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Everything posted by sam_webmaster

  1. I have the original magazine somewhere.... They're taken in Hamburg. Not sure who the woman is.
  2. Led Zeppelin, J. Geils Band Classics Return on Hot Rock Songs Chart 4/20/2017 - by Kevin Rutherford "Immigrant Song" and "Centerfold" are back. Two classic tracks make surges and rank on Billboard's Hot Rock Songs chart (dated April 29): Led Zeppelin's "Immigrant Song" and The J. Geils Band's "Centerfold." Led Zeppelin enters the tally for the first time, and it took a movie trailer to do so. The band's 1970 classic rock staple "Immigrant Song" bows at No. 16, fueled by its appearance in the trailer for Thor: Ragnarok. (On Hot Rock Songs, which began in 2009, older songs are eligible to chart if ranking in the top 25 and are sparked by new momentum in multiple metrics; recently, for instance, Chuck Berry charted three songs on the chart following his March 18 death.) "Immigrant Song" enters Hot Rock Songs with 7,000 downloads sold in the week ending April 13, up from a nominal sum the week before, according to Nielsen Music. The track re-enters at No. 1 on Hard Rock Digital Song Sales, where it's the legendary band's first leader. Thor: Ragnarok, the third in the film series starring Chris Hemsworth, is due in theaters Nov. 3. The J. Geils Band (named after its founder and guitarist) also makes its first appearance on Hot Rock Songs as "Centerfold" debuts at No. 21. The song arrives, up 428 percent to 3,000 downloads sold, following Geils' death April 11 at age 71. "Centerfold" (sung by Peter Wolf) stands as the lone No. 1 for the band on the Billboard Hot 100, where it reigned for six weeks beginning Feb. 6, 1982. It likewise became the group's only No. 1 on the Mainstream Rock Songs airplay chart, ruling for three weeks in 1982.
  3. New blu-ray release of the film Blow-Up is out today: In 1966, Michelangelo Antonioni transplanted his existentialist ennui to the streets of swinging London for this international sensation, the Italian filmmaker’s first English-language feature. A countercultural masterpiece about the act of seeing and the art of image making, Blow-Up takes the form of a psychological mystery, starring David Hemmings as a fashion photographer who unknowingly captures a death on film after following two lovers in a park. Antonioni’s meticulous aesthetic control and intoxicating color palette breathe life into every frame, and the jazzy sounds of Herbie Hancock, a beautifully evasive performance by Vanessa Redgrave, and a cameo by the Yardbirds (featuring Jimmy Page & Jeff Beck) make the film a transporting time capsule from a bygone era. Blow-Up is a seductive immersion into creative passion, and a brilliant film by one of cinema’s greatest artists. New, restored 4K digital transfer, with uncompressed monaural soundtrack on the Blu-ray New pieces about director Michelangelo Antonioni’s artistic approach, featuring photography curators Walter Moser and Philippe Garner and art historian David Alan Mellor Blow Up of “Blow Up,” a 2016 documentary on the making of the film Conversation from 2016 between Garner and actor Vanessa Redgrave Archival interviews with Antonioni and actors David Hemmings and Jane Birkin Trailers PLUS: A book featuring an essay by film scholar David Forgacs, an updated 1966 account of the film’s shooting by Stig Björkman, the questionnaires the director distributed to photographers and painters while developing the film, and the 1959 Julio Cortázar short story on which the film is loosely based Review:
  4. Pontiac '77. Here's some of the contact sheet...
  5. 1977
  6. Some nice new Super 8 w/sound clips of Robert Plant 1983 and the A.R.M.S. tour 1983, at the Cow Palace:
  7. A new 2017 edition of John's signature E-Bass has just been released in collaboration with Manson Guitar Works. Available in Blackburst and Vintage Sunburst finishes, a limited number are available immediately from:
  8. Peter Grant interview: Life with Led Zeppelin and the death of John Bonham Features / by Paul Henderson In 1990 Classic Rock's Paul Henderson sat down with Led Zeppelin manager Peter Grant for a conversation that looked back over the band's career Copenhagen, Denmark, September 1968. A former Yardbirds guitarist, an in-demand session bass player, a jobbing drummer and a big-in-the-Midlands vocalist begin a 10-date Scandinavian tour. Billed as The New Yardbirds for contractual reasons, they are the band's first gigs after getting together only three weeks previously. With them on the trip is their manager, a large, bearded, imposing man with an 'unconventional' dress-sense; ex-coffee bar and club doorman, ex-wrestler, bit-part actor (doubling for Anthony Quinn in The Guns of Navarone, small parts in TV programmes), and former manager of 60s chart-toppers the Animals, Jeff Beck and others. On returning to England, the band go into a London recording studio and polish off their entire debut album in just 30 hours at a cost of £1,800 including the cover (seven years later the record would have grossed more than £3 million), and change their name. The band became the biggest rock band of all time and legendary; the manager became the most effective manager in the history of rock music and something of a legend himself. The manager was Peter Grant, the band was Led Zeppelin. London, summer 1990. Outside plush Chelsea Harbour Conrad hotel, the sun shines down on a vista of elegant, white new buildings that look for all the world like the South of France. Several floors up, in one of the hotel's suites overlooking the marina in which a handful of expensive cruisers bob gently, a semi-‘retired’, trimmed down, suited and still bearded Peter Grant sits back in a chair, draws heavily on a cigarette and smiles as he casts his mind back to the birth of a rock’n’roll legend of which he was very much – if largely unseen and often unsung – a major component. What thoughts about the band went through your head when you watched the New Yardbirds, as they were then billed, playing those first shows in Scandinavia in 1968? “Oh, I remember everything about that first show in Copenhagen. I remember everything Jimmy Page had told me about the drummer, Bonzo. And the whole performance. It was so… exciting! Just to be part of it was fantastic. There was never a thought of, God, this is going to sell X amount of records. “I thought it could be the best band ever. Remember that I'd been to America a lot of times, with the Animals, the Yardbirds and different other bands. And I just knew that Jimmy would come through. I knew it would be the best. “When we first went to America [January '69], and they heard the album, they thought: ‘Fuck this.’ It was hard to get Zeppelin on shows, because other bands – or the managers – thought: ‘Shit! This is so good.’ “I remember the first time we played the Fillmore East, in ’69, for three nights, with Iron Butterfly, who were a big, big, band in America at the time. When you're a new band you have to go on first. But I said to Bill Graham, the promoter, who I'd known for years: ‘Bill, you've got to put Zeppelin on second for me.’ Which he did, with Delaney And Bonnie as the opening act. When Iron Butterfly's management found out, they wanted Zeppelin off. They didn't want them near them. “And they were right. Zeppelin did a fantastic set. The audience was still going: ‘Zeppelin! Zeppelin! Zeppelin!…’ when Iron Butterfly had started their set. Good band, not a bad band, but no match for Zeppelin. But then nobody ever was.” Jimmy Page has said that the first time he knew Zeppelin had really broken through was when they played San Francisco on that first '69 tour. Page said: “There were other gigs… where the response was so incredible that we knew we'd made our impression. But after the San Francisco gig it was just – bang!” “Yeah. That was the first night he played the Les Paul guitar on stage. I remember that. He was playing a Fender before that, the one that Eric Clapton had given him. He'd had it for years, from being with the Yardbirds. There was something the matter with the pickups, and I remember every night Jimmy was there with the soldering iron, soldering the guitar. When was it for you – can you remember a time when you first thought: ‘This really is it’? “The first big gig they ever did, at Boston Gardens, to 20,000 people. It's a sweat-box, that place. And they absolutely pulverised them. I mean, they had it musically, and their performance was like… People in the audience used to tell me it was like a ‘force’. It was in their heads for three or four days. And I thought: ‘There's no holding them, now. There's no holding back.’” Rumour has always had it that you returned from a trip to America with a worldwide deal with Atlantic that included an advance of $200,000 – the highest fee ever paid to a new group. Is that rumour actually true? “Yes. And I mean, that was a big deal with Atlantic in those days – $210,000 for a band for three years was a hell of a lot of money.” Is it also true that Atlantic hadn’t even seen the band when the deal was done? “That's right. But Atlantic believed in Jimmy Page as a musician – believed in his craft, in John Paul Jones, in Robert Plant, who was the third one to come in, and in John Bonham. Atlantic knew. And I suppose my enthusiasm rubbed off on [Atlantic executives] Ahmet Ertegun and Jerry Wexler. They were a fantastic label. I suppose they still are.” Was that the best deal you ever made for Zeppelin? “The best deal I made – not in terms of money, because I never did anything for money, and which I sensed in 1968 nearly stopped Atlantic signing the band – was ‘No soundtracks’. Atlantic couldn't have the rights to any Zeppelin film soundtracks. So when it came to The Song Remains The Same – and I mean, I had no idea they would ever make a film – Atlantic said to me: ‘Oh, that's great. It's a live album.’ I said: ‘No it's not, it's a soundtrack album.’ And they said: ‘Well it's still ours.’ I said, ‘No. If you go back to page 38 or 39, from 1968, you'll find it's not in there.’ I think that was pretty good. Plus, we made the film. “We had a lot of offers from people all wanting to make films of Led Zeppelin – just a concert film, which of course The Song Remains The Same wasn't. And when eventually we were all sitting around talking about doing it, I said: ‘Well let's do it, but let's put our own wedge up, let's put our own money up.’ Which we did, so we weren't beholding to anybody. But if it had been a pile of crap it would have been the most expensive home-movie of all time.” Possibly more important even than the $210,000 advance and the 'No soundtracks' stipulation, you established an unprecedented amount of independence for Zeppelin by setting up production and publishing companies that gave the band extensive control over their creative career. By doing that you started something of a music business revolution. Promoters in particular weren’t happy when they suddenly found themselves being offered the short end of a 90 per cent, take-it-or-leave-it deal for Zeppelin. “I did that on them, yes. Well they were greedy fuckers, weren't they? The thing was, there were so many of them that were cheating bands. There were a lot of good promoters, I mean some fine promoters: Mel Bush comes to mind straight away. Bill Graham. I mean, I don't get on with Bill Graham. We fell out in ’77 [when Grant, John Bonham and a bodyguard infamously hospitalised one of Graham's security men], but he's a fine promoter. You can't take that away from him. Those people don't cheat you.” Were you hated by the promoters for starting this 'revolution'? “By the agents. Because when I went straight to the promoter I found a way of saving the bands ten per cent. Oh yeah, I'm well aware that I'm not exactly liked. But that doesn't matter. I don't care if they hate me. What you've got to do is what's right for your artist. Always remember, it's the band and the manager versus the rest.” What do you think was your greatest strength as a manager? “My greatest strength as a manager?” [Ponders for a short while] “Being able to say no. That's very important. Especially when you're new into management, because you get… “I'll give you an example. Some American people wanted us to do a TV satellite broadcast on New Year's Eve 1970. They wanted Led Zeppelin to do a concert in West Germany, and it was going to go over to America somehow – I'm not really up on that technical stuff – into cinemas. They said: ‘We'll give you half a million dollars.’ I said: ‘Oh, I dunno…’ you know. Anyway, it eventually came to a million dollars. “But I found out that satellite sound can be affected by snowstorms – maybe not snowstorms like we think of them, but miles high – so I though, well that's no good. What do I want to blow that for the band for'. It's their arses that are on the line… So I said no. “They thought I was crazy. A million dollars was a hell of a lot of money in 1970 – it's a hell of a lot of money any time. I mean, it's more money than I'd ever heard of in my life." Was it because of poor sound quality in those days that Zeppelin also never did much TV? “Oh yeah. They did a pilot programme for the BBC once. I was up in the control box. Oh, it was dreadful. And I though, no, never. “And them not turning up for [70s/80s UK music TV programme] The Old Grey Whistle Test. When I saw that queue in Wardour Street [outside London’s Marquee club], that convinced me. I thought, that's it – no singles, no television… Because if the people believe in the band, they're gonna come. And that was proved at Knebworth [1979] – 210,000 people for the first week, with no other bands advertised.” Did you ever have problems with bootleggers at the big festivals, such as Knebworth, and the famous Bath appearance in 1970. “Somebody tried to bootleg [audio] the Bath festival. That's when I threw the water in the machines and all that. I caught them under the stage. Freddie Bannister was the promoter, and I couldn't find him, so I thought, fuck it, and went and did it myself. I kicked the shit out of them and all the equipment. You know they have buckets of sand and water and all that, and an axe? I pulled the axe off the wall and steamed in and chopped it all up. Did a machete job on the machinery I didn't get heavies to do it, I did it myself. Then at least I knew it was done. “I had a hell of a battle at the Bath festival. I'd researched where the stage would be and when the sun would set behind it, and Zeppelin had to go on dead on eight o'clock. It was running late, and other people wanted to go on, but I said: ‘No, Zeppelin are going on at eight o'clock, and that's it.’ “What happened was that they went on in daylight, so you get that 'broad' view, then as the sun set and it got darker we could bring the lights up so that it was the focal point. “I'm not sure that Robert's idea worked, though – throwing the tambourines out to the audience. They were bouncing on Hells Angels' heads! But they were alright, because I'd made mates with them. With the benefit of hindsight, are there any things you would have done very differently? “No, I don't think so.” What about setting up Zeppelin's own record company, Swan Song? Was that… "…A mistake? No it wasn't. When I said it was a 'mistake', you can't be the manager and have the record company. The idea was to get even better artistic control, and give them the creative space. I regret setting up Swan Song, because there wasn't the time. It was Led Zeppelin, then Bad Company came along… You can't do it. “I mean, that's half of the reason I passed on Queen. They came to see me to manage them – I guess this would be the end of '74 or early '75 – and we had a couple of meetings. And I said to them: ‘Fellas, I would love to do it, but I haven't got that many hours in the day.’ I loved the band, but I knew somebody would have to suffer, and it's not fair. I never wanted to be an empire-builder.” Could your style of management be called 'aggressive'? “I would say so. Call it what you like – as long as it works. If somebody had to be trod on, they got trod on. Too true." Were Led Zeppelin easy to work with? “Easy? I wouldn't have said easy. But something that successful is never easy. The hardest thing was always making sure the tours didn't clash with the children’s holidays. Yes, really. That was hard, because more or less everybody had families. “They were never difficult. I sat down with them in October '68 and said: 'Listen, you can start on Boxing Day for 10 or 12 dates in America with Vanilla Fudge, which means you've got to go on Christmas Eve.’ And I was shitting myself having to tell them: ‘And incidentally, fellas, I'm not going.’ It was one of the few times I never went. And I regretted it so much I thought, I'm never going to not go with them again. And they did it. “If you laid it out, explained the reason why, they were never difficult.” “And they never missed shows. Of all that 'excess' that's been written about – and I emphasise written about, they never missed a concert. They weren't goody-goodies by any means, but they were always there.” Talking of 'alleged' excess, what was life like aboard the ‘Starship’ (the customised Boeing 720) that Zeppelin used to travel between gigs in the US? “Wonderful! Before that we had a nine-seater Falcon jet, which was a tremendous plane. We used to fly to every gig, into the limo, police escort, do the gig, do the encore and then – no changing, bang! – to the plane. I mean, it's wonderful isn't it, having your own plane? “But they had to sit opposite each other all the time. And of course, there were rows, but they never lasted more than two or three hours a night. Somebody might get chinned by one of the others, having punch-ups between themselves. I mean, Bonzo and Robert were famous for that. “The first time in Japan, in 1970, Robert went on with a split lip for the encore every time. And this was an argument over something they did in the [pre-Zeppelin band] Band Of Joy – Robert wouldn't pay Bonzo £37 for petrol or something. “The thing is, in all seriousness, on that small plane you were too in that 'cocoon'. And then the 'Starship' came along. Which was only $14,000 more, because they [Boeing] wanted the publicity and that kind of thing. And we thought, well why not? We'll have a 720. "And I do get lucky. The first day, in Chicago, they'd parked it next to [Playboy founder] Hugh Hefner's plane, hadn't they? And all the press were there, and somebody said to me: ‘Well how do you think it compares to Mr Hefner's plane?' I said: 'It makes his look like a Dinky toy.’ Boomph – press everywhere. Headlines everywhere. “I mean, it's pretty good: here's a rock’n’roll band from England flying around with a plane that they said was better than Air Force 1 – the President of the United States' plane! What do they take – 130 people? We had 35 people in it. There was a wonderful Hammond C3 organ built into the bar and all that – Jonesy playing it. We used to do the hokey-cokey coming off the plane and all that. Terrific!" It was during the 'Starship' days, of course, that the now legendary allegations of 'excess' in the Zeppelin camp got on a real roll. “We're hardly gonna wreck our own plane, are we? And despite what you might have read, there were no passengers with Led Zeppelin. No passengers at all. No entourage. Everybody had a function. I mean, sure, there were birds. What am I gonna say, that there were no birds around? There were birds around, of course. “There was a journalist in Los Angeles, who every time used to get cakes thrown on him. I mean he was such a prat. And I realised he liked it. I went up to this fella and I said: ‘Are you ready for it this year? What would you like?' And he said: 'I'd like really soggy hamburgers with lots of tomato ketchup, right in my face.’ And he was serious. He was serious! And I said: 'Okay, you've got it.’ “Some of the stories [of excess] were blown up. But, as Bonzo said in the Observer: 'You can't come off stage and go back to your hotel and have a cup of hot chocolate and watch telly.’" Presumably, then, most of the stories of excess were at least based on elements of truth? “Yes, of course. [His grin broadens into a wide smile] The excess was fantastic!” Was it just one big party? “No, that's Robert Plant's line: 'One big boys’ party.’ I read it in the Sunday Mail.” What events from the Zeppelin history stand out in your memory? “I'm quite fond of all of the things, which is why it's quite hard to single any things out. I think getting the Ivor Novello Award in '75 or '76 was a big thing. Oh, that was terrific. That was for 'contribution to British music', which wasn't like all those disc awards. That's the one thing that I have on my mantelpiece at home. That really meant something." Did you ever discuss musical direction with Zeppelin and have any input on that side of things? “No. It was totally up to them. I don't know anything about music. I know what hits me here [bangs a fist against his chest]. No, it was totally their creation. “They'd go off to recordings and all that. I'd get a call from Bonzo: 'Oh, you've got to come down. We ain't half done something today.’ I remember particularly Kashmir: 'Come down! Come down! Get down here. Get in the Porsche and get down here,’ sort of thing. And I'd get down and hear it. “I didn't spend much time in the recording studios. None of that: ‘Well I don't think you should do that, lads,’ jerking off. While you're sitting there ligging and being groovy in the control box you could really be putting your mind to thinking about other things.” How do you see each of them in terms of individual personality? “Jimmy Page is absolutely the master craftsman. And probably a nicer person you couldn't wish to meet. He can also be very trying – or rather very stubborn. “Robert was a tremendous showman, and well suited to his star sign, Leo – I'll leave you to read the rest of it. “John Paul Jones is probably the understatement of all time, because he is a phenomenal craftsman and musician. Never mind his bass playing and his keyboards, look at the strings he arranged – Kashmir and things like that. “As far as Bonzo's concerned, he's probably the best mate I've ever had in my life. And as a drummer… unbelievable drummer. And all that's been said about him… Yeah, I've seen him wreck hotels – I helped him. But he was always ‘there'. He was always there for the band, he was always there for his family. And I really admired that.” Where were you when you heard the news that John Bonham had died [on September 25, 1980]? “I was at home in Sussex when I heard. Ray Washburn, who worked for me, came up to me and said: ‘Come downstairs.’ He sat me down, handed me some Valium and said: 'Take these.’ I said: 'Why do I want to take them?' And he said: 'Take them.’ I said: 'Tell me what it is.’ He said: ‘There's somebody on the phone for you.’ I said: 'What is it? He said: 'John Bonham's died…’ “I was shattered… It took me… Somebody said to me that I mourned too long for John Bonham. There's no such thing as too long." After John's death, did you ever feel that Zeppelin might have continued, with a new drummer? [Angrily] “No! It's as clean cut as that. There was no question of it. Never any thought. The group went off to Jersey and they made their mind up. We met in the Savoy Hotel and I said: 'It can't be.’ It wasn't a case of sitting down and: 'What do you think we should do?' It was [bangs his fist on the table], and that was it. And that's how it should stay! “It could never be the same. It was those four people – they were Led Zeppelin. The music and the mind – singular – of Led Zeppelin was those four people. When those four guys were on stage… total magic. That it could never be the same has been proved – that bloody Live Aid thing." You're obviously aware of the constant rumours of Led Zeppelin regrouping, with John Bonham’s son, Jason tipped to occupy the drum stool. Can you see it happening? “It could well happen. But I'll tell you something. For me, it would never be like it was. Zeppelin was those four guys. That was Led Zeppelin. Yes, I do think it would be a mistake. And it would be going back on everything that everybody said when we lost John – 'Never again.’” Prior to Zeppelin ceasing to exist at the point of John's death, was there any time when a split really looked on the cards? [Thinks for a while] “In 1974. They were recording at Headley Grange, and John Paul Jones turned up unexpectedly and said he'd decided to leave the band. I said: ‘What are you gonna do, John, if you leave the band?’ Because if he'd wanted to leave the band he would have left the band. You can't stop people doing what they really want to do. He said: ‘I'm going to be the choirmaster at Winchester Cathedral. I'm fed up with all the touring.’ He was just generally… 'peeved' – I think that was his word – with things. I said: ‘Have you told anyone else?’ And he said: ‘No, I came straight to you.’ I said: ‘Well you're gonna be 'not too well'. Take some time off and think about it.’ “That's how Bad Company got to record their first album at Headley Grange. It was all so fresh and all that. Boomph! In there and recorded it. “Eventually I think he just decided he was doing something he really loved. Maybe he just was missing home. Anyway, it was never really discussed again. I don't even think the other members of the band knew. “That was the nearest they came to splitting. And there was of course the time after Robert went through unbelievable… I mean, how he ever handled that, when his son died. At that time I think he wanted to walk away from everything. And I really understood that.” What brought about the end of the your involvement with Led Zeppelin? “Well, the band was no longer, and there was no way I could manage three different people. I started doing a few things with Robert – I made the deal for him, in ’81/’82, for his existing solo recording career. “But it couldn't go on. And, to be honest with you, I wasn't in any shape health-wise to do it. Really, from after we lost John and for various reasons, I had a period of blackness for three or four years. I couldn't have done it. “I've spent the last six years in regaining my health. I used to be twenty-eight-and-a-half stone, and I've lost ten stone. I'm probably fitter and healthier now than I have been since the early seventies. “The main thing I'm doing now is a film with Malcolm McLaren which has been in the air for five or six years. It's based on my life story and all the things I've done, going right back to when