TBL ARCHIVE LED ZEPPELIN ATLANTA & TAMPA 73/ TBL ARCHIVE – KNIGHTS TEMPLAR MAY 2007 & ROBERT PLANT & SSS GLOUCESTER GUILD HALL 2012/LET IT BE AT 56/ BEDFORD VIP RECORD FAIR/DL DIARY BLOG UPDATE
TBL Archive Special: It was 53 years ago… the moment Led Zeppelin elevated from being an exceptional rock band to becoming a worldwide musical phenomenon…they way it’s been ever since…
Led Zeppelin US tour opening date – Friday, May 4, 1973 Atlanta Stadium, Atlanta, Georgia, USA:
Setlist (from River City Review)
Rock and Roll, Misty Mountain Hop, Since I’ve Been Loving You, No Quarter, The Song Remains the Same, The Rain Song, Dazed and Confused, Stairway to Heaven, Moby Dick, Heartbreaker, Whole Lotta Love, Communication Breakdown
Notes: Other tracks most likely performed but not listed in the review: Celebration Day, Bring It on Home Intro/ Black Dog, Over the Hills and Far Away, The Ocean. Four Sticks was noted in the review, but almost certainly not performed.
Led Zeppelin wasted very little time on their U.S. tour to demonstrate their incredible drawing power and meteoric popularity, pulling in 49,236 fans (out of the 50,277 stadium capacity). The concert grossed $246,180 and broke the Atlanta Stadium concert attendance record set by The Beatles on August 18, 1965 (who drew a comparatively modest 33,000 fans).
A closed-circuit TV system projected the group on two 16×24 foot screens positioned on the sides of the stage. This was the very first time the band had ever employed such screens, specifically for faraway fans. Unfortunately, the other stadium gigs on the 1973 U.S. tour did not utilize the technology (Tampa, San Francisco, and Pittsburgh); however, large video screens were eventually used again for their 1975 Earl’s Court shows, 1977 Pontiac, Michigan, 1977 Seattle, and 1979 Knebworth shows.
This concert marked the debut appearance of John Bonham’s Ludwig Amber Vistalite drum set. Bonzo used this set all the way through the last gig at Earl’s Court in London on May 25, 1975.
Although not documented for this concert, Celebration Day was added to the set list on this tour, the first time it had been performed since Charlotte, North Carolina on June 9, 1972. Out on the Tiles had been replaced by Bring It on Home as the introduction to Black Dog on this tour. No Quarter was performed live for the very first time and Moby Dick made a return appearance to the set list for the U.S. tour (the first time it had been played in concert since the October 9, 1972 Osaka, Japan show).
The gig was reviewed in the River City Review, a Memphis, Tennessee underground newspaper. Bill Read’s review featured the following comments:
“The band waited until everyone had time to get into the Stadium and get settled before they started the show and 8:30, and even then people were still arriving. The audience rose to its feet in a gesture of welcome, even as John (Bonzo) Bonham started the group off into ‘Rock and Roll.’ After completing this number, Robert Plant returned the greeting that had been given, and then continued with ‘The Song Remains the Same’ and ‘The Rain Song’ from their new Atlantic release, Houses of the Holy. Plant then made a reference to the now defunct Atlanta Pop Festivals, and proceeded into ‘Misty Mountain Hop’ and ‘Four Sticks’ (ed. note: he was probably referring to Black Dog). For those who could not see very well, there were two large viewing screens on either side of the stage, which showed interesting close-ups of the band as they gave their spectacular performance.”
“As John Paul Jones began the rather un-Zeppelinish ‘No Quarter,’ a fogging devise went into play, creating the eerie effect you might expect for the song. This selection in particular was reproduced in an excellent manner by all members of the band. Then, Jimmy Page, Zep’s producer and lead guitarist, and Plant put a sensual and intense effort into ‘Since I’ve Been Loving You,’ and, much to the delight of the audience, ‘Stairway to Heaven.’ ”
“As the crescent moon shone above, and as God looked down on all of His children, they bestowed upon the spectators their new rendition of ‘Dazed and Confused.’ During the song Jimmy Page stepped forward with his Customized Led Paul, took out his violin bow and expertly fed his original brand of musical data into an echo unit. Page sent the head of every person conscious into a world of ecstasy and wonder; and it occurred to me that we might have been given a preview of music born twenty years from now.”
