PETER GRANT BOOK REVIEW/EVENINGS WITH LED ZEPPELIN LATEST/LZ NEWS/ LED ZEP IV TBL ARCHIVE/BOB DYLAN MORE BLOOD -MORE TRACKS/BEDFORD VIP RECORD FAIR/DL DIARY BLOG UPDATE
My thoughts on…
Bring It On Home: Peter Grant, Led Zeppelin and Beyond: The Story of Rock’s Greatest Manager by Mark Blake
Firstly, I have a bit of a vested interest in this book as I’ve been in touch with Mark Blake a fair few times as he has been writing it. I was also one of the many people he interviewed for the book. Knowing of Mark’s past work with books on Pink Floyd and Queen, I was pretty certain he would make a very good job of documenting the life of Peter Grant. It helped considerably that he had the support of the Grant family in daughter Helen and son Warren. Mark was also determined to get out and speak to the principal characters in the story- a crucial element in attempting a definitive account.
There has been a previous book of Peter’s life –The Man Who Led Zeppelin by Chris Welch published back in 2001. An admirable work at the time – but since then many things have happened and much new information has come to light.
I had my own dealings with Peter Grant over they years – he was always very encompassing and supportive of my work with TBL. The fact that he did not boot me off the side of the stage on those Over Europe gigs indicated I was doing something right. Thankfully he had no issues in me being close to the action on that tour -in fact his consideration for me in Europe was very gratifying. Years later in 1993 I spent two separate days in June and October of that year conducting a 10,000 word interview with him at his Eastbourne home. I was hoping to have another get together with him when he sadly died in November 1995 at just 60 years old. I eventually published the interview in my Celebration II book in 2003.
Whilst most of my dealings with Peter were very favourable, I did incur his wrath on the odd occasion – notably in 1990 when he was a bit miffed long time record excec associate Phil Carson knew about the book I was then writing (A Celebration) before he did. Clearly not a man who liked surprises, I was curtly requested to pass all text to him via Chris Charlesworth for him to sanction – which we duly did and all was sorted.
I found him a highly intelligent proud man – very proud of his achievements with Led Zeppelin and also very protective of them. He was a man who wanted things done in the correct way which mainly meant his way – and of course that is a running theme throughout this detailed book
The fact that his way normally got results one way or another, ensured he stamped his mark on the music business. Not entirely surprising as he learned the tricks of the trade from the likes of much feared mogul Don Arden.
For me, the pre and post Zep parts of the book are the most engaging chapters of this account. Mark paints a vivid picture of Grant’s struggle to establish himself in the entertainment business, hustling work as a wrestler and bit part actor – and then looking after the likes of Gene Vincent and Little Richard and working with Don Arden.
All those early experiences held him in good stead by the time he came to manage The Yardbirds and subsequently Led Zep. Mark weaves the story together with key input from the significant players who were there – such as Richard Cole, Phil Carson, Swan Song head Abe Hoch and many more. The book moves at a brisk pace and never lulls.
The Zep years are of course at the centre of the story and there’s a fair few new revelations – some very surprising ones too – not least the emergence of a shady character called Herb Atkin. As the story unfolds it’s more than evident that while Grant did indeed let them take care of the music, there was a constant undercurrent of intrigue and skull doggery in the way their business was conducted. Of course there are some unsavoury moments as the drugs kick in and Zep get bigger and bigger –and one John Bindon joins the gang. The quote by Phil Carson that ‘’He was a nice man when he wasn’t killing people ‘’ is a clear indication of how his involvement was viewed.
The final chapters deal with the group’s tragic ending with John Bonham’s passing and Peter’s subsequent fall out from it all. Pleasingly, there is salvation in the early 90s when Peter cleans his act up and begins to receive the recognition he deserves as a pioneering music business figure. It’s worth noting that throughout the book, Mark also highlights the humour that always existed between the group and it’s entourage. I loved hearing of Peter’s odd nicknames for fellow associates (he addressed Ahmet Ertegun as ”Omelette”) and the sense of camaraderie which helped drive them on – something I witnessed for myself when I was in the Swan Song office. Being around Led Zeppelin could be a serious business but they always knew how to have fun and a laugh.
