Because music has moved on from that point. As artists they can do whatever they want, and if they want to rip off Zeppelin songs then more power to them. But to think they have any merit or credibility as legitimate artists is false, as they're like a poor man's tribute band. Zeppelin has enough bands and people on their dicks as it is. They're just perpetuating this stupid mindset that all great rock music was made in the late 60s/early 70s and I can hear thousands of old dad rockers exclaiming "Finally! A great band from this decade!" when hearing Wolfmother.

Because music has moved on from that point. As artists they can do whatever they want, and if they want to rip off Zeppelin songs then more power to them. But to think they have any merit or credibility as legitimate artists is false, as they're like a poor man's tribute band. Zeppelin has enough bands and people on their dicks as it is. They're just perpetuating this stupid mindset that all great rock music was made in the late 60s/early 70s and I can hear thousands of old dad rockers exclaiming "Finally! A great band from this decade!" when hearing Wolfmother.

Careful not to draw too broad a brush here. Moving on in a linear progression always forward is both not how music history happens nor how it should. For example would you call Stravinsky and other moderm composers neoclassical stuff without merit artistically? Afterall they were moving back to an older point. Someone can look back to older influences and create something new and interesting. Your framework is every bit as tyrannical as the tyranny of the lates 60s and early 70s.

Well yes and I intend it to be, because I'm incredibly elitist. I certainly do agree that the idea of a perfectly linear progression is absurd though.

Little Room is the best white stripes song ever.

I do get where The Jew is coming from though. I don't think Wolfmother are really adding anything to the dialog, they are just reverting to the past. They are almost treating rock as if it is a folk music that doesn't need to advance but rather preserved. In the same way, The Marsalis clan treats Jazz as though it is some dead artifact worth preserving rather than a living thing that is bound to adapt to its environment.

I think if you explored your idea a little bit more I think you would find it untenable.

Because music has moved on from that point. As artists they can do whatever they want, and if they want to rip off Zeppelin songs then more power to them. But to think they have any merit or credibility as legitimate artists is false, as they're like a poor man's tribute band. Zeppelin has enough bands and people on their dicks as it is. They're just perpetuating this stupid mindset that all great rock music was made in the late 60s/early 70s and I can hear thousands of old dad rockers exclaiming "Finally! A great band from this decade!" when hearing Wolfmother.

thats funny. Death Letter is probably their best song tbh even though its a cover.