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The Led Zeppelin Ch.-()nicle
Vol. I No. IV NOVEMBER 1990 $2.75
NEW BOX SET'
Led Zeppe Lin
Welcome to the latest of Electric Magic. Once again I say thanks to those who took the time to write in. Electric Magic has been making great progress in expanding to new Zeppelin fans around the world. I always welcome readers to write in with any comments, ideas, articles, photos - whatever. A special thanks to 'Speedy' for the postcard from Bonham, Texas! I will be starting a "Letters to E.M." column in the near future. Also in the near future, the full colour centerfold that was mentioned in the first issue will be featured. It's still in the works.
The cover of this month's issue is of course the new 4 CD box set. A critique is featured in this issue. I encourage E.M. readers to write in with their opinion of the box set. Is it amazing? Do you hate it? Whatever your thoughts are - write in and tell us.
Dread Zeppelin seems to be taking over the T.V. and radio airwaves! They're everywhere! Bring back the Way-Outs! Their video for "He.arbreaker" was amusing. Their video for "Your Time is Gonna Come" is starting to push it a little too far. I think they were funny at first but now that they're multi millionaires I think the joke is over. They recently appeared on the "Joan Rivers Show"! Yes, the joke is over. Thanks to Lisha Judy of Cleveland, Ohio for sending an article on Dread Zep from a local paper. Tortelvis talks about speaking to Plant on Rock-Line: "I had a chance to talk to him on the foruth of July and he actually thanked me for giving him months of pleasure and entertainment, and that meant a lot to me." "Plant apparently meant it because he and the other two surviving members of Led Zeppelin gave the go-ahead not only to cover their songs but also to use the Zeppelin name." Tortelvis explains:
"We had to figure out how many royalties per song
we had to pay to Led Zeppelin. They had a meeting about it and they were very gracious to us. They just charged us one royalty per song. They could have actually gotten more. They also granted us the use of the word 'Zeppelin' in our name. They've never done that before. I think they're taking the whole thing for what it is, which is just a fun project. Nobody 's serious about this thing. We're just out there having a good time." Their time is gonna come!
In an interview in Calgary, Alberta from September 23rd, 1990, Plant spoke against a Zeppelin reunion: "There's no point at all. Now everybody would just swoop in and say 'This is not what we wanted'. There is no Led Zeppelin. The last time (at Atlantic Record's 40th Anniversary celebration in Madison Square Garden) there was just the three of us and Jason playing drums. It just doesn't count. Jason is no more the drummer for Led Zeppelin than I am the singer. To go out now as Led Zeppelin means instant physical rashes coming out everywhere, anxiety taking over. Better to leave it and let it lie happily there. " Plant may be bashing a Zep reunion but I also remember years back when he said he would never do Zep songs! Only the future can tell ..
t's a rare occurrance hearing the radio stations announce a "new Led Zeppelin song". With the release of the new 4 CD box set, "new" Zep songs are filling the airwaves. Ever since the FM stations
received the promo CD in late September, "Travelling Riverside Blues" was everywhere. Although nothing on this package is really "new" for many Zeppelin fans it is. For anyone that has recently heard it for the first time, I'm sure it has become an instant classic.
The first thing everyone wondered about was what the cover would look like. The cover turned out to be amazing! The mysterious circles found in fields in England created by some unknown force with the shadow of the Zeppelin adding a great touch. The "Led Zeppelin" lettering should have been the way they wrote it on 'Houses of the Holy'. The covers of the individual CDs is, to say the least, incredible! Fantastic artwork of each of their symbols. I wish they would make posters of them. The booklet is also well-done with a great color pull-out section. The photos are an cross-section of the mighty Led Zeppelin's career. The written biographies are excellent. My favourite is the one by Cameron Crowe. Revealing interviews with Page, Plant and Jones are contained throughout.
The song and album statistics are detailed and interesting. However, there is one error. Did everyone spot it? The version of "I Can't Quit You Baby" from the sound check at the Royal Albert Hall was incorrectly dated. They must
have transcribed "9/1/70" wrong. In the booklet it says "September 1,1970." It should have been January 9th, 1970 (1/9/70).
The unreleased tracks: "Travelling Riverside Blues", "White Summer/Black Mountain Side" and "Hey, Hey What Can I Do" are not the only selling feature of the box set. As everyone has heard, Page has remastered all the songs direct from master tapes. This was not the case on the 10 Led Zeppelin CDs. The sound is greatly improved on all of the songs. The BBC performance of "White Summer/Black Mountain Side" from the Playhouse Theater 6/27/69 never sounded so good. It's a great version of the Page masterpiece.
