Classic Rock
Future Publishing Limited
1-10 Praed Mews, London W2 1QY
Web: www.classicrockmagazine.com
Letters:
[email protected]
Compiled by
Editor In Chief Scott Rowley
[email protected]
Senior Art Editor Brad Merrett
[email protected]
Original stories by
Mark Blake, Ian Ravendale, Mick Wall, Rob Hughes,
Chris Welch, Scott Rowley, Peter Makowski, Paul Henderson,
Dave Ling, Geoff Barton, Hugh Fielder, Barkey Hoskyns,
Dave Lewis.
Cover image
Getty Images
Original photography by
Photoshot/Avalon, Mark Weiss Photography.
Advertising
Media packs are available on request
Commercial Director Clare Dove
[email protected]
Group Advertising Director Mark Wright
[email protected]
Advertising Manager Kate Colgan
[email protected]
Account Director Anastasia Meldrum
[email protected]
Account Director Lee Mann
[email protected]
International
Classic Rock is available for licensing. Contact the International
department to discuss partnership opportunities
International Licensing Director Matt Ellis
[email protected]
Print Subscriptions & Back Issues
Web www.myfavouritemagazines.co.uk
Email enquiries
[email protected]
UK orderline & enquiries 0344 848 2852
Overseas order line and enquiries +44 344 848 2852
Circulation
Circulation Director Darren Pearce
01202 586200
Production
Head of Production US & UK Mark Constance
Production Project Manager Clare Scott
Advertising Production Manager Joanne Crosby
Digital Editions Controller Jason Hudson
Production Controller Keely Miller
Management
Editor-In-Chief Scott Rowley
Senior Art Editor Brad Merrett
Creative Director Aaron Asadi
Art & Design Director Ross Andrews
Classic Rock
Editor Siân Llewellyn
Art Editor Darrell Mayhew
Features Editor Polly Glass
Reviews Editor Ian Fortnam
Production Editor Paul Henderson
Online Editor Fraser Lewry
Printed by
William Gibbons & Sons Ltd on behalf of Future
Distributed by
Marketforce, 5 Churchill Place, Canary Wharf, London, E14 5HU
www.marketforce.co.uk Tel: 0203 787 9060
We are committed to only using magazine paper which is derived from
paper in this magazine was sourced and produced from sustainable managed
forests, conforming to strict environmental and socioeconomic standards.
The manufacturing paper mill holds full FSC (Forest Stewardship Council)
Disclaimer
All contents © 2017 Future Publishing Limited or published under licence. All
rights reserved. No part of this magazine may be used, stored, transmitted or
reproduced in any way without the prior written permission of the publisher.
Future Publishing Limited (company number 2008885) is registered in England
information contained in this publication is for information only and is, as far as
we are aware, correct at the time of going to press. Future cannot accept any
responsibility for errors or inaccuracies in such information. You are advised to
contact manufacturers and retailers directly with regard to the price of products/
services referred to in this publication. Apps and websites mentioned in this
publication are not under our control. We are not responsible for their contents or
any other changes or updates to them. This magazine is fully independent and
If you submit material to us, you warrant that you own the material and/or have
the necessary rights/permissions to supply the material and you automatically
grant Future and its licensees a licence to publish your submission in whole or
in part in any/all issues and/or editions of publications, in any format published
worldwide and on associated websites, social media channels and associated
products. Any material you submit is sent at your own risk and, although every
care is taken, neither Future nor its employees, agents, subcontractors or
licensees shall be liable for loss or damage. We assume all unsolicited material
is for publication unless otherwise stated, and reserve the right to edit, amend,
adapt all submissions.
ISSN 0955-1190
I
canrememberthefirsttimeIheardLedZeppelin.Itwas1984.I’djustbeento
WoolworthsinSaltcoatsandboughttheseven-inchofWhere WereYou Hiding
WhenThe Storm Broke? by TheAlarmandabagoffizzycolabottles.Iwalked
throughthedrizzleto my mate Fin’shouse. Finlikedmusic. Heplayedthe
drums.He’dbewellinto thisAlarmsingle(I’donly hearditon theradioonce
butwasalreadypositivethatitwasoneoftheall-timegreatestsongs,ever).
