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CAMDEN DUBLIN CASTLE ZEP BOOK CLUB EVENT WITH CODA LIVE / ZACRON ARTWORK SOLD/ LZ NEWS/HOUSES OF THE HOLY AT 52DEBORAH BONHAM BAND LATEST/ PAGE & PLANT AND MAD MONTH OF MARCH 1998/ THE WHO AT THE ROYAL ALBERT HALL/THE GREAT RECORD BUYING SWINDLE/ DL DIARY BLOG UPDATE

27 March 2025 617 views No Comment

Led Zeppelin night at The Dublin Castle Rock ‘N ‘Roll Book Club featuring full live Led Zeppelin set by CODA – a Tribute to Led Zeppelin

Wednesday March 26 2025

We had a great night at the Dublin Castle Rock And Roll Book Club event in Camden.

It was an excellent turn out. Richard Houghton, the author of the Led Zeppelin Whole Lotta Love A People’s History took to the stage with me to be interviewed by the excellent Alison.

The conversation revolved around the early impact of Zep in the US as featured in many first hand accounts in the book. Mention was of course made of the Becoming Led Zeppelin film and what a fantastic job was done with that.

There was some good debate about the latter Zep era and where it might have gone in the 1980s but for the sad passing of John Bonham.  The point was made too that with our advancing years, a book such as Richard’s is an important historical document in relaying the lasting effect of seeing Led Zeppelin live as told by fans that were there.

All in all it was hugely enjoyable interview very well conducted by Alison.

Then it was time for Coda and once again it was a case of what’s not to like?

New drummer Jess fitted in brilliantly  while Rob, James and Pete where right on it – Communication Breakdown, Immigrant Song and Since I’ve Been Loving You were early highlights of a compact set. Kashmir, Stairway To Heaven led us to encores of Whole Lotta Love and Rock And Roll – the latter inspiring me to flex my aching legs out on the floor. A fabulous performance.

It was great to see a fair few fellow TBL comrades including Bob and Michaela, Dave Linwood ,Andres Stocker, David Stark, Toby Woby and  Mr Gary Foy. Many thanks to Norman Wilson for the gift of an amazing photo of Jimmy page on stage at Earls Court.

Thanks to Richard for inviting me along – his book Led Zeppelin Whole Lotta Love – A People’s History with over 700 fan accounts is highly recommended.

Here’s the order link:

https://spenwoodbooks.com/product/led-zeppelin-whole-lotta-love/

Dave Lewis March 27 2025.

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Zacron artwork sold to Brian Knapp…
Left hand photo credit Brian Knapp – right hand photos credit Joseph Robert O’Donnell
I’ve known Brian for years – he really is the ultimate Zep memorabilia collector – and this original Zacron artwork has gone to a very good home…
Here’s the info:
Music memorabilia collector, Joseph Robert O’Donnell, has uncovered a significant piece of rock and roll history at a London auction house as Led Zeppelin original album artwork sketches are found.
Hidden among mixed artworks Joseph identified original sketches by legendary Led Zeppelin cover artist Richard Drew, of Surrey England, known professionally as Zacron. These sketches were later used to develop and influence the iconic album cover for Led Zeppelin III.
In the same sale of the artist’s estate, a framed drawing described as a working draft for the album cover sold for nearly £2,500. O’Donnell noticed a series of numbers in the corner of this sheet and, upon further inspection, discovered within a separate mixed lot other pages with a similar but ascending series of numbers. Recognising their connection, he was able to correctly link these pieces to the same work.
Among the discovered materials were six highly detailed un-seen pages outlining various stages of Zacron’s Led Zeppelin III volvelle design, along with the artist’s handwritten instructions on how the wheel mechanism should function. Additionally, his original notebook pages, likely created while at art school in the late 1960s, were all found together with the pages.
A volvelle (from the Latin volvere, meaning “to turn”) is a type of paper wheel chart or slide chart, commonly found in early astronomical or mathematical books. The Led Zeppelin III album cover famously incorporated this mechanism, allowing different images to appear through cut-out holes as the wheel was rotated.
The Museum of Modern Art in New York holds a lithograph of the Led Zeppelin III cover in its permanent collection, solidifying the artwork’s place in not only music, but art and design history.
After identifying the sketches, O’Donnell reached out to leading Led Zeppelin collector Brian Knapp. Knapp, who served as an archival consultant to the 2025 Led Zeppelin documentary ‘Becoming Led Zeppelin’ has also had his collection featured in Record Collector magazine.
Knapp recounted a previous encounter with one of Zacron’s works at a Hard Rock Café, where he was dismayed to find it in poor condition. Both keen to ensure that the discovered artwork was preserved properly, the two struck a deal for an undisclosed sum.
The Zacron drawings, likely never before exhibited, then made their way from the North East of England across the Atlantic to Knapp’s renowned collection in Washington DC, USA.
Brian Knapp commented:
“Zacron was a very important artist, and his friendship and connection with Led Zeppelin are equally significant to the band’s legacy. I am pleased to add these to my collection, which I hope to exhibit at some point in the future.”
Joseph O’Donnell added:
“I couldn’t think of a more fitting home than Brian’s archive for these significant pieces of history. Zacron’s drawings are legendary, as is Brian’s collection.”

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LedZep News – and the TBL website ahead… 

With LedZep News increasingly developing its own identity, James Cook and I have agreed that the TBL website will not carry the weekly LedZep news updates from now on. They are readily available via the LedZep News website via ledzepnews.com

Here’s the links:

The TBL website ahead:

The TBL website continues as it has done for many years, as a portal for my thoughts on the world of Led Zeppelin and beyond. In the abnece of producing a physical TBL mag, my enthusiasm and passion to write and chronicle my thoughts on a variety of Zep related subjects and more continues unabated.

The unique content presented here will therfore continue to draw from the TBL archive and it’s heritage, taking all readers back to key Led Zep related moments with renewed perspective.

Add to that my gig, record and book reviews, playlists, record collecting endeavours, the DL Diary Blog update, features and thoughts on other favourite bands etc – all of which I hope will be of interest to all visitors to this sight. For me personally it’s also a great way to keep in touch with TBL contributor’s fans and friends I’ve known for years. My Facebook page offers a similar role though not everybody is on Facebook themselves.

I do have some plans ahead – it might be a good time for me to move into the world of podcast creating and I also have a plan to sell of some off outstanding TBL mags. I also really do need to get a clear run at continuing with the DL memoirs.

In this way, TBL website will continue to offer a platform of communication for the music I and many like minded people have a deep connection with.

Thanks as ever for all your support.

Dave Lewis – March 26 2025   

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Led Zeppelin Houses Of The Holy  – TBL 52nd Anniversary Special: 

52 years ago this week Led Zeppelin released their long awaited fifth album, Houses Of The Holy.

Here’s a round up of  House Of The Holy coverage collated eight years ago for the 40th anniversary:

March 2013 TBL Archive:

The sleeve…

Yesterday in London I  conducted an exclusive interview for TBL with one of the designers of the Houses  Of  The Holy sleeve.

Aubrey Powell aka Po, co-founded the album cover design company Hipgnosis with Storm Thorgerson in 1967. Hipgnosis created some of the most innovative and surreal record cover art of the 1960s, 70s and 80s for many of the big name rock bands of the era including Pink Floyd, Led Zeppelin, Paul McCartney, Yes, Genesis, 10cc, Peter Gabriel, Bad Company, Emerson Lake & Palmer, Scorpions, Styx, Syd Barrett and Black Sabbath.

