Would a German forum member kindly translate: Muziek Express Feb 13th 1967 Liebe mp-Freunde! Ich könnte jubeln vor Freude. Ihr alle habt mich zum Gewinner des Goldenen Pfeils der MUSIK PARADE erkoren ...! Am Liebsten möchte ich jedem einzelnen persönlich Dankeschön sagen. Da das nicht geht, sag ich's hier. Ich bin wahnsinnig stolz auf diese Auszeichnung. Besonders freue ich mich, dass Ihr den BEAT-CLUB zu "Eurer" Sendung gemacht habt. Und ich verspreche Euch": Es wird noch wilder, noch turbulenter, noch heisser zugehen. Ihr sollt Euren Spass haben ...! Es ist geschafft, Freunde. Unseren nächsten BEAT-CLUB können wir in unserem neuen Studio ablaufen lassen. Falls alles rechtzeitig bis zum 25. Februar fertig wird. Drückt uns kräftig die Daumen. Das steht fest: Herman's Hermits und die mp-pfeilgeehrten Lords werden bei der Einweihungsfeier dabei sein. Verhandlungen mit anderen Stars laufen noch. Auf jeden Fall wird's noch einige. Überraschungen geben. Übrigens: Alle, die die Sendung nicht sehen können, sollen trotzdem auf ihre Kosten kommen. Am nächsten Abend treten alle Mitwirkenden noch einmal in einer Grossveranstaltung in der Bremer Stadthalle auf. In einem Mammut-Monster-BEAT-CLUB ...! Ja, und dann gehen wir wieder auf Reisen. Nach London. In den berühmten Marquee Club. Dort werden wir den nächsten BEAT-CLUB aufnehmen. Sendetermin: 11. März in Eurer Bude. Inzwischen das Beste für Euch alle. Bis bald.

Swandown, you actually mentioned this to me about five years ago but I don't think we resolved it then beyond a reasonable doubt. I have the fanzine in question, but not within arm's reach at the moment. It's the Oct/Nov/Dec 1981 issue of 'Runes'. Five Americans visited him at Old Mill House on August 31st 1981 and while there he mentioned something to the effect of what you've said.The drummer in question was not identified in the fanzine, and the name of the possible drummer eludes me at the moment, but it's worth noting it could have been someone involved with the 'Death Wish 2' soundtrack or one who recorded at his Sol Studio down the road in Cookham. I'll continue to jog my memory over this mystery so show this one as very much in progress.

Basically, that's the story that's been told. It sounds dramaticized to me, but in any event it was salvaged from certain destruction.

No, as I understand it he only accompanied them to Germany in 1967.

John Paul Jones: The 1967 Herman's Hermits Tour of Germany John Paul Jones has confirmed he did in fact perform with Herman's Hermits in Germany on the "Yardley Tour", playing hammond organ for the string arrangements he did for those songs. He recalls playing in Hamburg, but isn't sure about any other dates. -------------------------------------------------------------------------------------------------------- I am seeking any additional information from this tour. Venues, dates, setlists. Herman's Hermits had joined The Who for their first American tour in Summer 1967 so this tour of Germany was either in the Spring or Winter of 1967.

John Paul Jones has confirmed the filming location for his night-time horse ride thru the cemetary in The Song Remains the Same. It is St. Michael and All Angels in Withyham: St. Michael and All Angels - Withyham TQ 494355; One Mile North-East of Rye Like many medieval churches educated to St Michael, Withyham Church is built on a tall natural promontory. This was the result of the earliest recorded appearance of St. Michael which took place on a hill in Italy in the fifth century. From then on he was associated with high places. There is a charming font boldly carved with the date 1666 - part of series of fittings added after the church was burned by lightning in 1663. The glory of Withyham, however, is the north chapel built in 1680 by the Sackville family who still live locally. It contains monuments to many members of the family including the Earls of Dorset, Earls De La Warr and Lords Sackville. The best known memorial commemorates the thirteen year old Thomas Sackville who died in 1677. It is free standing and shows the boys hand on a skull, with his parents looking on. Designed by Caius Cibber a Danish sculptor who came to England in the 1650s. It is regarded as his best work although he also worked at Chatsworth (Derbyshire) and Bottesford (Lincolnshire).