AtFin’sIdoledoutthecolabottlesandgaveitaspin.Hewasn’tthatimpressed.He
passedmeanalbum.“Stickthison,” hesaid,thenhegotbehindthedrumkithehadset
upinhisbedroom. “Secondtrack.”Heraisedhissticks,readyto joinin.
Isneered. Therecordlookedancient!Ithadanoldtrampcarryingsticksonthecover!
(Infact,likeme,therecordwasamere13yearsoldatthetime.)Idroppedtheneedleon
to thevinyl.
If,momentsbefore,you’daskedmewhothebestdrummerinrockwas,Iwouldn’t
have missedabeat (itwasMark Brzezicki,obviously).ThenIheardRockAndRoll and
everythingchanged. Thebestdrummerinrock?Easy:my mate Fin. Andthefellaon
thiscrazyoldrecordsoundedawrightan’all.
Almost50yearsafterthereleaseoftheirdebutalbum,it’ssometimeseasytotakeLed
Zeppelinforgranted. Butputtheirrecordsonnowwhileyoureadthismagazine–a
collectionofClassicRock’sfinestpiecesonrock’sgreatestband–andyou’llfindthat
theirmusicstillfizzes like amouthfulof colabottles.
ScottRowley,
EditorInChief
Features
6 The secret UK live debut
WhenpeopleturneduptoaNewcastleballroom,theyexpectedtosee
TheNewYardbirds.Insteadtheysawthefutureofrock’n’roll.
10 I
Asthe60sended,sessionsupremoJimmyPageputtogetheraband
andaplanthatwouldchangerockforever–evenifitdidoweawhole
lottomusic’spast…
20 II
Themakingofthesecondalbum,recordedandconceivedontheroad.
28 III
InspiredbyWelshcountryside,suffusedwithfolk,acousticand
pastoralmusic,itwastheZeppelinalbumthatconfoundedcriticsbut
trulybrokeredtheirlegend.
38 IV
Insidetheirmostadmiredwork–themakingofthealbumthatbuilta
legendandannoyedguitarshopworkersfordecades…
50 Houses Of The Holy
ThesoundofLedZeppelinatthetopoftheirgame.Howitwasmade,
whatitmeans.
60 Physical Graffiti
Insidepossiblythegreatestdoublealbumevermade.
72 Eddie Kramer
Zeppelin’strustedengineergivesushissideofthestory.
74 Presence
InAugust1975,LedZepwereabouttobeginanotherhugeUStour–
thendisasterstruck.ButoutofthewreckageclimbedPresence,andan
albumJimmyPageratesasoneoftheirbest.
82 In Through The
Out Door
GeoffBartononhowLedZeppelinleftuswithawhimper,
ratherthanabang.
84 John Bonham
JohnBonham’sdrummingpoweredLedZepliketheengineofa
battleship.‘Bonzo’wasirreplaceable,andhisdeathin1980alsodidfor
hisband.
88 Peter Grant
ThebiggestandbestinterviewtheLedZeppelinmanagerevergave.
94 The Oral History
LedZeppelinfans,friendsandinsidersonwhatthegreatestrockband
ofalltimemeanttothem.
110 Phil Carson
Zep’stourmanagerandAtlanticlabelheadlooksbackon
thedaysofthunder.
112 Life After
Led Zeppelin
WhatPage,PlantandJonesdidnext–andthetracksevery
Zepfanshouldown.
128 The Jimmy Page
Interview
Backin2007,inthebuilduptotheLedZeppelinreuniongig,
ClassicRocksatdownforanexclusivetwo-partaudiencewith
themanhimself.
138 The Reunion –reviewed
LedZeppelinreunitedandwewerethere–thefirstreviewoftheshow
ofthedecade.
140 Jimmy Page: a tribute
FellowguitaristsandmusiciansdofftheircaptoZep’ssongwriter,
guitarist,produceranddrivingforce.
144 Where now for
Led Zeppelin?
PromotingCelebrationDay,themembersofZeplookedbackand
forward.Isthistheend?
