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1 December 2016 1,893 views 2 Comments



TBL issue 42 – what’s in store…

TBL issue 42 is nearing completion – it’s another packed edition and here is what is in store …

News round up:

Jimmy at Classic Rock Awards/Stairway Court case wrap/JPJ latest/ Detective Reissues

Robert Plant at Bill Wyman’s 80th Birthday gig:

On the spot report by Kryz Jantzen

TBL Photo Special: Lost & Found – Led Zeppelin Sound checking at the Subiaco Oval, Perth 1972:

Nick Shaw recounts the story of how he came to shoot some remarkable photos of Led Zeppelin sound checking for their appearance at the Subiaco oval Perth

Call & Response: The writing of  The Complete BBC Session Liner Notes:

From a small café in west London, to the grand launch south of the river at Olympic Studios, Dave Lewis chronicles another remarkable journey

Reeling In the year – Capturing the sounds of Led Zeppelin on a Sunday night in April 1971:

Recording the 1971 broadcast – one fans story.

The Complete BBC Sessions – An Audio Appreciation:

TBL’s resident audio expert Richard Grubb dissects the remastered Complete BBC Sessions

Under the bedclothes illict blues orientated power rock:

The views on The Complete BBC Sessions set from Ian Dixon, a fairly recent convert to the Zep catalogue

TBL History 1: The comeback:

Dave Lewis recounts the story of the comeback of the TBL magazine in 1992

TBL History 2: TBL goes into cyberspace:

Dave Linwood looks back at the pioneering days of the TBL website he created in 1995 – this is the story of the TBL website  the first ten years 1995 – 2005

TBL Collector Focus on collecting Jimmy Page Session singles:

Cliff Hilliard rounds up 10 examples of the artistry to be found on collecting Jimmy Pages 1960s session work

The Top 100 Most Valuable Led Zeppelin Albums Listing:

A fascinating list of the rarest 100 pressings compiled by Nick Anderson

Nick Andersons Collectors Column:

The Soundtrack From the Film The Song Remains the same 40th Anniversary Special – The rare and interesting pressings

Led Zeppelin eBay o meter:

Nick’s regular report on the highest value recent eBay results for Led Zeppelin

Led Zeppelin & The Trarantura Bootleg CD Label by Paul Sheppard – Part 2 Glorious Daze:

Paul Sheppard sheds further light on the rare bootleg CD releases from the Tarantura label.

Book Update 1 – No Quarter, No Scandel, Plenty of Reverence:

Dave Lewis wades through the expansive new Jimmy Page biography plus…

An Interview with the author Martin Power

Book Update 2 – On the Road and in the studio – Led Zeppelin Day By Day:

The latest addition to the Zep book shelf plus…

An Interview with the author Marc Roberty

From The Underground Reviewed & Rated:

Scott Heck focuses on new releases form the Empress Valley and Trarantura labels


So there it is – 32 packed pages – another outpouring from the TBL hub…

I am aiming to have it ready for distribution during January – so get ready for some serious Led Zep TBL reading to kick start 2017.

All current subscribers will automatically receive this issue.

if you have yet to subscribe – now is the time – here are all the details – and don’t forget a TBL subscription makes for a great Christmas present!


ALL current TBL subscriptions ended with the forthcoming TBL 40 – the 2016/17 subscription is now up and running  -it covers the  three issues  TBL 41,42 and 43.

Issue 41 is out now with TBL 42 to follow early in 2017.


Plus all subscribers receive a  free 10×8 individually numbered print of a unique Led Zeppelin image – perfect for framing!

A TBL 2016/17 Subscription will make an ideal Christmas gift – the link to re subscribe for the next three issue is below…





November 23 heralded another key Zep anniversary as it was all of 34 years ago that the final Led Zeppelin studio album was released. Here’s a ”Then and now” summary of my thoughts on the release of the orginal album and last year’s expansive reissue:

My Coda Then:


Phone calls, a meeting, the mock up sleeve, a retail competition, raffle and romance…

It was a Monday night – February 22, 1982 to be precise – when my phone rang in my bedroom. ”Hi Dave, this is Robert Plant – we’d like you to bring in some photos for a project we are doing… ”

So began the Coda saga.

