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About drowan

  • Birthday 06/24/1954

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  1. Carnegie Hall's prestige was used by Peter Grant to help lure LZ back to N. America for a 4th tour in '69.... But as the journalists of the contemporary rock music scene in 1969 noted, which was amplified later by rock music historians and LZ biographers, the October 17 gig at Carnegie Hall helped propel LZ to the "front of the pack" by 1970 (only three months later)!!! Their energy, intensity and impact on fans was now undeniable!!
  2. Led Zeppelin's 10/17/69 Carnegie Hall one-night/two-show gig was the first stop on a 12-stop Fourth North American Tour of 1969! The 12 LZ Concert Venues of the 4th North American Tour During 1969:
  3. The memory of the 10/17/69 LZ Carnegie Hall concert burns bright (like it was only yesterday) and lays truth to Jimmy Page's prophetic words...
  4. Sam, Mook, and bcarter690: Thanks to your initial urging and Sam's engaging follow up efforts, the "dedicated" 10/17/69 Carnegie Hall LZ Concert Forum site was created and has since received more than 30,000 visits and hundreds of comments with additional contextual material. This extensive collection of photos and other postings is a fitting tribute to this memorable and highly pivotal live performance by the band during its early formative years! Once again, here is a link (below) to this dedicated Forum site for your convenience. Enjoy! DRowan
  5. Here's a chance to get a better sense of what the 10/17/69 Led Zeppelin concert at Carnegie hall was like in terms of live performance impact... Led Zeppelin – Soars On Buffalo 1969 (Graf Zeppelin LZSC-1030A/B) relayer67 November 28, 2020 Graf Zeppelin label, Led Zeppelin Leave a comment 773 Views Soars On Buffalo 1969 (Graf Zeppelin LZSC-1030A/B) Kleinhans Music Hall, Buffalo, New York, USA – October 30, 1969 Disc 1 (53:49) Introduction, Good Times Bad Times / Communication Breakdown, I Can’t Quit You Baby, Heartbreaker, Dazed And Confused, White Summer incl. Black Mountain Side, What Is And What Should Never Be Disc 2 (68:56) MC, Moby Dick, How Many More Times. Bonus Trax: Memorial Hall, Kansas City, Kansas, USA – November 5, 1969: Good Times Bad Times / Communication Breakdown, I Can’t Quit You Baby, Heartbreaker, Dazed And Confused, How Many More Times Led Zeppelin’s fourth American tour began on October 17, 1969 with two concerts at the famed Carnegie Hall in New York City. The 15 date tour would see Zeppelin returning to the larger markets like New York City, Boston, Seattle, Toronto, and Detroit before ending proper in San Francisco. The tour also featured the band hitting smaller markets, Springfield, MA, Syracuse, NY, Kitchener, Ontario as well as Buffalo, NY and Kansas City. The tour would coincide with the release of the second album, Led Zeppelin II on October 22 and the band would feature two songs from the record in their sets. The tour was also notable for the inclusion of a few bars of Good Times Bad Times as a prelude to Communication Breakdown, an extremely dynamic and heavy way to open the concerts.
  6. Within thirty months of the 10/17/69 Led Zeppelin concert, Carnegie Hall was thriving on the attendance and cash flow generated by its rock concert offerings. Not only was the Led Zeppelin concert, promoted by Howard Stein, transformational for Led Zeppelin, but it also marked a sea-change in attitude by Carnegie's management and ushered in a golden era of rock performances at the Hall! Readable text from the above N.Y. Times article is excerpted below: You might call it “the greening of Carnegie Hall”— 50 rock concerts during the past [1971-1972] season, ushers dressed in red‐and‐white “Carnegie Hall” T‐shirts, the sweet smell of marijuana drifting over the red velvet seats. Started With Beatles Actually, the sight of a foot‐stomping, cheering, hand clapping crowd boogying to the sounds of an amplified rock band in Carnegie Hall is not new. The hall's first certified rock concert occurred in February, 1964, when the Beatles chose Carnegie for their first New York appearance. In the years since, many rock musicians have gone out of their way to play the hall, for reasons both personal and musical. They feel, as do rock promoters like Nat Weiss, that it's “the ideal, show case,” especially for softer solo performers such as James Taylor, Cat Stevens and Carole King. “It's a status engagement for a rock act,” said Howard Stein, the producer. “Remember, musicians from the time they take piano or guitar lessons dream of playing Carnegie Hall.” Mr. Stein also believes that the “ambiance, the atmosphere” draws many older concertgoers who shy away from “freakier” places like the Academy of Music. Source: New York Times, Grace Lichtenstein, June 27, 1972, p 34.
