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RECORD STORE DAY RELEASE – SOME DL THOUGHTS/PHYSICAL GRAFFITI 43 YEARS GONE – TBL ARCHIVE SPECIAL/ 1975 US TOUR SNAPSHOT/ LZ NEWS/ DL DIARY BLOG UPDATE

1 March 2018 1,869 views 8 Comments

RECORD STORE DAY x LED ZEPPELIN = COLLECTING JOY: 

…AND STILL BIGGER THAN ANYONE ELSE…

Some DL thoughts…

The announcement of the Led Zeppelin Record Store Day special limited edition single on Tuesday, was met with what has become a familiar mixed bag of comments – some for, some very much against.

Call me a fool, but a limited edition single with two unreleased mixes of two of their finest achievements on yellow vinyl? Come on, what’s not to like!

Yes, the strategy of Record Store Day is by no means perfect – too many releases now and some of the pricing is way too high – but it is a true record collecting event – it brings people together and into record shops to buy music, talk about music and to emphasise with everything about this passion we share that makes it so life affirming.

As I stated on Tuesday ,I am an avid fan of Record Store Day and once again will be getting up at the crack of dawn to get it line in my quest for this precious piece of yellow vinyl and no doubt one or two other choice limited edition records as well.

Yes, not everyone can get out to a store and with a reported 5,000 only run, this limited edition Led Zeppelin single is going to be in huge demand – and  yes many a copy will find it’s way on to eBay at an inflated price.

I would imagine though everyone will get to hear it in one way or another – be it via YouTube or download.

Led Zeppelin participating in Record Store Day is another twist in the unfolding story of their 50th Anniversary celebrations – and we haven’t even got near September yet.

Judging by the comments made recently by Jimmy Page and Robert Plant (”corks will pop”) there is more in store – and by the way, in answer to many questions I have had on this subject- I have no idea what is being lined up and I am patiently waiting to see what unfolds – as we all are.

Yes, we can all moan about no extra tracks on the forthcoming How The West Was Won remastered set and an edit here and there but it’s still a brilliant live album packaged on vinyl for the first time – and maybe this Record Store Day release will appear underwhelming to those who do not revel in the collecting of records they way I and many others do.

The fact is though, this is not just a great time to be a Led Zeppelin fan, it’s an absolutely fantastic time to be a Led Zeppelin fan – because they are once again at the forefront of an ever changing music world in a way that was perhaps unimaginable a few years back.

As somebody who really knows what they are talking about when it comes to the subject of Led Zeppelin said to me last week:

”They were the last of the giants and they still loom ever large – in fact, even now they seem bigger than anyone else”

Bigger than anyone else”….yes with Led Zeppelin that was the way it always was – and nearly 50 years on the way it still is…

Dave Lewis – March 1, 2018.

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TBL Archive Special –Physical Graffiti 43 Years Gone:

On this 43rd anniversary of Physical Graffiti it was  nice to see one of my pieces on the Classic Rock website  – it’s in the Story Behind The Song series and spotlights the unreleased Swan Song composition recorded during the Physical Graffiti sessions…and here it is:

Swan Song: the secret history of Led Zeppelin’s lost masterpiece

Jimmy Page dug up several unheard gems for the recent Led Zeppelin reissues. But there’s one song that still remains unreleased – Swan Song

The fertile sessions for Led Zeppelin’s Physical Graffiti album produced a number of landmark songs, including In My Time Of Dying and Kashmir. And among them was another track that had the potential to be a Zeppelin classic. An ambitious, virtuoso instrumental titled Swan Song, it was sketched out and partially recorded during the album sessions but, frustratingly, never completed – even though, like many of his ideas, Jimmy Page would not quite let it rest.

The seeds of Swan Song were sown in early 1974 when Zeppelin reconvened to begin work on Physical Graffiti at Headley Grange, the 18th-century workhouse in Hampshire where they’d recorded their fourth album.

The band had endured a crisis the previous autumn when John Paul Jones announced that he was fed up with the relentless touring and was planning to quit the band. He even suggested, albeit with his tongue firmly in his cheek, that he was considering becoming choirmaster at Winchester Cathedral. It took all the efforts of manager Peter Grant to talk him out of it.

