SteveAJones
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Ah, that's troubling. For years I've seen this series of photos identified as being taken at Sol Studios, Cookham, in 1973 - unless I've gotten some wires crossed mentally, which is a distinct possibility:
It looks to me like the home studio Jimmy had in a second floor room at Plumpton Place - the property he owned before moving to Old Mill House in Clewer Village near Windsor
in Summer 1980. The Sol Studio in Cookham was just a short drive from Old Mill House.
Plumpton Place:
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Mystery Photo:
Sep/Oct 1990 (exact month and day unconfirmed)
Jimmy Page jamming with John Paul Jones, singer Martin Weller, guitarist Brian Viner and drummer Buzz of The Fear. AC/DC drummer Chris Slade also joined in.
Martin says this would have been "Sep/Oct '90" in the Function Room at Headley Park located in Sleaford, Hampshire, England. Jimmy had seen The Fear perform at Camberley Civic Hall earlier in the year and invited them to perform at "his private party". This event was possibly to celebrate the release of the Led Zeppelin Boxed Set, as Jimmy presented them with signed copies as a token of his appreciation.
They played rock songs and 'Train Kept A Rollin', but Jimmy broke a string just as they were about to attempt Led Zeppelin's 'Rock And Roll' and he had no spare. According to Martin, had The Fear not arrived late Jimmy was wanting to jam with them prior to the start of the event as well.
Many thanks to Blockbuster for his aggressive pursuit of these details!
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Anyway, Steve you are fooking awesome! Really enjoying your contributions in this thread. I wish someone would give you a cable show, something like Leonard Nimoy's "In Search Of" only of course with Zeppelin mysteries.
BTW, I thought the footage of Jimmy in the studio used in the "Travelling Riverside Blues" video is from 1973 at Sol Studios.
That's quite a compliment. In Search Of is one of my all-time favorite shows, particularly the one concerning the Loch Ness Monster, given it's connections to Crowley and Page.
However, I don't think many of the topics here would translate well in a visual medium.
It's predominantly an exchange of information, admittedly most of which is either trivial or of interest only to hard-core enthusiasts of the group. Collaboration is the key.
So far as I know, Jimmy never recorded at Sol Studios prior to his ownership circa '80.
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Isn't there another ad for Washburn he did? Or was it another guitar maker? Seems it was around the same time of year if memory serves me. I always felt that was an odd choice of photo - almost doesn't look like him.
I believe Washburn was his only guitar endorsement deal. I show the ads originally ran
in periodicals dated from Dec 1993 to Mar 1994. It's possible the poster was released
later (to capitalize on the Page/Plant partnership) and a different image was used.
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The Washburn Guitars Endorsement
It all began in Feb 1993 when Robert was on a promotional trip to New York City in support of his new Atlantic Records release, "Fate of Nations". He went to Manny's Music on 48th Street in Manhattan in search of a new acoustic guitar. He was looking for something that was not only visually striking (for use in an upcoming magazine photo shoot) but also a guitar that would suit his needs for live performances.
After trying virtually every acoustic in the store, he chose a blond "birdseye" Washburn EA36. Del Breckenfeld, Washburn's director of artist relations and promotions, was notified of Plant's interest in the Washburn guitar, and a formal endorsement was negotiated. "It's not often you get an opportunity to work with someone of Robert's legendary stature in the music business," said Breckenfeld. "I mean, there's hardly a rock band that hasn't been influenced in some way by Led Zeppelin, and Robert's solo stuff is just as musically viable as anything he's ever done."
The Washburn EA36 features book-matched birdseye top, back, and sides, with a rosewood fingerboard bridge. Instead of a standard sound hole, it features Washburn's unique paralleled "sound channels." The guitar also includes the revolutionary Equis II preamp system which features noiseless gain with combined, variable, and fixed frequency equalization.
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Didn't want to start a new thread. I found this in an old circus magazine.
If someone posts the dance steps we'll be all set!
I hope Fronzo of Led Astray seesthis article and shows us all just how to play it on You Tube.