Since the release of their In Through The Out Door album, for me personally, many things had happened. The TBL magazine had established itself from a crudely written and printed A5 format into an A4 glossy proper typeset magazine. There was the absolute high of having close proximity on the Over Europe tour in 1980 to the absolute low of the devastating news of September 25th and the statement that signalled it was over on December 4. I still regularly went into the Swan Song office but it had a very strange vibe. Nobody quite knew what to do.

In 1981, Robert began picking up the pieces with a return to the stage in the ad hoc band The Honeydrippers. I attended a fair few of those spring ’81 gigs and it was a great thrill to see him enjoying himself again. TBL issue 6 came out in the August but to be honest, by then my heart wasn’t really in it as it once had been. Without the buzz of the band itself and with their reputation at an all time low, it was difficult to maintain the enthusiasm. It may be hard to believe now but admitting to liking Led Zep was very unhip around these times. The musical climate had moved on, the new wave of British Heavy metal was flowering and elsewhere, electronic music from acts such New Order, Human League, OMD, Gary Numan etc was dominating the charts.

After issue 6, there was no big final decision not to do another issue – it just never happened. I was certainly no less a fervent fan – my energies at that time went into producing the best of TBL project, which became my first book, The Final Acclaim, published in late 1983.

I was aware that there was some unreleased material in the Zep archive, notably the tracks they did not use, recorded at Polar Studios for In Through The Out Door. Jimmy had mentioned this to me in Swan Song on September 18, 1980. I had no idea though, that there was a plan to release them.

Back to the phone call. It was with some shock and awe (this was not an everyday occurrence by any means!) that I took that February call from Robert. Basically, he wanted me to collate as many photos as I had of the group offstage for a project they were looking at. He did not mention at that point about an album. He asked if I was available to come into the Swan Song office that week and of course I replied I was. He made some arrangements and then called me back a couple of hours later to confirm that Thursday would be a good time to come in and meet with him and possibly Jimmy.

So it was, armed with a case full of cuttings and photos, I turned up on the afternoon of Thursday, February 24 at the Swan Song office. A buoyant Robert greeted me warmly and we got down to wading through the stuff. Jimmy duly arrived about 4pm. At one point, seeing a shot he liked backstage at Knebworth, Robert asked me who took the shot. When I replied Neal Preston, he was immediately on the phone to the US office of Swan Song to get his number. He then promptly called Neal to ask him to send over a batch of contact sheets. Robert also called John Paul Jones while I was there.

During all this, it was explained exactly what all this was about. They were going to release a final album made up of unreleased tracks. The sleeve design was to include a collage of off stage photos – hence the reason I was asked to bring in the pics. During the meeting – which also included Robert’s soundman, Benji Lefevre – I heard them discuss a track titled Walters Walk. Jimmy also told me they were considering calling the album Early Days and Latter Days. Ultimately, they went for Coda, though that original title would be deployed for the 1999 and 2000 compilation albums.

Robert also informed me he had completed work on his first solo album and in his words it was ‘’A new step forward.’’ Robert and Jimmy waded through my pics and cuttings and pulled a few out (the Bath Festival backstage pic I showed them made the final cut) and then they were off in search of rare rockabilly records in Camden. It was another afternoon for the memoirs…

Things went quiet on the project after that meeting. I did pop in to Swan Song a few times over the next few months but no news of a release for the intended album was forthcoming. The summer was taken up with the release of Robert’s debut Pictures At Eleven, and I also attended the Princes Trust charity gig at London’s Dominion Theatre, where Robert performed Worse Than Detroit. Tom and I attended the aftershow reception at which all the artists were duly acknowledged for their contributions and we were introduced to Prince Charles. Yet another very memorable occasion.

The next I heard about the Coda album was in October when the Warner Records sales rep came in to WH Smith with the full details of the album, ready to sell it in for a November release. The mock up presenter sleeve the rep carried (and later gave me, see pic above) listed the track details and promotional campaign. It was all beginning to get a little bit exciting.


I ordered 100 copies for the shop and also booked a full in store display. I was also able to acquire a batch of posters from Swan Song which were part of a raffle prize I concocted for the store in conjunction with the local newspaper. Gary Foy was one of the winners, though I did not know him at the time!


The in store display looked fantastic and I wish I had taken a photo of that at the time.