But by the time the four band members got back together they were once again firing on all cylinders. Reunited, they began pooling ideas. “Some of the tracks we assembled in our old-fashioned way of running through a track and realising before we knew it that we had stumbled on something completely different,” recalled Robert Plant.

By contrast, Page had grand plans for a lengthy new track he was calling Swan Song. The guitarist had already plotted out the instrumental piece at his home studio in Plumpton Place, East Sussex. Even at that early stage, his vision was clear. According to Page, it featured “a number of sections and orchestrated overdubs”.

The track was broken up into sections, two of which were recorded in late February 1974 (and which can be heard on various Zeppelin bootlegs and on YouTube). The first part opens with Page’s drifting acoustic guitar, before the John Paul Jones/John Bonham rhythm section kicks in with the sure-footed syncopation that characterised their greatest work. The second segment commences with Page again leading off, his descending riff hinting at the song’s majestic potential. Tantalisingly, he would later reveal that this epic-in-waiting would not necessarily have remained a purely instrumental track – there were plans to add other sections and even lyrics.

So why did they leave the piece unfinished? The simple truth is that Zeppelin’s creativity was at an all-time high during the Physical Graffiti sessions. At the same time, they had also been working on Ten Years Gone, another lengthy track that incorporated similar guitar orchestration. Faced with an abundance of quality material, they could afford to leave Swan Song for another time. Consequently, it was Ten Years Gone that ended up on Physical Graffiti.

But the Swan Song story didn’t end there. Zeppelin were planning to launch their own label and rumours abounded that it would be called Shag or Slut Records – a lewd reference to their notorious on-the-road antics. Instead, at a press reception in New York on May 7, 1974, it was announced that the new label would be called Swan Song, after their unfinished song. “I’d been recording this long instrumental and somebody shouted: ‘What’s the title?’” revealed Page. “I shouted back: ‘Swan Song’. And everybody stopped and said what a good name that would be for the album. From there it got carried over to being the name for our label.”

Never one to let go of a good idea, Page talked about returning to the incomplete song to finish it off. “I’ve spoken before about a long piece I’d written,” he said in 1976. “I wanted to orchestrate the guitar and put it through various treatments. The original idea was to have four sections coming back to the same theme each time. There would be four separate melody lines dealing with the seasons. Robert will do the lyrics. I know I can work the whole thing out from the trial runs I’ve laid down. It’s a really exciting prospect.”

Page continued to incorporate elements of Swan Song into his live improvisational piece White Summer/Black Mountain Side during Zeppelin’s 1977 tour. It would reappear again during the band’s Knebworth shows in 1979, and even as late as their final European tour, in 1980. Had Zeppelin not disbanded following the death of John Bonham on September 25,1980, there’s every chance that Page would have gone back to work on the song in the studio.

But even that wasn’t the end of his great lost opus. Page’s first major live appearance following the dissolution of Zeppelin was as part of an all-star nine-date US tour in 1983 in aid of the ARMS charity to help multiple sclerosis-stricken ex-Small Faces bassist Ronnie Lane. With Paul Rodgers on vocals, Page performed a lengthy song called Bird On A Wing, which featured some chord structures that clearly dated back to Swan Song.

By the time Page and Rodgers formed their blues-rock supergroup The Firm, it had been revisited once again. “It was reworked with Paul Rodgers, who supplied some inspired lyrics, and it became Midnight Moonlight,” said Page, referring to the song which closed The Firm’s self-titled album in 85.

Today, Swan Song has passed into Zep legend as one of the band’s great lost masterpieces – albeit one that has, tantalisingly, filtered into the ether in various incarnations. As with other unfinished Zep treasures such as Sugar Mama and Fire, it’s difficult not to wonder how significant Swan Song would have become had they actually finished it.

Dave Lewis

See link at:

http://teamrock.com/feature/2012-12-01/the-story-behind-the-song-swan-song-by-led-zeppelin

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Physical Graffiti 43 Years Gone:

1975 Snapshot Retro Review:

Jaan Uhelszki, Creem, 1975

ROCK’S BIGGEST bruisers, Led Zeppelin, have got another album. In rock chronology this is an Event, since the defending champions of the world’s biggest rock ‘n’ roll draw have released only six albums in the past seven years. In fact, we’ve spent eighteen excruciating months between products, pacifying ourselves with heavy rock’s second prizes – Deep Purple, Blue Oyster Cult, and BTO. And these heavy metal hitmen couldn’t begin to plug up the leaks Led Zep left when they took on an extended, self-imposed exile to some musicians’ netherworld.

Now, just as cold turkey has begun to lose its chill. Zep are back with a package deal: a double album and an American tour. The announcement provoked unchecked carnage in the under-eighteen age group, primarily directed at long black limousines, uniformed adults, and popcorn sellers. Throngs of potential ticket-buyers foamed with anticipation, their palms growing sweaty, their eyes glassy.

Days passed without the appearance of Physical Graffiti. Then the first shipment arrived late one Thursday. The fans descended on Marty’s Records downstairs from CREEM like dragonflies, clustered around the cash register, furtively clutching the album to their heaving bosoms, slobbering and drooling down the shrinkwrap. Worried parents contemplated a vaccine, but once Physical Graffiti touched the turntables the mysterious malady subsided. The stricken nodules were lulled into a state of tympanic euphoria.

Physical Graffiti can stand on its own historically without the support of Zep’s five other million sellers, but inevitably the cuts on this album will be scrutinized with Nancy Drew-like precision in search of a successor to ‘Stairway’ or an equal to ‘Rock and Roll.’ Graffiti is, in fact, a better album than the other five offerings, the band being more confident, more arrogant in fact, and more consistent. The choice of material is varied, giving the audience a chance to see all sides of the band. Equal time is given to the cosmic and the terrestrial, the subtle and the passionate.

The exotic and musky ‘Kashmir’ is intriguing in its otherworldliness. Jimmy Page’s grinding, staccato guitar work sounds like a cosmic travelog to spiritual regeneration, swelling around the lyrics, which are heavily laden with mystical allusions and Hessean imagery. Although ‘Kashmir’ is certainly the best cut on the album, it could be trimmed without losing any of its mesmeric effect, because at some point the incense grows a little murky, and the slow burning guitar degenerates into opulent cliches, causing the instrumental interludes to echo an Exodus soundtrack.

Not all of the cuts are exercises in advanced audial basketweaving, but trace a musical cycle running from Page’s grandiose productions to basic drunken boogie. ‘Trampled Underfoot’ is seemingly effortless funk that is rescued from mediocrity by the elaborate punctuation of Page’s guitar. His fingers traverse the neck of his instrument with a velocity so violent that only a machine could improve upon it. Each batch of notes he pulls from his guitar is uniquely his own, personal as a thumbprint. Just as unique are Plant’s laments and his sexual heaves and sighs that turn the lyrics of a simplistic rocker like ‘Wanton Song’ into an introspective, personal statement. ‘Custard Pie’ and ‘Boogie With Stu’ are macho masterpieces in the tradition of the strutting, swaggering English flash blues formula pioneered on Zeppelin’s early albums. ‘Night Flight’, ‘Sick Again’ and ‘Ten Years Gone’ smack of pop picaresque, much in the manner of Rod Stewart’s ‘Every Picture Tells a Story’ – vignettes and transient insights, slices of a popstar’s life.

Led Zeppelin moves in strange ways. Sure they’re gutsy, ballsy, and flamboyantly aggressive, always spiked with a lot of eroticism, but they’re also cerebral…by way of the glands. They have this unique ability to wind you up and prime you for a full-throttled tilt. You rocked, you rolled, and oh mama those juices flowed – but you also listened to the words.

Surprisingly, in an era where disposable bands and itinerant musicians constantly play a game of musical chairs, Led Zeppelin is a unit – the same four members for the past seven years. Their longevity is due to a kind of magnetism, magic if you will. That rare chemistry was evident even at their first rehearsal, where they fit together like jigsaw pieces, transcending their common R&B backgrounds to achieve a gut-wrenching new synthesis. Lisa Robinson describes it as a case in which “the Beatles battled the Stones in a parking lot and Led Zeppelin won.” Zeppelin make more noise, has more guitar gimmickry, more sexuality, more flash, and generates more violence than any of their competitors, so that they are more than mere musicians, simple superstars. They have become the longest-lasting model for those culturally bankrupt ‘trendies’ to follow. Underage masses walk, talk, dress and dope like Zep. They have become a necessary trapping for the terminally hip, as well as providing the audial backdrop for any social gathering.

