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17 September 2020 2,480 views 7 Comments

Sounds Four Part The Complete Led Zep –  42 years Gone – DL Reflections.

42 years ago this month I had my first Led Zeppelin written work published in a major UK music paper – my research for a 10 year retrospective look back on the band’s career in Sounds was extensively used across four weekly parts. It was an incredible thrill to see my work reach a wide audience and it was the kick start to many great things – here’s how it all came to be…

During 1977 and into 1978 I had built up an amount of  ritten work on Led Zeppelin and was ready to unleash my Zep fanzine  project Tight But Loose – of which a prototype first issue was already under construction.

In early 1978 I replied to a query in the Wax Factor column in Sounds –one of the weekly music papers of the time. This column was run by the late Barry Lazell and basically offered information to queries sent in by readers. One such letter requested how to obtain Hey Hey What Can I Do. Under the guise Dave Lewis ‘’Ace Zep Fan’’ (yes it was pretentious but hey I was young!), I replied giving the correct info. I made similar correspondence with Barry over a query about the Blueberry Hill bootleg– both of these were published.

In late May (around the time of my leap of faith with The Who at Shepperton), I received a call from Geoff Barton one of the main writers at Sounds. He had evidently seen the Wax Factor replies and wanted to enlist my assistance on an upcoming Led Zeppelin feature. This was to be an ambitious three week series celebrating the band’s tenth anniversary.

The brief was for me to supply a timeline history of the band for Geoff to work with plus a full discography – I suggested to Geoff that we include a bootleg listing and other pre and post session details. I’d only ever seen the basic Zep discography and I saw this as a major opportunity to present an extensive showcase of the band’s recording history to that period.

On June 8th I met with Geoff Barton at the Sounds office in Long Acre Covent Garden, to discuss all this at length.. I took in a whole load of memorabilia for them to photograph to illustrate the feature – programmes, photos and a fair few vinyl bootlegs (no jpeg scanning in those far off days!). Looking back I was a bit naive entrusting them with all this and one or two items did go missing.

Back in the Dents Road bedroom during the summer of ’78, I set to work on collating all the info required – all hand written I might add. It was a real thrill to be finally finding an outlet for the masses of info I had collected and logged –and knowing that it would be seen by fans across the country.  I was also in touch with Swan Song and told them of my involvement. I have to say there did seem some tetchiness between Sounds and Swan Song – not that it was any of my business – this uneasiness would later result in Sounds being banned from having press passes for Knebworth – which is another story altogether.

So, by early August all my info was at the Sounds office ready to be incorporated into this lavish series. Boy was I excited.

On Thursday September 14, the first part appeared- with a cover photo of the now much seen group posing by the car shot taken by Dick Barnatt (see TBL 35 for the full story). The series was dubbed ‘The Complete Led Zep’

Week one kicked off with a re appraisal of the Zep albums to that point by Geoff Barton. As the ordinal blurb put it, ‘ Geoff gives the albums a going over….he did that alright and for someone who was pretty defensive of any criticism of Zep – I was a little surprised at his often negative comments.

Zep 4 he summarised as as ”overrated” (two and a half stars out of five,)

Song Remains soundtrack got 2 stars Physical Graffiti 3 stars and Presence 2 and a half. Geoff’s alliegence was clearly for early Zep where Zep I was four and a half stars, , Zep II five and Zep III five.

Barton 16

It’s worth noting, that Sounds was one of the music weeklies facing an identity crisis in the wake of the punk/new wave explosion. Zep of course were seen as the dinosaurs of the old wave and there were some agendas at play in how they were being covered. Sounds would later develop a platform for the so called ‘New Wave of British Heavy Metal’  pioneered by Geoff Barton himself.

Oh well..  the series was up and running.

Week 2 was the timeline chronology. Geoff had incorporated my facts and info into the piece pretty well to unfold the Zep story but the whole feature suffered by some seriously odd lay out being spread over several pages – one page being dwarfed by an advert for a Godley And Crème album.

Barton 9

There was good news and bad news about week 3. The bad news first: I had taken the rare Robert Plant 1967 solo single Long Time Coming for them to photograph. For whatever reason, when it came to being re- produced the whole of the CBS label was illegible –looking like a blank label and nothing else …the caption the Robert Plant rare single almost looked a bit of a tongues in cheek – ie so rare you can’t actually see it! Note also the sticker on the label which states min bid £15 which is what I paid for it around a year earlier -it’s now worth minimum  £250!

Barton 7

The good news was all the other bootleg covers came out fine and surrounded what was then the first ever comprehensive bootleg listing drawn from my research and info and own collection. It was literally everything I knew up to that point and I was also well pleased with the overall presentation of the pre Zep information and the outtakes references etc. Again this type of information had never been collated as extensively.

