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22 December 2022 642 views One Comment


So this is Christmas …so here’s some Led Zep related Christmas memories….

TBL Retro Christmas Reflection:

 Christmas always bringing with it that air of nostalgia, so here’s a seasonal TBL retro reflection from 1972:


50 years ago on Saturday December 23rd  1972, I was lucky enough to be in attendance at the closest gig Led Zeppelin ever played to Christmas in the UK. It was a cold dank day and the walk up Muswell Hill to the Alexandra Palace was a bit of a trek. All worth it of course, as this very impressionable 16 year old was again in the company of musical giants.

The venue itself had not been used for a gig for years and was a little cold and impersonal – the sound also suffered a fair bit swirling around the high ceiling. Zep of course were brilliant – I had already read they were playing new tracks off of what was still being described as Led Zeppelin V (it would emerge as Houses Of the Holy the following March.) Hearing Over The Hills And Far Away, The Song Remains The Same, The Rain Song and Dancing Days was an immense thrill.

The late William Jellett the well known rock fan known as Jesus who frequented many London gigs at the time stripped naked in front of me (ooerr!) and played a tin whistle during Jimmy’s Dazed violin bow solo. 

The Whole Lotta Love medley was memorable for a great Everybody Needs Somebody To Love, Let’s Have A Party and a scintillating  I Can’t Quit You Baby.

Zep gig number two was ticked and I wanted more…much more… though that opportunity would not come around for nearly two and a half years. By then I had a new mantra. If Led Zeppelin were playing in the UK I wanted to be there…luckily that would all come to pass…


Long time TBL contributor Phil Tattershall was also at the December 23rd show – here are his memories of his first Led Zeppelin concert…

The announcement of Led Zeppelin’s 72/73 UK tour was incredibly exciting.  I’d had a copy of the double LP, Live On Blueberry Hill for a while and I’d captured their 1971 BBC radio performance as it was broadcast using our family reel-to-reel tape recorder.  Both had been played to death.

I was 18 in 1972 and I’d recently started work, but my old schoolmate Dave* was still job hunting.  He had a bit of spare time, also a motorbike, which meant he was just the man to journey into London in the vain hope of securing tickets for one of the Alexandra Palace shows from Harlequin Records.  Unbelievably, he was successful and managed to buy three tickets, the third being for another schoolmate, Neil**.

I proudly announced to my colleagues in the office that I was going to see Led Zeppelin, but being much older than me, they didn’t share my excitement.  I was shocked to learn that none of them had even heard of Led Zeppelin!

My first wage packet had been spent on a battery-powered cassette recorder and I thought that it would be a perfect opportunity to try concert recording for the first time.  Dave was a keen photographer and thought he’d try to take some pictures to complement my efforts.

The week before the show, we went for a ride on Dave’s motorbike to Alexandra Palace, to make sure that the ancient machine was capable of completing the 45 mile round trip.  It was a curious hybrid vehicle, self assembled from parts of two other bikes dating from 1936 and 1948.  It would need to transport three of us on December 23rd, so Dave had bolted an old sidecar to it.  I remember that reconnaissance expedition well; it was freezing cold and I sat in the sidecar listening to a cassette of ELP’s Trilogy album on both legs of the journey.  (I learned later that the sidecar was attached to the motorbike by a single bolt.  Dave was a bit of a slapdash mechanic!)

Come the 23rd, Dave, Neil and I undertook that intrepid journey from Hertfordshire to north London.  It was as cold as it had been the previous week, but the bike and sidecar served us well.  Outside the venue, I bought a show programme for 25p, which I later learned was unofficial (and is now very collectable!) and chatted to a guy from New York who had bought a ticket from a tout and was fearful that it might be a forgery.  It looked the same as mine though and I think he managed to get in OK.  My voluminous police-service surplus great coat served a dual purpose: it kept out the worst of the cold and effectively concealed my rather large cassette machine.  I gained access without hindrance.

Above the 1972 bootleg programme which I purchased outside the venue on the night – – the image is actually  Marc Bolan taken from a poster (thanks to Pete Burridge for that info).

Inside the hall it was apparent that there had been problems during the soundcheck and curtains had been hung from the ceiling in an attempt to tame the cavernous venue’s wallowing acoustic. It was an all-standing event and I was surprised that the hall was nowhere-near full, probably little over two-thirds of the floor space being occupied.  I later learned that fire regulations had limited the number allowed to attend.

There was no support act, just a children’s cartoon shown on a small screen above the stage.  I remember the cheer from the audience when one of the cartoon characters swallowed the contents of a bottle labelled ‘Super Speed Pills’.  Hmmm… that certainly wouldn’t be allowed in these days of political correctness and child protection.

The lights dimmed, I pressed the record and play keys of my cassette machine and hoped for the best.  As the band took to the stage, the bloke standing next to me was hit on the head by a beer can thrown from behind, prompting a stream of foul language from him and his companions.  The can’s impact and the subsequent profanities are perfectly captured on my tape.  Sadly the music, at the time the loudest noise I’d heard in my life, is less well preserved.  The poor cassette machine was overwhelmed by the volume and the recording is hopelessly overloaded.   The tape tangled 25 minutes into the show anyway, so it’s hardly an indispensable document.  Dave fared little better in his efforts to capture the visuals and his pictures were disappointing too.

The show itself was astonishing.  Of the songs from the yet-to-be-released Houses of the Holy LP, I remember being particularly impressed by Dancing Days, while friend Neil, a guitar player himself, was blown away by The Song Remains The Same.  The high point for me was the violin bow sequence in Dazed and Confused.  Thanks to my bootlegs, I was very familiar with the live version of the piece and always imagined each “da-da da-da” element being generated by a bow strike.  When I witnessed every other ‘da’ blasting out as the bow hit thin air, I genuinely thought some sort of sorcery was afoot.  (It wasn’t magic, of course, but an Echoplex unit.  I was so disappointed when I found out.  Jimmy was a mere human after all!)

Luckily, another amateur recordist was on duty that night and his results were infinitely better than mine.  My first experience of Led Zeppelin live was preserved for posterity and for that I’ll be eternally grateful.  One thing the taper missed as he flipped tapes was Robert’s “Goodnight – we’ll see you next year”.  I remember it well, because I was thrilled that it wouldn’t be too long before I could see them again.  As it turned out, I had to wait until May 1975, but I’m sure Robert’s intentions were honourable when he gave me what seemed a personal assurance.  I also recall narrowly missing out in the scramble to grab the tambourine he threw into the crowd at the end of the Whole Lotta Love medley.