Word has been received John Paul Jones did in fact perform with Herman's Hermits in Germany on the "Yardley Tour", playing hammond organ for the string arrangements he did for those songs. He recalls playing in Hamburg, but wasn't sure about any other dates. Regarding the church depicted in his fantasy segment in The Song Remains the Same, he recalls it being in Withyham, East Sussex -- probably St. Michael's. I'll continue researching that '67 tour of Germany and look forward to visiting East Sussex. Pehaps there are German forum members here who can contribute additional findings. My personal thanks and gratitude to the one who put this inquiry forward. Again, I greatly appreciate it!

I acknowledge only the single predates this alleged tour of Germany and not the album. I shall try the websites you mentioned. This has been on my unresolved list for almost ten years! Thanks, Swandown!

I seem to recall John mentioning this tour. He had worked with them of course on the commercially successfully "Mrs Brown You've Got a Lovely Daughter" album in 1968. It seems to me the story went that by 1967 he'd become fed up with sessions and took them up on their offer to tag along with them on their tour of Germany. He was part of their entourage. I don't believe he ever jammed with them but may have. I'm seeking confirmation from JPJ, Herman's Hermits or anyone who may know if he did indeed join them on a tour of Germany in 1967. Any tour dates/venues also welcomed. Edit: Release date for the album corrected.

Cadillac orginally intended to use The Doors music for a 'Break On Through' advertising campaign. They couldn't come to terms with the surviving Doors so they made a deal with the surviving Zep's to use 'Rock And Roll' and retitled the campaign Break Through.