Tuesday November 22, 1982. A grey November morning, and the day Coda emerged into our lives. It was also just around the time the good lady Janet and I first got together – oh yes – couple fell in love to the plaintive strains of We’re Gonna Groove. It may not have been quite like that but when I invested in every conceivable format of said album (LP, cassette, US LP, white label promo) I think Janet had an indication of how things might be ahead when it came to such matters!

I also have a copy of the album signed by Hipgnosis designer, Aubrey Powell when he came here to film some of my memorabilia for a Robert Plant video in early 2005. As he put it, ‘The End,’ or at least the end of another beginning.


In stark contrast to the way it has been with the recent reissues, the Coda album seeped out with little fanfare. As I said earlier, the fact is (mad as it now sounds) at that point Led Zeppelin were hardly held in reverential terms. Their influence would of course become evident in the years to come. It did enjoy some good reviews and entered the chart at number 4 but compared to past glories, it had a definite feeling of unfinished business. That grey melancholy front cover seemed to mirror the whole mood back then. Whilst the release of those eight cuts did spell something of a closure on the story for now, it was all a little low key.

1983 would be dominated by the return to active duty of Robert Plant with the Principal of Moments album and tour, and thus Coda was consigned to the Zep catalogue as the final part of the recorded story for now. Ahead of course, would be the re grouping at Live Aid that put them right back in the spotlight and then the Remasters 1990 releases that would seal their rejuvenation. By then for me, I was right back on it all with the writing and collating of the A Celebration book and the return in 1992 of the TBL magazine. It’s been ever onward since then…


As for the contents of the original album there is much to enjoy and at the time it seemed like a bona fide collectors item – something rare and unreleased to cherish. The whole of side one is an absolute joy, moving from 1970 to 1972. On side two the Polar material is pure fun and the John Bonham tribute was a testament to what had been lost. If I had a complaint, it was the short running time – we now know Sugar Mama was dropped in the final selection.


My Coda Now:

The original album itself sounds as impressive as ever – the vinyl pressing sparkling and full of vitality. It may be short in length but for me it’s long on quality.

The real fun with this reissue is of course the Companion Audio Discs. Jimmy has used this platform to create what he has described as a celebration of the band’s career and music, and as it zips across the years, that is


exactly how it sounds. In doing so it sparks many a Zep memory. This in effect is a Boxed Set 3, packed full of Zep idiosyncrasies.

Commencing with We’re Gonna Groove (Alternate Mix). This is an utterly awesome mix – the live drums and vocals from the Royal Albert Hall ’70 gig/show? now clearly applied. In between the Sol ’82 overdubs, the original live solo can be heard to greater effect. Additional Plant shout at 1 min 35 and Bonzo’s drums sounding incredible throughout. Alongside the rough mix take of In The Evening I would state that this version is the one they should have gone for on the official 1982 line up. It’s the definitive version – simple as.

If It Keeps On Raining When The Levee Breaks (Rough Mix) is yet another key revelation. I was expecting perhaps one of the other bootleg mixes that have seeped out over the years. How wrong could I be? This is a simply invigorating initial run through from November 1970 with a totally alternate laid back swampy feel, slightly faster in tempo to the original. Robert’s vocals have a sparse, low register, echoed scat singing element to them, adding to the almost soundcheck run through quality of the piece. It certainly has a total groove of its own, with pummelling bass line from JPJ, and Bonzo’s drumming as funky as hell, with a distinctive snare drum sound. It fades slightly and then reappears with Robert moaning a muted ‘’Going home’’ refrain. In fact, this fades far too early. You really want it to go on and on, such is the delightful jam like quality of it all. Phew! One of the key finds of the entire reissue programme.

The mix of Bonzo’s Montreux (Mix Construction In Progress) places the syn drums further upfront in a punchier mix. The hi-hat is very clear towards the finale. Less effects on the treated parts. A shout from Bonzo at the close. This is the art of the drummer as master percussionist… always welcome

Baby Come On Home was first released on Box Set 2 and the subsequent package of Coda in the Complete Studio Sessions box set. A lovely relaxed bluesy strut from the beginning of their time.

