Robert was on his spieling best with plenty of caustic ageism jokes that went down well. he looked well at ease with mic off strutting around and as for the voice -as good if not better than ever.

Here’s the footage of the gig on YouTube:

https://www.youtube.com/watch?v=dCqwuox1fmw

Here’s the latest round up from LZ News:

Upcoming events:

November 5 – Robert Plant will perform with Saving Grace in Edinburgh, Scotland.
November 6 – Robert Plant will perform with Saving Grace in Glasgow, Scotland.
November 8 – Robert Plant will perform with Saving Grace in Aberdeen, Scotland.
November 9 – Robert Plant will perform with Saving Grace in Perth, Scotland.
December 22 – The paperback edition of “Beast: John Bonham and the Rise of Led Zeppelin” by C.M Kushins will be published.
Early 2023 – “A Whole Lotta Music: Life To My Ears,” the memoirs of Tight But Loose editor Dave Lewis, will be published.
2023 – The remastered and expanded 30th anniversary edition of “Coverdale–Page” will be released.

Many thanks to James Cook 

It was very sad to hear the passing of the legendary Jerry Lee Lewis aged 87  last week – one of the true rock’n’roll pioneers.

Here’s his awesome version of Led Zeppelin’s Rock And Roll with Jimmy Page on guitar from his 2006 album Last Man Standing…RIP…

https://www.youtube.com/watch?v=Zo1k4sQmrn8

Led Zeppelin Remasters : 32 Years Gone..

Another anniversary the Remasters releases all of 32 years old this week. I absolutely loved that period – it was so incredible to see the resurgence of interest that surrounded them – here’s some 31st anniversary thoughts…

Led Zeppelin Remastered…it was 32 years ago… 

It’s amazing to think that there was a time back in the day, that the only way of hearing Led Zeppelin’s music was via the ten original albums – ie the eight original studio albums, The Song Remains The Same soundtrack and the posthumous collection Coda.

There were no greatest hits albums, no BBC sessions, no 1972 live albums and certainly no i-tunes, Spotify HD downloads and streaming.

True the Led Zeppelin catalogue had been released on CD – though  not from the original masters and transferred via analogue tapes. The results were mixed. I did a feature in Record Collector in early 1990 reviewing the original CD’s (I’ll need to dig that one out) ,blissfully unaware that Jimmy was about to overhaul the entire catalogue for CD.

Thus the arrival in October of 1990 of the five LP CD box set and double Remasters compilations was a very big deal indeed.

I wasn’t the only one I am sure, who had not paid much attention to the studio albums in recent years. My Zep listening time was taken up analysing the many Zep shows that were appearing on CD sets and the fresh outtakes that had surfaced.

The arrival of the Remasters was a revelation. Suddenly we all realised just exactly what it was that had made this band so special.

Lapsed fans got back on the wagon –a whole new generation of younger enthusiasts also jumped aboard. Overnight Led Zep’s stock shot up…and it never looked back.

The Remasters releases were absolute game changers in the way Led Zeppelin were viewed and appreciated.

I have very fond memories of this period  – it was the point where I realised their legacy was intact. It was fantastic to follow all the media buzz that went with it including Jimmy’s appearances on MTV and the promo videos for Travellin Riverside Blues and Over The Hills And Far Away.

In the Our Price record store I managed Bedford we really went to town – with pre release build up and in store displays. This activity resulted in the store racking up £10,000 worth of business on the box sets and double albums. I was later awarded a triple gold disc award by Warners in the UK. Here’s a pic of the shop window in November 1990.

Like I say, I was about to produce a book that emphatically chronicled the band’s music. The book Led Zeppelin – A Celebration published the next summer was very well received…and it set me on a mission to totally commit myself to chronicling the world of Led Zeppelin that has not let up for the past quarter of a century.

This is something I wrote at the time for Record Collector. I remember putting this together – the words came tumbling out such was my enthusiasm for it all – and it remains one of my favourite pieces of writing on the band.

I’ll be bringing out the Remasters box set vinyl and CDs to enjoy over this weekend  revelling in Jimmy’s vision of – as he put it ”The same picture with a different frame”

And what pictures they are….

