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19 July 2017 2,312 views 6 Comments
 TBL issues 1,2 and 3…
 I was alerted over the weekend to an eBay sale that involved the original first three copies of the Tight But Loose magazine.

The three issues clocked up a high price with issue one attaining a £227 price tag, issue 2 £113 and issue three £130 –a combined total of £470.

Not bad for three A5 photocopied magazines written, designed and laid out in my bedroom during a twelve month period spanning October 1978 through to October 1979.

This comment regarding the eBay sale of the first three TBL issues from CJ N Alli Jacheo on Facebook I noted was very pleasing and humbling.

I was watching these auctions intently, as suspected the selling prices exceeded my limit, but a true testament to the importance of TBL ( and DL for that matter) within the Zeppelin community.”

 Back in 1978, I had been considering the idea of a Led Zeppelin publication dedicated to the group for some time. Led Zep didn’t do fan clubs, so in the absence of any fan related information service I decided to take it un myself to formulate my own.

The outlet I decided upon was the fanzine format favoured by the punk fanzines of the day such as Sniffin Glue and Ripped and Torn.

With little in the way of a budget, the first issue was handwritten and there were spelling errors and typos aplenty (nothing’s changed!). I was confident however that the content would make up for the presentation shortcomings. I had been working on a lengthy overview of the Earls Court shows since 1975 and it was the Earls Court Revisited feature that would be the centrepiece of this debut issue. Little could I have imagined that many years hence, similar text to this feature would form part of the content to a high value deluxe photo book of the shows.

Back in early 1979, I used the payment I received from contributing to the Sounds music paper Ten Years Gone Led Zeppelin four part feature to pay the local photocopies Jaycopy to print issue number one – I placed adverts in Sounds and the NME and away it went –all for 35p a copy. The print run of 300 sold out within a few weeks.

The initial print runs for issues 2 and 3 were around 400. By issue 2 I had found a typist to type the copy which I laid across the pages in strips. Issue two featured a detailed account of the 1969 Zep BBC Sessions inspired by the repeating of the sessions on Tommy Vance’s Friday Rock show early in the year. Again, little could I have imagined that many years hence my own BBC Sessions prose would grace an official album release.

Issue three was a Knebworth special with a blow by blow account of the proceedings over those two weekends in August 1979 -plus an intensely favourable review of In Through The Out Door.

The Swan Song office were incredibly supportive of my TBL endeavours not least Unity McClean the press office and office manager. Word got through to the principal players namely the group and manager Peter Grant and the vibes were good –in fact very good. I was able to had over copies personally to Robert,Jonesy and Bonzo and Peter Grant at the Melody Maker Poll Awards I attended in November 1979.

Greatly enthused by all this –issue 4 issued in the spring of 1980 was a glossy printed A4 affair – and the print run was exceeding 500. The rest is (TBL) history…

So seeing those early issues attain such impressive bids fills me with considerable pride. It’s a clear indication the esteem the magazine is held in nigh on 40 years since I came up with the idea.

I am currently hard at work on producing issue 43 – and I have the same boyish enthusiasm to do so that I did when I was stapling together that first issue in my bedroom back in early 1979.

So in the light of all that, this is an appropriate moment to run in full, a recent interview I conducted with Matthew Pallett for his Producing and Debating Journalism module Journalism degree, which he is currently taking at the University of Roehampton. It was his first ever real interview and it’s a pleasure to present it on the TBL website.

Matt is the son of my good friend Simon Pallett who co-authored  the book Led Zeppelin The Concert File with me originally published by Omnibus Press in 1997.

He put a series of thought provoking questions to me that forms an insight into the heritage and workings of  TBL and my thoughts on the Led Zeppelin legacy.

So take it away Matt…


 Dave Lewis Interview with Matthew Pallett:

Mathew Pallett: What is it about the music of Led Zeppelin that resonates with you?

Dave Lewis: The sheer breadth of styles they covered – from blues to rock to folk, jazz – taking in Indian influences and more – that, coupled with a unique chemistry between the four players and musicianship of the highest calibre. There’s also a fifth element as Jimmy would put it. They have this mystique – a certain aura that no other band has. It’s hard to explain ….but I am sure many reading this know what I mean.

