TBL ARCHIVE SPECIAL – BATH FESTIVAL 56 YEARS AGO GONE/ FRANKFURT OVER EUROPE 1980 46 YEARS GONE/KNEBWORTH 90 36 YEARS GONE/ PAUL McCARTNEY ALBUM REVIEW/DL AT 70 COUNTDOWN/DL DIARY BLOG UPDATE
TBL Archive Special 1: It was 56 years ago…
Friday June 28 marks the 56th anniversary of one of the most famous Led Zeppelin performances -their bill topping appearance at the 1970 Bath Festival.
Too mark that event here’s the details of that performance as chronicled in the Evenings With Led Zeppelin book with thanks to Mike Tremaglio
June 28, 1970 – Bath Festival of Blues & Progressive Music ‘70 – Bath & West Showground – Shepton Mallet, England
Setlist:
Immigrant Song, Heartbreaker, Dazed And Confused, Bring It On Home, Since I’ve Been Loving You, Organ Solo/ Thank You, That’s The Way (introduced as ‘The Boy Next Door’), What Is And What Should Never Be, Moby Dick, How Many More Times Medley (inc. Rice Pudding, Mr. Soul, Beck’s Bolero, Down By The River, The Hunter, Think You Need A Shot (The Needle), Honey Bee, Long Distance Call, Boogie Chillun’, Hideaway, El Paso Blues, The Lemon Song, I Need Your Love Tonight, That’s All Right, etc.), Whole Lotta Love, Communication Breakdown (inc. Sing A Simple Song, It’s Your Thing, etc.), Long Tall Sally (inc. Say Mama, Johnny B. Goode, That’s All Right
Background Info:
Much has been said and written about Led Zeppelin’s historic performance at the 1970 Bath Festival of Blues and Progressive Music. It was certainly a key turning point in the band’s career, especially in their homeland. Just over two months earlier, The Beatles had officially called it quits, and by the time the Bath Festival had wrapped up, it was clear that Led Zeppelin was now the most popular band in the world. “Official” declaration of this fact came in the form of the Melody Maker Poll Awards in September, when Zeppelin had seized the mantle from The Beatles and were named the World’s Top Group.
Unlike the 1969 Bath Festival which was held at the Recreation Ground in Bath, the 1970 Bath Festival was held at the Bath & West Showground in Shepton Mallet, 15 miles south west of Bath. The attendance at the 1970 Festival was significantly higher than the previous year, with over 150,000 fans in attendance (the 1969 Festival was considerably smaller, with Zeppelin performing to approximately 12,000 fans).
The band played on the second day of the festival, June 28, and started their performance at 8:30 pm. The set opener was the newly-penned Immigrant Song, which bore little resemblance to the LP track as Robert had ad-libbed much of the lyrics. For the next two hours and twenty minutes, the band put on one of the greatest performances of their storied career.
Press Reaction:
Melody Maker (July 4, 1970) – Cover Story: Five Encores for Zeppelin!
by Chris Welch & Chris Charlesworth:
“Led Zeppelin stormed to huge success at the Bath Festival. As about 150,000 fans rose to give them an ovation, lead singer Robert Plant told them: “We’ve been away a lot in America and we thought it might be a bit dodgy coming back. It’s great to be home!”
“They played for over three hours – blues, rock and roll and pure Zeppelin. Jimmy Page, in a yokel hat to suit the Somerset scene, screamed into attack on guitar. John Paul Jones came into his own on organ as well as bass, and John Bonham exploded his drums in a sensational solo. And the crowd went wild demanding encore after encore… a total of five!”
“They kicked off with a new riff from their next album called ‘Immigration Song’ (sic). They actually took some time to warm up the crowd, but this may have been intentional as they built up to a fantastic climax with an act lasting over three hours… They had made all the hang-ups worthwhile and given the crowd a night to remember – whatever else happened. In their final minutes, they paid tribute to the Masters of Rock and Roll with the songs of Little Richard, Elvis Presley and Chuck Berry.”
Bootleg Recordings – 2 audience sources (129 & 119 minutes):
For years, the only bootleg recording available of Zeppelin’s set was a barely listenable audience recording. Fortunately, a major upgrade of the recording appeared in 2010 from a second generation tape. The taper recorded the performance on a Sony tape deck with a stereo microphone attached to a pole twelve feet in the air, 200 yards from center stage. While certainly not perfect, the recording captures the festival atmosphere and gives the listener more of an appreciation for the outstanding gig.
