Misc Shit

[beantownbubba]

I hadn't heard about this. If true, it's totally shocking and a complete abuse of police/prosecutorial power. And scary, very, very, scary

[The Black Canary]

I hadn't heard about this. If true, it's totally shocking and a complete abuse of police/prosecutorial power. And scary, very, very, scary

yes it is alegedly true, all over facebook you know

[Clams]

I hadn't heard about this. If true, it's totally shocking and a complete abuse of police/prosecutorial power. And scary, very, very, scary

yes it is alegedly true, all over facebook you know

Right on. Nobody would ever say anything untrue on facebook.

[beantownbubba]

It really bugs me that i don't know why i like Radiohead. I like 'em a lot, actually, but i can't identify a single specific reason why, other than that i like the way the music sounds. Sure, that's good enuf on one level, and it wouldn't bother me if i listened to a lot of similar music, but i don't. Puzzling.

[4sooner]

It really bugs me that i don't know why i like Radiohead. I like 'em a lot, actually, but i can't identify a single specific reason why, other than that i like the way the music sounds. Sure, that's good enuf on one level, and it wouldn't bother me if i listened to a lot of similar music, but i don't. Puzzling.

I'm directly on the other side of that. No matter how I try, I just don't get it. And I do try.

[Smitty]

Apparently Atlanta PD finally arrested the DNC gear thief.

[Smitty]

FREE MUSIC!

http://theonlysons.net/home/?page_id=7

Wide Eyed Son is Kent’s first solo album. It is meant to be appetizer for The Only Sons’ 2011 album American Stranger. It’s 6 songs were recorded over the course of a week in December 2010 by Glossary’s Joey Kneiser, who also played most of the instrumentation.

DOWNLOAD (192 kps) :

01. Act Of God
02. Had Me Going
03. Shouldn’t Have To Be Told Twice
04. Don’t Tempt Me
05. Cutting Corners
06. Wide Eyed Son

[Kudzu Guillotine]

[Tequila Cowboy]

^^^^ that pic is now my screensaver on my home office computer.

[Smitty]

http://thisisamericanmusic.com/home/201 ... ition.html

The TIAM staff recently caught up with Shane Sweeney, bassist extraordinaire for Columbus Ohio's Two Cow Garage, and he was kind enough to share a few of his favorite things from 2010. In addition he took time out from melting face at our throw down in Lotta Rock, Arkansas earlier this month to participate in our field recordings project. Shane has a forthcoming solo album, so we fully expect to see him hanging around these year end lists again in 2011.

Shane's Favorite Stuff From 2010:

The Promise- Bruce Springsteen: 32 years ago Bruce threw away more good songs than most bands will ever write.

Feral Fire- Glossary: each one gets better and better.

Torchy’s Tacos, Austin, TX: They’ve always been good but the last time we were there they really stepped up their game.

Seeing I Can Lick Any Sonofabitch In The House play again: Never thought we’d have the pleasure again but they are as good as ever.

Travis Hill’s birthday weekend at the Whitewater Tavern: If you were there you know. If not be there next year.

Fuck you, Cee Lo Green- If you don't like this, you don't like fun. Period

[Smitty]

http://thisisamericanmusic.com/home/201 ... hnson.html

A little while ago we started sending out requests for "best of 2010" submissions from some of TIAM's favorite artists. Not wanting to simply publish the same list over and over again we put the word out that these lists could cover anything...best taco truck, best K-Mart, etc.. In other words we said to the submitters "You have carte blanche to write whatever you like." The results are beyond great. Here's a little something from some guy named Will Johnson. He likes baseball and plays in some bands (Centro-Matic/ South San Gabriel) . You might have heard of them.




Favorite Records:
The Sword/Warp Riders
Damien Jurado/St. Bartlett
Drive-By Truckers/The Big To-Do
Carl Broemel/All Birds Say
Woods/At Echo Lake
Sarah Jaffe/Suburban Nature
Bonnie 'Prince' Billy and The Cairo Gang/The Wonder Show Of The World
Erykah Badu/New Amerykah Pt. Two: Return Of The Ankh
V/A - Local Customs/Lone Star Lowlands
In case space is not an issue, [I have included]a long, but at least less typical list of favorite 2010 time-killing activities on tour:
FAVORITE TIME KILLING EVENTS WHILE ON TOUR IN 2010, BY WILL J.:

This list won't be very interesting to you. It's wordy, but I guess at very least it's not some list of Electro Noir Post-Gyro France/Trance/Pants Pop that tries to look holier than your musical year-end Top 10. If you've ever spent much time on tour, this list might be worth a look. And if you've ever spent much time on tour, you're probably also aware that only about 4 to 6% of your twenty-four hour day is actually spent performing. That leaves 94 to 96% of your time's pie graph for other things like driving/riding, lugging your gear, soundchecking, sleeping, and evidently for a lot of people, drawing a heap of dicks on backstage walls.
It also leaves a lot of time for waiting. On tour, waiting becomes such a part of the fabric of one's being, so natural and accepted, that a lot of the time you don't even realize you're doing it. There are different stages of waiting. Sometimes you unconsciously relocate from one waiting spot (van/bus/motel/coffee shop/bar/booth or bar stool in the venue) to another waiting spot (backstage). This is usually when pranks happen, a bandmate disappears, quadruple per diems are offered for downing a 16oz jar of mayonnaise in fifteen minutes or less, stealth masturbation occurs, someone gets hurt, and conversations like "What If, Like, Fuck... You Were Attacked By Thirty Kittens? Could You Handle It?" start up. For damaging or productive results, it is by one's own hand that these things occur. It's here that one can forge onward with one's own brand of Operation: Time Kill. These were a few of my favorites from 2010. Some come highly recommended:
1) Toy Joy/Austin, TX - ACL Taping with Monsters of Folk. I live in Austin, but sometimes it's for the better not to go home between soundcheck and the show. That's when you fall asleep or chance losing momentum, and that can fuck with your show. So if you're in Austin and killing time you should maybe think about getting an advance on your per diems and going to Toy Joy. We walked up there from the studio and killed off more than an hour by filling our lives with laughs and old world, unbridled happiness. This put us all in a good mental space for the taping. It is a world class Fantasyland of hard-to-find Japanese toys, masks, large rubber spiders, bats, and snakes, Jesus oils, Elvis wigs, plastic Shriners and other great things. They serve coffee and ice cream there, and it's a prime place for buying gifts. A lot of their wares pack away pretty well, so you can get yer Birthday/Christmas/ShitsandGiggles shopping done there and not have it take up too much van space for the ride home.
2) Canos de Meca/Close to El Palmar, Spain - Fall Tour with Centro-matic. On tour it's good to remind yourself what the outdoors is like, and recently we were lucky enough to have time to visit to this beach in the south of Spain. It is stark and isolated with a great lighthouse, peppered with just a few surfers on this day. We did simple things; wander off on our own, run full speed to the water's edge, take pictures and write stupid shit in the sand. This probably sounds overtly simple to someone that doesn't tour, but it is invaluable for someone that does. Any chance you get to go to the beach (or woods or a park or an overlook or whatever) while on tour, do it. Even if it's just for fifteen minutes. It's a known fact that nature's available expanse can cleanse the soul and replenish the spirit. This is even more true when you are spending a good chunk of your time in small, manmade spaces with Sharpied dicks all over the walls.
3) Indians vs. Rangers/Cleveland, OH - Spring Living Room Tour. It's a manmade space but there's a bigass swath of grass involved, so it's sorta nature, too. Anders (Parker) and I had a night off on our tour together, so we went to the park. We also got to be part of the smallest crowd (to that date) in Jacobs/Progressive/Whatever Field history. I've found when this is the case you should enter all of the giveaways and drawings, because your odds of leaving with a Wii System or a $500 gas card go way up. At any rate, more often than not, the ballpark can be a place of tranquility, peace and (mid-tour) reflection. This is especially true when no one is there. We moved down to the lower seats and basically each had a beer stand to ourselves.
4) Motor Lodge Walking Tour/Reno, NV - Fall Living Room Tour. Anders and I felt like living large, so we landed our own rooms for a couple of nights at the Sands in downtown Reno. Conceptually, The Sands is kinda cool, but the reality of its darkness met us right away (two dudes in a Sunday afternoon parking lot fistfight right behind our rental car). There are lifers here, and the place mostly smells like a puff of 1985 prom-gone-wrong perfume sprayed into a dirty ashtray. Even with this, there's an older, murkier, more intriguing side of Reno that exists in its nearby motor lodges. Some are vacated and blocked off, but most are inhabited and some deeply cared for by their owners.
There's a shell of a long-gone America in these buildings, and many are as beautiful as they are creepy. I found that on our afternoon off I wanted to photo-document the artful flashing signs of as many of these places as I could. I got verbally threatened by a shirtless, cage match-looking dude on a stairwell at one point, and followed by someone else for a couple blocks at another. I guess I wanted the ghosts to come out of the doorways and tell me their stories. And goddamn if it wasn't one of the most memorable days off on tour I've ever enjoyed.
5) Dreamland BBQ/Birmingham, AL - Spring Living Room Tour. Dreamland is an optimum place to get pinball-walking drunk on a lot of pork ribs and almost fall asleep four songs into your own show. This happened to me and was every bit worth it.
6) American Visionary Art Museum/Baltimore, MD - Spring Living Room Tour. Anders and I got there and Fred Schneider was soundchecking real loud in the auditorium. This sonic phenomenon did not keep us from spending over two hours in this place. The permanent collection houses about 4,000 pieces of self taught and outsider art, and they continue to call on guest curators for each show. The gift shop alone is worth the stop. I think the last time I was surrounded by this much raw emotion was the time my friend Adam and I were surrounded by about forty hungry goats on a central Illinois farm. Place is incredible.
7) A's vs. White Sox/Oakland, CA - Fall Living Room Tour. My friend Mike and I took the train to the The Coliseum on a sunny day with a full afternoon to kill. This stadium offers a lo-fi, 70's era baseball experience that has (for me) more charm than void. It doesn't try to be anything that it's not, and it's the last standing of the multi-purpose cookie cutter parks. It is like a girl I had the hots for in middle school, in that it is an isolated, lonely fortress that I have inexplicable compassion for. The A's were out of the race by this point and the turnout was low, and if not for Al Davis' wall of centerfield expansion/Raider greed, we could have seen the Berkeley Hills over the centerfield wall. Anyway, they still do the wave there, and I'm told they just recently moved on from playing "Celebration" after every win. Upon exit we noticed a couple of fans in faded A's satin jackets sharing a joint on the walkway in front of the cops. We felt good about the state of things for a minute.
8) That One Day Off in LA - Fall Living Room Tour. Sometimes tour days get so rushed with point A to point B stuff (esp. with West Coast drives), that it's good to sit back and take time to cut your fuckin' toenails, not put your shoes on until about 5pm, actually learn how to properly play some of your songs, and maybe even read a book. This was one of those days. Nothing eventful (ate a bunch of eggs, had five cups of coffee, took a three mile walk and went to a yard sale), but having at least one of these days somewhere in the middle of a tour makes things infinitely better. It is a stride in the direction of Band/Self Preservation. It puts you and the people traveling with you in better spirits, provides needed space, and gives you a chance to remember how to complete your thoughts and sentences for at least the next couple of days

[The Black Canary]

I hadn't heard about this. If true, it's totally shocking and a complete abuse of police/prosecutorial power. And scary, very, very, scary

yes it is alegedly true, all over facebook you know

Right on. Nobody would ever say anything untrue on facebook.

ABSO-FCKNLUTELY right on Clams!!! No one ever lies on FB!!! There all gospel is told !!!

Today's unwarranted email from facebook person: I refused this guys friend request:

guy:thanx for not adding me
me: I don't know you

guy: Yes...I know... I just saw you from a group.. and I liked your comments! lol...dont worry... i am not a pervert and i don't want to have sex with you via fb! i just have a strange sense of humor...lol and i also find you interesting and would to know you...thx anyway

so I just look at these "guys" as "how many licks does it take to get to the center of a tootsie pop" AKA how many emails before they turn stupid!!! BTW once you toss out the "I am not a pervert" really.... stop there you are done

[Kudzu Guillotine]

I first heard of these guys (and girl) years ago thinks to a compilation album of local and regional bands called Welcome To Comboland. Oddly enough, even though it was mainly comprised of North Carolina bands such The Connells, Don Dixon, The Woods and Southern Culture on the Skids, it was only available locally as an import from England. This compilation helped form the bedrock of my appreciation for local music along with two other very excellent comps: Mondo Montage and More Mondo. Years later, the Revival compilations on Yep Roc would do the same, except this time around the bands would be The Backsliders, Trailer Bride, $2 Pistols, Whiskeytown and others.

Even if you're not a fan of Southern Culture on the Skids, this interview with their guitarist Rick Miller is highly recommended reading as he has some very insightful things to say about how the industry works and how they've created their very own niche in it by basically doing things on their own. That's an extremely rare success story, particularly in this day and age.

BLURTING WITH… Rick Miller of Southern Culture On The Skids

Too much fun for just one fan: with their self-produced, self-released new album,
the Tarheel twangers are still preachin' the blue-collar gospel.

BY FRED MILLS

There's no point in beating around the book of journalistic objectivity: Southern Culture On The Skids can do pretty much no wrong in my book. But I back up that bias with nearly a quarter-century of firsthand experience, having seen the Chapel Hill band perform since the days of their earliest lineup and their earliest shows, shared more than a few bottles of whiskey with ‘em and even wound up onstage as a guest musician (term used loosely...) on a number of occasions.

Bias aside, though, I'm happy to report that their brand-new album The Kudzu Ranch (released on their own Kudzu label) has a little something to offer to everyone who calls him- or herself a music fan, serving up as it does boatloads of backporch twang, discombobulated garage/psych/surf licks, and deepfried-in-Dixie blue-collar anthems. From hard-chooglin' boogie ("Bone Dry Dirt") and kick-up-yer-heels dance moves ("Highlife"); to moody, jazz-tinged noir ("Montague's Mystery Theme") and ear-twisting instrumental rock ("Slinky Springs Milt"); to deftly-chosen covers, including a riotous take on Neil Young's "Are You Ready For the Country" and a killer mashup of Nirvana's "Come As You Are" and Pink Floyd's "Lucifer Sam"; this note's for you, bubba (and bubbette). Folks who order the rec direct from the band at the official website also get to nab a free download featuring alternate versions and demos of some of the album tracks.

To read the rest of the article click here.

[scotto]

Thanks for the heads up, KG. SCOTS are definitely one of the funnest bands to ever walk the planet.

[Kudzu Guillotine]

Thanks for the heads up, KG. SCOTS are definitely one of the funnest bands to ever walk the planet.

I have to admit, the first song I was aware of by them, "Love In 4D" from the Comboland comp wasn't exactly my cup of tea. As the years passed, tales of their concerts with the tossed chicken and the slinging of banana puddin' became the stuff of legend. When Dirt Track Date dropped in the mid-90s I was just beginning a Surf Rock binge. So, when I heard "Make Mayan A Hawaiian" over the sound system at Tracks (formerly Record Bar) in Jacksonville, I immediately snatched it up and a lifelong friendship was born. It wasn't long after that when I caught one of their infamous Xmas shows at the Cat's Cradle in Carrboro and have rarely missed 'em whenever they play in the area.

By the way, I may have mentioned this before but there is now a Comboland website called Return To Comboland and an online Comboland radio station. The site began as a way for fans to track progress of a potential Comboland movie. I'm not sure if that will ever see the light of day but I sure hope it will. Steve Boyle (who started the site) has put a lot of hard work into it, including lots of vintage footage and new interviews with many of the folks from the Comboland days who still play in the area.

[Tequila Cowboy]

[scotto]

Good one, TC. Here's another:



Courtesy of http://lpcoverlover.com/chicks-dig-records/. Happy 2011 all!)

[Kudzu Guillotine]

Good one, TC. Here's another:



Courtesy of http://lpcoverlover.com/chicks-dig-records/. Happy 2011 all!)

Thanks for that, there goes my cloudy Saturday afternoon.

[Iowan]

What did i ever see (or hear) in The Strokes?

Their first album was pretty important, if only for the fact that it saved popular "rock" music from rap/rock. Turned a lot of people away from that garbage and on to better bands.

Is This It and Room on Fire are very good albums. Their 3rd album had a few decent songs too.

[Kudzu Guillotine]

What did i ever see (or hear) in The Strokes?

Their first album was pretty important, if only for the fact that it saved popular "rock" music from rap/rock. Turned a lot of people away from that garbage and on to better bands.

I never released rock needed "saving" from rap/rock or any other kind of music for that matter. Then again I was never much for The Strokes or any of the other "The" bands from back then anyway. They always struck me as a rehash of many of the bands that Creem used to champion so much during the heyday of CBGB's. There just didn't seem to be anything really original about them and what they had to offer had already been done before.

[Kudzu Guillotine]

An entry from the Glam-Racket blog. Click on the CD cover for a link to a download of it.



Paul Stanley People, Let Me Get This Off My Chest

For over a month, an unofficial Paul Stanley disc has been frequenting the cd player. Before you think that this is some musical follow-up to Stanley’s 1978 Kiss-era solo effort, remember that some of Paul Stanley’s best material is when he’s introducing his musical material. “People, Let Me Get This Off My Chest” is a 70-track compilation of Paul Stanley stage banter recorded throughout the world in various venues during various tours, both Kiss and solo gigs.

If you’ve ever been to a Kiss concert (my review of a 2000 show), you’ll know that half of the concert is essentially Paul Stanley bullshitting the audience and making them believe that the next song is the second coming of Christ. The funny thing is that 1.) Stanley is Jewish 2.) His shtick repeats with alarming frequency and 3.) the whole notion that a band so devoted to giving a spectacle of a show has to remind everyone in attendance that it’s a spectacle of a show is fairly disingenuous. For some of us, that’s what’s fun about seeing a Kiss show; you get the sense that both you and Stanley understand that the entire spectacle is not really about the music, but in the way you sell it.

And sell it he does. Every. Fucking. Song. This fucker cannot shut up. Seriously. The great thing is that material is hilarious, and hats off to the dude who decided to compile all of this shit. There clearly is a market for people who think Paul Stanley is ten times funnier than Dane Cook.

Having only seen Kiss once in my life, it surprised me that many of the same rants included on this disc were verbatim the ones that I witnessed live. It shouldn’t have surprised me as this was a band that calculated almost every single move from the moment somebody in the band said: “You know what we should all do? Put some whiteface on!”

Paul repeatedly reminds the Army that they’re getting their money’s worth (presumably, it’s the audience that he’s referring to), that the next tune is the first time they’ve played it on tour, that he was talking backstage to someone (The promoter? The beer vendor? The caterer?) about what kind of alcohol that people in the area like to drink, that they’re just getting started, and that he’s got an “uzi of ooze” in his pants.

He continually states the name of the city they’re playing in over and over. He yells out some very unheavy phrases like “Yes indeed” and “Oh, my goodness” and does nothing to curtail the rumors that he is a homosexual by asking “Guys, how many of you liked to get licked? You lick me; I lick you.”

In almost every bit of dialogue, Stanley is practically yelling at the audience for no good reason. Its one thing to give an obligatory “I can’t hear you,” but to repeatedly scream “Can you hear me?!” is criminal. Fuck yes we can hear you dude! With your fucking p.a. they can hear you all the way in Greenland.

[Iowan]

What did i ever see (or hear) in The Strokes?

Their first album was pretty important, if only for the fact that it saved popular "rock" music from rap/rock. Turned a lot of people away from that garbage and on to better bands.

I never released rock needed "saving" from rap/rock or any other kind of music for that matter. Then again I was never much for The Strokes or any of the other "The" bands from back then anyway. They always struck me as a rehash of many of the bands that Creem used to champion so much during the heyday of CBGB's. There just didn't seem to be anything really original about them and what they had to offer had already been done before.

From the point of view of someone who wasn't alive during the days of Creem magazine or CBGBs, what the "The" bands did was expose a new generation to that style of music. It was how we found out that kind of stuff existed. It got kids who were born in the 80's away from listening to shit like Limp Bizkit and Linkin Park. Maybe they are just rehashes of bands like Television, but they still wrote some good songs and served a purpose.

I don't listen to any of those bands any more, but they served an important function in my musical development. I'd be willing to wager there are a lot of my peers in the same boat.

[Kudzu Guillotine]

From the point of view of someone who wasn't alive during the days of Creem magazine or CBGBs, what the "The" bands did was expose a new generation to that style of music. It was how we found out that kind of stuff existed. It got kids who were born in the 80's away from listening to shit like Limp Bizkit and Linkin Park. Maybe they are just rehashes of bands like Television, but they still wrote some good songs and served a purpose.

I don't listen to any of those bands any more, but they served an important function in my musical development. I'd be willing to wager there are a lot of my peers in the same boat.

If it helped to open your ears to bands from that time period it can't help but be a good thing. I heard Television's "See No Evil" on KEXP this morning which is a reminder that I still need to pick up some of their stuff. They first came to my attention via R.E.M.'s cover of that song from one of their early (if not their first) Holiday fanclub only singles.