I first started, when Mickey Most and I worked in the 2 Is coffee bar [London rock'n'rollers' hang-out in the 60s] and the first important thing I did, which was when I went off to America to meet Chuck Berry and making a deal for him to come to England. Presumably there might be a few things you’d prefer to leave out? “Yes, there may well be a few bits I might leave out!” And a few bits added? “Who knows? But they tell me it doesn't need spicing up. “Barrie Keefe, who wrote The Long Good Friday, is going to write the script, and it's going to be shot in England, and maybe some of it in Los Angeles, starting in Spring next year. The idea is that it will be released Christmas 1991.” [The film never got made.] Do you expect it to include any footage of Led Zeppelin? “No, there won't be any footage of Zeppelin in it. But there'll be some Zeppelin in the soundtrack. Malcolm's idea is to use twelve songs that meant something to me. And I've got a lot to draw from.” How would you sum-up Peter Grant? “I'd like to think that what ever I get involved in, I really give my best for it. That's what I input – the best I can do for those people, regardless of the way I have to go about it. “I'm very proud of Zeppelin, I'm very proud of all the artists I've been involved with and I'm proud of myself – especially for my dear old mum. I mean, I was born illegitimate, and in the late 30s that must have been horrendous. I never knew my father. I'm proud for my mum and for my own children that I've done what I did. Very proud.” And how would you sum up Led Zeppelin? “I'd say the greatest band of all time, and there'll never be another one like them. And I'm very happy to have been associated with them.” Do you think they would have been as successful if they’d had a different manager? “That's an impossible thing to answer.” [He ponders for a while, lights a cigarette, and then, with a narrow smile] “I hope not.” ----------
  9. [01/18/2017] Minibus Pimps in Paris! In a change to the previously advertised ‘ Deathprod’ concert, we are very pleased to announce that John Paul Jones and Helge Sten will be performing together as ‘Minibus Pimps’ on 16th April as part of Presences Electroniques. Minibus Pimps is a unique and unconventional UK/Norwegian collaboration featuring John Paul Jones (Led Zeppelin's legendary multi-instrumentalist), and prolific electronic musician, improviser and producer Helge Sten (Deathprod, Supersilent), which has existed since its first performance in 2011. Their debut album 'Cloud To Ground' contains seven tracks all recorded live at different venues, from London’s Café Oto to venues in Norway and Denmark. The secret of Minibus Pimps’ colossal sonic gas giants is their use of the Kyma computer system (created by Symbolic Sound). Instruments such as guitar, bass and violin are fed into the system and radically transformed by self-designed digital instruments and processors until their sources are barely recognisable. More info:
  10. Pics:
  11. The 1970 Hampton Roads Coliseum date was always thought to have occurred on August 17th, mainly attributed to the (mislabeled) bootleg tape for decades. However, while examining some press and additional ads in the Timeline, the "original" date of the 10th appears to be the correct date after all. We also have an original handbill in the Timeline which lists Aug. 10th. Early news reports mentioned the tour starting in Cincinnati on August 5th (others said August 6th), but some of these dates were rescheduled due to JPJ's father being ill. Some ads in local newspapers, right up to the day before the show are all listed as Aug. 10th. This newspaper review, dated August 16 says: "The Led Zeppelin, a British rock group, 'turned on' for a crowd of 10,000 plus at the Hampton Roads Coliseum last week." Also, in the photo caption of the review: "The Led Zeppelin, a British rock group recently appeared at the Hampton Roads Coliseum, replete with long hair, expensive equipment and eager fans. The concert was the first of a US tour." So with this new information, the summer North American tour actually began here on August 10th in Virginia. (JPJ may have flown back to the UK, then returned for the show in New Haven on August 15th). -- (Ad: published August 5, 1970) (AD: published August 9, 1970) "Led Zeppelin To Appear At Coliseum" (published August 9, 1970) Concert Review: published August 16, 1970: Review Transcription: Led Zeppelin 'Turns On' For Crowd At Coliseum 'The Led Zeppelin, a British rock group, 'turned on' for a crowd of 10,000 plus at the Hampton Roads Coliseum last week. The group, on the first leg of its tour in the United States, and the first time it has appeared in this country in over seven months, is composed of four musicians, Jimmy Page, John Paul Jones, John Bonham and Robert Plant. Jimmy Page is 23 years old and plays lead guitar. It was he who more or less got the group together. He conceived the idea for a group and the name, while still a member of the Yardbirds. Asked why the name he replied, "There's really no reason for our name. It's better, really, than cabbage or carrots." A formidable guitarist, he embarked on his career at the age of 15. John Bonham is the 21 year old drum player for the group. Bonham received a standing ovation at the Coliseum for his drum solo which lasted over 20 minutes. John Paul Jones was doing some of the arrangements for a Donovan album when he met Page. Realizing they could best express themselves by working together, they decided to do just 1hat. As Page says, "John is an incredible musician. He didn't need me for a job, but he felt the need to express himself and figured we could do that together." Today Jones is a sought after arranger all over England. At 22 he has the distinction