Mark’s final thoughts in the book are absolutely spot on and provide a melancholy and poignant ending.
Like all good biographies, Bring it On Home seeks to portray the man behind the myths. A tall order when it came to Peter Grant as he inspired so many myths himself – making the truth sometimes hard to attain.
In Bring it On Home, Mark Blake has produced a thought provoking, humorous and fascinating account of the man who indeed did lead Led Zeppelin and so much more. I feel much closer to the whole Peter Grant/Zep saga for having read it.
Dave Lewis, November 6,2018.
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Evenings With Led Zeppelin book latest:
Here’s a review of the book by journalist Patrick Humphries:
I love books like this. I admire the obsessive, have-to-know everything nature. I relish the incredible detail. I respect the time it takes and welcome with open arms the finished result.
What comes across is not the research or the detail, it is not even the enthusiasm; it is presenting a rock band as history. By putting in context all their achievements, and weighing them up against what else was around at the time. I love those contemporary reviews from long-gone music weeklies. It places them in history. And much as Page and Plant may not wish to accept it, Led Zeppelin are history. And this is their history…
Wouldn’t you love to have come into the office on 21 December 1968 and said “I saw this incredible group at the Fishmongers Arms Hall last night…” And can you imagine how loud that would have been?
Or been one of the lucky few at the 1971 club gigs? Or the one I’m really sorry I missed, Behan’s West Park, 16 December 1975.
Reading about those mega-gigs, listening to the bootlegs gets you halfway there, but as the authors amplify “the place Led Zeppelin functioned best… live on stage”. There is nothing like a gig, its impermanence, that ability to seize the moment. As the lights go down and the hall is filled with the hum of amplification, then the lights burst forth and the Gods are made mortal, and hours later, you are left reeling & a rocking.
With a band like Zeppelin, it is almost inconceivable to think of them ever beginning. They seemed to arrive fully formed, epic in their overblown majesty. But while researching a book about another band, the music press of the time were convinced that the Next Big Thing would be… Jethro Tull. Well, Ian Anderson’s mob couldn’t grumble. But there is something about the Zeppelin behemoth which continues to entice and enchant.
Evenings With Led Zeppelin is a testament to a band who broke up nearly 40 years ago, and who still are capable of delighting.
Remember Millennium Eve 1999, when everyone was convinced the electronic world we knew was going to come crashing about our ears? We survived. But when it was announced that Led Zeppelin would be reforming, that almost caused the internet to crash!
Rock & Roll…
Patrick Humphries
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Evenings With Led Zeppelin distribution latest: last few copies of the 100 signed and individually numbered available – order now – don’t miss out!
I have about ten copies left of the 100 limited edition signed and individually numbered books – order now – don’t miss out!
Here is the link to order:
http://www.tightbutloose.co.uk/evenings-with-led-zeppelin-the-complete-concert-chronicle-book/
US availability:
The book is released in the USA on December 6 2018. More on this soon.
There is a link to order the book in the US via Amazon though availability has been erratic.
https://www.amazon.com/Evenings-Led-Zeppelin-Complete-Chronicle/dp/1783057017/ref=sr_1_1?
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Led Zeppelin News Update:
In conjunction with the Led Zep news site, each week I will be re- producing highlights from their weekly email update news summary. This goes out every Sunday. Sign up details are below. Many thanks to James Cook.
Led Zeppelin
- Led Zeppelin’s lawyers have asked the Ninth Circuit appeals court to reconsider its recent ruling in the “Stairway To Heaven” copyright lawsuit. In September, the appeals court vacated a 2016 verdict which was in Led Zeppelin’s favour and moved for a new trial.
- Reel Art Press, the publisher of Led Zeppelin’s new official photo book, has begun selling packages of all of the international versions of the book. A five edition set of the English, German, Italian, Japanese and Dutch books are available for £250. Only 25 sets are being released.
Jimmy Page
- Jimmy Page is working with Fender to recreate his Dragon Telecaster guitar. He has restored his original guitar and will release four variants of it next year through Fender. The models will be revealed in January.
Robert Plant
Upcoming events:
November 20 – The Japanese edition of the official Led Zeppelin photo book will be released.
November 29 – “Geddy Lee’s Big Beautiful Book of Bass”, which features an interview with John Paul Jones, will be released.
