Robert Plant Pays tribute to Ben E King:

Robert Plant has paid a heartfelt tribute to the soul legend Ben E King who sadly passed away aged 76 on April 30.

In a tribute for Uncut magazine he said:

http://www.uncut.co.uk/news/read-robert-plants-tribute-to-ben-e-king-68205

Robert covered  Young Man Blues on his Honeydrippers Vol One album in 1984 – the song appeared on the B side of King’s 1961 single Here Comes The Night. In 1987, John Paul Jones worked on Ben E King’s Save The last Dance For Me album. In 2006, Robert and Ben E King performed together during the opening of the Montreux Festival at the Stravinski Hall.

The Zep connections include the band performing an impromptu version of Stand By Me during their October 9 1972 appearance at the Festival Hall in Osaka Japan. The Ben E King/James A Bethea  1963 composition Groovin’ was reworked by Zep onstage as Were’ Gonna Groove – a number they used as a set opener during early 1970. This was famously captured on film at their January 9 1970 Royal Albert Hall show and later released on the posthumous Coda album in 1982.

RIP – the great Ben E King.

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Errol Brown  1943 – 2015

It was sad to hear the news of the passing of Hot Chocolate songwriter and lead singer Errol Brown aged 71. Errol was responsible for some of the finest pop hits of the 1970s – produced by the late Mickie Most for RAK Records  -Mickie and RAK Records shared offices with Peter Grant in Oxford Street.

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Boot Led Zeppelin celebrates Led Zeppelin at Earls Court with 40th anniversary Shepherds Bush gig:

This Saturday the UK tribute band Boot Led Zeppelin will be celebrating the 40th anniversary of the famous Zep Earls Court shows with a showcase Earls Court ’75 Revisited gig at the Shepherds Bush Empire in London. The band will be be recreating the magic of Zep in ’75 with a special Earls Court set.

This will be a great way of kick starting the 40th anniversary activity – I am aiming to be in attendance with the TBL crew. We look forward to seeing all that can make it along. We will be in the O’Neill’s bar next door before the gig.

Ticket details and info via www.boot-led-zeppelin.co.uk

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Led Zeppelin Five Glorious Nights: Latest update – pre- order offer final extension:

A final reminder: 

Five Glorious Nights – Led Zeppelin at Earls Court May 1975 – compiled by Dave Lewis & published by Rufus Stone Limited Editions:

Exclusive TBL/ Rufus Stone Pre -order Details:

Pre sale offer now extended to Friday May 8th:

Publishers Rufus Stone are now running an exclusive pre sale for TBL readers and those who signed up for info on the book. This offer is now extended for the final time to Friday May 8th.

The book will go on general sale for £130 (plus delivery) but you can pre- order until May 8th for the special price of £100 (plus delivery). Only 1,200 copies of the main edition will be made available worldwide.

This is the final week to pre order at this special price – don’t miss out!

All orders placed by the May 8 pre- sale via Rufus Stone/TBL, will also be accompanied by an exclusive limited edition 10x 8 print.

Here is the ordering link again:

http://www.rufuspublications.com/r…/Led-Zeppelin-Earls-Court

Latest Update: The design and layout have been completed (more on that below) and the book content now  is now in the hands of the printers. Further updates will follow regarding publication and distribution dates.

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TBL Archive -May 1973:

With the 43nd anniversary of the famous record breaking Tampa Stadium date rolling around this week – here’s a timely TBL Archive piece focusing on the early May 1973 dates of the American tour. This was compiled by Mike Tremaglio  for TBL 36 – this is the structure that Mike and I will be aiming for with the Evenings With Led Zeppelin book that is another project ahead.

Friday, May 4, 1973 Atlanta Stadium, Atlanta, Georgia, USA

Setlist (from River City Review – with several omissions):

Rock and Roll, Misty Mountain Hop, Since I’ve Been Loving You, No Quarter, The Song Remains the Same, The Rain Song, Dazed and Confused, Stairway to Heaven, Moby Dick, Heartbreaker, Whole Lotta Love, Communication Breakdown

Notes: Other tracks most likely performed but not listed in the review: Celebration Day, Bring It on Home Intro/ Black Dog, Over the Hills and Far Away, The Ocean.  Four Sticks was noted in the review, but almost certainly not performed.

