zeplz71
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Posts posted by zeplz71
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The photo by James Fortune was the famous 'dove shot' poster.
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wtf, looks like an appeal was granted and it's heading back to court:
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There's 34 interview tracks available at the moment. 23 minutes in total:
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20 minutes ago, JAP said:
Well I notice he’s sneaked the sunset sound mix of rock and roll in! So can listen digitally my vinyl copy doesn’t seem like the greatest pressing
Glad this is finally released digitally!
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From the Led Zeppelin Official Facebook:
https://www.facebook.com/ledzeppelinHere’s your chance to get a last minute invite (with a +1 AND £1000 spending money to help get you there) to the exclusive and private celebration party in central London on Monday September 24 for the new, official illustrated book 'Led Zeppelin by Led Zeppelin'.
5 runners up also get copies of the book and 'The Song Remains The Same' deluxe box.
Simply click below, follow the band on Spotify and you’ll be in with a chance of being there. The winner will be chosen on Friday afternoon!
https://campaigns.topsify.com/app/11239/led-zeppelin -
LED ZEPPELIN: More 50th-Anniversary-Photo-Book Details Revealed
September 17, 2018
Due on October 9, "Led Zeppelin By Led Zeppelin" is the first and only official illustrated book by the band. It is a unique collaboration between Jimmy Page, Robert Plant and John Paul Jones, who have given Reel Art Press unrestricted access to the LED ZEPPELIN archive.
Commemorating 50 years since their formation, this 400-page chronology spans half a century of the band's unparalleled career. It comprises hundreds of carefully curated images and artworks personally selected by the band, from the iconic to the unseen. To accompany the visual journey, the bandmembers have written their own exclusive annotations.
This exceptional book includes contributions from all the major photographers who captured the band throughout their career, including Dick Barnatt, Chris Dreja, Carl Dunn, Bob Gruen, Elliott Erwitt, Ross Halfin, Jeffrey Mayer, Neal Preston, Ron Raffaelli, Pennie Smith, David Stratford, Dominique Tarlé and Michael Zagaris, along with artworks by design group Hipgnosis, the Atlantic Records archives and photographs from the band's personal collections.
This is the story of the band who defined rock and roll, as seen by the band themselves.
Guitarist Jimmy Page told The Pulse Of Radio that ZEPPELIN's initial influences from across the Atlantic solidified the type of music they would create over the years. "The fact is, all four of us, were so influenced by American music, and for me, the music that I was hearing in the sort of '50s over here, it was all a reinterpretation of what was going on in America," he said. "So we, sort of, had this American music, sort of coming in to us, and we were accessing it through the radio and records. That's a major part of why we became what we were — which is musicians and became totally seduced by this whole movement in music."
Released this past March was a newly remastered reissue of the LED ZEPPELIN 2003 live collection, "How The West Was Won". The set, which features new remastering supervised by Page, marked the first offering from the band in celebration of its 50th anniversary this year.
"How The West Was Won" was originally released on May 27, 2003 featuring tracks culled from two Southern California shows recorded at the L.A. Forum on June 25, 1972 and Long Beach Arena on June 27, 1972. Page sequenced the set to replicate a single concert from beginning to end.
http://www.blabbermouth.net/news/led-zeppelin-more-50th-anniversary-photo-book-details-revealed/
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2 minutes ago, The Mysterious One said:
I am curious as to what brand of jeans he wore. In a 1988 mtv interview he said the jeans from that era were: LANDOMs or something like that but I am not sure.
Does anyone know the specific brand...from 72-73 The Song Remains the Same Era? Also ever heard of LANDOMs or something that sounds like that?
thanks
Landlubber
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50 Years Ago, Led Zeppelin Held Its First Rehearsal: ‘The Whole Room Just Exploded’
By Jem Aswadhttps://variety.com/2018/music/news/led-zeppelin-first-rehearsal-50-year-ago-anniversary-1202903005/
Sometime during the week of Aug. 12, 1968, the band that would take over the world as Led Zeppelin held its first rehearsal in a small basement room in central London.