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The airdate was definitely Wednesday 16 November 4-5pm. I can't verify whether or not it was prerecorded. The interview did also include an acoustic performance of No Quarter (with Kashmir ending).
Thanks a million. I didn't realize they'd done an acoustic performance on-air as well. I really need to find a copy of this radio broadcast. Turning now to television coverage
during their visit, can you think of any beside those listed below? Anyone have further
details (network...channel...etc)?
Nov 17 1994 Denton ABC (Channel 7) 18 min 30 sec
Live interview, 'Black Dog', Denton's Musical Challenge...cover of Rolf Harris' 'Sun Arise'
Nov 18 1994 Today 4 min 20 sec
Pre-recorded interview
Nov 18 1994 Real Life 4 min 45 sec
Pre-recorded interview and excerpts from 'The Song Remains The Same' and solo promo videos
Nov 19 1994 Hey Hey, It's Saturday approx 10 min
Nov 19 1994 Video Smash Hits approx 5 min
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1994 Unledded Promotional Tour of Australia
Would anyone here be able to confirm the original airdate of an interview they conducted
with Richard Stubbs for Triple M in Sydney, Australia? It would have been sometime btw
Nov 14-18 1994, but I'm looking for an exact date. Also, did it air live or prerecorded?
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Mystery Photo:
New Possibility:
This from Devon-based singer/guitarist Martin Weller's site:
Q. You've worked with some of music's well-respected acts such as Led Zeppelin, Peter Frampton, Dean Friedman, Frampton-Weller, Captain Sensible, UK Subs, Counterfeit Stones and T-Rextasy, etc.... Who have you enjoyed working with the most and why?
A. The experience of playing with one's music 'heroes' is unbelievable and all Weller's dreams came true in 1990 when he sang lead vocals with Zeppelin's Jimmy Page and John Paul Jones along -with AC/DC's Chris Slade on drums.
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Nice pic. It's very difficult to see the cross. Is it just an equal armed cross or does it have what is now commonly refered to as a swasitka on it? It's a shame that that symbol is now associated with such tragedy.
There is no swastika. Even so, at the time he wore it the war had only been over for
twenty three years...tensions among some veterans who fought it were still high.
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The German Cross
Earlier in this thread I discussed Jimmy's recollection of having been spat upon in Scotland
for wearing the German Cross whilst touring with The Yardbirds in July 1966. A photograph
of Jimmy wearing the German Cross has been found:
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John Paul Jones appearance in Uncle Earl promo video:
http://uk.youtube.com/watch?v=sCFJ3LURCtc
UNCLE EARL
Streak o' Lean, Streak o' Fat
Directed by Tom Krueger
THE STORY
A Kung Fu clogging battle breaks out in the Chinese restaurant where touring stringband Uncle Earl has decided to stop for dinner. Uncle Earl pal John Paul Jones happens to be hanging out at this restaurant "noodling" on the piano. Sensing impending dance madness, the Uncle Earl "g'Earls" leap for their instruments and play a rousing tune (with original Chinese lyrics) to spur the action (with JPJ backing them up). When the fighting gets dirty, Uncle Earl intervenes. They show off their fancy triple-axle wagonwheels (yes, the whole band can clog), and they unite the two warring tribes in a dance of joy and cooperation.
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MUSIC CREDITS
Streak o' Lean, Streak o' Fat
Uncle Earl – Waterloo, Tennessee (Rounder Records)
Music traditional, Words by Abigail Washburn & Jon Campbell, arr. Uncle Earl/© 2005 Smokin' Granny Music, ASCAP
Produced by John Paul Jones & Engineered by Dave Sinko
==
VIDEO CREDITS
Producer:
Brad Paul
Director:
Tom Krueger
Choreographed by:
Maureen Berry, Heidi Kulas & Jason Nious
with additional steps by all the dancers
Edited by:
Cutter Hodierne
Sound Design/Mixing by:
Tom Paul
Concept by:
Tom Krueger & Kristin Andreassen
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CAST
Uncle Earl:
Abigail Washburn - banjo & vocals
KC Groves - bass & mandolin
Kristin Andreassen - guitar
Rayna Gellert - fiddle
featuring
John Paul Jones on piano
Roller-Skater-Waiter:
Nate Cooper
The Braised Meats:
Heidi Kulas - captain
Harrison Barnes
Danielle Buice
Gary Giles
Tyler Mercereau
Cheryl Renfro
The Wasted Fats:
Maureen Berry - captain
Laura Cortese
Nic Gareiss
Emma Leahy-Good
Jason Nious
Matthew Olwell
Also Featuring:
Matthew Gordon as the maître d'
Casey Driessen as the chef
Emilee Warner & Holly Lowman-Baranski as restaurant customers
Please see individual dancer bios below.
