SteveAJones
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Product Description
Back to Schoolin' is the culmination of years of conscious and subconscious study in the school of music known as Led Zeppelin. Having studied the band and its music for nearly thirty years, author Kevin Courtright has acquired a tremendous body of knowledge and insight into music and the music business which is modeled by Zeppelin. He presents this knowledge through three major categories: The Music, the Presentation and Relationships, and the Business. Dispersed within these three major categories are a total of thirty-two chapters, each of which is broken into three sections: The Inspiration, the Information, and the Implementation. Mr. Courtright's goal is to pass on this body of knowledge to others, whether musicians or not. The book is fascinating in its presentation, and educational in its content. Back to Schoolin' is recommended reading for anyone interested in not just rock music, but music in general. Kevin Courtright is a Los Angeles-based composer and author whose latest opus is the book Back to Schoolin': What Led Zeppelin Taught Me About Music. With 25 years of composing and study behind him and a long-time devotion to the beauty and intricacies of progressive rock music, Kevin is in a unique position to illustrate the far-reaching and lasting impact of one of the most influential musical groups of the 20th Century. Born outside the District of Columbia, raised near the City by the Bay and transplanted to Los Angeles, Kevin manages to escape his schooling with his creativity intact. His skill as a writer leads to the writing and directing of the hilarious mockumentary "Man On Top." He steps away from the keyboard once a week to teach from the greatest book ever written and on Sundays you will find him lending his bass voice to the Choir of Grace Community Church.
Product Details
Paperback: 416 pages
Publisher: Xulon Press (September 17, 2009)
Language: English
ISBN-10: 1615790454
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Ronnie Jones left Korner to form his own band, which was the Nightimers. You can find references to this in the literature on the British blues scene.
Melody Maker, January 2, 1965
This from CarnabyStreetTheMusical.com:
Ronnie Jones was born in Springfield, Massachusetts in 1937, but a career in the US Air Force brought him over to the UK in 1961. He was discovered by Alexis Korner, although Jones himself credits Georgie Fame with giving him his first taste of performing live, by allowing him to step up and sing with his band during an all-nighter at the Flamingo club. Joining Korner’s Blues Incorporated, Jones would share the mic with the likes of Rod Stewart, Long John Baldry and Mick Jagger. After leaving the military, Jones returned to London, where he formed first the Nightimers, with a line-up that included guitarist John McLaughlin, and then the Blue Jays, a band which toured Europe and performed at the Marquee. His next band, the Q-Set, broke up after a three-month tour of Italy, but Jones stayed on, winning a part in the seminal Sixties musical ‘Hair’. He settled in Italy, becoming a well-known club DJ and recording disco albums during the Eighties. However, he has returned to his roots with the recently released ‘Again’, which features Toto guitarist Steve Lukather, drummer Billy Cobham and saxophonist Bill Evans.
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I have this quote from Mick Fleetwood's bio:
Same band?
Hmm...this from Alexis-Korner.net
...these qualities were enshrined in Blues Incorporated even before Heckstall-Smith joined. He noted, “Unlike a lot of groups, it was a band – it had a unity and dynamic music character of its own which transcended the individuals in it. That was rare and it had to be nurtured.” But Dick forsook his role as district nurse when he left Blues Inc. in August 1963. It seems Alexis had sensed he would rather be with the Graham Bond Organisation, along with fellow former Blues Inc’ers Jack Bruce and Ginger Baker. Dick reckoned he resigned three minutes before Alexis got round to sacking him. He was replaced by altoist Dave Castle, with Malcom Saul from the Eric Delaney Band coming in on organ.
