CODA - THE ULTIMATE LED ZEPPELIN TRIBUTE

 Over the decades I've seen many a tribute band, from Limehouse Lizzy to AB/CD and Dread Zeppelin. Almost 30 years later the tribute scene is as thriving and relevant as ever. When bands cease to be, there is a demand for their music, their presence and their live experience. And of all the artists to have trodden the boards, none has the live reputation or is equally as missed and demanded as Led Zeppelin.

Those of you that know me know I'm a furtive and intense fan. I revel in the detail, the minutiae. Led Zeppelin were a four piece, they changed music forever. If you're gonna do Zep, it's gonna take a lot of talent, love and attention to that detail.

And this is where Coda come in. On the eve of my next live experience with the band, I'm drawn to express my thoughts about them and the tribute they so accurately and lovingly celebrate. Going back in time there have been some fine bands - Simply Led, Boot Led Zeppelin and The Rubber Plants all stood out almost two decades ago as I remember seeing them from close quarters.

It was last September I first saw Coda, and have seen six shows so far including all 3 2019 shows - very soon to be 4!. The second show I saw last October was their nothing short of triumphant 50th Anniversary Celebration of Zeppelin's Marquee Debut on the 18th of the month. Legendary and esteemed journalist Chris Welch witnessed the first set and wrote a glowing review of the occasion.

Equally legendary Zeppelin author and old friend Dave Lewis was also in attendance, and we both enjoyed the night immensely. The crowd loved it too, feverishly and wildly. One thing that really strikes me about Coda is, like Zeppelin, different songs stand out on different nights There's one pertinent and obvious reason for this - they're a live band. Some nights are better than others, sometimes it works, sometimes not quite! At O'Neills Bar on October 18th 'How Many More Times', 'Communication Breakdown' and 'Since I've Been Loving You' are etched on my brain. At Southend it was 'I Can't Quit You Baby',  'Kashmir' and the encore stomp of 'Black Dog' that resonated strongest.

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Fast forward to Milton Keynes on January 18th 'Dazed And Confused', 'The Song Remains The Same/Rain Song' (played by Coda for the first time that night) and a celebratory 'Stairway' were highlights  The Next night at the White Rock in Hastings I remember 'Ramble On', 'Thank You' and a wonderful 'The Battle Of Evermore'. For authenticity Coda invited the wonderful and highly talented Jessica Lee Morgan to be their Sandy Denny for the evening.

The show at Lewes two weeks later was exceptional, with a really enthusiastic crowd that loved every minute. 'Moby Dick' grew a huge cheer as did the final numbers 'Kashmir' and 'Stairway' and the multiple encores.

The reason I've described and eulogized on the shows I've seen is simple. Coda don't pretend to be Led Zeppelin, they celebrate Led Zeppelin. They've researched and rehearsed and managed to achieve that rare and joyous quality that makes you indulge and rejoice in the music of Led Zeppelin. Chris Welch talked of being transported back to 1968 during the opening songs on October 18th. I know what he means.

Visually the show moves from the early Marquee and Royal Albert Hall era with appropriate stage wear and equipment. For the second set the Madison Square and Earls Court era's are faithfully represented. The songs vary, including a great acoustic set, and more are being readied all the time. As musicians they are all outstanding. And they understand what being a tribute is all about, and play with joy, enthusiasm and humour. At the White Rock Rob led the audience into a brief rendition of 'I Do Like To Be Beside The Seaside', which incidentally Jonesy did at a show in Baltimore in July 1973!

Peter, Adam, Rob and Simon all work extremely hard to bring the music of Led Zeppelin to life in a celebratory way that makes you smile. With some great gigs coming up, even more exciting times are ahead. I've not been this enthusiastic about a tribute band for almost 20 years, but don't take my word for it. Check them out yourself!

Find out more about Coda at -

www.codaledzeppelintributeband.co.uk

www.facebook.com/codaledzeppelintributeband

Twitter @CodaZeppelin

Instagram CODA_Led Zeppelin Tribute

email codaledzeppelintributeband@gmail.com

WHEN THE LEVEE BREAKS

In the summer of 1926 the States, towns and cities alongside and near the Mississippi River experienced unusually high rainfall. By the September flood defences were reaching breaking point, and over the Xmas and New Year into 1927 something had to give. The Great Mississippi flood of 1927 was to rage for months, peaking in April and finally subsiding in August. When it was over there was huge crop and livelihood devastation, hundreds of thousands dislocated and more than 500 dead.