4thOct1968
#12 Led Zeppelin’s
‘secret’ UK debut
T
heannouncementofaYardbirdsgigat
Newcastle’sMayfairBallroominOctober
1968barelycausedarippleofinterestin
theNorthEast,letaloneelsewhere.After
astringofTop10hitsafewyearsearlier,theircareer
wasonadownwardslideandtheywereperilously
closetobecomingyesterday’smen.
WhatthepeopleofTynesidedidn’tknowwas
thatthebandhadactuallysplitupafewmonths
earlier.Butrather thancancelaScandinaviantour,
guitaristJimmy Pagehadtakentheopportunityto
relaunchtheband withsingerRobertPlant,
drummer JohnBonham, andnotedsessionplayer
JohnPaulJones onbassandkeyboards.
Andso thefew dozenpeoplewhoturnedupat
theMayfair for whatwas supposedtobethefirst
dateofTheYardbirds’UKtourwereinfora
surprise.After sitting throughsupportbands
DowntownFaction, theJuncoPartnersand
NewYorkPublicLibrary (thelatteralate
replacementfor Terry Reid),theaudiencefound
themselves confrontedwithanunfamiliargroup.
Although they didn’tknowit,theywere
witnessing thefirstBritishgigbythebandthat
wouldbecomeLedZeppelin.
JimmyPage:Weoriginallythoughtthatbycalling
ourselvestheNewYardbirdswewouldbeableto
keepasortofcontinuityfromtheearlydaysofthe
oldgroup.
BrianGreenaway(Mayfairmanager,1966-71):
Itallexplodedinthe1960s.Fridaynightwe’doften
get2,500peoplein.Itwouldbeheaving.Wehad
somereallybignameson,peoplelikeTheWho.
Revolver: the turning
stage at Newcastle’s
Mayfair Ballroom.
Sorting myth from fact
FraserSuffield(promoter):Ipromotedalot
ofshowsinthe60sandearly70sattheMayfair.
IbookedtheYardbirdsgiginearly1968viathe
Sherry-CopelandAgency.Theticketswere10/6
[about52p]togetin.I’llhaveprobablypaidaround
£75or£100fortheband.
BobSargeant(keyboardplayer,theJunco
Partners):FortheseMayfairgigstherewould
usuallybeanationalband,anup-and-coming
nationalbandandtwolocalsupports.TheJuncos
followedDowntownFaction,NewYorkPublic
LibraryfollowedusandtheNewYardbirds
followedthem.TerryReidwasonsomeofthe
advertsbuthedidn’tplay.
TerryReid: FantasiaandIwereonCream’s
farewellUStourandcouldn’tdothegig.Wehad
alotofjugglingaroundwithdatesaboutthen.
TezStokes(guitarist,NewYorkPublicLibrary):
Wegotthegigtheweekbeforetheshow.Weonly
foundoutweweresupportingTheYardbirdswhen
wegotthere.
RayLaidlaw(drummer,DowntownFaction):
DowntownFactionwereaprogressiveblues
band,andtheFiveLiveYardbirdsalbumhadbeen
ahugeinfluenceonus.TheYardbirdshadchanged
alotsincethenbutIwasstillmildlyinterestedto
seethem.
FraserSuffield:Ihadn’tmetTheYardbirdsbefore,
sowhentheyarrivedIintroducedmyself.Ididn’t
think:‘Thisisn’tthebandIbooked.’
TezStokes:We’dmetJimmyPageyears
before,whenhewasinNeilChristian’s
Crusaders.Hewasaverywell-respected
guitarplayer,butveryquiet,reservedand
shy.JohnPaulJonesImetwhenhewas
thebassplayerwiththeTonyMeehan
Band.Hestayedwithusthatnight
becausehehadameetingthenext
morningwith[producer]MickieMost
CharlieFoskett(audiencemember):
Thedaybefore,I’dtakenmyAmpeg
uprightbassintoBarrett’smusicshopin
thecentreofNewcastletoseeifthey’dbe
interestedinbuyingit.Itwaslikeastick
withapointononeendandmachineheadson
theother.WhileIwasthere,inwalksJohnPaul
Jones.Ididn’tknowwhohewas,buttheshop
guysaregoing:“That’shim!”That’shimwho?
Theyknewhimfromhissessionworkandthat
he’dbeplayingtheMayfairthefollowingday.
