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2 April 2015 3,650 views 8 Comments

five glorious preview

Five Glorious Nights – Led Zeppelin at Earls Court May 1975 update:

Here’s an update on the latest situation with the Earls Court photo book.

An email has gone out via Rufus Stone Limited Editions to all those that signed to register interest in the forthcoming Five Glorious Nights Led Zeppelin at Earls Court photo book I am compiling. Further information will follow soon regarding the pre ordering process. As soon as the ordering process comes your way, be sure to order quickly to ensure a copy. If you have yet to register interest you can do so at

Please note – There was some feedback that some who signed up did not receive the email – so if you have signed up but have yet to receive the email sent out last weekend by Rufus Stone, email them at:-

They should then get back to you in due course.

The book design is on going here and full on.  I have been piecing together the initial proofs and lay out at StudioMix Bedford in conjunction with TBL designer Mick Lowe who is the designer of the book. Publisher Mark Smith at Rufus Stone Limited Editions has sourced some really excellent photos for this project notably via Barry Plummer, Michael Putland, Ian Dickson, Dick Barnatt, Chris Walters, Gus Stewart, Graham Wiltshire and Mick Gold.

This week and last, I met with Ross Halfin who is on board as picture editor. We have waded through over 300 images to select the very best with the aim to capture the very best angles and images and present photos that have been rarely seen or previously unpublished. Now I have seen a fair few Earls Court photos over the years but I would estimate that of the photos we have selected for this book, at least 60% have rarely, if ever been seen before – and certainly not in this quality.

The photos are a combination of colour and black and white shots. The accompanying text outlines the reasons why these concerts were amongst the greatest Led Zeppelin ever performed -there is also a summary of each performance plus interviews with some of the key attendees including photographer Barry Plummer and journalist Chris Welch. Additionally there are appendix sections with relevant Earls Court magazine and bootleg covers plus coverage of the Physical Graffiti reissue.

EC promo 2

It all adds up to what we think will be a deluxe volume worthy of celebrating this milestone 40th anniversary. Yes it is an expensive item -it will retail at just over £100 – the very nature of the production deems this necessary. We aim to make it very much befitting of the price by producing something very special and unique.  These were five glorious nights back in May 1975 – our objective is for every purchaser of the book to relive them though the visual splendour of this deluxe volume that vividly captures the power and glory of Led Zeppelin at their absolute peak – on stage at Earls Court 40 years ago.

More on all this to follow as it unfolds – Dave Lewis –  April 2, 2015.


Brandy And Coke /Trampled Underfoot Interactive video clip:

A very clever interactive video indeed..


Robert Plant collaboration?

Diplo has posted a selfie taken with Robert Plant on Instagram, claiming that a “collab” is “coming soon…



Here’s a report from long time TBL contributor Larry Bergmann jr on the Led Zeppelin Fathom Events screening which occurred across the US at selected cinemas last Monday:

Monday, March 30, 2015

It was a fun evening with my buddy Brian Knapp on Monday as we attended the One Night Only Led Zeppelin screening put on by Fathom Events, at the AMC Hoffman Center 22 cinema in Alexandria, VA.  This had been announced in early March, and it was understood that the material would be a highlights package culled from 2003’s official Led Zeppelin DVD.

I believe this was a slightly truncated version of the theatrically screened DVD preview back in 2003.  The track list for the Fathom screening was as follows:  From the Royal Albert Hall there was Communication Breakdown and Bring it On Home, the “music video” of Immigrant Song (footage from Sydney 1972, but L.A. audio from How The West Was Won), a Madison Square Garden 1973 suite consisting of Black Dog, Misty Mountain Hop and The Ocean, from Earls Court we had Going to California, In My Time Of Dying, and Stairway To Heaven, and finally from Knebworth there was Rock and Roll, Nobody’s Fault But Mine, Kashmir and Whole Lotta Love.  