Hipgnosis were responsible for the Houses, Presence, The Song Remains The Same, In Through The Out Door and Coda sleeves. Po later moved into films and directed various Robert Plant and Firm videos –he also directed the No Quarter Jimmy Page and Robert Plant Unledded film. He is currently working on a book of photographic portraits.

I met with him yesterday nigh on 40 years to the day of the releases of what he considers one of very best designs they created. This exclusive interview with Aubrey Powell, in which he discusses his working association with Led Zeppelin over the years will be one of the highlights of the next TBL magazine.

On this 40th anniversary I asked Po to summarise what the Houses Of The Holy sleeve means to him…

aubrey powell

Above -Aubrey Powell London – March 27th 2013.

”40 years on from completing this album cover, I’m still very proud of it. It’s one of the best works that Hipgnosis ever produced and it’s stood the test of time. Everybody still talks about it. You see in those polls of top ten album cover of all time , where Pink Floyd’s Dark Side Of The Moon is always jockeying for a top three position with Houses Of The Holy.

 I think the reason why it’s stood the test of time is that not only are Led Zeppelin the greatest rock band in the world but because the image is stirring.

People look at it and really wonder what it’s about. There’s a narrative in there …what are these children doing? Where are they going? What’s caused this? What’s this huge glow on the horizon? What’s the story with this? Then the inner cover the image of the guy holding the girl above his head – that also has that sort of fairy tale quality about it. It just grabs people’s imagination and it’s very unusual for an album cover. It’s very different and people seem to admire that image.

At Hipgnosis, we never felt that the work we did would go beyond the year that we did it, possibly because we were always so busy – we were probably doing three album covers a week for various different bands for 15 years. During the time I didn’t really have an opportunity to say ‘oh isn’t that great, you know in 40 years time people will look it and say gosh that was an extraordinary piece of work.’ All I know is that I just worked very hard and loved what I was doing and I enjoyed the people I worked for.  I thank Led Zeppelin for giving us the opportunity to do these designs, because without them we would not have been able to so.

In my heart of heart of hearts, it very much represents that vinyl period of time – those 15 years of top quality vinyl graphics that we produced.

So yes…Houses Of The Holy all these years on, is a piece I’m particularly proud of’”

Aubrey Powell – March 27th, 2013.

……………………………

Houses Of The Holy will certainly be on the player here today to mark its original release 50 years ago tis week. I purchased it on the day from Carlows record shop in Bedford. The sleeve of my original copy was signed by co- designer Aubrey (Po) Powell when he came here to film some Robert Plant memorabilia in 2005 – it says ‘’My favourite sleeve from the Hipgnosis stable’’

Back to the story….

Like countless fans across the globe on that spring Wednesday back in March 1973 ,as a 16 year old Zep obsessive I eagerly snapped up the album . I had been touring the record shops of Bedford daily for the arrival of this opus. This was in the years before I began working in a record shop myself.

At lunchtime I walked the short distance from British Home Stores where I worked to Carlows one of the seven record outlets in the town and laid down my £2.59 (it was an expensive album in the Atlantic deluxe price rang) took it out of the bag and simply gawped in teenage wonderment at the oh so remarkable sleeve.

What was all that about…?!

For me the sleeve sums up the pure mystery and evocative atmosphere of No Quarter.

My diary reveals that once home that night, I gave the album an initial blast before venturing out to play football in the local park (the clocks had just gone forward that week so it was now getting light at night). I was back in my Zep bedroom den straight after to get lost on their world in the album with the catalogue number (which I’d already memorised) K50014.

Now that is an important point –to get lost in their world…. because that is exactly what it was like as Brad Tolinski astutely noted in Guitar World

’Led Zeppelin were the best because they were the most exotic and imaginative of rock bands. And the fascination with the group continues because their music still sounds strange, wild and totally alien today as it did three  decades ago. Led Zeppelin music was designed to stimulate the imagination, to encourage kids to dream ,to see an open space beyond the grind of daily existence’’

That is exactly how I felt that March evening of 50 years ago. Given that my daily existence was spent in the stockroom of the aforementioned British Home Stores and that the UK at the time was a somewhat drab place to be with industrial unrest, the threat of IRA bombing,  to be transported to California sunshine and sweet Calcutta rain, as Robert Plant sang on the still riveting opening track The Song Remains The Same…well that was some ride for this particular 16 year old.

It’s incredible to think back at how important music was then in the pre download instantly accessible world.

There was no iTunes platform to preview the album, oh no – the only previews afforded was the screening of a very weird film to match No Quarter on the Old Grey Whistle Test the previous Tuesday and an airing of Dancing Days on Emperor Rosko’s Saturday morning radio show.

You coveted every word, you gazed at the sleeve, you memorised the lyrics (and for this album  every song lyric was printed on the inner sleeve). You lived these songs –they became part of your daily life, enhancing your mood, the soundtrack of falling in love and out…you lived and breathed them.

Like every other Led Zeppelin album, Houses Of The Holy more than fulfilled that premise in the coming months and years…

There were however some issues. By and large the press hated it – how shocked was I to read the Melody Maker review the next day that proclaimed ‘’Zep lose their way’’ accompanied by a very indifferent review by the usually supportive Chris Welch.

The problems? –well we all know that well enough:

The Crunge and D’yer Mak’er…two less than serious stabs at enjoying themselves at the expense of critics and perhaps fans alike- particularly the ones groomed on the hard rock of Zep 1 and II.

My learned friend Kevin Hewick in a summary of the album he has written for the next TBL magazine, notes as a 15 year old Zep fan back then being well confused.

‘’Then came ‘The Crunge’ !?!?! Were they joking? Well yes they were but this seemed like a somewhat lame joke.

Over on Side 2 ‘Dancing Days’ seemed a piece of poppy fluff and ‘D’Yer Maker’ was a ‘crunge too far’ for me, a somewhat limp novelty mickey-take of the Caribbean sound that was actually turning into a major force with The Wailers ‘Catch A Fire’ soon to reach our British ears.

This rather lightweight three track sequence did them a lot of damage in my eyes. They seemed to be merely mucking about, a cardinal sin in my pretentious chin stroking world of prog meaningfulness, yet it was also lacking the thrill of Bowie’s pop art glam razzamatazz.’’

Kevin does now have a high regard for the album noting that

‘Over The Hills And Far Away’ is everything you need to know about Led Zeppelin in one song, folk and rock rather than folk rock, their diverse strands united in the same song – more of his perceptive musings in TBL 35.

So Led Zep 11 it certainly wasn’t …

As for me… well need you ask – I loved it all!

But I have to say back in 1973 I was going through an intense period of musical discovery and not long after its release, my attention to Houses was somewhat diverted by other musical goings on…

The aforementioned David Bowie whose magnetic presence you could just not ignore that year…in April The Beatles double album retro sets 1962 -1966 and 1967 -1970 captivated me –as I’d just missed their golden period being too young. Other albums such as The Faces Oh La La, Paul McCartney’s & Wings Red Rose Speedway, Alice Cooper Billion Dollar Babies ,The Rolling Stones Goats Head Soup (I saw the latter at Wembley Empire Pool in the September) and in the autumn The Who’s Quadrophenia and Bob Dylan’s Planet Waves demanded my attention. I was at an age of discovering so much music…it was hard to fit it all in.

There was also an album called The Dark Side of The Moon released a week before Houses Of The Holy that would also make a bit of an impression on the record buying public.

Houses Of The Holy did not stay on the UK chart for more than a couple of months and was somewhat eclipsed (no pun intended!) at home by the abundance of fresh and vital music that year….

America as we know, had no such issues…

Overall though, Houses Of The Holy went on to become something of an underrated part of the Zep cannon.In hindsight, this was clearly a band that was pleasing themselves and their fans at the expense of what the critics expected.

