Bummer. Does that mean Bonham didn't play on the song??

I think Mick Wall is exaggering when he says that Howlin' Wolf received a check "immediately following the suit". From what I've read, Arc Music tried to keep the money for themselves, and they did not pay Wolf until after he sued them in 1974. It's true that Dixon's name was subsequently added to the credits of "Whole Lotta Love", but his name was recently removed by ASCAP and he's no longer listed as the song's co-writer by the U.S. Copyright Office. Also, Dixon did not win his lawsuit. It was settled out of court on the second day of trial.

For what it's worth, Bonham is still credited as a co-writer by the ASCAP song publishing organization, and he was also listed as a co-writer in Led Zeppelin's 2002 lawsuit with Atlantic Records.

Just throwing out a guess here, but.........the official Wolverhampton website has dozens of DVDs and CDs for sale, featuring game highlights and various cheer songs. I couldn't find anything called "The Howling Wolves" on the site, but it could have been an older CD that is no longer offered.

I thought I read somewhere that the Steven Tyler Girlfriend Incident actually took place much earlier (either October 1966 or March 1968), when Tyler's band was opening for The Yardbirds.

It's too bad they picked the two worst Yardbirds singles.

My point is that FON did not "mark a decline" in Plant's career, since the decline had already been marked by Plant's previous release.

Oh. Because Fate Of Nations sold just as many copies -- if not more -- than the two albums that were released before and after Now And Zen.

A decline in what, exactly? Just sales?

I can't imagine a picture of Wimpy on the walls of an upscale Washington establishment.

That's a great interview. Coverdale comes across as very thoughtful and personable.

The two "fans" are Maureen Plant and her sister Shirley.....right?

There have been 3 outtakes from Outrider that have surfaced: "Train Kept A-Rollin'" (with Chris Farlowe on vocals), "Muddy Waters Blues" (early version of "Prison Blues"), and "Judas Touch" (with John Miles on vocals). "Judas Touch" is missing the guitar solo, and besides that it just doesn't sound like something Jimmy would have ever wanted for Outrider. I suspect that it was a John Miles solo demo that he offered to Jimmy.

Speak of the devil!! The 7/16/84 Pistoia concert is the subject of today's front page on Jimmy's website.

Steve -- there were actually TWO Alexis Korner tribute shows (both of which featured Jimmy). The first one was 6/5/84 in Nottingham and it was aired on Radio Trent. The second one was 7/16/84 in Pistoia, Italy. This is the show for which an audience recording is in circulation. BTW, almost every website has the wrong setlist for the Nottingham show (track 7 is "My Country Man", track 8 is "Million Dollar Secret", and track 9 is "River's Invitation").

A professional-grade recording was aired on a radio special in 1984.

http://rationalwiki.org/wiki/Don't_feed_the_Troll

More undiscovered gems from Blocoboy!! - they were signed by producer Shel Talmy's Planet Records a good FIVE MONTHS before signing with CBS. Obviously, the Shel Talmy session was never released (and probably never took place). If it had, then Robert almost certainly would have met Jimmy Page on this occasion!! - after the deal with Talmy fell through, they supposedly signed with Decca. Again, nothing came of it. These guys got rejected more times than The Beatles! - unreleased songs "Two By Two", "The Pakistani Rent Collector" (!!) and at least 4 others "in the can" - another story about the stolen demo tape. "We can't remember how it went!" -- yeah right!

Of course you will. That's your game. You make misleading (or flat-out false) claims, then run away when challenged to back them up. You pass off your own opinions as fact, then ignore any verified facts presented against your claims. Then you act indignant and resort to name calling when things don't go your way. It's textbook Internet Trolling 101. You've been caught in at least a dozen lies or false claims, not that it slowed you down.

False. I challenge you to show exactly where I was "denying that Page took anything at all". Re-read the thread and point out my exact words. Back up your claims with some evidence. I can defend my reputation and my statements. You, on the other hand, seem to prefer to make exaggerated claims and then run away when challenged.

....but they didn't copyright it so it's okay for you to do it?

Yeah, sure. You only said that Page "would have to pay royalties" to Jansch. But those two things are totally different, right? You know, most of the people in this thread are enjoying a civil conversation, even when they disagree on certain points. You, on the other hand.........well, it's kinda hard to be civil when you're using the word "prick", now is it? Ironic that you so quickly accuse others of name-calling.

This is what I meant about Briggs' contradictory claims. First, she says that Ellison's guitar part is different from Jansch's version. But then she says that Ellison deserves royalties for Jansch's version of the song. That makes no sense. (Is she stating that Ellison deserves royalties for a melody that he had absolutely nothing to do with? Why?) It's also interesting how she says "Bert Lloyd put the song together from fragments". But that can only be true if Lloyd taught the song to Isla Cameron! And while Lloyd and Cameron certainly worked together in the '50s, there's no evidence that proves he taught the song to her. We may never know the answer to that mystery.

Page didn't "get away with" anything. Anyone with a legitimate claim to a copyright could rectify the situation with one phone call. Some people chose to exercise their rights (ARC Music, Willie Dixon, Anne Bredon, etc.), other people chose not to (Jake Holmes). That's the beauty of the copyright concept. It's a fair and equitable system where judges and juries are the ultimate arbiters of originality. There is nowhere for a song thief to hide; if you steal something, then you WILL pay for it. And then there are people like Bert Jansch and Randy California -- people who never had a legitimate claim of copyright in the first place. Instead of simply admitting that they have no case, they try to save face by making up wild, unsubstantiated claims about "running out of money" or being strong-armed by the Big Bad Zeppelin Machine. What I find most ironic and hypocritical about the Page bashers is that they seem to think that the rules only apply to Jimmy: "Jimmy should have credited Bert Jansch!" (but Bert didn't owe Isla Cameron a dime...) "Jimmy should have known that Jansch's guitar part was original!" (but it's OK if Bert didn't know that Isla Cameron's melody was original...) "Jimmy shouldn't be allowed to say 'everyone was doing it'!" (but it's okay for Bert Jansch to steal someone's arrangement.....because, you know, everyone was doing it...) And like I said before, the bottom line is that Jansch credited it as "Traditional". That made it perfectly appropriate, fair, and legal for Jimmy to credit the song to himself.

Huh? Now you are claiming that rock musicians are supposed to credit their recordings just like classical music?!? Where on earth did you come up with that one? Can you show me some examples of rock or pop musicians using that exact type of writing credit prior to 1969?