Steve, thanks for the details . )

stumbled in Ross' Diary, April 2004... what Ross meant by "poor Robert"? what it could be? Robert in 2003-2004 was sort of normal ("Sixty Six to Timbuktu", then working on "Mighty ReArranger") any thoughts (as well interesting 'I ruin his [Lenny Kravitz'] golden view of Robert Plant'

PlanetPage, thank You .)

rather curious picture, taken from Q Classic - The Ultimate Collectors Edition: 'Led Zeppelin : Classic, Rare & Unseen' in the caption indicates that photo was taken by Dominique Tarle on the day of the the very first rehearsal but I somehow doubt on this score Your opinions? Tnx LM

Steve, regarding 'shooting scene' from TSRTS... I'm pretty sure that it was shot at Page's Tower House Design / Interior / wall colours / furniture all very looks like

^ so, 35 minutes for two bands... supposedly, one of the candidates could be "Whole Lotta Love" from the Royal Albert Hall (?) Jimmy Page: "Peter [Peter Clifton] came into the equation because he'd been allowed to look at some footage of Zeppelin from the Royal Albert Hall [originally shot by Peter Whitehead and Stanley Dorfman]. Peter Clifton actually made an edit of "Whole Lotta Love", but, at that time, he wanted to include it in this compilation of music from the '60s ["The Sound Of The City"]...... we later thought he'd be a good guy to use on "The Song Remains The Same"....

Great! Thank You very much, Sam .)

D. Lewis in his "Led Zeppelin: The Concert File", relating UK Winter '71-Tour, wrote: "This period saw the introduction on stage of the four symbols from the fourth album sleeve. Jimmy's so called 'ZoSo' symbol was added to one of his Marshal speaker cabinets. Bonzo had the three linked circles on the Ludwig bass drum. Jones had his symbol draped across the Fender Rhodes keyboard, and Robert's feather symbol is painted onto a side speaker PA cabinet...." Have you come across at least one shot with Plant's feather? or it's myth? Tnx LM

Thank You, Sam

this photo has been always curious for me. that's exactly New Orleans '77, but they were not there with tour date, so, unclear, or they flew in during the tour just to relax , or that photo shortly before the call from Robert's wife about the unfortunate situation with his son....? D.Lewis just mentioned that "Robert 26 July 77 flew to New Orleans in preparation for their 30 July show at the Superdome " (nothing wrote about the rest of the band, so unclear where they were?), "... then a call was flashed..." I guess they gathered together in New Orleans ~ 27-28 July, and call was a bit later... And then it turns out that this photo was shot shortly before the terrible news (?) As well it could be the last shot of the band in Tour '77 and in '77 at all? Any info/ idea/ suggestion? Tnx LM

'STRAWBERRY' means -> mastering's done by 'Strawberry Mastering' @ Strawberry Studios http://en.wikipedia....awberry_Studios http://www.strawberrynorth.co.uk/ http://webcache.goog...1&hl=ru&ct=clnk interesting notes about sound http://www.stevehoff...ead.php?t=29626

'STRAWBERRY' means -> mastering's done by 'Strawberry Mastering', London http://webcache.googleusercontent.com/search?q=cache:uauClHDrekwJ:richmondaudiosociety.org/2011/07/dead_wax_inscriptions/+&cd=1&hl=ru&ct=clnk

Mysterious Mississippi River boat party, New Orleans, 1975 photos at right taken from the R. Cole's book about most of the party Richard didn't wrote nothing - even no date Photo left - picked up from net, I guess it's wrong dated by 1974 as on a subject very similar to the same boat party (Interesting, that they didn't play in their beloved New Orleans on the Tour '75.....I wonder what was the reason?) Any info When this happened, in honor of what and who else was there ? Tnx, LM

I think D.Lewis gives a comprehensive answer 25 March 1969 Staines Studio Staines, England Filming for the movie "Supershow" dir: John Crome, prod: Tom Parkinson Track filmed: "Dazed And Confused" Over a 2-day shoot at a disused lino factory in Staines, instigated by the Colour Tel film company (their recent credits included 'The Rolling Stones Rock' N' Roll Circus' and 'Jimi Hendrix At The Albert Hall'), artists from the world of blues, jazz and rock got together to be filmed separately and jamming. Zeppelin's involvement stemmed from Jimmy's friendship with the director. The whole project was planned with great secrecy and filming went ahead at a reputed cost of £100 per minute. The Tuesday filming featured Led Zeppelin, Buddy Guy, Jack Bruce, Buddy Miles, Dick Heckstall-Smith and Chris Mercer. The jam session brought together Stephen Stills, Dallas Taylor, Buddy Miles and Jack Bruce. Wednesday featured Eric Clapton, Colosseum, Buddy Guy and Roland Kirk. Allegedly, Jimi Hendrix was due to appear but missed the plane from New York. Zeppelin's contribution was a vibrant "Dazed And Confused". The resulting film, complete with period piece zoom panning techniques remains one of their clearest colour filmed remants of this era. The original intention was for Zeppelin to perform two numbers, but Plant had problems with his voice so "You Shook Me" was dropped. The film itself, known as "Supershow", received a limited run in London, premiering at the Lyceum in Nov 1969. It would emerge as an official video release by Virgin Vision in 1986. Page returned to it for inclusion in the 2003 DVD. Peter Grant recalled: "A mate of Jimmy's buttonholed us into the "Supershow". I wasn't that keen. I didn't even go down to the filming." ------------------------------------------ Bootleg CD References: 'Riverside Blues' (Swinging Pig, 'The Complete BBC Classics' (Immigrant) Visual References: Official Led Zeppelin 2003 DVD (Warner Vision), 'Unofficial Early Visions' DVD (Celebration)

