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Gary Carnes

Showco Head of Lighting

His friend and colleague from the previous 1977 U.S. tour, Showco lighting technician Gary Carnes recalls: "Knebworth was always the kind of show where you'd think, it can't get any bigger than this. But when Ted was killed so suddenly, our moods went from being jubilant to depressing.

"We were handed a big problem and had to re-assemble the lighting crew and programme a new design in a very short period of time."

Carnes, who also worked at Syncrolite for several years and is now at Texas-based Entertainment Technologies Group, Inc., adds: "Kirby Wyatt became the driving force for this new team, consisting of Tom Littrell operating the console, with Larry Sizemore and I cueing the 15 [Gladiator & Super Trouper] spotlights.

"After many days and late nights spent fine-tuning the effects in rehearsals at Bray Film Studios, we all felt we had a production that would work — one we could be proud of."

http://www.tpimagazine.com/Chronicle/317177/knebworth_79_and_all_that.html

"I am sure we all felt a little invincible on this tour," explains Gary Carnes, head of the lighting crew. "By being associated with Led Zeppelin, it seemed impossible not to have a false sense of power. I am sure the band felt that way and I know everyone on the road crew had a feeling of being invulnerable."

Gary Carnes, Showco's lighting chief, had a bird's eye view of every show. Sitting on stage about ten feet in front of the guitarist, he heard conversations, sotto voce, between Page and Plant.

"I could hear what they were saying. Quite often Robert would announce a song and Jimmy would go, 'Robert, how does that song go?' And Robert would sort of turn around and hum it to him. And Jimmy would go, 'Oh yeah, oh yeah, I got it, I got it.' Or Robert would announce a song and Jimmy would go into the wrong song. And the times when Jimmy couldn't remember how a song went, it was just very, very rare but it did happen."

"I will never forget the final words I heard Robert Plant say," sums up lighting director, Gary Carnes. "It would be my final show with them, my 59th show with them. I was on stage and this was the second show at Knebworth. The band had just finished playing 'Stairway To Heaven.' Robert stood there just looking out over a sea of screaming fans with cigarette lighters. There were about 350,000 people in the audience. It was a magical, mystical moment. He then walked to the edge of the downstage portion of the stage with the microphone. And again, just stood there looking. And then he said, 'It is very, very hard to say ..... Goodnight.' It was an enchanting thing to witness. I will never forget that moment."

http://www.ultimate-guitar.com/interviews/rock_chronicles/rock_chronicles_1970s_jimmy_page.html

Billy Francis

Road Manager (1980)

"Billy Francis from Rod Stewart's organization" enlisted to oversee the 1980 European tour with Phil Carlo.

Billy Francis was Sting's right-hand man last I knew.

Zacron

Zacron w/ rotating book, 1965
Zacron & Jimmy Page, Pangbourne, 1970
Zacron, 2000
Zacron, Classic Rock Mag, Dec. 05, 2007

Visual Creations (Led Zeppelin III)

Designing for the world's number one rock group focussed my analytical processes. Here was an opportunity to create, not 'sound packaging' but audio and visual art in a combined arena. When ears stopped eyes began. I had been working on a book entitled 'One Line and a Box'."

"Readers could ask questions about their interaction with the environment using an evolution of symbols as a key, and sequences of interactive images and colours to aid self-analysis. Images appeared through apertures, in rotating discs, some employed intersecting spirals, the kinetic effects were sensational!"

"I felt an immense responsibility to Led Zeppelin; it had to work for them. Having publicly questioned the relevance of traditional art formats, ironically I now had to use a pre-prescribed proscenium arch graphic shape - the square. Jimmy spoke of a vegetable chart that rotated; as I had worked on rotating images and kinetic boxes our joint vision had a meeting point."

"Some images synchronised with the faces of group members, while other apparently random elements were designed to work in combination with the experience as a whole. The cover, Led Zeppelin III, approaches graphic film-making in that it presents a visual event that cheats time allowing the observer to make changes in real time.

The cover of Led Zeppelin III, imbued with many cryptic messages, still provokes questions over 30 years after its conception."

Zacron
(from the May 2003 issue of Birmingham's 'City Living' magazine, reproduced by permission. To subscribe to 'City Living' call 00 44 (0)121 212 4141.)

Zacron is a multi-media artist, poet, writer and broadcaster; founder member of the Psychedelic Surrealist Movement in the Sixties and founder of 'the New Visionaries School' 1978.

The artist, who was born in Sutton, Surrey in 1943, studied at Studio 35 in Surbiton from 1957-1960 with Eric Clapton and members of the Yardbirds at Kingston College of Art. Zacron studied painting, drawing, design and etching; during this period he met Jimmy Page who later purchased important works. At the Royal Academy Schools between 1964 and 1967 He innovated graphic techniques that laid the foundation for the Led Zeppelin III Rock album cover in 1970.

Work locations included West End theatres, rock concerts, fairgrounds and ice rinks. Commissions included portraits, topographic studies of architecture and murals. Zacron lectured at a leading college of art from 1967-1970. Head-hunted by Led Zeppelin in 1970, he produced an innovatory cover for the group, polled amongst the world's top four in 2005.

In 1970 Zacron was called 'the King of Collage', Graphreaks (who worked for Atlantic Records amongst others) had said that the artist produced the best collage art since Kurt Schwitters.

Extensive fine art, graphics, photography, and copy-writing was carried out during this period for the music industry. The Media Centre was founded in 1979 to advise artists and art material manufacturers.

Illustrated art journalism for Graphic's World, Graphics, Creative Review and Artist's and Illustrator's Magazine transformed the studio into an art-media laboratory.

The word 'Zacronize' is used in publications to describe a process of total exploration. The artist toured art colleges throughout the country, depicting art as human ecology. Elaborate multi-projection techniques, audio innovations accompanied live performance.

Today, Zacron is widely regarded an ambassador for the arts, campaining for freedom in art education, supporting vital international charities and broadcasting with the BBC. In recent years extensive photography and drawing in Rome, Venice, Sardinia, Paris, London and Prague has enriched an archive, forming a basis for digital printmaking.

Today Lantern Studios houses, studios, workshops, gallery, an arts library, collection of art from around the world, an image and object d'art archive. Lantern Studios is involved with state-of-the-art print-making workshops that work for the Royal Collection, making print editions for artists that set the highest standards in the country for Archival Printmaking.

Zacron died in January 2012 from bowel cancer but his passing was not revealed until August of the same year.

http://www.zacron.com/zacron-information.asp

Vic Maille

Engineer (Coda)

Unity Maclean

Swan Song UK Publicist

She was born in Windsor, England, and grew up in the Buckinghamshire countryside. Her mother's family owned two estates and an apartment. Her father was a nationally known cricket player "who loved the press." She, her sister, and two brothers delighted in his television interviews because Dad had a secret signal. "He would pull on his ear or scratch his nose, and that was the `Hello, kids'," she says.

The family moved to London's rarefied St. John's Wood section when MacLean was 14. She soon discovered a less sedate neighborhood. "I met a girl at the bus stop, and she said she was going down to Kings Road for some coffee. All these bohemian people were around there, and they seemed to have such exciting lifestyles. We made one cup of coffee last four hours."

To her parents' dismay, the Hurst Lodge girls' school in Sunningdale (which Duchess Sarah Ferguson also attended) and a six-month stay in Australia failed to douse her fascination with counterculture. By age 17, there was "a break in family relations, and I was out on the street, living with a girlfriend."

She spent several years working as a real estate agent before turning a temporary position into a career. Bruce MacLean knew CBS's Dave Margereson (best known as manager of the band Supertramp) and in 1971 heard he was looking for a fill-in secretary. Unity was hired, impressed Margereson, and stayed at CBS until 1975. Early on, she forged a casual friendship with a regular visitor to the office -- Bob Marley, protege of singer Johnny Nash. In 1972, Nash's version of Marley's "Stir it Up" became an international hit.

The Who's Keith Moon attended her 1972 wedding. Moon's affection for alcohol and hurling large objects from windows made him a high-risk guest, but he was "a perfect gentleman," MacLean says. "Keith came in and said, `Oh, you don't seem to have a lot to drink here.' He got us bottles and bottles of champagne."

Eventually, MacLean secured an interview with Peter Grant, Zeppelin's manager. She worked for Swan Song in London from 1975-80 as a publicist for Led Zeppelin.

MacLean and her husband, Bruce, came to the United States in 1982 to be near his ailing mother in Hingham. She currently lives in Plymouth, Massachusetts and owns a British Imports shop in Plymouth.

Tony Wilson

Engineer (White Summer/Black Mountain Side)

Tony Wilson was born on Oct 8, 1947 in Trinidad. He is a long-time producer, who worked on many BBC Radio 1 / Peel Sessions recordings.

Tom Hulett

Concerts West Founder

Hulett co-founded the national concert promotion company, Concerts West, in 1967.

He was instrumental in establishing the national concert promotion business, beginning with tours by Jimi Hendrix and Creedence Clearwater Revival.

In the 1970s, Concerts West, headed by Hulett, promoted more than 500 events a year and worked with artists such as Elvis Presley, Eric Clapton and the Rolling Stones, among others.

Hulett also supervised the promotion of several closed-circuit TV championship fights, including two Muhammad Ali-Joe Frazier bouts. He also promoted several touring off-Broadway productions including "The Odd Couple."

Hulett established Tom Hulett and Associates, a management company, in the 1980s. He guided the careers of various artists, among them the Beach Boys, Earth, Wind & Fire, the Moody Blues, Three Dog Night and Frank Zappa.

Hulett died on July 30, 1993 in Los Angeles of cancer.

Tim Palmer

Tim Palmer & Robert Plant, 1988
Tim Palmer & Ozzy, 2001

Producer, Engineer (Shaken N Stirred)

Tim Palmer is a British music producer, audio engineer and songwriter of rock and alternative music. Palmer worked as an assistant engineer at Utopia Studios in London, England in the early 1980s. During his time at Utopia, he worked with musicians such as Mark Knopfler and Dead or Alive.

Later in the 1980s Palmer became a producer for acts such as Robert Plant, The Mighty Lemon Drops, The Mission, Gene Loves Jezebel, and the House of Love, giving them a more pop sound and more radio airplay than the respective bands had previously had. In 1989, Palmer produced Tin Machine's debut LP.

In the 1990s, Palmer turned his attention to mixing and remixing working with bands such as Mother Love Bone, Pearl Jam, James, Catherine Wheel, Ned's Atomic Dustbin, The Cure, and Concrete Blonde in this period.

Palmer also relocated to Los Angeles, CA, to build his own mixing facility. Palmer mixed several tracks on U2's 2000 album, All That You Can't Leave Behind.

Palmer also produced the albums Dark Light and Venus Doom by HIM as well as Switchfoot's Oh! Gravity.

Palmer also mixed Porcupine Tree's successful album In Absentia in 2002.

Palmer also mixed Julien-K's debut album - "Death To Analog", which released on March 10, 2009.

As of June, 2009, Palmer is working with the Goo Goo Dolls on their 9th studio album.

http://en.wikipedia.org/wiki/Tim_Palmer

Tim Marten

Tim Marten
Tim Marten, 1986

Guitar Technician (1980-1990)

Tim Marten started repairing instruments professionally in 1977 when he joined the small but busy workshop in the basement of 27 Denmark St. known as Andy's.

The workshop was well known for the high quality of it repairs and was patronized by all the major bands and musicians of the time.

In 1980, Tim was asked to join the crew of Led Zeppelin as guitar tech for Jimmy Page, in whose employment he remained for ten years, touring and recording extensively in Europe and America. He has also toured with many other major acts such as Roger Waters, Ray Davies, Steve Harley, to name a few.

In 1990, Tim started his own workshop with many famous clients and in the year 2000 was invited back to head the repairs dept at the now greatly expanded Andy's back in Denmark St.

After the sad demise of the shop in 2007, Tim And Mikhail Popov joined forces to form the current business.

http://www.timmartenrepairs.co.uk/about-us/

On Sunday, Jimmy Page's ex-guitar tech Tim Marten took the microphone and divulged some interesting tidbits from his tenure with Jimmy and the Zeppelin organization. Marten was working as a repairman at Andys Guitar Workshop in London when he got a call from Swan Song offering him a job on the 1980 Zeppelin Tour Over Europe. According to Tim, "I sat in this small basement [repairing instruments] for about two-and-a-half years and when they called looking for somebody to go on the road I immediately said yes." He stayed on with Jimmy after Zeppelin's demise through the A.R.M.S. tour, Live Aid and the Firm's first tours, finally moving on again in 1987.

Marten talked about the Coda album and what a rush job it had been, accusing Atlantic of being singularly insensitive after the death of Bonzo in pushing Jimmy to fulfill Zeppelin's contractual obligation to provide one more album. He specifically remembered being sent away to find Walter's Walk, which Jimmy knew was in the can somewhere, apparently as an instrumental at that time. While Marten didn't comment on this, there is speculation in other circles that the vocals for that 1972 track were actually overdubbed onto the instrumental in 1981, specifically for the Coda release. A close listen to the track supports this theory - does that sound like Plant's voice circa 1972?

Another topic Tim Marten discussed was the rumored XYZ band - a collaboration of ex-Yes & Zeppelin members Page, Alan White and Chris Squire - which according to Marten was definitely in the planning stages in 1981, but was abandoned after the press got a hold of the information and let the word out.

http://www.oldbuckeye.com/prox/p14.html

http://www.ultimate-guitar.com/interviews/rock_chronicles/rock_chronicles_1980s_tim_marten.html

Terry Manning

Terry Manning, 1971
 
 

Engineer (Led Zeppelin III)

Terry Manning began in the music industry in the early sixties in El Paso, Texas. He fronted several local bands, notably The Wild Ones, and on occasion also played rhythm guitar with his friend Bobby Fuller's band. Bobby had a big following in El Paso at the time, and one of his local hits was "I Fought The Law," released on his own label, Eastwood Records. This, and other of his songs, was recorded in his home garage studio (on Album Avenue!) It was apparent that there was no extended future in music in El Paso, so by 1963, Terry (and Bobby) had decided to move on. (Bobby chose the West Coast, and landed in LA where "I Fought The Law" was re-cut, and became a worldwide smash. He unfortunately met an untimely death not long after, under mysterious circumstances.) Terry chose Memphis, where a lot of music he liked was being made. Songs like "The Dog" and "Walkin' The Dog" by Rufus Thomas, and "Last Night" by The Mar-Keys had caught his fancy.....

Terry, barely a teenager, walked boldly into Stax Records and announced that he was there to engineer, produce, write...whatever they needed! Crazily enough, they put him to work. Terry began as an assistant engineer, performing duties all the way from sweeping up the floor, to making tape copies, to running the whole show when someone who was supposed to be there didn't show up.

Manning, in addition to production, engineering and other duties, was still performing with Memphis groups, The Goat Dancers and Lawson and Four More. This latter group had a medium sized regional hit, and became an opening act on The Dick Clark Caravan of Stars Tour in the Mid-South. On this tour, Manning had the opportunity to meet one of his favourite contemporary groups, The Yardbirds. When they came back to tour the US again, Manning renewed the contact, and became close friends with Jimmy Page, then bass/rhythm guitar player for The Yardbirds. During the tour, Jeff Beck abruptly quit over artistic differences, and Page assumed lead guitar duties. Manning was privileged to add guitar instruction from Page to that he had already received from Teenie Hodges (Al Green) and Steve Cropper (Booker T, & The MG's).

Manning and Page toyed with the idea of forming a new and different sounding group, along with other musicians they both knew; Terry didn't want to leave the musical situation he was in at that time, so he opted out. However, when Page changed the name of his next group from "The New Yardbirds" to "Led Zeppelin," he had kept in contact with Terry, and when there was a need for engineering, Jimmy called Terry in to engineer for "Led Zeppelin III." This album, which Manning carried all the way to the final mastering stage (where he wrote the famous Crowley inscriptions into the lead-out groove by hand), became the number one album in the world.

In 1988, Manning purchased a building in Memphis and installed his own studio for his own productions, STUDIO SIX. Several artists were produced there by Manning during it's four years of existence, including Thorogood, Diesel, Rick Vito of Fleetwood Mac, Rhino Bucket, and others. Then, in 1992, Chris Blackwell sought out Terry Manning to revitalize his famous Compass Point Studios in Nassau, Bahamas. Compass Point had fallen into disrepair, and rather than close such a landmark studio, Blackwell wanted to bring it back to life. Terry and his wife Sherrie moved to The Bahamas in late 1992, and began the revitalization.

In addition to the US and The Bahamas, Terry has recorded in England, Australia, Germany, Ireland, Denmark, Brasíl, Canada, Scotland, and France. In 1992, he started his own label, Lucky Seven Records, distributed by Rounder Records/Universal, and has released several very popular titles, including The Memphis Horns, Jim Suhler and Monkey Beat, Rock City, Van Duren, Cargoe, and others. Manning's other interests include athletics, aviation, astronomy, and history. He was captain of the soccer team at Memphis State University (now University of Memphis), where he also played basketball on the (junior) varsity team. He has completed several marathons, including The New York Marathon twice. He was ranked as high as 19th nationally in racquetball, and was a racquetball instructor for several years. In high school, Manning was all-city quarterback on the football team, and also ran track. He is an instrument-rated pilot with a deep love of flying. Manning has received Bachelor of Arts degrees in both History and Political Science, and graduated Magna Cum Laude. He has three children, Lucas, Michael and Kari, and a step-son, Cory.

http://www.terrymanning.com/

Stuart Epps

Engineer (The Firm, Coda)

Stuart Epps' musical career began in 1967 as a 15-year old office junior at Dick James Music. He quickly moved up the industry ladder to become Chief Engineer at DJM Studios, then later toured the USA with Elton John as personal assistant.