That left the important role of lead vocalist. Alexis knew he was little more than adequate as a singer at that stage (he’d identified himself as “appalling” in a 1959 radio interview). He had a limited range and often wasn’t comfortable singing in the keys most amenable to band performance. In the early Autumn of 1963 he had his eye on another black American ex-serviceman, Herbie Goins, to replace the outgoing Ronnie Jones, but his next recruit was George Bruno Money, known professionally as Zoot. The flamboyant singer and keyboard player had already created the prototype for his Big Roll Band back in 1961 but with his band’s approval, he jumped at the chance of hitting the big-time in London, with Blues Inc. “I was ready for London,“ Money told Mel Wright. “I’d done all the gigs that there were to do in Bournemouth. I was known in Southampton and around the south coast. Played the best gigs with local players hating the shit out of you.”
He arrived at the Korner home in Moscow Road in his mate Pete’s Buick, to discover his first gig was that night. “The talk that we had between his house and the pub (The Six Bells, in Chelsea) was as much of a rehearsal that I ever had with Alexis.” Presumably their reception was similar to the one Money remembers at a gig on the outskirts of Manchester. “It was a pub at a crossroads, “ he told Harry Shapiro, “you’d look at the outside and think, no, no way. And then a half-hour or so before show time you’d get this incredibly well-informed raving crowd turning up who all knew what they were listening to.” This held true during the two months Money spent with Blues Inc., like his predecessor Graham Bond, playing solo sets in the intervals.
With big ambitions of his own, Zoot wasn’t unhappy when Herbie Goins was finally able to join the band in late October 1963. Goins had been born in Florida and gained some stage savvy singing with his high school group, The Teen Kings. By the time the US Army sent him to Germany, he’d already sung with B.B.King and Bobby Bland. With Edwin Starr in his unit, it didn’t take them long to get a band going. Gigging around the bases, he met bandleader Eric Delaney, who invited him to England to sing with his group. Goins had modelled himself on Basie band singer Joe Williams, but there weren’t many Jump Blues songs in the bandbook. So when Alexis asked him to join Blues Inc., Goins jumped (after working his notice) at the chance.
This from johnpauljones.com:
1961 - formed bands at school, played U.S. Airforce bases in England
1962 - turned professional, various bands touring clubs, theatres, U.S. bases, etc.
It seems entirely possible JPJ performed with the Nightimers with Ronnie Jones ('62-'63) as well as Herbie Goins ('63-'66) in the lineup. This is getting very interesting...
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My notes show that this took place in 1966, when John McLaughlin was a member of the Night Timers (Jones and McLaughlin had previously played together in Jet Harris & Tony Meehan's backing band, and McLaughlin subsequently invited Jones to jam with the Night Timers).
^^^
I've incorporated this into the Zeppelin Mysteries thread to avoid any derailment here (pre-Zep Plant)
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Thus the middle-aged Korner became the despairing young minstrel's career advisor, father confessor and a major catalyst in the recovery of his artistic confidence, 'Alexis absorbed me into his larger family of musicians and friends in London,' beamed Plant, 'He aided my schooling for what was about to come, and is still coming.'"
Alexis Korner died of lung cancer on January 1, 1984.
Jimmy Page had joined Ian Stewart's Rocket 88 (Stewart, C. Watts, J. Bruce, P. Jones, R. Turner, Dick Heckstall-Smith) for the Alexis Korner Tribute Concert at the Palais in Nottingham on June 5, 1984. It is believed Robert Plant was still in New York at the time (having held additional recording sessions for 'The Honeydrippers Volume One') and unable to attend.
The first concert performance of the '94-'98 Page/Plant era was at the Alexis Korner Memorial Concert to support the Macmillan Cancer Relief Fund, held at the Buxton Opera House on April 17, 1994.
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John Paul Jones with Herbie Goins and The Nightimers (1960s)
In the Led Zeppelin book 'The Origin of the Species' by Adam Clayson, he states (pg 73) that John Paul Jones used to play organ for Herbie Goins and the Nightimers to let off steam after his studio sessions. Seeking
further specifics/confirmation of this via anedotes, gig advertisements, photographs and so forth. I put this inquiry forward today to Mr. Goins in Rome and am awaiting a reply.
