11 - Will _The Song Remains The Same_ be remastered?

Atlantic said no. However--Page: "That will be done in the
future."
-----------------------------------------------------------------
12 - So what _is_ the fourth album called, anyway?

Nothing. It's officially untitled. It's commonly referred to as
Four Symbols, ZOSO, and most often simply Led Zeppelin IV. The
album, as originally released, carried absolutely no band or
title identification anywhere on the jacket.
-----------------------------------------------------------------
13 - What's the deal with those four symbols?

Page's symbol, while _not_ standing for "ZOSO" or any combination
of letters, is a mystery. It resembles the alchemical symbol for
mercury, but no more is known. Plant reports being once told what
it meant, but he has since forgotten. Jones' symbol (the circle
with the trisecting ovals) came from a book of runes and is said
to represent confidence and competence. It also appears on the
cover of a book about the Rosicrucians, for reasons unknown.
Bonham's (the three intersecting circles) came from the same book,
and represents the man-wife-child trilogy. Some have remarked
that it is the symbol for Ballantine Beer. Plant, like Page,
designed his own symbol, and the feather in the circle is based
on a sign of the ancient Mu civilization.
-----------------------------------------------------------------
14 - What's that thing on the _Presence_ cover?

It's called either The Obelisk or The Object, and was created by
Hipgnosis (the design company) to represent Led Zeppelin's "force
and presence." It was not intended as a reference to the Monolith
of _2001_, though the resemblance has been noted by many; including
Page himself.
-----------------------------------------------------------------
15 - What's up with the album covers for _In Through The Out
Door_?

There are 6 different covers, each showing the same scene from a
different point of view. The album originally came in a plain
brown wrapper. An added bonus -- the inner sleeve, when dampened,
changes color. In case it wasn't obvious, this refers only to the
vinyl versions of the album.
-----------------------------------------------------------------
16 - What's up with (song title) (and who's Roy Harper)?

A few notes about individual songs:

"How Many More Times" -- This is one of three songs in which Page
employs the bow. There is a brief tribute/reference/inside
joke during the long instrumental section where the band plays
part of the Page-written "Beck's Bolero."

"Dazed And Confused" -- The Yardbirds performed this with different
lyrics as "I'm Confused". The guitar solo following the bow
section is Page's solo from the Yardbirds' "Think About It."
The second of the three songs on which Page employs the bow.

"Black Mountain Side" -- Viram Jasani plays tabla.

"Whole Lotta Love" -- The "middle section" was created with the
theremin, some recorded drums, vocal gymnastics from Plant
(heavily filtered through various effects), and a lot of
random knob-twisting by Page and Eddie Kramer in the studio.

"Out On The Tiles" -- The title is British slang for "a night on
the town." It is Page that can be heard saying "stop!" in
this song, reminding himself to stop playing.

"Hats Off To (Roy) Harper" -- Roy Harper is an English folk
musician who toured (though didn't perform) with Zeppelin
and with whom Page and other Zeppelin members have worked,
recorded, and toured. He is probably best known for his
lead vocal on Pink Floyd's "Have A Cigar."

"Bron-Y-Aur Stomp" -- "Bron-Y-Aur" is a misspelling of Bron-Yr-Aur.

"Friends" -- The synth drone at the end covers a production
mistake (the original intro to "Celebration Day" was erased.)
The strings in the song are real.

"Since I've Been Loving You" -- Bonham's bass drum pedal squeaks
during much of this song (it's especially annoying during the
intro).

"Tangerine" -- This was a Page composition left over from the
Yardbirds days.

"Black Dog" -- The title came from a black dog that wandered in
and out of the studio during the _IV_ sessions.

"The Battle Of Evermore" -- Sandy Denny (of Fairport Convention)
on vocals. Her parts were handled live by John Paul Jones.

"Misty Mountain Hop" -- Yes, there is a mistake in this song,
(in the line that begins "There you sit..."), though the band
apparently felt the rest of the take was too good to replace.

"Four Sticks" -- Bonham used 4 sticks while recording this song
(two in each hand) hence the title.

"When The Levee Breaks" -- The drum sound was produced by placing
Bonham's kit in a stone stairwell, and hanging a microphone
from the stairs a few flights up.

"D'yer Mak'er" -- pronounced like Jamaica.

"The Rain Song" -- The "strings" on this song are actually a
Mellotron.

"The Ocean" -- There is a phone ringing at about 1:37 in. Don't
ask why. The countoff at the beginning is Bonham: "We've
done four already, but now we're steady, and then they went:
one, two, three, four."

"Kashmir" -- There are keyboards on this song, but there are also
real strings and horns.

"Black Country Woman" -- The sound from an overhead plane was not
removed from the intro, thanks to Plant's audible "No, leave
it in."

"Bron-Yr-Aur" -- A cabin where Zeppelin often retreated for
composition and relaxation. It means "The Golden Breast".
The unusually "thick" guitar sound is a combination of an
open tuning and clever use of backward echo.

