THEY ASK NO QUARTER CARL DUNN PHOTO BOOK DUE/EAGLES PLUS ROBERT AND ALISON HYDE PARK/LZ NEWS/REMASTERS 31 YEARS GONE /UNLEDDED ’94/PRIORY OF BRION ’99/BOOK NEWS/BOWIE 75/DL DIARY BLOG UPDATE
This looks like being a welcomed addition to the ever creaking Led Zep bookcase…
“THEY ASK NO QUARTER”
THE CARL DUNN LED ZEPPELIN ARCHIVE 1969-1975
NEW LED ZEPPELIN PHOTOGRAPHIC BOOK BASED ON UNSEEN PHOTOS TO BE PUBLISHED IN NOVEMBER 2021
Legendary Rock photographer Carl Dunn opens his Led Zeppelin archive.
The new photographic book details 15 Led Zeppelin shows ranging from the Texas Pop Festival in 1969, over the rise of Led Zeppelin on their March – May 1970 tour of the US south, to 5 shows from the epic 1973 tour, including the double date at the Chicago Stadium in July 1973, and finally at three consecutive sold out shows in Texas in early March 1975.
Moreover, Carl was fortunate to be invited to the “Cabana Motor Motel” in Dallas in 1970, to shoot the band freely while they were relaxing at the pool. He also joined Jimmy Page and Peter Grant to Austin, where Jimmy played with Bad Company in September 1974.
Of 1300 live and off stage images, we have chosen 175 of the best of these and present them with a narrative by the photographer who will tell interesting tales of shooting the mighty Led Zeppelin, as he watched them rise to become the biggest rock act of the 1970´s. Noted Led Zeppelin expert and writer Marc Roberty will offer background and tour info.
Archivist Dave Brolan will offer his views on the photographs through an introduction, and there will be comments by fellow rock photographer Ross Halfin.
Carl Dunn´s Led Zeppelin shots have so far been used in the official Led Zeppelin book from 2019 and have been used for several of the Led Zeppelins official box rereleases of their albums, as well as in countless articles and magazines.
Carl has photographed all major rock act that came through Texas, from Jimi Hendrix and Cream in 1968, to Rolling Stones, Deep Purple, Black Sabbath, Aerosmith, the Who and many more throughout the1970´s.
The book will be published in three versions, the book only in an open edition, a limited edition in 300 copies containing the book and limited-edition prints of Led Zeppelin live on stage, and lastly a 100 copies edition signed by the photographer with a clamshell case and the possibility to choose one of the shots from the book, to be printed in a 60×40 cm format, signed by Carl Dunn, and shipped to the customers address.
“They Ask No Quarter” can be ordered presale from 30 September 2021 with a 20×25 cm bonus print of Jimmy Page in action in 1975. It will retail at 79,00 Euros.
From the release date it can be bought through retail bookstores, various online vendors as well as, directly from the C Larsen & Sons Book Publishing webshop.
Limited Editions can only be bought directly through the clarsenbookpublishing.com website.
C Larsen & Sons is a Danish book publisher of quality music photography books, based on unseen archive material. The first book “Eric Clapton Live History” from 2019, was a large format limited-edition book on the live career of Eric Clapton from 1964 -2019, told in 275 photos, 85% of these were unseen.
More details at:
http://www.clarsenbookpublishing.com
Stop Press – Just Announced:
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Led Zeppelin Remasters : 31 Years Gone..
Another anniversary the Remasters releases all of 31 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 31 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, 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 31 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 31 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 31 years ago 3:
Remasters Led Zeppelin Exclusive Our Price Bedford Memorabilia Pack:
To create something of an exclusive for buyers of the Led Zeppelin box set t the Our Price record shop I managed in Bedford we created a special Led Zeppelin memorabilia pack to give out to buyers of the set -100 only all individually numbered.
Under the title ‘Our Price Remembers Led Zeppelin’ the pack contained a number of fascmile reproduction Led Zep ads and cutting. These were drawn from my collection and I took them to the local photo copy shop Jaycopy (who had produced the early TBL magazines). It took hours of cuttings out to produce the 100 sets. I also wrote a three page 54 FACTS BEHIND THE TRACKS guide drawn from material in my then in progress Led Zeppelin A Celebration book the book – this was photocopied off my word processor. The outer envelope was designed by the then assistant manager at the shop Colin Stonebridge. This all went down very well with local buyers as we sold over 100 sets in the first week at £54 a throw.
