MR. JIMMY FILM BLU-RAY RELEASE/SAVING GRACE ALL THAT GLITTERS..RSD RELEASE/ TBL ARCHIVE ROBERT PLANT FATE OF NATIONS 33YEARS GONE/ROBERT PLANT SOUND AND VISION 2010/RETRO CHARTS & ADVERTS 1975/VIP VICTORIA RECORD FAIR/P.P.ARNOLD/DL DIARY BLOG UPDATE
Mr. Jimmy film – Blu-ray release…
Following a Japanese release, the acclaimed Mr. Jimmy film is now available worldwide on Blu-ray to order via the film’s website.
I met with producer Peter Michael Dowd in London last October to record a commentary which forms one of the extras on the Blu-ray release. I also provided a new sleeve note for the booklet.
Here’s how the package lines up:
Limited Edition of 1,000 copies
114 mins
Mixed in 5.1 surround sound at Ugo Sound in Burbank, California
4K UHD Feature
Deleted Scenes
Olympic Studios Q&A + BTS
Exclusive Commentary Track featuring Led Zeppelin Chronicler Dave Lewis of “Tight But Loose” and Director Peter Michael Dowd
Exclusive 24-page Booklet featuring new writing by Dave Lewis and original review by Keith Uhlich
Oorder details here:
https://www.mrjimmymovie.com/shop
More info here:
Here’s the full story of my involvement in the commentary which reported on a TBL post last October:
——————————————————————————————————————————————————————
TBL ARCHIVE – ROBERT PLANT FATE OF NATIONS TBL ALBUM REVIEW – 33 YEARS GONE:
Robert Plant’s Fate: Diversity As A Function Of Union
FATE OF NATIONS (Fontana/Es Paranza)
So he’s back and ready to re-establish himself all over again. Of course, being Robert Plant re-establishing yourself doesn’t mean a total change of image or musical stance. He just draws on the many influences that have characterised his journey of the past 30 years and extracts from them as he sees fit.
What’s so refreshing about ‘Fate Of Nations’ is that, for this occasion, Robert has delved into the very essence of his roots going as far back as Muddy Waters, Howlin’ Wolf and Robert Johnson, through Moby Grape, Quicksilver, The Incredible String Band, and Fairport Convention to the music of India and North Africa and, of course, the work of Led Zeppelin. And in taking these influences he has not allowed them to be diluted into a slick or soulless concoction but as he describes it, he has pumped them to inspire a set of new compositions that live and breathe yesterday, and by the same measure, push for the aspirations of tomorrow.
‘Fate Of Nations’ is therefore devoid of any grunge outings if you were looking. It’s also a step away from the rather staid standard rock formula that rendered some of the more mundane moments of ‘Manic Nirvana’ (‘She Said’, Big Love’) into the realms of mediocrity. By surrounding himself with new players and passions, Plant has pleased himself in taking his music where he wants it to go, and not where the consensus of opinion might expect it to go. For that reason alone, this album is vastly different from past solo outings. Much of it demands utmost attention and does not rest easy on the ears in one listening. It may not be immediately apparent, but given time and repeated playback, the end result is a rewarding experience that for me, again confirms this particular 44 year old’s status as the outstanding vocalist of this or any other era.
The eclectic content of ‘Fate Of Nations’ perhaps also illustrates the difference of musical opinions that now divides Robert and Jimmy – and goes some way to explaining why a Led Zeppelin reunion could never work. Let’s face it, If I Were A Carpenter’ would not have found itself easily on a Zep reunion album. There is a totally different atmosphere prevailing on Robert’s album than that of the Coverdale Page set. Jimmy’s music is built on relentless riffing that captures a vast vacuum of sound. Robert has seemingly moved away from that stance, preferring to move around organically as he puts it, encompassing different styles and genres.
Not that he has lost his ability to adapt such Zep-like dynamics (witness ‘Calling To You’) when the desire takes him. For the most part though, the dynamics are alternately diversified and for me personally that’s not a problem. I can quite happily enjoy Jimmy and Robert’s respective new works based on their own differing merits and motives.
