Led Zeppelin bassist John Paul Jones will once again be working with the Dave Rawlings Machine during a west coast U.S. tour.
John Paul Jones bought his first mandolin in April 1970 in Evansville, Indiana, while Led Zeppelin was on their spring 1970 US tour. Times, they were a-changing and rock music was evolving from the late 1960s psychedelic, hippie-drenched rock into softer, folk-style music. American bands like The Byrds, Crosby, Stills and Nash and The Band & British bands like Fairport Convention and Pentangle (of which guitarists Bert Jansch and John Renbourn were amongst Jimmy Page’s early influences) emerging into the mainstream.
Taking a break after 20 solid months on the road with Led Zeppelin, Robert Plant and Jimmy Page escaped to Bron-Yr-Aur, the small derelict cottage in South Snowdonia, Wales, in May 1970, with acoustic guitars. Emerging a month later, John Paul Jones and John Bonham joined Page and Plant at Headley Grange, East Hampshire, England to record the tracks Immigrant Song, Friends, Celebration Day, Since I’ve Been Loving You and Gallows Pole for Led Zeppelin III. The likely scenario is that John Paul Jones had brought his newly acquired mandolin to Headley Grange in late May 1970 and while the electric tracks were being recorded, Jimmy brought his acoustic compositions to the rest of the band for future development and John Paul added another level of aural texture to Jimmy’s acoustic guitar work.
Additional recording was done in June 1970 for Out on the Tiles at Olympic Studios, Barnes, London, England and the acoustic tracks, including the B-side Hey Hey What Can I Do, were recorded in July 1970 at Island Studios, Notting Hill, London, England. Gallows Pole was remixed at Electric Lady Studios in August 1970 by Eddie Kramer, who amongst other things, cut 11 seconds of outro fuzz guitar solo out of the final track.
Led Zeppelin was eager to present these songs to their fans. They had previewed electric tracks, such as Since I’ve Been Loving You, as early as January 1970, but the acoustic tracks were not given live premieres until June 1970, most likely at Reykjavik’s Laugardalshöll Sports Arena on the 22nd.
It is unclear who played the mandolin in the studio for Led Zeppelin III. Some tracks double up alongside the bass guitar line, such as in Gallows Pole. Page had borrowed a Vega banjo that belonged to John Paul Jones for use on Gallows Pole, so it is possible that he continued the borrowing with John Paul Jones’ mandolin for the track. In other songs, the mandolin follows the acoustic guitar, such as in That’s The Way and Tangerine. Tangerine was a Page composition, originally named Knowing That I’m Losing You, which was recorded in April 1968 with The Yardbirds, so it’s likely that if Page already had all the different parts recorded two years previously, he could easily have re-recorded all of the instrumental parts easier than however long it may have taken to teach John Paul Jones various parts. In Hey Hey What Can I Do, the mandolin is a full-fledged solo instrument at the end. Listening to that outro mandolin solo conjures up visuals of John Paul Jones flatpicking the hell out of the mandolin, quite similar to how Jimmy Page played the breakdown passage in live version of Bron-Y-Aur Stomp from the 1975 and 1977 tours. Page said in a 1977 interview for Trouser Press that for the track The Battle of Evermore that in December 1970 (well after Led Zeppelin III was recorded), he "picked up John Paul Jones' mandolin, having never played a mandolin before, and just wrote up the chords and the whole thing in one sitting."
Starting on June 22, 1970, John Paul Jones played the mandolin for That's The Way on stage, while Jimmy Page played the acoustic guitar. Paired with That's The Way was the solo Page piece Bron-Yr-Aur, which lasted in Zeppelin's live set list for only eight shows because the audience was getting too loud, restless and Jimmy Page couldn't hear himself play over the noise. That's The Way was performed on the 1970 Summer US Tour, Back to the Clubs tour in spring 1971, warmup dates for the 1971 US Tour, the 1971 US Tour, the 1971 Japanese Tour, 1972 Australia Tour, the 1972 US Tour, the Spring 1973 European tour (in which a few seconds of it was played inside Bron-Y-Aur Stomp) and the 1975 Earls Court dates. Going To California premiered on the first night of the Return to the Clubs tour, March 5, 1971, again with Jones on mandolin and Page on acoustic guitar. Going To California was played on the Back to the Clubs tour in spring 1971, Warmup dates for the 1971 US Tour, the 1971 US Tour, the 1971 Japanese Tour, 1972 Australia Tour, the 1972 US Tour, the 1975 Earls Court dates and the 1977 US Tour.
