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About zeplz71

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  1. That seems like Anaheim. http://www.ledzeppelin.com/show/august-9-1969 He used double-bass on a few shows during this summer '69 tour. You can see more at the Albuquerque concert. http://www.ledzeppelin.com/show/august-2-1969 Salt Lake City http://www.ledzeppelin.com/show/july-30-1969
  2. Robert Plant and Sensational Space Shifters celebrate the now at Orpheum By Randy Lewis http://www.latimes.com/entertainment/music/la-et-ms-robert-plant-sensational-space-shifters-review-20180303-story.html "C'mon, y'all!" the singer exhorted, as several of his bandmates circled around him with a fiddle, mandolin and banjo and ripped into a bluegrass-inspired breakdown during a rendition of Lead Belly's dark meditation on capital punishment, "Gallows Pole." It was the kind of call to action you might expect from a good old boy musician at any concert down South, except the singer here was English rock god Robert Plant, the "down" was downtown (Los Angeles) and it was only as far south as South Broadway. For nearly two hours, the musical collective — he tellingly remarked at one point that "we're the Sensational Space Shifters," not Rock Superstar & His Band — was mining one of the many strains of rootsy country music that happily isn't restricted to any one country. Over two sterling albums and a series of tours over the last five years, the Space Shifters have proffered a richly rewarding excursion through sounds of the American blues, English folk, and African and Arabic traditions. The music touches on most facets of Plant's 50-year career, nodding to the Led Zeppelin in the room just often enough to keep the die-hards from taking up an armed revolt. It was the final stop of their latest tour, and Plant confessed, "It's a little sad to be going home … so we'll be coming back again in about six weeks." Indeed, their next go-round will include a headlining stop at the second Arroyo Seco Festival in June, although who knows yet whether they'll be afforded the time to stretch out the way they did Friday night. The wide-ranging set began with "New World," one of the tracks from their recent "Carry Fire" album, and one that departs from the realm of mythological matters that occupy much of Plant's time as a songwriter, zeroing in instead on the world around him. "In songs we praise a happy landing / On yet another virgin shore / Escape the booming world / Embrace the new world / Out here the immigrant takes hold," Plant sang in an earnest salute to the spirit of exploration and expanding horizons. But he's not blind to the price at which those processes often come: "Across the plains and over mountains / Put flight to all who came before / They're barely human / It's time to move them / And let them kneel before the sword … Oh, oh, oh." The wordless invocation at the end of the thought is a device he employs often, as he did during Zeppelin's heyday, letting sound and tone say as much or more than words might. There were repeated "oohs," "ahhs," "ohs" and other vocalizings that reminded us just how remarkable an instrument the pliant Plant voice remains, even as he approaches turning 70 in August. Soon, however, it was back to the mists of time and eternal matters of the heart. In "The May Queen," the opening track from "Carry Fire," he applied layers of nuanced color as he sang of "A heart that never falters / A love that never dies / I linger in the shadow / The dimming of my light." The Space Shifters are an impressively flexible lot, capable of bracing hard-rock, which they unleashed in a final encore number that blended a couple of generous sections of the Willie Dixon-inspired "Whole Lotta Love" with "Bring It on Home," the latter a Dixon song popularized by Sonny Boy Williamson II before Zeppelin put its chugging spin on both tunes on "Led Zeppelin II." Guitarists Liam "Skin" Tyson and Justin Adams took turns on the leads and solos, shifting between acoustic and electric instruments, with Adams also occasionally bringing a mandolin into the mix while Tyson broke out his six-string "ganjo," the banjo-guitar hybrid. Bassist Billy Fuller also moved effortlessly between electric and upright instruments, keyboardist John Baggot drew upon a small arsenal of instruments for varied effects, and drummer David Smith exhibited a mastery of irresistible rhythms that ran from the Bo Diddley-ish beat of the title track from "Carry Fire" to a simple bass drum-gospel-tambourine accompaniment for "The Gallows Pole." He also brought the mighty rock drive of the Zeppelin songbook with "That's the Way," Misty Mountain Hop," "Whole Lotta Love" and "Bring It on Home." English fiddler Seth Lakeman contributed prominently to several numbers, following his own well-received solo opening set. He appeared equally at home with Celtic-rooted stylings as well as the country-bluegrass numbers, as evidenced by the distinctive Creole-fiddle flavor he brought to "Gallows Pole" and the Arabic modalities required for "Little Maggie" from the Shifters' 2014 "Lullaby … and the Ceaseless Roar" album. Plant teased those in the audience earnestly committed to hearing him play anything Zeppelin-related. There were hearty cheers when at one point he announced, "I was in a band with a different name" before he quickly added "but not that name." Likewise near the end, the band also ventured into an atmospheric, ballad-like instrumental intro employing a gently descending chromatic chord progression — but not that descending chromatic chord progression. As they did during the rest of the show, Plant and his cohorts were chasing what was available to them now, in the moment, not what they could re-create from a day, a week, a year or a half-century ago.