  7. A great quote to put LZ's one and only evening at Carnegie Hall on 10/17/69 in perspective: “Playing for the first time somewhere is always special,” Copenhagen-based cellist Soo-Kyung Hong told me. “Playing the first time in Carnegie Hall — there is such an expectation to fulfill, and you think of the people who have played it before.” Or you might think of Dizzy Gillespie and Charlie Parker (1947), Edith Piaf (1957), the Rolling Stones (1964), Buck Owens (1966), Led Zeppelin (1969) or Stevie Ray Vaughan (1984). Source: https://www.carnegiehall.org/About/History/Performance-History-Search?q=&dex=prod_PHS&event=13035&pf=Led Zeppelin_
  8. Here is more of the "back story" on the return of "Black Beauty" to Jimmy Page in 2015 and the subsequent Metropolitan Museum show that celebrated its homecoming: https://ledzepnews.com/2019/04/05/heres-the-first-photo-of-jimmy-pages-returned-black-beauty-guitar-which-was-stolen-in-1970/
  9. Jimmy Page's "Black Beauty" Gibson, stolen in April 1970 only 6 months after the Carnegie Hall concert, was finally returned to him in 2015!! Thank you Willie's American Guitar Shop (St. Paul, MN)!!! [Note: Originally, it was thought that the first time this guitar was brought on tour by Page to the US was in the Spring of 1970 (see the Metropolitan Museum's "pre-correction" caption from the curated show below). But these 10/17/69 Carnegie Hall concert photos taken by Jerry Birdsall and posted here on the LZ Forum revealed otherwise and set the historic record straight.] Les Paul Custom (serial no. 06130)1960 Gibson Not on view Jimmy Page acquired this Gibson Les Paul Custom in 1960 and used it as his main guitar for session work from 1962 to 1967. The guitar was stolen from the Minneapolis–Saint Paul airport in April 1970, when Page took it on tour in the United States for the first time, and returned to him on November 12, 2015. Technical Description: Carved mahogany body and neck, ebony fingerboard; 24¾ in. scale, black finish with seven-ply white and black binding, set neck with mother-of-pearl block inlays and white binding; inlaid mother-of-pearl Gibson logo and split diamond design on headstock with five-ply white & black binding; three PAF humbucking pickups, three-way selector switch, two volume and two tone controls; gold-plated ABR-1 tune-o-matic bridge, pickup covers, Grover Rotomatic tuners, and patent Source: Metropolitan Museum of Art; special exhibit of rock guitars (including photos of the "returned" Black Beauty). More information available at museum's website: https://www.metmuseum.org/art/collection/search/771547 Postscript: See the reference (below) to this Metropolitan Museum guitar show that inspired an LZ fan to return Jimmy Page's touring guitar case:
  10. Here are some more rumors concerning the possible existence of a bootleg tape from the LZ Carnegie Hall concert: I still haven't been able to find a source for him actually saying he did any of that. Someone on RO.com said he read it in an interview when Kramer was first promoting his website but couldn't remember when or where and what he said exactly. I would love to find a source for that quote.\ An audience tape apparently exists and I was told sounds excellent. I wouldn't mind hearing that either. eddiel, Jan 25, 2018 Source: https://forums.stevehoffman.tv/threads/jimmy-page-says-previously-unheard-led-zeppelin-music-will-be-released-for-bands-50th-anniversary.720137/page-34
  11. Here's more from Steve Gorman of the Black Crowes about playing with Jimmy Page in his later years: Because he plays at times really sloppy leads and it doesn't matter. Purist guitar geeks will say, "He's so sloppy," and I'm like, "Man, you're missing the whole f---ing point. It's a visceral thing." When I'd be sitting at the kit and he would start playing - and even more so when he would be locking in rhythmically - it felt like somebody was sticking me with a live wire. There's Jimi Hendrix and all these guitar greats, but Jimmy's playing has always moved me, hit me right in the heart, more than any other guitar player. He's done it to millions of people. I don't know how to explain it.
  12. Steve Gorman of the Black Crowes weighs in about Led Zeppelin and Jimmy Page and what it's like to play in a concert with Jimmy: Previously, you've talked about how you appreciated Led Zeppelin's music in new ways from doing The Black Crowes' gigs (in 1999 and 2000) backing Jimmy Page. But what's something you appreciated new or more about Jimmy's playing, in particular? It was all about the approach and what was motivating him, you know? He plays like a guy who's still trying to find something and the intensity of his attack. And I don't know if I've ever expressed it like this to anyone before, I've thought it, but I just related to it. I related to the nonstop intensity even when he was seemingly laying back and getting out of the way. Nothing was done by chance. There was always intent. Every note matters.
  13. Here's a view of the Carnegie Hall stage taken from the rear of the hall during the Led Zeppelin Tribute concert in 2018:
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