who did not deliberately experiment with some sort of deliberately
   vague bisexual imagery.
 o At one particular Primus gig, Les Claypool, the bass player, put
   on an unusually shaped bass and the band started to play the
   introduction to "Kashmir".
 o A duet by Neneh Cherry and Michael Stipe has a stab at recreating
   the Bonham sound.  The title of the song is not apparent, but can
   be distinguished by a chorus of "Round and round and round..."
 o Various things such as Tolkien influenced lyrics and some album
   art suggest that Zeppelin, most notably Plant, had some sort of
   interest in, fixation with subreality, such as that explored by
   Tolkien.
 o There are quite a few things that a band might do that could hint
   to a Zeppelin influence.  Probably the most obvious is repeating
   a blues-based or pentatonic riff over and over again.  Zeppelin
   didn't invent this, but some of their most well known songs such
   as "Whole Lotta Love" use it.  Additionally, backwards echo,
   multi-tracked guitars, choruses guitars, and open and Indian
   tunings all point to Zeppelin and Jimmy Page.  Stylistically, a
   song that stars off with acoustic guitar and really soft sections,
   then builds up to a much louder, quite often electric, climax,
   are Zeppelin trademarks.  A recent example being Van Halen's
   "Take Me Back (Deja Vu)".  Zeppelin was again, not the inventor of
   this, but songs such as "Babe I'm Gonna Leave You" used it to 
   great effect.  The influence of Zeppelin in rap is also quite
   important, Frankie Goes To Hollywood sampled Bonham for "Relax",
   and The Beastie Boys with Rick Rubin sampled a number of Zeppelin
   riffs and drumbeats.  The interest in World Music also exhibits a
   Zeppelin influence with their dabbling in Carnatic, Arabic, 
   Celtic, Caribbean and Moroccan music.  The preponderance of a huge
   reverb/gating effect of drum sounds of people such as Phil Collins
   and by producer Mutt Lange with artists such as Bryan Adams is a
   clear attempt to replicate Bonham's sound.  Also, the guitar hero
   with the low-slung Les Paul and the cigarette dangling from the 
   lips is not a trademark of Slash, but rather, Jimmy Page, who can
   be seen in various photos and footage leaning back into the riffs,
   in a much imitated pose.  The influence of Zeppelin has been very
   pervasive, leap-frogging acorss genres and generations and is very
   likely to continue for some time to come.
 o The name Zeppelin first sprang to public prominence thanks to
   Count Ferdinand von Zeppelin (1838-1971) who was a German airship
   designed who developed the dirigible balloon, named after him,
   which was used in World War I.  He developed the airship between
   1897-1900.
 o The Zeppelin bursting into flames on the cover of the first album
   is The Hindenburg, named after Paul von Hindenburg (1847-1934), a
   German general and statesman.  He succeeded Falkenhayn as chief of
   the High Command during World War I and served as President of the
   Weimar Republic (1925-1934).  In 1933 he was forced to make Hitler
   chancellor.
 o Led Zeppelin did four seperate tours of the USA in the space of
   one year during 1969, 26/12/68-08/11/69.
 o Headley Grange, a recording venue for Zeppelin during the 1970's,
   was a converted poorhouse.
 o The search for the master tapes for the remastering process took
   Page to all manner of strange locations, such as a now-abandoned
   Underground Subway Station in North London.
 o The Jeff Buckley song "Mojo Pin" features a very Zeppelin-ish
   section around the 3:50 mark, and again later in the song, which
   sounds like "Achilles Last Stand".
 o The plane featured in "The Song Remains The Same" is a Boeing
   720B, a scaled down model of a 707 that was formerly owned by
   United Airlines.  United Airlines sold the plane to a company
   called Temporary Entertainer's Services which leased the plane
   out to various groups and performers for their tours.  The plane
   was also used by at various times, The Rolling Stones, Deep Purple
   and Elton John.  The man who ran this company was the manager of
   singer Bobby Sherman, who derived his fame from the tv show "Here
   Comes The Bride."  For the use of Led Zeppelin the plane was
   repainted in brown and gold and a logo added to the fuselage.
   This paint scheme was later changed by Elton John to a stars and
   stripes design.  In turn, each group or person leasing the plane
   changed the paint scheme to give the impression that the current
   occupant owned it.  In 1973 the plane was leased at $2500 a day
   plus a mileage charge.  It was used by the group to travel to and
   from gigs and back to the major cities such as New York, Chicago
   or Los Angeles where they would "base" themselves for part of a
   tour.  The plane was nicknamed "The Starship" or alternately
   "Starship One."
 o At a gig in September 1970 at the L.A. Trouabdour where Fairport
   Covention were recording a live album, they were joined onstage
   by a previously unheard of band called the Birmingham Water
   Buffalo Society, who turned out to be Led Zeppelin.
 o The reason for Eddie Kramer's non-involvement between the second
   and fifth albums was a dispute that broke out in Electric
   Ladyland studios in New York, where Kramer was the director of
   engineering.  One of Zeppelin's roadies spilled some Indian food
   on a new rug, and when asked to clean it up by Kramer, harsh
   words were exchanged.  Zeppelin sided with their roadie and thus
   something of a wedge was driven into their relationship with
   Kramer.
 o While Woodstock was happening, Zeppelin was performing in Asbury
   Park, new Jersey.
 o The completion of "Presence" just prior to Thanksgiving, prompted
   Jimmy to suggest "Thanksgiving" as an album title.
 o The rumoured title for "In Through The Out Door" prior to its
   release was "Look".
----------------------------------------------------------------------
     3.07 - Shaking The Tree

     People have interpreted Jimmy Page's brief alliance with former
Whitesnake and Deep Purple singer, and alleged Plant clone, David
Coverdale as an act of revenge for Plant not agreeing to do a
reunion.  Whether Jimmy really set out to annoy Plant, or mush more
plausible he was dying to get back in the studio and Coverdale came
along at just the right time, they did come up with an album,
"Coverdale/Page," that has drawn mixed reactions from Zeppelin fans.