Led Zeppelin wasted very little time on their U.S. tour to demonstrate their incredible drawing power and meteoric popularity, pulling in 49,236 fans (out of the 50,277 stadium capacity).  The concert grossed $246,180 and broke the Atlanta Stadium concert attendance record set by The Beatles on August 18, 1965 (who drew a comparatively modest 33,000 fans).

A closed-circuit TV system projected the group on two 16×24 foot screens positioned on the sides of the stage.  This was the very first time the band had ever employed such screens, specifically for faraway fans.  Unfortunately, the other stadium gigs on the 1973 U.S. tour did not utilize the technology (Tampa, San Francisco, and Pittsburgh); however, large video screens were eventually used again for their 1975 Earl’s Court shows, 1977 Pontiac, Michigan, 1977 Seattle, and 1979 Knebworth shows.

This concert marked the debut appearance of John Bonham’s Ludwig Amber Vistalite drum set.  Bonzo used this set all the way through the last gig at Earl’s Court in London on May 25, 1975.

Although not documented for this concert, Celebration Day was added to the set list on this tour, the first time it had been performed since Charlotte, North Carolina on June 9, 1972.  Out on the Tiles had been replaced by Bring It on Home as the introduction to Black Dog on this tour.  No Quarter was performed live for the very first time and Moby Dick made a return appearance to the set list for the U.S. tour (the first time it had been played in concert since the October 9, 1972 Osaka, Japan show).

The gig was reviewed in the River City Review, a Memphis, Tennessee underground newspaper. Bill Read’s review featured the following comments:

“The band waited until everyone had time to get into the Stadium and get settled before they started the show and 8:30, and even then people were still arriving.  The audience rose to its feet in a gesture of welcome, even as John (Bonzo) Bonham started the group off into ‘Rock and Roll.’  After completing this number, Robert Plant returned the greeting that had been given, and then continued with ‘The Song Remains the Same’ and ‘The Rain Song’ from their new Atlantic release, Houses of the Holy.  Plant then made a reference to the now defunct Atlanta Pop Festivals, and proceeded into ‘Misty Mountain Hop’ and ‘Four Sticks’ (ed. note: he was probably referring to Black Dog).  For those who could not see very well, there were two large viewing screens on either side of the stage, which showed interesting close-ups of the band as they gave their spectacular performance.”

“As John Paul Jones began the rather un-Zeppelinish ‘No Quarter,’ a fogging devise went into play, creating the eerie effect you might expect for the song.  This selection in particular was reproduced in an excellent manner by all members of the band.  Then, Jimmy Page, Zep’s producer and lead guitarist, and Plant put a sensual and intense effort into ‘Since I’ve Been Loving You,’ and, much to the delight of the audience, ‘Stairway to Heaven.’ ”

“As the crescent moon shone above, and as God looked down on all of His children, they bestowed upon the spectators their new rendition of ‘Dazed and Confused.’  During the song Jimmy Page stepped forward with his Customized Led Paul, took out his violin bow and expertly fed his original brand of musical data into an echo unit.  Page sent the head of every person conscious into a world of ecstasy and wonder; and it occurred to me that we might have been given a preview of music born twenty years from now.”

Hit Parader (December 1973) carried an exclusive on tour with Led Zeppelin cover story written by none other than their press agent – Danny Goldberg.  The article read just like Goldberg’s press releases, describing all their record-breaking exploits.  He even quoted the mayor of Atlanta, Sam Cassell, as saying “This is the biggest thing that has hit Atlanta since the premiere of ‘Gone with the Wind.’ ” In his 2008 memoir, “Bumping Into Geniuses: my life inside the rock and roll business,” Goldberg conceded that the quote had actually been contrived by Peter Grant the morning after the Atlanta show.