Hehadagowithmybass,andstartsplayingthe
basslinetoWholeLottaLove,althoughofcoursenone
ofusknewitthen.Itsoundedtotalrubbishonan
uprightbass.Thestringswereacoupleofinches
offthefretboard,makingitreallydifficulttoplay.
Itoldhimitsoundedgreat.Itdidn’tatall,but
Iwantedtoflogit.Hegaveme£14andleftthe
shopwithitunderhisarm.
CharlieHarcourt(guitarist,theJuncoPartners):
Beforethegig,eitherthebandortheirroadieasked
iftheycouldborrowourorgan.Theydidn’tseem
verywellprepared.Wetoldthemno,theyshould
havebroughttheirown.
BobSargeant:Idon’trememberJohnPaulJones
playingkeyboardsthatnight.That’llbethereason
6 CLASSICROCKMAGAZINE.COM
Words: Ian Ravendale
When people turned up to a Newcastle ballroom, they expected
to see The Yardbirds. Instead they saw the future of rock.
They’ll never amount to
anything: (l-r) Robert Plant,
John Bonham, John Paul Jones
and Jimmy Page in 1968.
why.Imusthavebeeninthebarwhentheyasked,
becauseI’dhavesaidyes.
FraserSuffield:Somebandshadrider
requirementsaslongasyourarm.TheNew
Yardbirdsweren’toneofthem.
RayLaidlaw:Thiswasinthedaysbeforeriders
reallycamein.Ifyouwereluckyyoumightget
acrateofbeer.Allfourbandswereinthesame
dressingroom,whichwasalarge,disusedbarat
thesideofthestage.Wewereallmillingaround,
comingandgoing.
BobSargeant:I’vegotavaguememoryoftalking
toJimmyatthebarbeforetheywenton.Hewas
theonlyoneIspoketo.
CharlieHarcourt:TheMayfairhadarevolving
stage,soonebandwouldbesettingupattheback
whiletheotherwasperforming.Whenthatband
finishedtheirset,thestagewouldturnandtheother
bandwouldarrive.
RayLaidlaw:Therevolvingstagemeantyou
couldn’tputyourgearonstageuntiljustbeforeyou
wereabouttogoon.Therewasn’troom.The
corridorsbackstagewerefullofgear.
CharlieFoskett:Therewasn’tmuchofafeelingof
anticipationbeforetheNewYardbirdswenton,
althoughitwascrowdedaroundthestage.
RayLaidlaw:Idon’trecallthegigbeingthat
wellattended.TheYardbirdswereoldnewsby
thatpoint.TheMayfairwasabitlikeaclub,and
somepeoplewouldgonomatterwhowason.
TezStokes:Istoodrightatthefrontandwatched.
Therewashardlyanyonethere.Some peoplewere
sittinginthebalcony,lookingdown.
BobSargeant:Thebandswereexpectedtobe
playingwhentherevolvingstagecameround.It
wasusuallya12-barorsomething,beforethey
startedtheirset.
CharlieFoskett:Zeppelinweren’tplayingwhen
thestagecameround,theywerefartingaround.
Joneswasontheleftsideinfrontofasilver-fronted
FenderBassmanamp.Hehitanoteandthecloth
onthefrontoftheampwobbled,whichIthought
wascool.PageposedaboutwithhisLesPaul.They
weren’tusingmonitors,allofthatcamelater.
Bonhamwasonthefloor,onhiskit,infrontof
CLASSICROCKMAGAZINE.COM 7
“A lot of the audience
went: ‘Who’s this?’
It wasn’t The Yardbirds,
it was another band.”
Charlie Foskett, audience member
DOMONIQUETARLE
148PAGES!THECOMPLETEGN’RSTORY
Ordering is easy – go online at
www.myfavouritemagazines.co.uk
or get it from selected supermarkets & newsagents
From that UK debut in
Newcastle, the only
way was up. And up…
theriser,whichhadtheamps,
waitingforsomeonetogo:“One,
two,three,four”.Thatcame
prettyquickly.
BobSargeant:Theyweregood.
Veryindicativeofwhatthey’d
becomeasLedZeppelin.Ican
rememberthinking:“Who’sthat
blokesinging?”