MP: You have been able to see Led Zeppelin in concert 15 times. Do you have a particular favourite? A memory that really sticks out?

DL: I was very lucky to see the band as many times as I did – so many memories stand out from being a mere 15 year old schoolboy when I first saw them at the Empire Pool Wembley in 1971 ( nothing was the same in our house after that!) the five nights at Earls Court when they really were at the height of the powers through to the emotional comeback at Knebworth. Perhaps most memorable of all were the five shows I saw on what would be their final tour in Europe in the summer of 1980. I was lucky enough to view those shows from the side of the stage – an incredible experience. Oh and the night of nights at the 02 reunion in 2007 when they proved they were, are and always will be the best…

MP: Why do you think rock music is no longer considered the ‘mainstream’ genre of music like it was back in the 60s and 70s?

DL: With the advent of downloading, Spotify streaming sources, YouTube etc music is now very accessible. The air of mystery and mystique that was prevalent back in the 1970s has all but gone. Back then, the only way to access music was on record or though the radio,TV and live gigs. There are also so many genres of music now – rock lines up with many other choices of style –from hip hop to dance etc.

MP: It could be argued that rock music isn’t nearly as popular as it was back when you started “Tight But Loose” 38 years ago. Has your readership declined, or has the Zeppelin fan base remained loyal?

DL: Again the whole way information is accessed has changed massively. When I began the magazine the only way to find out about the group was in the weekly music magazines NME, Melody Maker etc. It was one of the key reasons I created the magazine – to present regular information to fans throughout the world. The Internet of course changed all that – there are now hundreds of websites and fan forums about the group. Luckily the demographic I appeal to are fans who still love a tangible product – the subscription base has remained steady and given the mass accessibility of the internet and social media – very loyal.

MP: Led Zeppelin no longer perform as a group, yet “Tight But Loose” is still going strong. What do you think has been the key to the magazine’s ongoing success?

DL: Firstly, Led Zeppelin have achieved lasting durability and popularity. Along with a handful of other acts The Beatles, Stones, Elvis – they set the benchmark in their influence over generations of music fans. Their albums sound as fresh today as when they were recorded. Musically they are a massive influence on budding rock musicians throughout the globe.

Given that legacy, the Tight But Loose magazine has been well placed to constantly enhance like- minded readers enthusiasm for the band over many years. It’s become a trusted source of accurate information, news views and features. The content is also very unique and tangible – as I have often noted, websites are for browsing – the TBL magazine is for reading time and time again…

MP: Led Zeppelin is a band that officially broke up in 1980. 37 years later – they are still being written about and their albums are still in the charts. What do you think contributes to their longevity?

DL: As I mentioned above – their influence is vast – their music is lasting and they are forever in the present tense. The sheer creativity of their catalogue is simply awe inspiring and that is why they mean so much to so many people.

MP: Your career history was in record shop management, but you have successfully transitioned to full time author and music journalist. How easy/difficult was this transition? Any specific challenges?

DL: I enjoyed 35 years in music retail across the WH Smith, Our Price and Virgin Megastore brands – when the curtain came down in December 2008 and I was made redundant, I was faced with a major challenge – could I make a living out of something that had been a side line? It was into the unknown really but a step I feel I had to take. Luckily I had vast resources to tap into to produce a catalogue of work. It was, and continues to be a major challenge to self publish both the TBL magazine and books. I tested the self publishing book market with the first edition of the Then As It Was Led Zeppelin At Knebworth book in 2009 –to good very response.

I really began to get my head around it all in 2010 – I began working with designer Mick Lowe who runs a design and graphics studio in Bedford. He has been central to establishing the TBL publishing brand – I work closely with him on all TBL projects and he is absolutely superb to work with.

Being self- employed has thrown up many challenges. I work from home a lot of the time which can be quite isolating. It requires major discipline and organisational and planning skills. In terms of other freelance work –I have nurtured this along the way – it’s been good to come out of the Zep comfort zone and write about other artists . I’ve done pieces on Nick Drake, The Who, The Rolling Stones, Rod Stewart & The Faces, Paul McCartney, George Harrison Crosby Stills, Nash & Young and others for Record Collector, Classic Rock and Mojo etc.

It’s about earning a reputation for delivering informed and interesting copy on time – if you do that, repeat work comes your way. Building relationships is also very key and I’ve made some great contacts in recent years.