Barton 6

When I visited the Sounds office around that time, I did point out to Geoff about the uneven lay out and the record sleeve problem. Frankly he was not that receptive with such criticism.I was learning fast that these guys were under pressure to produce a weekly music paper and time was not of the essence.( Geoff and I have since laughed about this since when I’ve seen him at the Classic Rock Awards).

Barton 4

When I was in the office, then Editor Alan Lewis suggested we run another week with all the TV and radio info I had supplied –so the three week series became four and again presented the known Zep TV and radio spots – this was a little limited in accuracy back then –  I would get to know a whole lot more on the subject of the BBC sessions etc over the next few years. Another quick aside -there was a bit of confusion of names going on at Sounds as they already had a writer named Dave Lewis (no relation) working for them at that time – he went on to be a press officer at RCA Records. Many is the time down the years I’ve been asked if I worked at RCA!

barton 1

Following the running of the series two things happened. Firstly, I began to get letters and correspondence via Sounds from fans requesting further info and discussing the info I’d presented.

It’s worth mentioning here that being a Zep fan back then was quite an insular thing. There was no social media to share this enthusiasm – I myself was in touch with a few fans notably Howard Mylett and Brian Knapp in the US. The Sounds piece did much to galvanise a lot of interest and though the feedback I was receiving , I quickly realised there were many fans out there as keen as I was on the band..

Secondly, I got a paid for the feature and hatched a plan to use that money to fund the printing of the first issue of Tight But Loose. That autumn I scribed away on the contents of the hand written first issue incorporating features on Earls Court, latest bootlegs , A complete Swan Song discography with commentary and the speculative feature on a live chronological live album set./

There was also a report of the very inspiring conversations I had with Robert Plant at the Goaldiggers football tournament he took part in at the Empire Pool Wembley which I attended on November 5th, 1978.

The first adverts to notify the soon to be published Tight But Loose ran in Sounds and NME late in the year – there was a slight delay to getting the first issue out when the UK suffered a bout of very snowy weather over Christmas and the new year.

I printed  200 of that first hand written issue – and they sold out within a 6 weeks. Tight But Loose was up and running and the rest, as they say is history…


Incidentally, I do have a plan to re publish a special edition of that first issue at some point –it’s a key part of the TBL story that needs to be back out there.

Looking back now some 42 years later, there’s no doubt that my involvement in the Sounds Ten Years of Led Zeppelin feature was the absolute catalyst for me to bring to fruition the idea to produce a regular Led Zep magazine,  which I’d had kicking around for over a year.

It was more than evident that fans across the globe were in need of regular Zep info and reading matter. Tight But Loose began to fulfil that role.

As for the Sounds piece, I’m still very proud of it. I can recall at a UK record fair in the early 80s seeing fans with that bootleg centre page listing in the hands wading thought the LP racks using it as a guide.  Eventually it would be superseded by the likes of excellent Robert Godwin’s Illustrated Collectors Guide and my own listings in the A Celebration book in 1991.

Looking over it today, it’s very evident that presenting this outpouring of Zep info in Sounds back in September 1978 was clearly the moment I broke out of my bedroom as it were, and found a true connection for my thoughts, passion and enthusiasm for Led Zeppelin.

A connection that 42 years on is as strong as ever…, 

Dave Lewis –September 18,2020

(Extracts from Music Is Life To My Ears –The Dave Lewis Memoirs (TBL Publishing – work in progress for future publication)


LZ News:

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For all the latest Zep and related news check out the Led Zeppelin news website at;


It was 49 years ago…

TBL Archive:

49 years ago on September 13 and 14,1971 Led Zeppelin performed two shows at the Berkeley Theatre in California/ Thankfully both these shows were captured by fans in attendance and have appeared on various bootleg releases.

Here’s something I wrote about the Berkeley Days The Second Night double album when it surfaced by in 2017…


Here’s my thoughts on the recently released on vinyl Berkeley Daze 2nd Night double album… 

Berkeley Daze – 2nd night: Yet Another Very Stoney 1971 evening… 

Dave Lewis welcomes a vinyl reissue of an old bootleg favourite…

I’ve been collecting bootleg recordings of Led Zeppelin since I was 15. It remains a great passion.

In recent years, the market has been somewhat saturated  with upgrades and reissues. I try to keep on top of the CD releases though I have long since dropped out of buying the really high end expensive packages that emerge – however, if it’s something previously unheard, I obviously check that out.