Sugar Mama (Mix) is a thrilling slice of embryonic Zep from October 3, 1968. Plant’s excited yelp setting the pace. Plenty of echoes of The Yardirds here, with the 1966 single Happenings Ten Years Time Ago a definite reference point. Slightly different to the version that surfaced in lo-fi quality on bootleg in the early 90s, this has an extra ‘Sugar Mama’ from Robert at 32 seconds. Marvel at the innocence and first time energetic blast of the embryonic early Zep…

Poor Tom (Instrumental Mix) is the previously bootlegged instrumental take that highlights John Bonham’s simply sensational New Orleans shuffle throughout. Bluesy acoustic overtones from Jimmy and the harmonica is in there at 1 min 38. Another opportunity to attend a John Bonham masterclass…


Travelling Riverside Blues (BBC Session) was first released on the first 1990 Remasters box set and the subsequent package of Coda in the Complete Studio Sessions box set plus the 1997 BBC Sessions set. It’s a welcome bottleneck affected swooping delight…

Hey, Hey, What Can I Do is another underrated beauty. As first, released as the B side to the US Immigrant Song single in late 1970. In the UK it initially appeared on the 1972 New Age Of Atlantic LP plus the first 1990 Remasters box set and the subsequent package of Coda in the Complete Studio Sessions box set. Light and shady, warm and friendly – joyous from beginning to end…

Companion Disc 2 kicks off with the much bootlegged and talked about Bombay sessions tracks.

Four Hands (Four Sticks – Bombay Orchestra) opens with a count in from an orchestra member. The stereo separation and precise quality is another revelation. Tabla drums and flute combine to add a suitably atmospheric quality to this unique instrumental version, cut in early 1972. A vivid example of their pioneering quest to push the musical envelope wherever it might take them.

On Friends (Bombay Orchestra) the stereo separation is again well in evidence. Robert’s vocals are crystal clear. The mystical vocal moanings, mixed with the ethnic rhythms, makes for an eerie and compelling listening experience.

The much rumoured to exist St. Tristan’s Sword (Rough Mix) turns out to be a three way instrumental work out from 1970 and is built around a totally invigorating bass and drum pattern – the bass and drum syncopation between JPJ and Bonzo is just outstanding. Bonzo putting to good use his best New Orleans shuffle, a la Poor Tom. Enter Jimmy for a Hendrix like feast, not unlike his rampant playing on Jennings Farm Blues. At 2 mins 18 it all breezes off in another direction with a clipped guitar effect, as it chugs on with yet more scintillating Page runs in the Jennings Farm Blues tradition. There’s also a bridge part that would later be employed on Over The Hills And Far Away. Like the instrumental La La on the Zep II companion disc, it’s hard to assess where this piece was going. Was it a warming up in the studio flexing of the musical muscle or a backing track being honed for the addition of Plant lyrics and vocals? It strikes me as being something of an initial pool of ideas – a Led Zep studio brain storm to see what they had and could build on. Whatever it was destined for, it’s a splendid example of them having a blow – and what a blow this is.

Desire (The Wanton Song Rough Mix) has some hoarse alternate vocals from Robert – overall a different texture to the original, with less Leslie effects on guitar break. Playful and less rigid in structure – mainly guitar driven, though the clavinet can be heard rumbling in there. Robert’s last vocal cry is slightly extended. Different take to the bootlegged alternate take aired on the WPLJ radio station in 1975 with far superior vocal.

Bring It On Home (Rough Mix) 2.32. It’s back to one of those on the run sessions that made Led Zep II such a lively concoction. It’s straight into the riff part with Robert’s wailing harmonica – and then very much a live vocal with the singer freely expressing himself with complete abandonment – as he was doing nightly on stage in the US at the time. An excited ‘’Alright!’’ at 1 min 14. Bonzo tearing along with it all as the harmonica comes back in. Totally wild and chaotic, with an electric ending. Superb snapshot of their on the road, ad hoc studio recording, this is Led Zep unleashed in the studio with all the intensity of their mid 1969 barnstorming live performances. Simply blistering…

Walter’s Walk (Rough Mix) is a brash instrumental take – the jittery riffing exercise that would later be applied to Hots On For Nowhere is very apparent. It’s a great moment when the riff bursts in at 2 mins 20 – in fact, with Walter’s Walk it’s all about the riff, as you know.

