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  1. Robert Plant talks Led Zeppelin, Greta Van Fleet and music history Sep 19 2018 | By Kyle Meredith When you talk about powerful performers, it’s hard to beat Robert Plant. The former Led Zeppelin frontman returns to Louisville with his band the Sensational Space Shifters as one of the headliners of the Bourbon and Beyond festival. Expect to hear songs from his excellent new LP, Carry Fire, as well as a few classics from his Zeppelin days transformed for his present sound. LEO: You’re extremely knowledgeable on this history of music, its styles and songs. Does that ever get in the way when you’re writing? Robert Plant: No, I can’t think about it like that, because there’s no strict idiom at all that we’re coming from as a band. We don’t even think about it. It’s just the personality of the players, and the way we do it is that we’re not coming from any particular specific zone of music or influence. It’s just a kind of mix of everything that we all individually absorb. It’s like being a really cool chef or something, I suppose, or a magician. I’ve talked to people who say, ‘I love that North African rhythm stuff that you do.’ We always think, ‘Oh, that’s just part of what we do anyway, because we’ve been doing it for years and years,’ so it’s just part of the composition of our musical identity, I guess. Your past is so closely tied with rock and roll. How important is that genre to you in this day? Rock and roll kind of was Jerry Lee and Little Richard and Larry Williams and Fats Domino. What happened in the late ‘60s, you can’t call Big Brother and the Holding Company or Janis Joplin rock and roll. It was something else, and I think that we followed into the United States following people like Cream and whoever else was around in those days. Herman’s Hermits, perhaps? But whatever it was, we weren’t rock and roll — we were just a band that played some mean stuff, tough, really, really powerful stuff, which was called rock. And then when it got into the hands of the misconstrued, it became hard rock, so is somebody going to tell me that ‘Friends’ or ‘Battle of Evermore’ is hard rock? I don’t think so. I find the whole thing, all of it, right the way through from 1968 to now, it’s just making music. Have you heard Greta Van Fleet? That’s someone with your throat right there. The guys from Detroit? Yeah, he’s pretty good. There’s a job somewhere for him, but how about Zepparella? Yeah, Louisville, look out for Zepparella. I mean, if ever I could see them play again. My goodness, what a frontwoman. I heard you say something in another interview that you always try to make your songs slightly erotic. You’re really a master of making music slightly erotic, but like a gentleman would. Well, yeah, I’m a gentleman personified, really. I’ve had my days off, probably again. I’ve seen a lot of summers now, so I have to tell it the way it is, even if it’s kind of a slightly different way to the bare-chested moments. I wouldn’t look quite as cool now, but it’s alright, it’s good. It still works. Everything still works. You sing with Chrissie Hynde on ‘Bluebird Over the Mountain.’ It’s been great to hear you team up with these duet partners like Alison Krauss and Patty Griffin. How fantastic was that for me? Alison taught me how to yodel. I mean, she taught me how to get it. It was touch and go many times. It was very funny how many times I’d get it wrong, but in the end I got into it, and I got the groove right. It sounded like something I’d never done before. And then to carry it on with Patty and the Band of Joy — I mean Patty Griffin has the voice of an angel, and she has sometimes a delivery of a wild angel. I’d like to make another record with Patty, maybe, and Alison and I are always talking about Raising Hell, instead of Raising Sand. I’ve got a collection of loads of songs that could be fooled around with, but I’m really into writing stuff, and the guys I play with are superlative. They’re the greatest guys on the planet, and they’re very, very good fun, very silly. It’s kind of like a school trip when we go on tour. It couldn’t be more charming and humorous, so to be able to write with these guys and to come out with the songs, we feel very accomplished. I don’t see it breaking doors down at this particular time in my existence, but for me, it is breaking doors down, because it’s telling me that I can actually move through time and still not repeat myself and not end up like some kind of a one-trick pony, you know? Robert Plant Sunday, Sept. 23 Bourbon & Beyond Champions Park bourbonandbeyond.com Oak Stage | 7:50 p.m. https://www.leoweekly.com/2018/09/robert-plant-talks-led-zeppelin-greta-van-fleet-music-history/
  2. zeplz71