The preceding May, Yardbirds guitarist and session veteran Jimmy Page found himself without a band when the other three members — who’d seen some success since the group first formed in 1963, but had fallen out of fashion — abruptly quit. With a Scandinavian tour already booked, Page and manager Peter Grant united bassist/keyboardist and fellow sessioneer John Paul Jones (with whom the guitarist had performed on songs by Donovan and others) with two young musicians from the British Midlands, singer Robert Plant and powerhouse drummer John Bonham, both 20, who’d played together in a group called Band of Joy.
Page’s initial choices had been singer Terry Reid — who he’d seen when Reid was a fellow opening act with the Yardbirds on a Rolling Stones 1966 tour — and Procol Harum drummer B.J. Wilson, with whom he’d played on Joe Cocker’s “With a Little Help From My Friends” album. Both declined — and how different would the world be if they hadn’t?
As the new quartet launched into the R&B chestnut “Train Kept a’Rollin’,” a Yardbirds live staple that the group had recorded in 1965, the chemistry, according to all four members, was instantaneous.
“We first played together in a small room on Gerrard Street, a basement room, which is now Chinatown,” Jones recalled in 1990, according to the band’s website. “There was just wall-to-wall amplifiers, and a space for the door — and that was it. Literally, it was everyone looking at each other, ‘What shall we play?’ Me doing sessions, I didn’t know anything at all. There was an old Yardbirds’ number called ‘Train Kept a’Rollin’.’ The whole room just exploded.”
“I could feel that something was happening to myself and to everyone else in the room,” Plant remembered. “It felt like we’d found something that we had to be very careful with because we might lose it, but it was remarkable — the power.”
While no recordings from the rehearsal have surfaced, that first song — which would be the group’s live opener for most of its first year of existence as well as its final 1980 tour, yet was never properly recorded — probably sounded like this performance from the San Francisco’s Fillmore West the following April. The arrangement hews to the late-period Yardbirds version, with some honking harmonica by Plant and an uncharacteristically brief but blazing solo from Page — albeit turbocharged by the band’s titanium-strength rhythm section.
“At the end, we knew that it was really happening, really electrifying,” Page said. “We went from there to start rehearsals for the album.”
Later that month the group did a session for singer P.J. Proby’s “Three Week Hero” album — Jones was already booked as the arranger and hired the others — and made their live debut with the aforementioned nine-date tour of Scandinavia as the New Yardbirds before heading into London’s Olympic Studios in September to record their debut with ace engineer (and Page’s longtime friend) Glyn Johns.
While legendary for such songs as “Communication Breakdown,” the blues classic “I Can’t Quit You Baby” and the electrified folk song “Babe I’m Gonna Leave You,” the outtakes show that the group explored other territory in the sessions, such as the soul-inflected “Baby Come on Home,” which would have cast the album and the band in a different light.
From that point on, the ascent escalated quickly. The band played its first U.K. show on Oct. 4 at London’s legendary Marquee (the group is pictured above performing at the club two weeks later), changed the name to Led Zeppelin by the end of that month, signed with Atlantic Records in November, launched its first U.S. tour on Dec. 26 and released the album in January.
The group played an incredible 145 shows in 1969, and by the end of the year they had released their blockbuster “Led Zeppelin II” (featuring their breakthrough single “Whole Lotta Love”) and were headlining venues like London’s Royal Albert Hall, New York’s Carnegie Hall, the Boston Garden and Detroit’s Olympia Stadium.