 o At the end of the recording process, there were a handful of tunes
   left over that didn't make the album, one of which is known to be
   called "Saccharine." In the words of Coverdale, `There's a song
   called "Saccharine" that is going to make you shit.  The riff is
   absolutely obscene, as are the lyrics.'  Another unreleased song

   is a mix of "Shake My Tree" with a `wild assortment of crunch
   guitars' according to Coverdale.
 o On the "Coverdale/Page" album Page uses a guitar tuning device 
   made by TransPerformance that apparently works by automatically
   winding the string until the correct pitch is reached after the
   string is struck.  The device fits over the tunings keys.  Page
   had the device installed on one of his Les Pauls, and he says it
   can store up to two hundred different tunings.  This may well be
   the guitar he uses in the "Pride And Joy" video, as it looks to
   have some sort of custom parts added to it.  It is also the
   guitar Jimmy uses for "Kashmir" on "No Quarter", which is how he
   can segue into "Black Dog" which is in a completely different
   tuning.
 o The "Coverdale/Page" album was the first time Jimmy had played 
   harp since on his solo single "She Just Satisfies" in 1965.  Jimmy
   plays a dulcimer during "Pride And Joy", something he hasn't done
   on record since "That's The Way" on "Led Zeppelin III."
 o Coverdale's explanation for his screaming on the "Coverdale/Page"
   was that Page was writing songs that made him sing `...up with the
   pigeons.'
 o The song "Take Me For A Little While" is apparently about the 
   losses both Page and Coverdale have had to deal with in their 
   lives, Bonham in the case of Page, and Tommy Bolin in the case of
   Coverdale.  Coverdale has said he pictures the song as being about
   old buddies huddling around the fire for comfort.  Page says 
   he wrote the song while looking at his young son, while they were 
   in Tahoe, Nevada.  The solo of this song sounds reminiscent of the
   one from "Stairway To Heaven" being played slower.
 o The idea to work with Coverdale did not come from David Geffen 
   according to both page and Coverdale, but from Page's management.
   At the time Page had been sifting through lots of demo tapes of 
   young singers and found nothing of interest.
 o The initial writing for the "Coverdale/Page" album was done with 
   the aid of a $50 Radio Shack cassette recorder and some backing
   tapes of drum tracks.  Coverdale jokingly says they thought about
   donating it to the Smithsonian.
 o In the Kerrang interview with Page, Coverdale made a somewhat
   confusing comment, "... walking the fine line between Pagan and
   Christian, essential and superfluous."  This is what he says at 
   the end of the song "For The Love of God" on Steve Vai's album,
   "Passion And Warfare."
 o The opening riff for "Shake My Tree" from the "Coverdale/Page"
   album was something Page had come up with at the time of the 
   sessions for "In Through The Out Door" but discarded because
   no-one but Bonham had any idea what to do with it.  It was also
   later ignored by Paul Rodgers when he and Page were in The Firm.
 o "Pride and Joy", another "Coverdale/Page" track was originally 
   conceived by Coverdale as a Dr. John style, laid back song called
   "Barbados Boogie."  Coverdale notes, "...and then, of course, he 
   [Page] had to put in this enormous...you know... gutter,
   digusting, churning, malevolent, _sucking_ riff."  A riff from 
   Sammy Hagar's turgid song "Heavy Metal" sounds reminiscent to the
   riff before the drum intro in "Pride And Joy."
 o The cover of the "Coverdale/Page" album with it's traffic merging
   sign, meant to symbolise the musical merging of Coverdale and
   Page, was designed by Hugh Syme who has in the past been
   responsible for album covers for Whitesnake, "1987" and "Slip Of
   The Tongue", and every Rush cover since "Caress Of Steel", even
   playing on the latter's albums.  The sign from the "Coverdale/
   Page" album appears in a variety of locations, similar to the way
   the `object' appears on the cover of "Presence."  The locations of
   the road sign are:
     - Among some clouds in a blue sky.  (Front Cover)    
     - On the moon.  (Rear Cover)
     - Between two piles of felled trees.
     - In a field with cattle.
     - In the desert with pyramids in the background.
     - In front of a pile of crushed cars.
     - In shallow tropical water.  (The Great Barrier Reef?)
     - In a breaking wave in a stormy sea.
   Hugh Syme is reported to have a very quirky sense of humour so
   there may well be a meaning for each of these scenes.  A photo
   of the same pyramids, from slightly to the left and closer, is
   included in the "The Dark Side Of The Moon Twentieth Anniversary
   Edition" of the classic Pink Floyd album.
 o "Coverdale/Page" session players Ricky Phillips (Bass) and Denny 
   Carmassi (Drums) have made mention of the nearly impossible 
   rhythmic patterns Page wanted them ot play throughout the album.
   In several places on the album Page modulates the chord up a
   half-step, which has been suggested as a joking reference to
   Bonham's "Wait For You."
 o The much rumoured US tour never happened, although at one stage
   they got as far as lining up Extreme as the opening act.  Instead
   they played a handful of dates in Japan, with some vintage
   performances from Page, and then split amicably.  Page is now
   back with Plant, while Coverdale is trying to reform an early
   incarnation of his previous band, Whitesnake.
 o The solo for "Don't Leave Me This Way" was done in one take while
   Page had a 102 degree temperature!
 o The slides in "Waiting On You" are not done with a slide, but with
   a whammy pedal.
 o The main riff from "Don't Leave Me This Way bears some resemblance
   to the Beatles song "I Want You (She's So Heavy)."
 o The credit John Kalodner : John Kalodner refers to one of the 
   promotional people at Geffen, who is possibly best known for his
   excessive hyping of lame bands.  Kalodner is also the bearded man
   wearing the wedding dress in Aerosmith's "Dude (Looks Like A
   Lady)" video.  Kalodner recently left Geffen.
 o David Coverdale's mother died while the album was being recorded
   and her name appears in the credits for that reason.
 o The bass player for Coverdale/Page's shows in Japan was Guy
   Pratt.  He would have been unable to continue touring with the
   band if any additional dates had been added, as he was already
   committed for the rest of 1994 to an obscure group named after
   two even more obscure Mississippi Delta bluesmen.
 o In the same way he had Durban LaVerde overdub all of ex-The Firm
   bass player Tony Franklin's parts on "Outrider", Page had studio
   player, also from Miami Sound Machine, Jorge Casas overdub nearly
   all of Ricky Phillips bass parts on "Coverdale/Page".
 o In the video for "Take Me For A Little While" Jimmy is playing a
   very rare and expensive instrument called a Gibson Harp-Guitar.
   These were built sometime during the 1920's and feature 12 extra
   ass strings, one for each key, as well as the standard six guitar
   strings.
 o "Shake My Tree" features Page's backwards echo effect.
----------------------------------------------------------------------
     3.08 - Coverdale/Plant

