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November 18, 2021

November 18, 2021

Join RP and Alison Krauss at 6PM GMT / 7PM CET / 10AM PST / 12pm CT / 1PM ET on November 19th on YouTube for a livestream from Nashville's Sound Emporium Studios.

Tune in to watch the duo and the all-star band debut a selection of songs from the new 'Raise The Roof' album.

Set a reminder and subscribe now: https://plantkrauss.lnk.to/YTLivestream

November 18, 2021

Robert Plant, Alison Krauss and an all-star line-up of legendary musicians for a special one-off performance on The One Show, tonight at 7pm on BBC One and iPlayer.

November 15, 2021

Celebrating 50 years of Led Zeppelin IV around the world...

November 13, 2021

November 12, 2021

v

Graham Kennedy smuggled a tape recorder into the Caird Hall after buying the first tickets for Led Zeppelin’s Dundee concert in 1971.

It remains the only recording of the show to surface in 50 years.

by Graeme Strachan | November 12 2021

Graham’s brother, Bruce, took the photos from the front row and the package brings to life a concert Jimmy Page described as “phenomenal” and “fantastic”.

Page even signed Graham’s ticket stub after the concert before taking off with his expensive pen!
The Led Zeppelin concert at the Caird Hall in 1971 was recorded by Graham’s brother, Bruce.

Here was a band at the peak of its powers.

With The Beatles now gone and the Rolling Stones on a break and taking stock, Led Zeppelin were on the cusp of becoming the biggest band in the world.

Dundee was the only Scottish date on the Winter 1971 UK tour to promote fourth album Led Zeppelin IV, which included the eight-minute classic Stairway to Heaven.

Graham was among the fans who queued up overnight in the rain a week before the November 13 1971 concert for the £1 tickets, which were first come, first served.

It was so wet and cold that some fans grabbed empty cardboard boxes and started a bonfire.

Graham, 65, who now lives in Suffolk, was fourth in the queue at 5pm on Friday night with his pals, Graham Hendry and Roy Kiddie.

A Courier photographer took a photograph of the queue that appeared in Saturday’s paper below the headline: ‘Waiting in the rain for Zeppelin’s big bang’.

Graham pictured with his umbrella in the queue for Led Zeppelin tickets in Exchange Street in Dundee in 1971.

The box office opened at 9am and the boys got tickets with Graham later also managing to get his hands on The Courier photo, which remains a “cherished souvenir”.

Graham said: “A week later we were outside the Caird Hall full of excitement and anticipation at seeing the biggest rock band in the world here in Dundee.

“It was almost a feeling of disbelief that this was about to happen!”

Graham was wearing an RAF greatcoat from his air cadet days but underneath he was also carrying a bag with a borrowed tape recorder inside.

Bouncers at the top of the steps were now checking bags.

Zeppelin manager Peter Grant was known for sometimes taking extraordinary measures to combat the practice of live bootleg recordings at concerts.

Graham said: “I was very nervous and frightened of being refused entry if they found it.

“I was almost past the bouncers when one of them bumped into me.

“He started feeling the bag and I started to apologise to him profusely!”

The bouncer asked Graham: “Is it a transistor?”

He replied: “Yes”.

Graham thought his luck was out but things took a turn.

The bouncer said: “That’s okay, we’re looking for booze – in you go.”

Graham said his legs turned to jelly with relief and he walked into the main hall breathing a huge sigh of relief and took his seat in the sixth row.

“Having queued all night in the cold and rain to get a ticket the excitement was electrifying and we knew lots of the fans around about us,” said Graham.

“The mood was building up rapidly before the lights went down at 8.15pm.

“There was no support act.

“A row of bouncers lined up in front of the stage before Led Zeppelin walked on to a massive cheer and a standing ovation from the 2,500 fans.

“I remember standing there being simply amazed.

“Led Zeppelin were rock legends and now here they were in Dundee!”

The show was recorded by another pal, Harry Bennett, who was sitting next to Graham.
Wall of sound

The band kicked off the gig with Immigrant Song.

Jimmy Page and Robert Plant were churning out face-melting guitar riffs and the fans were blown away by the enormous volume coming from the stage.
Robert Plant on stage during the legendary Dundee 1971 gig.

“It was like a wall of sound hitting you in the chest!” said Graham.

“Oh my God, it was so loud but the audience went crazy.

“Why was Dundee the only Scottish date on the UK tour back in 1971?