    From the Led Zeppelin Official Facebook: https://www.facebook.com/ledzeppelin Here’s your chance to get a last minute invite (with a +1 AND £1000 spending money to help get you there) to the exclusive and private celebration party in central London on Monday September 24 for the new, official illustrated book 'Led Zeppelin by Led Zeppelin'. 5 runners up also get copies of the book and 'The Song Remains The Same' deluxe box. Simply click below, follow the band on Spotify and you’ll be in with a chance of being there. The winner will be chosen on Friday afternoon! https://campaigns.topsify.com/app/11239/led-zeppelin
  3. zeplz71


    LED ZEPPELIN: More 50th-Anniversary-Photo-Book Details Revealed September 17, 2018 Due on October 9, "Led Zeppelin By Led Zeppelin" is the first and only official illustrated book by the band. It is a unique collaboration between Jimmy Page, Robert Plant and John Paul Jones, who have given Reel Art Press unrestricted access to the LED ZEPPELIN archive. Commemorating 50 years since their formation, this 400-page chronology spans half a century of the band's unparalleled career. It comprises hundreds of carefully curated images and artworks personally selected by the band, from the iconic to the unseen. To accompany the visual journey, the bandmembers have written their own exclusive annotations. This exceptional book includes contributions from all the major photographers who captured the band throughout their career, including Dick Barnatt, Chris Dreja, Carl Dunn, Bob Gruen, Elliott Erwitt, Ross Halfin, Jeffrey Mayer, Neal Preston, Ron Raffaelli, Pennie Smith, David Stratford, Dominique Tarlé and Michael Zagaris, along with artworks by design group Hipgnosis, the Atlantic Records archives and photographs from the band's personal collections. This is the story of the band who defined rock and roll, as seen by the band themselves. Guitarist Jimmy Page told The Pulse Of Radio that ZEPPELIN's initial influences from across the Atlantic solidified the type of music they would create over the years. "The fact is, all four of us, were so influenced by American music, and for me, the music that I was hearing in the sort of '50s over here, it was all a reinterpretation of what was going on in America," he said. "So we, sort of, had this American music, sort of coming in to us, and we were accessing it through the radio and records. That's a major part of why we became what we were — which is musicians and became totally seduced by this whole movement in music." Released this past March was a newly remastered reissue of the LED ZEPPELIN 2003 live collection, "How The West Was Won". The set, which features new remastering supervised by Page, marked the first offering from the band in celebration of its 50th anniversary this year. "How The West Was Won" was originally released on May 27, 2003 featuring tracks culled from two Southern California shows recorded at the L.A. Forum on June 25, 1972 and Long Beach Arena on June 27, 1972. Page sequenced the set to replicate a single concert from beginning to end. http://www.blabbermouth.net/news/led-zeppelin-more-50th-anniversary-photo-book-details-revealed/
  4. zeplz71


    To OP --- The photo is from New York 1977, so it has absolutely nothing to do with some fake Houston 77 video story. The anomaly in the photo likely occurred during scanning. This "Richard guy" was a well known NY area rock photographer, published in tons of magazines back in the day.
  5. zeplz71


