TBL ARCHIVE – THE SONG REMAINS THE SAME LONDON PREMIERE – IT WAS 49 YEARS AGO/ ROBERT PLANT WEMBLEY EMPIRE POOL 1978/ WALKING INTO EVERYWHERE 1998 /ROBERT PLANT’S SAVING GRACE FEATURING SUZI DIAN ROAR IN THE FALL US TOUR/PHYSICAL GRAFFITI AT 50 BOOTLEG BOX SET REVIEWED/BEDFORD VIP RECORD FAIR / DIARY BLOG UPDATE
TBL Archive: The Song Remains The Same London European Premiere – it was 49 years ago…
After the excitement of The Song Remains The Same soundtrack double album release, 49 years ago this week saw the European premiere of the accompanying movie. This occurred at the Warner West End cinema in London’s Leicester Square although such was the demand the film was also screened at the nearby Shaftesbury Avenue ABC Theatre.
My girlfriend Fiona and I got tickets by queuing overnight in early October. Sleep was at a minimum that night as the disco next to the Warner West End cinema blasted out a diet of Barry White and the like until the early hours. All worth it of course…
Two nights before the premiere ,The Old Grey Whistle Test screened the famous river boat interview with Peter Grant and Robert Plant and the violin bow segment of Dazed And Confused leading up to the coloured swords being brandished . ‘’That’s an amazing piece of film’’ murmured the legendary Bob Harris -and indeed it was. Incidentally BBC’s Film Night aired a clip the following Sunday for which the long running presenter Barry Norman in his familiar style commented ‘’Let’s all go down like a Led Zeppelin…and why not.’’
The premiere on the night of Thursday November 4 1976 was another unforgettable occasion with many memories ingrained on my brain:
Here’s a few: Jimmy being ushered up the stairs of the cinema on arrival by John Bindon right next to me….shaking hands with Peter Grant and Bonzo as they waited for the photo call….standing up to allow Roy Wood and Billy Connolly to get to his seat two along from where we sat….a standing ovation as Jimmy, Robert, John and Bonzo took their seats…..spontaneous applause after every song performance -it was almost like attending a gig…. Bonzo and Jonesy with families gathering in the foyer afterwards…passing Paul McCartney on the way into the toilet. Robert eyeing the cardboard obeleisk/object card board cut out that I wore around my neck entwined with my scarf for the occasion as we chatted in the foyer.
Let me explain this interesting fashion look. Basically I took one of the cardboard obelisks that made up the hanging Presence mobile I had and swung it around my neck in a unique (plainly odd!) fashion statement – I cant it say it’s a look that caught on but hey it was for a special occasion!….The aforementioned Billy Connolly telling me the film had been ‘’A wee bit brilliant’’ in his famous Scottish brogue…watching them all get into limos as they sped off for the aftershow party in Covent Garden. A simply unforgettable night in their company.
Fiona and I were back for the screening at the Warner West End the next night and on the Saturday. I went on to see the film over 30 times in various cinemas over the next 18 months – along with those first three nights it played in London, I saw it in Cambridge a couple of times the next week, every night (twice on Friday) of its seven day residency at Bedford’s Granada the following January , at a run down cinema in Western Favell in Northampton on a snow bound night that involved catching two busses to find the place…at a midnight night showing along with a couple of porn films in Luton and then there were periodical trips to a small picture house in London’s Wardour Street I think called the Electric Cinema that showed seasons of rock films in rotation (anyone else remember that tiny place?).
In early 1981 I brought it on a dreadful quality VHS bootleg copy in a shop off Tottenham Court Road – all colour drop out but hey any time I wanted I could rewind to Jimmy climbing that mountain so who cared!
All that endeavour seems a bit crazy now considering it’s all on YouTube …but back then it was the thrill of the search and as they couldn’t play live during that period, then the film was definitely the next best thing -and 49 years ago this week it was all happening at the Warner West End cinema. Being there in the cinema with the members of Led Zeppelin to see it unfold for the first time is an unforgettable memory…
Dave Lewis – November 5 2025
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More TBL November Archives..
More Wembley Empire Pool magic….in 1978..