The eclectic feel good content meandered from familiar hard rock through acoustic and orchestral arrangements, to brooding synth affairs and ’50s doo-wop/mock reggae  and funk pastiches.  It was all performed with a joyous abundance that mirrored the positivity that surrounded them at that stage of their career.

Back in Europe during the early spring on yet another tour, Robert Plant was quick to defend the album. In an interview at the George V hotel during their two-show residence in Paris in April 1973, he said “So there are some buggers who don’t like the album. Good luck to ’em. I like it and a few thousand other buggers too.  There’s only one way to function and that’s on stage. We’ve reached a high and we ain’t going to lose it. And no bad album review is going to change that.”

As it turned out, Led Zeppelin had the last laugh.

Following their UK and European dates that year, they embarked on  a two-legged assault on America for which No Quarter was a further Houses addition to their live set.

Zeppelin opened their US tour by playing two mammoth dates. In Atlanta they drew 49,000 on 4 May  while the next day a staggering 56,800 packed into the Tampa Stadium in Florida. This gave them the distinction of attracting the largest audience ever for a single act performance, beating the previous record held by The Beatles for their 1965 Shea Stadium show.

At the same time, the album ascended to the top of the Billboard US chart for a two week reign sandwiched between Elvis’s Aloha From Hawaii via Satellite and The Beatles 1967-1970 compilation. The US tour was an enormous success and by taking on PR Danny Goldberg this time around, they made sure the world knew about it.

By pleasing themselves, Led Zeppelin may not have pleased the critics, but they certainly pleased their ever faithful following.

After the release of Houses Of The Holy more fans than any other act in the world wanted to see Led Zeppelin play live.  It was the moment they stopped being a mere rock band and turned into a global phenomenon.

The  album that cemented that success is still held in high regard by the ex band members and fans alike. “There was a lot of imagination on that record.  I prefer it to the fourth album,’’ Plant remarked a few years back while Jimmy Page reflects “You can hear the fun we were having on and you can also hear the dedication and commitment.’’

Whilst their fourth album had been all about economy with everything in the correct place, Led Zeppelin’s fifth album was less about being perfect and more about letting loose and having fun.

Houses Of The Holy retains that pure feel good factor and all these  years on, stands as a pivotal album in the development of Led Zeppelin’s artistic growth.

……………..

I will certainly feel good when I spin this album today, just as I felt good back in my Zep bedroom den 50 years ago.

51 years has done nothing to diminish the love I have for this album and today it’s sounding as majestic as ever. I loved it at aged 16 and I love it aged 67 – 51 years on…

Dave Lewis  – March 28 2023

And there’s more…

napkins

 

Houses of The Holy

Companion Audio Disc

The Song Remains The Same (Guitar overdub reference mix) 5.30

All instrumental and you can plainly hear the guitar army unfolding and it’s total invigorating. The overdubs at 1min 03 and 5.02 are previously unheard. Listening to this epic opener in all its instrumental glory, it’s clear to detect that this was a forerunner for the similar guitar army assault on the senses delivery of Achilles Last Stand. A prime example of the guitar compositional skills of Jimmy Page. Just incredible.

The Rain Song (mix minus piano) 7.45

Slightly different vocal effect and the drums more prominent in mix at times. The piano is in there but buried deep within. John Bonham’s contribution – simply a revelation.

Over The Hills And Far Away (guitar mix) 4.22

Backing track instrumental. More echo on the guitar and JPJ bass is well up in mix. At 3mins 58 where the treated guitar section comes on the official album, there is a totally different acoustic guitar complete ending. The point where you expect the treated guitar part to come, in only for it to switch to an acoustic ending is wonderfully disorientating.

The Crunge (Rough mix) 3.16

Count in as on the album. Vocal and keyboards up in the mix

Dancing Days (Rough mix with vocal) 3.46

Noticeable for the a more heavy reverb on the vocals which reminded of Lennon’s work with Phil Spector’s on Instant Karma.

No Quarter (Rough mix with JPJ keyboards – no vocals) 7.03

Another standout highlight. Instrumental mix with JPJ piano prominent – theremin prominent and the drums crystal clear. At 4 mins 07 the Page solo has yet to appear and JPJ extends his keyboard input on grand piano sounding superb. His input here has the feel of the 1973 live versions. More keyboards overdubs as it fades. An enlightening mix that highlights John Paul Jones immense musicianship.

The Ocean (working mix) 4.28

No count in -cleaner solo at 1.45 leading into the -backing vocals down in mix. The ‘’la la la la la ‘’ vocal more pronounced in mix at 2.09. Robert’s addition ad-libs on the do-wop speeded up finale are slightly clearer.

……………………….

One from 2023…

Jimmy Page  released an early demo of The Rain Song to mark the fiftieth anniversary of the release of Houses of the Holy.

“On this day, 50 years ago to the day, ‘Houses of the Holy’ was released,” Jimmy revealed on his website.

My original idea for the opening tracks for ‘Houses of the Holy’ was that a short overture would be a rousing instrumental introduction with layered electric guitars that would segue in to ’The Seasons’, later to be titled ‘The Rain Song’. Again there would be a contrasting acoustic guitar instrumental movement with melotron that could lead to the first vocal of the album and the first verse of the song.”

“‘The Seasons’ was a memo to myself as a reminder of the sequence of the song and various ideas I’d had for it in its embryonic stage. I’d worked on it over one evening at home. During the routining of the overture now titled ‘The Plumpton and Worcester Races’, the half time section was born and the overture shaped in to the song, ‘The Song Remains The Same’. These rehearsals were done in Puddle Town on the River Piddle in Dorset, UK.”

“The first set of recordings were done at Olympic Studios with George Chkiantz. We then came to record at Stargroves, Sir Mick Jagger’s country home, and, like Headley Grange, with the Rolling Stones recording truck. ‘The Song Remains The Same’ was played on a Fender 12 string, the same one used on Becks Bolero, with my trusty Les Paul number 1 on overdubs in a standard turning. The ‘Rain Song’ was an unorthodox tuning on acoustic and electric guitars. On live shows, it became a work-out feature for the double neck.”

My thoughts on The Seasons:

My thoughts on The Seasons – demo version of The Rain Song by Jimmy Page…
What a wonderful surprise to mark the 50th anniversary of the Houses of The Holy album.
For what Jimmy has so pleasingly revealed is a complete six and a half minute instrumental sequence that would be further developed as The Rain Song. This is a work in progress demo that Jimmy mentioned in an interview as being lost.
From a thread on the Steve Hoffman Forums website.
Back in 2014 this was what Jimmy said in an interview exchange:
Q: Has any of this kind of material been lost over the years?
JP: Yes. I had a home demo of The Rain Song (from Houses Of The Holy), but unfortunately the tapes have been lost. Which is a real bastard.
Q: Was this a fully formed version of the song?
JP: Yes. I literally had the full piece from beginning to end. I had the Mellotron idea and everything on it. But the version of The Rain Song on the new companion disc is a really cool one. It’s got less piano on it, so you get more of the guitar textures. I really liked the version that we did on (1976 live album) The Song Remains The Same. I thought we were working it really well. These songs, you see, they’re recorded and they come out on an album, and then they were included in the live set, and they would start to mutate. That was what was so good about it. So the live version on The Song Remains The Same is quite different to how it is on the studio version.
Thanks to Dave Snively for that thread piece.
It would appear on the strength of this new posting on his website that Jimmy has discovered the aforementioned demo – and what a find it is..
Titled The Seasons it carries that revolving guitar motiv we know so well and every time it comes around it inspires a rush of familiarity.
The acoustic themes further develop against a backdrop of soothing mellotron sounds. It all builds towards what would emerge as the vocal climax.
You can just picture Jimmy back then in his home studio totally lost in a world of musical creation
This is on a par if not better than anything on the official Houses of The Holy companion disc and as vital a find as anything in the entire reissue series.
It tells us so much more about the development one of the pivotal moments in the Zep catalogue.
It’s emergence shines a whole new light on The Rain Song and in a confused unsettled world, playing it though brings a tranquil calm that says everything about the genius of the guitarist.
The Seasons is quintessentially Jimmy Page – an album of his demos in the style of Pete Townshend’s Scoop releases would be very welcome indeed…
Meanwhile revel in the beauty of this awesome piece…
Dave Lewis – March 2025
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Deborah Bonham Band Latest News:

