Becoming Led Zeppelin – the rejuvenation of the legend…

Well…what a couple of weeks it has been…

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TBL Interview with Becoming Led Zeppelin director Bernard MacMahon.

Firstly, here’s an interview I conducted with director Bernard MacMahon last Wednesday in London. Allison McGourty was also present. In the pic above you can see the Record Album that contained the initial storyboard that was used to pitch the film.

Dave Lewis: What inspired you to want to make a film about Led Zeppelin ?

Benard MacMahon:  I first was aware of the story from when I was 12 years old, my Mum was an antique dealer and you’d get these boxes of junk turning up and in the bottom of one of the boxes was a fabulous book on Led Zeppelin written by Howard Mylett.  So I read this book and it’s the early years told in a very straight forward way. That really inspired my love of Led Zeppelin. After reading the book the second time, my mum came in and said this fascinating thing. She  told me one of our customers was actually Peter Grant and I do recall him coming to the house.

DL: How did you pitch it to the band members?

BM: We had finished the American Epic series and it felt to me that Led Zeppelin was the next logical subject. They had really scooped up so many influences – some of which were featured in the American Epic film

So as we always do we prepared a detailed story board. I used a record album book to illustrate this – it was this book that I took in to meet Jimmy Page . Like I said Allison and I had mapped out exactly what we wanted this film to be.

Jimmy was aware of our American Epic film and he really liked our pitch. We used the same pitch to explain it all to Robert Plant and John Paul Jones. They were all on board and we were up and running.

DL: Was it always the intention to cover only the early years of the band?

BM: Yes, we wanted to show the impact they had at the start and the astonishing reception in America. The early years of  a band are so intensive and we wanted to illustrate that the best we could. So we started to track down as much footage as we could find. The cut off was always going to be the Royal Albert Hall January 1970 performance.

Basically, the message and story is that if you have a dream and you’re a kid, and you learn everything that you can, and you take every opportunity you can, and you’re ready to embrace new opportunities and new people – well you can achieve that dream

So we presented them with the idea of the film we wanted to do, and we stressed this needed to be an independent film and they trusted us from the beginning.

DL: I found the interviews particularly moving – was that apparent as they were being filmed?

BM: It was very much so. It was key that they were able to each tell their stories so we set the interviews up. We made the decision to have them filmed separately to get the differing views of the three. They all opened up in such an honest way.

We also filmed Jimmy back at his Pangbourne home where the band first rehearsed. They talked about their families and things like that which was really insightful.

DL: Did you also liaise with the Bonham family much?

Yes we did. The Bonham family were like incredibly helpful.  Robert brought Pat to meet us and she arrived with the whole bunch of photographs. Then Deborah very kindly provided all these cine films which included John and Pat’s wedding. They were mainly filmed by Jack Bonham – maybe he had a new hobby back then but they came to us in pristine condition.

The Bonham’s introduced us to a lot of people that John knew that were close friends, so we went up the Midlands and hung out with loads of people that John was very close to. You you can start to really get a sense of John the person from how his friends talked about him.

DL: One of the people the film is dedicated to is late Roy Williams – a dear friend of Robert’s who worked with him as his sound man  for years. Was he a particular inspiration to you?

BM: Roy was very important and we may not have come away with the film we wanted without Roy. Jimmy, Robert and John all opened up their address books for us so we made many connections.

There was an American Epic weekend staged in Bewdley near where Robert lives. There was a parade of American cars, the public dressed up like cowboy boots, cowboy hats and so it was a wonderful weekend. We met Roy – he was a great guy and helped us get people on board.  Another very important contributor was Jimmy Page’s school friend Rod Wyatt. 

DL: How did you come across the John Bonham 1972 Australian radio interview ?

We heard a bootleg tape of John talking on an Australain radio show so we knew it existed. I could tell by the recording it was from a quarter inch tape. The challenge was then on to find the source.

So all we had was an Australian interview and I could tell from the questions it looked like it was a set up and the period for the first Australian tour. So we’d done an American Epic festival with the University of Canberra, which happened to be the big radio archive in Australia. We called up the University of Canberra, spoke to them and said ‘Can we send this recording to you and can you identify it?’. They listened and a week later they came back with the name of the journalist. So we call back the University of Canberra and they look a few days but told us they didn’t have it.

Just before I put the phone, I said, ‘Do you have any uncatalogued tapes’ because we’d learned this with American Epic, Archives can sometimes be sitting on pallets of stuff . So I said Yyou know, we did all those favors you that American Epic festival would you start looking?’ I think it was like two or three months later eventually got a phone call at midnight and it was like go to your computer and there was an excerpt from it and then they sent over the reel.

It’s very clear and then after that we  found two other interviews  also in quarter inch tape. So there’s three interviews, the bulk is from the Australian one, but they are two other ones. Incredibly all the material on it seemed to be John discussing other aspects about the band and his role. he was of course talking in the moment and that really added something special.

DL: The film was first screened at the Venice Film Festival in 2021 with Jimmy Page in attendance – as I know it the film was then re-edited – what changes did you make?

BM: Making the film during the pandemic was another major challenge. We wanted to screen what we had done up to that point in 2021 to get a reaction. Venice was one of the only film festivals being staged so we went there. Of course It was a pleasure to have Jimmy in attendance.

We had an eight minute ovation after showing the film so we knew we were on the right track. However, we felt we did need to do some editing here and there – so we went back and worked on that.

DL: I really liked the way the news reel footage of the time appears during the film – who came up with that idea?

BM: We are both into what we call montage footage. It’s like holding up a mirror to society. Even though Led Zeppelin was not a political group, there was something about the music in the intensity and some of that attack, like the guitar solos and Good Times Bad Times, that were very reflective of those changing times in late ’68, early’ 69. That was when the summer of love was over, and this new progressive youth movement was coming on and taking on governments. The music is a reflection of the often confused times it was released in.

DL: What has been the reaction to the completed film from the band members?

BM: Very positive. We screened the film for Robert and all his family came to see film –his kids and his grandkids – he was saying  ‘This was my life’ and there was a very moving reaction to that.

As for Jimmy, every time I’ve seen him watch it, he gets very touched when John Bonham appears. The film has a very strong presence of John and there’s such a huge respect for what he contributed.

One of the most profound reactions was from Jason’s son Jager Bonham. After the Hollywood premiere he came up and shook my hand and said ‘I really wanted to thank you for allowing me to hear my grandfather talk for the first time’. It was just so moving to hear. Things like that have made it all worthwhile.

DL: I’m surprised there’s not a soundtrack album being made available?

BM: With all the work on the film it’s not something we have looked at really. Perhaps it could happen ahead.

DL: The sound quality of the music is delivered quite brilliantly throughout – it was amazing at the IMAX cinemas. How did you go about achieving that?

BM: Well, I knew I needed to go to the best source to really make it work. This included going back to the George Piros and Bob Ludwig cuts. That was another challenge in making the film. We had to make it sound as good as it looked.

DL: is there anything you wish you could have discovered and used?

BM: The only thing we could not find a real good version of was the promotional film they did for Communication Breakdown. It was shot at the Three Images club in Miami in early 1969.  We managed to get to the best sources of all the cine film from the era. One of the outstanding finds was the 1969 colour Bath Festival which I know you initially led us too – so thanks for that. We also had the best transfers made of the Supershow and Tous en Scene clips.

DL: Did you consider using the 1970 Bath Fesitval film footage that surfaced on YouTube?

BM: We didn’t as as the cut off was the Royal Albert Hall, our story was always planned to go up to January 1970 when they come back for their homecoming in London. So that was not something we planned. We had sourced the Bath 1970 film long before it appeared on YouTube. I guess if we did do a part two that would be a very good place to start!

DL: Is a second part something you would like to do?

BM: The thing is when you go into a part two and part three of a big story like this, then you start to uncover a lot more events that are universal. The stories become much more universal and therefore perhaps not as interesting. Maybe because you are on this production line of making records touring, making record touring. It’s such a monumental subject so it would demand three parts and six hours or more. So I don’t know -it’s a relief to get this one out which has taken up the last five years.

DL: Final thoughts?

BM: It really has been an incredible journey and we have come away with the film we really wanted to make. We had to maintain a real focus on it. It was so mind boggling the amount of work we undertook to get to this point.

With Becoming Led Zeppelin we wanted to tell the story that would interest us as filmmakers and obviously their audience.

The early years are so inspirational and we think  it will inspire younger kids on their journey. It illustrates how to follow your dream. If you have got something you want to do like whatever it is, and your parents are saying you should be an accountant or get a proper job. Well this is a story of how to succeed. We also constructed it in a way that the film can be viewed multiple times. It’s a bit like a musical it can be enjoyed time and time again.  This after all is Led Zeppelin, one the greatest groups of all time, and I hope in presenting their early years in the way we have. we have done the subject justice.

DL: Bernard and Allison, I think you have more than accomplished that. It’s s a brilliant film that will be bringing joy to Led Zeppelin fans across the globe in the coming days, weeks and months ahead.

BM: That’s very kind Dave

AM:  Thanks Dave

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Becoming Led Zeppelin Feedback…

Here’s some views from out in the cinemas… kicking off with my thoughts from the Thursday BFI IMAX 8.30 screening..

Another fantastic screening of the Becoming Led Zeppelin film last night at the excellent BFI IMAX cinema.

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Saw it today in Brisbane- absolutely loved it and left feeling warm, fuzzy and elated singing Something Else – a very moving documentary which was a perfect length – agree that Peter Grant deserved more recognition especially as he almost single handedly turned the tables on promoters in favour of the artist ie Zeppelin.

I loved the complete focus on the music which btw sounded incredible through the IMAX speakers- the reaction to Bonzo’s interview by the three was genuinely moving- the raw energy and emotion of the playing was breathtaking. Overall a triumph and a credit to Bernard MacMahon- hopefully there will be a follow up but knowing how slowly things progress in the Zep camp I doubt it!

Colin Sheil

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Chris Charlesworth’s excellent Just Back Dated blog is at:

https://justbackdated.blogspot.com/

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Finally the view of long time TBL supporter and Leicester based musician Kevin Hewick…

Becoming Led Zeppelin @ Screen 5 Vue Cinema Meridian Park Leicester

I and Steve Cartwright and a handful of others converged on Screen 5 at Vue Cinema on Meridian Park. For… a world record amount of dumbass ads and trailers.

I’d already said to cinema staff tell ‘em to crank it up – this is LED ZEPPELIN not the vicars tea party!

In fact (after exciting vintage footage of everything from Johnny Burnette to Little Richard, Lonnie Donegan to Gene Krupa, Johnny Kidd to Sonny Boy Williamson) WHAM (though actually a little while later on in the timescale) ‘How Many More Times’ nigh on ravages the whole game, Led Zeppelin have already become Led Zeppelin.

The interviews with Page Plant and Jones are superb and the audio appearance of Bonham visibly moves them and did me. The phenomenal drummer who plunged so far into excess and finally died a squalid drunken death is an easy going music loving Midlands bloke here who loves his Pat. In fact three of the four Zeppelins were married men. But the later ‘Whole Lotta Love’ sequence picks out gorgeous blonde women in the crowd, the sort that rockstar types would want backstage or back at the hotel or on their Starship. The music is pure thrust and orgasm. Much of the film has an innocence, four young men with incredible talent who formed an incredible band but there with ‘Whole Lotta Lust’ you see a glimpse of what was to not be resisted and what was to become infamy… eg the sheer repulsive horror of the mudshark….

But ‘Becoming Led Zeppelin’ is the thrill of the actual music while having a light touch about how much of it they nicked from sources they didn’t always credit… (See you in court lads!)

Anne Bredon, Jake Holmes and the great song credit grabber himself Willie Dixon all got done wrong and who squeezed whose lemon first?

But when I was 11 and heard them via Led Zeppelin II what did I or millions of others know about that?

It was sex, it was romance, it was brutal, it was beautiful… ‘What Is And What Should Never Be’ and ‘Ramble On’ had me yearning for something Pre- Raphealitey Marianne alike most 11 year old boys (and most anything year olds to be honest) never reach.

‘Thank You’ even claimed fidelity to the missus rather than sympathy for the devil though Jimmy was already working on that one…

But on LZ II here’s testimony to John Bonham’s greatness – I would bang along after school on cushions with rulers fantasising about being the DRUMMER in this band.

That I became Jimmy Page came later – an Antoria Les Paul copy and a copy of Led Zeppelin IV Christmas Day 1971.

(To this day I’m hugely underrated as a rock guitar god.)

I will admit I said “Motherfucker!” out loud as Page made the Dragon Tele snarl and slither in wow wow spasms. I know this footage like the back of my hand but on this big screen at this volume it’s mercilessly good.

Page seems most haunted by his past glories. Jones and Plant have done their things beyond. (The Firm on the other hand – not much cop really,,)

This is a terribly me me me review or ‘personal response’ to be polite.

I actually made a serious bid via someone connected to him to try to be considered as a lyricist for Pages ‘new music’ that never came. (Because he never got my lyrics for it stoopid!)

I’ve actually met John Paul Genius Jones twice and he’s as charming as he is in this film, a truly lovely man.

Plant I’ve seen as close as the front of The Charlotte and tent in Ashby De La Zouch – and as far as far away as The Royal Albert Hall and arenas with Pagey and Alison Krause.

Bonham? Well, I met Deborah when she and her band came to The Musician and were tremendous. She’s a magnificent singer and a lovely person and even agreed to record with me sometime but that’s not happened (yet!)

And most of all the keeper of the flame – my dear friend Dave Lewis who has been the heart and soul of Zeppelin fandom for decades, he gets us all excited about it over and over again.