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Art Director: Ruby Guidara, White Elephant Emporium (Watertown, TN)
Wardrobe Stylist: Heather Robinson
Hair & Makeup: Ashley Thompson
Audio Playback & Live Recording: Patrick Granado
Camera Operator/Camera Tech: Tom Zalenski
Gaffer: James King
Key Grip: Tonia Floyd
Production Assistant/Swing Man: Ryan Zacharias
Production Assistant (Nashville & New York): Holly Baranski
Production Assistant (New York): Jennifer Glickman
Sound Editor: Eric Milano
Voice & Dance Dubbing: Laura Cortese, Lisa Shepard, Tom Paul & Kristin Andreassen
Archivist: Ballard C. Boyd
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MORE ABOUT THE DANCERS
Principal Dancers/Choreographers:
Heidi Kulas (pigtailed captain of The Braised Meats) is an actress and percussive dancer living in Asheville, NC. She grew up in Michigan clogging on a team with her mom and grandma, then started touring with Maryland's Footworks Percussive Dance Ensemble as a teenager. In college she danced with the fourteen-time national champion Bailey Mountain Cloggers (of North Carolina's Mars Hill College). Heidi is currently director and choreographer for the Lodge Cloggers. www.mountainflavor.com .
Maureen Berry (wearing traditional Irish dress and leading The Wasted Fats) is a New Jersey native who became a champion Irish dancer at a young age and went on to receive her BFA degree in Dance Performance from Towson University. After touring with Footworks Percussive Dance Ensemble for nine years, she now directs her own Teelin Irish Dance Company. www.teelin.com .
Jason Nious (bare-chested backflips) is a New Mexico native who toured for five years with the Washington, DC dance ensemble Step Afrika. He's now settled (for the moment) in Las Vegas where he is acting, coaching step teams and performing in Stomp Out Loud at Planet Hollywood Casino. www.myspace.com/jayro .
Nate Cooper (roller skating waiter) grew up performing with his family's Rhythm in Shoes dance company in Dayton, Ohio. He lives in New York City where he works as a physical comedian.
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Dancers:
Harrison Barnes (back row... Braised Meats) is an 18-year-old student at Coastal Carolina University. He has been clogging for eighteen years and now performs nightly at the Carolina Opry in Myrtle Beach, South Carolina. www.myspace.com/thebestandcoolestperson .
Danielle Buice (front row at the right hand of Braised Meats captain Heidi Kulas) is from the small town of Pickens, South Carolina, and has been dancing/performing since the age of three. She is currently the Managing Director of the Bailey Mountain Cloggers. www.myspace.com/dnyell84
Laura Cortese (in the black dress) is a musician who has developed a fiddle-based, song-driven, groove-grounded genre dubbed "Drum-and-Chop Indie-Pop." She tours the US, Canada and abroad with her own band and moonlights on the bass with Uncle Earl. In this video, she is also the dubbed voice of Heidi (the captain of the Braised Meats). www.lauracortese.com .
Nic Gareiss (disco pants) dancing is characterized by his innate musicality and his love of improvisation. He performs with bands as a "dancing rhythm-section" and has worked with artists such as Solas, Dervish, Grada, Le Vent du Nord, and the David Munnelly Band. www.myspace.com/nicgareiss
Emma Leahy-Good (demonic pink barbie suit) spends her time performing with the Dayton, Ohio percussive dance and music company Rhythm In Shoes. She dreams of one day being a Rockette. www.rhythminshoes.org .