Deborah Bonham Band 2025 Live
“A powerful rock band steeped in the primal intimacy of the Blues”
CLASSIC ROCK
‘The Caves to La Cave’ – Looking forward to kicking off in just a few weeks from the Caves in Edinburgh April 3rd, Bewdley 5th (SOLD OUT), Belgium’s Zik Zak 24th to La Cave Hastiere April 25th, continuing throughout the year in the UK and France, playing some of the finest Theatres and Festivals. It’ll be a joy returning to Cropredy Festival with our old friends Fairport Convention in August.
The set list includes some new songs from our forthcoming album and there’s a new T Shirt available from here and at the shows.
“Strong voiced, personable, and quite the rock & roll singer, this woman
(sister of late Led Zeppelin drummer John Bonham) earned a standing ovation at the end of her set.
Clearly, a welcome addition to the Paul Rodgers, Jeff Beck, Ann Wilson tour”
ELMORE MAGAZINE (Stars Align USA Holmdel)
“She’s quite possibly the most vocally impressive, entertaining and awe-inspiring performer I’ve seen. The band’s visual presence is phenomenal, all of whom are visibly taking enjoyment from their time on stage”
METAL TALK
Deborah Bonham Live 2025
www.deborahbonham.com/tourdates.html

03 Apr EDINBURGH BLUES The Caves UK Ltd Tickets
https://edinburgh-blues.uk05 Apr BEWDLEY St Georges Hall SOLD OUT
https://www.thehall-bewdley.org.uk24 Apr BELGIUM Zik Zak Ittre
https://zik-zak.be/25 Apr BELGIUM La Cave, Hastiere Ltd Tickets
https://www.facebook.com/Lacavehastiere30 May FRANCE Trieux Blues Fest (acoustic) Lezardieux
https://www.trieuxtonicblues.fr/2025
31 May FRANCE Trieux Blues Festival. Lezardieux (22)
12 Jun FRANCE St Etienne TBC
14 Jun FRANCE Festival Blues à Jarnioux (69)
06 Jul NEW FOREST Folk Festival UK
08 Jul LEDBURY FRINGE Market Theatre UK Ltd Tickets
09 Aug CROPREDY FESTIVAL UK
10 Oct BERKHAMSTED Civic TBC
11 Oct CARLISLE BLUES ROCK FESTIVAL UK
07 Nov CHELMSFORD Black Frog Presents UK Ltd Tickets
15 Nov SEDGEFIELD Blues Club Ltd Tickets
————

TBL ARCHIVE:

PAGE & PLANT AND THE MAD MONTH OF MARCH 1998:

It was 27 years ago this week – so here’s the Mad Month of March text from TBL 13 that chronicles this intensive period that saw them stage the showpiece Shepherds Bush gig plus appearances of Top of The Pops and TFI Friday.

1998 really was a fantastic year for Page and Plant activity – for some of  us in the TBL crew perhaps the last carefree period before we got a bit older and a bit more responsible (not!).

Personally looking back over this text it almost seems like another age – it was the age for me of balancing a frantic music retail job along with all the TBL capers – my I must have had some energy back then –or maybe it was the pints of fosters! I was running on adrenalin that’s for sure but it was incredibly exciting at the time…amazing to think that back then that our Sam was only 7 years old and Adam just over 2.

As for Jimmy and Robert …you forget how good they were together at this point – and the late Michael Lee was integral in making their performances so enjoyable – he really kicked the whole thing along…

Hello to the many TBL crew members who shared all this back then – prepare to get most nostalgic and most high in recalling the time when we were walking into everywhere with Jimmy Page and Robert Plant back in March 1998:

The DL/TBL  retro diary picks up the events as they announce the Shepherds Bush gig.

Wednesday March 11 1998

There have been rumours of a special Page Plant launch gig for the album happening in London for some time. They did attempt to book the Shepherds Bush Empire back in January. Locations in Islington and Kilburn have also been checked out in recent weeks. An early morning fax from the PP PR office confirms that on March 25 they will be playing a special gig at a London venue.

Tickets will be made available on a first come first served basis from 8am on Saturday at the Virgin Megastore in London – limited to just two per person. The London Forum (formerly known as the Town And Country Club where Plant played in the late ’80’s/ early ’90’s) is named as the venue – but this is quickly retracted by mid day when it becomes official that the gig will now take place at the popular Shepherds Bush Empire. Jimmy and Robert announce the fact during an excellent early afternoon live interview on the alternative rock London radio station XFM. For me this kick-starts a hive of TBL activity as I speedily mail out a stop gap Newsletter Extra and inform many others by phone. It’s soon becomes apparent that to ensure entry it’s going to mean an early morning trip to London to buy tickets. Fellow TBL crew member Gary Foy and I plan our strategy. Only 1,000 tickets are going to be sold and as the news spreads it’s evident that many fans are making a big effort to get in line.

Saturday March 14 1998:

Well I really thought my queuing days were over! Overnight stays for tickets for Earls  Court, Song Remains Premiere, Knebworth etc. were all part of the game, way back. (Trivia note: It’s 23 years, almost to the day, that tickets went on sale for Earls   Court; and 3 years since the tickets were released for the ’95 UK tour.) The advent of credit card bookings had rendered that method all but redundant. Not today. Luckily it’s a very mild mid-March morning as I leave Bedford on the train at 5.30am I must admit my heart was beating pretty fast as I ventured up the tube steps at Tottenham Court Road – just how long was this queue going to be and were we in with a chance? Well the queue was certainly long, with about 150 already in line, but it looked as though we would be OK. Many at the front of the queue had camped out all night

The atmosphere is really excellent – something of a Led Zepp Convention reunion as many TBL subscribers and faces come over to say “Hi”. Many have travelled overnight form far and wide: Pat Lyons is here from Wales; Gary Woollard from the West Country; Anne Marsden from Stockport. By 8am the queue is moving forward into the Virgin Megastore. (Incidentally this is a place I know well as I’ve attended many meetings here for work – though I never thought I’d end up queuing to get in!)

It’s a funny old feeling to shuffle by a display of Zeppelin titles CD’s and books including Concert File and Celebration. Finally at 9.15 we get served and the tickets are in our hands. The tickets themselves sport the new Page and Plant logo script writing. Myself and Gary celebrate with a McDonald’s breakfast, a quick look around the record stores and a couple of lunch-time pints. Then it’s home to watch the Most High video which has been aired that morning on the Chart show. The job is done. Next stop Shepherds Bush.

Wednesday March 25 1998:

As usual before a period of PP activity the days leading up to the events had been a little fraught.

In fact I have to say for me personally it was a real strain that often had me wondering if all this was worth it. (at least for two minutes anyway).

Trying to arrange everything at work so I could get away was a constant pressure – the previous week I’d put in a 66 hour week (I kid you not -this retail manager lark is hard work!) .Then there were the many arrangements to make for the next three days and the repeated phone calls for tickets info etc. The night before the show I took 14 calls in two hours including one when I was in bed!