Hit Parader (December 1973) carried an exclusive on tour with Led Zeppelin cover story written by none other than their press agent – Danny Goldberg. The article read just like Goldberg’s press releases, describing all their record-breaking exploits. He even quoted the mayor of Atlanta, Sam Cassell, as saying “This is the biggest thing that has hit Atlanta since the premiere of ‘Gone with the Wind.’ ” In his 2008 memoir, “Bumping Into Geniuses: my life inside the rock and roll business,” Goldberg conceded that the quote had actually been contrived by Peter Grant the morning after the Atlanta show.
Saturday, May 5, 1973 Tampa Stadium, Tampa, Florida, USA
Setlist:
Rock and Roll, Celebration Day, Bring It on Home (Intro)/Black Dog, Over the Hills and Far Away, Misty Mountain Hop, Since I’ve Been Loving You, No Quarter, The Song Remains the Same, The Rain Song, Dazed and Confused (incl. San Francisco), Stairway to Heaven, Moby Dick, Heartbreaker, Whole Lotta Love Medley (incl. Boogie Chillun’), The Ocean, Communication Breakdown (incl. It’s Your Thing)
The band certainly did not have to wait a very long time to top their Atlanta attendance figure. The next night in Tampa they drew a record 56,443 fans ($297,632 gross receipts), passing The Beatles attendance record for a single artist set at Shea Stadium in New York on August 15, 1965 (attendance: 55,600).
Photos of Robert Plant and the record crowd appeared on the front page of the Atlanta Constitution with the headline “Stadium Rocks – Led Zeppelin Plays to 50,000.” The article was primarily focused on the crowd itself and mentioned that it was the first time the field had been opened to an audience. Curiously, it also mentioned that “paper and aluminum cans were trampled underfoot or were skittered across bare parts by the wind.” Coincidence?
Soon after the Tampa show, an Associated Press article written by journalist Mary Campbell was published in newspapers throughout the United States. Robert Plant discussed the Tampa concert with Campbell:
“I think it was the biggest thrill I’ve had. I pretend – I kid myself – I’m not very nervous in a situation like that. I try to bounce around just like normal. But, if you do a proportionate thing, it would be like half of England’s population. It was a real surprise. Tampa is the last place I would expect to see nigh on 60,000 people. It’s not the country’s biggest city. It was fantastic. One would think it would be very hard to communicate; with 60,000 people some have got to be quite a distance off. There were no movie screens showing us, like in Atlanta. The only thing they could pick up on was the complete vibe of what music was being done.”
Plant was asked why the band was more willing to talk to the press this time around and he responded:
“Last summer when the Stones were in America we were doing a tour concurrent with theirs. We had no coverage. We were beating their attendance, though…We’ve been aware of how we’ve been doing for a long time. And I really think some people ought to know what we’ve done. I’m proud of what we’ve done and what we are doing, and so many more people could dig it. That is the idea.”
Phil Rogers, staff writer for the Evening Independent (May 7, 1973) newspaper in St. Petersburg, Florida reviewed the gig in an article titled “Led Zeppelin Style: Start Slow to Buiold” (sic). Here are some key excerpts from Rogers’ article:
“Then the long awaited were on stage. Zeppelin started slow and built slow, for each song, for the whole show. Robert Plant’s voice vibrated into the open cavern of people that covered – painted – wallpapered every viewable spot in the stadium.”
“At times attention wandered from the stage. Someone said she was bored. At the time the remark was made, I would tend to agree. No one else in the crowd seemed to be exactly jumping up and down either. But then, Led Zeppelin was building.”