A quick blast of The Rover and I’m on board the Starship too baby – baby baby babyyyy – but am aware that women aren’t babies.

Men are…

In this films era Zeppelin weren’t the only game in town.. Cream had only just split and Hendrix was still Experienced and Free were.. Free! Rory Gallagher was on imperial form with Taste. And in USA we’d got everything from The Doors to CSNY to Jefferson Airplane to The Dead and – woman alert! – to Janis all going on… There was (just) still a Beatles and as for The Stones and The Who…

But Led Zeppelin were crash bash wailing into mega legend before our very ears.

And that I’m writing this at 4am proves I still care a wee bit about that!

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February 21:

My thoughts on the Bob Dylan biopic A Complete Unknown  – The Odyssey Cinema St Albans February 19 2025.…

 

So to The Odyssey cinema St. Albans with the good lady Janet for a 12.30 Wednesday afternoon screening of the Bob Dylan biopic A Complete Unknown. We are a bit later to the party as it’s been out a month now but our cinematic focus has been on another film that’s been doing the rounds…

However, the Dylan film was now in our sights as we approached the lovely art deco building of The Odyssey cinema.

Being a lunch time showing we did know expect the cinema to be that full and had not booked in advance.

Big mistake – how wrong we were – we had clearly underestimated the drawing power of Mr Zimmerman. On entry the place was buzzing and when we went to buy tickets we were told it was sold out!

Co-incidentally and bizarrely the great Who chronicler and writer Andy Neil who lives in St Albans was being told the same – after a brief chat with us, Andy left to try another day.

As we had made the effort to get here from Bedford, I was determined to hang around to see if there might be some returns. There was no chance of a ‘Do you know who I am?’ tactic being employed which might have opened one or two Zep doors in the past but here in Bob’s world that wasn’t going to get me far.

Incredibly luck was on our side. A lady came in saying her two friends could not make it – I quickly explained our predicament and handed over the £20 asking price for her tickets and we were in – phew!

The audience was predictably of the Dylan fan demographic with many an old age pensioner to be seen – hey that’s me! We chatted to once couple who had seen Dylan at Earls Court in June 1978 – my first sighting was a month later at Blackbushe and my latest was last November at the Royal Albert Hall.

Janet and I have long since wanted to see a film at this extraordinary cinema. Downstairs all the seats are in pairs and with a table and lamp. A luxurious setting and obviously very popular with the locals some of who were delving into cheese and wine. There was a real ‘event’ feel about it and the film was even introduced by a member of staff with some background details. Cinemas can be soulless at the best of times not so The Odyssey.

After this treat it will be hard to go back to a Vue or Cineworld venue. If you are around the area a visit to this fantastic cinema is well advised. In fact we could well be back for another viewing of the Zep film as it’s showing here on March 19 and March 28.

To the Dylan film – I had read a fair few reviews and most of them very favourable and it did not disappoint.

As a lifelong fan it was always going to be a must watch for me. Janet is not a big fan but has been fascinated by Dylan’s songwriting talent and here was the perfect opportunity for her to delve into the story. She was most impressed.

Biopics can have a tendency to re- write history and there was a degree of artistic license applied to A Compete Unknown.

Notably that cry of ‘Judas’! from an audience member during his pivotal performance at the 1965 Newport Folk Festival (the famous heckle actually took place at Manchester’s Free Trade Hall in May the following year), I felt this scene was played out with tongue in cheek.

Similar to the Becoming Led Zeppelin film, such artistic license did not spoil the enjoyment of the film. In fact for me, the film’s real strength is its sheer authenticity.

Thanks to James Mangold’s masterful direction, It really did feel like you were on the streets and in the folk clubs of early 60s Greenwich Village in new York as Bob perfected his art.

That you were there by the mixing console in the Columbia studios watching Bob lay down those epic statements and there being a part of the audience watching him re write musical history by going electric at the 1965 Newport Festival.

All of this was illuminated by some impeccable acting. Timothée Chalamet portrays Bob Dylan brilliantly – effortlessly capturing that super-cool other worldliness that has made Dylan one of the most compelling rock stars of all time.

Dylan’s complex love affairs with Sylvie Russo played by Elle Fanning and Joan Baez played Monica Barbara, are dutifully observed as is his affection for the dying Woody Guthrie played by Scoot McNairy – a very moving element of the film.

Pete Seeger’s role as something of a mentor to the young Dylan is played with much warmth by Edward Norton while Boyd Holbook’s take on Johnny Cash is another delight – as is Dan Fogler in the role of Dylan’s ‘out to make a buck’ manager Albert Grossman.

Central to it all is of course the music and here Timothee Chalamet really excels with the delivery of every song. His ability to take on this task is uncanny.

The likes of A Hard Rain’s Gonna Fall, Blowing In The Wind, The Times They Are a Changin’ etc are played out as a backdrop to a turbulent period in American history which is duly highlighted in the story with the Cuban missile crisis and the Kennedy Assassination.

Best of all, is the riotous Newport Festival closing sequence where Dylan and his band blow everything out of the water with a triumphant stomp through Maggie’s Farm and Like a Rolling Stone.

There are several parallels here to the Becoming Led Zeppelin film.

Both have had backing from the key players – the Zep film officially with those key Page, Plant and Jones interviews and in Dylan’s case, his unofficial advisory meetings with director James Mangold.

Both films also hone in on that key initial period of creativity – the Zep film from 1968 to 1970 and Dylan’s path from 1961 to 1965.

Finally, there’s one other aspect both films share. I didn’t think I could love Led Zeppelin any more than I do until I saw Becoming Led Zeppelin.

The same can be said for Bob Dylan after watching this film. In fact, I’ve just played through Highway 61 Revisited and it sounded better than ever…

With A Complete Unknown, Bob Dylan has finally got the biopic he always deserved – it’s a joyous watch…

Dave Lewis – February 21 2025.

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March

Recent DL Led Zeppelin LP bootleg box set acquisition:

 

Led Zeppelin In The Evening

Live at the Festhalle Frankfurt Germany 30.6.1980

I am a sucker for these bootleg box set releases and this one is a bit personal.

I was lucky enough to be at this gig with my great friend the late Tom Locke. We had seen the second night of the tour in Cologne on June 18 and were now back to catch the Frankfurt show then two nights in Mannheim and the Munich show on July 5.

There have been various CD versions of this show but I think this is the first occasion it’s come on vinyl. This is a triple set with the whole show and the back cover proclaims

‘’ Included here is a speed corrected and remastered soundboard recording of a fantastic sounding show. Released on vinyl in optimum sound quality.’’

I can certainly testify first hand that it was a fantastic show. The Festhalle was a ten thousand capacity hall and  Zep had previously played there a decade back in July 1970.

It was one of the most high profile shows of the tour and important enough to have Ahmet Ertegun in attendance. He stood near us on the side of the stage and at the end of the show promotor Harvey  Goldsmith

Back to the box set which is on the rather bizarrely titled The Dinosaur Eats a Frankfurter label.

The cover is four live shots from the 1980 tour presented as film stills in the style of the official 1980 photo which had four shots from the tour rehearsals. In fact they have overplayed the live Over Europe pics onto the poster safety film shots of the original as the numbers 17 A and 8A can be seen  – albeit it the other way round.

The back cover is a shot outside the Festhalle advertising the Zep show plus Santana and Frank Zappa -quick aside the Santana show the day after the Zep appearance and Jimmy Page made a guest appearance.

As with these box sets there’s a four page insert which has a spread of photos. Here’s where it gets very personal for me – three of the photos are cribbed from my Feather In The Wind Led Zeppelin over Europe 1980 book published in 2011. These photos were taken by Tom Locke and myself.

They include the following:

A photo taken by Tom at the Intercontinental Hotel in Cologne as the band booked in on the afternoon of June 18 1980 with Robert Plant, Phil Carson (Atlantic Records exec),Rex King (John Bonham assistant), John Bonham and Peter Grant -also in view is tour manager Phil Carlo. This was in preparation for the second gig of the tour that evening at the Cologne Sporthalle.

From the same gig , a photo of Robert Plant smiling and snapped as we watched from the side of the stage at the Festhalle gig in Frankfurt on June 30 1980.

Another one of Jimmy again captured as we stood on the side of the stage -this has Jimmy passing his Gibson guitar to guitar tech Ray Thomas.

It would have been nice if they had asked permission to use them but as we know that’s not the bootleggers way. It would have been nice too if they had bunged me a copy of the set -I could have offered to write some sleeve notes and maybe pass them the photo I have of Phil Carson jamming with them at this gig on a version of Money (That’s What I Want).

It’s not the first occasion TBL pics have been used for bootleg artwork and it probably won’t be the last…

So to the six sides.

Having been overawed watching the young Led Zeppelin in the Becoming Led Zeppelin film we are now ten years on and as we all know this is a rather different proposition. A rather world weary band but on the back of their Knebworth performances determined to move on and re- establish themselves.

Of the 14 dates around Europe this June 30 1980 performance was one of the best.

So here’s how it sounds on this new triple album box set:

The sound itself is the via the rather flat sounding soundboard tape. Much of Robert’s between song chat is retained.

Side One:

Train Kept a Rollin’ (3.42)

Robert’s voice is lightly husky but improves – Jimmy is right on this.

Nobody’s Fault But Mine (5.42)

Vibrant and well delivered – this pair worked well together. That cry of ”Oh Jimmy” delights.

Black Dog (6.18)

Fairly standard performance but always a crowd pleaser.

In The Evening (8.09)

Slightly uneven and Robert get’s a bit lost at one point.  JPJ is excellent throughout.

It’s worth noting here that the constant use of a harmoniser to double track Robert’s vocals does grate for me. The harmoniser vocal effect was first introduced on the 1977 US tour and worked well in

Side Two:

The Rain Song (9.02)

The stand alone version as performed at Knebworth. Superb performance.

Hot Dog (4.00)

This number worked well as an on stage stomper.

All My Love (6.22)

Robert is now right on it and this is a fabulous delivery with all of them gelling together. The extended ending is similar to the famous long version outake.

There’s an audience drop in that catches Robert’s introduction to a friend by the name of Cooky.

Side Three:

Trampled Under Foot (8.49)

Fast and furious John Paul Jones is superb on the solo as is Jimmy adding in some scintillating wah wah runs.

Since I’ve Been Loving You (10.17)

Jimmy again very fluent and Robert without the harmoniser effect sounding pure and clear. Nice ad lib of I Cant Quite You Baby at the close. JPJ on electric piano.

Side Four:

Achilles Last Stand (10.50)

John Bonham and Jimmy lock right in from the start aided by that chugging bass from JPJ. It’s a glorious noise.

White Summer/Black Mountain Side (7.19)

Something of an Albert Hall 1970 throwback with Bonzo adding the percussion. All expertly performed. However the crowd are noisy and boisterous prompting Jimmy to stop and proclaim ”It’s noisy out here give us a chance!” he then goes into the Black Mountain Side sequence though this annoyingly fades out.

Side Five:

Kashmir (10.53)

John Paul Jones very much to the fore here and Jimmy’s relentless riffing never fails to lift the arrangement to new heights. Plant is also magnificent. John Bonham’s fills take it all out on a high.

Audience drop in on the intro

Stairway To Heaven (13.01)

Some great ad libs from Plant here -”Does anybody…” ”I keep chopin’ and changin”’ ”Not to roll, to roll, not to roll.”

The sol is a meandering one and perhaps lacks the majesty of Knebworth but overall this is a gracious delivery.

Side Six

Rock And Roll (5.05)

Encores – a manic Rock And Roll  marred for me by that pesky harmoniser effect on Robert’s vocals.

Money (That’s What I Want) (4.53)

Phil Carson on bass Mr Philip Carson from London”

Grungy guitar, JPJ on electric piano. Impressive wah wah solo from Jimmy followed by a Jones piano solo.

Whole Lotta Love (14.20)

They are back for a final thrust -Whole Lotta Love – disappointingly they did not retain the revamped arrangement that lit up Knebworth -this is the standard Crunge into theremin section but then switches into the Boogie Chillun’ section which has Plant proclaiming ”This boy’s reached the age of 31”. There’s some lines from Elvis’ Frankfurt Special and then they wind it up with the familiar ”Woman way down inside” exit.

Summary:

Overall a very enjoyable set – it was of course incredibly exciting to watch this unfold at the time from the side of the stage. With the benefit of hindsight some 45 years on there were some sloppy moments

These box sets are not for all collectors but as a souvenir of one of my most memorable gigs it’s a very welcomed package.

Now here’s a thing…

The way it could have been?

Looking back to that Over Europe tour in 1980, it had me thinking of what I would have considered an ideal set list at the time. There’s no doubt that the Over Europe setlist did strip out a lot excess but both the Presence and In Through the Out Door albums were well unrepresented.

So here’s my proposal for how a more balanced set list might have looked -both for the Over Europe dates and to take over to the US for the planned fall tour.

Train Kept a Rollin’

Nobody’s Fault But Mine

I would retain the Over Europe set opening segment as that worked really well.

The Wanton Song (Only ever previously played on a few of the 1975 USD tour dates)

Royal Orleans (Previously unplayed live)

Above pairing played back to back

Intro by Jimmy then into…

Hots On For Nowhere (Previously unplayed live)

Intro by Robert then into..