“Robert Plant spoke to the audience and explained that he had also wanted to play elsewhere in Scotland but all the other halls were fully booked!”

The crowd were hearing songs from the new album for the first time and the bouncers were struggling to contain the excited fans at the front of the stage.

One of those new songs, of course, was Stairway to Heaven, which was played on Page’s custom-made double-necked 12-string and six-string Gibson guitar.

The band then set up three wooden chairs to perform a welcome acoustic section before getting back to heavy rock including the 20-minute Dazed and Confused.

The sound from the band was like a wall of noise.

After the usual beginning of the song, they hit the guitar break.

Page then brought out his violin bow and proceeded to play his guitar with it.

John Bonham’s marathon drum solo on Moby Dick was one of the high spots of the gig before the audience surged towards the front of the stage for the finale.

The crowd went wild when they heard Whole Lotta Love, which included a medley of classic rock songs including Hello Mary Lou and Honey Bee.

“Then it was all over – or so we thought,” said Graham.

“The house lights went on but the crowd wouldn’t move – we all wanted more.

“The bouncers lined the front of the stage to form a barrier before Zeppelin finally returned for the encore after what seemed like an age.

“Robert Plant waved the bouncers off stage before the band played Communication Breakdown, which was another song I’d been shouting for all night!

“Jimmy Page paid a complement to the Dundee crowd about having ‘a great little world of rock appreciation here’ before the house lights went up.”
The band are pictured performing Stairway to Heaven.

The audience still wanted more and the band returned to perform the Eddie Cochran song Weekend before leaving the stage for the final time at 10.45pm.

Graham waited for the band after the gig. Robert Plant and John Bonham were the first to emerge and were swamped by fans wanting autographs.

While Plant and Bonham were submerged in a mass of bodies, Graham spotted Jimmy Page going to his car and went after him before asking for his autograph.

The guitarist agreed – only if he could get in his car first!

The ticket that was autographed by Jimmy Page after the concert.

“I did and he opened the window about an inch and I passed in my ticket and my expensive Parker pen to him,” said Graham.

“He signed my ticket then kept using my pen to sign others.

“There was now a surge of fans around his car so he drove off to the Angus Hotel.

“He took my pen with him!

“I wrote to the band’s management after the concert, asking for my pen back, and got a letter explaining that Jimmy Page had no recollection of the incident.

“But to compensate my loss they sent me a copy of the limited edition poster for the band’s now-famous five-hour Wembley show on November 20 1971.

“I’ve still got it and they can go up for auction for £1,000.

“You can buy a lot of Parker pens for that money but I’m not selling it!

“I still have my autographed ticket, which is in a frame on the wall of my study.

“The Led Zeppelin concert of 1971 is still the best concert that I have ever attended.”
The poster Graham was sent by the band to replace his pen which went missing after Jimmy Page signed his ticket.

The rock superstars were gone from the Caird Hall.

Graham was in the audience when they returned on January 27 1973 but venues such as the Caird Hall would soon be a thing of the past for Led Zeppelin.

The stadium era now beckoned. But the city was fortunate to host them twice.

In 2017 Robert Plant performed a concert at Perth. He fondly recalled the concert in Dundee all those years ago.

https://www.thecourier.co.uk/fp/past-times/2729202/led-zeppelin-dundee/

https://www.ledzeppelin.com/show/november-13-1971

November 12, 2021

November 11, 2021

New Orleans 1975. (Neal Preston photo)

November 8, 2021

November 5, 2021

November 5, 2021

Here's a couple of sample clips from Los Angeles, The Wiltern. Nov. 17, 2009. Soundcheck and "Spinning in Daffodils" filmed from side stage.

November 5, 2021

Part II

November 4, 2021

After 14 Years, Robert Plant and Alison Krauss Finally Reunite

The duo worked with T Bone Burnett on the million-selling triumph “Raising Sand,” in 2007. Its sequel is once again an alternative to nearly all of its pop contemporaries.

Robert Plant and Alison Krauss's unlikely partnership yielded a huge hit in the 2007 album “Raising Sand.” After a 14-year pause, they’re back with a new LP of reimagined music.

photo: Eric Ryan Anderson for The New York Times

by Jon Pareles | Nov. 4, 2021

“Raising Sand,” the 2007 duet album by Robert Plant and Alison Krauss, started as an experiment, a modest side project for two longtime bandleaders to revisit old and recent songs. It was a hushed, long-breathed album with a haunted twang, yet it turned into a blockbuster — selling more than a million copies and winning five Grammy Awards including album of the year.