This life changing event was captured by the media at the time in film, picture and prose and also by musicians. Blues artists sang about the tragedy, Bessie Smith's Backwater Blues regaling her viewpoint as early as January 1927. The great Charley Patton recorded High Water Everywhere in December of '29 but it was Kansas Joe McCoy who wrote When The Levee Breaks that same year. It's his version that stood out, a duet with his vocals and rhythm acoustic guitar, embellished by the lead guitar work of  Memphis Minnie Douglas. 

Esteemed journalist Charles Shaar Murray credits the song to Joe, the original '78 names the artists as Kansas Joe and Memphis Minnie with no mention of origin. Whoever scribed the tale, it's a wonderful heartfelt tale of despair and fear. 

Fast forward to the Autumn of 1970. After their 6th US Tour Led Zeppelin looked forward to their next album. Although the tour was a huge success 'III' was roundly criticized by the press and those fans baying for the son of 'II'. Responding to this, Jimmy drove the band on, rehearsing and writing. So just 6 weeks after the final notes echoed around Madison Square Garden Led Zeppelin found themselves in Island Studios. On November 2nd Four Sticks was recorded, and just 9 days later their first early take on Joe and Minnie's tale of woe - 'If It Keeps On Raining'.

A much more open sound, even without the seismic crunch achieved in Headley Grange Bonzo stars with some perfect syncopation, busier than the final arrangement. Robert is more down key, sticking closer to the original lyrics including 'work so hard to keep the water away' and only adds 'goin' home' at the coda. Without the searing slide lead and maestrom of dubs and panning Jimmy plays a precise on the money riff. It grooves, moves and is fine. Just not quite...

Recording continued into 1971, with most of the album recorded by the end of January. On May 19th further mixes and takes were auditioned. The three that have surfaced both officially and unofficially are all radically different lyrically and in terms of dubs and mix. Less intense than the released version, they show the way Jimmy added layer upon layer to turn the song into a monster, prompting Robert's much more impassioned vocals on the finished version, as if to match the swirling harp and searing slide overdubs.

And it's not until the final take that Robert adds the opening lines from Joe Williams 'Goin' To Chicago'.Playing these versions back to back, the enormity of the finished article is astounding. From the off, the backbeat groove and almighty crunch of Bonzo's introduction is game changing. Recorded with just 2 mics in the stairwell at Headley Grange, Jimmy ran the feed through a Binson echo unit, an Italian made effect that used a magnetic drum to record as opposed to a tape loop. Heavy compression to bring John's fabulous hi-hat and cymbal work to the fore completed the sound. 

All four are on the top of their game here, their collective drive and confidence palpable. For me, it's not just about that. Even with Roberts more and more pleading and hysterical vocals, Jonesy's on the button groove nailed to John's bass drum pedal, Bonzo's thunderous rolls towards the coda and Jimmy's layered guitar swoops intertwining with Robert's wailing harp the crowning glory is the production.

Bearing in mind the restrictions and barriers in the studio in 1971, Jimmy works miracles. 16 tracks at his behest, he takes the other worldly soundscape of 'Whole Lotta Love' to a whole new level. Each verse, bridge, break brings something new, an extra tone, one more flavour. And finally as it seems to almost get too much, Robert's vocals stand dead centre as Led Zeppelin swirl and glide around him. It actually SOUNDS like the levee breaking! Genius.

Live, we only have 3 live performances by Led Zeppelin on tape. The 2nd warm up in Brussels on Jan 12th '75, the recently surfaced Bloomington show from January 18th and the first Chicago gig on the 20th. Probably played in Rotterdam on the 11th, the only other possible that year is the 2nd night in Chicago. It works live, but for me needed to be later in the set and played consistently to get a life of its own as a live number.

Brought back post Zep by  Page & Plant, their 1994 Unledded arrangement was slower and more like the 1929 Joe & Minnie take. 