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American singer Herbie Goins found himself in London after leaving the US armed forces in 1963. In 1964 he formed a band called the Nightimers and set about bringing soul music to the UK.
Goins' first documented recordings are believed to be a guest spot as a featured vocalist on Alexis Korner's "Live At The Cavern" LP from 64. Goins' "No.1 In Your Heart" LP was the only full length the band released, although there is a 7″ EP & at least 2-3 45s as well. The album features tracks recorded both in 1966 & 1967, they are a mix of covers & originals. They are all really great soul & the album appears to have been released or re-released under a couple of different titles: "Soul Soul Soul" & "Soultime". There seems to be some speculation as to if the LP features John McLaughlin on guitar or not, because although he was the original guitarist in the Nightimers, he left the band in late 1966. One of his compositions "Cruisin'" still appears on the LP.
This from HerbieGoins.com:
After some years with Alexis Korner Herbie forms his own group, The Nightimers, and orients himself mostly towards Rhythm and Blues. Once again he has in his band great talent musicians like John Mc Laughlin at the guitar, just to tell one name. It is an immediate success. Herbie becomes one of the favourite singers of the Mods, a movement really very important in England at that time. They follow him in all the historical London Clubs, such as Flamingo, Marquee, Sylibles. His song “Number One in Your Heart” becomes Mods’ hymn. EMI engages him and his records enter in the charts in most of the European countries and, after years, will become great demand for collectors of rare records.
During this time, memorable are the jam sessions of Herbie with Otis Redding (in concert at the Scoth Club of London), with John Lee Hooker (in concert at the Norwick Jazz Club at Norwick), and with Jimi Hendrix, still unknown and present at the Blaises Club in London every Monday for the appointment with Herbie’s concert.
One of the great fans of Herbie Goins was a young Robert Plant, who, today, still remembers his songs word by word (also Robert Plant, after time, became part of the Alexis Korner Blues Incorporated).
This from forum member swandown:
My notes show that this took place in 1966, when John McLaughlin was a member of the Night Timers (Jones and McLaughlin had previously played together in Jet Harris & Tony Meehan's backing band, and McLaughlin subsequently invited Jones to jam with the Night Timers).
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...Robert Plant was getting up to sing with Alexis Korner at the Midland Arts Centre...
I agree on this night(s) it sounds like Robert only jammed with Alexis as opposed to being a member...perhaps the date of this gig(s) can be confirmed...perhaps this is the extent of his live performances with Korner - a few nights at this Midlands venue?
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Hey Steve, I have read that Eddie Kramer refused to record the '77 tour because of the sheer amount of drugs the band were doing? Do you have anything confirming this?
This canard has circulated for some time. He was rather busy producing 'Alive II' for Kiss, among other projects, throughout 1977.
The origins of "Alive II" go back to early 1977 when Kiss manager Bill Aucoin, had the idea to have Eddie Kramer record a live album during the evening show at Budokan Hall in Tokyo on April 2, 1977. Led Zeppelin's 1977 North American tour began the night prior.
Kramer finished work on the album, but Casablanca Records and KISS deemed it unusable, and the band forged ahead with the 'Love Gun' sessions, which Kramer also produced in addition to a reattempt of 'Alive II' with new concert recordings he produced later that year.
As a by the way, there will be an extensive interview with Eddie Kramer presented in the December 2009 issue of Dave Lewis' 'Tight But Loose' fanzine:
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Also given Plant's previous comments of having actually stayed in London with Korner, it does seem rather an odd thing for Plant to say to Rodgers that he didn't know what London was like. Maybe Rodgers memory is playing up? Or was it just throw away small talk by Plant?
Meg
To me the anecdote as told comes across as if Paul Rodgers was some huge, super-hip, well connected star and Robert was just some Brummy Dummy. Are we really to believe Jimmy was discussing the finer business details of Led Zeppelin with Robert before he had even arrived in Pangbourne to see if they could get on socially? The
band had not yet formed! Robert had no idea about the London scene despite already having a London-based manager, performed there a few times and cut demos down there twice? The stench of embellishment hangs in the air over this one.