All My Love (as per the Over Europe dates)

I’m Gonna Crawl (Previously unplayed live)

Trampled Underfoot

Sick Again

In The Evening

Caroulesambra (Previously unplayed live)

Achilles Last Stand

Dazed And Confused – performed in the compact  arrangement ala Supershow

Kashmir

Stairway To Heaven

Encores:

Encore One:

Whole Lotta Love – performed in the compact Knebworth revamp arrangement curtailed before the ”Way down inside” refrain and running straight into…

Wearing And Tearing (From the In Through the Out Door sessions Not released on record as yet)

Encore Two:

Communication Breakdown

Rock And Roll

So there it is – my view of how a Led Zeppelin setlist might have looked as they prepared to take on the 1980s…ultimately it was not to be…

Dave Lewis March 19 2025

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27 March 2025 771 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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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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10 April 2025 864 views No Comment

My thoughts on…

 Jimmy Page & The Black Crowes –  Live at The Greek new reissue…

First some pre-amble to put this release into perspective…

In 1998 Jimmy Page and Robert Plant undertook their second tour together dubbed the Walking into Everywhere tour. This took them across Eastern Europe, America and Central Europe. It also  coincided with the release of the Walking Into Clarksdale album.

The stripped down five-piece line-up of Page, Plant, Michael Lee on drums, Charlie Jones on bass and keyboard player Phil Andrews was in stark contrast to the Unledded tour. Page, taking on all the guitar chores, was back to his best, consistently turning in focused, incendiary performances.

Although certain songs from the Walking Into Clarksdale album were showcased in the set, as the tour progressed there was an increased emphasis on the Zep songs which made it seem like they on a mission to uphold Zep legacy. This suited the audiences and Jimmy  but Robert Plant became less enthusiastic, and plans for the tour to continue to Japan and Australia in early 1999 were scuttled when Robert quit on the eve of the trip.

I was actually in the Trinifold management offices in early 1999 the day to interview Bill Curbishley as the calls were coming through that Robert felt the need to move on.

Jimmy Page was left to pick up the pieces. He did record some backing tracks with drummer Michael Lee for a planned new Page Plant album in the hope it would prompt Plant to return to put vocals on. It never happened. “I presented scenario after scenario to Robert,” Page said later. “We were supposed to get together last May to do some writing but he cancelled at the last minute. Then it was August and nothing happened so he’s out on his own now.”

Jimmy ploughed on, determined to keep playing. In June he performed ‘Dazed And Confused’ at a charity show for the Kosovo crisis appeal in London’s Whitehall with bassist Guy Pratt and Michael Lee. He then found salvation in the company of the Back Crowes after linking up with the erstwhile retro rockers for a charity gig at London’s Cafe De Paris.

Jimmy  was asked to spearhead the gig that would benefit Scream (Supporting children through re-education and music) and the ABC Action for Brazil’s children trust. Photographer Ross Halfin suggested Page ask The Black Crowes, who were in town to play with Aerosmith, to join him. Ironically Jimmy had been introduced to the Crowes by Plant and had attended their 1995 Albert Hall show. He also jammed with them soon after at a gig at the Zenith club Paris.

On a memorable June night, Page and the Crowes performed ‘Shake Your Money Maker’, ‘In My Time of Dying’, ‘Whole Lotta Love’ and a version of  Fleetwood Mac’s ‘Oh Well’. Aerosmith’s Steven Tyler and Joe Perry joined them for ‘The Train Kept A Rollin’’ and ‘You Shook Me’.

Following the success of the London show Page was asked by the Crowes’ management if he’d like to extend the liaison for six US shows – three in New York, one in Worcester and two in Los Angeles – and he jumped at the chance.

As a prelude to the October dates, Jimmy also took part in the Net Aid benefit show at New York’s Giants Stadium where he was joined by Puff Daddy for ‘Come With Me’. He also performed an instrumental ‘Dazed And Confused’, a further new work-in-progress instrumental dubbed ‘Domino’ plus Zep’s ‘In My Time Of Dying’ and ‘Whole Lotta Love’ with Rich and Chris Robinson from the Crowes.

For the US shows Page and the Back Crowes would perform a set that featured predominantly Zeppelin numbers, and this gave Page the opportunity to revive rarely played gems such as ‘Ten Years Gone’ and ‘Your Time Is Gonna Come’. The additional guitar input from Crowes Audley Freed and Rich Robinson allowed them to reproduce the complex, multi-tracked studio arrangements in a live setting. As Page acknowledged, “When we did ‘Ten Years Gone’ it was the first time I’d ever heard all the guitar parts from the record played live. It was like being in guitar heaven. The whole thing went like a locomotive. The Crowes really groove. You can hear that in their own music. And when they applied that groove to Led Zeppelin material it was really cool. We had a great time. It was an unforgettable experience for me.”

A resulting live album from the tour titled Live At The Greek/Excess All Areas was initially made available via the Internet in early 2000. Offered by Musicmaker.com as a pioneering digital music compilation, the deal was that the 19 tracks recorded over two shows on October 18 and 19 the previous year could be customised or downloaded by the purchaser in any track order they requested. Interest in this controversial move was high and it quickly became the largest selling custom CD and paid on line download in the history of the Internet up to that point.

At a press conference in New York in February to launch the Internet release, Page noted, “The whole thing about this is choice. It was an uncomplicated thing for us. We did not have to go messing about with record companies. It’s wonderful to be at the forefront of this.”

Bypassing traditional retail channels did cause some industry debate and eventually the album was officially released as a standard CD via TVT Records in America and SPV in Europe. In the wake of the overpopulated dotcom boom, Musicmaker eventually went into receivership.

The live album accurately captured Jimmy’s enthusiasm for a collaboration which allowed him to further explore his illustrious past. Whilst there was no doubting Page’s prowess, the project had its limitations. It was an entertaining stopgap and as a gig it was  a guaranteed good night out.

On the back of the success of the album, Page and the Crowes returned to the road in America in the summer of 2000 for a further eleven shows, kicking off on June 24 in Chicago. However continued back problems forced Page to pull out of a round of dates with The Who in the late summer and a planned 13-date late autumn European tour . – it signaled the end of his main association with the band.

Jimmy did join them again for a one off encore performance of Shake Your Money Maker at the Shepherd’s Bush Empire in 2012.

Right here goes…

There have already been two vinyl versions of the Jimmy Page and Black Crowes live liaison – both Record Store Day exclusives.

In 2014 an impressive 3 LP set on red, clear blue coloured vinyl in a triple fold out sleeve limited to 2,000 copies only replicated the tracks on the 2000 CD version.

Three years later in 2017  another Record Store day release surfaced.  Jimmy Page & The Black Crowes Live At Jones Beach was a limited  edition three track ten inch single pressed on marbled black and white vinyl in a run of 4,000.

Comprising of Misty Mountain Hop, Bring it On Home and In The Light -these recordings were  made at Jones Beach Theater in New York on July 10 2000.

It’s been long rumored there would be an expanded edition of the album to mark the 25th anniversary and sure enough Orchard Records have pulled out all the stops for this one.

The 25th anniversary edition of Jimmy Page & The Black Crowes: Live at the Greek is available in the following formats:

● 6 LP Box Set: 180-gram black vinyl with individual sleeves, a foldout poster, and a removable top box. The fully remixed and remastered show features 16 previously unreleased tracks.

● 3-CD Set: Presented in a six-panel digipak with a foldout poster, offering the full remixed and remastered show.

● Double LP “Best Of” Edition: Features 15 remixed and remastered tracks, pressed on an exclusive electric smoke-colored vinyl, limited to 1,000 copies.

The Jimmy Page website also offered the 2LP edition on black vinyl. I could not resist ordering that one!

There is also an Independent Stores only limited edition Decepticons coloured vinyl set -I picked this one up at our local Slide Record Shop.

The big attraction with these releases is that for the first time, The Black Crowes own material recorded at the time is now included – contractual issues prevented this from happening on previous editions.

So to the 2 LP version released on March 14. Recorded over two nights in October 1999 plus material from the Jones Beach gig on July 10 2000, it’s superbly mixed by Ian Shirley with every instrument prominent.

Side One kicks off with a spirited Custard Pie – the Physical Graffiti opening track is an ideal vehicle for the sort of knockabout rock and raunch that The Black Crowes built there reputation on. Jimmy is right in there clearly inspired to be performing Led Zeppelin material in a familiar band format.

Sick Again is equally as pleasing. Jimmy effortlessly grinding down on that descending chord pattern.

The Crowes own No Speak No Slave follows in frantic fashion and it’s evident Jimmy has the same empathy for the Crowes songs as they do for his. We are back to the Zep catalogue for The Wanton Song. Here as they do throughout the set, Rich Robinson and Audley Freed bring a full on duel guitar power to the proceedings.

Side Two opens with Misty Mountain Hop which zips along with a real swagger and ends as it did at Knebworth, with a punchy stop gap finale. The inclusion of Hots On For Nowhere  is a pure delight and a clear indication of what a great live number this would have made for Zep had they attempted it.

The Allman Brothers influenced Wiser Time has some subtle keyboard input from Eddie Harsh and  more great guitar interplay.  Ten Years Gone finds Page recreating the wah wah effect on the opening that he employed for the live version on Zep’s 1977 US tour and the Knebworth August 4 performance. This version is faithful to the original with that pleading coda and relentless guitar fade.

Another aspect of this collaboration is of course Chris Robinson’s vocal. He doesn’t attempt to try and replicate Robert Plant’s higher register in any shape or form, instead opting to bring his throaty delivery in a way that compliments the Zep arrangements.

Side Three and  bluesy gospel roots of In My Time of Dying is another one that benefits from The Crowes style. Remedy from the Crowes second album The Southern Harmony and Musical Companion is a loose boogie delivery which leads in to one of the highlights of the set – In The Light.  The closing harmony guitar orchestration is absolutely thrilling.

To Side Four and another stand out performance. Hey Hey What Can I Do has only previously been played live by Page & Plant on their US tour in 1995. It emerges here as a typical Crowes bar room strut, slightly faster paced with dominant electric piano.

A melodic and atmospheric She Talks To Angels is followed by a powerful Nobody’s Fault But Mine which is another Page tour de force – by my reckoning this was the first occasion Jimmy had attempted the Presence stormer on stage since the Zep Over Europe tour in 1980.

Whole Lotta Love finds Jimmy again back on the wah wah pedal recreating the familiar solo in the 1971 BBC broadcast arrangement.

As they sign off Jimmy takes to the mic ”It’s been a great evening!”

Indeed it had been.

Summary:

This 2 LP edition is a perfect way to re-connected with a landmark Page period. Coming off of an intensive period of touring in 1998, he was truly fired up with much intent and his performance reflect that desire throughout.

The compact nature of the 2 LP format reminded me of those great 1970s era double albums such as Frampton Comes Alive and Thin Lizzy Live and Dangerous.

The extended packages are of course a much bigger slice of the Page/Crowes collaboration – retaining the tracks on the original album including the  covers of Oh Well and Shapes of Things and adding some previously unreleased soundcheck performances. I’ll be catching up with that edition in due course.

The 6 LP box set is released this Friday April 11.

For now, Jimmy Page and The Black Crowes Live at The Greek  across 2 LPs is a very digestible and hugely enjoyable snapshot and will be my go-to fix in the coming weeks for a blast from the past from Jimmy’s back pages.

In short, Live at The Greek is what happens when a band of mad keen Led Zep fans collide with the original guitarist at a time when he had the rug pulled under him. The passion and sheer drive in Jimmy’s playing at the time was a clear indication that he had so much to give. it was a perfect musical match. It would be a similar story some seven years later on that night of nights at the 02.

There’s a lot of love in my heart for these guys” Jimmy told Mark Blake in a Classic Rock interview. Whatever format of Live at The Greek you indulge in, you can expect to be feeling the same….

Dave Lewis – April 10 2025

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Record Store Day 2025…

Saturday morning treats at the Slide Record Shop…

Record Store Day sorted!

I got there  at 6am and the queue was much longer than last year.

My wants list was fulfilled 100% – a very big turn out this year with over 150 in the queue.

The four hours queuing was all worth it, though has can be seen by my slightly closed eye – it didn’t do my hay fever much good!

As ever brilliantly organised, great atmosphere in the queue – all in all another hugely enjoyable Record Store Day.

Many thanks to Nerys and Warren and the Slide staff for a fantastic job done

Here’s the eight I selected – and I’m very much looking forward to wading through these beauties…

Dana Gillespie – Box of Surprises

Elton John – Live from the Rainbow Theatre with Ray Cooper

John & Yoko Ono/Plastic Ono Band with Elephant’s Memory and Special Guests – New York City, 1972 4 track EP

George Harrison- All Things Must Pass -3LP Zoetrope Edition

Laura Nyro – Angel In The Dark

The Rolling Stones – Out of Our Heads (US version)

T. Rex – Bolan B-Sides (140g Translucent Blue vinyl)

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Morgan Howell pop up shop in St. Albans…

 

I’ve been aware of Morgan Howell’s work for a good while. I first saw it displayed in the Empire Record shop in St. Albans. Morgan lives in the area and recently opened a pop up shop to showcase his amazing work.

When we were in St. Albans last week Janet and I visited the shop. I was immediately drawn to the art piece in the window. A replica painting of the led Zeppelin Whole Lotta Love US single in authentic Atlantic Records sleeve – the way it looked when I excitedly opened a package containing that single I bought for £1.25 in 1972 age 15.

Morgan Howell (AKA @SuperSizeArt)  paints classic seven inch singles and takes into account every crease, every tear, every imperfection―producing a one-off, truly unique artwork, almost identical to the owner’s original copy, but blown up, supersize, to 27.6 by 27.6 inches, and three-dimensional, with the spindle in the centre, as if the record is ready to play.

This completely original approach has resulted in Howell attracting a cult following amongst art collectors and musicians alike―with paintings commissioned by the likes of Neil Diamond, Jude Law, Edgar Wright, and The Stone Roses’ Ian Brown, and major music labels selecting the artist’s work for display in their headquarters, indeed, Howell’s painting of David Bowie’s The Jean Genie is displayed at the Sony Music Building in London, and Yesterday by The Beatles has been shown at the Capitol Building in L.A.

