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19 November 2015 3,386 views 2 Comments



The Paris Terror Attacks:

I had been watching the BBC 4 Rod Stewart documentary late on Friday so I was not aware of the terrible events that were unfolding in Paris until early on Saturday morning. It was just shocking to read of the terror and the distruction caused in so little time.

I was due to attend the VIP Musicmania Fair at Olympia and it really did take the wind out of the sails – as Tom and I reached London there was a very strange atmosphere at St Pancras International station – especially the queues forming around where the Eurostar train departs. There were many looks of confusion and shock.

Once in the fair, I did get involved with the activities of the day – but the events in Paris were never too far from my mind – a sentiment echoed by my friend Steve Way – I met up with Steve and his lady Kathy at the fair.

The next day on Facebook, I thought this summary posted by Steve really touched a chord:

Football/music/cuisine/socialising…..four hobbies that cost so many people their lives on Friday. On Saturday we indulged in those four hobbies. No jealous fanatical religious nut cases will stop the free world from the enjoyment of life,and the sooner this message is understood the better. However whilst in London on Saturday -Paris wasn’t far from our thoughts.

The presence of police armed with guns on patrol at St.Pancras International as we made our way home was a stark reminder of the world we live in right now.

It’s a world is in shock in the aftermath of the truly horrendous terrorist attacks in Paris. That one such attack should occur at a rock concert only enhances the bewilderment and hurt we all feel by these senseless actions.

For all readers of this website and the TBL magazine, attending a rock concert is a fundamental joy we all love to experience. That so many innocent rock music fans should not return after attending the Eagles of Death Metal at the Bataclan venue in Paris on November 13, is almost incomprehensible.

But that is the stark reality of it all – I know all our hearts go out to the victims and families.

Led Zeppelin have a long association with Paris and France. Jimmy Page was involved in the French pop scene in the 1960s playing on hits for the likes of Johnny Hallyday. In 1969 Led Zeppelin made one of their rare TV appearances on the French Tous en Scene show filmed in Paris – on October 10 1969 they appeared at the Olympia, a concert recorded and aired on the Europe 1 Musicorama station at the time – and more recently immortalised on the Companion Disc for Led Zeppelin I

The French photographers Christian Rose, Dominique Tarle and Jean –Pierre Leloir captured many a memorable Zep image on French soil. Many of these images can be seen in the excellent French publications Led Zeppelin Over Europe – The Photographs of Jean – Pierre Leloir and Led Zeppelin and Related – Hexagonal Experiences.

On June 6 1995, I witnessed one of the best concerts I’ve ever seen – and it took place in  the French capital –namely Jimmy Page & Robert Plant’s show at the Bercy. More recently, in May 2014, I enjoyed the delights of the city when attending the playback Jimmy Page staged back at the Olympia for the first three reissues.

Over the years I have been in touch with many French Led Zep fans. Didier Janeault was one of the first  to buy TBL issue 1 – Christophe Le Pabic has been a long time supporter and contributor to the TBL mag. Christophe, along with Benoit Pascal, Eric Fouassier, Patrick Maginot, Xavier Blanc and Marc D’Anjou produced the excellent Kashmir Zep French mag which has been a great support with info over the years.

Then there is a host of French TBL subscribers including Eric Fouassier, Agnes Barbe, Pierre Delval, Guilhem Thibuad Bouton, Francois Derlon,  Jean –Yves La Forgue, Jean Christophe Lion ,Yann Madec, Mateusz Panko, Fabien Modola,

My thoughts are with them during this sad time. I pray they and their families are safe. Didier has been in touch to say his wife was in the Stade de France on Friday but thankfully was unharmed.

