Jimmy Page & Robert Plant – MTV Unledded – 23 years gone….TBL Archive Special:

23 years ago this week, Jimmy Page and Robert Plant reunited for two performances filmed by MTV at the London TV Studios for their Unplugged series. Appropriately dubbed Unledded, this saw the pair roll back the years with an inspiring re-evaluation of the Led Zeppelin catalogue.  I was lucky enough to attend both days filming – indeed I was involved in supplying the TBL database for the ballot of ticket distribution. Looking back It was an incredibly exciting period that would lead on into more memorable nights in the company on the ensuing 1995/96 world tour.

This TBL archive special reproduces the passionate review of those two MTV Unledded performances I wrote for TBL issue 10 – it’s incredible to think that it’s all of 20 years ago as once agin it seems like a second ago –but a lifetime. It was another of those truly fantastic times to be a Led Zeppelin fan again…..so let’s travel back to the late summer of 1994 and two very special August days…

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Where to start? I mean, how do you begin to describe it all . . . The shivers down the spine when they did Rain Song with an orchestra . , . Robert’s dedication to Bonzo before Four Sticks on Thursday . . . the spontaneous applause for Jimmy’s solo on Friday’s version of Since I’ve Been Loving You . . . The running good natured banter between Robert and the audience throughout the event . . . the emotional intensity of the new Wonderful One . . . the last five minutes of Kashmir on Friday which was as good a section of live music I’ve been privileged to watch in my entire life .. .
So many highlights … so many disbelieving highlights at that. A clear seven days after it all, my mind is still reeling. Did it really happen? I mean, I’ve dreamed it enough times. But incredibly it DID happen. And what happened proved to be entirely in keeping with the legacy of what Led Zeppelin represented.

To backtrack on to all then: The weeks and days leading up to the timing had been pretty fraught tor me in being given some of the responsibility for assisting with the distribution of invitations. It was a responsibility I was more than happy to take on but the inevitable consequences of dealing with countless calls and demands surrounding the arrangements did prove to be a heavy burden to carry. Never before did the phrase “You can’t please all of the people all of the time” have such relevance. As somebody close to it all remarked to me – you can only get twelve to a dozen and there was always going to be disappointed fans by the size of the proceedings who were not going to be lucky on this occasion. Hearing such disappointments first hand was, understandably, not always pleasant.
My own personal arrangements to free myself to attend were somewhat rushed and flawed and it was only travelling down on the train on Thursday morning that I began to contemplate the enormity of what was happening.

The summary of events thus far had run like this: Jimmy Page and Robert Plant had taken most of August to film the long-mooted MTV project, the end results of which would appear as an MTV Unplugged special in October. Location trips to Marrakesh and Wales would now be rounded off with two live performances before an invited audience at a secret London location set for the nights of August 25/26.

Feedback from those close to the project had been very positive. The filming in Marrakesh had gone very smoothly with the airing of three new songs – two untitled and one dubbed City Don’t Cry. In Wales, despite the rain they had managed to film some excellent footage with When The Levee Breaks proving particularly inspiring. A dress rehearsal for the London shows on Wednesday had also gone remarkably well, according to those in attendance. Confirmation of the deployment of a full orchestra and an Egyptian string and drum section certainly whetted my appetite it all sounded almost surreal. A few hours from now it would be a reality.