Epps was involved from the start when Elton's producer, the late Gus Dudgeon, built The Mill Studios on the banks of the Thames, near Maidenhead. It was not long before Dudgeon asked Epps to become Chief Engineer, Studio Manager and Producer.

Some of Epps' most noteworthy clients have included Led Zeppelin, Eric Clapton, Chris Rea, George Harrison, Mick Fleetwood, Barry White, George Michael, Mark Owen, Cliff Richard, Twisted Sister, Brian Adams, Oasis, Kiki Dee, Robbie Williams, Bill Wyman and of course Elton John.

In recent years he has continued to work with big name artists to great acclaim, as well as helping a host of promising new and up-and-coming artists to sound their best, both on demo recordings and in full studio productions.

Demos are generally recorded at his home studio in Cookham, Berks, which is easily accessible from London by road or rail. Larger projects are booked into a variety of studios around the UK and abroad, depending on the clients' needs and budget.

With decades of experienced garnered from working with the very best musicians at the top of the industry, coupled with a real love for music, Stuart has an intuitive knack for knowing just what will make each track sound most authentic, a deep understanding of musicians and their needs and a clearheaded, dedicated approach to getting the job done.

http://www.freewebs.com/stuartepps/

Steve Weiss

Steve Weiss, 1976
Bill Graham, Robert Plant
and Steve Weiss, 1977

US Attorney

Steve Weiss was the longtime attorney for Bad Company, Led Zeppelin and Swan Song Records. He was with Peter Grant to meet with Clive Davis (president of Columbia Records) to tell them they had signed Led Zeppelin to Atlantic Records.

Weiss died in June 2008 in Florida.

Steve Albini

Engineer (Walking Into Clarksdale)

Steven Frank Albini was born on July 22, 1962. He is an American audio engineer, singer, songwriter, guitarist, producer, and music journalist. He was a member of Big Black, Rapeman, and Flour, and is currently a member of Shellac. He is the founder, owner, and engineer of Electrical Audio, a recording studio complex located in Chicago.

As of 2008, Albini is most active as a record producer. He dislikes the term and prefers to receive no credit on album sleeves or notes, or to be credited as a recording engineer if the record company insists on any credit at all.

A key influence on Albini was producer John Loder, who came to prominence in the late '70s with a reputation for recording albums quickly and inexpensively, but nonetheless with distinctive qualities and a sensitivity towards a band's sound and aesthetic.

Unlike any other engineer/record producer with his experience and prominence, Albini does not receive royalties for anything he records or mixes; rather he charges a flat daily fee when recording at his own facility, described by Michael Azerrad, as among the most affordable for a world-class recording studio.

Albini estimates that he has engineered the recording of 1,500 to 2,000 albums, mostly by rather obscure musicians. More prominent artists that Albini has worked with include Nirvana, Fred Schneider, The Stooges, Mogwai, Pixies, Don Caballero, PJ Harvey, Manic Street Preachers, The Wedding Present, Bush, Joanna Newsom, Nina Nastasia, Jawbreaker, The Membranes, Superchunk, Low, Dirty Three, Cheap Trick, Slint, Neurosis, Umphrey's McGee, Zao and Leftover Crack. He has also shown interest in recording modern hardcore bands such as California's Trash Talk and Amsterdam's Vitamin X.

http://en.wikipedia.org/wiki/Steve_albini

Stacy Parrish

Engineer (Raising Sand)

Stacy Parrish (born Stacy Parrish Whitehead, October 18, 1968 in St. Charles, Missouri and raised in Albuquerque, New Mexico) is an American songwriter, musician, engineer, and producer.

Parrish solely played in bands from 1985 to 1998 and toured throughout the United States and recorded albums.

In 1998, Shaunna Hall (4 Non Blondes) contacted Parrish to engineer an album for a San Francisco band called The Flying Other Bros. Parrish moved to San Francisco to make that record and is still there. He has also established roots in Los Angeles where he has a studio in North Hollywood that serves as his West Coast home base.

Parrish met Jack Casady in San Francisco in 2000. Casady was brought in to work on The Flying Other Brothers' album San Francisco Sounds which Parrish was producing. Cassdy asked Parrish to engineer and mix Casady's first solo album, Dream Factor. Parrish co-wrote a song on that record called 'Daddies Little Girl', which was sung by Ivan Neville. In 2001, Parrish recorded several tracks for another Flying Other Brothers Band record called 52 Week High at Abbey Road Studios in London.

In 2004, Parrish met T-Bone Burnett, who hired Parrish to record his The True False Identity tour. Soon after, Parrish was hired to mix the front of house position for Burnett. In 2004, Parrish was brought in as an engineer for the Robert Plant/Alison Krauss record Raising Sand. The song "Gone, Gone, Gone (Done Moved On)" won Best Pop Collaboration with Vocals at the 50th Grammy Awards.

Parrish's other notable recording, mixing and engineering achievements include: Moonalice; The Story by Brandi Carlile; live mixes and recordings for The Coward Brothers with Elvis Costello and T-Bone Burnett; Neko Case live with T-Bone Burnett; John Cougar Mellencamp; and Doyle Bramhall II.

His feature film credits include: Across the Universe (recording/mixing engineer for The Beatles music); Fred Clause (recorded the Christmas music including the children's choir); and After the Flood (as music supervisor/producer).

His independent film credits include: Rebuilt (score); In Victor's Profession (score, sound design); My First Tooth (score, editor); Someone's Watching (sound design); Checkmate (editor, score, sound design); Overcoming Andrew (sound design, score); and Elotero (score, sound design).

His television and documentary credits include: Dog the Bounty Hunter season 4; Parking Wars season 2; and Music Makes a Better Person (sound recording engineer, music producer/supervisor).

http://en.wikipedia.org/wiki/Stacy_parrish

Shepard Fairey

Design (Mothership)

Frank Shepard Fairey (born February 15, 1970) is a contemporary artist, graphic designer, and illustrator who emerged from the skateboarding scene. His work became more widely known in the 2008 U.S. presidential election, specifically his Barack Obama "HOPE" poster. The Institute of Contemporary Art, Boston calls him one of today's best known and most influential street artists. He usually omits his first name. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York, and the Victoria and Albert Museum in London.

In 2003 he founded the Studio Number One design agency with his wife Amanda Fairey. The agency produced the cover work for the Black Eyed Peas' album Monkey Business and the poster for the film Walk the Line. Fairey has also designed the covers for The Smashing Pumpkins' album Zeitgeist, Flogging Molly's CD/DVD Whiskey on a Sunday, the Led Zeppelin compilation Mothership and Anthrax's The Greater Of Two Evils.

In 2004 Fairey joined artists Robbie Conal and Mear One to create a series of "anti-war, anti-Bush" posters for a street art campaign called "Be the Revolution" for the art collective "Post Gen". "Be the Revolution" kicked off with a night of performances featuring Z-Trip, Ozomatli and David J at the Avalon in Hollywood. Fairey also co-founded Swindle Magazine along with Roger Gastman.

In 2005 he collaborated for a second time with Z-Trip on a limited edition 12-inch featuring Chuck D entitled "Shock and Awe." In 2005 Fairey also collaborated with DJ Shadow on a box set, with t-shirts, stickers, prints, and a mix CD by Shadow. In 2005 also, he was a resident artist at the Contemporary Museum, Honolulu. In 2006, Fairey contributed eight vinyl etchings to a limited-edition series of 12" singles by post-punk band Mission of Burma, and has also done work for the musical group Interpol.

The book Supply and Demand: The Art of Shepard Fairey was released in 2006. In 2008, Philosophy of Obey (Obey Giant): The Formative Years (1989 - 2008), edited by Sarah Jaye Williams, was published by Nerve Books UK, and praised by Fairey.

In June 2007, Fairey opened his one man show entitled "E Pluribus Venom", at the Jonathan LeVine Gallery. The show made the arts section front page in the The New York Times.

Fairey donated original cover art to the 2008 album Body of War: Songs That Inspired an Iraq War Veteran, produced for Iraq War documentary Body of War. Proceeds from the album benefit non-profit organization Iraq Veterans Against the War.

In 2008 Fairey teamed up again with Z-Trip to do a series of shows in support of then presidential candidate Barack Obama entitled Party For Change.

In September 2008, Shepard opened his solo show titled "Duality of Humanity" at The Shooting Gallery in San Francisco. His third solo show with the gallery featured one hundred and fifty works, including the largest collection of canvases pieces in one show that he's done.

Fairey was arrested on February 7, 2009, on his way to the premiere of his show at the Institute of Contemporary Art in Boston, Massachusetts, on two outstanding warrants related to graffiti. He was charged with damage to property for having painted two Boston area locations with graffiti, a Boston Police Department spokesman said. His arrest was announced to party goers by longtime friend Z-Trip who had been performing at the ICA premiere at Shepard Fairey's request.

On April 27, 2009, Fairey put three signed copies of his Obama inauguration posters up on eBay, with the proceeds of the auction going to the One Love For Chi foundation, founded by the family of Deftones bassist Chi Cheng following a car accident in November 2008 that nearly claimed Cheng's life.

Lance Armstrong will ride a Trek Madone styled by Fairey in the Giro d'Italia, which begins May 9, in Venice, Italy.

http://en.wikipedia.org/wiki/Shepard_Fairey

Sandy McGregor

Stage Crew

Sandy accompanied Jimmy Page, Charlotte Martin, Robert, Maureen and Carmen Plant, along with other roadies Clive Coulson and Henry "The Horse" Smith to Bron-Yr-Aur. The roadies prepared the food, cleaned up and kept the house running.

Rusty Brutsché

Showco Founder / Sound Engineer

As far back as he can remember, Rusty has always been fascinated with all things mechanical. Not long after joining a rock band in high school, he began building his own audio equipment. After earning a mechanical engineering degree at Southern Methodist University, he spent two years developing laser technology at Texas Instruments. He then transformed his audio hobby into a career by founding Showco, an audio engineering and rental house, with partner Jack Maxson in 1970.

Under Rusty's leadership, Showco quickly became a complete production services company. By 1972, Showco's offerings included lighting, scenery, and trucking as well as audio rentals. While managing Showco's overall growth, Rusty maintained a very "hands on" approach to client service by personally mixing the performances of many artists, including the legendary rock group Led Zeppelin.

In 1980, Rusty's drive for invention led him to introduce the entertainment industry's first line of automated lights. Following their introduction under the Vari*Lite brand name, Rusty soon formed a new company under that name to focus on the ongoing development of automated lighting technology. The technical innovations introduced under the Vari*Lite name have since set many of the standards by which all other automated lighting technologies are measured.

During the 1990s, Rusty sold Showco in order to concentrate his attention on the rapid growth of Vari*Lite's manufacturing and rental operations. In 2002, he sold Vari*Lite's manufacturing operations in order to focus on the company's higher-growth rental operations. As client demand for equipment continued to exceed the available inventory of his rental company, Vari*Lite Production Services (VLPS), Rusty reached a decision in 2004 to merge VLPS with PRG. The resulting entity offers all of the services offered by the original Showco, but on a much larger scale and with the largest and most technically advanced lighting inventory in the world.

Ross Halfin

Ross Halfin & Jimmy Page, 2004
Ross Halfin & Kevin Shirley, 2007

Research (BBC Sessions, How The West Was Won, Early Days, Latter Days, Mothership)

Photographer Ross Halfin (born August 11th, 1957) began his career working for Sounds magazine in the 1970s, shooting various artists on the punk scene including The Clash, The Jam, The Sex Pistols, 999, The Adverts. After linking up with writers Geoff Barton and Peter Makowski, Halfin moved on to working mainly in the United States with bands like AC/DC, UFO, Rush, Journey, Aerosmith, Black Sabbath.

Halfin started Kerrang magazine in 1980 with Barton and produced images of bands from that era, including Metallica, Iron Maiden, Def Leppard, Motley Crue and Van Halen.

These days Ross works mainly as a freelance photographer and also shoots travel photography and the film industry. He has shot numerous album covers and published several books on bands including Led Zeppelin, The Who, The Black Crowes, Iron Maiden, Metallica and now also his first travel book - Travel 1.

Halfin spends most of the year travelling the world but is still based in England.

http://en.wikipedia.org/wiki/Ross_halfin

Ron Nevison

Mixing (Physical Graffiti)

Multi-platinum record producer Ron Nevison, throughout his career, has operated much like a surgeon, brought in during a critical point in a band's career to bring them back to the top from the commercial brink. Whether kick-starting a stalled hit maker like Jefferson Airplane back into flight as Jefferson Starship, or breathing fresh air back into an outdated band's sound - such as was the case with Heart and Chicago, via seminal 1980s Billboard # 1 ballads like "These Dreams" and "Look Away", respectively, Nevison has rarely had a patient - metaphorically speaking - that he couldn't heal with his multi-platinum production touch. Critics first took note of Nevison's exceptional ear far ahead of many of his pop-rock peers, with one prominent example of the latter being Rolling Stone Magazine's observation in their 1973 review of "The Who's" Quadrophenia, which Nevison engineered, that the album had been "magnificently recorded."

Nevison's profile continued to rise through the mid-1970s as he helped to sonically shape a new generation of AOR rock via his engineering work on the first 3 Bad Company's LPs, Thin Lizzy, and perhaps most notably on Led Zeppelin's 1975 'Physical Graffiti' LP among a host of others. In addition to the aforementioned radio re-invention of Jefferson Starship via late 70s and early 80s hits like "Jane", Nevison's transition into head producer for groups like The Babys, Traffic's Dave Mason (which produced the hit single "We Just Disagree", UFO, and Eddie Money cemented his status as one of the industry's most in-demand hit record producers. Nevison's successes were measured by those of the acts he produced throughout the 1980s, carving out a niche for himself as the go-to producer for veteran rock acts needing a commercial reintroduction to a new generation of rock fans. Whether with Survivor's 'Vital Signs' LP (which produced 3 top-10 hits with "I Can't Hold Back", "High on You", and "The Search is Over",) or arguably his greatest turn-around with Heart over the course of 8 Top 10 hits between 1984 and 1987, including # 1 smash hits like "These Dreams" and "Alone". Nevison also helmed the turn-around of legendary pop-rock outfit Chicago on 1988's '19' LP, which produced three top-ten hits including "I Don't Wanna Live Without Your Love", "Look Away", and "You're Not Alone".

Amid this era, Nevison balanced his smash pop-rock resume with a return to his harder rock roots via hit collaborations with genre giants like Ozzy Osbourne on "The Ultimate Sin", KISS on "Crazy Nights", and the two multi-platinum Damn Yankees studio LPs. In the latter case, Nevison's collaboration with the group produced the smash hit 'High Enough' for the supergroup (which featured Ted Nugent, and principle members of Night Ranger and Styx.) The producer also logged hits during the heyday of the hair-metal genre with platinum rockers including Europe, Bad English, Firehouse, and Motley Crue frontman Vince Neil. Nevison's rock production was also discovered by a new audience throughout the 1990s as Greatest Hits collections were released by legends like Led Zeppelin, The Who, Thin Lizzy, New York Dolls frontman David Johansen, and Bad Company among many others. Not surprisingly, these collections included many classic hits engineered and/or produced by Ron Nevison, who continued to maintain a mainstream pop presence with these and other rock legends throughout the 1990s, producing hit records for Meatloaf, Night Ranger, Candlebox, Lynryd Skynryd, UFO, and Grand Funk Railroad among others.

Ron Nevison's career highlights include many of the record industry's highest distinctions, including his being recognized as Billboard Magazine's Top-5 Producer of the Year 4 separate times, garnering countless Grammy-nominated and winning hit records/albums, and producing well over 100 Million Albums sold in the course of his almost 4-decade career. With the pop rock-genre he helped to invent alive as ever almost a decade into the millennium, Nevison reasons that "I think my production style, as a derivative on a new school of producers, is starting to come around because the 70s is making a comeback. And what happens in this cyclical kind of thing, in ten years, the 80s will be coming around again. 14 year old musicians are forming bands now and listening to Led Zeppelin. And its amazing that 13 year old kids right now have gone from Britney 2 years ago, to hip hop at 13, to 14 to Led Zeppelin. Talk to me in another 5 or 10 years, and I'll probably be more relevant than I am now."

http://www.ronnevison.com/biography.html

Robin Clarke

Mixing (Scream For Help)

Robin Clarke is a music editor for movies in the 1980s and 1990s. In addition to editing for John Paul Jones' Scream For Help, he also mixed for Jimmy Page's Death Wish II soundtrack.

