I wouldn't say promotional. I would say his occult interests often result in esoteric art or symbology. The "JP" symbol from the Outrider era is another example, at least to me! In February 1992 it was reported he sold Boleskine House and all 48 acres in Scotland for 2 1/2 million pounds. However, he was living on La Gorce Island (Florida) by that time so it wasn't as if he was using it as a weekend retreat. It required maintenance and a caretaker (Malcolm Dent) whom he had a falling out with. He still owned The Tower House as well as Old Mill House, in addition to his residence in Florida. There's quite a bit of discussion concerning The Equinox in the "Jimmy and Krissy Wood Thread". Suffice to say he successfully had some of Crowley's manuscripts republished. I am working on compiling a complete bibliography of all the works Jimmy selected for such treatment.

Just an over zealous fan. People get onstage all the time despite the presence of security. Some months later Jimmy got blind-sided by some chick from the crowd in Nassau before the encore (Oct 28 1988). A very memorable incident I can think of was during The Rolling Stones' pay-per-view telecast from Hampton Rhodes in Virginia (1981) when some nutter got onstage and ran about during 'Satisfaction'. Keith Richards took off his guitar and wielded it like an axe as the nut ran by. Years later he said something to the effect of "I nearly cut the mother down. You don't come up there when I'm trying to do my gig". Back to the night in question, you have to remember the event had been going on all afternoon and well past midnight so fatigue may also have been a factor. The guy waited until the last possible moment. Originally, I thought you were going to mention the older gentleman who hugged Robert Plant backstage after his solo set. That was the incomparable Eddie Kramer, who has produced/engineered several Led Zeppelin albums.

Oh, it's still there you just have to know where to look. Check out the front cover of the Page/Crowes album, for one recent example. More than meets the eye there. So far as I know, he never sold off his Crowley artifacts and he had the second largest (if not the largest) collection in the world. Original manuscripts, his robe, cane, etc.

Oh, that's right! Lenny Wolf, the singer, did claim he had never heard of Led Zeppelin!

Well, that's the essence of this thread: collaboration. Kingdom Come and Whitesnake struck a nerve with a certain Robert Plant in 1988, who was about to perform Led Zeppelin songs in concert for the first time as a solo artist.

Apology accepted. If the person asking already knows the answer it's not a mystery! This thread is geared towards questions and topics which generally require collaboration. Anyway, yes I did happen to know. Kingdom Come's hit single 'Get It On' debuted just weeks before Robert was to launch his North American tour. In some markets there was even speculation it was a new Led Zeppelin single, depending upon how the radio hosts presented it. Robert felt they went beyond the bounds of homage. For his part, singer Lenny Wolf made no apologies, saying something to the effect of "if I happen to sound like Robert Plant I take it as a compliment".

This is not a trivia quiz thread, as the previous 368 posts make quite clear.

Yes, I know. A previous post with that word will hopefully be deleted (as requested). The recording of Jimmy jamming away with Rat Scabies has safely arrived, hasn't it? Oh dear me, whatever will I think of next? Whatever it is you are the right man for the project. Contratulations on a successful, 100% non-profit release of Vancouver 1970 earlier today. Okay, back to the mysteries!

Yes, undoubtedly so. I've posted a link to photos of Jimmy performing a week later in Monticello, Indiana on August 12th 1966 (the eighth gig of tour) and he's on bass.

No, his jam with Rat Scabies at Nomis Studio in London was January 30, 1984...roughly two and a half years after the August 30th 1981 incident in question.

The closest to a complete, pro-shot dvd from their first World Tour is Much Music's 1 hr 52 min 22 sec telecast of their January 26th 1996 concert at Serro Carril Stadium in Buenos Aires, Argentina. The closest to a complete, pro-shot dvd from their second World Tour is WDR's 1 hr 30 min 56 sec telecast of their August 23rd 1998 concert at The 12th Annual Bizarre Festival near Koln, Germany. This originally aired September 10th 1998. I agree there should have been a Page/Plant live dvd release but it never happened.

That's the name I was trying to recall -- Dave Mattacks, but the other thing is the Death Wish II soundtrack was not released until well after Summer 1981. I should add I don't think Jimmy ever said he actually played guitar on any tracks outside of what may have been done for the Death Wish soundtrack so whatever record he put on perhaps he did so because he simply enjoyed it. I always thought if that was the case it may have been a Phil Collins solo album, which were quite popular. According to an old issue of Yes magazine, Chris White & Alan Squire of Yes wrote and recorded about seven tracks for their Cinema project with Jimmy at his Sol Studio beginning on February 28th 1981. (Jimmy later used some of Squire's ideas for The Firm). Bill Wyman did some recording at The Sol on March 7th 1981, sparking a "Page to Join The Rolling Stones" rumor (!). It was reported that George Harrison and Mick Fleetwood recorded at The Sol on March 30th 1981. It would seem the mystery continues...

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)