This photo was posted on fantastic resource, LedZepNews on twitter, courtesy of Cookie0024.

Led Zeppelin Ultimate Fan Page. I think these will be copyright Ross Halfin.

Photo copyright Ross Halfin. Apparently taken on 30 March 2013, with members of Metallica. Sorry about tiny size. Here's the link - if you go through it, there are about four photographs taken on that day. http://www.flickr.com/photos/94483109@N03/8600935895/

Last Spartan, I am so relieved and delighted for you. I can't begin to think what you went through while waiting for the results. Let's hope that there is also good news for the other innocent victims involved in this disgraceful episode.

Reswati, I was delighted to see someone on here remembering excellent rockers, Nazareth. Saw them live in 1974 at the height of their popularity - brilliant!!

Hi clw, Welcome to the forums It is on Led Zeppelin News' Twitter page. Led Zeppelin News‏@LedZepNews PHOTO: Robert Plant with Grandpa Elliott of Playing For Change from last night in Adelaide #robertplant #ledzeppelin pic.twitter.com/SRHqEqNLyS

Thanks aen27. You are right, Queen of Pagettes. Happy birthday

ASL’s 8/3/13 event at London’s Century Club I have checked up - ASL stands for 'Art Saves Lives'

Sydney Morning Herald Mali Mountain Hop March 16, 2013 Date George Palathingal Global sound: Robert Plant embraces world music with his latest venture. Photo: Getty Photo: Getty Images In more ways than one, Robert Plant likes to keep on the move. Physically, his adventures in the past 10 years alone have taken him from Mali to Mississippi via Tennessee and Texas. Musically, in that same period he has sung African blues, made a Grammy-slaying country-folk album (with Alison Krauss) and played rootsy rock with his partner, country star Patty Griffin, in Band of Joy. He is on the move again with his latest venture, the Sensational Space Shifters. The project reunites him with most of his early 2000s band, Strange Sensation, adding the redoubtable tweak of Juldeh Camara, a west African master of the ritti (a traditional one-stringed African violin) and the kologo (a kind of cross between a lute and a banjo). Camara's contributions give the Sensational Space Shifters a heady and potent world-music flavour. ''The musical overview of this thing is so … kaleidoscopic,'' Plant says. ''It means that we can visit songs from my distant past or contemporary songs or stuff from the darkest sort of swamps of Mississippi or bayou of Louisiana and turn 'em upside down on their head using amazing west African rhythms.'' It's fair to say Plant's ''distant past'' is the reason most fans are still interested in what he's up to, especially following the recent release of Celebration Day, a recording of a one-off 2007 tribute concert to Atlantic Records founder Ahmet Ertegun. During that show, the surviving members of Led Zeppelin (Plant, Jimmy Page and John Paul Jones) and their late drummer's son (Jason Bonham) tore through highlights from their devastating back catalogue. Despite repeated requests for that band to reunite for a tour, Plant has resisted because, ''to actually pour forth into something beyond a special occasion is folly''. ''But, y'know, we're in touch quite a lot and when there's another special occasion, somebody'll tell me about it and I'll say yes or no. I'm certainly not against that idea as a hoot - providing it's fresh, exciting, riveting and so long as we're scared out of our minds.'' This would further explain some of the thrilling, unusual versions of Led Zeppelin standards such as Black Dog, Bron-Y-Aur Stomp and Rock and Roll that have made it into Sensational Space Shifters sets alongside the band's own originals and covers of blues giants such as Howlin' Wolf and Bukka White. When Plant noticed, during a trip to Mali ''about seven or eight years ago'', the blues affinity between the Tuareg people of noted collective Tinariwen and his old-school American idols, ''I got really, really excited. I was listening to stuff that was coming off the stage and thinking, well, this is amazing, really, 'cause neither these guys who are playing this music in the beautiful Malian desert evening nor the guys down there in Cleveland, Mississippi, have any idea of these links - but they're there.'' Before he could pursue that train of thought, though, he started his duet project with Alison Krauss. They would go on to win five Grammy awards in 2009 for their collaboration, including album of the year for Raising Sand and record of the year for Please Read the Letter. An album with the Band of Joy followed before Plant came to the realisation that he ''really just missed the wolf in me'', something he rediscovered with the Sensational Space Shifters. ''You have to actually move out into other spheres to get a lick of this and a lick of that, y'know, and I've learnt how to sing in lots of different ways and I thank all the gods for that.'' It's Plant's distinctive voice that has made him the rock icon he has become over the years. But as far as he is concerned, the Sensational Space Shifters are about much more than the voice. ''It's about energy - and also it's about Juldeh Camara. He's a guy who's spent most of his life entertaining and he's every bit as dynamic and interesting as an entertainer as I could ever be. ''We laugh and we work off each other and when he speaks to me in Bambara or whatever it is and I'm completely befuddled by it, we just reach to the heavens and we pull down the great gift that all the gods put together for us. And that is what it's all about. That's why you actually commit to tours and say, 'Yeah, OK, I'm gonna do it. Let's go.''' Robert Plant & the Sensational Space Shifters play at the Entertainment Centre on March 28, at Byron Bay Bluesfest on March 30 and in the Hunter at Hope Estate on Easter Sunday, March 31. Read more: http://www.smh.com.au/entertainment/music/mali-mountain-hop-20130313-2g0ni.html#ixzz2NkAk9fQP