A follow-up would have seemed like an obvious next step. Yet it has taken 14 years for the arrival of that sequel: “Raise the Roof,” due Nov. 19.

“Raise the Roof” almost magically reclaims the spectral tone of “Raising Sand,” then finds ways to expand on it, delving further into both quiet subtleties and wailing intensity. “It’s a little bit more smoky, a little bit more lustrous than the first record,” Plant, 73, said by phone from his home in western England.

“It’s definitely different, even though it might be coming out of the same sort of crevasse, the same fork in the landscape of our musical lives. It has a mood to it, which is laced with time and with the actual age and maturity of the songs themselves.”

But the musicians needed a decade of reflection between albums. “If we had thought we knew what we were doing in the first place, we could probably have repeated it,” T Bone Burnett, 73, the producer and linchpin of both albums, said by telephone from Nashville. “But we didn’t. At the time, we were just kind of goofing off, having fun. And that’s what we were up against. We’ve been waiting for it to get to that point where we could just have fun doing it again.”

Plant and Krauss were an unlikely pairing from the start. “We were from two radically different worlds,” Plant said. He was the world-conquering, musically restless rock singer who had fronted Led Zeppelin. Krauss was already a luminary in the more close-knit world of bluegrass and Americana, leading the string band Union Station.

They were also strikingly disparate singers, with contrasting musical instincts. Krauss, 50, grew up harmonizing in bluegrass groups, figuring out and delivering restrained, precise, locked-in ensemble parts. “I’m a regimented-type singer,” she said. “Bluegrass people sing things very consistently, because there’s three parts going on most times. And if someone pulls around and goes and does something different, now the other two want to run you over with their car.”

Plant was used to a lead singer’s free rein; he would improvise with every take. “I try to sing across the beat quite a bit,” he said. “If it’s a straightforward groove, I like to bounce across the left and right of the groove. I did it in Zeppelin. I kind of scuttle it, accelerate it, slow it down.” He chuckled. “It drives them mad.”
Editors’

Krauss grew to appreciate their differences. “It makes you feel like you’re hanging off the edge of a cliff,” she said by telephone from her home in Nashville. “It is so exciting and so magnificent.” Plant and Krauss first sang together as part of a 2004 tribute to Lead Belly, and Plant proposed that they try recording together when their schedules aligned; that took more than a year. Plant initially suggested trying just three days in the studio to see if anything worked out.

They enlisted Burnett, who had recently reimagined old-timey Appalachian music for the soundtrack to “O Brother, Where Art Thou?,” which featured Union Station. For “Raising Sand,” the three gathered songs — mostly about tragic lost loves — and transfigured them with close harmonies and an aura of suspended time. Burnett’s studio band let tempos hover and undulate; Plant and Krauss discovered how uncannily their voices could fit together.

“A funny thing happens with them,” Burnett said. “When the two of them sing, it creates a third voice, a third part in their harmonies when there are only two parts. You know, one plus one equals two unless you’re counting, say, drops of rain. Then one plus one could equal one, or one plus one could equal a fine mist. Their voices are in that relative space where they sing together and it creates a fine mist.”

“Raising Sand” was an otherworldly alternative to virtually all of its pop contemporaries (its competition at the Grammys included Lil Wayne’s “Tha Carter III” and Ne-Yo’s “Year of the Gentleman”), and although it was released on the folky independent label Rounder, eager listeners sought it out. It reached No. 2 on the Billboard 200 album chart.

Plant already had another project underway in 2007: the arena-sized last hurrah of Led Zeppelin that December. But the Led Zeppelin performance was an endpoint, while “Raising Sand” was a new beginning. Plant and Krauss toured for much of the next year, with concert sets that included some revamped Led Zeppelin songs. They plan to tour again in 2022.

“We’ve got a kind of a personality which we could pursue as two singers, a neat place that we made for ourselves,” Plant said. “I just liked the idea of actually singing together throughout an entire show, more or less with somebody. Concentrating, listening, being free-form at times. Letting it rip, then being pretty controlled and organized and following instructions from her. And then, sometimes, letting go so she can’t catch me.”

Yet having a hit album also brought self-consciousness and pressure. Plant and Krauss tried recording new duets with their touring band just after their Grammy sweep in 2009, but scrapped those sessions. “Nothing happened that was really horrible,” Krauss said. “We just felt like it was too much at once.”