Finally, Everybody Makes It Through (In The Light Rough Mix) Opens with the familiar drone of the original. What we have here is a mix that features the early ‘’Sunshine brings laughter’’ lyrics of the version on the Physical Graffiti companion disc, matched to Jonesy’s drone links – the Elizabethan intro keyboard part having been replaced. At 1 min 42 Jonesy applies an additional keyboard motif going into the chorus parts. No overdubs on the close. Another work in progress snapshot of one of their finest creations…

Summary: So, there it all is – a unique presentation collection that mirrors every facet of the Led Zep cannon, and a fitting end to this reissue programme.


I’ll paraphrase what I said at the beginning of the reissue programme. We all recall where we first heard these releases – and where we first purchased them. We have loved and cherished these albums for years and years. They really are like old very reliable friends. Rediscovering them again, in this new context, has inspired us all to fall in love with them all over again. It really has been like a renewal of our Zeppelin vows.

This music developed and presented by Led Zeppelin – be it the original albums or the companion discs – sounds as fresh and vital today as it did when it was recorded some four decades ago. There’s something uniquely eternal about these recordings that, in our minds at least, keeps us forever young.



LZ News:

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.

Jimmy Page:

Jimmy Page is featured front and centre on the cover of the new issue of Classic Rock Magazine. The cover story is all about the Classic Rock Awards which took place in Tokyo, Japan on November 11. The lead story is titled “The Inside Story of the Tokyo Super Jam (aka the Classic Rock Awards)”
The Classic Rock Awards has announced that it will provide refunds to fans who were unhappy that Jimmy Page did not perform at the event. A statement published on the event’s website says “we recognize that there has been some misunderstanding as to who was due to present and who was playing. To settle this issue, we would like to offer all of the fans who attended this year’s event exclusive priority access and a discount of the ticket price for next year’s event. For anyone that was in any way disappointed, we will be happy to refund their ticket.” The statement also includes a quote from Tetsuya Sanada, CEO of KLab Entertainment, who promoted the event. He said that it was “quite a learning experience”. Refunds are available from November 20 to December 20 here.
An interview with Jimmy Page aired on Masa Ito’s Rock TV on Japanese television station BS Fuji on November 19.

Upcoming events:
November 30 – The latest issue of Classic Rock Magazine is released, and it features Jimmy Page on the cover.
December 8 – The EMP Founders Award will be held in Seattle to honour Joe Walsh, and there’s a chance that Jimmy Page will attend.

Many thanks to James Cook.

The complete Led Zeppelin News email goes out every weekend. To receive it each week sign up here:



Stairway To The Chase… 

The correct answer is….as seen on the Chase TV quiz show this afternoon (I was working at the TBL hub on TBL 42 text at the time honest!)


TBL Archive : Retro album charts – November 1971: 


The album charts November 1971 : NME chart – Led Zep IV in at number 14…..Melody Maker chart  -Led Zep IV In at number 16 … beaten by Your 100 Best Tunes an easy listening series that allegedly outsold the rock masters…I demand a recount! Looking over those chart, there is an abundance of absolute quality – Rod, Lennon, Cat Stevens, T. Rex, Joni, Jimi Hendrix etc – and yes, I have a fair few of those albums in my collection!


It adds credence to David Hepworth’s claim that 1971 was the best year in rock as discussed in his book 1971 – Never A Dull Moment which was published earlier this year – which is certainly one of the best books I’ve read this past year.










Michael Des Barres – Silverhead/Detective Reissues:


Cherry Red Records have reissued three albums on CD by Michael Des Barres 1970s outfit Silverhead. The band featured future Robert Plant sideman Robbie Blunt on guitar. The three albums are Silverhead (1972), 16 and Savaged (1973) – bonus tracks here include two promo 45s from Michael Des Barres recorded as a solo singer and Live At The Rainbow, previously only available in Japan. This has recordings from the famous Rainbow Theatre venue recorded on November 9, 1973 plus five additional bonus live performance cuts are included from a BBC In Concert set at the Paris Cinema in London on August 31, 1973.

Also very welcome are a couple of CD releases by Michael’s next band Detective. A and R man Hugh Gilmour had been in touch with me regarding these reissues and I had some input in researching memorabilia for the CD booklets. It’s good to see my name in the CD credits – thanks Hugh!


Detective were signed to the Swan Song label in 1976 –their much acclaimed debut album originally released in 1977, was reissued in 2010. Now comes a welcome reissue for their second album It Takes One To Know One. I bought both albums as they were released and they remain much played around these parts.