January 2019 – The four new models of Jimmy Page’s recreated Fender Dragon Telecaster will be revealed.
February 24, 2019 – The Tate Britain’s Edward Burne-Jones exhibition, which features two tapestries owned by Jimmy Page, closes
Many thanks to James Cook.
The complete Led Zeppelin News email goes out every weekend. To receive it each week sign up here:http://tinyletter.com/LedZepNews
Led Zeppelin News Website: Check out the Led Zeppelin news website at
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TBL Archive Special:
Led Zeppelin IV – 47 years gone…
November 1971 /Led Zeppelin IV
47 years ago this month the fourth Led Zeppelin album emerged in a slightly mysterious manner with that enigmatic sleeve. I vividly remember the excitement and anticipation of the album in the music press that month. In fact the November 6 1971 issue of Melody Maker was something of an historic issue because it contained the first UK sighting the four individual symbols that would make up the title of Led Zeppelin’s fourth album. Each symbol was featured on the end of a page – a series of teaser adverts for the forthcoming album though nobody really knew it. Now I had read a recent interview with Jimmy Page in which he had explained the album title would be made up of four runes – I did notice those symbols in that issue thinking they looked very odd – but I did not realise these were the very symbols that would become such an integral and lasting image of the band.
It was about to get even more exciting for me with the prospect of attending the November 21 Wembley Empire Pool show. Tickets a mere 75p! It’s fair to say that this advert announcing the second date was something of a life changer for me – as things were never quite the same in our house after what I witnessed on that cold November Sunday evening all of 47 years ago.
This wasn’t just a band…
Here’s some Led Zeppelin IV observations from the TBL Archive:
Of all their records, Led Zeppelin’s fourth album, released in late 1971, remains their listened to and admired work, and with sales of 38 million and counting it is also far and away their most successful. Featuring both the often maligned Stairway To Heaven and the widely admired ‘When The Levee Breaks’, the set is without question the most accessible of their catalogue and it continues to attract new listeners by the week. Few albums in the history of rock can rival its influence.
The fact that much of the album was made in a mysterious, run-down, 18th century workhouse in the middle of rural Hampshire only adds to its legacy. It’s the product of a band given absolute musical freedom to do as they wished in an environment that encouraged the development of their ability to blend acoustic and electric influences within a rock framework, which they did more successfully than any other act before or since.
As a complete work it remains their most focused statement. From Page’s unimpeachable riffs, through Jones musical invention and Plant’s clarity of vocal to that titanic John Bonham drum sound – Led Zeppelin IV still emits a freshness that belies its age.
DL
LED ZEPPELIN IV WHAT THE PAPERS SAID
A guaranteed million seller well before release, perhaps in theory even before it was recorded, this long awaited fourth Zeppelin album is of greater importance than their controversial third LP. If Zep III gave the first indications that their music was by no means confined to power rock then this new album consolidates their expanding maturity. The eight cuts here follow through with unbridled confidence, expounding in greater details the ideas formulated on the previous album. Once again Led Zeppelin is airborne and the flight course looks very favourable. Roy Carr, New Musical Express
It might seem a bit incongruous to say that Led Zeppelin, a band never particularly known for its tendency to understate matters, has produced an album which is remarkable for its low keyed and tasteful subtlety. But that’s just the case here. The march of the dinosaur that broke the ground for their first epic release has apparently vanished. Taking along with it the splattering electronics of their second effort and the leaden acoustic moves that seem to weigh down their third album. One of the ways in which this is demonstrated is the sheer variety of the album. The got it down all right – this one was gold on the day of release. Not bad for a pack of Limey lemon squeezers. Lenny Kaye, Rolling Stones
After such a long wait one had begun to get a little worried about Led Zeppelin’s fourth album. What had gone wrong? After such a time lag and such mounting expectancy could it still be good? The answer is yes. It is brilliant. It is by far their best album to date, and has a depth and maturity to it which can only result from recording and performing experiences. It has many moods and many styles and seems far more emotionally loaded than any of their other albums – they seem to convey wisdom through experience into their music now. Caroline Boucher, Disc and Music Echo
LED ZEPPELIN IV –
RARER THAN HENS…
THE ULTIMATE RARE PRESSINGS
Research by Nick Anderson:
Led Zeppelin IV was originally released in the UK on 19 November 1971 on the red and plum Atlantic label which was distributed by Polydor Records. Due to various labelling mistakes there are minute details to look out for when identifying genuine early pressings. Here is a summary of what to look out for:
1) Atlantic/Polydor 2401012 – red/plum labels, first pressing, first labels (£300)
The text “Led Zeppelin” is positioned towards the bottom of the label, below the track listing.
