‘If David Bowie played the Blues, it might’ve sounded something like this… ACE!’ – ‘Bonham-Bullick It Ain’t Easy’
Cerys Matthews’ Blues Show BBC Radio 2

‘Lick ’em by smiling, and leave them to hang’

Led Zeppelin

We reveal a previously unseen video and photo of Led Zeppelin’s January 24, 1975 Ohio show

Several weeks ago, we mentioned that we had tracked down an unseen video of Led Zeppelin performing at the Richfield Coliseum in Ohio on January 24, 1975 that was stored in the archives of the Rock & Roll Hall of Fame.

At the time, we had reached a dead end: The Hall of Fame was able to provide us with a copy of the video for research purposes, but they didn’t own the copyright to the video so couldn’t allow us to publish it.

Earlier this week, we managed to track down the filmer Don Andree using public databases in the US. He immediately agreed to let us publish his video after 49 years. LedZepFilm has done a great job synchronising Andree’s film to an audience recording of the show:

The Rock & Roll Hall of Fame archives also has a collection of unseen photos of the same show taken by Helen Sinko. Also this week, we publicly revealed one of those photos by again teaming up with LedZepFilm to pay to publish the image.

Covering the emergence of the January 24, 1975 video, Classic Rock Magazine declared that 2024 is “turning out to be a bumper year for Led Zeppelin fans”.

So far this year, we’ve seen the following emerge:

• Previously unseen footage of Led Zeppelin performing in Oakland, California on July 24, 1977
• Expanded and upgraded footage of Led Zeppelin performing in Amsterdam on May 27, 1972
• Previously unseen photos of Led Zeppelin performing in Frankfurt, Germany on July 18, 1970
• A previously unhead new audience source for Led Zeppelin’s show in Tokyo, Japan on October 2, 1972
• A 51-minute previously unseen video of Led Zeppelin performing in Montreal, Canada on February 6, 1975
• An upgraded video of Led Zeppelin performing in Chicago on April 9, 1977
• A previously unseen video of Led Zeppelin performing at Knebworth Festival on August 4, 1979
• A previously unseen video of Led Zeppelin perforning in Ohio on January 24, 1975
• A previously unseen photo of Led Zeppelin perforning in Ohio on January 24, 1975
• Previously unseen photos of Led Zeppelin performing in Boston on September 9, 1970

We’ve seen several social media posts questioning why so much Led Zeppelin material has emerged in recent weeks. Some people have suggested this flood of material may have come from some official band activity, but the truth is this has happened thanks to hard work from fans who have spent many hours and often thousands of dollars on these efforts to make things public.

Do you have any Led Zeppelin material that you’d like help making public? We can help scan film or photos and get things out into the world for fans to enjoy. Drop us an email on ledzepnews@gmail.com

Previously unseen photos of Led Zeppelin performing in Boston in 1970 were published online

18 previously unseen photos of Led Zeppelin performing in Boston on September 9, 1970 have been published for the first time.

The photos were taken by Joe Maloney who also produced an audience recording of the show which has been circulating for years.

KRW_CO published the photos in a YouTube video, showcasing them alongside Maloney’s recording of the show.

Many thanks to James Cook

For all the latest Zep and related news check out the Led Zeppelin news website at:

http://ledzepnews.com/

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The next night’s Cleveland performance April 28 ,which exists in a good audience source is another one to blast out these next few days in celebration. This one came out on a vinyl set on the Smilin’ Ears label in the late 70s also confusingly knows as The Destroyer.

TBL ARCHIVE – THE FATE OF NATIONS TBL ALBUM REVIEW – 31 YEARS GONE:

Robert Plant’s Fate: Diversity As A Function Of Union

FATE OF NATIONS (Fontana/Es Paranza)

So he’s back and ready to re-establish himself all over again. Of course, being Robert Plant re-establishing yourself doesn’t mean a total change of image or musical stance. He just draws on the many influences that have characterised his journey of the past 30 years and extracts from them as he sees fit.

What’s so refreshing about ‘Fate Of Nations’ is that, for this occasion, Robert has delved into the very essence of his roots going as far back as Muddy Waters, Howlin’ Wolf and Robert Johnson, through Moby Grape, Quicksilver, The Incredible String Band, and Fairport Convention to the music of India and North Africa and, of course, the work of Led Zeppelin. And in taking these influences he has not allowed them to be diluted into a slick or soulless concoction but as he describes it, he has pumped them to inspire a set of new compositions that live and breathe yesterday, and by the same measure, push for the aspirations of tomorrow.