As many of you reading this will be aware, my overall collecting focus has switched to vinyl in recent years, I am therefore very interested in any Zep vinyl bootleg package. However, they have not been too well served in the modern area. Zep Vinyl packages have been fairly random – both in terms of track listing and packaging. It probably does not help that to capture a whole Zep show – the CD format has clear benefits over vinyl.

There have been some worthwhile releases – such as the admirable box sets from Virgin Vinyl stable presenting the Royal Albert Hall 1970 show and the Seattle March 17 1975 show. Also of note is the Fab Four Liverpool January 14 1973 box set, the Southampton ‘73 soundboard across a double set and the ‘Bob Presents’ white vinyl pressing of the Fillmore West January 9 1069 recording. Too often though, the song choices are randomly presented on a single disc such as Touch And Go which mixes performances from Toronto September 4 1971 BBC ’69 and Brussels ’75 and Teddy Bears Picnic, which has highlights of the Newcastle November 11, 1971 show.

When I heard that Led Zeppelin – Berkeley Daze 2nd Night – a new double vinyl presentation of the famous, nay brilliant, September 14 1971 Berkeley Community Theatre show was on the way, my hopes were definitely raised.

This is of course the recording immortalised way back as the seminal legendary Going To California TMQ bootleg. That particular double album on coloured vinyl first came into my life on Friday January 19, 1973 – these dates were important ones and all logged in the dairy so I know these things!

Following on from Live On Blueberry Hill which I had got in late ‘72, it was another revelation and upped my own enthusiasm for Zep bootlegs manifold.

Fast forward 43 years, on a similar cold Friday (February 10) and I took receipt of a new pressing of this fabled September 14 1971 show on the Casino Records Entertainment label in a limited edition of 400.

Boy, was I keen to get intimate again with a live recording that has been part of my Zep DNA for four decades.

So what we have here is a vinyl edition repackage onto vinyl of the CD set that came out via Godfather Records.

The first indication that this label means business is the packaging. An impressive heavyweight cardboard double fold out sleeve with full colour inners.

There’s accompanying explanatory sleeve notes about the recording of the show by one Paul De Luxe. The photos deployed on the inner sleeves are mostly 1971 period shots from the US tour and Empire Pool Wembley gig. There are two pleasing group shots from the autumn 1971 photo session that has them holding drinks and smoking – Page in the Zoso jumper.

Unfortunately, the 1971 mood is spoiled slightly by the dropping in of a colour shot of John Bonham from the 1977 US tour.

Overall though, a sturdy well thought out sleeve package and the records themselves are on 180 gram coloured yellow vinyl – individually numbered in a run of just 400. All very pleasing to look at.

In the very informative sleeve notes Paul reveals the story that the original tapes of this show were disposed of  – as he explains ”Having been lost in a fire, or even thown in the pacific ocean out of paranoia by the person who ran a bootleg label and was scared of an FBI raid’’. The bootleg release was overseen by the famous Dub of TMOQ. It’s likely he got the tapes from the original taper and then released them in early 1973. The fact they came out some two years after the show took place, hints that Dub did not tape them himself – his policy was to release any show he had taped as soon after the gig as he could manage.

It’s well worth noting that TMOQ also presented another bootleg from the same time and venue era – and very likely taped by the same guy that did the Zep show. This was a performance by David Crosby and Graham Nash at the Berkeley Community Theatre a month after the Zep visit on October 15 1971. It’s reported to have the same sound resonance and similar slight cuts as the Zep recording.

The Crosby & Nash bootleg album came out on the Trade Mark of Quality label under the title A Very Stoney Evening. It was issued in February 1973 – with a catalogue number of TMQ 72005 – the next inline after Going To California which is TMQ 72004.


I recently searched out the original mail order listing I received in late 1972 – the very listing I used to order Going To California – and sure enough under ‘New Discs’, it lists both the Zep and Crosby & Nash titles. Looking back I dearly wish I had ordered both as the Crosby & Nash album has gone on to be a celebrated notable bootleg release.

In fact due recognition was paid to it when in 1997 the Grateful Dead label officially issued an excellent multi track soundboard Crosby & Nash concert recorded at The Dorothy Chandler Pavilion in Los Angeles, on October 10 ,1971, a mere five days before the bootlegged Berkeley show.

This official release (which I purchased when it came out on CD in 1997 – and I’ve recently acquired the superb double vinyl pressing)) went out under the title Another Stoney Evening – and as the sleeve notes explained ‘’The title of this release is producer Stephen Barncard tip of the hat to A Very Stoney Evening the celebrated bootleg of another inspired date on the tour released on the legendary Trade Mark Of Quality label.’’

Back to Led Zeppelin Berkeley Daze the 2nd Night and the music contained therein:

Well, put simply, what’s not to like?

For a start, this is one of those audience recordings that simply crackles with excitement. Slightly toppy but completely authentic – if a soundboard was to emerge of this night though much welcomed, it would be hard pushed to capture the sheer electricity of what was picked up by the enterprising fan who recorded this amazing show.

And amazing it is, right from the moment they kick in with Immigrant Song. One thing is for sure – Robert Plant’s vocal are at something of a career high – so flexible so confident so utterly self assured – he is literally inventing the rock god model with every song. The echo on his voice is also a sheer delight – none more so effective than on Heartbreaker.

On this track there’s that sudden shift of the sound to stereo just as they hit the line ‘’Amy’s back in town’’ and then Thwack!

Now we really are on a winner. Jimmy is captured right up front just ahead of JPJ’s bass – as for John Bonham, rarely has that Ludwig kit been so well captured from the audience. His snare drum resonates so decisively –it drives the whole thing on at a frantic pace. The entire set showcases the often wild but perfectly honed interplay between Bonzo, JPJ and Jimmy. The solo on Heartbreaker has that delightful run through 59th Street Bridge Song and Bouree – an amazingly fluid piece of guitar mastery.

‘’You should have come last night – last night there were several bowler hatted beatniks’’ . I’m not the only one I’m sure who can recite Plant’s inter song patter on this double set at will…

Since I’ve Been Loving You does have a cut at the intro but no matter as it soon flows with an assured authority and when Jimmy hits the strings for the solo..phew …we are talking Electric Magic here big time.

Black Dog has that Out On The Tiles intro, back in January 1973 that was still fresh in my memory having seen it played live just four weeks previous on stage at Ally Pally. John Bonham is a powerhouse of immense percussive skill throughout this fantastic delivery.

‘’There was a pollution alert today and I lost my voice. Here’s one from millions of years ago.’’

Incredibly it was only two years ago that they were romping through a mere seven minutes of the early anthem that is Dazed And Confused. By 1971 it had extended manifold and this twenty minute onslaught is a perfect example of how well crafted this number had become. There’s a great moment when Plant comes in with those ‘’Im so glad I’m living in the USA’’ lines.

Side three presents the more acoustic side of Led Zep commencing with a slightly tentative rendering of Stairway To Heaven – tentative but sensitive and warmly received by the audience. There’s also another evocative Plant ad lib witness – ‘’You are the home of the children of the sun.’’

That’s The Way follows, the clarity of the audience tape captures JPJ’s mandolin sound perfectly and it supplements Jimmy’s acoustic picking. Robert is again totally immersed in the song living the lines ‘’why doesn’t everybody cry?’’

The tuning up prior to them easing into Going To California (”a sitting down song”) is another off the cuff highlight

Over on side four, the amps are back up to ten for a bruising compelling Whole Lotta Love. Jimmy teases the riff and you can clearly hear him on backing vocals on the chorus. Then it’s all manner of delightful medley fun: Let That Boy Boogie, the double early 60s throwback wammy of Rick Nelson’s Hello Mary Lou and Elvis’ Mess of Blues and on into a complete rendition of You Shook Me and back to the finale.

‘’Goodnight – thank you!’’

Goodnight – thank them…

Now it’s no secret that I am something of a 1975 man when it comes to loving Zep live, however my second favourite era is 1971. This double album is a prime example of the sheer exuberance of the band at that time.  Jimmy remarked that the audiences on these Berkeley nights were quiet sedate – though you would never really know it.

Some afterthoughts:

Being at the helm of all things TBL, the world of Led Zeppelin revolves for pretty much most of my waking hours. Keeping on top of all the social media demands, answering emails, regularly updating the TBL website, receiving packing and distributing orders (on my bike!) Writing TBL content, working on book projects, etc. – it really is never a dull moment…

Within all that, it would be easy to lose sight of what attracted me to this thing in the first place – which is of course the music. I always make a dedicated effort to not let that happen by frequently spinning fave LP’s and CDs. When something new comes around – particular on vinyl, I still have the hunger and passion to get immersed in it all again.

The arrival of this new double album has more than justified that belief. It’s been a wonderful reminder of the initial ingredients that sparked my insatiable appetite for this remarkable music.

The studio albums, brilliant as they are, were just the starting point.

Unconstrained by the limitations of a mere two sides of vinyl playing time, on stage night after night is where they really came into their own. Their creative juices were ever overflowing. Those evenings with Led Zeppelin were special…and no more so than this September night back in 1971.

It’s been the perfect inspiration as I get down to some intensive work with designer Mick Lowe on the book I am co- authoring with Mike Tremaglio which will chronicle the heritage of those 500+ evenings with Led Zeppelin

On Berkeley Daze and many other nights, Led Zeppelin really were something special.

This double album is more conclusive proof.

I love both the Soundtrack to The Song Remains The Same and How The West Was Won, but in my opinion ( and many others), some of their best live albums remain unofficial – and Berkeley Daze 2nd Night is truly one of the best….

400 lucky recipients of this double album are in for yet another very stoney 1971 evening…

Dave Lewis, February 2017.

Postscript September 18, 2020:

I’ve just played the album and it sounded every bit as impressive as it did three years back -it really is one of the all time great Led Zeppelin performances.


Jimi Hendrix Remembered – 50 years gone… 

I can remember exactly where I was when the news of Jimi Hendrix death came through on September 18, 197 – 50 years ago today.  I was listening to the Tommy Vance Friday What’s New programme as I did most Fridays back then eager to hear the latest single releases. Around 5pm the announcement was made on the BBC Radio One news and Tommy went on to provide a fitting tribute to the guitar legend noting the inconsistencies of his performances over the past year.

Across the water the next day Led Zeppelin were performing two shows at Madison Square Garden and Robert Plant paid his respects in the evening show.

”Before we go any further …yesterday a rather uncomfortable thing happened for everybody and a great loss for the music world…and we’d like to think that you as well as us are very sorry that Jimi Hendrix went. I spoke to a close friend of his about half an hour ago and he said probably he would have preferred everybody to get on and have a good time rather than talk about it. So we’d like to get on and try and make everybody happy”.

I’m just listening to that extract of that speech on the bootleg of the evening show I have titled Shout That Loud. They go on to do an absolute steller version of That’s The Way with Plant’s vocals sounding absolutely incredible.  ‘’I wonder how we’re gonna tell you’’ he sings slightly changing the lyrics. Behind him Jimmy strums away sweetly and JPJ adds mandolin totally complimenting the mood. That’s The Way performed by  Led Zeppelin one day after the death of Jimi Hendrix is an awesome performance. They were on fire during that sixth US tour – you can read Mike Tremaglio’s tour log of that exciting summer of ‘70 period in the forthcoming TBL.

I also know exactly where I was on the sixth anniversary of Jimi Hendrix  death in 1976. That was the day we were pitched up in Hyde Park ready to watch the free concert featuring Queen. One of the flags in the crowd that day proclaimed ‘’Jimi Hendrix Died 18 Sept 1970”. The pic here of the flag was taken by my very good friend Dec.

I had a real Hendrix fascination around 1972-3 and brought a fair few of his albums. I went to see the Joe Boyd documentary film in London and loved the soundtrack. Have to say haven’t really played much Hendrix for a good while but Ill be picking out a few choice Jimi faves,  including the excellent Hendrix In The West live album in tribute to this 50th anniversary of his passing

Marc Bolan remembered – 43 years gone…

Bolan 2

Wednesday September 16 marked the 43rd anniversary of the passing of Marc Bolan. Another of my all time heroes and one of the naturally great looking rock stars. Every Marc/T.Rex  single of the early 70s was an event and they still sound so fresh. Here’s a pic of Marc with Robert Plant circa 1976. I think this was taken backstage at the Cardiff Rock Festival.

Marc Bolan was the epitome of the word STAR – when I was a great coat wearing Zep head age 15, amongst all the teenyboppers Marc Bolan and T. Rex were still cool. His album Electric Warrior is amongst my all time favourites and his singles such as Telegram Sam, Metal Guru,Children Of The Revolution, 20th Century Boy etc always inspire great 1970s  memories. He was a wizard and a true star and his light shines ever brightly…









The Beatles Get Back:

Here’s all the info regarding The Beatles Get Back book due for publication in August 2021. I am very much looking forward to the book and the film…

The Beatles’ First Official Book Since Bestselling The Beatles Anthology

Global August 31, 2021 Publication by Callaway and Apple Corps to Coincide with the 
Release of Peter Jackson’s “THE BEATLES: GET BACK” Feature Documentary Film

Illustrated with Hundreds of Previously Unpublished Images, Including Photos by Ethan A. Russell and Linda McCartney

 London / New York – September 16, 2020 – Callaway Arts & Entertainment and Apple Corps Ltd. are pleased to announce plans for the global publication on August 31, 2021 of  THE BEATLES: GET BACK, the first official standalone book to be released by The Beatles since international bestseller  The Beatles Anthology. Beautifully designed and produced, the 240-page hardcover tells the story of The Beatles’ creation of their 1970 album,  Let It Be, in their own words. Presenting transcribed conversations drawn from over 120 recorded hours of the band’s studio sessions with hundreds of previously unpublished images, including photos by Ethan A. Russell and Linda McCartney,  THE BEATLES: GET BACK also includes a foreword written by Peter Jackson and an introduction by Hanif Kureishi. The book’s texts are edited by John Harris from original conversations between John, Paul, George and Ringo spanning three weeks of recording, culminating in The Beatles’ historic final rooftop concert. THE BEATLES: GET BACK will be a special and essential companion to director Peter Jackson’s “THE BEATLES: GET BACK” feature documentary film, set for theatrical release on August 27, 2021.

This intimate, riveting book invites us to travel back in time to January 1969, the beginning of The Beatles’ last year as a band. The BEATLES (‘The White Album’) is still at number one in the charts, but the ever-prolific foursome regroup in London for a new project, initially titled Get Back. Over 21 days, first at Twickenham Film Studios and then at their own brand-new Apple Studios, with cameras and tape recorders documenting every day’s work, the band rehearse a huge number of songs, new and old, in preparation for what proves to be their final concert, which famously takes place on the rooftop of their own Apple Corps office building, bringing central London to a halt.

Legend now has it that these sessions were a grim time for a band falling apart, but, as acclaimed novelist Hanif Kureishi writes in his introduction to THE BEATLES: GET BACK, “In fact this was a productive time for them, when they created some of their best work. And it is here that we have the privilege of witnessing their early drafts, the mistakes, the drift and digressions, the boredom, the excitement, joyous jamming and sudden breakthroughs that led to the work we now know and admire.”

These sessions, which generated the Let It Be album and film released in May 1970, represent the only time in The Beatles’ career that they were filmed at such length while in the studio creating music. Simultaneously, they were exclusively photographed and their conversations recorded.

THE BEATLES: GET BACK is the band’s own definitive book documenting those sessions. It brings together enthralling transcripts of their candid conversations, edited by leading music writer John Harris, with hundreds of extraordinary images, most of them unpublished. The majority of the photographs are by two photographers who had special access to their sessions—Ethan A. Russell and Linda Eastman (who married Paul McCartney two months later).

Peter Jackson’s documentary film will reexamine the sessions using over 55 hours of unreleased original 16-millimetre footage filmed by Michael Lindsay-Hogg in 1969, now restored, and 120 hours of mostly unheard audio recordings. This sumptuous book also features many unseen high-resolution film frames from the same restored footage.

The Wylie Agency of New York and London will sell global co-edition rights to the book, and Ingram Publisher Services will be the distributor for U.S., Canada, UK, and Ireland.

THE BEATLES: GET BACK promises to be a must-have title, to be collected and treasured by generations of Beatles fans and music lovers worldwide.

Quote by Nicholas Callaway, Founder & Publisher, Callaway Arts & Entertainment:
The Beatles gave my generation their genius and their joy and they changed the world through their art. The creativity and inspiration expressed in this landmark book and in Peter Jackson’s film are as important and relevant today as ever. 

Foreword by Peter Jackson
Introduction by Hanif Kureishi
Edited by John Harris from transcripts of the original sound recordings
Photographs by Ethan A. Russell and Linda McCartney

Peter Jackson is an Academy Award-winning director, producer and screenwriter. His films include The Lord of the Ringsand The Hobbit trilogies as well as the BAFTA-nominated World War One documentary, They Shall Not Grow Old. In 2018 he began work on a new documentary about The Beatles’ 1969 Let It Be sessions, making use of the 55 hours of footage that have never been seen.

Hanif Kureishi is the author of The Buddha of Suburbia, which won the Whitbread Prize for Best First Novel, The Black AlbumIntimacyThe Last Word,The Nothing, and What Happened? His screenplay for My Beautiful Laundrette received an Oscar® nomination for Best Screenplay. Kureishi has been awarded the Chevalier de l’Ordre des Arts et des Lettres, the PEN Pinter Prize, and is a Commander of the Order of the British Empire. His work has been translated into thirty-six languages.

Ethan A. Russell is a multiple Grammy®-nominated photographer, director and author of four books. He is the only photographer to have shot covers for The Beatles, The Rolling Stones and The Who. He was invited by The Beatles to photograph the band’s recording sessions in January 1969 and his images adorn the sleeve of the Let ItBealbum.

Linda McCartney began her four-decade career as a prolific photographer chronicling the musical revolution of the 1960s. In 1967 she was voted U.S. Female Photographer of the Year and in 1968 she became the first female photographer to shoot the cover of Rolling Stone magazine. Between 1967 and 1969 Linda frequently photographed The Beatles, including the Get Back sessions, and she married Paul in March 1969. Her photographic work went on to focus on the themes of social commentary, domesticity and nature.