Saturday, May 5, 1973 Tampa Stadium, Tampa, Florida, USA

Setlist (from 136 & 122 minute audience recordings):

Rock and Roll, Celebration Day, Bring It on Home (Intro)/Black Dog, Over the Hills and Far Away, Misty Mountain Hop, Since I’ve Been Loving You, No Quarter, The Song Remains the Same, The Rain Song, Dazed and Confused (incl. San Francisco), Stairway to Heaven, Moby Dick, Heartbreaker, Whole Lotta Love Medley (incl. Boogie Chillun’), The Ocean, Communication Breakdown (incl. It’s Your Thing)

The band certainly did not have to wait a very long time to top their Atlanta attendance figure.  The next night in Tampa they drew a record 56,443 fans ($297,632 gross receipts), passing The Beatles attendance record for a single artist set at Shea Stadium in New York on August 15, 1965 (attendance: 55,600).

Photos of Robert Plant and the record crowd appeared on the front page of the Atlanta Constitution with the headline “Stadium Rocks – Led Zeppelin Plays to 50,000.”  The article was primarily focused on the crowd itself and mentioned that it was the first time the field had been opened to an audience.  Curiously, it also mentioned that “paper and aluminum cans were trampled underfoot or were skittered across bare parts by the wind.”  Coincidence?

Soon after the Tampa show, an Associated Press article written by journalist Mary Campbell was published in newspapers throughout the United States.  Robert Plant discussed the Tampa concert with Campbell:

“I think it was the biggest thrill I’ve had.  I pretend – I kid myself – I’m not very nervous in a situation like that.  I try to bounce around just like normal.  But, if you do a proportionate thing, it would be like half of England’s population.  It was a real surprise.  Tampa is the last place I would expect to see nigh on 60,000 people.  It’s not the country’s biggest city.  It was fantastic.  One would think it would be very hard to communicate; with 60,000 people some have got to be quite a distance off.  There were no movie screens showing us, like in Atlanta.  The only thing they could pick up on was the complete vibe of what music was being done.”

Plant was asked why the band was more willing to talk to the press this time around and he responded:

“Last summer when the Stones were in America we were doing a tour concurrent with theirs.  We had no coverage.  We were beating their attendance, though…We’ve been aware of how we’ve been doing for a long time.  And I really think some people ought to know what we’ve done.  I’m proud of what we’ve done and what we are doing, and so many more people could dig it.  That is the idea.”

 Phil Rogers, staff writer for the Evening Independent (May 7, 1973) newspaper in St. Petersburg, Florida reviewed the gig in an article titled “Led Zeppelin Style: Start Slow to Buiold” (sic).  Here are some key excerpts from Rogers’ article:

“Then the long awaited were on stage.  Zeppelin started slow and built slow, for each song, for the whole show.  Robert Plant’s voice vibrated into the open cavern of people that covered – painted – wallpapered every viewable spot in the stadium.”

“At times attention wandered from the stage.  Someone said she was bored.  At the time the remark was made, I would tend to agree.  No one else in the crowd seemed to be exactly jumping up and down either.  But then, Led Zeppelin was building.”

“Led Zeppelin was starting to warm up.  Jimmy Page took a violin bow to his guitar, drummer John Bonham took a long, very excellent drum solo and the sound started to come alive…The first notes of ‘Stairway to Heaven’ drew immediate applause.  ‘There’s a lady…’  Plant’s voice brought recognition to the rest of the crowd and more cheers for the group.  The best song so far; things were getting better.”

“The finale, ‘Gimme Some Lovin’ (sic).  White doves, released from the stage, flew to the audience in a message of fluttering, wheeling peace.  Thousands, upon thousands of matches spotted the stadium like little eyes looking for the group’s return.  A granted request.”

The Watcher (May 21-27, 1973) underground newspaper (Winter Park, Florida) carried a review of the record-breaking show titled “The Apex of Rock and Roll Attendance – Led Zeppelin Fills Tampa Stadium.”  Written by Michael Crites, the review included the following observations:

“Led Zeppelin performed a predominantly high-energy concert with only a taste of their progressive soul and glamorock experiments of recent days, and their acoustic tunes.  The quality of sound was not good, very little of the patented Zeppelin echo was audible and there was a somewhat fuzzy edge.  Of course, these are natural drawbacks to a stadium show.”

“One of the outstanding numbers from ‘Houses of the Holy’ titled ‘No Quarter’ is indicative of Zeppelin’s schizophrenic nature.  The song included a mysteriously mellow piano, a solid drum beat and disguised heavy guitar.  At the mellotron Jones activated the strings, which are dynamite in your living room and probably would be exciting in a concert hall.  Zeppelin took off in developing an orchestrated piece formed by intricate composition.”

“The fifteen minute drum solo was a useless filler and a condescension to the masses.  I think Bonham is a damned good drummer without continuous beating.  Charlie Watts has never played more than thirty seconds by himself.  ‘Moby Dick’ was the only boring portion of the show.

A three and a half minute news report was broadcast on local TV station, Channel 13.  The feature showed the band getting off their planes and into limos, footage of the crowd, and short clips of the band performing on stage (with Misty Mountain Hop from the fourth LP being played instead of the actual live audio).  Part of this feature was used as the intro to their 2007 reunion concert at the 02 Arena in London.

Sunday, May 6, 1973 St. Petersburg, Florida, USA (Not Performed)

Despite appearing on several tour lists throughout the years, this concert was never even scheduled, let alone performed.  It’s also worth noting that St. Petersburg is less than a half hour drive from the previous gig in Tampa.

Monday, May 7, 1973 Jacksonville Coliseum, Jacksonville, Florida, USA

After performing to over 100,000 fans on the first two gigs of the U.S. tour, Led Zeppelin returned to some sense of normalcy, appearing before a sold out Jacksonville Coliseum crowd of “just” 13,000.  New York based rock journalist Lisa Robinson submitted a rave review of the gig for Disc and Music Echo (May 19, 1973).  Robinson was one of the very few journalists whom the band trusted, and as a result she was able to cover the 1973, 1975, and 1977 U.S. tours with true ‘insider access’ for various rock publications.

Here are some of Lisa Robinson’s observations of the Jacksonville concert:

“If I, myself, was getting to a point where Rock ‘n’ Roll becoming part of my past, as opposed to part of my blood, this concert turned it all around for me.  I had heard that on a good night Led Zeppelin is magic, is Rock ‘n’ Roll.  Where have they been all my life?”

“Robert Plant strutted across the stage.  He swaggered, he is THE popstar, at all times totally compelling…more so to me than even Jagger, because it just doesn’t seem contrived for one moment.  Plant’s voice was like a gorgeous instrument, he was physically and sensually taking the audience for his own.  They wanted him to do it to them and he did.”

“Jimmy Page would do things on the guitar so spectacular and then just stop…and then start again and leave you breathless, always wanting more.  When he played the guitar with the violin bow he moved as if in some marvelous graceful ballet.  And all along, Bonham and Jones were relentless, driving, pushing – keeping it all solid.”

“This has GOT to be what Rock ‘n’ Roll was all about: what it s meant to be.  Without gimmicks, without any obvious visual theatrics, the interplay – the dance both musically and physically between Plant and Page was magnificent and, of course, became more theatrically-compelling than almost any other band who attempt to do something similar.”

“It was impossible to be a part of that experience and not watch, and listen, with total awe.”

Compiled by Mike Tremaglio – first published in TBL issue 36.

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TBL Archive: Jimmy Page & Robert Plant: 1995 Tour:

Leading on from last week’s Page & Plant retro focus – here is Part Four  of  the piece that originally ran in TBL 12: It focuses on an imaginary 4 CD compilation of the tour: CD 4 concludes the round up with a focus on the 1996 South America, Japan and Australian dates. dates: 

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CD4 – South America/Japan/Australia)

‘Babe I’m Gonna Leave You’

(Rio De Janeiro, Brazil, January 27 1996)

Another later tour highlight, The Zep I vintage ‘Babe’ had been rehearsed as far back as the MTV filming (it was dropped from the first night filming at the last minute) and it was always planned to perform it with the orchestral backing. It finally made its debut in Mexico on September 29. This new wide screen arrangement included a newly added spiralling solo section which garnered a huge response from the massive Rio crowd. Their biggest cheer was held for the finale when Page closed the song using the opening chords to ‘Stairway To Heaven’ – a tactic first employed when Robert performed the song with Fairport Convention at the Cropredy Festival in 1992.