DL

Here’s my feature that ran in Record Collector in December 1990…

LED ZEPPELIN REMASTERED…

DAVE LEWIS REVIEWS JIMMY PAGE’S DEFINITIVE COMPILATIONS OF ZEPP’S BACK CATALOGUE

Earlier this year, I summed up my feature in Record Collector on Led Zeppelin On CD by offering Atlantic Records the following advice: “In the light of the shortcomings of the Led Zeppelin CDs, it would be good to see Atlantic embark on a re-mastering job to eliminate some of the errors that have occurred. An even better idea would be for Jimmy Page himself to oversee such a project which could easily take the format of a special box set release. Atlantic Records take note!”

At that time, I was unaware of Atlantic’s plans to produce just such a set, so it came as a pleasant surprise to learn that my request was about to become a reality. The project began to take shape when Jimmy Page was approached by the label to remaster the original Zeppelin catalogue for a compilation release. Dissatisfied with the general reproduction of the available CDs, Page jumped at the opportunity to restore his old masters to the standard he envisaged. Studio time was booked at New York’s Stirling Studio in May, where Jimmy spent a week with engineer George Marino digitally transferring the material from, in most cases, the original two-track master tapes.

The project in mind was a multi-track box set release for which Page drew up possible track listings for the other two ex-members to sanction. “I really wanted to improve the release”, Page is quoted as saying on the officially press release; “basically it’s the same picture with a different frame”. John Paul Jones added: “The songs sound as fresh now as when they were first recorded, and the new positions in the running order seem to put them in a totally different light.”

The original concept was to package 54 remastered tracks in a deluxe box package with a 36-page book of photos and essays. Atlantic’s European distributors East West were supremely keen to also issue an edited version aimed at the mainstream market. And so a condensed version with 24 tracks on a triple album and 26 on a double cassette and CD was also prepared — for Europe only.

This release, under the title “Remasters”, formed the major spearhead of WEA/East West’s Christmas market campaign. After all the years of avoiding the greatest hits treatment, the Zepp catalogue received the full commercial push as East West undertook a massive marketing campaign to back to October 15 release of “Remasters”. Window displays were installed, including inflatable blimps which are sure to join earlier models as collectable Zep items. Mysterious teaser adverts appeared in the music press depicting the shadow of the Zepp airship looming over several international locations, recalling the similar obscure ads placed as a trailer for the band’s fourth album. Even a TV advertisement was prepared, set to appear on screens across the country in the run-in to Christmas.

COMMERCIALISE:

But East West did fail in the final quest to fully commercialise this “Remasters” package: they did not receive the blessing of Page, Plant and Jones to issue a U.K. single. The plan was to issue “Stairway To Heaven” on December 2 as a four-track CD single and 12″ picture disc, with “Whole Lotta Love”, “Immigrant Song” and “Good Times Bad Times”. Although the classic Zep anthem would have been a strong contender for the Christmas No. 1 spot, the no-U.K.-singles rule prevailed. This collection of tracks subsequently surfaced in two already well-in-demand U.K. promo items. The first is a four-track 10″ pressing (Atlantic LZ 2), housed in a black sleeve depicting the specially commissioned Mission Control-designed colour illustrations that mirror the images of the band’s famous four symbols. There is also a four-track promo CD single (Atlantic CD LZ 1), packaged in a cardboard oblong box. Both items are definitely prime additions to any Led Zeppelin rarities collection.

The condensed “Remasters” set duly surfaced on schedule, and entered the U.K. album chart at No. 10. As a layman’s introduction to the group, its track listing does include the majority of Zepp classics, though I was surprised to find that “When The Levee Breaks” and “The Ocean” — two tracks which have been heavily sampled by other artists, and have this found their way to the forefront of the Zepp canon over the last decade — had both been omitted. I personally would have viewed these tracks as more historically representative than lesser stepping stones such as “Celebration Day” and “Houses Of The Holy”

While there can be little complaint about the overall musical content of “Remasters”, or the typically offbeat sleeve design concept of the Zepp shadow looming over a mysteriously carved cornfield, the lack of any track details on the sleeve is a disappointment. Despite the fact that Atlantic’s press release for the condensed set promised “extensive sleeve notes” on the vinyl edition, purchasers of “Remasters” are afforded none of the intensive recording data to be found in the box set booklet. There is not even any indication as to which album each track came from. As the set is obviously aimed at the less committed fan, surely this would have been a simple device to draw attention to the entire Zep catalogue.

