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.

At the time, she was a performer with a 'big future ahead of her' .

I seemed to recall from years ago that Jimmy had a relationship with warbling chanteuse and Bowie afficiando, Dana Gillespie. So, I searched, and yes, they collaborated (in more ways that one ) on some recordings:- '... Some of her recordings as a teenager fell into the teen pop category, such as the 1966 single "Thank You Boy", produced by Jimmy Page who she also had a relationship with.' Source:- http://community.liv...?thread=1231828 Apparently, he played on the title track of her 1968 album, 'Foolish Seasons'. http://www.youtube.com/watch?v=lYp_vx4HyAE

Is this concert going to go ahead at all? You would think that by this date, there would be more publicity about the event - it's not that far away. I'd prefer it if Jimmy didn't take part - this kind of thing is more like Brian May's territory.

The London Evening Standard gives a great review:- Robert Plant is a king on the country road Joy by name and a joy by nature: Robert Plant By Rick Pearson 03.09.10 If only more musicians would grow old like Robert Plant. Acknowledging that heavy rock is best left to the kids­ (regardless of how brilliant that Led Zeppelin reunion was), the 62-year-old has retired the leather trousers, buttoned up the shirt and embraced the more stately environs of country-rock. His collaboration with Alison Krauss on 2007’s Raising Sands earned him six Grammy Awards and his re-formation of Band of Joy is a similar triumph. The group, which Plant started with Led Zeppelin drummer John Bonham but now includes country singer Patty Griffin and legendary guitarist Buddy Miller, have a self-titled album out later this month and came to the HMV Forum for “our first concert for 43 years in this town”. Plant still stalks the stage with the microphone stand like a man searching for gold with a metal detector but played a convincing country crooner for this two-hour show of highlights old and new. A cover of Richard Thompson’s House of Cards was wrapped in warm harmonies from his all-singing band, while All The King’s Horses was decorated with Darrell Scott’s undulating pedal-steel guitar figures. Elsewhere, Plant strapped on a washboard for the knee-slapping rockabilly of Central Two-O-Nine. Thrilling versions of Gallows Pole and Rock and Roll, however, proved that he could still call on that air-raid siren of a vocal when needed and is choosing the country road by choice rather than necessity. A joy by name and a joy by nature.

Review in today's Sun newspaper:- "LEGENDARY LED ZEPPELIN frontman ROBERT PLANT unveiled his new country/blues/rockabilly outfit BAND OF JOY to 300 UK fans in a disused church on Wednesday night - and I was there to soak it up. Frustratingly, everyone was just getting into it after five songs when he called it a day - save for an a cappella I Bid You Goodnight. The new stuff is a mix of roots music played by expert musicians presided over by Robert, still boasting that mane of curly hair and one of the most versatile voices in the business. Standout tracks were Monkey and Angel Dance. Guitarist BUDDY MILLER delivered breathtaking Nashville sounds and country singer PATTY GRIFFIN's harmonies were gorgeous. The songs won't satisfy old Led Zep fans who crave another reunion - but it's proper, quality music. "

Another review, with video footage:- http://www.beehiveci...of-joy-gig4567/

Steve, I am sure the lads also used to frequent the Golden Lion pub in Fulham. I think the pub has some connection with Zep and their roadies.

I don't know if any of you remember the tragedy of Free's own guitarist, Paul Kossoff - a death which was apparently drugs related. I believe 'Wishing Well' was written with Koss in mind.

Paul Rodgers Says John Bonham's Death Influenced His Decision to Quit Bad Company http://www.spinnermu...d-company-free/ A couple of years after Led Zeppelin drummer John Bonham died a 'Shooting Star' type of death, you left your own band to be with your family. How did his death influence that decision? It influenced me very much. But I was ready for it, anyway. I was ready to come off the road, and I could sense the feeling that we were just flying a little too high and getting a little too crazy, and something had to give along those lines. It happened so many times before -- that was really the inspiration for the song 'Shooting Star.' John was such a lovely guy. It was such a sad thing to lose him as a friend and for the world to lose such an amazing talent. Because I do think he was probably one of the greatest rock 'n' roll drummers that ever lived. So it was really a blow. And it was a harsh taste of reality. So I decided I needed some time to live some life. But I never ever got very far away from music. I built a studio in the house and just continued recording. And before I knew it, Jimmy was coming around, and we were writing songs, the Firm was born and we were back on the road again.

Dandu, I have an update to my earlier post. This evening (Saturday), I subscribed to the Sunday Times for their 24 hour access deal in order to watch the video which accompanies the Sunday Times 22/08 interview. The end of the online magazine has been amended by the ST to show that the book is indeed £445, and amongst the online comments, one of their staff has apologised for the error. There are, however, some comments from highly displeased fans who had contacted the ST in the belief that they would get the book at the lower price. BTW, I have put a transcript of Jimmy's video interview on the thread about the ST article.

Thanks, It makes sense. The band used to frequent that particular pub. Also, the Swan Song office was down that end of the King's Road.

Zedlep, Thanks for sharing this experience with us. It's like a dream come true . Which pub was it? What time of the day was it?

Steve, you are an amazing collector and archivist. Perhaps, if you go ahead with the purchase, you would be kind enough to share the details of the item with us here.

Dandu, I put the text of the Sunday Times interview on the 'News' forum yesterday afternoon. At the end of the article, the following was stated:- "The book Jimmy Page (Genesis Publications, Pounds 395) is published in September in a signed limited edition of 2,500. It is available, with free p&p, at The Sunday Times Bookshop. Tel: 0845 2712 135". I then expressed my concern for people who had already ordered some months ago and had paid postage and packaging charges. I have tried to find the book in the online Times book section, but it seems to only feature the likes of the George Case book. I am not certain, but I suspect that to get access to the Sunday Times Bookshop referred to above, you may have to subscribe to their site. I know that if you want access to the video of the Sunday Times interview, you have to subscribe. Or perhaps you have to order using the phone number which was given.

With Jimmy's rate of progress, he should ask for his job back with Red E Lewis and the Redcaps