Rob Bozas

Engineer (Now And Zen)

Rob has run Peter Gabriel's Publishing companies since 1995. His specialty is World Music & exploitation thereof in film, TV & new technology. He has placed & commissioned music in over 75 Hollywood movies including movies such as Shrek, Gladiator, Gangs of New York, & The Constant Gardener. TV credits include The O.C., 6 Feet Under, Sex & the City & many more. Adverts include VISA, Ford Trucks, IKEA, Coca Cola, & Volvo.

http://gaynoroflynn.wordpress.com/2009/01/28/the-team/

Rick Hobbs

Jimmy Page's Personal Assistant

Mr. Hobbs worked as Page's "right-hand man".

He was Page's valet, personal assistant and chauffeur because Jimmy never learned to drive. Even in his 70s, Rick would get a phone call, jump in his car and drive up to London to sort something out for him.

It was Rick who helped John Bonham to bed at Jimmy Page's house, The Old Mill House, in Clewer, Windsor on the night of September 24, 1980.

Hobbs died at the age of 81 on January 25, 2010.

Richard Evans

Engineer (The Sporting Life)

Richard Evans has worked at the famous Real World Studios ever since graduating from the Guildhall School Of Music. He has worked alongside many of the biggest names in music including Real World owner Peter Gabriel, top producers Trevor Horn and Stephen Hague and pioneering artist and producer Brian Eno. Evans has also worked on countless albums and co-wrote and co-produced the Golden Globe- nominated score to Rabbit-Proof Fence. He even manages to find time to play as a multi-instrumentalist in Peter Gabriel's touring band.

http://www.crmav.com/recording/91/richard_evans_scores_with_the_r_09_recording_peter_gabriel.shtml

His career started as an engineer recording and mixing House music in the summer of 1988.

He was hired to program, play on and engineer Peter Gabriel's soundtrack to Scorcese's 'the Last Temptation Of Christ'.

This led to Richard being employed as house engineer at Real World which in turn led to him joining Peter Gabriel's live band with whom he has toured for many years.

At Real World he has been involved in numerous projects such as Peter Gabriel's CD-ROM's 'Xplora' and 'EVE', as well as film scores for 'Rabbit-Proof Fence', 'Passion' and the Millennium Dome show album 'OVO'. Additionally he has worked on a huge number of successful albums for prestigious artists.

As well as being a composer in his own right he collaborates with David Rhodes as The Footnote. They were responsible for the soundtrack for the incredible 'sea Monsters 3-D', the first ever 'Imax' 3-D movie.

David and Richard have also recently completed work on the Discovery Channel's 'Discovery Atlas Series'.

http://www.realworldmusic.com/composers/richard-evans

Richard Cole

Richard Cole, May 1969
Richard Cole, 1977
Richard Cole, 1992
Richard Cole, Dec. 10, 2007

Tour Manager (1968-79)

Richard Cole was was on January 2, 1946 in Kensal Rise, Brent, England. He quit school at age 15 to work at a dairy factory. He soon worked in a sheet metal factory and construction jobs to make more money.

Cole got into the music business in 1965, becoming the road manager for the pop band Unit 4 + 2, upon recommendation by journalist Richard Green. He later became tour manager for The Who in 1965 and The New Vaudville Band in 1966, where he met Peter Grant, their manager.

Cole moved to the United States in 1967 to become sound engineer for Vanilla Fudge and when he heard that The Yardbirds were coming to the United States in 1968, he contacted Peter Grant to become their tour manager. Cole stayed with Peter Grant when The Yardbirds broke up in July 1968 to become the tour manager of Led Zeppelin.

Richard Cole was in charge of bringing over all of the band's equipment from England and having it transported to each concert. He was in charge of booking hotels and transportation for the band and crew and for collecting box office earnings and keeping receipts for band expenses. Cole was the only one with a key to the safety deposit box at the Drake Hotel in New York City in July 1973 when $203,000 disappeared. The money was never recovered and Colefe was cleared of any involvement.

Later in the 1970s, Cole became heavier into drugs and they began to fuel his actions and mis-actions. On July 23, 1977, Cole along with band security member John Bindon, John Bonham and Peter Grant physically assaulted a member of Bill Graham's stage crew after he accused Peter Grant's son Warren of stealing a dressing room sign. All four pleaded nolo contendere and received suspended sentences.

Cole was fired from his position as Tour Manager by Peter Grant on Led Zeppelin's 1980 European tour after Grant became concerned with Cole's drug and alcohol abuse. He was replaced by Phil Carlo. Cole went to Italy for rehab and was temporarily imprisoned after being mistaken for a terrorist.

After Led Zeppelin, Cole became tour manager for a variety of performers and bands, such as Eric Clapton, Black Sabbath, Lita Ford, Ozzy Osbourne and Three Dog Night.

In 1985, Richard Cole contributed to the Led Zeppelin biography Hammer Of The Gods, with the assistance of Stephen Davis. It had come under criticism by Robert Plant, who dismissed most of the book. 7 years later, Cole wrote his own autobiography, entitled Stairway to Heaven: Led Zeppelin Uncensored. Jimmy Page was highly upset by things he had heard were contained in the book. John Paul Jones vowed never to speak to Cole again because of this book.

Despite all of this, Cole was invited to the 2007 Led Zeppelin reunion concert at the O2 Arena in London, England.

Rex King

Rex King
Rex King
Rex King

John Bonham's Personal Assistant (1977-80)

Rex came into the entourage as Bonzo's personal assistant because he was a friend of his. "When they were going on tour one day, I got a call, literally three to four days before the tour started asking if I wanted to go, and I went." Rex and Bonzo were pals and enjoyed travelling together - Rex was the only one to accompany Bonzo on his trip up to Newcastle to record his TV interview for Tyne Tees TV's "Alright Now" in March 1980; it was also Rex who drove him down from the Midlands to Windsor on the day before his death in September 1980.

After Bonzo's death and the break-up of Zeppelin, Rex continued to work for Robert Plant and Jimmy Page, in addition to working on other tours including Yes, Neil Young, Eric Clapton, The Who, Bad Company, The Firm, Rod Stewart, and Elton John.He took a special interest in Jason's fledgling career and was spotted out with him a few times - including taking him along with Robert, Maureen and Carmen Plant to see Cozy Powell play with Whitesnake at Birmingham Odeon in 1982. He introduced Robert to his current manager Bill Curbishley after meeting Curbishley in Spain and hitting it off with him. He took Robert over to meet him several years later and the seeds of their business relationship were planted. Known as something of a ladies man, complaints were heard at the recording of Unledded that most of the girls in the front row (aside from Scarlet Page) were friends of his. Page and Plant apparently appreciated the view!

Interviewed around the time of Page and Plant, he explained that as their tour manager he was responsible for everything that production manager Roy Lamb wasn't. "I do everything on the daily running of the tour, all of Robert and Jimmy's stuff and all the bands stuff.."

Speaking about their rider, he said "Its absolutely minimal these days. A few basic things- finger foods, a few beers, soft drinks. Thers's no hard liquor or anything like that. Anybody can have what they want, but people don't particularly bother. The days when we used to go all out and have bottles of champagne, etc, they're all over for us."

Rex continued to work with Robert when he resumed his solo career and has only recently moved onto other bands (most recently Metallica) after they both decided they needed a change. Robert currently employs Dave Taraskevics, who he met through Peter Gabriel, as tour manager. Rex lives in Florida (as does Jason) but still works for Curbishley and Trinifold and is still friends with the surviving members of the band and entourage. He's a bit of a legend.

Thanks to Knebby

Raymond Thomas

Raymond Thomas, 1977
Raymond Thomas, 1979

Guitar Technician (1975-79)

Phill Brown

Phill Brown, 1975
Phill Brown, 1998
Phill Brown, 2005
Phill Brown, 2006

Producer (Dreamland)

Starting as a tape-op at Olympic Studios, London, in November 1967, Phill Brown was initially trained by such industry notables as Keith Grant, Glyn Johns and Eddie Kramer while working with artists like the Rolling Stones, the Small Faces, Traffic and Jimi Hendrix. Not a bad start. In 1970, after having built Toronto Sound, Canada's first 16-track studio, with his brother Terry, Brown then became a house engineer at the newly opened Island Records facility on Basing Street in Central London, where he initially worked with outside clients and stayed until going freelance in 1976. By then his credits included Harry Nilsson, Jeff Beck, Led Zeppelin, Robert Palmer and one Robert Nesta Marley, who as a member of the Wailers had first worked alongside Brown on the band's second Island release, the 1973 album Burnin'.

http://www.soundonsound.com/sos/mar06/articles/classictracks.htm

Phil Johnstone

Producer (Now And Zen, Manic Nirvana, Mighty ReArranger)

Phil Johnstone, producer and keyboardist, has worked with Robert Plant since Plant's 1988 album, Now And Zen.

Phil Carson

Phil Carson, Ahmet Ertegun, Robert Plant

Atlantic Records Vice President

Carson played bass for Dusty Springfield, according to Robert Plant, when introducing him on stage to play Money with Led Zeppelin on June 30, 1980. He had also joined them in Osaka on September 28, 1971 for C'mon Everybody

In the early 1970s, he was the European General Manager of Atlantic Records under Neshui Ertegun.

He also ran Victory Records in the mid-1990s and produced the tribute documentary Atlantic Records: The House That Ahmet Built.

He is the president of Phil Carson Associates, a management and music company whose client list has included Robert Plant, Jimmy Page, Paul Rodgers, Yes, Motorhead, Asia, Foreigner, Ben E. King, Bad Company, The Who (for tour sponsorship) Twisted Sister, Jason Bonham, and Ronnie Wood. Recent projects include AMERICAN MASTERS Good Rockin' Tonight: The Legacy of Sun Records, a documentary and soundtrack album that he produced with Ahmet Ertegun. The film premiered on PBS and the Billboard chart soundtrack CD featured newly-recorded tracks from such luminaries as Eric Clapton, Bob Dylan, Elton John, Jimmy Page, Robert Plant, Tom Petty, Kid Rock, and Sheryl Crow. He also serves as president of the North American division of DVDplus International, the company that developed the invertible hybrid DVD/CD disc technology known as DualDisc and DVDplus.

Phil Carlo

Phil Carlo
Phil Carlo

Tour Manager (1980)

Carlo spent time in the recording studio as an engineer assistant on Savoy Brown's 1974 album, Boogie Brothers and their 1975 album, Wire Fire.

Phil Carlo was Bad Company's tour manager brought in for the 1980 European Tour, along with Billy Francis, from Rod Stewart's organization.

Spent some time as Jimmy Page's assistant/road manager in the 1980s.

Peter Grant

Peter Grant, San Francisco Airport, June 2, 1973
Peter Grant, San Francisco Airport, Jun. 2, 1973
Vital Stats
Birth Name: Peter Grant
Born: April 5, 1935
South Norwood, Surrey, England
Died: November 21, 1995
Eastbourne, East Sussex, England
Occupation(s): Actor, Bouncer, Wrestlers, Music Manager, Executive Producer
Associated Act(s): The Yardbirds, Led Zeppelin, Bad Company, Maggie Bell, Jeff Beck, Terry Reid, The New Vaudeville Band, The Nashville Teens, Stone the Crows

Peter Grant was born on April 5, 1935 in South Norwood, Surrey, England, a suburb of London. His mother was Dorothy, a secretary and there was no father listed on his birth certificate, so he was most likely conceived under illegitimate circumstances.

By age 13, he had quit schooling and became a sheet metal worker in Croydon. After 2 weeks of that, he'd moved on to other positions, such as delivery boy and stage at a local theatre. He'd put in his service in the Royal Army Ordnance Corps, achieving the rank of Colonel

After he got out of the service, he took a position as an entertainment director, after which he was a ticket taker at London's famous coffee bar 2i. A co-owner of 2i, Paul Lincoln, had suggested that Grant should get into the wrestling business. He wrestled under the names of "Count Massimo" and "Count Bruno Alassio of Milan".

This kindled Grant's interest in acting, and was involved in such movies as A Night To Remember, The Guns of Navarone and Cleopatra, as well as making TV appearances and playing the stunt double to British actor Robert Morley in many of his films. Grant used the money he'd made from acting and put it towards his own business of entertainment transportation.

Peter Grant had married a woman named Gloria and they had two children, a son Warren and daughter Helen (1964-).

Grant was hired by music promoter/manager Don Arden to act as British Tour Manager in 1963 for such acts as Bo Diddley, The Everly Brothers, Little Richard, Brian Hyland, Chuck Berry, Eddie Cochran, Gene Vincent, and The Animals and by the next year was managing his own acts, such as The Nashville Teens, an all-girl group called She Trinity, The New Vaudeville Band, Jeff Beck, Terry Reid, and Stone the Crows.

In late 1966, the manager of The Yardbirds, Simon Napier-Bell, asked Grant to take over as manager of The Yardbirds, as he was keen on becoming a film producer. Napier-Bell had told to "get rid of Jimmy Page" as he "would be a problem". Of course, that was not done.

As The Yardbirds folded in July 1968, Grant quickly became privy to Jimmy Page's plan of forming a new band. Grant joined them for the Scandanavian dates in September 1968 and before Led Zeppelin made its way to American in December, Grant had secured them a 5 year/ 5 album contract with Atlantic Records, along with a $200,000 advance bonus.

By August 1969, Grant had secured that Led Zeppelin receive 90% of ticket sales and was determined to protect Zeppelin's financial interests, that he would do such things as walk into London record stores and demand all bootleg records and he would destroy recording equipment of bootleggers (or what he thought was recording equipment, as in the example in Vancouver, British Columbia on August 19, 1971).

Grant was instrumental in helping Led Zeppelin set up their publishing company, Superhype Music, in 1968 and their own label, Swan Song Records, in 1974. He had even began to manage other bands under the Swan Song label, such as Bad Company and Maggie Bell.

After Led Zeppelin became no more in December 1980, Grant battled cocaine and heroin addiction and several health issues and became a recluse in his private estate in Hellingly, East Sussex, England. His next public appearance was in 1989 with Jimmy Page, when they attended a Frank Sinatra concert at Royal Albert Hall. Grant sold his estate and moved to Eastbourne, East Sussex, England and turned down an offer to become local magistrate for the town council. He acted in a role as a Cardinal in the 1992 movie Carry On Columbus.

Peter Grant's last public appearance was on July 26, 1995, at Page and Plant's final night at Wembley Stadium. Peter Grant suffered a fatal heart attack while driving home to his estate in Eastbourne, East Sussex, with his son Warren by his side. Peter Grant was buried on December 4, 1995 at St. Peter and St. Paul's churchyard, Hellingly, East Sussex.

Peter Clifton

Director (TSRTS movie)

Peter Clifton (born 1947) is an Australian film director and producer, perhaps best known for directing the Led Zeppelin concert film The Song Remains the Same (1976).

Clifton was born in Sydney and had experience in music film production prior to his involvement with Led Zeppelin, having made a 30 minute cinema short about Australian band The Easybeats' tour of England in 1967, called Somewhere Between Heaven And Woolworths, and also having filmed Jimi Hendrix live in concert. In 1973 he also directed The London Rock and Roll Show, which documented a major rock and roll festival held at Wembley Stadium, London, in August 1972. In 1974 he was planning to shoot a reggae film in Jamaica when he was approached by Led Zeppelin's manager, Peter Grant, to complete their concert film. The film had originally been begun by director Joe Massot, but Massot was fired by the band prior to its completion.

After completing post-production on the film Clifton had a falling out with Led Zeppelin. Suspecting that Clifton had 'stolen' negatives of the film, Grant ordered that his house be searched while Peter and his family were away on holidays. They did find some footage, but this turned out to be a collection of the best ''home movie' footage which Clifton had intended to give to the band members as a gift. Clifton was also annoyed at the decision to remove from the film's credits the names of all the people who had worked on editing, make up and effects.

In 1979 Clifton directed the concert film Live In Central Park, featuring the final concert of America's world tour - the only time that the band has been officially captured on film. Clifton also made the famous film clip of the Rolling Stones' performance of "Jumpin' Jack Flash". He has produced many other Rolling Stones clips and videos, along with videos for The Beach Boys, Jim Morrison and Eric Clapton.

Clifton returned to Australia in the mid-1980s after many years living overseas to start the Hard Rock Cafe there. It opened in Sydney on April 1, 1989. In 1984 produced and directed the rockumentary AUSTRALIA NOW ! starring INXS, Men At Work, Midnight Oil and Split Enz.

In 2003 Clifton wrote and produced his first feature film, The Night We Called It a Day, the story of Frank Sinatra's tour of Australia in 1974.

In 2006 it was reported that a 16 mm reel of the Apollo 11 moon landing belonging to Clifton, which had been held for 20 years in a Sydney vault as part of his personal film catalogue, was rediscovered. Clifton had ordered the reel in 1979 for a rock film he was making about Pink Floyd's The Dark Side of the Moon, ordering the film for $US180 from the Smithsonian Institution in Washington, DC but forgot he had it until seeing a news report on television.

The footage of Neil Armstrong's "one small step" is considered among the most important artefacts of the 20th century but the original NASA tapes have been mislaid somewhere in the US. It is hoped documentation associated with Clifton's reel will help direct researchers to the warehouse or museum where the missing tapes are stored - if they still exist.