Unfortunately, omissions such as these present “Remasters” as something of a cold marketing ploy issued to cash in on the peak consumer period. Compared to the deluxe box set package, it certainly pales considerably. At nigh on £20 a throw, “Remasters” should have been presented with far more information, and some additional alternate photos. That’s particularly the case, given the fact that completist collectors will need this set as well as the extended box, as it strangely contains one remastered track not to be found anywhere on the box set — namely the first album opener, “Good Times Bad Times”. The fact that all the different formats of “Remasters” are scheduled to be deleted on March 31 1991 will also add to its desirability to the keen Zep enthusiast.

And now to the box set itself, simply titled “Led Zeppelin”. This is beautifully packaged in a strong 12″ box with a slightly different view of the ‘Zepp over cornfields’ scene. The accompanying 36-page book is also of superb quality and contains some wonderful photos. The three essays by noted American critics Robert Palmer (who coincidentally also wrote notes for the Rod Stewart “Storyteller” set), Kurt Loder and Cameron Crowe are admirable summaries of the band’s career. However, for all his “front row seats to the Zepp experience”, Crowe manages in the space of eight pages to document wrongly the date of the release of “Houses Of The Holy” (March ’73, not May), the date and location of their meeting with Elvis (L.A. in May ’74, not Las Vegas in 1972), the date they flew to Stockholm to begin recording “In Through The Out Door” (November ’78 not January), and the date of Live Aid (July ’85, not ’87).

While it’s great to see a full track rundown of when and where each track was recorded, some errors again creep in. Two of them can be put down to the confusion some researcher had about the different way dates are printed in the U.K. and U.S. — the recording date of the Albert Hall rehearsal take of “I Can’t Quit You Baby” was actually January 9 1970 (9/1/70 in U.K. usage) and not September 1 1970 (9/1/70 in American eyes). Similarly, the recording date of “Bonzo’s Montreux” becomes December 9 1976 instead of September 12. Elsewhere, printing gremlins creep in on the “Gallows Pole” entry which has it being recorded in 1972 and released on “Led Zeppelin 3” in 1970. I would also question the actual release dates^ of some of the albums in the U.S. discography — the soundtrack album, for instance, being a month out. This may seem like nitpicking, but I cannot be alone in finding such errors annoying, particularly as “Led Zeppelin” was designed as a definitive retrospective.

And the music? In compiling 54 tracks, Page was faced with the difficult task of knowing what to leave out. Obviously everyone has different favourites and a set list like this is always going to be disappointing. For me, the biggest letdown is the lack of tracks from “Physical Graffiti”, by their own admission Led Zeppelin’s premier achievement on record.

But what is included is a truly wondrous cross section of the musical diversity that coloured the Zeppelin catalogue during their 12-year reign. In remastering the tracks, Page has added a punch and clarity that the original CDs sorely lacked — without tampering with the original tapes, so there is no remixing here aside from the new Bonzo creation, which I’ll come to in a moment. The cleaning-up of the analog tapes also greatly helps the light and shade of tracks like “The Battle Of Evermore” and “Ten Years Gone”, while Page has restored the correct studio banter to the ending of “In My Time Of Dying”.

SURPRISES:

Some of the anomalies and surprises to be found in this mammoth collection include the fact that the timings of many tracks here are vastly different to the claims on the original albums. For instance, “Kashmir” (previously listed as 9’41”) now appears as a correct 8’31”, though the tracks are absolutely identical. The only piece amongst the 54 which I have noticed being different to the original is “Nobody’s Fault But Mine”. The “Remasters” take is 12 seconds longer than the “Presence” original due to the inclusion of an extra guitar riff chorus on the intro. Elsewhere, the three-second white noise count-in on “Immigrant Song” is deleted here, as is the eight-second intro to “Tangerine”. But the warming up of guitars on “Black Dog” is present, and sounds much more pronounced than before.

It’s interesting to hear familiar classics placed in a different light — “Heartbreaker” now segues instantly into “Communication Breakdown”, for example, rather than “Livin’ Lovin’ Maid”, while “The Song Remains The Same” drifts into “Ten Years Gone”. The sequencing of the tracks does, as John Paul Jones noted, put them in a new context.