The “Under licence from Atlantic Recording Corpn., U.S.A” text is above the white line in the red part of the label.
Full publishing credits were omitted – only ‘Kinney Music Ltd’ is listed.
The first labels have an “Executive Producer: Peter Grant” credit.
“Misty Mountain Hop” is spelled correctly.
Side one has ‘’Pecko Duck’’ etched into the run out groove and side two has ‘’Porky’’ etched into the run out groove, which are the signature marks of English cutting engineer George Peckham. The vinyl matrix numbers are the earliest A//3, B//3
2) Atlantic/Polydor 2401012 – red/plum labels, first pressing, first labels with correction stickers (£150)
A “Led Zeppelin” sticker is placed in the top half of the label underneath the ‘Four symbols’ and above the “Atlantic Recording” credit,
A “Kinney Music Ltd/Superhype Music Inc. Produced by Jimmy Page” sticker is placed over the original Led Zeppelin, producer and executive producer credits on the lower half of the label.
3) Atlantic/Polydor 2401012 – red/plum labels, first pressing, second labels (£100)
The “Led Zeppelin” credit is printed in the top half of the label.
The “Atlantic Recording” credit is moved into the central white band.
The full “Kinney Music Ltd/Superhype Music Inc” credit is included.
The Peter Grant credit is removed.
“Misty Mountain Hop” is misspelled as “Misty Mountain Top”.
4) Atlantic/Polydor 2401012 – red/plum labels, first pressing, third labels (£65)
The fourth variant red/plum label is the same as the corrected third variant, but with the “Misty Mountain Top” misspelling corrected to “Misty Mountain Hop“.
5) Atlantic/Polydor 2401012 – red/plum labels, first pressing, fourth labels, stickered sleeve (£75)
Some corrected plum/red 2401012 fourth label pressings came with a sticker (white with red printing) on the sleeve with the Atlantic logo, K50008, audio information and record label credits. This was outstanding stock acquired by the Kinney group from Polydor and duly stickered on the sleeve with the new Kinney catalogue number – see details below
Note – the inner sleeve on all original pressings is a buff colour matt finish with flip over back. Later issues had no flipover back and for a brief time switched to white. The gatefold outer sleeve is a matt finish – later issues have a sheen.
6) In 1969, Warner Bros.-Seven Arts was sold to the Kinney National Company. Kinney (later to be known as Warner Communications) combined the operations of all of its record labels. The following year, Kinney bought Elektra Records and its sister label Nonesuch Records, and assembled the labels into a group known as Warner-Elektra-Atlantic, also called WEA for short, or Warner Music Group. In early 1972 the distribution of the Atlantic label in the UK was switched from Polydor Records to the newly formed Kinney set up under the WEA (Warner/Elektra/Atlantic) banner. All catalogue numbers were changed to a simple K prefix and number with Led Zeppelin IV taking on the new catalogue number of K50008 with green and orange labels. Of note to collectors here is Atlantic K50008 – green/orange labels, second pressing, first labels, transitional stamper (£75)
This pressing has dual matrix numbers – both the first pressing 2401012 and later K50008 matrix numbers are included in the run-out grooves.
The ‘Four symbols’ are omitted from the label.
“Misty Mountain Hop” is again misspelled as “Misty Mountain Top”.
In the UK, a pressing plant error resulted in a few hundred pressings of Led Zeppelin IV appearing on the Asylum label. This again occurred in 1972 when distribution of the Atlantic label was switched to the Kinney stable under the WEA imprint (Warner, Elektra, Atlantic). Asylum was an offshoot of the WEA set up and most notably The Eagles’ label. Thus, Asylum Zep IV UK pressings on the K50008 catalogue number are highly prized amongst collectors and are valued at around £150.