that's looks like a big mystery - whether "Kashmir" was inspired by a trip to Morocco, or Jimmy didn't go to Morocco till '75 and inspired by records of Arabic/ North African music ? Page at least twice denied - in an interview at different time Page interview for William Burroughs [Rock Magis by William Burroughs, Crawdaddy Magazine, June 1975] recent interview for GW: Page: I did a joint interview with William Burroughs for Crawdaddy magazine in the early Seventies, and we had a lengthy discussion on the hypnotic poser of rock and how it paralleled the music of Arabic cultures. This was an observation Burroughs had after hearing "Black Mountain Side", from our first album. He then encouraged me to go to Morocco and investigate the music first hand, something Robert and I eventually did.

quite mysterious date of this Party where this series of photos from: Yes, it's 1974, here Page in his Pink suit / emerald shirt outfit as he was on the first Swan Song party in NY, 7 may 1974 and Maggie Bell on photo (she is mentioned by D.Lewis) but ... Plant on that Party was in a "leopard" jacket (see photos below), so.... ??? also known (R. Cole, D. Lewis) that Bill Wyman and Maggie Bell were among guests at the second Swan Song Party in LA 10 May 1974, but these pictures are not from there because Page, Plant and Bonzo were dressed in black there any thoughts? thanks LM

One day during a week-break between the tours Jimmy considerably shortened his the longest ever hair left: March 12 '70, Rheinhalle, Dusseldorf, Germany - last date of European Tour right: March 21 '70, Pacific Coliseum, Vancouver, Canada - first date of the 5-th North American Tour At a club in Dusseldorf, March (12?), 1970 "we bumped into a fellow who called himself "the Baron"(second from right)[R. Cole collection] Is there photos of more close date to Page's haircut?

Feb 20, 1972, Kooyong Stadium, Melbourne ... about 3/4 of the way through the show it began raining and the group stopped playing... so, boot of EV called "The Wet Head Is Dead Downunder 1972"

imo сredits of a few songs have been revised and changed in recent years, more likely under the critics' pressure and the threat of court although the first swallow was the case with "THE LEMON SONG" - with originally credits (Page / Plant/ Jones / Bonham), then LZ desided to change the name and credits as: "KILLING FLOOR" (Burnett), but later returned to previous names In December 1972, Arc Music, owner of the publishing rights to Howlin' Wolf's songs, sued Led Zeppelin for copyright infringement on "The Lemon Song". The parties settled out of court. Though the amount was not disclosed, Wolf received a check for $45,123 from Arc Music immediately following the suit, and subsequent releases included a co-songwriter credit for him. [Mick Wall, When Giants Walked the Earth: A Biography Of Led Zeppelin, London: Orion, p. 150, 2008] so now we have: "THE LEMON SONG" (Page/ Plant/ Jones/ Bonham/ Burnett) -------------------------------------------------------------------------------------------- later Willie Dixon successfully sued with Zeppelin: "WHOLE LOTTA LOVE" - was originally (Page / Plant / Jones / Bonham) now credits goes to: (Jones/ Plant/ Page/ Bonham/ Dixon) [also I met such version of writing: (Bonham / Jones / Page / Plant / Dixon) - have no idea who and why constantly changing the order in credits? - this tricks with order we can find in a lot of their songs. but i sure that the order means something as involvement into the song] "BRING IT ON HOME" - originally (Page / Plant) - so, they took full writing credits for the song, where intro and outro parts had been written by Willie Dixon. Dixon's publishing company sued Zeppelin. A settlement was reached out of court: so, Led Zeppelin gave up full credits and now stated -> (Williee Dixon), this story most weird as the main memorable moment - "middle section riff" - is of Page! and Zeppelin gave up all credits! WHY? version included on the live release "How the West Was Won" listed the song as a medley on the cover. "Bring It On Home" was credited to Dixon, while the middle section, newly named "Bring It On Back", was credited to (Bonham / Jones / Page / Plant). in the movie "Cadillac Records" mentioned that "Willie Dixon successfully sued Led Zeppelin for 1 million dollars" ---------------------------------------------------------------------------------------------- "BABY, I'M GONNA LEAVE YOU" -> was (trad.- arr. J.Page) became (Bredon / Page / Plant) Since 1990 the Led Zeppelin version has been credited to Anne Bredon / Jimmy Page & Robert Plant, and Bredon received a substantial back-payment in royalties. ------------------------------------------------------------------------------ "DAZED AND CONFUSED" -> not clear about a court, but I've already met credits writing as (Holmes) ---------------------------------------------------------- Even I think there was a talk and inside of the band to make more precise order in some credits: "YOUR TIME IS GONNA COME" (Page, Jones) changed to -> (Jones, Page) ---------------------------------------- I could suggest the case with "ROCK AND ROLL" probably initiated by Page - more strictly divide authorship - the real decent income, as with other songs his credits had to move a bit aside and he lost a lot of money. if to look - what's Bonham's involvement as author into the song in compare with others?