Matthew Olwell (twirling the silver fireballs) is a clogger, step dancer, musician, teacher & vampirate. He started dancing with Footworks Percussive Dance Ensemble in the London run of Riverdance in 1997. He toured with Footworks full-time for nine years before starting his own Good Foot Dance Company. Matthew likes long walks on the festival trail and still thinks minidisc recorders are a pretty neat idea. www.myspace.com/goodfootdance .
Cheryl Renfro (front row at the left hand of Braised Meats captain Heidi Kulas) is a Grand Champion Soloist performing nationally and internationally to share her love for dance. She is also the Co-Director/Choreographer and a dancer with the Lodge Cloggers at Scenic Wolf Resort in North Carolina. www.mountainflavor.com .
.. more info on Braised Meats dancers Tyler & Gary coming soon...
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THANK YOU
Every single person who worked on this video either volunteered their time or worked for a fraction of their normal rate out of love for the band and excitement about the concept. We will be eternally grateful to every member of the cast and crew.
This video was made with financial support from:
Rounder Records
Tom Krueger
Sharman Smith
Bill Smoot
Paul & Jennifer Llewellyn
Bill & Mary Aldacushion
Ilana Katz Katz
Special thanks also to:
Emilee Warner
Shelby Boyd
Ellen Gilbert & Dance Emporium (Nashville, TN)
Megan Downes
Jim Walsh
Lach & The Sidewalk Cafe (New York, NY)
Brad San Martin
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MORE ABOUT THE STORY (THE LONG VERSION)
Uncle Earl stops for dinner at a roadside Chinese restaurant. They order up some "hong shao ro" (braised fatty pork, the famed favorite dish of Mao Tse Tung). The food is delivered by a bungling waiter on roller skates (Nate Cooper). Before they can sink their chopsticks into the meal, the place is invaded by a notorious gang of cloggers called The Braised Meats. The Meats have traveled from the mountains of eastern North Carolina for a surprise attack on a newly formed alliance of dancers operating under the name of The Wasted Fats.
When The Braised Meats captain (Heidi Kulas) brags on her team's "quadruple double doubles" (a rarely attempted advanced clogging maneuver), Wasted Fats captain Maureen Berry conures the special costume transformation that signifies her team is ready for battle.
The Uncle Earl g'Earls leap for their instruments and rip into a Georgia fiddle tune. Coincidentally, the g'Earls' friend and producer of their last album John Paul Jones (of Led Zeppelin) happens to be at the piano "noodling" on chopsticks. He joins the the rhythm section and banjoist Abigail Washburn sings in Chinese about food, drink and of course, about dancing.
The feet are flying fast until one of The Fats (Jason Nious) land a ferocious flip, and the Meats are all out of fancy steps. Infuriated, the Meats' captain throws out the rulebook and uses her special dance-o-kinetic superpowers to levitate the innocent skater-waiter onto a table. He struggles to maintain balance, simultaneously scaring and impressing the crowd with his roller-clog technique.
Uncle Earl must acts to defend the innocent civilian. Guitarist Kristin Andreassen, who is herself a veteran of a Kung Fu clogging gang by the name of Footworks Percussive Dance Ensemble, takes the floor to counsel Meats and Fats team leaders. They find a dance step in common.
And suddenly, Kristin is joined by Rayna, KC & Abigail; all of Uncle Earl takes the floor in matching magic silver tap shoes, revealing their clogging moves which they have been practicing in a secret cave somewhere in the vicinity of Waterloo, Tennessee!
The g'Earls wow both teams with their triple-axle-wagonwheel technique and successfully unite Meats, Fats and even the restaurant chef in a dance of joy and mutual appreciation.
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John Paul Jones discusses Uncle Earl
Can you enlighten us as to your awakening to American bluegrass and stringband music? Has it always been a passion of yours?