So this isn’t music that can be pigeon-holed to the cover of Kerrang. This is Robert Plant in 1993, still offering up that vocal style (his singing throughout is quite exemplary) that continues to give him a reason for being … instead of a reason for having been.
The track by track TBL dissection that follows is based on an advance tape and at the time of writing, I did not have access to the individual track listing details regarding who played what etc. Nonetheless this is how it sounded after a week of non-stop airtime on the Totnes Towers tape deck:
It all begins with ‘Calling To You’ which is simply the business. Beginning with some minor key strumming it then tacks into shape via Pete Thompson’s powerful (and yes perhaps Bonham-like) drumming. This really is a definite Zep throwback stomping along with some great dual guitar effects from, I think, Francis and Kevin. At the centre Robert turns in a majestic vocal, often undercutting the mix with additional bizarre phrases that add to the mystery of the lyric. All the old trademarks are intact (“Ohhhh Yeeaahhl”) and as effective as ever. The instrumental refrains have an Eastern quality about them and are further enhanced when one Nigel Kennedy enters to layer on a manic violin solo that recalls to mind the effects on The Beatles’ Tomorrow Never Knows’.
The track fades (“Just fade awaaaay!”) all too soon (this groove could sustain another five minutes in my book) but there is a telling moment as Plant can be heard right at the close to scream “Oh Jimmy!”‘
Could this be Robert’s own personal retort to his former partner? Perhaps illustrating that he can still turn on his sort of dynamic style when required? All in all it’s an infectious and engrossing slab of archetypal Plant that proves that he can still commit himself to this vocal style better than anyone. It’s also one of his best solo tracks to emerge in a very long time.
Elsewhere there are many differering styles to assess. ‘Down To The Sea’ is a quirky, repetitive Cure-like ramble, led by a subtle injection of Eastern table drums. The descriptive nature of the repeated lyric (“When I get older settling down will you come down to the sea”) conjures up video storyboard images of deserted grey beaches and the retired Plant many years hence holding court in carnal Malibu style with a bevvy of beauties still in tow. Vaguely psychedelic and dreamy, this track has a very ambient feel and is a very enjoyable departure.
‘Come Into My Life’ can be viewed as a direct influence of his hanging out with the Fairports. So enter Richard Thompson to add some achingly beautiful guitar licks and Maire Brennan from Clannad to float around Robert’s turn of phrasing. The chorus is heavily scored by a rush of acoustic guitars from which I detected a slight ‘Over The Hills’ leaning. The middle guitar part from Richard is superbly atmospheric and amongst the most elegantly constructed solos I’ve heard in an age. Robert’s vocal (“Ohh when yer get there well you know”) is also superbly recorded, capturing the gentle folk essence of the track but also rising in temperature with the chorus as required without ever losing control. This as good as anything he’s done in the post Zep years.
“Memory Song” (Spikes Ghost) lurches in on a loping churning riff that proceeds to dominate the tempo. Robert’s vocal is nondescript and slightly phrased. The drum beat has a touch of the ‘Levee Breaks’ about it and towards the end the piece becomes a vehicle for some typical Plant gymnastics (one of which is right out of the fade to ‘Four Sticks’). lyrically ”Are you lost without the group ”is a telling line to who this might apply to.
The appearance of ’29 Palms’ changes the mood. Already familiar as the first single, within the confines of the album, it leaps out as being overtly commercial, with some very Knopfler-like guitar licks and a nice driving feel. All very likeable.
‘Colour Of A Shade’ takes over where ‘Liars Dance’ left off on the last album. Framed by a series of attractively overdubbed acoustic guitars, Robert applies a very folksy vocal that leads to an affectionate chorus. Shades of the Incredible String Band prevail throughout. File next to ‘Going To California’.