Thursday August 25 ,1994 – Festival Pier 5 pm: The pic here is a rather weary looking me plus Gary , Terry and Kam.
This was the meeting point at which invited fans were advised to attend. From here we would be escorted to the location. Amongst the excited and expectant bunch of diehards I recognise and greet many familiar faces. An MTV official duly appears to take us to the nearby London TV studios – formerly LWT studios and home still for countless light entertainment TV recordings. Paul McKenna’s Hypnotism show is one such recording for tonight. An orderly queue awaits entry. “Hope Jimmy doesn’t get called in to appear or he’ll end up an Elvis impersonator”, shouts one wag – aware of McKenna’s penchant for ridiculing his contestants to imagine all sort of crazy roles while under his influence. I remember Paul McKenna myself when he was the morning DJ on the local Beds, station, Chiltern. In fact I used to do a weekly phone-in spot with him in my then role as local pop/rock informant. How strange our paths are crossing a decade later In somewhat surprising circumstances.
The other queue with their minds on more important matters are now being ushered into the studios by the mostly American imported MTV staff. Amongst them are 50 MTV/radio station competition winners flown all expenses paid from the US. They line up excitedly amongst the TBL fraternity and other lucky fans. The waiting in the corridor is long – predictably – but we warm ourselves to such ordeals by recalling the overnight wait at the first Knebworth. We’ve all waited longer for less – no gate-crashing tonight, though. The security is very tight – with everybody subjected to a metal detector test for obvious reasons. Around 7.45 we are finally allowed access to Studio 2. Interestingly enough the billing for tonight’s show on the ticket is “An Evening With Page And Plant”. Friday’s reads: “Plant and Page”… and the laminated passes have Page Plant at the top .. . and Plant Page at the bottom – a subtle method of solving the potential who gets top billing wrangle.

Once inside, the set looks extremely impressive – a lengthy stage set up with stylish and suitable abstract backdrop drapes. The whole thing is exactly like a gig set up bar one factor
everyone is in Block AA because that’s all there is room for – providing an excellent view from all parts of the studio. Above the mixing desk there’s a VIP gallery and already the Plant contingent are present – Logan, Maureen and a pregnant Carmen (no granddad jokes please!). Jason Bonham is also there. A blues album plays inoffensively over the PA: boom cameras glide above us in readiness for what is about to be captured.

Around ten to eight, Alex the MTV co¬ordinator does some cheer leading warm ups. “Let’s hear it for Rex King!’ shouts Alex and an appropriate cheer goes up for the long term Plant/Page aide who is marching around the stage checking last minute details – an appreciative cheer for the man responsible for many of us being here tonight.
Minutes later, with the camera angles tested and the subtle lighting set, a short no-nonsense announcement precedes what we’ve waited for fourteen years to hear. “Please welcome Robert Plant and Jimmy Page’ . . . and it’s a thunderous welcome.

Robert Plant strides on to the stage from the left followed by Charlie Jones and Michael Lee .. . Jimmy enters from behind a black curtain on the right, immediately taking off his suit jacket to reveal a Knebworth style blue shirt.

Robert and Jimmy . . . it’s taken so long. Of course there have been glimpses of them re-united – in particular the spirited spring ’88 jam at Hammersmith, and the Wearing And Tearing nutmeg at Knebworth 90. Separately not all has gone entirely well. Jimmy’s road to Studio 2 has been often turbulent – early ’80s drug busts, low key ramblings with Harper, the mismatch of The Firm, a fine attempt at winning back the audience with The Outrider project, and then, against all odds, the bizarre link with David Coverdale – the catalyst that certainly inspired his best post-Zepp playing. It could be viewed that such inconsistencies have only heightened the adoration within which he is held by the faithful. Mention of Page’s name anywhere and it’s instant legacy time. Still. And such is his fragile demeanour we seem to take a very motherly and protective view of our James Patrick.

Knowing he can be brilliant and erratic in his performance within minutes of any given time is all part of the near masochistic pleasure in following his career. What we can never forget is, in the studio and on stage, Jimmy Page was the sonic architect (to use a rare warranted Coverdalism) of Led Zeppelin. His ability to create the perfect mood for the group (witness the remastering of the catalogue) was and never is in doubt. He was the true sound chaser – and it’s a title he still carries with much reverence. His ever onward stance in adding to the effects of his self-styled guitar army is also a major attraction for his countless admirers. Think of Jimmy and my most immediate mind picture will be that of him back in Earls Court 1975, flashing that cherubic smile as he emerged from the dry ice on May 24 to layer on that most exquisite solos during No Quarter.
Never as high profile as Robert in the past decade, any sighting is a moment to behold. Tonight’s is doubly so as he reunites with his old sparring partner. And the first thing I notice as he turns around to greet the audience is that familiar cherubic Page smile. He looks in excellent shape – and I d had my doubts after the Buxton show where he was carrying an uneasy amount of excess weight. No evidence of it now – he looks well fit with his hair jet blacked, permed and still with that side parting falling over one eye, ala 1969. Twenty-five years on he is still the quintessential English guitar hero. It’s sheer delight to be in his company again.