Beginning with a different lyrical arrangement of the recently written ‘Immigrant Song’ as the show opener, the band started strong and never let up in delivering one of their all-time greatest performances.
The encores were especially epic, with many rarities played during the ‘How Many More Times’ medley (with the total number of available concert recordings of each song in parentheses): Buffalo Springfield’s ‘Mr. Soul’ (1); Muddy Waters’ ‘Long Distance Call’ (6); Big Joe Williams’ ‘El Paso Blues’ (2); Elvis Presley’s ‘I Need Your Love Tonight’ (3). Little Richard’s ‘Long Tall Sally’ included Gene Vincent’s ‘Say Mama’ (2); Chuck Berry’s ‘Johnny B. Goode’ (1).
Many thanks to Mike Tremaglio
Extract from the book Evenings With Led Zeppelin by Dave Lewis and Mike Tremaglio (Omnibus Press)
Staying with the Bath Festival…a report of the existence of film footage of the Bath appearance from 2017:
Icons of The Hall Event – Led Zeppelin Royal Albert Hall footage screened – Led Zeppelin at Bath 1970 film discussed…
Before proceedings had got under way I studied the contents of a special display case that had various memorabilia on show – part of that was a vintage film label marked Led Zeppelin at Bath. I have previously been aware that Peter Whitehead had shot film of the band at the Bath Festival in 1970 but here was tangible evidence.
This was backed up by Professor Steve Chibnall during the forum when I asked a question about the Bath film. Steve revealed he had viewed the 20 to 30 minute silent colour footage (the label says B and W but Steve says it is colour ) and though it was rather dark in places it was usable and he hoped one day it could be restored and see the light of day.
Here’s the full transcript of the question I asked via the LZ News site:
Like I said, I had previously been aware that Peter Whitehead had shot the Bath Festival in 1970 but this was real tangible evidence it exists and it was great to chat to Steve afterwards and hear first hand from someone who has actually viewed it. Quite weather it will ever see the light of day officially only time will tell. It was incredibly exciting to be right there as this revelation news was unfolding.
And finally on Bath 1970:
There’s some great Bath 70 pics and stories on this website link:
TBL Archive Special 2: It was 46 years ago – Led Zeppelin Over Europe 1980:
This month marks the 46th anniversary of the first dates of the final Led Zeppelin tour – a low key 14 date trek taking in Germany, Belgium, Holland, Austria and Switzerland. I was lucky enough to attend five of those gigs. This is all chronicled in my Led Zeppelin Feather In The Wind Over Europe 1980 book
Here’s is a further extract – my on the road account written at the time and first featured in TBL issue 5…
Led Zeppelin Over Europe 1980:
Frankfurt Festhalle – It was 46 years ago …
Flashback to the Frankfurt Festhalle, Germany – on the evening of June 30th, 1980 around 8pm:
I am in the confines of the grand Festhalle venue in the heart of Frankfurt and I am standing no more than ten feet away from the four members of Led Zeppelin. The occasion is the tenth gig on the current tour of the band who have reigned supreme as the world’s greatest live rock attraction for much of the past decade. However the 1980s are upon us, and many things have happened since Led Zeppelin undertook their last full scale tour some three years ago.
The musical landscape they one stood over like a colossus, has changed radically. The onset of punk rock and new wave has challenged the status quo of the mega-bands – the so called dinosaur acts.
In fact, Robert Plant will make reference to the dinosaur tag on more than one occasion on this tour. Aside from the new wave of bands who rely on sharp, incisive three minute blasts of power pop, a new movement of rock outfits, spawned on the hard and heavy riffs that powered Zeppelin to the top, are in the wings ready to take dislodge their crown.
Within the next twelve months, the likes of Def Leppard, Iron Maiden, Saxon, Diamond Head, etc., will begin to dominate the music press in a similar manner in which Zeppelin were once courted, ushering in a movement that will be termed ‘’The new wave of British heavy metal.’’