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The Alexis Korner thing is intriguing..in what way did RP "tour" with AK..as a sideman?..as a support act?
Some have said he was half of a duet while others say he contributed harmonica. Searching for Plant comments.
It's my understanding whatever his involvement it was limited to just a few club gigs only.
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Supposedly, Plant hooked up with Korner after Victor Brox and Marsha Hunt left his group. Hunt joined the London stage cast of "Hair". Does anyone know when that happened?
'Hair' opened at the Shaftesbury Theatre in London on September 27, 1968. Presumably she joined 1 to 3 months prior to that as rehearsals for the US production lasted three months.
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I wonder if THIS has anything to do with Ross' cryptic comments about January and that Elvis photo?
Nice!
If Elvis were still alive, he would turn 75 years old on January 8, 2010. So the party plans are starting with several events planned to commemorate the date, including a CD package, special concerts at Graceland in Memphis, and a Cirque du Soleil tribute show.
Note the Presley song 'Baby Let's Play House' is cited by Jimmy as being his inspiration to play the guitar!
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Steve...don't pass over the chance to write a book. There is something about a Hard Back that .pdf can never match. I hate reading too much on the PC...gimme paper!! There are a lot of Zep books out there...some are great, some are good, others are just regurgitation. Go for writing the book mate!! Kenny
Thanks, Kenny. A well-written book can bring credibility, permanence, even a sense of immortality to an author, as opposed to using zeros and ones which can be vaporized in an instant. There have been so many books written about Led Zeppelin, yet relatively few when compared to many other popular music groups. I do have concerns any book(s) I'd wish to write are not the books others would wish to read - it's become a big picture world and you may notice I am prone to examine even the finest details of a particular event or era. I am also
extremely hesitant to write anything which has not been substantiated as fact beyond all reasonable doubt.
Generally speaking, rock music books are filled with inaccuracies and conjecture. Even so, I haven't ruled out doing a book, though there are always other projects imposing demands upon my time.
"They're all inaccurate you know" - Jimmy Page on Led Zeppelin books
"Heroes are in books - old books" - Robert Plant
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Jimmy's Jukebox
November 17
The King with his jukebox and his photo of the kings - look closely and work it out. - Ross Halfin
Photo Link: http://www.rosshalfi...vember-2009.php
My Response:
The photo hanging over Jimmy's jukebox shows Elvis "The King" Presley meeting the King of Thailand on May 21, 1960. It was taken in Hollywood on the set for his film 'G.I. Blues'.
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Melbourne Herald Sun (Extra Hit Supplement) November 19 2009 Melbourne, Australia
"The Vultures Are Circling" -- three page Grohl & Homme interview
Brisbane Courier Mail (CM2 Supplement) November 19 2009 Brisbane, Australia
"Picking the Bones of Rock Greatness" -- Them Crooked Vultures feature
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The last time Jones was in Phoenix, in the late 70s, Led Zeppelin appeared to be out of wind. The concert at Arizona State University Activity Center, one of the last in America for the band, was an event that started late and turned ugly, with the band sounding out of sync and drug-addled guitarist Jimmy page looking worse. When asked about the show, Jones could only groan.
"Was it dreadful? Yeah, I remember that," Jones says. "It was a horrible night. Jimmy wasn't, uh . . . well. We started off in half time. I apologize," Jones says. The concert with Galas on Friday night at Gammage Auditorium "won't be like that," he adds. "Everything will be much, much better. "
The band had been on break and did not perform from June 28th to July 16th, during which Jimmy, Scarlet and Richard Cole spent two weeks on holiday in Guadeloupe, West Indies. This was only the second show following that break! They
travelled in luxury (Ceasar's Chariot) (stayed at Marriott's Camelback Inn for this concert) and had been on the West Coast nearly a week so jet-lag should not have been a real factor.