They then returned to their own bands and projects: Krauss with Union Station; Plant leading his Americana-rooted Band of Joy and then, for much of the 2010s, the psychedelia-, trip-hop- and world-music-infused Sensational Space Shifters. “We really enjoyed the fact that we have no idea about our corresponding alternative lives,” Plant said.

Still, the “Raising Sand” collaborators stayed in touch. “We’ve been sending songs back and forth for almost 14 years, trying to figure out how to continue,” Burnett said.

Finally, in 2019, they regrouped. A decade of other work had made the sequel less fraught although “there was a little bit of trepidation on my part,” Plant said. “I wasn’t sure whether we could reinvoke what we had. But it was very short-lived, that question of whether or not it was real. It was like, I bow to her, and she curtsies to me, and we see what we can do.”

They went back to the venerable Nashville studio, Sound Emporium, where they had recorded “Raising Sand,” and where Burnett and Krauss have frequently recorded since. (Plant returned there this year, he said, for sessions with the 1950s guitar titans Duane Eddy and James Burton.)

The core rhythm section from “Raising Sand,” Jay Bellerose on drums and Dennis Crouch on bass, had continued to work with Burnett and returned for the new album. They were joined by an expanded assortment of guitarists including Marc Ribot; Bill Frisell; David Hidalgo from Los Lobos; and Buddy Miller, a Nashville stalwart who was in Plant’s Band of Joy. A few songs added collectors’ item string instruments like a Marxophone and a dolceola, both zithers played with keyboards: tinkling, evocative, echoey, unexpected timbres. Plant and Krauss finished recording in February 2020, just before the pandemic lockdowns.

“Raise the Roof” opens with a song from the Arizona band Calexico, “Quattro (World Drifts In),” which is filled with images of desolation, escape and war, perhaps conjuring Afghanistan: “No choice but to run to the mountains where no poppies grow/You have to hit the ground running.”

While most of the other songs on “Raise the Roof” ponder love, separation and longing, the album has a discreet through line. “As we were going through the material,” Burnett said, “it was clear that a story was being told concerning a man, a woman and war. And it became clear which songs fit and the sequence they went in.”

The collaborators returned to some of the songwriters from “Raising Sand,” picking up the Everly Brothers’ “The Price of Love” and the Allen Toussaint song “Trouble With My Lover,” which was recorded by Betty Harris. And as on “Raising Sand,” they remade tracks that started as blues, old-timey, soul, country, gospel and rock.

Their versions are far removed from the originals, often close to inside-out. Most often, Plant said, “We have a kind of languid, sometimes pensive sound, with the pathos of the original song taken into another place.”

They stripped songs down to just lyrics and melodies, and rebuilt them intuitively in the studio, often around sparse, subtle beats from Bellerose. They shifted “Trouble With My Lover” from a major to a minor key, and Krauss trades Harris’s New Orleans soul resilience for a neo-Appalachian plaint, lingering over the song’s loneliness and hints of betrayal.

Krauss chose “Going Where the Lonely Go,” a doleful ballad that Merle Haggard released in the 1980s. Plant seized the chance to record a soul song he had been singing since his teens: “Searching for My Love,” by Bobby Moore & the Rhythm Aces. He also brought material from Britain’s 1960s folk revival: Bert Jansch’s stoically intransigent “It Don’t Bother Me,” which brings out Krauss’s defiant streak; and Anne Briggs’s “Go Your Way,” a wife’s troubled farewell song to a soldier she may never see again.

At one of the album’s extremes, Plant unleashes his Led Zeppelin wail and echoes of “Kashmir” in “High and Lonesome,” a song that grew out of a studio jam session. Burnett and the rhythm section were toying with a Bo Diddley beat. Plant happened to have his book of potential lyrics with him. The title is a tongue-in-cheek country cliché; the song is not. It is equally biblical and bluesy, wondering, “If I should lose my soul, would you still care for me?”

At the other end of the dynamic scale is “The Price of Love.” The Everly Brothers’ own version is an exuberant two-minute, harmonica-topped stomp, though they’re singing about a cheater’s bitter regrets. Plant, Krauss and Burnett took the song down to half-speed and removed any distractions. The track opens with half a minute of near-ambience as instruments quietly drop in: a bowed bass drone, shakers, a distant fiddle, eventually a few guitar notes before the beat and chords solidify and Krauss arrives like an accusatory wraith: “You won’t forget her,” she warns. By taking their time, they concentrate the essence of the song. And as they did with “Raising Sand,” they calmly defy the impatience of 21st-century pop.