It was a really great experience.  To see it on such a large screen was terrific, but the SOUND elevated it to a transcendent level!  This is the thing that’s somewhat lost about Zeppelin now…it’s great to see the DVDs, or hear the bootlegs, but what seeing this in a movie theatre brought back to me was how all-encompassing the SOUND was when seeing Zeppelin live, that force that knocked you back several feet and took your breath away!  This was brought decisively crashing home the other night, just having that monstrous sound overwhelming you, I think that’s something that many people likely can’t relate to now…if you saw them, it was a very long time ago and perhaps the memory loses some of the clarity of the original richness and power, and if you didn’t see them you weren’t able to experience it in the first place.  That resonant and clear din…it just gives their performance so much more impact, the way it was when you saw them live, when they were right there, in front of you and in your ears and head, on the stage.

Personal highlights included the two Albert Hall clips, the band was so fresh and together and just burning the place down…Page ripping furiously and expertly on the Black Beauty, Jones insanely working the bass, the young Plant singing as only he could, and the stunning brilliance of John Henry Bonham.

Black Dog from MSG was thrilling…at the end of the piece, I imagine the band standing there looking out at their fans and thinking “well, how was THAT??!!”.  The Ocean is simply one of my favorite clips of the band, they had all of the energy, excellence, charisma, and as the young folks like to say today, “swagger”.  They knew they were The Best, and they were The Best by a lot, it wasn’t even close.

In My Time Of Dying from the Court was impossibly great.  And the entire Knebworth set was superb.  My only complaint here is that they didn’t include Sick Again, one of the most thrilling Zeppelin clips ever in my opinion.

On my future wish list, Jimmy would go further on this front, he would re-release TSRTS to theatres in which it can be experienced with a devastating sound mix.  People would go see it again to experience it that way in my opinion, and the experience would be better than even the band probably imagined it before releasing the film in 1976, but were ultimately disappointed when the sound didn’t come across as well as they had intended, due to the much more limited theatre speaker systems of the day. Then Jimmy would (if indeed he hasn’t already) put together complete Earls Court and Knebworth performances, and release them as stand alones, with the attendant stunning sound, in movie theatres, and then after that take it all to home video.  And just for good measure, Danish TV too!  It could appear on a double bill with Royal Albert Hall!  I’m not wishing for much!

In all seriousness, this was a terrific program, an unforgettable experience…and it was a complete joy to see and hear Led Zeppelin again, as they were meant to be seen and heard…loud, live and bigger than life.

Larry Bergmann Jr


TBL Archive  – 1971 BBC In Concert:

bbc zep

It’s always a joy to dig out the 1971 BBC In Concert recordings and I’ll certainly be doing that over the weekend – here’s a TBL Archive special to get you in that BBC 1971 zone. Starting with my personal reflections of that first broadcast:  

1971 BBC In Concert: 44 Years Gone

44 years ago on April 4 1971 , I first heard the music of Led Zeppelin performed live and the effect was pretty shattering to the ears of a young 14 year old.

The occasion was the BBC Radio One broadcast of an hours worth of live Zep for John Peel’s In Concert programme. Recorded three days earlier at the Paris Theatre on the back of the band’s ‘Back to the clubs tour’, at the time this was a very big deal. Zeppelin had not appeared on a BBC radio session since August of 1969 –their return to the UK airwaves was therefore much anticipated. Especially by me, tuning in a at home on our portable radio eager to hear how they sounded on stage.

Beforehand I carefully put the jack plug from my reel to reel tape recorder into the radio to capture this historic moment. Then the dulcet tones of John Peel spoke forth: ‘’This is something we’ve waited a long time for on the Sunday repeated on Wednesday show and I know it’s all going to be worth the wait. Would you welcome please Led Zeppelin.

Oh yes we would welcome them Mr Peel. Blam! The battering ram riff of Immigrant Song reeled from the radio and I was in seventh heaven. This was Led Zeppelin live – and a riveting experience to behold.

I was already in love with their three studio albums, I had missed out on their 1969 broadcasts so hearing them live was absolute confirmation that all my enthusiasm was justified. On record they were fantastic -but their songs performed live took all into another stratosphere.

No more so than the next track that was aired. As I was later to discover via the bootlegs, this hour long presentation was edited down from a full set. On this Sunday evening broadcast Immigrant Song therefore did not segue into Heartbreaker as was the custom of their then live act. Instead we heard Dazed And Confused. All nigh on 18 minutes of it…

This was my baptism into the free form improvisational world of live Led. It was then I realised that the studio versions were just the starting point. Dazed And Confused live went off into all sorts of tangents – the drama of the slowed down intro, the violin bow episode, the call and response sequence through to the lengthy outro – it was all there. Within the space of 18 minutes my estimation and appreciation of Led Zeppelin shot up 100%.