I had bought a mandolin in Evansville, Indiana, whilst touring with Led Zeppelin in 1970. We were listening a lot to an English folk band called Fairport Convention that played mainly traditional music updated with rock arrangements, but also had fiddle and mandolin. I also liked the idea of traveling around with a small acoustic instrument! I met some friends in New York who gave me a Dillards album Backporch Bluegrass and was much taken by the energy and drive of the music. The harmonies, too, reminded me of all the Everly Brothers records I used to sing along to in my teenage years. Latterly I came across Alison Krauss and Union Station on British radio, which re-awakened my interest. I then caught concerts by Del McCoury, Nickel Creek, Tim O'Brien, and Gillian Welch and gradually sought out more and more traditional music. I have now just started on old-time fiddle!
How and where did you first come to meet the members of Uncle Earl?
I decided to go to a bluegrass festival in 2004 after producing a rock band and chose Merlefest. I was going with my wife into the green room just before the midnight jam, and peering around the door we saw three fiddlers sitting alone in a circle playing the most mesmerizing old-time music I had ever heard. They turned out to be Darol Anger, Bruce Molsky, and Rayna Gellert. Rayna told me later that she was showing them a North Carolina fiddle tune. I also met up with Béla Fleck, we had been on the same show in Italy a few years before, and he introduced me to Abby. Later that summer I toured in a band called "The Mutual Admiration Society," which was basically Nickel Creek, bass and drums, with Glen Phillips singing! Just before the tour we went up to Rockygrass in Lyons, Colorado, and there I met the rest of the G'Earls. I even ended up playing mandolin with them and Chris Thile at a dance club. After that I was jamming with Rayna and Mark Schatz learning the first tunes of my (new) old-time repertoire.
What was your initial reaction when asked to produce their new album?
Surprise! I had just decided to look at Rayna's website out of the blue, and the next day I bought Uncle Earl's She Waits for Night. Two days later I received an email from Rayna asking if I would produce their next album!
What did you hear in their first album that you wanted to them to expand upon or develop further?
I just loved the mix of traditional and original material and really wanted to do more of the same whilst keeping the balance right.
Tell us about the pre-production process...it sounds like you worked closely with the band before you even set foot in the studio...
With every album I have produced regardless of style or genre I always like to have at least 80 percent of the material in good shape before entering the studio – studios can be very expensive places to write songs! I like to have song routines and arrangements pretty well worked out in pre-production. It also gives us a good chance to get to know each other and to find out what we all want from the record. We spent about a week in pre-production staying at Béla Fleck's house, which he was kind enough to loan to us.
Once in the studio, how did you keep the ramshackle energy and drive of their music while still delivering focused, sharpley-honed performances?
Experience! Having been a studio musician, arranger and a band member myself I have extensive knowledge of what it is like to perform in a recording studio and it's not the most conducive place for music making. I try and make the band comfortable. We all stay at or near the studio, have very few visitors, and just live and breathe the record.
Did you introduce any recording or production techniques that were new to the band? How did they react to them?
We had an extraordinary recording engineer in Dave Sinko, who brought all sorts of great mics and pre-amps, plus a wealth of experience in recording acoustic music. The band used head-phones but sat in a circle to record, so they could all see and hear each other pretty well and maintain good sonic separation. I think they might have been expecting to have to sit in isolation booths so perhaps I introduced a mixture of new and old techniques!
Any pleasant surprises in the studio? The kind of happy accidents that change the course of a song?
They were playing through "The Last Goodbye" in the studio control room and I was thinking that it needed a percussion element. We had decided that any guests on the album should be female (apart from me!) and I remembered that Gillian Welch played drums, so we asked her and she came along and recorded the track live with all of the band (no overdub). "Streak o' Lean Streak o' Fat" was an old fiddle tune they wanted to do, and we were wondering how to approach it, as they had an early recording which had a running commentary going right over it. We decided that Abby should do the voice-over, but in Chinese! It's also the first time I've played old-time piano.
Overall, how did you find the experience, from beginning to end?
It was definitely one of the most enjoyable productions that I have ever been involved with, we pretty much laughed for a month. The band brought tremendous grace, humor, and musicianship to the project not to mention a lot of hard work. Their focus and energy were everything that I could have wished for, and for myself I'm very proud of this record and my association with Uncle Earl.