A Led Zeppelin album is like a select invitation to a key club of rock ‘n’ roll, where the kohl eyed gypsy Jimmy Page is finally accessible through his smoky guitar solos. Robert Plant preens and moans, lusts and longs for lost memories…and takes you along. Like a sonic vortex, Zeppelin draws you into their private caprice, spiraling, coaxing your willing psyche into a suprasensory haven where you can taste and savor this dream stuff that superstars thrive on. This is not pop music, but a harder stuff, more heady and potent, like a round of whiskeys and coke. Zeppelin are avatars in a cultural vacuum.

© Jaan Uhelszki, 1975

Physical Graffiti 43 Years Gone:

Physical Graffiti 40th Anniversary Deluxe Edition Vinyl Review.

Initial Feedback: By Jack Porter

PART ONE Jacket, sleeve, packaging, vinyl condition, (Rough mix), Rough review should I say, will be editing, overdubbing and adding…

It is 09:45 on a grim late winter English morning and I hear a sound, the sound of 5 droning capsules flying outside, there is a knock at the door and the supreme demon commander gives me a quick nod and hands me a well packaged parcel, heavily packaged I should say too. His proto type comerades look behind him with a look that says, here’s one done, now for America tomorrow. The drone raises from the ground and flies away, away into the wilderness, the mysticism of Kashmir comes to mind here.

Opening this product I notice Amazon have taken more care than usual to preserve this, there are about 3 layers of solid cardboard, certainly more than the usual one. I stare at it for 2 hours, I think lets open this later, soon enough I just open it. A look at the companion art puts me into reality (for now). The vinyl. The vinyl is packaged in a tight fitting secure, water proof, bullet proof, damage proof layer of plastic. Enscripted on the plastic are details of each number on the record including the companion disc. Where the writing is enscripted I notice the plastic is even tougher. I will be keeping this for sure, the white writing adds to the whole expeirience. Very thorough from Mr Page.

Onto the main article, Physical Graffiti itself, the front is the normal cover which we are all used to not necessarily unamazed by after all these years. On the bottom left corner there is red sticker. On the back is a silver sticker displayng the words “Led Zeppelin” with the Swan Song eagle. The red sticker reads. 40th Anniversary DELUXE EDITION ON 3 LPS (180g). When you see the words “Remastered and produced by Jimmy Page”, you know it’s good stuff! Instantly reconizeable and iconic. Below is a price code. As you slide the sleeves out I notice that a great job has been made at recreating this iconic album jacket, the smell is pencil like, it’s a lot to take in. All the sleeves have the original pictures on and all is in tip top condition, you can see the care and effort that has been put into this part of the project. A very important part in my opinion. The photography credits read “Ray Harper” and BP Fallen”. A nod to Roy and BP Fallon must be given. Great photos. Nice to see the spelling mistakes the same as the original. Another cool feature about this record is the companion disc styled negative cover is on the back of the jacket. This fits better than the previous reissues, everything about this is supreme. I feel like when I first saw this thing again. Now down to the all important VINYL.

The vinyl is in perfect condition, it looks error free, something I notice later on, its physical appearance matches its playback. Something which is not always the case with my expeirience of buying vinyl online. Totally scratch free. Maybe this is because I got it on the release day, I don’t know. Pressing wise my copy is from the top of the line. I appreciate this will vary with other people. The original Swan Song logo which we’re now going to see for next 3 of these gems beams proudly “in the light” of the late winter English sunshine. That logo is always a favourite of mine. On the original 2 lps the year 1975 is printed however on the companion disc the year 2015 is printed, I like that, a nice comparisant of years and a true demonstration of the amount of time Led Zeppelin has stayed in so many people’s hearts. On the companion disc the words “The companion disc” are printed. I like that. The add of the word “the”. Very cool one might say.

Overall the physical product of Physical Graffiti, (it would be a crime not to be that cliche with a twist of words in this case), is a well put together product. The time and effort that the record company have put into this impresses me. This is no bunged out reissue thing! Out of all the reissues this one looks the best and the companion audio art has merged well with the original artwork. When you open this thing you get the sense you are opening one of the most important artistic statements of the modern day and of course right you are. This is only the beginning of the ride 5/5.

