DAMN! There are far too many R.I.P.'s having to be said recently. Joe Morello was a damn fine drummer and a major part of one of the finest and swingingest and INFLUENTIAL jazz quartets ever: The Dave Brubeck Quartet. Dave Brubeck on piano, Paul Desmond on alto saxophone, Eugene Wright on bass and Joe Morello on drums. You cannot overstate what an impact the "Time Out" album made, with tracks like "Blue Rondo a la Turk", "Three to Get Ready" and of course, the immortal "Take Five" with Joe's great solo. Look him up, google him, search youtube...whatever you kids do today...but if you've never heard the man, you need to get hip to one of the great drummers of the time. Alas, another good one bites the dust. Rest in Peace Mr. Morello.

I can't drink at the moment, but this definitely calls for a toast...well done! Good sleuthing on your part!

C'mon Ev...pull through...fight...you have the hammer of the gods within you!

That would be great if that really happened, but if my memory is correct, I do not recall seeing more than one mic on Bonham's kick drum at the 1977 LA Forum gigs I went to, and presumedly one of the signs that a show was multi-tracked is the presence of two or more mics on the kick-drum. Agree with the others about wanting a SBD of the June 22, 1977 Forum gig above the other 1977 Forum shows. Among the Zeppelin treats I bought during my latest swap meet visit was "Second Night At the Forum" put out by the Scorpio label...even though it's not as good an audience recording as Millard's, it's still a good show and much better than Luis Rey lets on in his books. In fact, the OTHAFA guitar solo sounds closer to the fuzzed-out-spaceyness that I remember than even the Mike Millard recordings, which come across a little too clean for some reason. I don't get the hype about the Landover SBDs...I got the May 26, 77 "Bringing the House Down" and after listening to it once have had no desire to ever listen to it again. So, my wish list for Soundboards remains: Anything 1968-1973, especially the "BEARD ERA". Early 1975, when they were doing Wanton Song, Levee and HMMT. The marathon Seattle 75 show and March 12, 75, the second, and BEST of the Long Beach(if not the whole Southern California swing) shows. June 22, 1977 LA Forum. The 1979 Copenhagen warm-ups.

Poor Evster. Hope everything turns out okay...will send positive vibes his way. Someone mentioned he's in LA, so if someone can pm me what hospital he's at, I could pop in to cheer him up.

"8/4/1967 "The Last Time"/"Under My Thumb" Rolling Stones, The Track 604006" Are you sure about this? I'm not questioning the tracks, but the date seems to be off. I thought it was 1965 that the Stones recorded Last Time? Or was this one of those Andrew Loog Oldham Orchestral versions? I also seem to recall the Who recording versions of Last Time & Under My Thumb in 1967 in support of Mick & Keef's drug charges. Might it be The Who's versions that Pagey played on? Anyway, besides all that, the above list is quite impressive...and I've only got about 2/3 of it...still tons for me to get a hold of.

Wonder if he'll make another visit to one of those Japanese Zeppelin bootleg shops for another haul of goodies?

And the wheel(of destruction) rolls on. Fillmore East...Winterland...Boston Garden...The Fabulous Forum...lots of historic venues are disappearing. And now Cobo Hall. As if Detroit hasn't suffered enough. As a devoted reader of Creem from the magazine's inception 'til its demise in the 80's, I knew about Cobo and the importance of the place as a music venue. I'm glad to see Susan Whitall is still writing, as she wrote one of the all-time classic Zeppelin articles in Creem back in 1979...one that SHOULD have been anthologized in that Creem book a few years ago, but wasn't.

Are you talking about cds or dvds?

Appreciate the replies everyone. Thanks. Just curious...what version do you mostly listen to: studio or live? And if live, what particular live version is your favourite?

Awwww, feather in the wind: KEEP HOPE ALIVE! Yeah, it's been frustrating lately...but I refuse to give up hope that Pagey has at least one more trick up his sleeve. And as for the guy who said...no, I'm not even going to dignify his lame-ass comment by responding.

