I thought he looked fantastic - like he is really enjoying himself these days.

Only if you are well behaved, Steve. Santa knows who has been good or bad.

Robert on the NBC Today show - still charming the ladies Source:- Rex Features

I disagree - you took the same attitude to a posting I had made the previous day on the photo forum. As I said, stop commenting on my postings, and then both parties will be happier. I have put you on 'ignore'. And btw, I personally think nothing about you and your post either. Should you wish to carry the matter on, I shall take it up with the moderator.

Alice 75, Would you do me a favour and stop commenting on my postings. When I make a posting, I do so for the benefit of all members, not just you. I do not claim that the photograph has not been shown elsewhere before. It is the first time that I have seen it, and this may be the case for other members. And, yes, I am aware of the friendship between Ms Martin and Ginger Baker's family, thank you.

This link is to the site of Miss Louah who has the most amazing collection of photos. I was particularly interested in the one of Charlotte with Eric Clapton as it looks like it was taken in recent years. Some of you may have seen it before, I certainly had not. http://misslouah.tumblr.com/tagged/charlotte_martin#803478877

Source: - Digital Spy Rare Jimi Hendrix tracks to be released Tuesday, September 14 2010, 13:55 BST By Greg Ptolomey Rex FeaturesLive and unreleased Jimi Hendrix songs will be heard for the first time, it has been announced. A boxset titled West Coast Seattle Boy - The Jimi Hendrix Anthology will be available on November 15. Live tracks, demos and alternative takes of Hendrix tracks are spread across four CDs, with one disc dedicated to cover versions of songs by the likes of Little Richard and The Isley Brothers. The set will also include a DVD of a documentary called Jimi Hendrix: Voodoo Child about the life of the rock star, who died nearly 40 years ago at the age of 27. The release of a single - an alternative take of 'Love Or Confusion' - will precede the boxset with a September 27 release.

Source: www.expressnightout.com A Joyful Noise: Robert Plant, 'Band of Joy' In the mid 1960s, before he met Jimmy Page and formed the New Yardbirds, which eventually rechristened itself Led Zeppelin, Robert Plant spent a brief tenure in a group called the Band of Joy. It went through various line-up changes from 1965 through 1967, but the most notable was the one that paired Plant with future Zep drummer John Bonham. It's a footnote in Page's career, yet more than 40 years later, Plant has revived the Band of Joy moniker for a 2010 tour as well as for his latest solo album. He hasn't, however, revived the band's sound. Rather than turning out blues-rock and soul from the 1960s, Plant continues to dabble in the retooled Americana that worked so well for him on his last album, 2007's "Raising Sand." That Grammy-winning effort paired him with violinist Alison Krauss of the bluegrass-pop outfit Union Station, whose soft, ageless voice complemented his weathered tenor beautifully. Krauss is sadly absent on "Band of Joy," but Plant has corralled an impressive roster of guest musicians and collaborators, including Buddy Miller, ace guitarist Darrell Scott and Patty Griffin. The album picks up around where "Rising Sand" left off, but sounds more expansive in its view of Americana. Plant seizes on Southern folk, Appalachian balladry, rockabilly, country, Anglo-Saxon folk, even contemporary indie rock. He covers Los Lobos, Richard Thompson, Townes Van Zandt, R&B singer Barbara Lynn and Low. This diversity is the album's whole point, and "Band of Joy" manages to sound cohesive in its disarray: The apocalyptic drone of Low's "Silver Rider" complements the old-time country song "Satan, Your Kingdom Must Come Down," here rendered as a spidery acoustic haunt. Plant turns Lynn's "You Can't Buy My Love" into a rambunctiously electrified romp, then pairs it with the Kelly Brothers' bluesy lament "Falling in Love Again." The back-to-back sequencing sets the musical and thematic differences in sharp relief, like they were always meant to be together. Unlike Led Zeppelin, who melded American blues and Celtic thunder, Plant's take on these distinctly American styles isn't transformative, but largely reverent; he's not trying to reinvent them, but to find the common ground between them in a genially rambling groove. On "Cindy I'll Marry You Someday" and "Satan Your Kingdom Must Come Down," the tone grows showily, cinematically stark, as if he's scoring a movie. Plant has a tendency to whitewash styles, to buff away their rhythmic idiosyncrasies until they all serve the same atmospheric ends, but that only serves to locate "Band of Joy" squarely in the 21st century post-"Raising Sand," post-"O Brother Where Art Thou?" What enlivens the album even when the music threatens to congeal is Plant's inimitable voice, which has aged gracefully and lost little of its dexterity. Unlike most singers associated with British metal in the 1970s, Plant has nuance and subtlety to match his power and range. So he can sing a country lament like Van Zandt's "Harm's Swift Way" as persuasively as he can deliver an airy 19th-century poem like closer "Even This Shall Pass Away." Even when "Band of Joy" missteps, Plant still sounds wholly invested in the material, as if this project has been motivated by a deep love of old music. Despite the title, the album is not a return, but a continuation of a new and unlikely chapter in a legendary career. Written by Express contributor Stephen M. Deusner Photo by Gregg Delman Posted By Express at 12:00 AM on September 14, 2010

