ROBERT PLANT & SAVING GRACE WARWICK AND CHELTENHAM REVIEWS/ SALT LAKE CITY 1973 PHOTOS/STEVE ALBINI RIP/LZ NEWS/PREULDE TO EARLS COURT/THE HONEYDRIPPERS 1981/LET IT BE AT 54/DAVE LEWIS DIARY BLOG UPDATE
Pics by Richard Grubb.
First ever pictures from Led Zeppelin at Salt Lake City May 26 1973
Great work by James Cook at LZ news in searching out these shots…
More info here:
Led Zeppelin News Update:
The first photos of Led Zeppelin performing in Boston in 1971 have emerged
The first photos to emerge of Led Zeppelin performing in Boston on September 7, 1971 were published online this week.
The photographs were taken by Joe Maloney and published in a YouTube video by KRW_CO.
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Maloney also attended Led Zeppelin’s July 20, 1973 performance in Boston and his photographs of that show are expected to be published for the first time in the coming weeks. No deal has closed for Helen Grant’s Led Zeppelin stake A company filing in the UK shows Peter Grant’s daughter retains her 10% ownership of one of the four companies she’s been trying to sell a stake in. We approached Grant’s laywer this week and he declined to comment for the story, including when we said we planned to mention LedZepNews’ previous report that Grant received an £8.5 million offer for her shares last year. In August, two more companies Grant is selling stakes in are required to publicly confirm their shareholders. If any sale has closed by that point, we’ll be able to learn about it. Showco’s 1977 US tour itinerary was published online Indigo Kretzschmar-May continues to update her excellent website Showco.co about the touring equipment business that worked closely with Led Zeppelin and many other musicians. This page on her site now includes Showco’s itinerary for the first leg of Led Zeppelin’s 1977 US tour, giving a day by day breakdown of how the Showco crew transported Led Zeppelin’s stage show across the US. Scroll down to the “In 1977” carousel and click through to see the pages of the document. There’s also a behind the scenes photo of Led Zeppelin’s lighting boards on this page under the subheading “Courtesy of Michael Garvey”. Fans of Robert Plant can also see backstage photos from his solo tours on this page (Click “Show More” to load more photos) and on this page under the subheading “Courtesy of Simon Kidson (Son of alum, Mike Kidson)”. We launched an appeal for photos of Led Zeppelin performing in Salt Lake City in 1973 Is it possible to use local media to reach attendees of Led Zeppelin shows and convince them to share photos and videos of the band? We launched an experiment this week by contacting media in Salt Lake City explaining that Led Zeppelin’s May 26, 1973 show in the city is the most recent performance by the band with no circulating photos. Our email caught the attention of local TV station KSL TV 5 which invited LedZepNews editor James Cook on air and published an article about our search. Since then, we’ve heard from many people who attended the show and we’re hoping to publish some good news next week. More to come… Jimmy PageJimmy Page paid tribute to Duane Eddy Jimmy Page paid tribute to Duane Eddy this week, writing on Instagram that the guitarist who died on April 30 was “such a lovely man.” “Duane Eddy twanged the thang in the late 50s and 60s and you can hear his character sound appearing throughout the decades of popular music. He will be missed and my thoughts are with his family,” Page wrote in the post published on May 3. Page’s post mentions the incorrect year for when Page was interviewed by Eddy for a BBC radio show. Page claimed that the interview happened in 2011, but it actually happened on July 15, 2010. Page’s On This Day posts accurately described it as happening in 2010. Robert PlantRobert Plant (eventually) performed with Saving Grace Robert Plant had to delay his return to performing with Saving Grace this week after he suffered from an ear infection. The band’s April 30 show in Harrogate was postponed to November 5 and the May 1 show in Stockton was postponed to November 6. The band eventually returned to the stage on May 3 in Warwick, shaking up their typical setlist by opening the show with “Win My Train Fare Home (If I Ever Get Lucky)”. Tight But Loose editor Dave Lewis published an account of the show written by Richard Grubb on Facebook. “The illness that resulted in two postponed dates in the run up to this local show was hardly apparent,” Grubb wrote. “The between song Plantations may have been a little quieter, a little raspier perhaps, but there was no evidence of any dimming of the light during the songs themselves.” The Lemon Tree Fanzine published photos of that show taken by Paul Harper on Facebook. Saving Grace also performed at the Cheltenham Jazz Festival on May 4. Lewis published an account of that show written by Jonathan Taylor. “After set closer ‘Angel Dance’, the audience is on its feet; the applause can probably be heard across Cheltenham,” Taylor wrote. “Plant looks absolutely delighted at the response, and quips ‘If we do a live album, you’ll have to come back’.” The Lemon Tree Fanzine also published photos of that show taken by Harper. ‘Nothing Takes The Place Of You’ is finally available on vinyl “Nothing Takes The Place Of You,” a duet Robert Plant recorded with Patty Griffin that featured on the soundtrack to the 2013 film “Winter In The Blood” was released on vinyl for the first time this week along with a previously unheard version of the same song. Spaceflight Record has pressed 500 copies of the film’s soundtrack on vinyl which includes a different version of the song, the label confirmed to LedZepNews. Robin George died on April 26 Guitarist and producer Robin George, who worked with Robert Plant, died on April 26. George was credited on “Red for Danger”, a Robert Plant song released on the 2003 Plant compilation album Sixty Six To Timbuktu. Robert Plant attended two Wolves matches Robert Plant attended the April 20 and April 24 Wolverhampton Wanderers football matches in Wolverhampton, according to Getty Images photographs. Upcoming events:
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Many thanks to James Cook
For all the latest Zep and related news check out the Led Zeppelin news website at:
It’s that time of year again…
TBL Celebrates the 49th Anniversary of Led Zeppelin at Earls Court:
With the 49th anniversary of the first two Led Zeppelin appearances at Earls Court upon us – to get you right in the zone here is a feature that first ran in TBL issue 15. It focuses on some of the key performances on the US tour of early 1975 that provided something of an indicator to the five glorious nights that would follow in May 1975…
PRELUDE TO EARLS COURT:
Led Zeppelin’s tenth American tour kicked off in Minnesota on January 18 1975 and initially their performances were hampered due to Plant’s bout of flu and Page’s injury to his finger. The situation began to improve when they reached New York some ten gigs into the tour. For the Feb 3 Madison Square Garden date Page felt sufficiently recovered to re instate Dazed And Confused to the set. Just over a week later, Plant’s relief at finally shrugging off his flu bug was evident in a very loose and informal Valentine’s Day performance at the Nassau Coliseum. As their newly released double set Physical Graffiti hit the stores they moved up another gear. March saw they really hit their stride with outstanding performances at Long Beach, Vancouver and Seattle -eventually culminating in a memorable three day stint at the LA Forum.
Throughout those February /March dates they began to further develop the set clearly displaying points of reference in their playing that would be further explored when they returned to London to play the Earls Court shows.
So having evaluated the ’75 tour tapes, I’ve highlighted the key moments from seven performances that in hindsight, clearly provided a prelude to those five glorious nights that would follow in May 1975…
Date: FEBRUARY 14, 1975:
Venue: NASSAU COLISEUM UNIONDALE NEW YORK
Performances: KASHMIR/TANGERINE (snippet)
Bootleg Reference: NASSAU ’75 (TDOLZ)
”This is one that regulars that come here know quite well…but you’ve still yet to hear the recorded version…this is a track about another of life’s journeys that never end..this time in Kashmir”
Kashmir was a new number that they were obviously itching to play live and with Plant’s voice suitably recovered they turned in a majestic Valentines’ Day performance in Nassau. Page strumming down relentlessly on the Gibson behind Bonham’s castinet like drumming.
Plant showing renewed confidence to throw in the echoed vocal naunces that became such an Earls Court trademark. Listening to this delivery re -emphasis my opinion that the best live versions of Kashmir were all played in the year it was released on record.
Tangerine was of course a surprise inclusion at the Earls Court shows performed as a four part harmony. However perhaps they were already toying with the idea of bringing it back during the American tour. For on this night prior to Stairway To Heaven Plant let out a few lines from the long deleted Zep III stage fave. ”Measuring a summers day”…adding ”I’ve forgotten the words”. It was a brief teaser for a song that would again light up those memorable May days.
Date: FEBRUARY 28 ,1975
Venue: LOUISANA STATE UNIVERSITY BATON ROUGE
Performance: NO QUARTER
Bootleg Reference: FREEZE (TARANTURA) LED ASTRAY (SILVER RARITIES)
The May 18 and 24 Earls Court versions of the JPJ opus are amongst the very best they performed. The highlight being JP’s lengthy piano concerto that led to the loose jamming amalgamation with Page and Bonham. During the ’75 US that arrangement underwent much construction as it expanded in length. On this night in Baton Rouge Jonesy began applying for the first time that pleasing neo classical solo before Jimmy waded in with a long rambling solo. The improvisation of No Quarter would further develop later in the tour when Page and Bonham introduced an uptempo jazz tempo to the piece. This Feb 28 delivery was an early example of how the track would evolve to such huge effect a little under two months hence in London.
Date: MARCH 12,1975
Venue: CIVIC ARENA LONG BEACH CALIFORNIA
Perfomance: THE SONG REMAINS THE SAME (false start)/THE SONG REMAINS THE SAME
Bootleg Reference: TRAMPLED UNDER JIMMY’S FOOT (SILVER RARITIES)
Just to illustrate that not all went according to plan every night…. on this cooking performance in Long Beach their sheer enthusiasm got the better of them as they opened The Song Remains The Same….. only to bring it to a close some one minute in.
”Just a minute that’s it ….see you again Long Beach! Yes it happened for the first time in six and a half years…does anybody remember laugher?…. the first time we came here ..er we never seem to get things together in Los Angeles.
OK, as I was saying. Nevertheless The Song Remains …..nevertheless,ad infinitum to the power of three re occuring..The Same!’’
They did not get it wrong a second time.
What happened next was simply the business. A speed ride through the opening track of Houses and as Plant might put it a reoccurring anthem. It sounded great here ,it sounded great in Earls Court and it still sounded great 20 years later when Page and Plant deployed it so effectively on their 95/96 world tour. This is a Zeppelin anthem that gets less acclaim than the more overplayed Whole Lotta Love, Stairway and Kashmir -but on stage it always burnt and smouldered its way into the set. Pull it out and try it for yourselves on any night…the effect as those Houses ads read is still shattering.
Date: MARCH 19, 1975
Venue: PACIFIC ARENA VANCOUVER
Performance: WOODSTOCK (insert)
Bootleg Reference: PLEEASE (SILVER RARITIES)
”By the end of the tour I felt I could sing anything”.
Proof of that statement came nightly within Dazed And Confused. The San Francisco excerpt had long been a feature of the early part of the piece, but on this tour they began experimenting even further. Plant introducing another hippie anthem to proceedings -the Joni Mitchell pean to Max Yasgur’s farm and a hit for Crosby Stills, Nash & Young. The Zep arrangement was still built loosely on the melody employed for San Francisco-Plant bending the words to fit the structure. Against Page’s eerie minor chord strumming it became one of the most atmospheric parts of their performance. Plant’s repeated ”Back to the garden” refrain merging into the violin bow episode amongst the dry ice. The Vancouver performance was a blueprint for the equally dramatic versions performed at Earls Court run. During this part of the tour Plant also took to singing The Eagles Take It Easy and during the final LA stint he crooned a 50’s like To Be Loving before moving into Bob Marley’s I Shot The Sheriff. As he put it -he could sing anything…
Date: MARCH 21, 1975
Venue: SEATTLE CENTER COLISEUM
Performances:ROCK AND ROLL/SICK AGAIN/OVER THE HILLS AND FAR AWAY
Bootleg Reference:SEATTLE SUPERSONIC (GEMA) 207.19 & 214 (COBLA STANDARD)
This Seattle show was simply one of the best gigs of their latter era.
Proximity editor Hugh Jones was there and relayed the events in a superb feature titled ”At The top of their game” in issue Vol 6 no17.
If proof was needed then this opening segment brings it all alive – as it epitomises what a potent three pronged entrance these songs really were. Rock And Roll segueing into the new sheer brutality of Sick Again with Plant teasing ”Do I look the same”, and then the opening speech followed by the ”Beginning of a dream and it starts here (R.Plant -Earls Court May*17) or on this occasion .”What we intend to do is to relive our pent uppedness on stage, and then to relieve it later on after the gig elsewhere. Now the thing is what we intend to do is to give you a cross section of what we’ve been trying to produce and write over the last six and a half years.
As you know the material varies greatly and so you will appreciate that we take it from one extreme to the other….and what better way to start than to gaze out onto the horizon and see what tomorrow may bring”
To quote Hugh Jones ”in those last few sentences Robert Plant may well have encapsulated Led Zeppelin as well as anyone ever has. The physical, the musical, the pretension and the arrogance-all backed up with music as varied and as good as his word for the next four hours”.
So the the regal intro of Over The Hills And Far Away -the Page solo as always flickering and twisting into previously un investigated territory. Then a swirling finale with Plant crying out ”Samantha Samantha” perhaps a reference to the fun they were about to enjoy offstage as he put it And on this night in Seattle it all just burst forth with that knowing arrogance .To use that old Zep’75 maxim it all underlined the fact that it wasn’t just a case of them being the number one band on the planet…the real point in question was just how far whoever was at number two lagged behind.
Date: MARCH 25 1975
Venue: THE FORUM INGLEWOOD LOS ANGELES
Performance: TRAMPLED UNDERFOOT
Bootleg Reference: THE SEX MACHINE (LEMON SONG)
The May 24 ’75 delivery of Trampled was an incredible Page tour de force and again one of the most potent performances of their latter era. All through the US tour though, they were stretching the limits of the improvisational possibilities of this piece rendering the album version almost redundant. On this penultimate night of the tour Page, Jones and Bonham locked horns to produce a frightening barrage of noise over which Plant ad-libbed in required style. ”Give it to me, give it to me”
Nobody described the live delivery of this track better than noted US scribe Lisa Robinson when she astutely observed that ”Trampled with its Come Together like rhythm sounds as if The Beatles battled the Stones in a parking lot – and Led Zeppelin won”
Date: MARCH 27 1975
Venue: THE FORUM INGLEWOOD LOS ANGELES
Peformances: IN MY TIME OF DYING/SINCE IV’E BEEN LOVING YOU/STAIRWAY TO HEAVEN/WHOLE LOTTA LOVE/BLACK DOG
Bootleg Reference: TOUR DE FORCE (RABBITT)
The final riot night of the US tour was a mass celebratory affair with the band fully aware that with this tour they had turned adversity into triumph. From the moment Linda Lovelace cutely introduced them onstage to Plant’s parting ”We’re coming back baby” comment, this was a true prelude to what the UK was about to be served.
They even gave a hint of Earls Court fashion by introducing his Miss Selfridge cut off shirt and Page wearing the Dragon suit trousers that would become such a visual imprint of May ’75.
Their confidence was subsequently overflowing as they attacked the new In My Time Of Dying, Plant throwing in a few lines of You Shook Me.
”Anybody remember?” he asks at the end as he would a month later in SW5.
The version of Since I’ve Been Loving You was a real bonus and something sadly that Earls Court did not receive.
”A change in the programme- we were gonna do…..but this is a blues and I think this is where we first came in”. An impromptu set revision that delighted the LA audience.
A rare latter day stand alone delivery (in 1972/73 it had been segued with Misty Mountain)) recalling the majesty of Blueberry Hill at this very venue five years back. Rarely played in ’75 they ached their way through the old Zep III standard -Page’s solo as precise and inventive as that night back in September ’70.