Mick Jagger: Our Most Underrated Songwriter? by Ron Rosenbaum | December 9, 2001 | This article was published in the December 10, 2001, edition of The New York Observer. I learned about George Harrison after a draft of this column went to the copy editors. Reading the many well-deserved tributes he's getting now made me feel even more strongly the importance of paying tribute to artists while they're still with us rather than waiting for death to provide a "peg." It's one of the things I've tried to do since I began The Edgy Enthusiast, and you can think of this Mick Jagger tribute in that light. Recently I came upon a startling remark by Stephen Booth, a brilliant literary scholar who occupies a special place in my pantheon for his transformative edition of Shakespeare's sonnets. (His Yale University Press commentary on the sonnets is an exhilarating exercise in polysemous pleasure–which is not as dirty as it sounds.) Anyway, I'd been tracking down some of Mr. Booth's other essays in places like Pacific Coast Philology when I came upon that remarkable opening line from one of his essays: "Shakespeare is, of course, our most underrated poet." Shakespeare underrated ? In a tongue-in-cheek kind of way, Mr. Booth is saying that all the millions and perhaps billions of words expended on Shakespeare's poetry have still not come close to justly rating his immensity. So he's underrated! In that spirit, I would like to argue that Mick Jagger is our most underrated songwriter. Despite the millions and millions of words expended on Mick Jagger's rock-star persona, on the mansions and the babes and the paternity suits and the Tootsie Roll soaked in acid on the tour plane (or was that Led Zeppelin?), despite–or because of–the millions and millions of words about Mick Jagger the celebrity , no one has done justice to Mick Jagger as a writer . A writer of brilliant, soulful, soaring, incantatory anthems, hymns to broken hearts ("Memory Motel"), broken spirits ("Wild Horses") and fragmentary hopes for redemption (the incomparable "Sweet Virginia"). And let's not forget, at this particular moment, that he's one of the rare rock songwriters who has addressed the question of evil and apocalypse ("Sympathy for the Devil," "Gimme Shelter") in a sophisticated way. He's more well-known for his "Jumpin' Jack Flash" manic-exhibitionist stage persona, but he's done some killer slow, aching ballads, such as "You Can't Always Get What You Want" and "Angie" and "Time Waits for No One." He's been doing it from the beginning of his songwriting career, with underappreciated slow-tempo numbers like "Blue Turns to Grey," "The Singer Not the Song" and one of my all-time, all-time faves, "Tell Me (You're Coming Back to Me)." That's the one where I think he first discovered the power of incantatory repetition that transforms simple love songs into soaring sonic prayers in the gutter religion of love. Sometimes it's the despairing prayer of a Graham Greene whiskey priest, as in the almost completely overlooked "Till the Next Good Bye." Sometimes it's the bleak beauty, the spare Beckett-like eloquence of "No Expectations." He's got another potential classic in the anthemic "Wild Horses" mode on his new solo album, Goddess in the Doorway –a song called "Don't Call Me Up." But that's not what prompted this column, or even my call to radio guru Jonathan Schwartz. No, what prompted me to call Mr. Schwartz was the dispiriting news that I first read in Page Six, that Mick Jagger's new solo album only sold a paltry 900 copies in its first week of release in the U.K.! This despite a prime-time network documentary (ABC's Being Mick Jagger ) about his living the high life, hobnobbing with Prince Charles at the royal premiere of the film he's just produced ( Enigma , starring Kate Winslet), and making music with the many children of his several wives. I say "despite" the prime-time documentary, but maybe because of it–because, again, it played into the image that people have always used to underrate him, to write him off as a jet-setting celeb these days, rather than the serious artist he was and still is. This jet-set stuff obscures the fact that Mick Jagger has written powerful songs that will last forever (the unbearably sad and beautiful "Memory Motel" will last as long as memory–or at least as long as motels). But before I go any further, I think it's important to say that when I say "Mick Jagger has written," I mean the songs that Mick Jagger and Keith Richards have written. Most of them are written for Mr. Jagger's voice , for his persona. But I have a feeling that the writing credit "Jagger/Richards" represents a real collaboration, whatever the division of labor may be.* Actually, I'd love to know how Mick and Keith work together as a team. (My fantasy is to do one of those Paris Review "Writers at Work" interviews with them.) But when I say Mick Jagger is our most underrated songwriter, I also believe he's our most underrated voice. A voice–and a delivery–that deserves comparison, by this time, with Frank Sinatra, Count Basie, Bob Dylan and Neil Young as one of the defining male voices of the century. Yes: Jagger and Sinatra. That's why I felt compelled to put in a call to my friend Jonathan Schwartz, an elegant advocate for Sinatra, Bennett, all those guys, but someone who also has a deep understanding of Dylan. I've had some of my most illuminating Dylan conversations with Jonathan, and yet I couldn't recall any real conversation about the Stones. Jonathan Schwartz, as I'm sure you know, is the gifted novelist, memoirist and host of two widely admired Saturday and Sunday afternoon music-and-meditative- monologue shows on WNYC. When I reached him, he told me he was about to send me news of an additional gig