‘Fate Of Nations’ is therefore devoid of any grunge outings if you were looking. It’s also a step away from the rather staid standard rock formula that rendered some of the more mundane moments of ‘Manic Nirvana’ (‘She Said’, Big Love’) into the realms of mediocrity. By surrounding himself with new players and passions, Plant has pleased himself in taking his music where he wants it to go, and not where the consensus of opinion might expect it to go. For that reason alone, this album is vastly different from past solo outings.  Much of it demands utmost attention and does not rest easy on the ears in one listening. It may not be immediately apparent, but given time and repeated playback, the end result is a rewarding experience that for me, again confirms this particular 44 year old’s status as the outstanding vocalist of this or any other era.

The eclectic content of ‘Fate Of Nations’ perhaps also illustrates the difference of musical opinions that now divides Robert and Jimmy – and goes some way to explaining why a Led Zeppelin reunion could never work. Let’s face it, If I Were A Carpenter’ would not have found itself easily on a Zep reunion album. There is a totally different atmosphere prevailing on Robert’s album than that of the Coverdale Page set. Jimmy’s music is built on relentless riffing that captures a vast vacuum of sound. Robert has seemingly moved away from that stance, preferring to move around organically as he puts it, encompassing different styles and genres.

Not that he has lost his ability to adapt such Zep-like dynamics (witness ‘Calling To You’) when the desire takes him. For the most part though, the dynamics are alternately diversified and for me personally that’s not a problem. I can quite happily enjoy Jimmy and Robert’s respective new works based on their own differing merits and motives.

So this isn’t music that can be pigeon-holed to the cover of Kerrang. This is Robert Plant in 1993, still offering up that vocal style (his singing throughout is quite exemplary) that continues to give him a reason for being … instead of a reason for having been.

The track by track TBL dissection that follows is based on an advance tape and at the time of writing, I did not have access to the individual track listing details regarding who played what etc. Nonetheless this is how it sounded after a week of non-stop airtime on the Totnes Towers tape deck:

It all begins with ‘Calling To You’ which is simply the business. Beginning with some minor key strumming it then tacks into shape via Pete Thompson’s powerful (and yes perhaps Bonham-like) drumming. This really is a definite Zep throwback stomping along with some great dual guitar effects from, I think, Francis and Kevin. At the centre Robert turns in a majestic vocal, often undercutting the mix with additional bizarre phrases that add to the mystery of the lyric. All the old trademarks are intact (“Ohhhh Yeeaahhl”) and as effective as ever. The instrumental refrains have an Eastern quality about them and are further enhanced when one Nigel Kennedy enters to layer on a manic violin solo that recalls to mind the effects on The Beatles’ Tomorrow Never Knows’.

The track fades (“Just fade awaaaay!”) all too soon (this groove could sustain another five minutes in my book) but there is a telling moment as Plant can be heard right at the close to scream “Oh Jimmy!”‘

Could this be Robert’s own personal retort to his former partner? Perhaps illustrating that he can still turn on his sort of dynamic style when required? All in all it’s an infectious and engrossing slab of archetypal Plant that proves that he can still commit himself to this vocal style better than anyone. It’s also one of his best solo tracks to emerge in a very long time.

Elsewhere there are many differering styles to assess. ‘Down To The Sea’ is a quirky, repetitive Cure-like ramble, led by a subtle injection of Eastern table drums. The descriptive nature of the repeated lyric (“When I get older settling down will you come down to the sea”) conjures up video storyboard images of deserted grey beaches and the retired Plant many years hence holding court in carnal Malibu style with a bevvy of beauties still in tow. Vaguely psychedelic and dreamy, this track has a very ambient feel and is a very enjoyable departure.

‘Come Into My Life’ can be viewed as a direct influence of his hanging out with the Fairports. So enter Richard Thompson to add some achingly beautiful guitar licks and Maire Brennan from Clannad to float around Robert’s turn of phrasing. The chorus is heavily scored by a rush of acoustic guitars from which I detected a slight ‘Over The Hills’ leaning. The middle guitar part from Richard is superbly atmospheric and amongst the most elegantly constructed solos I’ve heard in an age. Robert’s vocal (“Ohh when yer get there well you know”) is also superbly recorded, capturing the gentle folk essence of the track but also rising in temperature with the chorus as required without ever losing control. This as  good as anything he’s done in the post Zep years.

“Memory Song” (Spikes Ghost) lurches in on a loping churning riff that proceeds to dominate the tempo. Robert’s vocal is nondescript and slightly phrased. The drum beat has a touch of the ‘Levee Breaks’ about it and towards the end the piece becomes a vehicle for some typical Plant gymnastics (one of which is right out of the fade to ‘Four Sticks’). lyrically ”Are you lost without the group ”is a telling line to who this might apply to.

The appearance of ’29 Palms’ changes the mood. Already familiar as the first single, within the confines of the album, it leaps out as being overtly commercial, with some very Knopfler-like guitar licks and a nice driving feel. All very likeable.