There’s no doubt that this particular show has spurred a huge wave of interest and the desire to get tickets is quite staggering. I do my best to help all those I can which does begin to cause concern when one or two options don’t go as planned As well as the gig, other events have unfolded: they are recording a Top Of The Pops segment at Elstree tomorrow night; and a live appearance will follow Friday on the popular Channel 4 show TFI Friday. Days of worry over gaining entry to the latter (and ensuring as many other key fans could gain entry as well) have ensured – not least being the little problem that TFI’s regulations adopt an 18 to 30 age limit! A call from their office asks me just how old those wanting to attend really are. I manage to convince them that we are young thinking thirty something’s (nearly).

But first there is the little matter of the first proper Page Plant show in London for three years. The gig itself is being used by Mercury as something of launch for the new album – with over 800 tickets being made available for European press and media. In the delightfully titled Moon On The Green on a grey March afternoon, it’s very apparent that this is a real hot ticket. Touts are asking, and it would seem selling tickets for up to £200. or two late arrangements see old TBL stager Tom Locke in        There’s a real buzz in the air, this one really does feel like an event.

I’ve already seen Luis Rey and Howard Mylett, but to complete the Zep author line up it’s great to bump into Robert Godwin, coupling some London business to catch the show. The venue itself is excellent – a real theatre (it was formerly owned by the BBC and used for countless TV variety and music shows) – while the downstairs area is very intimate and in close proximity to the stage where-ever you are. The TBL crew decide on a down the front strategy and within minutes I’m in a superb vantage point in front of the stage to the left by the PA.

This is going to be very exciting indeed. And sure enough the excitement mounts as the lights go down ,the spotlights flash on the assembled and that Egyptian music (boy how I love than tune!) signifies the beginning of the Page Plant return to London.

From my view I can clearly see Jimmy Page with Gibson strapped on in the darkness at the far side of the stage waiting for the cue and for Robert to fly on as is the custom as they hit the intro of Wanton Song. And fly on he does, dressed in identical garb to the Istanbul second night, black leather trousers tucked in the boots, dark rimmed T-shirt. And we are off. Bring It On Home, Heartbreaker and Ramble On follow in quick fire succession. Plant may not be quite as immediately vibrant as he was in Istanbul, pacing himself maybe for what’s to come. Page though is already lighting up the stage – seemingly lost in the noise of his own creating.

“Well the old devils are back,” laughs Plant. Walking To Clarksdale featuring Page on the new PRS guitar with McCarty neck follows, complete with that supercharged tempo change and then it’s into No Quarter. Here Page drifts through the solo, eyes closed, slightly leaning back and oozing out that much missed solo.

So far so good. Then an early magic moment. It occurs when Page lets out a couple of heavily reverbed tremolo chords, and those in the know can tell what’s coming. It’s the world premier of the new ballad When I Was A Child. This is masterful as Plant unfolds the reflective tale with ease. It’s always a real privilege to witness a piece of Page Plant history unfolding and that’s how it feels as they delicately offer up this new one. There’s a great moment right at the close as Robert goes into the final lines “When I was… when I was a…’’ stepping back from the mic each time as Jimmy’s final chords echo around the theatre.

Robert has a humorous running banter with our own resident TBL barrack boy responding to a shout of “California’’ as they take to the chairs. “No it’s Birkhamstead actually!” Memories swim before us as they deliver a wonderfully melodic Tangerine, causing instant Earls Court retro lump in the throat for this particular viewer. An urgent stomp through Gallows Pole follows.

From there the on in they can really do no wrong. Babe I’m Gonna Leave You enjoys it’s first UK live airing by the pair for some 29 years. Burning Up is dominated by Page scrubbing out that repeated riff and How Many More Times is just outstanding. I have a perfect view of Page leaning back and step-ping on the wah wah for the intro – an image that I will retain and store alongside other great visual moments in their history (such as the same guitarist stepping on the wah wah for Trampled Underfoot down the road in Hammersmith ten years back). The violin bow episode is greeted by huge cheering and the moment it all speeds up is another great one with Michael Lee proving his worth yet again. Most High is next as we hit the home straight. This month’s signature tune as I stated before that really brings the best out in Plant. A cocksure Whole Lotta Love signals the end of the main proceedings.

Then they’re back on and it’s another premiere – an incessant drum track booms out and then Page holds down the most delightfully grunge like wah of wah of House Of Love. This one really swings live with Plant screech-ing out the chorus line “It’s just a little too much,’’ and Page hitting those descending chords. A Sick Again for the millennium.

“So this is the alternative to Radio Two,” laughs Robert. “It’s been great, thank you!’’

They’re back on again and Page begins pumping out some fast urgent lines. For one minute I thought this was going to swing into Sons Of Freedom from the new album, instead it heads into a blistering rendering of Crossroads performed · la the Cream version.

Finally we get an emotional (can it be anything else?) Thank You which has Page again taking on the solo in his own time and Plant commenting at the close “Just some silly old buggers singing some love songs!’’ Rock And Roll then proceeds to inspire the best reaction from a London crowd I’ve heard since… well you name it… They take a bow and exit right.

The aftermath glow as we slowly disperse soars through the atmosphere. By coincidence, or maybe not, a couple of long tern fans Dena and Nigel D joyously echo the same state-ent to me. “The best since Earls Court.’’ Now that is some accolade.

It’s easy to get carried away with the sheer presence of the occasion. But let’s not beat about the bush (no pun intended!), this really was a special occasion. A real intimate reconciliation with their audience. Let’s face it for the paying fan this was an audience that really wanted to be there, given the effort needed to get tickets.

For me personally it’s been a real revelation to be in such close proximity to it all. To experience once again that feeling that makes everything (including all the negativity and stress running this thing causes) worth-while. This has been a very memorable evening. Best since Earls Court? Well I have to say for pure out-and-out enjoyment this one will take some beating.

  Thursday March 26 1998:

A day of drizzling rain brightened up by several excited calls from those in attendance last night.

Then it’s to Elstree, which handily isn’t too far down the Bedford Thames link train line. A dull and wet Elstree 7pm on a Thursday night inspires the usual “What the hell are we doing here’’ cry amongst Mr and Mrs Foy and myself. What we are doing here is getting ready to line up in the queue to gain entry to the special recording of Page and Plant for BBC’s Top of The Pops. That’s right, Top Of The Pops, the programme Led Zeppelin stoutly refused to appear on, and by default the programme Whole Lotta Love (in a big band rock version) became the signature tune of throughout the ’70’s.

They are filming tonight for what will be an exclusive live performance insert in the coming weeks of their new single Most High. Radio One gave out a phone number to ring last Friday to ring for tickets. Luckily the TBL crew have been on the case (Thanks Rob D and Mr Linwood), and here we are in line. The regular Top Of The Pops has already been filmed earlier in the evening, we now wait to gain access to the studio. We are let in out of the rain at 8.30 and ushered into a cloak-room area. The crowd does seem to be an odd bunch. Around 20 or 30 are known to me – the rest seem to have jumped on the Radio One ticket bandwagon – I’d love to have asked a few of them the depth of their interest in Zeppelin/Page and Plant.

Anyway, after nearly 3 hours of waiting – at 10pm we are led into the small studio. A small stage set up with a cut down Page amp run (one Fender amp, two cabs and oddly, the Theremin set up) features a large Jimmy Page Robert Plant logo on the actual floor which will no doubt be captured by the overhead camera.