“Led Zeppelin was starting to warm up. Jimmy Page took a violin bow to his guitar, drummer John Bonham took a long, very excellent drum solo and the sound started to come alive…The first notes of ‘Stairway to Heaven’ drew immediate applause. ‘There’s a lady…’ Plant’s voice brought recognition to the rest of the crowd and more cheers for the group. The best song so far; things were getting better.”
“The finale, ‘Gimme Some Lovin’ (sic). White doves, released from the stage, flew to the audience in a message of fluttering, wheeling peace. Thousands, upon thousands of matches spotted the stadium like little eyes looking for the group’s return. A granted request.”
The Watcher (May 21-27, 1973) underground newspaper (Winter Park, Florida) carried a review of the record-breaking show titled “The Apex of Rock and Roll Attendance – Led Zeppelin Fills Tampa Stadium.” Written by Michael Crites, the review included the following observations:
“Led Zeppelin performed a predominantly high-energy concert with only a taste of their progressive soul and glamorock experiments of recent days, and their acoustic tunes. The quality of sound was not good, very little of the patented Zeppelin echo was audible and there was a somewhat fuzzy edge. Of course, these are natural drawbacks to a stadium show.”
“One of the outstanding numbers from ‘Houses of the Holy’ titled ‘No Quarter’ is indicative of Zeppelin’s schizophrenic nature. The song included a mysteriously mellow piano, a solid drum beat and disguised heavy guitar. At the mellotron Jones activated the strings, which are dynamite in your living room and probably would be exciting in a concert hall. Zeppelin took off in developing an orchestrated piece formed by intricate composition.”
“The fifteen minute drum solo was a useless filler and a condescension to the masses. I think Bonham is a damned good drummer without continuous beating. Charlie Watts has never played more than thirty seconds by himself. ‘Moby Dick’ was the only boring portion of the show.
A three and a half minute news report was broadcast on local TV station, Channel 13. The feature showed the band getting off their planes and into limos, footage of the crowd, and short clips of the band performing on stage (with Misty Mountain Hop from the fourth LP being played instead of the actual live audio). Part of this feature was used as the intro to their 2007 reunion concert at the 02 Arena in London
TBL Flashback: May 2007…
TBL Archive May 2007: From the TBL website…
Three enjoyable days out in the last couple of weeks. Two weeks ago it was to the Esquires Club in Bedford to attend ex Free / Bad Co drummer Simon Kirke’s gig. The show was excellent with Simon on acoustic guitar and keyboards and very soulful vocals backed by Larry Oakes and doing absolute justice to a clutch of Free / Bad Co faves – amongst them My Brother Jake , Weep No More and Shooting Star. Later he played drums on the climax of the well impressive Free tribute band Freeway. Before all that I sat down with Simon backstage to conduct an interview – his memory was well intact as he recounted the ups and downs of the Swan Song era, jamming with Bonzo, recording at the Grange and what he described as the best years of his life in Bad Company 74-79. The fruits of all this exclusive chat will appear in the next magazine.
Next day fighting off the predictably hangover it was to the Knights Templar for the Destroyer fan gathering. Despite one or two drawbacks (including the bright sunlight that made the video screen hard to view) good vibes prevailed as we came out of dens to discuss the merits of Led Zep cica ’77 and other topics (including Spurs away three points at Boro match – sorry Graeme!). It was great to see old faces such as Mark Harrison, Howard Mylett and Eddie Edwards. The astonishing charity auction figure of over £1,000 raised again emphasised the sheer generosity of Led Zep fans and the alliance they have for the ABC Trust. The guitarist should be very proud of such fans.
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Robert Plant presents Sensational Space Shifters – Guildhall Gloucester – Tuesday May 8th 2012.
Set List: 18 Hammers/Tin Pan Valley/44/Four Sticks/Hey Joe/Bron- Y- Aur Stomp/Standing In The Shadow (Patty Griffin vocal)/No Bad News (Patty Griffin vocal),Black Dog/Somebody Knocking/I’m Your Witchdoctor/Whole Lotta Love-Bury My Body/Encores: Song To The Siren/Gallows Pole.