Clifton is currently co-producing The Bloody Ashes, a film which will focus on the 1932-33 Ashes Bodyline series. Shooting of The Bloody Ashes is expected to commence in 2008. He is also developing the best-selling Peter FitzSimons book Tobruk into a feature film.

http://en.wikipedia.org/wiki/Peter_Clifton

Mitchell Fox

Mitchell Fox

Swan Song Records General Manager

Fox was born in 1955. He was at The New York Times for seven years, culminating with the title Group Manager, Retail Advertising.

Mitchell Fox Management (MFM) is a full-service, artist management company headquartered in Nashville with connections in New York, Los Angeles, Chicago, Austin and London. I founded the company in 1980 after a 5-year roller coaster ride with Led Zeppelin and Peter Grant at Swan Song Records. We've worked with a diverse roster of artists including the Kentucky HeadHunters, The Mighty Jeremiahs, Rufus Huff, Danny Gatton, Marty Brown, Tom Chess, Ross Vick with TrueHeart and James Lewis of the Trans Siberian Orchestra. We have recently started offering consulting services to a variety of artists and companies...including film director John Lloyd Miller and The AV Squad.

Mike Piersante

Mike Piersante and Jack Clement
Courtesy of Callie Khouri

Engineer, Mixing (Raising Sand)

Mike Piersante has engineered sound for movies, such as "O Brother, Where Art Thou?", which earned him a Grammy, "Cold Mountain", "Happy Feet" and most recently "500 Days of Summer". He has two other Grammys, both for "Raising Sand".

Piersante commonly works with T-Bone Burnett and records in Los Angeles, CA.

Mick Hinton

Mick Hinton, Feb. 20, 1972
Mick Hinton, Sep. 14, 1974
Mick Hinton, Apr. 30, 1977

Drums and Percussion (1971-80)

Mick Hinton was John Bonham's roadie, assistant and loyal companion from 1971 until John's death in 1980. Today, Mick lives a quieter life, well away from the rock'n'roll circus. When John died Mick was offered large sums of money to tell his story. "I didn't really have a story." he says. "Because all they ever want is sex and drugs, and I wouldn't reveal that and never will." Mick is however happy to talk about his real job, looking after the world's greatest rock drummer.

Hear it through the grapevine

During the '60s, Mick worked with bands like Mr. Lucifer and Uriah Heap and roading for Ginger Baker after the break-up of Cream. He hung out at a bar called La Chasse in Wardour Street next to the old Marquee club. La Chasse was a meeting place for rock musicians and roadies, and Mick was approached through the grapevine by Led Zeppelin's formidable tour manager Ricard Cole. "He offered me a tour starting in Belfast at 15 quid a week. I said, 'No, it's not enough'. Then Peter Grant (Led Zeppelin's larger-than-life manager) phone and said, 'Come on, I'll pay you 30 quid', and I said yes. Three of us started at the same time and we met the band on the ferry to Belfast."

Mick's first gig was the Belfast Ulster Hall on 5 March 1971. "They were on the third album by then. They were big in the states, but not that big over here. My job was to have the kit in exactly the same position every night. Everything was geared to him playing immediately without making any adjustments. I'd code the stands with different coloured tape, and I used jubilee clips (proto-memory locks) so everything was the same height every night. We had a riser with holes drilled for all the tom legs, spurs and hi-hat. The holes were about a half-inch deep so everything slotted in. And I'd put a strip of gaffer tape over each leg to stick it to the floor. I got Ludwig to drill holes in the front bass drum hoop so I could stick a bolt through to anchor the bass drum down. If I hadn't anchored that bass drum down I promise you it would have been in row four the first time he hit it."

When Mick joined John he was using the famous Green Sparkle Ludwig kit for recording, rehearsing and touring. Apparently it was a double kit with two bass drums, two top toms and two floor toms. "He only ever used the single bass drum," Mick explains. "And I had the other set up as a spare - a 26" bass drum, 14" tom and a cymbal arm mounted on the bass drum. It was an exact replica, tuned the same, so if a skin went, all you had to do was take that part of the kit out. He used a Rogers hi-hat pedal and Ludwig Speedking bass pedal with a wooden beater. He hit the bass drum so hard that sometimes the beater would fly off and he'd put the road through the bass drum head. It happened the first time out and I wasn't expecting it. After that, if I saw the beater go, I'd get in there and pull his foot off the pedal and put another complete Speedking on. Sometimes it was too late because he played so fast. I just couldn't fathom whenI first started how he played so quick. He told me that one day he was going to do two bass drums; it was on his mind for a long time. We set them up in rehearsal and it was just so loud. Jimmy said 'You can't do that', and he never did."

Breaking sticks and records

Mick also kept a spare snare drum ready on a stand in case the snare batter head broke. For such a heavy hitter, John rarely broke cymbals, although, not suprisingly, he got through quite a few sticks. "Every tour I'd phone Ludwig and ask for a gross (144) of sticks. They were Ludwig 2A hickory. I'd go through them and put the bent ones to one side and then throw them out to the audience. Sometimes I'd bang them on the table to make it look like he'd used them.

"We used Remo heads, (CS) black dots. It was always the 14"x6-1/2" metal snare. And I introduced the Gretsch 42-strand snare to him - I got hi to try it out and he loved it. There was no damping in the bass drum at all, no felt strip, just a Dr Scholl's moleskin patch (where the beater impacted). He tuned it up fairly high, but his great thing was the snare drum. That had to be absolutely spot on, so he tuned it himself. I'd take his snare drum down to the dressing room on its stand with a pair of stick. But I don't think he wamed up. They came on-stage and there was never any tuning up or anything, it was straight into the first number. Soon as he sat down he'd be off. He made sure the snare was tuned and I tuned the rest, mostly to his liking. I'd tune the bottom heads quite tight but I don't think I ever changed them. The top heads were slacker than the bottoms, but his sound was more to do with the way he played - it was nothing to do with me."

Mick's box of tricks

One thing that's always puzzled many drummers is how Bonham managed to use a 24" ride cymbal on a relatively unstable bass drum mount. "You'd be amazed how tight I could do that," says Mick. "I had a heavy duty spanner. I had so many spares in a wooden flight case about six foot by three foot, with a tray in the top for the cymbals. I carried spare symbals but we never used them. I'd check the cymbals every night for cracks. It took me about three hours to set up and that included miking. We used mostly Shure SM57s. The bass drum had three mics, two in front and one on the batter. Two on the snare, above and below, one on each tom and two overheads. Then one pointing directly, almost horizontal, at the side of the hi-hat. One on the gong and one on each timp. Our main soundman was Rusty Brutsche who co-owned Showco in Dallas, Texas. They did all the PA and the lighting. He was really good and that's why the band never did any soundchecks after the first night of each tourr. John had a huge monitor behind him, made by Showco. John's mix was a lot of drums, especially snare and kick, a lot of guitar and some bass. Voice and keyboards weren't that important to what he wanted to hear.

"I think he probably was the greatest rock drummer ever," says Mick. "That's really what motivated me to get in with Led Zeppelin. He did a 25-minute solo every night, and half of that with his bare hands. They'd be cut and bleeding and he just did it again the next night - no Elastoplasts or anything."

After John died Mick says the band did briefly consider various replacements. "John had always liked Cozy Powell and he was mentioned, and so were various other people, but as you know it didn't come to anything. I was living in Cornwall at the time and [the band] said,'We want to give you something'. Not money but a business, like a tobacconist or something. But I couldn't find anything. In the end they sent me a cheque for £14,999 and 99p - because if it had been 15 grand I'd have to pay tax. So I paid off the mortgage on my cottage - and spent the rest very frivously."

Micahel "Tiny" Gossen

Michael "Tiny" Gossen

Showco Lighting and Sound Technician

Michael McIntyre

Engineer (Coverdale-Page)

Q: Please comment on producer Michael McIntyre. What was his role, and in which way did he help the album?

Coverdale: Michael has been with me since 1987. He was originally a member of the Whitesnake crew. Then when I moved to Lake Tahoe, I found out he lived close by in Reno, so, I asked him to come and work with me as a personal assistant. He has proved so indescribably valuable to me that he has been actively involved in Whitesnake's management for many years. He oversees all aspects of my personal and business life. Not only that, but, he's a fantastic recording engineer and has been involved in the recording of all of my albums since "Slip Of The Tongue". We are great friends... More like brothers. I trust him with my life, so, when he's recording my voice I have total confidence in his judgement.

http://hardrockhideout.com/2008/02/15/whitesnake-frontman-discusses-good-to-be-bad/

Michael Fraser

Producer, Engineer (Coverdale-Page, Baby Come On Home)

Mike Fraser began his career at Little Mountain Sound in Vancouver working with legendary producers Bruce Fairbairn and Bob Rock. Mike's credits include AC/DC several albums running, Aerosmith, Zeppelin, Satriani and Hatebreed. As the years have gone by Mike has ventured into other styles of music, all chart toppers, no matter what genre or style of music. He loves everything from country to metal. This is evident in his project choices. Fraze's recent credits include Franz Ferdinand, Chickenfoot, Shiloh, Bif Naked, Social Code, Die Mannequin, Sam Roberts, The Fast Romantics, Marianas Trench, and R&B Diva Kelly Rowland.

http://www.mikefrasermix.com/home.html

Martin Russell

Engineer (Now And Zen)

Born on November 12, 1956, Martin grew up in a musical environment. His mother was a classical singer, a gifted performer, broadcaster and teacher. He began piano lessons at age five, started playing French Horn at eleven, and was soon playing in youth orchestras and attending summer schools, acquiring a taste for performing and collaborating with others. His college degree (BA Hons) was in music. His working life has been spent exclusively in music-related activity. Joined The Enid in 1979, adding his keyboard, bass guitar and writing skills to a cult group that toured the UK, released numerous albums, and (very rare back then) had their own recording studio, which was a financial lifeline when in between record deals. Martin began to engineer and play sessions during this time. Worked for Soundcraft (UK-based manufacturers of good mixers and rather agricultural tape machines), gaining further technical knowledge, progressing to final testing the company's range of mixing consoles, while simultaneously writing and recording an album with two ex-Enid musicians (originally released on vinyl in 1984, then remixed and updated for CD release some years later). Worked at Utopia Studios, a major multi-studio complex (which also had a disc-cutting room), as both engineer and technician. Was headhunted by Swanyard Studios, another multi-studio venture (at the time of inception when it was only a building site), and got hugely involved in building two notable SSL studios and a Midi Suite. Between 1985-91 Martin became both Chief Engineer and Technical Director.

In 1991, Martin went freelance and designed and built his own studio - Sonic Innovation. Its first project renewed his relationship with producer Simon Emmerson, for whom he had engineered a Working Week album at Swanyard. This soon evolved into a regular co-writing and production partnership. In 1995 they took a recording setup, including Martin's SADiE hard disk system, to the Real World site to make the recordings that became the first Afro Celt Sound System (ACSS) album Volume 1 - Sound Magic. 1997-2000: Martin settled into his role of co-writer, keyboard player and co-producer-recordist (in the studio) and front-of-house sound (on live appearances), got a Grammy nomination for ACSS : Volume 2 - Release, and toured a lot in the USA, Canada, Europe and Australia. Co-productions with Simon include Maryam Mursal's The Journey and Waaberi, an album recorded in Madagascar for the group Tarika, and album tracks for Baaba Maal, Alan Stivelli and Carlos Nunez. On his own: lots of of CD mastering, writing and recording, including producer-engineering some classical chamber music albums for labels including Meridian. Notable film syncs were music cues for Live Flesh (Almodovar feature) and Stigmata (feature). 2001 saw the completion and delivery of ACSS : Volume 3 - Further In Time, a collaboration with Simon Webb on music for Shakespeare's A Winters Tale (at the Royal National Theatre (RNT) - dir. Nicholas Hytner), and more ACSS international touring. In 2002 a second Grammy nomination was received, for Further In Time, and Martin designed and built a 5.1 band studio for ACSS, (Sonic Innovation 2). Its first output was the adaptation and delivery of two music cues for Gangs of New York (feature), followed by the completion and delivery of the ACSS 4th CD Seed. 2003: Collaborating with Simon Webb again, on music for Shakespeare's Henry 5th (RNT - a landmark production, directed by Nicholas Hytner). ACSS-wise: 5.1 mixing and preparation of POD (with bonus DVD), and touring in the USA, Canada and Europe. 2004 - Research, writing, recording an initial pitch for the score to Hotel Rwanda (feature), and finally writing and delivering a 5.1 package of 12 cues for it (Hotel Rwanda). Martin also wrote, recorded and mixed the underscore for Mr Firecul (Short Film), 5.1 mixed (for Pioneer Productions) a Fratelli Bros music package for 3 x 1-hour HDTV shows. 2005 - Completion and delivery of ACSS : Volume 5 - Anatomic, writing, recording and 5.1 mixing underscore to Bosta (Lebanese feature), recording and mixing Simon Webb's music packages for Love Letters of Casanova and ITV's "Avenue Of The Stars", and 5.1 mixing a track from THhe Coldcut of That Year. 2006: 5.1 mixing a further HDTV Naked Science series (Neill MacColl's music package for 6 x 1-hour shows) and re-locating to the original Sonic Innovation studio. Started CD Mastering and Travelling 5.1 Work, and began the co-writing and production of a project with singer Dorothee Munyaneza. 2007: mixing, mastering and additional production on The Dhol Foundation's CD Drums and Roses, production and arrangement of a duet re-make of a Stevie Wonder track for use in the Theatrical Documentary Darfur Now.

http://www.sonicinnovation.co.uk/

Mark "Spike" Stent

Producer (Mighty ReArranger)

Stent's beginnings were humble. He grew up in Surrey near the famous Jacobs residential studio complex and upon leaving school at 16, bent on a job in the audio industry, he badgered the studio owner until given a job mowing lawns and maintaining tennis courts. Stent worked his way up until he fell under the tutelage of chief engineer, Ken Thomas. "I was very lucky", comments Stent, "I got to mix bands very early on and I learnt to mix them properly - it's a bit of a dying art these days".

After four-and-a-half years at Jacobs Studios, Stent moved to Trident in central London before going freelance in 1987. "I gained a reputation for remixing 12-inches", explains Stent. "People seemed to like the sound I was getting and things grew from there".

I've been using Macs for a long time and it's unlikely that I'd ever work with anything else. The real breakthrough came with indie popsters, the KLF. "That was when I started using mixing as a work-in-progress rather than as an end stage", he explains.

http://www.apple.com/uk/pro/music/spikestent/

Mark 'Spike' Stent is a British record producer, and audio engineer who has worked with The KLF, Björk, Keane, Depeche Mode, Muse, Erasure, Hard-Fi, Massive Attack, Janet Jackson, Madonna, Marilyn Manson, the Pet Shop Boys, Dave Matthews, No Doubt/Gwen Stefani, CSS, Beth Orton, Oasis, the Spice Girls, Take That, Linkin Park, Craig David, S Club 7, Wheatus, U2, Britney Spears, Goldfrapp and Maroon 5, among others. Primarily a mixing engineer, Stent is one of the most sought after in the business.

Stent used to work out of Olympic Studios, his custom built studio in Barnes, South London, but has since moved to LA, where many of his clients are. (The studio was built as part of a joint venture between himself and EMI - EMI paid for the building, and Stent equipped it.)

In 2005, Radiohead members confirmed that they were going to record sessions for their new album with Stent. As of August 2006, the band had apparently finished their sessions for In Rainbows with Stent and began work again with their longtime producer Nigel Godrich. The liner notes of the album show Stent is not credited as a producer, but is one of the people the band thanked.

Stent is mixing the latest album by Muse.

http://en.wikipedia.org/wiki/Mark_Stent

Mark Stent's nickname Spike came about during a session with the band The Mission in 1987, when he was engineer for producer John Paul Jones, and the band's singer couldn't remember the name of the spikey-haired youth in front of him. He called him 'Spike' and the name stuck. Eleven years later there's no spiky hair to be seen, and Stent looks like a clean and thoroughly well-adjusted 30-something.

http://www.soundonsound.com/sos/jan99/articles/spike366.htm

Mark London

Band Security

Mark London, along with Peter Grant, managed Stone The Crows and produced their first self-titled album as well as some of Maggie Bell's solo albums.

Mark was the manager of Cartoone and best friend to Peter Grant (Led Zeppelin manager) who also had vested interest in Cartoone. Mark was also the writer of Lulu's No.1 song "To Sir With Love" which topped the US charts for 8 weeks at No. 1. He was married to the manager of Lulu, Marion Massey.

Mark is still writing songs, among other music interests.

Kevin Shirley

Producer, Mixing (Live At The Greek, No Quarter, The Song Remains The Same, How The West Was Won)

Kevin Shirley (a.k.a The Caveman) is a music producer and mixer for many artists, such as the bands Journey, Iron Maiden, Rush, Led Zeppelin and Dream Theater.

Born on June 29th 1960 in Johannesburg, South Africa. Kevin spent his early years producing and engineering records for many successful South African artists like Robin Auld, Juluka, Jonathan Butler, Leslie Rae Dowling, Steve Louw and Sweatband as well as performing and recording with his own band the Council, featuring legendary South African singer, Brian Davidson.