Robert played it with Alison Krauss too, and let's not forget this great 2017 version by the Deborah Bonham band, with Robert guesting...

Over the decades it has become (rightly) one of the most influential songs in the Zeppelin catalogue, largely due to Bonzo's immortal drum intro. So many have used it, following on from Trevor Horn's sampling Moby Dick for Frankie Goes To Hollywood!

From the Beastie Boys to Dr Dre, Eminem to Massive Attack plus countless mix DJ's across the globe.  

Half a century on, When The Levee Breaks is testament to Led Zeppelin as pioneers and masters of their art. Taking their own inspirations and influences and creating such a unique song that has in turn inspired new generations and genres...

JOHN PAUL JONES

The Quiet One. Jonesy. The cornerstone of Led Zeppelin. As a band of equals, they had four distinct and equally important personalities, their individual traits that would intertwine so gloriously and uniquely to create the whole. Time after time, John's contribution would be subtle, imaginative and crucial to that aural palette. 

But Led Zeppelin is only part of the picture, 12 of  the 56 years and counting John has been a professional musician. From learning the ropes on tour with his parents playing Big Band to Vaudeville John graduated to session work. Wanting to play bass, his father Joseph tried to persuade him that Cello or Piano was the way forward, regarding Electric Bass as 'a fad that will be forgotten about in a year or two'. He happily relented after four words from his son - 'There's work for me'.

Session work in the 60's was insular and lucrative. A small band of musicians would criss cross the capital up to 3 times a day. A typical day would involve three such sessions, usually about 3 hours each, the first beginning at 10am, the second at 2.30 and the third at 7pm. The 90 minute gap would soak up (expensive) over runs and set up for the next artist and assorted backing musicians. From Hampstead to  St. Johns Wood, Marble Arch to Barnes, John would add his musicianship and very quickly arrangement and production skills to a wide variety of artists. 

Many would remain nameless or forgotten in the whirlwind of the time. Others would become stars, household names even. Mickie Most, Tom Jones, Petula Clark, Dusty Springfield, Donovan, Herman's Hermits, Lulu, The Rolling Stones... And on and on.

With such a clique of session musicians, prowess rose to the top very quickly and John (like Jimmy Page) was in high demand. His playing and arranging embellished songs from Downtown to Hurdy Gurdy Man, To Sir With Love to She's A Rainbow.

John even had the opportunity for a solo single, Baja/A Foggy Day In Vietnam on Pye Records in April 1964, early on in his session career. Some sessions would be with new on the scene guitar slinger Jimmy Page, from Donovan to Francoise Hardy to Jeff Beck.

The Beck sessions for Hi Ho Silver Lining and Beck's Bolero would bring together a bunch of musicians musing over a supergroup Keith Moon would jokingly christen Led Zeppelin. The sessions for Beck's Truth LP also included a brief take on You Shook Me highlighting Jonesy's growing keyboard prowess. Listen to some of John's session work and you instantly become aware of a clear, perfect musical ear, a triumphant and easy way with perfect pop and melodic arrangement. 'If you really listen to a song it writes itself' was his dictum.

One pivotal session was arranging the Cello's for Mickie Most's session of Little Games by The Yardbirds, another meeting for John with Jimmy and the honing of a friendship that would grow into a very bountiful musical connection. By 1968 the session world had changed. More musically adventurous artists were playing their own songs, the 'Pop Star' being pushed more into the background and the demand for session musicians too. And John had had enough. His only live work had been with Dusty Springfield as part of her backing group during her Talk Of The Town residency in Leicester Square, where incidentally Madeline Bell was a backing singer. Now he wanted some musical freedom, the road, a band.

He did play bass on Madeline's '68 LP 'Doin' Things', and they were by now firm friends. When Zeppelin flew to the US two days before Xmas in '68, the rest of the band flew on to LAX while John and Maureen stopped off in New York to spend Xmas day with Madeline.

So came Led Zeppelin. Even if his musical journey had stopped in 1968, John Paul Jones would have left a wonderful legacy and body of work. The fact he was to be a member of the biggest band of them all and THEN go on to another 4 decades of ground breaking and always interesting and unique music says so much.