How does recording old-tyme music differ from the other styles of music you've been associated with? Any similarities?
Making a record of any style of music is all about performance at the time of recording. It requires dedication, commitment, discipline, patience, all in equal measures, but it has to be enjoyable and fun otherwise the music doesn't breathe. This record just sings out aloud.
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Mystery Photo:
Confirmation of venue has been received: Headley Hotel Function Room
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Unfortunately my copy has since vanished but I recall a pic being on the front of the CD. I'm not aware of any others that exist beyond that.
Unfortunately, the photo the bootleggers used for the cd cover is one of Jimmy taken during his jam with Robert Plant at the Silver Cleft Awards Winners concert in Knebworth on 6/30/90, not one taken during his jam with Solid Ground.
Edit: Here is a photo of the cover:
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Mystery Photo:
New Possibility:
This from Devon-based singer/guitarist Martin Weller's site:
Q. You've worked with some of music's well-respected acts such as Led Zeppelin, Peter Frampton, Dean Friedman, Frampton-Weller, Captain Sensible, UK Subs, Counterfeit Stones and T-Rextasy, etc.... Who have you enjoyed working with the most and why?
A. The experience of playing with one's music 'heroes' is unbelievable and all Weller's dreams came true in 1990 when he sang lead vocals with Zeppelin's Jimmy Page and John Paul Jones along -with AC/DC's Chris Slade on drums.
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Venue, city and date remain unconfirmed. Any help would be most appreciated...
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Hmm ... Knebby posted that pic in another thread but said it was Keats Island, BC (near Vancouver).
Unfortunately, I don't have my copy Richard Cole's book 'Stairway to Heaven - Led Zeppelin Uncensored" in front of me at the moment, but I'm almost certain it was captioned "Mill Valley" when published there. Regardless, thanks for the clarification.
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Mystery Photo:
Possibilities:
3/23/91 China Club New York City
Jam session with local band The Reputations for half an hour including 'Further On Up The Road'
5/29/91 Crystal Bay Club Crystal Bay, NV
80 minute impromptu jam session with Solid Ground
12/7/91 86 St. Music Hall Vancouver
Jam session with Long John Baldry for 30-minute blues set which includes 'Got My Mojo Working' …he'd been hanging out and talked with Baldry's guitarist Tony for about 15 mins
2/19/93 Muddy Waters Club New Orleans
Jam with Mason Ruffner
2/21/93 Howlin' Wolf Club New Orleans
Jam with Mason Ruffner
I suspect the photograph was taken during one of the two jams with Mason (Jimmy's good friend and an opening act for The Firm in '86) but have yet to find a photo of Mason from '93 to confirm. Can anyone in New Orleans (Alwizard ?) confirm that the interior of either club matches that in the photo above?
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I believe that is Steve Weiss, Led Zeppelin's attorney...
Correct. He can also be seen in TSRTS, observing Peter's backstage argument with the controller of the venue concerning the unauthorized sale of "pirate posters".
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Jackie DeShannon, the inspiration behind "Tangerine"...
FWIW, here's a dissenting opinion from notorious anti-Page author Will Shade:
Led Zeppelin III found Page still rummaging through his suitcase of Yardbirds castoffs. An album track, "Tangerine," was one Page had worked on with the Yardbirds in the spring of 1968. At that time, it was called "Knowing That I'm Losing You." The two arrangemens are identical. The Yardbirds had never copyrighted the piece, which made it easy for Page to usurp it in its entirety. The song was attributed solely to Jimmy Page with no mention being made of Keith Relf, who had written a significant chunk of the lyrics that appeared in Led Zeppelin's version.
"He [Keith Relf] should really be given a credit for that one," Jim McCarty said, referring specifically to the second verse's lyrics in "Knowing That I'm Losing You," which appear intact as the first verse in "Tangerine."
This author conducted interviews with McCarty, Dreja and Keith Relf's sister, Jane, in the autumn of 2001 for a story on the Page era Yardbirds, which appeared in the 2002 edition of Ugly Things magazine. Lest readers think plagiarism is a victimless crime, Jane Relf's reaction to information on the "Knowing That I'm Losing You" and "Tangerine" situation should give cause for pause.