He moved to Australia in 1987 where he continued working with many successful Australian artists, such as The Hoodoo Gurus, The Angels, Cold Chisel, Girl Monstar, Tina Arena, The Screaming Jets, Baby Animals and after the worldwide success of his production of Silverchair's debut album Frogstomp, moved to the U.S.A. He is the current producer for Joe Bonamassa.

He continued to produce successful albums for some of the biggest artists in American rock music - Aerosmith, Journey, The Black Crowes and then for international hard rockers like Iron Maiden, HIM and Slayer. He also worked on the hugely successful retrospective Led Zeppelin DVD.

http://en.wikipedia.org/wiki/Kevin_Shirley

Kenny Pickett

Road Crew (1968)

Glen was friend of Kenny Pickett and was in charge of setting up Bonzo's drumkit for the UK 1968 College gigs. He also assisted in setting up the PA and the Hammond organ for John Paul Jones.

Colson also was in attendance for Zeppelin recording their 2nd album in Olympic studios in London in June 1969.

Colson stayed in the music business, becoming a drumer for the Bonzo Dog Doo-Dah band and he later worked in PR.

Keith Harwood

Engineer (Houses Of The Holy, Presence) Mixing, Overdubs (Physical Graffiti, Presence)

Keith Harwood was a recording engineer, most notable for his work at Olympic Studios with such musicians as David Bowie, the Pretty Things and Ron Wood. Harwood collaborated on engineering the Rolling Stones albums It's Only Rock 'n' Roll (1974) and Black and Blue (1976) with brothers Andy and Glyn Johns, respectively. He also engineered a number of Led Zeppelin albums, including Houses of the Holy (1973), Physical Graffiti (1975) and Presence (1976).

http://en.wikipedia.org/wiki/Keith_Harwood

Jon Astley

Jon Astley
Jon Astley, 1988
Jon Astley, 1999
 
 

Mastering Engineer (BBC Sessions)

Jon Astley is a British record producer who recorded and released two albums as a singer-songwriter in the late 1980s. His most commercially successful song was "Jane's Getting Serious", later popularized by a Heinz ketchup television commercial.

As a producer, he is best known for his work with The Who (co-production with Glyn Johns of the 1978 Who Are You album, and the remastering supervision for all of the group's back catalog reissues.

He also has produced albums for Eric Clapton, Barclay James Harvest, Corey Hart, and Deborah Harry and has mastered records for The Who, Abba, George Harrison, Tori Amos, Eric Clapton, The Rolling Stones, Jools Holland, Tom Jones, Judas Priest, Emmylou Harris, Damien Dempsey, Tears for Fears, Led Zeppelin, Hothouse Flowers, Level 42, The Boomtown Rats, John Mayall, Toto, Norah Jones, Stereophonics, KT Tunstall, Van Morrison, Paul McCartney, Peter Gabriel, Slade, Sting, and Bono.

Jon Astley, by way of sister Karen, is the ex-brother-in-law of Who guitarist Pete Townshend, as well as the brother of recording artist Virginia Astley and son of noted composer Edwin "Ted" Astley. He is married to novelist Judy Astley.

http://en.wikipedia.org/wiki/Jon_Astley

Jon Astley began his career as an assistant to Glyn Johns in 1973. In the late seventies he became a freelance engineer and produced the Who's Who Are You and Eric Clapton's Just One Night. It was Astley who took a 25 minute demo of the classic Who are You track and edited it down to a (still) epic 6 minute track.

He turned his attention to North America in the 80's and produced Corey Hart's first two albums, and then signing to Atlantic records as a recording artist himself. Astley released 2 albums and had two #1 alternative chart hits. If you were around in the eighties then you heard the song Jane's Gettin Serious kicking around somewhere. In the 90's Astley focused his career back to engineering and has become somewhat of a whiz kid at remastering older titles. Based on his excellent working relationship with the sometimes cantankerous Pete Townshend, when it came time to remaster The Who's entire back catalog, Astley got the nod as producer. He has also remastered Led Zeppelin for which he has won an award, George Harrison’s solo records, all 8 Abba CDs, the 3 Tears for Fears records, the 10 Level 42 CDs and also 13 Judas Priest records as well as working with contemporary acts Republica, and Tori Amos.

http://homercat.blogspot.com/2005/04/jon-astley.html

John Walters

John Walters, 1980
John Walters, 1987
John Walters

Producer (Travelling Riverside Blues)

John Walters (July 11, 1939, in Long Eaton, Derbyshire – July 30, 2001) was a British radio producer and presenter and musician educated at Newcastle University. Initially a teacher and a jazz enthusiast, he played trumpet in The Mighty Joe Young Jazz Men and the 1960s pop group The Alan Price Set before joining BBC Radio One in 1967.

He was long-term producer of DJ John Peel's radio show, and responsible for giving many recording artists their first big break. He turned down the Sex Pistols for a Peel session when, drawing on his schoolteacher's experience, he said Johnny Rotten "didn't look like the kind of boy you would trust to give out the scissors". He reportedly regretted this decision later - but he was responsible for getting The Smiths their first session after witnessing an early concert. He produced Vivian Stanshall's first foray into radio, both by overseeing Stanshall's Radio Flashes when Stanshall stood in for a vacationing John Peel, and Stanshall's legendary Sir Henry at Rawlinson End.

As a broadcaster he presented the long-running Radio One arts magazine Walters' Weekly and was heard reviewing the music papers on the Janice Long show in the 1980s. In the 1990s he was a reporter on the BBC's current affairs magazine Here and Now.

http://en.wikipedia.org/wiki/John_Walters_%28broadcaster%29

John Timperley

John Timperley, 2005

Engineer (Coda)

John was a hugely influential figure on music recording in the UK and beyond, being involved with several famous facilities and numerous high profile bands and projects. He trained at IBC in London in the late 1950s, working primarily on classical recordings and the nascent pop scene with his long time friend Keith Grant. He moved to Rymuse Studios (Mayfair) where he recorded the first Cream LP and numerous '60s hits.

After a brief spell at Olympic, John was asked to set up the recording studios at Chappell's Bond Street where he was subsequently engaged as manager and chief engineer. Bing Crosby, Tony Bennett and Shirley Bassey all passed through those doors, as well as jazz musicians Thelonius Monk, Count Basle and Stephanie Grappelli. During this time he worked on Magical Mystery Tour where he first met Paul McCartney. John would continued to work for Macca on and off throughout his career on works like 1991's Liverpool Oratoria.

In the 1990s, Timperley moved to recording and mixing for films, including Lord Of The Flies, Lost In Space and The Pianist.

Recording and mixing engineer John Timperley died in late September 2006 of leukaemia. He was 65.

John "Magnet" Ward

John "Magnet" Ward, Jan. 16, 1975
John "Magnet" Ward, Feb. 13, 1975

Stage Crew (1972-77)

John "Magnet" Ward was an old friend of Robert's from the Midlands. He worked at Jennings Farm for a while and then started going out on the road with the band.

A notorious prankster and joker, the hugely popular Magnet was apparently named for his ability to attract women. He went on to work with Deep Purple, and was immortalised in their song "Highball Shooter" on the "Stormbringer " album in the lines "A Magnet brought you to me, told me your name was Jo, He said you liked my music and you really dug the show."

He was tour manager for Whitesnake for some of their earlier tours, the last one being the 1981 "Come And Get It" tour.

Robert brought him in to tour manage alongside Rex King on his first solo tours of the US, UK, Far East and Australia. After this he left the music business, and settled down with his wife and kids. He remains good friends with Robert and his family.

Thanks to Knebby

John Binson

John Bindon (w/ Robert Plant
and Jimmy Page, post-performance),
Jun. 10, 1977

Band Security (1977)

Bindon was born on October 4, 1943 in London, England. He was the son of a merchant seaman. Bindon went to school at Fulham where he became a noted rugby union junior, but left at the age of 15. Growing up in the tough backstreets of London, he spent some weeks in juvenile detention on various charges. In 1966, Bindon decided to pursue acting in a bid to go straight. He approached director Ken Loach who considered him perfect for the role of a rough husband in the film, Poor Cow, released in 1967. His next big break came with the Mick Jagger film Performance, where he played the role of a violent mobster. His portrayal earned critical praise and it typecast him for future roles. In 1968, he was awarded a police bravery medal for rescuing a drowning man in the River Thames.

Bindon's best known film role was his appearance in The Who's film Quadraphenia where he played a drug dealer. He also appeared in the television series Softly Softly playing out his usual tough guy role as well as the cult classic film Get Carter in 1971. Despite a productive film and television career, Bindon decided his future lay with organising security. It was to be a move which would have disastrous personal consequences.

In 1977, Bindon was hired by tour manager Richard Cole to act as security co-ordinator for Led Zeppelin. Bindon had previously provided security for actors Ryan and Tatum O'Neal. Unfortunately Bindon took his job to the extreme and during the tour much violence occurred behind the scenes directed mostly at journalists and concert staff. The band did not realise the extent of what was happening until their concert at the Oakland Coliseum on July 23, 1977, when an off-stage incident involving Bill Graham's security man Jim Matzorkis, resulted in charges against Peter Grant, Richard Cole, John Bonham, and John Bindon. All four were found guilty and given suspended sentences. Bindon was dismissed by the band and returned to England. Peter Grant later stated that allowing Bindon to be hired was the biggest mistake he ever made as manager.

In 1978, Bindon became involved in a fight with John Darke, a police informer, at the Ranelagh Yacht Club, in Fulham, London. Darke was stabbed nine times and Bindon managed to flee to Dublin with his own knife wounds covered up. He gave himself up to police and in the subsequent trial at the Old Bailey in November, 1979 was acquitted of Darke's murder. The trial along with the Oakland incident seriously damaged Bindon's reputation and he never worked in the entertainment industry again. During the 1980s, Bindon became a virtual recluse and heroin addict. He died in London at the Chelsea and Westminster Hospital, from complications as a result of AIDS on October 10, 1993.

http://www.biographybase.com/biography/Bindon_John.html

Joe Massot

Director (The Song Remains The Same)

Joe Massot was a writer and director who was most notable for the film Wonderwall (1968) which featured George Harrison's first soundtrack, and the Led Zeppelin concert film The Song Remains The Same (1976). The latter was not finished by Massot, being completed by Peter Clifton after the producer was unhappy with progress and removed Massot from the project. Massot's only other attempt at concert film was the 1980 Ska film Dance Craze.

Other films Massot directed include Space Riders and Reflections On Love (1966), which was nominated as the best short film at the Cannes Film Festival. He is given writing credit on Space Riders, The Firesign Theatre, Zachariah, and the George Lazenby box office flop Universal Soldier.

Massot died in 2002.

http://en.wikipedia.org/wiki/Joe_massot

Joe "Jammer" Wright

Joe "Jammer" Wright, 1969
Joe "Jammer" Wright, 1969
Joe "Jammer" Wright, 1975
Joe "Jammer" Wright & Constance, 2006

Guitar Technician (1969)

"...Joe Jammer was a young American guitarist who had jammed with Led Zep on US gigs... was brought over to England by Peter Grant and told to get a band together. Mickey Most was brought in as record producer. I was auditioned and got the drum gig, we started recording both an album and getting a live set together, and were still in this process when the Bath gig came up... we shouldn't have really been on that stage yet. After Bath in spite of the powerful management the band never got a great deal further and I left to join prog rock band Jonesy. Jo Jammer spluttered on with a changed line up for a while before he returned to America. He is still gigging around Chicago to this day I think." - Richard Thomas

"The Gibson stayed with me until it was stolen in the States. I never took it on the road much but things were going so well I decided to start using it. It had a big tremolo are and Joe Jammer custom wired it. I started to use it more then. It disappeared off the truck at an airport as we were on our way to Canada. We advertised for its return but no luck even though it was very recognizable with all the custom work on it." -- Jimmy Page

Joe Jammer had originally met Led Zeppelin in Chicago, Illinois at Kinetic Playground on February 7, 1969 and had struck up a friendship with Jimmy Page. They met again at the Newport Jazz Festival five months later and got asked to go with Zeppelin on tour as a roadie. he stayed on with the band until the Texas International Pop Festival on August 31, 1969.

Joe Jammer toured with Maggie Bell in the United States in the 1974-75 as supporting act for Bad Company and is still playing the guitar today.

Joan Hudson

UK Accountant

Led Zeppelin's and Jimmy Page's long-standing accountant. Acted as trustee for the estate of John Bonham.

Hudson accompanied Jimmy Page to the Kennedy Center Honors in 2012.

Jeff Ocheltree

Jeff Ocheltree

Drum Tehnician (1977-79)

Previously worked for Billy Cobham, the drummer of Mahavishnu Orchestra, he was personally hired by John Bonham for the 1977 US Tour and 1979 dates to solely set up the drumkit.

Janine Safer

Janine Safer, 1976

Swan Song Publicist (1977)

Ian "Ig-nite" Knight

Ian Knight, 1977
Ian Knight, 1977
Showco Visual Effect and Lighting Technician

Hipgnosis

Sleeve (Houses Of The Holy, Presence, The Song Remains The Same, In Through The Out Door, Coda)

Hipgnosis was a British art design group that specialized in creating cover art for the albums of rock musicians and bands, most notably Pink Floyd, Wishbone Ash, UFO, 10CC, Bad Company, Led Zeppelin, The Alan Parsons Project and Genesis. Hipgnosis consisted primarily of Storm Thorgerson, Aubrey Powell, and later, Peter Christopherson. The group dissolved in 1983, but Thorgerson still works on album designs.

In 1968 Thorgerson and Powell were approached by their friends in Pink Floyd to design the cover for the group's second album, A Saucerful of Secrets. This led to additional work for EMI, including photos and album covers for Free, Toe Fat and The Gods. Being film and art school students, they were able to use the darkroom at the Royal College of Art, but when they completed school, they had to set up their own facilities. They built a small darkroom in Powell's bathroom, but shortly thereafter, in early 1970, rented space and built a studio.

When first starting out, Powell and Thorgerson adopted their name from graffiti they found on the door to their apartment. Thorgerson said they liked the word, not only for sounding like "hypnosis," but for possessing "a nice sense of contradiction, of an impossible co-existence, from Hip = new and groove, and Gnostic, relating to ancient learning."

Hipgnosis gained major international prominence in 1973 with their famed cover design for Pink Floyd's The Dark Side of the Moon. The final design was one of a several versions prepared for the band to choose from, but according to drummer Nick Mason, the ''prism/pyramid' design was the immediate and unanimous choice. The record itself was wildly successful -- it became one of the biggest-selling and longest-charting albums of all time, putting it in the hands of millions of fans, and it has since been hailed as one of the best album covers of all time (VH1 rated the cover as #4, in 2003). After that, the firm became in-demand, and did many covers for high-profile bands and artists such as Led Zeppelin, Genesis, UFO, Black Sabbath, Peter Gabriel, and The Alan Parsons Project. They also designed the cover for the original UK paperback edition of Douglas Adams' The Hitchhiker's Guide to the Galaxy.

Peter Christopherson joined Hipgnosis as an assistant in 1974, and later became a full partner. The firm employed many assistants and other staff members over the years. Of particular note were freelance artists George Hardie, Colin Elgie, Richard Evans and Richard Manning.

One notable fact was that Hipgnosis did not have a set fee for designing an album cover but instead asked the artists to "pay what they thought it was worth", a policy that only occasionally backfired according to Thorgerson in his book on album cover design.

http://en.wikipedia.org/wiki/Hipgnosis

Herb Elliott

Band Security

Ex CIA or ex-Agency, he appeared on the scene after a huge US tour that Zep had just completed and he soon became instrumental in smoothing the band's way through the States.

Henry "The Horse" Smith

Stage Crew

Roadie for Led Zeppelin. He was friends with Steve Tyler of Aerosmith. He had previously worked for Chain Reaction (Steven Tyler's band), The Stranguers, The Yardbirds and The Jeff Beck Group road crew, staying behind with the equipment. His first trip with The Yardbirds was the Dick Clark Caravan of Stars, which featured the Yardbirds, the Shangri-Las, and the Mothers of Invention. He lived in Jimmy Page's gatehouse in Pangbourne in 1968.

Travelled to Bron-Y-Aur with Robert Plant, Jimmy Page and other roadies Clive Coulson and Sandy McGregor in 1970.

He later worked as tour manager with Aerosmith, Roberta Flack (and was set to be John Lennon's tour manager for a 1980-81 tour, but Lennon was killed.

Gordon Vicary

Mastering (The Firm)

Gordon started his 35 year career as a vinyl cutting engineer at the legendary Pye records in 1970 before moving to Utopia Studios in 1978, working with the Bee Gee's and early Adam and the Ants records.

In 1981 he moved to the leading UK mastering house 'Townhouse studios' cutting records for many of the major UK artists such as Cliff Richard & The Shadows, Elton John, George Michael through to Motorhead. The major highlights of this time being 2 landmark 80's albums 'The Joshua Tree - U2' and 'The Stone Roses - The Stone Roses'.

In 1998 Gordon successfully co-created London mastering studio 'The Soundmasters' where he carried on working with artists like William Orbit & Blur and top flight producers such as Chris Thomas, Tony Visconti, Gus Dudgeon & Steven Street.