as on-air producer and programmer on a singer-songwriter channel of the new no-commercials satellite-radio service XM, where, he said, they allow him the freedom to play "deep tracks"– overlooked classics by his favorites, such as (in the order he reeled them off) Lena Horne, Count Basie, Nat King Cole, Tony Bennett and that other guy he likes so much, Frank whatever. I felt that Jonathan might be the one person who could redress the imbalance in Mick Jagger's reputation, repair the underestimation of Mr. Jagger as a songwriter. I was ready to say, "See here, Jonathan, you're one of the few people who has the perspicuity to appreciate both that Frank guy and Bob Dylan. It's time you did the same for Mick Jagger's songs." But before I got two sentences into my prepared rant, Jonathan stopped me to say that, in fact, he has played Jagger on his mostly Sinatra and Tony Bennett show. He told me how he segued recently from a conga riff at the end of "Sympathy for the Devil" into Mel Tormé's "I Don't Want to Cry Anymore" in a way that perfectly "married the two genres of music," as he put it. And then he cited several other Jagger songs he'd played, including some of those classic anthemic ballads that are my favorites as well, among them "You Can't Always Get What You Want," "Wild Horses" and "Angie." I shouldn't have been surprised at Jonathan's discernment. We went on after that to consider the relationship between Jagger and Dylan as songwriters. Was Jagger, as Jonathan initially suggested, "a blue-collar Dylan"? I put it differently: Mick Jagger's audience might have been more authentically blue-collar, in the sense that Bob Dylan's initial audience bought their blue work shirts at the Harvard Co-op, so to speak. But Mick Jagger's songwriting was anything but blue-collar, even when–Jonathan had a point here–portraying blue-collar kids in "Satisfaction" and "Street Fighting Man." Mick Jagger, I argued, was more of an aesthete in the sense that his art–or part of his art–was not to call attention to his art. Not to call attention the way Dylan did, with over-the-top verbal pyrotechnics, at least until Dylan shifted into a new, more pared-down mode of songwriting with Blood on the Tracks –not necessarily better, perhaps, or as novel as the Highway 61-Blonde on Blonde Dylan, but very, well, Jaggeresque. (I await the sensitively written Ph.D. thesis comparing "Gimme Shelter" with "Shelter from the Storm.") Meanwhile, though, Mick Jagger–always a peacock on stage–was, in his ballads, more in the mode (or the pose) of the aristo-poet than the blue-collar rocker. At his unaffected best, Jagger can display flashes of the tossed-off brilliance of Byron. But there's something else about Jagger that defines him as a songwriter, defines him as a singer–something that doesn't necessarily appear on a lyric sheet. It's his beautiful use of incantation. Incantation : a lovely word for a special kind of vocal recurrence, one that combines overtones of prayer, magic, spell casting, all that. Incantation: It's a kind of vocal voodoo that has almost completely overcome the genius of Van Morrison, so that sometimes you feel he's only about incantation. Ecstatic incantation: It's what defines rock music against the "standards" given such knee-jerk reverence by young fogies and old. (Well, maybe that and the Little Richard-like, ecstatic " Whooo-oooo! " that made the Beatles the Beatles.) But what made the Stones the Stones is Jagger's jagged-edge incantation. No one does more with the incantation of a first line–a focused incantation–than Jagger. It's there in the beautiful, desperate, hopeless urgency of "Tell Me (You're Comin' Back to Me)." And in the way it's not just "Wild Horses" but "Wild, wild horses." And then there's the amazing apocalyptic couplet that fades to infinity in "Gimme Shelter": War …it's just a shot away, shot away, shot away Love …it's just a kiss away, kiss away, kiss away…. (By the way, has anyone ever compressed a deeper truth about human nature in two lines of a song?) It's not "You're just a memory," but "You're just a memory, just a memory, just a memory" in "Memory Motel." Each incantatory reiteration of "memory" conjuring up a very real ghost, rather than consigning the unquiet spirit to the memory hole–which is the ostensible declarative intent of the song. So many Jagger/Richards songs deal with time (and, implicitly, memory), don't they? "Time Is on My Side" ("Time, time, TIME / Is on my side … yes it is"), "Good Times, Bad Times," "Out of Time," "This Could Be the Last Time" …. I've celebrated before the brilliant visionary metaphysics of "Time Waits for No One," with Mick Taylor's guitar somehow spilling out a vision of beauty and complexity that virtually translates Stephen Hawking's theory of "imaginary time" into guitar runs. String theory! Recently, I came across an extraordinary phrase in a poem by Robert Lowell: We are all old-timers, Each of us holds a locked razor. I found it in the foreword of the fascinating book I'd just picked up, Gracefully Insane (by the Boston Globe writer Alex Beam). It's about McLean's, that remarkable institution right outside Boston where some of the best and brightest madmen and madwomen, from Lowell to Sylvia Plath to Susanna Kaysen, were resident–some recurrently, like Lowell. In a section of "Waking in the Blue," Lowell talks about waking up there and then glimpsing the "shaky future grow familiar" in those who were older and had been there longer–and more often. Thus: We are all old-timers, Each of us holds a locked razor . For Lowell, the "locked razor" suggests mortality, insanity. In the songs of Mick Jagger, the "locked razor" is the heart, a ticking time bomb–the locked razor whose jagged edge scars when it opens.