And the same goes for Robert Plant. Striding on stage with that angular bounce of his, crooked smile beneath the now customary retro shag pile hair, tonight given something of a new look by being parted to the side, brown leather trousers, overlong long-sleeved Indian top, waistcoat, he looks suitably regal and better than I remember from last year. My, this is all a long way from the jumpsuits and bouffoned hair of 1983 – The Tube. Big Log and all that. A different era. Who could have predicted today’s events back then?
over the past decade, but never less than Interesting. There have been some very odd phases, and some wild accusations and contradictions in his media statements, leading to him eating a sizeable proportion of his words on more than one occasion.

But with Robert Plant what you get is what you get. And vocally he has matured like vintage wine. Last year’s Fate Of Nations album and tour was easily his most satisfying work in the post-Zepp period. His vocal prowess has if anything improved in recent years. Careful consideration in looking after this most precious instrument has paid off.
And perhaps the organic nature of the material, preserved on that album, led him to realise the potential there was for this opportunity to rework some of his finest compositions in the company of his former musical inspiration. And that’s how it’s turned out. Six months down the line maybe something of the affinity that he felt for Jimmy when they were ensconced in that cottage way back when has returned to the fore.

“He is the Paganini of the electric guitar – he’s brilliant”. That’s one of the best compliments I heard Robert pay Jimmy on MTV in the mid-’80s. A decade on, here he is linked with the station and in collaboration with the master. I can forgive him anything for making this decision – beatbox Heaven Knows remixes, that female walk-on part in Too Loud at the NEC, miming on TV, pretentious videos, you name it.

Above any solo career moves Robert Plant will always be best known as the voice of Led Zeppelin. It’s a role model he has not always carried easily over the past decade. Tonight, as he strides up to the mike (“one solitary mike and we all know who that’s for* – how I remember writing that statement after Knebworth), I get the feeling he has prepared himself very carefully to carry that status and use its power to happily reconcile the past with the present. Never before has the legacy of what Led Zeppelin represented rested so contentedly on his shoulders.

Looking slightly nervous but ready to do what’s got to be done, they briefly confer in the centre of the stage like newly-weds after signing the register. For this particular re-marriage the ceremony is about to begin.

“Good Evening . .. Let’s get, er, plugged in then” remarks Robert, tongue in cheek and immediately debunking the idea that this will be the familiar Unplugged arrangement. Jimmy straps on the cherry red Gibson and picks out the welcoming chords of Thank You, a tentative run through delivered in the arrangement employed on last year’s Fate Of Nations tour. Jimmy switches to the Gibson 58 prior to his ex-partner uttering the words “and if I say to you tomorrow” right next to him. You have to go back twenty two years for the last time such words were spoken on stage within the vicinity of the pair. What Is And What Should Never Be is a much welcomed if slightly flawed second number – Jimmy being particularly hesitant on the solo. It warms up towards the end as Jimmy scrubs across the strings for that familiar stereo panned Zepp 2 trademark.

Initial thoughts so far: They are understandably nervous and you get the feeling these two early run thoughts are mere warm ups. The sound however is absolutely crystal and the whole atmosphere of the studio feels like you’re almost in their backyard – privy to the best garden party you could wish to enjoy.
For the next song it gets rather interesting. Jimmy settles into his chair (the regal looking upright backed affair used on the Coverdale Page Japan tour and the Take Me video) and straps on an Andy Manson three necked guitar. This I haven’t seen before. Robert introduces Nigel Eaton on hurdy-gurdy, James Sutherland on Bodhran percussion and Pori Thompson on acoustic guitar, and welcomes to the far left of the stage an Indian female vocalist, Najma Akhtar. .. who will sing the duet parts with him. For this is Battle Of Evermore 1994. It’s a joy to hear Jimmy picking out the melody against the whirring Hurdy-gurdy and the interplay between Robert and Nashma is very effective. Towards the close they add a new coda refraining an “ah-a ah-a” sequence, ala Achilles. Never an easy number to project live back in ’77, this arrangement is the first fruits of the ambitious extended Plant Page alliance. And it work supremely well.