Being a keen golfer and family man, Gordon retired from the music industry in 2005. He died on March 21, 2010.

Gordon was loved by all his colleagues and clients for his mild manner and attention to detail. A very modest man always the last person to discuss his musical achievements. He is survived by his wife and 2 children.

Glyn Johns

Engineer (Led Zeppelin, Untitled)

Glyn Johns (born February 15, 1942 in Epsom, Surrey, England) is a musician, recording engineer and record producer.

He has worked with such artists as Bob Dylan, The Beatles, The Easybeats, The Band, The Rolling Stones, The Who, Led Zeppelin, The Eagles, Eric Clapton, The Clash, The Steve Miller Band, Small Faces, The Ozark Mountain Daredevils, Blue Öyster Cult, Linda Ronstadt, Emmylou Harris, Midnight Oil, New Model Army, Belly, Joe Satriani, Ronnie Lane, Rod Stewart with Faces, Gallagher and Lyle, Georgie Fame, Family, Helen Watson and many others.

In the 1960s, while associated with the The Presidents rock band, Johns began working as a recording studio engineer at IBC Studios, Portland Place, London and was able to take the band in during weekends and try his skills at production and recording. The Presidents was his first true production work and some of the original tracks are available to hear and record at the Sound Bite Page on The President's web site www.the-presidents.org.uk. In 1969, Johns was called upon to rescue the troublesome Get Back sessions for The Beatles. Johns compiled several versions of the album, which were all rejected by the band, before the project was eventually turned over to producer Phil Spector. Spector's version became the released album, which was retitled Let It Be.

Johns' subsequent work on the first three albums by the Eagles was fundamental in establishing the group's sound and style.

In 1971, he co-produced The Who's Who's Next, one of the most celebrated rock albums of all time. The band is also credited as co-producers.

Glyn Johns is the father of Ethan Johns and the older brother of Andy Johns, both accomplished producers in their own right. Ethan has worked with acts such as Ryan Adams and the Kings of Leon, and Andy has worked with acts such as The Rolling Stones, Led Zeppelin, and Jimi Hendrix, either on his own or under the tutelage of Eddie Kramer.

http://en.wikipedia.org/wiki/Glyn_Johns

Glen Colson

Road Crew (1968)

Glen was friend of Kenny Pickett and was in charge of setting up Bonzo's drumkit for the UK 1968 College gigs. He also assisted in setting up the PA and the Hammond organ for John Paul Jones.

Colson also was in attendance for Zeppelin recording their 2nd album in Olympic studios in London in June 1969.

Colson stayed in the music business, becoming a drumer for the Bonzo Dog Doo-Dah band and he later worked in PR.

George Marino

George Marino
George Marino w/ Hanson, 2002
George Marino w/ Ojos De Brujo, 2007

Mastering (Live At The Greek, Coverdale-Page, Outrider) Remaster (Box Set 1, Box Set 2, Complete Studio Recordings)

Looking through George Marino's discography, it is no surprise that he is a legend in the mastering business. As a young man in the early 70s, he began a streak of iconic albums that continues to this day. George joined Sterling Sound in the summer of 1973 where he has worked on many of the industry's most influential albums including recent Billboard chart toppers like Coldplay's "Parachutes", Bon Jovi's "Lost Highway", The Offspring's "Rise & Fall, Rage & Grace", Three Doors Down's eponymous release and Arctic Monkey's "Favourite Worst Nightmare" as well as Billboard classics including Journey's "Frontiers", Cyndi Lauper's "She's So Unusual", eponymous releases by both Kiss and The Cars, Motley Crue's "Dr. Feelgood" and Guns N' Roses "Appetite for Destruction". George started as a musician, playing rock n' roll guitar in New York City bands. His first job in the industry was as a librarian and assistant at Capitol Studios in 1967. He then apprenticed in the mastering department, helping cut rock, pop, jazz and classical albums. When Capitol shut down its New York studio, and before heading to Sterling Sound, George joined the fledgling Record Plant, eventually becoming a partner in the recording-mastering studio. There he quickly established his reputation with projects such as Don McLean's "American Pie" and classic albums by the Allman Brothers Band and Stevie Wonder. As is clear in his discography, George is sought out for his versatility and dead-on instincts on how music should sound.

Marino died on June 4, 2012 of lung cancer. "Sterling Sound and the music industry as a whole has suffered a tremendous loss," the company said in a statement. "Words cannot express the sorrow we feel. George was family to us all, and we will miss him dearly."

http://www.sterling-sound.com/epk.php?e=george&c=en

George Hardie

George Hardie, 2008

Cover Design (Led Zeppelin) Sleeve (Presence, The Song Remains The Same)

George Hardie (b. 16 November 1944) in an English illustrator, and graphic designer. He is notable for contributing iconic album cover artwork for British design group Hipgnosis.

Hardie was born in Chichester, West Sussex, England. He attended the prestigious St Martin's and the Royal College of Art in London, before working as a designer for Nicholas Thirkell Associates (NTA), in addition to partnering with Storm Thorgerson and Aubrey Powell of Hipgnosis. The abstract graphics of Hardie's output marked a distinct contrast with the heightened photographic surrealism of the work of other members of the Hipgnosis group. Amongst Hardie's folio of album covers includes the famous prism on Pink Floyd's The Dark Side of the Moon (1973) chosen from three of his designs, the album Wish You Were Here (1975), Genesis' The Lamb Lies Down on Broadway (1974), Black Sabbath's Technical Ecstacy (1976), and Yes' Going for the One (1977), often working with the handicap of having no access to the unreleased music contained within.

He was also commissioned to design the sleeve of Led Zeppelin's eponymous début album by manager Peter Grant, in October 1968. Hardie had previously worked on Jeff Beck's album Truth, whom Grant had also managed, and his original concept was to have a sequential image of a zeppelin with clouds and waves. Guitarist Jimmy Page wasn't entirely convinced and asked him to swap the design to a single facsimile image of the Hindenburg (LZ-129) going down in flames. Hardie's original concept however was later reused in part, on the inner gatefold sleeve of the next album, Led Zeppelin II. His designs were also used on Presence (1976), and the soundtrack album The Song Remains the Same (1976).

Outside of the music industry, Hardie was also commissioned to design postage stamps for the Royal Mail. He has taught postgraduate students of graphic design at the Faculty of Arts and Architecture, University of Brighton, since 1990. In 1994, he became a member of the Alliance Graphique Internationale (AGI), for which he now presides as International Secretary. Hardie was elected as a Royal Designer for Industry in 2005.

http://en.citizendium.org/wiki/George_Hardie

George Chkiantz

Engineer (Led Zeppelin II, Untitled, Physical Graffiti)

Olympic Studios engineer George Chkiantz worked with the group Family (who appeared on the bill with the Stones at Hyde Park in July 1969), before also helping out Glyn Johns on the Stones' Let It Bleed. A year earlier, he had engineered Brian's recordings of the Master Musicians of Jajouka, which were released as an album in 1971. In 1973-74, Chkiantz worked with the Stones again. He engineered the recording of the song It's Only Rock and Roll at Ron Wood's home studio. In the late '60s and '70s, he also worked with The Soft Machine, Savoy Brown, Ten Years After, King Crimson and Led Zeppelin.

http://www.timeisonourside.com/whydontAD.html

George Chkiantz is a recording engineer based in London who has been responsible for the engineering on a number of well-known albums, many of which are considered classics, owing in part to the high quality of the recordings.

Chkiantz was the recording engineer of the Small Faces album There Are But Four Small Faces, recorded for Andrew Loog Oldham's Immediate. Chkiantz, was a staff engineer at Olympic Studios at the same time that the Jimi Hendrix Experience was recording Axis: Bold As Love. During the session with the Small Faces, Chkiantz engineered the song "Green Circles", which represented the first use of mono phasing on a pop record; he subsequently perfected the technique on their landmark 1967 single "Itchycoo Park".

Upon hearing the result, Jimi Hendrix and his engineer, Eddie Kramer applied Chkiantz's concepts, creating stereo phasing on the songs Bold As Love and Little Wing. Deciding to utilize Chkiantz' abilities more fully, he was hired by Hendrix for Axis, for which he customised the studio's equipment to provide a wide range of new sounds.

Chkiantz also worked with the group Family, who appeared on the bill with the Rolling Stones at Hyde Park in July 1969, before assisting Glyn Johns on the Stones' Let It Bleed. In the late 1960s and throughout the 1970s, he worked with The Soft Machine, Savoy Brown, Ten Years After, King Crimson and Led Zeppelin.

http://en.wikipedia.org/wiki/George_Chkiantz

Gavin Lurssen

Tina Morris, Mike Piersante, T Bone Burnett, Alsion Krauss, Gavin Lurssen and Jeff Greenberg,
Oct. 3, 2008
Gavin Lurssen

Mastering (Raising Sand)

Gavin Lurssen, is a two-time Grammy winner who began his career at the Mastering Lab in 1991 as a runner. A graduate of Berklee College of Music, he was fortunate to then apprentice with Doug Sax, one of the most respected mastering engineers in the country. Lurssen has built a career and a reputation based on a careful blend of old and new methods and technologies. When Sax moved his facility north, Lurssen took the opportunity to open his own shop, and business has been booming since Lurssen Mastering went online one year ago.

Other notable projects Lurssen has mastered this year include the soundtracks for the films Ratatouille and Across the Universe; the game score for God of War II; and album projects for Lucinda Williams, Tom Waits, Aimee Mann, Matchbox 20, Tomahawk, and Allison Krauss and Robert Plant's Raising Sand, which is profiled in this month's "Recording Notes" section.

"I'll get a reputation for working with T Bone Burnett [with whom he shares the Grammy for Album of the Year for O Brother, Where Art Thou?]," Lurssen says. "You get known for a certain sound and people come for that, but there will be another bunch of people who know me for another sound. We can work on a classical soundtrack one day and a punk rock thing the next. The genres know no bounds."

Eddie Kramer

Eddie Kramer, 1973
Eddie Kramer, 1985
Eddie Kramer, 2001
Eddie Kramer, 2006

Engineer (Led Zeppelin II, Led Zeppelin III, Houses Of The Holy, Physical Graffiti, The Song Remains The Same, Coda)

South African-born Kramer moved to London aged 19 where he began to encounter Jimmy Page and John Paul Jones regularly during their session days. He became quite close with John Paul, who first told him about Led Zeppelin when Kramer visited him at home in 1968. "The tape he played me just sat me on my ass" he said.

Kramer first saw Zeppelin playing at the Fillmore East, and subsequently Jimmy invited him to work with him on Led Zeppelin II. The band had recorded various songs on 8 track in different places around the world and Jimmy told him some of them were really horrendous sound-wise and needed re-mixing. Kramer did the job over one weekend in New York.

He and Jimmy had a "mutual admiration" following Kramer's work with Hendrix and worked closely together. He said that during "Whole Lotta Love" "....where everything is panning and going bananas, it's a combination of Jimmy and myself just flying around on a small console twiddling every knob known to man."

"There are lots of mistakes on Led Zeppelin II, especially on many of the guitar parts, but no-one really cared that much about fixing them. Jimmy is known more for his audacity than for his accuracy. He is a stylist in the true sense of the word. Jimmy would rather go for overall feel than for the finesse of the total accuracy of the solo."

"You have to remember, rock 'n' roll should not be perfect by any means: it's not concieved that way. Mistakes make rock very human. Jimmy and myself are very similar in that we're both much more in favour of feel than perfection. I don't think perfection and feel go hand in glove. Led Zeppelin was and probably still is to this day a law unto themselves. One must always remember that."

"In spite of his often sloppy playing, Jimmy was an excellent producer, and we complemented each-other in terms of producer to engineer. He was very demanding in the studio - which was great, because I'm very demanding too. Jimmy is a very driven person, and he was always very picky and self-critical. He demanded as much out of himself as he did out of everyone else."

Kramer and the band "fell out" for a while after a row in Electric Lady Land studios over a Zeppelin roadie's dumping of food on the floor during the recording of the third album, according to Kramer, but he was back on board for Houses of The Holy, Physical Graffiti, The Song Remains The Same, and of course is credited on Coda.

Eddie Kramer spent the 1980 and 1990s producing everyone and everything from Anthrax and Ace Frehley to Peter Frampton, Buddy Guy, John McLaughlin, Carl Perkins, Brian May and Lez Zeppelin in 2007.

In 2002, Kramer established Kramer Archives, a company for distributing the photos he took during his years as a producer and engineer. He is also compiling a book entitled From the Other Side of the Glass, which chronologues his photographs and memories of working in the business.

Thanks to Knebby

Dennis Sheehan

(photo by Ruth Barohn/U2log.com)

Robert's US Tour Assistant (1977)

Dennis Sheehan was Robert's personal assistant on the 1977 US tour. The jovial Irishman had previously been a roadie for Maggie Bell, who was signed to Swan Song (Jimmy made a guest appearance on her 1975 album "Suicide Sal"). This was the first tour where all the band had their own personal assistants - Rex King was Bonzo's, Dave Northover Jonesy's and Rick Hobbs Jimmy's.

Dennis joined the U2 entourage in 1982 and is still their tour manager to this day. Last year Bono brought him onstage in Las Vegas to toast him on his 59th birthday (See left).

For real anoraks, Sheehan makes a small appearance in the movie "The Thing About My Folks" with Peter Faulk. He plays a tackle shop owner.

Thanks to Knebby

David Juniper

Artwork (Led Zeppelin II)

The making of Led Zeppelin II, in the words of the artist, David Juniper.

"In the late sixties in London, anything seemed possible!! I was employed at the time in a boring Art Director's job, so I got a lot of satisfaction out of moonlighting on speculative stuff.

The music of Led Zeppelin I had blown me away and so, on spec, I mocked up a fold-out design for the second album and took it to (Zeppelin's manager) Peter Grant and Micky Most at Rak Records. I had a few friends starting to get into the music industry and helped to point me in their direction.

The combination of collage/photography and airbrush illustration was groundbreaking for me, because the traditional airbrush technique was very tricky, especially when compared to today's digital equivalents. The cover imagery was completely experimental and I liked the combination of the abstract ghostly Zeppelin shape along with a faded sepia WW1 photo of German Aviators.

All the faces were replaced or altered (sunglasses & beards on some of the pilots!). In amongst the four band members (airbrushed in from a publicity photograph) are Miles Davis (or was it Blind Willie Johnson?), a girlfriend/muse of Andy Warhol (perhaps Mary Woronov) and the astronaut Neil Armstrong. The original photo of the Jasta Division of the WW1 German Air Force came from an old book about the ?Sopwith Camel', which was a famous British bi-plane from WW1.

I used bright inks to make the illustration parts really pop. I just presented it to the group and they went for it, with only a few changes to the inside spread (see below). The outside cover went through as it was proposed."

http://rockpopgallery.typepad.com/rockpop_gallery_news/2007/05/18/lepspdjlz2ins.jpg

"The inside image is full-on psychedelia, in contrast to the original idea discussed, which had a Zeppelin flying past the Statue of Liberty. They did not want something on the inside with a similar feel to the outside, so I just went for a colourful painting as a complete contrast to the outside. I remembered a documentary film of 1920/30's German architecture and thought this approach would give the image a heavy rock/blues feel.

Anyway, from that point forward, the group's management was all very friendly and used me on other covers for some of their other artists, including Donovan and Lulu.

Another great treat was to be asked down to Olympic Studios in Barnes while they worked on the recording, but what pleased me the most was that cover was nominated at the 68' Grammy Awards!"

About David Juniper (again, in his words)

http://rockpopgallery.typepad.com/rockpop_gallery_news/2007/05/18/lepspdjlz2signs.jpg

I grew up in Epson Surrey UK, as did Jimmy Page, and we went to art schools in the same area. This area was a great place for music fans, and I would have liked to have taken the time to learn the guitar, but decided instead to concentrate on drawing and painting. I still wish I had done both.

I have been a professional Artist and Designer for 40 years including stints in Ad Agencies, a Studio (Wurlitzer) partnership and freelance illustrating/designing. My Web Site contains loads of images www.davidjuniper.com if you'd like to see what I'm up to these days.

Dave Northover

John Paul's US Tour Assistant (1977)

He was John Paul Jones' tour assistant on the 1977 US tour and now lives in Baylys Beach, New Zealand and is owner and chef of The Funky Fish Restaurant, Cafe and Bar.

Danny Goldberg

Danny Goldberg, 1975
Danny Goldberg

Publicist/Swan Song President

Danny Goldberg was born July 4, 1950 and was hired by Led Zeppelin through the prestigious PR firm of Solters, Roskin and Sabinson. Goldberg was in charge of the firm's rock n roll division. He began working for the band in 1973, a few months after the release of LZ's 5th album, Houses of the Holy. The band were due to start a US tour in May of 1973 and wanted better press. Goldberg was in his early 20s and very much in touch with the current US music scene and business. He was young and experienced, had hair longer than the band's members, was a vegetarian, he did not smoke or drink alcohol. He was quickly accepted by the band members. Interesting side note, Goldberg had once written for Rolling Stone magazine and he was able to use that experience to suggest ways that LZ could navigate around the magazine in order to get better press from them. He developed an effective strategy for interviews and press releases for the upcoming US tour after the HOTH release.

In 1974, Swan Song was launched and Goldberg was hired away from Solters, Roskin and Sabinson to run the new label from offices on Madison Ave, NYC. He continued in that position until 1976, at that time Peter Grant removed him from the US arm of the label, closed the UK operation and moved the label to Montreux, Switzerland.

Later, he was a music journalist for the LA Times, Rolling Stone and Billboard. He was founder and President of Gold Mountain Entertainment, a firm for artists such as Nirvana, Hole, Sonic Youth and Bonnie Raitt.

Goldberg was Chairman and CEO of Mercury Records Group and Warner Bros. Records in the 1990s and formed independant label Artemis Records in 1999. He is currently the President of Gold Village Entertainment, whose artist list includes The Hives, Tom Morello and Ben Lee.

He just penned an autobiography in September 2008 entitled Bumping Into Genuises: My Life Inside the Rock and Roll Business.

Dan Fiala

Concerts West National Promoter

Dan Fiala was a principal with Concerts West before moving on to managing his own entertainment. He then worked for Showstar Entertainment Corporation as head of Entertainment Division.

Cynthia Sach

Swan Song UK Publicist

Worked alongside Unity Maclean at Swan Song's office on London's Kings Road as Led Zeppelin's publicist.

Clive Coulson

Stage Crew

Dark Ages - 1965
L to R: Mick Sibley (Lead Guitar / Harmonica / Vocals), Clive Coulson (Vocals), Vaughan Stephens (Bass Guitar), Ian Thompson (Drums) and Darryl Keogh (Rhythm Guitar and Vocals)

http://www.sergent.com.au/darkages.html

At the end of 1966, the call of the advertising world took the third brother into the family business, so without Owen, the group decided to disband. Kevin McNeil reformed the Mods in Hamilton, enticing Clive to join him for a short while, before Clive moved to England where he became a roady and eventually road manager for Led Zeppelin. Meanwhile the Campbell's advertising business turned into a very successful international venture.

http://www.sergent.com.au/rayders.htm

Later Mods lineup: Neil Reynolds, Wayne Reynolds, Kevin McNeil, Clive Coulson, John Bisset

Thanks to PlanetPage

Clive Coulson

From Mojo magazine in 2000:

"They had promised themselves a break when they got back from America. Bonham and Jones went home to sort themselves out. But Plant was restless, and called Page about a remote cottage near Machynlleth, Gwynedd, which he remembered fondly from a childhood holiday. Page liked the idea. A surprise, maybe, but before Led Zeppelin's year of five-star suites he had been an inveterate solo traveller in India, America, Spain and elsewhere. Both a loner and a natural group leader, he once said: "Isolation doesn't bother me at all, it gives me a sense of security."

So, in late April, they set off for Bron-Y-Aur ("Bronraar"), hoping to recover some closeness with each-other - an echo of their first extensive meeting when Plant spent several days at Page's Pangbourne home playing records and talking music. But they did take along roadies Clive Coulson and Sandy Macgregor to take care of domestic matters.

The cottage was accessible only via muddy farm tracks. It had stone walls, no electricity, and no running water. "It was freezing when we arrived," recalls Coulson, now a beef farmer in his native New Zealand. "We collected wood for the open-hearth fire which heated a range with an oven on either side. We had candles and I think there were gaslights. We fetched water from a stream and heated it on the hot plates for washing - a bath was once a week in Machynlleth at the Owen Glendower pub."

Who did the chores then?

"Me and Sandy were the cooks, bottlewashers and general slaves. Pagey was the tea man. Plant's speciality was posing and telling people how to do things," Coulson laughs and then, lest anyone takes his Kiwi sarcasm for gospel, corrects himself. "No, everyone mucked in really. I wouldn't take any of that superior shit. They were wonderful people to work for, normal blokes, they weren't treated as Gods. Although Pagey was two people, one of the lads and the boss. And I'm not sure who got the job of cleaning out the chemical toilet..........."

They drove the tracks, walked the hills, met a biker gang of local farm boys and a bunch of volunteers restoring an old house (Page said, sorry, he'd never played guitar so he couldn't join in on Kumbayah.) They took evenings "off" at the pub and talked country matters with the farmers. Page even bought some goats and had Coulson ferry them up to Bolskine House (the mind boggles) in a Transit. This amply offset the truculence of a local butcher who snarled at them in Welsh and hacked their fillet steaks to mince.

With Page strumming and Plant tootling a harmonica, the songs came - songs which, according to Page, "changed the band and established a standard of travelling for inspiration, which is the best thing a musician can do." They wrote the rudiments of material that fed into their repertoire for years afterwards, sustaining the acoustic element: Over The Hills And Far Away (Houses of The Holy, 1973), Down By The Seaside, The Rover, Bron-Y-Aur (Physical Graffiti,1975), Poor Tom (Coda, 1982), and possibly others, as well as three songs which appeared immediately on Led Zeppelin III, That's The Way, the Neil Young-influenced Friends and Bron-Y-Aur Stomp.

Begun the previous autumn as Jennings Farm Blues, Bron-Y-Aur Stomp's hoedown knees-up captured the arcadian idyll they craved. Momentarily eschewing sex and Vikings, Plant sang to his dog.

Bron-Y-Aur was a strange thing for the two young stars to do, but it worked. "The great thing was there was no motion." Plant said later, "just privacy and nature and the beauty of the people there. [As a lyricist] I'm finding myself now. It's taken a long time, a lot of insecurity and nerves and the "I'm a failure" stuff." Of his relationship with Page, he said that "in the beginning I held myself a long way off from him", but now the barriers were coming down, as Page later confirmed to writer Ritchie Yorke. "Living together at Bron-Y-Aur , as opposed to occupying nearby hotel rooms, was the first time I really came to know Robert"

A cosmic and enriching experience for the roadies too, then?

Coulson guffaws. "Not really. It was a job for us. Me and Sandy were just totally fucking bored."

February 2006 - Led Zeppelin tour manager Clive Coulson passed away this week. A colourful character, Coulson was directly responsible for forming Bad Company, uniting Paul Rodgers, Mick Ralphs, Boz Burrell and Simon Kirke, and goes down in history as the only man to share vocals onstage with Robert Plant during a Led Zeppelin concert. A native of New Zealand, Coulson made an early name for himself as a singer on the Australian Rock circuit, working with latter day Rainbow and Ozzy Osbourne bassist Bob Daisley in the band Mecca. A single featuring Coulson, by the band Dark Ages, is noted for being the rarest and most expensive Australian 7" single to date. Journeying to the UK, Clive scored a job with Led Zeppelin's larger than life manager Peter Grant and quickly rose through the ranks to become Grant's right hand man. Coulson handed over tour management of Led Zeppelin to Richard Cole and concentrated on assembling and managing Bad Company. Under his reign, the band, signed to Zep's Swan Song imprint, scored massive commercial success in the USA. Clive Coulson's last service for Peter Grant was to act as coffin bearer for the big man's funeral in 1995. In later years, Coulson relocated back to New Zealand, where he bought coastal property in Raglan. He died of a heart attack. Coulson leaves a wife and son, the latter's godparent being Robert Plant.

Thanks to Knebby

Chris Huston

Chris Huston - Talentmasters, 1966
Chris Huston - Crystal Studio
Sweetwater Session, 1970
Chris Huston - Conwy Castle, North Wales, 2004

Engineer (Led Zeppelin II, Complete Studio Recordings)

Chris Huston was the Recording Engineer and/or Producer on many of the hit records over the past 35 years. In a parallel career, he has designed major recording studios/facilities and home studios for artists and record companies as well as home theaters and listening rooms for Audiophiles. His work has taken him all over the world. His expertise in the science of Acoustic Engineering is well known and respected throughout the music industry.

1958 - 1962
Studied Design, Commercial Art and Technical Engineering Drawing at Wallasey Technical College and Liverpool College of Art. Worked as Commercial Artist for Arthur Maiden Limited, Advertising Agency, Liverpool, England, while in college.

1962 - 1965
Professional musician with well-known Liverpool Rock'n'Roll group - The Undertakers - played lead guitar. Group recorded for PYE Records and toured continuously throughout England and Germany.

1965 - 1981
Record Producer and Recording Engineer responsible for recordings earning GOLD and PLATINUM awards plus a GRAMMY (WAR - "The World Is A Ghetto" Top selling album 1973). A partial list of artists worked with follows:

Led Zeppelin, The Who, War, The Rascals, Todd Rundgren (The Nazz), Van Morrison, Blood, Sweat & Tears, Mytch Ryder & the Detroit Wheels, Ben E. King, The Drifters, Patti La Belle & the Bluebelles, Solomon Burke, Mary Wells, Wilson Pickett, Ben E. King, John Hammond Jr., Jimmy Witherspoon, The Capitols, The Manhattans, James Brown, ? & The Mysterians, Eric Burden et cetera...

In excess of 2000 hours of live / remote recording in the USA, Europe and Japan. Work on numerous movie sound tracks, Radio and TV commercials.

1981 - Present: Designer / Acoustic Consultant Projects have included; Recording Studios and Control Rooms, Radio Stations, Dubbing & Foley/ADR Stages, Rehearsal Studios, Night Clubs, Video Stages, Video Editing Suites, Home Theaters, Home Studios, Restaurants, Churches, residential & commercial noise-control et cetera...

http://www.chrishuston.com/

Brian Condliffe

Brian Condliffe

Bass and Keyboards

Englishman, roadie for The Yardbirds. Recommended Henry "The Horse" Smith to The Yardbirds as a roadie. Went on to be tour manager for Little Feat in 2001 and for John Paul Jones' Zooma tour in 1999-2000.

B.P. Fallon

B.P. Fallon, 1973
B.P. Fallon, May 16, 1979
B.P. Fallon, June 23, 2006

Publicist (1973-74)

"He's brilliant, though I'm not sure what he does"
Phil Lynott on BP Fallon, talking to Melody Maker, 1976.

BP Fallon is to rock'n'roll what a stamp is to an envelope.

Renaissance man, submerged in music all his life.

Irish. Discjockey on the radio since 17 years old. Photographer and writer. Rock'n'roll sage. Publicist and media guru to Led Zeppelin and T.Rex and Tone Loc. Played tom toms on Whole Lotta Love live, described by Marc Bolan as "Purple browed Beep" in the T.Rex hit Telegram Sam.

No spring chicken, this bald creature has traversed rainbows.

Mimed bass guitar with John Lennon on Top Of The Pops, worked at The Beatles' Apple Records where one of his jobs was testing Paul McCartney's grass.

Press Officer at the infant Island Records, representing Traffic, Joe Cocker, Free, King Crimson and Jimmy Cliff.

Among the backing vocalists on U2's Pride (In The Name Of Love). Transformed Bob Geldof into pop star and Ian Dury into Blockhead. Played harmonica on the Johnny Thunders album So Alone alongside two Sex Pistols and Chrissie Hynde, Phil Lynott and Steve Marriott.

Has photographed everyone from Jerry Lee Lewis to Public Enemy, Emmylou Harris to Iggy Pop.

Author of three best-selling books - words and photography - including U2 Faraway So Close, his adventures when he joined U2 on their legendary global Zoo TV tour as DJ, Guru And Viber, deejaying live to 1.8 million people. Wrote, presented and with Bill Kates produced Zoo Radio, broacast in US on 600 radio stations and in Europe by the BBC. Presented ABC TV's In Concert, hosted and deejayed ABC TV's New Year Special featuring Keith Richards.

Lives in New York and Dublin. Broadcasts regularly in Ireland on RTE and TodayFM, including for the last two years TodayFM's BP Fallon's New Year's Eve Wipeout with guest deejay Sinead O'Connor.

As Fallon And Alan has been deejaying live in New York and Detroit with Alan McGee [see 'Alan McGee on the legend of King Boogaloo'] and in July toured Japan with Alan, wowing audiences in Tokyo and Osaka.

Described in Hammer Of The Gods as "a visionary imp", described by Vogue magazine as "a gentle wispy sorcerer", described by Bono as "a rock'n'roll creature. The only white black man I know apart from Bob Dylan."

King Boogaloo, The Duke Of Earl, BP Fallon.

Thanks to Knebby

Bob Ludwig

Mastering (The Song Remains The Same)

Bob Ludwig (b. circa 1945) is an American mastering engineer.

He is a well known and respected figure within the music industry. Ludwig's craftsmanship is appreciated widely within the music profession, as testified by his extensive credits and demand for his work. His name is ubiquitously credited on the covers of albums released across the world, and he has won numerous awards over the years.

Throughout his career, he has mastered recordings on all the major recording formats for all the major record labels, and on projects for many important artists such as Radiohead, Jimi Hendrix, Paul McCartney, Madonna, Eric Clapton, David Bowie, Rolling Stones, Kiss, Queen, Mariah Carey, Bruce Springsteen, U2, Metallica, Rush, Led Zeppelin, Nine Inch Nails, Tool, Pearl Jam and The Who.

As an 8-year-old child in South Salem, New York, Ludwig was so fascinated with his first tape recorder he used to make recordings of whatever was on the radio. Ludwig is a classical musician by training, having obtained his Bachelor's and Master's degree from the Eastman School of Music, University of Rochester, New York, where he was also involved in the sound department and played Principal Trumpet with the Utica Symphony Orchestra. Inspired by Phil Ramone when he came to the school to teach a summer recording workshop, he ended up working as his assistant. Afterward, he was contacted again and offered work with Ramone at A&R Recording. Together, they did sessions on projects with The Band, Peter, Paul & Mary, Neil Diamond, and Frank Sinatra.

After a few years at A&R, Ludwig received an offer from Sterling Sound, where he eventually rose to become a Vice-President. After seven years at Sterling, he moved to its larger direct competitor, Masterdisk where he was Vice President and Chief Engineer. In 1993, Ludwig decided to take control over his career by starting his own record-mastering facility in Portland, Maine named Gateway Mastering.

http://en.wikipedia.org/wiki/Bob_Ludwig

Bill Harry

Bill Harry and wife Virginia

Publicist (1969-70)

Bill Harry was born in Liverpool, England and attended the Livepool College of Art with John Lennon and Stuart Sutcliffe. He created the Mersey Beat magazine in 1961 to document the Liverpool music scene. This publication was the first to write about The Beatles.

Harry later worked as personal press agent for Led Zeppelin from 1969 to 1970, Suzi Quatro, Pink Floyd, Jehtro Tull, David Bowie, Free and Kim Wilde.

Harry was told by Peter Grant that they wouldn't do TV. He remembered doing just one show with them for TV. They wouldn't do interviews. It was part of a thing he created which was successful. While everyone else was giving interviews for every other paper, the laws of trying to get as much publicity as possible, they didn't. It was more like keeping the press off them.

Harry has written many books on the Beatles and is current Chief Consultant to Rock and Pop Shop, a memorabilia company.

Bill Dautrich

Band Security (1972)

Dautrich was an ex-Philadelphia cop who arrived ahead to each venue to arranged the proper security and police protection before and after each performance.

Bill Curbishley

Roger Daltrey, Bill Curbishley & Robert Plant, 2006
Jimmy Page, Robert Plant & Bill Curbishley, 2006
Bill Curbishley, April 2008

Trinifold Management

Bill Curbishley is a music producer and band manager, best known for his work with English rock groups The Who, Judas Priest and Jimmy Page.

Curbishley "started his career in the music business at Track Records, managing" The Who and other artists such as Marc Bolan, Thunderclap Newman and The Crazy World of Arthur Brown. Curbishley produced The Who's film Tommy, the prison movie McVicar and also the film Buddy's Song, all starring The Who's Roger Daltrey.

Curbishley's company "Trinifold soon expanded to manage other" well-known artists such as Judas Priest and Robert Plant. It was at the suggestion of Curbishley that Plant disbanded his Shaken 'n' Stirred touring ensemble in the mid-1980s, start afresh with a completely new band and begin writing with different musicians. As a direct result of this, Plant re-emerged as a hugely successful recording and touring entity.

In 1994 Curbishley assumed management of guitarist Jimmy Page. He was integral in the reuniting of Page and Plant, both former members of Led Zeppelin, in 1995. Despite failed attempts by others to reunite the pair, Curbishely was able to persuade the previously-reluctant Plant into working with Page again, resulting in the highly successful Unledded album, video and world tour.

In 2002 Trinifold was acquired by The Sanctuary Group, but Curbishley continued to manage it.

Trinifold Music has published songs recorded by many other artists including Chicago, Kenny Rogers, Atlantic Starr, Karyn White Faith Hill and Kenny Chesney. In 2004, UB40 and Rachel Fuller were added to Trinifold's roster.

Curbishley has lately embarked on more film production, including films such as The Railway Man. He is currently co-producing a film about the life of Keith Moon with Roger Daltrey.

http://en.wikipedia.org/wiki/Bill_Curbishley

Benji LeFevre

Vocal Technician, Mixing (Pictures At Eleven, The Principle Of Moments), Producer (Shaken 'N' Stirred)

Benjo Lefevre worked the FOH vocal effects (echo and Harmonizer) for Robert Plant during his years with Led Zeppelin.

Along with John Paul Jones, it was Benji Lefevre who found drummer John Bonham dead, in bed, at Jimmy Page's house, The Old Mill House, in Clewer, Windsor on the afternoon of September 25, 1980.

After Led Zeppelin, Benji went on to producing Robert Plant's solo albums Pictures At Eleven, The Principle Of Moments and Shaken 'N' Stirred. He also served as Engineer on the Rolling Stones' 1991 album Flashpoint, as well as Engineer for Elton Dean and Anastacia.

Lefevre also worked mixing the live vocal sounds of Peter Gabriel, INXS, George Michael and the Rolling Stones on their 1989 Steel Wheels and 1994 Voodoo Lounge tours.

Aubrey Powell

Cover Design (Mean Business), Design (In Through The Out Door)

Aubrey 'Po' Powell was born on September 23, 1946, Sussex, England and educated at The King's School, Ely, Cambridgeshire, London School of Film Technique. He has been a designer partnered with Storm Thorgerson and Peter Christopherson at Hipgnosis design studio, producers of many famous rock album covers of the 1970s and 1980s, most famously for Pink Floyd. A great friend of the band, Powell often watched them play live at the UFO Club in London. Powell notably produced the cover photography and art for Led Zeppelin's Houses of the Holy. Other credits include The Nice's Elegy and Wings Greatest.

http://en.wikipedia.org/wiki/Aubrey_Powell_%28designer%29

Andy Ledbetter

Bass and Keyboards (1980)

Andy Ledbetter was a classically trained pianist and did very amazing things getting a job at Rod Argents keyboards in London's Denmark Street and via that meeting John Paul Jones who asked him to be his keyboard roadie for Led Zeppelin!Andy was there for Knebworth in 1979 and the final 1980 European tour and went over to Sweden with Zep to Abba's Polar Studios for the 'In Through The Out Door' sessions, getting to hang out with Bjorn and Benny - and he claimed whilst there he had played Benny a tape of the version of 'Dancing Queen' done by me, fellow ex Life member Gwyn Woodward, Richard Dalton and Nick Dunning (now a well known actor last seen on TV as Sir Thomas Boelyn in 'the Tudors")

Went on to become keyboard technician for Pink Floyd. world tour manager for some well-known music artists, including Pink Floyd, Paul McCartney, Led Zeppelin and Genesis. After Zep Andy crewed for Robert Plant through the 80s. Andy started an internet services business in Derbyshire in 1996 and is currently managing director of this company dividing his time between the UK and Australia.

Andy Johns

Engineer (Led Zeppelin II, Led Zeppelin III, Untitled, Houses Of The Holy, Physical Graffiti, Coda)

Andy Johns is a prolific engineer and producer.

Johns, the younger brother of famous Olympic Studios engineer Glyn Johns, attended The King's School, Gloucester, England in the mid to late 1960s. Before his nineteenth birthday, he was working as Eddie Kramer's second engineer on classic recordings by Jimi Hendrix and many others. In a career spanning more than thirty years, he has engineered or produced records by artists ranging from Led Zeppelin and The Rolling Stones to Van Halen and Rod Stewart, whose sales total in excess of 160 millions copies.

Johns' main references are Led Zeppelin's IV and The Rolling Stones' Exile on Main Street. His classic sound is perhaps found on Free's album Highway, which he engineered and produced.

Johns died on 7 April 2013, after a short stay in a Los Angeles hospital being treated for complications from a stomach ulcer. He was 62. Johns is survived by his wife Anet; sons Evan, Jesse and William; grandchildren Lennon, Everly, Charlie and Luca; and sister Susan Johns.

http://en.wikipedia.org/wiki/Andy_Johns

Andie Airfix

Andie Airfix - Artwork/Design (Unledded, BBC Sessions, Early Days, Latter Days, Dreamleand, Sixty Six to Timbuktu, DVD)

For over 25 years Andie Airfix at Satori has maintained the company's aim to provide original design solutions for creative clients.

Whether designing graphics for a Rolling Stones tour, the logo for Live 8, the Led Zeppelin 'DVD', or designing a modern corporate identity for an merging new company, Satori's diversity of style emphasises how successfully the company communicates with different clients without compromising its high standards of design.

http://www.satorigraphic.co.uk/

Alan Branton

Showco Lighting Director

Allen Branton is a 30 year veteran of the entertainment lighting business with hundreds of successful projects to his credit. Working in many genres from comedy to major rock tours, he is seen to be equally proficient with both live events and television.

Branton is a native of Little Rock, Arkansas. His father and younger brother are both practicing architects and his parents probably expected that he would pursue something equally respectable.

After stints as a student and teenage musician/ band leader, Branton moved to Dallas in 1973 to join the newly formed lighting department at Showco, Inc. Quickly showing his capability as a lighting director, by age 23 he had served in that capacity for the Beach Boys, Three Dog Night, Leon Russell, The Guess Who, and Mountain. During his final year with Showco, he served as advance man for The Who's U.S. Tour and Paul McCartney's "Wings Over America". Leaving Dallas in 1977, Branton launched a free-lance career, designing for Alice Cooper, Burton Cummings, Bread, Ben Vereen, and Diana Ross in the next two years.

Branton first forayed into television with a Diana Ross HBO special in 1979, and then with "Diana" in 1981, a CBS special for which he was nominated for an Emmy. His six CableACE nominations for lighting include HBO productions of "Sting in Tokyo" (1989) and "Madonna Live!", for which he won the 1990 award; then two nominations in 1992 for "The MTV Movie Awards" and Disney's "Gloria Estefan - Going Home".

Beginning in 1991, Branton designed dozens of episodes of MTV's inexplicably adult "UNplugged" music series, a 1993 CableACE lighting nominee; and since 1989 their prestigious "Video Music Awards", the 1993 CableACE winner for lighting. Recent television productions include the Halftime celebration for the 2003 Super Bowl.

Though television has claimed more of his attention in recent years. Branton has continued to work as a concert lighting designer right up to the present. His touring clients since 1980 include Diana Ross, The Rolling Stones, David Bowie, Ozzy Osbourne, the Oak Ridge Boys, The Bee Gees, Judas Priest, Whitney Houston, Michael Jackson, The Who, Paul Simon, Vince Gill, Mary Chapin Carpenter, Marc Anthony and Bette Midler. Branton has been nominated by Performance Magazine readers as Lighting Designer of the Year eight times, winning in 1981, '82, '87, and '91.

Taken from http://www.allenbranton.com/bio.htm

Alan Callan

Swan Song UK Vice-President (1977-1983)

Callan first met Jimmy Page in 1968, the year that Led Zeppelin was formed. Callan was pursuing a career in the arts producing short films, writing, and photography.

While running Swan Song, he oversaw several releases on the label and was behind the efforts to sign John Lennon and Vangelis.

Since Swan Song, Alan went on to develop the international media company CPMA Group. He used his entertainment skills to build a portfolio of media-based sports rights that today have become some of the world's most watched properties. Callan has directed and/or promoted The European PGA Championship, The Scottish Open Golf Championship (which he founded, along with Harris Muir), the Rugby World Cup, the 1993 World Chess Championship, and several other leading sports properties.

He was asked to give the eulogy at Peter Grant's funeral in 1995.

Nearly forty years on, he is still good friends with Jimmy Page and since returning to work has helped Jimmy reorganise his business affairs and encouraged him to start playing again. Whilst he claimed no part in the Led Zeppelin reunion he did say he was delighted to see that Led Zeppelin were again at the forefront and that if he had done anything it was to encourage Jimmy to start playing again after a period of musical inactivity in which Page had concentrated on overseeing the superb Led Zeppelin DVD. Also since returning to work, Callan has acted as an adviser to the PGA European Tour and a number of other businesses before working with a team from CERN laboratories (that now work in the private sector) to develop advanced systems for distributing digital content with an underlying intelligent technology that ensures everyone who uses the system can track all the commercial activities deriving from copyright use.

Mr. Callan passed away on June 3, 2014 after some lengthy health issues.

Ahmet Ertegün

Ahmet Ertegün, 1940
 
Ahmet Ertegün, 1962
 
Ahmet Ertegün, May 14, 1988
 
Ahmet Ertegün, May 8, 2006

Record Label Executive

Atlantic founder Ahmet Ertegün was introduced to Jazz and R&B at a young age, and together with his brother Nesuhi, eventually amassed a collection of some 20,000 Jazz and Blues recordings. Ertegün formed a partnership with Herb Abramson of National Records and, with $10,000 borrowed from his dentist, launched Atlantic Records in 1947.

As Atlantic grew from literally a one-room operation into one of the most successful music companies in the world, the label released recordings that have had profound effects on the course of modern music.

Ahmet Ertegün, co-chair and co-CEO of the Atlantic Group, holds the distinction of being the longest-standing record label founder still at the helm of his company.

Atlantic released its first singles in 1948, and scored its first hit in 1949 with Stick McGhee's "Drinkin' Wine Spo-Dee-O-Dee." Then came artists like Professor Longhair, Big Joe Turner, Ruth Brown, and Ray Charles-and the label was a fully established success.

In 1955 Ahmet's brother Nesuhi joined Atlantic and made a series of records by the likes of Ornette Coleman, John Coltrane and Charles Mingus.

By the mid-1950s, producer Jerry Wexler had joined Atlantic as Ertegün's partner, and with the help of The Coasters, LaVern Baker, and Clyde McPhatter And The Drifters, the predominantly R&B label helped usher in Rock 'n Roll.

The Coasters were one of the first Black vocal groups to cross over to the largely white Rock 'n Roll audiences, and in 1958, Bobby Darin's "Splish Splash" established Atlantic's place in the Pop market. In the 1960s, with the popularization of Black music, Atlantic went back to its roots with Otis Redding, Wilson Pickett, Percy Sledge, and Aretha Franklin. But Atlantic didn't ignore the world of white Rock 'n Roll either, signing Cream; Led Zeppelin; Crosby, Stills and Nash; and The Rolling Stones.

Sold in 1967 to Warner Communications, Atlantic continued its concentration on Rock 'n Roll. Today, Atlantic is still helping us define and express ourselves with the music of artists such as Tori Amos, Collective Soul, Hootie And The Blowfish, Lil' Kim, and Jewel.

A long-standing member, Atlantic has positively influenced NARM since the early '60s. The Ertegün brothers, Ahmet and Nesuhi, were jointly recognized with the NARM Presidential Award in 1973.

"When I first started the label, I thought we'd make records for two or three years and that would be it," Ertegün said. "We never imagined we would be able to make a real living out of doing what we loved so much."

This is from an interview he did in Performance magazine.

"What were your impressions on signing Led Zeppelin to Atlantic Records?"

"We were very, very hot on the group from the beginning becaus we both knew the excellence of the playing of Both Jimmy Page and John Paul Jones. We were very happily surprised with the other musicians because they were equally great. Robert Plant is certainly one of the outstanding singers in the history of rock 'n' roll. He's a scholar of rock 'n' roll and blues music. He probably knows it better than anyone I know - the whole library of rock and roll music."

"What do you remember about first seeing Zeppelin perform?"

"We had already signed them. They were the most dynamic band I had ever seen. They had a presence onstage like no other. They were very different from The Who, The Rolling Stones, The Beatles or Cream - the big British groups that preceded them. They had a mystique, an aura all to themselves. They didn't do interviews. They didn't want any singles released from their albums. They weren't interested in television. Plus there were their antics on the road, some of which, but not all, were exaggerated. They look back at those days with sentimentality, nostalgia for a different time and period when crazy things were going on. The late 60s and 70s were very different times, the time of revolution, of revolutionary ideas. Young people revolted against traditional establishment values. They were in the forefront of that, always on the cutting edge.

The music they made had sorrow, pathos, happiness and a great deal of love."

"How would you characterise Jimmy Page and Robert Plant as people?"

"They are dissimilar - two totally different people - each a personality uopn themselves. They have their own charecteristics, sensitivities, opinions and way of life.

Robert is more outgoing, outspoken and has a dynamic personality. He's very charming. He has a really flamboyant personality on and off stage. He's thoughtful and sensitive.

Jimmy Page is quieter with more of an artisitic temperament. He is deeply thoughtful, has a sweet personality, is very friendly and has a great musical inspiration, which is reflected in his character. He has the soul of an artist, sometimes unpredictable.

They both love to have a good time- their one common trait - and I have a great time with them both.

One night in Barbados we went to a nightclub with a whole group of friends. Later, some people dropped out, and there were just a few of us, including Jimmy. We went to a nightclub for locals, not tourists, that had a little reggae band. I asked Jimmy if he felt like sitting in and he said that he would love to. We went over to this band, and this was at the very height of Led Zeppelin's popularity, and I said that this was Jimmy Page. They sort of nodded and said "So what?" I said "You know Led Zeppelin?" They didn't know who Led Zeppelin were. Jimmy said "Can I borrow your guitar and play a little bit?" The guy said "No man! I don't lend my guitar to nobody man!" We finally got them to let Jimmy play a little bit, and, of course, they were astounded. They never heard anybody play guitar like he did. Nobody in the world plays like Jimmy does."

"Do you have a favourite Led Zeppelin concert?"

"Oh God! My favourite Led Zeppelin concert was a rehearsal to which they weren't allowing anybody in the theatre (Hammersmith Odeon) in London. One day, their manager called and said "The boys have agreed to let you and your friends (I was going out and having dinner with some friends) come and listen to the rehearsal." That was a great thing. My friends were beside themselves. They couldn't believe they were actually going to see Led Zeppelin. There was nobody else there except the crew. They said we could come up and sit on the stage. They put me right in front of the blasting speakers. I had jet lag. I stayed up the night before and hadn't slept. I had several drinks before dinner before going there. Right in the middle of the third song, I fell asleep. I dozed off and apparently was snoring a little bit. Robert put the microphone right in front of my nose and that's when I woke up."

"What are your memories of Peter Grant?"

"That's a book. One of his artists said to me "He must be the cleanest person in the world because whenever anyone called, they would say 'Oh, Mr. Grant is in the bathroom. He'll call you when he gets out.""

We all loved him. He redefined the meaning of management. He gave Led Zeppelin their mystique, their aura, what they believed in. He was a wonderful man, but toward the end of Led Zeppelin, he became a bit difficult. He was the best manager around."

From Narm.com - Thanks to Knebby

On October 29, 2006, Ertegün attended a Rolling Stones benefit concert in New York City, when he tripped and fell, hitting his head on the concrete floor. He was rushed to the hospital and slipped into a coma and eventually died on December 14, 2006. He was buried 4 days later, next to his brother, father and great-grandfather in Sultantepe, Üsküdar, Istanbul.

A memorial service was held in New York City on April 17, 2007 and perfomers included Wynton Marsalis, Eric Clapton and Dr. John, Stevie Nicks and Phil Collins. Another service was held at Grauman's Chinese Theatre in Hollywood, Calfifornia on Jul 31, 2007.

On December 10, 2007, the Ahmet Ertegün Tribute Concert was held to raise money for the Ahmet Ertegün Education Fund, which pays for university scholarships in the United States, England and Turkey. It was held at the O2 Arena in London, England and included performances by Paolo Nutini, Mick Jones of Foreigner, Bill Wyman's Rhythm Kings and Led Zeppelin.

Abe Hoch

Swan Song UK Vice-President (1974-76)

Hoch was previously an executive for Atlantic and Motown Records in the United States. He and his wife, Australian singer Lynne Randell moved to London, to run Swan Song Records.

Hoch and Randell divorced in the late 1970s and Koch eventually moved to California, managing movie stars and producing various TV entertainment.

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December 16, 1968 - Zep plays Bath Pavilion for a mere £75.
December 26, 1968 - First American concert at the Coliseum in Denver, CO
December xx, 1969 - Led Zeppelin are reported to have sold 5 million dollars worth of albums in the US
December 11, 1969 - Led Zeppelin are presented gold and platinum discs for their first two albums
December xx, 1970 - The band enters Island Studios to begin work on the fourth album
December xx, 1971 - The band plays a few low-key shows back in England
December 23, 1972 - The band break for Christmas holiday after a London gig
December xx, 1973 - John Paul Jones works on studio productions for Madeline Bell
December xx, 1973 - Joe Massot films Jimmy Page’s fantasy sequence at Loch Ness
December 19, 1974 - John Paul Jones and Jimmy Page jam with Bad Company at the Rainbow Theater
December 10, 1975 - Led Zeppelin play a 45-minute show with Norman Hale at Behan’s in Jersey
December xx, 1976 - Led Zeppelin rehearses for the 1977 tour
December 25, 1976 - It’s announced that Plant and Bonham will reunite with the Band of Joy for three shows in the new year
December xx, 1977 - The band minus Robert gather to discuss Led Zeppelin’s future plans
December xx, 1978 - The new album is completed quickly at Polar Studios and mixed at Jimmy’s Plumpton Studio
December xx, 1979 - John Bonham considers joining Paul McCartney’s Wings
December 29, 1979 - The band minus Jimmy Page attend the Paul McCartney And Wings Kampuchea befefit show
December 04, 1980 - Led Zeppelin issue the following statement not to carry on as a band: "We wish it to be known, that the loss of our dear friend and the deep respect we have for his family, together with the deep sense of harmony felt by ourselves and our manager have led us to decide that we could not continue as we were."
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