PATTY GRIFFIN WITH ROBERT PLANT ON LATER LIVE/ROUGH TRADE EAST IN STORE PERFORMANCE /JOHN PAUL JONES WITH MINIBUS PIMPS FOR NATTJAZZ/ ROBERT AT COLLEGE AUTISM BENEFIT GIG/ FATE OF NATIONS – KING’S HEAD 20 YEARS GONE PART 2 /ATLANTIC 40TH REUNION 25 YEARS GONE
Patty Griffin on Later with Jools Holland:
Last night Patty performed “Highway Song” from American Kid on Later With Jools Holland on BBC 2 with Vocal accompaniment from Robert Plant.
Friday’s appearance will also feature Patty with Robert Plant on harmony vocals http://www.bbc.co.uk/programmes/b006ml0l
Patty is appearing at Rough Trade East record shop London in an in store performance tomorrow night Thursday May 16th at 7pm
More details here:
Patty Griffin is due to be on the Robert Elms radio show today from 2pm to 3 on BBC London 94.9
Here’s the superb performance on Later Live with Robert Plant on harmony vocal and harmonica
John Paul Jones/ Minibus Pimps lined up for Natjazz May 26th
John Paul Jones has announced a Minibus Pimps gig for later this month – the electronic noise duo which comprises of JPJ along with Helge Sten of Supersilent, play the Natjazz Festival in Bergen on May 26th.
Full details at:
Robert Plant at Kidderminster College Arts Festival Autism Benefit Gig:
Robert attended the Glasshouse College Autism benefit gig last week – this story via the Express & Star
The former Led Zeppelin frontman was at a concert for autistic performers organised by music student Jordan Statham.
The talented 20-year-old, who attends Glasshouse College, in Amblecote, Stourbridge, and Kidderminster College, was treated to a private pep talk from the musician, lasting well over an hour. Later the veteran introduced Jordan on stage to a packed auditorium of 240 people as a ‘very special guitarist.’
The West Bromwich-born blues man, who is briefly back in the Midlands during a break in his current world tour, heard about Jordan by friend and Kidderminster College lecturer Kevyn Gammond, who played with Plant in the original Band of Joy.
“I was told about Jordan’s ambition and his unique achievement in producing a music showcase like this. I think it is great that he is able to let go and express himself in public.”
He said it was something every performer, starting out, had to face. “I was the same person as Jordan is now, sadly too many years ago. I’ve tried to advise him as he goes out into the circus that is the world.” Plant is a patron of MAS Records, the record label based at Kidderminster College which aims to help talented up-and-coming musicians.
Jordan, of High Street, Stourbridge, staged Saturday’s gig to showcase the talents of people like himself with learning disabilities.
He held auditions and rehearsals for the sold-out concert at Glasshouse Arts Centre, with performers travelling from across the UK to take part.
“I want people to see that having a disability doesn’t stop you from achieving your hopes and dreams.”
Of Plant, he said: “He was full of enthusiasm, really motivating. He talked to me about his past.”
This one via the Stourbridge News
Photo Stourbridge News
Staff and students at Stourbridge’s Glasshouse College played host to rock royalty when Led Zeppelin legend Robert Plant stopped off at a concert to show his support for people with learning disabilities.
The Black Country born star’s impromptu appearance was the undoubted highlight at the ‘Awareness of Autism’ gig which had been organised by one of the college’s own students Jordan Statham. The concert was designed to showcase the musical and performance talent of people with special needs.
Jordan, who has autism himself, was the driving force behind the event, which he has been busy organising since last October and Stourbridge schooled Robert Plant took time to speak with him and offer ongoing support for his musical career. If that wasn’t enough, Jordan and his band were also joined on stage by Alex Griffin of Neds Atomic Dustbin.
Gail Hickman, enrichment manager at the Glasshouse college, said: “It was a great honour to have Robert Plant come along and support Jordan. He was very generous and his visit made Jordan’s night.” More than 200 people packed into the college’s Art Centre in Amblecote for the concert which was funded by Vinspired who paid all the costs.
Organisers believe the concert could raise around £2,000 which will be donated to Autism West Midlands.
Gail Hickman added: “The concert was a huge success and all the performers were brilliant. “As I looked around the audience on the night, there were many emotional faces and tears, including my own. The performers should be really proud of what they have achieved.”