    50+ photos from Houston 77 and no sign of a camera anywhere. http://www.ledzeppelin.com/show/may-21-1977 There are photoshop filters that can add that "video" effect to a photo in two seconds, btw.
  6. Robert Plant delivers a magical night at the Pageant By Daniel Durchholz, Special to the Post-Dispatch Over the years, the Pageant has seen its share of magical musical performances. Sunday night, it added another one as Robert Plant and the Sensational Space Shifters made good on a performance originally scheduled for LouFest, which was canceled. Downsizing a concert meant to play to tens of thousands to a venue that holds 2,300 made the event special for those lucky enough to make it inside. Tickets for the rescheduled show sold out instantly. Next door at Delmar Hall, the Head and the Heart played their rescheduled LouFest date as did a host of local bands earlier in the day at the Grandel Theatre’s "Sound of St. Louis" showcase. Saturday night, Jukebox the Ghost and Mt. Joy repaired to Delmar Hall while Tank and the Bangas and Scrub and Ace Ha were at Old Rock House. Other events were held to help some of the LouFest vendors recoup their losses. St. Louis venues and music fans showed a lot of patience, generosity and enthusiasm as they stepped up to redeem what otherwise would have been a lost weekend. Their resilience, and not the broken promises of the LouFest promoters, should be the story that’s told instead. One thing that might have made Plant’s decision to play the Pageant easier: His band’s equipment was already there. The show was the first date on a new leg of the tour supporting his most recent album, 2017’s “Carry Fire,” and Plant had booked the room for Saturday so he and the Sensational Space Shifters could rehearse. “We were coming this way anyway,” Plant joked a couple songs into his 90-minute set. “It’s a long way to come without doing anything fun.” Early on, Plant promised to play new material as well as sate the Led Zeppelin fans in the crowd by “roll(ing) the stone back to see if some tablets come down from the hill.” Which they did. But the secret of Plant’s long and successful post-Zep career is that he doesn’t play the classics by rote, but rather repurposes them in ways that make them fresh and new. His solo material, meanwhile, sounds of a piece with his past glories without being imitative of them. Plant kicked off the evening with two “Carry Fire” tracks, “New World” and “The May Queen” spliced by “Turn It Up,” from his previous album, “lullaby and … the Ceaseless Roar.” The singer was generous with the spotlight, giving it over to guitarists Justin Adams and Liam “Skin” Tyson as well as violinist Lillie Mae Rische, who goes by Lillie Mae and who opened the show before joining in for much of the headlining set. A palpable shiver went through the crowd when a molten beat laid down by drummer John Blease gave way to the opening lyric of the Zep classic “Black Dog.” The crowd was so loud repeating back Plant’s “Ahh-ahh” call, that it momentarily cracked him up. Another special moment followed with another Zep classic, the bucolic “Going to Calfornia,” a song Plant last played in St. Louis in an even smaller venue — the Sheldon — during his surprise appearance alongside Emmylou Harris, Steve Earle and others at 2016’s Lampedusa: Concert for Refugees benefit. From there he moved back to his solo material with “Please Read the Letter” from “Raising Sand,” his multiple-Grammy-winning collaboration with Alison Krauss. Plant made reference to making that album in Nashville, Tenn., and traveling to Memphis, where, he said, “all us British people have to go, make the sign of the cross and apologize” before moving on to Louisiana, home of Lead Belly, who wrote “Gallows Pole,” which Zeppelin had covered. Plant approached it this time as a hard-rock hoedown featuring Rische on fiddle and Tyson on banjitar. “Carry Fire” then brought out the exotic Middle Eastern influences that are often present in Plant’s music. But the real showstopper was a long, winding take on “Babe, I’m Gonna Leave You,” a folk cover that made its appearance on Led Zeppelin’s debut album a staggering 49 years ago. Tyson’s acoustic guitar stylings were featured throughout, but Plant, who is 70, still carries the song with his keening vocals. Ending the set with the traditional “Little Maggie” and Bukka White’s classic blues “Fixin’ to Die,” Plant joked about his time making music with bluegrass musicians. “We all went to bed much earlier and sang really old (expletive) songs,” he said. The encore was “Satan, Your Kingdom Must Come Down,” a spiritual Plant had covered on his “Band of Joy” album. For a moment, it veered into Zeppelin’s “In My Time of Dying.” He then sent Zep fans home happy with the indelible riff of “Whole Lotta Love” ringing in their ears, but still managed to put a new and novel spin on it by including a slice of the traditional sea shanty “Santianna” in its middle section. Lillie Mae’s opening set of country and bluegrass tunes, mostly from her debut album, “Forever and Then Some,” made plain why Plant put her on the bill and tapped her to sit in with the Sensational Space Shifters. https://www.stltoday.com/entertainment/music/reviews/robert-plant-delivers-a-magical-night-at-the-pageant/article_1530bbf0-740c-58aa-82ac-0b9f25be857b.html
  7. zeplz71

