Your Daddy Don’t Know/What About Love – Forty years ago big things were brewing in the Toronto music scene. #MusicisLife #TedTocksCovers #Toronto #Heart #HoneymoonSuite #NewPornographers

Back in the early ‘80s, I was a student attending Acton High School.  At the time, three radio stations were earnestly vying for the ear of the lucrative Southern Ontario market. If you favoured new wave, CFNY was the choice. Being more of a hard rock, progressive rock and British invasion guy, I gravitated to CHUM-FM and Q107. By the mid ‘80s CHUM-FM went off the rails, so I ended up at the ‘Mighty Q’ for many years. As much as Q107 opened the door to so much music of the past, at one time they also did a phenomenal job of providing exposure for up-and-coming rock bands. They offered a solid mix. Numerous Toronto area bands cite Q107 as an essential catalyst to their success.

Suitably, one such band was Toronto. This act formed in the late ‘70s and drew a significant amount of attention with their cutting-edge sound. Their ace in the hole was dynamic vocalist, Annie ‘Holly’ Woods who reminded astute listeners of Pat Benatar. Just an observation, but it  seems that what lovers of music tend to do when they hear something new, is immediately aim to create favourable comparisons to an artist they like (or don’t like), and then form an opinion. This is one example of how musical camps were formed. Forty years ago, those houses were quite rigid and people were not so open to stepping outside the walls. Fortunately for Toronto, this created an camp of devout listeners for the short period that they were active.

They are remembered fondly.

The band’s lineup was a bit of a revolving door, but the key members were Woods and guitarist Brian Allen. They were joined by guitarist/backing vocalist Sheron Alton, keyboard player Scott Kreyer, bassist Nick Costello and drummer Jimmy Fox. In 1980, Toronto released their debut album ‘Lookin’ for Trouble’ which featured ‘Even the Score’. This song generated positive exposure on Q107. It takes me back.

One year later, Toronto released their follow up album ‘Head On’. Here is the title track.

See what I mean? It is good stuff. It definitely takes any listener back to that era of music. Toronto was fresh, and they were a developing local success story.

Behind the scenes Toronto was enduring dissension within the ranks. Their rhythm section disintegrated with the departure of Costello and Fox. They were replaced with Garry Lalonde and Barry Connors. The newly formed sextet headed into the studio and recorded what would become their most popular album, ‘Get It on Credit’ in 1982. This album yielded one of today’s feature songs.

‘Your Daddy Don’t Know’ went all the way to #5 in Canada, and it even penetrated the United States market, reaching #77. The song was written by Geoff Iwamoto and Michael Roth. Holly Woods delivery was emphatic. It hit you right between the eyes.

With all this chart success, and some high-profile Juno nominations, Toronto was poised for a meteoric rise, but as mentioned, internal dissent was an issue. One of the core problems stemmed from the song selection for ‘Get It on Credit’. This becomes the big story of today’s post.

Listen to a song that we all know called ‘What About Love’.

This was written by Sheron Alton, Brian Allen and producer Jim Vallance as part of the ‘Get It on Credit’ sessions. As the story goes, Toronto recorded about fifteen solid tracks for this important third album, but only ten made the cut. This infuriated Alton and Allen, who opted to leave the band. Barry Connors was close behind. Truth be told, he didn’t even play the drums on ‘What About Love’. He offered the kit to Jim Vallance since he was an integral part in writing the song.

This set up leads to the bigger story. Here it is, in the words of Jim Vallance.

Brian and Sheron had a small studio in their basement. One night they invited me to their home for dinner. Afterwards we went downstairs and wrote a song based on a title that’d been kicking around in my head for a month or more … “What About Love”. I envisioned those three words sung on one note, like John Lennon did on “All You Need Is Love”. That’s all I had, but they liked the idea. I don’t want to say it was easy, because writing songs is never easy, but “What About Love” came together very quickly. It only took two or three hours to complete, with each of us contributing equal portions of music and lyric.  I came away thinking we’d really “clicked” as a songwriting team, and I thought the song was more than good.”

Jim Vallance

This tells the story of the creation of ‘What About Love’ and it speaks to how it was rejected by a band that were at a crossroads, but how did it end up in the hands of music legends?

Once again, here is Jim Vallance.

It took a while to connect the dots, to get the whole story.  I knew that Solid Gold, Toronto’s label, had gone bankrupt, but I didn’t know Solid Gold’s catalogue had been acquired by ATV Music. ATV’s Canadian publisher Michael McCarty took the time to listen to every song in the Solid Gold catalogue, including unreleased demo recordings. “What About Love” caught his ear and he sent a copy to Don Grierson, who in turn played the song for Heart’s producer, Ron Nevison.”

Jim Vallance

Here is Ron Nevison’s recollection of ‘What About Love’. As you read, take note of the fact that even the Wilson sisters were divided at first.

I remember specifically being up at Nancy’s house in Snohomish, Washington, rehearsing, and when I played that song, Nancy left the room.  She wasn’t happy with that song at first for Heart. They hated the treatment and production of the demo, and I think it was more the vocal they hated. Because the vocal in the demo was so wimpy, and I said, ‘Listen, here’s the way it’s gonna be: I am not going to force you to do any song.  But also, when you listen to a demo, I don’t want you to listen to someone’s wimped-out vocal, because you guys are the greatest singers in the entire fuckin’ rock world. So, I want you to think of this demo as musical notes on paper.  Pretend I handed you a lyric and music sheet, and you’re gonna play it as a band, and if you can’t make it your own, I’m not gonna make you do it’.  And suddenly it came alive, and there was a lesson there. A producer can listen through and past that.  I was only listening to melodies and notes, not to vocal performances and production.  A lot of people aren’t capable of seeing past that, but Don Grierson was and I was, and I didn’t have to make Heart do it.  They started playing it, and once Ann and Nancy heard it on tape, the went, ‘Oh … okay’.  It became much more their song by the time we’d gone from pre-production to proper recording. I’ll never forget the day that their managers came into the studio, right after I cut the basic track at the Record Plant in L.A., which was just a rhythm guitar, keyboard and vocal on it.  They flipped out over it, and the girls were almost over the moon, everybody was, at how good it had turned out.  And I hadn’t even mixed it yet.  So, the lesson there is always jump to conclusions slowly.”

Ron Nevison

As a result of Ron Nevison’s perseverance, ‘What About Love’ by Heart became a hit single on both rock and pop charts, selling over five million copies within a year of its release.

Here is Heart’s version of ‘What About Love’. This track includes Mickey Thomas and Grace Slick of Starship on backing vocals.

Twenty years after it was originally recorded, Toronto released their ‘original’ version of ‘What About Love’ as part of their compilation album ‘Toronto: The Greatest Hits’.

