A couple of recent short items I found for fans of Ronnie. ART'S DEADWOOD The Sun (London); Oct 21, 2010; GORDON SMART; p. 22 Full Text: (Copyright © News Group Newspapers Limited 2010) RONNIE WOOD is seeing red after his art business Scream lost almost Pounds 500k last year. The London gallery, run by his sons JAMIE and TYRONE, is Pounds 438,930 in the danger zone. A source said the ROLLING STONE - an artist himself - is now trying a different tack. He said: "This is no surprise in the current art climate. Ronnie remains optimistic, especially as he plans new directions." The guitarist was close to passing out during his brilliant gig at London's Ambassador Theatre on Tuesday night, where he showcased his latest solo album I Feel Like Playing. The rocker nearly fainted as he was playing so hard - or had he just spotted his accountant? 'I'm Ron the ball' The Sun (London); Oct 1, 2010; p. 22 Full Text: (Copyright © News Group Newspapers Limited 2010) WRINKLY rocker Ronnie Wood has admitted life is clearer since he quit booze seven months ago. The Rolling Stones legend, 63, said the stretch of sobriety is "quite a record" for him. And the Paint It Black guitarist reckons his cleanliving lifestyle is helping him produce better art. Ronnie said: "I look back at some of the paintings I did when I was out of it, and they are not bad either. "But there is much more of a clarity in the music and the painting now that I am seven months clean." He's also just released a solo album called I Feel Like Painting.

Here's a link to the function for Mary McCartney's book launch in London. Lots of familiar faces from the 60's in these photos - Patti Boyd, Peter Blake and Ringo. http://www.rexfeatures.com/live/2010/10/21/mary_mccartney_'from_where_i_stand'_book_launch,_london,_britain

SAJ, Is it possible that Peter Grant was the other controlling interest (it may have been part of the deal) and, if that were the case, PG's estate would now own the interest?

I am sure the deal for the first album was set up by Peter Grant. So, if it is not fully under RP's control, who else holds the interest in it?

It must several months for these kind of deals to be put together. There would be initial talks, then draft contracts being exchanged between both sides' management teams and lawyers, before the final contract is signed. Perhaps if you looked at his timeline for this year when he wasn't playing any dates and could feasibly have been in the UK. As for exploiting his solo material, perhaps he is at an age where he wants to maximise his earnings - the type of venues he has been playing with the Band of Joy aren't exactly stadiums and the ticket prices were very reasonable.

When the former Led Zeppelin frontman turned alt-America trans-Atlantic crooner The Herald (Glasgow); Oct 20, 2010; Robert plant, Usher Hall, Edinburgh keith bruce; p. 17 Full Text: (Copyright © 2010 Newsquest Media Group) When the former Led Zeppelin frontman turned alt-America trans-Atlantic crooner last played the Usher Hall he was 21 years old. At 63 he's still doing that twisty-legged dance with the mike stand and he's not too precious about his recent success to truck out the old hits. In fact, his faux senior moment introducing Zep's Rock'*'Roll was genuinely funny, and thankfully the guy behind me, who had been shouting for it, did not have heart failure as a result. This was possibly the oldest rock'*'roll audience even I have ever been part of, and Robert Plant gave them what they wanted, while still showing plenty of respect to the American colleagues who make up his 2010 Band of Joy. So he sat back and played blues harp while guitarist and producer Buddy Miller took the spotlight, and provided backing vocals to Darrell Scott's Satisfied Mind and Patty Griffin's country gospel. This is one fine combo, with Scott a wizard on pedal steel, guitar, banjo and mandolin and Miller coaxing classic guitar sounds from an assortment of axes and vintage amplification. For some of the time Plant was actually a little too high in the mix, because the vocal arrangements were another real pleasure. That was as much true of the whole ensemble as the duo of Plant and Griffin which matched Low's Sparhawk and Parker on the opening Monkey, made a rocker out of Raising Sand's Please Read the Letter, and refreshed the double-tracking on Misty Mountain Hop. It and Gallow's Pole were the best of the old Zeppelin tunes, sitting easiest with the material - some of it of much greater vintage - that is this band's reason for existing.

Dance Umbrella 2010 The Times (London); Oct 2, 2010; Donald Hutera; p. 21 Full Text: (Copyright © Times Newspapers Limited 2010) A trio of heavyweight American choreographers dominate the 32nd edition of the UK's biggest annual celebration of contemporary dance. Stephen Petronio, fiftysomething and still a creative firebrand, kicks off with I Drink The Air Before Me (Barbican, Oct 5-6). with a score created by the hot-shot composer Nico Muhly. The festival centrepiece is a tribute to Trisha Brown (Oct 15-19, Southbank and Tate Modern) that encompasses film, installation and juicy live performances. If Brown is the queen of downtown New York's avant-garde dance scene, it was the late, great Merce Cunningham who paved the way for her reign. Premiered a few months before his death at age 90 in 2009, Nearly Ninety (Barbican, Oct 26-30) is a purportedly enthralling swansong, blending dance, design, video and live music composed by Led Zeppelin's John Paul Jones.

The Times UK Oct 18, 2010; p. 13 The dance work This is your last chance to jump on the Merce Cunningham bandwagon. The choreographer -- a true one-off -- died last year, aged 90. Soon, the company he led for half a century will cease to exist. But first there is one last visit to London that will give the non-believers a chance to discover how wrong they were about the father of American modern dance. More than once in his estimable career Cunningham was likened to the emperor and his new clothes. In the early days, audiences couldn't relate to his hardcore aesthetic. No plot, no logic, no emotional expression, not even any musical inspiration: where were these dances coming from? And why would anyone want to watch them? Like his partner, the composer John Cage, Cunningham espoused random creativity, making dances that were determined by the toss of a coin, the roll of the I Ching. Design, music and choreography met in performance. If they achieved harmony, great; if they didn't, who cared? But as the years went by, we woke up to the dazzling clarity of his dances, so pristine in concept and so lively in their unpredictability. So here comes his last work, Nearly Ninety, accompanied by (but not set to!) a score from John Paul Jones, of Led Zeppelin, and the indie hipsters Sonic Youth. Bring an open mind. Debra Craine Nearly Ninety is at the Barbican from October 26 to 30

PUBLISHING: Robert Plant clocks in to seal deal with Sony/ATV Music Week (Tonbridge); Oct 16, 2010; Paul Williams; p. 4 Full Text: ( Copyright : 2010 CMP Information Ltd.) Post-Led Zeppelin work covered in veteran's new deal By Paul Williams SONY/ATV HAS SIGNED a worldwide deal with Robert Plant set to cover the vast majority of his post-Led Zeppelin songwriting. The agreement initially takes in Plant's contributions to his current album Band Of Joy, which peaked at three in the UK and five in the US following its release in September, while his solo back catalogue from The Principle Of Moments onwards will be effective in the deal from January 1 2011. The catalogue is currently handled by Universal. Although mainly a covers album, Plant claims four songwriting credits on Band Of Joy: Central Two-O-One, penned with his band's guitarist Buddy Miller; and arrangement credits for him and Miller on the traditional songs Cindy, I'll Marry You Someday, Satan Your Kingdom Must Come Down and Even This Shall Pass Away. Catalogue covered by the deal includes his first UK Top 40 solo hit Big Log, which featured on The Principle Of Moments, and takes in songs on solo albums including Manic Nirvana, Fate Of Nations and Dreamland and his two post-Zeppelin albums with Jimmy Page, No Quarter and Walking Into Clarksdale. The latter included the song Please Read The Letter, which also appeared on his 2007 Alison Krauss-paired album Raising Sand. Their version was named Record Of The Year at the 2009 Grammy Awards, one of five wins that year for Raising Sand, which was also named Album Of The Year. "You can imagine the elation that I felt having closed this deal and for him to have chosen Sony/ATV," says Sony/ATV UK managing director Rak Sanghvi, who reveals Plant personally visited the publisher's London offices in Golden Square to quiz the staff before signing. "He really was looking for an active partner," says Sanghvi. "He felt the enthusiasm and the creativity in this office." Sanghvi, whose company prior to this new deal already published one song on his first solo album Pictures At Eleven and all his contributions to 2005's The Mighty ReArranger, says Sony/ATV will be actively pursuing sync and other opportunities for the catalogue. "Mr Plant himself is up for exploitation as long as they are the right kind of syncs, but he's actively encouraging that which is a great opportunity for us," he says.

Concert review: Zeppelin party a fine experience By Rob Hubbard Special to the Pioneer Press Updated: 10/20/2010 12:58:39 PM CDT As legend has it, when guitarist Jimmy Page told Who drummer Keith Moon that he wanted to start a hard rock band built around the blues, Moon replied, "That should go over like a lead zeppelin." But go over it did, with that little London-based blues band becoming one of the iconic rock bands of the '70s, filling stadiums and setting standards for excess that eventually brought about the demise of its drummer, John Bonham, and, consequently, the band. Three years ago, the three surviving members of Led Zeppelin reunited for a London concert with Bonham's son, Jason, manning his dad's old kit. They sounded so good that it's understandable why Bonham the younger craved the possibility of a tour together. But the others declined. However, the drummer decided to go on without them, gathering some musicians expert at Zeppelin covers and heading out on a tour as "Jason Bonham's Led Zeppelin Experience." On Tuesday night, the band performed its first U.S. show at Minneapolis' State Theatre, and it proved to be a fun celebration of Led Zeppelin's music, at its best when it tapped into the bluesy roots of the band's sound. Yes, the big anthemic show stoppers were present "Stairway to Heaven," "Kashmir" but the most exhilarating moments came when the blues were served relatively straight up, as on "The Lemon Song" and "Since I've Been Loving You." The nearly three-hour show wasn't a thrill ride, but instead a fine living history exhibit for boomers who still like to get the Led out now and then. From early on, Bonham made it clear that he saw this tour as an opportunity to sing the praises of his father's life and legacy, perhaps gaining a sense of closure about a loss he suffered at the age of 14. So the audience was shown plenty of home movies of Bonham the elder in his childhood, teen years, and playing with young Jason as an adult. He also showed up for a drum duet with his son on "Moby Dick" and provided the thundering thump beneath "When the Levee Breaks." John Bonham was indeed a legendary drummer who's inspired a couple of generations to take the rhythmic road less traveled, but it did begin to feel a bit odd that the three surviving members received almost no mention. That said, their roles were more than capably filled by the musicians of the "Experience." The standout was guitarist Tony Catania, who delivered Page's licks with all the right off-kilter abandon. But bassist Michael Devin was also exceptional, proving a considerably more showy player than John Paul Jones. While all had ample shoes to fill, vocalist James Dylan may have had the hardest task of all in imitating the distinctive wail of Robert Plant. Alas, he was often buried in the mix in the early going, and grew raspy as the evening went on. But he had the audience to lean on as they unleashed their choral capabilities on the a cappella bridge of "The Ocean" and the balladic beginning of "Over the Hills and Far Away." At such moments, the true spirit of the evening came through: This wasn't about re-creating a Zeppelin concert, but having a party with their music. And it was a pretty fun one.

Thanks Sam. This short excerpt makes my blood boil - repeatedly referring to John Bonham as The Beast:angry: The guy is dead, and it is unfortunate that his family will probably read this. The way it is written is so over-dramatised. I wish Bonzo had punched him .

Thanks George.

Sam, You've read it - you are obviously unimpressed. I had a feeling it would be c**p, so I listed my posting about the book under the LZ Trivia site. Are you able to share anything more with us? The pity is that LZ fans will buy it in their droves.

Hi George C, As a writer, what do you think is the likelihood of an author losing his notes from such an important tour, and then to suddenly discover them 30 years later? IMHO, it is like he is filling up his pension fund. He knows LZ fans will buy it irrespective of the quality. Secondly, I notice from your profile that you say that you have more LZ material on the way. Are you able, at this stage, to expand on that? Thanks

SAJ, You are very welcome. I was happy that your 'mystery' was solved. If only all Zeppelin related 'mysteries' could be solved.

Led Zep Girl, Unfortunately, the imminent release of this book has already been covered elsewhere. It does get very difficult to know what with the size of the site. I have so often put stuff on here, and simply not known if it has already been posted. LOL http://forums.ledzep...re-the-75-tour/

Hi BIGDAN I foresee another case looming at the Employment Tribunal ............

[PS, Oi Connery, your not welcome south of Hadrian's Wall and if you have a few quid to spare I would be happy to rebuild it so as you don't have to darken our Sassenach doorsteps again. BIGDAN the Sassenach, You are in danger of being reported to the Race Relations Board:o :o. I can just see the case citation now "Connery S v BIG DAN the Sassenach." The biggest problem you will have is if Misses BIGDAN is called on your behalf as a character witness P.S. As for the bit about having a few quid to spare, Connery is notoriously tight-fisted, so you will have to apply to some government department for a grant to rebuild Hadrian's Wall. Failing that, go to your local B & Q and buy some cement, bricks .......

Dear Danny the Sassenach (the artist formerly known as BIGDAN) What were you drinking when you wrote this? I am amazed at how you have picked up the Scotch(!) language so quickly. Does Misses BIGDAN know that you are multilingual and also, an expert on international political relations? Will she now have to change her name by Deed Poll to Misses BIGDAN the Sassenach?

Agree with you Magic. I certainly felt sorry for him when he got landed with Heather Mills:rolleyes:. the McCartneys did a good job in bringing up their children, and Linda was taken far, far too soon. At least with Macca's present girlfriend, he knows she's not after his money as she seems to be independently wealthy.

Thanks for the answers MSG, SAJ and Conneyfogle. I wonder who bought the collection at auction.

Thanks Jaygriff:beer:

The Rover, Connery will come up with any excuse so that he doesn't have to appear in person, and run the gauntlet of the press in Spain. He is able to travel to Edinburgh every year to attend the Edinburgh International Film Festival - that's no trouble for him - ill health or not! HIs excuse for not living in Scotland is that he will only return if Scotland becomes independent. He seems to have an excuse for every occasion.

Jerry Hall has stepped into the ring to defend the size of Mick's manhood after Keef claimed in his autobiography Marianne Faithfull said "I Can't Get No Satisfaction" with Mick's 'tiny todger'. http://www.dailymail.co.uk/tvshowbiz/article-1321317/Keiths-just-jealous-Jerry-Hall-springs-Mick-Jaggers-defence-tiny-manhood-jibe.html

Here's a link to today's Mail on Sunday Keef article. It looks like Rolling Stone and The Times bought the official rights to print excerpts from the autobiography. http://www.dailymail.co.uk/tvshowbiz/article-1321268/Keith-Richards-How-I-bedded-Mick-Jagger-s-girl--left-socks-I-fled.html