  3. Robert Plant Is Tired of Answering the Obvious Question For fuck's sake: There's no Led Zeppelin reunion in the works. Instead, he's always looking forward. By Jeff Slate https://www.esquire.com/entertainment/music/a19045051/robert-plant-interview-carry-fire-led-zeppelin/ It’s hard being Robert Plant. Wherever he goes, the question hangs in the air: When will Led Zeppelin reform again? Will Led Zeppelin reform? When I meet the legendary singer in Manhattan’s Lower East Side for lunch at the fancy eatery in his hotel, he quickly does an about-face after entering the restaurant. Whether it’s the preternaturally lithe figure Plant still cuts at 69, causing heads to spin as we enter, or the muzak filling the posh bistro, he’d quickly surveyed the landscape and sensed the vibes weren’t right. In a flash, we settle onto a couch in a dark corner of the hotel lounge and order espressos—his white—and mineral water. But still, his legend looms large. There’s a bearded 40-something in a far corner, about twenty yards away. As we talk, it’s obvious he’s eavesdropping, at least as best he can. Perhaps it’s that constant audience that leads Plant to defend his current status as a solo artist; he’s in New York City for a show at the venerable Beacon Theater as part of the 21-date tour in support of his fantastic new album Carry Fire that he teases will be followed by a larger trek this summer. He literally bats away questions about Led Zeppelin, which will mark its 50th anniversary with a newly spiffed-up live album next month and a coffee table book later this year, with a dismissive wave of his hand. Nearly forty minutes into our encounter, I finally raise the specter of the elephant in every room Plant enters. “I have to ask, because my editors would kill me if I didn't: Do you ever see going back to do the big gig?” “My suggestion to you is to make sure you wear the right clothes when they kill you,” Plant fires back without missing a beat. But lest you think Robert Plant is a grumpy old curmudgeon, trading off the blessings of his past glories while indulging in vanity projects, let me put your mind at ease. Plant is charming and warm, happy to talk about anything you throw at him, although doing so at every turn on his own terms. And he’s earned the right. His solo releases and tours in the '80s and '90s were a clear departure from his Zeppelin days, and his work with his band since 2001, the Sensational Space Shifters, on full display on a new live DVD, the Band of Joy album with Patty Griffin, and his 2007 five-time Grammy winning album Raising Sand with Alison Krauss are all a testament to his restless nature as an artist, as well as the high quality of his solo output. In fact, Carry Fire, released last fall, is one of the best albums Plant’s ever made. And that includes his work with Led Zeppelin. So let’s just let him set the record straight, about the past, the present, and the future. With releases marking the 50th anniversary of Zeppelin, and the most recent reunion with his former bandmates now more than ten years ago, Robert Plant considers Led Zeppelin firmly in the past. All those projects, well, they’re going to do somebody some good somewhere, and that's good. But you don’t even have to talk to me if all you want to know about is Led Zeppelin. Thirty-eight years ago [Zeppelin’s drummer] John Bonham passed away, that's all I know. That's it. That's the story. You know, Led Zeppelin was an amazing, prolific fun factory for a period of time, but it was three amazing musicians and a singer living in the times. Those times. That's not going to stop me doing what I’m doing now. So that's a headline, or not a headline. It doesn't matter to me. Instead he prefers to challenge himself and his audience—even if that alienates Led Zeppelin fans. If I didn't I'd be a whore, and I'm never going to be that. I'm only a singer, and therefore I can get bored really quickly. And if I get bored really quickly, what am I doing nearly 70 years old being bored? No chance. So I move on all the time. “Immigrant Song” had nothing to do with “That's the Way.” “That's the Way” had nothing to do with “The Crunge.” And that's got nothing to do with “Heaven Knows” or “The Way I Feel.” Some of it has been an attempt at some kind of social commentary, and other stuff was a way to close the door to the dream factory. But I've still got a foot in that door, which is no small thing with the industry in the state it’s in, and I want to use that to play with words and sounds and to find exciting new ways to make music. The fact of that is, in the last ten or fifteen years, my work has been really well received. And it's very nice to see, and it makes me feel a bit that I’m in the right place, at least for some people, even if other people just don't know about it. I mean, it is basically about opening the blinds. Look, how many thousands of people are there in the airports that I travel through, who are amazed that they see me, yet have no idea of what I'm doing? Not a fucking clue. That's how it goes, and I’m fine with that, especially since the emergency departments of the geriatric wards are filled with people like me, still hanging on, because there was something else before. He tried making a second album with Alison Krauss, and would love to take another stab at it. I wouldn't have minded doing it again if we had actually had the impetus. Allison and I tried to make another record with [producer] T. Bone Burnett but the songs weren't of the same standard. And we didn't write songs—it wasn't a songwriting environment—and so there was nothing to be done there. But even now she and I still talk about doing some more stuff. I have a huge collection of amazing American songs—songs I love, songs that would be easier for her to perhaps move into the space to tackle. But there's no need—if it doesn't work, it doesn't work. But surely there’s a lot of money to be made by reuniting with Led Zeppelin, especially in the corporatized world we live in. Speak for yourself! But what about time? Time! Time is the mighty rearranger. That's what it's all about. If it's easy, and it's not of a great deal of consequence, okay. But when you're in your seventies? You have to be really careful about maybe putting a bit more time into playing bingo, and enjoying the time you have left. For me, my time has got to be filled with joy and endeavor and humor and power and absolute self-satisfaction. That’s not with Led Zeppelin. That’s doing what I’m doing right now, with this band, on this tour. Look, if substance was of no value, or of no significance, then I wouldn't be trying to do anything. But I believe it is, so this is what I do and all this talk about this or that or the other—you know, selling out the Mojave Desert—it so archaic. It's just such a ridiculous criteria by which to be judged. When you've been there, like me, and you know how shatteringly insular everything becomes, it makes my relationship with this carnival I’m with currently priceless. But to try and make it something to fit in with the a symbol of success just for the hell of it, or to go back to try to relive the glory days, I don't think that's really where I'm at at this time in my life. But as for what I’ll be doing in five years time, I haven't got the answer. I haven't got a clue.
  4. KLOS interview with Plant: http://www.955klos.com/2018/02/26/gary-moore-talks-with-robert-plant/
  5. Robert Plant thrills with a mix of fresh new songs and Zep oldies at the Orpheum by Erik Thompson Robert Plant has been trapped in the dusty tomb of classic-rock radio long enough. On a snowy Thursday night, the erstwhile Led Zeppelin frontman reminded a sold-out Orpheum Theatre that he’s still making vital music while nodding graciously to the influences that helped shape the towering sound of his legendary former band. His famous mane tied back in a man bun (pulling off the look far more stylishly than Thom Yorke), the 69-year-old Plant looked fighting fit in a greenish-gold patterned satin shirt. And while his hips don't swivel like they once did and his shirt stayed buttoned up, Plant still has the swagger and charisma to ensure he's the coolest guy in every room he enters. Plant was flanked by his all-British five-piece backing band, the Sensational Shape Shifters, who added different styles and flourishes to Plant's older material while giving his new tunes a fresh, vibrant pulse. The three tracks the band played from 2017's Carry Fire were among the highlights of the 100-minute set. "New World…" emphatically started the show, "The May Queen" harkened back to "Stairway to Heaven" (with Plant dedicating it to "the Princess of Summer"), and the Indian-influenced title track was a showstopper, with blood-red flames and historical iconography filling the backdrop—the only time visuals were used during the set. Plant sprinkled a generous selection of Zep classics throughout the performance as well. For a tender acoustic run-through of "Going to California" (making its tour debut), Plant reworked the lyrics, singing "I'm going to Minnesota with an aching in my heart" with his hand placed affectionately on his chest. "That song is still as lovely as the day it was written," he said as it wrapped up. Another surprise was a stripped-down version of the Led Zeppelin III cut "Friends," which evoked emotional memories of mates we've all made along our life's journey. "It's great to be back here," Plant announced early in the show. "We didn't think we'd been here [the Orpheum Theatre] before, then we saw us on a sign on the wall, for fuck's sake, and now we know we've been here before." The elegant theater was a perfect fit, with Plant's voice resonating warmly over his band’s rollicking tones. Guitarist Skin Tyson played with a bluesy, acoustic flair, while Justin Adams’ guitar added a rowdy, rockabilly style. They complemented each other perfectly. But the set wasn't all bombast and brawn. Many of the tunes had the communal feel of an Irish céilí, with violinist (and opening act) Seth Lakemen contributing a folksy intimacy. Plant doesn't seem interested in perpetuating the myth of his Rock God status any longer; he'd rather let his guard down and share bits of his soul with his fans while he still has the time. An epic version of "Babe I'm Gonna Leave You" anchored the end of the main set. You can't be timid when delivering such an anguished tune, and Robert Plant has been owning anguished rock songs for over four decades now. His pained wail at the start of the second verse was alone worth the price of admission. "Some bands borrow from the blues, but where I'm from we outright steal it," Plant said cheekily as the main set came to an end. And the covers he chose—"Little Maggie," "Fixin' to Die," and a boisterous "Gallows Pole"—showed how the blues shaped Zep's early sound, and indeed Plant's entire musical career. A smoldering, keys-laden version of Plant's 1983 solo hit "In the Mood" kicked off the encore, punctuated with the rousing call to arms, "You know what, people? I'm in the mood!" And indeed, Plant was in fine spirits and great voice throughout the show, though he leaned heavily on his band for the closing medley, as a fiery snippet of "Bring It On Home" gave way to a tempestuous "Whole Lotta Love." An old sea shanty, "Santianna," was mixed in for good measure before the band returned to the stormy Led Zeppelin II classic to end the night with a potent shot, reminding us all (if we even needed reminding) how much that band transformed the sound and style of rock and roll. And Robert Plant is still taking that sound in exciting new directions, offering up a whole lot more love in the process. Photo gallery: http://www.citypages.com/slideshows/robert-plant-makes-69-look-pretty-damn-hot-at-the-orpheum/474956323 Setlist: New World… Turn It Up The May Queen Rainbow Going to California All the Kings Horses Please Read the Letter Friends Carry Fire Babe, I'm Gonna Leave You Little Maggie Fixin' to Die Gallows Pole Encore In the Mood Bring It On Home/Whole Lotta Love/Santianna/Whole Lotta Love
  6. With new music, Robert Plant still pleases Zeppelin fans But he pulled out some Zep classics, too, at the Orpheum on Thursday. By Jon Bream Star Tribune February 22, 2018 http://www.startribune.com/with-new-music-robert-plant-still-pleases-zeppelin-fans/474922963/ Looking like some kind of Olympic god who descended from a misty mountaintop, Robert Plant landed at the Orpheum Theatre on Thursday and declared that no song remains the same. When he deigned to dip into the Led Zeppelin catalog, he re-imagined his old works. But that's been the story throughout his solo career ever since Zeppelin crashed after the death of drummer John Bonham in 1980. But on this tour, Plant had a different vibe, especially compared to his last Twin Cities concert in 2011, when he was backed by the Band of Joy, featuring Americans Buddy Miller, Darrell Scott and Patty Griffin. This time, Plant was supported by the Sensational Space Shifters, his all-British band of six years. The music felt more romantic than mystical, more jam-band than genre-blending, more fun than satisfying. At 69, with his lion-like mane in a man bun, Plant was friendly, talking about having played at the Orpheum before. He thanked the sellout crowd for coming out in this weather in "the land of ice and snow," echoing a lyric from Zep's "Immigrant Song." Plant's opening number, "New World" from his new album "Carry Fire," could be an update of that 1970 Zep tune; but that song was about Vikings and the new piece is vague, fitting for these times, heightened in concert by glistening guitars. The first four selections on Wednesday came from the two albums Plant has made with the Space Shifters. Fueled by rudimentary drums, rock guitar riffs and fascinating rhythms, "Turn It Up" found Plant singing in his midrange. On the ensuing "May Queen," a musical meeting of Middle Eastern and West African guitars, Plant made it clear that his voice is more about nuance than forcefulness these days. No one seemed to complain. Like Paul Simon, Plant pushes forward, learning about new sounds from around the world and assimilating them into his music. He doesn't ignore the past, but just reinvents it. And that was OK with the fans, who responded loudest to Led Zeppelin songs. The first line of Zep's "Going to California" drew a wild reaction as Plant played this acoustic classic for the first time on this current U.S. tour. (Other cities got "Misty Mountain Top" instead.) Moreover, Plant suddenly seemed more intense, with the Zep material requiring the Space Shifters to play with more precision compared to the deliciously organic looseness of their recordings. Another Zep highlight was a tremendous treatment of "Babe, I'm Gonna Leave You," the folk song made famous by Joan Baez and heard on Zeppelin's first album in 1969. Thursday's performance was deeply emotional, with Plant unleashing high notes (embellished by echo effects) and guitarist Liam Tyson providing a flamenco flurry in the middle of this over-the-top blues song. This tune was the musicality of Plant in a nutshell. Of course, the encore was devoted to Zeppelin — "Whole Lotta Love" with Plant struggling for his high notes, mixed with the fiddle-fueled sea shanty "Santianna." Odd but crowd-pleasing. The fans warmed up to plenty of non-Zep songs. The ever-adventurous Plant dusted off "Little Maggie," a ditty from 1929, and dressed it up with banjo, oud and a burbling keyboard EDM-style solo. The earthy Americana reading of "Please Read My Letter" was closer to Plant 2007's version with Alison Krauss than the one he did with Jimmy Page, his old Zep partner, in their duo days. The best non-Zep number was "Carry Fire." Built around the Middle Eastern twang of guitarist Justin Adams, the piece combined the romantic with the mystical, talking about finding love in the Promised Land. And that's what you can hope for at a Robert Plant concert these days.
  7. He doesn't want to talk about Zep during the 50th anniversary?? - With Robert Plant, the song never remains the same By Stephen Humphries Globe correspondent February 14, 2018 It’s the last question of the interview. The one that this reporter has been dreading to ask Robert Plant. After a gulp of breath, the words tumble out: “On the 50th anniversary of Led Zeppelin, what is your fondest memory of the chemistry and camaraderie between the four of you?” There’s a second’s pause over the phone line and then the singer starts to laugh . . . and laugh . . . and laugh. Until then, it had been going so well. Plant’s publicist forewarned that the singer may feign memory loss in response to this question. (That might have been preferable to the laughter.) The rock star, who plays a show at the Orpheum Friday night, is often reticent to talk about the colossus of a band he fronted between 1968 and 1980. He’s not one for nostalgia. Plant articulated that ethos in the 2005 song “Tin Pan Valley” when he sang, “My peers may flirt with cabaret/some fake the ‘rebel yell’/Me — I’m moving up to higher ground/I must escape their hell.” That desire not to be defined by the past, coupled with an innate artistic curiosity, fuels the singer’s intrepid post-Zeppelin career. Plant is more comfortable talking about “Carry Fire,” the critically acclaimed album he recently made with his longtime band, the Sensational Space Shifters. “I was just carrying on in a jagged line using the musical ideas that we had started to develop and then taking them on a stage further,” says Plant, who produced the record. “Just bit by bit piecing something together that is evocative and has some kind of mystic lope to it.” Plenty of artists talk about changing up every album, but few do so to the extent of Plant — each of his 11 solo records is distinctly different. “Carry Fire” exemplifies his pioneer spirit. Its songs find liminal connections between Appalachian bluegrass, Saharan blues, Celtic folk, Arabian trance, West Coast psychedelic rock, and British trip-hop. The band’s five musicians aren’t called shape shifters for nothing. Several songs also showcase guest viola player Seth Lakeman, one of Britain’s biggest folk music stars. “He really relished the idea of moving over a step from his characteristics that he normally employs when he does his own shows,” Plant says. “He really did add something to the tracks, never more intensely than the track ‘Carry Fire.’” The title track’s smoldering sensuality flares up with a Lakeman solo whose scorching effect lingers like a vapor trail. “He’s still coming up with new material that’s as exciting as something that was written in 1969,” enthuses Lakeman, who has since been recruited as a touring member of the Sensational Space Shifters and will also open the shows by playing his new album “Ballads of the Broken Few.” “He hasn’t got a huge ego. He’s one of the hugest rock stars in the world. When you’re hanging out with him he’s like one of the lads having a drink.” The album features another distinguished guest: Chrissie Hynde. The charismatic leader of the Pretenders (one of the few people who can rock a leather jacket as stylishly as Plant) duets on “Bluebirds Over the Mountain,” a ballad about a long-distance relationship that was popularized by the Beach Boys and Ritchie Valens. “There’s a sort of wistful nature to the song,” Plant says. “It needed somebody else, the other side of the romance, to come into it as almost an answer to this worry and concern about whether or not this is going to work. She’s got such fantastic character in her voice. You never get one demi, semi quaver that’s not necessary.” During “Bluebirds Over the Mountain,” Plant deploys one of the ejector-seat wails that were his stock-in-trade with Led Zeppelin. When the singer turns 70 this summer, his powerful throat won’t have any trouble blowing out all the candles on his birthday cake. But these days the vocalist’s most dynamic range lies in his ability to convey intimate emotions. On “A Way with Words,” Plant picks at the memory scars of a failed relationship and lets confessional asides hang in the air. The surprise of “Carry Fire” is how often this most progressive of artists looks back, for once, to take stock of his life now. “It’s quite cathartic,” he says. “It’s me, surveying the scene that I’m in. I guess the adventures in romance, there’s a great sort of flourish and great harvest. Sometimes the harvest has many colors. I think about Roy Orbison or even George Jones or Charlie Rich — great, white singers in that great kind of melodramatic, romantic character.” Plants also revisits a different kind of past — world history — on several protest songs including “Carving up the World Again . . . a Wall and Not a Fence.” The lyrics contextualize the global backlash against today’s immigrants and refugees as a cyclical phenomenon that arises out of nationalism. “I don’t know how old a country’s got to be before it stops being a pathway or destination for people who are on the move. The United States encouraged more and more central and Eastern Europeans, who were already being hounded out in different eras and periods of time, to come and populate this magnificent land,” muses the singer. “People are on the move for their own betterment and their own opportunity. Nobody said that the world was sacrosanct for any group of people to say, ‘This is mine, keep out.’” In 2016, Plant joined Emmylou Harris, Steve Earle, Buddy Miller, and the Milk Carton Kids on the Lampedusa tour, a revue-style benefit for refugees worldwide. “For me it was the charm and the absolute beauty of those voices. Steve Earle’s records quite often don’t do him justice as a live singer. He’s got such a great tone,” Plant marvels. “I’m not part of that movement of great musicians and singers so, for me, it was just such a trip.” He’s being modest. Plant made a splash in the Americana music world with “Raising Sand,” the 2007 blockbuster he recorded with Alison Krauss, and his 2010 alternative-country album “Band of Joy.” During his career, Plant has pulled off more unpredictable moves than Bobby Fischer. What he hasn’t done is reunite Led Zeppelin for a tour, though he did organize a one-off show for charity in 2007. But his reluctance to embrace nostalgia shouldn’t be mistaken for a lack of pride in what he achieved with bassist John Paul Jones, guitarist Jimmy Page, and drummer John Bonham. After all, he includes radically rearranged Zeppelin songs in his shows. Once Plant stops laughing at how he can’t get through any interview without his past getting dredged up, his voice softens. “Some of those fantastic festivals in the early ’70s were magnificent because we were playing under remarkable circumstances,” he reminisces. “You fell afoul to all sorts of technical issues and stuff but we just played through the whole thing and just laughed! That’s what it was about. Kick ass, until it became a slog. So the early days were something that I really relished as four guys almost bending down against some invisible weather.” Now, as then, Robert Plant still tosses back his curls, uses the microphone stand as a fulcrum, and changes the weather inside concert halls with vocal squalls. But he’s less interested in stardom than just being a part of the fraternal bond of the Sensational Space Shifters. “You can’t just turn up and become ‘that guy.’ It’s a lonely place to be for a singer to be just there, waiting to get in the way of musical passages. How do I spend my time during a two-hour set? Well, a lot of the time I am watching and listening to what my brothers are doing. “It’s a great affinity that we have. We keep it going because everybody does other things when they feel like it and so will I. Who knows what’s around the corner?” ROBERT PLANT at the Orpheum Theatre, Feb. 16 at 7:30 p.m. Tickets: From $49.25, www.ticketmaster.com https://www.bostonglobe.com/arts/music/2018/02/14/with-robert-plant-song-never-remains-same/UZ0o6jnSBo3VfnpSmcEWXN/story.html
  8. Planet Rock interview: 50th celeb Page

    Another multi-track, Japan 71? Southampton 73? or ??? Hoping for some new video as well.
  9. 9/29/71 Immigrant Song sb release

    dang, it's cut though
  10. Backstage rehearsal, Japan 72

    Thanks for the info! Always wondered when/where that photo was taken.
  11. I wish they would do a bootleg series like so many other artists, Elvis, The Doors, Hendrix. Full tapes unedited even if they're not perfect sounding.
  12. The bluray version is what I'm most looking forward to hearing.
  13. They announced an official book a few weeks ago http://www.ledzeppelin.com/news/led-zeppelin-official-illustrated-book-coming-2018-1260556

    Please crawl back under the rock you came from, troll.