Of course, from there, Zeppelin went on to become one of the most popular rock bands in history, dominating the 1970s, influencing countless thousands of musicians and, according to unofficial estimates, selling more than 200 million albums worldwide. And it all started in that little basement room …
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How ‘Sharp Objects’ Landed Led Zeppelin to Soundtrack the HBO Series
Page and Plant have little problem saying no to filmmakers but said yes to lending four classics to director Jean-Marc Vallée.By Chris Willman
The HBO series “Sharp Objects” benefits from one hell of a blunt object: the hammer of the gods that is Led Zeppelin, whose music recurs throughout all eight episodes. Director Jean-Marc Vallée (“Big Little Lies,” “Wild”) scored a coup by licensing four Zeppelin tracks for the Amy Adams-led mystery tale, which he considered an essential component, even though “Led Zeppelin II” played zero part of Gillian Flynn’s source novel. Getting a four-fer from Robert Plant and Jimmy Page was especially sweet after he was denied even one song for an earlier film, as he relates in an interview with Variety.
Vallée also spoke about some of his other recurring music choices — including the electronic music quartet the Acid, and the roots-based indie rockers M. Ward and Hurray for the Riff Raff — amid a soundtrack that includes everything from LCD Soundsystem and the War on Drugs to Perry Como and Engelbert Humperdinck.
Why go all-in with Zeppelin on this project? Did you grow up as a fan?
I did, and I have always been trying to do something with Zeppelin, since it’s been so much part of my life, and because I’m always trying to put music in the center of the lives of the characters. I tried with “Café de Flore” and it didn’t work out for the rights, and I was wondering when there would be another good opportunity. When Amy invited me to do this with her, the more I read the book, I went, “Oh my God, I think if we can make ‘Sharp Objects’ and make it from beginning to end a Zeppelin sound, this will be it.” Because of the character, Camille.One of the big reveals comes when Camille, in an episode 3 flashback, discovers the band sharing earbuds with a fellow patient in rehab…
Just before I started to shoot, I was trying to figure out Camille’s music library, and I couldn’t. Then I went, that’s it! — she’s not a music person, but she’s going to travel with an iPhone that belongs to someone else who is. And that person is the 16-year-old kid from the rehab center, Alice (Sydney Sweeney). It made total sense for this kid to be a Zeppelin fan, just like my kids. I have two sons, and at 16 they were into Zeppelin, Pink Floyd, David Bowie and a lot of British rock. So it travels from generation to generation. And I gave this kid an eclectic musical taste. Camille is learning to discover this other person through music. I thought that was a beautiful device, and that she would play music alone as she is investigating, trying to heal.There’s an ingenuity to the character picking up these tastes from someone else, because sometimes it feels like every leading character in a film or TV series just happens to have the same super-cool tastes that a music supervisor would have.
Exactly. I mean, I always try to aim for the main character, but it happened also with Jake Gyllenhaal’s character in “Demolition.” He wasn’t a music person, but his wife was, and a kid that he meets was, also. But in “Wild,” (the Reese Witherspoon/Cheryl Strayed character) was music-oriented, so that was an easy one. In “Café de Flore,” I was following a DJ. It’s easy when the main character is the one. But “Sharp Objects” was trickier. Normally in prep, I find the tracks and I give them to the actors and I go, this is what you’ll play throughout, and I play music on the set. It was just at the last minute that it happened with Alice and Camille.Camille is out of control in some ways. Is that why Zeppelin made a good fit?
With Zeppelin, there was something that fit both characters. With Camille, you don’t know how old she is, but let’s say she’s mid-thirties, and she’s a journalist, an intellectual. She doesn’t take care of herself. She has a rock and roll attitude. She’s doing it her own way, not only with the scars and how she harms herself, but the way she lives and works, and she’s single. There’s something sexy about the tracks that we chose, in the slowness of “What Is and What Should Never Be” and “I Can’t Quit You Baby.” And when it explodes and makes a lot of noise; this is the nature of rock and roll, to make it loud and tell the establishment and your parents, “F— off, I’m doing it my own way.’ That suited Camille pretty well.And then “Thank You” is such a beautiful, almost epic song. That’s the song Alice uses to introduce Camille to how she does an in-scape — she escapes, but within, with music; that’s how she gets out of the rehab center. She’s showing Camille how to use music, when Camille will use later on to do some in-scape, too. When this 16-year-old girl plays that to her new roommate, using her fingers to close her eyes, there’s something romantic about the way we used the music, almost like they’re having an affair, although we’ll discover that they’re not and it’s not about that at all. It’s about connecting to music, and how you use music in your life to heal or to love.