‘Colour Of A Shade’ takes over where ‘Liars Dance’ left off on the last album. Framed by a series of attractively overdubbed acoustic guitars, Robert applies a very folksy vocal that leads to an affectionate chorus. Shades of the Incredible String Band prevail throughout. File next to ‘Going To California’.

Side 2 opens with ‘I Believe’. The intro has a distinctly ‘Tears For Fears’ sounding keyboard motif (producer Chris Hughes influence) before moving into a very pretty strident mid-tempo chorus-led excursion likely to be pulled as the next single. Lyrically it’s not too difficult to detect a very personal message in the lyric (“Say brother sister see your brother in the sky”), which is duly reflected in the emotional content of Robert’s singing. “Like the wind you are free so talk to me, talk to me”. I guess we all know how the latter line will be extended in a live setting. There’s a very Beatlish flavour to the guitar solo here and overall this is another successful deviation from the expected.

Promised Land’ is more traditional fare, a bluesy strut with some prominent organ early on, before the familiar harmonica merges with some stinging guitar at times embellished by wah wah effects. His vocal here has a very retro feel which is almost ‘Physical Graffiti’ in texture. There’s an offbeat peculiarity about the whole track that draws you in on subsequent listening.

Another departure heralds the arrival of Great Spirit’. Set against a muted wah wah guitar effect played slow and moody, Robert croons over a repeated background chorus (“Great spirit comes”). Soulful and tasteful with some impressive guitar soloing but not a riff in sight. The lyrics include a reference to the album title and it all mellows out into the distance via some echo vocal effects as the master heeds the lyrical call of a previous incarnation (“Sing and Celebration”).

“The Greatest Gift opens with string induced grandeur. This is an epic love ballad, again more soulful than bluesy. It livens up for each power chorded chorus before returning to a very moody and mellow theme aided by some silky smooth guitar lines. The addition of a full string accompaniment adds to the epic nature of the piece. The whole thing has a widescreen effect and it strikes me that the song would make a great movie soundtrack theme. Plant’s impassioned vocal just soars.

And then . . . Robert joins such illustrious company as Bobby Darin, The Four Tops, Johnny Cash, and The Band Of Joy in covering the Tim Hardin 60s classic ‘If I Were A Carpenter. It’s a superb performance beautifully sung with full respect for the original and underscored by a subtle snare injection and another lush string arrangement. It’s a song he was familiar with long before there was Led Anything around circa 1967 and though it’s hardly the usual formula, it proves to be a perfect vehicle for his voice. And who knows, it could be a huge smash if extracted as a single at the right time.

And that is ‘Fate Of Nations’. An album that explores many different facets of Robert Plant’s compound of influences. It may take a few repeated listening but stick with it, because the end result will be immensely satisfying.

Led Zeppelin’s greatest strength was always their sheer diversity, a point clearly not lost on their ex-singer 25 years after their original inception. On ‘Fate Of Nations’ Robert Plant employs diversity as a function of union. Share it with him at your earliest opportunity.

Dave Lewis  – April 25, 1993

STOP PRESS Please note early tapes of the album did not carry the track Network News’ which I was unable to review due to the already overdue printing deadlines. Just received the second CD of ’29 Palms’ with the new acoustic ‘Whole Lotta Love’ – it again employs Rainer on steel guitar – a sparse bluesy workout very much in harmony with Willie Dixon’s original “You Need Love” which no doubt accounts for the subtitle employed on the sleeve.

TBL FATE OF NATIONS EUROPEAN TOUR OVERVIEW

Playing To An Ocean: Robert Plant goes back to the people

From a grand entrance in front of over 100,000 in Milan on May Day 1993, through to the less populated confines of the Kings Head, Fulham and across a variety of European halls and festival dates, Robert Plant’s first tour in three years has produced one of the most intensive and interesting work periods of his entire career. Stretching from the early Spring into late August he has appeared in front of well over a million people.

In launching this new phase of his career, Robert has been firmly committed to taking the music to the people. With little pretentions for the arena rock circuit which by his own admission his audience would be unlikely to extend to filling, Plant and his new line up embarked on a promotional trip that ensured a strong visibility by shrewdly taking a support slot with Lenny Kravitz and making up the bill on several major European festival dates, including a triumphant UK return at Glastonbury.

Alongside the actual live appearances, there have also been the media plugs. These have encompassed a hefty round of promotional TV and radio interviews with the added spice of several acoustic sessions that have been responsible for some surprising performances. The ‘FateOf Nations’ media UK push also propelled the new line up on to the small screen with appearances on ‘Top Of The Pops’ and ‘Later With Jools Holland’ – the latter signalling Robert’s first ever live UK presentation in his own right since the Zep 1969 one off.