    Roberts Jeans

  8. How is that "crap" exactly? What do you realistically expect them to air? 🤨
  9. AXS TV Celebrates 50 Years of Led Zeppelin Every Tuesday in September AXS TV is showing “A Whole Lotta Love” to rock pioneers Led Zeppelin this September, presenting a roster of classic concerts, insightful interviews and acclaimed documentaries every Tuesday at 10pE/7pP. The special event is headlined by a daylong Saturday Stack: Led Zeppelin lineup on Sept. 29 starting at 1pE/10aP. The Tuesday night set list kicks off on Sept. 4 with the acclaimed 2008 rock doc It Might Get Loud featuring guitar virtuoso Jimmy Page discussing the tools of his legendary trade. On Sept. 11, the hard rock pioneers blend music with cinema, creating a unique psychedelic odyssey in the 1976 Led Zeppelin: The Song Remains The Same. It Might Get Loud airs again on Sept. 18, then, Led Zeppelin front man Robert Plant reflects on his childhood in post-war Britain, his biggest musical influences, and the powerful lure of music on The Big Interview With Dan Rather on Sept. 25. The month culminates in an epic Saturday Stack block on Sept. 29, starting at 1pE at as Robert Plant takes the Windy City by storm in an intimate evening featuring Led Zeppelin favorites, solo staples, and more in Robert Plant & The Strange Sensation; followed by Plant’s sit down on The Big Interview With Dan Rather at 2pE; and Jimmy Page in It Might Get Loud at 3pE. Then, Plant puts a new spin on beloved classics such as “What Is And What Should Never Be,” “Rainbow,” and “Little Maggie” in Robert Plant & The Sensational Space Shifters – Live At David Lynch’s Festival Of Disruption at 5pE. The block comes to a close with The Song Remains The Same at 6pE and 10:30pE and It Might Get Loud at 8:30pE. Led Zeppelin 50th Anniversary Celebration – Tuesdays at 10pE/7pP Sept. 4 – It Might Get Loud (2008) Sept. 11 – The Song Remains The Same (1976) Sept. 18 – It Might Get Loud (2008) Sept. 25 – The Big Interview with Dan Rather: Robert Plant (2018) Saturday Stack: Led Zeppelin 50th Anniversary – Sept. 29 1pE – Robert Plant and The Strange Sensation (2006) 2pE – The Big Interview with Dan Rather: Robert Plant (2018) 3pE – It Might Get Loud (2008) 5pE – Robert Plant & The Sensational Space Shifters – Live at David Lynch’s Festival of Disruption (2016) 6pE – The Song Remains The Same (1976) 8:30pE – It Might Get Loud (2008 10:30pE – The Song Remains The Same (1976) http://ventsmagazine.com/2018/08/23/axs-tv-celebrates-50-years-of-led-zeppelin-every-tuesday-in-september/ _____________________________________________________________________________________________________ AXS TV is what VH1 used to be, back in the day. Worth getting if you don't have it on your TV service.
  10. zeplz71