We are all united in their grief…and has been acknowledged many times this week, we stand as one with the whole of France in the light of these horrendously tragic events…

Dave Lewis,  November 19, 2015


mandolin three

John Paul Jones onstage:

John Paul Jones performed with Bela Fleck & Abigail Washburn in London on Tuesday November 17. Pic via Twitter/davevasse


Many thanks to James Cook for news input – for the latest Zep news updates be sure to check out Led Zep News at



Robert Plant presents award at annual APRS Awards:

Ray Davies and Mike Oldfield were among the recording industry veterans to be honoured by the APRS at its Annual Sound Fellowships Lunch in west London, on Tuesday.

ray d

Led Zeppelin’s Robert Plant was the surprise guest at the celebration at the Kensington Roof Gardens, as members and guests of the Association of Professional Recording Services gathered to “recognise the excellence and achievement of those who have made a special contribution to the art, science and business of recording”.

With Sir George Martin, APRS president, unable to attend through health reasons, hosting duties were handed to his wife Lady Judy Martin. 6Music tastemaker Tom Robinson and APRS statesman Dennis Weinreich co-presented the proceedings; Focusrite, AMS Neve and API returned as three of the main sponsors, with Sonnox and Yamaha UK joining the line-up for the first time.

As usual, six titans in their field were inaugurated into the Fellowship: this year, it was the turn of Ray Davies CBE of the Kinks, musician Mike Oldfield, producer and engineer Richard Dodd, co-founder of AMS Neve Stuart Nevison, RAK Studios manager Trisha Wegg, and musician and former APRS exec director Peter Filleul.

Guy Fletcher OBE, chairman of the PRS, began the formal part of the lunch by proposing the annual Harewood Toast (a traditional ‘keynote’ style affair in honour of Lord Harewood, founding patron of APRS.) Fletcher regaled guests with tales of meeting Joe Meek in his chaotic Holloway Road studio in 1962, and revealed how he was the first UK songwriter to have a composition sung by Elvis Presley.

AMS Neve MD Mark Crabtree read the citation for his old business pal Stuart Nevison. Rock legend Robert Plant was on hand to present the Award to RAK studio manager Trisha Wegg. “I’m overwhelmed!” said Wegg as she took to the stage. “It’s been one heck of a ride. I’m just so aware that without all this music and musicians, I wouldn’t have a job.”

See link at


TBL Archive Special:

Led Zeppelin IV – 44 years gone…

Led Zeppelin - Led Zeppelin IV

To mark the 44th anniversary of the release of Led Zeppelin IV here’s a TBL archive feature – first compiled for TBL issue 15 though not used at the time – it eventually appeared in the my Celebration II – The Tight But Loose Files book.

The Making Of Led Zepplin IV – Part One:

On the evening of Saturday, September 19, 1970, the four members of Led Zeppelin took a final bow before leaving the stage of New York’s Madison Square Garden. It signalled the end of a massively successful US tour, their two performances at the Garden alone netting each of them around $30,000 – not bad for six hours work. Their second album had been a fixture on the album charts on both sides of the Atlantic, racking up sales of over a million in both territories. The previous June the group’s bill topping appearance at the Bath Festival had cemented their reputation on home soil. Readers of the then hugely influential Melody Maker had just voted them as the top act in their annual pop poll, ending years of dominance by The Beatles.

There was simply no doubt about it. Led Zeppelin were now the biggest band in the world.

Then came the backlash…

In early October their eagerly awaited new album, Led Zeppelin III, hit the stores. Its bold agenda in combining the familiar, trademark heavy rock dynamics with more acoustic textures confused both the public and press alike. Headlines such as “I… 2… 3 Zep weaken” were rife as this new direction confused and, to some degree disappointed, critics.

Though Zep III sold well initially it did not to have the across-the-board appeal of their first two albums. Never entirely at ease with the press, Page and Plant were particularly sensitive to the criticism. “The headlines are saying Zep goes soft on their fans or some crap,” remarked Plant to Record Mirror at the time. “The point is when you begin a new album you never knew how it’s going to come out.”

For Page the third Zeppelin album signalled the beginning of a new era. “There is another side to us. This album is totally different to the others and I see this as a new direction.”