Led Zeppelin are performing in Europe in an attempt to thwart such challenges and re-establish themselves as a working band. That aforementioned last tour, a gargantuous trek across America in the summer of 1977, attracted a combined audience of nearly one million. Last August over 200,000 came to pay homage to them over two Saturday gigs at Knebworth.
Things, though, have moved on considerably, even since then. This tour has garnered little publicity back home, and though a hardcore of UK followers have made the trip over, by their standard this is a very low key affair.
Tonight, though, they are playing one of the larger venues on the tour. The 13,500 capacity Festhalle . Ten years ago, Zeppelin became the first band ever to play this venue and their return is much anticipated by the German audience. Tonight’s crowd is also boosted by the presence of a number of US servicemen based at the nearby US Army base where Elvis Presley did some of his time for Uncle Sam way back when.
Understandably, the four members look a little apprehensive as they mill around the short stairway that will soon usher them on to the stage. This is the second show of the tour that my friend Tom and I are taking in. Twelve days ago, we witnessed their vibrant second night in Cologne. Since then the tour has not been without it’s problems. Last Friday, John Bonham collapsed on stage in Nuremberg after just 16 minutes and the show was cancelled.
When we met with security man Dave Moulder earlier in the day, he was keen to play down the events saying John had merely suffered from nervous exhaustion. A show in Zurich last night appears to have gone well. The heavily bearded drummer seems his boisterous self as he banters with Robert Plant. Plant is again wearing the green cap sleeve top and jeans attire that has been his ever present uniform for the tour. He too looks upbeat, if a little bit nervous. John Paul Jones, with suave short hair and smart shirt, is interacting with them. Jimmy Page is dressed in a white suit with a green top and matching green sneakers. He looks slightly sweaty, but is smiling warmly as the imposing frame of manager Peter Grant points out the all important presence of Atlantic Records Ahmet Ertegun – the man who has guided their career at the label from the very beginning.
The lights are dimmed, and road manager Phil Carlo shines a torch through the dark and leads them up to the stage. Bonzo climbs the rostrum to the drums, Jonesy turns right where his tech assistant Andy Ledbetter straps on the Alembic bass, and Jimmy Page walks onto the stage to the left, followed by Robert Plant.
As they walk into the glare of the spotlights, those assembled in the Frankfurt Festhalle finally view all four members of Led Zeppelin and the place erupts.
Guitar tech Ray Thomas straps on the Gibson and Jimmy moves to the effects pedals. A few snare shots and bass shuffles from John Bonham is the signal for the guitarist to lean back and exhort a fierce moaning wail from the Gibson. Robert stakes a stance to his immediate right –the spotlights pick out the pair in regal splendour and then BLAM!
They launch into Train Kept A Rollin’, the old Johnny Burnette barnstormer The Yardbirds used in their heyday, and indeed Zep played on their first US tours. Now it is being revived to kick start what will be two hours of full-on power and excitement.
Tom and I are extremely fortunate to be watching all this action unfold just a few mere feet from the stage. As the band begin their ascent to the stage, Peter Grant acknowledges us and nods approvingly as Dave Moulder ushers us to the side of the stage. In effect, we have been allowed into their tight-knit inner sanctum.
Watching Led Zeppelin live on stage from this ultimate vantage point is, unsurprisingly, an astonishing experience and one that I will repeat in Mannheim and Munich later in the week.
To be continued…
Extract from the book Led Zeppelin Feather In The Wind – Over Europe 1980 by Dave Lewis.
TBL Archive Special 3:
Knebworth 90 – It was 36 years ago:
Thoughts on the Record Store Day Robert Plant Live At Knebworth 12 inch single…
The 2021 Record Store Day Robert Plant Live At Knebworth 12 inch single was a timely reminder of a remarkable performance and it brought back many warm memories of what was something of a golden summer all of 34 years ago.
To backtrack on it all – it was certainly memorable for us here for a number of reasons – not least the arrival some six weeks early of our daughter Samantha Elizabeth Lewis on Monday June 4, 1990.
I was due to see Robert Plant at the Hammersmith Odeon that night and in something of an astonishing series of events, witnessed the birth of our daughter at 2.30pm and some five hours later made it on time to see Robert’s opening number -I also attended the second show the next night.