Gallows Pole made two appearances, both in 1971, on May 3 in Copenhagen and November 16, in Ipswich, England. Both performance were played with Jimmy Page on his Gibson Les Paul and John Paul Jones on Fender Bass. Both performances sounded relatively unrehearsed, with John Bonham coming in on drums at random places in the song and John Paul Jones doing nothing more than noodling on the bass guitar. Seemingly, the band felt dissatisfied with their performance, and Gallows Pole was no longer attempted by Led Zeppelin, other than Robert Plant singing some lines during medley encores.
Two more acoustic numbers debuted on the 1971 Japanese Tour, Bron-Y-Aur Stomp and Tangerine. Bron-Y-Aur Stomp was played with Jimmy Page on acoustic guitar and John Paul Jones on fretless Hohner or Fender bass guitar on the 1971-1973 Tours and an Arco upright bass for the 1975 Earls Court Tour and the 1977 US Tour. Tangerine was performed as a single solo piece by Jimmy Page on acoustic guitar, with Robert Plant on vocals through the 1972 US Tour and when it was revived for the 1975 Earls Court Tour, Jimmy Page strapped on the Gibson Double Neck guitar, playing the entire song on the 12-string neck, including a slide guitar solo John Paul Jones played bass guitar, John Bonham played the Vistalite drumkit and all of three of them provided backup vocals during the chorus, accompanying Robert Plant's lead vocals to create a four-part harmony.
Over the next four years, John Paul Jones used four other mandolins, a Framus Strato-Melodie on from September to December 1971, an unknown electric mandolin on the 1972 Australia Tour, a Fender Electric Mandolin on the 1972 US Tour and a Harmony H-35 Electric Mandolin on the 1975 Earls Court Tour.
The Battle of Evermore was recorded at Headley Grange, East Hampshire, England in December 1970-January 1971 with Sandy Denny on guest vocals. It was only ever performed live by Led Zeppelin on the 1977 US Tour, with John Paul Jones on backup vocals. On the first leg of the 1977 US Tour, Jones used an acoustic 12-string Ovation guitar for The Battle of Evermore, while Jimmy Page used a 1920 Gibson A2 Mandolin.
Enter Hugh Manson. He built his first guitar for his older brother Andy who couldn't afford to buy a guitar so that he could play in the subways. His parents lived near John Paul Jones and his family in Crowborough, East Sussex, England and his mother mentioned to him in the mid-1970s that there was a musician living up the road and told him to see if there was any work that could be done. After some minor repair work, his brother Andy Manson was given tickets to a Led Zeppelin concert (Earls Court?). Andy attended and noticed that all in the span of one song that John Paul Jones used a 6-string, a 12-string and a mandolin (what song is this? I think Andy meant that he played all of those instruments in the span of one night's performance). Andy went back to his luthier shop and built a triple necked instrument and presented it to John Paul Jones in 1975. The Triple Neck was returned to Andy Manson in 1977 for some additional inlay work and Jones began using it live with Led Zeppelin on the 2nd and 3rd legs of the 1977 US Tour, as well as the 2nd warmup gig for the 1979 Knebworth shows, and the first Knebworth show on August 4, 1979, while playing Moog Taurus bass pedals. Problems with the Triple Neck Guitar prevented him from using it for the 2nd Knebworth show a week later.
After Led Zeppelin couldn't continue after the death of drummer John Bonham in 1980, John Paul Jones resumed the quiet life as producer and arranger, guesting on occasional tracks for other artists. He joined the band Heart in August 1994 for a series of shows at Seattle Washington's Backstage Theatre. He played mandolin, piano and arranged string parts and conducted the orchestra on some tracks. In October 1999, John Paul Jones embarked upon a six month tour supporting his first solo album, Zooma. Along with drummer Terl Bryant and Chapman Stick player Nick Beggs, they performed songs from Zooma as well as songs from his time in Led Zeppelin, all instrumental. He used an Hugh Manson-built electric bass mandolin for the tender The Smile of your Shadow as well as the Manson Triple Neck, which was used on a live-only track dubbed The Triple Neck Song. Jones used the Symbolic Sound Kyma system to record, in real-time, layers of melody, building up to a half dozen acoustic parts. On the second leg of the tour, Jones used a his trusty Manson 8-string mandolin on That's The Way/Going To California, which he called "dinosaur rock".
In 2001, Jones, Bryant and Beggs went back on the road, opening for King Crimson, in support of Jones' second solo album The Thunderthief and introduced another round of new songs, including Freedom Song in which Jones played a ukulele, Hoediddle where he used an Manson electric four-string mandolin and Steel Away, where he started off on a mandolin and switched to pedal steel guitar.