The motorbike journey home in cold rain was deeply unpleasant, but we didn’t care; we’d seen the greatest band in the world.

When safely home, I extracted the tangled mess of tape from my recorder and reassembled it into a spare cassette shell.  As already described, the sonic results were disastrous, but, forty years hence, I still have that souvenir.

A couple of days later, back at work, the office manager, who was ten years my senior at 28, asked, “How did your pop thing go Phil?”  “Pop thing!??!!”, I thought to myself.  This wasn’t a “pop thing”: this was Led Zeppelin.  But there was no point in entering into lengthy discussion on the topic.  The older generation would never understand.

*Dave had another go at photographing Led Zeppelin in 1975 and was rather more successful.  The photos can be seen in TBL issue 15.

**Those familiar with one of the better audience recordings of the first Knebworth show will have heard a voice loudly proclaiming  “I can’t hear the bass, can you?” during The Song Remains the Same. That’s Neil.

Phil Tattershall.

ALLY PALLY – THE MIKE TREMAGLIO LOGS  (as featured in the Evenings With Led Zeppelin book) 

Here’s the Alexandra Palace lowdown via Mike Tremaglio’s concert logs  which appeared in TBL issue 30.

Friday, December 22nd, 1972 Alexandra Palace, London, England

Setlist (from 130 & 58 minute audience recordings):

Rock and Roll, Over the Hills and Far Away, Out on the Tiles (Intro)/ Black Dog, Misty Mountain Hop, Since I’ve Been Loving You, Dancing Days, Bron-Y-Aur Stomp, The Song Remains the Same, The Rain Song, Dazed and Confused (incl. San Francisco),  Stairway to Heaven, Whole Lotta Love Medley (incl. Everybody Needs Somebody to Love, Boogie Chillun’, Let’s Have a Party, Heartbreak Hotel, I Can’t Quit You Baby, Going Down Slow), Immigrant Song, Heartbreaker, Mellotron Solo/Thank You

Once again, Chris Charlesworth of Melody Maker reviewed the concert in the “Caught in the Act” section of Melody Maker (January 6, 1973).  Charlesworth praised the group as “about as perfect a band as you could hope to hear.”  He wasn’t nearly as enthusiastic about the venue, saying it was “never built to rock” and that the “atmosphere inside this giant hall seemed cold and forbidding…there was a diminishing sound that flew up into the rafters and returned as a disjointed series of echoes.  My guess is that only about half the fans heard the music as it should have been heard.”

Saturday, December 23rd, 1972 Alexandra Palace, London, England

Setlist (from 131 & 28 minute audience recordings):

Rock and Roll, Over the Hills and Far Away, Out on the Tiles (Intro)/ Black Dog, Misty Mountain Hop, Since I’ve Been Loving You, Dancing Days, Bron-Y-Aur Stomp, The Song Remains the Same, The Rain Song, Dazed and Confused (incl. San Francisco),  Stairway to Heaven, Whole Lotta Love Medley (incl. The Crunge, Everybody Needs Somebody to Love, Boogie Chillun’, Let’s Have a Party, Heartbreak Hotel, I Can’t Quit You Baby, Going Down Slow), Heartbreaker

The band played the second of two shows at the “Ally Pally.” The setlist is virtually identical to the prior evening, except the Immigrant Song, mellotron solo, and Thank You were all dropped from the set.  The Crunge, which had typically been played during Dazed and Confused, was incorporated into the Whole Lotta Love medley.


This via Robert Plant’s official mail out newsletter…
Robert Plant’s live performances in 2022 commenced with the Saving Grace UK tour with Suzi Dian and special guest Scott Matthews, throughout April – May, followed by The Raising The Roof tour which spanned June – July and saw RP and Alison Krauss perform at Bonnaroo, then Hyde Park BST supporting Eagles on their 50th anniversary celebration in June, followed by the iconic UK festival Glastonbury. The RTR tour continued throughout the US, August – September.
RP went back on the road with Suzi Dian for the second leg of the Saving Grace tour in Ireland and Scotland throughout October and November. After the tour, RP performed on Jools Holland’s 30th Birthday Bash to celebrate the 30th anniversary landmark milestone of Later… with Jools Holland, then hit the CMT Crossroads stage with Alison Krauss for the second time together since their first appearance in 2008.
During and around all the events this year, RP has been busy working in the studio refining new work from the Honeydrippers collection and reviewing the progress that was made with Band of Joy Vol 2…
This year Robert Plant appeared on the Broken Record Podcast with Rick Rubin in February, BBC Radio 6’s Desert Island Discs in March, released the fifth series of the Digging Deep podcast, and returned to BBC Radio 6 Music for a three-week stint in April, sitting in for Iggy Pop; discussing his record collection, including cuts from Lulu, Calexico, Terry Reid, Lucinda Williams and Donovan.
In addition to Raise The Roof being the #1 most played album at Americana Radio this past year in The Americana Music Association’s Top 100 Radio Airplay Albums, RP and Alison Krauss have been nominated for 3 Grammy Awards. Categories include Best Country Duo/Group performance for ‘Going Where The Lonely Go’, Best American Roots song for ‘High And Lonesome’ and Best Americana album for the entire album.
RP and Alison Krauss’ #CMTCrossroads performance of ‘High & Lonesome’ from Raise The Roof is available to watch here
Look out for announcements in the New Year as we’ll be touring the US again in Spring and Summer 2023!
Happy Holidays to you all. Thanks very much for listening, seeing us live and being a part of the journey. On to 2023.
– RP



Latest book update:

Five Glorious Nights – Led Zeppelin at Earls Court May 1975 – Revised & Expanded Edition