When I first witnessed Led Zeppelin live on stage back in November 1971 at the Empire Pool Wembley, this then 15 year old could neve have imagined the events ahead and that I might one day actually meet and speak to Robert Plant in this very same venue.
But that is what came to pass as seven years later on November 4, 1978 I did just that.
By then my enthusiasm for all things Led Zep was pretty off the scale. I had met them all backstage at Earls Court and The Song Remains The Ssame premiere in London and at Heathrow Airport in May 1977.
The tragic passing of Robert’s son Karac had rendered the band inactive for many months –though there had been some stirrings in the spring of 1978 with a get together at Clearwell Castle. I had kept in contact with the Swan Song office and I knew that the recording of a new album was on the cards.
That year was a very memorable one for me – not least for leaping on stage at The Who Shepperton filming gig on May 25. Around the same time I was commissioned by Geoff Barton a journalist on Sounds music paper to work with him on an extensive feature they were running in September to mark the tenth anniversary of Led Zeppelin. Over the summer I collated a Zep career timeline plus an extensive discography that duly ran over four issues in September. It was an incredible thrill to see my work in print and it further fuelled my ambition to produce a Led Zeppelin magazine. This was an idea I had first mooted in late 1977 – I had already designed a few proto type pages and I had a name for it – ‘Tight But Loose’ – a phrase Jimmy and Robert had coined to describe the ban’s music in separate interviews during their 1977 US tour.
In early November 1978 as a fervent reader of the NME I spotted in a small news item that on Sunday, November 5 Robert would be appearing in the Goaldiggers five a side football tournament. The venue was the Empire Pool Wembley – scene of my first Led Zep live experience. I knew I had to be there again – simple as that.
I had been back to the esteemed venue a few of time since 1971. I saw The Rolling Stones afternoon show on September 8 1973 and two years later I was at a scintillating Who performance on October 23 1975. I was also at Elton John’s show there in November 1977.
Back to the story. I was playing football for the Wallbangers team on the Sunday morning but reckoned I could get away after the game and get on a train to London for the 4pm start of the tournament.
So after playing in a 4-3 defeat, I zipped over to Bedford railway station and headed for London. At this point I had no ticket for the tournament but hoped I could get one at the venue. With time running out at vast expense, I took a taxi direct to Wembley from St Pancreas station. Once outside the venue I scored a ticket from a tout. I found myself up the side behind one of the goals. Not a bad view –not that I was going to settle for that for too long. I had already made up my mind that I needed to talk to Robert Plant himself to find out the state of play. The mission was on…
This Goaldiggers football tournament was Robert’s first public appearance since the curtailed US tour. I saw this as the perfect opportunity to re -connect with the singer – as I had done previously – notably at Heathrow Airport.
Robert’s named Geriatric Rowdies comprised of singer Jess Conrad, singer turned WEA Record exec Dave Dee, comedian Jasper Carrot, then West Bromwich Albion manager Ron Atkinson and in the number 8 shirt the man himself. They met LBC in their first match and drew 2-2 the equalizer coming from Robert. The next encounter was with The Stranglers team and ended in another 2-2 draw.
This was not enough to see them through to the next phrase and from where I was up behind the goal, I could see Robert had now changed out of his kit watching by the sidelines
It was then I made my move – I made my way down to the sideline enclosure and with a confident ‘I’m with the players’ strut glided through to the side of the pitch and there I was right next to the man.
What a moment it was. He looked really well if radically different in a smart cut jacket and jeans – the hair cut back to pre 1969 length. A stark contrast to the ‘golden god’ figure I had approached at Heathrow Airport some 18 months ago. Here’s pic I took at that first sighting.
I introduced myself and he recognized me from Heathrow. He duly introduced me to his wife Maureen and daughter Carmen. I reminded him of the last time he was here with Zep and we laughed about the performing pigs that didn’t quite get it right on the night.
During our conversations, Robert told me he was going to Stockholm the next week with the group to commence recording a new album at Abba’s studios.
As the tournament progressed I was with him as he cheered on the ELO team, Spurs player Ralph Coates spirited display with the team made up of The Darts group good naturedly jeering Rod Stewart and Elton john’s team
It was when watching the all ladies match featuring a team made up of page 3 models that a photographer captured the photo of us both laughing at the action.