John Paul Jones played the mandolin for a couple of Mines Advisory Group gigs in 2002 (January 27 and April 12), both with vocalist/guitarist Julie Felix. The January 27 gig also included Terl Bryant and Nick Beggs with some songs from their normal live set. The April 12 gig was more intimate, at a Borders Bookshop, with a question/answer session, accompanied by an autograph session.
John Paul Jones joined Robyn Hitchcock for his 50th birthday celebration at Queen Elizabeth Hall in London, England on March 2, 2003, playing mandolin on some Hitchcock songs as well as piano on Ice Fishing At Night. That August, he traveled to Japan and performed at Guitar Wars with Nuno Bettencourt, Steve Hackett and Paul Gilbert, playing the mandolin on Steel Away and Going To California.
2004 was the start of a new era for John Paul Jones, with Jones beginning to attend bluegrass festivals. On May 1 and 2, 2004, he attended Merlefest in Wilkesboro, North Carolina, taking part in the Midnight Jam on mandolin and playing acoustic bass guitar with the Sam Cowan Band. He met Chris Thile and Sara Watkins and they made plans to do a small US Tour in July and August, under the name of the Mutual Admiration Society. On October 29, 2004, Jones made his first of two annual appearances at the Festival Mandolines de Lunel, playing a borrowed double bass (complete with solo!) with Mike Marshall and Hamilton de Holanda.
John Paul Jones made many appearances in 2005 with Robyn Hitchcock, first at a Médicins Sans Frontières benefit concert on February 18 in which he played the mandolin. On June 24, he played mandolin and mandocello at Patti Smith’s Meltdown Festival. Later that year, on September 9, he rejoined fellow Mutual Admiration Society members for an encore performance of Sara Watkins’ song Anthony. Jones closed out 2005 with another appearance at the Festival Mandolines de Lunel, this year giving a solo improvisational performance on Triple Neck Mandolin and Symbolic Sign Kyma.
In 2006, Jones continued to play the Manson 8-string mandolin perform with Robyn Hitchcock, as well as joining Uncle Earl, whom he would end up also producing their 2007 album, Waterloo, Tennessee. He also rejoined Glen Phillips, from the Mutual Admiration Society on stage in June. He also performed at the Wintergrass Festival in Tacoma, Washington with Mike Marshall and Hamilton de Hollanda. Jones also went back to school in 2006, attending the Sore Fingers Summer School for old-time and bluegrass music.
In 2007, Jones returned to performing at festivals, including Merlefest, Bonnaroo, Down On The Farm and End Of The Road, playing the Manson 8-string mandolin. He also joined Robyn Hitchcock and Uncle Earl at various European venues and benefit concerts.
He continued to play the mandolin with Robyn Hitchcock and Sara & Sean Watkins through most of 2008, ending the year playing a three-day stint, full of all-star jams at Warren Haynes’ Christmas Jam.
In 2009, although most of the year was spent plugged in with Dave Grohl and Josh Homme, in the supergroup Them Crooked Vultures, Jones performed twice with the Manson 8-string mandolin, both at the Largo in West Hollywood, California.
In the first half of 2010, Jones was still on tour with Them Crooked Vultures. Beginning on April 14, 2010 at the Club Nokia in Losa Angeles, California, Jones played the violin on the live-only tune You Can’t Possibly Begin To Imagine. Jones made some one off appearances in the second half of the year, performing with the Rokia Traoré Band, as well as Fatoumata Diawara at the Africa Express: A Festa Dos Mundos in Galicia, Spain in August, the Dave Rawlings Machine in September and Sara & Sean Watkins in November.
In 2011 and 2012, Jones joined blues musician Seasick Steve at various festivals, playing the Manson 8-string mandolin and banjo.
Although, John Paul Jones is most commonly known for his 12 years in Led Zeppelin, playing electric bass guitars and keyboards at deafening volumes, he most certainly should not be forgotten for his lifetime of acoustics.
The legendary Led Zeppelin guitarist was presented with the prestigious accolade at the Nordoff Robbins O2 Silver Clef Awards this afternoon and admitted he had a good "vibe" about his prize when arrived at the London Hilton hotel.
Speaking at the event, Jimmy told BANG Showbiz: "I'm thrilled about winning this award, I'm actually getting more of a vibe about it since I walked through the door and got more of an understanding of just how weighty the whole occasion is."
Nordoff Robbins is a charity that provides therapy for thousands of people across the UK, helping adults and children who suffer from autism and dementia and who have had strokes open up and connect to their surroundings with music.