Side 2 opens with ‘I Believe’. The intro has a distinctly ‘Tears For Fears’ sounding keyboard motif (producer Chris Hughes influence) before moving into a very pretty strident mid-tempo chorus-led excursion likely to be pulled as the next single. Lyrically it’s not too difficult to detect a very personal message in the lyric (“Say brother sister see your brother in the sky”), which is duly reflected in the emotional content of Robert’s singing. “Like the wind you are free so talk to me, talk to me”. I guess we all know how the latter line will be extended in a live setting. There’s a very Beatlish flavour to the guitar solo here and overall this is another successful deviation from the expected.
Promised Land’ is more traditional fare, a bluesy strut with some prominent organ early on, before the familiar harmonica merges with some stinging guitar at times embellished by wah wah effects. His vocal here has a very retro feel which is almost ‘Physical Graffiti’ in texture. There’s an offbeat peculiarity about the whole track that draws you in on subsequent listening.
Another departure heralds the arrival of Great Spirit’. Set against a muted wah wah guitar effect played slow and moody, Robert croons over a repeated background chorus (“Great spirit comes”). Soulful and tasteful with some impressive guitar soloing but not a riff in sight. The lyrics include a reference to the album title and it all mellows out into the distance via some echo vocal effects as the master heeds the lyrical call of a previous incarnation (“Sing and Celebration”).
“The Greatest Gift opens with string induced grandeur. This is an epic love ballad, again more soulful than bluesy. It livens up for each power chorded chorus before returning to a very moody and mellow theme aided by some silky smooth guitar lines. The addition of a full string accompaniment adds to the epic nature of the piece. The whole thing has a widescreen effect and it strikes me that the song would make a great movie soundtrack theme. Plant’s impassioned vocal just soars.
And then . . . Robert joins such illustrious company as Bobby Darin, The Four Tops, Johnny Cash, and The Band Of Joy in covering the Tim Hardin 60s classic ‘If I Were A Carpenter. It’s a superb performance beautifully sung with full respect for the original and underscored by a subtle snare injection and another lush string arrangement. It’s a song he was familiar with long before there was Led Anything around circa 1967 and though it’s hardly the usual formula, it proves to be a perfect vehicle for his voice. And who knows, it could be a huge smash if extracted as a single at the right time.
And that is ‘Fate Of Nations’. An album that explores many different facets of Robert Plant’s compound of influences. It may take a few repeated listening but stick with it, because the end result will be immensely satisfying.
Led Zeppelin’s greatest strength was always their sheer diversity, a point clearly not lost on their ex-singer 25 years after their original inception. On ‘Fate Of Nations’ Robert Plant employs diversity as a function of union. Share it with him at your earliest opportunity.
Dave Lewis – April 25, 1993
STOP PRESS Please note early tapes of the album did not carry the track Network News’ which I was unable to review due to the already overdue printing deadlines. Just received the second CD of ’29 Palms’ with the new acoustic ‘Whole Lotta Love’ – it again employs Rainer on steel guitar – a sparse bluesy workout very much in harmony with Willie Dixon’s original “You Need Love” which no doubt accounts for the subtitle employed on the sleeve.
TBL FATE OF NATIONS EUROPEAN TOUR OVERVIEW
Playing To An Ocean: Robert Plant goes back to the people
From a grand entrance in front of over 100,000 in Milan on May Day 1993, through to the less populated confines of the Kings Head, Fulham and across a variety of European halls and festival dates, Robert Plant’s first tour in three years has produced one of the most intensive and interesting work periods of his entire career. Stretching from the early Spring into late August he has appeared in front of well over a million people.
In launching this new phase of his career, Robert has been firmly committed to taking the music to the people. With little pretentions for the arena rock circuit which by his own admission his audience would be unlikely to extend to filling, Plant and his new line up embarked on a promotional trip that ensured a strong visibility by shrewdly taking a support slot with Lenny Kravitz and making up the bill on several major European festival dates, including a triumphant UK return at Glastonbury.