CharlieFoskett:Alotofthe
audiencewent:“Where’sThe
Yardbirds?Who’sthis?”Itwasn’t
TheYardbirds,itwasanotherband.
FraserSuffield:Whentheband
gotintoit,Ithoughttheywerevery
impressive,withlotsofpromise.
CharlieFoskett:Afterfiveminutes
itwas:“Thisisgreat!”Everybodyhad
forgottenaboutTheYardbirds.
NobodyknewthenameLed
Zeppelinthen,ofcourse,soitwas:
“Yeah,thisistheNewYardbirds!”
RayLaidlaw:Becausethey’donlybeenplaying
togetherforafewweeks,theydidn’thaveapresence.
Whenyouseeabandwithfeeloratmosphereto
them,youcomeawaythinkingyou’vereallyseen
something.Ididn’tgetthatwiththem,becauseatthe
timetheydidn’thaveit.Therewasnochemistry.
CharlieFoskett: Ithoughtthebandwereterrific.
Thefirstthingwastheenergy.Everythingwas
abunchofriffs.Page’sguitarwasrippingaway.I’ve
heardbettersoloists,buthewasagreatshowman,
awalkingskeletonwithskin-tightbell-bottom
jeans,thehairandtonsofposing.
RayLaidlaw:Iwasn’tveryimpressedwithRobert
Plant.Hewasabitfey.Iwasmoreinterestedin
themechanicsoftheband.Bonhamwaspretty
damngood.JohnPaulJoneskepthimselfinthe
background,andJimmyPagewasafantastic
player.Butthebandwasn’tfinelytuned.
BobSargeant:Ithoughtthematerialtheydidwas
similartowhatwasonJeffBeck’sTruthalbum.
RayLaidlaw:PagewasbasingitontheJeffBeck
Group.Heknewhowsuccessfulthey’dbeeninthe
USandwasusingthatashismodel.Iwouldn’tbe
surprisedifaftereachgighe’dgothroughitwith
theband:alittlemoreofthis,abitlessofthat,
polishthat,dropthisnumber,bringthatonein.
Likemanagingafootballteam.
BobSargeant:TherewasatrackonTruthcalled
YouShookMe,withRodStewartsinging.TheNew
YardbirdsdidthatnumberattheMayfair.They
alsodidShapesOfThings,theoldYardbirdshit.
AndtheyplayedCommunicationBreakdownand
acoupleofothersongsthatturneduponthefirst
Zeppelinalbum.
CharlieFoskett:Iwasverymuchintotheiroverall
noiseandenergyalongwiththevisualthing.They
reallyhadtheirchopstogether.Itwasasloudasthe
gearwouldallowittobeatthatpoint,andfull
throttle,includingthecoupleofYardbirdshitsthey
did.Thediscerningmusicloversweregluedtoit.
TezStokes:JimmyPagedidanextendedguitar
solosittingdown.Thesweatwaspouringout
ofhim.AsaguitaristmyselfIwaswatchingvery
closely,pickinguptips.Iwasveryimpressed.
RayLaidlaw:Iwasthinkingthatthiswasthelatest
versionofTheYardbirds,andsomeofitwasreally
goodandsomeofitwasn’t.Ididn’tgoawaytelling
peoplethatTheYardbirdsarebackandthey’re
fantastic.Itwasallpartoftheprogressiveblues
thingthatwashappeningthen,wheremaybethey’d
makeacoupleofalbumsandthatwouldbeit.
Tometheydidn’twarrantanymorecredencethan
anyofthemanyotherJohnMayall-influenced
bandsthatwereknockingabout.
JohnPorteous(Tynesiderecorddealer):My
friend,thelateJohnGourley,wasNewcastle’stop
Yardbirdscollector.HegoestotheMayfairthat
FridaynightexpectingtoseetheKeithRelfline-up.
Thebandcomeson,andhewatchesthreeorfour
numbers.Hethengoestothefrontdesk,saysthe
bandonstagearen’tTheYardbirds,demands
hismoneybackandleaves.Quiteafewothers
didthesame.
FraserSuffield:Ididn’treceiveanycomplaints
fromtheMayfairmanageraboutpeoplewanting
theirmoneyback.WhenpeoplewereleavingIgot
noadversecommentsaboutthemnotbeingthe
bandtheywereexpecting.