Just received my copy of this book which I’ve been working on for much of 2022 – and it looks fabulous…
Rufus aim to fulfill all pre orders for the Compact Size Standard Edition in the next few days.
Here’s the info:
Five Glorious Nights – Led Zeppelin at Earls Court May 1975 – Revised & Expanded Edition
Standard Compact Edition with slipcase and 4 exclusive prints out now
What this book is all about…
Firstly the backstory…
In 2014, Mark Smith the publisher of high value deluxe photo books via Rufas Stone Publishing, came to me with an idea for a Led Zeppelin photo book – it was established that this could be showcase for images of their five concerts at Earls Court in May 1975.
Being a long time devotee of this period and having attended all five nights and written extensively about the subject of Led Zeppelin at Earls Court, I was more than happy to get fully on board with this project.
Mark collated a number of images from various photographers, notably the archives of Dick Barnatt, Ian Dickson, Barry Plummer and Michael Putland. I got in touch with a few other photographers I knew who had Earls Court material and very quickly we had amassed over 300 images. We had a title too paraphrasing something Robert Plant said on stage at Earls Court to the effect that these were Five Glorious Nights.
In early 2015, the brilliant TBL designer Mick Lowe began to piece together the layout under my ever watchful eye. The pair of us worked non stop on it for the next four months eventually emerging with a 288 page volume. I wrote and collated all the text and I asked the renowned rock photographer Ross Halfin to act as the photo editorial consultant and his experience added greatly to the photo selection.
By the end of April 2015 we had a finished book layout and the book to be titled Five Glorious Nights –Led Zeppelin at Earls Curt May 1975 was ready to go. It was published in early June just as the 40th anniversary of these famous shows was being celebrated. The standard version was a limited edition of 1,000 copies at £130 each.
Here was the challenge…
First of all, it’s worth mentioning that the title I came up with Five Glorious Nights – was a clear indication that rather than just slap various photos on to the pages, the objective was to represent each night and unfold the whole saga of each concert.
I was of course well aware that there had been a fair few photo books of Led Zeppelin – and there’s been some significant ones since 2015, not least Jimmy’s Anthology book and their own Led Zeppelin by Led Zeppelin volume published in 2018.
In laying out the photos for design and to get the feel of the five glorious nights, I separated the photos into five sections each representing the individual concerts performed. Where possible, I then sequenced the photos in to something of a set list order for each night and supplemented them with some of Robert Plant’s comments from the stage at the time – along with a series of press comments that demonstrated the esteem in which these concerts were held in by reviewers at the time.
This was a key strategy and something I had remembered from the photo book that accompanied George Harrison’s Concert For Bangla Desh triple album in 1972 –whereby relevant photos were matched to the entire set list.
So what emerges within the layout is a visual representation of the key moments of each performance – early group shots of the opening numbers, In My Time of Dying with Jimmy using his Dan Electro guitar, The Song Remains The Same/Rain Song sequence with Jimmy on the Gibson double neck guitar, the swirling lighting backdrop to Kashmir, the four part harmony of Tangerine, the acoustic set, the revolving lights of Trampled Underfoot, John Bonham in full percussive flight on Moby Dick, Jimmy in full on violin bow mode in the laser lights during Dazed And Confused, Jimmy back on the double neck and Robert brandishing the tambourine during Stairway To Heaven, Jimmy caught in theremin action during the Whole Lotta Love encore and Jimmy and Robert clustered together on the shared chorus of the same track, the close of concert and coming off the stage scenes including Bonzo stating that ‘’I think Football is a load of bollocks on the May 24 show.
Through these stunning images placed in set list order, every reader can travel on the journey of their three and a half hour powerhouse performances. Even more so with the appropriate Zep at Earls Court bootleg.
Working on this revised and expanded edition, I applied the same set list sequence formula.
So this is no mere photo book – it’s an accurate visual portrayal of the Led Zeppelin experience across those five memorable performances – to be enjoyed time and time again.
Back to the story – In July 2015, I met with Jimmy Page at Olympic Studios to interview him for the then forthcoming Led Zeppelin reissues. I took the opportunity to personally hand him a copy of the book. He was very impressed.
The reaction to the book was excellent and that first edition subsequently sold out within a few months.
For the past couple of years, Mark Smith and I have talked about updating the book in some way. This all took too an upward turn earlier this year when Mark informed me he had acquired a further round of Led Zeppelin at Earls Court photos notably by Jill Fumanovsky and Adrian Boot. It was Adrian’s photos that were the real clincher. For these were all taken at the May 23 show.
For the first edition, we had very few photos from that particular concert –this was the night Robert Plant wore the wraparound cherry adorned top he favoured on the US tour that spanned January to March. This was the only show of the Earls Court run that he wore that garment –the four other nights he had the Miss Selfridges cut off top.
So this was a real opportunity to present a much more accurate portrayal of the five shows. As I had mentioned in the Preface of the first addition, I had taken a measure of artistic license in presenting the May 23 section first time out –purely as at that time we had no source for photos from that night. The late great photographer Terry O Neil did cover that night extensively but those could not be cleared for the Rufus book at the time. incidentally, I did go on to work with Terry and his Earls Court photos when I compiled the Led Zeppelin Live 1975 -1977 book for ACC Editions /Iconic Images in 2018.
Thanks to Adrian’s photos, we now had all angles covered. I put it to Mark that we should re-lay in these new photos in and possibly extend the page count. Mark was in total agreement and the plan was to add 32 pages to the book to make it a total page count of 320.
I also proposed that I update all the text where required and set about that task in early May.
Then came the major task of re sequencing the photos to accommodate the new photos and the 32 extra pages.
The first plan was to re- sequence the May 23 section and add the Adrian Boot photos in. I was mindful throughout the whole process to keep the photos sequenced in tandem with the set list and in a chronological order –as I had with the first edition.
For this revised layout, I worked with the Rufas in house designers, initially with Karl Burbage and recently more extensively with Jamie Wallis.
Once the May 23 section was in and signed off, I worked on revising all the other nights. I was now in full on mode for this project and spent a lot of hours working all this out and coming up with a cohesive volume that really tells the story of Led Zeppelin at Earls Court through the stunning images of those talented photographers who were right there in front of the action.
So what can you expect for your money with this new expanded and revised edition?
Firstly, it’s worth noting that those who have purchased the first edition may feel they already have this subject covered and do not need a second version – and that of course is fine.
Given the limited run of the first book and its initial high end price tag, there are many fans out there who missed out. This was something I was well aware of and to that end, I suggested to Mark that we come in at a price that would be more affordable for the average fan.
So this time there is a standard compact edition for a very reasonable £69 – providing the opportunity for fans to invest in a high quality book at a price that offers real value.
Then there is a high end leather bound larger size version with repro Earls Court poster at £495 in a strictly limited edition run this is due out mid January.
Even for purchasers of the first edition, there is a lot on offer in this revised version that would in my view, make it a very worthwhile package.
As for anyone who did not indulge first time around – well, I’d say this is an essential addition to the ever bulging Zep book case.
Whenever I approach any Zep book project, I always come in from the angle of what I, as a fan would want to read.
Given the subject matter being so close to my heart, I do feel under an amount of pressure to bring the best possible representation of these milestone concerts. This one has been a real challenge but I am pleased to say I am very happy with the end result.
Here’s some statistics:
Book size: This reprint is physically smaller than the original in the compact standard version and is 230mm square.
There are around 30 photos have been re positioned from the first edition.
Photo count: 200 black and white photos and 80 colour shots making a grand total of 280 Earls Court images
The May 23 section has 30 Adrian Boot photos that are new to this revised edition – in all there are 40 photos that are additions from the first book
A bulk of the overall photos used in the book are rarely seen shots.
Add to that another 150 colour memorabilia and LP and CD images
The Compact Standard Edition comes shrink wrapped in an outer slip case and includes 4 exclusive black and white prints of Led Zeppelin on stage at Earls Court taken by Adrian Boot.
The many photographs presented and taken at some of their most famous performances ever will take you back there time and time again. As mentioned, this really is much more than a mere book of photos – the intention is to capture the atmosphere of the five Earls Court shows through these startling images – sequenced and presented in a way that unfolds the whole saga of this remarkable series of concerts.
It’s been a real challenge to revisit this book and make a good thing even better and I have put my heart and soul into this project since May. I knew there was huge scope to produce and present something really special for fans all over the globe..
With the Earls Court Exhibition Centre long demolished – Five Glorious Nights – Led Zeppelin at Earls Court May 1975 offers a permanent visual record of a band at their absolute zenith, in a setting that truly justified their status as the world’s greatest live rock attraction. These really were five glorious nights in May 1975.
I’m very pleased and privileged to have been given this fresh opportunity for fans to relive them through the visual magnificence of this newly revised and expanded deluxe volume which vividly captures the power and glory of Led Zeppelin on stage at Earls Court all of 47 years ago.
Dave Lewis December 21 2022
Here’s the press release:


Five Glorious Nights – Led Zeppelin At Earls Court May 1975

A photographic record compiled by Dave Lewis (Rufus Publishing) 

In May 1975, Led Zeppelin performed five momentous concerts at the Earls Court Arena in London to a combined audience of 85,000 fans. This was a band  at the peak of their powers slaying the sold out audiences with a nightly marathon three and a half hour presentation of light, sound, power and energy.

There’s no doubt that Led Zeppelin’s Earls Court appearances represented a career high for the band and four decades on, are still held in the highest esteem by the vast following.

Five Glorious Nights –Led Zeppelin at Earls Court May 1975 captures the sheer visual magnificence of the band though the images of some of the finest rock photographers of the era who were right there on the spot to capture rock history.

Compiled by Dave Lewis, this new 320-page revised and expanded edition offers a permanent visual record of a band at their absolute zenith – in a setting that truly justified their status as the world’s greatest live attraction.

It comes in two versions – the standard edition is a 230mm square hardback format in a printed sleeve with slip case and an exclusive Leather and Metal Edition, measuring a huge 375mm square, bound in recycled burgundy leather and supplied in a hand-made aluminum slipcase with a reproduction show poster. Only 100 of these are available and includes the standard edition.

The standard version should ship this month with the deluxe version in January.

For ordering details visit


More Nostalgia -the way we were in 1971 – The Christmas UK and US Album Charts:

Here’s the UK and US charts as published this week in 1971. A double top for the new Led Zeppelin album (the recently released fourth album).

My, there’s some amazing albums lined up here… Imagine, Electric Warrior, Rod, Santana, ELP, Isaac Hayes, Wings, The Who and many more – I have a fair few of the albums on this chart in my collection for sure!


Here’s the UK music related Christmas TV line up all of 51 years ago in 1971…











A TBL Christmas Carol:

As you get over the turkey and mince pie overload – here’s a little piece of TBL fiction on how things might have been back in the Jimmy Page household Christmas 1979…

It was Christmas 1979 and Jimmy Page was feeling pretty pleased with himself.

The last of the presents were wrapped and under the tree. The turkey was all ready to cook. In the kitchen he switched on the Amstrad 7070 radio/tape deck and pressed it to radio medium wave mode.

‘’All in all it’s just another brick in the wall…’’
The familiar school kid’s chorus of Pink Floyd’s current Christmas number one single blared out.

How that song grated on Jimmy. Not because it was a bad effort – Roger Water’s The Wall concept seemed quite interesting. It was just Pink Floyd at number one in the singles chart? It just didn’t seem right.

If any of the mega selling 1970s album selling bands should be at the top of the charts surely it should be his band Led Zeppelin?

‘’We might have missed a trick there’’ he pondered. Walking through into his home studio complex, Jimmy fired up the mixing desk. As the LED lights lit up the room he smiled. This was a good piece of kit. A wise investment. Mixing the last album here had been a luxury. Quite how they would ship it all to the new house in Windsor he wasn’t sure.

He pulled a quarter inch tape reel off the shelf marked on the outside ‘’Punk Song – Polar Studios November 21st 1978’’. That was a Bonzo joke. ‘’Let’s do the fucking punk song!’’ he used to shout from behind the screens in Abba’s Stockholm studio in his gruff Midlands accent.

Jimmy loaded up the reel and pushed the fader up to nine. Phew this was powerful stuff. It made Pink Floyd sound like the Salvation Army. The track was called Wearing And Tearing. It should have gone on the album but they had decided to save it.

Then it was Jonesy who said that would be good for Knebworth. They had rehearsed it but somehow it didn’t fit the mood.

Then G came up with the idea to release it as a special single to be available at the gigs. Somehow they ran out of time. That seemed to happen a lot these days. It was never like that back in 1969. Oh no, they’d go in record and mix and then blam, there was the album.

Simple days. Anyway if they had released it, 150,000 people who attended the shows would have brought it making it an easy number one single. That would have beaten Pink Floyd’s attempt at an unlikely hit single into a cocked hat. They could have even filmed a video to go with it.

That was the latest fad now. They were all doing it. That new Police one was a good one. Walking on the Moon, yeah that was it with Sting and co walking around the NASA complex. He’d have liked getting into character for that. They could have got those astronaut suits on that the Apollo guys used. It reminded him of that old promo French poster that superimposed their heads on to an original moon shot photo.

Videos…yes. What was that recent Buggles hit? Video Killed The Radio Star. He had heard that played at Radio London when he and Robert had recorded a show for Stuart Coleman recently. It was no joke though – videos seemed to be the future. He needed to speak to Po and Storm at Hipgnosis about that in the new year. Bet they could come up with some mad ideas.