Alongside the actual live appearances, there have also been the media plugs. These have encompassed a hefty round of promotional TV and radio interviews with the added spice of several acoustic sessions that have been responsible for some surprising performances. The ‘FateOf Nations’ media UK push also propelled the new line up on to the small screen with appearances on ‘Top Of The Pops’ and ‘Later With Jools Holland’ – the latter signalling Robert’s first ever live UK presentation in his own right since the Zep 1969 one off.
Musically, in assembling a new line up, fresh thinking has been afoot. Gone are the techno wired for sound effects of Chris Blackwell’s drumming and the reliance on keyboards and samples from Phil Johnstone who, for this tour, has been much more prominent on guitar. Gone too, sadly, is Doug Boyle. He has been a much missed part of the line up for many Plant devotees, having carved a considerable nitch for himself during the previous four years. In revamping the line up Plant appeared to have struck lucky in finding Kevin Scott McMichael, an intelligent player with a seasoned background who displayed a fine alliance with
Plant’s own musical leanings (hence the introduction of the East coast Moby Grape/Springfield influence). To the left of the lead singer has stood Francis Dunnery, a strident guitarist well versed in the Page songbook and a strong personality on stage (can’t say I was over enamoured with the green shorts mind!). His stay could also be limited as there are plans for him to tour in his own right in early ’94.
On drums, Michael Lee has proved to be an excellent addition with a no frills attitude to attacking the kit (Calling To You) coupled with a subtlety in his approach when the occasion demands (witness the rimshot style on the new arrangement of Ship Of Fools).
The actual set list employed seems to have caused quite a division amongst the faithful. After the No Led Anything approach pre-83, the contention of what to play seems to have come full circle. This time out there has been a renewed emphasis on performing Zep numbers – a total of 11 were aired along the tour against a ratio of 9 of his solo outings (plus two non originals).
Of those nine Plant solo outings, none of the songs delved back further than the 1988 Now And Zen album. It’s almost ironic that many of the diehards I’ve spoken to said they would have preferred Robert to have reinvestigated earlier solo tracks such as Pledge Pin and Burning Down One Side at the expense of a Zep delivery or two.
Of the Zep numbers re-employed Thank You and What Is And What Should Never Be received their first live airings in 20 years and seemed to be most welcome by all that heard them. The actual structure of the set was changed to match the differing time slots – a rigid 45 minute set was the norm for the supports to Lenny while the festival set was elongated to over an hour. The UK meanwhile received something like the duration that the US leg enjoyed with plenty of encore surprises – the most striking of which was the verses of Dazed And Confused performed at the NEC. Three tracks were used as set openers with Tall Cool One eventually emerging as the key choice over Hurting Kind and Calling To You.
Visually his persona seemed a throwback to the golden age with the hair back to Earls Court centre parted length. Time has not been too kind to his facial lines however and I also observed something of a receding hairline when the sweat dripped off the hair. But he looked fit enough -incorporating that new whirling dance style with perhaps a more paced physical approach that kept the peacock preening for later in the set.
In amongst all the media saturation Robert has played off the usual Zep investigations with a combination of flippancy and perception. Sometimes appearing not to care too much about the past, while at other times keen to re-affirm their greatness and affectionately talk of John Bonham.
One of the illuminating comments that have surfaced in more than one interview, is Plant’s observation that towards the end Led Zeppelin had become less of a passion for him and would not have survived in the 80s for all that long. “One thing’s for sure it would have seemed pretty silly today” was one such comment. This quote from a French radio interview also summed up his thoughts of the state of play back then. “Could we have continued? It’s impossible to say It’s a long time ago and I’m dealing with the present and the future now. And if I look back it’s all a long way back. I think there are some things you just grow out of. Led Zeppelin was very instant and motivated and you can’t keep that going forever. It really was a very big exciting animal. And maybe the animal had gone to the zoo . . .”
The other media cat and mouse game surrounded the Coverdale Page project with Robert again mixing some guarded replies with a few unsubtle and unnecessary snipes. When it comes to such matters, he should really let the music do the talking.
