Slate Chocolate Marble
Slate Chocolate Marble

Led Zeppelin Official Forum

Register now to gain access to all of our features. Once registered and logged in, you will be able to contribute to this site by submitting your own content or replying to existing content. You'll be able to customize your profile, while also communicating with other members via your own private inbox, plus much more! This message will be removed once you have signed in.

sam_webmaster

Administrators
  • Content count

    2,365
  • Joined

  • Last visited

About sam_webmaster

  • Rank
    LEDZEPPELIN.COM ADMIN

Contact Methods

  • Website URL
    http://www.ledzeppelin.com

Profile Information

  • Gender
    Male
  • Location
    Great White North

Recent Profile Visitors

10,243 profile views
  1. Not true. They traveled there by limo (there are some pics). Also, Jimmy talks about it in the Scott Muni radio interview later that week, after this show and said they stayed "a good half hour" waiting for the rain to clear. And why would someone take a helicopter in a severe thunderstorm? In Richard Cole's words: "While Robert never bailed out during the tour, the weather intervened at an outdoor concert in Tampa, forcing a cancellation—a decision that didn’t sit well with many fans. Maureen Plant and Mo Jones had traveled to the States with their children to visit Disney World and spend a little time with the band. We had flown into Orlando to pick them up, then headed for Tampa, where 70,000 tickets had been sold for the performance at Tampa Stadium. As Caesars Chariot approached Tampa, it was raining steadily. Peter was gazing out the window near his seat with a concerned expression. I knew his policy was never to let Led Zeppelin go near a stage in damp weather, and to have an alternate rain date available. In 1972, tragedy had struck Stone the Crows, one of Peter’s acts. Maggie Bell was the powerful lead singer of the band, and as the press began comparing her to Janis Joplin, Stone the Crows attracted a growing following. But during one of their performances in Wales, guitarist Les Harvey was electrocuted. Other members of the group, including keyboardist Ronnie Leahy and bass player Steve Thompson, tried desperately to revive Harvey, but he died onstage. Stone the Crows never recovered emotionally from the tragedy. I don’t think Peter did, either. In 1973, the band broke up. An investigation showed that Harvey had been electrocuted when a short occurred in his equipment. After that, Peter decided the risks were too high to let anyone ever perform in circumstances, including rain, that might increase the risks of electrocution. Peter became very protective of his musicians. He spent a lot of money on special transformers capable of absorbing shocks before they could ever cause any harm to Led Zeppelin. Even so, the no-rain policy became an inflexible rule for all of his acts. Ten minutes before our plane landed in the Tampa rain, I was looking at the tickets for that night’s show. “Oh, shit!” I exclaimed. “Peter, look at this. It says that the concert will go on, rain or shine! Who the hell put that on the tickets?” Peter was outraged. He had never permitted a concert with a rain-or-shine policy, and he had no intention of changing his game plan. Terry Bassett of Concerts West was on the plane with us, and Peter let him know how unhappy he was. “Bassett,” he yelled, “what the hell has happened here?" For the moment, Terry was at a loss for words. Just then, the plane landed with such a jolt that it took everyone’s mind off the matter at hand. Peter’s fury was put on hold, at least temporarily. The rain stopped an hour before the show was scheduled to begin, and the skies seemed to be clearing. Peter decided to let the show move ahead as planned. The band opened with “The Song Remains the Same,” bringing down the house. But after two more songs and in the middle of “In My Time of Dying,” (Nobody's Fault But mine) the sky exploded with thunder. Within two minutes, rain began falling in torrents. Peter didn’t hesitate. He immediately ordered the band off the stage and the equipment covered with tarps. “If we can, we’ll wait it out,” he said. The fans didn’t budge. A few had brought umbrellas, but most of them were getting drenched. Nevertheless, no one’s spirits seemed to be dampened. We waited backstage patiently for the rain to stop, but it showed no signs of doing so. Finally, Peter grumbled, “Let’s get the hell out of here.” Before the crowd was notified of the cancellation, police escorts guided our limos out of the stadium. Then an announcement was made, asking the crowd to disperse peacefully—an announcement that brought a chorus of boos that lasted more than ten minutes. Some of the fans didn’t seem to believe it. Others were angry. Despite the continuing rain, much of the crowd remained at the stadium. They chanted, “We want Zeppelin! We want Zeppelin!” They threw bottles at the stage, where our roadies were trying to dismantle the equipment before the entire stadium became a monsoon. Then the scene got ugly. Fights broke out in the audience, fans fighting with fans. Forty policemen in riot gear, most of whom had been stationed outside the stadium, dove into the crowd, flailing their billy clubs. The concert had turned into a full-fledged riot. Fists swung and blood flowed. Sirens blared from police cars and ambulances. Sixty fans ended up in the hospital. So did a dozen cops. When we reached the airport and were boarding Caesars Chariot, one of our security men got word about the mayhem at Tampa Stadium. It brought back memories of the horrifying riot in Milan back in 1971. All of us were crushed, but Robert seemed to take it the hardest. “It’s so unbelievable,” he said. “People come to hear music and they get their heads bloodied.” Maybe there was something in the air in Florida. When tickets had gone on sale for the concert, hundreds of overzealous fans had forced their way into the Orange Bowl—one of the sites where tickets were being sold—and proceeded to tear out seats, rip apart offices, and steal food from concession stands. A SWAT team from the Miami police department was called and finally brought the disturbance under control by hurling tear gas at the fans. The Miami Herald ran the following headline about the disturbance: “Black Sunday for Real at the Orange Bowl: Last Time a Blimp, Now the Zeppelin.”
  2. Knebworth 8-11-79 review (Variety)
  3. The JPJ photo is from Philadelphia. http://www.ledzeppelin.com/show/july-12-1969
  4. Correct - It's a still from 8mm home movie footage.
  5. Announcement of the Doors being added: July 14, 1969 (Seattle Times)
  6. A tidbit from June 29, 1969 (Seattle Times) with promoter Boyd Grafmyre discussing the upcoming 1969 Seattle Pop Festival. "There is also some interest in filming the Seattle Pop Festival. National Education Television has shown some interest - they're doing a summer series on festivals of all kinds around the nation. King Screen is also interested in making a film about it and if that shouldn't work out, I may film it on my own." oh well... goes into the 'coulda been' file. And still haven't seen any pics of Zep from the show.
  7. Fake
  8. July 1, 1978 - Indianapolis Declares "Stairway To Heaven Avenue" Official Proclamation From the City of Indianapolis: William H. Hudnut III, Mayor P R O C L A M A T I O N: "STAIRWAY TO HEAVEN AVENUE" July 1, 1978 WHEREAS: Adam Smasher and WNAP Radio conducted a contest asking listeners to name their favorite song in the hopes of having a street renamed for a day in honor of that song; and WHEREAS: More than 8500 persons responded to that survey, naming "Stairway to Heaven" by Led Zeppelin as their favorite song and WHEREAS: Indianapolis, as the Crossroads of America, also happens to be the city closest to heaven, this truly making it the "Stairway to Heaven"; and WHEREAS: It has been the goal of this administration to encourage persons of all ages to come downtown as part of our revitalization efforts; and WHEREAS: The Smash says it's cool: NOW, THEREFORE, I, William H. Hudnut, III, Mayor of the City of Indianapolis, do rename Meridian Street as "STAIRWAY TO HEAVEN AVENUE" for July 1, 1978 and call upon all citizens to commemorate this occasion by joining the Smash and WNAP Radio in a street dance on the City Market Plaza. IN WITNESS THEREOF, I have hereunto set me hand and caused the Seal of the City of Indianapolis to be affixed this 30th day of June, 1978. (Signed), Willian H. Hudnut, III, Mayor. --- http://www.ledzeppelin.com/event/july-1-1978
  9. Robert Plant interview - Feb. 1976 (Rolling Stone)
  10. It's on the deluxe versions: https://www.amazon.com/Celebration-Day-Led-Zeppelin/dp/B009E3EY38 https://www.amazon.com/Celebration-Day-Deluxe-sized-digipak/dp/B009E3EXMU "On December 10, 2007, Led Zeppelin took the stage at London’s O2 Arena to headline a tribute concert for dear friend and Atlantic Records founder Ahmet Ertegun. What followed was a two-hour-plus tour de force of the band’s signature blues-infused rock ’n’ roll that instantly became part of the legend of Led Zeppelin. Founding members Robert Plant, Jimmy Page and John Paul Jones were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 17 songs from their celebrated catalog including landmark tracks "Whole Lotta Love," "Rock And Roll," "Kashmir," and "Stairway To Heaven." A film of the show, "Celebration Day, is now available on DVD and Blu-ray and includes the entire concert in HD video and in 5.1, 48/24 hi-resolution audio surround sound. "Celebration Day" is an incredible document of the now legendary concert, which has been described as possibly the greatest rock and roll concert ever. The two hour feature length film is presented in beautiful high definition video, and stunning audio quality. The aspect ratio is 16x9. The film is directed by Dick Carruthers who had previously worked with Led Zeppelin on their award winning 2003 release "DVD" - a release that remains one of the highest selling music DVD's of all time. The "Celebration Day" film is already critically acclaimed and the DVD & Blu-ray releases are certain to become consistently high selling titles in the Led Zeppelin catalog. A bonus DVD in the deluxe versions features the dress rehearsal at Shepperton Studios, filmed a few days before the O2 concert. The rehearsal is filmed in SD and recorded in stereo."
  11. New York 7-29-73 / Jimmy Page interview (Journal-News) partial transcription: Their performance Sunday night (July 29) was almost as overwhelming as their money-making ability. Power, innovation, theatricism, mysticism all were textured qualities surrounding the three hour set. Their latest release, Houses of the Holy, continues in a direction of musical innovation for Zeppelin. It is perhaps its most polished album, one whose musical complexity and versatility supersedes any current disc and one that shows Zeppelin’s undauntedness for varying musical expression. Example: John Paul Jones only plays bass, but organ, keyboards and the mellotron with expertise. “No matter how efficient we are musically, I think once you know what’s coming, and that relates to anything you get into, it becomes a bore”, Jimmy Page says. “That’s why every LP’s so different. If they weren’t, our LPs would have all stuck in the same sort of groove, more or less. But all our minds are alive and working – that’s why we go through all these changes. With us, we’re changing every night,” Page says. “We never get two guitar breaks that are the same. All those riffs appear out of nowhere – every night. It keeps us from getting bored because there’s always something new to look forward to. You never know what’s going to come out. It’s like embarking on a mysterious adventure every night.” “The only annoying thing is when you really hit on some good things, they’re lost in time, it goes into the other dimension, you’ve lost it. They only come once and then they’re gone. But then again, it’s exciting because you know that something’s gone but then something new is going to come.” The notes seem to spill out of Page’s guitar with a spontaneity and fluidity that makes him rock’s premiere guitarist. Whether it’s a traditional ballad like Since I’ve Been Loving You or the hard-driving Heartbreaker, Page cuts around the basic melody with riffs that become majestic journeys up and down the fretboard. What puts him a cut above the rest is his reservoir and range of material. He may not be as fast as the limited Jeff Beck or as resonant as the repetitive Eric Clapton, but his spectrum, his creativity and his clear and powerful picking surpass his peers. He is the guitar virtuoso and a sensitive artist. “I think I’m just learning how to play the guitar,” he says. “Sometimes when I’m on stage I only get a flash of what my potential really is.” Page also is the best showman. Dressed in glittering black, he prowls and prances while bursting through blistering riffs that absorb and vacate the mind. He appears venomous while snaking around the stage, in and out of the light – leaning, bending, twisting. But one man does not make a band. What makes Zeppelin so overpowering is that all four are superb musicians. Jones and Bonham combine to give Page the strongest rhythm section available. They are all so keenly aware of the integral flow of the music that each responds precisely and creatively to the other. The added dimension in the live performance was the different approach of the rhythms recorded previously on the albums. This becomes apparent when each member dominates the performance at different points. John Bonham’s 24-minute drum solo in Moby Dick, where he plays like a caged animal but with the control of a tiger, is a fiery demonstration. Jones’ mastery of the mellotron is captivating as a free-floating effect is achieved in No Quarter. Lead singer Robert Plant perhaps is the most spectacular on stage, as the group’s symbol on stage. His golden locks lay gently on his shoulders and the bare-chested performer creates havoc with a machismo. His voice control, his range and power make him the perfect springboard for the group’s music. [By Clint Roswell, Journal-News, August 1973]
  12. Jimmy Page - New Superstar (Record World, March 1969)
  13. The webcast was groundbreaking at the time, seventeen (!) years ago. I dug up my old Electric Magic website archive from that time. Here's the announcement and banner ad I designed for the promotion: Led-Zeppelin.com News | July 13, 2000: Announcing: John Paul Jones House of Blues Internet Broadcast - July 22nd (July 13, 2000) Tune into the House of Blues web site July 22nd (9:00 EST), for an Internet broadcast of John Paul Jones' recent New Orleans concert (taped March 14th). Free low bandwidth connections (28.8/56k) are being offered with higher quality streams (for DSL/cable modems etc.) available as pay-per-view for only $7.99, giving you a 24 hour "cyberticket" to view the show. [JPJ H.O.B. Broadcast link]. And since we're going back in time, here's a screenshot of the homepage from back then too (July 2000)
  14. The rehearsal is officially released on Celebration Day. https://www.amazon.com/Celebration-Day-DVD-sized-digipak/dp/B009E3EYS8
  15. It's that version on bootleg with organ & guitar that fueled that false rumor.