"Boogie With Stu" -- Stu is Ian Stewart, the Stones resident
pianist.

"In The Evening" -- The third song in which Page employs the bow.
The unusual noises in the guitar solo are caused by the
springs of a fully-depressed whammy bar. The intro is based
on Page's work for the _Lucifer Rising_ soundtrack.

"All My Love" -- The strings and horn sounds are all synths.

"I Can't Quit You Baby" -- The live version on Coda is from the
Royal Albert Hall performance (widely available on bootleg
video)--_not_ the rehearsal as is sometimes claimed.

"Darlene" -- Jones (not Ian Stewart) plays the piano.
-----------------------------------------------------------------
17 - Are there a lot of references to J.R.R. Tolkien's works
in Led Zeppelin songs?

Not really. "Ramble On" and "The Battle Of Evermore" feature
direct references, as does the title "Misty Mountain Hop," but
that's it. There is no apparent link between Tolkien's work and
"Stairway To Heaven."
-----------------------------------------------------------------
18 - Didn't Led Zeppelin copy (song title) from (blues
artist)?

Yes, no, and maybe. Here's a partial list of covers, credited
and otherwise, and sources. Thanks to _Wearing & Tearing_, Glen
Cunliffe, Christopher Williams, _Proximity_, Hugh Jones, Bill
Bratton, and Colin Harper for much of the info in this section.

"Train Kept A Rollin'" -- Written by Tiny Bradshaw, L. Mann, and
H. Kay, first recorded by Bradshaw's Big Band in 1951.
Rewritten as a rockabilly tune in 1956 and recorded by the
Johnny Burnette Trio (whose guitarist, Paul Burlison, was an
influence on Jeff Beck and inspired him to cover the tune with
the Yardbirds). The Yardbirds recorded both the "original"
tune and a rewritten version called "Stroll On" (the lyrics
were modified to avoid copyright hassles) in Michaelangelo
Antonioni's film _Blow Up_, which features the Beck/Page-era
Yardbirds imitating the Who. The original version was often
played live by Zeppelin, and is often mistakenly attributed
to the Yardbirds, which is why it is included here.

"White Summer" -- Davey Graham's "She Moved Through The Fair."

"Babe I'm Gonna Leave You" -- Anne Bredon (a/k/a Annie Briggs)
(the Joan Baez version was the one this was based on).

"You Shook Me" -- Willie Dixon, first recorded by Muddy Waters.

"I Can't Quit You Baby" -- Willie Dixon.

"Communication Breakdown" -- Eddie Cochran's "Nervous Breakdown."

"How Many More Times" -- Howlin Wolf's "How Many More Years,"
Albert King's "The Hunter," Zeppelin's version is lyrically
related to a cover called "How Many More Times" by Gary
Farr and the T-Bones (liner notes by Giorgio Gomelsky,
one-time producer of The Yardbirds). Zeppelin's particular
arrangement grew from the live jams on "Smokestack Lightning"
that the Page-led Yardbirds used to do.

"Dazed And Confused" -- Jake Holmes, written and recorded as
"Dazed & Confused." The Yardbirds covered it under the
title "I'm Confused," with different lyrics. Page again
changed the lyrics (which were originally about an acid
trip) for the Zeppelin version. The version on the _Session
Man_ album (on Archive) credited to the New Yardbirds is
actually the Holmes original. Page: "I don't know about
all that. I'd rather not get into it because I don't know
all the circumstances. What's he got, the riff or whatever?
Because Robert wrote some of the lyrics on that album. But
he was only listening to...we extended it from the one that
we were playing with the Yardbirds. I haven't heard Jake
Holmes so I don't know what it's all about anyway. Usually
my riffs are pretty damn original [laughs]. What can I say?"

"Black Mountain Side" -- traditional, Annie Briggs, Bert Jansch
The main riff is almost identical to the riff Jansch uses
in his song "BlackWater Side," though he cites Annie Briggs
as an earlier source. 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."
The DADGAD tuning used here and on "White Summer," "Kashmir,"
"Swan Song" (see the unreleased section), and "Midnight
Moonlight" was supposedly invented by Davey Graham, though
whether or not Page knew this is unclear.

"The Lemon Song" -- Chester Burnett (a/k/a Howlin Wolf) "Killing
Floor," Robert Johnson ("squeeze my lemon" lyric). In some
early concerts and on some pressings of _II_, the song was
actually called "Killing Floor." ARC Music filed a suit
against Zeppelin in the early 70's, which was settled out
of court. Ironically, the "squeeze my lemon" lyric was
lifted by Johnson as well--from Art McKay ("She Squeezed
My Lemon"--1937).

"Moby Dick" -- Bobby Parker (music), Ginger Baker's "Toad" (drum
solo). The song was originally entitled "The Girl I Love,"
which was written in 1929 by Sleepy John Estes and called
"The Girl I Love, She Got Long Curly Hair." There are also
some drum lines lifted intact from George Suranovich's drum
solo with Arthur Lee's Love's song "Doggone."

"Whole Lotta Love" -- Willie Dixon's "You Need Love" (lyrics).
Plant: "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." Willie Dixon sued
Zeppelin (actually friends of his at the time) in 1985 when
his daughter noticed the resemblance--though by this time,
Zeppelin has sold the rights to their international catalog
and knew _in advance_ of the suit, which was filed only
_after_ the sale had been completed.

"Thank You" -- There is a striking chordal similarity to Traffic's
"Dear Mr. Fantasy." There is an intriguing rumor that Page
is actually the guitarist on the Traffic song, though no
one involved has confirmed this.

"Bring It On Home" -- Written by Willie Dixon, though the Sonny
Boy Williamson II version is the one which this bears a
similarity to. The "Lemon Song" lawsuit also included
language about this song.

"Traveling Riverside Blues" -- Johnny Winter's "Leavin' Blues"
(music only), plus lyrical references to Robert Johnson,
St. Louis Jimmy Oden, and Sleepy John Estes.

"Since I've Been Loving You" -- brief lyrical nod to Moby Grape's
"Never."

"Bron-Y-Aur Stomp" -- intro lifted from "The Waggoner's Tale" by
Bert Jansch.

"Gallows Pole" -- traditional, associated with Leadbelly. Page
says that his version was based on a cover of the song by
Fred Gerlach.

"Hats Off To (Roy) Harper" -- traditional, Bukka White (song
entitled "Shake 'Em On Down"), also covered by Joe Lee
Williams and Blind Lemon Jefferson.

"Black Dog" -- the vocal arrangement is very similar to Fleetwood
Mac's "Oh Well."

"Rock And Roll" -- drawn from Little Richard's "Good Golly Miss
Molly/Keep A Knockin'" (mostly the drum line).

"Stairway To Heaven" -- Possible (though unlikely) lift from
"And She's Lonely" by The Chocolate Watch Band, which
became the intro chords. There's really no way of knowing
for sure. 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. A more believable lift
might be from Spirit's "Taurus," an instrumental from their
_Time Circle_ album--the intro from "Stairway" is remarkably
similar, and Page and Plant were certainly aware of the band.

"When The Levee Breaks" -- Memphis Minnie and Kansas Joe McCoy.

_Physical Graffiti_ -- The album cover is identical in concept
and very similar in design to the cover of the Jose
Feliciano album _Compartments_, including the pull-out
card and the "hidden" photos.

"Custard Pie" -- Sleepy John Estes did a song entitled "Drop
Down Daddy" in 1935, which seems to be the earliest source
for this material. Blind Boy Fuller recorded a song
entitled "I Want Some Of Your Pie" in 1939. Sonny Terry
covered it with the title "Custard Pie Blues." Big Joe
Williams also covered it under the title "Drop Down Mama,"
and his lyrics are pretty much identical to Plant's. There
is also some Bukka White material in the song.

"In My Time Of Dying" -- Traditional. First recorded by Blind
Willie Johnson as "Jesus Make Up My Dying Bed," which is
more like the Zeppelin version than the well-known Bob
Dylan cover. Plant has cited Josh White's 1933 "Jesus
Make Up My Dying Bed" as the source for Zeppelin's version.
A much closer 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."

"Boogie With Stu" -- Ritchie Valens. Page: "The jam [with Ian
Stewart] turned into 'Boogie With Stu,' which was obviously
a variation on 'Ooh My Head' by the late Ritchie Valens,
which itself was actually a variation of Little Richard's
'Ooh My Soul.' What we tried to do was give Ritchie's mother
credit, because we heard she never received any royalties
from any of her son's hits, and Robert did lean on that lyric
a bit. So what happens? They tried to sue us for all of the
song! We had to say 'bugger off.'" The Valens song bears
a strong similarity to Memphis Minnie's "I Called You This
Morning."

"Nobody's Fault But Mine" -- Blind Willie Johnson (lyrics).
Plant: "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."

"In The Evening" -- James Carr has a song called "In the Evening,
When The Sun Goes Down." The music is not similar.

"We're Gonna Groove" -- Ben E. King, James Bethea.

"Darlene" -- One line from Don McLean's "American Pie."

So is this theivery? Yes, no and maybe. ;-) They _did_ steal a
few things outright--like "Dazed And Confused" (stolen by the
Yardbirds, actually)--but anyone who understands the blues
tradition knows that this sort of "borrowing" goes on all the time.
Willie Dixon may have been more savvy about copyrights than his
counterparts, but he was no stranger to plagiarism himself. Many
of the "songs" Dixon copyrighted could be considered public domain.
And in the end, most of Zeppelin's "lifts" were eventually paid for.

Besides, as was the case with "Traveling Riverside Blues," the
Zeppelin version often bore little (if any) resemblance to the
original. Page: "...Robert was supposed to change the [lyrics],
and he didn't always do that--which is what brought on most of our
grief." [...] "So, anyway, if there is any plagiarism, just blame
Robert! (laughs)"

--------------------------------------------------------------------------------