That trend continued as they performed a dreamy What Is And What Should Never Be, Stairway To Heaven and Going To California from their yet to be released fourth album, That’s The Way and the Whole Lotta Love marathon that had a rock’n’roll medley that included That’s Alright Mama and Mess Of Blues. Phew…

My trusty reel to reel captured all this action blow by blow. Unfortunately due to the poor reception of the then 247 metres radio band of BBC Radio One –much of it was played out alongside the strains of several foreign radio stations drifting amongst the airwaves. I therefore ended up unwittingly with some rather unique versions of these BBC recordings. No matter –I had an hours’ worth of live Led Zeppelin on tap…and life was very good indeed.

Subsequently this BBC performance would emerge first on a series of bootleg LP’s – (I had the BBC Broadcast LP with that great Will Stout pig cover on Trade Mark Of Quality when it came out) and then on a variety of CD bootleg sets and then officially on the BBC Sessions album in 1997.

I wish I still had that reel to reel tape version but it’s long disappeared along with the reel to reel tape recorder. I do still have the original BBC Broadcast album and some fantastic CD versions and I’ll be blasting those out this Easter weekend in celebration of the 44th anniversary of this iconic recording.

So thank you John Peel for persuading Led Zeppelin to perform on Radio One again back in the spring of 1971. I have countless hours of live Led Zeppelin at my disposal but it’s that very first hour that still resonates as much as any, as it unlocked the (up until then) secret world of Led Zeppelin in concert. It ultimately led to a fascination for me to hear as many of their live performances as possible. 44 years on that desire is as strong as ever – and Led Zeppelin as recorded at the BBC back in April 1971 remains one of my all time favourite Zep recordings. Dave Lewis April 2, 2015.



VENUE: Paris Cinema, Lower Regent Street, London

RECORDING DATE: Thursday April 1, 1971: rehearsal 3pm, recording 9.00­-10.45pm

PRODUCER: Jeff Griffin

ORIGINAL BROADCAST DATE: Sunday April 4, 1971, between 7pm and 8pm on the John Peel Sunday In Concert programme.

BACKGROUND: “This is something we’ve waited for a long time on the Sunday repeated on Wednesday concert, and I know it’s going to be well worth the wait. Would you welcome please Led Zeppelin!”

So spoke an unusually excited John Peel over the BBC airwaves on the evening of Sunday April 4, 1971. Jeff Griffin had indeed been waiting for many months to secure a return visit for the original instigators of the In Concert format: “They seemed to be permanently busy in 1970, but I put it to them early in 1971 and Peter Grant immediately agreed to it.”

The group were commissioned for the show in March, and it tied in conveniently with a month-long UK tour that took them back to the small clubs they’d been playing around the time of their first BBC live session two years earlier. In that 24­ month gap, the group’s status had increased dramatically, and in America they’d graduated to selling out 20,000­ seater venues. Both their second and third LPs had topped the charts on both sides of the Atlantic. And their fourth album, originally set for spring release but eventually issued in November, was eagerly awaited.

On the 1971 UK tour, they previewed three of the new songs, including ‘Stairway To Heaven’. The tour took them back to venues like Mothers in Birmingham and the Marquee, and was seen as a brave move to keep them in touch with their audience. It proved to be the last chance UK fans would have to see the band at such close proximity.

For Zeppelin to return to In Concert was seen as a major coup at the time. But the recording was not without problems. Jeff Griffinn had originally signed them for a Thursday March 25 date at the BBC’s Paris Cinema – an old war­time theatre with a capacity of under 400 and a stage that stood barely a foot off the ground. In fact, the concert has often been chronicled as taking place on that date.

The official BBC log tells a different story. Just prior to the concert, Peter Grant had warned Jeff that they might be unable to make the date due to Robert Plant losing his voice. A show at Liverpool University had already been cancelled and it was only with the aid of much medication that the singer had fulfilled the prestigious date at the Marquee on March 23. Come the day of the intended broadcast, Grant had to inform the In Concert team that they would have to cancel. Griffin hastily arranged for Brinsley Schwarz and the Keef Hartley Band to step in on the night, with the promise that the audience would qualify for the rearranged Zeppelin date on April 1. “And I was the luckless person who had to go out and tell the first week’s audience that the band wouldn’t be appearing!” says Griffin. “When Peter rang and told us the bad news, I asked if they could possibly rearrange the date, and I was quite staggered when they agreed to do it again so soon – in fact, so many people wanted to attend the next week, I’m sure we broke every fire regulation going to cram them all in.”

The hour-long presentation was duly aired three days later, and repeated (as was the custom) as part of the next Wednesday’s Sounds Of The 70s 7-8pm slot.

This In Concert appearance has gone on to be one of the most bootlegged BBC sessions in history. It has appeared on countless pressings over the years – though significantly none of them have emerged in the original format in which it was aired.

There are two reasons for this. One is that the BBC tapes of the show were quickly adapted to appear as an official BBC transcription disc. These were used by the Beeb to export particular programmes to radio stations worldwide who subscribed to their transcription service. The recordings were mixed down from the original source at the BBC’s Transcription Studios at Kensington House, Shepherds Bush. In fact. Jimmy Page himself oversaw the mixing of the April broadcast from a month after the broadcast, on May 11. The 12” disc carried a different line-up to the aired show, with the unbroadcast encore ‘Communication Breakdown’ replacing ‘Immigrant Song’ and a voice-over proclaiming, “And now live from London, the BBC presents Led Zeppelin in concert” at the beginning.

It was this disc, with a line-up of ‘Communication Breakdown’, ‘Dazed And Confused’, ‘Going To California’, ‘Stairway To Heaven’, ‘What Is And What Should Never Be’ and an edited ‘Whole Lotta Love’ medley (spliced to finish at the end of their cover of ‘A Mess Of Blues’) that was later dubbed to produce the Trade Mark Of Quality bootleg BBC Broadcast (TMQ 71070). A later transcription pressing wed for the BBC’s Rock Hour export series in the early Eighties consisted of yet another sequence from the show, featuring ‘Immigrant Song’, ‘Heartbreaker’, ‘Dazed And Confused’, ‘Stairway To Heaven’, ‘Going To California’ and ‘Whole Lotta Love medley’.

The second source for the bootleg packages were the original BBC tapes that presented the full version of the concert. The BBC’s one hour show had been edited from a lengthier performance that omitted five additional numbers: ‘Heartbreaker’, ‘Black Dog’, ‘Since I’ve Been Loving You’, ‘Thank You’ and ‘Communication Breakdown’. Bootlegs such as Ballcrusher on the Kornyfone (TAKRL 910) label plundered these tapes for the material, although it was the coming of the bootleg CD age that gave rise to the eventual appearance of an almost complete tape, as featured on the 2-CD set Thank You (It’s Complete) (Discurious DIS 209).

The fact that Jimmy Page himself spent time mixing the tapes reaffirms the importance he placed on the concert, which captured the group at a significant stage in their career. This was the period when they introduced to their live set the more acoustically based numbers that had flowered fully on Led Zeppelin III. The BBC recording also offered the first-ever airing of ‘Stairway To Heaven’ on radio. Nobody present that evening – least of all the group themselves – could have predicted that the song would go on to log an estimated three million plays on US radio alone over the course of the next twenty years!



‘Immigrant Song’ (3.20)/’Heartbreaker’ (4.50)/’Since I’ve Been Loving you’ (6.32)/’BIack Dog’ (4.51)/ ‘Dazed And Confused’ (17.20)/’Stairway To Heaven’ (8.40)/’Going To California’ (3.50)/’That’s The Way’ (5 .25)/’What Is And What Should Never Be’ (4.15)/’Whole Lotta Love’ – medley including ‘Let That Boy Boogie’, ‘That’s Alright Mama’, ‘For What It’s Worth’, ‘A Mess Of Blues’, ‘Honey Bee’ and ‘Lemon  Song’ (18.10). Encores: ‘Thank You’ (6.20)/’Communication Breakdown’ (5.35)


John Peel introduction/’Immigrant Song’/’Dazed And Confused’/’Stairway To Heaven’/’Going To California’/’That’s The Way’/’What Is And What Should Never Be’/John Peel introduction/’Whole Lotta Love’ medley

“First of all I’d like to say sorry about last week. But we did 18 dates in about 6 days, or at least 20 days, and my voice just gave up completely. We hope it’s all in condition tonight. If not, cheer, because you’re on the radio.” That was the introduction (later edited out) Robert Plant made to the audience explaining their non­appearance the previous week. Then Jimmy Page signalled the intro to ‘Immigrant Song’, with its twisting, extended guitar solo. That dovetailed into ‘Heartbreaker’, as was the band’s custom in 1971. Like the next two tracks, ‘Since I’ve Been Loving You’ and the premiere of ‘Black Dog’ (arranged to feature the intro from the LZIII track ‘Out On The Tiles’), that song was subsequently left on the cutting-room floor.

Their deletion provided the opportunity for a full airing of an 18-minute ‘Dazed And Confused’, with all the improvised trappings of Page’s violin-bow section, A slight delay to adjust Jonesy’s organ bass pedals preceded the first live radio performance of ‘Stairway To Heaven’, played with slight hesitancy – Page was still getting to grips with his new twin­necked Gibson, purchased specially for this number. With hindsight knowledge of how important the song would soon become, it’s great now to hear it performed in such a delicate manner.

“This is the time where we like to have a cup of tea, so I think we’d better sit down instead,” said Plant as introduction to the acoustic set. The BBC soundtrack was able to capture the full effect of the rush of acoustic guitars and mandolin-playing that dominated the then-unissued ‘Going To California’ and ‘That’s  The Way’ – the latter featuring Plant crashing the tambourine to the floor at the song’s close.

A false start to ‘What Is And What Should Never Be’ was understandably edited from the broadcast – Plant opened the song and complained the band were in the wrong key. “Completely finished,” he laughed to the crowd. “I can see the headline in Mailbag.” – a reference to the lively letters column in Melody Maker at the time.

After they got the song right, it was time for the closing number of the broadcast. John Peel was brought back on mike for the introduction: “I’m going to sing on the next one,” he joked with Plant, who also made reference to the Ray Stevens’ hit of the time, ‘Bridget The Midget’, aping its “Do you feel alright?” catchphrase .

A full ‘Whole Lotta Love’ medley was delivered with the appropriate gusto, allowing the band (as usual) to indulge in all manner of rock’n’roll fun as they swung through a mixture of cover versions.

“That’s all we’ve got time for this week, folks – next week, Ted Ray!” was Plant’s humorous parting shot as induded in the original broadcast. The full tape reveals that this was actually edited in from the very closing stages of the full concert, where they had been called back for encores of ‘Thank You’ and ‘Communication Breakdown’.

And that concluded the BBC’s 1971 presentation of Led Zeppelin. The full two-track tapes were hurriedly mixed down for the one-hour broadcast three days later, and then Page worked on the Transcription Service disc a month after that. Jeff Griffin adds: “I also remember Robert and Jimmy coming into the studio the day after the recording to supervise the editing down to one hour. It was at their suggestion that we edited slight pieces of songs, such as the medley, to tailor the set for the In Concert slot.”

Eight years after the 1971 show, tentative steps were rumoured to have been made for Radio One to try and arrange an exclusive airing of the Zeppelin comeback show on August 4, 1979 at Knebworth. These plans eventually came to nothing, and the group’s untimely demise a year later dictated that they would never again grace the national airwaves. The original Led Zeppelin at the Beeb recordings are now a precious part of the BBC archive.

I’ll leave the last word to the original In Concert producer, Jeff Griffin: “It really was a joy to work with Led Zeppelin. Not only were they one of the most exciting live acts we ever recorded, it was their enthusiasm to do the pilot In Concert recording that really sent that brand of live radio on its way. When they agreed to come back for the 1971 show, I was just amazed, because their mistrust of the media was very apparent. They never felt comfort able with doing TV or talking to the press, but they seemed very at home with the BBC and we were privileged to play host to them. They were truly great sessions.”

Dave Lewis – originally written and compiled in 1993 – featured in Celebration II – The Tight But Loose Files (Omnibus Press)


flashback two

Jimmy Page 1969 interview in Flashback magazine:

I’ve been wading through the latest edition of the excellent Flashback magazine – this has a great vintage early 1969 Jimmy Page interview drawn from Fusion magazine with plenty of rare visuals alongside it. With informative features on Bill Fay ,The Stooges and UK underground enigma Sam Gopal plus plenty of vinyl reviews etc – it’s a packed read – in fact with over 200 pages it’s more a mini book. Well recommended..check it out at


Bron Yr Aur Project:

An exhibition event is being staged in the area on April 25th. More details at:


Cynthia Lennon 1939 – 2015:

Very sad to hear the passing of Cynthia Lennon aged integral part of The Beatles Story. Cynthia was right there when it all happened and carried herself throughout her life with such dignity – as TBL contributor Ian Dixon pointed out, the words from this song say it all:”Some are dead and some are living. In my life I’ve loved them all”

Joni Mitchell:

It was concerning this week to hear that Joni Mitchell had been hospitalised after being found unconscious – we all wish her a speedy recovery.

DL Diary Update:

andy one

Happy Birthday Andy Adams: It was Andy’s birthday on Tuesday  – here’s me and Andy pictured in the early hours of Friday May 22 1992 setting up the Led Zep UK Convention we co organised(blimey 23 years ago and look at that hair!)  An incredible weekend made even more special by the attendance of Deborah Bonham and her family, including the late and much missed Mick and mum Joan.  Boy we had some fun and boy did we work hard to make it happen – no wonder we look at bit dazed and confused – mind you it was about 3am in the morning! Andy’s vast Zep knowledge and archive was very inspirational to me when I was working on the Led Zeppelin A Celebration circa 1989 and all round he is one of the absolute key Zep fans in my view.  It was great to catch up with him last year at the Zep HMV Playback and Jimmy Page Q and A events – keep rockin’ mate!

 A very busy week here with more than a few plates to spin and keep on track. As mentioned above, we are in top gear now with the design of the Earls Court photo book and that trend will continue in the coming weeks – I’ve also been working on TBL 39 which I am aiming at a late May publication- some excellent stuff has come in for that and I’ll keep you up to date on all that. May I take the opportunity to thank everyone who has re subscribed or come on board for the TBL current subscription. Your support is much appreciated.  Here’s a pic of taken at Studiomix this week overseeing some initial proofs of the Earls Court photo book.

five glorious at micks

Friday treats: There was a quick trip to the Vinyl Barn stall in Bedford for some Friday treats last week –on album Ten Years After Undead original on Deram Joni Mitchell Wild Things Run Fast and fittingly in a week of Who activity, very pleased to pick up The Who Summertime Blues and The Seeker 1970 singles on Track Records plus The Beatles Let It Be with pic cover. Regarding The Who, I wanted to buy these when they originally came out in 1970 but paper round funds didn’t meet the six shillings asking price back then – after seeing The Who recently it was fate they came my way.

Easter is upon us amazingly – and in between all the TBL activity  it will be good to get some time with the family as Adam is back from Uni and Sam will be here for the weekend. Janet’s mum has improved a little and thanks again for all those who have sent good wishes. The good lady Janet and I did have a Saturday night at a local restaurant – the disco was fired up later and upon recognising me, the DJ put on  Whole Lotta Love – of course we laid a little shuffle on the dance floor as it then segued into a bit of Marvin Gaye – all good for soul though our legs ached in the morning!

Easter/April  Playlist:

With the nights brightening up – the playlist here will be reflecting that spring is in the air feeling, with some suitable reflective sounds – and there’s much to choose from – here’s the DL Easter/April playlist:

Sandy Denny  -The Music Weaver compilation.

Fairport Convention – What We Did On Our Holidays

I’ve been reading Mick Houghton’s excellent Sandy Denny biography and this has inspired a whole trawl through the late great Sandy’s back catalogue. Simply upliftingly magnificent.

Maggie Bell – Suicide Sal on Swan Song – love the version of Wishing Well and Jimmy’s contributions.

Joni Mitchell – Court And Spark – keeping positive thoughts for the legendary songstress…

The Beatles – With The Beatles  – before the madness – so innocent and alive and now one more soul of the story is gone…

Detective – Detective – more Swan Song delight with Michael Des Barres on vocals- this really cooks and sounds ever fresh.