Here’s another shot from that moment and rarely seen. I am wearing the Zep US tour t shirt that are commonplace now but at the time were very scares promotional t shirts – I and got mine from the lovely Unity Maclean at the Swan Song office.
Fond farewells were said and I told him I would be at the next gig whenever and wherever that would be. ”It’s all in the wind” he said enigmatically.
I floated back to Bedford on a pure high. I had been in the company of Robert Plant again and for this particular Led Zeppelin fan the future was bright ahead – I knew that because I had heard it from the man himself.
Robert’s Goaldiggers appearance attracted a few column inches in the press and there were more later in the week when it was announced Led Zeppelin would indeed be going to Abba’s Polar Studios to record what would become the In Through The Out Door album.
As for me, this meet with my hero was more than enough inspiration to get down to producing the first issue of Tight But Loose. I worked on it for the rest of the year booking ads for it in late 1978 in Sounds and NME. A further round of ads followed in January 1978 and on February 10,1979 the first issues went out from my Dents Road bedroom.
It would kick start an incredibly exiting year that would include the Knebworth comeback shows, another Goaldiggers rendezvous with Robert and a very exciting afternoon watching Robert, JPJ and Bonzo picking up seven Melody Maker awards at a reception at the Waldorf hotel in London. More on all that soon.
It would be another six years before I saw Robert at the Empire Pool Wembley then renamed Wembley Arena – a memorable solo show on September 10,1985. Pic from outside the venue on that day here by Krys Jantzen.
One more footnote – little did I realize that many years hence on the night of December 10 2007 the pic of me and Robert laughing would be featured on the BBC Six O Clock News in their coverage of the Led Zeppelin 02 reunion which included a few words from me before the gig..
This incredibly memorable 1978 Robert Plant rendezvous all of 47 years ago today occurred when I was just 22 years old – I’m now 69 – as he once put it, it’s been a lifetime -but a second…
Dave Lewis – November 5 2024
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TBL Archive:
THE WALKING INTO EVERYWHERE TOUR WATCH DIARY -JIMMY PAGE & ROBERT PLANT UK TOUR 1998 – ON THE SPOT REPORTS…
TUESDAY NOVEMBER 3 1998
Manchester
“It’s just another day… this one’s for the budgies’’
After the intimacy of the ULU it’s quite a shock to be in the cavernous surrounds of the Evening News Arena, but it’s a smart place. Transglobal Underground have just finished their set and it’s down the front for what is becoming a familiar ritual.
Plant stomps on in black short sleeve shirt, Page back to the black sweat shirt. The sound is well up to scratch – the real revelation tonight is Robert who seems in a very good mood and very talkative. In fact he’s in one of those great spieling moods that were such a part of Zeppelin, and even unfolds a strange tale of supporting budgerigars in Manchester years back. “Back in the Sixties Jimmy played here with The Yardbirds, and somebody was telling me in the hotel today that they saw me at the Princes Domino social club in between performing budgerigars and female impersonators. Not much has changed. We’ve still got the female impersonators – and the budgerigars we’ll play with later!”
He will return to the budgie theme again during the gig, rather like the Badge-holders in LA 1977. Plant’s jovial mood ups the enjoyment level considerably – it’s a shame he doesn’t come out with this sort of banter more often. I also spot a new mike technique during the solos in ‘Clarksdale’, nonchalantly throwing it over his back and swaying around the stage.
“This is a song we intended to write in 1968,” is Plant’s slightly cryptic intro to ‘When The World Was Young’. Page takes the Gibson cherry red and in my enthusiasm for this piece I manage to bash the guy next to me on the head.
Things are a bit calmer for ‘California’ (“I don’t know if it was a leaning to budgerigars that made us write this next song – one thing’s for sure it’s been played in Manchester before”), and ‘Tangerine’ and after the well-received ‘Gallows’, they play ‘Heart In Your Hand’. Plant’s phrasing reminds me of the late great Frank Sinatra at times and Jimmy’s strung out lines eerily echo across the stage.