     The war of words between Robert Plant and David Coverdale that
erupted in the music media during Coverdale's alliance with Jimmy
Page for the "Coverdale/Page" album is merely the latest salvoes in
the debate over whether Whitesnake is a Zeppelin clone band.

 o Ever since Whitesnake released its "1987" album with the song
   "Still Of The Night" on it David Coverdale has been incessantly
   bashed in the popular music media as a "Plant Wannabee" and "Plant
   Clone."
 o What this ignores is Coverdale's pedigree as an established singer
   long before Whitesnake.  Coverdale was the singer for Deep Purple
   Mark IV, after Ian Gillan left, and recorded several albums with
   the band which featured until his death, the late Tommy Bolin.
 o The similarites between Plant and Coverdale are surpericial to say
   the least,
   - Both are English, both are singers, both have worked with Jimmy
     Page, both have king sized egos, both seem obsessed with the
     opposite sex, both have blond hair - although you have to wonder
     whether Plant uses dye these days, and Coverdale certainly does.
   So does dying you hair and working with Jimmy Page consist of
   blatant plagiarism?  Given that they both emerged on the scene at
   around the same time with a similar base in the blues the
   comparions would appear to be unfair to both of them.
 o The crux of the problem is the video for "Still Of The Night"
   where Whitesnake guitarist Adrian Vandenberg picked up a violen
   bow and in a manner reminiscent of another guitarist began to play
   his guitar with it.  From a headline hungry media it was a logical
   progression that Coverdale was imitating Plant.  At any rate,
   Coverdale was not the main musical writer behind Whitesnake, he
   wrote the lyrics mainly and Vandenberg's bow exploits are by the
   guitarists admission not Coverdale's idea.
 o The part of "Still Of The Night" which resembles "Immigrant Song"
   most closely is when the band are playing octaves and Coverdale is
   singing "Ooooh... Baby..."
 o Coverdale has claimed in recent interviews that the riff from 
   "Still Of The Night" which sounds reminiscent of the one from
   "Black Dog" was something that Richie Blackmore had come up with
   during Coverdale's days with Deep Purple.  According to Coverdale,
   John Sykes and himself tidied it up a bit for the song.
 o Another source of discontent was a remark Coverdale offhandedly
   made about his "good friend" Robert Plant and and how, "He and I 
   like to sit down and discuss the current events in music."  Since
   then it has been pretty much open-season from both camps.  Plant
   contended that he did not know Coverdale, unlikely, and that the 
   aforementioned events never took place.  Page has remarked that, 
   "When I saw that guy pick up the bow I just about fell out of my 
   chair laughing."  Coverdale countered with, "You can hear
   `Kashmir' on Moroccan radio 24 hours a day."
 o Since then, the Coverdale/Page union has come and gone and left
   little other trace than their album.  At the time, the feud seemed
   to change focus a little, Coverdale expressing his regret things
   had got so out of hand.
   "Let's not pull any punches," Coverdale pouts. "There _has_ been 
   something of a hate campaign conducted by Robert .  A lot of the 
   things discussed by Jimmy and myself are, I'm afraid, very
   personal, but there's never, ever been a problem between Mr Page
   and myself.  The thing that hurt me most of all is Robert saying
   that we didn't know each other.
        When you asked before if Jimmy and I knew each other, we'd 
   crossed paths, had maybe three chance meetings throught the 70s; 
   whereas Robert had brought his daughter to Whitesnake shows when
   we played in his neck of the woods, and he'd been given the whole
   royal treatment and all that.
        I knew Robert back in the 'Purple days, him and Bonzo.  I
   never knew John Paul Jones.  So that was a weird thing for me.
        But I'd rather stay out of all that and let the music do the
   talking, really.  I admire Robert immensely - I'll leave it at
   that."
   Plant on the other hand is not particularly conciliatory,
   describing Coverdale recently as "...a fucking idiot".
 o Page at the time had this to say on the infamous violin bow
   incident, "That's what it was about.  It wasn't anyting to do with
   the rest of the song - it was purely the reference to the bow,
   which wasn't used on the record, as far as I know."
 o Plant's thoughts on Coverdale/Page?  "It's a bit limiting, 
   artistically, to think that's the way it is and that's what is
   needed."
 o With Coverdale/Page achieving only a small amount more succes than
   Plant's "Fate of Nations" album and the outward appearance that
   Plant had squandered all his chances to get together with Jimmy
   sour grapes is an easy accusation to make.
 o In recent years the jibes between Plant and Page got so intense,
   it wasn't Page and Coverdale that seemed so unlikely, but Page and

   Plant.
 o One is left wondering in whose interests the whole thing got 
   started, it certainly wasn't either Plant or Coverdale and given 
   that the press has been quite happy to give this prolonged
   coverage, some unfortunate conclusions about the character and
   quality of music journalism can be drawn.
---------------------------------------------------------------------------
     3.09 - Like Father Like Son