And it was the music that was the real focal point of this return to the people. And for me the most striking factor through it all, has been the quality of his vocals – with performances such as Thank You’ and ‘I Believe’ recalling the purity of those early teenage Atlantic recordings of nigh on a quarter of a century ago.
In fact some 20 years after he first introduced us to the ethic on the ‘Houses Of The Holy’ album, Robert Plant is still singing to an ocean . . . and judging by the reaction to this European tour. . . the ocean hasn’t lost its way…..
Dave Lewis – July 1993
First published in Tight But Loose issues 8 and 9
————————————————————————————————————————————————————
TBL Flashback:
Last night’s Sound & Vision Event at Abbey Road raised nearly a quarter of a million pounds for Cancer Research UK.
Throughout the evening the ongoing Silent Auction saw heavy bidding on the vast array of rare framed exhibition photos lining Studio 3 featuring The Beatles, Rolling Stones, Jimi Hendrix, The Who, Pink Floyd, Bob Marley, Blur, Oasis and many others. The Zeppelin attractions included a framed Neal Preston photo of Page & Plant at the Minneapolis rehearsal in 1975 and a collage of photos taken by Led Zeppelin 3 sleeve designer Zacron at the homes of the four members in 1970 which went for over £1,500.
The Live Auction than boosted the total further. A set of large framed prints of the recent Royal Mail Classic Album Covers including the Zep 4 image signed by Jimmy, Robert and John Paul Jones, sold for £12,000. A Robert Plant package which included a print of the Eddie Kramer Stargroves photos singed by Robert, a double platinum gold disc for Raising Sand and a framed Led Zeppelin 3 album sleeve print signed by Zacron raised nearly £6,000. Zacron himself was on hand to show the design on stage during the auction. A package to have a tour of the Abbey Road studios with Sir George Martin and son Giles and travel to Las Vegas to see The Beatles Love Cirque du Soliel show topped £20,000.
Heartfelt speeches regarding the charity were made by founding patron of the event Sir George Martin and Cynthia Lennon. George also reminded us we were in Studio 3 where he had conducted the orchestra for A Day In The Life, and Cynthia guided the audience through a spontaneous version of Those Were The Days. Roy Orbison’s widow also took to the stage to offer one of Roy’s favourite Gibson guitars for auction. A moving speech on stage by a recovering cancer sufferer further enhanced the sterling work of Cancer Research UK
The musical performances included a set from David Gray. Host and co patron of the event Bob Harris introduced Beth Nielson Chapman noting that Robert Plant had seen her DVD of a performance with the London Oriana Choir which led to his involvement tonight. Beth explained her own fight with breast cancer and the death of her husband from cancer before performing a moving song titled Colour Of Roses with the London Oriana Choir conducted by David Drummond, along with How We Love from her new album
Robert took to the stage flanked by Nigel Eaton on hurdy gurdy – Nigel was part of the MTV Unledded show in 1994 and Page & Plant tour in 1995.
A brief humorous hurdy gurdy run through of Stairway To Heaven from Nigel led into Roberts opening performance. This was a Scott Walker song from his 1995 Tilt album (Robert name checked Phonogram/Fontana record company man Dave Bates beforehand for having faith with that album). Farmer In The City featured a compelling vocal performance backed by the choir. The repeated refrain of ‘’Who are you twenty one, twenty one, I’ll give you twenty one, twenty one’’ sending shivers down the spine.
Robert then made reference to his trip with Jimmy to the cottage in Snowdonia all those years back laughing at the photo from that era on the auction screen behind him. He then explained how the next song had appeared on the Incredible String Band’s album Hangman’s Beautiful Daughter and acknowledged the work of Mike Heron.
The song I Bid You Good Night was part of the A Very Cellular Song track on the Hangman album. ‘’ A song ‘’said Robert ‘’We always wanted to play at the end of a Led Zeppelin show but instead we always did something loud like this (adopting rock god pose). Well now I can do it’’. The song’s gospel leanings (Robert also mentioned folk/blues archivist Alan Lomax beforehand), benefited greatly from the choir’s intricate vocal arrangement.