There are some minor set list variations. During the “Oh baby” finale of ‘Babe I’m Gonna Leave You’, Plant wanders into lyrics from ‘If I Were A Carpenter’, the Stairway tease receives a rapturous applause. ‘How Many More’ times leads into the excellent ‘That’s The Way’ with Jimmy strumming the sort of minor key changes that used to light up the likes of ‘Woodstock’ and ‘San Francisco’ way back.
Another Plant observation: “You may wonder why we still do this? Well we really kick ass up here, there are journalists who will no doubt use that as a headline.” (Which the Manchester Evening News duly roll out the next day.)
Then it’s a grand welcome back for the mad March anthem ‘Most High’ which once again confirms its more than successful transition from studio mediocrity to on stage rouser. A compact ‘Whole Lotta Love’ which finds Page deploying minimum use of the Theremin takes us out.
They’re back on soon enough, “Thanks a lot folks… it’s just another day.” Disappointingly there’s no ‘Night Flight’ or ‘Trampled’ or ‘Misty’ tonight but there is a great return for ‘Thank You’, sung with the now expected conviction. “Here’s one for the budgies!” ‘Rock And Roll’ closes proceedings and Plant’s predominantly good mood continues to his final stage action, signing off with an enthusiastic “Suck it!” after Michael’s extended flurry.
THURSDAY NOVEMBER 5 1998
Wembley Arena
The London crowd has its drawbacks – there’s always a bit of the ‘go on then entertain me’ attitude. Tonight’s crowd are pretty receptive but down the front there’s little of the friendliness of Dublin or good natured banter of Manchester. The set is something of a disappointment for those expecting any real deviation. Robert also lacks the rapport that he seemed keen to develop in Manchester.
There is, however, one reflective comment early on when he tells the audience, “Well it’s been a long time since the performing pigs and the high wire all for 15 shillings. But it’s still happening here.” It was back in 1971 when Zep performed here supported by various circus acts.
Overall, the performance is acceptable if not exceptional. ‘Clarksdale’ finds Plant adopting his swinging mike technique. ‘Heart In Your Hand’ is again superbly performed with Page’s final chord ringing out across the arena. “It’s been a long time since the performing pigs and highwires,” states Plant in a rare moment of reflection. The insert for ‘How Many More Times’ is a piercing ‘Season Of The Witch’. The encores line up as ‘Black Dog’ and ‘Rock And Roll’. By their standards it’s an average night – although most of those in attendance will not have noticed that. Perhaps that’s one disadvantage of seeing a few shows close together.
FRIDAY NOVEMBER 6 1998
Wembley Arena
For a Wembley crowd the atmosphere is excellent, the Egyptian intro being greeted with a huge roar. And there they are. Page, no surprise in black; Plant back to the black short sleeved shirt.
From the opening blast you can feel that they are up for this one, Plant’s mood perhaps evident from the tying of a Wolves scarf next to the amp. To add to our delight there are also several set list variations, the first of which is a superbly applied take on ‘What Is And What Should Never Be’ occupying the space normally reserved for ‘Ramble On’.
The absolute stand-out performance comes with ‘When The World Was Young’, which is perhaps the best musical moment of this whole 1998 adventure. The reason is simple. Jimmy Page approaches the solo with all the on-the-brink fluency of the ’77 ‘Over The Hills’. It’s much extended from its studio counterpart as the man scratches out new plains of abstract beauty from the cherry red Gibson. There he is strutting around with such unforced passion and joy, turning to Robert for the final chorus in a scene reminiscent of the classic ‘Achilles’ pose of old. From there, ‘California’ and ‘Tangerine’ both enjoy a huge reception, as does the crowd pleasing stomp of ‘Gallows Pole’. There’s also a very welcome return for the powerful ‘When I Was A Child’, a highlight of Shepherds Bush which again finds Plant in superb voice, meandering away from the mike to deliver the final lines. The good times keep on coming. ‘If I Were A Carpenter’ is back in the break of ‘Babe’, ‘Most High’ rocks furiously with Plant offering one of those great raised key vocal effects for the verse, “Where are the words of the king who moves the stars and the sun”.