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…
TBL Archive Special 2:
The Jimmy Page & Robert Plant Unledded film was screened all of 27 years ago this week on MTV – here’s the TBL review of the No Quarter Unledded album.
THE ALBUM:
NO QUARTER – JIMMY PAGE AND ROBERT PLANT UNLEDDED (Fontana 526 362 2)
No Quarter (the Unledded tag has been somewhat played down in the packaging) is a lengthy, 14-track CD clocking in at over 79 minutes – a mere three minutes less than Physical Graffitti. The actual sleeve design I find disappointing. A low key shot from Corris Slate that offers a rather windswept portrait of the ageing dynamic duo. The CD booklet itself is sparse on detail and the discographer in me again bemoans the lack of sleeve notes. If ever an album’s evolution was worth explaining then it was this one. It strikes me that the official press release notes produced for the MTV premieres would have fitted in very well here. An enigmatic photo of a bizarrely painted hand maintains the mystery of sleeve images of old. The nod to the original credit for Bron Y Aur (they’ve reverted to that spelling again) first deployed on the Led Zep III inner sleeve is a nice touch and one that vividly illustrates (as I’d hoped when I undertook The Making Of Led Zeppelin III feature back in the early summer) their allegiance to the original unplugged concept from 24 years back.
The sequencing differs from the MTV broadcast, skirting around from Wales, London and Morocco rather haphazardly. I would have preferred to see it retain the more cohesive flow of the film with all the Moroccan tracks particularly in one block.
From Morocco, ‘Yallah’ retains plenty of atmosphere enhanced with an echoed spoken intro and a very live-in-the-marketplace feel. ‘Wah Wah’ has a quaint charm but does lose some of its impact when stripped of the visual scope of the film, while the previously unused ‘City Don’t Cry’ emerges as a plaintive croon with a strong Gnaoua presence. While these excursions are admirably executed and remain a worthy record of their travels, the latter two songs do come over as a little too ethnic to broaden their appeal with repeated plays. ‘Wonderful One’ is still… well… wonderful. No other word for it. This version is an alternate recording from that which appeared in the film with Robert committing an affectingly sensitive vocal over Jimmy’s equally sensitive strumming.
From the mountains, ‘No Quarter’ fascinates with its phased reverb and modal tunings while ‘Nobody’s Fault But Mine’ stomps and grinds to a knockabout climax (listen carefully for the off mike “Thank you very much”- comment at the end). I’d love to hear ‘Levee Breaks’ and ‘Gallows’ from the same session and hopefully along the way we will. From London there are some truly outstanding moments: ‘Thank You’ delights in its sheer familiarity, ‘Friends’ via its dramatic intro, ‘Since I’ve Been Loving You’ as a classic blow and ‘The Battle Of Evermore’ with its ethereal feel and Najma’s searing vocal
That leaves the final four numbers: ‘That’s The Way’, ‘Gallows Pole’, ‘Four Sticks’ and ‘Kashmir’. Here the sequencing is really spot on as one classic dovetails magnificently into another. This pan of the album really does capture the excitement so evident on screen. And as a bonus ‘That’s The Way’ appears as the previously unheard treat. Led by Jimmy’s swaying Ovation double neck, Robert offers an evocative trip through the memory bank in an arrangement enhanced by Michael Lee’s subtle drum pan and Porl’s lilting banjo. It’s a performance that again reflects Page’s ‘same picture within a different frame’ ethic.
The travelogue nature of proceedings on the No Quarter CD may skip uncomfortably across the continents at times but the journey is ultimately a fulfilling one. I find myself treating it like a favourite radio station – dipping in and out with repeated pleasure every time. Because here on Radio Unledded via the World Service you’re never too tar away from a solid gold classic.
Dave Lewis, October 1994 – first published in TBL issue 10
22 years ago on the afternoon of Sunday October 31st 1999, I found myself travelling in a taxi across the Leicestershire countryside seemingly lost. This was not a good situation as the prospect of seeing Robert Plant, who was performing in a tent in the vicinity in the next half hour was fast disappearing.