Bad Company – Bad Company and Straight Shooter reissues – this lines up like a double album so familiar am I with these fantastic albums. The bonus tracks contain some compelling stuff too. Be sure to check them out.

Led Zeppelin – BBC Broadcast – original bootleg LP on Trade Mark Of Quality -it was 44 years ago…and it rocks…

Led Zeppelin – Presence – it was 39 years ago…and it rocks…

David Bowie – Young Americans – another nostalgic sound of spring ’75.

Terry Reid – The River –  a heart full of  soul and what an album.

Andy Fraser Band – Andy Fraser Band – yet another slice of ’75 – remembering Andy this way.

The Doors – Volume 2 compilation – including the awesome Touch Me and Riders On The Storm.

Happy Easter from all of us to all of you…

DL April 2 2015


YouTube clips

Robert Plant and The Sensational Space Shifters – Official South American Tour tour log:

Robert Plant and The Sensational Space Shifters – Black Dog – Lollapalooza, Sao Paulo Brazil:

Until next time…

 Happy EasterHave a great weekend –
Keep listening, keep reading…
Dave Lewis/Gary Foy –  April 2, 2015 
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  • Ken Winovich said:

    Review of the Fathom Events Led Zeppelin Movie – by Ken Winovich 04-04-15

    I attended the Fathom Events Led Zeppelin movie here in Pittsburgh, PA at the new Cinemark Theater at McCandless Crossroads in North Hills. As soon as we entered the movie auditorium, I got the same ‘vibe’ as the Olympic playback premiere event of ‘Physical Graffiti’ presented on Yahoo in a live stream event. Although this movie event pales in comparison to the Olympic playback event for the simple fact that Jimmy Page himself was the host at that event, the vibe was the same and therefore a joy to attend! The seating arrangement was nearly identical with the only difference being a split in the seating horizontally after about the 7th row back. Since we’ve all seen the ‘How The West Was Won’ DVD and all the video tracks for this movie event were taken from it, I’ll jump right to what the movie had to offer. The movie was rich in details that Zep fans might never have noticed when viewing these video cuts in the privacy of their own homes because the band members were about thirty feet tall on the big screen. Details such as Jimmy Page pulling a hammer-on and pull-off with his forefinger and pinky all while still holding the basic chord shape during “Going To California”. Or how close Page and Bonham worked together with Jimmy nodding at Bonham to alert him when to start the closeout of “The Ocean” (John Paul Jones once said in an interview that they used to nod to each other during improvisational jams-“the band of Nods”) or how Robert Plant holds the harmonica against the mic using both of his thumbs on the ends during “Nobody’s Fault But Mine”. And if you are a guitar player, there was a wealth of tidbits to gain from watching Jimmy Page. On “Stairway To Heaven”, you could hear a pin drop in the auditorium. Everyone was glued to the screen as Jimmy Page started the song. We were all wondering if we arrived late as the first three songs played while we all got situated in our seats. But this was only a tease and we saw them again-an added bonus! I enjoyed the movie very much. The only two things that minutely bothered me was during “Immigrant Song” as I felt the camera work was too shaky and it actually hurt the eyes a little bit to watch. Since I felt “Trampled Under Foot” was ‘noticeably absent’ from the film, that would have been a good substitute for “Immigrant Song” using the Earl’s Court version of “Trampled Under Foot”. My other beef was that the theater had the volume down a little bit too low. It should have been up a little bit higher. Understanding their situation, you certainly wouldn’t want to have others viewing a Hollywood movie in the other nearby auditoriums hearing leakage from ours but I assume they are soundproofed any way.

    Finally, just before the show started, they played a ‘Physical Graffiti’ Deluxe Box Set ad which was neat and also a promo video of “Rock And Roll” that is different from the official released version. And speaking of ‘different’, some of the footage may have been cropped on The Albert Hall videos from 1970. The star of the show was clearly John Bonham and that’s not just referenced to the 1970 footage. The chosen tracks really highlighted John Bonham very well. The theater really picked up the low end of the sound! During “In My Time Of Dying”, the bass drum was so bottom heavy and that was the real treat! A friend of mine told me that when he saw them in Cleveland on the 77 tour, Bonham hit the bass drum so hard that he bounced up in his seat! Although that didn’t happen to us in the theater, it was very close! I did notice near the end that Page’s slide guitar solo was edited which I didn’t notice on the official DVD. The average fan would not have noticed and that’s gonna be interesting to see how much of it was cut when compared to the bootleg. On “Kashmir”, heads were bobbing up and down again. I got a very good close-up look at the Danelectro guitar Page used. It’s the one with the rear knob crack in the masonite board. Look at the back of this guitar. It has a very thick 4″ to 6″ solid white board down the middle of the body which really stood out on the big screen. This could be the Jerry Jones model he had custom made. In closing, a very exciting and enjoyable event! My friend who accompanied me said she thought our audience was a little bit too subdued. Heads were only bobbing during three songs but when the movie was over, there was applause which I missed because I left at the start of the last song in order to interview some fans outside the theater for TBL and I instructed her to closely read the movie credits. Thumbs up for the event and I hope they do one for ‘The Song Remains The Same’ in October.

  • Jeff said:

    Hello, Dave, TBL readers!
    My girlfriend, Maria, and I took in the Zepp theater experience Monday at Movies 14 in downtown Wilkes-Barre, Pa. We’re from Hazleton and this was the closest (30 miles) theater showing it. We were blown away by the sound. The high-end system in the theater broadcast Zepp in all its acoustic glory. It was a really great experience and it seemed the decent-sized crowd (about 30-40 patrons) really dug it. I agree with Larry and hope to see more of these presentations in the future.
    Happy Easter to all; we hope everyone in England enjoys the bank holiday Monday.

  • Kelly said:

    Hi Dave

    Just pre ordered Five Glorious Nights it look great!

  • Michael Brazee said:

    Well Dave,
    I bit the big one and just ordered the main edition. $195.30 US including shipping. Ouch.
    Hope the wife doesn’t kill me.

  • Ian Saikia said:


    As always, thank you so much for keeping all of us Zeppelin fans updated on all the latest news and goings on at TBL. Thrilled to have just received Rufus Stone Publishers’ Easter pre-sale email this morning for the Five Glorious Nights Earls Court photo book – order has been placed, so that’s the Easter holiday started with a springtime Physical Rocket !!

    Your TBL and Rufus Stone photo hints of whats going to be in the book look fabulous – can’t wait to see the real thing.
    Keep up the great work Dave.

  • Matt O'Kane said:

    Completely agree with Larry’s “For What It’s Worth” comment. Beautifully drummed, change of tempo etc etc. Such a pity casual fans don’t even know that it was there. Wonder if Page just doesn’t like Stephen Stills, may be why it was chopped from the official release..

  • Kevin Walker said:

    Nice review of the movie Larry. I couldn’t have said it better. Best thing I’ve seen in AGES!!! Left me, as you, wanting for more. The sad thing was that there were only about 25 people at my screening.

  • Larry said:

    Thanks for slotting in the BBC write-up, Dave. It’s too bad that first broadcast of it wasn’t preserved by the BBC. But that’s a very interesting story, and certainly one of the most important Zeppelin recordings. I first heard it on the radio, can’t recall now if it was the one that opened with Communication, or the one that opened with Immigrant. I recorded it onto a cassette, wore the thing out, and as they were wont to do, it literally reached the point where it wouldn’t play anymore and I sadly discarded it. Wish I still had it.

    I love Black Dog and Dazed. This is still one of my favorite versions of Stairway…the band play it very carefully and seriously, they’re obviously very proud of it. In fact, the only live version I might rate higher is from the Badge Holders show, but obviously things were a lot different by then and it’s comparing apples and oranges really.

    This is my favorite live version of Going To California, one of my favorite Plant vocals ever. And the complete Whole Lotta Love medley is still the only way I want to hear that. Despite becoming familiar with the edited version on my tape, it’s since become annoying for me to listen to versions with For What It’s Worth and Honey Bee cut out.

    Another thing I like about the gig is that Jimmy has a very specific guitar sound on the electric material, perhaps because of the small size of venue? Concerns of putting it across on radio? Whatever the reasons, it’s one of his most unique performances.

    It’s astonishing that there are no known photographs from the night of the performance. One would think there have to be some in existence somewhere!

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