“From here to Balies’s is not that far” jokes Robert in a reference to the cabaret circuit they have so far avoided. The same line-up (minus Najma) stays on for Gallows Pole. Long rumoured to be part of the new set, I Ve been really looking toward to this and there is no disappointment. Jimmy strums over the 12 and 6 stringed Ovation double neck, Charlie provides a steadfast bass anchor to the intricate arrangement, Pori handles the banjo parts and Michael Lee storms in, as the pace builds. This is the first display from the drummer that confirms once again his ability to bring just the right amount of dynamics to the rhythm section, striking the drums in a very Bonham-like manner that adds to the whole atmosphere. As the song speeds to a climax Robert really lets go, losing himself in the “Keep a-swinging” repeat refrain before it all dramatically stops.
“We’ll be back in a while” informs the singer, signalling end of part one. As the lights go up we excitedly exchange views. Everybody has been knocked out with the last two numbers and are similarly agreed that the opening pair of Zepp 2 standards had been merely a warm up. But, of course, we really haven’t seen anything yet.

During the break to the left of the stage the European orchestra, as it’s dubbed on the run-through sheet, sets up. A mixture of male and female string players more suited
perhaps to the surroundings of Henry Wood’s Promenade Concerts but ensconced tonight to provide accompaniment to what we might have described in 1969 as the Pop Proms. The orchestra is led by Ed Shearmur who performs on Hammond organ.
Jimmy and Robert reappear with Charlie and Michael. Charlie dons a huge double bass as the principal pair settle down, seated at the centre of the stage. “Perhaps this is how we should have done this song originally, all those years ago”, announces Robert. What happens next sends the biggest shiver down my spine since 1980. Jimmy picks out on acoustic guitar the intro of Rain Song.

Hang on – I think I’ll write that line again, just to make sure it really did happen. Jimmy picks out on acoustic guitar the intro of Rain Song. Robert comes in with the first verse and then the orchestra majestically glides in to replace the melletron parts of the studio version. This is quite breath-taking. Robert sings the lyrics beautifully and Jimmy plays like mint, fingerpicking in all the right places. As the song beefs up, Michael comes in with suitably dynamic tom-tom injections (early on in the song he’d employed the brushes, adding yet more Bonham authenticity). It’s left to Jimmy to close proceedings with that lilting sequence which he carries of, perfectly.
From one emotional moment to another. Jimmy restraps on the Gibson and picks out another familiar intro. This is Since I’ve Been Loving You and it’s played with all the intensity of 1971. This is a real crystallisation of the power of the Plant/Page alliance, aided subtlety by the string orchestra. On the chorus they strut forward over the mike, ala The Song Remains movie version. Plant is brilliant here, breaking into a fully-fledged mid-’70s pose with mike
in hand and Jimmy’s solo is a crescendo of notes, the like of which we haven’t heard for many a long year. This is almost Led Zeppelin in all but name and the spirit is alive and kicking. Compellingly so.

Proceedings take yet another slant when Robert offers stage right to the arrival of the Egyptian string and drum section, led by Hossam Ramzy who is handed the mike to personally introduce the boys in the band. He develops an instant rapport with the audience as he runs through the team sheet and causes much amusement when humorously he gets a plug in for his brother s Indian restaurant. “I think we should dedicate this to the original drummer with Four Sticks” says Robert, to rapturous cheers. An ambitious arrangement of Four Sticks follows with Michael tearing along with two stick in hand – a lovely tribute. To hear this long lost nugget in a totally new arrangement is another highlight, with Robert accurately interpreting, in a slightly lower register, every nuance and phrase of the original lyric.
Jimmy again derives the riff on acoustic guitar and it all speeds up to a compelling climax as the three sections (European strings/ band/Egyptian strings) compete for authority.