Wearing And Tearing stopped abruptly on the tape. Jimmy leaned over to fade it and then heard some laughter and banter on the tape…and then Jonesy counting in 1-2-3-4…Oh yes The Hook…as they nicknamed it. All My Love .

He had forgotten this outtake was on the same tape. He couldn’t make up his mind about that song at the time. Was it really their style? It was a bit soft….but Robert had his reasons. This version had the long fade out. Jimmy picked up the Botswana brown Telecaster that was lying on the chair in the studio. He began playing along, strumming the chords at the ending. ‘’Sometimes, Sometimes Ooh yeah, I get a little bit lonely, when I think about it ’’ pleaded Robert.

This was actually a pretty good track. They could probably do that live on stage.
Quite when that would be, well who knows? They’d thought about doing a Bull Ring in Spain but that was a wild idea. Robert had gone on about playing Manchester and Newcastle, a full UK tour. Maybe that was what was needed.

Get back to the people like they did in ‘71. But the critics would hate it.

Oh how he hated the music press. Even trusty old Chris Welch seemed a bit off these days and the Melody Maker had given In Through The Out Door a right slagging.
Jimmy had been so angry when he saw it he set light to it. Burnt the entire paper. Banished it from the house.

Yeah they’d slag us off and who needed that? Robert, Bonzo and Jonesy were talking about getting up with Paul McCartney at his Kampuchea benefit gig in London over Christmas. He’d be away on holiday in Barbados so that was a no go.

What they really needed to do was to get back to America. That’s where their audience lay. The last album had sold two million there already. He had been thinking of framing that telex he’s got from Mitchell Fox in the New York Swan Song office telling them every Zeppelin album had re- entered the Billboard chart off the back of it.

No punk rockers and new wavers to contend with over there. Oh no – just The Eagles, Fleetwood Mac and Van Halen with that flashy guitarist. ‘’I could still show him a thing or two’’ Jimmy mumbled as he fluently moved his fingers up and down the frets.

America: Los Angeles, the Hyatt, Seattle, the Edgewater, New York, the Plaza. But Robert wasn’t going to go with any of that. Not after all the trouble in Oakland last time. They didn’t need that craziness again. They just needed to play. Like the old days.

The tape ground to a halt. The phone began ringing. He let it ring for a while and then picked it up.

‘’Hi Jimmy its Peter. Merry Christmas’’.

‘’Merry Christmas G’’

‘’Jimmy, I’ve been thinking, how do you fancy a run around Europe in the summer?’’

‘’What’s that involve G?’’

‘’Well I reckon we can do about a dozen gigs. I’ve been talking to Fritz Rau the top promoter in Europe, he said they’d be no fuss. Three or four thousand seater places mainly. Cologne Sporthalle, a couple of bigger ones maybe the Festhalle in Frankfurt and Munich. Santana and Zappa and Roxy Music are doing that circuit too.

What do you think?’’
‘’Yeah sounds great and no fucking press’’

‘’Yup no press. We can leave those fuckers behind. Tell nobody, just pitch up. I’m hoping Richard will be up to it. Some of the Bad Co crew are on hand too around then. We can scale it down a bit . Just take a 120 lamps and a few spotlights. That’ll please Showco. I’ve got a good feeling about this.’’

‘’Yes but…what about America?’’.

‘’Well that’s it really. We’ll get Robert up and running again on this tour – like he used to be, you know really full of himself. John won’t be away from home too long and Jonesy, well he’s probably fed up with the school run. It’s ideal. Then when Robert sees how good it can still be, I reckon convincing him we need to go back to America will be a doddle.’’

‘’G this sounds great. Feels like a bit of a rejuvenation. That’s what we need’’.

‘’I know. We proved we were still the best at Knebworth, now we need to go out and there and show ‘em what we can still do.’’

‘’I’m up for it. This is what we need to do. Get back out there playing.

This has been the best Christmas present I could have asked for.’’

‘’I’ll send the new Bentley back then!’’

Oh no please don’t!

‘’Jimmy we’ve been looking out for each other since we were stuck in that fucking Greyhound bus going across America with The Yardbirds. The 1980s will be no different. In fact I’m thinking of calling the US tour ‘’The 1980s Part One’. Short bursts of touring will really suit us. This new decade is going to start just like the old one did.’’

‘’G that’s great. Merry Christmas –I’ll see you when I get back’’

‘’Yeah Jim have a good one yourself and all the family’’

Jimmy put down the phone. He could hear Chas And Dave’s Christmas show wafting through from the TV in the lounge. They were doing a rocked up cockney version of Silent Night. He pulled the studio door shut.

Jimmy then pulled the Gibson Les Paul out of its case and plugged in the amp.
His hands almost instinctively hit the chords of the old Johnny Burnette classic Train Kept a Rollin’. The one they had jammed on at that first rehearsal in Gerrard Street way back.

He pressed down on the wah- wah pedal emitting a howl of feedback.

God that felt good.

Oh yes they just had to do this one again on stage. Maybe even open with it like they did in the early days.

1980 – It was going to be like 1968 all over again. He’d show the critics.

They were going to be a working a band – his band.

They were going to be Led Zeppelin again.

America was theirs for the taking
Good old G, he always had a plan smiled Jimmy to himself.

He replaced the Gibson and shut the studio door.
Back in the lounge on the TV Chas and Dave and their guests were doing a conga to their hit song Gertcha.

He grinned as he bent to switch the TV over.

‘’There’s no fucking way you’ll be supporting us next year!’’ he laughed.

The channel switched to a Christmas carol concert. ‘’We wish you a merry Christmas and a happy new year’’ sang the choir.

Jimmy sat down to take in the festive sounds.

”Happy New Year.”

Yes thought Jimmy…1980 that’ll be a happy new year….a happy Led Zeppelin.

Surely nothing can stop us now?

Written by Dave Lewis – Christmas 2009:

So there it was – a piece of fun TBL fiction for the season –  the real chain of events that unfolded in 1980 can be found in detail in the book Led Zeppelin Feather In the Wind – Over Europe 1980

Yet more Christmas TBL Nostalgia:

Here’s some reflections from the Christmas period of 1978. At that time I was ensconced in writing text for what would emerge as the first issue of a magazine about Led Zeppelin titled Tight But Loose. I was compiling all that in between working full on at WH Smiths in Bedford – it was the beginning of my balancing my retail record shop job with the Zep work -something that would be prevalent over the next few years.