Excellent work everyone who posted these photos! Muchas gracias! :cheer:

Ohhhhh yeeeaaaahhhhhh! This would be incredible...I am praying it happens. I've heard the Lips cover Song Remains the Same and Kashmir and their song "Are You A Hypnotist?" from the Yoshimi album has one of the best Bonham-esque beats I've ever heard.

Awesome stuff dude! Thanks for posting One of the unexpected side benefits to the 2003 DVD project is the wealth of 8mm footage that has popped up on the band's website, in best possible sound and video quality. Now people can see for themselves that nobody, no one, no way no how, moved on stage like Jimmy Page in his prime.

There are 3 different versions of the song Von by the Icelandic band Sigur Rós...this one is the version I like best...unfortunately, the person who posted this video synched the acoustic video to the live audio, so you don't get to see Jonsi bow the guitar...but it still sounds great.

He wasn't saying it was "uncool" to say you didn't like Stairway, he was saying that it is considered "uncool" to admit that you like Stairway. That was the point I was making in my post...that years and years of acting embarrassed by Stairway because of the aspersions cast on it by the post-punk crowd has made it seem uncool to like the song. So I was merely trying to say to those of us who have always loved the song, but felt the societal pressure not to admit it, that it is time to cast of the shackles and proudly own up to our love of Stairway to Heaven. That there is no need to feel shame or feel uncool or unhip just because you like the song. As for classic rock radio, yes it didn't help that they played it incessantly...but then, that is why I stopped listening to most rock radio back in the 80's. So for me, Stairway wasn't beaten into the ground as it was I who controlled when and where I heard the song.