Robert asks Jimmy to introduce the next number and in usual fashion he humbly greets the audience before handing over to the Egyptian section to move into a lengthy intro. This is shades of Bombay orchestra ’72 -and those familiar with the Bombay CG CD will know how the 94 attempt at Friends sounds, with Jimmy awaiting the call to strum out the familiar riff. This is a little unsettled in tempo early on but unravels successfully enough by the second verse. If Friends appeared just a trifle laboured, the next number wipes out any minor misgivings completely.

Robert duly gets into a lengthy and revealing speech regarding this new alliance and their desire to look back and revisit some past glories. And they don’t come any more glorious than Kashmir.

This is no mere Atlantic-like stroll through. The Pride Of Led Zeppelin is radically reworked for the ’90s, opening with Robert singing the first verse in a slow tempo, accompanied by Jimmy on the Trans Performance Gibson, creating a phased gizmo effect on the pedals. This merges into the Hossum percussion of the East -and then on into the familiar and invigoratingly performed riff and they’re off on that road to tan tan again. What makes this exercise so fulfilling is the interplay between band and orchestra – on numerous occasions Jimmy and Robert halt the band performance and glance over to the Egyptian players who take it all into a different time zone. The finger cymbal player merrily jigs around to the riff, much to Jimmy’s amusement. As we get to the fade and the “Let me take you there” refrains, the whole thing speeds up into a truly memorable climax which sees Jimmy playing a rumbling, Achilles-like, riff off against Michael Lee s stop-start drumming. In turn they pass the riff over to the Moroccan brass and string players, formulating a call and response sequence that threatens to take the roof oft. It the TV cameras have got the right angles, this will look sensational on screen.
With that number successfully captured, they leave the stage together, smiling and waving as they go. That appears to be the end -particularly when the background blues music strikes up again. Bill Curbishley himself signifies otherwise as he rushes up to the mixing desk. “Fade that, they’re coming back on again” he demands. Minutes later they appear from behind the black curtain at the side of the stage and make their way on stage again.

Jimmy straps on the Ovation double neck. Robert makes another little speech. “This was written on the side of a Welsh mountain in a cottage, about half an hour before the young lady furiously taking pictures in front of me was conceived” (a reference to Scarlet in the front row). “Was I there? Possibly!” laughs the man, with Jimmy grinning behind. “See, we’re happy again!” – a memorable statement which the entire audience would certainly endorse.
A lovely lilting laid back arrangement of That’s The Way follows with Michael Lee adding a new drum accompaniment and Pori taking up the banjo. Robert picks up the tambourine and strikes up that classic pose – a pose I’d long since give up ever seeing again. Jimmy meanwhile rocks back and forth as he strums out the chords to a song that was last performed live by the pair nigh on twenty years ago.

Smiles, handshakes, cheers, waves goodbye and it’s all over. “Thanks for coming along – hope to see you tomorrow” says the man from MTV. The crowd begin to filter out, still disbelieving at some of the events that have appeared before their very eyes. “That really was something” an excited Aussie, Peter, tells me near the stage. Scarlet’s there too, beaming with the pride ot her father’s performance.

Predictably there’s a buzz in the air as we disperse – a buzz so strong you can almost touch it. It recalls to mind the afterglow present as we all deserted the Knebworth site after the first night, fifteen years back. It’s a buzz that signifies that tonight has been another very special night – a night that truly encapsulated the affinity Robert Plant, Jimmy Page and its audience still has for the music of Led Zeppelin.

And, incredibly, there’s more to come tomorrow …

Dave Lewis -August 1994

To be continued… 

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STOP PRESS – JUST OFFCIALLY  ANNOUNCED!