The cleverly combined "Moby Dick/Bonzos Montreux" was very interesting to hear. Page meant it as a sincere tribute to Bonham. The sound quality of "Moby Dick" is not as good as it should be. It is actually worse than the 'Led Zeppelin II' CD. "Bonzo's Montreux" on the other hand does sound great with Bonham's bass drum thunderously shaking the speakers.
I'm sure most people will be pleased with the package. The only complaint is that they could have put some "real" rare material. They could have released the full BBC sessions. How about making one of the four CDs all live material? Nevertheless, Page went to a lot of work to do a proper job and it shows. Try to listen to the entire box set straight through. There is a significance of the order of the tracks as Page has said. The release of this package could be just the start of something great in the near future. We'll see!
_1_1_'_1_'_1_1_'_1_'_1_'_'_'_._'_'_1 1_1_1_'_'_'_---_._._._. __
ThiS is part II of Ron Kellerman's personal account of his friendship with Jimmy Page which began in the early
sixties. He has a treasure of experience with Jimmy's career from the early days of session work, Y'a r d b i r d s to the formation of the mighty Led Zeppelin. He shares his story for the first time ever and of '[ers some never before seen photos. .ea.
Back to the year 1969, back to the future! Yes, at that time Led Zeppelin were to be the future and what excitement the future held for us. You know, thinking back to that time I wonder what the odds could have been of first receiving a letter back in 1963 from a relatively unknown English guitar player who eventually turns out to be the legendary guitarist of the most outstanding and innovative band of all time. Oh yes, make no mistake about it. Led Zeppelin could never have been accused of falling into the doldrums of non-creating.
There I was, lucky me, sometimes with my sister
Denise witnessing this phenomena time after time. To watch the growth of this superb band from infancy to maturity and result in a sheer excellence reserved for the very few. It was all there: The majestic vocals of Plant, the precise, rock solid bass of John Paul, the incredible complexity of rythms of John Bonham's drums and then there was Page. Well, Page ... what can you say. The absolute cream of the crop of progessive rock guitarists. It was all there: The heavy riffs, the subtle & varied textures, the endless creativity, the passion, the unique bowing of the guitar. .. it just goes on and on.
There used to be an old American show entitled "You Were There". They used to recreate some historic event and you, the audience were there. Only this was real and going on right then and we were there! There, at the great shows:
Madison Square Garden, Nassau Coliseum, Central Park with B.B. King. Oh Central Park! I must share this with you. This is one of those times that "we were there" and it's a night that I'll never forget. It was an outdoor concert in
Central Park, New York City 1969. I showed up with my sister and we made our way up front to the trailer alongside the outdoor stage that acted as the dressing room for the band. I have to~ admit something that we both got a kick out of. We would get as far as the roped off section where the guards were. Of course, there were countless fans next to us. Some of the Zeppelin fans would hear us tell the guard: "Would you please tell Jimmy Page that Denise and Ronnie came to say hello." Now the kids who heard us figured we were either a bit daft-or-higher thana kite on some foreign substance. Sometimes the guard would give us a little trouble but when I insisted, the guard would go back. I will never forget the feeling when he would return and lift the rope to let us through. We felt like royalty, king and queen for the night. There was always a shocked look on the faces of the kids around us. I remember this particular night like it was yesterday. We turned the corner of the trailer and there he was .. Jimmy ... Jimmy Page sitting on the trailer steps with his hand on his chin. He looked up surprised and greeted us warmly. I must admit that among the moments of my life I'm recalling, these rank right at the top. Jimmy then invited us into the camper and there they were: the rest of the magical entourage. Bonham and Jones were in the back discussing something with Peter Grant while Robert in his usual flamboyant and boistrous mood got so congenial and friendly. You know sometimes I go into some local club on the strip here and watch some nothing band going nowhere but strutting around like they're something special, carrying an attitude and I just think back to
when I was in presence of true greatness. I guess that's what makes the great truly great. it's not just their immense talent, it's the class in which they carry themselves. Believe me, Led Zeppelin was class with a capital "C".