It was a pleasure to spend time in the shop talking to Morgan about his work and seeing some of the truly incredible designs on the walls.

To enhance any visitor’s experience, Morgan has a stereo set up playing relevant classic 60s, 70s and 80s records – we chatted to the strains of a T.Rex hits compilation right up our street!.

As mentioned above Morgan’s work is held in high esteem not least with many of the musicians these singles were recorded by.

On the walls there some iconic titles – Brown Sugar by The Rolling Stones in the classic tongue logo sleeve, The Beatle on Parlophone,  I Want To Hold Your Hand on the US Capitol label, a demo copy of Pink Floyd’s Arnold Lane and more.

Original paintings by Morgan are naturally expensive.  However there are prints available of some of his works and I have my eye on the Led Zeppelin Whole Lotta Love smaller print.

It was fascinating talking to Morgan -he really is very well connected and his artistry  is world renowned. He had photos of both Jimmy Page & Robert Plant pictured with his singles art work.

I’m not sure how long the pop up shop will be there but if you are in St. Albans be sure to check it out at ‘A History Of The Imagination’ No.2 Christopher Place, St. Albans AL3 5EA.

It tends to open on Thursdays. Friday and Saturdays.

Morgan also has an excellent book available first published in 2023.

Here’s the info:

Morgan Howell at 45 RPM, published by Black Dog Press, beautifully documents 95 of Howell’s creations, from Tutti Frutti by Little Richard to Heart of Glass by Blondie, to Gimme Shelter by The Rolling Stones, to Waterloo Sunset by The Kinks. The artworks are shown in full, alongside evocative commentaries from fans of Howell’s work, including The Smiths’ Johnny Marr, Spandau Ballet’s Gary Kemp, comedian Al Murray, journalist Tony Parsons, actress Kay Mellor, Happy Mondays’ Shaun Ryder, producer William Orbit and composer Andrew Lloyd Webber.

The book features Forewords by Sir Peter Blake and Andrew Marr, plus an in-depth interview with Morgan Howell, exploring his process as an artist and why, for him, music and art are intrinsically linked. With a format perfectly designed to fit on record shelves, this book is a must for vinyl junkies, music heads and art lovers everywhere.

Morgan is best known for his giant (SuperSize) 3D facsimiles of classic 7” singles. Morgan’s hand-painted works take into account every crease, every tear, every imperfection – producing a one-off, truly unique artwork, almost identical to the owner’s original 45, but blown up, supersize and three-dimensional, with the spindle in the centre, as if the record is ready to play.

This completely original approach has resulted in Howell attracting a cult following amongst art collectors and musicians alike – with paintings commissioned by Neil Diamond, Jude Law, Edgar Wright, Lord Lloyd-Webber and Ian Brown, and major music labels selecting the artist’s work for display in their headquarters.

For more details of Morgan’s work check out his website at:

https://supersizeart.myshopify.com/

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22 May 2025 746 views No Comment

We had a fantastic afternoon yesterday at the TBL pub meet at the Kings Head pub to mark the 50th anniversary of Led Zeppelin’s first gig of the five night Earls Court run back in May 1975.

Many a Zep tale was recalled and the excellent quiz hosted by Phil Tattershall was won by Rikky Rooksby and Geoff Adamson.

We had a toast for sadly missed friends such as Tom Locke. Andy Adams, Howard Mylett and Peter Jones.

It was so heart warming to see some long time key Zep fans I had not seen for years including Rikky Rooksby and Geoff Adamson.

Also great to see Julian, Phil, Mark H, Richard, Chris, Paul, Lee and David Stark.

Phil Harris had a commemorative T. shirt made which depicted the pic of us in front of the Earls Court stage 50 years ago on May 24 1975 – a lovely touch!

All in all, a life affirming TBL meet where once again, our shared love of Led Zeppelin created a true bond of friendship – and many a memory lit up the occasion.

Here’s a round up pics from a fabulous afternoon…

  

Oh and well done to Crystal Palace!

Dave Lewis -May 20 2025

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My thoughts on Just For One Day -The Live Aid Musical…

Spoiler alert – look away now if you don’t want to know much in advance!

To the excellent Shaftesbury Theatre for the Live Aid Musical.

First things first: Janet and I are not big fans of musicals but this one was something we really had to see. I’m very glad we did.

Whilst we were not at Wembley for Live Aid on July 13,1985 back then we very much had a vested interest in it all.

When the Band Aid single was released in December 1984 I was the manager at the WH Smith record department Bedford.

Janet and I worked together (we were newly married!) and we sold over 1,000 Band Aid singles in the first week. It was a very exciting time to be working in music retail. It really did feel like we were all trying to make a difference in supporting the Band Aid appeal.

Come the Live Aid show we did consider going – however, knowing that Jimmy Page, Robert Plant and John Paul Jones would be reuniting to appear at the Philadelphia concert, I was wary of missing that moment. So we opted out, in hindsight maybe not the best move! I do know a fair few people who went including Adam Tidd, Paul Humbley, Krys Jantzen and David Brett.

So we made a day of it here watching the whole Live Aid event from 12 noon into the early hours with our friends Alan Stutz and Steve Moore. The Led Zeppelin reunion occurred around 1am.

I was writing a weekly pop column for the local newspaper the Beds Times and I wrote a piece on Live Aid the next week that chronicled the day hour by hour. I concluded by stating the following:

‘’Some have the Coronation ,others the Royal Wedding but this concert for famine relief is surely the moment in television history we will relay to our children’s children. The day Live Aid was the true food of life.’’

That has certainly been the case here as we have clapped along with We Will Rock You with our grandson Ollie watching the Queen performance!

I didn’t envisage of course a time 40 years on when a major London theatre would be staging a full blown musical about the Live Aid saga. But here it is – Just For One Day by John O’Farrell and directed by Luke Sheppard.

Before we get to my thoughts on the musical itself , let’s get the elephant in the room sorted. The Zep performance has been much maligned in recent years not least from the players themselves. They refused to let their segment to be used on the official DVD release in 2004.

There’s no doubt it was a messy under rehearsed performance but watching it unfold live in our living room was incredibly exciting. It upped Zep’s stock manifold after a period in the early 80s when they were somewhat forgotten.

Live Aid changed all that and for me personally, it inspired me to go on a crusade to write and have published a book concentrating on their music.

This would come to fruition in 1990 when Chris Charlesworth commissioned my A Celebration book for Omnibus Press.

So, unsurprisingly there is no mention of Zep in Just For One Day. The Philadelphia concert is referenced by performances of Madonna, Simple Minds and Bob Dylan songs but really this is the UK’s Live Aid story and that means Bob Geldof’s version of events.

Bob is portrayed in all his effin’ likeable passionate arrogant manner by Craige Els – often delivered with great humour.

Pleasingly, when it comes to the music there are no corny impersonations and it never falls into the tribute band trap. The songs are given fresh identity and are all the better for it.

The action kicks off at The Tube TV show where Bob collars Midge Ure (played by George Ure – no relation) into writing a song to release as a single to aid the suffering in Ethiopia. The show runs through the recording of the song and its release.

Part of this action takes place in a record shop which was particularly poignant to Janet and I. There’s a great line when one of the record shop staff proclaims ‘’My mum has said there will always be a future working in record stores!’’

The second half is dominated by the events leading up to the Wembley Live Aid show and the day itself and there are great cameos by Tim Mahendran as Harvey Goldsmith and Julie Atherton playing Margaret Thatcher strictly for laughs.

There’s a nod to the USA For Africa We Are The World single and then it’s on into the concert – here key Live Aid songs from the likes of Status Quo, David Bowie, Elvis Costello, Phil Collins, Sting, Queen, The Boomtown Rats, U2, The Cars and Elton John are cleverly interwoven in to the narrative of the time. All superbly performed by a variety of singers backed by a very tight five piece band under the musical supervision of Matthew Brind.

The malfunction of Paul McCartney’s microphone during Let it Be and the truth about what Bob really did say when he swore in frustration on prime time TV are also exposed. Did he or did he not say ‘’Give me your effin’ money? All is revealed.

Often moving, constantly funny and vibrantly performed, Just For One Day zips along at pace and we absolutely loved it.

As Bob mentions, mere pop stars could not change the world but on that famous day they provided a key connection for people to be aware of the plight of the African people and try and make a difference.

40 yeas on that connection is still evident in this highly recommended musical and the quest to support the Band Aid trust goes on.

Just For One Day the musical has already raised over £800,000 in contributions from receipts and that number will grow with every performance.

It took us right back to the 1980s just for one day – and it felt like a very good place to be…

 

Dave Lewis – May 30 2025.

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Latest DL Led Zeppelin bootleg LP acquisition:

Led Zeppelin – Far Out!

Hampton Roads Coliseum, VA, USA 9th September 1971

Remastered Stereo Soundbaord Recording

William Tell Strikes Again label – 3LP heavy coloured vinyl number 291 of 300.

The latest in a long line of bootleg box sets – which I am a bit of a sucker for – this is an excellent release.

The packaging: Box set format with colour group shots from the autumn 1971 photo session front and back.

Four page insert with black and white and colour photos -relevant 1971 era shots.

Recording: This is the much bootlegged incomplete soundboard recording from the September 9 1971 Hampton Roads Coliseum gig.

They were on a real roll during this period and there’s so much to enjoy. A scintillating Since I’ve Been Loving You, a crunching Black Dog preview from the soon to be released fourth album.

Dazed and Confused is nearly 23 minutes of prime Zep improvisation with Page just outstanding. Plant throw’s in a line from the Spencer Davis Group’s It Hurts Me So. John Bonham and John Paul Jones chase each other around the time signatures as only they can.

The acoustic pair of That’s The Way and Going To California are delicately applied. Plant sings a line from Hi Heel Sneakers at the close of the latter.

Stairway To Heaven is performed in that tentative pre album release arrangement. It’s sheer simplicity is quite breathtaking and Plant is magnificent -as he is throughout the set. The finale as they all lock back in is just invigorating.

This Hampton Roads release is a welcome reminder of how potent Led Zeppelin were during this era. Breaking down barriers with every performance. Over these three vinyl LPs that fact is more than evident.

I was able to experience all this for myself a little over two months later when I attended the second Zep Empire Pool Wembley show -the first of the 15 occasions I was blessed to have seen them…

What a band…

Dave Lewis – June 6 2025

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Mick Ralphs 1944 – 2025… 

Like so many of us I was deeply saddened to hear the news of the news of the passing of Mick Ralphs aged 81.

I last saw him play live back in April 2011.

This was at the Paul Rodgers gig at the Royal Albert Hall with Jason Bonham on drums. Mick came on at the encore for a rousing Can’t Get Enough.

The late Tom Locke and I met Mick afterwards and had a lovely pic with him. Mick was always so amiable and friendly.

I last saw him at the Bad Company Playback at Gibson Brands Studios in London in March 2015. This featured Mick in conversation with DJ Nicky Horne and previews of five alternate takes of Can’t Get Enough, The Way I Choose, Bad Company, Feel Like Makin’ Love and Shooting Star – all soon to be part of the re issued first two Bad Company albums Bad Co and Straight Shooter

This was a small affair at Gibson Brands Studios with about 50 in attendance – mostly competition winners. Nicky Horne conducted an excellent Q and A with Mick Ralphs (pic with Nicky below by David Cunningham) and played through the five previews – Mick revealed this was the first time he had heard these alternate versions and it was great to witness his first hand enthusiastic reaction as the track were aired.

 

There was plenty of Swan Song/Zep/Headley Grange talk with Mick relaying a revealing tale of how Peter Grant had promised to come and see them rehearse at a village hall with a view to managing them. As he had not showed up after a couple of hours they all thought he had let them down – alas when they went out into the car park they found Peter in his car. He had been there all along but did not want to make them nervous by coming in –he’d heard enough outside to know they were going to be huge.

Mick talked of his great pride for the band and what it achieved.

Sadly Mick suffered a stroke the next year.

Mick of course was also a key player in Mott The Hoople’s success. Such a brilliant guitarist and songwriter – his melodic style lit up so many albums and he leaves behind a catalogue of some of the very best rock music of the era -the influence of which will continue to inspire future generations.

RIP Mick…

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My thoughts on Rod Stewart at Glastonbury Sunday June 29 2025:

Set list:  Tonight I’m Yours/Having a Party/Some Guys Have All The Luck/Love Train/The First Cut is the Deepest/Tonight’s The Night /Forever Young/You Wear It Well/Maggie May/Gasoline Alley/Young Turks/I’d Rather Go Blind/Do Ya Think I’m Sexy/I Don’t Wanna Talk About It/If You Don’t Know Me By Now (with Mick Hucknell)/Baby Jane/Stay With Me (with guest Ronnie Wood) Hot Legs (with guest Lulu)/Sailing.

 

 

Rod Stewart can be a divisive fellow – over a 60 year career he has had his dodgy moments – three volumes of the American Songbook was pushing it a bit.

I’ve been a fan since I heard the Every Picture Tells a Story album and Maggie May single in 1971 when I was a mere 15 years old and Rod was a mere 26.

I’ve stuck with him through thick and thin and for me he is right up there as one of the greatest vocalist of all time. His run of albums in the 70s remain some of the best of the era.

The thing about Rod is that he always looks to be having a great time and he wants others to do so – it’s infectious and a formula that has seen him achieve massive worldwide success going right back to The Faces days.

He certainly looked to be enjoying himself on stage at Glastonbury today.

His brand of showmanship won’t be for everybody but at 80 years old and in sweltering temperatures, he pulled off a great show.