Musically, in assembling a new line up, fresh thinking has been afoot. Gone are the techno wired for sound effects of Chris Blackwell’s drumming and the reliance on keyboards and samples from Phil Johnstone who, for this tour, has been much more prominent on guitar. Gone too, sadly, is Doug Boyle. He has been a much missed part of the line up for many Plant devotees, having carved a considerable nitch for himself during the previous four years. In revamping the line up Plant appeared to have struck lucky in finding Kevin Scott McMichael, an intelligent player with a seasoned background who displayed a fine alliance with

Plant’s own musical leanings (hence the introduction of the East coast Moby Grape/Springfield influence). To the left of the lead singer has stood Francis Dunnery, a strident guitarist well versed in the Page songbook and a strong personality on stage (can’t say I was over enamoured with the green shorts mind!). His stay could also be limited as there are plans for him to tour in his own right in  early ’94.

On drums, Michael Lee has proved to be an excellent addition with a no frills attitude to attacking the kit (Calling To You) coupled with a subtlety in his approach when the occasion demands (witness the rimshot style on the new arrangement of Ship Of Fools).

The actual set list employed seems to have caused quite a division amongst the faithful. After the No Led Anything approach pre-83, the contention of what to play seems to have come full circle. This time out there has been a renewed emphasis on performing Zep numbers – a total of 11 were aired along the tour against a ratio of 9 of his solo outings (plus two non originals).

Of those nine Plant solo outings, none of the songs delved back further than the 1988 Now And Zen album. It’s almost ironic that many of the diehards I’ve spoken to said they would have preferred Robert to have reinvestigated earlier solo tracks such as Pledge Pin and Burning Down One Side at the expense of a Zep delivery or two.

Of the Zep numbers re-employed Thank You and What Is And What Should Never Be received their first live airings in 20 years and seemed to be most welcome by all that heard them. The actual structure of the set was changed to match the differing time slots – a rigid 45 minute set was the norm for the supports to Lenny while the festival set was elongated to over an hour. The UK meanwhile received something like the duration that the US leg enjoyed with plenty of encore surprises – the most striking of which was the verses of Dazed And Confused performed at the NEC. Three tracks were used as set openers with Tall Cool One eventually emerging as the key choice over Hurting Kind and Calling To You.

Visually his persona seemed a throwback to the golden age with the hair back to Earls Court centre parted length. Time has not been too kind to his facial lines however and I also observed something of a receding hairline when the sweat dripped off the hair. But he looked fit enough -incorporating that new whirling dance style with perhaps a more paced physical approach that kept the peacock preening for later in the set.

In amongst all the media saturation Robert has played off the usual Zep investigations with a combination of flippancy and perception. Sometimes appearing not to care too much about the past, while at other times keen to re-affirm their greatness and affectionately talk of John Bonham.

One of the illuminating comments that have surfaced in more than one interview, is Plant’s observation that towards the end Led Zeppelin had become less of a passion for him and would not have survived in the 80s for all that long. “One thing’s for sure it would have seemed pretty silly today” was one such comment. This quote from a French radio interview also summed up his thoughts of the state of play back then. “Could we have continued? It’s impossible to say It’s a long time ago and I’m dealing with the present and the future now. And if I look back it’s all a long way back. I think there are some things you just grow out of. Led Zeppelin was very instant and motivated and you can’t keep that going forever. It really was a very big exciting animal. And maybe the animal had gone to the zoo . . .”

The other media cat and mouse game surrounded the Coverdale Page project with Robert again mixing some guarded replies with a few unsubtle and unnecessary snipes. When it comes to such matters, he should really let the music do the talking.

And it was the music that was the real focal point of this return to the people. And for me the most striking factor through it all, has been the quality of his vocals – with performances such as Thank You’ and ‘I Believe’ recalling the purity of those early teenage Atlantic recordings of nigh on a quarter of a century ago.

In fact some 20 years after he first introduced us to the ethic on the ‘Houses Of The Holy’ album, Robert Plant is still singing to an ocean . . . and judging by the reaction to this European tour. . . the ocean hasn’t lost its way…..

 Dave Lewis  – July 1993

First published in Tight But Loose issues 8 and 9

VIP Victoria Record Fair – Saturday April 27 2024  and TBL Meet…

I am aiming to be in attendance for another stern test of my ‘Buy Less Play More’ strategy!

Look forward to seeing all that can make it along

The VIP Record Fair is staged at the Horticultural Halls, 80 Vincent Square, Victoria, London this Saturday, April  27.

Here’s all the VIP Record Fair info::

Saturday  April 27 2024
LONDON VICTORIA
Horticultural Halls, 80 Vincent Square, Victoria, SW1P 2PB.
London’s very own Vinyl Fest. – the biggest and busiest Record Fair in the
UK

Admission 12 noon £5. Early entry £10 at 10am. Doors close 4.30 pm.

http://www.vip-24.com/venues/londonvictoria.htm