Finally, some new delights. In merging John Bonham’s “Moby Dick” with his later “Bonzo’s Montreux”, Page has produced an affectionate tribute to the late drummer, achieved with Synclavier programming at Atlantic’s studios in New York earlier this year. Some might question whether he should have tampered with the originals, but the finished track mixes elements of Bonham’s developing technique over seven years. It’s also a joy to hear the “Zepp 3” leftover “Hey Hey What Can I Do” — a warm semi-acoustic groove previously only available on the B-side of the U.S./European “Immigrant Song” single, and on the long-deleted “New-Age Of Atlantic” sampler LP.

Also included are two much-bootlegged BBC recordings, which sound superb. “Travelling Riverside Blues”, a Page/Plant arrangement of the old Robert Johnson blues classic, is a prime mid-’69 remnant with a spiralling Page slide guitar riff and some dominant Bonzo bass drum patterns — all now heard to their full effect for the first time. “White Summer/Black Mountain Side” comes from the live Playhouse Theatre show recorded on June 27th 1969, and brings back many nostalgic Zep memories.

Of course, there will be a school of thought that Page should have used this box set project to issue more unreleased gems — many of which have turned up on top quality bootleg CDs over the past year. There was also scope here for the much vaunted chronological live album idea which Page often hinted at in the latter Zepp era. Though there may be few fully-fledged studio tracks with finished vocals in the vaults, recent bootlegs have proved that there are some tantalising alternate takes which would have added spice to the set. “Led Zeppelin” is superb in its own right, but many enthusiasts will view it as a missed opportunity to hear more enlightening live and studio cuts. Certainly one CD of rare material would have made the whole thing much more worthwhile.

My personal choice of a bonus rare CD of material which is known to exist would have lined up like this: “Communication Breakdown” (live Royal Albert Hall, 1970); “Jenning’s Farm Blues” (electric studio rehearsal of “Bron Y Aur Stomp”, 1969); “Blues Medley” from the “Hats Off To Harper” session (1970); “No Quarter” (instrumental studio out-take, 1972); “Over The Hills And Far Away” (live in Dallas, 1975 U.S. tour); “Tangerine” (live, Earls Court 1975); “Trampled Underfoot” (live, Earls Court 1975); “The Song Remains The Same/Sick Again” (live, New York 1977); “Ten Years Gone” (live, New York 1977); “Train Kept A-Rollin’ ” (live, Zurich 1980); “All My Love” (alternate extended version, 1978). But maybe Jimmy is saving that lot for the “Re-Remasters”!

Overall, despite the misgivings about the track listing, some irritating errors in the booklet and the difficulty of pleasing collectors old and new, the “Led Zeppelin” box set is a worthy investment, and compares well with similar packages by other artists. Certainly, in restoring the Zeppelin catalogue to CD with the sound quality it deserves, Page has done a superb job. With the incredible resurgence of interest in the band in recent times — they must surely be the most popular defunct band outside of the Beatles — the set is sure to be in huge demand.

This collection will stand as a lasting testament to the sheer diversity of Zeppelin’s recorded work. It should also prompt re-examination of epic works such as “Achilles’ Last Stand” and “In The Light”. The latter track’s final few minutes, capturing Jimmy’s overdubbed guitar parts rippling across Robert’s chorus, the Jones drone and Bonzo’s timely hammering, is perhaps the most impressive section of the entire 54-track set. And it sounds glorious.

Will they reform? Will there be a live chronological video to supplement this release sometime next year? The remastered “Led Zeppelin” set should keep all Zepp fans riveted to their turntables as we await the next chapter in a story that is far from over.

Dave Lewis – October 1990

Dave Lewis is the author of a forthcoming book on Led Zeppelin titled “Led Zeppelin — A Celebration” (to be published by Omnibus Press, spring 1991).

First published in Record Collector December 1990

More Remasters memories:

It was 32 years ago…

The scene in the Our Price record shop in Bedford that I managed on this day 29 years ago – for on October 15, 1990 the first ever Led Zeppelin compilation set was released – the double album Remasters,.to be followed two weeks later by the 4LP/CD box set. It opened up Zep to a whole new market..and boy did we sell some Zep product as Colin Stonebridge, Justin Cromie and Jason Foster will remember…great music retail days they were…

It was 32 years ago 2:

The scene in the Our Price record shop window in Bedford on this day 29 years ago – for on October 15, 1990 the first ever Led Zeppelin compilation set was released – the double album Remasters..to be followed two weeks later by the 4LP/CD box set.