It did take a while to get going but when he got into his stride he totally nailed the likes of You Wear it Well, I’d Rather Go Blind, I Don’t Want To Talk About It and Baby Jane. Mick Hucknell was a welcome guest as was Lulu for a camped up Hot Legs. Nice touch too to see Michael Eavis introduced to take a birthday acknowledgement.

The defining images were of course Rod with dear Ronnie Wood on a typically raucous Stay With Me. The pair of them together clustered around the mic was a heartfelt throwback to the glory days of The Faces.

For me, this was one more glory day as Rod took a deserved ovation as the strains of Sailing brought the show to an end.

There have been some mighty fine performances in the Legends spot at Glastonbury over the years – Rod Stewart did more than enough to warrant a place among the best of them…

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New Led Zeppelin bootleg box set acquisition…

 

The latest in a long line of Led Zeppelin bootlegs which I’m a sucker for.

So here’s Alaykum Salam New York 28^th July 1973

Limited Edition Coloured Vinyl -copy 235 of 300.

So what we have here is a 3LP presentation of the excellent soundboard recording of the Led Zeppelin appearance at Madison Square Garden on July 38^th 1973 – the middle gig of a run of three.

These were the nights recorded and filmed for the official The Song Remains The Same soundtrack album and film.

I am of course well versed with these recordings  and have been for nigh on 50 years. I love these 1973 Madison Square Garden for their spark and vitality. Even though they occurred at the end of a long tour they were on fire.

The cover states that and I quote’ ‘This is a unique AI multi band remastering and the sound quality of the soundboard is of a different  dimension, clearer and more expansive -far superior to the original recordings’.

Now I’m no audiophile but I know what I like and this does sound very impressive.

Performance wise it’s pretty wonderful – that opening blast of Rock And Roll,. Celebration Day and Black Dog kicks right in – Over The Hills And Far Away is marred slightly by a fade at the end.

It’s all back on course for a peerless Since I’ve Been Loving You and a simply majestic No Quarter. Robert Plan’s between song patter is retained throughout the set.

Side C has The Song remains The Same, The Rain Song and Stairway To Heaven in all their 1973 glory. John Bonham’s drum sound is right upfront..

Side D is given over to a 30 minute Dazed And Confused  in line with how it was presented on the official soundtrack

Side E and another marathon – 20 minutes of Moby Dick

Finally there’s the brutal trio of Heartbreaker into Whole Lotta Love and  the encore The Oceon.

This is raw unadulterated Led Zeppelin captured at the time where they were transgressing from a mere rock band into a musical phenomenon.

I’d forgotten  how great these July 1973 Madison Square Garden were. It recalled to mind the headline of Angie Errigo’s  NME review of the official soundtrack double album which advised ‘’Check your speakers the Zeppelin way’’

Nearly 50 years on I’m still checking them and finding new things to be impressed by. Alaykum Salam New York more than passes the test…

Dave Lewis July 8 2025

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30 July 2025 1,417 views 9 Comments

My thoughts on the forthcoming Led Zeppelin releases to celebrate the 50th anniversary of Physical Graffiti…

Earlier in the month when I met with my esteemed TBL/ Led Zeppelin comrades in London, one of the talking points was the complete lack of recent Led Zeppelin archive releases. Compared to other peer acts, such as The Who and Pink Floyd, Zep have been fairly poorly served in recent years when it comes to such releases.

It’s now nearly a decade since Jimmy Page oversaw the reissue of the Led Zeppelin catalogue with the addition of companion discs. The 50th anniversary of the Led Zep fourth album was marked by a coloured vinyl edition. Thus missing an opportunity to release the known to exist live in Japan 1971 tapes.

The 50th anniversary of Houses of The Holy went by fairly unnoticed aside from a demo version of The Rain Song being uploaded on Jimmy’s website, and up until Thursday’s announcement, the 50th anniversary of Physical Graffiti seemed destined for the same fate.

So first the good news.
September 12 will see the release of a four track Live 12 inch EP and CD.

This comprises of live recordings of four Physical Graffiti tracks.
In My Time Of Dying and Trampled Underfoot from Earls Court in May 1975
Sick Again and Kashmir from Knebworth August 1979

These tracks are sourced from the soundtrack of the official 2003 DVD release.

Also released on the same date will be an updated 50th-anniversary edition of 2015’s Physical Graffiti Deluxe Edition 3LP vinyl set featuring the Companion Audio disc, and now including a new bonus replica Physical Graffiti promotional poster (sized 443mm x 610mm). If you order via the official site or Warner Music there’s the neat bonus of a replica Earls Court programme.

Naturally, I will be investing in these releases and any official live tracks are most welcome.

The clip of Trampled Under Foot from Earls Court in May 1975 has been made available as a promo for the Live EP again sourced from the 200 DVD. It’s a fantastic clip – in my opinion on of the all time great segments of live Zep footage. It’s been noted that this is an AI generated upgrade.
Again, I am very much looking forward to having audio versions of all four tracks.

Now the not so good news:

I can’t help but feel that this is all something of a token gesture.

For a start, they have missed the actual 50th anniversary by a good six months. Physical Graffiti was originally released on February 24 1975.
Earlier in the year there was quite a bit of press coverage regarding the 50th anniversary. I wrote an extensive cover feature for the February 2025 issue of Record Collector and Uncut magazine also marked the anniversary with a cover feature.

Had these forthcoming releases appeared then, it would have been in keeping with the actual anniversary and the subsequent press coverage would in my view, have drawn much attention to these now belated releases.

I have to say the cover artwork of the live EP is somewhat uninspiring – surely the Led Zeppelin heading should have been in the familiar Physical Graffiti typeface.

So to the actual content:

As mentioned, any official live tracks are welcome. While it’s great to have audio versions on vinyl and CD the fact is all these recordings have been previously available as visual clips on the 2003 official DVD.

It will not have taken a great deal of work to transfer them from footage to audio. I am not sure of the process of this and if the multi tracks were sourced but no doubt the audiophile types out there will be doing comparisons. In effect these releases have taken minimum effort and now doubt will be making maximum profit.

I would also question the use of the Knebworth recordings. The Physical Graffiti era is intrinsically liked to the five Earls Court shows they performed in May 1975

I personally would have preferred the Live EP to have been made up of all 1975 Earls Court content. That would have meant sourcing Sick Again and Kashmir from the Earls Court archive tapes which are known to exist. That for me would have made it a genuine 50th anniversary artefact.
That said, the performance of Sick Again is an absolute John Bonham tour de force and a highlight of the Knebworth shows

So to the updated 50th-anniversary edition of 2015’s “Physical Graffiti” Deluxe Edition 3LP vinyl set featuring the Companion Audio disc. This new 2025 triple release now comes with a new bonus replica “Physical Graffiti” promotional poster (sized 443mm x 610mm). This is all very nice but again I get the feeling we’ve been short changed a bit.

So here’s the thing:

A far more attractive proposition would be to have added a bonus 7 inch single comprising the two edits of the unreleased Swan Song instrumental – recorded at the Physical Graffiti sessions in February 1974 and known to exist – it can be heard on YouTube though Jimmy has mentioned that the multi tracks have been mislaid.

If they needed any sleeve notes they could draw from my piece on Swan Song that I wrote for Classic Rock.

That would have made it an essential purchase.

Finally, let’s cut to the chase. What we all really want is an extensive multi disc Earls Court audio and visual box set and for that matter Knebworth 1979 as well. There may be internal issues as to why that hasn’t happened or other potential releases. Perhaps all three of them cannot agree on such issues.

There have been a few comments on various forums speculating that these new releases will herald a further unlocking of the archive and here’s hoping that is the case

Next spring will mark the 50th anniversary of the Presence album. If ever an album deserves to be celebrated it’s that one. As we all know it’s a crucial part of the Zep catalogue.

At the very least you would hope they choose to release a further Live 12 inch EP with perhaps Nobody’s Fault But Mine and Achilles Last Stand live from Knebworth.

A couple of hours of Earls Court footage and audio would also be most welcome…

Meanwhile, I’ll happily take what’s on offer on September 12 and no doubt revel in it – I just hope there’s something more substantial ahead…

Dave Lewis – July 28 2025

Swan Song:

Here’s the link to read my piece on the making of the unreleased Swan Song recording via the Louder/Classic Rock website…

https://www.loudersound.com/features/led-zeppelin-swan-song

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DL BIRTHDAY 69 AT 69: MY FAVOURITE LED ZEPPELIN STUDIO TRACKS RANKED IN ORDER…

Some notes about the selections:

As mentioned, it’s a very difficult task to put these tracks in order of preference. I’ve used the following criteria:

The tracks that have a deep personal connection, tracks, the ones  play most, tracks that have risen to prominence in recent years (Ramble On for example) and of course the tracks that are universally acclaimed as their best work. Some of the listings may surprise –  as can be seen, I’ve never been a big fan of Tea For One and then there’s the ones that got left behind.

The entire original Zep catalogue runs to jsut over 80tracks – here are the tracks I did not find room for in my 69 selections: Baby Come On Home, Bonzo’s Montreux, Candy Store Rock, The Crunge, Darlene, Hats Of To Harper, Hot Dog, I Can’t Quit You (from Coda essentially a live track), Ozone baby, Poor Tom, South Bound Saurez and We’re Gonna Groove (again from Coda and essentially a live track)

I also concentrated on the original Zep studio albums so there’s no companion disc reissue tracks or BBC recordings.

Here we go…

DL BIRTHDAY 69 AT 69: MY FAVOURITE LED ZEPPELIN STUDIO TRACKS RANKED IN ORDER OF PREFERENCE…

1  Achilles Last Stand

2  Kashmir

3  Ramble On

4  Thank You

5  In The Light

6  Ten Years Gone

7  That’s The Way

8  Stairway To Heaven

9  Since I’ve Been Loving You

10  Whole Lotta Love

11  Night Flight

12  The Rover

13  In My Time Of Dying

14  No Quarter

15  Down By The Seaside

16  All My Love

17  For Your Life

18  When The Levee Breaks

19  Tangerine

20  The Battle Of Evermore

21  Four Sticks

22  Immigrant Song

23  Black Dog

24  Rock And Roll

25  The Song Remains The Same

26  The Rain Song

27  Dazed And Confused

28  Going To California

29  Over The Hills And Far Away

30  The Ocean

31  Trampled Under Foot

32  What Is And What Should Never Be

33  Communication Breakdown

34  Celebration Day

35  Out On The Tiles

35  Your Time is Gonna Come

36  Babe I’m Gonna Leave You

37  In The Evening

38   Heartbreaker

39  Nobody’s Fault But Mine

40  Misty Mountain Hop

41  Good Times Bad Times

42  Fool In The Rain

43   Gallows Pole

44   Carouselambra

45  Hey Hey What Can I Do

46  The Wanton Song

47:  Sick Again

48:  Wearing And Tearing

49  Houses Of The Holy

50  Dancing Days

51  Custard Pie

52 How Many More Times

53  Tea For One

54  Bring It On Home

55  Moby Dick

56  D’yer Ma’ker

57:  Friends

58  You Shook Me

59:  Living Loving Maid (She’s Just a Woman)

60  Boogie Wth Stu

61  Black Country Woman

62  Royal Orleans

63  Candy Store Rock

64  Walters Walk

65  Hots On For Nowhere

66  Black Mountain Side

67  Bron ~Y ~ Aur

68  I Can’t  Quit You Baby

69  Bron -Yr -Aur Stomp

So there it is – for me the best of the best…

Dave Lewis – September 4 2025

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7 September 2025 1,299 views 2 Comments

My thoughts on the newly released Led Zeppelin Live EP…

The Led Zeppelin Live EP is in the house…on record and CD.

The first previously unreleased official  live release on record and CD since the Paris 1969 companion disc to the Led Zeppelin I reissue in 2014.

This four track EP is released to tie in with the slightly belated 50th anniversary of Physical Graffiti.

Four live recordings  initially featured on the 2003 Led Zeppelin DVD package  and  remastered for this new vinyl and CD release. Live performances of four of the tracks that made up the  contents of the esteemed Physical Graffiti double album released in February 1975.

All sourced from  two of their most celebrated live concerts – Earls Court in May 1975 and Knebworth in August 1979.

First things first:

The packages :

12 inch LP – simple design with Physical Graffiti script writing and windows – plain black inner bag.

CD EP – similar design to the 12inch – folds out to reveal the band line up and recording credits.

Nitpicks. The band line up lists Robert Plant as Vocals and Harmonica and John Paul Jones as Bass Guitar, Keyboards and Mandolin. However none of the four tracks here feature harmonica and mandolin. An odd credit. If it had said Led Zeppelin 1968 -1980 that might have given it some context.

There are no sleeve notes whatsoever. In my view this historical release cries out for some sort of insert revealing the background details and adding an historical perspective of the performances. Hey fellas I come cheap!  This is a missed opportunity. It would also have been nice to see a live photo or two.

Another thing – this release was announced as a 50th anniversary release to mark the 50th anniversary (albeit belated- it originally came out in February 1975) of the Physical Graffiti double album. There is no mention whatsoever of the anniversary anywhere on the sleeve or the hype sticker. Again rather odd.

Now the very good news -it’s an absolute joy to finally have official extracts from these legendary shows.

As for the sound quality – I’ll leave the audiophiles to dissect it thoroughly but I found it very similar to the DVD mix if a little brighter and full. No complaints from me here – on record and CD these tracks really come alive as potent live performances.

The credits list Music produced by Jimmy Page – Sound Engineer Kevin Shirley.

Remastered by Jimmy Page and Felix Davis at Metropolis Studios All songs originally released on Led Zeppelin DVD. Felix I presume is the son of the late John Davis who did such a great job on the reissue series. A poignant touch. Of course one would like to think they remastered many more tracks form these live recordings that might see the light of day ahead.

The sources and actual dates for the recordings look to be Earls Court May 25 and Knebworth August 4  although I’ll leave it to others to do the comparisons -it may be there’s drop ins in palces from Earls Court May 24 and Knebworth August 11.

Side One commences with In My Time Of Dying from Earls Court. One of the most impressive tracks on the Physical Graffiti double album, it emerged as one of the most epic moments of the Earls Court run.

Led by John Bonham’s incredibly forceful  kick drum sound, this dense and swirling arrangement just keeps on building. Robert Plant’s semi acapella vocals revolving around Jimmy Page’s shimmering bottleneck guitar playing and JPJ’s steadfast bass lines. It reaches an absolute crescendo after Plant’s ‘’Oh My Jesus’’ refrain and closes on a stirring final chord from Page that back in 1975, echoed into the roof of the Earls Court building. in fact the recording does retain that slight unique Earls Court echo on Plant’s vocals.

Hearing all this again is just immense..

Next up  Trampled Underfoot.  The DVD footage has long since been one of my all time fave pieces of Zep live footage and hearing it now on this new 12 inch pressing does little to diminish it’s impact. This is absolutely brilliant.

Folks, this really is is quintessential  Led Zeppelin at the very top of their game.

”This is called Trampled Underfoot introduces Plant. A manic speed fest of a performance that is rough and ready and yes tight but loose – in fact if any performance lives up to that phrase – well it’s this one.

They play it as though their lives depended on it.  Robert Plant is right in the moment delivery those vivid descriptions of the motor car as sexual act, Jimmy Page is at his most explosive – which brings to mind another vivid description of their music coined by the late Howard Mylett in the title of one of his books. This is Jimmy Page spraying out tangents within a framework. The solo -as Jimmy steps on the wah-wah pedal  is a thrilling twisting and turning unpredictable affair and right on edge.

John Bonham is relentless throughout, adding the James Brown percussive  swing that drives the whole thing along. Equally relentless is the funk clavinet power that John Paul Jones adds to proceedings.

Then there’s the finale. Plant throwing in spontaneous lines from Gallows Pole as they surge headlong into a pit stop.

This is Led Zeppelin at their improvisational best and back in 1975 ,watching it unfold in front of my eyes within Earls Court was just sensational. 50 years later, listening to it on record on this new release has the same effect. When they all collectively lock in it’s a glorious amalgamation of class musicianship.

I am reminded by a great phrase that Charles Shaar Murray used in his review of the opening Earls Court show in the NME and I quote:

“Apart from The Who and The Stones I can’t think of many bands who could have put on anything like it. During moments like Trampled Underfoot it seemed the whole stage was just going to fall forward and crush everybody in the hall.”

As I was playing this, I fully expected my player to fall forward likewise and interrupt the good lady Janet next door watching Escape To The Country!

Side Two and we are back out in that field just outside Stevenage on those two awesome August Saturday nights.

Many things had happened in between Earls Court and Knebworth and it was a very different Led Zeppelin that came out to face their still vast audience in the post punk era.

Tragedy and misfortune had no doubt dented their confidence and they had a lot to lose had things not have gone well. As we all know, Led Zeppelin delivered admirably over those two massive Knebworth shows and proved they still held the magic.

Sick Again was perhaps a surprise addition to the set played in the latter half of proceedings. It was a welcome showcase for John Bonham who absolutely owns this performance.  His mighty swing drives along what was the final track on the original double album. Page feeds off Bonzo’s enthusiasm as does JPJ. As for Plant, he is back in his cock rock peak performing with all the sleaze and grandeur this tale of groupies demands.

Finally Kashmir. ‘The pride of Led Zeppelin’’ as Plant described it, was delivered with breath-taking magnificence. That relentless riff  leads them through a truly hypnotic rendering with all the traits that made this such an impressive studio track and an even more impressive live centerpiece of every post 1975 performance. Again all four play to their absolute strengths – JPJ’s GX1 keyboard being put to very good use and again Bonzo’s flurry of fills at the close is just masterful.

So there you have it…

Four shining examples of why Led Zeppelin were held in such high esteem back in a decade they dominated and four examples of why they still mean so much to so many…

Jimmy, can we have some more please?

Please!

Dave Lewis – September 12 2025.

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2 October 2025 883 views One Comment

My thoughts on the long awaited album Robert Plant Saving Grace with Suzi Dian…

By my reckoning, discounting compilations and the two Alison Krauss collaborations, this is Robert Plant’s 13th solo /group album. I’ve been with him all the way – I’ve attended over 100 RP shows over the years and I’ve been writing about his career since 1978.

So at last, we have a Saving Grace with Suzi Dian album.

I first saw them live supporting Fairport Convention at the St. Albans Arena back in February 2019. Since then I’ve been lucky enough to see them at the Hackney Empire and in Wexford, Cardiff, Birmingham, Peterborough, Cambridge, the London Palladium and at the Royal Albert Hall.

The album arrived on Friday – fruit punch vinyl edition with signed art card that I pre ordered from his site.

I felt the same excitement and anticipation that I did some 43 years ago when I lined up his debut album Pictures at Eleven to play back in June 1982.

Knowing of their on stage prowess, I had very high hopes for this long awaited Robert Plant Saving Grace album.

Once a fan always a fan…

So after a couple of days on not stop spinning of the album it’s plainly evident that on record Saving Grace are every bit as fulfilling as they are live.

Here’s some track by track observations.

Firstly the sleeve design:

The familiar bison/boar image that has been the backdrop to their live shows.

Inner sleeve has band photos and lyrics to three songs – As I Roved Out, I Never Will Mary and Gospel Plough.

Reverse has track listing, credits and some source notes to the origin of certain songs.

12 inch LP on fruit punch coloured vinyl. Pleasing to see that the album is presented over the traditional side 1 and 2 rather than being spread over four sides which is common amongst new releases.

Side 1:

Chevrolet

Co- written by Memphis Minnie and later reworked as Hey Gyp by Donovan. It floats in on a rush of acoustic and banjo picking from Tony Kelsey and Matt Worley. Oli Jefferson’s shuffle drumming aids the mood and leads to what will be familiar close harmonies from Robert and Suzi throughout the album.

As I Roved Out

More close harmony here and a subtle blend of acoustic instruments. The line ‘The green green grass trampled under foot” is a coincidental wry throwback. There’s some dreamy semi acapella ”Ah ah aha”’vocals ala Achilles at the close. Most effective.

It’s A Beautiful Day Today

This is has been a stage favourite for a good while and on record this cover of the Moby Grape song works beautifully. Robert and Suzi bring a delicate melancholy to proceedings – a perfect foil for the optimistic lyrical theme. Suzi’s counter harmonies are just exquisite. This carries the same warm easy sway of The Only Sound That Matters from the Band Of Joy album.

Soul Of A Man

One from the Blind Willie Johnson catalogue with Matt Worley on vocals. Backing harmonies from Robert and Suzi. A vivid example of the democratic bond within the band. The load is generously shared amongst the individual players.

Ticket Taker

A cover version of a song by Nonesuch label mates The Low Anthem. Close duel vocal – this would not have been out of place on Raising Sand. Barney Morse Brown adds some soothing cello.

Side 2:

I Never Will Marry

A very atmospheric arrangement and something of an early Fairport feel in the delivery.

Higher Rock

A delightful cover of the Montana based Martha F. Scanlan. Suzi on lead vocal. The harmonica and shuffle beat reminded me of Poor Tom from Coda.

Too Far From You

Another live favourite and one of the stand out cuts.

This rendering of Sarah Siskind’s composition is just magnificent. It captures the sheer dynamics of the band as they effortlessly switch from a whisper to a scream – or in this case via some riveting ”Aha Aha’s ” during which Robert offers up the lines ‘’Every bit of my love- take me down ’’ in time honoured fashion. This would not be out of place on Fate Of Nations – yes it’s that good.

Everybody’s Song

Another brilliant cover of the Minnesota band Low with Alan Sparhawk and the late Mimi Parker. The third cover from their The Great Destroyer album following Silver Rider and Monkey. This one is strung along on an Arabic/Eastern beat that reminded me of Watching You, the last track on the Manic Nirvana album. More pin point harmonies and dramatic guitar.

Gospel Plough

A subtle and reflective tale in the pleading Satan My Kingdom Must Come Down vein. There’s a real majestic quality about the repeated ‘’Keep Your Hands on the Plough – hold on” dual vocal lines.

And there it is..

Summary:

There’s very much a band dynamic throughout the album with every player playing their part admirably.

This unique collective of musicians are able to drift with effortless ease across English folk and Americana. Suzi Dian is an absolute revelation – for me the purity of her vocal style brings a delightful Sandy Denny Englishness to the proceedings.

As for Robert Plant – he really is singing as good if not better than ever – all the nuances and vocal control that have characterised so much of his best work are all present and correct here. There’s also a maturity and sensitivity about his approach that perfectly fits the mood of these ten songs.

Ten songs that make up an album that will bring a warm glow to the darker nights to come – and as he once put it ‘’In the light your will find the road.

Saving Grace have found that light and their road ahead looks very bright indeed.

Next stop – The Circuit in Kingston today and tomorrow – I and no doubt many others will be very much looking forward to hearing these songs live in the next couple of days…

Dave Lewis – September 28 2025

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Three nights in the company of Robert Plant…

 

Robert Plant Saving Grace with Suzi Dian – Album launch performance early set – The Circuit -Kingston Upon Thames Sunday September 28:

To Kingston Upon Thames for the 6pm performance of the first of four launch sets for the Saving Grace album.

The Circuit is often used as an album launch venue for Beggars Banquet Records.

On arrival at the foyer there was a large Robert Plant sign and Beggars had a stall selling records. There was one T-shirt on display -bizarrely a Now & Zen era design – someone must have fund these in a loft somewhere!.

The Circuit is a night club venue with a floor area surrounded by various balconies. An intimate atmosphere and it was absolutely packed. The stage was very compact which added to the unorthodox feel of the night.

Saving Grace entered the stage for a 45 minute set and kicked off with Cuckoo which actually didn’t make the album. Superb close harmonies from Robert and Suzi. Too Far From You was a masterclass of controlled vocal as was a peerless It’s a Beautiful Day Today Matt Worley took the lead vocal slot for Soul of a Man. Higher Rock skipped along with a shuffle beat via Oli Jefferson – Robert spicing things up on harmonica. An intense Gospal Plough led into the band introductions via Suzi. Finally a compelling Everybody’s Song and they were gone ”Keep tuning in” was Robert’s parting comment.

I’ll be heeding that advice for another Kingston rendezvous with this remarkable band later today…

Above photos by Steve Way

Dave Lewis – September 29 2025

  

My thoughts on…

Robert Plant Saving Grace with Suzi Dian – Album launch performance early set 6pm and later set 8pm – The Circuit -Kingston Upon Thames Monday September 29:

So over the years, I have had a lot of experiences following Robert Plant. I saw him at Earls Court and Knebworth, in Istanbul and Meadowlands New York, in a pub in Birmingham and in a tent in Ashby De la Zouch but I’ve never seen him perform two sets in one night and that was the prospect ahead yesterday.

However, the best laid plans can go wrong and there I was at Bedford Train Station faced with the knowledge that unfortunately due to a fatality on the line there would be no trains going into London and no guideline of when the service might return. For a few minutes I really felt I was not going to make it to Kingston.

Then I put plan B into action. I took a 45 minute bus ride from Bedford Bus Station to Milton Keynes railway station. Thanks to the very helpful ticket man I was on a train from MK into Euston by 4.30 From there a tube to Vauxhall and a train to Kingston that got me to the venue at 5.30.

My initial plan was to meet my friend Krys Jantzen and begin queuing around 4.30 for the 5pm entry and first set.

I was now much too late for that to happen

Krys however had graciously saved me a spot and thanks to the kindness of people around the front who Krys had informed of my plight I was able to take up that spot. So now I found myself right in front of the stage – the closest I’ve been to the Plant action for a good while.

So what can I tell you? It was incredibly thrilling to see the set unfold in such close proximity to the band members of Saving Grace.

The set was switched around a bit from yesterday and they kicked off with Higher Rock with Robert on harmonica. Chevrolet and Cuckoo were delivered with immense passion.

Being so close I was able to fully appreciate the sheer musicality of the Saving Grace line up. Cello player Barney Morse Brown adds deep bass lines to the overall sound complementing the incredible dual guitar and banjo talents of Matt Worley and Tony Kelsey. Matt’s steely banjo lines set the scene for many a song while Tony constantly adds free flowing fluid and intricate lead guitar work.

Drummer Oli Jefferson alternates between a laid back jazzy feel often employing brushes as opposed to sticks but then switches to a harder rock feel when required that adds such a dynamic to the likes of Everybody’s Song and Too Far From You.

As for Robert and Suzi – up close you can almost touch the chemistry of the pair. They are quite literally in total harmony. The eye contact, the stances, the cues, the mic techniques – all of this adds a pleasing stage craft to the overall presentation.

Throughout both sets, Robert was full of spieling stand up quips that added to the joyous atmosphere of it all. One of his opening quips went like this: ”You know the story -rich bloke keeps going”

In fact in all these years ,I’ve never seen him so relaxed and happy – he is so at one within this unit – and for me and many others, Saving Grace is the best project he has been involved in his long solo career.

Matt took up lead vocals for Soul of a Man and the Moby Grape cover It’s a Beautiful Day Today was sweetness itself.

There was a surprise inclusion of Down To The Sea from the Fate of Nations album brilliantly delivered with all the vocal nuances intact.

Suzi appeared quite emotional during an absolutely epic Too Far From You – As I Roved Out was another higlight.

The bowed out of the first set with Low’s Everybody’s Song -on the second set Robert gave his own review of the song when he stated ”This is F***king incredible!”

When this really kicks in, it’s a joy to watch Robert step aside and marvel at the power of this collective.

So that was set number one..

Robert Plant Saving Grace with Suzi Dian – Album launch performance set 8pm – The Circuit -Kingston Upon Thames Monday September 29:

So Krys and I stepped out into the night air to join the massive queue snaking around the building. It moved fairly quickly and for this second set we had a very good view on a balcony at the side on the stage. We could clearly see the ecstatic crown reaction throughout the performance.

This was an equally astonishing performance with the band one again attaining the ability to go from a whisper to a scream with effortless ease.

Suzi did the band introductions towards the close and when it came to acknowledging Robert Plant the crowd reaction was overwhelming. As it was when repeated cheering and clapping brought them back for a two song encore.

A dignified Gospel Plough and a truly stunning delivery of Four Sticks.

In the hands of Saving Grace, the old Led Zep IV standard is arranged to include a beautifully subtle side step with Suzi on accordion. Then Robert takes it out with familiar high register squeals.

So there it was. An incredible two set performance – and there’s no rose tinted glasses required – this was the best night of live music I’ve experienced since the 02 Led Zeppelin reunion in 2007. Yes it was that good!

Unsurprisingly both involved Robert Plant – as he once put it ”The past can take care of itself – I go on regardless”

He most certianly does – surrounded by the incredible musical family that is Saving Grace.

America you are in for something special and the UK will be merrily on high when they play a ten date tour in December

So after two nights of musical splendour – trains permitting, I am very much looking forward to seeing Robert Plant talk about his music tonight at the Q and A event hosted by Shaun Keaveny at EartH Theatre in Dalston tonight.

Pics here by DL and Krys Jantzen.

Above photos by DL and Krys

Dave Lewis September 30 2025

Robert Plant: Q&A with Shaun Keaveny –  EartH Theatre – Dalston London Tuesday September 30…

My thoughts on..

Robert Plant: Q&A with Shaun Keaveny – EartH Theatre – Dalston London Tuesday September 30…

So for the final night of three in the company of Robert Plant, I made it over to Dalston for the Robert Plant Q and A event at the EartH Theatre. One again a packed house with a long queue forming long before the doors opened.

By the time the Q and A commenced, every seat in the large theatre was taken. Robert was introduced by DJ Shaun Keaveny and for the next hour the pair engaged in a conversation that covered a number of subjects.

Robert as ever proved a highly entertaining raconteur and he talked eloquently about his career influences and of course the Saving Grace album.

He told of the origins of the band after meeting Matt Worley in a pub. There was a due acknowledgement of the recently departed Danny Thompson and Robert also revealed how he brought Bonnie Dobson in for the Bert Jansch tribute concert in 2013 to perform Morning Due. His admiration for Bob Dylan and Arthur Lee’s Love and Jeff Buckley was also noted.

There was plenty of humour in there too including talk of his 80s mullet hair cut and taking his son Logan to see Wayne’s World.

The influence of Bron- Yr- Aur was discussed and the immense musicality of so many fellow musicians he’s worked with including Justin Adams.

At the last Q and A Robert did at the Rough Trade shop in early 2020 to promote the Digging Deep singles box set the talk was aided by the playback of extracts of selected songs with Robert commenting after each selection. This approach was not taken and I do feel a few audio snippets of the Saving Grace album would have inspired Robert to reveal more of the origins of the ten tracks it comprises of. The album was playing as the audience entered and left the theatre.

Overall this was a hugely enjoyable relaxed intimate evening with Robert Plant reflecting on his career with wit and insight.

So ends three successive nights in the company of Robert Plant. It can line up with previous three day runs I’ve experienced with the singer at Earls Court on May 23, 24 and 25 1975, at the Town & Country Club London on January 8, 9 and 10 1991 and with Jimmy Page at the Shepard’s Bush gig and Top Of The Pops and TFI TV recordings across March 25,26 and 27 1998.

Three days that have confirmed that Robert Plant is making some of the best music of his career. From Kingston to Dalston, it’s been an absolute joy and privilege to witness that fact first hand…

America get ready to amazed by Saving Grace and the UK can expect to be merrily on high when they play a ten date tour in December.

Dave Lewis – October 1 2025

Superb pics here by Peter Chow from last night’s Robert Plant Q&A with Shaun Keaveny at the EartH Theatre in Dalston – great to see you Peter!

      

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Chris Dreja RIP…

So very sad to hear the passing the great Yardbirds original member and photographer Chris Dreja.

Aside from his vast contribution to The Yardbirds, Chris played a pivotal role in the evolution of Led Zeppelin. He decided not to be part of a new Yardbirds line up – his bas playing role being taken by John Paul Jones

However, in his new role as a photographer he took the photo of that would adorn the back sleeve of Led Zeppelin I.

Back in August 2015, I was lucky to meet and chat with Chris at the Led Zeppelin From The Beginning 1963 – 1975 Photo Exhibition at Proud Gallery in Gallery:

I interviewed Chris for the TBL mag about his group photo that adorns the back cover of the Led Zeppelin 1 sleeve. The pic here shows me with Chris admiring that iconic photo…

RIP Chris…

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8 October 2025 1,410 views One Comment

Led Zeppelin The Only Way To Fly by Richard Morton Jack via Lansdowne Books…

I’ve just received the new book Led Zeppelin The Only Way To Fly by Richard Morton Jack via Lansdowne Books.

I’ve been aware of this project for a good while – knowing of Richard Morton Jack’s incredible knowledge and eye for detail, I knew this would be a good one –now with a copy in my hands , it really is beyond all expectations. It’s utterly brilliant…

The book takes the format of the re production of countless interviews, features and press ads – many of them rarely seen. All accompanied by a concise and insightful chronology.

The legendary veteran journalist Chris Welch provides a revealing introduction told from the clear perspective of somebody who was right there at the inception of the group.

The pre Zep years of Jimmy Page, Robert Plant, John Paul Jones and John Bonham take up the first 50 pages with some incredibly rare images and interviews.

This sets the scene for the next 300 plus pages as the book tracks the evolution of The Yardbirds into Led Zeppelin and that incredible first two years of the group.

The recording and release Zep 1, the first US tours, the breakthrough in the UK, the summer US festivals, the release of Led Zep II – it’s all here.

The reproduction of many a press interview and review from a variety of sources offers a forensic chronicle of their formative years as it happened. It allows the reader to become immersed in this astonishing story in real time.

Now I have a fair collection of reviews and interviews and have chronicled the story many times notably in the Evenings With Led Zeppelin book Mike Tremaglio produced in 2018. However, so much of this early material is new to me and it’s just fantastic. I am already lining up Led Zep I and II plus various Zep bootlegs from the era to play as I wade through the text.

In fact like all crucial rock books it will take you back to the music with a renewed perspective.

The Only Way To Fly also acts as a visual companion to the excellent Becoming Led Zeppelin film as it unfolds their story in day to day real time up to the release of Led Zeppelin II

As a pictorial presentation, this book is absolutely second to none. Hat’s off to Richard Morton Jack for chronicling so brilliantly the early days of the Led Zeppelin legacy.

I cannot recommend this book highly enough – for me it really is one of the best Led Zeppelin books ever assembled. Suffice to say, it’s an absolutely essential addition to the creaking Zep bookshelf of all self-respecting Led Zeppelin fans.

The Only Way To Fly will take you on a journey of unchartered territory in chronicling the sheer wonder of the rise of Led Zeppelin.

It’s airborne now – be sure to get on board…

The first 250 copies are accompanied by an exclusives The Only Way To Fly reproduction poster.

Ordering details here:

https://lansdownebooks.com/…/led-zeppelin-the-only-way…

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Mr. Jimmy film due out on DVD soon – added extra audio commentary feature recorded…

Mr. Jimmy film due out on DVD soon – added extra audio commentary feature recorded…

Following a DVD release in Japan, the acclaimed Mr. Jimmy film is now set for a worldwide DVD release -with an extra audio commentary feature that I’ve been involved in.

Here’s the story:

A few weeks back, the Mr. Jimmy film director Peter Michael Dowd got in touch to ask if I would like to be involved in supplying a commentary as an extra feature for a planned release of the film on DVD.

I was more than happy to do so and last Tuesday October 21 I met with Peter who flew over from Los Angeles to record the commentary.

The location was the excellent Audiohuas Recording Studio just off Portobello Road in London. The tech engineer Jay set up the film on a mixing desk so Peter and I could be recorded to talk over it.

We decided to do it in a podcast manner so as the film ran it’s two hour plus length we both commented on various aspects of the film itself and other related topics. It worked really well and apart from a couple of bloopers we did it all in a first take.

It was hugely enjoyable to watch the film again and be awed by Akio Sakurai’s total dedication to replicating the guitar playing of Jimmy Page and the music of Led Zeppelin.

The actual soundtrack itself is so impressive which alongside the Zep moments. cleverly deploys the likes of Muddy Waters, John Lee Hooker, Link Wray and Elvis to perfectly set the mood. Add to that some very impressive classical pieces from Vivaldi and Shostakovich.

So the audio commentary is complete and Peter is now working on completing the DVD content. Another extra feature will be the Q and A interview I hosted with Peter at the UK showing at Olympic Studios of the film back in October 2023. I am also suppling some sleeve notes for the DVD package.

The actual release date is yet to be set but Peter is hoping to release it this side of Christmas or early in the new year – more details to follow.

It’s been great fun to be involved in the Mr. Jimmy film again – Akio of course continues to wow audiences as part of the Jason Bonham Led Zeppelin Evening and his own Led Zeppelin Revival band and soon we will have his fabulous film available for all to see on DVD.

More on this as it unfolds…and keep an eye on the Mr. Jimmy film website at:

https://www.mrjimmymovie.com/

Here’s some pics from last week’s recording with engineer Jay.

Once it was all completed Peter and I celebrated appropriately enough in a nearby Japanese bar drinking Japanese lager – it tasted very good!

 

Dave Lewis – October 29 2025

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Thursday October 30:

  

To the Dolby Atmos Studios in Soho Square last night for the playback of the new multi disc reissue of The Who Are You album.

I’ve had a bit of input regarding the100 page book that accompanies the set. designer Richard Evans who I’ve helped out on past Robert Plant projects he’s been involved with, asked me to identify some photo sources and I also sent him my photo taken with Keith Moon on August 1 1978 at the Who’s Who exhibition at the ICA.

I was therefore well pleased to be invited to last night’s playback.

The newly mixed album was played in full and it sounded utterly amazing. There’s so much clarity on every instrument and Roger’s vocals sound sensational. He emerges as the true star of this album bringing an almost operatic edge to his delivery.

The album was played to a backdrop of photos that feature in the book and it was a great thrill to see my photo with Keith Moon up on the big screen.

Following the playback ,there was a Q & A with Matt Kent long time Who chronicler who worked on the box set, designer Richard Evans, the acclaimed Steve Wilson who oversaw the new mixes and original co -producer Jon Astley who has remastered the new version.

Hosted by the excellent Matt Everitt it was a lively and enlightening insight to where The Who were at during this period. Afterwards I had a quick word with Steve Wilson -he told me he would be up for a stab at a similar project for the Who By Numbers album.

At the event it was great to catch up with David Stark , Steve Hammond, Andy Neil, Mat Kent and Gary and Melissa Hurley.

There was also one very neat touch – in the bar area against the backdrop of the Who Are You cover, a replica chair that stated ‘’Not to be taken away’’ was placed in front of it – this offered a photo opportunity to recreate the famous Keith Moon pose on the original cover – which of course we could not resist!

All in all a fabulous playback that I felt very privileged to be at.

I of course am very much looking forward to wading through the Who Are You deluxe box set which is released today.

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Latest DL Led Zeppelin bootleg LP acquisition:

Led Zeppelin Physical Graffiti at 50  – 3LP bootleg release via Brand &  Coke Records.

Limited Edition of 300 my copy is number 215.

There’s been plenty of comment regarding the lack of any substantial official releases to mark the 50th anniversary of the release of the epic 1975 double album Physical Graffiti.

There’s been the four track Live EP released last month as a 12inch single and CD single. Later this month there’s the Black Friday/Record Store Day release of a limited edition replica of the 1975 Trampled Under Foot/Black Country Woman UK promo single in a run of 6,100.

So what we have here is an unofficial attempt and rounding up the various alternate mixes and demos associated with the double album.  The first four sides are sequenced as per the official 15 track double album line up -in the spirit of Jimmy’s official companion disc format on the reissue series.

The cover artwork keeps in line with the famous building of the original design – elongating some of the window illustrations.

There’s a four page insert that replicated the outer covers with an inside black and white live action group shot from Earls Court.

As with the recent official Live EP, the lack of any sleeve notes is a disappointment.

The sound quality is a bit variable  -the work in process rehearsal tape extracts are somewhat low fi – as they always have been but the rest is very good studio sound. The material is gathered form various sources that have appeared on previous bootleg LPs and CDs over the years.

Here’s the line-up of the six sides:

Side One:

Custard Pie (alternate mix)(4:19)

Alternate mix from the outtakes tape that first surfaced in 1997 and issued on various CDs including Brutal Artistry. This take has more harmonica on the close and less guitar overdubs. It stops abruptly with no fade.

The Rover (acoustic demo) (1:02)

This is the short Page and Plant acoustic demo form the Bron yr Aur period 1970

The Rover (instrumental) (5:35)

Instrumental with vocals omitted

In My Time Of Dying (rehearsal takes) (12:42)

This is the rehearsal segment that first came to light on the Tangible Vandalism set in the mid 80s

Side Two:

Houses Of The Holy (instrumental) (4:02)

Instrumental take with vocals omitted

Trampled Under Foot (alternate version) (5:45)

Alternate version for the 1997 tape -minus the overdubs of the released version.

Kashmir (instrumental) (8:54)

As above

Side Three:

In The Light (early version) (7:11)

This the early version from the outtakes tape that first surfaced in 1997

Untitled Instrumental (demo) (3:20)

Bizarrely this is the piano intro of the track 10 Ribs &All/Carrot Pod Pod (Pod). This piano, guitar and drums instrumental was included on the companion disc to the Presence reissue in 2015. It’s listed on the credits as being recorded at Musicland Studios in Munich on November 17 1975.nearly nine months after the release of Physical Graffiti – in effect it has no place here. it fades before the drums come in.

Down By The Seaside (instrumental) (5:14)

Mainly instrumental with vocals omitted though they do seep through on the ending

Ten Years Gone (alternate mix) (6:50)

Alternate mix from the 1997 tape -has some added guitar overdubs on the fade.

Side Four:

Night Flight (alternate mix)(3:57)

A couple of edits before the intro

The Wanton Song (alternate mix) (4:12)

Has a  1-2-3-4 count in

Boogie With Stu (alternate mix) (3:42)

The mandolin is higher in the mix on this take.

Side Five:

Custard Pie (instrumental) (4:11)

Instrumental mix with vocal omitted.

Trampled Under Foot (alternate mix) (5:14)

Slightly alternate mix and sounds slightly speeded up – it fades at 5.14.

Boogie With Stu (alternate mix) (3:54)

Instrumental mix with vocals omitted.

Swan Song (unreleased tracks) (3.39)

A genuine unreleased gem which deserves an official release – this part one  a shorted edit from the full version on the 1997 tape.

The Wanton Song (rehearsal takes) (4.24)

This is the rehearsal segment from the Tangible Vandalism album.

Side Six:

In The Morning (In The Light) (rehearsal take 1) (6:11)

Early rehearsal take from the Tangible Vandalism album – this has Plant signing the refrain ”Take me home”

In The Morning (In The Light) (rehearsal take 2) (6:03)

Similar to above. There’s some chat before the opening and a bit of whistling amd also a cough from John Bonham very similar to the one that can be heard at the officially released version of In My Time Of Dying.

Untitled Instrumental  (rehearsal jam) (3:35)

This the funky instrumental with John Bonham driving it along – has a similar syncopation to Hots On For Nowhere

Take Me Home (rehearsal takes) (5:58)

Another improvisation with Plant scat singing along to a nonscipt arrangement.

To summarise. On the plus side, it’s good to have all this Physical Graffiti outtake material on vinyl all in one place. There has been a measure of effort to bring some semblance of order to the sequencing. However the inclusion of the Presence outtake is somewhat jarring.

Overall, this set illustrates that here is not an abundance of fresh unreleased material that would make an official Physical Graffiti at 50 that viable.

I have mentioned previously that the outtakes and additions to the Bad Company reissues back in 2015 and 2017  do present alternate versions with studio chat. Something that was somewhat lacking in the Zep reissue programme. For example the unreleased take of Bad Co’s Can’t Get Enough is an alternative version markedly different from the released take.

The one thing that is crying out for an official release is the Swan Song instrumental. This would make an ideal Record Store Day ten inch single Here’s hoping. A coupling with the early demo of The Rain Song titled The Seasons that he made available on his website to mark the the fiftieth anniversary of the release of Houses of the Holy. That would be an impressive coupling.

This Physical Graffiti at 50 3 LP bootleg is an adequate if unspectacular presentation and being a sucker for these box set releases and for anything Physical Graffiti  related, I was more than happy to invest.

Of course the best method of celebrating the 50th anniversary of Physical Graffiti would have been to present six sides ( at least!) of Earls Court in a box set –  which, let’s cut to the chase ,is the live material everybody craves from this era.

There’s a certain irony that The Rolling Stones new forthcoming Black And Blue set includes a two CD Live at Earls Court 1976 recorded almost a year to the day of the Led Zeppelin run. I was at one of those Stones nights and I am very much looking forward to that one.

As for Zep – the wait for much craved unreleased material such as Earls Court goes on – anyone got Mick Jagger’s phone number so he can relay how it’s done?

Dave Lewis – November 3 -2025

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The Rolling Stones Black and Blue Playback event …

To the L-Acoustics in Southwood Lane in Highgate for the playback of the new Rolling Stones reissue of Black and Blue.

This is another multi disc set with various previously unreleased performances.

I have and something of a 49 year affinity with the Black and Blue album. I purchased it on day of release back in April 1976 and a month later, I was lucky enough to be at the final show of their Earls Court run.

The venue made for a small intimate setting with relevant Black and blue visuals and an original Stones painting by Ronnie Wood.

 

Hosted by the excellent Paul Sexton, the playback presented various aspects of the album and revealed where the Stones were at during this era. Paul had conducted a recent interview with Ronnie Wood for the sleeve notes he compiled for the set. Paul played two segments of the interview with Ronnie recalling how his work on the album led him to become the full time replacement for Mick Taylor.

On screen there was a great segment of Honky Tonk Women and Hand of Fate the opening two numbers filmed at the Stones  Aux Abattoirs Paris gig in June 1976. This prompted great memories for me of the Earls Court show I was at.

The audio playbacks included the previously unreleased cover of Shirley and Co’s Shame Shame Shame plus Freeway Jam featuring Jeff Beck.

I did remark to Paul that Mick Jagger’s tactic of adding fresh vocals to previously unreleased outtakes such as Shame, Shame, Shame – something he had done on previous Stones reissues, took away the authenticity of these outtakes – Paul agreed that this idea did divide Stones fans opinions.

The esteemed veteran journalist David Sinclair was interviewed by Paul for his views on what he described as his favourite Stones album.

To back that claim, we heard Melody, Crazy Mama, Hey Negrita all sounding absolutely incredible in the new mix. Those interlocking chiming guitars on the fade of Crazy Mama have never sounded so good.

Simon Harper of the excellent Stones podcast Lip Service also talked up the merits of the album – hearing Memory Motel was a real highlight of the night. That poignant Keef refrain ”She got a mind of her own and she use it well” had me right back in the hot summer of 1976.

Finally we heard the live versions of Fool to Cry and Hot Stuff from the Earls Court recordings.

All in all, this was a fantastic celebration of an album that is long overdue a fresh perspective and it’s coming this Friday across various formats.

Well done to Paul Sexton for navigating around a complex story and many thanks to David Stark for ensuring I got to revel again in The Rolling Stones ‘Black and Blue…

Oh and the cakes were very nice too…

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Dave Lewis – November 12 2025

A truly wonderful evening last with Richard Morton Jack author of the brilliant Led Zeppelin The Only Way To Fly and the esteemed veteran journalist Chris Welch last night at Books On The Rise in Richmond.

Chris had many a tale to tell about his close proximity to Led Zeppelin during his days with the Melody Maker. He was right there with them on so many occasions.

Jimmy Page walking into the MM office to reveal details of his new band in1968. Travelling with them to New York for their prestigious Carnegie Hall New York date in 1969, visits to Jimmy’s riverside house in Pangbourne, being in Olympic Studios with them as they ran down Immigrant Song, on tour with them in Germany in 1970, joining in on timbales during an encore of Whole Lotta Love in Frankfurt , visiting John Bonham’s house to interview him in 1975 – an occasion when Bonzo offered Chris one of his drum kits (Chris being a fellow drummer ) and so much more.

All told with much insight wit and humour.

Thanks also to Wanda Wooton who supported the event from afar by buying a ticket that I offered out.

Note to Chris – you need to write your memoirs! Note To Richard – volume two please!

It was a privilege to be there – if you are a Zep fan and have yet to invest in Richard’s simply amazing book for which Chris has written an enlightening introduction – be sure to do so – the link is here.

Dave Lewis -November 14 2025

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My thoughts on Robert Plant Presents Saving Grace feat Suzi Dian – Royal Festival Hall London last Thursday December 11 2025:

Set list:

The Very Day I’m Gone, The Cuckoo, Higher Rock, Ramble On, Soul Of A Man, The May Queen, Orphan Girl, Four Sticks, It’s A Beautiful Day Today, Down To The Sea, As I Roved Out, For The Turnstiles ,Friends ,The Rain Song Everybody’s Song

Everything about this gig was pure perfection:

Every lighting effect, every guitar lick, every bango strum, every double bass embellishment, every drum shuffle, every harmony and every vocal nuance.

The venue, the sound ,the set list and the performance – it was all sheer perfection…

This was my 13th occasion of witnessing Robert Plant with Saving Grace featuring Suzie Dian first saw them live supporting Fairport Convention at the St. Albans Arena back in February 2019. Since then I’ve been lucky enough to see them at the Hackney Empire and in Wexford, Cardiff, Birmingham, Peterborough, Cambridge, the London Palladium. Royal Albert Hall and The Circuit in Kingston upon Thames three times.

Gig 13 was far from unlucky – it was absolutely stunning.

They opened proceedings with late traditional singer Addie Graham’s The Very Day I’m Gone (from her Songs of Addie Graham album). A brooding compelling delivery and from then on, it was just an awe inspiring experience.

Cuckoo set the template as Robert and Suzi’s duel vocals melded into one. Higher Rock from the Saving Grace album upped the tempo with Robert on harmonica. Ramble On was the first Zep excursion delicately performed. Soul Of a Man with Matt Worley on vocals was a another delight – as was a return to active duty for The May Queen from the 2017 Carry Fire album.

Throughout the set the superb dual guitar and banjo talents of Matt Worley and Tony Kelsey constantly impressed . Matt’s steely banjo lines set the scene for many a song while Tony constantly added free flowing fluid and intricate lead guitar work. Drummer Oli Jefferson alternated between a laid back jazzy feel often employing brushes as opposed to sticks and then switches to a harder rock feel when required.

Gillian Welch’s Orphan Song (from her1996 album Revival) captured Suzi Dian at her absolute best while Four Sticks with Suzi on accordion worked beautifully. Moby Grape’s It’s a Beautiful Day was yet another highlight while a stunning Down To The Sea from the 1993 Fate of Nations album perfectly encapsulated the band’s ability to push the dynamics to the limit.

As I Roved Out and yet another peerless performance. Then a compelling version of Neil Young’s For The Turnstiles (from his 1974 On The Beach album). Matt’s banjo picking setting the scene with Suzi taking the lead vocal role and Robert on maracas. A virtuoso cello solo from Barney Morse Brown was the icing on the cake.

Zep III standard Friends was a suitably celebratory close to the main set. They were back on for The Rain Song which was just exceptional and then Low’s Everybody’s Song – yet another excellent exercise in light and shade.

So there it was – Saving Grace and merrily on high indeed.

As for Robert Plant – he really has found his muse yet again with a band of musicians who meld so effectively around him.

A word on the set list – it’s evident how rich in depth the Saving Grace repertoire has developed. They have a pool of songs to draw from – of the ten songs on their album, only five have been performed so far on this tour. No doubt others may re appear – the Gillian Welch and Neil Young cover versions were also new to me.

It’s worth noting that in the current issue of Uncut magazine, their preview of what’s new for 2026 includes a report of a possible second Saving Grace album with the likes of Cuckoo yet to appear on record. Nothing is officially confirmed but it would of course be most welcome – oh and while we are at it, can we have a Saving Grace live album for next year’s Record Store Day?

Sitting next to me watching this invigorating Royal Festival Hall gig was my good friend Richard Grubb.

Commenting on Robert Plant’s performance, he astutely remarked

”What a way to grow old”

To which I might add – what a way to grow old with him…

Dave Lewis – December 16 2025

Pics above via Krys Jantzen.

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Friday November 28:

Black Friday/Record Store Day treats at the Slide Record Shop –

A bike ride into town and then very pleased to be in the queue and purchase all three of my Black Friday/RSD wants – namely the Led Zeppelin 50th anniversary release of the Trampled Underfoot single plus Bob Dylan’s Freewheelin original track listing version and Joni Mitchell’s Rolling Thunder Revue live set…

Top result – thanks Nerys and Warren!

Friday November 28:

Latest DL Led Zeppelin single acquisition…

Well pleased this morning to purchase the Black Friday/Record Store Day limited edition 50th anniversary release of the Led Zeppelin Trampled Under Foot/Black Country Woman single.

This is a replica of the single that was made available in the UK in May 1975 just prior to their run of five concerts at Earls Court.

The WEA label that distributed the Atlantic and Swan Song labels created a dealer incentive whereby for every pack of 20 Zep albums record shops ordered, they would receive five copies of the limited edition single to dispose as they like.

At the WH Smith record department I worked at we had a few copies of which one or two found it’s way into the DL collection.

50 years on, it was a delight this morning to obtain this 50th anniversary limited edition replica single at the Slide record shop…

DL Diary Blog Update:

Wednesday December 24:

Great to have a visit from a very excited Ollie – he tells me Santa is on the way!

Friday December 26:

So what do you get the Led Zeppelin fan who has everything? Well you can never have everything and my good friend Steve Livesley came up with some very nice US Zep album info cards and a Spanish three track Zep CD single – none of which I had so a top result! Thanks Steve!

Update here:

Christmas came and went as it does  and as the curtain comes down on 2025, once again on behalf of the good lady Janet may I offer thanks for all your support and kindness which means a lot to us here. We wish you a hopeful, healthy and safe new year…

Thanks for listening 

Until next time…

Dave Lewis –  December 30 2025

TBL website updates written and compiled by Dave Lewis

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