Jimmy, 70, was pleased to discover the original Silver Clef concert he played with Led Zeppelin singer Robert Plant in 1976 was the start of the awards and the charity's work.
He said: "I played on the original Silver Clef show that was way back at Knebworth which had Cliff Richard and Pink Floyd and I played with Robert Plant there.
"I went to the Nordoff Robbins centre the other day and they told me that the centre was established from that charity concert so that was really nice to find out. When I was at the centre I met someone who was a recipient of the work the charity is doing and it was quite a moving experience I have to say. When you see the results that they get you can see it's what you always believed music could do. Music is a great communicator and something that really elates the spirit or it can take you another way, but it's something that communicates with you. Music has a power."
Other winners at the event included Giorgio Moroder, who was presented with the American Express Innovation Award, Black Sabbath - who won the AEG Live Ambassadors of Rock Award - and Pharrell Williams, who took home the Raymond Weil International Award.
Nordoff Robbins O2 Silver Clefs Awards winners:
Pharrell Williams - Raymond Weil International Award
Paloma Faith - Royal Albert Hall Best British Act Award
Giorgio Moroder - American Express Innovation Award
Gareth Malone - PPL Classical Award
Laura Mvula - Jack Daniel's Best Newcomer Award
Sir Tom Jones - Sony Mobile Lifetime Achievement Award
Chas & Dave - Investec Icon Award
Black Sabbath - AEG Live Ambassadors of Rock Award
Jimmy Page - Silver Clef Award
Self-produced by Plant, the forthcoming effort features 11 original track written with his band, The Sensational Space Shifters. According to Plant in a press release, it's going to be "a celebratory record, powerful, gritty, African, Trance meets Zep."
Rainbow is the lead single from the LP. The song highlights the 65-year-old's still-golden falsetto as he lightly coos over an understated jam of electric guitars and percussion. It's atmospheric and fairly inviting rock and roll, a notable departure from his recent folk and bluegrass-inspired offerings. Listen in below (via NPR).
lullaby and... The Ceaseless Roar
01. Little Maggie
03. Pocketful of Golden
04. Embrace Another Fall
05. Turn It Up
06. A Stolen Kiss
07. Somebody There
08. Poor Howard *
09. House of Love
10. Up on the Hollow Hill (Understanding Arthur)
11. Arbaden (Maggie’s Babby)
From: Consequence Of Sound
Photo: [L-R] Dan Chalmers (president, East West, Rhino & ADA UK) David Bither (SVP, Nonesuch), Nicola Powell (Robert Plant’s management), Robert Plant, Max Lousada (CEO, Warner Music UK) and Matthew Rankin (VP, international marketing, Nonesuch)
Robert Plant’s new album is to be released via East West Records in September, in conjunction with a wider global Nonesuch/WB campaign.
The release will be one of the first on the recently-revived East West label at Warner Music, and is Plant’s first solo studio release since 2010’s Band Of Joy, which hit No.3 on the Official UK chart - where it was issued by Decca. Co-produced by Buddy Miller, it revived the name of Plant’s 1967 band and featured several stellar country/Americana musicians performing music from Low, Townes Van Zant, Richard Thompson, and others.
Read the entire story at: MusicWeek
Contact: Mark Fischer
Jimmy Page, Robert Plant, John Paul Jones InTheStudio
Led Zeppelin I, II, III Deluxe Releases
Dallas, TX - June 3, 2014. North American syndicated Rock radio show and website InTheStudio: The Stories Behind History's Greatest Rock Bands celebrates the release of three classic Led Zeppelin albums in new deluxe editions.
There has been considerable buzz in the rock music world ever since Jimmy Page, the brilliantly gifted architect of the Led Zeppelin sound since it was unleashed forty-five years ago, announced that he was personally overseeing a comprehensive updating of the entire Led Zeppelin catalog as deluxe editions with remastered sound, new twenty-first century artwork and graphics, previously unreleased demos, alternate mixes and thos notoriously bootlegged live Led Zeppelin concert performances.
Jimmy Page, Robert Plant and John Paul Jones guest InTheStudio, to share stories behind the making of these iconic albums and provide insight into the decision to revisit the music and create deluxe editions.
Jimmy Page tells InTheStudio host Redbeard why he believes Led Zeppelin was so successful from the beginning.
"Eventually we managed to get the four of us into one room, that was it. It just exploded... I think everyone was inspired in that band. I think everyone was a star. There wasn't a weakness there. Every single person was strong."