If anyone would like to buy T Shirts, CDs or other memorabilia from the concert they can contact Gail on 01384 399459. All the money raised will continue to be donated to Autism West Midlands.
TBL 35 Update:
This week I’m working on the Aubrey Powell aka Po interview. This is a fascinating insight into how, along with the late Storm Thorgerson as part of the Hipgnosis team, Po created the art of Led Zeppelin on a series of memorable album sleeves….and inspired by this it’s going to be a week of albums on the player that carry Hipgnosis sleeve designs – and along with the Zep albums, I’ll be searching out the following from my collection:
Bad Company Straight Shooter and Desolation Angels, Pink Floyd Wish You Were Here and The Dark Side of The Moon, Peter Frampton Something Happening, Roy Harper Valentine, The Nice Five Bridges, T Rex Electric Warrior, Pretty Things Silk Torpedo and Savage Eye, Al Stewart Year Of The Cat, Trees On the Shore, Wings Venus And Mars and Yes Going For The One.
The Aubrey Powell interview is a captivating story as told by the man who was there…and another highlight of the forthcoming issue 35 …and another reason for investing in the TBL magazine…
Many thanks for all those who have re subscribed to the 2013 magazine subscription so far – there are emails going out to past buyers of TBL products to prompt you along – Please note if you subscribe before June 5th you will pay the current listed price of the TBL subscription offer – from June 5th there will be a price increase to accommodate recent postage price increases.
Again thanks as ever for all your support
Order links as follows:
To subscribe to the 2013 TBL magazines – covering issues 35 , 36 and 37, here’s the ordering link:
You can also order TBL 35 as a single issue at this link:
Fate Of Nations -King’s Head 20 Years Gone -TBL Archive Special Part 2
20 years ago this month, Robert Plant performed two warm up gigs at the King’s Head in Fulham. Gary and I were lucky to be in attendance at both these memorable shows. It ushered in another great Plant period with the accompanying Fate Of Nations album providing a soundtrack to the summer of 1993.
To mark this 20th anniversary, here’s part two of our TBL Fate Of Nations archive special – more very passionate and enthusiastic text from yours truly that first appeared in TBL issues 8 and 9. This one covers the second warm up gig my review of the album and tour summary.
Venue: Kings Head Fulham
Thursday May 20, 1993
Background: A much more high profile gig than the previous Friday, this date is a charity bash with all proceeds going to the Deaf Foundation. The pub venue is officially closed and admittance is by ticket only. For this date Robert redeploys The Band Of Joy pseudonym. Word of the gig begins to sweep the capital like wildfire after Robert hints very strongly to Richard Skinner during that morning’s interview on Virgin 1215 that he is playing ‘somewhere tonight’.
Mere matters such as a Cup Final replay pale into insignificance and a growing crowd converge outside the entrance from 6 p.m. onwards hoping to gain admission – a plea that proved fruitless for the majority of ticketless fans.
Soundcheck: With an MTV film crew in attendance Robert and band run through a variety of numbers from late afternoon and into the early evening including ‘Calling To You’ and a blues jam with Nigel Kennedy, plus ’805′ and ‘If I Were A Carpenter’ with Kevin Scott McMichael – all of which were aired on MTV’s Rockblock show on May 31. Interview segments were also conducted and later interspersed with various videos for the MTV screening – including a rare airing of the ‘Ship Of Fools’ video.
In the crowd/Backstage: Nigel Kennedy (who also joins them onstage for the encores), Dave Bates, Bill Curbishley, Chris Blackwell, Doug Boyle, Maureen Plant, Debbie Bonham, plus several Zephead vets (say hello Peter Jones, Nigel Glazier, Gary, Krys, Kam, Pasc and Diane, Rob and Liz). Plus numerous press and media types and representatives from Phonogram and BMG Publishing. Around 180 pack the venue.
Set List: Hurting Kind/Trampled Underfoot/Nirvana/Ramble On/If I Were A Carpenter/Going To California/I Believe/29 Palms/Tie Dye On The Highway/What Is And What Should Never Be/Tall Cool One/Whole Lotta Love. Encores: Promised Land/Calling To You/Shook Me.