Finally there was a fitting Abbey Road related tribute. During the night there was much comment and support on stage for the keeping of Abbey Road as a national institution following the news it was to be sold. (‘It might make a great hotel’’ Robert quipped). Alongside Beth, David Gray and Newton Faulkner, the finale was a rousing My Sweet Lord (‘’In memory of George’’) performed in the very studios it had been originally recorded 40 years ago and on what would have been George Harrison’s 67th birthday. Bob Harris duly noted that George’s widow Olivia would have loved to have been at the event and had sent her best wishes.
With that the band and choir left the stage. Bob came back to announce the totals raised on the night and the winning bidders lined up to collect and take home their exhibition prints.
I had a quick word with legendary Zep PR guru B.P. Fallon on the way out and had a final look next door in Studio 2 where all that legendary Beatles music was made –it’s amazing how it looks much the same as it did back then.
As for Robert – this was indeed a unique performance backed by Nigel and the London Oriana Choir delving into the songs that as he once said he keeps ‘’in his back pocket.’’ Watching him at close proximity sing with such
mesmerizing conviction on the 35th anniversary of the release of Physical Graffiti, I was reminded of that quote from the 1975 US tour
when he said ’’By the end of the tour I felt I could sing anything’’
Well he can sing anything – from forlorn torch ballads to spiritual recitals as was once again proved tonight.
From 66 to Abbey Road and Nashville ahead. His journey continues.
Dave Lewis
February 26th 2010
————————————————————————————————————————————————————
The way it was 51 years ago this week…
Retro Charts and adverts -the way it was this month in 1975…
VIP Victoria Record Fair – Saturday April 25 2026
The VIP Record Fair is staged at the Horticultural Halls, 80 Vincent Square, Victoria, London this Saturday, April 25.
Here’s all the VIP Record Fair info::
Saturday April 25 2026
LONDON VICTORIA
Horticultural Halls, 80 Vincent Square, Victoria, SW1P 2PB.
London’s very own Vinyl Fest. – the biggest and busiest Record Fair in the
UK
Admission 12 noon £5. Early entry £10 at 10am. Doors close 4.30 pm.
……………………………………………….
It was 57 years ago….57 years of DL musical passion:
It was 57 years ago around the April Easter period, The Beatles released their first single of 1969. Get Back coupled with Don’t Let Me Down – these tracks had been recorded in January during the infamous Get Back sessions.
This is a significant release for me as this is the record that attracted me back to music – an attraction that has grown manifold over the past 56 years.
I say ‘back to’ as aged 7 I did have a brief flirtation with music mainly focused on The Dave Clark Five. I was pretty obsessed with Dave Clark’s drumming skills and replicated his drum kit in our garden using old paint tin cans. Glad All Over remains one of my all time fave singles. The first live concert I ever saw was a package night at the Granada Cinema featuring The Dave Clark Five, The Kinks and The Hollies and more on April 10,1964.
However this passion was eroded somewhat by other distractions such as Thunderbirds, The Man From Uncle, James Bond and from 1966 Tottenham Hotspur and football in general. My love of music took a back seat and remained somewhat dormant until that Easter of 1969.
Back then in the local café there was a juke box – sixpence for two goes. My gang were often in there and one of the records that was played constantly from the moment it was released was Get Back. Now this I liked – really liked. I liked its driving rhythm, bustling drumming ,cool vocal with talk of ‘’Sweet Loretta martin thought she was a woman’’ and Billy Preston’s rolling keyboards.
I also loved the B side Don’t Let Me Down which was also often played on the juke box. The pleading vocal of John Lennon hit the mark every time.
I was well aware who The Beatles were of course. I had been to see both the Hard Days Night and Help films at the cinema. Anyone growing up in the 60s could not really avoid them – they were everywhere. My interest in them though had been from afar.