Looking back those were quite crazy decisions – however there was to be a reprise of this gig going activity when it was announced that Robert Plant would be joining an all star line up of Silver Clef award winners at Knebworth on Saturday June 30. Robert had just received the award – I was toying with the possibility of attending the show and my decision was swung when I had it on good authority that Jimmy Page would be appearing as a guest with Robert.
So once again I was on my travels. Gary Foy secured two tickets at late notice and we found ourselves back at Knebworth on a rather windy and dull Saturday.
The bill included Status Quo, Cliff Richard, Genesis, Phil Collins, Dire Straits, Pink Floyd and Paul McCartney.
Robert Plant was introduced by Radio One’s Gary Davies (the event was broadcast live on Radio One) as “A singer who is no stranger to big crowds – he played to 380,000 on his last visit here eleven year ago”. Plant hit the rather the windswept stage at 4.45p.m. The first part of the set ran as follows: ‘Hurting Kind’, ‘Immigrant Song’, ‘Tie Dye On The Highway’, ‘Liars Dance’, ‘Going To California’, and ‘Tall Cool One’.
Before bringing on his special guest Robert stated : “Well, this little award given to me last week, not particularly for anything I’ve done but for what has happened between 1966 when I made my first record and today. I’ve been working for the last four years with these guys and it’s been a wonderful time and I owe a good portion of this to these chaps behind me. I also owe a major proportion to my good friend who has just joined me on stage… Jimmy Page.” With cherry red Gibson in hand, Jimmy Page proceeded to add vast influence to enthusiastic work outs of ‘Misty Mountain Hop’, a superb ‘Wearing And Tearing’ (never before played live) and a rousing ‘Rock And Roll’.
Jimmy Page said afterwards : “We were having a really good time. We’d had a rehearsal before we did it and that was great fun. It’s really good playing all the old numbers… especially ‘Wearing And Tearing’… it really was on a wing and a prayer that we went on with that at Knebworth. We were back to living dangerously again.”
It was incredibly exciting to see the pair back on stage and the performance of Wearing And tearing remains one of my all time greatest gig going moments.
So to the Record Store Day 12 inch single. It comes packaged in a low key black sleeve with minimal artwork – a generic design also used for similar Live At Knebworth Record Store Day 12 inch singles featuring Status Quo and Genesis. and that
It’s pressed on vivid yellow vinyl – the credits are retained from its previous release as part of the multi artist LP and CD set Knebwortht 90 – this has Jimmy Page listed as being courtesy of Geffen Records –back in 1988 his solo album Outrider had been released on that label.
It kicks off with Hurting Kind (I’ve Got My Eyes On You) – the rockabilly flavoured up-tempo opening track of the Manic Nirvana album and also the first UK single. It’s a good representation of where Robert and the band were at during the turn of the 90s. Manic Nirvana released earlier in the year was an enjoyable romp – harder edged than Now And Zen – a full on production with some heavy choruses of which this track was one.
Live on stage it was always a crowd pleaser and here Robert’s echoed vocal soars above it all and there’s a panache and swagger throughout. This version of the Plant band were well melded now Chris Blackwell’s elaborate drumming and Charlie Jones steadfast bass holding it together over the flamboyant keyboards of Phil Johnstone and the delightful guitar playing of Doug Boyle. He really was such a quality player. As for the singer he was perhaps in the last throes of his full on golden god phase – with lots of Zep like vocal gymnastics in evidence – he would refine this style with the emergence of the Fate Of Nations era and beyond.
On stage at Knebworth in 1990 with the wind blowing he cut an impressive figure.
Next up Liars Dance preceded by some Plant words about the days of festivals of old. This was a brave set list choice on the day – to perform an acoustic duo between him and Doug could have gone right over the heads of many in attendance – on the day it certainly didn’t feel like that and on record here the intensity of the performance shines though. Doug is exquisite on this and lyrically it’s another throwback with that repeated ”lady who’s sure” refrain.
Over on Side Two Tall Call One arrives in a barrage of Led Zep samples. This was another on stage crown pleaser of the time delivered here with total conviction and complete with Phil Johnstone’s Kylie Minogue I Should Be So Lucky insert. The finale see’s them zip into a slice of Custard Pie and ends with a decisive blast of The Ocean riff.