Jack Porter via Facebook

One from long time TBL supporter and well known Leicester musician in his own right Kevin Hewick:

There is one track which for me encapsulates everything that is ‘Zeppelin’. It’s one of their less celebrated songs and ironically never even got a full live performance – yet it captures so much of their unique qualities. It feels like countless bands since them have tried to get the ‘Tight But Loose’ feel of ‘The Rover’ but nobody can get that elusive groove. Pages riff is downright filthy, his solo a phenomenal statement, weaving scales only he could think of, as sonically sure footed as a mountain goat. Plant is not the high pitched wailer of earlier albums, here he is the ‘man of the world’ who has lived and seen it all, asking us to “just join hands” across the globe. The new 2015 master version gives clarity to the nimble but understated bass of John Paul Jones, he is so often the power behind the glory. All this rests in the mighty arms of John Bonham,in this remastered take you can feel the workings of his very bones and his flexing of rhythmic muscle, the drum hardware yielding to it’s master. I felt like I was having an out of body experience, this stumbling, lumbering, funky 16 limbed thing called ‘The Rover’ feels like a mystical gateway to the whole Zeppelin myth.

Kevin Hewick

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MORE 1975 RETRO SNAPSHOTS:

FRIDAY FEBRUARY 21 1975

LONDON,ENGLAND

TV APPEARANCE

THE OLD GREY WHISTLE TEST BBC2

Background Details: Bob Harris presented two exclusive previews from the Physical Graffiti album. Houses Of The Holy and Trampled Underfoot cut to abstract films.

The Trampled Under Foot clip was  compiled by Philip Jenkinson of Filmfinders depolyed old black and white footage of 1920’s dancers and would be an often repeated item on the programme.

The very title indicated something mysterious and special when I first saw it announced in the NME in late ’74. Then there was the waiting. Ah yes the waiting. Initially it was set for November 29th 1974. That date passed and nothing. Then it was going to be January 10th 1975 -that date passed and nothing.

Finally came the news that the Whistle Test  would be airing teo previews form the album on the evening of Friday February 21st. On that particular evening I  was out at the Rainbow Theatre  attending the Black Oak Arkansas gig with support form Sassafras. I arranged for the Whistle Test to be taped on my trusty Sanyo unit (with microphone up against the TV speaker. The next morning fighting off an expected hangover I was able to marvel at the commercial groove of Houses Of The Holy and the funk rock of Trampled. Bob harris ahd also announced Alan Freeman would be airng five more tracks from the album on his Saturday afternoon show on Radio One.

On that Saturday Alan aired Custard Pie, Night Flight, The Wanton Song, Down By The Seaside and Sick Again in that sequence with no break. As Robert uttered the opening line ‘’I received a message from my brother across the water he sat laughin’ as he wrote the ends in sight’’ I remember exclaiming ‘’Oh that voice!’’ in excited wonderment.

There was one more preview ahead – John Peel aired Kashmir on his early afternoon show – he co hosted a documentary  type show I think called Rockweek.

To say I was overawed by all this would be a complete understatement. All that remained was for the physical product of Physical Graffiti to be in my hand. Surely that would be soon…

Dave Lewis February 2015

More TBL Led Zep US 1975 Snapshots: 

Led Zep Houston 1975 by Mark Bowman Images Edit 2

THURSDAY FEBRUARY 27 1975

HOUSTON, TEXAS

SAM HOUSTON COLISEUM

Set: Rock And Roll/Sick Again/Over The Hills And Far Away/In My Time Of Dying/The Song Remains The Same/The Rain Song/Kashmir/No Quarter/Trampled Underfoot/Moby Dick/Dazed And Confused (inc. Woodstock)/Stairway To Heaven/Whole Lotta Love – The Crunge – Black Dog.

This one from our TBL friend and associate Mark Bowman – he also took the pics here from that night.

Background Details; After Robert and Jimmy spent a holiday in Dominica for 10 days, while Jonesy and Bonzo flew home to their families, a well rested Led Zeppelin, Peter Grant and the crew reconvened in Houston, Texas to start the second leg of the 1975 USA tour on February 27th, 1975.