We all know of his major part in Led Zeppelin. The strident bass that underpins Good Times, the fluid no messing flurries that underpin Dazed and the flourishing fanfare that starts side two of the debut LP. With songwriting credits on 40 odd songs in Zeppelin's arsenal, his influence and presence were vital and perfect. Within months he'd laid down two of the most breathtaking bass performances on record ever - The Lemon Song and Ramble On. Lyrical, harmonious and percussive and rock solid at the same time. Locked in to that Bass Drum, that syncopation.

As Zeppelin spread their wings as the 70's dawned he gradually came into the spotlight with an Organ Solo in the middle of the set. On 'III' he helped shape Celebration Day, The Stomp and Since. Live his unique,  telepathic communication with Bonzo and their empathy with and behind Jimmy and Robert was to cement Led Zeppelin's reputation as THE live band of the age. By the tail end of 1970 John brought both the impossible bass line and structure of Black Dog and the kernel, albeit jazzier and faster, of No Quarter. His studio knowledge and melody greatly influenced MMHop and the delicate introduction of Stairway.

Playing material from 'IV' plus an acoustic set gave John more variety onstage, and by the time the LP was released he would be seen on bass, keyboards, acoustic guitar, mandolin and even his 'Tupenny Upright' bass. As Zeppelin strode on the material for 'Houses' was more diverse, sophisticated and challenging than ever. His beautiful orchestration and subtle, joyous piano on Rain Song is sublime, faultless. Elsewhere there's the fabulous Synth twists on Dancing Days and the James Brown nailed down dance riff of The Crunge. No Quarter would stand alone as a stark, isolated statement that would expand into a sophisticated and never ending journey by the time Zeppelin returned to the stadiums of the United States.

During that 9th US Tour John switched between electric Piano and Mellotron, and without an acoustic interlude treated us with some unusually upfront bass work on the few occasions he pulled out his 5-string Bass. No Quarter was varying from 9 to about 15 minutes at its' longest on this tour, and John was on keyboards for about 30% of the time.

When the tour finished Jonesy kept busy, playing on and producing Madeline Bell's 'Comin' Atcha' LP, recorded at his own Doormouse Studio. He even appeared with her on her BBC TV show 'Colour My Soul' on December 12th. After filming his parts in the movie came the first of two bursts at Headley Grange where the 8 new tracks for Physical Graffiti were recorded. As 1974 rolled on he popped up at Hyde Park with Roy Harper and Dave Gilmour, having guested on Roy's 'HQ' LP.

The PG sessions were sensational, Jonesy's 'sickness'/'rest' not withstanding. His memorable Clavinet on Trampled and synth and electric Piano work on the electronic opus In The Light still send shivers as does his orchestration on Kashmir, so far down the road from She's A Rainbow!

For the '75 shows No Quarter became one of the two main sources of improvisation and inspiration, dominating the opening part of the now 2 1/2 to 2 3/4 hour shows that climaxed with a sometimes too long and leaden Dazed and the de rigeur set closer Stairway. Beginning at the same length as '73, the addition of a Grand Piano half way through the tour helped it stretch both musically and in length.

Along with Rain Song, Kashmir, Trampled and Stairway (and SIBLY on 3 occasions) John spent much of the middle part of the show seated. Still only 1/3 of the show, but at least an hour at this point! At Earls Court it was a highlight, and the returning acoustic set showed his dexterity and sublime ease with whatever the band threw at him, including 4 part harmony on Tangerine!

John's steadfast and exemplary work on Presence is stunning, especially the strident 8-string on Achilles. The beautiful soundscape outtake 10 Ribs & All/Carrot Pod Pod was a completely unexpected highlight of the Munich sessions. And the 1977 Tour had an even more complex and improvised No Quarter, two sections including a Boogie Woogie motif that heralded a bone crunching Nutrocker on a few nights half way through the tour.

By now he was playing so many different roles onstage Robert referred to him as 'Man Of The Match'! Vocals, guitar and Bass Pedals on Battle Of Evermore take that to the extreme... And right up until Berlin John played his usual key role as the anchor on one hand and almost musical director on the other.