As I had a vested interest (I was writing the Led Zeppelin A Celebration book a the time) I made sure we racked up the sales – much of the window came from my collection – including that rather splendid Japanese poster of Jimmy Page on the right…all this contributed to me being awarded a triple gold disc by Warners for my efforts to ensure Led Zeppelin were right back at the forefront of record, CD and tape buyers…where they have remained ever since

It was 32 years ago 3:

The triple gold disc I was awarded by Warner Music in the UK for my contribution to the sales of the Remasters releases –notably the £54 priced 4CD/LP box set –in the Our Price Store I managed in Bedford we generated over £10,000 sales during the opening weeks of release… not bad for a store of just 980 square feet. Great retail days they were…

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My thoughts on the new Beatles Revolver special edition box set…

Back in 1976 in their ground breaking Beatles book The Beatles Illustrated Record authors Roy Carr and Tony Tyler declared that in their opinion Revolver was far and away the best Beatles album.

Back then being somewhat obsessed with their 1967 -1969 period, I couldn’t really see the logic in their preference for the 1966 release. I guess I had a bit of catching up to do and in the intervening years I have come to acknowledge Revolver’s greatness. This has been considerably aided by the variety of reissues and upgrades in sound that have surfaced – notably the 2009 reissues. In fact, I purchased the first four Beatles albums that were released by EMI in 1987 on the then new Compact Disc format even before I had a CD player.

Now comes this expansive 5 CD set –the latest in a series of quality Beatles repackages that have all greatly benefited the input of producer Giles Martin. The reliability of his ears in a ‘like father like son’ fashion  have long been established via his stunning work on the remixing of the likes of Sgt Pepper and Abbey Road.

In the same way his famous Father George demonstrated a deft touch in making The Beatles sound so exquisite, Giles Martin has pulled off another triumph with this latest attempt to make a very good thing sound even better.

There’s purity about this new Revolver mix that brings out every nuance of a record so brimming with creativity.

Purity is a key word here because what The Beatles brought to the table in the spring of 1966 was a stack full of  song writing excellence. Across the 14 tracks there is an economy in every arrangement. Everything is in its place because it needs to be – even when they expanded their minds and their vast audience with the pioneering Tomorrow Never Knows. There’s no  excess here and no over indulgence and it was all recorded in the space of just three months from April through May to June. It was in hindsight the last of their carefree days as just around the corner was the controversy of John’s ”Bigger than Christ” comments that were taken out of context to cause much backlash on what would be their final US tour. After 1966 things got a whole lot more complicated.

Put simply though, The Beatles were always one step ahead –even at a time when the competition was rife with the development of The Beach Boys on Pet Sounds  and the emergence of  the American west coast sound of The Byrds and Jefferson Airplane plus the maturing compositional strength of The Kinks and The Who. As Mojo reported in their recent coverage of Revolver ‘’The Stones and The Who ‘’visibly sat up’’when they heard Tomorrow Never Knows” McCartney reports in 1966 ‘’We also played it to Cilla who just laughed!’’

It might have been laughable in a ‘oh what ever will they do next’ kind of way but it was seriously ahead of the game…

It’s perhaps significant that the first track they worked on as they reconvened to make the album on April 6 ,1966 was the aforementioned Tomorrow Never Knows  then known simply as Mark 1. It’s equally significant that they placed Tomorrow Never Knows as the closing track –it was the perfect parting shot and a clear indication that The Beatles’ world was about to go day – glow.

As Paul McCartney observes in his perceptive foreword in the magnificent accompanying book, ”in 1966 we were becoming used to recording and loved being in the studio.” Conformation that they were now enjoying the freedom of the studio more than ever before and performing live was now something of a chore.

Revolver was released on August 5, 1966 – a mere 25 days alter they played their final paying live show at San Francisco’s Candlestick Park. Incidentally, Revolver was also released a week after England had triumphed over West Germany to win the World Cup – what a time it was to be a part of swinging London. That sense of optimism prevails throughout this album.

Every performance showcases  The Beatles at the top of their game from the uplifting , George’s sharp and sardonic Taxman, the stark beauty of Eleonor Rigby and For No One, the surreal She Said She Said – the list goes on and on – I Want To Tell You, Here There And Everywhere, Good Day Sunshine  I might add that in this new mix John Lennon’s vocals never sounded better particularly on I’m Only Sleeping and Dr. Robert.