There was a copy of LZ4 in the front window of the undernoted vinyl specialist last night (Friday). It is not an original, but a late 80's or early 90's pressing. It costs £7.99. I don't know if they do mail order, but the boss will be back late Saturday afternoon, or phone on Monday. http://www.vinylvillainsrecords.co.uk/

Thanks for the additional info.

Hi Dallas Knebs , Thanks for sharing your personal experience. I was in two minds as to whether to post the article, but generally if I find something LZ relevant, I put it on the site whether it is favourable or not.

Knebby, Thanks for posting these . I hadn't seen any of them before. Would you be able to share the story behind the note from Jimmy to the artist? (only if it doesn't break any confidences!)

The untethered decadence of Led Zeppelin Washington Post, The, 07/12/2012 In Led Zeppelin's heyday, the early 1970s, I noticed that certain women of my acquaintance seemed to shake with a near-visceral disgust when the band's name was mentioned. Now I know why. At first, rock journalist Barney Hoskyn's oral history of the band, "Led Zeppelin," captivates, and then slowly it begins to horrify. Not everyone described in it is a villain, but enough of the main characters become so grotesque that it's hard to avoid a sickly feeling that worsens as one turns the pages. As a group, the musicians and their entourage are like star athletes who turn up in the headlines as thugs; you can't forget the thrills they gave you, but you'll never feel the same about them again. In the beginning, the four musicians were like any other hardworking lads besotted with a new sound. There was singer Robert Plant, a blues enthusiast who could go on for hours about his favorite American roots musicians when the rest of the band just wanted to party. Guitarist Jimmy Page was one of the most in-demand session players before he helped form the group. Page's studio work sometimes had him playing next to the third member, John Paul Jones, a virtuoso on several instruments and a skilled arranger as well. Percussion was supplied by John Bonham, the loudest, fastest drummer of his and perhaps any era. Planty, Pagey, Jonesy, Bonzo, as they called each other: Like thousands of other young Englishmen of that day, they devoured the blues that American musicians took for granted, but they took their fandom one step further and transformed the sounds of Howlin' Wolf, Robert Johnson and Blind Willie McTell into something never heard before. In this they were enabled by Granty, that is, Peter Grant, the physical giant who became their manager and helped create a new business model that, in addition to the band's talent and passion, is the other half of the formula that rocketed Led Zeppelin toward unimaginable riches as well as unspeakable decadence. Whereas earlier business people tried to wring the most out of bands before discarding them, the new crowd went all in to nurture and guide the groups. Unless it's happened to you, you can't know what it's like to be eating beans on toast one day and pheasant under glass the next. The Led Zeps became gods before they became men. Hoskyns quotes Page: "People say, 'I grew up to Led Zeppelin.' And I say, 'So did I.' " No wonder it all went to their heads. The sex and drugs were nonstop, as is to be expected. What appalls here is the violence. Bonham, Grant and tour manager Richard Cole veer out of control again and again; a journalist says, "I've never seen anyone behave worse in my life than Bonham and Cole. I once saw them beat a guy senseless for no reason and then drop money on his face." True, cocaine and alcohol, especially in combination, make people do things they wouldn't do otherwise, but I've never read a musical history that uses the words "sociopath" and "psychopath" as much as this one. Not everyone was in on the mayhem, of course. Plant and Jones come off as decent chaps, overall. And when he wasn't leading the havoc, Grant was an extraordinarily successful manager. Part of his strategy was to keep the world's most outrageous band a relative secret by not issuing singles or appearing on television or cultivating the press; that way, as legendary groupie Bebe Buell recalls, "You didn't hear Led Zeppelin on the radio; you heard about them from the boys in your class. . . . I don't know if the music was designed to give boys power and sexual prowess, but I do know that when boys listened to it, they would become extremely cocky and full of themselves." In the end, the songs speak for themselves: The permanent appeal of "Black Dog," "Immigrant Song" and "Whole Lotta Love" make Led Zeppelin, along with the Beatles, the Stones and Pink Floyd, one of the rare bands with intergenerational appeal. Still, now I know why no woman ever asked me, "Who's your favorite Led Zep?" bookworld@washpost.com Kirby teaches at Florida State University and is the author of "Little Richard: The Birth of Rock 'n' Roll." Led Zeppelin The Oral History of the World's Greatest Rock Band By Barney Hoskyns Wiley. 538 pp. $35

This isn't an article as such - it's a review of Susan Fast's LZ book, but I thought I'd include it anyway. University of Toronto Quarterly 74.1 (2004/2005) 604-605 Susan Fast. In the Houses of the Holy: Led Zeppelin and the Power of Rock Music. Oxford University Press 2001. vii, 248. $22.00 In the annals of rock music, the British quartet Led Zeppelin remains both an iconic presence and a crucial dividing point. Ruling over the rock landscape for the initial two-thirds of the 1970s, the band, with its alternately thunderous and gentle musical approach, and its well-documented Dionysian excesses committed while on tour, eventually became one of the favourite targets of the punk-rock movement late in the decade, and soon found itself portrayed by brash upstarts such as The Clash and The Sex Pistols as the ultimate symbol of all that had gone wrong with rock and roll in the years since Elvis first shook his pelvis. Here in the new millennium, Led Zeppelin, its champions, and its detractors are still going strong: in the short space of time since Susan Fast's In the Houses of the Holy was published, Zeppelin has returned to top the charts with the CD and DVD release of How the West Was Won, which documents searing live performances from 1972; meanwhile, post-Zeppelin 'grunge' rocker Courtney Love has recently released the satirical 'Zeplin Song,' which excoriates a male companion for constantly playing the same Zeppelin hit on his guitar. No doubt none of this attention comes as a surprise to musicologist and music criticism professor Susan Fast, who places herself and her ecstatic (initial and continuing) response to Zeppelin at the centre of her work: 'Listening to the strength and energy of [Led Zeppelin's] "Immigrant Song" was an empowering experience,' Fast writes. 'I had no idea what the lyrics were, but that riff ... its timbre so insistent and confident ... and [singer Robert] Plant's majestic if incomprehensible proclamations, made that song where I wanted to live.' It is Fast's obvious love and enthusiasm for her subject matter that makes In the Houses of the Holy ultimately cohere, despite her at times unwieldy multidisciplinary critical approach, which combines journalism, musicology (including musical notation), critical theory, and even (in a democratic postmodern gesture) solicited fan responses. Of 'Stairway to Heaven,' the band's quintessential hit (and likely target of the aforementioned [End Page 604] Courtney Love satire), Fast notes that the song's movement from its folksy acoustic (rooted in seventeenth-century Tudor music) intro to its crashing electric climax comprises 'a journey ... from the rural/folk/archaic to whatever we might equate with electric instruments - certainly something more contemporary, technological, and ... urban.' The song's enduring appeal to a vast audience is rooted, she contends, in its creation of a living, contemporary mythology 'of connectedness to other people, to history, and to the supernatural world,' thus providing a psychic balm for those 'who feel alienated in their daily lives.' Especially valuable here is Fast's critique (aided and abetted by the aforementioned fans) of Zeppelin's oftentimes uppity and elitist academic critics, those who seek to define the band's music as mere 'cock rock,' and its female fans as naïve, innocent dupes of this rampaging group of metallic marauders. Employing Bakhtin's theory of the carnivalesque, Fast instead portrays the band's characteristic excesses, both musical and performative, as a challenge to defined cultural boundaries and to societal decorum. Inverting the feminist notion of the harsh 'male gaze' by which women are turned into objects of desire, Fast repositions singer Plant and guitarist Jimmy Page as, 'in one sense ... passive objects of the female gaze, a controlling gaze that is partly responsible for the man acting as he does.' Humorously, the author further contends that, 'however many reasons there may have been for Plant to wear tight pants, it must be acknowledged that one was to attract women ... this is so obvious to my nonacademic women friends that they are incredulous when I tell them that the point still needs to be made in academic writing.' Indeed, for all of the highfalutin' theorizing, pro or con, that surrounds a band as iconic as Led Zeppelin, perhaps one female fan of the band who speaks in Fast's book sums up the crux of the matter best: 'IT'S THE MUSIC, STUPID!' For those who enjoy intelligent commentary on the music, however, In the Houses of the Holy should suffice. John V. Walker

I have been looking for articles to post on the site. I found this one from the International Business Times following the Kennedy Centre Honours. I think I hate the person who wrote it. He/she makes so many digs at Zeppelin e.g. saying that Peter Grant was "... essentially a thug" and "Thank God Bonzo never lived to see this". I am sure Bonzo's family, friends and fans would rather he was alive no matter what. Source: International Business Times, 20121218 Led Zeppelin: When Rock Stars Age And Become Ordinary If anyone needed a reminder that rock-and-roll is indeed dead – dead and buried with no hope of resurrection – ample evidence was provided recently in Washington DC when the surviving members of immortal super-group Led Zeppelin received The Kennedy Center Honors at the U.S. State Department for “lifetime contributions to American culture through the performing arts.” Messrs. Robert Plant, Jimmy Page and John Paul Jones (none of whom are US citizens as far as I know) were also feted by U.S. President Barack Obama. “When Jimmy Page, Robert Plant, John Paul Jones, and John Bonham burst on the musical scene in the late ’60s, the world never saw it coming,” Obama gushed. “It’s been said that a generation of people survived teenage angst with a pair of headphones and a Zeppelin album, and a generation of parents wondered what all that noise was about… Appreciate the fact that the Led Zeppelin legacy lives on.” Obama also playfully referred to the band’s violent, self-destructive lifestyle on the road. “We do not have video of this, but there were some hotel rooms trashed and mayhem all around, so it’s fitting that we’re doing this in a room with windows that are about three inches thick and Secret Service all around,” the president quipped, before referring to the rockers’ advanced ages. “We honor Led Zeppelin for making us all feel young, and showing us that some guys who are not completely youthful can still rock.” In a world where aging rock stars receive MBE awards, knighthoods from Queen Elizabeth and even appear as panelists on schlocky TV ‘talent’ programs, one should not be surprised by rock musicians appearing with the highest pillars of the Establishment. However, the spectacle of Led Zeppelin with the most powerful man on earth – and everything that implies – was bizarre and beyond depressing. When I was a boy, Led Zeppelin dominated pop-rock music like a colossus – they supplanted The Beatles and The Rolling Stones as the biggest, baddest, most popular and influential band on the planet. Not only did they sell an enormous amount of albums (reportedly at least 300 million records globally to date), generate tremendous revenue and wealth, but lived a life of excess and profligacy that established a standard of licentiousness that has never been matched, much less exceeded. Indeed, Led Zeppelin, who were managed by a former wrestler named Peter Grant who was essentially a thug, lived out every red-blooded boy’s wildest nihilistic fantasies – incredible wealth, sex with thousands of girls, the consumption of every known type of alcohol and drug, and the ability to do virtually anything without fear of prosecution or any kind of responsibility and accountability. But it came at a heavy price – Page developed a multi-year heroin addiction and, most tragically, drummer John Bonham died in 1980 at the very young age of 32, leading to their break up, exactly ten years after The Beatles disbanded. In retrospect, in the pantheon of immortal rock bands, Led Zeppelin occupies a space somewhat below the Beatles, Stones and The Who. Detractors point out that Page and Plant were mediocre songwriters (in fact, many of the group’s earliest songs were simply re-workings of American blues records) and, worse, their massive success virtually single-handedly created the phenomenon known as “arena rock” where bands performed in huge outdoor stadiums before tens of thousands of fans. Having wisely shunned appearing on TV, Led Zeppelin prompted (forced) fans to see their heroes in person at wild, loud – often four-hour long marathon -- concerts. Partly due to the efforts of Grant, Led Zeppelin was granted extraordinary (perhaps unprecedented) creative control over their material, including the content of their albums and their release dates. Moreover, lead songwriters Page and Plant gained lucrative royalty rates that made them the envy of their peers. Led Zeppelin’s sensational rise – and seemingly endless string of colossally successful LPs – coincided with the moral deterioration of the rock music genre. By the mid-1970s, under the stresses of high inflation, rising unemployment, and the Arab oil embargo, the idealistic, communal nature of 1960s pop-rock music – best exemplified by the stirring songs of The Beatles and Bob Dylan – had vanished, replaced by cynicism and nihilism. This movement would reach its peak in the explosion of violently angry British punks, but Led Zeppelin already embodied this negative spirit a few years earlier. However, the characterization of Led Zeppelin as a “heavy metal” band is patently unfair and inaccurate. Indeed, I would estimate that at least one-third of their output comprised gentle acoustic ballads, often inspired by folk and Celtic music (a world away from head-banging rock-and-roll). I always regarded Led Zeppelin as a better-looking, but somewhat less inspiring, version of The Who. Whether by design or by coincidence, Led Zeppelin’s parallels with the earlier group were uncanny. There was the dark-haired, cerebral, tormented, intellectual leader and principal songwriter (Page and Pete Townshend); the handsome, muscular, sexy blonde front-man (Plant and Roger Daltrey); the quiet, immobile, unemotional bassist (Jones and John Entwistle); and the wild, uncontrolled, manic, suicidal drummer who died young (Bonham and Keith Moon). Now, more than 30 years after their glorious peak, the surviving group members are old men in their 60s. Plant, still wearing his now grey-hair long, is stooped and seemingly frail; Page, a legitimate ‘rock guitar god,’ is aged and subdued, while Jones, perhaps the most nondescript, anonymous rock star in history, looks like a retired insurance salesman. Bonham avoided this sad spectacle by dying young – after all isn’t that in keeping with the true ethos of rock and roll? Witnessing Led Zeppelin wearing tuxedos and glad-handing with US politicians reminds us that rock-and-roll is simply a business – a multi-billion dollar industry – that is just as soulless and profit-driven as any other ‘boring’ corporation. It’s really all about money and joining the mainstream establishment. Thank God Bonzo never lived to see this. Source: International Business Times, Tue, 18 Dec 2012 Item: 416353.20121218

Knebby, I don't know how you managed to get them copied over! I spent about an hour last night 'right-clicking', but no joy! You may have noticed that there is a photo of JImmy with the late Chrissie Wood. The notes underneath say it was taken at the Chislehurst Caves party (the Pretty Things album release). There is also a nice photo of Bonzo with one of his vintage car acquisitions. What crossed my mind was that whoever posted these may be 'an insider'.

SAJ, If you go to the undernoted address, you will find among the related stream of photos a picture of Richard Cole's wedding to Tracey Heron Webber where the guests are standing outside on the steps of Chelsea Register Office. I hadn't seen it before – like most others, the only one I have seen was taken inside the Golden Lion Pub at the reception. I was unable to get the photo copied over to here, perhaps someone else can manage. http://www.friendsreunited.co.uk/jimmy-page-walk-of-fame-london/Memory/063f4444-65c6-44b8-bbf3-a00c00d3dd77 When this page opens, it will take you to the photo of Jimmy at the London Walk of Fame. Go back one page from this to get the RC wedding photo.

From the UK Daily Mirror, Wednesday, 18 May, 1983. I seem to recall the charges being dropped.

I am still searching in my databases for something on Jenny Marriott - it will take time as I have access to hundreds of databases! The method of searching which I am finding most productive, is to search for 'steve marriott' and 'jenny', rather than 'jenny marriott' alone. I have had a look in an arts/antiques database, but nothing came up. I have also looked in yet another newspaper database which covers every national and local newspaper for the UK, and the Daily Mail article below (edited for brevity and relevance) was all that I could find where Jenny is specifically mentioned. (She wasn't even mentioned in his obituary in The Times, nor in any of the accounts of his tragic death.) However, this computerized newspaper database only goes back to 1991. Chris Farlowe, who collaborated with Steve Marriott in the run up to the ARMS gigs, runs an antiques stall called Out Of Time, so perhaps if you were able to make contact with him, he could possibly help. Daily Mail, Friday, October 21, 2011 Marriott's first wife, Jenny , once reminisced in an interview for Small Faces fanzine, The Darlings Of Wapping Wharf Launderette, that, while living at Eyot Green, Marriott 'was having a lot of hassle with the neighbours, and ended up writing Lazy Sunday about his time there'. She explains that Marriott installed several huge speakers from a music studio in the house, saying: 'I didn't blame the neighbours; it must have been hard living next door to him. They complained continuously about the noise, and rightly so.' Those same speakers may be the ones Marriott is seen lounging next to in the promotional film made for the song, which was partially filmed in the garden at Eyot Green. In the same film, he and the other band members do a brief dance, togged up in fancy clothes, with the neighbour's house in the background. Morrall's four-bedroom, fourstorey property was also once owned by presenter Des Lynam, but it's easy to see that, at the time, it was the perfect pop pad. 'It was built in 1962, so when Marriott moved in a few years later, it was still new and trendy,' she says. 'In those days, Chiswick was bohemian. Several record labels were located here, so a lot of musicians based themselves there too. It's more low-key these days.' The properties in Eyot Green, with floor-to-ceiling windows, straight lines and communal green areas, are very different from the surrounding streets of Victorian cottages with tiny courtyards.

SAJ, I have looked at my computerised databases for the following UK newspapers for 1975 to present - The DailyMirror, The Daily Express and The Sunday Express - searching for 'Jenny Marriott' and nothing has come up for her. I searched for articles about Steve for the 75/76 era to see if they mention an antiques shop in connection with his name, and there is nothing. The articles at that time about Steve seem to be about his new partner, their baby and Ronnie Lanes' visit to them at their new home. I have attached the scans here just in case you don't have them and are interested. I shall access my other databases to see if they shed any light on the first Mrs Marriott. BTW Like Knebby, I am trying to PM you - would you clear some of your inbox (assuming I am not on 'ignore'!)

There may be a personal reason why Jimmy is not recording or planning any gigs (so far as we are aware). I am not saying a personal consideration is the only reason, however back in February/March of this year, a schoolboy at a very expensive private school in Berkshlre put it on Twitter that he had been asked to show Jimmy round the school because Ashen was starting there in September 2012. Up until now, Ashen has been at school in Sussex while living with his mother. The new school (which I am not going to name, nor give a precise location) is about a 10 minute car journey from his father's country home. That suggests to me that the boy will be a day pupil, rather than boarder, and if so, would require Jimmy to be near to home, as he would be a single parent. I am sure there are a multitude of reasons for JPP's inactivity and this may be one of them.

In addition to the news provided by SAJ, I wanted to give the heads up that it was in the Sun (UK) newspaper on 9/07/2012 that the Stones are due to attend the opening of this exhibition in London on 12 July, before it opens to the public on the 13th. The exhibition from 13/07 to 27/08 is Free Admission. Also detailed below is the Thames & Hudson book released to coincide with this anniversary year, at the affordable price of £29.95. The Rolling Stones: 50 13 July - 27 August 2012 Daily 10.00-18.00 East Wing Galleries, East Wing Free admission On 12 July 1962 the Rolling Stones went on stage for the first time at the Marquee Club in London’s Oxford Street. A phenomenal 50 years later, and to celebrate this milestone, a free photographic exhibition documenting the last half-century will occupy the East Wing Galleries, looking back at their astounding career. With privileged access to a wealth of unseen and rare material, this one-off exhibition will include over seventy prints ranging from reportage photography, live concert and studio session images, to contact sheets, negative strips and outtakes from every period of the band’s history – from performing in the smallest blues clubs to the biggest stadium tours of all time. Limited edition prints, copies of the book and other items will be available to buy. This exhibition coincides with the release of the book by the same name, published by Thames & Hudson @ £29.95.

http://renebestguitarist.blogspot.co.uk/2012/06/jimmy-page-and-solid-groundmay-29-1991.html Jimmy Page and Solid Ground / May 29, 1991 A band I played in “Solid Ground” played with Jimmy Page at the Crystal Bay Club on May 29, 1991, Funny things happen when you're packing to move; you find a lot of the stuff you thought you lost. Last night after all these years I found part of a recording of the night Jimmy Page played with Solid Ground. I hope to find the rest of the recording. We did have pictures of the show but the keyboardist for the band ripped them off. He also is the one the band suspects boot legged the recording of the show against Jimmy’s wishes, after he specifically told the band that night not to do it. I want Jimmy to know the rest of the band had nothing to do with the boot legged recordings. Bill Glahn reviewed the recording on his blog in March 1993. He was tough on the band, Thank God he liked my singing "The male vocalist, a very good southern belter, is prone to calling Page “son.” I don't remember calling Jimmy son. It is a southern thing though, y'all know what I mean? I don't know why the recording is titled "Up In Smoke". Funny thing is, that is what happened to our relationship with the keyboardist, totally burnt to ashes. Reminds me of another situation with a nasty ex band mate. I do plan on posting these recordings of the show (Not for Profit) on my website. Jimmy was playing my guitar and Debbie McIntyre sang Hang On Sloopy and I sang the rest of the songs. Finding these recordings has led me to see what was out there on the internet about that night. I cannot believe the curiosity and information that has been posted. At the very least I want folks out there to know the story and give credit to where credit is due and mention all the band members who played on that recording with Jimmy Page. Well maybe not all, I will just ignore the damn keyboardist. I have worked with many musicians with pleasant and difficult dispositions. It is only the very worst of those that I refuse to have any association with, and refuse to recall anytime I spent with them, or mention them on my website www.renebest.net. That reminds me, I still have to write a disclosure about my website which I own and control all content, and the person who is spreading bogus lies, that "It's Not Really Rene's Website". In the mean time if anyone feels the need to know about the motives of the person behind the bogus complaints board comments you can cell me @ 775-378-7084