Frankly, JPJ is calling a spade a spade as to why this concert was so disappointment - addiction. Bear in mind two nights later their $25,000 cash advance for Day on The Green concert was immediately given to a known drug dealer in the room at the San Francisco Hilton. (Source: Concert Promoter Bill Graham)
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Hope this answers a few questions-
Sunday 17th March 1968
Whoomp! There it is.
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Getting through The Song Remains the Same
By MATT ASHARE | December 4, 2007
The Portland Phoenix
Led Zeppelin have rarely missed a promotional opportunity, and the occasion of their current reunion — one that brings Robert Plant and Jimmy Page back together with bassist John Paul Jones for the first time since their 1995 Hall of Fame induction — is no exception. With the December 10 London show set up to honor Atlantic co-founder Ahmet Ertegun fast approaching, Zep have reissued both the 1973 concert film The Song Remains the Same as a two-disc DVD (with a newly remastered soundtrack) and a brand new two-disc greatest-hits collection, Mothership, that also comes in a deluxe three-disc version with a 20-track DVD of live performances taken from the 2003 DVD set Led Zeppelin.
Unfortunately, The Song Remains the Same remains, after 25 years, one of the worst concert films ever. Or perhaps I should say it's one of the more unfortunate advertisements for a rock band ever released as cinema, even if it has been responsible over the years for countless custom van paint jobs of wizards wielding mysterious lights at the top of a hill. That's not to suggest that the film doesn't have its redeeming moments: the performances of "Rock and Roll," "Black Dog," "Misty Mountain Hop," and even the title track go a long way toward conveying the special power of Zeppelin's fusion of American blues and British folk. And until the 2003 live set was released, The Song Remains the Same was one of the very few live documents of Zeppelin running through their classic repertoire. But by 1973, the year The Song Remains the Same was recorded on an American tour (mostly at Madison Square Garden, though the DVD provides no specific information), Zeppelin were a behemoth of a band — the very epitome of the sort of excess that punk-rockers would rise up against just a few years later. As Robert Plant remarks in an interview about the film that's part of the bonus disc, "If we're going to be self-indulgent, we might as well try to expend that indulgence a bit."
Or does he say "expand that indulgence a bit"? It's hard to tell. But by '73, it was no longer enough for Plant, Page, Jones, and drummer John Bonham to get up on stage and play. Everything had to be bigger and better than the last time around. (It says something about where the band's collective head was at that they've included on the bonus disc a news clip from Tampa, where, yes, they finally sold more tickets to a rock show than the Beatles.) It was the era of an arms race in rock and roll, where every huge band would try to outdo every other huge band in terms of volume, light show, and costumery, almost all of which is absolutely unforgivable in The Song Remains the Same. I mean, who dressed John Paul Jones, and why didn't somebody put a stop to it? Plant's chest-baring outfit and Page's black-magic suit aren't particularly egregious, but Jones is wearing a frock that looks as if it belonged in Middle-earth. The show itself was all about Led Zeppelin overpowering the crowd with flashy displays of skill and volume. Thus the 23-minute version of "Dazed and Confused," replete with all of Page's sonic tricks, including the violin bow he'd been using since the band's inception in '68. ("Dazed and Confused" was, after all, a song he brought over from the Yardbirds when he formed Zeppelin.)