Performance Notes: Much extended set than the previous week and with a high profile media audience, Robert seems very aware of the need to impress. Wearing the same garb as last week and with his hair tied back slightly, he’s on song from the off. Mini acoustic set sees the return of ‘Going To California’. ‘I Believe’ is superbly premiered from the new album. Robert loses the lyrics slightly during Tie Dye’ and there are no prompt sheets to aid him this week. The real fun comes with the encores as Nigel Kennedy joins them for a manic ‘Calling To You’. A second encore (“This must be the Led Zeppelin Convention” jokes Robert beforehand!) features a loose jam version of ‘You Shook Me’. Following a call and response rapport with the fiddling Nigel, Plant takes over Frankie’s guitar and plays a very competent solo (a feature that will become a familiar part of the tour).
A crazy end to a crazy evening and my sweat stained attire indicates that this must have been the best Zep related live experience I’ve encountered since . . . well since last Thursday at the same venue (DL).
After Show: Robert and the band join Mr. Kennedy and co. for an upstairs party. Early on a shirtless Plant can be seen to be serving drinks behind the bar. He also takes time out to pose with manager Bill Curbishley and BMG Publishing moguls Andrew Jenkins and Nicholas Firth for an industry photo call to celebrate his signing a new worldwide deal with BMG Music Publishing International.
Press Reaction: “For those that were inside Plant and band could have played anything … what we got was pure rock’n’roll nirvana. Close your eyes and it could have been Boston, Anaheim or Madison Square Garden in the early 70s; open them and you appreciate that Plant has emerged from all the potential reformation/supergroup rumours with an integrity that many of his contemporaries have lost. We all knew he was the first, now he’s proved he’s still the best”. (Chris Collingwood/Metal CD)
“If this showing is anything to go by, the upcoming ‘Fate Of Nations’ tour should be Robert’s finest to date. Gig of the year and the best Plant performance since Led Zep at Earls Court!” (Xavier Russell/Kerrang)
THE FATE OF NATIONS TBL ALBUM REVIEW
Robert Plant’s Fate: Diversity As A Function Of Union
FATE OF NATIONS (Fontana/Es Paranza)
So he’s back and ready to re-establish himself all over again. Of course, being Robert Plant re-establishing yourself doesn’t mean a total change of image or musical stance. He just draws on the many influences that have characterised his journey of the past 30 years and extracts from them as he sees fit.
What’s so refreshing about ‘Fate Of Nations’ is that, for this occasion, Robert has delved into the very essence of his roots going as far back as Muddy Waters, Howlin’ Wolf and Robert Johnson, through Moby Grape, Quicksilver, The Incredible String Band, and Fairport Convention to the music of India and North Africa and, of course, the work of Led Zeppelin. And in taking these influences he has not allowed them to be diluted into a slick or soulless concoction but as he describes it, he has pumped them to inspire a set of new compositions that live and breathe yesterday, and by the same measure, push for the aspirations of tomorrow.
‘Fate Of Nations’ is therefore devoid of any grunge outings if you were looking. It’s also a step away from the rather staid standard rock formula that rendered some of the more mundane moments of ‘Manic Nirvana’ (‘She Said’, Big Love’) into the realms of mediocrity. By surrounding himself with new players and passions, Plant has pleased himself in taking his music where he wants it to go, and not where the consensus of opinion might expect it to go. For that reason alone, this album is vastly different from past solo outings. Almost every track carries its to soul, to rock and back again. Much of it demands utmost attention and does not rest easy on the ears in one listening. It may not be immediately apparent, but given time and repeated playback, the end result is a rewarding experience that tor me again confirms this particular 44 year old’s status as the outstanding vocalist of this or any other era.
The eclectic content of ‘Fate Of Nations’ perhaps also illustrates the difference of musical opinions that now divides Robert and Jimmy – and goes some way to explaining why a Led Zeppelin reunion could never work. Let’s face it, If I Were A Carpenter’ would not have found itself easily on a Zep reunion album. There is a totally different atmosphere prevailing on Robert’s album than that of the Coverdale Page set. Jimmy’s music is built on relentless riffing that captures a vast vacuum of sound. Robert has seemingly moved away from that stance, preferring to move around organically as he puts it, encompassing different styles and genres.
Not that he has lost his ability to adapt such Zep-like dynamics (witness ‘Calling To You’) when the desire takes him. For the most part though, the dynamics are alternately diversified and for me personally that’s not a problem. I can quite happily enjoy Jimmy and Robert’s respective new works based on their own differing merits and motives.