Alice 75, I did not say or imply in my posting that the site was 'new'. I said 'remember' as a reminder to members who may have forgotten about the site.

I've attached herewith a photo of Charlotte which I've never seen before. Looks like the 60's. Remember there's a good selection of photos of Charlotte, Scarlet, Patricia Ecker, Jimena and indeed, the LZ members on www.fanpix.net. Photograph copyright: C Martin

Steve, this may be off topic for the photo forum, but talking about Jimmy in Brazil, brought a couple of things to mind. Apologies if you are already aware of these. http://www.guardian.co.uk/travel/2003/jan/26/brazil.observerescapesection - Howard Marks talks about meeting Jimmy in Brazil. http://www.abctrust.org.uk/documents/Annual_Review.pdf The Copacabana Palace Hotel is mentioned in the ABC Trust's Annual Review as a supporting organisation.

Acclaimed singer and songwriter Rosanne Cash accepted the award for “Album of the Year” for her most recent recording The List at the 2010 Americana Honors & Awards Show last night. The ceremony, attended by Emmylou Harris, Robert Plant, Jack White, Lucinda Williams, Mary Chapin Carpenter, and many other luminaries, was held at the fabled Ryman Auditorium in Nashville. Cash performed the Bobbie Gentry classic “Ode to Billie Joe” and presented John Mellencamp, the 2010 Lifetime Recipient for Songwriting honoree, with his award. http://hangout.altsounds.com/news/121900-rosanne-cash-the-list-wins-album-of-the-year-at-americana-awards.html

Review from www.musicOMH.com Robert Plant - Band Of Joy (Decca) UK release date: 13 September 2010 by Andrew Burgess Robert Plant's post-Led Zeppelin musical journey has been consistently difficult to categorise. No longer backed by Page, Bonham, and Jones, Plant surrounds himself with musicians from every ilk, and takes on musical styles that range wide and far. On Band Of Joy, his first release since 2007's Grammy-winning roots rock collaboration with Alison Krauss, Plant revisits the approach of his old band - no, not Zeppelin - and leads his new group through swampy musical territory that is at turns brooding, swooning, and raucous. Plant originally formed Band Of Joy with drummer John Bonham in 1967 before taking on Jimmy Page to form The New Yardbirds and, eventually, Led Zeppelin. Plant's new album borrows his old band's name, and it also re-invigourates the old sort of teen-age approach to creating music. Of the new album, Plant has said: "In the Band of Joy, when I was seventeen, I was playing everybody else's stuff and moving it around, and it's kind of...time to reinvoke that attitude and sentiment." For Band Of Joy, Plant recruited Raising Sand band-mate Buddy Miller to co-produce. As for the band, he's got an expert cast around him, and together they weave from sound to sound, teasing out surf-rock nuances here, and leaning back into Appalachian subtlety there. Multi-instrumentalist Darrell Scott plays guitar, mandolin, lap steel, and banjo; Byron House plays bass; and Marco Giovino provides multi-layered percussion. Most impressive, though, is country singer-songwriter Patty Griffin, who plays the part of Plant's vocal counterpoint stunningly. While his appearance - his face surrounded as it is by telltale cascades of blonde-gray curls - may be looking a bit road-wearied and hardened by long-running rock 'n' roll decades, Plant's voice sounds transported from Zeppelin's heyday. Perhaps his application of his ability to hit the high notes has gotten a bit more judicious in his older, perhaps wiser, age, but Plant has not allowed his tenor to be ground into gravel after years of use and abuse. The album opens with the stunning first single, Angel Dance, a reimagining of a song by Los Lobos. Appalachian hill stomping meets Middle Eastern tonality to crushing effect, whilst Plant groans and invokes angels, revealing his vocal prowess from the outset. House Of Cards sounds like it could well be a leftover from the Raising Sand sessions with Griffin more than filling in for Krauss; indeed, her vocal harmony makes the song, lending it emotion and immediacy. Central Two-O-Nine is a jangling Appalachian travelling song complete with chain-gang background vocals and minor-key mandolin-banjo interplay. You Can't Buy Me Love is an electrified, blues-driven rave-up that smacks of early '60s pop, right down to the frantic surf-rock guitar solo. Country-gospel vocals and Scott's braying pedal steel cast the Kelly Brothers soul classic Falling In Love Again in a backwoods church feel - in a good way. Band Of Joy is an excellent follow-up to Raising Sand. Where its predecessor found Plant operating in a finely-tuned genre, Band Of Joy gives him an opportunity to explore his influences, and to colour a few choice odds and ends from the rock 'n' roll canon with his indelible mark. The closer, Even This Shall Pass Away, drops the curtain with a raw combination of pounding, funky drums and squalling electric guitar. The whole thing is joyously muddy, but when the instruments drop out to let Plant wail the refrain alone, the effect can only be described as mystical.

I found this article in the UK's Daily Mail of 5 June 2007, obviously referring to Jimmy's previous home, which he seemed to be selling in something of a hurry! "As the guitarist of Led Zeppelin, he has built up a £70 million fortune, but it seems Jimmy Page is less talented at making money from property. The 63-year-old musician is selling his magnificent eight-bedroom country pile, Fen Place Mill, near East Grinstead, West Sussex, for £2.8 million. It includes two tennis courts, stables and three lakes set in 123 acres. But given that he bought the house for £2 million four years ago, since when estate agents say average prices in Sussex have risen by 11 per cent a year ?Page may be angling for a quick sale. It should It should be worth well over £3 million by now, I am told." " Read more: http://www.dailymail...l#ixzz0zFloiSVa

Review from the UK's Mirror newspaper www.mirror.co.uk Robert Plant - Band Of Joy: CD of the week By Gavin Martin on Sep 10, 10 12:00 AM in Music <BR itxtvisited="1">4/5 Jimmy Page found it inexplicable that Robert Plant decided not to continue with the eagerly anticipated Led Zeppelin reunion. But the triumphant Band Of Joy clearly shows why Plant chose to opt out of a Zep comeback. The follow-up to Plant's three million-selling Raising Sands liaison with Alison Krauss, Band Of Joy is a bejewelled landmark in the course of a solo career that's been twice as long as Zeppelin's original lifespan and has been marked by the frontman's tireless energy and curiosity. This record's female vocal foil, the terrific Patty Griffin, is a harmony rather than duet partner, but her vocals have an awesome, ghost-like effect. The Americana setting of the previous album provides a starting point here for wider, more complex emotional discoveries. The singing is both intense and tender, with the lightness of touch learned from Krauss well to the fore. Scathing psychedelia, baleful folkie rumination, banjo, fiddle and pedal steel-laced country meet meditative barbed wire rock, shimmering with light and shade. Non-original tunes by Los Lobos, obscure 60s soul sides and two songs from contemporary Minnesota Mormon band Low are reimagined with verve and panache. Nashville hotshot producer Buddy Miller has assembled exemplary musicians, but they never sound like session players. This is a fully-fledged band with Plant at its centre. At either end of the album, Richard Thompson's unforgiving House Of Cards and the traditional Satan Your Kingdom Must Come Down are fiery spiritual rebukes. The latter, an antique mountain gospel song with deathly drum rolls and ominous electric guitar, summons an acoustic Zeppelin-like atmosphere. But Plant finds a steely contemplation that Zep's battleground never would allow. By walking away from the big stage, Plant has found a way to honour all his fascinations and he's created a masterpiece in the process. <BR itxtvisited="1">

Ross has posted the 3D cover of Jimmy in Guitar World, together with two inside pages, on his diary (10 September posting). I don't know if it is because they are in 3D, but I can't get them copied over to here.