Amongst the many worldwide pressings of Led Zeppelin IV, a handful of highly prized rare pressing variations have surfaced.
In the late 1970s, Dave Sands, a young apprentice builder working at Jimmy Page’s home, was handed a unique promo pressing of Led Zeppelin IV by the guitarist himself. ‘’I was 19 and working as an apprentice builder for a local Sussex building firm,’’ recalls Dave. In the spring of 1978, we undertook some work to build a recording studio for Jimmy Page at his Plumpton home. While we were there Jimmy gave me a t-shirt and a batch of albums. The t-shirt was from their 1977 US tour, while the albums included Led Zeppelin II (the rare pressing which has Lemon Song listed as Killing Floor), Led Zeppelin III and IV, Houses Of The Holy, Presence, The Song Remains The Same, and the first Detective album issued on Swan Song. All were on the usual Atlantic and Swan Song labels except the Led Zeppelin IV album (this appears on a plain cream label with track listing).
Jimmy’s generosity put Dave in possession of a unique Led Zeppelin IV promo pressing. This copy has the same typography and label design used for the advance US promo Atlantic pressings sent out at the time of the album’s release but, significantly, the label is a distinct yellow colour as opposed to the more common white label US promos. It comes packaged in what appears to be a mock up single sleeve. The back cover has the same design as the officially released inner sleeve with track listings. The front cover has the symbols and track listing printed on the front cover unlike the wordless standard sleeve design. The regular US white label stereo promos go for around £100, so this rare version obtained directly from Page himself is of much greater value and would easily triple in value at auction.
Another very rare pressing anomaly occurred in Canada where a unique gold and black vinyl multi coloured pressing of the fourth album surfaced a few years ago. This is almost impossible to value as it has not changed hands since it was discovered, but it is fair to assume that should it come onto the market it would be likely reach a price up to £1,000.
Rare pressings guide compiled by Nick Anderson
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Staying with Led Zep IV…
Led Zeppelin IV Event: Tap & Barrell ,Pontefract.
On Wednesday, November 28 The Cat Club Presents a Classic Vinyl Album night at the Tap & Barrel in Pontefract with be featuring Led Zeppelin IV. Part of a series they stage, I have been invited to host the presenting of Led Zeppelin IV. The event is already sold out.
Here’s the info:
We here at The CAT Club are delighted to welcome one of the leading authorities on all things Led Zeppelin.
DAVE LEWIS founded the Zeppelin magazine, TIGHT BUT LOOSE, thirty nine years ago. Dave has seen it grow from a do it yourself hand-out to the globally respected feature that is a must for all fans of the band and their individual members. He’s also written critically acclaimed books including his latest tome EVENINGS WITH LED ZEPPELIN: The Complete Concert Chronicle 1968-1980 (written with Mike Tremaglio).
The album of choice is one of the greatest rock albums of all time, the sublime LED ZEPPELIN IV.
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My thoughts on…
Bob Dylan More Blood – More Tracks -The Bootleg Series Vol 14:
Blood On The Tracks turned up at the WH Smith record department I worked at in early February 1975. At the time I was anxiously tearing open every record box that arrived hoping that the new Led Zeppelin album Physical Graffiti would appear before me. It was imminently due but would not arrive until later in the month.
Back to Mr Zimmerman. I knew this new Bob Dylan album was an important release –it heralded Dylan’s return to recording with Columbia (CBS) after a brief sojourn to Asylum/Island. I’d also already seen Nick Kent’s peview of the album in the NME.
”Already I’m enthralled with this album to a point where I can’t even remember a time before where I’ve been this drawn to a recorded work”-wrote Mr Kent. ”The Bob Dylan of Blood On The Tracks is a changed man -fatalistic and fairly desperate from what I can see”
I was more than intrigued and knew I had to invest in this latest Bob outpouring at my earliest convenience.
I had been an avid Dylan fan since 1969. My first Dylan album purchase was the much maligned Self Portrait double album set. I had played his amazing set from the Concert For Bangla Desh triple album non stop when it came out in 1972 I’d also purchased the previous studio album Planet Waves released in early 1974 on the day of release – a very fine set with The Band as the back up.