Yardbirds ’68

Available to Pre-Order now / Released Nov 5th

Available now for the very first time, Yardbirds ’68 presents an 18-track double album produced by legendary guitarist and producer Jimmy Page.

This special album features re-mixed live recordings from the Anderson Theater in March 1968 alongside Studio Sketches recorded in the same era and the album features music from The Yardbirds members Jim McCarty, Chris Dreja, Jimmy Page and Keith Relf.

“We thought this might be lost forever, but we’ve rediscovered it, re-mixed it. It’s of great historical importance. We’re delighted to see the release.”

Pre -order at:

http://shop.jimmypage.com/products/599232

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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.

Hello! Welcome to the 102nd Led Zeppelin News email. We email out a summary of the week’s news every weekend so that you don’t miss anything.

Jimmy Page

• The remastered version of “Live at the Anderson Theatre” by The Yardbirds will be released on November 5. Jimmy Page has remastered the album, which he played on in 1968.

• The merchandise manager and assistant road manager of The Yardbirds said in a since-deleted Facebook comment that “there has been talk” about Page playing on their new album.

• Three items signed by Jimmy Page are being auctioned online for a charity in Thailand. The auction, which is raising money for Jesters Care For Kids, ends on September 9.

Robert Plant

Part of the cover art for Robert Plant’s new album “Carry Fire.” (Robert Plant)

• Robert Plant’s new solo album was officially announced on Friday. As expected: It’s titled “Carry Fire,” and it will be released on October 13. Chrissie Hynde features on the track “Bluebirds Over The Mountain.” One track from the album, “The May Queen,” is available to listen to on YouTube. Plant also announced a UK tour that starts in November and continues into December. People who pre-order the album on Amazon.co.uk before midnight tonight UK time will receive access to presale tickets for the tour. Plant gave an interview to BBC Radio 6 Music to announce the album and tour.

• A car given to Phil Collins as a wedding gift by Robert Plant in 1984 is being sold on eBay. The Austin Metropolitan car is named “Buster” and the auction includes a note from Plant and his then-girlfriend Shirley Wilson. The auction ends on August 22.

Upcoming events:

August 22 – The eBay auction for the car given to Phil Collins by Robert Plant in 1984 ends.
August 23 – Presale tickets go on sale for Robert Plant’s UK tour.
August 25 – General tickets go on sale for Robert Plant’s UK tour.
September 9 – The online charity auction for three items signed by Jimmy Page ends.
September 22 – The new Black Country Communion album, which will feature Jason Bonham, is due to be released.
Early Autumn – The next issue of Led Zeppelin magazine Tight But Loose, issue #43, is scheduled to be released.
October 13 – Robert Plant’s new solo album “Carry Fire” will be released.
November 5 – The remastered version of “Live At The Anderson Theatre” by The Yardbirds will be released.
November 16 – Robert Plant will perform in Plymouth.
November 17 – Robert Plant will perform in Bristol.
November 20 – Robert Plant will perform in Wolverhampton.
November 22 – Robert Plant will perform in Llandudno.
November 24 – Robert Plant will perform in Newcastle.
November 25 – Robert Plant will perform in Liverpool.
November 27 – Robert Plant will perform in Glasgow.
November 28 – Robert Plant will perform in Perth.
November 30 – Robert Plant will perform in Manchester.
December 2 – Robert Plant will perform in Belfast.
December 3 — Robert Plant will perform in Dublin.
December 6 – Robert Plant will perform in Sheffield.
December 8 – Robert Plant will perform in London.
December 11 – Robert Plant will perform in Portsmouth.
December 12 — Robert Plant will perform in Birmingham.

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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Led Zeppelin:  The 02 Reunion for Ahmet Ertegun – Ten Years Gone: London Celebration Day TBL Meet Plan…

Sunday December 10, 2007 marks the tenth anniversary of the Led Zeppelin Reunion for Ahmet Ertegun staged at the 02 Arena.

I’ve been thinking about how to celebrate this occasion for some time. To that end ,Julian Walker and myself have been looking at a possible venue for a TBL meet on that day.