The band were in the Guildhall venue for a sound check early afternoon and ran through instrumental versions of Song To The Siren, Four Sticks, Hey Joe, Bron- Y- Stomp. Juldeh also did a lengthy warm up. Robert arrived around 4.30pm with Patty. They kicked off by running down Black Dog.
The venue itself had a surprisingly very small entrance leading up to a rather grand staircase and on to the small high ceilinged hall. Prior to the gig I had quick word with Justin Adams –he said there had been a few rehearsals beforehand in Bath but as most of the band had played together so much in the past, not too much preparation had been necessary.
The hall was already filling up fast as support act The Toy Hearts – a two female and one male trio ran through an enjoyable rockerbilly/swing set. The Sensational Space Shifters line up had Skin Tyson to the left, John Baggott’s keyboards centre, Dave Smith’s drums to the right of that. Billy Fuller on bass was situated by Justin who was far left. Juldeh for his pasts stood next to Justin – Patty was to the right of Robert.
The band took to the stage to hugh applause and promptly kicked into the bluesy 18 Hammers. Fashion note: Robert in simple grey t shirt, black jeans and retro Goal trainers. After all the stress of ticket arrangements and planning to make it here (I’d actually been feeling well under par during the last couple of days), it was an absolute tonic to be in close proximity as Robert re interpreted those Oh Rosie lyrics as deployed on How Many More Times on Zep 1.
Tin Pan Valley followed – played in a laid back free form arrangement, a characteristic of the band’s overall performance – it was all a lot less frenetic than the Mighty Rearranger era and definitely a case of more loose than tight.
Throughout the set, Robert was at his most informal with a series of one-liners that added much to the charm of the low key approach. Mind you, things got a little too loose when early on in the set , the main part of Robert’s mic promptly flew off leaving him with er….just the knob! That would have not gone down too well at the 02!
After a knockerbout version of the old blues standard 44 recorded way back by the likes of Roosevelt Sykes and Howlin’ Wolf, Four Sticks followed, again in a moodier slower understated delivery that suited the mood perfectly. In introducing Hey Joe Robert made reference to how this sort of music had as he put it ‘’saved me from Engelbert’’ – a reference to the veteran crooner who has been chosen to represent the UK in this year’s Eurovision Song Contest. This brought the extraordinary Juldeh Camara to the fore as he exhorted exotic noises from suitably exotic instruments. Throughout the show, for their part Skin and Justin contributed contasting guitar styles that perfectly complimented the overall mix of styles.
Patty Griffin joined the line up on mandolin for a delightful romp through Bron -Y- Aur Stomp which was the first live UK airing of the Zep 3 standard indoors since it was played by Zep at Earls Court in 1975 ( it was played by The Band Of Joy at the outdoor Big Chill Festival last year – thank you Billy F!) At the close instead of a call of ”Stryder” they all chorused ”Arthur!”
Some delay in setting up her acoustic guitar led to a slight set list switch. Robert stepped back to add backing vocals to her Standing In the Shadow Of The Hill. Patty then explained her next song No Bad News was written about George W Bush.
Patti stayed on to share duel lead vocals with Robert on the Band Of Joy arrangement of Black Dog –effectively embellished by Juldeh who added a distinctive vocal all of his own which merged into a quite frenetic finale.
Robert read from a lyric sheet on the floor as they performed an unorthodox version of Somebody Knocking. He then unfolded a tale of how the next song had been performed by John Mayall with Eric Clapton on guitar and had been produced ‘’by I’m not sure who?’’. A tongue in cheek reference to the fact it was one Jimmy Page. They duly performed I’m Your Witchdoctor. This was an absolute highlight for me – I’ve had this single on the Immediate label in my collection since the mid 70s and it was thrilling to hear Robert add his edge to an arrangement that stayed fairly true to the original, John Baggott getting in some suitably bluesy organ breaks. On the slowed down outro, Robert crunched down on the power chords in familiar fashion.