In 2021, ‘What About Love’ was inducted into the Canadian Songwriters Hall of Fame. Yet another fascinating footnote that speaks to the fact so much of Heart’s success has Canadian roots.

The revolving door for Toronto continued. This saw Garry Lalonde move on to the band Honeymoon Suite. You can see him playing bass on ‘Feel It Again’ which was part of the band’s acclaimed second album ‘The Big Prize’. Again, classic CanCon from the ‘80s.

Barry Connors went on to become the drummer for Coney Hatch, but by the time he arrived the band had seen their best days.

Bringing things full circle, here is ‘Your Daddy Don’t Know’ by New Pornographers. This cover was part of the soundtrack for the movie ‘FUBAR’.

Over the last forty years a lot of water has flowed beneath the bridge. The Canadian music scene is highly regarded the world over. There are so many bands and artists of renown. One can almost imagine it in tiers. Looking back, I see Toronto, firmly ensconced on the third tier of this ladder. They are not among the greats, but they definitely showed many acts to come that hard work and dedication to their craft could be a gateway to local, national and even international success. A short time after Toronto emerged as a strong act with a dynamic female lead, many other similar bands grabbed the torch. Along with a list of worthy hits and one ground-breaking international single, albeit not initially released by them; this is their legacy.

They were not quite pioneers, but they certainly helped to blaze a trail.

The Rain Song – Speak to me only with your eyes, it is to you I give this tune. #MusicisLife #TedTocksCovers #LedZeppelin #JasonBonham #GovtMule #Heart #BethHart

While accounts of the origins of ‘The Rain Song’ by Led Zeppelin differ slightly from member to member, it is generally agreed that the composition had its origins in some constructive criticism from none other than George Harrison.

According to Jimmy Page, in the book ‘In Light and Shade: Conversations with Jimmy Page’, biographer Brad Tolinski shared this interesting recollection:

George was talking to Bonzo one evening and said, “The problem with you guys is that you never do ballads.” I said, “I’ll give him a ballad,” and I wrote “Rain Song,” which appears on Houses of the Holy. In fact, you’ll notice I even quote ‘Something’ in the song’s first two chords.”

Jimmy Page

This epic seven-minute reflection is a metaphor that equates the ebb and flow of love to the seasons of the year.

With a band as prolific and historically significant as Led Zeppelin it becomes difficult to rate their songs, but it says here that few others in their catalogue achieve these heights in terms of musicianship, structure and evocative lyrics. ‘The Rain Song’ just oozes emotion. If you are truly listening, you can feel it in your heart, and it connects you to your ‘love’ on a deeper level.

Here are the lyrics:

It is the springtime of my loving
The second season I am to know

You are the sunlight in my growing
So little warmth I’ve felt before
It isn’t hard to feel me glowing
I watched the fire that grew so low, ooh, oh

It is the summer of my smiles
Flee from me, keepers of the gloom
Speak to me only with your eyes
It is to you I give this tune
Ain’t so hard to recognize, oh
These things are clear to all from time to time, ooh
Oh, oh

Ah, talk, talk, talk, talk
Hey!
I’ve felt the coldness of my winter
I never thought it would ever go
I cursed the gloom that set upon us, upon us, upon us
But I know that I love you so, oh, oh
But I know that I love you so

These are the seasons of emotion
And like the winds they rise and fall
This is the wonder of devotion
I see the torch we all must hold
This is the mystery of the quotient
Ah, upon us all, upon us all a little rain must fall
Just a little rain, oh yeah
Uh, ooh, yeah yeah yeah

Robert Plant

From this writer’s perspective ‘Houses of the Holy’ represents Led Zeppelin at their absolute best, and ‘The Rain Song’ is on another level as it emerges from the blistering ‘The Song Remains the Same’ which opens the album.

Robert Plant is on record as stating it is one of his favourite vocal performances which speaks volumes.

Musically speaking, ‘The Rain Song’ is a true Zeppelin collaboration. It began as a melody that flowed from a Jimmy Page experiment session on a recording console he had recently installed at his home in Plumpton, England. It is interesting to note that this equipment had roots in recording not only Led Zeppelin’s famous 1970 Royal Albert Hall concert, but also The Who’s legendary ‘Live at Leeds’ performance.

Jimmy Page gave the original creation the title ‘Slush’ and brought it to the other members of Led Zeppelin. The band liked the orchestral arrangement, and Robert Plant wrote the lyrics shared above, while John Paul Jones added his orchestral magic with the Mellotron, and John Bonham dialed things back a notch by playing the entire song with brushes.

As stated above, superlatives escape me.

It isn’t hard to feel me glowing.”

Robert Plant

From the song’s creation in 1972 through 1975, ‘The Rain Song’ enjoyed a nice slot in Led Zeppelin’s sets, immediately following ‘The Song Remains the Same’. This is exactly as the songs appear on the studio album which is by design in more ways than one. Led Zeppelin enthusiasts know that Jimmy Page used the same Gibson EDS-1275 double necked guitar for both songs which saw him move from the 12-string neck for the album opener to the six-string neck for ‘The Rain Song’. Necessity is the mother of invention, as they say. In some ways it all began as a result of Jimmy Page’s inability to accurately re-create ‘Stairway to Heaven’ in a live setting. This classic song utilized each of a Harmony acoustic guitar, a Fender Stratocaster and a Fender 12-string. Therefore, the legendary guitarist was somewhat stuck for options. The double neck was the solution. While this guitar has roots going all the way back to the late ‘50s, the version popularized by Page featured modifications to the pickups on the six-string side. While Gibson stopped offering the EDS-1275 in 1969, the instrument made famous by Jimmy Page was a special order, and as a result of its popularity the demand increased, and it remains in production to this day.

Enjoy this famous version of ‘The Rain Song’ from the band’s 1973 U.S. tour.

After being dropped from Led Zeppelin’s 1977 tour setlist, it made a triumphant return in 1979, and again on their European tour in the summer of 1980.

It was on this day in 1980 that the original incarnation of Led Zeppelin played their final show at Eissporthalle, Berlin.

While the final show went down as a triumph, events that took place earlier in the 14-date tour foreshadowed the tragedy that was on the horizon. During a performance in Nuremberg on June 27, Bonham collapsed. Robert Plant tried to maneuver everyone through the problem but it was no use. The show ended just before he was to introduce ‘In the Evening’.

We’ve just got a slight technical problem if you can bear with us. We just have a minute problem, so if you can wait patiently, we’d be very grateful. Hang on.”

Robert Plant

The unofficial reason was that John Bonham had eaten 27 bananas in order to increase his potassium levels, but to many attendees it was clear Bonzo was a drunken mess and in a state of decline.