We are aiming at staging a TBL meet on Sunday December 10,2017 at a central London pub. The plan would be to run an event from around midday to the evening. This would comprise of the showing of the 02 footage and more, a quiz, speaker forums etc.

Nothing too grand – just an opportunity for like minded Zep fans to celebrate this notable tenth anniversary of what was a night of nights. There may or many not be a minimal entrance fee – we are aiming at it being free or a fairly low cost entry dependant on what pub room we can secure.

What we need to know now to give as an idea of numbers and how many people would be interested in attending. So if you feel you would like to attend and have a firm commitment to doing so, can you initially email me at

davelewis.tbl1@ntlworld.com

Can you state if you would be attending with another person or persons.

You can also inform me by my Facebook message.

With Robert Plant’s Royal Albert Hall show taking place on the Friday December 8, this may well be an opportunity to make a weekend of it – particularly if you are coming from overseas.

That is about as far as we have got so far – we shall see how things develop but both Julian and I are very keen to make this happen in some format.

It’s a real opportunity to mark not only the 02 Reunion anniversary but to use the day as a platform kick start the 50th anniversary celebrations of Led Zeppelin’s formation which follows next year.

So let us know what you think and if you would like to attend.

More on all this to follow.

Above pic by Dave Linwood.

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DL Diary Blog Update:

Friday treats at the Vinyl Barn – in amongst all the frenzy of the Robert Plant album and tour news announcements – an early morning trip to the always excellent Vinyl Barn last Friday yielded a couple of lovely Glen Campbell abums – Gentle On My Mind and Galvaston –original US Capitol label pressings in hard cardboard selves – superb!

After all the teasers on his website, it was a big relief to finally hear of the announcement of Robert Plant ‘s new album and tour dates – not least because it means I can now filter news of all this activity into the forthcoming TBL issue 43.

It’s always an exciting moment when a new phase of Robert’s career unfolds – and here we are again with new music and intentions from the man. The coming weeks will no doubt see a mass of press and media activity surrounding the album and the build up to the tour.

As an ardent fan and long-time chronicler of his work, I’ve been with him on every step of this journey – right from the tentative beginnings of a solo career mapped out around the highways and byways of the north of England during The Honeydrippers ad hoc gigs of spring 1981 of which I was lucky enough to attended five.

The thrill of placing a white label advance copy of Pictures At Eleven on my turn table on a balmy Friday evening in early June 1982, remains a very memorable listening experience…it signaled there was life for this particular singer after Led Zeppelin and we could all prepare ourselves for some interesting very musical times ahead.

Some 35 years later, I’m still right with him every step of the way and I am going to be revelling in this latest chapter of a career that continues to captivate and inspire.

And being an ardent fan, I was all logged on at 9am for the Amazon ticket presale. Luckily I did manage to secure a couple of Royal Albert Hall Robert Plant tickets early in the pre sell -if you are in stalls K say hello! I’m also aiming at doing the Wolverhampton Civic show. I would of course like to do more shows but the TBL work schedule makes that quite difficult.

Then it was to London for a day of TBL business –some of it conducted at a meet in the always excellent Spice Of Life pub where the basement jazz attraction was the Jack Honeyborne All Stars –very good they were too

Massively busy here and trying to spin quite a few plates at the moment – maybe too many, as I juggle work on the Evenings With book, look to complete TBL 43 for distribution in October and work on a few other projects.

As mentioned last week, there is  some notable birthday activity due here with the good lady Janet’s Birthday next week. I will be suspending the plate spinning for us to celebrate that occasion of course. September is nigh on upon us and there will no doubt be a lot to do and my birthday to celebrate as well. Then it will be full on into wrapping TBL issue 43 for autumn distribution. It’s lining up to be a bit of an epic read….

Dave Lewis  – August 24, 2017

Until next time –  have a great Bank Holiday weekend…

TBL Website updates compiled by Dave Lewis

with thanks to Gary Foy and James Cook

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YouTube clip:

Robert Plant -The May Queen: