Zeppelin Mysteries Hosted by Steve A. Jones

[SteveAJones]

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:

Edited December 26, 2008 by SteveAJones

[bonzo1026]

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.

You just beat me to the post. The pic was from Knebworth '90.

Too quick for me! Ha ha!

[SteveAJones]

Mystery Photo:

Confirmation of venue has been received: Headley Hotel Function Room

[Medhb]

Mystery Photo:

Confirmation of venue has been received: Headley Hotel Function Room

Sweet venue!!

[Hotplant]

K, so who wins the prize? Who found that out? They at least should get a cookie.

[Rorer714]

K, so who wins the prize? Who found that out? They at least should get a cookie.

That's the least you could do Stevie!

[SteveAJones]

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.

--

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

--

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.

--

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

--

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.

--

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...

--

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

--

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.

-------------------------------------------------------------------

-------------------------------------------------------------------

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.

[SteveAJones]

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:

[Medhb]

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:

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.

[SteveAJones]

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.

[SteveAJones]

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.

---------------------------------

[SteveAJones]

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?

[widget]

The Cross of the Teutonic Knights was a "Modish" thing to wear during the 1960s. If you search around on the internet there are photos of Jeff Beck and Pete Townshend also wearing them. I mentioned in another earlier thread singer Chris Farlowe used to own a militaria memorabilia store in the 1960s which sold many crosses, boots and caps to rock musicians in London.

Meg

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:

[Zachman]

I bet when Will Shade wrote this, he was assuming that the original song would never see the light of day. Because now that it has been proven that the two arrangements are not identical, he looks like the bitter Jimmy Page hater that we always knew he was.

There's no evidence to support this claim, aside from a quote (30 years after the fact) from Jim McCarty. But there's also a quote from Jimmy Page who says he wrote the original song himself. Just because one person says something, that doesn't make it true. That's not how the world works.

*shrug* If only he'd copyrighted the song or had some other evidence that he actually wrote the song, then he wouldn't have needed Jimmy to help him out.

Maybe, but his vocals are also out of tune and his voice was in such bad shape that he needed the other Yardbirds to cover for him on the high notes. Again, I think Will Shade assumed that no one else would ever hear the song so he felt free to exaggerate as much as he wanted.

Yeah, because neither Page nor Plant ever wrote flower-child lyrics.

yea this is old news for me.. i saw this article awhile ago and at first it bothered me but not any more cuz its just another zep and page hater trying to get some of zeppelin's money.. and i looked up the quote that is in both songs.. even if relf wrote the lyric" measuring a summer's day" which is the only lyric thats the same in tangerine and knowing im losing you.. i looked up it on google and that lyric is far from original to relf.. there was a book with that title and i think it was written before both songs.. its bs and relf is a fraud for even asserting plagairism.. page wrote the song and it is his alone.. just another one of zeppelin's gems

[RiotHouse]

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?

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).

[SteveAJones]

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

[Dzldoc]

Didn't want to start a new thread. I found this in an old circus magazine.

[SteveAJones]

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 sees

this article and shows us all just how to play it on You Tube.

[SteveAJones]

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.

[beatbo]

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.

excellent post, steve....

[ninelives]

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.

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.

[SteveAJones]

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.

[FireOpal]

Robert looks a bit Ian Anderson-esque in that Washburn ad, though he wouldn't thank me for saying so.

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.

[ninelives]

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.

It was Laney I was thinking of.

[RiotHouse]

This picture has always been a mystery to me but can anyone shed any light/the story behind this photo? Apart from it being taken in Japan 1971