After Zeppelin John returned behind the scenes, spending time with his family in Devon. And since then he works when he wants with who he wants. So talented. Aware of his legacy and body of work but not dragged down by it in ANY way. Always looking forward yet with respectful and proud nods to what he's done before.

Work with Brian Eno and The Mission, who he produced and jammed with. More Soundtrack music on 'Scream For Help' where he teamed up with Jimmy Page once more, a far cry from his arranging of the 60's film  Mrs Brown, You've Got A Lovely Daughter with Peter Noone and Herman's Hermits! When Zeppelin were giving Robert time to consider his future before the Knebworth return he joined Bonzo guesting with Wings on the Rockestra project as part of the Back To The Egg LP and was involved in Give My Regards To Broad Street.

Loved his jams with Ben E King and Lenny Kravitz, working with the Butthole Surfers and the fantastic LP and shows with Diamanda Gallas and Pete Thomas. His two solo LP's Zooma and The Thunderthief are spectacular and innovative, moving as always in new and surprising directions.

Be it Sarah Watkins, Julie Felix, Ben Harper, Supersilent, Seasick Steve or Them Crooked Vultures, you can be sure John Paul Jones will retain that individuality, that calm and measured approach that yet breaks moulds and turns heads and ears. Long may he reign...

And as a footnote, you can't forget John's dry humour. From the unconnected 'phone on the Yamaha at Knebworth to sharp interview answers across the globe and years he's been been always amusing and observant. When talking about the first Zeppelin rehearsal John once said 'Robert hadn't met me before and heard I was a session player. I don't know if he was expecting some old bloke with a pipe and a copy of the Golfing Times! Well, I didn't have a pipe...'
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EVENINGS WITH LED ZEPPELIN

Now the 50th is upon us, celebrations for fans old and new are now reaching a fair pace. Already I've added two exceptional publications to an increasingly creaking book shelves, and this mighty tome completes something of a holy trinity. I have known Dave Lewis for 30 years now, from when I collaborated on his 'A Celebration' book. Fast forward to today and the amazing growth of knowledge, memorabilia, recordings and film - and the volume of official releases - is astounding. 

  

First impressions are simply this - stunning. Weighing in at a hefty 576 pages, it really is special. From the incisive foreword by Zeppelin tour manager Richard Cole, it immediately becomes compelling. Two prologues follow, the first covering the years 1958 to 1967 and focusing on  the individual members activities. The second is a fascinating and excellently detailed history of 1968, with tour dates from The Yardbirds, Band Of Joy, Obs-Tweedle and best of all more than 20 shows Bonzo played with Tim Rose during the spring and summer of 1968.

The detail and the passion is what sets this book apart. There are 516 confirmed shows, 6 unconfirmed, 11 sessions and TV appearances and 86 cancelled shows all given a microscopic analysis, to the point where almost 400 - including 19 cancelled shows - have ticket stubs illustrated here. Just confirming the detail and unending search we've all been on for (much of) the last half century.

Photo's of venues, both outside and inside, flyers and programmes illuminate the evocative text for every entry. Some wonderful pictures - the four pictures from the Kinetic Playground, Chicago on May 23/24 from the late, great Howard Mylett collection on page 103 spring to mind - help to bring the story, the journey to life.

Cross referencing the audience, radio and soundboard recordings brings a direct link for those that focus their collecting on the audio side of Zeppelin, aided by reference to the various 8mm cine film and broadcast visual clips that have surfaced in the last half century.

Alongside Luis Rey's recent 5th addition 'Evenings With...' makes you want to reach for that LP, that CD, that tape and delve and relive the power, mystery and the hammer of the gods. And one of the biggest compliments I can make is inside all of this the text is not dry and unerring. Dave and Mike have made it interesting, alive and beguiling. Unlike so many reference books that leave me cold and read like a phone book, this is bright and sparkles.

Drawing from so many sources of inspiration over this long and never ending Led Zeppelin journey, they've strived to and achieved a fantastic database (for want of a better word) of those wonderful Evenings with Led Zeppelin. Taking a step back you can only marvel at their inexorable rise from unbilled opening act to stadium headliners, from hungry young men knocking at the door of the late 60's headliners to the biggest band in the World.