Much had happened in his life since and Blood On the Tracks. Aside from going back on tour in the US with The Band, around this time he was separating from wife Sara. Though things are never that simple, this record was dubbed Bob’s break up album – a fact he later denied and the sleeve notes dispel.
Rather conveniently, I was going through a bit of a painful quest for love, which in the early months of that year appeared to be in vein. As it tuned out, sharing the young lady in question’s company watching Led Zeppelin over five nights at Earls Court put us on the straight and narrow path of true youthful love.
Break up album or not, the songs felt like Bob was hurting and at the time so was I – and in the opening months of 1975, this album was more than good company. The lyrical imagery just tumbled out in a series of sparsely constructed songs – with Dylan in that distinctive nasal whine that some just don’t get – but others find irresistible. I’m in the latter category of course – the fragility of that vocal never sounded so vulnerable than on this album.
I loved it then and I love it now – and over the years there’s been much to learn about this record –not least that five of the tracks had been hastily re-recorded in December 1974 in Minneapolis after Dylan scrapped the initial versions from the September New York sessions. The songs re -recorded were Tangled Up In Blue, You’re a Big Girl Now, Idiot Wind, Liley,Rosemary and the Jack of Hearts and If You See Her Say Hello.
The original New York versions have emerged on several bootleg collections. There’s also been a smattering of outtakes and alternate versions that have officially surfaced – notably on the Biograph box set in 1985 and very first Bootleg Series release in 1991. Via the bootlegs, I have long since enjoyed these original New York versions – notably the superb take of You’re A Big Girl Now on the Biograph set.
So when it comes to the Blood On The Tracks album, I’m well versed in its history. When it was announced that these sessions would form the next release in the Bootleg series I was well excited. The expensive and expansive 6 CD set is a bridge too far at the moment (I may add it to my Christmas list!) but I was more than happy to snap up the double vinyl package at a very reasonable price.
So here it is – More Blood – More Tracks The Bootleg Series Vol 14:
Tangled Up in Blue (9/19/74, Take 3, Remake 3)
Simple Twist of Fate (9/16/74, Take 1)
Shelter From The Storm (9/17/74, Take 2)
You’re a Big Girl Now (9/16/74, Take 2)
Buckets of Rain (9/18/74, Take 2, Remake)
If You See Her, Say Hello (9/16/74, Take 1)
Lily, Rosemary and the Jack of Hearts (9/16/74, Take 2)
Meet Me in the Morning (9/19/74, Take 1, Remake)
Idiot Wind (9/19/74, Take 4, Remake)
You’re Gonna Make Me Lonesome When You Go (9/17/74, Take 1, Remake)
Up to Me (9/19/74, Take 2, Remake)
All Tracks Recorded
A & R Studios
New York 9/16 – 9/19/1974
Tracks Recorded 9/16 & 18
Bob Dylan – vocals, guitar, harmonica
Tracks Recorded 9/17 & 19
Bob Dylan – vocals, guitar, harmonica
Tony Brown – bass
So what we have on the double vinyl and single CD edition is an eleven track total re- working of the original – all alternate takes recorded at the initial in September 1974 at A and R Studio sessions- and one outtake that never made the final cut of the album but has appeared since on the Biograph box set (in a different take to what is presented here).
It’s a fantastic package with superbly informative sleeve notes by Jeff Slate- the labels replicate the original Presswell Records Test Pressing design, a brilliant touch.
This is Bob Dylan laid bare – mostly in a solo acoustic setting – occasionally supported by Tony Brown on bass – and mostly previously unheard in these arrangements.
As such, the songs we know so well live and breathe again with a new found fragility and melancholy. As Jeff Slate in the opening the sleeve notes astutely notes, it feels like Bob Dylan is performing for you and you only. The intimacy of his storytelling is quite astonishing.
In summary: The Bootleg Series Vol 14 offers More Blood and More Tracks…and ultimately more Dylan magnificence…
Dave Lewis, November 6, 2018
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The Beatles White Album:
This Friday sees the release of the remastered editions of The Beatles White Album. This is a cause for much excitement here as this is probably my second favourite album of all time behind Led Zeppelin’s Physical Graffiti.
I will be eagerly soaking up this extended package – more on all this Beatles White Album activity to follow…
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Bedford VIP Record Fair this Saturday:
The TBL Stall will be in attendance and fully stocked for this one on Saturday.
The Evenings With Led Zeppelin and Led Zeppelin Live 1975 – 1977 will both be on sale
I look forward to seeing all that can make it along.
Here’s all the info:
VINYL FEST RETURNS TO BEDFORD!
VIP RECORD FAIR
The Harpur Suite, Harpur Street, Bedford MK40 1LE
Saturday 10th November
From Prog rock, Punk Rock and Hip Hop to Soul, Reggae and Doo Wop, the
biggest Record Fair, in Eastern Britain, returns to this great venue in the
heart of Bedford’s City Centre.
Sellers from all over the UK with all genres of music – from the Beatles to
reggae.
Admission 10.30am to 3.30pm £3
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DL Diary Blog Update:
Friday treats at the Vinyl Barn – at the always excellent Vinyl Barn last Friday in the light of the Bob Dylan More Blood More Tracks release , I was well pleased to find a couple of very fine Bob Dylan singles Positively 4th Street form 1965 and I Want You which on the B side has a brilliant live version of Just Like Tom Thumbs Blues recorded live in Liverpool on the 1966 tour – both in original CBS sleeves top stuff – thanks Darren.
It was a very special weekend for us here as we celebrated my life long friend Max Harris’ 60th Birthday. On the Friday it was a reunion of the esteemed Wallbanger FC – it was fantastic to see many old faces of the team again. On Saturday the good lady Janet and myself accompanied Max and his partner Julie for a day out to the lovely city of St. Albans. Whilst there I was able to provide and Evenings With Led Zeppelin book for the always excellent Empire Records -in fact David and Eddie of the shop are namechecked in the acknowledgements.
Sunday was Max’s 60th birthday and we shared a fantastic Sunday roast with Max and Julie at the Embankment Hotel. Whilst there, right in front of us and completely out the blue, Max proposed to Julie – and she of course said yes!
We now have a wedding to look forward to! What a joyous moment that was – there was yet more celebrating to be done and we ventured over to The Standard where local musician Mat Roberts (Mat played at my 60th) was holding his weekly open mic night there. The finale saw me up on the drums for a rather chaotic but fun blast through Rock And Roll.
What a weekend it was…and congratulations to Max and Julie.
It was back to work on Monday with a whole lot to catch up on – with more work on a feature I am collating with Mike T, plus preparation for the TBL stall for this Saturday’s Bedford VIP Record Fair.
On Sunday morning, Janet and I will walk down to The Embankment in Bedford for the annual Remembrance Sunday Service. This is even more poignant this year as it marks 100 years of Remembrance of the ending of the First World war.
Lest we forget…
Dave Lewis – November 7, 2018
Until next time, have a great weekend
Website updates written and compiled by Dave Lewis
with thanks to Gary Foy, Mike Tremaglio and James Cook
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(1 votes, average: 5.00 out of 5)
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thanks Ian!
More Blood On The Tracks…But not that much more. Just a single CD for the first time since the original vol 1-3 box set in the 90’s. So given the choice between this ‘Joker’ and a ‘Thief’ of a 6CD price tag, I’ll stick with the former. The music will hit my soul but ‘the bitter taste still lingers..’
Dave,
Regarding the recreation of Jimmy’s famous Telecaster guitar, I think the real ‘shock’ is that Jimmy has actually been pictured near an instrument!!!
I wonder how much those hand built ones will cost, my guess is somewhere around the £5K mark.
Anyway, as ever keep up the great work Dave, and no doubt like so many people this weekend I will be thinking reflectively on Sunday as we pause at 11 am to mark 100 years since the end of World War 1.
Many thanks ED!
Your endorsement of the Peter Grant book is good enough for me and I have placed an order to have a look.
Grant has always fascinated me as the essential fifth Zeppelin member, one who certainly fit the bill from central casting as the consummate bad-ass who had the superb business acumen to match the enormous musical prowess of his client act. I very much look forward to learning more about this man’s storied life.
Many thanks Jez
Brilliant journalism as usual Dave, must get a copy of the Peter Grant book sounds illuminating. I hope Sunday is a fitting tribute to the fallen I myself will be taking part in a parade here in Mk.All the best as ever.
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