    50 Years Ago, Led Zeppelin Held Its First Rehearsal: ‘The Whole Room Just Exploded’ By Jem Aswad https://variety.com/2018/music/news/led-zeppelin-first-rehearsal-50-year-ago-anniversary-1202903005/ Sometime during the week of Aug. 12, 1968, the band that would take over the world as Led Zeppelin held its first rehearsal in a small basement room in central London. The preceding May, Yardbirds guitarist and session veteran Jimmy Page found himself without a band when the other three members — who’d seen some success since the group first formed in 1963, but had fallen out of fashion — abruptly quit. With a Scandinavian tour already booked, Page and manager Peter Grant united bassist/keyboardist and fellow sessioneer John Paul Jones (with whom the guitarist had performed on songs by Donovan and others) with two young musicians from the British Midlands, singer Robert Plant and powerhouse drummer John Bonham, both 20, who’d played together in a group called Band of Joy. Page’s initial choices had been singer Terry Reid — who he’d seen when Reid was a fellow opening act with the Yardbirds on a Rolling Stones 1966 tour — and Procol Harum drummer B.J. Wilson, with whom he’d played on Joe Cocker’s “With a Little Help From My Friends” album. Both declined — and how different would the world be if they hadn’t? As the new quartet launched into the R&B chestnut “Train Kept a’Rollin’,” a Yardbirds live staple that the group had recorded in 1965, the chemistry, according to all four members, was instantaneous. “We first played together in a small room on Gerrard Street, a basement room, which is now Chinatown,” Jones recalled in 1990, according to the band’s website. “There was just wall-to-wall amplifiers, and a space for the door — and that was it. Literally, it was everyone looking at each other, ‘What shall we play?’ Me doing sessions, I didn’t know anything at all. There was an old Yardbirds’ number called ‘Train Kept a’Rollin’.’ The whole room just exploded.” “I could feel that something was happening to myself and to everyone else in the room,” Plant remembered. “It felt like we’d found something that we had to be very careful with because we might lose it, but it was remarkable — the power.” While no recordings from the rehearsal have surfaced, that first song — which would be the group’s live opener for most of its first year of existence as well as its final 1980 tour, yet was never properly recorded — probably sounded like this performance from the San Francisco’s Fillmore West the following April. The arrangement hews to the late-period Yardbirds version, with some honking harmonica by Plant and an uncharacteristically brief but blazing solo from Page — albeit turbocharged by the band’s titanium-strength rhythm section. “At the end, we knew that it was really happening, really electrifying,” Page said. “We went from there to start rehearsals for the album.” Later that month the group did a session for singer P.J. Proby’s “Three Week Hero” album — Jones was already booked as the arranger and hired the others — and made their live debut with the aforementioned nine-date tour of Scandinavia as the New Yardbirds before heading into London’s Olympic Studios in September to record their debut with ace engineer (and Page’s longtime friend) Glyn Johns. While legendary for such songs as “Communication Breakdown,” the blues classic “I Can’t Quit You Baby” and the electrified folk song “Babe I’m Gonna Leave You,” the outtakes show that the group explored other territory in the sessions, such as the soul-inflected “Baby Come on Home,” which would have cast the album and the band in a different light. From that point on, the ascent escalated quickly. The band played its first U.K. show on Oct. 4 at London’s legendary Marquee (the group is pictured above performing at the club two weeks later), changed the name to Led Zeppelin by the end of that month, signed with Atlantic Records in November, launched its first U.S. tour on Dec. 26 and released the album in January. The group played an incredible 145 shows in 1969, and by the end of the year they had released their blockbuster “Led Zeppelin II” (featuring their breakthrough single “Whole Lotta Love”) and were headlining venues like London’s Royal Albert Hall, New York’s Carnegie Hall, the Boston Garden and Detroit’s Olympia Stadium. Of course, from there, Zeppelin went on to become one of the most popular rock bands in history, dominating the 1970s, influencing countless thousands of musicians and, according to unofficial estimates, selling more than 200 million albums worldwide. And it all started in that little basement room …
  11. zeplz71