[Iowan]

From the point of view of someone who wasn't alive during the days of Creem magazine or CBGBs, what the "The" bands did was expose a new generation to that style of music. It was how we found out that kind of stuff existed. It got kids who were born in the 80's away from listening to shit like Limp Bizkit and Linkin Park. Maybe they are just rehashes of bands like Television, but they still wrote some good songs and served a purpose.

I don't listen to any of those bands any more, but they served an important function in my musical development. I'd be willing to wager there are a lot of my peers in the same boat.

If it helped to open your ears to bands from that time period it can't help but be a good thing. I heard Television's "See No Evil" on KEXP this morning which is a reminder that I still need to pick up some of their stuff. They first came to my attention via R.E.M.'s cover of that song from one of their early (if not their first) Holiday fanclub only singles.

Oddly enough, they were my transition from 90's pop-punk (Green Day, Blink-182, Rancid) to really digging deep into classic rock. I saw them (bands like The Strokes and The Hives) as doing something that other bands weren't doing at the time, and I liked that. Their sound was so much more effortless and fun than any of those pop-punk bands. Can't really explain why, but getting into them got me into digging back into classic rock more than I ever had, digging deep into the Stones, Who and Zeppelin.

Basically, they were instrumental in opening myself (and I would guess a lot of other kids my age) away from the crap that was dominating the airwaves at the time. Any time a band can make good music cool, even if it is just a rehash of something that came 20 years before, it's a good thing in my opinion. It opens a lot of ears.

[Smitty]

The Strokes "Last Night" coincided with the White Stripes "Fell In Love With a Girl" being released, and for a second I thought there was a sea change coming... I still dig em both alright, tho.
I always hated the Hives.

[Iowan]

The Strokes "Last Night" coincided with the White Stripes "Fell In Love With a Girl" being released, and for a second I thought there was a sea change coming... I still dig em both alright, tho.
I always hated the Hives.

The White Stripes are the one band I really stuck with coming out of that movement. Jack White can fucking shred, and continues to make really good music. The Hives are just ridiculous, which is why I enjoyed them. Their first album was great, and even some of their albums since were a lot of fun. Their whole image was a complete joke, but I always thought that was the point.

The sea change never came because at the end of the day, all of those bands were still too challenging for most of the radio audience.

[Smitty]

http://vimeo.com/18139699
just watch

[Smitty]

I absolutely love this song, but Bruce's mannerisms in this video are hilarious

[Smitty]

Now by popular demand! A list of some of the songs Zep stole from other artists:

"Babe I'm Gonna Leave You" - A folk song by Anne Bredon, this was originally credited as "traditional, arranged by Jimmy Page," then "words and music by Jimmy Page," and then, following legal action, "Bredon/Page/Plant."
"Black Mountain Side" - uncredited version of a traditional folk tune previously recorded by Bert Jansch.
"Bring It On Home" - the first section is an uncredited cover of the Willie Dixon tune (as performed by the imposter Sonny Boy Williamson).
"Communication Breakdown" - apparently derived from Eddie Cochran's "Nervous Breakdown."
"Custard Pie" - uncredited cover of Bukka White's "Shake 'Em On Down," with lyrics from Sleepy John Estes's "Drop Down Daddy."
"Dazed And Confused" - uncredited cover of the Jake Holmes song (see The Above Ground Sound Of Jake Holmes).
"Hats Off To (Roy) Harper" - uncredited version of Bukka White's "Shake 'Em On Down."
"How Many More Times" - Part one is an uncredited cover of the Howlin' Wolf song (available on numerous compilations). Part two is an uncredited cover of Albert King's "The Hunter."
"In My Time Of Dying" - uncredited cover of the traditional song (as heard on Bob Dylan's debut).
"The Lemon Song" - uncredited cover of Howlin' Wolf's "Killing Floor" - Wolf's publisher sued Zeppelin in the early 70s and settled out of court.
"Moby Dick" - written and first recorded by Sleepy John Estes under the title "The Girl I Love," and later covered by Bobby Parker.
"Nobody's Fault But Mine" - uncredited cover of the Blind Willie Johnson blues.
"Since I've Been Lovin' You" - lyrics are the same as Moby Grape's "Never," though the music isn't similar.
"Stairway To Heaven" - the main guitar line is apparently from "Taurus" by Spirit.
"White Summer" - uncredited cover of Davey Graham's "She Moved Through The Fair."
"Whole Lotta Love" - lyrics are from the Willie Dixon blues "You Need Love."
I'm not listing covers that the band credited to the actual authors ("You Shook Me") or the less blatant ripoffs (the "Superstition" riff in "Trampled Underfoot"). If you have anything to add to this list, please tell me. (DBW)

everybody borrows, is the way I see it - but just for conversation

http://www.warr.org/zep.html#Thieves

also http://www.cracked.com/article_18500_th ... tards.html

[Kudzu Guillotine]

I once posted this article on Zep's official message board, you wouldn't believe the number of fans that actually believed it.