I was thinking "Pledge Pin".

The April 19, 1970 concert was cancelled on the morning of as explained above. Jimmy Page & Robert Plant May 12, 1995 MGM Grand Garden Sep 23, 1998 MGM Grand Garden Robert Plant July 4, 1983 Glass Pool Inn 4613 Las Vegas Boulevard Filming of the music video for the single 'Big Log'…Robert is filmed swimming in the hotel pool…the gas station scene was also filmed in Nevada, while the other scenes were filmed in Calico, CA, a ghost town east of Los Angeles. Unfortunately, I believe the Glass Pool Inn was demolished a couple years ago. Oct 14, 1993 Bally's - Events Center 3655 Las Vegas Boulevard Sep 14, 2002 Hard Rock Hotel - The Joint 4455 Paradise Road Jul 16, 2005 Las Vegas Hilton - The Hilton Theater 3000 South Paradise Road Jul 2005 While in town Robert visited the Elvis a Rama Museum 3401 Industrial Road He browsed the exhibits and was photographed with author Jimmy Velvet John Paul Jones Nov 1, 1999 Hard Rock Hotel - The Joint 4455 Paradise Road Nov 17, 2001 House Of Blues 3950 Las Vegas Boulevard South Jason Bonham Aug 30, 1992 Thomas Mark Center May 16, 1996 The Beach May 22, 1998 The Boulder Station Casino Nov 1, 1998 Las Vegas Hilton Nov 2, 1998 Las Vegas Hilton Nov 3, 1998 Las Vegas Hilton Jun 19, 1999 Pink E's May 12, 2001 Pink E's Mar 11, 2005 The Boulder Station Casino Nov 26, 2005 Texas Station Casino 2005: Ten days to two weeks of filming for VH1 reality show 'Super Group' at a mansion (Jason Bonham, Sebastian Bach, Scott Ian, Evan Seinfeld of Biohazard and Ted Nugent)

Mine is not a username, it's a sigil which incorporates a base numeric of ten and the All Seeing Eye. There's more but it shall not be revealed here.

I cut my first record in ’66 and it was a cover of a Young Rascals track, You Better Run -“What‘re you trying to do to my heart” – it was all still about terms of endearment. And the lyric on the earlier Led Zeppelin stuff was really just a continuum of that idea of [Dion’s] “teen angel, can you hear me?” It‘s great to reflect on the whole idea of everything working out fine, but the reality is we still spend most of our lives on the road. -- Robert Plant (Mojo Magazine, 2007)

Questions pertaining to soundboard Page/Plant tour videos came up in a Ramble On thread. The inquiry was does each of the Page/Plant concerts which were filmed for the overhead screens exist in their archive and did each camera have a recorder inside? This answer via private email with consent to post from Terry Stephenson: P/P tour video presentation was done by a company out of San Francisco called Nocturne Video. They had about 5 camera men I think that each had a camera with a video cable that fed back to the video live-switch mixer. These cameras did NOT have tapes recording in the cameras, they acted as CAMERAS, not CAMCORDERS. Each of these video signals was fed to the live-switch mixer where the director, Paul Becher, was directing his crew and choosing which camera feed to switch to at that time. The resulting image was shown on the big video screen, and at the same time this live-switch video mix was also being recorded on a Betacam deck, archiving the final product for P/P to have. The soundboard audio feed was also being fed into this record deck as well. Every single P/P show was archived on tape from the live-video/audio mix, recorded to Betacam video tape. Every one of these tapes was sent back to the Nochturne Video office in SF and stored in their vault. On occasion P/P called for certain tapes to be pulled out for news promo releases, etc...this is how the pro-shot Irvine '95, Hartford '95, etc. got out. The O2 concert was done differently; they had over 20 cameras going. There were 2 separate crews; one crew was dedicated to the live-switch mix shown on the video screen for the fans to see (as described above), and we've seen the result of this live mix with the sample clip of Black Dog that they released for the news. The second video crew was shooting for the purpose of making/editing a DVD release later. Each of these cameras was recording HD digital tape, what is called "an iso tape" or isolated tape source that a video editor can study and pick shots from in post production. In the case of EC '75 I think the 3 or 4 camera crew was doing both a live feed to the video screen and recording tape in the cameras at the same time. I remember reading that much of those tapes were not usable after all these years. Jimmy had the tapes restored through a process called "baking."