    How ‘Sharp Objects’ Landed Led Zeppelin to Soundtrack the HBO Series Page and Plant have little problem saying no to filmmakers but said yes to lending four classics to director Jean-Marc Vallée. By Chris Willman https://variety.com/2018/music/news/sharp-objects-led-zeppelin-jean-marc-vallee-interview-1202901865/ The HBO series “Sharp Objects” benefits from one hell of a blunt object: the hammer of the gods that is Led Zeppelin, whose music recurs throughout all eight episodes. Director Jean-Marc Vallée (“Big Little Lies,” “Wild”) scored a coup by licensing four Zeppelin tracks for the Amy Adams-led mystery tale, which he considered an essential component, even though “Led Zeppelin II” played zero part of Gillian Flynn’s source novel. Getting a four-fer from Robert Plant and Jimmy Page was especially sweet after he was denied even one song for an earlier film, as he relates in an interview with Variety. Vallée also spoke about some of his other recurring music choices — including the electronic music quartet the Acid, and the roots-based indie rockers M. Ward and Hurray for the Riff Raff — amid a soundtrack that includes everything from LCD Soundsystem and the War on Drugs to Perry Como and Engelbert Humperdinck. Why go all-in with Zeppelin on this project? Did you grow up as a fan? I did, and I have always been trying to do something with Zeppelin, since it’s been so much part of my life, and because I’m always trying to put music in the center of the lives of the characters. I tried with “Café de Flore” and it didn’t work out for the rights, and I was wondering when there would be another good opportunity. When Amy invited me to do this with her, the more I read the book, I went, “Oh my God, I think if we can make ‘Sharp Objects’ and make it from beginning to end a Zeppelin sound, this will be it.” Because of the character, Camille. One of the big reveals comes when Camille, in an episode 3 flashback, discovers the band sharing earbuds with a fellow patient in rehab… Just before I started to shoot, I was trying to figure out Camille’s music library, and I couldn’t. Then I went, that’s it! — she’s not a music person, but she’s going to travel with an iPhone that belongs to someone else who is. And that person is the 16-year-old kid from the rehab center, Alice (Sydney Sweeney). It made total sense for this kid to be a Zeppelin fan, just like my kids. I have two sons, and at 16 they were into Zeppelin, Pink Floyd, David Bowie and a lot of British rock. So it travels from generation to generation. And I gave this kid an eclectic musical taste. Camille is learning to discover this other person through music. I thought that was a beautiful device, and that she would play music alone as she is investigating, trying to heal. There’s an ingenuity to the character picking up these tastes from someone else, because sometimes it feels like every leading character in a film or TV series just happens to have the same super-cool tastes that a music supervisor would have. Exactly. I mean, I always try to aim for the main character, but it happened also with Jake Gyllenhaal’s character in “Demolition.” He wasn’t a music person, but his wife was, and a kid that he meets was, also. But in “Wild,” (the Reese Witherspoon/Cheryl Strayed character) was music-oriented, so that was an easy one. In “Café de Flore,” I was following a DJ. It’s easy when the main character is the one. But “Sharp Objects” was trickier. Normally in prep, I find the tracks and I give them to the actors and I go, this is what you’ll play throughout, and I play music on the set. It was just at the last minute that it happened with Alice and Camille. Camille is out of control in some ways. Is that why Zeppelin made a good fit? With Zeppelin, there was something that fit both characters. With Camille, you don’t know how old she is, but let’s say she’s mid-thirties, and she’s a journalist, an intellectual. She doesn’t take care of herself. She has a rock and roll attitude. She’s doing it her own way, not only with the scars and how she harms herself, but the way she lives and works, and she’s single. There’s something sexy about the tracks that we chose, in the slowness of “What Is and What Should Never Be” and “I Can’t Quit You Baby.” And when it explodes and makes a lot of noise; this is the nature of rock and roll, to make it loud and tell the establishment and your parents, “F— off, I’m doing it my own way.’ That suited Camille pretty well. And then “Thank You” is such a beautiful, almost epic song. That’s the song Alice uses to introduce Camille to how she does an in-scape — she escapes, but within, with music; that’s how she gets out of the rehab center. She’s showing Camille how to use music, when Camille will use later on to do some in-scape, too. When this 16-year-old girl plays that to her new roommate, using her fingers to close her eyes, there’s something romantic about the way we used the music, almost like they’re having an affair, although we’ll discover that they’re not and it’s not about that at all. It’s about connecting to music, and how you use music in your life to heal or to love. Zeppelin was loud and brash and rebellious and over-the-top, but also with an inherent sense of mystery — and this is a mystery show… Exactly, and that’s why “In the Evening” is there. And it’s like it was meant to be in a film and be score music — almost a horror or suspense film score. For the Zeppelin fans it may be a torture, or at least a tease, not to hear more of “In the Evening,” but I wanted to save some of it for the last episode. That may be a spoiler. It’s been reported that you tried to get “Stairway to Heaven” for “Café de Flore” and Jimmy Page said yes but Robert Plant said no. What happened there? On that one, we worked with the label and publisher for about a year and half. Them we harassed Robert Plant when he came to Montréal, and he said no to our faces, live — with no explanation. I had written “Café de Flore” with “Stairway to Heaven” in mind. Because Vanessa Paradis’ character is living in the highest part of Paris, where you have to climb stairs all the time; she’s a poor Parisian with a Down Syndrome kid, and every day she brings him to a special school on the Left Bank, and the class is on the third floor where she has to climb more stairs. The whole concept of stairs in “Café de Flore” comes from “Stairway to Heaven,” because she is buying her stairway to heaven. And then I lost the f—ing track. I was destroyed!