So, after all the polite conversation and the usual questions I'd ask Jimmy "How've you been? How's the new LP coming? etc"
Jimmy pointed out a man at the end of the room and told us he was the opening act. he recommended that we go and watch him perform because as Ji mmy said: "He's ex e l lent." The man he was referring to was and still is the blues guitar legend B.B. King. We thanked Jimmy and wished him a great show (which was guaranteed
anyway!). We proceeded to go back out into the masses and watched what was to be an excellent performance by the
monumental greatness in the making. All of a sudden the stage went dim then, like a burst of energy from another galaxy you hear the feedback, the familiar riff, the lights go on, "The Train Kept A Rollin". they they are! You were instantly transported to another dimension where the only thing that matters is the magic- the ELECTRIC MAGIC!
Yes, this publication certainly has garnered the proper words to describe the incredible phenomena that was the magnificent Led Zeppelin. God, they were on fire this night. maybe it was because we hadn't seen them for a while but everyting was extra special.
All the early classics were there: "Dazed and Confused", "Communication Breakdown",
: When you thought they :
I couldn't top themselves ... I
: They did! Zep was giving I I their all on every song. :
blues master but now ... now the time drew near. I swear to you as I write this and really focus on the moments shortly before Zeppelin hit the stage, I can still feel the excitement. I can still feel the tingle in my blood. there was the anticipation along with this incredible aura in the air. You just knew this was no fly by night band but
Jimmy Page and Ron Kellerman backstage in Nassau, NY 1969.
"White Summer", "How Many More Times", song after song. Fantastic! One after another, one better than another. When you thought they couldn't top themselves, they did. Zep was giving their all on every song. I mean the notes just seemed to ring out through the open air and swirl around us ... but wait! The most incredible moment was yet to come. If I wasn't there this night, I wouldn't have believed it. This was an outdoor concert and New York City had a curfew. I don't
remember the exact hour but Zeppelin were For the first personal set of six photos send
informed that the power amps had to be $20.00 (U.S. Funds - money orders only please
shut down. Zeppelin had already been on which must be made out to KEITH KELLERMAN) for three hours andperformed encore after.. ' encore yet the audience was so worked up,
they didn't want the band to stop. What
could Zeppelin do without the guitar and
bass amps? Robert Plant looked at the
crowd and said "Don't worry. If you want
us were not going anywhere! n Then Jimmy put his guitar down, John Paul did the same and the both of them walked over to Robert. The three of them looked over at John Bonham. John began playing the drums and the three of them proceeded to sing old rock and roll standards accapella! That's right, imagine the three of them singing without the instruments, just their voices and John giving it all he had on drums just to please their fans. The crowd broke into a deafening roar as the boys made their way through songs like "Blue Suede Shoes", "Keep a Knockin", "Whole Lotta Shakin'" and you know what folks ... It was absolutely GREAT! Talk about a band giving their all. I mean, above and beyond the call of duty to satisfy their fans. Do you know why Led
EXCLUSIVE PHOTO Off ED!
One evening in October 1969, legendary guitarist Jimmy Page visited a friend in Perth Amboy, New Jersey. Pictures were taken that evening and on other occasions which rank among the rarest of photographs
associated with Led Zeppelin.
117 Kendall Dr Parlin, New Jersey 08859 USA
Zeppelin is so loved by their fans even to this day, 10 years after their demise? It wasn't only because of their superior musical talents. It was because Led Zeppelin loved their fans and the fans knew it.
Yes, this was a most exciting time but for me personally as a friend and fan of the most memorable nights was in the not too distant future. That was the night that unknown to the world, Lord Sutch and myself went into New York City, picked up Jimmy at his hotel and brought him to Perth Amboy where he spent the entire evening over my house.
RON'S STORY CONTINUES NEXT MONTH.
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RARE classic Zep Photos. Send $2.00 for catalogue. Richard Williams, 5801 Winding Way #5, Carmichael, CA 95608 USA.
ROBERT PLANT - Manic Nirvana video live in Toronto, Canada 1990. Complete concert with pro quality special effects including slow motion etc. Rock-steady video and excellent audio. The best Plant video ever! $30 postpaid. D.J. Butuk, 77 Maitland Place #1627, Toronto, Canada M4Y-2V6.
WANTED: Led Zep official 7" LP and promos - acetates. Please state condition, price etc. Alan Cousins, 17 Lyde Rd, Yeovil, Somerset BA21 SAT, England.