CharlieFoskett:Afterthelastsong,itwas acaseof:
“Thankyouandgoodnight!”Thestagerevolvedand
theywereoff.Ididthinktheyhadit,andthatitcould
happenforthem,givenhalfachance.
FraserSuffield:AfterthegigIwentbackstageto
paythemoneytothebandthemselves.Theydidn’t
haveamanagerwiththem.
BrianGreenaway:Onceabandhadbeenpaid
they’dbeaway.Theytendednottostayovernight.
They’dbeinthevanandbacktoLondon.
JimmyPage:Werealisedwewereworking
underfalsepretences.Thethinghadquickly
gonebeyondwhereTheYardbirdsleftoff.Weall
agreedtherewasnopointinretainingthe‘New
Yardbirds’tag,sowhenwedecidedtochangethe
band’sname.
RayLaidlaw:Itonlydawnedonmethreeorfour
monthslaterthatLedZeppelinwerethepeopleI’d
seen.Iftheyhadtostandorfallbytheperformance
thatnighttheyprobablywouldn’thavebeensigned.
Itwasokay,butnottheentitywiththemighty
presencethatZeppelinbecameverysoonafter.
Robert Plant:
a “bit fey”, says one
audience member.
WHATHAPPENEDNEXT?
After several more gigs, Page renamed the
band Led Zeppelin. UK university and club
dates were followed by a US tour and the
release of their eponymous debut album.
Downtown Faction evolved into the band
Lindisfarne. The Mayfair was demolished in
1999 to make room for a car park.
CLASSICROCKMAGAZINE.COM 9
GETTYx2
Your time is
gonna come
CLASSICROCKMAGAZINE.COM 11
I
n 1969, Chris Welch was the star writerof Melody
Maker, thenthe most influential and prestigious
musicpaperinBritain.He’dbeentherewhenHendrix
first set fire tohis guitar at the Speakeasy;hungout
in the studio while The Who wrestled withTommy;
keptDylan waiting in reception for an interview while
he finishedhislunch;drivenRodStewarthomefrom
gigsin the dayswhenRod was too poor toaffordhis
ownwheels.But,Chrissays,hehadnever–ever–
heard anything likethis. “Oneofthe younger writers
brought an early pre-release copyofthe album in and
played it on the office stereo – and it just leapt out at
you!Itreallydidfeellikeagreatleapforward,interms
ofthesoundyoucouldactuallygetonarecord.
And that was just the first track.”
Fortyyearslateryoucanstillheartheaweinhisvoice. Butthen,40years
lateryoucanstillfeeltheenergycracklingwhenyouplaythealbumhe’s
talkingabout:theeponymousdebutfromLedZeppelin,releasedinBritainin
March1969.AlreadyavailableinAmericasincethestartoftheyear,despite
attractingsomelessthanfavourablereviews–notably,fromJohn
MendelssohninRollingStone,whodamnedLed Zeppelinasthepoorrelationto
Truth,thebandoffering“littlethatitstwin,theJeffBeckGroup,didn’tsayas
wellorbetter,” describingJimmyPageas“averylimitedproducerandawriter
ofweak,unimaginativesongs” andcharacterisingRobertPlant’svocalsas
“strainedandunconvincingshouting”– LedZeppelin’sdebutalbumwas
alreadyonitswaytobecomingasizablehitonbothsidesoftheAtlantic,as
wellas changingthefaceof rockmusiccompletely.
Thebrainchildof Page,a24-year-oldsessionguitaristwho,somewhat
astonishingly, hadplayedon morethanhalfof allthehitsingles madein
Britainfrom 1962-66butwhohadonlyrecentlycometopublicattentionvia
hislateentryintotheYardbirds,thereleaseofthefirstZeppelinalbumcould
besaidto haveusheredinthe1970sayearearly.
Anonly childfromWestLondonwho’dgrownup,as heputit,“aloner,”
JimmyPagehadalwaysgonehisownway:leavingschoolearlytoplay
professionallyinaband,NeilChristianandtheCrusaders; laterdroppingout
ofArtCollegetobecomeafull-tim...