Zeppelin was loud and brash and rebellious and over-the-top, but also with an inherent sense of mystery — and this is a mystery show…
Exactly, and that’s why “In the Evening” is there. And it’s like it was meant to be in a film and be score music — almost a horror or suspense film score. For the Zeppelin fans it may be a torture, or at least a tease, not to hear more of “In the Evening,” but I wanted to save some of it for the last episode. That may be a spoiler.It’s been reported that you tried to get “Stairway to Heaven” for “Café de Flore” and Jimmy Page said yes but Robert Plant said no. What happened there?
On that one, we worked with the label and publisher for about a year and half. Them we harassed Robert Plant when he came to Montréal, and he said no to our faces, live — with no explanation. I had written “Café de Flore” with “Stairway to Heaven” in mind. Because Vanessa Paradis’ character is living in the highest part of Paris, where you have to climb stairs all the time; she’s a poor Parisian with a Down Syndrome kid, and every day she brings him to a special school on the Left Bank, and the class is on the third floor where she has to climb more stairs. The whole concept of stairs in “Café de Flore” comes from “Stairway to Heaven,” because she is buying her stairway to heaven. And then I lost the f—ing track. I was destroyed!… I wasn’t pissed — I was devastated. I wanted to quit. I was like: How could they? That song belonged to me, too! I grew up with this f—ing song and it gave me wings to fly and to imagine and to come up with this story, and they refuse? I go, why would a fellow artist do this to another fellow artist that uses his work to inspire? It’s just sharing, and it’s using art to try to tell stories that can touch the heart. Anyway…Going into “Sharp Objects,” having that Zeppelin-related trauma in your past, were you thinking, what if we get to the end only to have Robert Plant say no again?
Well, we made sure that it wasn’t the end. … We went for four tracks, and we sold the idea to them that they will be the sound of this series, so of course that was something special and different. I didn’t do that with “Café de Flore,” but I should have. We sent the script and very specific descriptions of how we’re using their music, and the in-scape element coming from Alice. And it worked. So we had the news pretty soon in the process, but I had a back-up plan. I was ready to go to another rock band if Zeppelin wouldn’t work. But I was hoping that it would, because it was perfect for this dark story. And there’s beauty in the darkness of the story, because Camille is a beautiful soul who just doesn’t know how to love.You have a lot of “mother” songs in the series, too. That maybe doesn’t require much explaining, since Patricia Clarkson’s character looms over everything.
At one point I asked Sue [Jacobs, music supervisor] to hear every single song that has the word “mother’ or “mama.” I knew “I Love You Mama” from Snoop Dogg and “Dear Mama” from 2Pac and “Motherless Children” (heard via the Steve Miller Band’s rendition). We soon found about a hundred of them. Since this mother relationship is so singular and powerful, in a sharp and dangerous way, it made sense to see this young girl, Amma (Eliza Scanlen), connecting to these songs, more than Camille. Amma is talking to herself, using music in a similar way to Camille, but in her own fashion. And it wasn’t written. We ad-libbed this beautiful moment and said, “Why don’t you (Scanlen) play ’Dear Mama’ and go to your mother and hug her and dance with her?” It’s using the lyrics to tell your mom that you love her – and in this context, it’s pretty crazy, since she’s being physically, mentally and emotionally abused by her mother. But there is unconditional love from children to their parents even in abused situations.Zeppelin is not the only musical act popping up more than once. M. Ward and the Acid also recur. Did you just like those artists and songs, or were there deeper thematic ties?