The following text is something of a preview of the material I am preparing for my DL Memoirs – so here’s a bit of TBL history…

44years ago, I was well aware there were other fan clubs and societies of other name rock bands bands – notably The Who, Genesis and Simon Robinson’s Deep Purple Appreciation Society –in fact Simon’s Darker Than Blue magazine would be a huge influence on the TBL mag in the early 90s alongside the Bruce Springsteen mag Backsteets.

It occurred to me that given the fact I had built up a bit of a rapport with various fellow collectors/enthusiasts, I might take on the challenge of forming some sort of appreciation society. The term ‘appreciation society’ though did not feel right – I needed something different, something more substantial… and behold, it was staring me in the face, on the cover of the NME etc., every week.

For this was 1977 and a new musical phenomenon known as Punk Rock was sweeping the nation. Punk Rock was built on do it yourself ethics from the playing to the presentation. Thus, when it came to documenting on paper this new movement the magazines that chronicled bands such as the Sex Pistols, the Clash, Stranglers, Buzzcocks etc, were crude, hand written but highly effective affairs dubbed ‘Fanzines.’

So called as they were literally produce by fans. The leaders of this particular pack was Sniffin’ Glue and Ripped And Torn. At the time I was a frequent visitor to the Vintage Magazine Shop in London’s Cambridge Circus. They regularly stocked the US mags such as Circus, which I was always eager to buy if Zep were featured. This particular visit I noticed a copy of Ripped And Torn and promptly invested.

This was a light bulb moment, for wading through the crude hand written but brilliantly enthusiastic prose of this so called ‘fanzine’, I thought, would it not be a good idea to produce a similar volume purely based on the world of Led Zeppelin? This would eradicate any rather old fashioned ‘appreciation society’ methods of linking like-minded fans and provide an outlet for my scribing.

It would of course be with some irony that, given punks distain of the old guard dinosaurs of rock (of which Zep were the forerunner) I would go on to create such a fanzine, blatantly inspired out of the do it yourself punk tactics of the likes of Ripped And Torn.

Although underneath all the hype of the time, it’s now known that Johnny Rotten and co actually liked Zep and in turn both Page and Plant lauded the punk movement, even visiting the punk club, The Roxy in early 1977.

Anyway, punk rock or not, in the autumn of 1977 I set about hand writing my first edition. At the time, I had little money to invest in this idea and also no access to a typewriter. So black ballpoint pen it was.

What was also need of course was a title for this hot new fanzine.

Initially, I went through the more obvious ones of which Candy Store Rock was a one time leader. I felt, though, it needed something more individual something that projected the air of mystique that was so associated with Zep at the time.

What I need was a wording that described their music – not in an obvious way, something more oblique – a mission statement, if you like, and I found it not unsurprisingly, in the pages of the music press.

In separate interviews during their 1977 tour, Jimmy Page and Robert Plant both mentioned a phrase that rang out like a bell for me. In an interview with Circus magazine talking about their on stage appearance Jimmy was quoted as saying ‘’There were some tremendous perfoamces las tnight.It was very intense…we were tight,yet loose..Loosley tight’’.

In an interview with Melody Maker’s Ray Coleman, Robert also used the phrase. Talking about their legacy, he said, ‘’We have to bring out our very best all the time because kids have a right to expect that, but we don’t have to produce it in a stiff upper lip way or it comes out the wrong kind of way.. It’s got to be Tight But Loose. That’s probably the title of the next album’’

There was a risk, of course, that they may well use the phrase as the title for the next album. Putting caution to the wind, I went with it anyway and the first prototype pages of what would become Tight But Loose issue one were photocopied at the local Bedford library in early 1978.

At that point I had amassed a fair bit of text. This included a feature on what a chronological Zep live album might contain (this never did make the TBL mag but I later used it to form the basis of the Led Zeppelin Live chapter in the A Celebration book), a Swan Song discography with commentary about each release, another feature that never made it into the mag) plus a long rambling piece on the Earls Court gigs which I had begun writing in the summer of 1975. The latter would go on to be the centrepiece of the first issue.

With Zep off the road following the tragic curtailment of the 1977 tour I was launching this new fanzine in a fallow period. However, my plan to publish in the summer was delayed by a series of game changing events.

In early 1978 I replied to a query in the Wax Factor column in Sounds – one of the weekly music papers of the time. This column was run by the late Barry Lazell and basically offered information to queries sent in by readers. One such letter requested how to obtain Hey Hey What Can I Do. Under the guise Dave ‘Ace Zep Fan’ Lewis (more on that to follow), I replied giving the correct info. I made similar correspondence with Barry over a query about the Blueberry Hill bootleg – both of these were published.

Having given myself a bit of identity by labelling myself Dave ‘Ace Zep Fan’ Lewis in my correspondents with Barry in Sounds, I also began signing off my letters with same. I’d seen the expression Ace Fan in a copy of the underground magazine, It in a feature on The Rolling Stones. I thought (rather pretentiously, in hindsight) it laid my credentials out as a serious fan. Wisely, I dropped this tag after, I think, TBL 3. I can tell you dear Howard Mylett ribbed me about it for years after!

In late May (around the time of my ‘leap of faith’ with The Who at Shepperton), I received a call from Geoff Barton, at Sounds. He had evidently seen the Wax Factor replies and wanted to enlist my assistance on an upcoming Led Zeppelin feature. This was to be an ambitious three week series celebrating the band’s tenth anniversary.

The brief was for me to supply a timeline history of the band for Geoff to work with, plus a full discography. I suggested to Geoff that we include a bootleg listing and other pre and post session details. I’d only ever seen the basic Zep discography and I saw this as a major opportunity to present an extensive showcase of the band’s recording history to that period.

In June 1978, I met with Geoff Barton at the Sounds office in Long Acre, Covent Garden, to discuss all this at length. I took in a whole load of memorabilia for them to photograph to illustrate the feature – programmes, photos, and a fair few vinyl bootlegs (no jpeg scanning in those far off days!). Looking back, I was a bit naive entrusting them with all this and one or two items did go missing.

Back in the Dents Road bedroom during the summer of ’78, I set to work on collating all the info required – all hand written, I might add. It was a real thrill to be finally finding an outlet for the masses of info I had collected and logged, and knowing that it would be seen by fans across the country. I was also in touch with Swan Song and told them of my involvement. I have to say there did seem some tetchiness between Sounds and Swan Song. Not that it was any of my business, this uneasiness would later result in Sounds being banned from having press passes for Knebworth – which is another story altogether.