‘Down By The Seaside’ enjoys another revival in ‘How Many…’ and after ‘Whole Lotta Love’ they’re back for the first encore, a spirited ‘Misty Mountain Hop’ quickly followed by the re-scheduling of ‘Ramble On’. Finally, it’s a second encore and in a fitting finale it’s a most welcomed reprise of ‘Night Flight’, perhaps baffling some of the audience, but those in the know heeding its significance. Then it’s ‘Rock And Roll’, then Plant takes up the wolves scarf off the amp and they’re gone. The 1998 UK tour is over.
Dave Lewis – November 1998
To be continued
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Robert Plant was a guest on The Late Show with Stephen Colbert on November 4.
Here’s the links to view the interview:
https://www.youtube.com/watch?v=VWFa-a5baDY
Here’s a YouTube post of their superb performance at the Lincoln Theater, Washington DC, November 3rd, 2025 –
Led Zeppelin Physical Graffiti at 50 – 3LP bootleg release via Brand & Coke Records.
Limited Edition of 300 my copy is number 215.
There’s been plenty of comment regarding the lack of any substantial official releases to mark the 50th anniversary of the release of the epic 1975 double album Physical Graffiti.
There’s been the four track Live EP released last month as a 12inch single and CD single. Next month there’s the Black Friday/Record Store Day release of a limited edition replica of the 1975 Trampled Under Foot/Black Country Woman UK promo single in a run of 6,100.
So what we have here is an unofficial attempt and rounding up the various alternate mixes and demos associated with the double album. The first four sides are sequenced as per the official 15 track double album line up -in the spirit of Jimmy’s official companion disc format on the reissue series.
The cover artwork keeps in line with the famous building of the original design – elongating some of the window illustrations.
There’s a four page insert that replicated the outer covers with an inside black and white live action group shot from Earls Court.
As with the recent official Live EP, the lack of any sleeve notes is a disappointment.
The sound quality is a bit variable -the work in process rehearsal tape extracts are somewhat low fi – as they always have been but the rest is very good studio sound. The material is gathered form various sources that have appeared on previous bootleg LPs and Cds over the years.
Here’s the line-up of the six sides:
Side One:
Custard Pie (alternate mix)(4:19)
Alternate mix from the outtakes tape that first surfaced in 1997 and issued on various CDs including Brutal Artistry. This take has more harmonica on the close and less guitar overdubs. It stops abruptly with no fade.
The Rover (acoustic demo) (1:02)
This is the short Page and Plant acoustic demo form the Bron yr Aur period 1970
The Rover (instrumental) (5:35)
Instrumental with vocals omitted
In My Time Of Dying (rehearsal takes) (12:42)
This is the rehearsal segment that first came to light on the Tangible Vandalism set in the mid 80s
Side Two:
Houses Of The Holy (instrumental) (4:02)
Instrumental take with vocals omitted
Trampled Under Foot (alternate version) (5:45)
Alternate version for the 1997 tape -minus the overdubs of the released version.
Kashmir (instrumental) (8:54)
As above
Side Three:
In The Light (early version) (7:11)
This the early version from the outtakes tape that first surfaced in 1997
Untitled Instrumental (demo) (3:20)
Bizarrely this is the piano intro of the track 10 Ribs &All/Carrot Pod Pod (Pod). This piano, guitar and drums instrumental was included on the companion disc to the Presence reissue in 2015. It’s listed on the credits as being recorded at Musicland Studios in Munich on November 17 1975.nearly nine months after the release of Physical Graffiti – in effect it has no place here. it fades before the drums come in.
Down By The Seaside (instrumental) (5:14)
Mainly instrumental with vocals omitted though they do seep through on the ending
Ten Years Gone (alternate mix) (6:50)
Alternate mix from the 1997 tape -has some added guitar overdubs on the fade.
Side Four:
Night Flight (alternate mix)(3:57)
A couple of edits before the intro
The Wanton Song (alternate mix) (4:12)
Has a 1-2-3-4 count in
Boogie With Stu (alternate mix) (3:42)
The mandolin is higher in the mix on this take.
Side Five:
Custard Pie (instrumental) (4:11)
Instrumental mix with vocal omitted.
Trampled Under Foot (alternate mix) (5:14)
Slightly alternate mix and sounds slightly speeded up – it fades at 5.14.