Ooh, whatever
That your days may bring
No use hiding in a corner, oh, no
‘Cause that won’t change a thing
If you’re dancing in the doldrums,
One day soon it’s got to stop, it’s got to stop
When you’re the master of the off-chance,
Well, you don’t expect a lot”

Robert Plant

Here is the performance of ‘The Rain Song’ on that final evening, which saw it performed mid set, right after ‘In the Evening’ from ‘In Through the Out Door’. Here is the full concert. Forward to 26:00 for ‘The Rain Song’.

This is interesting to listen to in its entirety on a few fronts. Its significance goes without saying, but the banter between Robert Plant and the audience moves from candid and humourous to occasionally frustrated on Plant’s part. Perhaps it is a sign of things to come when you consider the singer’s continued reluctance to engage in any form of sustained Led Zeppelin reunion.

Here is Robert Plant’s final exchange with the audience as the frontman for the original version of Led Zeppelin:

Thank you very much. You’ve been great. We’ve had a wonderful tour, but we are just about toured out. It’s been fantastic. Thank you. So, this is rock and roll. I think we can squeeze one more.”

Robert Plant

They then went into an 18-minute version of ‘Whole Lotta Love’ that ended with a brief John Bonham drum roll and cymbal crash.

What a way to end it all.

Continuing our look at ‘The Rain Song’ through the years, in 1994 Jimmy Page and Robert Plant went on tour together and recorded a live album called ‘No Quarter: Jimmy Page and Robert Plant Unledded’. Here is ‘The Rain Song’ from that concert presentation. It is intriguing that it did not make the cut on the original release, but it was added on a tenth anniversary re-release. This is fantastic. It hurts me to say that it may be the best version of ‘The Rain Song’ ever recorded.

The only thing missing is John Paul Jones who was not invited on this trip through the past. Jones, who is ever the gentleman, was obviously troubled by the omission. He remained classy though, but he famously threw some shade at his bandmates during their Rock and Roll Hall of Fame induction.

Thank you to my friends for finally remembering my phone number.”

John Paul Jones

Both cutting and funny. True English wit.

As we wind on down the road, let’s take a look at a new generation of the Led Zeppelin experience. Here is Jason Bonham and his band the Led Zeppelin Experience. Always top notch.

When it comes to hardworking musicians with a ton of integrity, few rival Warren Haynes. Here he is with his band Gov’t Mule in 2008.

It seems to me, wherever Led Zeppelin resides, Heart is sure to follow. Here is Ann and Nancy Wilson performing a wonderful version of ‘The Rain Song’ at the 2013 Bridge School concert. A sensational performance for a great cause. Musicians coming together.

Perhaps there is no better way to end the cover versions portion of today’s feature than with a soaring rendition from the powerful voice of Beth Hart. Another awesome tribute to Robert Plant, whose influence is seemingly endless.

To conclude today’s post, I thought it would be fun to share a couple of divergent opinions related to ‘The Rain Song’, both from Rolling Stone magazine, with the benefit of a 30-year gap in perspective.

In 1973, Gordon Fletcher panned elements of ‘Houses of the Holy’ when he condemned ‘No Quarter’ and ‘The Rain Song’, more specifically John Paul Jones’s contribution as,

…nothing more than drawn-out vehicles for the further display of Jones’ unknowledgeable use of mellotron and synthesizer”

Gordon Fletcher

Ouch…But seriously. It’s a Ted Tocks Covers rule. Never dis John Paul Jones.

In order to recover from this statement, I share this balancing passage from 2003 where Gavin Edwards states that Page and Plant;

…rose to the challenge presented by (George) Harrison’s comment and the band created seven minutes of exquisite heartache.”

Gavin Edwards

Perhaps the best review of ‘The Rain Song’ is from the magnificent producer Rick Rubin, who summarized it this way.

I don’t even know what kind of music this is. It defies classification. There’s such tasteful, beautiful detail in the guitar, and a triumphant feel when the drums come in – it’s sad and moody and strong, all at the same time. I could listen to this song all day. That would be a good day.”

Rick Rubin

Tell someone you love them today. If you are struggling to say the words, just send them these words. I think they will get the message.

Any day you can tell someone how much you love them is a great day.

Ain’t so hard to recognize, oh
These things are clear to all from time to time.”

Robert Plant

I say this with love…

…Stay true to each other.

Mona Lisas and Mad Hatters – Every work of art wakes something in the soul. #MusicisLife #TedTocksCovers #EltonJohn #BernieTaupin #BenEKing #Heart #RyanAdams #MandyMoore #IndigoGirls #TheKillers #NancyWilson #DaveyJohnstone

Today’s Ted Tocks Covers feature will take us from an 18^th century chateau in France to New York City by way of yet another evocative song from Elton John and the lyrical genius of the great Bernie Taupin.

When a song begs you to hit replay because one listen is just not enough, you know it has hit the mark. For me, one listen of ‘Mona Lisas and Mad Hatters’ is never enough. Drawing from the Da Vinci reference in the song title, I will make the obvious statement that Bernie Taupin and Elton John were able to paint a picture through the words and music. The album ‘Honky Chateau’ was released fifty years ago today. Yet another Elton John release that just seems to get better with time.

‘Honky Chateau’ was recorded at Chateau d’Herouville, near Paris. This famed residence is steeped in history. It was designed by Gaudet, who was an architect from the school of Rome. The chateau was built in 1740, rising from the remnants of a 16^th century structure that pre-existed on the grounds. Legend has it that composer Frederic Chopin conducted a love affair with French novelist George Sand within these hallowed halls during the height of his 18^th century fame, and the renowned painter Vincent Van Gogh once featured Chateau d’Herouville in one of his works. Van Gogh is also buried nearby. There is a certain mystique to this historic home which likely lends itself well to the fact that by the time it was turned into a recording studio in the ‘60s, several great artists were intrigued and subsequently drawn to record there during the ‘70s. Its owner, composer Michael Magne, converted a portion of the residence into a recording studio after a fire damaged its west wing in 1969. The facility took on the nickname ‘Honky Chateau’ after Elton John recorded there in the early part of 1972. Other artists who have recorded at the famous locale include David Bowie, the Grateful Dead, The Bee Gees, Fleetwood Mac and Jethro Tull.

‘Honky Chateau’ was the first Elton John album to utilize Elton John’s tour band. The lineup included Dee Murray on bass and Nigel Olsson on drums, along with Davey Johnstone on guitars, plus as the liner notes state ‘other fretted instruments’. This roster represented a firm stance by Elton that emphasized his desire to recreate the live experience in studio. This meant no more session musicians. The decision was an astute move because ‘Honky Chateau’ began a string of eight consecutive #1 albums for the legendary performer.

To learn more about the Chateau d’Herouville recording sessions please see ‘Rocket Man’.