On the home straight it was nothing less than a victory stomp. Stairway played as was the case as Earls Court as though Plant believed every word, and the final incendiary Whole Lotta Love/Black Dog medley with the added visual spectacle of that neon lit sign. Images and sounds that London would soon delight in.
Acknowledging their enthusiasm, Plant told the final LA audience ”It’s really nice to know that we’re giving you what you are giving us because after tonight I think we’ve got three gigs in England. I don’t believe well work again for quite a long time, so this has got to be good”.
That last night in LA was indeed good…very good ….and Earls Court would be even better.
Dave Lewis – first published in TBL issue 15
It was 43 years ago today:
Robert Plant and The Honeydrippers at Nottingham Boat Club…
43 years ago today on Tuesday May 12 1981, I took the train from Bedford to Nottingham for a very special gig.
In prospect was a night with The Honeydrippers at the famous Nottingham Boat Club venue.
The Honeydrippers was the ad hoc band Robert Plant formed in early 1981 with some of his Midlands musician pals. This was his way of finding a pathway out of the demise of Led Zeppelin.
Anyone who was lucky enough to see these very low key shows in the spring of 1981, will know how incredibly exciting it was to see the former lead singer in the biggest band in the world in such small surroundings – going back to his roots.
For there was, as he put it ‘’No led anything’ in this era – just a whole lot of rhythm and blues and an attempt to re- establish contact with an audience – on his terms.
This short lived venture would provide the inspiration for him to hook up with Robbie Blunt on a more serious mission of song writing that would have all roads leading to Rockfield Studios in Monmouth for the recording of his first solo album Pictures At Eleven.
Before all that, there were sweaty nights on the road and this night at the Nottingham Boat Club was just that. This was the second occasion I had seen this line up – a week back I had been at the Porterhouse in Retford and ahead in the next two weeks I would catch further shows in Pontypridd, Sheffield and Bradford. In those days if Robert or indeed Jimmy and JPJ were playing anywhere, I would do my best to be there…oh and I also saw Bruce Springsteen and the E Street Band at Bingley Hall Stafford that month.
On this day, I was lucky enough to be in attendance at the afternoon soundcheck – it was a huge thrill to be inside the venue where Zep had performed in March 1971. Robert and the band were on great form and the gig itself was a stormer. I didn’t take any photos of this gig but I took some of the other gigs which I’ll try and dig out.
After the soundcheck, the band, crew and myself strolled on to the balcony of the Boat Club to view the gathering crowds below. In this photo taken by a fan in the crowd (I cannot recall who sent me this) the line up is:
Far left just above the parked van, long time Zep/Plant soundman and friend Benji Le-fevre, then Robert Plant in the red jacket, saxophonist Keith Evans, guitarist Robbie Blunt, drummer Kevin J O’Neal, behind him that’s me (note short lived moustache!) and to the right future Plant tour manager Rex King.
An amazing day when I was a mere 24 years old and it all happened 43 years ago today… what a memory…
Looking back, I feel very blessed to have these special moments to cherish. One of my TBL projects ahead is to produce a memoir style book to log experiences like these and many others I’ve been lucky to be involved in … more on this as it unfolds…
Dave Lewis – May 19 2024
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Let It Be at 54
The Beatles’ final studio album Let It Be celebrated its 54th anniversary on May 8 – here’s my thoughts on one of favourite albums and what it means to me…
Let It Be and me…
I’ve had something of a 54 year love affair with The Beatles’ Let It Be album.
It all began way back in April 1969 when The Beatles released a new single titled Get Back. As previously chronicled, this was the inspiration for me to get right back into music after a brief infatuation with The Dave Clark Five when I was seven years old.
James Bond, Thunderbirds, The Daleks and football took over for a while but aged 12 I was ready to tune in once again
It was Get Back that really attracted me back to music. I had heard it on Tony Blackburn’s Radio One breakfast show and repeatedly on the juke box in our local café.
I recall an advert in the NME that proclaimed it as ‘’The Beatles as nature intended.’’ What also attracted me to the record was the distinctive green Apple label design – and the B side that displayed the core of an Apple. Having been drawn to that beautiful image I was forever asking older friends to put The Beatles’ B sides on the Juke box – this is how I came to be very familiar with Don’t Let Me Down, Old Brown Shoe and Come Together –the flip sides of Get Back, The Ballad of John And Yoko and Something, the trio of singles released by The Beatles in 1969.
In September of that year The Beatles issued their Abbey Road album. An older friend bought it and I listened at his house in wonder at it’s amazing contents – not least the medley on side two.
The NME had already flagged that The Beatles next album would be titled Get Back and comprise of recordings made in early 1969 to accompany a film of the same name. This was planned to be released in 1970.
During the early months of 1970 I eagerly scanned the news pages of the NME for more news. It transpired the album and film would now be titled Let It Be and in early March 1970 the Let It Be single was issued backed with the quirky You Know My Name (Look Up the Number). The single came in an eye catching picture sleeve. I of course loved the single and the accompanying film clip of it shown on Top of the Pops.
On April 10, the Daily Mirror broke the story that Paul had quit The Beatles. The acrimonious reasons behind the split dominated the pop headlines over the next12 months. The Beatles had out grown The Beatles and as Lennon would put it – the dream was over.
However, there was one more Beatles album release and it came on May 8, 1970. Let It Be was packaged in an outer cardboard box that contained a deluxe book and the actual record catalogue number PX1. It sold for a penny less than £3.
Far too much for my pocket money but the same older friend did buy it and we marveled at that package, the book and the album’s contests. Let It Be for me sounded like a great album -with it’s off mic comments and raw playing, tender moments, jams and quirky singalongs –the informality of it all touched a chord – this was The Beatles presented in a unique way as never before.
However, not everyone was enamored with this final chapter. The NME called it a cheap cardboard epitaph. To this day I disagree with such a notion.
On Thursday June 18, 1970 I went to the Granada cinema in Bedford to see the Let It Be film. We had the day off school as Britain was going to the polls to vote in a general election that saw Edward Heath gain a shock Conservative win over Labour’s Harold Wilson.
It was also Paul McCartney’s 28th birthday.
The film was a poignant farewell – the highlight being the final footage of them performing live on the on the rooftop. I loved the film for its illuminating inside look at The Beatles at work.
Over the next few years, The Beatles Let It Be era was never far off my radar.
When I started buying bootlegs in 1972, alongside the Zep titles, I eagerly invested in The Beatles Get Back Sessions and the curiously titled Renaissance Minstrels Vol 1 , Both these albums contained various outtakes and unreleased material from the Let It Be/Get Back period.
They provided key insight to this captivating last gasp. The likes of The Walk and Teddy Boy sounding like lost jewels.
Fast forward to Christmas 1975 –the BBC screened the entire film on Boxing Day and it looked fantastic.
During that first TV showing I even listed down for my own reference all the songs that appeared during the film – I still have that hand written note as can been seen here.
The BBC screened it again four years later on Boxing Day 1979. On that occasion my very good friend Dec taped it all on his newly acquired video recorder. When I got my own video recorder rented in 1981, Dec made me a copy of the Let It Be film – I now had all that marvelous footage at the flick of a button.
The bootleg CD explosion in the early 90s led me to many more recordings of the Get Back/Let It Be period as title after title appeared – notably a complete version of the fabled January 30,1969 rooftop gig – and the Let It Be film on DVD. I also have a bootleg of the original Get Back album as first proposed by producer Glyn Johns – complete with the intended cover of that photo of them in early 1969 at EMI in Manchester Square -re creating the Please Please Me cover shot. The 1969 image was later used for The Beatles red and blue compilations issued in 1973 (I bought both of those on the release date).
Mark Lewishon’s astonishingly detailed The Beatles at Abbey Road and The Beatles Chronicle books offered up vital accurate information of the 1969 sessions. I was lucky enough to meet Mark and attend two launches of his books inside the hallowed walls of Abbey Road Studios itself. In 1983 I also attended EMI’s The Beatles at Abbey Road presentation inside studio number two where so much of the Beatle magic had been created.
