SteveAJones
-
Posts
24,191 -
Joined
-
Last visited
Content Type
Profiles
Forums
Events
Posts posted by SteveAJones
-
-
Here's one SAJ:
What became of some the props from TSRTS? The sword from Robert's sequence, masks from No Quarter, Jimmy's hermit get-up, etc?
Was curious if they were just discarded after filming or did the lads keep them for prosperity or, as only a collector would ask, are these items out there somewhere to be obtained?
Thanks in advance.
Jimmy still has the mold used to create the aging of his face for his fantasy sequence. I believe he still has the robe as well. Sam might know if Jonsey kept his mask and cape. Robert remembers the crew pouring kerosine on the lake and lighting it to create the flames but I'm not sure about the sword's fate. I've certainly never seen any props from the film up for sale or auction. Promotional items, sure, but nothing the band actually wore in the film.
-
Jimmy Page (The Firm) Nassau Coliseum April 3, 1986
Photographs courtesy of Stargroves Tangie
Photographs "Remastered" by Steve A. Jones
-
John Paul Jones Fantasy Segment in The Song Remains The Same
The organ upon which John Paul Jones was filmed performing No Quarter has fallen into
disrepair and an appeal has been launched to raise funds towards its ongoing restoration:
http://allypallyorgan.org.uk/index.php
-
John Paul Jones Fantasy Segment in The Song Remains The Same
Earlier in this thread I examined JPJ's fantasy segment in Led Zeppelin's 1976 film 'The Song Remains The Same'. John himself has explained how he reinterpreted elements of
the Doctor Syn story when they were unable to obtain licensing rights to use the original
footage. Now, for the first time, Walt Disney has made the Doctor Syn films available on
dvd:
Created by author Russell Thorndike in his 1915 book Doctor Syn: A Tale of the Romney Marsh and subsequently injected with family-friendly hero qualities by this Walt Disney production, the character of vicar by day, smuggler by night Dr. Christopher Syn is something of a Robin Hood type based off the English coast in the 18th century. The background of the Dr. Syn character is at least as fascinating as the actual Disney incarnation, and even though Syn's popularity is largely relegated to a smallish cult who best remember him as played by Patrick McGoohan, there's a nice rumbling germ of a legend to be uncovered on the man whose alias was the Scarecrow.
A full twenty years after the first Dr. Syn book, Thorndike resurrected his protagonist for a series of new stories that were all prequels to the initial iteration. This coincided with a film version called Doctor Syn, released in 1937 and starring George Arliss in the title role. However, it wasn't until 1960 that Walt Disney apparently became interested in the story. His company snapped up the rights to yet another incarnation of the character, a new book called Christopher Syn that was credited to both William Buchanan, an American, and Thorndike. A couple of years later, right after Hammer Films turned out the Syn-inspired Captain Clegg, James Neilson was brought in to direct a cast including McGoohan, George Cole and Michael Hordern. It's interesting that McGoohan states in a featurette on the first disc of this set that he was under the impression they were making a regular feature film while shooting was taking place. Disney's plans were somewhat broader. In a serialised three-part run on Walt Disney's Wonderful World of Color, the Dr. Syn adventures were dubbed "The Scarecrow of Romney Marsh." Each entry works as a standalone, but the three also connect to form an episodic whole. Meanwhile, the UK got a theatrical version that was condensed into 98 minutes, known as Dr. Syn, Alias the Scarecrow. Pleasing most everyone, both versions are included in this two-disc release.
To start off part one of the television version, viewers of this set will see a grandfatherly Walt Disney introduce the episode with the assurance that Dr. Syn and his exploits were real, occurring during the reign of King George III and taking place in the area commonly known as the white cliffs of Dover. The fact that Disney is either fibbing or misinformed seems almost beside the point. Walt was a peddler in fantasy just as much as any famous magician or illusionist and telling everyone gathered around their shiny new colour television sets that they're about to see a story dealing with a real, adventurous hero was just another way to insulate the magic. Technology has perforated Disney's stories, as has an increasingly cynical world doomed by manufactured pop stars and brand marketing that's so out of control one could sincerely question whether the world of Disney continues as a means of entertainment or an excuse to advertise all the various products for children (and suckers) of all ages. Yet, when the Disney mystique was really geared up sprinkling pixie dust on all who'd allow it, the films and shows produced in that time, including Dr. Syn, have an almost unparalleled ability to make you feel like a kid again regardless of age. Something like Dr. Syn isn't great art, but it can be viewed as great escapist entertainment that never seems corny or reaches beyond its boundaries. There's a place for that, too.