Detective’s line up featured Michael Des Barres on vocals, drummer Jon Hyde (ex Hokus Pokus & Monarch), Michael Monarch on guitar (ex Steppenwolf –he ) appeared on the original version of Born To Be Wild) bass player Bobby Pickett (ex Sugarloaf) & ex Yes keyboardist Tony Kaye.

This second outing issued in late 1977 further elaborates on the sleaze and roll rocked up funk formula of their first album. This is a straight reissue of the album superbly with memorabilia and sleeve notes that includes an interview with Michael Des Barres.

Cherry Red have also made available on CD for the first time, the very collectable Detective Live From The Atlantic Studios. This was a promo only album issued by Atlantic to garner radio coverage (there’s an AC/DC album in the same series). Recorded on November 21, 1977 before an audience of invited guests, it’s a loud punchy performance full of vitality. The whole band gel really well packed with rhythmic intent while Des Barre’s turns in a suitably breathless performance. Monarch’s guitar is pleasingly upfront and Jon Hyde’s bombastic drumming has the feel of Physical Graffiti Bonzo. By association, Detective possessed the combined swagger of Zep and Bad Co but also had a distinctive funky edge all of their own. As far as I’m concerned, Live From The Atlantic Studios can now take its rightful place up there with the likes of How The West Was Won, Free Live, Frampton Comes Alive, Humble Pie Rockin’ the Fillmore as one of the great live albums of the 70s.



DL Diary Blog Update: 


Friday Treats at the Vinyl Barn: At a rather cold Vinyl Barn last Friday there were some truly great finds: Love Revisited compilation on UK Elektra, Miles Davis Bitches Brew on original UK CBS pressing, Richard Thompson Live superb 1976 US Island release plus Peter Tosh Don’t Look Back 12 inch on Rolling Stones Records and a four track Alice Cooper Welcome To My Nightmare12 inch EP. A splendid haul –thanks Darren!

December is here – and  as ever there is a lot to do…

I had my diabetes 2 check up this week which went ok (ish) though some of the things discussed go some way to explain how tired and anxious I’ve been feeling recently. It’s ever onward with a positive attitude…

There has been inspiration and silver linings such as the above lovely haul at Darren’s and Mick Lowe’s sterling design work on the work in progress forthcoming TBL issue 42.. ..and on the player some great stuff including The Byrds Untitled, Jethro Tull Stand Up and of course Coda as discussed at length above. I’m looking forward to the Bob Dylan The Real Royal Albert Hall 1966 Concert double set and The Rolling Stones Blue And Lonesome which are both released on tomorrow.

 I was trying for a wrap on TBL 42 this side of Christmas but I am now aiming at a January completion and distribution. It will be something to look forward to in the new year – there’s some great stuff lined up as mentioned above. Now it’s beginning to all come together I can see that much has been achieved in recent week here at a time when I’ve not felt on top form and in between many other issues.

Hstudio-mix-nov-29-2016ere’s a pic from A full on day at StudioMix  yesterday working on the forthcoming TBL issue 42 – like i said a bit to do yet but the home straight is in view –  book some reading time for January and get ready to soak up the world of Led Zeppelin as presented by TBL…one magazine…one band….one essential read…more on all this to follow…

Right, time to get back on the task of completing this fresh outpouring of TBL news and views that is TBL 42. it’s coming your way early in the new year…

 Dave Lewis, December 1, 2016.

Until next time – have a great weekend…

TBL Website updates compiled by Dave Lewis

with thanks to Gary Foy and James Cook

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

And follow TBL/DL on Twitter.

And finally..

YouTube clip: If it’s December – it must be time for Kate..



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  • Hiroshi said:


    Saw The Cure at Manc Arena on Tuesday. They cut short the show after about two hours, some say Robert Smith had vocal issues, others say he was put off by the lack of enthusiasm from the audience. Still a good show but felt short-changed inevitably. Hope you’ll get a great final night…

  • Mark Williams said:

    Thanks Dave. Going to see the still wonderful Cure tomorrow night ( 3rd consecutive sold-out night at Wembley arena ). Great memories of Page / Plant covering ‘ Lullaby ‘ when Porl Thompson was in the band.

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