Here is a Times UK article written after the sale was withdrawn. I have included it here because, although it covers rockers' art acquisitions in general, it talks about Jimmy as a collector. A rocker's best friend is his dealer The Times (London); Aug 17, 2010; Stephen Dalton; p. 51 Full Text: (Copyright © Times Newspapers Limited 2010) The long love affair between rock music and visual art has taken a bizarre twist with news that the Led Zeppelin guitarist Jimmy Page may have given four early sketches by the Pre-Raphaelite artist John Everett Millais to his late aide and chauffeur, Rick Hobbs. Now the sketches have been withdrawn from auction at late notice, possibly after Page himself intervened -- only deepening the mystery. It would come as no great surprise if Page turns out to be the source of the Millais sketches. The rocker has long been known as a cultured man of letters and keen collector of Victoriana. In addition, Millais himself was something of a rock-star figure in the 19th-century art scene, partly for his groundbreaking treatment of social and religious subjects, but chiefly for his adulterous love affair with the critic John Ruskin's wife Effie, whom he later married. More striking is just how prominent the relationship between pop fame and art has become since Page's stadium rocking heyday, with galleries and auction houses wooing the pop pound in these lean economic times. The salerooms of London and New York no longer attract just the mega-rich Old Masters of rock but a younger generation of pop performers including Kylie Minogue, Geri Halliwell, Alison Goldfrapp, Matt Bellamy of Muse and more. Robbie Williams has reportedly bought several Warhols, while Noel and Liam Gallagher have snapped up silkscreen prints by the former Beatles favourite Peter Blake. America's royal couple of pop, Jay-Z and Beyonce, have also amassed a large private collection including works by Damien Hirst and Richard Prince. Privately, some gallery owners and art-world insiders dismiss celebrity collectors as shallow dilettantes with more money than sense. But to write off these famous clients as philistines is to misunderstand the long kinship between rock and art, which have been engaged in a mutual exchange of glamour and gravitas ever since Tommy Steele bought his first Lowry. Given British pop's artschool tradition, from Page and his 1960s peers John Lennon and Pete Townshend, to Pulp and Franz Ferdinand, it makes sense that many musicians return to their first love when the royalty cheques start rolling in. "There's no reason why one would hold them in any less regard because of what they do," says Sam Chatterton Dickson of the Haunch of Venison gallery in London. "One often finds rock stars have come from an art background -- Bryan Ferry famously went to art school. Brian Eno is a very highly educated and very erudite guy and is a visual artist himself." Ferry is certainly one of British rock's most prominent collectors. The suave singer studied at Newcastle University under the Pop Art pioneer Richard Hamilton, and his band Roxy Music were something of a Pop Art statement themselves.Yet it was to an earlier chapter of art history that Ferry turned when he began making serious money in the mid 1970s. In keeping with his impeccably dressed 1930s playboy image, Ferry favours British art from the high Modernist period, including Bloomsbury group associates Vanessa Bell, Duncan Grant and Percy Wyndham Lewis. He also owns an extensive selection of Victorian portraits, including a Sickert. In Junethisyear,thedapper crooner exhibited his collection in London, but confessed he longer buys much art because "I've run out of walls." Other prolific collectors include EltonJohn, who owns canvases byMagritte, Picasso, Warhol and more. He also has a work by the former Clash bassist Paul Simonon, Bacon & Egg, given to him by Lilly Allen. "I'm very into my art," said Allen at the time, "I wish I could paint but I'm rubbish." Madonna collects modern and Surrealist art, paying $1 million in 1987 for Fernand Leger's Les Deux Bicyclettes. She has since acquired about 300 pictures, including works by Picasso, Salvador Dali, Tamara de Lempicka, Man Ray, Cindy Sherman and two by Frida Kahlo. The singer's public obsession with Kahlo has been credited with boosting the profile of the proto-feminist Mexican icon -- and, by extension, the value of her own investment. Perhaps a more surprising art lover is Lars Ulrich, the drummer with the thrash-metal titans Metallica. Partly because of his Danish roots, Ulrich was initially drawn to the CoBrA group, a neo-primitive collective who worked in Copenhagen, Brussels and Amsterdam in the early 1950s. This led him to more contemporary work in a similar neo-Expressionist vein, notably a prized piece by Jean-Michel Basquiat. Ulrich once compared the joy of contemplating his private collection to "hanging out backstage with Kid Rock". But when marriage and fatherhood loomed, the drummer fell out of love withart,selling three-quarters of his collection at Christie's in 2002 for a multimillion-pound payday. "Collecting is not about the trophy on the wall," he explained, "it is about the journey." Many musicians are not just collectors but visual artists themselves. When not curating his personal gallery, which stretches from Rubens and Tintoretto to rising stars, David Bowie is a keen painter and board member of Modern Painters magazine. David Byrne straddles the line between multimedia artist and collector, and is in a relationship with the visual artist Cindy Sherman. Bob Dylan, Rolling Stone Ronnie Wood, U2 singer Bono and former Stone Roses guitarist John Squire have all taken up the brushes. Brian Eno has long blurred the line between sound and vision, most recently in his audiovisual installation, 77 Million Paintings. Some pop stars have graduated from collectors to patrons of the arts. In the 1970s, the Rolling Stones enlisted Andy Warhol to design their Sticky Fingers album cover. In the 1990s, when Britpop and the YBAs became bedfellows, Blur commissioned a video from Damien Hirst and an album cover from Julian Opie. Madonna and Nick Cave have both presented the Turner Prize, while Madge's most recent hits collection featured sleeve graphics by the street artist and Banksy protege Thierry Guetta. Christina Aguilera is also a fan of Banksy and British graffiti art, commissioning the London-based Dean "D*Face" Stockton to paint the cover for Bionic. As in all romances, the relationship between pop and art has had its rocky patches. But much like Jimmy Page's fondness for the Pre-Raphaelites, it is grounded in a whole lotta love, too. "Some gallery owners dismiss celebrity collectors as shallow dilettantes" Credit: Stephen Dalton