The stories in the three television offerings do basically resolve themselves within the length of each one, but the overarching plot is consistent in that the Reverend Syn serves as vicar to an impoverished coastal community while secretly acting as the Scarecrow by night to smuggle imported goods that can then be sold off to keep the townspeople afloat. Only two other people know of his dual identity: loyal Mr. Mipps (Cole) and young John Banks (Sean Scully), son of the town squire. They also belong to the Scarecrow's band of gentlemen smugglers, all of whom wear masks to protect their own identities. The Scarecrow's reputation is that of a villain and he's highly sought after by the authorities, foremost being General Pugh (Geoffrey Keen) in the serial and film. The locals actually respect and appreciate the Scarecrow's efforts despite his undeniably illegal methods.
When trying to decipher the merits of either the film or the longer television version, there's the sheer excitement of storytelling to appreciate, but, more than anything, the performance of Patrick McGoohan is just outstanding. He gives Syn a fierce intelligence that does well to assure the viewer this man could really pull all this off. His Scarecrow is, amazingly, cool, creepy and silly all at once. The barking growl he ejects through the Scarecrow sounds ferocious and fully intimidating, as does his maniacal laugh. There's little hint of Syn in McGoohan's Scarecrow and vice versa. His costume too is a mixture of silly and deranged. The stitched and crooked cut for a mouth makes him resemble either a super hero or a comic book villain. Though the Disney version leans decidedly for the heroic, McGoohan's characterisation flirts with an angrier result, one that seems ready to violently erupt at any moment even if we know it's not in the cards here. This is all made even more interesting by the stark contrast to a calm, scholarly demeanor exhibited by the vicar. It's difficult to reconcile that these two halves are of the same whole.
But it's quite fun to try to do so. When the Scarecrow is featured, he's a magnetic mystery man. It's a similar feeling as watching Don Diego transform into Zorro, Clark Kent into Superman, or Bruce Wayne put on the batsuit. The only complaint is the relative scarcity of instances when we do see the Scarecrow. His time on screen pretty much fits the story, but there's that little feeling of anxiously waiting until his next appearance in the meantime. That's not necessarily meant to imply that the rest of the action is lacking, as the other performances are also effective and the stories mostly captivating. McGoohan as Syn is nonetheless the anchor of film and series, sort of making him the Holmes to everyone else's Watson.
Though the changes from the three parts in the Disney television version to the shorter theatrical film are fairly small, careful viewers may notice a few inconsistencies. Generally, the longer serial fleshes out characters and situations and makes for the richer experience. The one obvious mistake is a scene where Dr. Syn and Mr. Mipps give sanctuary to an American fugitive (played by Tony Britton) wanted for sedition that appears in both the first and last episodes. The escapee, no doubt an addition intended to win over stateside viewers, figures in both these installments, but feels unnecessary in the movie. Similarly, a bit of confusion arises in the latter when Lt. Brackenbury (Eric Flynn) is blamed by General Pugh following a humiliation in the courtroom. The film version doesn't give any reason to put fault on Brackenbury, though the serial makes it clear. An entire subplot from the first episode is also lost in the theatrical release, involving the town's gentlemen smugglers hiding out when the King's men arrive. Overall, both work fine, but the television installments seem to be the preference and understandably so.
The Packaging
Packaging seems to change slightly every year and, guess what, it's a bit different again this go-around. The back card is still glued on to the back of the tin with two blobs of sticky gunk. Still no cardboard bands or embossed cases. The difference is with the DVD case itself, which is now a figure-eight style with the two discs overlapping one another. Criterion very briefly used this type of case just before switching to the most recent design, and it's a real pain to dislodge the discs. The case is still extra thick and comes with an eight-page booklet, individually numbered certificate of authenticity, and collectible art all tucked inside.