October 6, 1990
Itravened up to Ottawa with a couple of friends to see Plant and the boys perform at the Ottawa Civic Centre. It was only three days after seeing them in Toronto at Maple Leaf Gardens. It was a Saturday night and
we were sure to have a good time. Finding the Civic Centre was not as easy a task as we had thought. We must have drove right in front of the place about 15 times. The people giving us directions were al ways pointing towards this barn-like building which had a sign out front that said "SQUARE DANCE NEXT FRIDA Y NIGHT'. We drove around-thebackofthebuilding and saw the trucks that carried Plant's equipment. This couldn't be it! Finally, after asking almost the whole city, we found it. It was a strange structure next door that had no signs or any indication of being the Civic Centre or the Robert Plant was playing there that night. Anyways, we soon found ourselves about ten feet from the stage and were glad that the torture of hearing The Black Crowes was finally over.
At the Toronto show, Plant was wearing a Jimmy Page T-shirt. He wore the same shirt at this show. "Watching You" opened the set to an appreciative crowd. I think it's a great song but I didn't really think much of it until I first began hearing it live on the European gigs. The excitement continued through "Nobody's Fault But Mine". I wonder why Plant doesn't so the
harmonica solo in this song anymore. The only song from "Shaken and Stirred" came next: "Little By Little". This song featured great strobe-light effects. Plant also says how much he loves "Shaken and Stirred" and wonders why most people don't like it. Why doesn't he play more songs from the album if he loves it so much? "Tie Dye On the Highway" also displayed a great light show and strange visuals on the screen.
Plant says his fsirst words to the audience:
"Ottawa ... OTTAWA! ... Good evening. I said GOOD EVENING! Saturday yeah? Let's make it a real Saturday. This song is from our latest venture Manic Nirvana. It's a song about love that is broken ... L'amore casse ... sappelle ... It's called Anniversary." The unsuspecting crowd would never have dreamed what they were about to see. After Doug's guitar solo during the song, Plant comes out and does his own guitar solo on a square-shaped guitar. He did a pretty good job on his solo but I think the one in Toronto was better. I never thought I would be comparing or writing about a Robert Plant guitar solo!
An extended version of "In the Mood" followed. It's become quite a live showpiece. The acoustic set began with "Liars Dance". Doug played a great guitar solo. I don't like Plant's satirizing of "There's a lady who ... " from "Stairway to Heaven" thrown in "Liars Dance". The crowd favourite so far was "Going to
California". The only difference in the songs from the Toronto show was "Heaven Knows" which Plant performed next. A drum beat began the next song "Nirvana". During this opening beat, Plant began singing "Poor Tom". He must be throwing in bits of different Zeppelin songs throughout the tour. It's interesting to see what songs he chooses. I was surprised to hear him do some of
"Poor Tom". "Liars Dance" - Ottawa 10/6/90
kicked in to a steamy version of "Immigrant Song". Hey Percy, is the scream sampled or what? A lot of sampled tricks were featured throughout the show. He doesn't lip-synch very well.
Another song that sounded better live than on the album was "Hurting Kind". The crowd was loving it all the way. Plant then said his first farewell: "Been a great night. .. Thank you very much. We shall see you again soon." The first encore was "Ship of Fools"; not really a great song to do as an encore in my opinion. Near the end of the song, Plant sang some of "I Can't Quit You Baby": "I can't quit you baby ... but I'm gonna put you down for a while." The purpose of singing this during "Ship of Fools" is a mystery to me.
"Billy's Revenge" was a treat. It was a great version and included some interesting additions. They do a segue into "Your Ma Said You Cried In Your Sleep Last Night". They should do the whole song because it sounded pretty good. They also began improvising into "Riders On the Storm". I don't know if I can say "improvising" because after seeing a lot of Plant shows, everything seems very pre-planned. After the song, Plant says another good-bye to the crowd. He looks into the audience and spots something. He smiles, makes a funny face and scratches his head while looking into the 4th row. Who were those three guys
anyway? Plant closes: "Thank you Ottawa. It's been a great night. We're having a wonderful time and we're all going to have a wonderful time afterwards as well. Good night!" They come back and gi ve the crowd more! Plant:
"Can you sing? O.K., let's see if you can sing to this one. It goes like this ... " They burst into a rousing Zeppelin classic: "Living Loving Maid". Of course, the crowd sings
Photo: Warren Brubacher ri gh t al on gat
the top of their lungs. Everyone was defintely enjoying the show and Plant was as well: "Oh Ottawa ... You know we came here ... I guess it must have been May 1988. It was the second show they ever played in the whole of North America. These guys were absolutely petrified. The idea of playing in front of such a noisy crowd like you ... These guys are hard and tough and they know how to smile even when they don't even mean it. They are the greatest band on earth. They've reformed especially tonight. .. A big reunion for you. The only reunion you will ever see before your eyes involving me." He then proceeded to introduce the band. It's nice to know that he's still got a sense of humour calling Doug Boyle "The greatest guitarist in the world.". "Tall Cool One" closed off the show: "This is a song for all the ladies who helped us so much." A nice way to end the show and the audience was with him right to the last note of the concert.