A pair of warm up announcers relay the instructions “We want you to make the most amazing noise possible when they come on.’’ To get us in the mood, the studio version of Rock And Roll is given a playback. The rent-a-crowd behind me push forward giving me a rather splendid vantage point right in front of Jimmy. Last night was close, but hey, how much closer can you get?

Rock And Roll fades and on they walk – Robert wearing the long sleeve shirt he had on at the first Istanbul concert. Jimmy has his first noticeable change of clothes on the tour – pin stripe trousers and a nice dark silk shirt sensibly worn outside the strides. They move forward shaking out stretched hands at the front. I had wondered if they were going to do a mime playback to Most High. From the moment Jimmy slugs out the opening chords I know I couldn’t have been more wrong. This is most definitely live and we are most definitely high!

From Istanbul via Shepherds Bush to Elstree. Most High has travelled a bit in the last few weeks and now, here at 10 past 10 on a Thursday evening, not far off the East Enders set, well it sounds a very British experience despite the ethnic feel. To the left Phil Andrews adds the oriental keyboard solo as Jimmy turns to Michael Lee to add some rough-shod rhythm. Its all over too soon, and what we want is a little bit more. Robert looks over to Jimmy and nods – a guitar change ensures as the familiar Gibson is brought on. A smiling Jimmy straps on – “Here’s a new one from our latest tablet of stone’’ laughs Robert. The backing drum track of House Of Love duly rolls out but hold it- Jimmy has a problem. He waves his arms “No hold it – I can’t see my cue!’’. It would seem the cameramen leaping in and out of them has covered the cue sheet that rolls on one of the monitors. Second take and they’re off. This is turning into a great live number with Robert’s “It’s just a little too much” refrain’ incessantly hitting home.

Is that it?… More milling around on stage ensures… will they or won’t they? They will! Jimmy goes off to change his sweat soaked shirt. He returns wearing an Abbey Road T-shirt. Meantime, Robert enjoys some banter with the crowd. “Wolves for the cup’’ shouts one wag, “’You don’t mean that!’’ he laughs. “Where’s Pans People?” (a reference to the old all girl dance troupe the programme featured years back) is another cry that inspires a laugh on stage.

Jimmy appears and Robert explains the origins of the next number “OK here’s one that was written even before we were born’’. A compact run through Crossroads which is fast becoming the cover version standard of the ’98 tour follows.

Right at the close Jimmy holds the Gibson aloft, and even before he has had time to finish the song a member of the audience jumps on stage to shake his hand, to be followed (a little foolishly) by a handful of others who hug Robert and add to the on-stage chaos. Fearing “Zeppelin stars in stage riot at Top of the Pops” type headlines assorted roadies and road managers disperse the crowd and Jimmy and Robert lead off. It would seem the mini invasion might well have curtailed anything else they might have been planning.

“Well that was absolutely fucking brilliant!’’ shouts the announcer back on stage. Are they doing anymore… hold on, no, that’s if for tonight. Thanks for coming!’’

It’s all happened in under 20 minutes, and no sooner than being cut off in our prime we are walking along Elstree High Street in search of the nearest chippie. (We later hear Jimmy had gone off to eat at the local Wimpey!).

Well that was bizarre. Did it happen? Well it did but the whole night holds something of a dream like atmosphere. It all happened so quickly. But yes, they were there, on Top of the Pops on a Thursday night, just like it used to be when I religiously watched it each week hoping for a glimpse of something decent… perhaps Free, or the Stones doing their new single. But never surely Jimmy Page and Robert Plant together. Surely that would be a sell out.

How times have changed. And incredibly, there’s more TV fun to come tomorrow.

Friday March 27 1998:

And so it goes on. This week really is turning into one of, if not the most, memorable Zeppelin related since Earls Court and today it’s Friday so it must be TFI Friday. That’s right, the immensely popular music show hosted by the incredulous Chris Evans and scripted by big Zepp fan Danny Baker. Now I have much admiration for Evans – one of the most gifted broadcasters of the last 15 years. I also never miss the show – it’s brand of celebrity interviews, sketches and live music is never less than interesting. Page and Plant were announced for the show a couple of weeks back. Pleasingly the opportunity arose to ensure some TBL representation at the show (a situation that once again was not without it’s stress for me but I guess it was worth it in the end).

It’s nice to be taking along the good lady Janet today – it was 15 years ago in a similar TV studio setting such as today (The Tube in June ’83 – my word that seems a lifetime ago!)) that she first became acquainted with the live Robert Plant experience. So it’s fitting that we should be going back to a TV studio to see not just Robert but Jimmy too, an opportunity for her to enjoy the event and perhaps view at first hand the reason for all the endless phone calls that disrupt Coronation Street and many other things in the Totnes household.

Lunch time in Hammersmith. Unfortunately the TBL crew meet has gone a little off course. The pub we were advised to meet in has, er, well, been renamed! Luckily we all manage to catch each other in the Wetherspoons pub and from there it’s off to the near-by Riverside Studios.

Another queue begins but finally we are in (and no problems with the age situation, so Zimmer-frame rock rules after all!) Then it’s more excited waiting outside the studio and eventually we are moved in around 4pm. (Not before the strains of a Most High run-through have been heard earlier). Once in, we quickly gather around the stage that they will be performing on. Which is not too hard to decipher. Clues: Ludwig drum kit, Jimmy’s effects panel and one solitary microphone at the front (and we all know who that’s for).

A studio announcer runs us through pro-ceedings and gets the rules out of the way. We’ve got to keep smiling and dancing throughout whichever bands on. “I know a lot of you are here to see one special act’’ says the man to a huge cheer. Before long it’s ready to roll, red light on and cue the music.

Chris Evans is giving the programme run down… he’s already making a big thing of Page and Plant being on – and as he’s doing that, it all starts happening down the front. Tim, Charlie and Michael are in position, Jimmy climbs up to the stage and straps on the Gibson. Robert hugs the mic waiting for the cue. (Fashion notes: Jimmy retains the pin stripe trousers and reverts to the black T-shirt; Robert has a similar T-shirt on to Wednesday, but opts for the baggier trousers similar to those worn early on the Eastern Europe dates. “They sold 100 million albums… second only to The Beatles and Woolworths! They raised rock on high, they juggled both Led and Zeppelin… and they’re here now, and now with Rock And Roll here are Jimmy Page and Robert Plant!’’

tfi pic

And it bloody well is – right in front of our eyes. How close can it get! Bedlam follows as we rock it up with them – Jimmy looking supremely confident as he struts around – Robert mic off within a minute – all the old poses. It’s absolutely glorious.

Three and half sweat soaked minutes later and they finish to rapturous cheers. Phew now that was pretty exiting! “Led Zeppelin!’’ proclaims Evans. “Led Zeppelin’s Rock And Roll by Mr Jimmy Page and Mr Robert Plant!”

The rest of the show follows – we nod along to The Smiles and Divine Comedy, cheer to a montage of Gary Lineker’s goals that are shown during his interview and also get well excited everytime Evans mentions Page and Plant – everytime he does the riff of Whole Lotta Love is played, inspiring mass air guitar movements from Evans and those in the bar. After an interview with Full Monty star Paul Barber (who says he’s a fan) it’s time to welcome Page and Plant for their interview. We see them walk along the gantry into the bar. The interview is an excellent one. Plant has a Wolves scarf tied around his wrist and dryly comments that “Old men do it better!’’ in reply to Evan’s question on how they keep it up. Evans brings in Steve from Manchester, a fan who had rung into to his radio show in the morning. (The popular Virgin Radio show had turned into a 45 minute spontaneous Zeppelin showcase.) He asks about the chronological live album “Yeah it could happen in the future” replies Page. Jimmy is really good humoured throughout the interview, another example of the fun they seem to be having. Chris manages to get their names mixed up in his own excitement (Robert Page and Jimmy Plant) and asks a question faxed by Jeremy Clarkeson: “Is it true you once cancelled a tour due to the hose pipe ban,’’ gets a hoot of laughter from Plant, “That’s a good one!’’