Steve, Can't help you with an accurate translation - I always use Google Translate, as I am sure you do too. I think there is a Brazil based member on here Brspled (?) who you could contact directly. With regard to the photo, I looked for information about Jim Capaldi and his widow, Aninha Capaldi and have copied a Wikipedia entry here from which you might be able to deduce the date. The taller girl in the photo is Scarlet, so the other girl will be the Capaldis' child. It all depends on how old you think the kid looks - 3 or 4? "...He married Brazilian-born Aninha in 1975 and in 1976 toured with his band Space Cadets before moving to Brazil in 1977. His daughters Tabitha and Tallulah were born in 1977 and 1979, respectively. The Capaldis lived in the Bahia region of Brazil until the beginning of 1980 and while there he became heavily involved with environmental issues. The track "Favella Music" on his 1981 album Let The Thunder Cry arose from his love of Brazil and he worked with several Brazilian composers." Source: Wikipedia Aninha Capaldi is on a social website where you could send her a carefully worded message asking if she could clarify details for your Zeppelin collection. Mrs Capaldi seems to still be friendly with Charlotte Martin. Good luck

Agree totally with you, Chimp. I've said several times before on this site that JP needs a lyricist - you only have to listen to the lyrics for 'Tangerine' to realise that lyrics aren't Jimmy's strong point. PR incorporated Free material when he was doing his stint with Queen. It would be great to hear Jimmy playing guitar on both Free and Bad Co numbers because IMO he is a far better guitarist than both bands' own axemen.

Anything that would get Jimmy back on a stage (with the exception of that 'Peace' concert which hopefully will never happen)

I understand your point. I saw a couple of photos of him on Flickr some time ago (seem to have disappeared since then). One showed him walking some distance from his London home, and the other showed him getting into a taxi he hailed down. He had a trolley suitcase with him in both. I'm not sure if anyone on this site would know what the situation is regarding his support staff - he's bound to have some. I assume a car and driver are hired for more formal occasions, likewise if he needs security for a particular scenario.

This reviewer obviously isn't impressed. Band of Joy Robert Plant's 'Band of Joy' is decrepit return to time before Led Zeppelin Jim Farber Tuesday, September 7th 2010, 4:00 AM Gregg DelmanRobert Plant's 'Band of Joy' returns to his roots, before he joined the band that made him famous, Led Zeppelin. HORobert Plant's 'Band of Joy' takes its name from the Led Zeppelin front man's band before the one that made him famous. Overview Plant never looks back. Since the downing of Led Zeppelin in 1979, he's gone out of his way to distance himself from any exploitation of the great band's legacy. His solo albums moved to their own beat. He rebuffed all the entreaties of Jimmy Page to tour widely under the Zep banner after their one-off reunion show two years ago. And he surprised the world with 2008's joint album with American bluegrass artist Alison Krauss, which somehow sold millions and grabbed Grammys while pushing music of quiet desperation. Even when Plant did reunite with Page, for a full tour and album in the '90s, he made sure they snubbed the Zep brand and greatly switched up the old songs' sound. Now the star has pulled his sneakiest joke on the past yet. Plant titled his new album "Band of Joy," after the band he played in just before Zeppelin. That group, which also included Led drummer John Bonham, never recorded an album, but through the miracle of YouTube, you can still hear tantalizing bits of its sound. That's how we know it bears absolutely no relation to the "Band of Joy" heard here. The original Joy, circa 1966-7, played a form of psychedelic blues not far removed from early Zep. This "Band" sounds quieter, slower and much more American. It's not that far removed from what Plant did with Krauss. It even shares a key musician from that CD: Buddy Miller, who produced the disk. On several songs, "Joy" features Patti Griffin subbing where Krauss might have sung on their joint work. The new CD stresses cover songs; that may be its closest connection to the original Joy, which offered roiling rethinks of songs like Jimi Hendrix's "Hey Joe." There's just one original piece here, "Central Two-O-Nine," but it fits the rural U.S. folk-blues vibe of everything else. Traditional touchstones range from "Cindy I'll Marry You Someday" to the country-blues "Satan, Your Kingdom Must Come Down." There's also a Richard Thompson song, "House of Cards," which reasserts Plant's love of Brit-folk, going back to "The Battle of Evermore," a song he cut with Thompson's old bandmate Sandy Denny. Unfortunately, anyone looking for shimmering folk power of that kind will feel let down. Unlike Plant's CD with Krauss, "Joy" never finds a coherent vibe. The production lacks definition, the arrangements meander rather than probe. Exceptions can be found. There's poetry and ache in the cover of Townes Van Zant's "Harm's Swift Way." And the finale "Even This Shall Pass Away" finds the individual zest the rest lacks, with Plant's quavering voice and spooky percussion. In the rest, Plant clearly meant to reinvent Joy's openness and youth. How sad that the result just sounds museumy and old. Source:- http://www.nydailyne...r=entertainment

Would you share the photograph with us on this site please?

Yet another Robert interview posted online today from Louisiana based site:- http://www.dailycomet.com/article/20100906/ENTERTAINMENT/100909793/1275?Title=With-a-nod-to-his-past-Plant-moves-on-again

Review from the Financial Times:- Robert Plant and the Band of Joy, London By Ludovic Hunter-Tilney Published: September 5 2010 17:53 | Last updated: September 5 2010 17:53 How many of the great names from rock's late 1960s/early 1970s golden age still have their mojo? How many are still making good music? I can think of only two. One is Bob Dylan. The other is Robert Plant. The Led Zeppelin frontman is 62; paunchier than in his prime, face creased with lines, but with the same luxuriant tumble of hair. At the Forum he resembled a shaggy mammoth gently swaying to some potent prehistoric groove. Except this wasn't Led Zep's dawn-of-time heavy rock. Instead banjo, pedal steel guitar, double bass and songs about Jesus pointed in an even more venerable direction: to old-fashioned country music and rockabilly. Plant's last solo LP, Raising Sand, winner of Grammy album of the year in 2009, was a collaboration with bluegrass singer Alison Krauss. His new album, Band of Joy, out next week, continues the Americana theme, with equally rewarding results. It teams him with the Nashville-based country veteran Buddy Miller and country singer Patty Griffin, both of whom joined him on stage at the Forum.Band of Joy was the name of Plant's first band, a psychedelic outfit he formed with John Bonham before both joined Led Zeppelin in 1968. This new incarnation neatly melds Plant's blues-rock past with his interest in the wider world of US roots music. The set's two-hour tour of new songs, gospel covers, Plant's solo material and Led Zeppelin numbers wasn't completely smooth. Griffin's vocals were too low in the mix and the chemistry between her and Plant sparked infrequently, as on "Central Two-O-Nine", a Lightnin' Hopkins song rearranged for banjo. That chemistry will surely come with more time on stage together, for Plant and his Band of Joy otherwise clicked impressively. Miller on guitar brought a roadhouse stomp to the songs, bridging the worlds of hard rock and classic Americana with distorted twangs, swampy blues riffs and no-nonsense solos. Daryl Scott on steel guitar and banjo added country touches as deftly as a landscape painter. Plant's vocals have grown furry with time, but also warmer. His smile after delivering an "amen" in a rumbling cover of the gospel song "Twelve Gates to the City" suggested ironic distance from the material's religiosity, but he sang with passion and commitment. Led Zep songs fitted seamlessly in the set. The banjo part in "Gallows Pole" traced connections between English and Appalachian folk, while "Rock and Roll" was transformed into electrifying rockabilly: a rousing conclusion to the set. Plant's refusal to tour with Led Zeppelin after their one-off 2007 concert frustrated many, but he was right to do so. One of the last still-glowing links with rock's golden age isn't ready for the museum yet. () Copyright The Financial Times Limited 2010.