John Harris writes on politics, culture and music for The Guardian and Mojo magazine. His books include The Last Party, about the culture of the 1990s, and the definitive account of Pink Floyd’s The Dark Side Of The Moon. In 2018, he contributed an essay to the Anniversary Edition of The Beatles (‘White Album’).

Apple Corps Ltd. was founded by The Beatles in 1968 to oversee the band’s own creative and business interests. As part of its management of The Beatles’ entire intellectual property canon, the London- based company administers the legendary band’s recorded catalogue along with film, theatrical and book publishing rights.

Callaway Arts & Entertainment, headquartered in New York, brings the work of great artists to the world in books and all media platforms through meaningful content, advanced technology and fine design.

* * *
Publication Date: August 31, 2021
ISBN: 978-0-935112-96-2
US Price: $60.00
UK Price: £40.00
Trim size: 11 7/8 x 10 inches (302 x 254mm), Portrait 

Page count: 240 pp plus endpapers 
Photographs: 200+ 

Available through Ingram Publisher Services. 

To watch the THE BEATLES: GET BACK book trailer and find out more, visit:
You can also watch the trailer on YouTube: BEATLES: GET BACK by The Beatles:

DL Dairy Blog Update:

Friday September 11:

With Darren away this week and no Vinyl Barn I’ll take comfort catching up with some recent LP record acquisitions. On the player The Rolling Stones Goats Head Soup the Rarities and Alternate Mixes record and what a record it is –it reveals the creative process they under went in making the album and is just fantastic to hear…I thought I could not love The Rolling Stones any more than I do

I was wrong as the arrival of the Goats Head Soup deluxe re issue has made me love them a whole lot more…

In a difficult week of doom and gloom news (I was planning to take a trip into London today to do some record shopping and meet a couple of friends but have felt too anxious,) their music has shone a beautiful much needed bright light ….thank you Mick, Keith, Mick T, Charlie, Bill, Ronnie, Ian and .Jimmy Page …

Saturday September 12:

Saturday is platterday – on the player the brilliant Television Marquee Moon – the 2013 1980 gm remaster and sounding magnificent.

‘’Jazz for the punk rock set’’ and ‘’ice kings of rock’’ were just two of the accolades when this came out in 1977.

I read Nick Kent’s amazing front page feature and review of the album in the NME in February of that year, bought the album the day it came out and saw them at the Hammersmith Odeon supported by Blondie in May 77. Along with The Rolling Stones debut and Led Zep I this for me is the greatest debut album of all time

Sunday September 13:

Sunday is silver CD day –loading up the utterly brilliant Led Zeppelin Berkeley Daze 1st Night 2 CD set on the Godfather label as recorded all of 49 years ago today at Berkeley Theatre…an amazing performance…

Update here:

I’ve been feeling anxious and edgy all week which has been disappointing. Like all of us here I am very worried about the increasing infection rate and the months ahead. It’s made me feel particularly isolated and not wanting to go far – the constant risk that is ever present sometimes overwhelms me and again like us all, I have to make choices of when to take that risk. Trips like going to London that I took for granted now seem such a mountain to climb -even going in town is difficult. Within all this, I do have to try and live my life and do the things I need to do for my wellbeing. It’s a balancing act I find hard to feel comfortable with.

This anxiety coupled with a few other issues have set me back somewhat. I’ve been reading a quite cathartic new book Living Better – How I Learned To Survive Depression by Alistair Campbell -the political journalist. I have no interest in his political views but I have much admiration for the way he has shone a spotlight on his own mental health issues. The book tells of his life long battle with depression and there are many parallels to what I go through. He also explains the effect on his wife and family – again something both Janet and I can very much relate to. Reading the book is helping me to make sense of this complex condition.

I’ve been wading through the TBL archive in preparation for some future content. The good lady Janet has been getting back into the swing of everything at the pre school. Tomorrow she has a call from the physio to further advise on her ongoing daily exercises to strengthen her leg.

Some particular inspirations this past week:

Phone catch ups with Pete Gozzard and Richard Grubb…

My very good friend John Parkin spotting the Bob Stanley compiled Meet On The Ledge (A taste of folk rock) on offer at Sainsbury’s for £10 -thanks mate!

News of The Beatles Get Back book filtering through…

Goats Head Soup continuing to dominate the playlist here …..

Thanks for listening – stay safe and well you very lovely people…

Dave  Lewis – September 18, 2020

Until next time, stay safe and stay well…

Website updates written and compiled by Dave Lewis

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The TBL/DL Facebook page has regular updates and photos – be sure to check it out

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  • Hiroshi said:

    I agree with Mike — at least Going To California the bootleg offers what it was like to be at a Led Zeppelin concert in 1971.