Over the years, The Get Back saga has continued to fascinate me and I’ve invested in a fair few books and magazines about the subject. The official Beatles Anthology made available some of those unreleased recordings I had craved on those bootlegs. Paul McCartney then re-invented the album by releasing Let It Be Naked – a fresh pre Phil Spector mix of the stark original versions of the Get Back/Let It Be project. I avidly soaked up that one with it’s 20 minutes of bonus recordings.
In the October 2010 issue of Mojo, they covered the final Beatles era in a superb feature. This issue was made available with an accompanying and CD vinyl album -Let It Be Revisited. This was a re imagining of the original album by a variety of artists including Beth Horton, Wilko Johnson and Judy Collins. The vinyl run came in a limited edition of 1,000 and I eagerly snapped that one up – I am always a sucker for Beatles cover versions.
Peter Jackson’s incredible Get Back film was of course another huge Let It be related thrill. As will be the new revamped Let It Be film being screened via Disney + from this week.
I of course have various pressings of the album – notably a French pressing and the US pressing with the gatefold sleeve. Until 2019 one had remained elusive.
That is the original UK release in the box set package. Very good condition copies go for over £400. Due to the flimsy nature of the cardboard and book binding, most copies are somewhat flawed. There was a very good conditioned copy sold at the local Bedford Slide Record Shop a while back for £200.
In January 2019 I had a big result.
Flawed or not, I could not pass up an original Let It Be box set I came across at a Victoria Record Fair. Though nowhere near mint it wasn’t too bad. The outer cardboard box is somewhat trashed but acceptable. The Get Back book is in surprisingly good condition with no loose pages and the record is very good. This was on offer for what I consider a bargain price of £30. I managed to knock the guy down slightly and secured it for a mere £25.
Now that’s bargain and in Beatles collecting terms, one of the very best I’ve had.
So, at long last I have the original package that all those years back I marveled and have been obsessed with throughout my 55 years of music passion.
To own it as The Beatles put it ”as nature intended” is an absolute thrill.
It inspires so many memories of those halcyon days of 1969/1970.
Those memories are ignited every time the needle touches down and John Lennon’s plaintive cry of ‘’I did a pygmy by Charles Hawtry and the deaf aids – phase one in which Doris gets her oats’’ signals the entry of The Beatles performing Two of Us – on our way home.
In acquiring that Let It Be box set it felt like it had finally come home – and it, and I have memories longer than the road that stretches out ahead…
Dave Lewis – May 9 2024
DL Diary Blog Update:
Friday May 3
Saturday May 4:
Saturday May 4:
Great to see Jerry Bloom at the Bedford VIP record fair – Jerry handed over a copy of the Led Zeppelin A Visual Biography by Martin Popoff – recently published by Jerry’s Wymer Books company. I did a bit of editing for this – some great pics – I’ll have a review up soon…
Saturday May 4:
Great too see Dec Hickey. Lee Abrahams Phil Harris and of course the good lady Janet at todays VIP record fair – though there was no hiding the Japanese copy of Led Zeppelin I that I acquired ! You can never have too many…
Sunday May 5:
Great to see former Vinyl Barn man Darren Harte at the Bedford VIP record fair yesterday here with Lee Abrahams and myself and the good lady Janet
Sunday May 5:
Remembering the late Tom Locke on the occasion of his birthday – so many great times shared…
Sunday May 5:
Flashback Records in Islington on a Sunday – count me in!
Sunday May 5:
In Islington with our Sam the good lady Janet and Dec Hickey – and feeling very blessed….
Update here:
It was great to spend a few days with Dec who was over from Ireland and as can be seen above we packed it all in during his five day stay in Bedford.
It’s been back full on this week and I am busy working on the Robert Plant Portraits book. I also recorded a podcast interview with Mark McFall for his excellent Zep Fan podcast series – more on that to follow…
Until next time…
Dave Lewis – May 9 2024
TBL website updates written and compiled by Dave Lewis
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