‘Nobody’s Fault But Mine’

(Budokan Hall, Tokyo, Japan, February 6 1996)

‘When The Levee Breaks’

(Budokan Hall, Tokyo, Japan, February 8 1996)

Two performances of the similarly styled semi-acoustic blues workouts that were initially performed for the MTV filming at Corris Slate in Wales. These tracks were rotated at random to precede Nigel Eaton’s solo on the tour. Perfect for Plant’s classic blues vocalisms, ‘Nobody’s Fault’ looped along with a pleasing bounce. “That was a song from a preacher in 1929… his name was John Paul Jones… woops… Blind Willie McTell,” was Plant’s caustic comment at the close. ‘Levee’ was played in the Corris Slate arrangement – harsh and grinding in a semi acoustic stomp – sensibly there was no attempt to replicate Bonham’s master drum sound of the original.

‘The Rain Song’

(Budokan Hall, Tokyo, Japan, February 8 1996)

This third Budokan night was plagued with false starts and technical trouble, prompting Plant to call it rehearsal night by Plant. However, there was a certain charm to be derived from some of their failings. This live premier of ‘The Rain Song’ was one such example. Jimmy completely lost his way on the intro and, spurred on by Plant, then drifted off into an instrumental solo before they got it all back on course. Always a highlight of the MTV filming, this long awaited live delivery was every bit as arresting, aided by the orchestra. The final solo from Page was played out with breathtaking intensity. “I don’t know if you could spot all the mistakes there… but it’ll sound great on bootleg and this is the place to get it,” was Plant’s comment at the end.

‘Yallah’

(Budokan Hall, Tokyo,  Japan, February 13 1996)

Plant’s made for MTV new song ‘Yallah’ (or ‘The Truth Explodes’ as it was retiled for the MTV Unledded video) had something of a chequered history along the tour. It was discarded fairly early on in the US and was played infrequently in Europe. In Japan it enjoyed something of a renaissance despite the problems with the backing tape loop that caused the total abandonment of the Feb 8 version. This attempt a few days later was more successful with Page underscoring the loop and orchestral support with a blazing riff feast.

‘Ten Years Gone’

(Castle Hall, Osaka, Japan, February 15 1996)

“This is a song for the happy people of Osaka,” was Plant’s low key introduction to another slice of Page Plant history. They had begun rehearsing the Physical Graffiti classic ‘Ten Years Gone’ during their Budokan stint and now it was served up in all its glory with Page back on the Telecaster for perhaps the most emotionally charged performance of the tour. Peerlessly performed with Page stringbending the notes in customaryr fashion. “I’m never gonna leave you,” Plants final pleas prompted memories of the latter era of Zeppelin. This outstanding performance that recalled the spirit of 1977 and 1979, was revived for one night only. Like ‘Achilles’ maybe they felt it was just too precious to repeat it again.

‘Tangerine’

(Century Hall, Nagoya, Japan, February 17 1996)

A similarly misty eyed revival, with the opening chord accompanied by an excited “Oh Jimmy!” squeal from one of the audience. Earlier in the tour it had been performed in a full band version. For the Japanese dates it was back in an arrangement similar to when Zepp played it in Japan back in 1971. Simple, bleak and profound.

‘Tea For One’

(Century Hall, Nagoya, Japan, February 17 1996)

‘Tea For One’, the Presence closing track had been hinted at as far back as the hybrid ‘Since I’ve Been Loving You’ performance in Sheffield. Eventually for this leg of the tour they worked on a complete version. They took a little time to get it right (again the Feb 8 show being something of a test run), but by the time they got to Nagoya it had developed into a uniquely relaxed affair. Rarely on the tour did they sound so laid back and at ease as on this delivery of a previously unplayed song. Page cut in with some stirring blues runs against the soaring strings of the orchestral. It was only performed on six occasions but ‘Tea For One’ emerged as the musical discovery of the tour, Page bringing a new maturity to a no longer underrated part of the Zepp catalogue.