The song “kind of forms before your ears,” Plant said. “When people stick stuff on the radio now, I think you’re allowed like 16 seconds or even less before you’re actually hitting a chorus. But then again, we’re fishing in a different pool. In fact, we’re not even fishing. We’re just trying to swim.”

Jon Pareles has been The Times’s chief pop music critic since 1988. A musician, he has played in rock bands, jazz groups and classical ensembles. He majored in music at Yale University. @JonPareles

November 1, 2021

For many years, photographer Carl Dunn has shared dozens of his Zep photos exclusively on LedZeppelin.com. He's been working on a new Led Zep photo book, slated to be published soon.

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“THEY ASK NO QUARTER”

THE CARL DUNN LED ZEPPELIN ARCHIVE 1969-1975
NEW LED ZEPPELIN PHOTOGRAPHIC BOOK BASED ON UNSEEN PHOTOS TO BE PUBLISHED IN NOVEMBER 2021

Legendary Rock photographer Carl Dunn opens his Led Zeppelin archive.

The new photographic book details 15 Led Zeppelin shows ranging from the Texas Pop Festival in 1969, over the rise of Led Zeppelin on their March - May 1970 tour of the US south, to 5 shows from the epic 1973 tour including the double date at the Chicago Stadium in July 1973, and finally at three consecutive sold out shows in Texas in early March 1975.

Moreover, Carl was fortunate to be invited to the “Cabana Motor Motel” in Dallas in 1970 to shoot the band freely while they were relaxing at the pool. He also joined Jimmy Page and Peter Grant to Austin, where Jimmy played with Bad Company in September 1974.

Of 1300 live and off stage images, we have chosen 175 of the best of these and present them with a narrative by the photographer who will tell interesting tales of shooting the mighty Led Zeppelin, as he watched them rise to become the biggest rock act of the 1970´s. Noted Led Zeppelin expert and writer Marc Roberty will offer background and tour info.

Archivist Dave Brolan will offer his views on the photographs through an introduction, and there will be comments by fellow rock photographer Ross Halfin.

Carl Dunn´s Led Zeppelin shots have so far been used in the official Led Zeppelin book from 2019 and have been used for several of the Led Zeppelins official box re-releases of their albums, as well as in countless articles and magazines. Carl has photographed all major rock act that came through Texas, from Jimi Hendrix and Cream in 1968, to Rolling Stones, Deep Purple, Black Sabbath, Aerosmith, the Who and many more throughout the1970´s.

The book will be published in three versions, the book only in an open edition, a limited edition in 300 copies containing the book and limited-edition prints of Led Zeppelin live on stage, and lastly a 100 copies edition signed by the photographer with a clamshell case and the possibility to choose one of the shots from the book, to be printed in a 60x40 cm format, signed by Carl Dunn, and shipped directly to the customers address.

The facts of the book:
• 288 pages
• Large format 288 x 337 mm
• 12000 Words
• Printed on 150 grams Arctic volume white
• Offset print on cloth cover
• Open edition
• 300 copies limited edition featuring a 40x30cm print
• 100 copies Ultimate edition with the chance to choose any image in the book to be printed in 60x40cm and signed by carl Dunn
• Contains 175 photos - half of these previously unpublished
• Words by Carl Dunn and Marc Roberty
• Foreword by Dave Brolan – Ross Halfin

Pre-sale available from 30 September 2021 with a 20x16 cm bonus print of Jimmy Page in action in 1975. It will retail at 79,00 Euros. From the release date it can be bought through retail bookstores, various online vendors as well as, directly from the C Larsen & Sons Book Publishing webshop. Limited Editions can only be bought directly through the clarsenbookpublishing.com website.

October 29, 2021

October 29, 2021

A set of previously unseen photos from Montreal 1975, (© Pierre Guertin). More pics to come.

https://www.ledzeppelin.com/show/february-6-1975

October 28, 2021

Going through some old files and came across a bunch of Them Crooked Vultures videos I filmed (iPhone potato quality at the time). Here's a couple of clips from Toronto / Air Canada Centre - May 15, 2010. In the backstage clip, the band are being given Toronto Maple Leaf hockey jerseys. The live footage is side-stage at the mixing desk.