There’s a burst of crown applause and Wearing And Tearing kicks in. What a delight this was and is with Jimmy in total full on speed riff mode. Again there’s a total conviction in the playing and for a brief moment we had a Led Zep for the 90s. Outside of the 02 reunion this has to be right up there as one of their finest post Zep moments. ”Robert Plant and Jimmy Page” says the announcer who if I recall was the late Dave Dee.
This Record Store Day 12 inch single is welcomed reminder of a truly great performance. However, it does feel a bit of a missed opportunity – it would have been preferable to issue the whole Robert Plant Knebworth 90 set as a fully fledged album. – Pink Floyd took that stance with their Live At Knebworth release covering their performance that day.
Finally I’d like to dedicate this piece to the late Phil Johnstone – RIP…
Dave Lewis June 2026
Paul McCartney Boys of Dungeon Lane -track by track review by Ian Dixon…
As You Lie There. Slow acoustic intro suddenly opens out into mid 70s Wings, Girl School/ Back to Egg. Pretty much vintage Macca fragment song. Nice vocal effects to make the most of his voice and possibly age of sections of the track that is being put together. And a bit of that old ego that the girl still fancies him.
Lost Horizon. Again, plenty of bite and a wonderful clever but simple melody. There is more than one horizon. Linda, George and a to peace with where he is. That outro is Macca doing Oasis doing Beatles.
Days We Left Behind. Stone wall classic. Here Today part two, with a touch of Penny Lane and All Things Must Pass. I can hear John joshing about fooking sentimentality – because of course he never did that- takes off specs and winks.
Ripples In The Pond. I think its to Nancy with post tiff themes that go back to songs inspired by Jane Asher. This could fit on Flaming Pie, Chaos and Creation or even Tug of War
Mounting Top – I love it. Silly, self knowing and a shade of Donovan. That keyboard melody is infectious and just when you think he’s subconsciously taking on Walrus, in the outro it becomes obvious he knows he is. “I have had tea – and biscuits”
Down South. Audibly recent. Verse 2 is deffo George , I assume the others reference the Paris hitchhike with John. Rick Rubin era Johnny Cash doing an Everly Bros cover
We Two – a grower. It sounds personal not a character song. More Linda than John, but maybe a mix of both.
Come Inside – Hang on it’s a nudge nudge wink wink song disguised as pop! And not for the first time in his career. Sounds amazingly contemporary but as you say, also Venus and Mars/ Wings over America.
Never Know – another superbly strong melody. Clever studio trickery lots going on in there, Wings guitar, Fool on the Hill recorder, acoustic pauses and a touch of Frog Chorus. Guitar fader out worthy of Brian May
Home to Us – I stick by Small Faces meets The Rutles. Never even clocked Ringo’s vocal first time out. Wilbury’s outake. Big Smiles.
Life Can Be Hard – Back to vocal limits of now. And that he’s doing one of his Busby Barkley numbers makes it all the more poignant. Again a man at ease at where he is.
First Star Of The Night – An acoustic Waterfalls. Beautiful guitar passes and relentless undercurrent drone, almost John Martyn. Another grower and a comforter.
Salesman Saint – On Second play I suddenly felt the could fit on Plastic Ono Band! The raw confessional style but its done with respect and with love.
Momma Gets By. Unlike some reviews I’m convinced this not autobiographical but a people song, For No One (as you rightly say) Eleanor Rigby, Lady Madonna, Another Day, Teddy Boy. It’s the set list that fools you and the big strings against the gently soaring keyboards mean it works as a closer.
Closing thoughts. From The hype and first two singles I was expecting something like Flaming Pie, but there are other layers, especially Chaos and Creation, Back To The Egg, Revolver, er MTV Unplugged. Now I want to dig all of those out too! Paul’s ear for melody and musicianship are as sharp as they have ever been. The voice is what is it. He’s not trying to hide it, but use it. And if the last of the unfished late 20teens early 2020s has now been mined, anything new will have to be Rick Rubin style and/ or more mad trip hop rock semi instrumentals. I cant see him touring this but Glasto showed the odd single concert is probably still within reach, with more than a little help from his friends. Nostalgic, contemporary and comfortable in his own skin. All wrapped up in some bloody good tunes. That’s a heady mix.
Ian Dixon
Tuesday June 23:
Tuesday June 23:
Until next time…
Dave Lewis – June 24 2026
TBL website updates written and compiled by Dave Lewis
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