Each tin in this wave is limited to only 39,500 units, though the text of the certificate lists the print run at 35,000. Either way, that's the lowest of any in the Walt Disney Treasures series thus far and these are sure to become hard to find sooner rather than later.
The Discs
Both discs in the set are dual-layered, with lots of unused space on disc two, and the transfers are progressive. The first instinct for many upon seeing that the television version, as well as the theatrical film, has been set in the 1.66:1 aspect ratio may be one of confusion. Leonard Maltin explains in his introduction that this is actually how it was originally filmed due to the British cinema screenings. The television broadcasts were thus in the wrong ratio without anyone being the wiser. Interestingly, Walt Disney's segments before and after the episodes were also filmed in widescreen, though weren't not told exactly why this was. Despite that, the opening and the Disney introductions are displayed as pillarboxed 1.33:1, with black bars on the left and right sides of the screen. The widescreen Walt Disney intros can be found as extras on disc one. Adding to the confusion, while the Dr. Syn film and episodes are both enhanced for widescreen televisions, as are the Disney segments, the other bonus material is letterboxed.
Far less contentious is the quality of the restoration for the main content. It looks very fine indeed, and remarkably clean with no visible damage. Much was filmed day for night so there's quite a bit of fake-looking darkness, but detail is still rather good. When not shaded, the colours are bright and vivid, especially the red British uniforms, though skin tones are a tad ashen. Grain is present without appearing too heavy. Everything looks to be in great shape, but there is some mild digital noise for the nitpickers.
Both versions get the option of hearing restored original mono or an English Dolby Digital 5.1 track. Purists should find the mono to be of their liking. It's clear, consistent, and without issue. The surround track also sounds excellent. There are a few sound effects that will get your attention, but the main bump is in the rousing score, which thankfully still doesn't become overpowering. It very nicely complements the action while maintaining an acceptable level of volume in comparison to dialogue, which is also easily understood. There are also optional English for the hearing impaired subtitles, yellow in colour.
Resident Treasures mascot Leonard Maltin introduces both discs (2:43 & 3:08) with some informative background on Dr. Syn. These introductions play automatically but can also be accessed from the main menus. The first disc, which contains the television version "The Scarecrow of Romney Marsh," has a nice little retrospective featurette, "Dr. Syn: The History of the Legend" (16:13), about the character's roots. Several scholarly and historian types are interviewed, as is Patrick McGoohan. Walt Disney's introductions in widescreen (4:27), as mentioned above, are also in the first disc's supplemental material.
Disc two has just one other extra feature, a short look at Walt Disney's satellite studio in England called "Walt Disney: From Burbank to London" (11:39). It again features the persons interviewed in the Dr. Syn featurette, as well as director Ken Annakin, and discusses the Disney productions like Treasure Island and The Story of Robin Hood and His Merrie Men that were made in the UK. Even though the bonus material here isn't extravagant, I prefer good quality extras like these to having lots and lots of filler material. We really don't need something like an interactive Scarecrow game or the Scarecrow theme song performed by the cast of High School Musical. The set as a whole feels entirely worthwhile and fans of Dr. Syn will hopefully be happy just having the content in a fantastic presentation.
-
This isn't so much of a "mystery question" Steve. JPJ said they were working on new material when they were rehearsing for the possible tour a few months back. You think they taped any of this stuff or the rehearsals with other singers? If so, you think we'll ever hear it (aka boot wise)? I would love to hear some new riffs by them even if the "songs" were in infancy.
It is known the trio was working on new material as far back as Spring '08, as reported
in this forum. It is not known (or cannot yet be divulged) if that new material was a direct result of the rehearsals or pre-existing ideas brought into the rehearsals.
I can tell you Jimmy and Michael Lee developed a fair amount of instrumental material during their rehearsals sans Plant in Summer '99 which have never been released, with the exception of 'Domino' premiered at Net Aid. JPJ is also known to have conceptual "demos" he may ultimately complete and release as a solo album, but may have presented to them.