Operationally, it does remain a virtual one man show – I update the TBL website on a weekly basis, I write and edit copy, I assist the design, I do the marketing, I log all the orders that come in and process them. I am also distribution manager in packing every book and magazine and taking them to the post office on my trusty bicycle! I count them all in and count them all out…

MP: Initially, all content was authored by yourself personally. Now there is a selection of other writers and your role is more editorial. Is this easier/harder to edit somebody else’s work? Do other writers get offended if their work is rejected or heavily edited?

DL: I am still fairly hands on with the writing but in terms of the TBL magazine. I do have a very valuable list of contributors. These contributors share the same standards as myself so it’s not really a big problem in terms of editing their work –they know their subject very well indeed often better than I do! There is a balance to be had sometimes in where everything will fit and I do take editorial control on that – I always explain the reasons for copy being edited. There’s no doubt that having such ardent enthusiastic writers on board has maintained and enhanced the standard of the TBL magazine. I am therefore most grateful to Mike Tremaglio, Nick Anderson, Paul Sheppard ,Stephen Humphries, Larry Bergmann jr, Chris Charlesworth, Cliff Hilliard, Scott Heck, Andy Crofts , TBL website founder Dave Linwood, Ian Dixon, Jeff Strawman, Rikky Rooksby, Richard Grubb and Simon Cadmon and a few others whose knowledge and writing has lit up many an issue.

In terms of news gathering –TBL is affiliated to the Led Zeppelin news site run by James Cook – he does a fantastic job in collating current Zep related news.

MP: When you started “Tight But Loose”, it was purely a magazine. Now there is a strong website presence, Facebook account, Twitter feed. Do you find it enjoyable to keep up with social media demands? Does this become a burden or a valuable tool to promote your products?

DL: We live in a social media world and to an extent we are all slaves to it. The skill is making it work as a platform to create awareness of what TBL has to offer. Keeping on top of the TBL website , Facebook, Twitter etc is pretty relentless but hugely important. Facebook in particular has been a major platform for me to drive the TBL message. The website also has a very loyal following. It’s one of my key objectives to keep making that an interesting hub for visitors to tap into – and ultimately drive sales of the TBL magazine and books and merchandising.

My Facebook page is also a crucial driver of the TBL message – I have over 4,000 friends on the page –many of them ardent Zep fans – it’s a great method of keeping them abreast with news and views.

MP: Do you think technology has made it easier now for speciality journalists to get their work out there, than it was back when you started “Tight But Loose”? If so, why?

DL: It has categorically made it easier –simply by the many channels there are to get your work seen – we now have E-zines, blogs, forums, websites, Facebook groups etc. back in the 1970s it was just me and my pen! Like said, it’s how you use these platforms to your advantage and basically that is down to determination and enthusiasm to get your work seen.

MP: You have recently started to produce a digital version of your magazine. How much impact did this have?

DL: It has certainly spread the word and offered an online presence for the magazine – something I needed to do.

MP: Are you finding more people subscribing to the digital version to the traditional paper based version? Will the plan be to phase out the paper version of the magazine?

DL: The digital version has appealed to some readers – I do find some subscribers buy both the physical and digital version . In terms of accessibility, it’s a viable option. However, the physical magazine remains at the heart of the TBL brand – this is where a bulk of the sales still occur. There are no plans to phase out the paper version.

There are reasons for this – as mentioned before, the demographic of the mag is rather old school and they have been raised on physical products such as vinyl records and tangible magazines.

Attracting younger reads to the magazine is difficult – the plain fact remains that there is a lot of Led Zep information out there – and they are reluctant to pay for it –that applies to music also.

MP: Do you think by having a digital service, “Tight But Loose” has lost some of the collectability that the magazine used to have?

DL: None at all – as it has not had any considerable effect on the subscription base of the physical mag.

MP: Which do you personally prefer: digital magazines or physical copies? Why?

DL: it’s convenient to have a digital version but for me it really is all about the physical magazine – it’s tangible – it’s collectable –it can be stored to be read time and time again.

MP: You have been publishing the Led Zeppelin “Tight But Loose” magazine since 1978. It has progressed from a black and white Xeroxed fanzine to a full colour glossy professional magazine. How hard is it to still create original content (especially considering the band no longer perform)? Or is content rewritten for new generations?