This night was special as it was the first live show after the US release of the eagerly anticipated double LP, Physical Graffiti.  By all accounts, they played a ferocious show that night that clocked in at nearly 3 hours and 45 minutes.  Reporters mentioned in the newspaper the next day that the “kids went crazy”, and the crowd definitely spurred the band to greater heights that night…   One concertgoer mentioned – “This was the FIRST concert I have ever been to where the live sound in the arena was equal to greater than the sound on the Led Zeppelin studio recordings that were recorded so well…”

Robert mentioned to the crowd that “we were off for a few days, but we’re back, well rested and in our glory.!”  Very prophetic, looking back 40 years later….  Unfortunately, no bootleg recordings have ever surfaced of this particular show to document the power they were playing with that night, so it just will remain a very special evening for the ones who were there….

First Hand View from Mark Bowman:

JP and JPJ Houston 1975 by Mark Bowman

The beauty of this show – there was none of the violence and aggression from the fans that had marred some of the earlier dates in the Eastern US gigs on the 1st leg.  Robert specifically commented about how the crowd had a “very happy and a good feeling vibe” that night for the band, which kept them focused on the task at hand….which was to rip the roof off the arena that evening.  I only had a little Kodak 110 Instamatic camera with me at the time, so all my photos are grainy and low resolution.  You still get the general idea by looking at them – but what I would have given to have my 35mm with me that night to truly capture this incredible evening.  It turns out to be the only time I ever saw the mighty Led Zeppelin perform live…  As fantastic as it was to attend the reunion O2 show in London in 2007, this gig was the COMPLETE package….  It is burned into my memory banks for life. Mark Bowman

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FRIDAY FEBRUARY 28 1975

BATON ROUGE, LOUISIANA

LOUISIANA STATE UNIVERSITY ASSEMBLY CENTER

Set: Rock And Roll/Sick Again/Over The Hills And Far Away/In My Time Of Dying/The Song Remains The Same/The Rain Song/Kashmir/No Quarter/Trampled Underfoot/Moby Dick/Dazed And Confused (inc. Woodstock)/Stairway To Heaven/Whole Lotta Love – The Crunge – Black Dog.

Background Details:

Plant comments that Physical Graffiti has finally been released: “The egg has been laid… or is it the guy who got laid?’

There are a few unusual dedications. A heavy and dramatic version of ‘Kashmir’ is dedicated to “Mr Royston and Mr Harold who are travelling with us” and ‘Trampled Underfoot’ is dedicated to “Sam Martel – a wild cat.” John Bonham is introduced as “The man with a bicycle clip caught in his sock… the greatest percussionist since Big Ben!”

‘Dazed And Confused’ clocks in at 33 minutes and just keeps getting better and better. The ‘San Francisco’ section has now been dropped and instead Joni Mitchell’s ‘Woodstock’ is performed. ‘Whole Lotta Love’ now includes a Theremin/’Crunge’ section prior to the link with ‘Black Dog’.

Plant: “Baton Rouge – a really good audience… and Led Zeppelin, just a fun-lovin’ bunch of boys. It’s been more than our pleasure.”

Snapshots Listen: How it sounded today:

I have this on the Rampaging Cajun CD set – another steller soundboard from 1975.  The undoubted highlight is the 18 minute version of No Quarter – Jonesy is awesome on this -it swings into the grand piano solo with such ease building the template for the majestic Earl’s Court versions. Jimmy is also just exquisite. The whole show is another favourite 1975 night of mine.

DL

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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

Robert Plant

  • Robert Plant played three shows this week. Click through on the linked track names to see footage of them:

February 20: Chicago, Illinois
New World…
Turn It Up
The May Queen
Rainbow
That’s the Way
All the Kings Horses
Please Read the Letter
Gallows Pole
Carry Fire
Babe, I’m Gonna Leave You
Little Maggie
Fixin’ to Die
Misty Mountain Hop
——–
In the Mood
Whole Lotta Love

February 22: Minneapolis, Minnesota
New World…
Turn It Up
The May Queen
Rainbow
Going to California
All the Kings Horses
Please Read the Letter
Friends
Carry Fire
Babe, I’m Gonna Leave You
Little Maggie
Fixin’ to Die
Gallows Pole
——-
In the Mood
Whole Lotta Love

February 24: Denver, Colorado
New World…
Turn It Up
The May Queen
Rainbow
That’s the Way
All the Kings Horses
Please Read the Letter
Gallows Pole
Carry Fire
Babe, I’m Gonna Leave You
Little Maggie
Fixin’ to Die
Misty Mountain Hop
——–
In the Mood
Whole Lotta Love

Upcoming events:

Late February/early March – New Led Zeppelin photo book “Led Zeppelin Live Times” will be released.
February 26 – Robert Plant will perform in Phoenix, Arizona.
February 28 – Robert Plant will perform in Oakland, California.
March 1 – Robert Plant will appear and perform on “The Late Late Late Show with James Corden”
March 2 – Robert Plant will perform in Los Angeles, California.
March 13 – Robert Plant will be interviewed on “The Big Interview with Dan Rather” on AXS TV at 9pm ET.
March 23 – The remaster of How The West Was Won will be released and Robert Plant will perform in Sydney, Australia.
March 26 – Robert Plant will perform in Sydney, Australia.
March 27 – Robert Plant will perform in Sydney, Australia.
March 30 – Robert Plant will perform at the Byron Bay Bluesfest in Australia.
April 1 – Robert Plant will perform in Melbourne, Australia.
April 2 – Robert Plant will perform in Melbourne, Australia.
April 5 – Robert Plant will perform in Adelaide, Australia.
April 8 – Robert Plant will perform in Perth, Australia.
May 17 – An updated version of Stephen Davis’ Led Zeppelin biography “Hammer of the Gods” will be released.
May 26 – Robert Plant will perform at the Bearded Theory Spring Gathering Festival in the UK.
May 27 – Robert Plant will perform at the Bath Festivals in Bath, UK.
May 31 – The statue of John Bonham in Redditch is planned to be unveiled.
June 27 – “Led Zeppelin Live,” a photo book edited by Dave Lewis, will be released.
July 22 – Robert Plant will perform at the Vielles Charrues Festival in Carhaix, France.
July 23 – Robert Plant will perform in Paris, France.
July 25 – Robert Plant will perform at the Festival de Carcassonne in France.
July 29 – Robert Plant will perform at the Stimmen Festival in Lörrach, Germany.
July 31 – Robert Plant will perform in Pardubice, Czech Republic.
August 1 – Robert Plant will perform in Dresden, Germany.
September – Official celebrations of Led Zeppelin’s fiftieth anniversary are expected to start this month.
October – The official Led Zeppelin photo book will be released.
October 16 – “Bring it on Home,” a new biography of Led Zeppelin manager Peter Grant, will be released.

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

http://ledzepnews.com/

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DL Diary Blog Update:

ELO Encounter – Corn Exchange Bedford, February 23 2018:

To the Corn Exchange Bedford last Friday night with the good lady Janet and our good friends Max and Julie for the ELO Encounter tribute band.

Jeff Lynne and co’s often complex arrangements are not the most simple to replicate but this excellent tribute band had it well nailed. Lead singer and keyboard player Jack Rownes confidently took on the Lynne vocal part – while Jasmine Ali and Ezme on violin and cello added to the authenticity of the ELO sound.

Early highlights included Evil Woman, Showdown, Ma Ma Belle ( Martin Donald on guitar firing out the Stones like riffs) Strange Magic and Don’t Bring Me Down – the latter featuring the strident drumming of Dacre Peck. It was also good to hear some lesser high profile ELO compositions such as 10538 Overture and Night Rider.

In the second half, bassist Simon Rownes provided the soprano vocal to Rockaria – this was during a sequence of up-tempo crowd pleasing numbers that included Hold on Tight, Rock’ n’ Roll Is King and Roll Over Beethoven.

On the home straight the big hitters Turn To Stone, Sweet Talkin’ Woman, The Diary Of Horace Wimp and Wild West Hero hit the mark. Violinist Jasmine also took on the Olivia Newton John vocal for an infectious delivery of Xanadu.

A rousing finale of Last Train To London, All Over The World and Shine a Little Love had the crowd up and dancing – and an encore of Mr Blue Sky sent us all out into the cold night air with a warm glow.

All in all this was a hugely enjoyable encounter with some of the finest pop music of a golden era. A highly recommended ELO experience –catch them when you can…

Here’s some links to the ELO Encounter’s excellent website:

http://elo-encounter.co.uk/

http://elo-encounter.co.uk/news/before-corn-exchange-review-by-dave-lewis/

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Sometimes it’s fate..so here we are on the 43rd anniversary of the release of Physical Graffiti – and last Friday morning there in the Vinyl Barn racks – a UK pressing of said album. Darren was unaware of the anniversary and by coincidence just happened to bring it along this week – but being the best record stall in the land he always comes up with the goods…I do have one or two copies of this gem already(er quite a few!) but I could not leave it in the racks and at £15 for a very good condition UK original I’ll take it! The Vinyl Barn rules again -thanks Darren!