Insofar as the singers being brought in to rehearse, again it remains unconfirmed by the band what they had attempted together. I can't say to what extent any rehearsals
were recorded, but it seems to me they didn't record anything at Bath in Jan '86 and
only "home movie" footage is circulating from the Atlantic '88 reunion gig rehearsals.
-
Has anybody asked Neil Young about this?
Yeah, I get it.
Q Magazine March 1995
Courtesy Steve A. Jones Archive
-
PlanetPage provided this excerpt from 'Hammer of the Gods' by Stephen Davis:
"The Tour began in Vancouver on March 21, 1970. On the way to Canada Jimmy's favorite Les Paul guitar was stolen off a truck at the airport. Page later advertised for it in Rolling Stone, just a photo with no name and a reward offer. But it never turned up."
The b&w photo of Jimmy backstage at the Curtis Hickson Hall in Tampa on 4/9/70 refutes Davis' assertion it was stolen on 3/21/70 entoute to Vancouver.
-
"It's buried in the endzone at Lambeau Field"
"Maybe, Jimmy Hoffa had something to do with it, even though he's buried in the endzone at Giants Stadium"
"Lombardi was a huge Zeppelin fan Ya knoooo"
I must say I'm seriously wondering why I ought continue to contribute here.
-
Just to go back to my original thought . The original Black Beauty had the three toggle switches but the one in the RAH DVD does not. It makes me wonder if indeed, the original didn't actually go missing in 69
You may be confused, Ally.
Sometime between February and April 1970 two extra switches were added. Assumed to be for extra pickup combos, not split, series/parallel, or any of that. It would make sense for them just to be for extra combinations too. He favored the typical Les Paul middle position a lot even early on and with the stock Black Beauty set up he couldn't get that unless he had the ability to take some of the pickups out of the mix hence the extra switches. -- Courtesy of "Whole Lotta Led" in Pennsylvania
As far as studio use goes, there has been some talk about it being used on the second album. Page himself has said #1 was the main guitar for II, however in one interview he infers the Black Beauty being used for Whole Lotta Love; can't really tell what he meant though. -- Courtesy of "Whole Lotta Led" in Pennsylvania
Guitar World January 1991: "Which guitar did you use on Whole Lotta Love?
Page: The Les Paul. I had been using a Black Beauty, which got nicked (stolen) in the States. It disappeared in airports, somewhere between Boston and Montreal. A lot of my studio work had been done with that guitar. I didn't want to take it out of the house. Funny that once I did take it out, it got nicked!
(Note: The next gig after Montreal was Ottawa on 4/14 and the next gig after that was Evansville, IN on 4/16. He was in Montreal on 4/15 and went antique shopping that evening...perhaps flight to Evansville on 4/16 had a connection/change in planes in Boston? Or did he mean to say between Bloomington and Montreal, which would correlate to what I suggested earlier about 4/13/70?) --SAJ
Royal Albert Hall London January 9, 1970
Curtis Hickson Hall Tampa, FL April 9, 1970
-
"Don't Even Think About It!"
Jimmy Page poses with Gibson Custom Shop reproduction of his stolen Black Beauty Guitar
-
From what I remember...Richard Cole writes in Stairway to Heaven, the Band was on their way to Winnipeg....the date/year has to be Aug. 29, 1970 Man Pop Festival, Winnipeg, MB....
Richard also writes about their "extra-curricular" activities/possiblities of renting Boat, down by the amazing Assiniboine River to relieve "bordeom"...........
perhaps, the advertisement appeared much later?
The guitar may have been stolen on April 13th 1970, the day the band was flown from Minneapolis to Milwaukee to Toronto to Montreal for their gig at the Forum that night.
Cole's Winnepeg '70 anecdote, if it is presented correctly here, is worthy of further
examination as we know for certain the guitar was stolen in 1970 enroute to a
concert in Canada. However, it doesn't seem to be entirely accurate (boating down the river) as they were partying at the International Inn Hotel in Winnepeg while the event was moved at 7pm from Winnepeg Stadium to Winnepeg Arena on account of heavy rains.
I can add Peter Grant insisted on being paid in US cash as opposed to Government of Manitoba checks and Ann Stark of the 'Winnepeg Free Press' interviewed the band after the gig at 3am in their hotel (International Inn Hotel) near the airport. There is no talk
of boating in the interview published.
The advert in Rolling Stone was not placed by Jimmy until nearly three years later.
A reproduction of the stolen guitar was issued by the Gibson Custom Shop last year:
http://www.justluxe.com/lifestyle/leisure/article-231997.php
-
I had heard about the ad. good to finally see it in context. how much did Jimmy offer?
I believe the reward would have been a negotiable point as opposed to a fixed amount.
-
The Stolen Guitar Advertisement
-
Has anybody seen the proshot footage from this show yet? Bob harris introduced the band, i know it was filmed but not heard any disscussion about it,have heard the cd bootlegs, but no film footage does it exist?
Alexis Korner Memorial Concert to support the Macmillan Cancer Relief Fund
Buxton Opera House (Sun) April 17, 1994
I have this footage. It originally aired on Central TV as 'Tribute to Alexis Korner' and runs 6 mins 20 secs. It opens with the Bob Harris introduction of them and they go
straight into 'Baby, Please Don't Go', followed by 'I Can't Quit You,' during which
the credits roll and the footage fades out. The complete set list performed as follows:
1. Baby Please Don't Go 2. I Can't Quit You 3. I've Been Down So Long 4. That's Why I Love You 5. Train Kept A Rollin.
They had actually held an afternoon rehearsal/soundcheck for twenty minutes (which was apparently also filmed). Then they returned to the Palace Hotel just down the road, where Robert conversed in the bar. The morning after the show Robert and Bob Harris were together in the same bar talking at length about gigs in Rotterdam...lunacy in Los Angeles…the past 20 years...and so on.
-
When Michael Winner said in an interview once that Jimmy was his neighbor, I just assumed that he was his neighbor in Windsor, not in London. I agree with Beatbo, I love this thread- you learn a lot here. Thanks again Steve!
Well, just to clarify further, Old Mill House is in Clewer Village near Windsor. Jimmy sold that property and moved out awhile ago.
-
such an amazing place, does jimmy still live there?
Yes, it is one of his multiple residences.
-
Steve, how did Richard Harris fit into this. he made the house habitable/restored?
Actor Richard Harris owned Tower House just prior to Jimmy. It was auctioned off for
nearly 400,000 pounds, with Jimmy outbidding David Bowie. So far as I know the home
had never fallen into a state of neglect such as Boleskine House and Hammerwood.
According to Harris, whom loved to tell tales of Tower House, the tower was haunted by an eight-year-old boy who had been buried in the tower. The boy often kept Harris awake at night until one day he built a nursery for the boy to play in, which calmed the disturbances to some extent. I imgaine we can file this one under believe it...or not.
-
The Magic and Mystery of Jimmy's Tower House
Tower House was built by William Burges (1827-1881) for himself between 1875-1880, and Jimmy Page outbid David Bowie for it in the early 70s. It is next door to the former home of artist Luke Fildes. Fildes house now belongs to Michael Winner, for whom the Death Wish II film soundtrack was written in 1982.
Burges was an expert on 13th Century Gothic architecture - something of a Gothic revivalist - a contemporary of Sir Frederick Leighton whose presence in Melbury Road had drawn other artists to the area: Marcus Stone and Luke Fildes - both of whom had their houses built by Norman Shaw - and G.F. Watts. This exclusive coterie of friends prompted even more elaborate homes, but none more so than Burges. It was said in 1880 that Burges was either an architect working 50 years ahead of his time, or working an entirely mistaken tract!
Tower House was - and probably still is - the most expensive house in Melbury Road. The exterior of massive and picturesque brickwork, with the corner dominated by a circular staircase tower, toped by a conical roof, shows all Burges' preoccupation with Mediaeval imagery. The real magic of the house however, is the interior. Ornate bronze doors lead
into a double height hall, with a richly decorated ceiling, its plaster walls painted to look like stone.
All the rooms tell a story. The dining room was meant to convey an idea of Chaucer's 'Hall Of Fame', with walls of marble topped by a ceramic tiled frieze depicting characters from tales and fables. The wrought iron ceiling displays zodiacal signs and although the dining table is plain, one might like to compare the one at the Old Mill House to the Tower House ceiling. The library has an elaborate castellated stone chimney piece illustrating the dispersal of the parts of speech from its 'Tower Of Babel'. In its doorway is 'Queen Grammai', her dress painted with the alphabets of three languages - Roman, Greek and Hebrew. The frieze of figures goes on to feature nouns bearing the burden of the
sentence, preceded by 'the' and 'a' depicted as pages to a great lady representing verb.
There is an alphabet entwined within the Gothic foliage and a touch of Burgess' humour - the 'h' has been dropped to be painted alone on the marble. Painted cupboards depict scenes representing different letters of the alphabet beginning with "A" for architect, Burgess himself. Themed decorations are everywhere: the windows are painted with various disciplines from the arts and sciences, even the light switches are matched to the rooms purposes, and symbols above the entrances to each room represent that room function.
Each room represents a natural theme: astrology, butterflies, the sea. One bedroom was covered with paintings, carvings and stained glass butterflies; a staircase window illustrates the storming of the castle of love. Burges' own bedroom - the Ocean room - has a spectacular mermaid holding out a mirror that seems to rise out of the fireplace, it
colours and decorations so designed that Burgess could imagine himself - when in opiate haze - at the bottom of the sea.
Kenneth Anger was allowed use of only the basement to work on editing his film 'Lucifer Is Rising'. He remarked that this was "an evil fantasy house" but perhaps he missed point.
Got to go now for the brooms and the buckets kept down in the basement are dancing and getting out of control.
-
ORIGINS OF JIMMY PAGE AS PROFESSIONAL MUSICIAN
RED E. LEWIS & THE REDCAPS
To quote Neil Christian: "I was looking for a guitar player and I went down to Epsom to see this school-kid that I had heard about". "He was only 15 at the time, still at school but wanted to leave rather than go to college". "So I went to see his parents. They weren't
very keen on the idea but I told them I would guarantee him 15 pounds a week, which in those days was very good money. Anyway, Jimmy joined".
To quote Jimmy Page: "It was Neil Christian who saw me playing in a local hall and suggested that I play in his band. It was a big thing because they worked in London, whereas I was from the suburbs. So there I was, the 15 year old guitarist marching into London with his guitar case. I played for him a couple of years".
It is said history often forgets many things, but how can these two men really forget the truth?
At a local club in Epsom in 1959 Jimmy Page's band were first on the bill to Chris Farlowe's band and Johnny Kidd & The Pirates. Unfortunately, Farlowe had a throat infection and could not make the show but his friend Red E. Lewis - also from the Tottenham/Wood Green area - stepped in for him so the band could play. Lewis fronted the
Recaps, a Gene Vincent-inspired band that were very popular in the clubs of North London. Their manager was Neil Christian.
Red spoke with Jimmy about his band after the show and they talked about Elvis and Gene Vincent and other rock 'n' rollers. Jimmy mentioned his ambition was to go to London and join a bigger band. Red was looking for a second guitarist at the time and he went over to speak with Neil Christian about it. Christian was introduced to Jimmy before he
left, and Red took Jimmy's address and phone number and said goodbye.
Back in North London, Red and Christian discussed the young guitarist and they decided to phone him up. They arranged to meet him and a week later they both traveled by train to Epsom to meet the Page family.
After a long conversation about his schooling, music, ambition and money Page's parents agreed to permit Jimmy to go to London. A few days later Jimmy took up residence at Red's home where he rehearsed his guitar playing in the living room. After a couple of weeks of rehearsals, Jimmy joined Red E. Lewis and The Redcaps.
The band, with Jimmy, played a number of headline concerts at the rock 'n' roll club just off Caledonian Road. A photograph exists of Jimmy with the band during this time, taken after another concert that also featured Johnny Kidd & The Pirates.
Christian, meanwhile, was getting fed up with being a manager and decided to put his own band together. Red was having problems with his group, so it was then decided Jimmy would join Christian's band the Crusaders, and Red would sort out a new band himself.
Red invited his friends Johnny Patto, Johnny Spence, and Frank Farley to form the new group. Mick Green was added to replace Jimmy and this lineup carried on until Red called it quits. The band went on to back cabaret star Cudley Dudley before becoming the most famous lineup of Johnny Kidd's band.
Before long, Red was singing backup for Gene Vincent before opting to assist his brother Mick Stubbs in the Blue Rondos and later in Home. Page had by then spent two years with Neil Christian and The Crusaders before leaving due to glandular fever.
By the way, Mick Stubbs wrote a song titled 'Red E. Lewis & The Redcaps', and one of the lines is "I hope Jimmy remembers when".
Perhaps Jimmy will remember now!
-
C'mon Steve give us something recent
-
Come on Steve, don't be shy.
-
Wednesday Waiting...Thursday Mourning
Chicago Tribune (Thu) September 25, 1980
Courtesy Steve A. Jones Archive
-
Led Zeppelin: The 1975 Scandanavian Tour CANCELLED
Suosikki (Finland) August 1975 issue
(Advertisement: Led Zeppelin Uusi Messuhalli Helsinki, Finland Sat, November 5, 1975)
Courtesy Steve A. Jones Archive
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Thu, 2 Jan 2003 16:28:01 +0200
Hi Steve,
Sorry about the delay with the reply! I went through three years' worth of Suosikki magazines during the Christmas holiday and found some new articles (some of which might have been published in UK/US magazines and translated into Finnish). There is a copy of the fax (or equivalent) of the annoucement of the 1975 concert cancellation that was sent from a Danish agency plus a curious article of Zep's press conference from Stockholm in 1973 which was held at a strip club with live strippers. Btw of particular interest was a mention in the cancellation article that (if I remember correctly) the WHOLE European tour was cancelled because of Robert's accident which must mean that other dates were confirmed for the tour. My mum has taken photocopies of all articles and will send them to me shortly.
with regards
Mauri
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Wed, 18 Dec 2002 15:40:50 +0000
Hi Mauri,
Three years worth? Wow! It will be interesting to see how much press
coverage they were afforded.
Regards,
Steve A. Jones
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Wed, 18 Dec 2002 14:50:21 +0200
Hi Steve,
I'm travelling to Pori on Saturday and my mum has borrowed three years worth of Suosikki magazines for examination - I'll tell you about the results!
with regards
Mauri
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Mon, 09 Dec 2002 10:16:27 +0200
Hi Steve,
I have your photocopies ready for mailing but I thought to send the translations by email - lots easier and you can also send these to other people if you like. You'll have the articles in Finnish coming in the package but like I wrote earlier, I don't currently have the front cover of the magazine. The front cover of both Suosikki magazines from 1975 is included with the articles.
with regards
Mauri Mikola
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Thu, 05 Dec 2002 13:55:03 +0000
Hi,
Sounds good. I've gotten favorable responses from Canada and Portugal (so far) on the research into the Helsinki dates. Something like this really pays off when it motivates others to do some research of their own, leading to further discoveries.
Regards,
Steve A. Jones
From: xxxxxxxxxxxx&xxxxxx.xxx
To: xxxxxxxxxxxx@xxxxxxxx.xxx
Subject: Re: Led Zeppelin Helsinki 1975
Date: Thu, 05 Dec 2002 15:08:49 +0200
Hi!
I am taking photocopies today, but since tomorrow is the Finnish independence day and the post offices are closed during weekend, I can also send your wares on Monday. But I'll promise to do that then! :=)
Thanks for posting the details of the November 1975 "show" - I wonder if this really draws anyone's attention? Hope so.
with regards
Mauri
-
Latest
^^^
It's Bill Curbishley
Zeppelin Mysteries Hosted by Steve A. Jones
in Led Zeppelin Master Forum
Posted
Here are just three items:
US Movie Poster
German Half-Sheet
Japanese Program
Some complete tickets for the World Premier held Tuesday, October 19, 1976 8:30PM
at Cinema 1 60 St. New York City are also in circulation. Mine is #258.