Plant again: “Now we’ve done Zeppelin III the sky’s the limit. It shows we can change, we can do things. It means there are endless possibilities. We are not stale and this proves it.”

Brave fighting talk – but quite how their following would react long term to this new direction was at the time still in question. After the initial glow of success they were at something of a crossroads, making their next album crucial. Page later reflected: “With Zep III we thought we’d made a great album – in fact we knew we had. At the time, though, it was said we had started playing acoustic instruments because Crosby, Stills & Nash had just come through and we were ripping them off. I know the record company expected us to follow up ‘Whole Lotta Love’. But we never made a point of trying to emulate something we had done before.”

Sensibly they took their time in recording the crucial fourth album. To recharge their batteries manager Peter Grant refused all offers to tour over the coming months. This included turning down flat a cool one million dollars to appear on a New Year’s Eve I concert to be relayed across the world via satellite. Years later | Peter Grant noted: “I got approached for the band to perform a show in Germany on New Year’s Eve 1970 that would be relayed to American cinemas. The offer got up to a million dollars but I found out that satellite sound can be affected by snowstorms so I said no. The promoters couldn’t believe it, but it just wasn’t right for us.”

Aside from a day out in October to accept a clutch of gold discs from a Parliamentary Secretary for their part in sustaining the country’s healthy balance of exports, the group laid low.

In late October Page and Plant returned to the idyllic cottage half way up a mountain in South Snowdonia known as Bron Yr Aur. It was here that earlier in the year they had conceived many of the songs for Zep III. This return visit again found them ensconced around the open fire with acoustic guitars in hand preparing material for the next record.

They already had a backlog of completed and work-in-progress ideas, amongst them a lilting, Neil Young-influenced: titled ‘Down By The Seaside’, ‘Hey Hey What Can I Do’, a semi-acoustic country stomp and, in the same vein, a song called Poor Tom’. ‘The Rover’, then an acoustic idea with idealistic lyrics, was another song waiting to be honed. John Paul Jones had been working on a brooding keyboard piece that would later emerge as ‘No Quarter’, while Page had began demoing a lengthy instrumental track which started off tranquil but built to a crescendo. We all know how that idea flourished, initially they considered a double album, and Page even toyed with the bizarre idea of issuing the album as four separate EPs. After the Zep III backlash they were immensely keen to lay down some fresh new material.

In December they booked initial studio sessions at Island Studios. The Basing Street location was fast becoming the most in-demand studio in London and they had recorded much of Zeppelin III there the previous May. Page, though, was also looking to record on location with The Rolling Stones’ newly built mobile recordding unit. “We started off doing some tracks at Island then we went to Headley Grange, a place we had rehearsed at. We took The Stones’ mobile. It was ideal.  As soon as we had an idea we put it down on tape.”

Headley Grange, a largely derelict 18th century manor house, was situated in deepest Hampshire. A three-storey stone structure built in 1795, it was once a workhouse known as Headley Poor for the aged and infirm, and in 1870 it was bought by builder Thomas Kemp who converted it to a private residence and. renamed it Headley Grange.

In the wake of the ‘getting it together in the country’ trend that acts such as Traffic had pioneered in the late Sixties, the place  began to be used as a rehearsal venue for the likes of Fleetwood  Mac and Genesis. It was Fleetwood Mac who suggested the premises to Page.

Plant reflected: “Most of the mood for the fourth album was brought about in settings we had not been used to. We were living in is falling down mansion in the country. The mood was incredible.”

So on a cold January morning early in 1971, accompanied by a handful of roadies plus engineer Andy Johns (brother of noted producer Glyn Jones who had worked on the first Zeppelin album), Page, Plant, Jones and Bonham convened on the old workhouse to set up and record material for their fourth album. Parked outside was the Stones’ mobile studio looking not unlike some vintage army intelligence unit.