"My brother plucked that session man out of obscurity and gave him a job and that's how he repaid him?" Jane Relf mused. "My brother was not well-off at the end of his life and the royalties for that song could have helped out considerably."
She was refering to Keith Relf's financial straits at the time of his death in 1976. As for "Knowing That I'm Losing You" and "Tangerine." both feature a steel guitar courtesy of Page. Once again, the Yardbirds' unreleased version is superior. Relf's vocals are heartbreaking and McCarty's drums much lighter and better suited to the song's fragility. Their take has a prominent Morricone touch and the massed vocals at the end take it to new heights. Led Zeppelin's version simply pales in comparison. Page, though, had the good sense to realize the song's appeal and it has since gone onto be one of Zeppelin's most beloved songs, free as it is of Plant's insipid cliches that pass themselves off as lyrics. Page claimed authorship of the entire song, including the lyrics. The Yardbirds had never copyrighted the piece, which made it easy for Page to usurp it in its entirety. The flower-child verses smack of Keith Relf, though.
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And I had no idea there was another band called Skid Row until I read yesterday that Gary Moore had sold the name. Thanks again for researching the information for me Steve. I still like the story though!
I'm intrigued by the apparent date of the event: August 5, 1970. Led Zeppelin had cancelled a series of concerts during this time to allow JPJ to remain with his dying father in England. So it would seem Bonham (and almost certainly Page, Plant and Cole and/or Grant) flew to the West Coast waiting for the tour to start on the East Coast about ten days later. I also know Jimmy purchased a classic Cord 810 automobile in L.A. around this time, but that may have been the last time they were in town --Mar '70.
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In your defense I thought the same thing when I read the story. I had no idea there was a Skid Row prior to the one I believe we were thinking of.
Great work though!
Thanks. Yeah, I posted a knee jerk response thinking the original poster must have meant the Skid Row lineup featuring Sebastian Bach...who worked with Jason Bonham a few years ago in Las Vegas (ten to fourteen days of filming for VH1 reality show 'Super Group' at a mansion...Jason, Sebastian Bach, Scott Ian, Evan Seinfeld of Biohazard and Ted Nugent)...and Jason toured with Vinne Moore in UFO. Then I went
back and thought to myself, hang on a minute, there may be something to this. Glad
to be of some help.
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I've had a long held belief that the song is about a girlfriend of Plant's when he was 16 or 17.The kind that smacks you silly when you're coming of age. No matter.You swayed my opinion and said it all too well,"she needs to remain firmly cloaked in the mists of time." Let this one remain a mystery.
He'd met the Wilson sisters in late '66 at the age of 18, so whomever she was he'd known before then (assuming it wasn't one of them)...
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I doubt very much it was Shirley Wilson, for my own reasons, but views may vary.
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Still, the mystery to me, do we know who the subject of the song is? Where is she now? And,does this invade the privacy of an individual who wishes to remain anonymous, in which case it's none of our damn business? Lastly, should we care who she is? By my own admission I'm pretty damn curious.
I personally do not know her name, nor am I particularly curious to find out, because
by witholding her actual identity Robert allows her to symbolically become every man's "one that got away". The song would not be nearly as poignant if we all knew who the gal in question really was and her precise whereabouts now. IMHO, she needs to be further away than a google search...she needs to remain firmly cloaked in the mists of time.
I hope Fronzo of Led Astray sees
Zeppelin Mysteries Hosted by Steve A. Jones
in Led Zeppelin Master Forum
Posted
Initially, I suspected this image was inadvertently reversed, but the hotel reception sign is clearly not reversed. So, unless they were clowning for the camera it's inexplicable
why they are all signing in left-handed. I will post pictures from my collection of them
signing autographs in an attempt to prove or disprove they wrote right or left handed.
Others are also encouraged to post any they may have. Here are two of Robert:
Renaissance Hotel Oklahoma City March 12, 2005:
Poznan, Poland Malta Theatre Festival June 26, 2007: