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9 May 2024 893 views No Comment
Warwick and Cheltenham reviews of  Saving Grace by Richard Grubb and Jonathan Taylor…
Above pic from the Cheltenham gig by Jules Herrick Cooper
Robert Plant Presents Saving Grace featuring Suzi Dian
Butterworth Hall, Warwick Arts Centre
Warwick May 3 2024
On the spot report and pics from last nights gig by Richard Grubb for TBL…many thanks to Richard for sending this one over so quickly…
What superlatives remain to describe this unique band of troubadours as they continue their trek across the country, spreading “songs and smiles” (to quote the singer)?
The illness that resulted in two postponed dates in the run up to this local show was hardly apparent… The between song Plantations may have been a little quieter, a little raspier perhaps, but there was no evidence of any dimming of the light during the songs themselves. The voice was as strong as ever and, as usual, blended seamlessly with the ethereal Suzi Dian.
Effectively this was the ‘first night back’ after the month-long break of the tour, and in that time they’ve taken the opportunity to replace Gospel Plough with a suitably sinuous Win My Train Fare Home from 2002’s Dreamland album as an opener. It works extremely well, both as a surprise for those who’ve seen several Saving Grace shows, and thought they knew what was coming as the house lights go down, and as a scene setter to fill the space with the right amount of spook for the 90 minutes ahead.
There are few other surprises if you’re familiar with how these shows run, but don’t be fooled into thinking that any repetition means there’s even the slightest hint of going through the motions. Every song is delivered with either an intensity or a delicacy as befits the material.
Pics by Richard Grubb.
Particular highlights include The Rain Song (obviously), Suzi’s “…and I’m lost again” refrain during Too Far From You, a full tilt Friends, and an extended Gallows Pole that included a medley of familiar opening lines (“Hey fellas have you heard the news…” was such a tease) as well as the incorporation of several couplets and the ‘Ah-Ah’ portion of Black Dog.
I Bid You Goodnight received the deserved standing ovation from this sell out crowd and after a moment to acknowledge the audience, they’re gone, but not far – just a short trek down the M5 to Cheltenham for tomorrow’s Jazz Festival appearance, where another lucky crowd will share this unique and wonderful group of singers and songs.
On a personal note, this past six months have been pretty difficult for me, but the half dozen nights I’ve been lucky enough to spend in Saving Grace’s company have been life affirming, and have given strength when it’s been sorely needed. We’re lucky to have them and I’ve cherished every night.
I hope they know the joy they bring…
Richard Grubb
On the spot report by Jonathan Taylor…pics by Jules Herrick Cooper…
Robert Plant and Saving Grace featuring Suzi Dian: Cheltenham Jazz Festival, 04/05/2024.
Tonight is my fourth Saving Grace show this year, following on from three on last year’s tour, and as the house lights inside the Jazz Festival Big Top go down, I’m as excited as I was for the first gig.
In Saving Grace, Robert Plant has found musicians so in synch with his vision of what music can be, so in harmony with his stylings of these songs, and so accomplished that, for my money, this is one of the best things Plant has done in many a year.
Matt Worley (banjo, cuatro, guitar), Tony Kelsey (guitars, mandolin) and Oli Jefferson (drums, percussion) never cease to amaze with their versatility and consummate musicianship, whilst Suzi Dian’s pure, cut crystal voice is so very gorgeous and the perfect complement to Plant’s rich tones.
The set eschews usual opener “Gospel Plow”, beginning with the barn dance beauty of “The Cuckoo”; otherwise, it’s pretty much the Saving Grace set that regular Plant-watchers have come to know and adore.
Plant says “It’s been a while, but we’re back…and still as Saving Grace!”
Personal highlights: a powerful take on “Let The Four Winds Blow”; the Suzi Dian heartbreaker that is “Too Far From You”; the stunning reinvention of “The Rain Song” (oh Suzi, such wonderful accordion); a ferocious “Everybody’s Song”; and the Jansch-inspired elegance of “It Don’t Bother Me”.
After set closer “Angel Dance”, the audience is on its feet; the applause can probably be heard across Cheltenham. Plant looks absolutely delighted at the response, and quips “If we do a live album, you’ll have to come back”.
Of course there’s an encore, and it’s a wild, untamed “Gallows Pole”, tonight featuring a fair chunk of “Black Dog”, as Plant evokes the audience call-and-response. Thence to “I Bid You Goodnight”, perhaps the most joyful rendition of this I’ve heard Saving Grace perform.
I have run out of superlatives to describe an evening with Robert Plant, Suzi Dian and Saving Grace.
Long may they continue to play their inspired music.
These are indeed the seasons of emotion.
Jonathan Taylor
Stop Press:

First ever pictures from Led Zeppelin at Salt Lake City May 26 1973

Great work by James Cook at LZ news in searching out these shots…

More info here: … -50-years/

Steve Albini RIP:
It was very sad to hear the news of the passing of Steve Albini aged 61
Steve engineered and mixed the 1998 Jimmy Page and Robert Plant Walking Into Clarksdale album and had a rich catalogue of musical credits to his name.
Tributes here:
LZ News:

Led Zeppelin News Update:

Here’s the latest round up from LZ News:
Led Zeppelin

The first photos of Led Zeppelin performing in Boston in 1971 have emerged

The first photos to emerge of Led Zeppelin performing in Boston on September 7, 1971 were published online this week.

The photographs were taken by Joe Maloney and published in a YouTube video by KRW_CO.

Many thanks to James Cook

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


It’s that time of year again…

TBL Celebrates the 49th Anniversary of Led Zeppelin at Earls Court:

With the 49th anniversary of the first two Led Zeppelin appearances at Earls Court upon us – to get you right in the zone here is a feature that first ran in TBL issue 15. It focuses on some of the key performances on the US tour of early 1975 that provided something of an indicator to the five glorious nights that would follow in May 1975…


Led Zeppelin’s tenth American tour kicked off in Minnesota on January 18 1975 and initially their performances were hampered due to Plant’s bout of flu and Page’s injury to his finger. The situation began to improve when they reached New York some ten gigs into the tour. For the Feb 3 Madison Square Garden date Page felt sufficiently recovered to re instate Dazed And Confused to the set. Just over a week later, Plant’s relief at finally shrugging off his flu bug was evident in a very loose and informal Valentine’s Day performance at the Nassau Coliseum. As their newly released double set Physical Graffiti hit the stores they moved up another gear. March saw they really hit their stride with outstanding performances at Long Beach, Vancouver and Seattle -eventually culminating in a memorable three day stint at the LA Forum.

Throughout those February /March dates they began to further develop the set clearly displaying points of reference in their playing that would be further explored when they returned to London to play the Earls Court shows.

So having evaluated the ’75 tour tapes, I’ve highlighted the key moments from seven performances that in hindsight, clearly provided a prelude to those five glorious nights that would follow in May 1975…

Date: FEBRUARY 14, 1975:


Performances: KASHMIR/TANGERINE (snippet)

Bootleg Reference: NASSAU ’75 (TDOLZ)

zep 75 31

”This is one that regulars that come here know quite well…but you’ve still yet to hear the recorded version…this is a track about another of life’s journeys that never end..this time in Kashmir”

Kashmir was a new number that they were obviously itching to play live and with Plant’s voice suitably recovered they turned in a majestic Valentines’ Day performance in Nassau. Page strumming down relentlessly on the Gibson behind Bonham’s castinet like drumming.

Plant showing renewed confidence to throw in the echoed vocal naunces that became such an Earls Court trademark. Listening to this delivery re -emphasis my opinion that the best live versions of Kashmir  were all played in the year it was released on record.

Tangerine was of course a surprise inclusion at the Earls Court shows performed as a four part harmony. However perhaps they were already toying with the idea of bringing it back during the American tour. For on this night prior to Stairway To Heaven Plant let out a few lines from the long deleted Zep III stage fave. ”Measuring a summers day”…adding ”I’ve forgotten the words”. It was a brief teaser for a song that would again light up those memorable May days.

Date: FEBRUARY 28 ,1975


Performance: NO QUARTER


The May 18 and 24 Earls Court versions of the JPJ opus are amongst the very best they performed. The highlight being JP’s lengthy piano concerto that led to the loose jamming amalgamation with Page and Bonham. During the ’75 US that arrangement underwent much construction as it expanded in length. On this night in Baton Rouge Jonesy began applying for the first time that pleasing neo classical solo before Jimmy waded in with a long rambling solo. The improvisation of No Quarter would further develop later in the tour when Page and Bonham introduced an uptempo jazz tempo to the piece. This Feb 28 delivery was an early example of how the track would evolve to such huge effect a little under two months hence in London.

Date: MARCH 12,1975




Just to illustrate that not all went according to plan every night…. on this cooking performance in Long Beach their sheer enthusiasm got the better of them as they opened The Song Remains The Same….. only to bring it to a close some one minute in.

”Just a minute that’s it ….see you again Long Beach! Yes it happened for the first time in six and a half years…does anybody remember laugher?…. the first time we came here we never seem to  get things together in Los Angeles.

OK, as I was saying. Nevertheless The Song Remains …..nevertheless,ad infinitum to the power of three re occuring..The Same!’’

They did not get it wrong a second time.

What happened next was simply the business. A speed ride through the opening track of Houses and  as Plant might put it a reoccurring anthem. It sounded great here ,it sounded great in Earls Court and it still sounded great 20 years later when Page and Plant deployed it so effectively on their 95/96 world tour. This is a Zeppelin anthem that gets less acclaim than the more overplayed Whole Lotta Love, Stairway and Kashmir -but on stage it always burnt and smouldered its way into the set. Pull it out and try it for yourselves on any night…the effect as those Houses ads read is still shattering.

Date: MARCH 19, 1975


Performance: WOODSTOCK (insert)


”By the end of the tour I felt I could sing anything”.

Proof of that statement came nightly within Dazed And Confused. The San Francisco excerpt had long been a feature of the early part of the piece, but on this tour they began experimenting even further. Plant introducing another hippie anthem to proceedings -the Joni Mitchell pean to Max Yasgur’s farm and a hit for Crosby Stills, Nash & Young. The Zep arrangement was still built loosely on the melody employed for San Francisco-Plant bending the words to fit the structure. Against Page’s eerie minor chord strumming it became one of the most atmospheric parts of their performance. Plant’s repeated ”Back to the garden” refrain merging into the violin bow episode amongst the dry ice. The Vancouver performance was a blueprint for the equally dramatic versions performed at Earls Court run. During this part of the tour Plant also took to singing The Eagles Take It Easy and during the final LA stint he crooned a 50’s like To Be Loving  before moving into Bob Marley’s I Shot The Sheriff. As he put it -he could sing anything…

Date: MARCH 21, 1975



Bootleg Reference:SEATTLE SUPERSONIC (GEMA) 207.19 & 214 (COBLA STANDARD)

This Seattle show was simply one of the best gigs of their latter era.

Proximity editor Hugh Jones was there and relayed the events in a superb feature titled ”At The top of their game” in issue Vol 6 no17.

If proof was needed then this opening segment brings it all alive – as it epitomises what a potent three pronged entrance these songs really were. Rock And Roll segueing into the new sheer brutality of Sick Again with Plant teasing ”Do I look the same”, and then the opening speech followed by the ”Beginning of a dream and it starts here (R.Plant -Earls Court May*17) or on this occasion .”What we intend to do is to relive our pent uppedness on stage, and then to relieve it later on after the gig elsewhere. Now the thing is what we intend to do is to give you a cross section of what we’ve been trying to produce and write over the last six and a half years.

As you know the material varies greatly and so you will appreciate that we take it from one extreme to the other….and what better way to start than to gaze out onto the horizon and see what tomorrow may bring”

To quote Hugh Jones ”in those last few sentences Robert Plant may well have encapsulated Led Zeppelin as well as anyone ever has. The physical, the musical, the pretension and the arrogance-all backed up with music as varied and as good as his word for the next four hours”.

So the the regal intro of  Over The Hills And Far Away -the Page solo as always flickering and twisting into previously un investigated territory. Then a swirling finale with Plant crying out ”Samantha Samantha” perhaps a reference to the fun they were about to enjoy offstage as he put it And on this night in Seattle it all just burst forth with that knowing arrogance .To use that old Zep’75 maxim it all underlined the fact that it wasn’t just a case of them being the number one band on the planet…the real point in question was just how far whoever was at number two lagged behind.

Date: MARCH 25 1975




The May 24 ’75 delivery of Trampled was an incredible Page tour de force and again one of the most potent performances of their latter era. All through the US tour though, they were stretching the limits of the improvisational possibilities of this piece rendering the album version almost redundant. On this penultimate night of the tour Page, Jones and Bonham locked horns to produce a frightening barrage of noise over which Plant ad-libbed in required style. ”Give it to me, give it to me”

Nobody described the live delivery of this track better than noted US scribe Lisa Robinson when she astutely observed that ”Trampled with its Come Together like rhythm sounds as if The Beatles battled the Stones in a parking lot – and Led Zeppelin won”

Date: MARCH 27 1975



Bootleg Reference: TOUR DE FORCE (RABBITT)

The final riot night of the US tour was a mass celebratory affair with the band fully aware that with this tour they had turned adversity into triumph. From the moment Linda Lovelace cutely introduced them onstage to Plant’s parting ”We’re coming back baby” comment, this was a true prelude to what the UK was about to be served.

They even gave a hint of Earls Court fashion by introducing his Miss Selfridge cut off shirt and Page wearing the Dragon suit trousers that would become such a visual imprint of May ’75.

Their confidence was subsequently overflowing as they attacked the new In My Time Of Dying, Plant throwing in a few lines of You Shook Me.

”Anybody remember?” he asks at the end as he would a month later in SW5.

The version of Since I’ve Been Loving You was a real bonus and something sadly that Earls Court did not receive.

”A change in the programme- we were gonna do…..but this is a blues and I think this is where we first came in”. An impromptu set revision that delighted the LA audience.

A rare latter day stand alone delivery (in 1972/73 it had been segued with Misty Mountain)) recalling the majesty of Blueberry Hill at this very venue five years back. Rarely played in ’75 they ached their way through the old Zep III standard -Page’s solo as precise and inventive as that night back in September ’70.

On the home straight it was nothing less than a victory stomp. Stairway played as was the case as Earls Court as though Plant believed every word, and the final incendiary Whole Lotta Love/Black Dog medley with the added visual spectacle of that neon lit sign. Images and sounds that London would soon delight in.

Acknowledging their enthusiasm,  Plant told the final LA audience ”It’s really nice to know that we’re giving you what you are giving us because after tonight I think we’ve got three gigs in England. I don’t believe well work again for quite a long time, so this has got to be good”.

That last night in  LA  was indeed good…very good ….and Earls Court would be even better.

Dave Lewis – first published in TBL issue 15

It was 43 years ago today:

Robert Plant and The Honeydrippers at Nottingham Boat Club…

43 years ago today on Tuesday May 12 1981, I took the train from Bedford to Nottingham for a very special gig.

In prospect was a night with The Honeydrippers at the famous Nottingham Boat Club venue.

The Honeydrippers was the ad hoc band Robert Plant formed in early 1981 with some of his Midlands musician pals. This was his way of finding a pathway out of the demise of Led Zeppelin.

Anyone who was lucky enough to see these very low key shows in the spring of 1981, will know how incredibly exciting it was to see the former lead singer in the biggest band in the world in such small surroundings – going back to his roots.

For there was, as he put it ‘’No led anything’ in this era – just a whole lot of rhythm and blues and an attempt to re- establish contact with an audience – on his terms.

This short lived venture would provide the inspiration for him to hook up with Robbie Blunt on a more serious mission of song writing that would have all roads leading to Rockfield Studios in Monmouth for the recording of his first solo album Pictures At Eleven.

Before all that, there were sweaty nights on the road and this night at the Nottingham Boat Club was just that. This was the second occasion I had seen this line up – a week back I had been at the Porterhouse in Retford and ahead in the next two weeks I would catch further shows in Pontypridd, Sheffield and Bradford. In those days if Robert or indeed Jimmy and JPJ were playing anywhere, I would do my best to be there…oh and I also saw Bruce Springsteen and the E Street Band at Bingley Hall Stafford that month.

On this day, I was lucky enough to be in attendance at the afternoon soundcheck – it was a huge thrill to be inside the venue where Zep had performed in March 1971. Robert and the band were on great form and the gig itself was a stormer. I didn’t take any photos of this gig but I took some of the other gigs which I’ll try and dig out.

After the soundcheck, the band, crew and myself strolled on to the balcony of the Boat Club to view the gathering crowds below. In this photo taken by a fan in the crowd (I cannot recall who sent me this) the line up is:

Far left just above the parked van, long time Zep/Plant soundman and friend Benji Le-fevre, then Robert Plant in the red jacket, saxophonist Keith Evans, guitarist Robbie Blunt, drummer Kevin J O’Neal, behind him that’s me (note short lived moustache!) and to the right future Plant tour manager Rex King.

An amazing day when I was a mere 24 years old and it all happened 43 years ago today… what a memory…

Looking back, I feel very blessed to have these special moments to cherish. One of my TBL projects ahead is to produce a memoir style book to log experiences like these and many others I’ve been lucky to be involved in … more on this as it unfolds…

Dave Lewis – May 19 2024


Let It Be at 54

The Beatles’ final studio album Let It Be celebrated its 54th anniversary on May 8 – here’s my thoughts on one of favourite albums and what it means to me…

Let It Be and me…

I’ve had something of a 54 year love affair with The Beatles’ Let It Be album.

It all began way back in April 1969 when The Beatles released a new single titled Get Back. As previously chronicled, this was the inspiration for me to  get right back into music after a brief infatuation with The Dave Clark Five when I was seven years old.

James Bond, Thunderbirds, The Daleks and football took over for a while but aged 12 I was ready to tune in once again

It was Get Back that really attracted me back to music. I had heard it on Tony Blackburn’s Radio One breakfast show and repeatedly on the juke box in our local café.

I recall an advert in the NME that proclaimed it as ‘’The Beatles as nature intended.’’ What also attracted me to the record was the distinctive green Apple label design – and the B side that displayed the core of an Apple. Having been drawn to that beautiful image I was forever asking older friends to put The Beatles’ B sides on the Juke box – this is how I came to be very familiar with Don’t Let Me Down, Old Brown Shoe and Come Together –the flip sides of Get Back, The Ballad of John And Yoko and Something, the trio of singles released by The Beatles in 1969.

In September of that year The Beatles issued their Abbey Road album. An older friend bought it and I listened at his house in wonder at it’s amazing contents – not least the medley on side two.

The NME had already flagged that The Beatles next album would be titled Get Back and comprise of recordings made in early 1969 to accompany a film of the same name. This was planned to be released in 1970.

During the early months of 1970 I eagerly scanned the news pages of the NME for more news. It transpired the album and film would now be titled Let It Be and in early March 1970 the Let It Be single was issued backed with the quirky You Know My Name (Look Up the Number). The single came in an eye catching picture sleeve. I of course loved the single and the accompanying film clip of it shown on Top of the Pops.

On April 10, the Daily Mirror broke the story that Paul had quit The Beatles. The acrimonious reasons behind the split dominated the pop headlines over the next12 months. The Beatles had out grown The Beatles and as Lennon would put it – the dream was over.

However, there was one more Beatles album release and it came on May 8, 1970. Let It Be was packaged in an outer cardboard box that contained a deluxe book and the actual record catalogue number PX1. It sold for a penny less than £3.

Far too much for my pocket money but the same older friend did buy it and we marveled at that package, the book and the album’s contests. Let It Be for me sounded like a great album -with it’s off mic comments and raw playing, tender moments, jams and quirky singalongs –the informality of it all touched a chord – this was The Beatles presented in a unique way as never before.

However, not everyone was enamored with this final chapter. The NME called it a cheap cardboard epitaph. To this day I disagree with such a notion.

On Thursday June 18, 1970 I went to the Granada cinema in Bedford to see the Let It Be film. We had the day off school as Britain was going to the polls to vote in a general election that saw Edward Heath gain a shock Conservative win over Labour’s Harold Wilson.

It was also Paul McCartney’s 28th birthday.

The film was a poignant farewell – the highlight being the final footage of them performing live on the on the rooftop. I loved the film for its illuminating inside look at The Beatles at work.

Over the next few years, The Beatles Let It Be era was never far off my radar.

When I started buying bootlegs in 1972, alongside the Zep titles, I eagerly invested in The Beatles Get Back Sessions and the curiously titled Renaissance Minstrels Vol 1 , Both these albums contained various outtakes and unreleased material from the Let It Be/Get Back period.

They provided key insight to this captivating last gasp. The likes of The Walk and Teddy Boy sounding like lost jewels.

Fast forward to Christmas 1975 –the BBC screened the entire film on Boxing Day and it looked fantastic.

During that first TV showing I even listed down for my own reference all the songs that appeared during the film – I still have that hand written note as can been seen here.

The BBC screened it again four years later on Boxing Day 1979. On that occasion  my very good friend Dec taped it all on his newly acquired video recorder. When I got my own video recorder rented in 1981, Dec made me a copy of the Let It Be film – I now had all that marvelous footage at the flick of a button.

The bootleg CD explosion in the early 90s led me to many more recordings of the Get Back/Let It Be period as title after title appeared – notably a complete version of the fabled January 30,1969 rooftop gig – and the Let It Be film on DVD. I also have a bootleg of the original Get Back album as first proposed by producer Glyn Johns – complete with the intended cover of that photo of them in early 1969 at EMI in Manchester Square -re creating the Please Please Me cover shot. The 1969 image was later used for The Beatles red and blue compilations issued in 1973 (I bought both of those on the release date).

Mark Lewishon’s astonishingly detailed The Beatles at Abbey Road and The Beatles Chronicle books offered up vital accurate information of the 1969 sessions. I was lucky enough to meet Mark and attend two launches of his books inside the hallowed walls of Abbey Road Studios itself. In 1983 I also attended EMI’s The Beatles at Abbey Road presentation inside studio number two where so much of the Beatle magic had been created.

Over the years, The Get Back saga has continued to fascinate me and I’ve invested in a fair few books and magazines about the subject. The official Beatles Anthology made available some of those unreleased recordings I had craved on those bootlegs. Paul McCartney then re-invented the album by releasing Let It Be Naked – a fresh pre Phil Spector mix of the stark original versions of the Get Back/Let It Be project. I avidly soaked up that one with it’s 20 minutes of bonus recordings.

In the October 2010 issue of Mojo, they covered the final Beatles era in a superb feature. This issue was made available with an accompanying and CD vinyl album -Let It Be Revisited. This was a re imagining of the original album by a variety of artists including Beth Horton, Wilko Johnson and Judy Collins. The vinyl run came in a limited edition of 1,000 and I eagerly snapped that one up – I am always a sucker for Beatles cover versions.

Peter Jackson’s incredible Get Back film was of course another huge Let It be related thrill. As will be the new revamped Let It Be film being screened via Disney + from this week.

I of course have various pressings of the album – notably a French pressing and the US pressing with the gatefold sleeve. Until 2019 one had remained elusive.

That is the original UK release in the box set package. Very good condition copies go for over £400. Due to the flimsy nature of the cardboard and book binding, most copies are somewhat flawed. There was a very good conditioned copy sold at the local Bedford Slide Record Shop a while back  for £200.

In January 2019 I had a big result.

Flawed or not, I could not pass up an original Let It Be box set I came across at a Victoria Record Fair. Though nowhere near mint it wasn’t too bad. The outer cardboard box is somewhat trashed but acceptable. The Get Back book is in surprisingly good condition with no loose pages and the record is very good. This was on offer for what I consider a bargain price of £30. I managed to knock the guy down slightly and secured it for a mere £25.

Now that’s bargain and in Beatles collecting terms, one of the very best I’ve had.

So, at long last I have the original package that all those years back I marveled and have been obsessed with throughout my 55 years of music passion.

To own it as The Beatles put it ”as nature intended” is an absolute thrill.

It inspires so many memories of those halcyon days of 1969/1970.

Those memories are ignited every time the needle touches down and John Lennon’s plaintive cry of ‘’I did a pygmy by Charles Hawtry and the deaf aids – phase one in which Doris gets her oats’’ signals the entry of The Beatles performing Two of Us – on our way home.

In acquiring that Let It Be box set it felt like it had finally come home – and it, and I have memories longer than the road that stretches out ahead…

Dave Lewis – May 9 2024

DL Diary Blog Update:

Friday May 3

To the always excellent Esquires venue last night for A Certain Ratio.
Not a band on my radar really but certainly on Dec’s who was over for the gig.
They were something of a revelation. A combination of rhythmic funk – Bowie’s Fame would be a reference point and the melancholy of New Order made for a captivating set. The musicianship was outstanding throughout. Great crowd reaction, exceptional sound mix – all in all a top night.
Many thanks to Kev and Pete

Saturday May 4:

Saturday is platterday – on the player The Beatles Let It Be, released 54 years ago this week and sounding as good as ever.
I’m looking forward to the Peter Jackson revamped version of the original film…

Saturday May 4:

Great to see Jerry Bloom at the Bedford VIP record fair – Jerry handed over a copy of the Led Zeppelin A Visual Biography by Martin Popoff – recently published by Jerry’s Wymer Books company. I did a bit of editing for this – some great pics – I’ll have a review up soon…

Saturday May 4:

Great too see Dec Hickey. Lee Abrahams Phil Harris and of course the good lady Janet at todays VIP record fair – though there was no hiding the Japanese copy of Led Zeppelin I that I acquired ! You can never have too many…

Sunday May 5:

Great to see former Vinyl Barn man Darren Harte at the Bedford VIP record fair yesterday here with Lee Abrahams and myself and the good lady Janet

Sunday May 5:

Remembering the late Tom Locke on the occasion of his birthday – so many great times shared…

Sunday May 5:

Flashback Records in Islington on a Sunday – count me in!

Sunday May 5:

In Islington with our Sam the good lady Janet and Dec Hickey – and feeling very blessed….

Update here:

It was great to spend a few days with Dec who was over from Ireland and as can be seen above we packed it all in during his five day stay in Bedford.

It’s been back full on this week and I am busy working on the Robert Plant Portraits book. I also recorded a podcast interview with Mark McFall for his excellent Zep Fan podcast series – more on that to follow…

Thanks for listening

Until next time…

Dave  Lewis –   May 9 2024

TBL website updates written and compiled by Dave Lewis

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