So this isn’t music that can be pigeon-holed to the cover of Kerrang. This is Robert Plant in 1993, still offering up that vocal style (his singing throughout is quite exemplary) that continues to give him a reason for being … instead of a reason for having been.
The track by track TBL dissection that follows is based on an advance tape and at the time of writing, I did not have access to the individual track listing details regarding who played what etc. Nonetheless this is how it sounded after a week of non-stop airtime on the Totnes Towers tape deck:
It all begins with ‘Calling To You’ which is simply the business. Beginning with some minor key strumming it then tacks into shape via Pete Thompson’s powerful (and yes perhaps Bonham-like) drumming. This really is a definite Zep throwback stomping along with some great dual guitar effects from, I think, Francis and Kevin. At the centre Robert turns in a majestic vocal, often undercutting the mix with additional bizarre phrases that add to the mystery of the lyric. All the old trademarks are intact (“Ohhhh Yeeaahhl”) and as effective as ever. The instrumental refrains have an Eastern quality about them and are further enhanced when one Nigel Kennedy enters to layer on a manic violin solo that recalls to mind the effects on The Beatles’ Tomorrow Never Knows’.
The track fades (“Just fade awaaaay!”) all too soon (this groove could sustain another five minutes in my book) but there is a telling moment as Plant can be heard right at the close to scream “Jimmy!”‘
Could this be Robert’s own personal retort to his former partner? Perhaps illustrating that he can still turn on his sort of dynamic style when required? All in all it’s an infectious and engrossing slab of archetypal Plant that proves that he can still commit himself to this vocal style better than anyone. It’s also one of his best solo tracks to emerge in a very long time.
Elsewhere there are many differering styles to assess. ‘Down To The Sea’ is a quirky, repetitive Cure-like ramble, led by a subtle injection of Eastern table drums. The descriptive nature of the repeated lyric (“When I get older settling down will you come down to the sea”) conjures up video storyboard images of deserted grey beaches and the retired Plant many years hence holding court in carnal Malibu style with a bevvy of beauties still in tow. Vaguely psychedelic and dreamy, this track has a very ambient feel and is a very enjoyable departure.
‘Come Into My Life’ can be viewed as a direct influence of his hanging out with the Fairports. So enter Richard Thompson to add some achingly beautiful guitar licks and Maire Brennan from Clannad to float around Robert’s turn of phrasing. The chorus is heavily scored by a rush of acoustic guitars from which I detected a slight ‘Over The Hills’ leaning. The middle guitar part from Richard is superbly atmospheric and amongst the most elegantly constructed solos I’ve heard in an age. Robert’s vocal (“Ohh when yer get there yer know”) is also superbly recorded, capturing the gentle folk essence of the track but also rising in temperature with the chorus as required without ever losing control. This as good as anything he’s done in the post Zep years.
“Memory Song” (Spikes Ghost) lurches in on a loping churning riff that proceeds to dominate the tempo. Robert’s vocal is nondescript and slightly phrased. The drum beat has a touch of the ‘Levee Breaks’ about it and towards the end the piece becomes a vehicle for some typical Plant gymnastics (one of which is right out of the fade to ‘Four Sticks’).
The appearance of ’29 Palms’ changes the mood. Already discussed as a single, within the confines of the album, it leaps out as being overtly commercial, with some very Knopfler-like guitar licks and a nice driving feel. Likeable.
‘Colour Of A Shade’ takes over where ‘Liars Dance’ left off on the last album. Framed by a series of attractively overdubbed acoustic guitars, Robert applies a very folksy vocal that leads to an affectionate chorus. Shades of the Incredible String Band prevail throughout. File next to ‘Going To California’.
Side 2 opens with ‘I Believe’. The intro has a distinctly ‘Tears For Fears’ sounding keyboard motif (Chris Hughes influence) before moving into a very pretty strident mid-tempo chorus-led excursion likely to be pulled as the next single. Lyrically it’s not too difficult to detect a very personal message in the lyric (“Say brother sister see your brother in the sky”), which is duly reflected in the emotional content of Robert’s singing. “Like the wind you are free so talk to me, talk to me”. I guess we all know how the latter line will be extended in a live setting. There’s a very Beatlish flavour to the guitar solo here and overall this is another successful deviation from the expected.