 o As if it wasn't fairly apparent, Jason Bonham is the son of the
   late John Bonham and is an established rock drummer in his own
   right these days.
 o In the words of Jason,
        "Most fathers give their four year old children train sets,
        toy cars or tricycles - mine gave me a scaled down Ludwig
        drum kit."
 o At the age of 11, Bonzo is said to have pointed out that in his
   opinion Jason was the only person he had heard apart from himself 
   who could play the drum part of "Trampled Underfoot" just right.
 o Jason Bonham can be seen at a very young age in "The Song Remains
   The Same" drumming away furiously on his drum kit during Bonzo 
   Sr.'s fantasy sequence.
 o Since then Jason has played in several Zep reunions such as at 
   the Atlantic Records 40th Anniversary gig, where Jason's drumming
   was apparently the only hightlight.  
 o Another reunion at Carmen Plant's 21st birthday party saw Jason 
   on drums again for what was apparently a much improved performance 
   from the other three members.  
 o The last of these reunions was at Jason's own wedding where the 
   remaining three members came together and played several numbers 
   such as "Custard Pie."  As with Carmen Plant's birthday, this was 
   from all reports a great performance.
 o Plant was apparently unwilling to consider Jason for his touring
   band during the late 80's because of an alcohol problem.
 o Jason formed his own group in the late 1980's comprising himself 
   on drums, Daniel MacMaster (Vocals), Ian Hatton (Guitars) and 
   John Smithson (Keyboards, Bass, Violin).  The band released it's 
   debut album "The Disregard of Timekeeping" to an encouraging 
   response in 1989.  The band went by the name "Bonham" and even had
   a logo that resembled his father's runic symbol from the fourth
   Led Zeppelin album.  The first album was comprised of,
        The Disregard of Timekeeping/Wait For You/Bringing Me Down/
        Guilty/Holding On Forever/Dreams/Don't Walk Away/Playing To
        Win/Cross Me And See/Just Another Day/Room For Us All
   "Wait For You" was released as a single with "Cross Me And See" on 
   the flipside.  
 o The cover of the album with it's bar-room sceen brings to
   mind the cover of another album... "In Through The Out Door."  
 o The band was well promoted and toured extensively to a sometimes
   favourable and other times disparaging critical response.  The
   singer bore an unfortunate resemblance to Plant which was a 
   source of much derision and along with the debut album's Eastern 
   influences led to the predictable label of "Zep Clone."
 o A followup album in 1992, "Mad Hatter" was a huge flop and the
   band was dropped from it's label along with several other `metal'
   acts and slpit up.  Jason also broke his arm jsut before the band
   was due to gon on tour at one point.
 o Jason most recently appeared on record on Paul Rodger's Muddy 
   Waters tribute album and Rodgers latest solo effort.  When last
   heard of he was touring with Rodgers and his band.  The Muddy 
   Waters tribute album features Jeff Beck, Richie Sambora, Neal
   Schon, Gary Moore, David Gilmour, Slash, Steve Miller, Trevor
   Rabin and Buddy Guy.  The guitarist from Jason's group Bonham,
   Ian Hatton is credited with playing rhythm guitars on the album.
 o Jason is from what he has said, not part of the current "rumoured"
   Plant and Page project, Plant instead using the drummer from his
   "Fate of Nations" album and last touring band, Michael Lee.
 o Jason Bonham can also be found on the soundtrack album for the 
   Moscow Peace Festival, "Stairway to Heaven, Highway to Hell,"
   playing on the track "Moby Dick," as part of an all-star band,
   Drum Madness, which also included Tico Torres, Mickey Currie and
   Jim Vallence.
 o Jason played drums for a set with Paul Rodgers on vocals, and
   Slash on guitar, at Woodstock 1994.  Amongst other things, they
   played a few Bad Company songs.
 o The current activities of Jason Bonham are not well-documented,
   however it has been reported that he has a new band Metropolis,
   basically Bonham with a different singer.
 o Jason apparently lost favour with Page when he had his drum kit 
   made with the Swan Song logo on it.  On tour with Bonham the band
   always used to make a big thing of covering "Black Dog", which
   probably did not endear him to Page either.  Rumoured alcohol
   problems and the tackiness of involving him in the Page & Plant
   reunion have seen him continue his musical career in relative
   obscurity in recent years.
----------------------------------------------------------------------
     3.10 - The Led And How To Get It Out