any comments about date of this photo? looks like Earls Court, if so, his finger injury was long gone and i can't connect this with Drugon Suit. or Jimmy just kidding with plaster?

Hi, Steve Did You already discuss this Mystery? what's known about the existance of recording? On October 15 in 1974, at London's Island studios, Jimmy Page records "Scarlet" (named after his daughter) with Keith Richards and Traffic's Rik Grech. Vocal duties are handled by Richards. Page pronounces the track "great, really good. According to Jimmy, this tune was to have been collected to LP of the Rolling Stones. But after all, it was not done.To many fans of Led Zeppelin and Rolling Stones, this tune is very mysterious even now ....... http://www.iorr.org/talk/read.php?1,274952,274952 "Scarlet" by Keef and Jimmy Page Posted by: G. the Cock Date: Oct 26, 2005 Today, Oct. 15, is the 30th anniversary of a real rarity: a song Jimmy Page recorded on this day in 1974 with Keith Richards that has still never been released. The song was called "Scarlet," and it featured both Jimmy and Keith on guitar, with Keith providing vocals. It also featured Ric Grech, formerly of Traffic, on bass. According to an interview with Page in 1975, the track sounded like it could have been recorded by Bob Dylan and the Band. "It sounded very similar in style and mood to Blonde on Blonde tracks," he said, comparing it to the 1966 album that included "Rainy Day Women #12 and 35" and "Most Likely You'll Go Your Way and I'll Go Mine." Page said the time spent with Richards was "great, really good. We stayed up all night and went down to Island Studios where Keith put some reggae guitars over one section. I just put some solos on it, but it was eight in the morning of the next day before I did that." Some sources mention two other musicians on the track, one being pianist Ian Stewart and the other being a drummer. In addition to being the Rolling Stones' mentor, Stewart was a special guest on Led Zeppelin's "Rock and Roll" and the namesake of "Boogie With Stu." As for who played the drums on "Scarlet," Page said in 1975 that he couldn't remember. Some sources point to Bruce Rowland, who was between bands at the time of the recording. He had just completed a project with Ronnie Lane & Slim Chance and was soon to join up with Fairport Convention. Page thought the recording of "Scarlet" might eventually be used for the B-side of a Rolling Stones single, but this did not come to be. One year after the track was recorded, there was a rumor that Page had recorded a solo album. Rolling Stone writer Cameron Crowe asked Page whether it was true, and the guitarist explained that there was no solo album in the works. "Chalk that off to Keith Richards' sense of humor," he told the young reporter. "He took the tapes to Switzerland, and someone found out about them. Keith told people that it was a track from my album. I don't need to do a solo album, and neither does anybody else in the band [Led Zeppelin]," he continued. "The chemistry is such that there's nobody in the background who's so frustrated that he has to bring out his own LPs."

if not solved yet - Francesco Parmigianino (real name: Mazzola, 1503 ~ 1540) "The Vision of St. Jerome" (a.k.a. Madonna-and-Child-with-St-John-and-St-Jerome, 1526-27) 343 x 149 National Gall., London

hi, led community, curious about this Page's pendant (frame is taken from the TSRTS movie) What it could mean? Egyptian eye Wadjet in 3D? your thoughts. tnx

mystery and strange - why Zepps not commemorate of Peter Grant after his passing - no tribute concert or album/song, nothing! Though he was for them a far more significant and important in their story figure even than Ahmet Ertegun. 40th Atlantic Annivesary or Jason's, Carmen's weddings turned out as "more significant" events ? Your thoughts. Tnx