Led Zeppelin I,II,III / InTheStudio interview program is available now to STREAM at: http://www.inthestudio.net/redbeards-blog/led-zeppelin-i-ii-iii-deluxe-editions-jimmy-page-robert-plant-john-paul-jones/
As first reported here on May 17, Led Zeppelin is getting sued by the Randy Craig Wolfe Trust for copyright infringement over similarities found on the song Taurus, performed by Spirit, and Zeppelin iconic classic, Stairway To Heaven.
To read the actual court filing, go to http://www.scribd.com/doc/227721148/Stairway.
Q: What made Led Zeppelin remaster their early albums? —Ted J., Patterson, N.J.
A: Guitarist and producer Jimmy Page, 70, wanted to “give more color” to the rock gods’ first three records with unreleased studio and live versions, out June 3. You can read details about the new editions and order them by clicking here. Below, check out a teaser: a previously unreleased rough-mix alternate take of “Heartbreaker” (playable here only through Monday 6/2), part of the expanded Led Zeppelin II album: Streamable link is at: http://parade.condenast.com/296907/walterscott/exclusive-stream-hear-an-alternate-take-on-led-zeppelins-heartbreaker/
In late 1968, Led Zeppelin began pioneering a heavier, more metallic-sounding form of rock geared for FM radio's new album-oriented stereo format. By combining a slashing electric guitar and wailing vocals with a rhythmic bass and locomotive drums, the band quickly became the darlings of better stereo systems and large indoor arenas—and inspired several generations of metal-driven rockers.
When "Whole Lotta Love" was released in October 1969, it appeared first on "Led Zeppelin II," the band's second album, and then as a single weeks later—with a shorter edit for AM radio. While the single reached No. 4 on Billboard's pop chart, the album shot to No. 1 in November, and a three-month battle with the Beatles' "Abbey Road" for the top spot ensued.
Read the entire story at: http://online.wsj.com/articles/the-making-of-led-zeppelins-whole-lotta-love-1401390281
Calling all Led Zeppelin fans! The legends of Rock are taking over UK Radio station Planet Rock for the entire month of June to celebrate the re-issues of their first three classic albums plus companion disc. We give you - Planet Zeppelin.
Jimmy Page has said that he is 'fed up' with Robert Plant for delaying Led Zeppelin reunion plans.
The band last played together in December 2007 at London's 02 Arena, but singer Robert Plant has ruled out the possibility of a follow-up concert any time soon.
Read the full story at: http://www.nme.com/news/led-zeppelin/77386
by David Deal
Jimmy Page: legendary guitarist, producer, all-around rock god . . . and a marketing teacher. Yes, the guitar magus knows marketing in addition to music. He not only founded Led Zeppelin but also influenced the band's image, down to crucial details such as the choice of album artwork (most famously for Led Zeppelin's untitled fourth album) and Led Zeppelin's visual presentation in concert. Of course Led Zeppelin became one of the most successful rock groups ever. So when Page conducted an exclusive interview with the Berklee College of Music to discuss his career, as a marketer I watched the video interview closely. I listened to his ideas through the lens of content marketing given the nature of much of my own professional work. Even though marketing was not the focus of the conversation, Page is so image-savvy that he shared some useful marketing advice even when he wasn't trying - especially about the importance of over delivering to your audience, being eclectic, and always learning.
Click here for the full article
"Stairway to Heaven" has a staple of rock radio for decades, and still gets regular airplay here at WZLX and all over the world. It's arguably the biggest rock song in history. But now, just before the song gets a new reissue, the band that for years has accused Led Zeppelin of stealing part of the song from them is finally lawyering up.
Head on over to http://ultimateclassicrock.com/california-breed-album-premiere/ to listen to the entire album.
Seven weeks ago on Tuesday March 25th, along with around 50 UK and overseas journalists, Dave Lewis was very privileged to attend a special Led Zeppelin Companion Audio Disc Playback. This low key private event, hosted by Jimmy Page, took place at the Olympic Studios building in Barnes (now operating as a cinema and members club), the building of course where Led Zeppelin recorded a bulk of the material for their first three albums.
NY radio host Carol Miller announced she interviewed Jimmy today and portions of the interview will be featured on upcoming episodes of the nationality syndicated radio show Get The Led Out.
That is, no melding of different takes, no clever studio tricks by which he cobbled together complete alternate versions of staple songs from his juggernaut classic-rock band's 1968-82 oeuvre.
Just pure, and in some cases purely different, sister takes.
"They're all the real deal, man," Page, now 70, told a few dozen members of the press at a Soho hotel.
And if eight samples Page played for journalists on Tuesday are any indication, the new material will frickin' rock. Real surprising, huh?
Read the rest of the article at: Toronto Sun
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