For lyricist Bernie Taupin, ‘Mona Lisas and Mad Hatters’ represented a lyrical take on his first impression of New York City, from his admitted perspective of a country boy from Flatters House in Lincolnshire, England. Taupin is very open to the fact that the song’s concept was inspired by Ben E. King’s classic song ‘Spanish Harlem’ which was written by prolific song writer Jerry Leiber along with Phil Spector.

As the listener absorbs Taupin’s lyrics they are taken by the power of the message. We all need human connection, both physically and emotionally.

And now I know
“Spanish Harlem” are not just pretty words to say
I thought I knew
But now I know that rose trees never grow
In New York City

Until you’ve seen this trash can dream come true
You stand at the edge while people run you through
And I thank the Lord there’s people out there like you
I thank the Lord there’s people out there like you

While Mona Lisas and Mad Hatters
Sons of bankers, sons of lawyers
Turn around and say “Good morning” to the night
For unless they see the sky
But they can’t, and that is why
They know not if it’s dark outside or light

This Broadway’s got
It’s got a lot of songs to sing
If I knew the tunes, I might join in
I’d go my way alone
I’d grow my own, my own seeds shall be sown in New York City

Subway’s no way for a good man to go down
Rich man can ride, and the hobo, he can drown
And I thank the Lord for the people I have found
I thank the Lord for the people I have found

While Mona Lisas and Mad Hatters
Sons of bankers, sons of lawyers
Turn around and say “Good morning” to the night
For unless they see the sky
But they can’t, and that is why
They know not if it’s dark outside or light

And now I know
“Spanish Harlem” are not just pretty words to say
I thought I knew
But now I know that rose trees never grow
In New York City

Subway’s no way for a good man to go down
Rich man can ride, and the hobo, he can drown
And I thank the Lord for the people I have found
I thank the Lord for the people I have found

While Mona Lisas and Mad Hatters
Sons of bankers, sons of lawyers
Turn around and say “Good morning” to the night
For unless they see the sky
But they can’t, and that is why
They know not if it’s dark outside or light

They know not if it’s dark outside or light

Bernie Taupin

As always, Bernie Taupin’s lyrics become mesmerizing in their ability to explore the human condition.

After a period of down time Elton John released ‘Reg Strikes Back’ in 1988. This album was a bit of a statement for ‘Reg’. He had undergone throat surgery, and many thought he was yesterday’s news, but like the album title suggests, he came back with a vengeance and the album was a strong message to critics and fans alike. One of the tracks on ‘Reg Strikes Back’ was ‘Mona Lisas and Mad Hatters – Part 2’. It’s ‘80s sound is obvious, but any deficiencies are overcome by Bernie Taupin’s superlative lyrical prowess. Here is a sample.

Spanish Harlem still sounds good to me
Yeah Mona Lisa’s getting older
Standing in the shadow of Miss Liberty
While I walk along the west side
Down through Little Italy
Searching for the city
That took away the kid in me”

Bernie Taupin

Note the Beatles ‘Drive My Car’ reference at 2:15 during the saxophone solo. Perhaps a tip of the hat to his friend John Lennon.

While hardly an Elton John classic ‘Part 2’ demonstrates Bernie Taupin’s intelligence as a social observer. Existential themes of madness and isolation prevail in his lyrics.

Getting back to the original version, obviously my sentiment in relation to ‘Mona Lisas and Mad Hatters’ is not at all unique. Here is a review from Rolling Stone magazine’s Jon Laundau.

Mona Lisas and Mad Hatters” shows how much John can really do in the space of a single cut. Using minimal instrumentation and singing one of Taupin’s most direct lyrics, John effortlessly reveals the myth beneath the myth of “… a rose in Spanish Harlem.” He expresses his involvement with the city, his need for its people, and his final desire to be alone through one of his best tunes, simplest arrangements, and most natural vocal performances.”

Jon Landau

Jon Landau knows a thing or two about music. A short time later he became one of the architects that served to launch the career of Bruce Springsteen.

Over the years ‘Mona Lisas and Mad Hatters’ has become one of many songs that personifies the New York City experience. Here is Elton John introducing the song shortly after ‘Honky Chateau’ was released a half century ago.

Elton John often remembers ‘Mona Lisas and Mad Hatters’ with fondness when he performs in New York. He famously played it at the Concert for New York City following the 9/11 terrorist attacks. It served as a tribute for family members of victims, and workers of New York’s Fire and Police Emergency Medical Services, who displayed such bravery and resilience in the face of evil and destruction.

Here is Elton John on the more uplifting occasion of his sixtieth birthday in 2007.

One of the finest music-based movies ever is ‘Almost Famous’ which is the somewhat autobiographical account of a young music writer (Cameron Crowe) and his experience on the road with a fictitious band and a tight circle of groupies. Here is a memorable scene which famously featured ‘Mona Lisas and Mad Hatters’ within a New York City backdrop.

From here, we can draw an immediate line to the first cover version I will share today. Check out

Heart and this live cover from 2002. Anne and Nancy Wilson reference Elton John and New York City in the introduction. Nancy was married to Cameron Crowe from 1986 to 2010.

Here is the second connection I was able to tie into this feature. First, let’s enjoy Ryan Adams performing alongside Elton John live from Nashville in 2002. It was billed as;

The pop legend champions a young songwriter”.

Elton John and Ryan Adams

One year later, Mandy Moore covered ‘Mona Lisas and Mad Hatters’. This is intriguing because Adams and Moore began dating a half decade later and were married in 2009 until their divorce in 2016. This is a quality cover delivered by an intriguing combination of performers.

This cover features the captivating harmonies of the Indigo Girls. It is taken from a live performance in 2005. The vocals just take you in.

More recently, in 2018, The Killers released ‘Revamp: Reimagining the Songs of Elton John and Bernie Taupin’. I love this because they give Bernie Taupin the equal billing he deserves.

Back to the ‘heart’ of the matter, please enjoy this essential cover version that once again features Nancy Wilson, along with Elton John’s long time guitarist, Davey Johnstone. Johnstone offers some beautiful mandolin work. This is an absolute treat for any fan of great music.

There is some truth to the line by Bernie Taupin that says, there are times when “I don’t know if it’s dark outside or light” but so often the music that I take in reminds me of what is important. This makes me realize how fortunate I am to be surrounded by such love and support.

I thank the Lord that there’s people out there like you.”

Bernie Taupin

Give thanks to the people that surround you and the music you enjoy.

Crazy on You – We still have time. We might still get by. #MusicisLife #TedTocksCovers #Heart #MoodyBlues #Eminem #TheDecemberists #GretchenWilson #FirstAidKit

For Heart, their biggest break came at virtually the same time as what could have been their most devastating catastrophe. The band was playing a third-rate club in Calgary, Alberta called Lucifer’s when one snide comment too many from the stage, by Ann Wilson resulted in the band getting fired. Apparently, she felt the buffet selections tasted like Pine-sol. As they were packing up their gear and considering their next move a phone call from the band’s Vancouver based record label, Mushroom changed their lives.

Heart, which at the time featured the sister duo Ann and Nancy Wilson along with Roger Fisher and Howard Leese on guitars, Steve Fossen on bass and Mike Derosier on drums had just released their debut album ‘Dreamboat Annie’. To say they were paying their dues would be an understatement. But they were determined.

When the call came, it was in the form of a desperate plea. Rod Stewart was on tour in Canada and the opening act for his show in Montreal was unable to play. Unbeknownst to Heart, ‘Dreamboat Annie’ was getting solid airplay in the Canadian city, so they got the call.

All it took was one big arena show in October of 1975 at the hallowed Montreal Forum to demonstrate the greatness that was to come. In fact, awareness to Heart was so positive that they were greeted by an audience holding up lighters. Members of Heart were stunned that they had come so far, so fast. One gig and widespread word of mouth and the rest was rock and roll history.

I don’t think I ever had goosebumps that heavy. The place just erupted.”

Mike Derosier

Today’s feature is ‘Crazy on You’ but in truth Ted Tocks Covers had its pick of classics. While this blog has featured several high-quality cover versions by Heart, this is the first time they have enjoyed centre stage. Clearly an oversight. Heart’s obvious Led Zeppelin influence saw them build an acoustic foundation and then launch into a full-on heavy rock and roll assault. This became their calling card. They never looked back.

‘Crazy on You’ was released as the third single from the ‘Dreamboat Annie’ album on this day in 1976. The song followed ‘How Deep It Goes’ and ‘Magic Man’. It peaked at #7 on the Billboard Top 200 in the United States and it also made the Top 10 in Australia and the Netherlands.

To this day, ‘Crazy on You’ exists as one of several signature Heart songs. It begins with the beautiful acoustic guitar introduction called ‘Silver Wheels’ and then flows into the driving rocker. Without a doubt, the fact that the core of Heart was the Wilson sisters became a topic of conversation, because it was relatively rare for women to be so salient in this genre. Heart rewrote the book in this sense.

For the inspiration behind ‘Crazy on You’ you can look no further than the Vietnam War and the social unrest and uncertainty that existed both domestically and globally at the time of writing. The song is Ann Wilson’s ode to Mike Fisher who was her boyfriend at the time of writing. Wilson channeled her angst about the future into a reflection on her relationship with Fisher. Essentially it amounted to:

Thank God, I have you.”

Ann Wilson

It was written in an A-frame cottage near the United States/Canada border, that the band shared in order to potentially flee the country in case the guys were drafted.

Here are the lyrics.

We may still have time
We might still get by
Every time I think about it I wanna cry
With bombs and the devil
And the kids keep coming
No way to breathe easy
No time to be young

But I tell myself that I’m doing alright
There’s nothing left to do at night
But go crazy on you
Crazy on you
Let me go crazy, crazy on you

My love is the evening breeze touching your skin
The gentle sweet singing of leaves in the wind
The whisper that calls after you in the night
And kisses your ear in the early light

And you don’t need to wonder, you’re doing fine
And my love, the pleasure’s mine
Let me go crazy on you
Crazy on you
Let me go crazy, crazy on you

Wild man’s world is crying in pain
What you gonna do when everybody’s insane?
So afraid of one who’s so afraid of you
What you gonna do?

Crazy on you
Crazy on you
Let me go crazy, crazy on you

I was a willow last night in my dream
I bent down over a clear running stream
Sang you the song that I heard up above
And you kept me alive with your sweet flowing love

Crazy, crazy on you
Let me go crazy, crazy on you

Crazy on you
Crazy on you
Let me go crazy, crazy on you

Crazy on you
Crazy on you
Let me go crazy, crazy on you

Ann Wilson, Nancy Wilson and Roger Fisher

As much as Led Zeppelin is often noted as the most obvious inspiration for Heart, ‘Crazy on You’ was actually more a reflection on the model created by The Moody Blues and the song ‘Question’.

I remember I had a bad flu and was kind of delirious. The lyric was so great that it kind of lifted me up in my sick bed. Two days later I was better, and we started to set it to music. We were listening to a lot of Moody Blues back then. There was a song called Question that had this fast, fiery guitar rhythm. That was our idea for the groove. Then Roger Fisher came up with the really cool riff over A-minor to F, and that gave it some more beautiful momentum.”

Nancy Wilson

Here is ‘Question’ for comparison.

As much as Heart has producing some incredible material, there were several obstacles. They began in the form of politics within their own record label, and unfortunately this gave way to how they were perceived as a musical entity. This confusion created a couple of major crises.

The first issue stemmed from the album’s success. Heart attempted to renegotiate their royalty rate when ‘Dreamboat Annie’ went platinum. During the process Mike Fisher, who was acting as the band’s manager moved aside for Ken Kinnear, who took on the negotiations. Mushroom took a tough stance which essentially determined that Heart would be a one hit wonder. This resulted in producer Mike Flicker, leaving the label, although he did stay on to produce future Heart records. Flicker was the brother of Heart guitarist Roger Flicker.

Things totally disintegrated when Mushroom Records bought a full-page ad in Rolling Stone Magazine that simulated a National Enquirer front page. It depicted Ann and Nancy Wilson back-to-back with bare shoulders, similar to the ‘Dreamboat Annie’ cover, accompanied by the headline, ‘It Was Only Our First Time. Neither the Wilson sisters, nor the band had been consulted about the suggestive ad and they were enraged by the sexual connotation. During one interview a radio promoter asked Ann Wilson to comment on her lover, from the magazine ad, thus implying that the sisters were involved in an incestuous lesbian affair. Wilson became so outraged that she went back to her hotel room and wrote ‘Barracuda’ in response to the fallout of this period of their lives, taking direct aim at the misguided publicity effort.

And if the real thing don’t do the trick
You better make up something quick”

Ann Wilson

While researching the evolution of ‘Crazy on You’ I discovered this candid footage of Heart back stage. This is really interesting. Not only do you get a sense of how tight the band was in the early days, you see how ‘Crazy on You’ and its classic introduction known as ‘Silver Wheels’ has become an improvisational piece over the years. This is where it really shines.

Here is a classic clip from Burt Sugarman’s ‘Midnight Special’ in 1977.  

Moving ahead to the next century, check out country singer Gretchen Wilson (no relation) featuring Ann and Nancy Wilson in 2005. Gretchen does a commendable job, but the song goes to another level when Ann joins in.

‘Crazy on You’ definitely enjoys a cross genre appeal. Here it is being sampled in Eminem’s song ‘Crazy in Love’ in 2004.

Enjoy this quality cover by The Decemberists from a live performance in 2009.

I felt this piece was extremely important. During this Rock and Roll Hall of Fame Induction speech by Chris Cornell the band’s importance as trailblazers for both the Seattle music scene and for the women of rock and roll is discussed.

Somehow it never occurred to us that Ann and Nancy Wilson were women, existing authentically in a world dominated by men. Heart with two Joan of Arcs, standing up front kicking total ass, backed by a totally powerful and unique band blasted down any sexist barriers in front of them, armed with pure ballsy power of rock and roll.”

Chris Cornell

All of this leads to the final cover by another sister act. Here is Sweden’s First Aid Kit consisting of Johanna and Klara Söderberg in 2018. A great cover by another favourite here at Ted Tocks Covers. Enjoy!

To quote Ann Wilson,

Music makes us all equal and perfectly human.”

Ann Wilson

The sooner people heed this fact, the world will be a better place. We need to continue to share this message. If you feel people are not listening.

Turn it up.”

Nancy Wilson

Maybe then they will hear.

Black Dog – A tribute to the great #JohnBonham. #MusicisLife #TedTocksCovers #LedZeppelin #FleetwoodMac #JohnnyFavouriteSwingOrchestra #Heart #ThoseDarnAccordions #HayseedDixie

I was less than a month into high school when word came over the newswire that John Bonham; the illustrious drummer for Led Zeppelin died. For a significant number of students at Acton District High School this was a big deal. For a certain element there was definitely a pall that fell over the institution. Led Zeppelin was a benchmark band in the world of rock and roll and to many, John Bonham was at the pinnacle of his profession. I remember being stunned by the news. At home, I took the Entertainment section from the Toronto Star and filed it away for safe keeping. I still have it 39 years later.

The headline from an article written by music critic Peter Goddard read “Can Led Zeppelin survive sudden death of drummer?” As time went on the answer to this question was a resounding no. Sure, Led Zeppelin reunited for brief periods like a three song stint at Live Aid in 1985 with Phil Collins sitting behind the drum kit, or the December 2007 Ahmet Ertegun Tribute Concert. This event featured John Bonham’s son Jason performing as a strong replacement and it serves as the only full length concert featuring this iconic band since the death of ‘Bonzo’. It was a spectacle that left fans wanting more but in reality, the show was over. To paraphrase, the song truly did remain the same, but in the eyes of the remaining members of Led Zeppelin it just wasn’t quite the same without their hard driving drummer. For Robert Plant there was no going back. He was often resolute on this topic.

“No one could ever have taken over John’s job. Never, ever! Impossible. I listen to Zeppelin stuff now and I realize how important John was. When he drummed he was right there with either my voice or whatever Pagey was doing … you couldn’t have found anybody with the same kind of ingredient to make the band really take off like John did. For all the shit that hit the fan those many times … we all sort of rose out of it together going, ‘We don’t care – take this!’ And you don’t start carrying on with people who weren’t a part of that. Impossible.

Robert Plant

For a period of time Jimmy Page was always a little more hopeful but as time has slipped by he simply feels the moment is gone, and any effort to reunite would appear to be done for the wrong reasons.

“You’ve just got to face facts. We’ve gone past the tenth anniversary of the O2, where we managed to do one serious concert. That’s the only thing that we’ve done for such a long time, so I very much doubt we’ll do anything else. I really think the time has gone.”

Jimmy Page

To many, the Led Zeppelin library is a vital part of their listening catalogue. You can include me on that list. Their influence on music over the past 50 years can be heard in countless acts. They are a classic rock staple. Sometimes things just need to be left as they were.

Today’s feature song is ‘Black Dog’. I went up and down their discography looking for the right track and arrived at this one. Keep in mind that I have featured Led Zeppelin on several other occasions.

Dazed and Confused

I Can’t Quit You Baby

Babe, I’m Gonna Leave You

Whole Lotta Love

Moby Dick

Bring it on Home

Gallows Pole

Misty Mountain Hop

Rock and Roll

Stairway to Heaven

Battle of Evermore

Misty Mountain Hop

When the Levee Breaks

The Song Remains the Same

As you read this you will note that ‘Black Dog’ is the sixth song from Led Zeppelin IV that I have featured. It is likely the most celebrated album in Ted Tocks 600 song history and it completes side one of that album. The album is that good.

The song has an interesting origin. The recognizable riff was the creation of Jimmy Page and John Paul Jones. Robert Plant wrote the lyrics as an homage to an early Fleetwood Mac song called ‘Oh Well’. The intention was to be a call and response between Plant and the band. The result is an epic musical experience. Here is ‘Oh Well’. Great stuff in its own right and once again you can hear how bands of that era drew inspiration from each other and inevitably their blues forefathers.

The song title which has no immediate connection to the lyrics was actually in recognition of a black dog that frequented the recording studio known as Headley Grange, during the writing, rehearsal and recording stage of the album.

There are so many cover versions of Led Zeppelin songs that there is a website devoted to the list of covers of each song. The list is in alphabetical order by song title and then a corresponding chronological list of cover versions by act. It is a gold mine for my purposes, and I get lost in the incredible array of interpretations I hear. This is where Led Zeppelin’s influence can be easily measured.

Today I will share four in honour of Led Zeppelin IV and the four musical giants that formed Led Zeppelin.

I am going to start with an intriguing cover by Johhny Favourite Swing Orchestra. This is so good it will take the lead off position. Heather and I were out for dinner at our friends Colin and Jen’s last week and they had this on their playlist. The timing could not have been better. I can’t stop listening to it. Colin is a wealth of musical knowledge from the alternative/independent side of things. Every time he puts a collection of his songs on for our listening pleasure, I make a new discovery. Colin and Jen have a great website and blog at www.tincancottage.ca. It is all about their adventures in their 2011 Evergreen 32 MKS Travel Trailer which they affectionately call their ‘Tin Can Cottage”. Check it out or follow them on Pinterest, Facebook or Instagram. We have known them for years. They are the kind of people that just by knowing them you feel enriched. Here is the Johnny Favourite Swing Orchestra with their swing version of ‘Black Dog’. What a find.

Back to more conventional covers; Heart has covered many Led Zeppelin songs through the years. Here they are doing a cover of ‘Black Dog’ on the tour that begat their Alive in Seattle album in 2003.

Every time I get an opportunity to share cover versions by Those Darn Accordions I leap at the opportunity. Here is their performance from 2004. Tons of fun and so good. They blend it with what else but ‘Whole Lotta Love’.

And finally, for the second day in a row here is Hayseed Dixie. One thing I have noticed since writing Ted Tocks Covers is the cool acts just keep popping up. The bluegrass rendition of ‘Black Dog’ works so well. Check out the title of the album it appears on. Too funny.

Oh baby!

To close this post, here is a fantastic drum piece by John Bonham where he and Jimmy Page experiment with electronic effects. It was recorded in Montreux, Switzerland in 1976. Hence the name; ‘Bonzo’s Montreux’. This was first released on Led Zeppelin’s 1982 Coda compilation. It gives fans a glimpse of how John Bonham was truly evolving his craft. It makes you wonder what would have been possible had he not passed away so young.

I hope you enjoyed this Led Zeppelin feast. Have a great day!

This Flight Tonight – A classic song by a folk music icon. A hard rock cover and two songs that have become linked to the riff. #MusicisLife #TedTocksCovers #JoniMitchell #Nazareth #Heart #Queen

Today’s feature speaks to exactly the reason why I dreamed up the idea of Ted Tocks Covers. People have asked me over the past year and a half where the idea came from. It stems from a clear love of music. That is obvious. The desire to share these posts speaks to my fascination with the songwriting process. The confluence of elements that come together to create a piece of music that people come to enjoy is remarkable. When that creativity speaks to other artists, and they share their interpretation it adds layers to the intrigue. The opportunity to share so many great versions of well known songs, and how they have evolved through the years seemed like a fun exercise. Ideally it has exposed some readers to versions of songs they love that they never knew existed. In a perfect world, maybe some readers have discovered acts that they were not familiar. This is where these posts begin to matter, at least within my small circle.

‘This Flight Tonight’ by Joni Mitchell is a perfect example of an original song performed in a style that is distinct to the artist. The song was released as a track on her album, Blue. It was released on this day in 1971. Blue is considered by many to be one of the most influential albums of all time. Some of the material from this album speaks to her dissolving relationship with Graham Nash, while other songs speak to an emerging relationship with James Taylor. Today’s feature song is a clear reflection on that relationship. She had begun a torrid affair with Taylor in mid 1970 and visited the singer/songwriter on the set of the movie Two Lane Blacktop. The song’s lyrics speak to her regret in leaving and desire to return. The Taylor/Mitchell affair was relatively brief and occurred during a period of transition for Mitchell and a severely awkward time for James Taylor who was not only mired with a heroin addiction, but miraculously was also on the brink of fame with ‘Fire and Rain’ and ‘You’ve Got a Friend’. Mitchell was devastated when her relationship with James Taylor broke up because she felt the two had a spiritual bond. In the end I suspect the dissolution only brought on a new period of creativity for Joni Mitchell.

As much as the album Blue and the songs contained on the creation are highly regarded it becomes most intriguing to see how divergent the respect became. In 1973 a Scottish hard rock band called Nazareth were busting their ass driving from set to set in a van. They spent long hours together in this way and one of their favourite albums was Blue. They knew the material inside out and when it came time to record their fourth album, Loud and Proud they thought they could modify ‘This Flight Tonight’ to their harder style and make it a hit. Their producer, Deep Purple bassist Roger Glover agreed and the hard driving version they created became a #1 hit in Canada, Germany and the U.K. Here is the account of this production as told to The Independent’s Robert Webb in 2012;

The Dunfermline hard-rockers Nazareth loved Blue. You remember them: the gap-toothed vocalist, Dan McCafferty, had hair like a kitchen scourer and a voice to match. They were bad, bad boys. Among the tracks on their 1973 album Loud ‘n’ Proud, produced by the former Deep Purple bassist Roger Glover, is a taut version of “This Flight”. “We used to listen to Joni as we were travelling round in the van,” recalls Nazareth’s bass-player, Pete Agnew. “‘This Flight Tonight’ was a big favourite.”

Mitchell was impressed with the makeover: “When she was recording at A&M, we were just starting an American tour,” explains Agnew. “We all happened to be in the studio the day the single was released, so we were introduced to her and told her what we had done. She said, ‘What, with a rock band?'” Joni paid the Scottish band the greatest compliment after “This Flight Tonight” became a worldwide hit for them, touching down at No 11 in the UK. “She was playing a gig in London and told the audience: ‘I’d like to open with a Nazareth song’!”

Robert Webb

The last line is a true testament to Joni Mitchell and her Canadian humility. It’s a cool story and once again it speaks to the fact that cover versions of songs are about interpretation. I love artists who take an original song and make it their own. Again; it is a fascinating process. Here is Nazareth, hilariously performing ‘This Flight Tonight’ on a show called Disco to an underwhelmed audience. Too funny.

Here is the album version.

One other quick anecdote that speaks to how ideas evolve. When Nancy Wilson of Heart heard Nazareth’s version of ‘This Flight Tonight’ she fell in love with their opening riff and was inspired to create the variation that became the opening riff for one of Heart’s biggest hits; ‘Barracuda’. There is also a little bit of the riff in ‘Keep Yourself Alive’ by Queen. You can see how music evolves? This is where the premise for Ted Tocks Covers originated?

Just for good measure here she is telling a brief story of Heart’s early days and the influence behind Barracuda.

Here is ‘Barracuda’.

And here is ‘Keep Yourself Alive’.

One songwriter, one high octane cover and two more classic rock anthems that were inspired to some degree by that cover. A Ted Tocks Covers grand slam.

Misty Mountain Hop – Another brilliant song from #LedZeppelin and some ‘heart’ felt cover versions it inspired. #MusicisLife #TedTocksCovers #Heart #4NonBlondes

This song never gets old. This album never gets old. An absolute timeless classic. ‘Misty Mountain Hop’ is a hippie anthem from Led Zeppelin’s 1971 untitled fourth album that became known simply as IV. It was released as the B side of ‘Black Dog’, but due to its positioning as the opening track on side 2 of the iconic album it received a ton of airplay on album oriented radio stations.

The song speaks to Led Zeppelin’s connection to their audience. The lyrics reflect an interesting juxtaposition between events of the day and their heavy J.R.R. Tolkien influence. On July 7, 1968 a ‘Legalize Pot Rally’ took place in Hyde Park in London. Robert Plant manages to reflect on this experience through his personal observations. He then ties everything together in the closing line by stating.

Now I’m packing my bags for the misty mountains where the spirits go now…”

Robert Plant

The rally in London was a disappointing scene. Evidently, conservative London was not quite ready for such a movement. Several arrests were made for marijuana possession. Robert Plant’s lyrics reflect a more Utopian vision:

A quest for a better society, a place and time when hang ups are replaced with individual freedom and life of mutual support and rapport.”

Robert Plant

What better place than the ‘Misty Mountains’?

Here are the complete lyrics:

Walkin’ in the park just the other day, baby
What do you what do you think I saw?
Crowds of people sittin’ on the grass with flowers in their hair said
Hey Boy do you want to score?
And you know how it is
I really don’t know what time it was oh, oh
So I asked them if I could stay awhile

I didn’t notice but it had got very dark and I was really
Really out of my mind.
Just then a policeman stepped up to me and asked us said
Please, hey, would we care to all get in line
Get in line
Well you know
They asked us to stay for tea and have some fun
Oh, oh, he said that his friends would all drop by, oh
Why don’t you take a good look at yourself and describe what you see
And baby, baby, baby, do you like it?
There you sit, sitting spare like a book on a shelf rustin’
Ah, not trying to fight it

You really don’t care if they’re coming oh, oh
I know that it’s all a state of mind, oh.
If you go down in the streets today, Baby, you better
You better open your eyes
Folk down there really don’t care, really don’t care
Don’t care, really don’t
Which, which way the pressure lies
So I’ve decided what I’m gonna do now
So I’m packing my bags for the Misty Mountains
Where the spirits go now
Over the hills where the spirits fly, oh, I really don’t know

Robert Plant/Jimmy Page

Today’s feature is clearly a nod to Led Zeppelin and their songwriting brilliance, but it was actually inspired by the birthday of one of their biggest fans. Prolific songwriter Ann Wilson who formed the rock band Heart along with her sister, Nancy. Among the many compositions that helped them sell nearly 40 million albums worldwide over the past five decades, exists a clear reverence to Led Zeppelin. One of their best Zeppelin covers is ‘Misty Mountain Hop’. Here you go.

As much as Led Zeppelin was a major influence on Heart, I suspect Heart had a profound influence on a California band called 4 Non Blondes. This act was very big for a few years in the early ‘90s before dissolving. Here is their strong version of ‘Misty Mountain Hop’. Just one more example of the lineage of inspiration that keeps the music world rockin’.

Since Robert Plant’s observations over 50 years ago the world has come a long way in terms of marijuana’s legalization and overall acceptance, but in no way have we made it to the ‘Misty Mountains’.

Rock and Roll – Today’s classic song and a handful of great covers. MusicisLife #TedTocksCovers #LedZeppelin #LittleRichard #TheStroll #TheMonotones #Heart #SusanTedeschi #FooFighters

Some songs just define rock and roll. Some songs just hit you over the head and shout it in your face. I remember the first time I heard side one of Led Zeppelin’s fourth album. It was in my formative days as a music fan. I was about eleven years old. Truth be told, at that time in my life Rush, Led Zeppelin and the Rolling Stones were a veritable gateway of discovery. As an opening song ‘Black Dog’ was a sound explosion, with that phenomenal Jimmy Page guitar riff and as that song ended you barely had time to breathe before John Bonham’s drum intro for today’s feature; ‘Rock and Roll’. All I can remember was thinking; play it again…play it again…play it again. Air drumming the outro became an art form. The thing is, my experience was not unique in the slightest. Led Zeppelin have had this impact on literally millions of music fans through the years, and in many ways it all started on this day in 1971.

It was on March 5^th, 1971 that Led Zeppelin began their 12 show United Kingdom ‘Thank You’ tour and the new set list featured tracks from their upcoming album know as IV. Virtually right away ‘Rock and Roll’ became a favourite. Initially, Robert Plant called it ‘It’s Been a Long Time’ because it is the first line of the song but gradually the title ‘Rock and Roll’ won out. Within a year it became a standard opener to their sets and it remained that way until 1975, before becoming merged with ‘Whole Lotta Love’ as a medley in 1977 and then finally being included as the encore during the band’s final tours in 1979 and 1980. No matter what, ‘Rock and Roll’ left an impression on everyone who resided within Led Zeppelin’s orbit. Here is a taste of ‘Rock and Roll’ live in the early days. This is from the famous ‘Song Remains the Same’ live concert at Madison Square Garden in New York City. This is just straight forward and raw, rock and roll.

So, one might ask where does the inspiration come from for a song like this? The answer is, it goes right back to rock and roll’s classic ‘50s roots. Oftentimes songs emerge out of jam sessions and as the group tapes the sessions they note takes within the session that could provide the foundation to songs. According to Jimmy Page, Led Zeppelin was working on another song for the IV album called ‘Four Sticks’ and they were struggling. During a break in the proceedings John Bonham began hammering out his interpretation of Little Richard’s song ‘Keep a Knockin’’. As Bonham played, Page and bassist John Paul Jones jammed away, and the essence of the song was built within fifteen minutes. ‘Rock and Roll’ was such a group effort that it is actually one of few Led Zeppelin songs that give all four members songwriting credit. As noted there are two immediate influences to the song. It’s all in the song’s opening and in the lyrics. Read through the lyrics and you will see it is a true homage to rock and roll’s past.

It’s been a long time since I rock and rolled
It’s been a long time since I did the Stroll
Oh let me get it back let me get it back
Let me get it back baby where I come from

It’s been a long time been a long time
Been a long lonely lonely lonely lonely lonely time
Yes it has
It’s been a long time since the book of love
I can’t count the tears of a life with no love
Carry me back carry me back
Carry me back, baby, where I come from

It’s been a long time, been a long time
Been a long lonely, lonely, lonely, lonely, lonely time
Seems so long since we walked in the moonlight
Making vows that just can’t work right
Open your arms, opens your arms
Open your arms, baby, let my love come running in
It’s been a long time, been a long time
Been a long lonely, lonely, lonely, lonely, lonely time

Robert Plant

The first is Little Richard’s ‘Keep a Knockin’. Check this out. It is so clear. A shout out to Earl Palmer who was an influence to John Bonham.

You can also give credit to ‘The Stroll’ by The Diamonds which was a late ‘50s dance hit that may have been the original line dance.

You also get the ‘Book of Love’ by The Monotones.

You can thank the Rolling Stones session pianist Ian Stewart for the strong piano accompaniment. This aspect of the song doesn’t get nearly enough attention but when you focus on it you realize it is yet another layer of Led Zeppelin brilliance.

I want to quickly move on from the rock and roll roots that inspired ‘Rock and Roll’ and focus on the acts, and subsequently the covers that Led Zeppelin inspired. Here is Heart. Ann and Nancy Wilson have always been devoted fans of Led Zeppelin and have made it known as far back as their early days. Who can forget their stunning rendition of ‘Stairway to Heaven’ at the Kennedy Center in 2012? Here is Heart doing ‘Rock and Roll’ as a set closer in 1981.

Here is one of my absolute favourites. The beautiful and immensely talented Susan Tedeschi. She absolutely nails the song. This is simply incredible.

To close it all out, here is a sentimental favourite that displays the ever present Dave Grohl and Taylor Hawkins from the Foo Fighters playing ‘Rock and Roll’ with Jimmy Page and John Paul Jones at Wembley Stadium in London in 2008. The Foo Fighters have a knack, or seemingly, the gift of having the ability to play with virtually anybody and doing it well. They are having the time of their lives and are ensuring that they enjoy every second.

I hope you enjoyed this trip through rock and roll’s past.

Let me get it back, baby where I come from.”

Robert Plant