So, by early August all my info was at the Sounds office ready to be incorporated into this lavish series. Boy was I excited.

On Thursday, September 14, the first part appeared – with a cover photo of the now much seen group posing by the car shot taken by Dick Barnatt (see TBL 35 for the full story). The series was dubbed ‘The Complete Led Zep’.

Looking over it now, it’s very evident that presenting this outpouring of Zep info in Sounds back in September 1978 was clearly the moment I broke out of my bedroom, as it were, and found a true connection for my thoughts, passion and enthusiasm for Led Zeppelin.

Following the running of the series two things happened. Firstly, I began to get letters and correspondence via Sounds from fans requesting further info and discussion on the info I’d presented.

It’s worth mentioning here that being a Zep fan back then was quite an insular thing. There was no social media to share this enthusiasm, but as I said, I myself was in touch with a few fans, notably Howard Mylett and Brian Knapp in the US. The Sounds piece did much to galvanise a lot of interest and through the feedback I was receiving, I quickly realised there were many fans out there as keen as I was on the band.

Secondly, I got paid for the feature and hatched a plan to use that money to fund the printing of the first issue of Tight But Loose. During October, November and December of 1978 I carried on scribing away on the contents of the hand written first issue.

The centrepiece as mentioned was the impassioned overview of the Earls Court shows, principally the May 24 show for which I had transcribed many of Robert’s between song comments.

I had already decided that the format of the mag would flow in much the same way as the NME – with specific features and headlines, ie., a news section, major central features, a reviews section, plus a free ads section for readers to place ads for Zep items and I also had what I described as a Hip Pen Pals listing for fellow fans to get in touch. All very quaint when matched with today’s social media interaction. The reviews included the then recently released Ballcrusher bootleg, Robert’s early solo single Our Song and the Trampled Underfoot UK promo single.

There was also a quiz to enter, with the winning prize being that Trampled Underfoot UK promo, it was won by Mick Humphries who is still a subscriber. There was also a Loose Talk column which rounded up small news items in the manner of the NME’s Teasers column.

Also in the debut issue was o a report of the very inspiring conversation I had with Robert Plant at the Goldiggers football tournament he took part in at the Empire Pool, Wembley, which I attended on November 5th, 1978.

As for photos and illustrations, initially there was scant regard for copyright or ownership. I merely cribbed a few of the pics I’d collated over the years. That policy would quickly change to a more ethical one moving forward.

And as for proof reading, that was fairly non existent. Just winging it, there were some howlers that got through. Looking back I should have employed the services of my good friend, Dec who’s actual job was in the proof reading department of one of the local papers. Spell checkers were yet to be invented and again some of my spelling was, well… erratic. I guess what it lacked in finesse and professionalism, it made up for in enthusiasm.

In fact the whole editorial stance was that this specialist periodical was being written by a fan for the fans. A value that that 40 years on still stands. This now may be what I do for a living as editor author and publisher, but fundamentally I am still a fan.

Considering I don’t have great handwriting (writing mostly in capitals, at least it looked presentable), I laid out the designed text in much the same way I had my scrapbooks – pasting it all up in an A4 format.

I took the master sheets off to a local print and photocopier, Jaycopy. The young lady, Elaine was very helpful in sizing it all up and their machine rolled out 200 unbound editions.

I had to staple the pages together myself and I still have a slight scar on the second finger of my right hand where I stapled said finger to the page! Such were the trials of these early days.

The first advert I placed was a simple one in the NME in late 1978, and I repeated the same ad in Sounds. I’d hoped to publish at the end of 1978 but the UK was hit by a bout of icy snow conditions. I can vividly recall trudging through the snow carrying a box of the hot off the press TBL issue 1.

The first letters back from the early ads were sent a flyer advising that TBL 1 would be published on February 10th. I set a price of 35p and away it went.

It’s worth noting that I only ran the mag on an issue to issue basis. There was no subscription offer. I think that was down to my rather tentative approach to it all. I never really saw the full potential of what I might achieve with it – a naïve view, looking back. As for the idea of making TBL a profit gaining venture –that was never in mind. The objective was to ensure there was enough cash flow to fund the next issue.

Further ads with the price and details went in Sounds. The response was excellent. Within a month I’d sold out the initial 200 and had another 100 printed.

Hand written and low budget it may have been, but TBL was on the map. The second issue appeared in May and a Knebworth special in October. The platform of communication between like minded fans across the globe was well and truly established.

That Christmas of 1978 was therefore an exciting one for me with the prospect ahead of documenting the world of Led Zeppelin. In between the usual socialising and playing for the Wallbangers football team, I immersed myself in writing about the subject that I was most passionate about.

Fast forward 44 years on and not much has changed. Writing about Led Zeppelin and the music that inspires me continues to be part of my DNA.

Which leads me to…

The reaction to last week’s announcement of the retiring of the TBL magazine has been overwhelming and truly humbling.