Boogie With Stu (alternate mix) (3:54)
Instrumental mix with vocals omitted.
Swan Song (unreleased tracks) (3.39)
A genuine unreleased gem which deserves an official release – this part one a shorted edit from the full version on the 1997 tape.
The Wanton Song (rehearsal takes) (4.24)
This is the rehearsal segment from the Tangible Vandalism album.
Side Six:
In The Morning (In The Light) (rehearsal take 1) (6:11)
Early rehearsal take from the Tangible Vandalism album – this has Plant signing the refrain ”Take me home”
In The Morning (In The Light) (rehearsal take 2) (6:03)
Similar to above. There’s some chat before the opening and a bit of whistling amd also a cough from John Bonham very similar to the one that can be heard at the offcially released version of In My Time Of Dying.
Untitled Instrumental (rehearsal jam) (3:35)
This the funky instrumental with John Bonham driving it along – has a similar syncopation to Hots On For Nowhere
Take Me Home (rehearsal takes) (5:58)
Another improvisation with Plant scat singing along to a nonscipt arrangement.
To summarise. On the plus side, it’s good to have all this Physical Graffiti outtake material on vinyl all in one place. There has been a measure of effort to bring some semblance of order to the sequencing. However the inclusion of the Presence outtake is somewhat jarring.
Overall, this set illustrates that here is not an abundance of fresh unreleased material that would make an official Physical Graffiti at 50 that viable.
I have mentioned previously that the outtakes and additions to the Bad Company reissues back in 2026 do present alternate versions with studio chat. Something that was somewhat lacking in the Zep reissue programme. For example the unreleased take of Bad Co’s Can’t Get Enough is an alternative version markedly different from the released take.
The one thing that is crying out for an official release is the Swan Song instrumental. This would make an ideal Record Store Day ten inch single Here’s hoping. A coupling with the early demo of The Rain Song titled The Seasons that he made available on his website to mark the the fiftieth anniversary of the release of Houses of the Holy. That would be an impressive coupling.
This Physical Graffiti at 50 3 LP bootleg is an adequate if unspectacular presentation and being a sucker for these box set releases and for anything Physical Graffiti related, I was more than happy to invest.
Of course the best method of celebrating the 50th anniversary of Physical Graffiti would have been to present six sides ( at least!) of Earls Court in a box set – which, let’s cut to the chase ,is the live material everybody craves from this era.
There’s a certain irony that The Rolling Stones new forthcoming Black And Blue set includes a two CD Live at Earls Court 1976 recorded almost a year to the day of the Led Zeppelin run. I was at one of those Stones nights and I am very much looking forward to that one.
As for Zep – the wait for much craved unreleased material such as Earls Court goes on – anyone got Mick Jagger’s phone number so he can relay how it’s done?
Dave Lewis – November 3 2025
VIP Record Fair at the Harpur Suite Bedford this Saturday November 8:
The always excellent VIP Record Fair is back in Bedford and I am aiming top pop into see what delights are in the racks…here’s all the info:
VIP RECORD FAIR RETURNS TO BEDFORD…
Bedford’s BIG VIP Record Fair is back – November 8:
The Harpur Suite, Harpur Street, Bedford MK40 1LE
Doors 10am.
For fast track tickets and full info –
Saturday November 1:
In the fair city of St Albans earlier today a visit to the always excellent Empire Records yielded a couple of gems:
Monday November 3:
I called into to the excellent Morgan Howell art gallery at Christopher Place in St Albans last Saturday. His super – size 45 RPM record sleeve art works are so captivating. It was pleasing to see he was using the art work of his Led Zeppelin Whole Lotta Love US 45 design as the backdrop to his office .
The original of this design which is on the wall is for sale at a hefty £15,000 -limited reprints come in at £3,500, a smaller print sizes go for £750 and £195.
If you are in the area be sure to drop by it’s a fascinating place and Morgan has many a tale to tell of how he came to work on the various commissions for this amazing record art design. Morgan’s book which is available at the gallery is also a superb presentation of his work.
Visit the link below for more info:
https://supersizeart.myshopify.com/
Tuesday November 4:
Until next time…
Dave Lewis – November 5 2025
TBL website updates written and compiled by Dave Lewis
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