This via PM from Stargroves Tangie: I don't think those shows ever went on sale- in fact I don't even remember them being announced! Back then I was in touch with someone who wrote a newsletter called "Plant Seeds/Firm Fans International", and I just went through some of the newsletters to see if I could find any clues. I have one that shows the first part of Robert's tour, from June 10 in Vancouver to August 1 in Philly, with a note at the bottom saying that additional shows are expected during late July into August. There was no mention of any MSG or Nassau Coliseum dates either. The July 85 newsletter says "part 2 of the US tour may be scheduled for the fall". The Sept 1985 newsletter says " Robert's June 26th show in Memphis, which was postponed for Sept. now has been cancelled. During a recent interview on MTV, he spoke about returning to England for a rest period, rather than a second tour of the States." Hope this helps! -Tangie

"Sorry for '85" -- Robert Plant, Philadelphia Spectrum, May 23rd 1988 This may have been a direct reference to Live Aid (held in Philadelphia on July 13th 1985) as this was his first post-Live Aid concert in Philly but there's a possibility he was referring to the cancellation of his two Spectrum concerts to have been held on Aug 1-2 1985. Anyone here who recalls what led to the cancellation of those two Philadelphia concerts? They are among eight cancellations in three weeks following Live Aid. I have heard poor tickets sales as one explanation and vocal problems (he was going hoarse) as the other.

I think Robert was the only one who even considered it but he was too repulsed by their looks. I could be mistaken.

From Infrequently Murmured Led Zeppelin Trivia: This antiquated song from around the turn of the century is the cry of a man on his deathbed as he tries to have his life and soul justified. It is a cry from the edge of the grave, an impassioned beg for mercy, and an attempt to ensure a place in heaven for the man's soul. Hence, the lyrics have, quite literally, got to be "It's gotta be my Jesus" and "Oh my Jesus" as it would make no sense, in such a moving, spiritual song which gradually builds up to a brilliantly executed catharsis, for Plant to start yelling out the name of some woman, Gina being the suggested name he uses. However, when peformed live Robert did sometimes swap the Jesus for Georgina or Gina, depending on what sort of variations took his fancy on the night. But, on the album version it would make no sense for it to be anything other than Jesus. This ties in with the cultural values and beliefs prevalent in the culture Zeppelin came from, and from the spiritual side of the blues, as the original performer of this song, Blind Willie Johnson, sought to convey.