Earlier I had met the enigmatic and legendary Leicester based musician Kevin Hewick who was leading me with all good intentions on this wild goose chase(Hi Kevin!). He had heard that Robert and The Priory Of Brion were booked for an appearance at the Ashby Del La Zouch Folk Festival in a tent in Moira near Leicester. It sounded the perfect way to spend a Halloween afternoon.
This was an era when if Robert Plant was playing a gig, I would move heaven and earth to be there.
However our taxi driver host was finding said location very hard to locate. Where were sat navs when we needed them, or for that matter mobile phones?!
Anyway, thankfully it all came good – we found the venue and the tent with about fifteen minutes to spare…and on a pleasant Sunday afternoon Robert duly delivered one of the most captivating gigs I’ve ever seen. Witty, relaxed, reflective and singing with passion and verve the songs that as he put it, he’d had stored in his back pocket. It was an absolute joyous occasion. – pic below by Krys Jantzen.
Robert Plant in a tent on a Sunday afternoon….whatever next? How about Robert Plant on a Saturday night in a pub lounge bar because bizarrely that’s what was in store two weeks later when we saw him play at the Red Lion in Birmingham.
The Ashby Del la Zouch and Red Lion shows remain right up there in my all time best gig going experiences – something I re iterated to Kevin when I spoke to him on the phone a few weeks back. I’d also like to mention that back then the wonderful much missed Hayley was looking after the Our Price shop in Bedford that day enabling me to go on this mad escapade -one of many days that she did that for me . These memories would not have been possible without her loyalty and kindness.
Dave Lewis, October 28 ,2021
More book news:
Searching For Jimmy Page novel out now:
The previously mentioned Christy Alexander Hallberg’s debut novel from Livingston Press, Searching for Jimmy Page is out now – here’s the info…
The unraveling of eighteen-year-old Luna Kane’s haunted past begins in the winter of 1988, when her dying great-grandfather, a self-proclaimed faith healer, claims he hears phantom owls crying in the night. “Them owls, like music. Can you hear the music?” he implores her in his final moments, triggering Luna’s repressed memory of her dead mother’s obsession with Jimmy Page, Led Zeppelin’s legendary guitar wizard. Desperate to learn the truth about her mother’s suicide, to tease fact from family lore in order to weave her own personal narrative, Luna embarks on a pilgrimage from her family’s farm in the pines of eastern North Carolina to England, to search for the man whose music her mother held sacred, Jimmy Page.
For more information see link below:
https://www.christyalexanderhallberg.com/
Bowie 75:
Ahead of the 75th anniversary Birthday celebrations for David Bowie – a new pop up shop Bowie 75 has opened in Hedden Street in London near the site of the iconic Ziggy Stardust album cover shoot. It’s open until the end of January and is well worth a visit.
DL Diary Blog Update:
Saturday October 23:
Saturday is platterday…on the player the just released Rolling Stones Tattoo You 40th anniversary reissue – 2LP limited edition on clear vinyl as ordered via their website and sounding mighty fine…
Saturday October 23:
Saturday is platterday – on the player some early evening Pete Townshend – the brilliant 1980 solo album Empty Glass…
Wednesday October 26:
With Dec yesterday at the excellent newly opened Bowie 75 pop up shop in Heddon Street London – its situated near the scene of the iconic Ziggy Stardust album cover shoot…
Update here…
It was good to see Dec over from Ireland for the first time in nearly two years – it was a welcomed respite when we met in London on Wednesday.
The main focus here is helping Janet who is struggling badly with the mobility in her right leg she broke nearly two years ago. We are awaiting a hospital consultancy – after all she has been through it’s very distressing to see her in pain and discomfort again. Hopefully we can get some clear advice ahead.
Thanks for listening – stay safe and well you very lovely people…
Dave Lewis – October 28, 2021.
TBL website updates written and compiled by Dave Lewis
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Dave, so sorry to hear of Janet’s difficulties. I hesitated posting after your previous entry but wanted now to touch base and offer my best wishes and prayers for her renewed recovery. Hope the doctors can provide some real relief and improvement!
I hope the work on your memoir is proceeding well! These things have their gestation periods, don’t they?
Warm Wishes,
Ralph Hunt Sidway
Cincinnati OH
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