40 years ago today an epically historic moment in music occurred. For it was on March 5, 1971 in Belfast, Ireland that STAIRWAY TO HEAVEN was performed for the FIRST time in concert. So although the recorded studio version wouldn't make it's debut until November of that year with the release of Led Zeppelin IV, or Rune album, 4 symbols, greatest hard rock record ever...whatever name you prefer...I like to think of March 5 being Stairway's birthday. And in honor of its 40th birthday, I would like to pay proper tribute to the song and the impact it had and hopefully rectify some of the insidious revisionism that has festered over the past 20 years or so. That's right...I am here to proclaim loudly and unashamedly: I LOVE STAIRWAY TO HEAVEN! Unironically and unconditionally. And you should too. Sadly, in the years since Zeppelin ended, there has been a movement afoot to denigrate Stairway. The post-punk, post-modern, post-ironic crowd love to dismiss it as some hippy-dippy relic and because of its ubiquitousness on the radio, even Zeppelin fans started to belittle the song. It became fashionable among Zepheads to say that only newbies or poseurs liked Stairway. If you were a true fan you liked Kashmir or Achilles but never Stairway. Well fuck that Jack. I say let your freak flag fly and openly proclaim your love for Stairway. Maybe it's because I am old enough to remember a time when there wasn't a Stairway to Heaven...when the song most associated with Led Zeppelin was Whole Lotta Love. Just imagine what it must have been like 40 years ago to be in that audience in Belfast and to experience Stairway for the first time. As one who is half-Irish himself, it warms my shamrocks that Ireland was awarded the privilege of hearing Stairway first among the world. The next night on the 6th of March, the band played Dublin. That is what makes those 1971 concerts so amazing, apart from the Four Horsemen of the Apocalypse impact of the band's playing...you get to hear Stairway in concert for the only tour where it was an unknown entity. 1971 is the only year where the beginning of the song isn't immediately met with a rush of cheers. You actually can hear the start of the song and feel the hush of the audience. And the qietness of the audience as it settles in to listen to this unfamiliar song only makes the rapturous response at the song's conclusion that much more a testament to Stairway to Heaven's immediate impact on the public. Listen to just about any bootleg from 1971...Los Angeles...Berkeley...the effect is dramatic. People really FELT this song. I was too young to see Zep in 1971...had to wait until '72...but I still recall how GOBSMACKED I was later that year when I first heard the song on the radio and then when I got the record. There's a reason Stairway became so popular immediately upon release. It was truly mesmerizing...hypnotic...EPIC!!! This was no fluke, no accident, and certainly no hype. People responded because the song touched their hearts...their souls. Plus it just SOUNDED AMAZING! It sounds weird but it was the kind of song that you didn't know you wanted to hear until you actually heard it. Then, it was like, YES!, THIS is what I have been wanting to hear all my life. Sure, there had been long...even what you could call "epic" songs before Stairway. Day in the Life and Hey Jude by the Beatles. Sad Eyed Lady of the Lowlands by Dylan. Midnight Rambler by the Stones. In-a-Gadda-da-Vida by Iron Butterfly. Allman Brothers...Grateful Dead, etc. etc. But none of those songs, as great as some of them are, did what Stairway achieved. Most of those other songs were in the same tempo or mined one style of music over its duration. What Stairway achieved was a melding of all sorts of disparate musical elements into a unified whole, while also slowly and almost imperceptibly increasing momentum and intensity along the way. There is the hushed, delicate folky beginning of just acoustic guitar and recorder. Then the ambient pastoral middle passage, with Jimmy's chiming guitars and JPJ's keyboards melding into a shimmering hum. Bonzo's drums enter to pick up the pace the song starts to rock and provide a framework to hang the guitar solo on. And what a guitar solo!!! Not for nothing is it still the solo by which other solos are measured, with its storming the Gates of Valhalla beginning...the impeccable construction as Jimmy climbs that stairway...the yearning call and response of the second section...and of course, those finger vibratos from god...all with that glorious Fender Telecaster tone...all in just over a minute. Next thing you know the song has turned into a headbanger with Bonham's drums cascading around your head and the band driving the song to its smashing conclusion as Plant gives a performance of the ages. And after that blast of fury a sudden return to the graceful calm of the beginning as the song whispers to a close. That is what is what makes the song so effective and memorable to this day...its movement and propulsion. The song takes you on a journey...you feel you are going somewhere but at the same time it lulls you into a sense of calm so that by the end you find yourself surprised that you're banging your head. Freebird by Lynyrd Skynyrd is one of those songs that came in the wake of Stairway to Heaven. But you notice right away the change in tempo when the guitar solo starts in Freebird...you say to yourself, "ah here's the rocking part." Stairway works it's magic more subtly...its much more layered and textured than most songs of its kind. Gradually it builds a head of steam as the listener is propelled along with the song and ultimately borne aloft. And how about Robert Plant. Simply an incredible and magnetic performance. And I don't find the lyrics as bad or hippy-dippy as some, including Mr. Plant, suggest. Some call it mystical blather. Well, what's wrong with a little mystical blather? Does every rock song have to be about cars and booze and girls? The guy was only 21 when he wrote it...I'd say it holds up pretty well. You know, not every Dylan or Springsteen song is a lyrical gem. You often hear people ask "what does it mean?" And the answer is that there is no ONE RIGHT meaning. It means different things depending on the listener. That is what makes it timeless...it's the songs tied to one specific event that often sound dated with the passage of time. The "medieval" elements that some critics complain about I think are overstated. Yes, there are a couple lines about May Queens and Pipers but overall I found much in the song that I could relate to when I was growing up...and even still to this day I find solace in the tune. Some of my favourite lines in the song and what they meant to me are as follows: "There's a feeling I get when I look to the West"...being born and raised in California, the Golden State, this has always struck a chord with me...in fact, I always feel better when I am traveling West than East...I prefer to follow the sun...ride into the sunset than away from the sun. "There's still time to change the road you're on"...nothing is preordained...no matter what the circumstances you find yourself in, you can always change course, try a different path until you find the road that suits you. "To be a rock and not to roll"...in stormy and troubled times, it is best to be solid as a rock...for yourself and your friends. But hey, even if you don't like the words Plant is singing, you can't refute the way he sings them. In short, in my humble opinion it is one of the finest vocal performances in rock n roll. The tender opening verses, so intimate it is like he's singing directly into your ear...his wonderful phrasing and melody lines...the powerful climax. It's all here in a masterclass for future generations on what rock singing is all about. But to disect the song into its individual parts is beside the point...yes, broken into its components, the guitar playing, the singing, etc. all hold up. But the true power and meaning of the song is how the glorious whole is greater than its individual parts. Everything...the playing, the singing, the production...all added up to some sort of harmonic convergence of GODHEAD. The alchemy of the four members of the band achieved a watershed moment in the band's history...and rock music history. There is no understating the way Stairway exploded into the consciousness of rock fans...and all without the hype of Top 40 radio as there was no single. No MTV, no multimedia exposure. No, it was simply a groundswell of demand by people who heard the song via the record or in concert and requested Stairway in droves to their local radio station til it was literally everywhere and for years ruled as the number one rock song in radio polls. Did it get overplayed? Perhaps. But I would rather live in a world where it was overplayed than to live in one without a Stairway to Heaven. So THANK YOU Robert Plant, Jimmy Page, John Paul Jones, and John Bonham for creating one of the greatest musical moments ever. I can't tell you how often the song got me through difficult times in my life. Those of us who saw the band in concert can testify to the impact the song had on audiences...the song literally inspired the ritual of flicking your Bic lighter. So Stairway fans be silent no more. Don't let those hipper-than-thou types sway you with their negativity. To hell with "Wayne's World"...if you want to play Stairway to Heaven at your next visit to the guitar shop, let 'er rip! There is no shame in loving Stairway to Heaven. It deserves your love. It deserves your praise. So Zeppelin fans one and all...raise and flick your Bic lighter in honor of the 40th anniversary of the first ever performance of Stairway to Heaven!!!