 o A report in MTV's "Headbanger's Ball" in 1994 reported that Jimmy,
   Robert, Charlie Jones, and Michael Lee had been working on around
   twelve new songs since the beginning of March.  The report also
   stated that there was enough material for an album.
 o The May 1994 issue of _Q_ magazine in its news section featured a
   small piece about the ongoing collaboration and a picture of Page,
   dressed rather badly in tie-dyed shirt, black jacket, hideous
   scarf and denim jeans, and Plant wearing a black tracksuit,
   outside a studio in King's Cross in a strong breeze.  The
   following text also appeared.
        "It's Pagey, it's Planty and it's last month's rumour of an
        MTV acoustic rendition entitled Unledded taking a long stride
        towards credibility.  They were snapped in a windy mews
        outside a King's Cross rehearsal studio and, while MTV
        spokespersons remain in "schtum" mode, the smart money is on
        them recording in June in New York.  ...  Incidentally, Page
        and Plant have also been in litigious tandem to prevent a
        Schooly D track, Signifying Rapper, being used in TV
        screenings of the Harvey Keitel movie The Bad Lieutenant
        because of its "striking similiarity" to their own Kashmir.
        Certain ancient bluesmen might regard this news with a degree
        of wry scepticism."
 o The Zeppelin fanzine "The Only One" was amongst many sources that
   reported a scheduled Plant performance at the annual Alexis Korner
   Tribute Concert Benefit For Cancer Research on April 17.
 o A radio interview with Francis Dunnery in May 1994, the guitarist
   for Robert Plant on his "Fate Of Nations" tour, added further fuel
   to the rapidly spreading rumours.  Dunnery claimed that Page and
   Plant really began to think about doing something while they were
   in Boston for a Plant show in 1993.  Dunnery even referred to the
   project as being called "Unledded".  However, he would not confirm
   or deny their involvement in the Gibson GUitars 100th Anniversary
   bash, but did point out that they had played together at the
   Alexis Korner benefit gig.  Dunnery, who is apparently a good
   friend of Plant, repeatedly referred to him as `Planty' throughout
   the interview.
 o Part of the impetus for "Unledded" may have come from plans that
   Plant had for making a travel documentary where he visited Wales
   and Morocco.
 o A new version of "When The Levee Breaks" was recorded for the
   "Unledded" special in Wales.  This was the first time the song had
   been peformed live by any of the ex-Zeppelin members since the
   early shows on their 1975 tour.  Even then it only joined the set
   briefly, due mainly to the technical problems inherent in lowering
   Bonham and his kit into a specially prepared pit onstage.
 o The setlist for thw Page and Plant reunion at the Buxton Opera 
   House for the Alexis Korner Benefit Show was as follows.  "Baby 
   Please Don't Go", "I Can't Quit You Baby"," I've Been Down So 
   Long", "That's Why I Love You", "Train Kept A-Rollin'".
 o WBCN in Boston ran a competition offering free tickets and a trip
   to the taping of "Unledded" for their listeners.
 o The location "Unledded" was filmed at, was a venue of only 200 -
   250 seats capacity, 50 of whom were the lucky winners of a contest
   run by MTV.  Another 100 were picked at random from a list put
   together by Jimmy and Robert's management of known, and various
   influential fans.
 o The arrangements for transporting the 200 lucky punters to the
   Unledded tapings would not seem out of place in a tacky spy movie.
   The ticket holders were issued with instructions to turn up at a
   certain place in London, from where they would be transported to
   the secret location by bus.
 o MTV widely publicised "Unledded" before it appeared.  One of the
   commericals in use featured a cab driver rabbiting on about the
   "reunification of Robert Plant and Jimmy Page" before he starts
   to sing "Black Dog" and "Stairway To Heaven", badly.  The taxi's
   passenger in the rear seat looked uncannily like Bonzo in the late
   ear of the band.  Another commercial had someone pulling lottery
   balls out of a machine with the names of people that had upcoming
   performances on MTV, two of whom were Page and Plant.
 o One American paper greeted the imminent Page and Plant reunion
   with the comment "Can lightning strike four or five times in the
   same place?"
 o The "Unledded" show was first broadcast on MTV on October 12,
   1994, and was preceeded by a Page and Plant press conference at
   the Beacon Theatre, in New York City, on October 11.
 o Before "Unledded" was broadcast, Jimmy was spotted walking down
   Charlotte Street in London, an area abounding in video production
   facilities, with a minder, most likely working on the project in
   a nearby studio.
 o Two of the locations used for "Unledded" were Corris Slate 
   Quarries, near Bron-Y-Aur, in Wales, on August 15, 1994, and
   the London Television Centre.  The audience at Corris Slate
   Quarries apparently comprised two people and a few sheep.  This
   location was on land owned by Plant.
 o It has been reported that Page and Plant will headline the 1995
   Knebworth festival in Hertfordshire, England.
 o The meaning of the term "No Quarter" in relation to the album, is
   most likely not a shot at John Paul Jones using the title of his
   signature song.  The meaning is probably close to that of the
   term when used in a military sense, that the attacker will not
   spare any of the enemy, even if they surrender.  This phrase was
   used by officer prior to 1700, to both psych up the troop and to
   hopefully frighten the enemy into an easy rout, just before the
   rival armies engaged, thereby making their intentions known to
   the opposing side.  Thus, in the Page and Plant sense it could 
   mean that no effort has been spared, no compromises made, nothing
   left to chance in the hope of fully realising the potential of the
   project.
 o The phenomenal Michael Lee, who before "No Quarter" was a member
   of Robert Plant's band also worked with the English band Little
   Angels beforehand, featuring on their cd "Don't Prey For Me", a
   cd which features a note of thanks to Plant in the liner notes.
   Lee is listed as being responsible for drums, percussion and ghost
   vibroslap.  The cd was released in 1989.
 o The meaning of "Yallah", the title of which was changed to "The
   Truth Explodes" on the "No Quarter" video is from arabic.  The
   root of it is "ya-allah", a rough translation of which is "Oh God"
   although not in the commonly used way it is in English, to 
   express one's surprise or amazement.  In Arabic the meaning can
   vary from "Let's go!" to "Get a hike!" depending on the context.
   Interestingly, "Yahweh" is Hebrew for "God".
 o Although Atlantic claimed Page and Plant were present at the New
   York world premiere screening of "Unledded" but did not think it
   was worth making their presence known, a comment by Page at the