led bucket o'blood by rachel s. hanks to every great composition there exists a dual nature. to the figure drawer, it is the relationship between light and shade; to the musician, bright and dark: chiaroscuro-deep gradations and subtle variations. it is a unity created by the marriage of opposites. for the gospel-blues, it was the streetside preacher blind willy johnson, and for rock and roll, it was the notorious led zeppelin. gospel-blues: a paradox. since the blues have always been associated with the devil, it's ironic to think that a baptist immortalized traditional slave spirituals through slide guitar and agonizing shouts and groans. but more ironic still is the consummation of blues with heavy metal to create the essence of heavy, light music-like a steel balloon, or led zeppelin (the "a" was dropped from "lead" so that americans wouldn't pronounce it leed)-chiaroscuro (davis 57). it was this technique that became led zeppelin's master trademark and, i believe, revolutionized the history of rock and roll-forever. today blind willy johnson is acclaimed as the greatest blues slide guitarist to have ever lived (cohn 119-120). but jimmy page, zeppelin's guitarist, is heralded by any modern guitarist as "the greatest rock and roll guitarist" ever. what blind willy did with a bottleneck and jackknife to the neck of his guitar, page took above and beyond to the next level-utilizing violin bows, his trademark gibson fuzz box, the theramin, an echoplex, and metal slides (davis 17, 97; coffey). inspired by johnson's jesus, make up my dying bed, zeppelin adapted and manipulated the apocalyptical tune and renamed it in my time of dying. in my opinion, this piece best represents zeppelin's keen sensitivity to light and shade. no other song better exemplifies their fragile but powerful use of dynamics, both in subject and sound. the song begins with a series of melancholy danelectro guitar slides, very mellow and hymnlike in nature, only to explode with an unexpected surge of sexual energy. the two play off one another and build intensity, only to recede back into docile churchmode again. at this point, vocalist robert plant intervenes like a banshee: in my time of dyin', want nobody to moan all i want for you to do is take my body home the (s)explosion reoccurs with all instruments in unison: well, well, well, so i can die easy well, well, well, so i can die easy. . . only to rebuild upon the moment of pleasure: jesus, got to make you . . . shiver! jesus, gonna make you, jesus, gonna make up my dyin' bed! and retract back into a hymn: meet me, jesus, meet me! ooh, meet me in the middle of the air! if my wings should fail me, lord, please meet me with another pair and provoke more foreplay: well, well, well, so i can die easy well, well, well, so i can die easy. . . and resurface to delight in the moment: jesus, gonna make up . . . somebody! . . . somebody! oh, oh! jesus gonna make up, jesus, gonna make up my dyin' bed! the beauty of the piece lies in the tension of the ebbing and flowing dynamics. it is this reoccurring pattern-from out of the slow drone of melancholy into brief intervals of ecstasy-that is not unlike blind willy's soul coming out of the dark (sin) and into the light (presence of god). each progressive build is anticipated by another lull. thus is the nature of humanity, coming to terms with god in the depths of humility and being lifted into the glory of god, only to fall from pride and continue the cycle again. zeppelin reinterprets this neverending round through their sensual wails of agony into ecstasy. the song continues building upon the moment of elation, guitar and drums tearing into the silence, like the rotation of an engine. hysteria intervenes, and the guilty cry: oh, saint peter! i can make amends! won't you let me in? i never did no wrong, i never did no wrong! oh, gabriel, let me blow your horn, let me blow your horn! i never did no wrong, did no wrong! i only can be young once, i never thought i'd do anybody no wrong no not once! torque chews and burns into confession oh, i did somebody some good, somebody some good, yeah! oh, did somebody some good, yeah! i must have did somebody some good, yeah! oh, i beleive i did, i seen the smilin' faces i know i must have left some traces . . . the plateau. page sustains the violent interplay between his drug-induced danelectro and the violent drums, elongates it-and it chortles. out of entropy and into sync, all reunite; and i seen them in the streets and i seen them in the theatre and i hear them at my feet and i know i tried to feel real oh, lord, deliver me all the wrongs i've done oh, you can deliver me, lord i only wanted to have some fun and pull into a steady, pulsating rhythm, oh, keep the angel's marchin', marchin' keep them marchin', keep them marchin', marchin' and retaliate for a gasp of air-ecstasy! the point of equilibrium-the marriage of light and shade. the sources reunite and, in rapture, harmonize: oh my jesus! (11x) that's got to be my jesus! oh! it's got to be, it's got to be my jesus! it's got to be, oh, it's got to be my jesus! oh, take me home! friction is conjured and rebuilds: come on, come on! i can hear the angel's singin', oh here they come, here they come bye bye! bye bye! bye bye! bye bye! bye bye! oh, it's pretty good up here, pretty good up here i'll touch jesus (5x) and loses itself completely in chaos oh! oh! oh! oh! oh! oh! oh! yeah! oh, i seen him, come on! hey! (13x) until the physical finally gives: lord, won't you make it my dyin' dyin' dyin'. . . . . . cough * led zeppelin redefined the violent interplay of opposites. they possessed a touch sensitive to the delicacy of light and heavy to the allure of shade. the beauty of in my time of dying is the relationship of energy, tension, and release. the cycle rotates and builds, recedes, and rebuilds again. zeppelin knew just when to lay it on thick, and when to pull back. some may listen and interpret this piece as a vulgar adulteration of a traditional spiritual. i see it as a very thorough introspective into the pomp and glory of led zeppelin's reign. although their music exemplified the beauty of restraint, zeppelin personified the image of ultra-excess. the album from which this song originates, physical graffiti, was released during the pinnacle of their career--a time when pride was high, and humility low (davis 118). thirsty for the thrills of disposable, ready-to-wear pleasure, they indulged and dabbled in every aspect of sex, drugs, and rock and roll. they were even rumored to have made a pact with the devil, at the crossroads, like many blues musicians (davis). they ascended their stairway to heaven only to kamikaze to the heel of the punk revolution and return wiser, sober (ahem), more humble men. out of the dark and into the light, they made up their dyin' beds. while johnson's voice and guitar ranted on like a demon being exorcised out of possession, the only devil that haunted the blues was the community that oppressed the musicians themselves (bergeon). blind willy succeeded in combining spiritual with secular, uniting heaven with hell. the blues gave birth to rock and roll, only to be abandoned, and later repossessed by a small group of psychedelic experimenters/blues enthusiasts. i believe that led zeppelin's success and influence over all other hard rock bands came from their union of light with heavy; mellow "blood bucket blues" mingled with heavy rock and roll. these legendary doses of melody intertwined with aggressive guitar riffs and exploding rhythms epitomized the essence of chiaroscuro: the fruitful marriage of light and shade. bring it on home, boys . . . * zeppelin's added cough at the end is a slightly trivialized tip of the hat to johnson, who died of pneumonia from going to bed in his sopping wet nightshirt after extinguishing a fire that had consumed the majority of his house (hewston; cohn 120). thus, jesus was nigh in making up willy's dying bed (cough). this exhibits yet another dual side of led zeppelin: their inevitably irreverent sense of humor toward even their most revered idol. sources bergeon, thomas. re: communication breakdown. thcb@chevron.com. blueflame@surfin.com. the blue flame cafe. http://www.surfin.com/TheBlueFlameCafe/index.html. 1997. coffery, timothy john. re: more, more, more. achilles@ece.wpi.edu. cohn, lawrence. nothing but the blues: the music and the musicians. new york: abeville press, 1993. davis, steven. hammer of the gods: the led zeppelin saga. 5th ed. new york: ballantine books, 1989. digital graffiti. led zeppelin lyrics--physical graffiti. listserv@cornell.edu. halfin, ross. led zeppelin: the photographers. los angeles: 2.13.61 publications, 1995. hewston, curtis. the blue highway. http://www.vivanet.com/~blues/. amazon.com: 1997. led zeppelin. physical graffiti. remasters. new york: atlantic d-205832, 1975. lybarger, jeff. re: blind willy johnson. outriderjl@aol.com.