Engineer Andy Johns recalled the idea behind going there in an interview with Guitar World: “I had just done Sticky Fingers with the Stones and we’d used the mobile truck on that. So I believe 1 suggested using the truck to Jimmy. We had used Mick’s house at Stargroves but Jimmy didn’t want to stay there because Mick wanted too much money. Then Jimmy found this old mansion so we brought the truck there.” They did eventually record at Stargroves the following year for the Houses Of The Holy album.

John Paul Jones has less positive memories of their stay at the Grange. “It was cold and damp. I remember we all ran in when we arrived in a mad scramble to get the driest rooms. There was no pool table or pub. It was so dull but that really focused your mind on getting the work done.”

On hand to monitor the recordings was Ian Stewart. Stu, as he was affectionately known, was a long time backroom associate of The Rolling Stones – and had even been in an early line up of the group prior to Andrew Oldham grooming the younger band members for success. Stu was an accomplished jazz and blues pianist, and his battered old upright piano was packed alongside the Zep gear in preparation for the likelihood of a jam session or two. The relaxed nature of the whole set up deemed this inevitable.

zep 1971 photo call

Early on during the warm up sessions, John Bonham began banging out the cymbal led introduction to Little Richard’s ‘Keep A Knockin”. Ian Stewart joined in the fun, adding a Jerry Lee Lewis barrelhouse piano backdrop. Jones and Page picked up the mantle, adding Scotty Moore-like guitar runs from the, golden era of Sun Records. Plant soon cut in with a vocal line, but instead of tripping effortlessly into one of the many rock’n’roll standards that they performed live on stage he screamed out nondescript lyrics built around a chorus of “It’s been a long time since I rock-‘n’ rolled”. Within minutes they knew they had something, as Page remembers: “We were doing something else at the time but Bonzo played the beginning of a Little Richard track. We had the tape running and I started doing that part of the riff. It ground to a halt after 12 bars but we knew we had something – Robert came in with the lyrics and within 15 minutes it was virtually complete.”

Dave Lewis

To be continued


A night of Electric Magic – 44 years gone..

71-11-13 pg. 17 ed b

It’s that time of year again and November 21st is always a bit of a special date in my calendar as it was on this day back in 1971 that I was lucky enough to witness Led Zeppelin live at the Empire Pool Wembley –and as you will read, nothing was ever the same in our house after that…This weekend I’ll wading through the Empire Strikes Back Tarantura CD box set to recall the night the Wembley Empire Pool was, as the Melody Maker headline ran  ‘Zapped by Zeppelin…’

Here’s some personal reflections…

Schoolboy wonderment, Wally, Pigs and Plates at the Pool

44 years ago today I first witnessed the pure live power of Led Zeppelin when I attended the second Electric Magic show at the Empire Pool Wembley on the evening of Sunday November 21st 1971. I was just 15 years old –the effect would be a lasting one. Looking back one of the things that stands out from that time is that Zep had a ‘’leaders of the underground’’ stigma about them.

This was the latter period of the UK underground scene –the famous Oz obscenity trial was a only a couple of months before and on that November night there hung a heady atmosphere as London’s counter culture elite came out to see them. This feeling of being amongst the counter culture was enhanced by the presence of a large stall within the Empire Pool for Virgin Records Richard Branson’s newly inaugurated discount record retail operation. They were proudly selling the new Led Zeppelin album in that mysterious sleeve. There was also the famous Electric Magic poster on sale for all of 30p which now changes hands for upwards of a grand. I wish I’d brought more than one!

This was the night Home and Stone The Crows were the support acts and during both sets their respective guitarists took out a violin bow and briefly did a ‘’Jimmy’’ in mock respect for what would occur later. The in between entertainment was provided by the infamous performing pigs that didn’t and the plate spinner Olley Gray who also didn’t fare too well. Warm up records played by DJ Jeff Dexter included Redbone’s Witch Queen Of New Orleans and Isaac Hayes’ Shaft – both hits of the time (Page would insert the riff of Shaft into their version of Dazed And Confused the next week in Manchester.)