Oh noooooo! You mean there are people who are confused about The Ocean? This is almost as ridiculous as the knuckle-draggers trying to say that the Beatles were not a rock 'n' roll band. !NEWS FLASH PEOPLE! IT'S EXACTLY AS KNEBBY SAYS: "I gotta date I can't be late for the hailla high hopes ball" There's no conspiracy...no secret pact with the devil...just a simple case of transposed lyrics. "When the held high hammers fall"?!? Really? That's some imagination you've got there. It doesn't remotely sound like that at all and when you take into account the context of the song, it really doesn't make sense. Sounds like you've got Immigrant Song on the brain, hehe. I don't know, maybe it's because a generation or more have grown up listening to music on shoddy mp3's and ipods and whatnot...but whenever I play the Ocean on my stereo, it's clear as a telephone ringing that Plant is singing hailla high hopes ball. In fact, it wasn't until I got on the internet that I discovered that there were actually people who questioned the lyric...it boggled my mind and it still does to this day. It's like some people think there's got to be a link to hell and the devil in everything Led Zeppelin does. Oh, and don't get me started on the mental midgets that accuse Zeppelin of pedophilia because of 1) the HOTH cover from which The Ocean comes from; and 2) the line in The Ocean that goes "she is just 3 years old", not realizing that Plant is talking about his daughter. It's a pity, as The Ocean is such a slamming song; one of my favourites, and it deserves better than to have nitwits picking it apart on false notions based on misheard and misunderstood lyrics.

Anything from the early days(1968-1972) would be manna from heaven...especially something from 1970-71. With all the 1975's that have come out recently, I keep hoping/waiting for the March 12 Long Beach gig to appear...I was there and after listening to the March 11 soundboard I am even more convinced that March 12 was the better of the two...and maybe even the best of all the Southern California shows. A soundboard would be KILLER! Especially since March 12 is the only show of the 1975 LA/Long Beach run that we don't have a complete Mike Millard tape...only the last two songs exist.

Kind of shocked to see that Charlie Watts didn't make the list...especially given how much that magazine is always kissing the Rolling Stones ass. Shrieve making the list is a welcome surprise...never cared for Santana after he left. And, hotplant is right...he was sooo young at Woodstock; he looked like he was still in high school.