Overall, it was a good time for everyone that night. Plant was in top form and was doing what he enjoys best. It was a bit better than the Toronto concert. The crowd was more appreciative and Plant responds well to that.
I I I I I I I
features completely different lyrics than the Led Zep III version. Plant goes into all kinds of blues songs. He does bits of Robert Johnson's "Riverside Blues" and also a few Elvis Presley songs including "That's All Right". It's a great version which many feel is better than the one on Led Zep III. "Since I've Been Loving You" follows. It contains only slight differences than the finished version. Plant adds in "Oh Yeah!" a few times during Page's guitar solo. It's worth having for the incredible sound quality alone. You hear the squeak of Bonham's bass pedal even clearer.
The CD now brings us from the third album to "In Through the Out Door". A version of "All My Love" is included which is the same one on ITTOT. It has some studio chatter before the song starts. Jonesey begins the keyboard intro then stops for some reason and they have a laugh. The song doesn't have all the finished overdubs on it. The song continues for about 45 seconds after it is faded out on ITTOT. After a taste of some studio outtakes, the CD then features two live tracks from 1972 (supposedly Long Beach '72). The sleeve says that they are from L.A. 6/3/73 which is incorrect. "What is and What
There are two new CDs just out that are sure to delight any Zep fan. The first one, "Studio Daze" contains some rare studio outtakes. Not only is the material on the CDs impressive but the sound quality will leave any fan wide-eyed. It is so unbelievable that it is better sounding than the actual 10 Led Zeppelin CDs. This is the type of quality we can enjoy on the box set. The back and front covers feature great full color photos and the inside sleeve has an amazing shot of Page in '71 sitting down, holding the double-neck guitar. The first track is "That's the
Way". It's basically the same take that was used on Led Zeppelin III but it includes some different mandolin passages. The sound quali ty is better than it is on the Led Zep III CD.
The next track is a real treat. It's a rehearsal of "Hat's Off to (Roy) Harper". Page plays a slightly different riff on the guitar and waits for Plant to come in. Plant asks to start again. He "just got an idea". Page begins again and seems to change the guitar riff every time. The song
Should Never Be" and "Dancing Days" are performed. Again, these are unprecedented in sound quality!
Next, there are three studio outtakes of "No Quarter". The first two takes are instrumental. The third take features vocals and is a bit different than the finished version on "Houses of the Holy".
As if one amazing CD wasn't enough, "Jennings Farm Blues" is another must for any collection. Needless to say, the sound quality is again awesome! It features the title track "Jennings Farm Blues" which is essentially an electric version of "Bron- Y -Aur Stomp". The CD contains rehearsals of the song while Bonham, Page and Jones get it together. All versions are
instrumental. After about 20 minutes of different rehearsal takes, a semi-finished version with some overdubs is featured. The guitar overdubs remind me of "Who's To Blame" from Page's 'Death Wish II' soundtrack. It also brings to mind "Flashing Lights" - One of the songs on the 1969 Screaming Lord Sutch album "Lord Sutch and Heavy Friends" featuring Jimmy Page and John Bonham. "Jennings Farm Blues" is interesting to listen to but I think it works better as the acoustic version of "Bron-Y-Aur Stomp".
The rest of the CD contains about 50 minutes of the September 4th, 1971 concert in Toronto (at Maple Leaf Gardens) in soundboard quality. I've always wanted to have this show in better quality than the existing audience tape. The only unfortunate thing is that it isn't in the amazing
sound quality of the previous tracks. Nevertheless, it is still great. The songs featured are: "Stairway to Heaven" , "Celebration Day", "That's the Way", "Going to California", "What is and What Should Never Be" and "Moby Dick". During the acoustic set, the audience was a bit disruptive. Plant says "It really amazes me because for anybody that's been to England knows that when you go to a concert there's such a thing as listening to what's going on. Unfortunately, we're faced with a problem in our free society where a lot of people come to listen and there are a lot of people who are making a racket so nobody hears what's going on. We've got some things to say but every time I go to open my mouth there's another spokesman. So, we'd like to do two acoustic things now if you can bear with us. Alright?" All of the talking between songs was cut out on the audience tape so it's great to hear it. Hopefully the rest of the show will come out.