DL: I’m pleased to say there is never an issue with the content. I have a backlog of features to use. What the mag is able to do is keep abreast of the current news but most significantly, present the heritage of Led Zep through unique content such as the Tarantura bootleg guide Paul Sheppard, interviews with key players in the story such as Zep PR man BP Fallon – offering a collector focus platform that advises on the state of the Zep collecting market etc. All this contributes to making the magazine a captivating read that will enhance the appreciation of the music for every reader.

MP: What do you consider to be the highlights of your career so far?

DL: There are so many – the feature I did for Sounds to celebrate ten years of Zep back in September in 1978 –that was my first written work of Zep in print, The Final Acclaim book in 1993, the A Celebration and Concert File books (the latter with your Dad!), being involved in researching Robert Plant’s Nine Lives box set in 2006 , intervening Peter Grant, John Paul Jones and Jimmy Page, overseeing the Five Glorious Nights Led Zeppelin at Earls Court photo book and most recently liaising with Jimmy Page in compiling the new liner notes for the official Complete BBC Sessions set. That was of course a huge accolade.

MP: What new projects are you currently working on?

DL: I am currently collating material for TBL issue 43 due for publication later this year.

I also have an ongoing book project with co-author fellow Zep chronicler Mike Tremaglio – Evenings With Led Zeppelin is a book that will concentrate purely on the gig to gig history of the band presented with unique images. This has proved to be a huge undertaking – it’s a massive 500 page volume and Mike and I will be concentrating solidly on it in the coming months. I am working closely with TBL designer Mick Lowe on the lay out. It will be our way of marking the 50th anniversary of Led Zeppelin’s formation.

As for other future objectives, I have many ideas under consideration – a chronicle of the 02 reunion concert, a possible reissue programme of the early TBL magazines, a possible best of TBL compendium and my own memoirs somewhere along the line.  I am also working on a feature that focuses on collectable UK singles – as all readers of this website know, I am big collector of vinyl records..

Looking ahead, fundamentally, the main point of contact and news of the latest TBL developments remains the TBL website and my Facebook page– the regular updates via those outlets will continue to inform readers of the TBL projects ahead such as the next TBL magazine and the progress of the Evenings With Led Zeppelin book.

As we approach the landmark 50th anniversary of Led Zeppelin’s formation there is much to celebrate. Whether it be online or though social media and the TBL website ,via the magazine, future book projects etc I will continue to endeavour to ensure TBL has a platform and voice that enhances the enjoyment of this very special band of musicians…

In short, chronicling the world of Led Zeppelin is in my DNA and it continues to be an absolute privilege to do so…

Dave Lewis – July, 2017.

With thanks to Matthew Pallett


Led Zeppelin News Update:
In conjunction with the Led Zep news site, each week I will be re- producing highlights from their weekly email update news summary. This goes out every Sunday. Sign up details are below. Many thanks to James Cook

Led Zeppelin

Part of the leaflet promoting the upcoming Empress Valley bootleg “Deus Ex Machina” (Twitter/yuminori0616)
  • “Deus Ex Machina,” the upcoming Empress Valley soundboard bootleg of Led Zeppelin’s March 21, 1975 Seattle show, is expected to begin shipping around July 24. That’s according to an email sent by a Japanese bootleg distributor on July 14. Empress Valley has also produced leaflets to promote the upcoming release in Japanese record shops.

Jimmy Page

The “On This Day” entry from Jimmy Page’s website on July 14 (Jimmy Page)

  • Jimmy Page published a statement and a new “On This Day” entry on his website on July 14 to promote the Apple Music release of his live album with The Black Crowes, “Live At The Greek.” “It was really great that the show was recorded at The Greek, it shows the energy of what was going on and the excellence of The Black Crowes’ performance of the Led Zeppelin material was with characteristic swagger,” Page said. “My respect for these guys is immense.”