There were frequent cries from the audience of ‘’Wally’’ a gig going tradition sparked by a roadie at the 1970 Isle of Wight Festival. Never around when needed, the road crew cries of ‘’Where’s Wally?’’ was taken up by the festival audience – and ensuing audiences at big name gigs such as this one.

Then it was time for the main event. Promoter Ricky Farr introduced them and it was evident how loud it was going to be from the moment Bonzo rattled around the kit and Jimmy flexed the Gibson. Then 1 -2-3-4 …Blam!

zep wembley 71 3

I was watching Led Zeppelin perform Immigrant Song in front of my own eyes…and nothing was ever the same again.

And nothing was ever this loud. The sheer force of the riff physically pushed me back. After the initial shock of that moment, well the rest of proceedings for this particular schoolboy were just awe inspiring. I watched it all with open mouthed wonderment.

So many vivid images remain from that first stunning exposure to the grown up music world. The immediate upturn of seeing this thing in the flesh was that my interest increased manifold.

The scrapbooks became more meticulous, the hunger for knowledge about them more intense and the need to follow their every move a virtual means to an end. It was a year of waiting before they returned to the UK and I saw them at Alley Pally and then came five glorious nights at Earls Court and more. By then journalistic reporting of Zep in the Melody Maker and NME by the likes of Roy Hollingsworth, Nick Kent and Charles Shaar Murray had inspired me to put pen to paper myself and the seeds of Tight But Loose were being sown.

Ultimately it was that night back in November 1971 that sparked the insatiable belief in their music that has stayed with me ever since. It was a night of true Electric Magic and the intervening 44 years have done nothing to diminish its impact.

Back then at 15 years old, I knew I had witnessed something very special –but little did I realize that many years hence at age 59, Led Zeppelin, would still mean so much to me and countless millions across the world.

Then as now… they still hold the (Electric) Magic….

Dave Lewis – November 19, 2015.   


44 years later….Whole Lotta Led at Haynes:

Exactly 44 years ago to the day, I will be again experiencing some live Led Zeppelin music as the renowned Led Zep tribute band Whole Lotta led will be performing in the Bedfordshire vicinity.      

The band who celebrate their 20th anniversary next year, will be performing at the Haynes Village Hall. The TBL crew will be pitching up and we look forward to seeing all that can make it along.

Ticket details below:


The new Empress Valley soundboard:

A new previously uncirculated soundboard tape of the Fort Worth March 3 1975 has just been released on a variety of new CD sets.  

Forth worth pic Cd set

Paul Sheppard reports…

The new (luxury) kid in town!
The Fort Worth soundboard has now surfaced. I don’t know the provenance of the source but would interested in any details as to its history, so if you know, please comment.
Available in 3 different packages, the one pictured is the one I have, henceforth known by me as ‘S.A.S.’ (thus on instant play alert readiness!). Anyway, here are the details of what Empress Valley has made available:
Package 1: Statistical Analyzing Shot
9 CD Deluxe Box which includes Ft Worth 3/3/75 (stereo soundboard) and two digitally remastered bonus soundboard shows from Dallas, Texas (4/3 & 5/3/1975).
Package 2: Hatena
9 CD Deluxe Box which includes Ft Worth 3/3/75 (stereo soundboard) and two digitally remastered bonus soundboard shows from St Louis (16/2/1975) and San Diego (14/3/1975.
Package 3: Rock Super Stars
3 CD set of Ft Worth 3/3/75 (stereo soundboard).

All look very attractive indeed. If you already have the ‘bonus’ soundboards, then package 3 is probably your best option (or download it when it becomes available if you aren’t fussed about packaging). Happy Xmas to me I say!