Promised Land’ is more traditional fare, a bluesy strut with some prominent organ early on, before the familiar harmonica merges with some stinging guitar at times embellished by wah wah effects. His vocal here has a very retro feel which is almost ‘Physical Graffiti’ in texture. There’s an offbeat peculiarity about the whole track that draws you in on subsequent listening.
Another departure heralds the arrival of Great Spirit’. Set against a muted wah wah guitar effect played slow and moody, Robert croons over a repeated background chorus (“Great spirit comes”). Soulful and tasteful with some impressive guitar soloing but not a riff in sight. The lyrics include a reference to the album title and it all mellows out into the distance via some echo vocal effects as the master heeds the lyrical call of a previous incarnation (“Sing and Celebration”).
“Greatest Gift opens with string induced grandeur. This is an epic love ballad, again more soulful than bluesy. It livens up for each power chorded chorus before returning to a very moody and mellow theme aided by some silky smooth guitar lines. The addition of a full string accompaniment adds to the epic nature of the piece. The whole thing has a widescreen effect and it strikes me that the song would make a great movie soundtrack theme. Plant’s impassioned vocal just soars.
And then . . . Robert joins such illustrious company as Bobby Darin, The Four Tops, Johnny Cash, and The Band Of Joy in covering the Tim Hardin 60s classic ‘If I Were A Carpenter1. It’s a superb performance beautifully sung with full respect for the original and underscored by a subtle snare injection and another lush string arrangement. It’s a song he was familiar with long before there was Led Anything around circa 1967 and though it’s hardly the usual formula, it proves to be a perfect vehicle for his voice. And who knows, it could be a huge smash if extracted as a single at the right time.
And that is ‘Fate Of Nations’. An album that explores many different facets of Robert Plant’s compound of influences. It may take a few repeated listening but stick with it, because the end result will be immensely satisfying.
Led Zeppelin’s greatest strength was always their sheer diversity, a point clearly not lost on their ex-singer 25 years after their original inception. On ‘Fate Of Nations’ Robert Plant employs diversity as a function of union. Share it with him at your earliest opportunity.
Dave Lewis – April 25th 1993
STOP PRESS Please note early tapes of the album did not carry the track Network News’ which I was unable to review due to the already overdue printing deadlines. Just received the second CD of ’29 Palms’ with the new acoustic ‘Whole Lotta Love’ – it again employs Rainer on steel guitar – a sparse bluesy workout very much in harmony with Willie Dixon’s original “You Need Love” which no doubt accounts for the subtitle employed on the sleeve.
TBL FATE OF NATIONS EUROPEAN TOUR OVERVIEW
Playing To An Ocean: Robert Plant goes back to the people
From a grand entrance in front of over 100,000 in Milan on May Day 1993, through to the less populated confines of the Kings Head, Fulham and across a variety of European halls and festival dates, Robert Plant’s first tour in three years has produced one of the most intensive and interesting work periods of his entire career. Stretching from the early Spring into late August he has appeared in front of well over a million people.
In launching this new phase of his career, Robert has been firmly committed to taking the music to the people. With little pretentions for the arena rock circuit which by his own admission his audience would be unlikely to extend to filling, Plant and his new line up embarked on a promotional trip that ensured a strong visibility by shrewdly taking a support slot with Lenny Kravitz and making up the bill on several major European festival dates, including a triumphant UK return at Glastonbury.
Alongside the actual live appearances, there have also been the media plugs. These have encompassed a hefty round of promotional TV and radio interviews with the added spice of several acoustic sessions that have been responsible for some surprising performances. The ‘FateOf Nations’ media UK push also propelled the new line up on to the small screen with appearances on ‘Top Of The Pops’ and ‘Later With Jools Holland’ – the latter signalling Robert’s first ever live UK presentation in his own right since the Zepp 1969 one off.
Musically, in assembling a new line up, fresh thinking has been afoot. Gone are the techno wired for sound effects of Chris Blackwell’s drumming and the reliance on keyboards and samples from Phil Johnstone who, for this tour, has been much more prominent on guitar. Gone too, sadly, is Doug Boyle. He has been a much missed part of the line up for many Plant devotees, having carved a considerable nitch for himself during the previous four years. In revamping the line up Plant appeared to have struck lucky in finding Kevin Scott McMichael, an intelligent player with a seasoned background who displayed a fine alliance with
Plant’s own musical leanings (hence the introduction of the East coast Moby Grape/Springfield influence)., However, judging by his swift exit at the end of the European tour, it would appear all was not so well, and Plant was forced to hastily insert a replacement with the addition of Innes Sibun (see USA tour watch for more details). To the left of the lead singer has stood Francis Dunnery, a strident guitarist well versed in the Page songbook and a strong personality on stage (can’t say I was over enamoured with the green shorts mind!). His stay could also be limited as there are plans for him to tour in his own right in early ’94.