Jason Bonham

Upcoming events:

July – Black Country Communion, the band which features Jason Bonham, is expected to make announcements later this month.
July 19 – The auction for a 1962 Danelectro guitar previously owned by Jimmy Page opens.
July 24 – New Empress Valley 21/03/1975 soundboard bootleg “Deus Ex Machina” is expected to begin shipping around this date.
July 28 – The auction for a 1962 Danelectro guitar previously owned by Jimmy Page closes.
Mid-September – 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 – Andrew O’Hagan claimed that Robert Plant’s new album will be released this month.

Many thanks to James Cook.

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

Led Zeppelin News Website: Check out the Led Zeppelin news website at


TBL Archive: John Paul Jones with Minibus Pimps – five years gone:

Here’s another look back to a notable Zep related gig. It’s now five years since John Paul Jones first performed with the Minibus Pimps line up in London – here’s my review of another memorable night…

John Paul Jones with Minibus Pimps Cafe OTO London – Friday july 13th, 2012:

John Paul Jones electronic noise venture The Minibus Pimps made their live UK debut on Friday at the Café OTO in Dalson North London. This arrangement sees him working in collaboration with Norwegian producer/musician Helge Sten a founder member of Supersilent who John has also been involved in.

We arrived at the venue around 7.30 pm and there was already a steady queue building. The venue is an open plan café with seating spread around the performance area. The café has built up a strong reputation as one of the key venues in presenting avant- garde jazz – to the extent that it has it’s on spin off label issuing vinyl albums of some of the acts who appear there.

The audience was predominately avant- garde jazz music enthusiasts  –with a few Zep/JPJ fans mingling in. The pattern for the evening was quickly established by the first act on -Sebastian Lexer on piano with Steve Noble on drums.

They proceeded to launch into a lengthy opus that had Sebastian creating noises out of the open top grand piano and Steve leading the way with what I can only describe as a bizarre approach to a drum solo.This had him creating all manner of percussive noises deploying various symbol effects and the use of brush sticks and conventional drum sticks. It may not have been Moby Dick but it did have a compelling intensity – as the piece progressed I found myself somewhat transfixed as to what percussive effects Steve was going to come up with next.

Suffice to say the avant- garde crowd lapped it up. As did one John Paul Jones who had been watching attentively throughout.

I had a chat with John before he set up with Helge. Affable as ever, he ran through his current projects which includes ongoing work on his  Ghost Sonata opera, an upcoming date with Seasick Steve in Switzerland supporting ZZ Top and dates with Supersilent – including a UK visit in the late autumn. ‘’I just keep on playing as required!’’ he laughed – I told him I had seen Robert the previous night and John was curious to know which Zeppelin number had been performed. I also informed him that news was coming through that Jimmy was at the Hard Rock Calling Hyde Park event.

Then it was time to set up for the Minibus Pimps UK debut. Helge Sten was situated to the right of John’s set up which included a lap top and keypad plus various effects pedals. The pair then drifted off into their own little world.

Photos Dave Lewis for TBL

Their 50 minute untitled improvisational piece began with John on the Manson ten string bass strumming against Helge’s pastral guitar and electronic effects. It proceeded to run through various stages of spontaneity, drifting into a drone like sequence that at various points had shades of the soundscape effect of Jimmy’s Lucifer Rising. When John picked up an electric violin and bowed against Helge’s effects, it was hard not to think back to the similar noises created on many a live version of Dazed And Confused.

Photo Gary Foy for TBL

That was about as far as any Zep influence went as the piece picked up pace. John actually had technical problems with the violin pedal effect (’’It ran out of juice!’’ he told me afterwards), but calmly brushed such problems aside and returned to the bass. At one point he held the bass up to his ear in that classic Jet Harris 1960s bass guitar pose.

Eventually the piece drifted towards a climax as the intensity between the two musicians increased –both of them vying for harmonic structural control. Then it was over – John and Helge took their bows to a rapturous reception.

Photos Richard Grubb for TBL

Afterwards, John chatted to various fans happy to answer a few tech questions that came his way. I had a quick chat with his wife Mo and daughter. With the rain thundering down outside and two trains to connect with, it was time to go.

We left the bassist in the best band of all time to carefully unplug and pack away his gear. ‘’Thank you so much for coming along to this night of noisy music’’ he said to us as we made our fond farewells.

Thank YOU Mr Jones for another captivating evening. Yes it was all very avant- garde but in the hands of John Paul Jones and Helge Sten, it all seem to make perfect sense.