Sometimes I pick a song for the lyrics. That was the case with M. Ward. There was something beautiful and simple about this guitar, the voice and what he says [in “There’s a Key”]: “So I’m losing my marbles, one marble at a time, it’s true,” and “I’m conquering an ocean, one wave at a time.” Through Alice, Camille relates to this intelligence of connecting to poetic lyrics, and to Hurray for the Riff Raff’s lyrics, too [in “Small Town Heroes,” which describes a single female protagonist with “a no-good mom” and a drug problem who “wanted love… but she just couldn’t get enough”]. The Acid was for the vibe and the electronic, modern thing, and the dangerous, mysterious core quality of one of their tracks, “Tumbling Lights,” that became a recurrent theme from episode 1 till the end. That came from giving Alice a very wide musical taste.There is solo piano and some more traditional music on the soundtrack, too.
Alan (Henry Czerny) is a rich audiophile with an amazing sound system, and I loved giving him this old-school Hollywood romantic score, whether it’s French and coming from Michel Legrand (“Les Moulins De Mon Coeur”) or coming from “A Place in the Sun,” the George Stevens film. Well, at one point that was in the series, with Alan playing the (“Place in the Sun”) track, but I took it out of the series because I wanted to use it in the main title sequence instead [which differs from episode to episode].Page and Plant may not be the types to send effusive telegrams. Have you hear anything from them about your use of their music since the show premiered?
Not yet. We invited them to the premiere, but Plant was touring and the two others weren’t in the States. When all eight episodes will be out, I’ll see if Sue will call the publisher and the label, or see if we heard from them first. They’re tough to read. I’m curious. -
Great show and nice audience recording. One of my favs from way back
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On 4/18/2018 at 9:14 PM, bcarter690 said:
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1 hour ago, 76229 said:
https://www.channel4.com/news/basement-battle-jimmy-page-and-robbie-williams-planning-clash
Moving pictures from inside the house!!
This was on Channel 4 News in the UK last night.
gorgeous house, a living art museum.
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Looking forward to this one and the official book
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2 hours ago, gibsonfan159 said:
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Also remember that it's officially a Listed Building – Grade I, 'Heritage at Risk' by the government.
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Video interview at JP's house & great photos
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4 hours ago, 76229 said:
Isn't this significant? Iirc further back on this thread the latest BoJ date with Plant in the band was something like 16th/19th March 1968. Now this is the 30th. Or did they carry on using his name even after he'd left to go work with Alexis Korner?
BOJ with Plant went past March 1968. This post above billed as their "last appearance" of the BOJ w/Robert Plant was from May 28, 1968.
On 1/16/2018 at 1:00 PM, sam_webmaster said:Tues., May 28th, 1968 - Southampton - Concorde
flyer: "Remember their last appearance - Robert Plant and the Band of Joy"
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50 minutes ago, gibsonfan159 said:
Alright, you folks have to let me know. Are enough people enjoying me doing these and see them as relevant, or am I ruining people's enjoyment of the shows by over-analyzing? If so I'll stop. I know I've certainly found things that I'd missed before and learned to appreciate other things by looking more closely, but I'll keep the nitpicks to myself if they're annoying too many people.
yes, you're over-analyzing.
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On 4/1/2018 at 9:32 PM, gibsonfan159 said:
Photo session with Chris Dreja before the Australian 1972 tour
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The new remaster sounds better to me. Drums are clearer, better eq and can hear the bass better too.
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30 minutes ago, Urozep said:
Playing in a studio could also mean a quiet rehearsal. As I said, I have no clue as to what they were playing-- but I'M sure they were there.
Please crawl back under the rock you came from, troll.
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Carouselambra is brilliant. Production could have been better on that but a raw live version that they could have performed in 1980 and beyond would have solved that, It could have been the new Achilles Last Stand showpiece in concert.
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Robbie Williams LOSES his three-year battle to build a summerhouse in the garden of his £17m London mansion after a row with neighbours
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LED ZEPPELIN OFFICIAL ILLUSTRATED BOOK - COMING 2018
in News
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