In My Time of Dying" is a blues song that has been covered by many rock musicians since the early 1960s. The original recording was a traditional gospel song recorded by Blind Willie Johnson, titled "Jesus Make Up My Dying Bed"; his sides were recorded over the period 1927-1930. JESUS MAKE UP MY DYING BED by Blind Willie Johnson. Since me and Jesus got: married Haven't been a minute apart With the receiver in my hand And re-ligion in my heart. I can ring 'im up easy Ahhhhhh Oh well Ring 'im up easy Go make up my Mmmmm Weeping that he ain't: lost They despised the Amen Hanging on the Cross Hanging there in misery Ahhhhhhh Oh well Hanging there in misery Go make up my Mmmmmmmm Mmmmmm mmmmm Jesus gon' make up my They despised the: Amen Made poor Martha moan Jesus said to his de-ciples Come and carry my mother along Dying will be easy Ahhhhhhhh Dying will be easy Dying will be easy Jesus gon make up my I'm dead and: buried Somebody said that I was lost When it get down to Jordan Have to bear my body across Done gone over Ahhhhhhhhh Oh well Done gone over Make up my... In My Time Of Dying (Bonham/Jones/Page/P lant) In my time of dying, want nobody to mourn All I want for you to do is take my body home Well, well, well, so I can die easy (X2) Jesus, gonna make up my dyin' bed. Meet me, Jesus, meet me. Meet me in the middle of the air If my wings should fail me, Lord. Please meet me with another pair Well, well, well, so I can die easy (X2) Jesus, gonna make up.. somebody, somebody... Jesus gonna make up... Jesus gonna make you my dyin' bed Oh, Saint Peter, at the gates of heaven... Won't you let me in I never did no harm. I never did no wrong Oh, Gabriel, let me blow your horn. Let me blow your horn Oh, I never did, did no harm. I've only been this young once. I never thought I'd do anybody no wrong No, not once. Oh, I did somebody some good. Somebody some good... Oh, did somebody some good. I must have did somebody some good... And I see them in the streets And I see them in the field And I hear them shouting under my feet And I know it's got to be real Oh, Lord, deliver me All the wrong I've done You can deliver me, Lord I only wanted to have some fun. Hear the angels marchin', hear the' marchin', hear them marchin', hear them marchin', the' marchin' Oh my Jesus... (repeat) Oh, don't you make it my dyin', dyin', dyin'... (Studio Chatter: "That's gonna be the one, isn't it? " "Come have a listen, then. " Oh yes, thank you.")

It says alot about Jimmy's skills that he and Big Jim Sullivan were two of the preeminent session guitarists in London at that time.

Things were very different 45+ years ago. Few expected rock to last or even matter.

They would have been more interested in just getting paid. You see session players were rarely credited which is what leads to many of the disputes over the years as to who played what.