If you lived in Los Angeles in the 80's, you remember Elvira's Movie Macabre show Saturday nights on KHJ Channel 9. Plenty of teenage boys, I'm sure, had their first masturbatory fantasies watching her show. Anyhow, one of the great cultural treasures in LA, the Cinefamily@Silent Movie Theatre, is having an evening with Cassandra Peterson, the lovely lass who played Elvira this Sunday, March 6. 3/6 @ 7:30pm An Evening With Cassandra Peterson (feat. 1988's "Elvira, Mistress of the Dark"!) NOTE: Ms. Peterson will not be appearing in character as “Elvira” during the show. Boobs, “B” movies, being a brassy broad -- all of those things played their part in making horror hostess Elvira first a local L.A. heroine, and then a national sensation. But there’s one more “B” we shouldn’t forget, and that’s brains: not the kind in a jar, but the ample lobes of Cassandra Peterson, the Groundlings graduate (Class of Pee Wee Herman!) who brought her to life. Holder of the Guinness World Record for “youngest Vegas showgirl,” Cassandra dated Elvis, lost her virginity to Tom Jones, and ran off to Italy to become frontwoman for a rock band, which led to her casting in Fellini’s Roma -- all before Elvira’s creation! Ms. Peterson will be with us tonight to watch her frighteningly fun 1988 feature film debut Elvira, Mistress of the Dark (which she co-wrote with fellow Groundling alum John Paragon, who also played “Jambi” on “Pee-Wee’s Playhouse”), as well as rare, favorite and new episodes/segments of Elvira’s "Movie Macabre"! Bring your Q’s, and get ready for what will undoubtedly be some A’s (and T’s) to remember! Elvira, Mistress of the Dark Dir. James Signorelli, 1988, 35mm, 96 min. Tickets - $12/free for members

Thanks mate By the way, I'll be seeing the Drive-By Truckers for the first time as they are playing the legendary Troubadour club this monday, March 7...that is a very INTIMATE venue...capacity is less than 150...tix were $25.