It’s the end of an era with the retirement of the TBL magazine…
Designer Mick Lowe and I had such fun putting these issues together at Studio Mix and the packing and sending off was equally fulfilling and it’s been such a privilege to do all this but as the great George Harrison put it – all things must pass…
However let me make absolutely it clear it’s only the physical magazine I am ceasing – this does not mean I am retiring from chronicling the world of Led Zeppelin and my music writings – far from it….
I still aim to produce the regular TBL website updates which contain archive features, latest Zep related news and my diary blog update. In its way this serves as a mini online version of the TBL magazine and provides me with a platform for my writings which I am as passionate as ever to produce including my DL Memoirs ahead plus my regular music related Facebook posts here.. …
Sincere thanks again for all your kind words and support…
Here’s one of many comments I received this one from long time TBl supporter Jay Lewis (no relation honest!)
Hi Dave,
   I saw the big announcement today and while I thought about sending a PM via Facebook, I realized that it would be waaaaay too long of a message for that platform.
   In short, I just wanted to thank you for TBL….the whole thing. When I was growing up in a small town in Southern Illinois, I would sit in my room and get lost in all of the new music that I was discovering, new and old.  I’d fantasize about what it was like to be in a band, to be on the road playing gigs, creating in the studio, etc. Eventually I discovered Led Zeppelin and in short order, I became obsessed.
    First with the “popular” songs frequently played on FM radio, and then the full albums. The first “box set” was played daily, at all hours of the day and night. Then, I discovered the existence of bootleg CDs (at the time, mostly coign from Italy, and part of Europe….later Japan) and that blew the roof off. I was convinced that I was the only person in my entire town (or region) that knew about what was going on….and then I discovered you and Tight But Loose.
 I’m sure that the very early days of the internet would have led me to you (probably a link from the old “Buckeye’s Led Zeppelin” site), and my world was forever turned upside down – I was now part of the a family of Led Zeppelin fanatics just like myself….unknown numbers of people scattered across the globe. In essence, it was like adding gasoline to a small, smoldering ember that has burned bright every day since.
  I loved the articles, the pictures, and your TBL reports. You introduced us to major players who hadn’t received much press, family members, and an assortment of folks who played a major role in bringing us the music and everything that came along with it. I eagerly looked forward to the arrival of each new TBL issue, the bootleg reviews, the interviews, and the deep-dives into the areas that you felt deserved another more attention.
In summation, it was a wonderful ride. I’ve enjoyed every aspect of it, and I thank you for all of your hard work. When I started my Led Zeppelin journey, Robert was at the height of his solo career, Jimmy was experimenting with solo projects and John Paul Jones would only pop up here and there. What was certain was that there would NEVER be a Led Zeppelin reformation and it was a forgone conclusion that the members would never play again….you could bet on it. I’m glad we didn’t. ; ) How things have dramatically changed since the early ‘90s.
The TBL magazine was the standard-bearer for decades, spanning generations of Led Zeppelin fans and spanning the careers of the members themselves. TBL never wavered in its quality, and in fact, improved significantly over the decades that the magazine was in publication.
TBL united fans worldwide in celebration and appreciate of the band and music that we love, and devouring each issue was as exciting as must have been to produce…..just without all of the hard work that went into it from you end. You did the work so that we could enjoy, and I am forever grateful for you and the team for making it all happen.
Thanks again for shining the light on the band members, their solo projects, their family members, the road crew, the artists and photographers who were in the Zeppelin orbit. The interviews were better than anything that ever appears in traditional media and the detailed review of Led Zeppelin’s live material has given way to a new generation (inspired by your efforts at TBL, no doubt) of Zeppelin fanatics (MarkZep podcast, LedZepBoots Youtube channel, Dogs of Doom syndicate, etc.) who can now take the batton from you and carry TBL’s mission statement into the 21st Century. And yes….you’ll be right there with them, continuing  your great work at the website
 As you continue to write your book, I hope that you will spend a great deal of time on just HOW you started this journey. It is amazing that you were able to connect with the biggest band in the world at a time when they were still on top. EVERYONE wanted to get close to Led Zeppelin, but you…somehow…managed to make it happen. And, you managed to penetrate even deeper, and then kept that going for decades. That’s the story that I’m looking to hear – how did that happen, why you and what was it about you at that time that apparently do endeared you to the band? I can’t wait to read about all of the events that led up to that period, as well as all of the amazing things that have come after.
I offer my sincere and heartfelt appreciation you and for Tight But Loose, and I look forward to continuing to keep up with TBL on the web.
Thanks again, for all of it!
Jay Lewis


DL Diary Blog Update:

Friday December 16:

Latest DL 45 RPM singles acquisitions:
Scott Walker Kathalene Japanese pressing with pic sleeve
A couple of early Elton John Japanese pressings…
It’s Me That You Need/Just Like Strange Rain
Elton John Japanese pressing EP
Friends/Border Song/Your Song/It’s Me That You Need .
Ray Charles EP The Swinging Style of Ray Charles…original 1961 HMV label pressing
Top stuff indeed via my record collecting comrade John Parkin thanks mate!

Saturday December 17:

Saturday is platterday – celebrating the great Paul Rodgers Birthday today with the brilliant Free Story double album compilation – what a band…

Saturday September 17:

DL Charity Shop acquisition:
Could not leave this beauty in the racks today – Tony Bennett The Movie Song Album –original CBS pressing – lovely stuff… 99p? I’ll take it…
Tony’s Christmas Album will be on the Christmas playlist here too…

Sunday December 18:

History…Argentina World Champions…what a match – just sensational…

December 20:

Still reeling from last night’s news of the passing of Terry Hall aged 63…

When I was manager of the WH Smith record department in the early 1980s every new Specials single was an event and we sold countless copies of their inspiring records – none more so than this UK number one from 1981 which at the time captured the mood of the youth of the nation so brilliantly …
Truly one of the all-time great singles and so poignant listening to it now..
RIP Terry Hall…

December 22:

Great to have a visit from our very good friend Dave Bunting earlier this week – have a Merry Christmas Dave and Julie from Janet and I!

Thursday December 22:

Christmas playlist – these will be amongst the seasonal selections here in the coming days…

Herb Alpert & The  Tijuana Brass –  Christmas Album CD

Jimmy Smith & His Orchestra – Christmas Cookin’ CD

Diane Krall – Christmas Songs – CD

Miles Davis – Blue Christmas LP

The Partridge Family Christmas Album  – The Partridge Family Starring Shirley Jones, featuring David Cassidy LP – no apologies for this rather quirky  one –it’s a top Christmas selection…

The Beatles  – From Then To You Complete Christmas Fan Club Records – CD

Update here…

I was very pleased to receive a copy of the Five Glorious Nights book earlier in the week and I’ll be getting behind that in the new year.

Elsewhere, it’s been a week of catching up with various people for a seasonal visit including Dave Bunting, Nick Carruthers, Jerry Bloom, Steve Livesley and Anne Marie Jones, Jenny Fisk and on the phone Richard Grubb and my fellow record collecting comrade John Parkin.

On behalf of the good lady Janet, may I thank you for your amazing support to us here and wish you all a hopeful, peaceful and Merry Christmas …

Thanks for listening 

Until next time…

Dave  Lewis –  December 22 2022

TBL website updates written and compiled by Dave Lewis

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One Comment »

  • Steve Hall said:

    Hi, Dave – received my copy of Five Glorious Nights a couple of days ago, and it’ll be my Christmas reading over the next few days! I bought the original deluxe version a few years ago, but I don’t get it out much to show people because of its size, but this version is much more manageable!!

    I’ve done a quick scan of the contents, including identifying my seat on the 18th, and it looks great, so well done for another fantastic product.

    Have a great Christmas, mate, and all the very best for the New Year.



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