of being one of the few young men to make it in both the production line of recording and the recording itself. Lead singer for the group is 21 year old Robert Plant. A versatile and accomplished musician he also plays the harmonica and bass. It is said his voice is so powerful, that when the speakers broke down on one engagement in Sweden the audience in the back of the auditorium could hear him. Although Jimmy Page's description of the volatile and enthusiastic Coliseum crowd was a bit understated with "warm", it is this type of ability - the ability to generate a vibrant feeling - that has made Led Zeppelin a supergroup. Having only begun in late 1968, the group has hit the top of the charts with such LPs as Led Zeppelin and Led Zeppelin II. They are soon to release a new album. Speaking for the group, Page described it as "totally different from what we have done before. We are always changing, hopefully for the better. We have to change with the times." Some of this change was witnessed at the concert when the group put aside their electric equipment and treated the audience to a country-western arrangement using a non-electric sound. After the concert and a brief rest, the group took time out to sign a few autographs and answer questions. [By A. SIEFRING | Dally Press Writer, 8/16/70] -----------------------
  12. John Paul Jones, Anssi Karttunen and Magnus Lindberg Announce New Project and Live Debut in Helsinki, Finland on the 5th April 2017. Coyotes are versatile and resourceful animals. They quickly adapt to an environment which is constantly modified by humans. As human activity changes the landscape, the coyote’s range expands. Coyotes are socially highly flexible, living either in family units or in loose packs of unrelated individuals. Coyotes are often said to be tricksters that can assume the form of a man or a coyote. The coyote uses deception and humour to rebel against social conventions. These three musicians cover between themselves an uncommonly vast area of the musical map from Kraft to Dazed and confused, Minibus Pimps to Toimii, Accused to Ghost Sonata, The Thunderthief to Mystery Variations and more. They are all known to be curious minds, always ready to learn and to discover. When they improvise, borders disappear, they are free to migrate beyond prejudices, across continents. In a world where walls are being built and people are told where they can’t go, Tres Coyotes want music to be a place of openness. “Tres Coyotes” will be making their debut live performance at The Savoy Theatre, Helsinki, Finland on 5th April 2017. [Tickets]
  13. Led Zeppelin Is Hollywood’s New Secret Weapon Rock’s most flamboyant band is setting the stage for a summer of movies. If you’re me, the first thing you thought of when you saw the Thor: Ragnarok trailer was King Arthur: Legend of the Sword. No, not because both movies feature a dethroned ruler who is trying to defend his kingdom from an evil sorcerer, or because both feature bombastic feats of slow-motion swordplay, or even because each movie adheres to a sort of punk-medieval aesthetic with splashes of color (well, OK, now I’m thinking of those things). No, I thought of King Arthur: Legend of the Sword because that was the other trailer in only a month’s span to pull out all the stops and feature an iconic song by Led Zeppelin, arguably the greatest band that ever lived. They’re big, they’re bold, and they’re Hollywood’s new secret weapon when it comes to blockbuster titles. When you hear a Zeppelin song in a trailer, the first thought that immediately comes to mind is the time and money it must’ve taken to get the rights to one of their songs. Led Zeppelin is a notoriously finicky band when it comes to licensing their music. Back in 2012, The Los Angeles Times ran a piece on the hoops the band would make filmmakers jump through to use one of their songs in a film. According to the article, the license fee for a Zeppelin song often dips into the seven-figure range; the band might also ask for creative changes in how you make their music, such as the time Ben Affleck was asked to digitally alter a shot of a record in Argo so his character would be putting the record arm down on the right part of the record for the track. “So not only did we have to pay for the song,” Affleck told the Times, “we had to pay for an effects shot.” In other words, if you’re Zeppelin, you can make crazy demands and people have to say yes. There was also the time that Jack Black and the cast of School of Rock shot a video basically begging the band to let them use a brief clip of “Immigrant Song” for the movie; Zeppelin would eventually relent, buying themselves some latitude in Black’s eyes when they would later refuse to let him reference one of their songs in Tenacious D: The Pick of Destiny. And the time when a music supervisor on True Blood used Zeppelin’s “In the Evening” as a piece of temp music during an episode, causing producers to fall in love with the music and kicking off a long (and successful) campaign to license the song for the show. This isn’t just restricted to movies and television, either. When game developer Activision released a special live-action trailer for the release of Destiny, their sci-fi first-person shooter that cost a reported $500 million to produce and promote, they spared no expense, licensing Zeppelin’s “Immigrant Song” for use in the trailer. Activision would later feature “Black Dog” in the trailer for the game’s expansion, Destiny: The Taken King. Knowing that Zeppelin is both expensive and mercurial is only one part of the equation. The other part is the quality of the music itself. Zeppelin’s songs have been described — lovingly, of course — as “pompous pretentiousness,” a term that might also fit