Sad news again over the weekend, as Suze Rotolo, part of one of the most legendary album covers ever, died last Friday...didn't hear about it until Sunday night when telling a friend about the Duke of Flatbush's death and he tipped me to J. Hoberman's piece in the Village Voice about Suze's passing. If you haven't read it, her book "A FREEWHEELIN' TIME: A Memoir of Greenwich Village in the Sixties" is a MUST-READ! Like Patti Smith's also excellent "Just Kids", it limns a time and place that will never exist again. Here is the New York Times obituary from Tuesday's edition, March 1, 2011. Suze Rotolo, a Face, With Bob Dylan, of ’60s Music, Is Dead at 67 By WILLIAM GRIMES Published: March 1, 2011 Suze Rotolo, who became widely known for her romance with Bob Dylan in the early 1960s, strongly influenced his early songwriting and, in one of the decade’s signature images, walked with him arm-in-arm for the cover photo of his breakthrough album, “The Freewheelin’ Bob Dylan,” died on Friday at her home in Manhattan. She was 67. The cause was lung cancer, her husband, Enzo Bartoccioli, said. Ms. Rotolo (she pronounced her name SU-zee ROTE-olo) met Mr. Dylan in Manhattan in July 1961 at a Riverside Church folk concert, where he was a performer. She was 17; he was 20. “Right from the start I couldn’t take my eyes off her,” Mr. Dylan wrote in his memoir, “Chronicles: Volume 1,” published in 2004. “She was the most erotic thing I’d ever seen. She was fair skinned and golden haired, full-blood Italian. The air was suddenly filled with banana leaves. We started talking and my head started to spin. Cupid’s arrow had whistled past my ears before, but this time it hit me in the heart and the weight of it dragged me overboard.” In “A Freewheelin’ Time: A Memoir of Greenwich Village in the Sixties” (2008), Ms. Rotolo described Mr. Dylan as “oddly old-time looking, charming in a scraggly way.” They began seeing each other almost immediately and soon moved in together in a walk-up apartment on West Fourth Street in Greenwich Village. The relationship was intense but beset with difficulties. He was a self-invented troubadour from Minnesota on the brink of stardom. She was the Queens-bred daughter of Italian Communists with her own ideas about life, art and politics that made it increasingly difficult for her to fulfill the role of helpmate, or, as she put it in her memoir, a “boyfriend’s ‘chick,’ a string on his guitar.” Her social views, especially her commitment to the civil rights movement and her work for the Congress for Racial Equality, were an important influence on Mr. Dylan’s writing, evident in songs like “The Death of Emmett Till,” “Masters of War” and “Blowin’ in the Wind.” Her interest in theater and art exposed him to ideas and artists beyond the world of music. “She’ll tell you how many nights I stayed up and wrote songs and showed them to her and asked her: ‘Is this right’?” Mr. Dylan told the music critic and Dylan biographer Robert Shelton. “Because her father and her mother were associated with unions and she was into this equality-freedom thing long before I was.” When, to his distress, she went to Italy for several months in 1962, her absence inspired the plaintive love songs “Don’t Think Twice, It’s All Right,” “Boots of Spanish Leather,” “One Too Many Mornings” and “Tomorrow Is a Long Time.” Mr. Dylan later alluded to their breakup and criticized her mother and sister, who disapproved of him, in the bitter “Ballad in Plain D.” Ms. Rotolo spent most of her adult life pursuing a career as an artist and avoiding questions about her three-year affair with Mr. Dylan. (He was, she wrote, “an elephant in the room of my life.”) She relented after Mr. Dylan published his autobiography. She appeared as an interview subject in “No Direction Home,” the 2005 Martin Scorsese documentary about Mr. Dylan, before writing “A Freewheelin’ Time.” Susan Elizabeth Rotolo was born on Nov. 20, 1943, in Brooklyn and grew up in Sunnyside and Jackson Heights, Queens. Her mother, from Piacenza, Italy, was an editor and columnist for the American version of L’Unità, published by the Italian Communist Party. Her father, from Sicily, was an artist and union organizer who died when she was 14. Artistically inclined, she began haunting Washington Square Park and Greenwich Village as the folk revival gathered steam, while taking part in demonstrations against American nuclear policy and racial injustice. She adopted the unusual spelling of her nickname, Susie, after seeing the Picasso collage “Glass and Bottle of Suze.” The famous photograph of her and Mr. Dylan, taken by Don Hunstein on a slushy Jones Street in February 1963, seemed less than momentous to her at the time, and she later played down her instant elevation to a strange kind of celebrity status as the girl in the picture. “It was freezing out,” she told The New York Times in 2008. “He wore a very thin jacket, because image was all. Our apartment was always cold, so I had a sweater on, plus I borrowed one of his big, bulky sweaters. On top of that I put on a coat. So I felt like an Italian sausage. Every time I look at that picture, I think I look fat.” The album, Mr. Dylan’s second, included anthems like “Blowin’ in the Wind,” “A Hard Rain’s A-Gonna Fall” and “Don’t Think Twice, It’s All Right.” After Ms. Rotolo returned from Italy — a trip engineered by her mother in a move to separate her from Mr. Dylan — the relationship became more difficult. Mr. Dylan was becoming increasingly famous and spending more time performing on the road, and he entered into a very public affair with Joan Baez, with whom he had begun performing. Ms. Rotolo moved out of their West Fourth Street apartment in August 1963 and, after discovering she was pregnant, had an illegal abortion. By mid-1964 she and Mr. Dylan had drifted apart. “I knew I was an artist, but I loved poetry, I loved theater, I loved too many things,” Ms. Rotolo told The Times. “Whereas he knew what he wanted and he went for it.” In “Chronicles,” Mr. Dylan wrote: “The alliance between Suze and me didn’t turn out exactly to be a holiday in the woods. Eventually fate flagged it down and it came to a full stop. It had to end. She took one turn in the road and I took another.” In 1967 she married Mr. Bartoccioli, a film editor she had met while studying in Perugia. The couple lived in Italy before moving to the United States in the 1970s. In addition to her husband, she is survived by their son, Luca, of Brooklyn, and her sister, Carla, of Sardinia. Ms. Rotolo worked as a jewelry maker, illustrator and painter before turning to book art, fabricating booklike objects that incorporate found objects. She remained politically active. In 2004, using the pseudonym Alla DaPie, she joined the street-theater group Billionaires for Bush and protested at the Republican convention in Manhattan.

My friend is a huge Drive-By Truckers fan. I have been a little more reticent about getting into them...some of it I like, other stuff, not so much. Did enjoy the record they did with Bettye LaVette, "The Scene of the Crime". By the way, Jahfin, can you tell me how you post youtube videos here where the image shows up and not just the url link?