    Here, I am not so much a revisionist as setting the record straight. To quote a line from a certain John Lennon song, “all I want is truth”. It surely is bitter, but still better than another sweet, but unfounded myth — that the Berkeley shows were among the high points of the tour.
    As a side note, on the background of the crowds’ sedate responses on these nights, one could see an aftermath of the generally unfavorable reputation of the third album and the group’s then declining popularity after its release. In 1970, they played one show in front of an audience of 16,000 or so at the Oakland Arena. One year after, they were reduced to two nights at the 3,500 seater.

  • Dave Lewis (author) said:

    Rob thank you for those very kind words…your work has inspired me greatly too…

  • Rob Godwin said:

    Great retrospective Dave. I bought my first Zeppelin bootlegs immediately on the heels of Earls Court in 1975, although I had heard rumours of such things since about 1972. I have to say that it was very definitely your articles in Sounds that were the catalyst that started me documenting my fledgling collection. I was amazed at the bootlegs but also incredibly motivated to go and buy all of the picture sleeve singles from around the world. If it wasn’t for your articles I doubt very much if my Collector’s Guide books would have ever happened. That of course changed my life and got me started as a writer and publisher. So once more… Eye Thank Yew.

  • Mike Harrigan said:

    I have the same tastes in terms of the live performances. I am not sure how anyone who has listened to the bootlegs cannot hear Berkeley as a standout. Even if the performance was not up to par for the band, it captures Zeppelin at that time so well. I am glad it is not just me finding doing anything a problem. I have found myself adrift in time..

  • Hiroshi said:

    Sorry to be a buzz killer here. I know I’m in the minority of the whole ZEP fan community, maybe the only one even. Against the received wisdom, the Berkeley Community Theatre, September 14, 1971 show AKA “Going To California” is way overrated IMHO. I have said this before and I will say it again.

    What strikes me more than anything else is the largely apathetic responses from the crowd through the show, atypical of the usually enthusiastic West Coast fans. It sounds as if the group played in the semi-vacuum. Below is a quote of Robert’s comment given to a journalist at the welcome party in Tokyo after they arrived in Japan later in the month, published in the music magazine back in the day;

    “When we went down to San Francisco and played at the theatre in Berkeley, the audience was no good at all. At the start their attitude was quite indifferent, but once we finished the set, someone stood up and yelled, “more, more”, and then everybody else followed. We were so disappointed.”

    I also remember that Jimmy, on ‘on this day’ entry in his website, made a rather negative comment regarding the audience of the first night in Berkeley (i.e. Sept 13).

    Led Zeppelin’s performance in itself is okay here, but nothing remarkable or particularly inspired, let alone earth-shattering — definitely not in the same league as the subsequent shows in Japan. I just can’t believe this happened less than ten days before the magnificent first night in Tokyo. Another possible proof that they were dissatisfied with (most likely) both nights in Berkeley is that they entirely skipped the Bay Area on their next, 1972 U.S. tour.

    I think the biggest reason why this show is regarded so highly among the fans, old timers in particular, is that Going To California is one of the earliest bootlegs of the group ever released, which has generated a sense of affinity and attachment over the years for the generation who remembers the times the available bootlegs were few and far between. The decent sound quality — in fact, surprisingly good for the era — also contributed to its elevated estimation.

    All in all, Berkeley, September 14, 1971, is — along with the previous night — more like a lackluster show as a whole than a spirited one in my view. I know I’m challenging what looks like its secure, long established status, an attempt to rewrite its accepted significance in their concert history — and rightfully so, hopefully.

  • Larry said:

    Thanks for the great reading Dave!

    Berkeley 71…Going To California was the first bootleg that I picked up early in my fandom…the whole thing is great of course but as my first taste of live Zep I’ll always be partial to the moment in Heartbreaker as Jimmy is winding up the a cappella solo with the quiet version of the monster riff late in the song when all of a sudden Bonzo BLASTS in with the drums and he, Jimmy and Jonesy are off into what has to be a few of the most exciting minutes of rock music ever committed to tape

    1971 is probably the peak…LZ IV…the fantastic US tour followed by the sublime concerts in Japan…I love the whole trip, but 1971…this is my favorite period of Led Zeppelin

    Get Back…looking forward to it…I hope that it’s better than the Let It Be film which is not exactly filled with joy

    Hendrix…check out the CD from some years back Live at the Fillmore East…the version of Stone Free on that set features perhaps the most mind-bending guitar solo of all time…RIP to the instrument’s greatest player

  • Dave Linwood said:

    I still have copies of the Sounds articles. Alas the bootlegs version is covered with scribbles as it became my definitive list of what to get and what not to back in 78/79. I remember Detroit Just About back – “One to avoid”..!! Drove to hunt down FBHO – which as we know is a true classic.

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