‘The Song Remains The Same’

(Entertainment Center, Sydney, Australia, February 25 1996)

So to Australia for the home straight. The departure of Porl Thompson left Page taking on all the chores of this track alone. It may have stunted his stage movements a little but it only enhanced the quality of his playing. This version breezed along with all the aural assault of the New Orleans version of a year back. It may have been the 114th show, but the pair’s total application was still very apparent.

‘Four Sticks’/’Wonderful One’

(Flinders Park, Melbourne, Australia, March 1 1996)

Two selections from the last night of the world tour – both initial inspirations from the very first night of filming for MTV. ‘Four Sticks’ may have been a familiar part of the set but it still retained its original spark creating a fresh nostalgia of its own – not for the 1971 studio album version but for the more recent golden evenings of August 1994. The clapalong speeded up finale was still a delight 108 performances on. Not bad for a song that had only known to been played live once in the previous 25 years.

‘Wonderful One’ had returned to the set during the Japanese leg in a more substantial orchestral arrangement. Initially tried on the US first leg it was dropped due to problems coordinating the backing tape loop. With the aid of strings it flowed far more effectively. A very pretty melody with lyrically couplings reminiscent of some of mid-Seventies Plant writings

This version was a played as an encore on the night after which Plant told the crowd: “Thanks for a great response and a great night. It will be a long time before we hear this noise again… so give it to us again!”

‘Jam sequence’

(Flinders Park, Melbourne, Australia, March 1 1996)

Another short soundbite – performed prior to ‘Black Dog’. As was customary, Page staggered out some appropriate riffs to warm up before ‘Black Dog’ but on this occasion was joined by Charlie and Michael and then Plant leading them through a fast grunge like rock’n’roll piece with nonscript “Oh baby” lyrics. Allegedly this jam was built around one of the unreleased tracks they recorded in rehearsals for the MTV filming.

‘Rock And Roll’

(Flinders Park, Melbourne, March 1 1996)

The final date, the 115th gig. A chaotic encore of ‘Rock And Roll’ featuring bass tec Richard Davis (introduced by Plant as Garth Brooks: “Take it away Garth, eye thank yew”) on guitar, Michael Lee dressed in a rabbit suit and Charlie dressed as an elephant. “We’ve got to go back to kindergarden. Bye bye… see you next time. Plant’s final statement from the world tour.

*It brings to an end nearly five hours of material that accurately chronicles the long awaited reunion of Page with Plant. The evolution of Led Zeppelin as it unfolded from February 1995 through to March 1996.

Dedicated to Michael Lee 1969 – 2008.

Dave Lewis – first published  in TBL issue 12 

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A couple of reminders:

Be seen in the coolest Led Zep T polo shirt around this summer…

The new TBL Led Zeppelin Polo Shirt is now available!

This special TBL Polo is a Fruit of the loom black polo shirt depicting the stylish TBL Mag logo and ”not just a band” slogan  on the left hand breast.

How to order:

The Polo shirt is available in the following sizes:

Small/Medium/Large/Extra large/XXL/XXXL

Note Ladies Fit Sizes are also available on request – send an email to davelewis.tbl1@ntlworld.com with requirements.

Here is the ordering link for the TBL Polo Shirt:

http://www.tightbutloose.co.uk/the-new-tbl-polo-shirt-be-seen-in-the-coolest-led-zep-polo-shirt-this-summer

VIP Record Fair : Bedford Harpur Suite Saturday May 16:

The VIP Record Fair is pitching up in Bedford again on Saturday May 16. Last October’s fair was very well attended. It runs from 10am to 3.30pm. I will be having a TBL stall at this one and look forward to seeing all that can make it along.

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124 days to Five Glorious Nights :

The pic here was taken at StudioMix Bedford last Saturday with designer Mick Lowe after we finally signed off the Led Zeppelin Five Glorious Nights design and layout.

We did the first test layouts some 124 days ago on Tuesday January 6th. During January and February I wrote the text pieces. As the contact sheets came in via Mark Smith at Rufus Stone we began the proper layouts in early March. On March 11 and again on April 2, I met with Ross Halfin who kindly added his input as photo editorial consultant. It’s been full on all the way through as we attempted t do justice to what has become an incredible challenge.