I love Paul’s comments in his foreword in the accompanying book:

”At this time the sun seemed to be shining every day to Good Day Sunshine summed up our feelings and the whole of a generation”

And now there’s more…

Two CDs worth of early takes, outtakes and work in progress fragments.

Back in  1988, Beatles scholar Mark Lewishon produced a ground breaking book The Beatles The Complete Recording Sessions -The Abbey Road Years. It was ground breaking in that for the first time, the Abbey Road Beatles tape archive (and that of the select few other studios they worked in such as Trident and Olympic) was made available to a relative outsider. Mark diligently logged every session and the findings were duly featured in the book.  It was an absolute revelation and there were many details of offcuts, outtakes and alternate takes. It was a mouth watering read and there were so many times when I longed to know how such material might sound. Indeed it set me off on a quest to search out many a studio outtakes bootleg.

Thankfully, in recent years the official various extended reissues and the Anthology series have revealed many an alternative treasure. This special edition Revolver is stacked full of them as presented on the two CDs of Sessions.

So now what were mere words on a Mark Lewishon page are now living breathing artifacts.

We can hear the remarkable development of Tomorrow Never Knows (Take 1) through Mono Mix RM 11 – the evolution of Got to Get You Into My Life from First Version) [take 5]to take 8 – the fascinating Rain (Take 5 – Actual Speed) and then Rain (Take 5 – Slowed Down for Master Tape),

Then there’s the joyous And Your Bird Can Sing including the giggling version, s a lovely early acoustic led take of George’s Love You To (working title Granny Smith) and an enchanting sequence that chronicles the development of I’m Only Sleeping.

Perhaps most impressive of all is John’s Yellow Submarine (Songwriting Work Tape – Part 1) [mono]. The evergreen wacky children’s singalong beginning life as plaintive Lennon lament – who knew?

Both Session CDs are full of  surprises that brings every listener closer to the creative process that these songs underwent to achieve such greatness.

Finally, there’s a CD EP that profiles the brilliant Paperback Writer/Rain single which was recorded as part of the Revolver sessions and issued as a stand alone single in the June of 1966. Stereo and mono mixes that bring out the clarity of those harmonies on the A side and Paul’s strident bass and Ringo’s superlative drumming on the B side.

So there it is, Revolver as we have never before heard it before  –  and the words that spring to mind are astonishing, exhilarating, exuberant, thrilling and daring – words that fall so easily on to the page when it comes to describing the timeless magic of The Beatles.

On this latest Beatles reissue extravaganza, their magic is sprinkled across this entire contents of this wonderful 5 CD package.

Once again, it’s the act we’ve known for all these years reaffirming their status that in an ever changing challenging world, The Beatles remain a truly inspiring constant.

Dave Lewis – November 1,2022 

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DL Diary Blog Update:

Friday October 28:

Friday October 28:

All in all this meet this afternoon with Matteo and Stuart was a lovely nostalgic and unexpected reunion…

Saturday October 28:

Saturday is platterday…in keeping with the Beatles theme here after the arrival of the magnificent Revolver set yesterday – on the player some early morning John Lennon –the 1974 Walls And Bridges album sounding mighty fine…

Saturday October 29:

A top day at the VIP record fair in Bedford – you can never have too many copies of The Age of Atlantic sampler album – this one an Austrian pressing with Kinney/Warner sticker – you gotta love LP records…

Sunday October 30:

At the always excellent VIP Record Fair in Bedford yesterday it was great to catch up with a fair few fellow record collecting comrades – pics here with Cliff Hilliard, Graeme and Pam, Steve Livesley, Ian Avey and Ian Dixon… a top day indeed.

Sunday October 30:

Tuesday November 1:

Those will be contributing to the November playlist…

Update here:

As can be seen above – an incredible week here with the Ireland road trip (and train and plane trip). It really was an incredible visit and even though I was only in Ireland for some 14 hours and with Dec for 12 – we really did have the best of times – and the gig was just amazing. I am feeling very blessed indeed.

It’s back on to the November work load here with a lot to do – I’ll have an update on the Five Glorious Day -Led Zeppelin at Earls Court May 1975 book publishing schedule soon.

Thanks for listening