That all changed when I heard Get Back. A little over a month after this release The Beatles had another single in the charts titled The Ballad of John And Yoko. I loved this one too.
One of the distinctive aspects of these Beatles records was that the label depicted a green apple, while the B side was the core of an Apple. I quickly learned that the Beatles now released records on their own Apple label. I thought this design was a deft touch – it ignited something in me that would lead to a deep fasciation for actual record labels, designs and sleeves. It all went hand in hand with the affinity I developed for the long playing record and 45 RPM single.
I could not get enough of all this. As the song goes music was now my first love – big time. I wanted to hear it, read about it, and talk about it. Remarkably, in a matter of five years I would be selling it.
From that moment of hearing and admiring Get Back grew an intense passion. I avidly read the NME and other music papers, I listened to Alan Freeman’s Pick of the Pops chart show every weekon Radio One. I kept right up to date with all the weekly chart happenings and my appreciation of so much music grew and grew – The Rolling Stones, Elvis Presley, The Who, Bob Dylan, Jimi Hendrix, Fleetwood Mac, Free, Family, Creedence Clearwater Revival, Crosby Stills, Nash & Young, Jethro Tull to name but a few, all appeared on my musical radar during the next few months – and stayed there.
Of course there was one other act of much importance as all this would lead me to the biggest passion of all – Led Zeppelin. And anyone reading this will realise the immense consequence of all that. For me, this was not just a band…it was a way of life.
When I could afford it I began buying singles and albums – The Who’s Pinball Wizard and the Island Records sampler LP You Can All Join In being amongst my first purchases in this new era. Many more would follow.
The Beatles Get Back single was announced via a very clever press advert. It described this new record with a series of incisive phrases.
It carried the headline The Beatles as nature intended. It read as follows:
‘’Get Back’’ is The Beatles new single. It’s the first Beatles record which is as live as can be in this electronic age.
There’s no electric watchamaclit.
‘’Get Back’’ is a pure springtime number.
On the other side there’s an equally live number ‘’Don’t let me down.’’
Paul’s got this to say about Get Back…
‘’we were sitting in the studio and we made it up out of thin air. We started to write words there and then …when we finished it we recorded it at Apple Studios and made it into a song to rollercoast by’’.
P.S. John adds its john playing the fab live guitar solo.
An now John on Don’t Let Me Down.
John says don’t let me down about ‘’Don’t let me down’’
In ‘’Get Back’’ and’’ Don’t let me down’’ you’ll find The Beatles as nature intended.
I could easily apply my then new found enthusiasm with the same statement because it rely did feel like I had found redemption in music – as nature intended.
55 years on nothing has changed – music is the DNA that defines who I am and what I do. In sharing it over the years, it has built friendships and created much camaraderie. As of now I am officially celebrating 54 years of music passion.
So thank you dear Beatles for opening the music floodgates for me that Easter all of 57 years ago.
Oh and John…I did not let you down about Don’t let me down – and you never let me down either….
Dave Lewis – April 21 20256
————————————————————————————————————-
DL Diary Blog Update:
Saturday April 18:
Just joined the queue for Record Store Day outside Bedford Arcade where the Slide Record shop is -at 4.15 am – the quest begins!
Saturday April 18:
The wait is always worth it – My Record Store Day haul – including Robert Plant Saving Grace with Suzi Dian , The Who, Rod Stewart, Deacon Blue, Joni Mitchell , The Rolling Stones The Misunderstood and Paul Weller – a full compliment of my wants list – well worth the 4 -15 am start – I was 18th in the queue – a real good atmosphere – big thanks to Nerys and Warren at the always excellent Slide Record Shop in Bedford – great service as ever. – as Nick Hornby put it Record shops can’t change your life – but they can give you a better one…on Record Store Day that’s a statement countless people will be agreeing with!
Saturday April 18:
Until next time…
Dave Lewis – April 22 2026
TBL website updates written and compiled by Dave Lewis
Follow TBL/DL on Facebook:
(No Ratings Yet)
Loading...
Leave your response!