To say that The Song Remains the Same drags a bit in places would be too kind to films that actually do drag. And that's just the first 10 minutes. After the gangsters have slain the werewolf (you really must see the film to appreciate just how absurd the little story lines are), Plant and his wife have enjoyed watching their children play in the nude, and Bonham has tooled around in one of his classic cars, it's a big relief to see the band finally stepping off their plane in the States, on their way to the gig. The problem is that the gig keeps getting interrupted by these fantasy sequences, each of which is supposed to reflect something essential about the character of a bandmember — sort of like the animal costumes suggested in This Is Spinal Tap. So we get a rescue mission back to Middle-earth, where a maiden waits in distress, except it turns out that John Paul Jones is the hideous monster and he's just headed home to spend a little time with his wife and kids, or something like that. And there's Plant on horseback with his raven, riding to a castle to dispatch some bad guy with a sword, and Page climbing that hill toward the wizened white wizard, and more of Bonham zipping around with his cars and motorcycles — all interspersed among the actual performances, so that one minute you're watching Page play a ripping solo and then next he's off on some mountaintop.
But it's Peter Grant, the band's notorious manager, who steals the show. He has a nice little row backstage with someone from the facility who appears to have allowed illegal merchandisers into the building. The towering legendarily fearsome, Grant is pissed, and by the scene's end, you're pretty sure that you don't ever want to make this guy mad at you. (Fear not: he died in 1995.) Later, he's more in control as he reports the theft of almost $200,000 of Zeppelin's money from a strongbox at their hotel. No indication is ever given as to whether the missing 200 grand was ever recovered by New York's finest.
The new edition of the film does include a couple of extra performances "Celebration Day," "Over the Hills and Far Away," "Misty Mountain Hop," and "The Ocean," all from that same '73 tour. But the best live Zeppelin is the stuff they recorded long before they had any plans to make a movie, and most of the best of it can be found on the bonus disc that comes with Mothership. Here you get much rawer footage of a younger, less self-conscious Zeppelin powering through the blooze funk of "We're Gonna Groove," "I Can't Quit You Babe," and a much more spontaneous "Dazed and Confused." By the time they get to a furious and fast "Communication Breakdown," they sound almost like a punk band, and it's a relief to hear a live "Stairway to Heaven" without all of the ad-libs Plant plants in The Song Remains the Same. This is a lean, mean, explosive Zeppelin, wearing sensible clothes and not trying so much to "expend" or "expand" their indulgence. It's one very good reason not to spend your money on the version of Mothership that doesn't come with the DVD. Or, better yet, go on a hunt for that five-hour, two-DVD 2003 Led Zeppelin set.
http://thephoenix.co...ge=2#TOPCONTENT
...custom van paint jobs of wizards wielding mysterious lights at the top of a hill...
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Book Review: Led Zeppelin: Photographs By Neal Preston by Neal Preston
Author: Donald Gibson Published: Oct 29, 2009 Site: Blog Critics.com
"We're not talking about The Vagrants from Long Island or Vanilla Fudge, or the horn section of Tower of Power. This is Led fucking Zeppelin."
Such is how Neal Preston recalls his enviable and utterly daunting role as the official photographer for the heaviest band on the planet. In Led Zeppelin: Photographs By Neal Preston, the man behind the lens has compiled some of his most resonant shots of Robert Plant, Jimmy Page, John Paul Jones, and John Bonham, rendering moments both epic and strikingly poignant.
Interspersed throughout the photos is an interview conducted by KLOS-FM Los Angeles radio host Cynthia Fox, in which Preston reflects upon his experiences, adding context to certain images while explaining the scope of his responsibilities at the time. In short, he didn't merely snap pictures for a couple of hours at whatever venue Zeppelin had landed in on any given night.
In looking at the live shots, in particularbe it one of Page shredding a double-neck or of all four musicians working in synergyyou can feel the music. In other words, Preston captures a spirit as well as his subjects, compelling you to envision bearing witness to "Achilles Last Stand" at Chicago Stadium in '77 or "Since I've Been Loving You" at Madison Square Garden in '70.
Complementing the concert photographs are select portraits and behind-the-scenes snapshots that reveal a bit of innocence behind the band's menacing enigma. It's especially evident in shots like that of Bonham napping on board the Starship (Zep's private jet) or of Plant walking arm in arm with his young daughter, Carmen, backstage at Knebworth.
Any depictions of the band's notorious debauchery are kept to a minimuma candid shot of Jimmy Page swigging from a bottle of Jack is about as salacious as it gets herebut it should be emphasized that Preston was employed by and under close scrutiny of the band and Peter Grant, Zeppelin's imperious manager. Ultimately, any potentially compromising or unflattering shots (especially with promiscuous girls or illicit substances and paraphernalia) would've likely been canned back when they were developedif not sooner.
What Neal Preston so strikingly achieves with this collection is to reflect Led Zeppelin in ways that live up toand in many cases, enrichthe band's larger-than-life reputation while not compromising the integrity of his own work as a professional photographer.
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OH really?? It kinda seems like you did....
You make fun of SOMEONE ELSE's photo, but then when someone does the same to you....
You get all butt-hurt about it. You can dish it, but you can't take it??
Let me help you out, Shorty - er, Bonnie. Dzldoc posted something unflattering about me first (in response to a post I made to the Beautiful Woman thread which had nothing to do with him), and Rorer717 was - unsurprisingly - the first to post something unflattering about me in this thread. I'm not hurt about any of this, merely giving as good as I get. At the end of the day nothing changes the fact most women (not "librarians", Mona) find me attractive and those two wise ass rednecks are still just a couple of keyboard warriors.
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Steve, I see a number of Internet references to JPJ changing his name from John Richard Baldwin. Is this just Web hearsay or has it been verified anywhere? Also, in discussing his parents' variety / musical act, Jones has referred to his musician father Joe Baldwin, but are there any billings or other info identifying Mrs. Baldwin, who was also part of the show? It seems JPJ has the most obscure family background of all the Zep members, intentionally or not.
George, I'll see what I have on file.
Edited to add: John began playing piano at the age of six, having learned keyboard skills from his father who was a pianist and arranger for big bands in the 1940s and '50s. John's mother was a singer and a dancer. I believe he said his Grandmother was also involved in music. I've yet to see any billings for his parents, but given the venues they played - such as clubs on at U.S. Air Force bases throughout England - it's doubtful any have survived if they were published at all.
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I always thought it was Buxton as well, but this article says it was at the Boston Gliderdome.
It's also worth noting that the same article states that the infamous tour of Scotland took place "in the middle of winter" (which would rule out May 1968 as commonly suspected).
Given Blocoboy's Autumn '67 findings it was quite likely later in the year - perhaps Nov/Dec of 1967.
??? ?? 1967 Ayr, Scotland Ayr Ice Rink
Billed as Robert Plant and his Band of Joy
Source: Plant interview in Sunday Mail (Oct 23 2005)
??? ?? 1967 Kircaldy, Scotland YMCA
Billed as Robert Plant and his Band of Joy
Source: Plant interview in Sunday Mail (Oct 23 2005)
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Off the top of my head, here's a wishlist:
4. confirmation of the Obs-Tweedle or Band Of Joy gig in Buxton (or Boston) with Terry Reid. This was the show that caused Reid to recommend Plant to Page.
Scott, my notes (1991) show Terry Reid said Robert Plant and His Band of Joy were billed below him at the Buxton Opera House. Terry added he watched their set and phoned Jimmy the next day to tell him about Robert. Jimmy had
already spoken with Terry, so he knew Jimmy was still looking for a vocalist. For some reason I have this show as Sat,
July 13, 1968 - my notes don't say why - if correct they may have actually been billed as Obs-Tweedle on that date.
Zeppelin Mysteries Hosted by Steve A. Jones
in Led Zeppelin Master Forum
Posted
Jack White, The Edge, Jimmy Page film release date set
'It Might Get Loud' will premiere in the UK next year
'It Might Get Loud', the forthcoming documentary featuring Jack White, The Edge and Jimmy Page, has got a release date.
The 97-minute film, which trails how the guitarists developed their trademark styles by using different approaches to playing the electric guitar, will get its official theatrical release on January 8.
(Elvis Presley's 75th Birthday)