   Paris Press Conference seemed to indicate that the Paris screening
   of "Unledded" was the first time thay had seen it since the actual
   taping, which makes Atlantic's claim they were present in New York
   sound rather suspicious.
 o "Unledded" generated MTV's highest ratings for the "Unplugged" 
   series, with a rating of 2.4, as opposed to the previous best, 2.3
   set in 1992 by Eric Clapton.
 o Najma Akhtar, who sings with Plant on "The Battle Of Evermore" is
   of Indian nationality, and judging from her name, which is Muslim,
   she is most likely from northern India.  She has also recorded a
   solo album called "Qareeb", which is available on Shanachie 
   Records, SH64009.  While the album was recorded in London, the
   content is non-Western, with Najma singing love songs called
   ghazals in Urdu, backed by a mix of traditional Indian instruments
   and Western ones.
 o The phrase "Wah Wah" is an expression of pity and grief, usually
   used after hearing some bad news.
 o The sparse arrangement of "Nobody's Fault But Mine" was not a
   new one, it returns the song, originally by Blind Willie Johnson,
   to its white country blues roots.  Note that white country blues 
   as a label is not related to the racial identity of the artist,
   but is a reference to the religious or spiritual theme of the
   music.
 o The "Unledded" special was first broadcast on October 12, 1994,
   the one hundred and nineteenth anniversary of the birth of
   Aleister Crowley.  Rumour had it that Jimmy had stipulated that
   this would be the date of broadcast.
 o During "Yallah", or "The Truth Explodes" as it had been re-titled,
   while Jimmy is manipulating the echoplex unit, one of the crowd
   shots shows someone holding up a portable video camera in the
   lower left hand area of the screen.
 o Rumour has it that the black dog shown several times in "Unledded"
   is the black dog that was present at the sessions for the fourth
   album and had the song named after it.  However, this is fairly
   unlikely as that would make it a very old dog.  Another rumour was
   that it was Plant's dog Strider, although this is not plausible as
   it is the wrong breed.
 o Several times during the performance, such as in "Gallows Pole",
   Plant is seen to be staring down in front of him.  The likelihood
   of him using a monitor is enhanced by his previous problems
   remembering all sorts of lyrics, such as at the Atlantic 40th
   Anniversary show and at Live Aid.
 o On the topic of tuning and tonality, the original version of "No
   Quarter" was Aeolian/Dorian while the new version introduces some
   Locrain elements.  The locrian mode is easily the most dissonant
   of modes, and given Page's frequent use of dissonance in the past
   and its place in Middle-Eastern music it seems apprpriate.  The
   clash in the new version of "No Quarter" is between Plant's vocals
   which represent the original tonality, and between the chords that
   Page plays, two of them, before he switches back to a standard 
   key.
 o International Creative Management was the booking agency handling
   the Page & Plant tour.
 o The "No Quarter" album cover features a picture of Page and Plant
   which looks very much like it was taken at the Slate Quarry in 
   Wales where "Nobody's Fault But Mine" and "When The Levee Breaks"
   were recorded for "Unledded".  The carved wooden door that has 
   been used extensively, such as on the back of the album and on the
   "Gallows Pole" single, is most likely African in origin.  The 
   hands that are shown in the picture in the middle of the cd 
   booklet are those of an African woman, with the increasing
   complexity of the spirals on her fingers as they move closer to 
   her hands signifying the development of femininity.  The spirals'
   increasing detail means they are moving closer to the wrist
   chakra.
 o Interestingly, the font used in the "No Quarter" liner notes is
   based on the handwriting of Leonardo da Vinci, such as on his
   noted sketches of a man spreadeagled and drawn with unnerring
   anatomical accuracy.  The same font is used in the liner notes
   for Van Halen's "Balance".
 o The release of "No Quarter" coincides with the twenty third
   anniversary of the release of the untitled fourth album on the
   eighth of November 1971.
 o The liner notes for "No Quarter" included the dedication,
        "Credit must be given to Bron-Y-Aur, a small derelict cottage
        in South Snowdonia for painting a somewhat forgotten picture
        of true completeness which acted as an incentive to some of
        the musical statements.  August 1994"
   Which is somewhat reminiscent of the dedication on "Led Zeppelin
   III",
        "Credit must be given to Bron-Y-Aur, a small derelict cottage
        in South Snowdonia for painting a somewhat forgotten picture
        of true completeness which acted as an incentive to some of
        these musical statements - August 1970"
 o The end of "Kashmir" where Plant starts wailing "Feel, feel, feel"
   is a daring improvisation.
 o The versions of "Wonderful One" on the video and the album are
   clearly different, the differences ranging from Plant singing them
   differently to Page's guitar sounding different.
 o A rumour circulating before the Page & Plant tour kicked off was
   that several dates were uncertain due to the availability of some
   venues due to problems with the American hockey season.  This of
   course, proved to be unfounded.
 o Some translations of what is being sung during "Wah Wah".  In
   between "wah wah"'s the "leh he heBabi" means "no baby" and the
   "lah tin Sani" means "don't forget me".  He also sings other words
   such as "the thought of your hands" or eyes.  The interesting
   thing about "Wah Wah" is although the title means "I'm sad", that
   isn't necessarily what the song is about.
 o The arabic script at the end of the video has been translated as,
   "The things we played or the songs they stay the same way".
 o Despite their togetherness during the "Unledded" promotional tour,
   _NME_ spotted Page and Plant at one of The Black Crowes Albert
   Hall gigs, in two separate adjoining boxes.
 o The footage for the song "No Quarter" was shot in Dolgoth, Wales,
   across the road from Plant's farm.  The forest is so dense that it
   managed to conceal the fact that it was raining quite heavily at
   the time.
 o While in Morocco Jimmy and Robert were travelling up a mountain by
   bus when Plant noticed a kid walking along with a Led Zeppelin 
   shirt, in literally, the middle of nowhere.  Plant promptly jumped
   off the bus to say hi.
 o According to "Unplugged" producer Alex Coletti, Page and Plant and
   the band recorded a version of "Hot Dog" while they were in Wales.
 o Plant personally selected Aubrey Powell to work on the project,
   based on their previous work together.
 o According to Page, they tried out "Bron-Y-Aur Stomp" with the idea
   of using it, but it just didn't seem to work.
----------------------------------------------------------------------
     3.11 - Jimmy And The Beast