Photo Dave Lewis for TBL

Many thanks to Adrian Molloy and hi to Tony Crowley, Michael and his lady, Kirk Peterson, Richard G, Will and Raff from Boot Led Zep.


Seattle Kingdome 40 years gone…

it was 40 years ago on Monday that Led Zeppelin performed at the Seattle Kingdome to some 65,000 fans.
The whole show was videotaped for the venue’s close circuit TV screens and was retained in their archive. I was privileged to be shown this footage in the Swan Song office in August 1981. It remains a fantastic visual remnant of their final US tour when they really were as big as any band could get…. see the clip below of Over the Hills And Far Away….simply sensational…





Rufus Stone Limited Editions July Sale:

Just a reminder that there’s another opportunity to invest in this book at a bargain price…

LED ZEPPELIN – FIVE GLORIOUS NIGHTS £95 (reduced from £120)

Dave Lewis’s epic chronicle of the bands legendary shows at Earls Court.

A must for any Led Zeppelin fan




DL Diary Blog Update:

Friday treats at the Vinyl Barn – there was much needed inspiration required and delivered as ever by Darren Harte last Friday with a very fine Bobbie Gentry album,The Beatles 1967 -1970 on blue vinyl and the Tom Petty and The Heartbreakers Playback CD box set –a right result!

More Friday treats at the Vinyl Barn – last Friday there was also a guest appearance by the visiting Gary Foy – he arrived just in time to see me acquire this Led Zep Remasters box set which includes the special limited memorabilia pack I devised with Colin Stonebridge when we sold the box set at the Our Price shop in 1990. This took the form of a track by track commentary plus various repo ads and reviews. – a piece of my retail history is back in the collection –thanks to local Vinyl Barn customer Martin.It was great to catch up with Gary who was on top form.

Elsewhere here a busy week with lots going on.

The offending tooth that was causing my tooth infection was duly extracted at the dentist yesterday morning – and the show went on in the afternoon with work on the in progress TBL 43 with Mick Lowe at StudioMix. My mouth is still sore as can be seen by this rather halfhearted smile…I’m hoping it will settle down in the next few days…

Dave Lewis  – July 19, 2017

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

YouTube clip:

Led Zeppelin Seattle Kingdome July 17, 1977:



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  • Ed-Washington DC said:

    Am I to understand that Mason Ruffner himself is auctioning off Jimmy Page’s 1962 Danelectro? What a fabulous instrument Dano’s can be. The Danelectro bass graced many recordings of that period because of its distinctive sound and comfortable lightweight construction.

    Mason Ruffner, as you may recall, was the guitarist in the house band at the Old Absinthe House in New Orleans back in the days when Jimmy Page frequented the establishment while staying in the Quarter. He was so impressed with its old world saloon ambience that legend has it that it inspired the album cover of “In through the Out Door”, and which Aubrey Powell was tasked with replicating.

    Mr. Ruffner’s “Gypsy Blood” record from that general era is worth finding and enjoying. Its easy to understand why Pagey took such a shine to both Mr. Ruffner’s playing and to the nineteenth century charms of the Old Absinthe House.

  • Dave Lewis (author) said:

    I will check to see if I have any!

  • Gerd Zaunig said:

    Hi Dave,

    from where I can purchase the white ‘Five Glorious Nights’ T-shirt that you are wearing on the image above? I already have the same shirt but black and would like to own a white one, too!

    Another question regarding ‘Five Glorious Nights’…I remember got an email long time ago from Rufus about plans to sell the final 100 copies of the book as a kind of ‘photographers edition’ with extra limited prints or something like that. What happened to that edition?

  • Nils Westerholt said:

    … and Robert Plant performed Night Flight on his solo Tour back in 2001 (really a killer version!)

  • Dave Lewis (author) said:

    it’s likely 1973 and no Zep never did do a live Night Flight – Page and Plant did so a few times in 1998

  • Graham Rodger said:

    There’s a long audio recording on YouTube featuring Zep rehearsing The Rover, The Wanton Song and a great version of Nite Flight, plus tons of rockabilly and Elvis material. The title claims it’s a VERY RARE SOUNDCHECK from 1973, but surely it would have to be from 1975…? What do we know about this, and did Zep ever perform Nite Flight live in concert…?

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