On drums, Michael Lee has proved to be an excellent addition with a no frills attitude to attacking the kit (Calling To You) coupled with a subtlety in his approach when the occasion demands (witness the rimshot style on the new arrangement of Ship Of Fools).
The actual set list employed seems to have caused quite a division amongst the faithful. After the No Led Anything approach pre-83, the contention of what to play seems to have come full circle. This time out there has been a renewed emphasis on performing Zep numbers – a total of 11 were aired along the tour against a ratio of 9 of his solo outings (plus two non originals).
Of those nine Plant solo outings, none of the songs delved back further than the 1988 Now And Zen album. It’s almost ironic that many of the diehards I’ve spoken to said they would have preferred Robert to have reinvestigated earlier solo tracks such as Pledge Pin and Burning Down One Side at the expense of a Zep delivery or two.
Of the Zep numbers re-employed Thank You and What Is And What Should Never Be received their first live airings in 20 years and seemed to be most welcome by all that heard them. The actual structure of the set was changed to match the differing time slots – a rigid 45 minute set was the norm for the supports to Lenny while the festival set was elongated to over an hour. The UK meanwhile received something like the duration that the US leg enjoyed with plenty of encore surprises – the most striking of which was the verses of Dazed And Confused performed at the NEC. Three tracks were used as set openers with Tall Cool One eventually emerging as the key choice over Hurting Kind and Calling To You.
Visually his persona seemed a throwback to the golden age with the hair back to Earls Court centre parted length. Time has not been too kind to his facial lines however and I also observed something of a receding hairline when the sweat dripped off the hair. But he looked fit enough -incorporating that new whirling dance style with perhaps a more paced physical approach that kept the peacock preening for later in the set.
In amongst all the media saturation Robert has played off the usual Zep investigations with a combination of flippancy and perception. Sometimes appearing not to care too much about the past, while at other times keen to re-affirm their greatness and affectionately talk of John Bonham.
One of the illuminating comments that have surfaced in more than one interview, is Plant’s observation that towards the end Led Zeppelin had become less of a passion for him and would not have survived in the 80s for all that long. “One thing’s for sure it would have seemed pretty silly today” was one such comment. This quote from a French radio interview also summed up his thoughts of the state of play back then. “Could we have continued? It’s impossible to say It’s a long time ago and I’m dealing with the present and the future now. And if I look back it’s all a long way back. I think there are some things you just grow out of. Led Zeppelin was very instant and motivated and you can’t keep that going forever. It really was a very big exciting animal. And maybe the animal had gone to the zoo . . .”
The other media cat and mouse game surrounded the Coverdale Page project with Robert again mixing some guarded replies with a few unsubtle and unnecessary snipes. When it comes to such matters, he should really let the music do the talking.
And it was the music that was the real focal point of this return to the people. And for me the most striking factor through it all, has been the quality of his vocals – with performances such as Thank You’ and ‘I Believe’ recalling the purity of those early teenage Atlantic recordings of nigh on a quarter of a century ago.
In fact some 20 years after he first introduced us to the ethic on the ‘Houses Of The Holy’ album, Robert Plant is still singing to an ocean . . . and judging by the reaction to this European tour. . . the ocean hasn’t lost its way…..
Dave Lewis – July 1993
First published in Tight But Loose issues 8 and 9
Copyright Dave Lewis/TBL –not to be reproduced without prior permission – Compiled via the TBL Archive with thanks to Gary Foy
Here’s a great you tube clip from the MTV Rockblock series that covered the second show. This is Calling To You with Nigel Kennedy guesting on violin as performed in rehearsal at the Kings Head Fulham London 20 year ago…
One more anniversary ….25 years ago today Led Zeppelin reformed for the Atlantic 40th anniversary show in New York . …ok it wasn’t perfect and the sound did them no justice, but the spirit was still willing and I love it for all the chaos of Led Zeppelin it creates…
Until next time…
Keep listening, keep reading…
Dave Lewis/Gary Foy
May 14th, 2013.
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