Suffice to say, massive thanks to Mick for bringing all alive at StudioMix, to Mike Tremaglio and Dec Hickey for proofing and overseeing of the text – to Gary Davies, Cliff Hilliard, Nick Anderson, Scott Baker, Roger Berlin, Peter Chow, AA and  Phil Harris for memorabilia  contributions and input – Samantha Lewis for the cover Earls Court shot and the good lady Janet for all her support…

…and to Mark Smith for creating the opportunity…

It’s been124 glorious days (well not all of them – there were many days of considerable stress!) to get to the end result of Five Glorious Nights…it’s a massive relief we have finally got there – the book content is now at the printers for what is aimed for a late May/early June ship out. As for the book itself  – well, I’ve lived and breathed it for many hours and looking over the final completed 288 page proofs today, well, I think we have achieved something pretty special….

Right that’s that one done… it’s ever onward with TBL 39 next……Dave Lewis – May 2, 2015.

DL Diary Update:

As can be seen above, it was a massive relief to finally wrap the text checking, design and layout of the Earls Court photo book. Of course it doesn’t end there – we are now awaiting the first bound proof to further proof read and check over. More on all this as it unfolded.

No sooner has that one been a sign off, it’s been straight into preparing the text for TBL 39. There’s some great stuff lined up including a very perceptive piece on the Jimmy Page  Sound Tracks release by Larry Bergmann jr, another in depth analysis of the Led Zep reissues from Richard Grubb, plus a Nick Anderson Collectors column that rounds up the recent Physical Graffiti promotional material and more. I’ll be working on this forthcoming issue over the coming weeks now and endeavouring to get this out for next month – again I’ll keep you updated on all this .

Latest DL vinyl acquisitions:

At the excellent Vinyl Barn stall in Bedford I picked up a few little gems last week as follows:

Paul Rodgers – Cut Loose album on US Atlantic , for some reason I  never got around to getting this on LP a the time. Jethro Tull’s 1974 album War Child which includes the great Bungle In The Jungle single plus If – If 2 – 1970 release from the jazz rock/fusion outfit on the Island label.

Plus Phil Moore & his orchestra – New York Sweet –US Mercury with an fantastic period piece cover and inner sleeve. In the DL quest to obtain the singles I would have purchased during the period 1969 to 1972 had I been able to afford them – thee more came off the list namely:

Family – No Mules Fool on Reprise, East Of Eden –Jig A Jig on Deram and The Nice Country Pie on the Charisma label. You gotta have your Friday treats!

As mentioned above, we have the VIP Record Fair in town on May 16th. I’ll be having a stall for that one with various TBL goodies featured – and I’ll also be taking the opportunity to preview the Earls Court photo book.

On the player here: The above plus: Led Zeppelin Earls Court Volume 1 and 2, the Rolling Stones Sticky Fingers (I am looking forward to the reissue of this album due next month0 plus the Stones Get Yer Ya Ya’s Out  and the perennially brilliant Miles Davis Kind Of Blue – another old friend that saw me through the last stages of early morning late night checking on the Earls Court photo book.

There’s a packed agenda ahead with the Boot Led Zeppelin gig plus Dec is over for the weekend for his first visit since he moved to Ireland a couple of months back. As I write this, the countdown to the 40th anniversary of Led Zeppelin at Earls Court is a mere 11 days away…

Then, as it was  40 years ago, this month of May is shaping up to be something of a May Daze of Zep related activity with a few surprises along the way. That is exactly as it should be…

Dave Lewis, May 6, 2015.

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YouTube Clips:

Led Zeppelin – Stand By Me as performed at the Festival Hall, Osaka Japan, October 9 1972 – RIP Ben E King: 

Atlanta – May 4,1973 – Part One:

Atlanta – May 4, 1973 – Part Two:

Tampa – May 5 ,1973:

Until next time…

Have a great  weekend –

Keep listening, keep reading…

Dave Lewis/Gary Foy –  May  6, 2015 

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