These new CDs are a great indication of what is in store for the future. I have a feeling that they are only a taste of what is to come. It's exciting to hear outtakes and live performances in such remarkable sound quality.
PLANT '90 VIDEOS
As usual, there is a wave of new videos from Plant's 1990 tour but there are some interesting items. The first comes from Mountain View, California August 13th, 1990. It would be just like any other Plant video except for one thingmost of the show is shot off a video screen! That's right, it's the first Plant concert shot off a screen which makes it seem like a pro-shot video at times. If it wasn't for the video screen at the concert, this video wouldn't have been all that great since it's pretty far back. The camera is a bit shaky at times but at some points it's amazing - especially "Going to California". I'd love to see the real pro-shot footage filmed that night.
One of the first privately shot European videos has made it to North America. This hails from Milano, Italy May 14th, 1990 and was shot at the "Teatro Orfeo". It's a great video which has a centre stage view with a pretty good zoom. The cameraman keeps it steady and gets a clear view the entire show. The show itself is good and features the standard set from the first part of his tour. Plant performs "Big Log" and "Misty Mountain Hop" as the encores. These are songs that he seems to stay away from on the North
American tour. At one point Plant says that he hadn't been there in twenty years and that so far it was better than it was then. He was referring to the riot that occured during the show in Milan. It ended up with guards using tear gas on the crowd. This Plant video is quite good with the only factor being the slight quality loss when transfering the tape to NTSC format.
Speaking of Italian performances, Plant did a spot on an outdoor festival called "FestivalBar '90" in Italy. It's actually hysterical to watch. Plant's performance seemed to come right before a big beauty contest. There are about a hundred girls in bathing suits on the left side of the stage while the band plays. They even pretend to do some background vocals. I said "pretend" because the both songs played are lip-sychned. Not just lip-synched but very badly lip-synched! They start with "Your Ma Said You Cried In Your Sleep Last Night". The host translates the title of the song and introduces the band. The version of the song is taken from "Manic Nirvana" complete with the scratches! It's amazing how Doug and Phil can get a play guitar without even having it plugged into an amplifier. I thought at least the vocals would be live but they're not. Plant forgets to mouth some of the 'Oh Yeah's. He must have been too distracted by the girls to really sing. A brief interlude follows which brings out a few more hosts and a translator for Plant as the hosts talk. One of them mentions that he remembered when Plant was in Italy 20 years ago (In 1971). They later perform "Hurting Kind" which is also lip-synched.
The Knebworth '90 broadcast featured some of Plant's set and all three songs with Jimmy. Plant has released a few more songs as 'videos' that were not shown in the broadcast: "Tye Die On the Highway" and "Nirvana". Also from Knebworth, a 20 minute interview was done with Plant before the event interviewed by Kurt Loder. Plant makes some interesting comments in this interview: "I played here before in Knebworth and it was a huge event. We played two nights, 2 Saturdays in August 1979. It's a great location. We played to 400,000 people here. It was really
ridiculous; flags and big fires and people dancing. It was like the return of the angel king. It was really beautiful. This is different. It's a different vibe all together." When asked about jamming with Jimmy, Plant responds: "There's been a bit of a checkered past in that area of expectation and the recreation of the myth. I think when the nerves are put away in a box and everything is shelved out of the way and you start playing, it's great. No problem." Another interview was done by Kurt Loder just after performing. Plant: "With Jason and John Paul (at the Atlantic Record's 40th Anniversary reunion), it was more the spirit of the thing. This is my band. Jimmy came out and guested so we were organized ... In fact, it really worked great... We found this old Led Zep tune that nobody had ever done called "Wearing and Tearing" from 'Coda' and it's so powerful!"