Unreleased Jimmy Page Guitar Riff To Be Retrieved From Secret Vault To Save Rock And Roll
MARCH 5, 2007 | ISSUE 43•10

GWYNEDD, WALES—Calling it the planet's last, best hope for saving rock music, the Guardians of the Protectorate of Rock announced Monday that they would take the extraordinary step of unleashing a never-before-heard Jimmy Page riff, hidden for decades in a mythic, impenetrable vault.


Some speculate that this is the gate to the secret vault.

"We who believe in the immortality of rock took a vow 30 years ago that we would never release this incredibly powerful force unless we faced a Day of Reckoning—and that day has come," said Black Sabbath guitarist Tony Iommi, one of the chosen few who helped forge the Secret Vault to Save Rock and Roll, at a press conference in the Welsh highlands. "Just look at the pop charts, and you shall know I speak the truth."

"Let's give rock and roll its fucking balls back," he added.

The Guardians said recent developments in the music world, such as the unaccountable popularity of the Dixie Chicks and Sufjan Stevens, have created a "perfect storm of lameness" from which rock might never recover. While Iommi refused to say when the vault would be opened, hard rock sources believe it will take place just prior to next month's Fall Out Boy–Honda Civic tour, which many fear will suck the remaining lifeblood from all that still rocks.



"Citizens of Rock, we refuse to stand idly by any longer," ZZ Top founder and Protectorate High Elder Billy Gibbons said. "When a puss like James Blunt is allowed to rule the airwaves, we must respond by exposing this monster riff, and blowing minds into the stratosphere."

The Protectorate, devoted to the preservation of badass jams and blistering guitar solos, was reportedly formed in the 1970s during the rise of adult contemporary music. According to legend, the riff, played only once by Page and recorded on a special cobalt record, contains the raw power, mind-blowing skill, and unbridled passion of all the Guardians combined. Recently translated parchments from the era describe it as a soul-searing power-chord progression faintly resembling a cross between "Smoke On The Water" and "Living Loving Maid," but "basically defying all description."

It is believed that, upon the riff's release, even those who claim that the genre is dead will have no choice but to pump their fists, bang their heads, and bow down to the gods of rock for all eternity.

"May God have mercy on our souls for what we are going to set loose upon the world," proclaimed Queen guitarist Brian May, dressed in druidic robes and bathed in the rising blue smoke of a nearby fog machine. "Will it save rock or destroy mankind? We have no way of knowing—yet we have no other choice."

Members of the Protectorate were each given only partial information about the location of the vault, which they were instructed to open in unison only in the event of a total Rockopalypse. While some believed the vault was buried in Boston, Chicago, Kansas, Europe, or Asia, others claimed it could be found in the Court of the Crimson King.

However, after piecing together clues hidden in Yes album covers and Pink Floyd liner notes, rock historians now believe the riff is locked away deep beneath the Welsh countryside house known as Bron-Yr-Aur, at rock-grid coordinates SH735026. British weather satellites have also photographed an enormous cloud, shaped like a hybrid of an upside-down question mark and cross, forming above these exact coordinates.

The vault's Key, regarded as too staggering a burden for any one man to bear, was divided in two parts, with half entrusted to Eddie Van Halen and half to David Lee Roth, shortly after Roth left the rock supergroup Van Halen. The two men, who have refused to work together for 20 years, recently announced plans for a historic reunion tour.

"Before we shake Heaven and Earth with the vicious power of this riff, we of the High Council of Elders of the Guardians of the Protectorate of Rock ask you: Are you about to rock?" AC/DC guitarist Angus Young said. "If so, we salute you."

When asked to comment on the possible dangers of using the riff, Sir Paul McCartney seemed surprised.

"There's a secret vault to save rock and roll?" McCartney said. "This is the first I've heard of it."