… I wasn’t pissed — I was devastated. I wanted to quit. I was like: How could they? That song belonged to me, too! I grew up with this f—ing song and it gave me wings to fly and to imagine and to come up with this story, and they refuse? I go, why would a fellow artist do this to another fellow artist that uses his work to inspire? It’s just sharing, and it’s using art to try to tell stories that can touch the heart. Anyway… Going into “Sharp Objects,” having that Zeppelin-related trauma in your past, were you thinking, what if we get to the end only to have Robert Plant say no again? Well, we made sure that it wasn’t the end. … We went for four tracks, and we sold the idea to them that they will be the sound of this series, so of course that was something special and different. I didn’t do that with “Café de Flore,” but I should have. We sent the script and very specific descriptions of how we’re using their music, and the in-scape element coming from Alice. And it worked. So we had the news pretty soon in the process, but I had a back-up plan. I was ready to go to another rock band if Zeppelin wouldn’t work. But I was hoping that it would, because it was perfect for this dark story. And there’s beauty in the darkness of the story, because Camille is a beautiful soul who just doesn’t know how to love. You have a lot of “mother” songs in the series, too. That maybe doesn’t require much explaining, since Patricia Clarkson’s character looms over everything. At one point I asked Sue [Jacobs, music supervisor] to hear every single song that has the word “mother’ or “mama.” I knew “I Love You Mama” from Snoop Dogg and “Dear Mama” from 2Pac and “Motherless Children” (heard via the Steve Miller Band’s rendition). We soon found about a hundred of them. Since this mother relationship is so singular and powerful, in a sharp and dangerous way, it made sense to see this young girl, Amma (Eliza Scanlen), connecting to these songs, more than Camille. Amma is talking to herself, using music in a similar way to Camille, but in her own fashion. And it wasn’t written. We ad-libbed this beautiful moment and said, “Why don’t you (Scanlen) play ’Dear Mama’ and go to your mother and hug her and dance with her?” It’s using the lyrics to tell your mom that you love her – and in this context, it’s pretty crazy, since she’s being physically, mentally and emotionally abused by her mother. But there is unconditional love from children to their parents even in abused situations. Zeppelin is not the only musical act popping up more than once. M. Ward and the Acid also recur. Did you just like those artists and songs, or were there deeper thematic ties? Sometimes I pick a song for the lyrics. That was the case with M. Ward. There was something beautiful and simple about this guitar, the voice and what he says [in “There’s a Key”]: “So I’m losing my marbles, one marble at a time, it’s true,” and “I’m conquering an ocean, one wave at a time.” Through Alice, Camille relates to this intelligence of connecting to poetic lyrics, and to Hurray for the Riff Raff’s lyrics, too [in “Small Town Heroes,” which describes a single female protagonist with “a no-good mom” and a drug problem who “wanted love… but she just couldn’t get enough”]. The Acid was for the vibe and the electronic, modern thing, and the dangerous, mysterious core quality of one of their tracks, “Tumbling Lights,” that became a recurrent theme from episode 1 till the end. That came from giving Alice a very wide musical taste. There is solo piano and some more traditional music on the soundtrack, too. Alan (Henry Czerny) is a rich audiophile with an amazing sound system, and I loved giving him this old-school Hollywood romantic score, whether it’s French and coming from Michel Legrand (“Les Moulins De Mon Coeur”) or coming from “A Place in the Sun,” the George Stevens film. Well, at one point that was in the series, with Alan playing the (“Place in the Sun”) track, but I took it out of the series because I wanted to use it in the main title sequence instead [which differs from episode to episode]. Page and Plant may not be the types to send effusive telegrams. Have you hear anything from them about your use of their music since the show premiered? Not yet. We invited them to the premiere, but Plant was touring and the two others weren’t in the States. When all eight episodes will be out, I’ll see if Sue will call the publisher and the label, or see if we heard from them first. They’re tough to read. I’m curious.
  12. zeplz71


    On Decca? Doubtful, as they didn't have anything to do with that label.
  13. Great show and nice audience recording. One of my favs from way back
  14. zeplz71

    Hot Pics of Robert

  15. zeplz71

    Jimmy Page Vs Robbie Williams

    gorgeous house, a living art museum.