October 26, 2021

Led Zeppelin Arrives on TikTok

TikTok announced today that the music of Led Zeppelin is now available to its community. The band has also launched their own official TikTok account (@ledzeppelin) that will feature Led Zeppelin artwork and graphics, classic live performances, and other video content.

TikTok users can now create videos soundtracked to any song from Led Zeppelin’s full discography, encompassing over 100 total songs across their landmark studio and live albums, including some of their most legendary tracks such as “Whole Lotta Love,” “Stairway To Heaven,” “Immigrant Song,” “Rock And Roll,” “Black Dog,” “Ramble On,” and “Kashmir.”

Led Zeppelin remain one of the most groundbreaking and popular groups in modern music, having sold more than 300 million albums worldwide. The band was founded in 1968 by Jimmy Page. Along with Robert Plant, John Bonham and John Paul Jones, they began a 12-year reign during which the group was widely considered to be the biggest and most innovative rock band in the world. November 8 marks the 50th anniversary of their milestone fourth album Led Zeppelin IV, produced by Page, which continues to be one of the most artistically influential and commercially successful albums in the history of music and the sixth best-selling album of all time in the U.S. Led Zeppelin continues to be honored for its pivotal role in music history, counting a Rock & Roll Hall of Fame induction, a Grammy® Lifetime Achievement Award, and the Polar Music Prize among its many accolades.

Check out Led Zeppelin on TikTok HERE

October 26, 2021

Led Zeppelin Arrives on TikTok

TikTok announced today that the music of Led Zeppelin is now available to its community. The band has also launched their own official TikTok account (@ledzeppelin) that will feature Led Zeppelin artwork and graphics, classic live performances, and other video content.

TikTok users can now create videos soundtracked to any song from Led Zeppelin’s full discography, encompassing over 100 total songs across their landmark studio and live albums, including some of their most legendary tracks such as “Whole Lotta Love,” “Stairway To Heaven,” “Immigrant Song,” “Rock And Roll,” “Black Dog,” “Ramble On,” and “Kashmir.”

Led Zeppelin remain one of the most groundbreaking and popular groups in modern music, having sold more than 300 million albums worldwide. The band was founded in 1968 by Jimmy Page. Along with Robert Plant, John Bonham and John Paul Jones, they began a 12-year reign during which the group was widely considered to be the biggest and most innovative rock band in the world. November 8 marks the 50th anniversary of their milestone fourth album Led Zeppelin IV, produced by Page, which continues to be one of the most artistically influential and commercially successful albums in the history of music and the sixth best-selling album of all time in the U.S. Led Zeppelin continues to be honored for its pivotal role in music history, counting a Rock & Roll Hall of Fame induction, a Grammy® Lifetime Achievement Award, and the Polar Music Prize among its many accolades.

Check out Led Zeppelin on TikTok HERE

October 22, 2021

14 minutes ago, paul carruthers said:

Zurich 6/29/80....

I've added about a dozen previously unseen photos from Zurich '80 today...

https://www.ledzeppelin.com/show/june-29-1980

October 22, 2021

"'Black Dog' is a slight refinement of the forceful Zeppelin trademark. There's a lot of blood 'n' guts... they are still light years ahead of their nearest imitators." - NME, November 1971. Watch episode 1 of The History of Led Zeppelin IV now.

https://fb.watch/8OzZQE6iFF/

October 18, 2021

VENICE FILM FESTIVAL 2021
and
TELLURIDE FILM FESTIVAL 2021

BECOMING LED ZEPPELIN

ROLLING STONE | David Fear

“It’s revelatory, even if you’ve heard live versions of these songs before, and often straight-up gobsmacking.”

“There are numerous itches that are perfectly Led-scratched for those who find Zep’s back catalogue permanently awe-inspiring.”

“What these early live scenes give you is a real sense of the sex and power of the music they made — how physical and visceral and carnal they were right from the very start.”

“MacMahon has given us a thoroughly itemized, straight-from-the-rock-legends-mouths breakdown of their early years and pre-Zep careers. There’s a whole lotta love for those initial glory days.”

VARIETY | Manori Ravindran

“New footage and angles of well-known gigs breathe new life into iconic performances, and left Venice audiences enthralled.”

THE HOLLYWOOD REPORTER | John Defore

“Bernard MacMahon’s Becoming Led Zeppelin is an eye-opening delight”

“The film adds a wealth of pre-Zep photos, film and ephemera, plus generous helpings of excellent performance footage from their first months together.”