The version of Whole Lotta Love that followed was in keeping with the Space Shifters strategy – moody and understated as he merged Bo Diddley’s Who Do You Love ( a UK hit in 1970 for Juicy Lucy) into the You Need Love refrain and then added Jesus My Dying Bed lines from In my Time of Dying and a reprise of Oh Rosie.
They were back for an encore of Song To The Siren which featured just Skin, John Baggott and Robert – a simply mesmerising vocal performance . There was a bit of a sketch before the final number as Robert presented Patty with an award for ‘’sales of 500 Band Of Joy albums in Russia.”
‘’Who starts this one?…oh it’s me’’ was the cue for Robert to kick into Gallows Pole performed in the more rocky mid noughties Strange Sensation arrangement with Skin delivering the banjo guitar parts.
”Thanks for coming out tonight…time to catch Newsnight’’
And that was the Sensation Space Shifters step one.
Summary: What we have here looks to be hybrid of Strange Sensation, mixed in with the exotica of Juldeh, adding a tinge of the Band Of Joy with the informality of the Priory Of Brion. The whole affair had a very loose and casual feel that perfectly suited the surroundings and low key nature of this gig number one. It was a real joy to see the likes of Justin and Skin back to the fore to add a harder edged element.
As for the singer…well business as usual really – his passion to hop and skip effortlessly between varying musical styles was more than evident, as was the way he deploys his voice as a total instrument. You get the feeling he can move and shake within this unit of musicians as he so feels fit. There’s no big agenda –no album to push or media game to play. He can, as his manager Bill Curbishley remarked to me ‘’Do whatever he wants’’
And in doing whatever he wants, Robert Plant continues to inspire and enthral.
The old witchdoctor is back… and at the Guildhall in Gloucester it was more than a privilege to once again be under his spell.
Dave Lewis, May 10th 2012
Aftermath: After the show we hooked up at the Café Rio bar until the early hours where they had a variety of Led Zep tracks playing loud – Achilles and Ten Years Gone sounding very impressive –it was quite amazing to think that we had seen the singer of these songs perform a mere stone’s throw away a few hours earlier. I had to shrug off the hangover fairly quickly yesterday morning as I was contacted by BBC Radio Gloucestershire to do a quick phone interview live on their breakfast show around 7.30. On the afternoon of the gig I also recorded a preview interview for BBC Radio Gloucestershire which aired on Steve Kitchen’s drive time show. As ever it was great to see many familiar faces during our Gloucester experience – amongst them Lorraine and Michael Robertson, Michaela and Dan Firth, Jonathan Taylor, Mike Lewis, Richard and Roberta Grubb, Simon Wicker from Hats Off To Led Zep and his wife, Dawn Atherton, and Paul Harper.
Above photos Dave Lewis for TBL
Above photo Gary Foy for TBL
Above photo Dave Lewis for TBL
Above photo Gary Foy for TBL
Below photo Dave Lewis for TBL
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Let It Be at 56
The Beatles’ final studio album Let It Be celebrated its 56th anniversary on May 8 – here’s my thoughts on one of my favourite albums and what it means to me…some of this text is from my in-progress DL memoirs…
Let It Be and me…
I’ve had something of a 56 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.
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 56 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 7 2026
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MAY 9 2026 – VIP RECORD FAIR BACK IN BEDFORD…
Saturday May 9 – VIP Record Fair is back in Bedford – here’s all the info…
Harpur Suite, Harpur St, Bedford MK40 1LE
Open 10am to 3.30pm
Full info – http://www.vip-24.com/venues/bedford.htm.
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On the player Sunday afternoon singles from the DL collection spinning at 45RPM and sounding mighty fine…
Tuesday May 5:
Until next time…
Dave Lewis – May 7 2026
TBL website updates written and compiled by Dave Lewis
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