Why I love Records:

Here’s a posting from the TBL/DL Facebook page – this sums up my feelings about the joy of records via a recent find…

Why I love records…number one in a series…

dylan subt

Bob Dylan Subterranean Homesick Blues/She Belongs To Me (CBS 201753- original UK single)

I have this celebrated Dylan track on various albums and CD’s but it was great to pick it up in its original 45rpm format this week.

So what do I love about it?

Well for a start, the distinctive orange CBS sleeve of the time and that equally distinctive orange label. This informs us that it was written by Dylan and produced by Tom Wilson. It also informs that it’s 2.17 in length. The B side, the luscious She Belongs To Me, clocks in a second longer. They are two prime Dylan cuts from his 1965 mid 60s glory period.

Now here’s the thing. I just love the fact that back in 1965, this sat in a record shop somewhere waiting for its owner to be seduced by its charm – notably the rip roaring A side with its slogan filled lyrics, so effectively displayed in the famous promo film of the time that which has the singer holding up placards of the lyrics.

Playing it today on 45 rpm, it sounds fantastic in all its mono fuzziness. Of course both sides feature in varying alternate versions on the much heralded new Bootleg Series official release Bob Dylan 1965 -1966 – The Cutting Edge and I am very keen to indulge in this awesome collection –probably the 6 CD set as it contains so much material. One for the Christmas list.

However, alongside The Cutting Edge releases, this utterly divine seven inch single purchased for a mere £1 this week at London’s Reckless Records, acts as the standard bearer of how Bob Dylan’s pioneering message was spread so simplistically all of 50 years ago.

It runs at 45rpm – it’s on vinyl – it’s a record and that to me is a precious old thing because there’s history in these grooves…
DL – November 13, 2015


DL Diary Blog Update:

VIP Musicmania Fair: As mentioned above, the breaking news about the Paris tragedy did cast something of a shadow as we left for the weekend’s activities at the Musicmania Fair at London’s Olympia venue.

However, it was a fantastic two days with Saturday proving to be a real TBL summit meet up for some mega Zep collectors.

It was great to see Graeme Hutchinson – one of the biggest collectors of all manner of Zep memorabilia. Amongst his acquisitions  on the day was a US promo copy of Houses Of The Holy.

Equally exalted in the Zep collecting world is Nick Anderson – he was in attendance adding a few of the latest CD titles to his collection. Nick of course is the regular collector correspondent in the TBL mag. He has without doubt one of the largest (if not the largest) collections of Led Zep seven inch pressings – well over a thousand and as he told me around 40 rare acetates.

Adding to this summit meet was Cliff ‘ the ticket man’ Hilliard. As I’ve previously reported, whilst still right on top of the collecting of Led Zep tickets and flyers (and that incudes all solo activities pre and post Zep). Cliff has now turned his attention to seeking out singles and albums Jimmy Page played on as a session man in the 1960s. At every fair he comes up with the most obscure and wonderful gems – his Saturday cull included some rare Page involved singles and a copy of the Homer soundtrack which includes Zep’s How Many More Times. I’ve actually had this on my list for a while but he beat me to it! Luckily Gary had a spare and sorted it for me the next day although Cliff now tells me he has searched out a copy – now I’ve got two!.

Looking ahead, Cliff and I are coming up with a plan for a regular feature in the TBL mag which will showcase Cliff’s awesome collection of Page related session records.

It was also great to see Paul Sheppard for the first time in some years. Paul has been an avid Zep CD collector over many years and his knowledge of the Japanese bootleg releases etc is second to none. That knowledge will greatly benefit readers of the forthcoming TBL 40 as Paul has compiled a fascinating list with commentary of the 40 best CD bootleg sets. Paul invested in the Empress Valley multi disc Destroyer set – very nice indeed!

olympia nov 14 2

Other long time TBL supporters  in attendance were Keith Creek, Krys Jantzen, Ian Avey, Steve Way and his lady Kathy along with the EC Bedford boys Tom and Phil. Many thanks also to Nick Carruthers for transport on the Sunday morning. The pic here shows Paul Sheppard, Ian Avey, myself and Cliff with some of the little treats that were searched out.