     This section is not intended to try and cover the entire area of
Aleister Crowley and all his work.  It is merely intended to give a
brief overview and point those interested to further readings.  The
subject of Crowley seems to recur with a rather predictable sort of
regularity thanks to Page's interest in him and his work.  There are
many myths and rumours told about Crowley, most of which are most
likely false, as this is a very controversial man, even now, nearly
half a century after his death.

 o Aleister Crowley  was born in 1875 and died in 1947.
 o A few general points.
   - Crowley was not a satanist, his obsession with the occult does
     not necessarily make him a devil worhsipper, he wasn't.
   - He did use drugs, and rather a lot of them.  A common claim is
     that he died hoplessly addicted to heroin.  Half true.  In the
     early part of the century the prescribed medicine for chronic
     asthma, which Crowley had, was, believe it or not, heroin.  He
     went on to experiment with it, observing its effects on his 
     mind, and when he died he was still using it.  He used a lot
     of other dugs too, notably expounded upon on in his essay
     "The Psychology Of Hashish".
   - Crowley was interested in tantric sex, one of his primary
     interests actually.
   - Crowley had a notorious sense of humour, and revelled in the
     public disdain for him, deliberately cultivaing it to some
     extent.  His use of the "Beast 666" tag is one example of this.
   - Some of Crowley's other interests include mountaineering and
     poetry.
 o Some references for further reading on Crowley and his work.
   - Crowley, Aleister, _The_Confessions_Of_Aleister_Crowley,_An_
     _Autohagiography_.
       Crowley's autobiography, an autohagiography is the biography
       of a saint, which contains lots of interesting details, but,
       ends a long time before his death and is thus somewhat
       incomplete.
   - Crowley, Aleister, _Magick_In_Theory_And_Practice_.
   - Crowley, Aleister, _Equinox_, Volumes I & II.
   - Crowley, Aleister, _The_Diary_Of_A_Drug_Fiend_, 1922.
   - Crowley, Aleister, _Songs_Of_The_Spirit_, 1898.
   - Crowley, Aleister, _The_Book_Of_Thoth_.
       Crowley's interpretation of Eqyptian tarot.
   - Camell, Charles Richard, _Aleister_Crowley,_The_Man,_The_Mage,
     _The_Poet_.
   - Crowley, Aleister. _The_Complete_Astrological_Writings_, Gerald
     Duckworth & Co. Ltd., London, 1974.
       This contains Crowley's "Treatise on Astrology: Liber 536", 
       and two hard to find essays, "Batrachophrenoboocosmomachia", 
       and, "How Horoscopes Are Faked".
   - Maugham, W. Somserset, _The_Magician_, 1908.
       This is based pretty much around the life of Crowley, and
       gives some idea of his obsession with the occult and his
       general character.
   - Suster, Gerald, _The_Legacy_Of_The_Beast:_The_Life,_Work_ And_
     _Influence_Of_Aleister_Crowley_, W.H. Allen 7 Co., London, 1988.
       This is a good introduction to Crowley and his work, and is
       reasonably objective, and covers most of the major topics he
       was interested in and worked on.  A few excerpts are included
       in this section.
 o A small warning though, Crowley's writings are not an easy read 
   for novices, or those with just a casual interest in the man.  A 
   lot of his material was written specifically for initiates into 
   the Hermetic Order Of The Golden Gawn, and as such are not meant 
   to be understood by outsiders.  For those with little or no prior 
   knowledge of the man the best place to start is probably one of 
   the numerous biographies or books about him and his work.
 o Some of the stigma surrounding backmasking in popular music may 
   in fact come from the whole aura of occultist sin that seems to 
   surround Crowley in the eyes of many.  The predilection to listen 
   to one's record collection backwards seems most prevalent amongst 
   christians and may stem from something Crowley wrote, that if a 
   man wants to practice magick he has to "train himself to think 
   backwards by external means, as set forth here following,
        a) let him learn to write backwards 
        b) let him learn to walk backwards
        c) let him constantly watch, if convenient, films and listen 
           to records reversed..."
   This quote comes from page 417 of Crowley's "Magick In Theory And
   Practice".
 o A cd exists called "The Great Beast Speaks" which apparently 
   features speeches by Aleister Crowley.
 o There is a Zeppelin bootleg entitled "From Boleskine To The 
   Alamo".
 o An example of the sort of misinformation surrounding Crowley is
   the persistent claim that in the crypt of Boleskine House a
   child was sacrificed.  Other juicy rumours have it that orgies,
   sacrifices, drug taking and other nefarious actitivites all took
   place regularly at Boleskine.
 o Jimmy Page is known to have sought out rare Crowley manuscripts
   and obtained them for his collection.  He has been quoted as once
   saying that he should have gone to university and done a degree in
   theology because he's studied it so much.
 o The quote on the runoff matrix of original pressingsof "Led
   Zeppelin III" is frequently misinterpreted and misquoted.  Here is
   an extract from the book by Suster listed in this section which
   provides some further details.
        "The central doctrines of 'The Book Of The Law' can be stated
        simply.  First and foremost is the commandment: 'Do what thou
        wilt shall be the whole of the Law' - also reiterated as 
        'thou hast no right but to do thy will'.  This does _not_ 
        mean 'Do what you want'.  It means that within every man and
        every woman there is a True Will- 'The Book Of The Law' 
        states that 'Every man and every woman is a star' and that 
        the the only serious business of life is to discover our True
        Will and to do it.  As the Ancient Greeks put it: Know 
        thyself; then Be Thyself.  'The word of sin is restriction'
        means that everything which inhibits the True Will is evil.
             'Love is the law, Love under will' asserts that the 
        nature of the Law is Love but that this love must be directed
        by the True Will.  As Crowley states in his Old Comment: 
        'Love under will - no casual pagan love; nor love under fear,
        as the Christians do.  But love magically directed, and used
        as a spiritual formula.'  p. 126.
 o A further extract from Suster is enlightening and gives an insight
   into what Crowley thought he was doing and how he viewed people 
   that judged his work.  The first paragraph is by Suster, the rest
   by Crowley.
        "Small wonder that Crowley, hailed in 'The Book Of The Law' 
        as Ankh-f-n-khonsu, priest of the Princes, finally wrote 
        'The Comment' which is both a challenge to those who have 
        sufficient courage, and a prohibition upon long, boring
        commentaries on commentaries (the fate of most sacred texts)
        - and on squabbles, quibbles, and persecution among those
        called Thelemites, whose desire is to do their Wills in the 
        Aeon into which this planet has entered during its spin 
        through the agony of evolving human consciousness.

                             THE COMMENT

        Do what thou wilt shall be the whole of the law.
          The study of this Book is forbidden.  It is wise to 
        destroy this copy after the first reading.
          Whosoever disregards this does so at his own risk and 
        peril.
        These are most dire.
          Those who discuss the contents of this Book are to be
        shunned by all, as centres of pestilence.
          All questions of the Law are to be decided only by appeal 
        to my writings, each for himself.
          There is no law beyond Do what thou wilt.
          Love is the law, love under will.
            The priest of Princes.
              Ankh-f-n-khonsu."  p. 133-134.
 o An interesting anecdote has it that Crowley, whose actitivies 
   during World War II are the subject of much speculation, gave the
   English war department the "V" for victory gesture, as it is the
   occult counter to the Swastika.
----------------------------------------------------------------------
     3.12 - Zeppelin Mediawatch

     Locating Zeppelin interviews, or more recent ones with Page,
Plant and Jones can be a time consuimg business.  Here then is a list
of some of the many interviews they have done over the years.

 o _Circus_, in 1975 had an interview with Jimmy done by Mick 
   Houghton.
 o _Rolling_Stone_, also in 1975, featured one of the best known of
   the Zeppelin interviews, with Cameron Crowe interviewing Page and
   Plant.
 o _Guitar_World_, 1990, interview with Page.
 o _Guitarist_, the French version features and interview with Jimmy
   in the November 1994 issue, as well as a cover photo.  Robert is
   also interviewed.
----------------------------------------------------------------------
     3.13 - Breaking Up Is Hard To Do

     On Tuesday, December 7, 1993, Michael Ayoob posted the results 
to a poll he had conducted coinciding with the thirteenth anniversary 
of the breakup of the band.  For his poll, Michael posed the question 
"What would have happened to the band had Bonham not died?"  The 
results are as follows, and illustrate an interesting variety of 
scenarios.

     1) New Heavy Album                22% Of The Vote
     2) Together, But Fairly Inactive  18%
     3) Quit Anyway                    16%
     4) Popularity Loss                15%
     5) Page Overdoses                 13%
     6) Softer Sound                    9%
     7) Plant Quits                     4% 
     8) None Of The Above               3%

     Interestingly, option five is what Richard Cole thought had 
happened when he had heard one of the band had died, based on his 
opinion of the amount of drugs Page was doing and his fragile health.
----------------------------------------------------------------------
     3.14 - Pezed Pellni Anagrams

     This list of rather amusing anagrams was posted to the list some
time ago by Maurice Maes with additions by others.