Plant continued to play "Wearing and Tearing" during the first part of the North American tour which began four days after Knebworth. After hearing several different performances, I noticed that the song was slowly falling apart. They don't do the song anymore. The first new Canadian video circulating is from the Toronto concert on October 3rd at Maple Leaf Gardens. It's an excellent video complete with some slow-motion special effects. It's shot from the back of the arena with a center view and an excellent zoom lens. However, I personally don't think it's better than the Toronto 5/10/88 video. It's still one of the best Plant '90 videos. There is an amazing video from the Ottawa show that was done as well as another Toronto video that is incredible. Unfortunately, these are not circulating and probably won't be for a long time.
NEW ZEPPEliN SHOW
This month's 'Collector's Column' spotlight is a new 1969 audience tape. It is slowly beginning to circulate so I decided to review it for those who don't have it yet.
It's really great to have more early Zepelin shows popping that no-one even knew existed. This show is an audience tape and the sound is pretty good. The tape is about 60 minutes in length. I'd say that is was better in sound quality than Buffalo , 69 tape that resurected earlier this year. The show is from The Image Club in Miami, Florida on January 17th, 1969. It's of course only three weeks into Zeppelin's first tour of North America.
The show kicks off with a blasting "Train Kept a Rolliri'" You can tell that it was LOUD in there! Plant lets the song go on for an extra few bars before coming in with the vocals. They continue into the masterful segue into "I Can't Quit You Baby" with cheers from the crowd. You can feel that they were ready to take the world by storm! After an exhilarating 2 songs, they get a chance to catch they breath: "Thank you very much after all that... Good evening from Led Zeppelin. We've been here four days so it's nice to be able to get down and play again. We're gonna carryon with a thing off the album that's currently doing pretty well apparently. This is a thing called 'Dazed and Confused'." The crowd politely applauds and John Paul begins the bass intro. Page does a Yardbirds-type bow solo and then they burst into the lightning speed solo section. Jones and Bonham are incredible and always right with each other, never missing a note. Page is wailing on guitar with Plant responding to Page's calls on guitar.
"Killing Floor" is next which has a very young feel to it. It features some great jamming especially during the middle. Plant of course includes the lyrics that make the song become the "Lemon Song" and some other great lyrics as well: "1 got my need in you babe ... You seem to think it's alright. I got my need in you babe ... You seem to think it's alright. I want you to roll over babe .. see what it's like on the other side. You're so sweet. .. you're so fine. How I wish you were
Zep brings the mood down for a bit as they do "Babe I'm Gonna Leave You." The power in Plant's voice is stunning. It's really one of the best versions I think they ever did of this song. Unfortunately, the tape cuts off this song near the end.
The Jimmy Page showpiece "White Summer" is next which brings applause from the audience. This really highlights Page's skilled fingerpicking style. It's a great contrast to the other songs which feature a completely different guitar form. The songs blends into "Black Mountain Side" and somehow wanders back into "White Summer"
again. Amazing variations in the song make it different every time it is played. Bonham and Jones are held in the background as accompanyment for the song. The crowd give a
roaring applause as the song ends. They were surely impressed. Plant:
"How about that - Jimmy Page ... Let's hear it for Jimmy Page. White Summer. .. White Summer."
A song that Plant and Bonham used to play in the "Band of Joy" is next. "As Long As 1 have You" is a great improvisational outlet. Plant does a bit of "Mockingbird": "Hush little baby .. DON'T YOU CRY. Papa's gonna sing you a lulabye. Hush little baby, don't say a word. Papa's gonna b ri n g you a MA MA MA MA MA MOCKINGBIRD!" The performance is priceless! Page leads the way to a great guitar solo. The explosion eventually winds down back to the ending: "1 was born in darkness, fought my way out of the BLUE. OOOH I HAD TO LEARN TO STAND UP, EVEN WHEN THEY SCARED ME OUT OF MY SHOES ... Well let me tell you girl, you ain't seen nothing yet. There is nothing in this world I can't get AS LONG AS I HAVE YOU! Oh , hush little baby ... oh, EVERYTHING IS GONNA BE ALRIGHT ... yes it is, yes it is ... AS LONG AS . .1 ... HAVE ... YOU!"
Plant introduces the last song: "Anyway, in quite the high spirits, we're going to do a sort of a blues thing. This is on the Led Zeppelin album ... It's called 'You Shook Me'." Again, it's a magnificent version of the song. The tape unfortunately runs out near the end of this song as well. It's another classic 1969 show sure to please and delight every Zeppelin fan.
New soundboard shows will be featured
• NEXT MONTH •
Miami, Florida January 17th, 1969
nle I c d Zeppelin Chronicle
.. TEN YEARS GONE_
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