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Ever Onward...
Singing in the sunshine...laughing in the rain
The Ocean...Tokyo 10-3-72
The Ocean...Tokyo 10-3-72
Led Zeppelin (Official Thread)
- Thread starter METALPRIEST
- Start date
METALPRIEST
Senior Member
Movie about what happened to Led Zeppelin's stolen $200,000
kath
astronomy domino's™
absolutely.
i think i hadn't yet turned 14 at that point. i kept the ticket becuz i think it really was the first time i ever realized that rock stars were just people, too... i could connect with em or feel for em as people. ya know? all those posters all over my teen wall, all the albums, the chord books, you think they're gods. they live in some other universe. and then there comes the time when you understand folk are just folk, however famous or genius or talented or life-changing.
robert's kid dying was when it hit me. the first time i recall anyway. just a few months after that was the skynyrd crash. suddenly by coincidence, my original last name was all over the newspapers. riiiight after that, i had issyews in school and got shipped up to live with my uncle in natchitiches. my aunt told me stories of the croce crash five years earlier... how some people were runnin to get pieces off the fucquin plane.
a lil lesson in condensed time for lil kath... before i ever really had to deal with it in my own life.
now, before you think i'm getting morbid, i am actually the opposite. mwhaha. it may not look like it, but i am. i celebrate birthdays, not death days. i celebrate lives of people and why to luvv em, not how long those lives might've lasted on the clock. i've lost more folk than i have left, including a kid of my own. do you wanna know what i think that means?
it means spread the luvvin groovy and crank the jams, cuz it's a short movie for us all. yes indeedy.
the ticket is my own... symbol of that.
gcczep
Ever Onward...
More Hallways...
NEW YORK - Madonna, John Mellencamp and Led Zeppelin's Jimmy Page and Robert Plant are among the nominees for the 2014 Songwriters Hall of Fame. They are joined by a number of top acts, including Ray Davies, Cyndi Lauper and Linda Perry. The Songwriters Hall of Fame gave The Associated Press a list of nominees in advance of the official announcement, set for Thursday. The gala will be held June 12 at the New York Marriott Marquis.
NEW YORK - Madonna, John Mellencamp and Led Zeppelin's Jimmy Page and Robert Plant are among the nominees for the 2014 Songwriters Hall of Fame. They are joined by a number of top acts, including Ray Davies, Cyndi Lauper and Linda Perry. The Songwriters Hall of Fame gave The Associated Press a list of nominees in advance of the official announcement, set for Thursday. The gala will be held June 12 at the New York Marriott Marquis.
gcczep
Ever Onward...
Keeping Up With The Jonesy?
“I found some quarter-inch spools recently, and I had a meeting with Jimmy, and we baked them up and listened to them, and there’s some very, very interesting bits and pieces that probably will turn up on these things. I’m desperately trying to get this one track—or the two tracks of John Paul Jones singing lead. And so far he’s up to giving me 2 cars and a greenhouse not to get them on the album. Oh, John, wherever you are… you can’t wait to hear yourself singing all over the world! La la la la la la la…”
— Robert Plant, on whether there will be “hidden gems” on the new Led Zeppelin box sets, October 16, 2013. -------
“I found some quarter-inch spools recently, and I had a meeting with Jimmy, and we baked them up and listened to them, and there’s some very, very interesting bits and pieces that probably will turn up on these things. I’m desperately trying to get this one track—or the two tracks of John Paul Jones singing lead. And so far he’s up to giving me 2 cars and a greenhouse not to get them on the album. Oh, John, wherever you are… you can’t wait to hear yourself singing all over the world! La la la la la la la…”
— Robert Plant, on whether there will be “hidden gems” on the new Led Zeppelin box sets, October 16, 2013. -------
gcczep
Ever Onward...
The Brown Bomber Unleashed...
44 years ago today, Led-Zeppelin II was released:
Quote from Page's website:
Led Zeppelin II was released today in 1969. It began with rehearsals at my home in Pangbourne and 'Whole Lotta Love' and 'What Is and What Should Never Be' were later recorded at London's Olympic Studio Number 1 with George Chkiantz, who engineered the basic tracks and some guitar overdubs. This provided the foundation for the rest of the tracks to be recorded and overdubbed at various studios in America during our forthcoming tour. We recorded and overdubbed our way from West Coast to East Coast with tour-fuelled energy. I did the final mixes with Eddie Kramer at A&R studios in New York. The hedonistic mix of 'Whole Lotta Love' was to pioneer the radio success of the album.
44 years ago today, Led-Zeppelin II was released:
Quote from Page's website:
Led Zeppelin II was released today in 1969. It began with rehearsals at my home in Pangbourne and 'Whole Lotta Love' and 'What Is and What Should Never Be' were later recorded at London's Olympic Studio Number 1 with George Chkiantz, who engineered the basic tracks and some guitar overdubs. This provided the foundation for the rest of the tracks to be recorded and overdubbed at various studios in America during our forthcoming tour. We recorded and overdubbed our way from West Coast to East Coast with tour-fuelled energy. I did the final mixes with Eddie Kramer at A&R studios in New York. The hedonistic mix of 'Whole Lotta Love' was to pioneer the radio success of the album.
gcczep
Ever Onward...
Cause Zep Celebre...
Monday, October 21, 2013:
Led Zeppelin's Celebration Day Concert Coming to U.S. Television
AXS TV will air the Led Zeppelin reunion concert film Celebration Day starting on Sunday, November 24 from 8 to 10 PM.
Zeppelin came back together to play a full set at a salute to Atlantic Records' Ahmet Ertegun on December 10, 2007, playing an inspired set that has had fans hoping for a reunion tour to this day. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks Whole Lotta Love, Rock And Roll, Kashmir, and Stairway To Heaven. Although 20 million people applied for tickets, the band's first headline show in 27 years was seen only by the 18,000 ticket holders who were fortunate enough to have secured seats through the worldwide lottery.
AXS TV founder Mark Cuban said "Led Zeppelin is such an integral part of the musical landscape and evolution of rock 'n' roll. Making such a landmark performance accessible to millions of households is one of the ways AXS TV intends to bring music back to television."
Along with the Sunday night showing, the concert will be repeated each night at the same time from Monday through Thursday, November 25 through 28.
Monday, October 21, 2013:
Led Zeppelin's Celebration Day Concert Coming to U.S. Television
AXS TV will air the Led Zeppelin reunion concert film Celebration Day starting on Sunday, November 24 from 8 to 10 PM.
Zeppelin came back together to play a full set at a salute to Atlantic Records' Ahmet Ertegun on December 10, 2007, playing an inspired set that has had fans hoping for a reunion tour to this day. Founding members John Paul Jones, Jimmy Page and Robert Plant were joined by Jason Bonham, the son of their late drummer John Bonham, to perform 16 songs from their celebrated catalog including landmark tracks Whole Lotta Love, Rock And Roll, Kashmir, and Stairway To Heaven. Although 20 million people applied for tickets, the band's first headline show in 27 years was seen only by the 18,000 ticket holders who were fortunate enough to have secured seats through the worldwide lottery.
AXS TV founder Mark Cuban said "Led Zeppelin is such an integral part of the musical landscape and evolution of rock 'n' roll. Making such a landmark performance accessible to millions of households is one of the ways AXS TV intends to bring music back to television."
Along with the Sunday night showing, the concert will be repeated each night at the same time from Monday through Thursday, November 25 through 28.
gcczep
Ever Onward...
Side One Track One 10/22/69
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Ever Onward...
Plantations 10/24/13
Robert Plant interview: ‘Everyone feels the blues from time to time’
By Neil McCormick, Music Critic [The Telegraph]
‘The other day, my ex-wife presented me with a wallet that had been lost since 1967,” says former Led Zeppelin singer Robert Plant. “I pulled out my student bus pass, ripped into shreds almost, and found all these references to where I was when it was last seen, at the age of 19.”
At 65, skin-creased, ponytailed and grey-bearded, Plant contemplates the contents in tones of wonder. “Crumbled bits of newspaper, adverts for the Band Of Joy at Midnight City in Birmingham, pictures of Lead Belly and Sonny Boy Williamson in a striped suit with a velvet collar. There was a set list from my first band, the Black Snake Moan, written on a little card – Jimmy Reed, John Lee Hooker, Sonny Boy, Chuck Berry. When I found that wallet, I found a map of my life. Unbelievable.”
Robert Plant and his latest ensemble, the Sensational Space Shifters, headline Bluesfest at the Royal Albert Hall on October 31. “The blues was a formative thing for me. It’s a very commodious condition because everybody feels it from time to time. It’s still in the way I sing, just throwing it on a different canvas, I think. It’s an affliction, the flattened third. Thank God it is. I’m 65, I’m loaded with it.” Plant has a poetic turn of phrase that is a delight to listen to in his soft, just faintly perceptible Black Country accent. “The blues is a genre that’s now mostly something of a memory, really, in performance and artistry. But it carries on, it flickers through, it has its moments.”
For a rock superstar, Plant is very easy company, full of energy, laughter, enthusiasm and informal friendliness. He wanders into a pub close to his Primrose Hill residence without airs or graces, in slacks,
T-shirt and hooded all-weather jacket. Lunch is a sandwich grabbed from the deli across the road. He grumbles, with much humour, about having “an IT nightmare” because his laptop has crashed with files of his band jamming that he intended to use to write new songs. “It’s skull-crushing,” he says of laborious days spent backing files up, and you wonder why he doesn’t have minions for this sort of thing, but it’s not his style. He’s very hands-on.
Plant is about to launch his own independent record label, YamYam345. When I ask what he wants to achieve, he says: “I’m just having a laugh kicking ass.” He spent time in Nashville on country adventures, recording 2007’s Raising Sand with Alison Krauss and forming a new version of his Sixties collective Band Of Joy with guitarist Buddy Miller and singer Patty Griffin, with whom he is romantically involved. But he sounds happy to be back on the road with an eclectic line-up of mainly British musicians.
“I was attracted to Nashville, a whole font of great music and amazing players, but if you can find anybody after six o’clock, I’ll give you a tenner. They’ve all gone home for tea and gone to bed. It’s nothing like the group van getting stuck in the mud cause you’ve been in the back all night with some chick, and the band are all shivering outside trying to push the van out.”
Discussing his lifelong musical enthusiasm, he says: “I wanted to find America, in all its different colours and horizons, that’s been my trip. I never inhaled a chemical after 1977, but I’m still inhaling America.” He is incredibly knowledgeable about blues, its African source and subsequent American tributaries and European tangents, conversation digressing down geographical and historical avenues, the slave trade, the culture of Louisiana, the electrification of country blues, and its near cosmic power when first heard in Britain. “Robert Johnson stole my heart when I was 14. I tuned into a subculture running parallel to my shiny grammar-school life.
“It’s ridiculous that British musicians should have been able to get anywhere near it, because it’s based in African scales that don’t have any grounding on these islands, I don’t think. We just were moved by the colour of the music, the sound was so evocative and poignant and something that we were probably needing in our composite make-up, filling up a hole, an emotional outlet.”
Plant recalls Sixties touring blues programmes in Birmingham, “weekend beatniks sat around carrying their Kafka, Camus and Sartre books, listening to Big Joe Williams and Son House and Bukka White. It was like a visitation from another world for us young English kids, who had no possible chance of comprehending where it had come from. It was just, if you got it, and it moved you, then it’s inexplicable and inextricable for life. Muddy Waters, Howling Wolf, I think they were just as surprised and moved, because their time had come and gone in America but they’d been adopted by us.”
Plant has contributed songs to a new album from 77-year-old veteran blues guitarist Buddy Guy, whom Plant first saw perform in 1964. “I’ve been really lucky just to sit in the corner and let him tell me all the stuff about coming up from Louisiana to Chicago through Mississippi. He did all that Chitlin’ Circuit, and it got more and more smooth, cause the blacks didn’t want to be dealing with the country blues of Robert Johnson or Charlie Patton, they were waiting for Johnny “Guitar” Watson or Sly Stone. So BB King was riding high and it morphed into this kind of Memphis soul thing, and then the game really flipped over, moving through Al Green, all these great singers from the church. Everybody was waiting for the next move that put the past further behind them. We didn’t see it as a cultural rebirth from the manacles to P Diddy, God help us, but they did.”
The electric blues found a new purchase in Britain. “There was a great line from Sonny Boy Williamson who had been touring with the Yardbirds (featuring Jimmy Page), and he said: ‘Yeah, they play a little blues, but only a little!’” Plant chortles. “Ha ha! Sorry guys! You’ve gotta have a rhythm section that can actually get down in that place!” British blues, he says, “became a bit psychedelic” through Eastern and hippy influences, “a kind of Indo-blues mess. Zeppelin were way more flamboyant. I listen to my performances back then and I don’t know how it went on tape.”
He muses on sessions for the first Zeppelin album in 1968. “It was quite remarkable and overwhelming really, because each member was bringing something spirited and ambitious and open-minded and -hearted into the picture. We didn’t know the merit and worth of what we’d got but we knew it was exciting.”
The Sensational Space Shifters have been wowing audiences with storming, wide-open versions of such Zeppelin classics as Black Dog, Whole Lotta Love and Rock and Roll, where lead guitar blends with the Gambian riti, a one-stringed fiddle played by Juldeh Camara. “It’s a far-out collision of styles, very infectious and fluid, so it can open up into all sorts of different tangential rhythms and always it can screech round the corner back to Hoochie Coochie Man and Spoonful. The blues becomes every colour of the rainbow in the end, it can be presented in all sorts of absolutely different ways, which is magnificent really. So for me, I’m basically in the band I was in in 1965, but we’ve all been on vacation to West Africa and beyond. And if I can get my computer to work I’ll put some great vocals on top of some of the most far-out loops you’ve ever heard in your life.”
Robert Plant interview: ‘Everyone feels the blues from time to time’
By Neil McCormick, Music Critic [The Telegraph]
‘The other day, my ex-wife presented me with a wallet that had been lost since 1967,” says former Led Zeppelin singer Robert Plant. “I pulled out my student bus pass, ripped into shreds almost, and found all these references to where I was when it was last seen, at the age of 19.”
At 65, skin-creased, ponytailed and grey-bearded, Plant contemplates the contents in tones of wonder. “Crumbled bits of newspaper, adverts for the Band Of Joy at Midnight City in Birmingham, pictures of Lead Belly and Sonny Boy Williamson in a striped suit with a velvet collar. There was a set list from my first band, the Black Snake Moan, written on a little card – Jimmy Reed, John Lee Hooker, Sonny Boy, Chuck Berry. When I found that wallet, I found a map of my life. Unbelievable.”
Robert Plant and his latest ensemble, the Sensational Space Shifters, headline Bluesfest at the Royal Albert Hall on October 31. “The blues was a formative thing for me. It’s a very commodious condition because everybody feels it from time to time. It’s still in the way I sing, just throwing it on a different canvas, I think. It’s an affliction, the flattened third. Thank God it is. I’m 65, I’m loaded with it.” Plant has a poetic turn of phrase that is a delight to listen to in his soft, just faintly perceptible Black Country accent. “The blues is a genre that’s now mostly something of a memory, really, in performance and artistry. But it carries on, it flickers through, it has its moments.”
For a rock superstar, Plant is very easy company, full of energy, laughter, enthusiasm and informal friendliness. He wanders into a pub close to his Primrose Hill residence without airs or graces, in slacks,
T-shirt and hooded all-weather jacket. Lunch is a sandwich grabbed from the deli across the road. He grumbles, with much humour, about having “an IT nightmare” because his laptop has crashed with files of his band jamming that he intended to use to write new songs. “It’s skull-crushing,” he says of laborious days spent backing files up, and you wonder why he doesn’t have minions for this sort of thing, but it’s not his style. He’s very hands-on.
Plant is about to launch his own independent record label, YamYam345. When I ask what he wants to achieve, he says: “I’m just having a laugh kicking ass.” He spent time in Nashville on country adventures, recording 2007’s Raising Sand with Alison Krauss and forming a new version of his Sixties collective Band Of Joy with guitarist Buddy Miller and singer Patty Griffin, with whom he is romantically involved. But he sounds happy to be back on the road with an eclectic line-up of mainly British musicians.
“I was attracted to Nashville, a whole font of great music and amazing players, but if you can find anybody after six o’clock, I’ll give you a tenner. They’ve all gone home for tea and gone to bed. It’s nothing like the group van getting stuck in the mud cause you’ve been in the back all night with some chick, and the band are all shivering outside trying to push the van out.”
Discussing his lifelong musical enthusiasm, he says: “I wanted to find America, in all its different colours and horizons, that’s been my trip. I never inhaled a chemical after 1977, but I’m still inhaling America.” He is incredibly knowledgeable about blues, its African source and subsequent American tributaries and European tangents, conversation digressing down geographical and historical avenues, the slave trade, the culture of Louisiana, the electrification of country blues, and its near cosmic power when first heard in Britain. “Robert Johnson stole my heart when I was 14. I tuned into a subculture running parallel to my shiny grammar-school life.
“It’s ridiculous that British musicians should have been able to get anywhere near it, because it’s based in African scales that don’t have any grounding on these islands, I don’t think. We just were moved by the colour of the music, the sound was so evocative and poignant and something that we were probably needing in our composite make-up, filling up a hole, an emotional outlet.”
Plant recalls Sixties touring blues programmes in Birmingham, “weekend beatniks sat around carrying their Kafka, Camus and Sartre books, listening to Big Joe Williams and Son House and Bukka White. It was like a visitation from another world for us young English kids, who had no possible chance of comprehending where it had come from. It was just, if you got it, and it moved you, then it’s inexplicable and inextricable for life. Muddy Waters, Howling Wolf, I think they were just as surprised and moved, because their time had come and gone in America but they’d been adopted by us.”
Plant has contributed songs to a new album from 77-year-old veteran blues guitarist Buddy Guy, whom Plant first saw perform in 1964. “I’ve been really lucky just to sit in the corner and let him tell me all the stuff about coming up from Louisiana to Chicago through Mississippi. He did all that Chitlin’ Circuit, and it got more and more smooth, cause the blacks didn’t want to be dealing with the country blues of Robert Johnson or Charlie Patton, they were waiting for Johnny “Guitar” Watson or Sly Stone. So BB King was riding high and it morphed into this kind of Memphis soul thing, and then the game really flipped over, moving through Al Green, all these great singers from the church. Everybody was waiting for the next move that put the past further behind them. We didn’t see it as a cultural rebirth from the manacles to P Diddy, God help us, but they did.”
The electric blues found a new purchase in Britain. “There was a great line from Sonny Boy Williamson who had been touring with the Yardbirds (featuring Jimmy Page), and he said: ‘Yeah, they play a little blues, but only a little!’” Plant chortles. “Ha ha! Sorry guys! You’ve gotta have a rhythm section that can actually get down in that place!” British blues, he says, “became a bit psychedelic” through Eastern and hippy influences, “a kind of Indo-blues mess. Zeppelin were way more flamboyant. I listen to my performances back then and I don’t know how it went on tape.”
He muses on sessions for the first Zeppelin album in 1968. “It was quite remarkable and overwhelming really, because each member was bringing something spirited and ambitious and open-minded and -hearted into the picture. We didn’t know the merit and worth of what we’d got but we knew it was exciting.”
The Sensational Space Shifters have been wowing audiences with storming, wide-open versions of such Zeppelin classics as Black Dog, Whole Lotta Love and Rock and Roll, where lead guitar blends with the Gambian riti, a one-stringed fiddle played by Juldeh Camara. “It’s a far-out collision of styles, very infectious and fluid, so it can open up into all sorts of different tangential rhythms and always it can screech round the corner back to Hoochie Coochie Man and Spoonful. The blues becomes every colour of the rainbow in the end, it can be presented in all sorts of absolutely different ways, which is magnificent really. So for me, I’m basically in the band I was in in 1965, but we’ve all been on vacation to West Africa and beyond. And if I can get my computer to work I’ll put some great vocals on top of some of the most far-out loops you’ve ever heard in your life.”
gcczep
Ever Onward...
1969
Zeppelin interview in 1969...
Zeppelin interview in 1969...