 Black Mountain Side - "I ask Blunt, demoniac!" (Plant to Page on 
  phone)
 Communication Breakdown - Demoniac Bowman Rock Unit (i.e. Led 
  Zeppelin)
                         - Demoniac Wombat Rock in U.N.
 What Is and What Should Never Be - When he had but satan's evil 
  word.
 The Lemon Song - The omen's long.
 Bring It On Home - Hir'n' big root men
      - Bong time, Rhino
 Immigrant Song - I'm in Grant's mog
 Since I've Been Loving You - Evil being evinces on you.
                            - Vince, you evil nose being!
 Gallows Pole - Allow Gospel (?)
 Tangerine - Great Nine (Zep destined to end after nine great albums)
 Black Dog - Black God
 Rock And Roll - An'l rock lord
 Stairway To Heaven - Yow! Satan via Ether
 Misty Mountain Hop - Inapt ominous myth
 Four Sticks - Rock fits us - Rock sift us - For it sucks
 The Song Remains The Same - I'm here: Satan's theme song
 The Rain Song  - Another sign - Gather on sin - Hit son, Anger! 
 D'yer Mak'er - Dyke Ream'r
 The Ocean - Neat echo - At once: He. (about the phone that rings in 
  this song)
 The Rover - Oh, revert!
 Trampled Under Foot - Led: demon art up front
 Kashmir - His Mark (Whose do you think?)
 Down By The Seaside - Bye, death's side won - Death by wine doses
 Achilles Last Stand - As Satanchild Tells
                     - Satan's child: all set!
                     - Stella, Satan's child
 Nobody's Fault But Mine - Built out by Demon's Fan
                         - O! fun stubby demon tail!
 Tea For One - Near To Foe
 In The Evening - He in gin event - The nine given (the nine albums)
 South Bound Saurez - As due, Bonzo hurt us 
 Fool In The Rain - Hail To Inferno
 Carouselambra - A lamb or a curse 
 I'm Gonna Crawl - A malign crown.
 Ozone Baby - A bye, Bonzo!
 Darlene  - Led near - real end. (They were at that time)
 Bonzo's Montreux - Sex! Not rum, bonzo!
 Custard Pie - Dustie crap
 Royal Orleans - Eor (donkey noise) or anally
 Travelling Riverside Blues	- Drugs aren't evil, I.V. beer still
                            - evil drug blisters aren't evil
 In My Time Of Dying & Bonzo's Montreux	- Zoso demon! Fit rox in my 
  bum, entity, ne!
----------------------------------------------------------------------
     3.15 - Nevaeh Ot yawriatS

     The debate over whether "Stairway To Heaven" contains any back
masked messages from the Devil is rather a heated one.  In order to
put this debate into perspective here are the full backwards lyrics
to "Stairway To Heaven", as transcribed by listmember Timothy 
Lindsey, and posted to the list in December, 1993.

     "Stairway to Heaven" - Backwards Version

     Oh ask me of the wars of Beelzebub
  
     Oh, I fear it, horrible demon
     Ah, shall I go along all right?
     I'll make it mine, I'll reach ya
     Oh demon, hey do ya feel me?
     Oh an eternity with the demon
     Ah, it's not over when you die
     Ah, the Ultimate Opponent!
     Ah, this time there is no winnin'
     My holy wand will fail me

     Ah, Oh, they won't get me cause I live in church now
     Hey look at that football player he attack a lady
     When I hear the serpent holler
     And as the shaky wall fall falls down ain't much to help 
          destroy

     Oh, don't you give me that

     Oh, here's to my sweet Satan
     There was a little child who wore a great big laugh with 
          glorious Satan
     Did you hear me, Lord?  I first give to Satan
     And, in a little school I shout, in the middle of a show, 
          "First Power is Satan!"
  
     Wo wo wo

     There was cat burglar, bit off my leg
     I lay in true struggle, torn up
     Another year I dont feel the same
     The heater broke down in flame
     A long, long crawl lead me to a better place to rest
     Ah, I hear it too, "There is no escape, too"
     But even God fears the ultimate plan
     He hears to soon the the calling to lie down, go down to sleep
     The Cosmic TV's gone bad, I lose the Light of any time to leave
          I had
  
     Gonna do, I'm Going to do

     Favor, Oh Power of all on top mountain hidden under a moment
     Look up at me, at me, and thee
     After my only wish replenished is all used up, I saw it 
          happening
     Give me an answer, all I see that we moved
     Dont thank me, Easter Woman, who although followed me

     What's that?  I see you - dying

     There was an eager picnic towards another demon-loft
     Don't you hear me asking?
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This Month in
Led Zeppelin History

October xx, 1968 - Led Zeppelin is recorded
October 19, 1968 - Final performance as the New Yardbirds
October 31, 1969 - Led Zeppelin II is released in the US
October 17, 1969 - Bonham is thrilled to play Carnegie Hall where Buddy Rich and Gene Krupa have performed
October 23, 1970 - Led Zeppelin III is released in the US
October xx, 1970 - The press lash out at the band over the Led Zeppelin III acoustic content
October xx, 1971 - Page and Plant venture around Thailand and India after the Japan tour
October 18, 1972 - Zeppelin rehearse at the Rainbow Theater for a UK tour
October xx, 1973 - Each member performs an individual film sequence for their concept film
October 31, 1974 - Swan Song hosts a party for the launch of its UK division
October xx, 1975 - Led Zeppelin decide not to tour and concentrate on recording new material
October 20, 1976 - The Song Remains The Same premieres at New York’s Cinema One
October xx, 1977 - Jimmy starts assembling a Led Zeppelin live album from recordings as far back as 1969
October xx, 1978 - Jones and Bonham record with Paul McCartney at Abbey Road Studios
October xx, 1978 - Rehearsals for In Through The Out Door in London
October xx, 1979 - All nine Led Zeppelin albums enter the Billboards Top 200 -- no other band has ever achieved this
October 10, 1980 - A private funeral is held for John Bonham at Rushock church in Worcestershire
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