A very busy week where alongside the breaking news of the Record Store day release, it’s been full on with the Evenings With book.We are now at some crucial stages of the text and book design and it’s pretty much the first thing I think about when I wake up and the last when I go to bed. March is here and there’s a lot to do.

The freezing cold snow conditions have not helped getting from A to B these past few days and I had to postpone meeting in London today. I did catch this rather lovely wintery scene by Bedford Embankment yesterday. There was going to be a bit of respite from all the book activity  with a planned visit to see the Floyd Effect Pink Floyd tribute band tomorrow night but I’ve just heard it’s been cancelled.

The weather conditions are getting no better so it was just as well really as venturing out right now is not ideal. Here’s hoping the big freeze here begins to improve soon…

 

Dave Lewis – March 1, 2018

Until next time, have a great weekend

Website updates compiled by Dave Lewis

with thanks to Gary Foy and James Cook

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8 Comments »

  • Miguel said:

    Dave,
    Thanks for the links. The one about Zep’s record label putting out “loads” of confusing info, was really helpful.
    The one were Jimmy didn’t want to “mess” with the album”, saddens me. Ummm Mr Page, you have been “messing” with Zep Legacy ever since you started re-releasing material, so please. Plus, we the audience are all grown up, I think we can handle it.
    If anything, any new stuff is welcome. C’mon he knows that.
    The good thing about that link are the 2 clips of Tangerine. Thanks mate. At least we get to hear them hear. And I love Jimmy, but sorry, should have added them for completeness as well as enticement. I’d buy the Cd again just for that.

    Well the positive is that all this, got me to play my cd again. It’s been a bit, so it refreshing to hear again. I’ll stick with my cd and hope for more to come

  • pictoline said:

    Isn”t that also similar idea in his new video Bluebird over the Mountain? Wonder if there is a connection? Not to mention first song on the album is called May Queen with a very zep feel to it. Can”t wait to find out.

  • Paolo said:

    I really would like to hear that they are willing to close the door with zeppelin and do 2 last call shows at Cocella and say good night for the last time snd put everything to rest so they can retire in peace

  • Chris Cook said:

    Hi Dave

    I know Record Store Day records are released in limited quantity, and that there was a promo single for Remasters in 1990, but nevertheless is this actually the first “single” that Led Zeppelin have released in the UK?

    thanks, and best wishes as ever
    Chris

  • Mal B said:

    Hi Dave

    I think it’s all quite fascinating really and typically Led Zeppelin. The offerings so far, all be it that some might say are a little underwhelming, are just I’m sure a precursor to some very exciting main events. I’m fascinated by what this new multi-track live album could be, A Best of the Five Nights Of Earls Court or Best of Knebworth maybe? Who knows? But asking Jason to change the name of his Led Zeppelin Experience after all these years and even Plant saying ” Corks will pop!” Something’s Underfoot that’s for sure!

  • Graham Rodger said:

    I wonder if there is going to be a “Led Zeppelin Experience” exhibition at the Victoria & Albert museum in London…? Following the massively popular Pink Floyd exhibition at the V&A last summer, and Jimmy’s long held desire to stage that kind of exhibition to showcase every aspect of Led Zeppelin, it would seem like perfect timing. The “Mind Over Matter” Pink Floyd exhibition was the most popular yet at the V&A, so I can imagine both parties being up for it in Zep’s 50th year. Fingers crossed.

  • Dave Lewis (author) said:

    Wise words Andrew thanks!

  • andrew R said:

    Dave i am with you , i am unlikely to score a copy of this single
    but it is a beautiful object in its own right and i can’t understand the naysayers.
    Iam old enough to remember when Zeppelin had been reduced to the margins culturally.
    Now as you rightly say they are (next to the beatles) probably the biggest non existent band on the planet.These releases keep their name at the forefront during a rapidly changing
    period in society and are very cleverly handled. Just enough light and shade.
    All the best to you mate.Keep on keepin on!

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