Plant does his own Midlands accent describing how the Wolves fans comment to him “Alright Planty, still doing a bit then!’’

Down on stage the cameras have been moved allowing us the ultimate vantage position right under Plant’s monitor. How close can you get! (again). Evans introduces the finale, “Page and Plant playing the new single Most High’’. Charlie and Michael kick into a riff as the boys climb down the stairs and up on to the stage.

Our signature tune kicks in yet again. Page’s guitar sound so pure and clear as he strikes the strings just feet away is just awe inspiring. Robert meanwhile wheels the mic stand around just avoiding the top of our heads. On the solo oriental part Jimmy crunges out the most amazing riffs leading where the oriental part usually leads. And then the finale – with Plant extending the lyrics (rolling up on the monitor in front of us incidentally) and it’s over. Huge cheers, big smiles. They’ve done it once again.

As we shuffle away from the stage I feel a real pride – the same pride I felt on the last night of Earls Court… at Knebworth when we sang You’ll Never Walk Alone… in front of the TV at 1 am in the morning as the camera panned away during Stairway at Live Aid… after they demolished Wearing And Tearing at the Silver Clef show… at Meadowlands Arena during the ovation they received after a stinging Song Remains The Same three years back… and now yet again in this little TV studio on a Friday night – 23 years to the day when they played that famous last night at LA in ’75.

It’s still valid and it still inspires and moves us. Even some of the younger fans here for The Divine Comedy picked up on the vibe. It feels so good to be part of it, knowing that a UK audience of four million are about to see it on the small screen themselves.

7pm Outside Riverside Studios. Robert comes out to applause and walks along with his five year old son Jesse. Eventually he straps into his Gold 500s Mercedes pausing to make a call on his mobile, and drives off with Jesse in the back. Bound for the Midlands and a Sunday rendezvous at Molineux for Wolves against Portsmouth. Jimmy is in an upstairs hospitality room behind Cedrics Cafe. A swelling crowd of well wishers, press photographers and autograph hunters await. Eventually he strolls out looking very relaxed happy to sign for all and sundry -posing with a small child and parents,

Then he’s driven off in a blacked out car.

The TBL crew head back to the Wetherspoon pub for some rousing aftermatch talk passing Hammersmith Odeon (or Apollo as it’s now known)on the way. Ten years ago almost to the month it was there that we witnessed one of the major reunions of the ’80’s when Jimmy joined Robert for that famous segment. They played Rock And Roll that night too. Back then in our wildest dreams we could not have predicted the remarkable series of events we’ve witnessed these past three days. Around the Hammersmith flyover railings there are already poster flyer boards advertising the new single (though not as many once Mr and Mrs Foy and Rob D have been passed). Once in the pub the ale flows. I feel a huge relief that the last three days have gone so well – and at last it’s a time to unwind. Many a beer is drunk in celebration. Luckily the good lady Janet is around to ensure the train doesn’t keep on rollin’ when we head back.

Saturday March 28 1998:

It’s back to work with a predictable hangover. However it looks as though TFI Friday has had the desired effect. “When’s the new Led Zeppelin album out?’’ asks a genuinely interested punter “Weren’t they great on TFI last night’’!

Page Plant, Led Zeppelin… I guess now it all blurs into one. Watching the video on Saturday night brings it all back. Catching ourselves on camera and many other familiar faces. One clear fact emerges from this very special TV appearance – it was a real Event with a capital E. To his credit Chris Evans played it up appropriately knowing he was in the presence of men with a legendary past – and a great future. Once again it was a real privilege to have been luckily enough to witness it all. It brings to a close a week that really does in hindsight rank alongside those heady days in SW5 23 years back.

 Final Reflections: Three days After:

Once again Jimmy Page and Robert Plant have exceeded my expectations. These past three days have produced so many highs, so many moments of absolute pure musical magic.

Can it ever be this good again? Has it been this good before in recent years? Who knows. Perhaps not, but the fact I was able to witness it all is a major triumph and relief. A triumph and relief that for me personally succeeded in successfully re-evaluating the reason why I devote so much time and passion to this thing, and put it all firmly back into focus.

The memories that I and all those that shared in it can now be stored- taking their rightful place in the category marked “Unforgettable’’. Because this mad month of March really was, and is, as good as it gets.

Dave Lewis, April 2nd, 1998.

Postscipt:

So that is the way it was back in 1998…

Incredibly this was all of 27 years ago this week …amazing times they were…

Dave Lewis – March 2025

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My thoughts on The Who at the Royal Albert Hall – March 27 2025…
Spoiler alert – look away now if you are going Sunday and don’t want to know the set list….
To Albert’s place with my gig going comrade Lee Abrahams to see The Who – part of the ever laudable Teenage Cancer Trust concerts.
Following Level 42’s set, we were reminded of the incredible work the Teenage Cancer Trust continues to do with several very emotional clips and speeches.
Then it was time for The Who. I missed out on last year’s Who shows so when tickets went on sale for this year’s dates I was more than keen to be there. I realised I had not seen The Who for ten years – the last occasion being their O2 show back in March 2015. It was high time to put that matter right.
Beforehand, it had been great to hook up with Dave and Cindy Roberts over from Canada. The pre gig chat and sense of anticipation was palpable. I was more up for this gig than any gig I’ve attended for a long time.
They opened with the two pronged attack of Can’t Explain and Substitute just as they did when I first saw The Who nearly 50 years ago at the Empire Pool Wembley.
Many things have happened in the world of The Who since then not least the passing of Keith Moon and John Entwisle. Watching The Who now is to wallow in the pure heritage of this amazing band.
Only two ageing principal members remain but the energy is still all there. Roger Daltrey at 81 is just remarkable. His vocals were absolutely spot on as was demonstrated early on with a soaring Who Are You.
Aging they may be but they are still full of the zest that has carried them to this point.
Ageing but slightly fragile – Pete explaining that he had recently undergone knee surgery discounting any major movements -he did pull out the windmill swing to great applause.
A milder Townshend is still a force to be reckoned with.
Audience note: A good mix of ages tonight with many a veteran Who T shirt on show -mine included. We had a great view in the stalls row M row 2 (thank your David Stark.)
Then we were off for a magic bus ride through one of the best rock catalogues of all time. The 60s pairing of The Kids Are Alright and I Can See for Miles led on to a simply superb Bargain.
Band note: The ever impressive Simon Townshend added guitar and vocal back up and the brilliant Zak Starkey re- affirmed his position as the right man to add the power to drive it all along. Zak’s brand of percussive brilliance was entirely in keeping with the template Keith Moon laid down all those years ago.
Pinball Wizard was a familiar vibrant Tommy throwback and then a bit a surprise – Love Ain’t For Keeping from Who’s Next played live for the first time in 21 years. As it wound down I half expected them to blast into My Wife as per the album’s sequencing. Of course that was an impossibility with The Ox long gone.
From there it was a veritable juke box of Who classics – The Seeker, Behind Blue Eyes, I’ m One, The Real Me, 5.15,Love Reign O’er Me, My Generation, See Me Feel Me/Listening To You, Eminence Front and You Better You Bet.
Baba O Reilly and Won’t Get Fooled Again was a crowd pleasing duel towering climax.
During the last chords of the latter, my comrade Lee next to me was ready to restrain me should I attempt a stage invasion as I did at Shepperton in 1978. My aching legs were never going to cope with such a challenge so I resorted to some furious air drumming instead!
Tea And Theatre from the Endless Wire album was a suitable poignant closing shot.
Like many in attendance, I’ve had decades of appreciating The Who and they have given me some of the greatest live musical moments of my life. They have constantly provided the highest of on stage highs.
Last night was no exception. It was life affirming and an absolute privilege to witness it all. We all left with that unique glow that always happens after being in the presence of The Who’s music performed live. it was a simply fantastic show…
They remain a bargain – the best anyone could ever have …
Dave Lewis – March 28 2025
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The Great Vinyl Buying Swindle…