It’s always an absolute joy to see first hand, the passion we share in the collecting of Zep records and CD’s. It’s a real affirmation of what a wonderful thing this sharing of collecting and knowledge really is and that I am not the only one who gets excited about such things as US Swan Song pressings!

The fair itself was well busy on the Saturday but calmer on the Sunday when I met with Gary Foy. After spending a lot of time on the Saturday talking to the various TBL crew, on Sunday it was good to have a real wade through the many stalls.

Amongst the visiting dealers was Mark Arevalo – a long time Zep fan (he attending the Knebworth shows with Howard Mylett) – as ever his stall was packed with fascinating rare pressings. Rockaway Records from California were also there with a stall – their top dollar item was an original In Through The Out Door promo stand up display on offer for a cool £1,000 – luckily I have no room for this and abstained!

In through dispaly 2

However, my own Zep acquisitions at the fair included a very nice US Swan Song pressing of In Through the Out Door and I also picked up the rather beautiful Empress Valley 6 CD Garden Tapes Madison Square Garden 1973 promo set plus the From Barnes To New York BBC and outtakes collection on vinyl.

As ever, I added a fair few LP’s and singles to the DL collection….including…

The Beatles Let It Be – gatefold sleeve on US Apple red label.

The Nice – The Thoughts Of Emerlistdavjack – US Immediate with Columbia Records Radio Station Service prom sticker.

Joe Cocker- Joe Cocker – US  A and M promo copy.

Cream – Disraeli Gears – US Atco label pressing.

The Rolling Stones – Their Satanic Majesties Request – rare 3D sleeve on the US London label.

Bob Dylan – Blood On the Tracks – US Columbia label with promo radio station timings.

Miles Davis Friday And Saturday Nights In Person at the Black Hawk San Francisco  – US Columbia.

Badfinger – Magic Christian Music  – US Apple.

Jack Bruce – Things We Like  – US Atco promo copy with DJ sticker.

Fleetwood Mac Bare Trees – US Reprise.

Wishbone Ash – Argus – US MCA label pressing.

Mirabai – Mirabai – US Atlantic with Peter Grant /Led Zeppelin credit – this singer songwriter was due to sign to Swan Song in 1974 but her album ended up being released by Atlantic.

Bad Company – Desolation Angels – US Swan Song pressing.

Four Bob Dylan singles from the 1965 – 1966 era including an original Like A Rolling Stone.

All lovely stuff – and yet more records to inspire…you have to snap up pressings like the above while they are there!

And yes there’s history in all those grooves…

Back here this week, there’s been some solid work going down at StudiioMix with designer Mick Lowe in kicking into shape the forthcoming TBL 40. So much so, that the home straight is in sight. There’s a bit of way to go yet with all the final checking etc but I am powering on with the aim to have the printed magazine ready for distribution by mid to late December. There’s some great stuff lined up and looking over the proofs, there’s going to be plenty of essential TBL Led Zep reading matter to soak up over the seasonal and new year period.

Dave Lewis, November 19,2015.

YouTube clips:

Led Zeppelin – Tous en Scene – June 1969:

Led Zeppelin – Empire Pool – November 20, 1971:

John Paul Jones performing The Medicine Show last Wednesday in the Arctic Circle

Until next time..

Have a great weekend

Keep listening, keep reading…

Dave Lewis/Gary Foy – November 19, 2015.

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  • Gary Davies said:

    Dave, great to read that Paul Sheppard put in a rare appearance at the Fair and that you’ve enlisted his services to write for TBL soon. I miss those Zep evenings in Cheltenham.

  • VHP said:

    Hi Dave,
    I ecco your thoughts regarding the terror attacks in Paris. I like you have visited Paris on many occasions over the last 30 plus years and have always found it a lovely City.
    My heart goes out to everyone of the innocent people who were either injured or killed & their families & friends.

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