“An essential, joyous portrait.”

VARIETY | Owen Gleiberman

“It unearths Led Zeppelin's roots with comprehensive fascination.”

“A movie that any Zep fan will want to see.”

“It’s full of extraordinary footage.”

“The movie is totally true to its title.”

“This movie actually made me eager to see a Part II.”

THE WRAP | Steve Pond

“A spirited tribute to the power of music to change young lives.”

“Like the band, the movie is potent and excessive”

“Becoming Led Zeppelin” is something of an event."

“It offers glimpses of the band we’ve never seen before.”

“it’s entirely true to the spirit of the band.”

“If you’re a diehard fan, you’ll probably glory in what the film delivers and wish there were more of it.”

“Becoming Led Zeppelin” reminds me of the most memorable Led Zeppelin performance I ever saw.”

INDIEWIRE | Nicholas Barber

“It’s efficient and affectionate.”

“Like all of the best rock docs, it will make you want to listen to the band’s albums.”

MOVIE MANTZ | Scott Mantz

“BECOMING LED ZEPPELIN: Just got back at 12:30am from a surprise screening here at Telluride, and good luck going to sleep — I’m pretty pumped from this super-cool, rocking, enlightening & entertaining rock doc about Zep’s formative years up to ZEPPELIN II”

SCREEN ANARCHY | Ryland Aldrich

“Very cool seeing these legends tell their origin story. Director Bernard MacMahon does a good job of building in cultural context, but the star of the show is obviously the music. You MUST see this with a crowd.”

INDIEWIRE | Anne Thompson

“Telluride 2021 Recharged the Film World and Anointed 2022 Awards Contenders: “music docs hit big at Telluride [including] Bernard MacMahon’s Venice debut “Becoming Led Zeppelin,” which guitarist Jimmy Page and two other surviving band members steered toward a music focus.”

VARIETY | Peter Debruge, Owen Gleiberman

Fall Festival Breakouts: 20 Movies That Got People Talking at Venice, Telluride and Toronto Variety’s critics put together the following roundup of highlights from the three early-September festivals. No.1 Becoming Led Zeppelin “For those of us who think of Led Zeppelin as the Beatles of heavy metal, not to mention one of the four or five greatest rock ‘n’ roll bands of all time, the first documentary about them is a compelling movie. The director, Bernard MacMahon, spends an hour chronicling the group’s roots in the ’50s and ’60s. The film has amazing sequences that make it a must-see for any Zep fan.”

October 14, 2021

October 14, 2021

Mojo / Dec. 2021

October 13, 2021

Today: Jimmy Page at Cheltenham Literature Festival to Discuss Jimmy Page: The Anthology

13 Oct 2021

Jimmy Page will be taking the stage at The Times and The Sunday Times Cheltenham Literature Festival this evening (Wednesday 13 October) to discuss his acclaimed, career-spanning book, Jimmy Page: The Anthology.

The rare interview will be chaired by Times journalist Will Hodgkinson and located at The Times and The Sunday Times Forum at Montpellier Gardens in the heart of Cheltenham.

It will be held at 5:45pm and cover his spectacular life in music, from his colossal body of session work in the Sixties, through to the Yardbirds, Led Zeppelin and beyond. Page will also discuss the contents of the book, including the impressive archive of guitars, costumes and memorabilia that he has amassed throughout his career, all of which was published for the first time in the anthology.

A limited number of tickets are still available and can be booked here through the festival's website for £14 plus a booking fee.

Speaking about the book last year, Page said: "I wanted to include items from my personal archive that have played a part in my overall story, to give the detail behind the detail."

The Anthology contains a new text of over 70,000 words, in which Jimmy Page guides the reader through hundreds of rare items, many of which are previously unseen, and others of mythic status, such as the Gibson double neck guitar, his dragon-emblazoned suit, his white embroidered poppy suit, and the outfit worn in the concert film The Song Remains the Same. Also included are handwritten diaries, correspondence, rare vinyl pressings, previously unpublished photographs and much more. Page personally selected each piece shown in the book to create the most comprehensive and revealing account of his life to date.

To purchase a ticket to the interview, click here, or to purchase Jimmy Page: The Anthology, click here.

https://www.genesis-publications.com/news/today-jimmy-page-at-cheltenham-literature-festival-to-discuss-jimmy-page-the-anthology/

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Today: Jimmy Page at Cheltenham Literature Festival to Discuss Jimmy Page: The Anthology

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