A superbly written and thought provoking piece here…thanks to my record collecting comrade Phil Harris for flagging this one…
Regarding vinyl quality control – when I first worked on the WH Smith record department in the 70s every customer who came to the counter to buy an LP we sold we would carefully pull out the record in front of them and check both sides for any marks etc before selling it. Those were the days…
Having read Martin Gray’s perceptive The Great Vinyl Buying Swindle some thoughts on Record Store Day…
I am a long time attendee of Record Store Day going back to 2011. I’ve queued outside various record shops over the past 14 years including Rough Trade East in London, David’s in Letchworth ,Black Circle in Leighton Buzzard and more recently the Slide Record Shop in Bedford. I’ve always had had great fun doing so.
I still love the camaraderie of being in the queue, comparing lists with fellow record collecting comrades, and then that air of expectation as the doors go back and the delight to be had when the waiting is all worthwhile and your requirements are fulfilled by friendly staff.
Many stores too have instore bands playing and generally make an event of it. I love that aspect too.
So it may not be for everybody but it still works for me.
Yes it has lost some allure and there are a maze of releases to wade through. Fundamentally, the big issue has been the rise in prices and deep pockets are now required. It’s made me and probably a fair few others more selective.
That said, every year there’s still some great stuff to be had – and it’s always a key date on my calendar. For those unable to queue up there’s the online option and the stock left over in stores after the event.
I would also disagree with the label ‘fake limited editions’ – they are Record Store Day limited editions officially produced and sanctioned by the artists. The way it’s been since its inception.
I have a whole slew of superb Record Store Day releases both on LP and single in my collection and many are often on my playlist here.
I’ve got some absolute gems over the years including coveted releases by Led Zeppelin, The Beatles, The Rolling Stones, David Bowie, Miles Davis, The Kinks, The Who, Jimmy Page. Robert Plant and many others.
So, Record Store Day works for me and I revel in it. This year’s event is staged on Saturday April 12. The countdown is on with 20 days to go…
Over the next 20 days I’ll be selecting some of my favourite Record Store day acquisitions from the past 14 years -commencing with this one from last year and now quite a poignant release.
Marianne Faithfull Faithfull Forever…
This is everything I love about Record Store Day releases. It’s the first UK release of her US only 1966 LP Authentic Decca label, excellent informative sleeve notes, clear vinyl and it sounds superb…
In my view there’s nothing fake about this release and as long as Record Store Day is making available gems such as this, well I’ll be aiming to be in the queue…

Dave Lewis – March 23 2025 

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DL Diary Blog Update:

Thursday March 20:

Here’s a vintage pic from the local Beds Times from the days when the Bedford Town Eagles played at the Eyrie in Ford End Road.
This was taken before a match around September 1971. During that season before the games there was a penalty knock -out competition staged. My friend Dec Hickey took part and we think he won it.
I am watching the action behind the goal in the crowd as marked – to the right are three Silver Jubilee school friends – namely Cleveland Paice, the late Andy ‘Paddy’ Conlon and his brother Brian.
We saw a fair few matches at The Eyrie around that time – great days they were…
Friday March 21:
Friday vinyl record treats at the Slide Record Shop
Well pleased to pick up my reserved copy of the Jimmy Page & The Black Crowes Live at the Greek 25th anniversary 2 LP Best Of set – this is the independent shops limited edition decepticons colour vinyl – a fabulous package…
Many thanks Nerys and Warren at Slide plus my good friend Andrew Pepworth – I used your gift voucher you kindly gave me at Christmas mate!
Saturday March 22:
Saturday is platterday -marking the Birthday of the late great Keith Relf – on the player The Yardbirds – Dazed And Confused – The Yardbirds In ’68 – Live At The BBC And Beyond.
This was issued in 2018 on the Repertoire but I somehow missed it. I was pleased to pick up a copy at the Music and Tape Exchange shop in Greenwich on the day out record shopping with Pete Burridge.
It’s missing the DVD but at a mere £8 I could not say no. Great colour sleeve and notes by Chris Welch and on white vinyl
LP Side A Live At The BBC. Recorded for Saturday Club at the Playhouse Theatre, Hulme, Manchester UK, 5th and 6th March, 1968.
LP Side B Live On Bouton Rouge. Television Session for Bouton Rouge at Maison de la Radio,Paris, France. Recorded and first broadcast 9th March, 1968.
I love the latter era Yardbirds recordings and there are of course many reference points here to where Jimmy Page was heading with Led Zeppelin…not least the Jake Holmes inspired version of Dazed And Confused.
I first heard the 1968 BBC sessions on an old cassette I picked up around 1973. I was then on a mission to collect all the Jimmy Page Yardbirds related LPs and singles – I recall paying a hefty for the time £5 for an original copy of Happens Ten Years Time Ago in 1974. Great stuff indeed…
Sunday March 23:

Led Zeppelin – Marquee 1971 ad

It was 53 years ago today…
It was all happening at the Marquee 53 years ago today…wish I had been at this one – luckily I was to be in attendance at one of the next Led Zeppelin London shows later in the year…

Tuesday March 25:

It was 27 years ago today…
On March 25 1998 I was lucky enough to be right in the front for the performance of Jimmy Page and Robert Plant at the Shepherds Bush Empire – this is right up there in my all time greatest gigs – they were just awesome – here’s a clip of Rock And Roll – the late great Michael Lee on drums is also outstanding…
Tuesday March 25:

On the player marking 27 years ago to the day they performed a fantastic show at the Shepherds Bush Empire, the Jimmy Page & Robert Plant Walking Into Clarksdale album – this album inspires so many great memories of that era…

Tuesday March 25:

Marking the imminent 50th anniversary of Wings Venus And Mars so my copy of the album that I bought the day it came out going on the player at the Pete’Burridge Record Club at The Castle tonight…

Wednesday March 26:

It was 27 years ago today…
Day two of an incredible three days
Following the brilliant Shepherds Bush gig the night before, 27 years ago today I was lucky enough to be in the audience at Elstree Studios for the recording of Jimmy Page and Robert Plant performing three numbers for future inclusion on Top of The Pops…next stop on this amazing week – the TFI Friday recording at Hammersmith Studios the next day…

Thursday March 27:

It was 27 years ago today:
Day three of three incredible days…
Jimmy Page and Robert Plant performing live on Chris Evans TFI Channel 4 TV show March 27 1998 – that was some moment and myself and the good lady Janet were lucky enough to be rocking down the front along with many other TBL comrades…the final blast of an incredible three days…Shepherds Bush Empire, Top of the Pops in Elstree, TFI in Hammersmith – truly amazing days of 27 years ago…
Update here:
A fantastic night was had at the Dublin Castle  -it so good to see a Coda again and meet with various people. I was in London again last night to see The Who at the Royal Albert Hall – another life affirming occasion. I feel a blessed man indeed…
Thanks for listening

Until next time…

Dave  Lewis –  March 28  2025

TBL website updates written and compiled by Dave Lewis

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