in nicely with the current slate of summer blockbusters. When applied to a movie like King Arthur: Legend of the Sword, it leans into Guy Ritchie’s reputation as a filmmaker who shares the band’s appreciation for largesse in all things. Like Zeppelin, Ritchie is loud and bombastic and an undeniably skilled technician, and his use of “Babe I’m Gonna Leave You” in the King Arthur trailer proves that (on some level, anyway) he’s definitely in on the joke. For Thor: Ragnarok, it emphasizes the franchise’s newfound direction as the vision of an esoteric filmmaker. You don’t use Led Zeppelin in a Marvel trailer if you’re trying to convince people it’s business as usual; you use Zeppelin to show fans that there’s heart, intent, and, yes, ego at stake with the movie. With all due respect to James Gunn, Taika Waititi is perhaps the most unique talent Marvel has ever put behind the camera, and Zeppelin’s music serves as a promise to its audiences that they’re rather err on the side of too much than too little. So while fans might clamor for the release of Thor: Ragnarok and roll their eyes at another Guy Ritchie blockbuster, there’s no denying that the use of Led Zeppelin in their films’ trailers was the right choice for what they’re trying to sell. If nothing else, Zeppelin shows that these studios are trying to find a common ground between artistic vision and blockbuster filmmaking for their audiences. The movies may be good or bad, but when 1% of your production budget is being earmarked for a single song by one of rock’s most flamboyant bands, you’ve at least got someone on staff who’s willing to gamble a bit to deliver something special to audiences. And at the end of the day, isn’t that all we really want? A studio that is willing to gamble a bit with a $200 million movie; it doesn’t get more metal than that. - Matthew Monagle
  14. 136 million people listened to Immigrant Song in the past 24 hours.... First trailer for ‘Thor: Ragnarok’ sets new records for Marvel and Disney LOS ANGELES — The latest installment of the Thor movie series is hammering its way to some pretty big hype thanks to a trailer that’s bringing new energy to the franchise. The first teaser trailer for “Thor: Ragnarok” was watched more than 136 million times in the first 24 hours after it was posted online. That’s a record for both Marvel and its parent company Disney. The feat is doubly impressive when you consider Disney is home to blockbuster franchises like “Star Wars,” along with popular animation company Pixar and the rest of the Marvel cinematic universe. So why all the hype? Maybe it’s the possibility of seeing Thor face off with his fellow Avenger The Incredible Hulk. Or maybe it’s the way the trailer utilized music. Instead of using the same kind of stock music that was used in trailers for previous Thor movies, the trailer took a page out of the “Guardians of the Galaxy” playbook and used a rocking soundtrack powered by Led Zeppelin’s “Immigrant Song.”
  15. Video clip:
  16. Interesting to note that the trailer is currently the #1 trending video on YouTube.
  17. Led Zeppelin Is Here to Make Every Movie Trailer Better By Ashley Fetters | GQ
  18. another colour pic:
  19. I posted this years ago in the photo gallery:
  20. October 1970:
  21. Article (Google Translated) Tres Coyotes combined with Led Zeppelin legend, the modern composer and cellist. The first gig is always nervous. So even the band, although its experience is second to none. Tres Coyotes coyote that is made up of three Led Zeppelin rock legend himself bassotelleesta 71-year-old John Paul Jonesista , the modern composer the world's peaks calculated for 58-year-old Magnus Lindbergistä and the world's top orchestras cellist international career luoneesta Anssi Karttusesta , 56. - Näkyyhän let our passion? Jones asks the IS from the other gentlemen naurahtavat. Coyotes first live gig is at the Savoy Theater in Helsinki today. There will be three virtuoso performance that is based on improvisation. - I am certainly most of us done anything like this, do we Zeppelin played with the sheet music. I know of course notes, because I worked as a studio musician before Zeppelin, says Jones. Lindberg describes the band's music by comparing it to a sudden ice hockey - and football. - This is like hockey. Press the straight forward. We do not share each other yellow and especially not red cards, Lindberg explains. So everything is permitted, as Masters are on the job and the music is done live, in front of the audience. (FIG: LASSI RINNE ) Coyotes had their origin in the Stockholm Polar Music Prize ceremony. Jones and Karttunen visited there when the composer Kaija Saariaho was awarded. Karttunen introduced later Jones Lindberg. - This is our first live, but we are certainly playing together, they say. But is the time right now suitable for this kind of high and low culture unification? Would it be responsible for the successful, say, 20 or 30 years ago? - When I was studying more than 30 years ago, modern composing, was very strict what was allowed and what is not. However, it is important to stretch those boundaries, says Lindberg. - When I went to London to study at the age of 18, I was so far focused only on classical music. But faced by London locals were much more diverse. After that I tried to catch them and listen to all kinds of Australian Aboriginal music Led Zeppelin. Only by being open to everything I can to develop yourself as a musician, says Karttunen. The trio sees minded encounters between musicians as important. -They are the key to the new. Before we played with Jones on violin and mandolin a note, we were not able to know what is happening. It was magical, Karttunen says. -Pasi Kostiainen
  22. There were printed posters as well.