There are some contentious dates and venues, which some of us will debate long into many a long night with a beer and a quizzical look, but Dave and Mike know more than enough to explain and elucidate their reasons for placing of shows such as Boston 25/1/69 from 28/5/69 and their argument is both understandable and compelling.

Evenings with Led Zeppelin works on so many levels. In 2018 we've heard, seen and learnt so much since those halcyon days of Howard's first book, the at the time ground breaking A Celebration and the next level compendium The Concert File. As with every Zeppelin publication it's almost immediately outdated the moment it goes to print, as it is with Luis' Tape Documentary, as just one newly surfaced recording or ticket stub gives us new information or questions old truths.

This book is an utter triumph, a vast pool of knowledge and amongst the finest publications on ANY band, let alone those myriad of tomes about Led Zeppelin. Very few books are completely essential. This is...

LED ZEPPELIN - THE MARQUEE

The Marquee celebrates Led Zeppelin at Fifty

Such a milestone deserves much celebration. So many pivotal and important moments, from live shows, Recording Studios, TV and Radio Broadcasts and more besides. And Friday October 18th 1968 is one of THE most pivotal and indeed important milestones.

It was very early days for Bonham, Jones, Page and Plant. From the life changing excitement and hysteria of their initial meeting and rehearsal in Gerrard Street (or Lisle Street, as Zep author Dave Lewis was told by Jonesy) Chinatown in mid August Jimmy gathered them together at his Thames side home in Pangbourne to 'routine the numbers' as he later recalled. 10 shows in Denmark and Sweden, although new information puts that 10th show in Malmo as doubtful (the venue closed months before), were the hangover from the last Yardbirds commitments, packed into an 11 day burst from September 7th to 17th. Within a week or so the as yet christened 'New Yardbirds' were focusing their energy and musicality in Olympic Studios, Barnes and by the second week in October had more than enough for an LP that was to change history.

The sessions were interrupted for a trip to Newcastle on the 4th to play the Mayfair Ballroom, the first of a slew of British shows pieced together by Peter Grant while the band were ploughing through those first Scandinavian warm-ups. Years later he remembered how hard it was to get venues, to work, to play. The original contract for the October 18th show was drafted on September 13th, when the erstwhile 'Yard Birds' were performing for the 7th time at the Inside Club in Stockholm.

With the recording sessions wrapped up the next show was to be The Marquee. Billed as 'The British Debut of The Yardbirds', a Marquee press release refers to them as The New Yardbirds, adding 'Fittingly their British Debut is at the Club'. Jimmy had made his debut with the Yardbirds on Bass back on June 21st 1966, but this was to be a completely different animal. 

You have to remember that the band was yet to confirm their name. All paperwork was labelled The Yardbirds/RAK Management/Mickie Most, showing one of the first signs of the total control over business and musical destiny from Jimmy and under his instruction, Peter. Even the 1" blue tin boxes that carried the precious and soon to be groundbreaking Olympic recordings refused to reveal their new chosen identity.

So what would the Marquee regulars, long standing Yardbirds fans and the curious experience that Friday night? There is much speculation and very little hard evidence of those pioneering British shows. In fact, outside Jimmy's archive only 1 show (Spokane, WA December 30th) exists from 1968, and half an hour of (glorious) outtakes and alternative versions from the Olympic Sessions. Recordings do exist, when Jimmy and Peter flew to New York to cement a deal with Jerry Wexler at Atlantic Records they travelled armed with Acetates of songs from Olympic along with 'rehearsal and live recordings', almost certainly from Pangbourne and Scandinavia.

For the Marquee debut, and indeed their return on December 10th - 54 days and 8 gigs later - the set would have been a short burst, yet still able to showcase each member. Based to run an hour or so, sometimes longer on any given night, all but the opening track of each side of 'Led Zeppelin' would feature, alongside two solo spots, a cover version or two and the burgeoning improvisation that would set Led Zeppelin so far apart from the rest. I would surmise the October to December pre-USA shows would be chosen from the following:-

The Train Kept A-Rollin'.

A great, solid opener. Classic Yardbirds arrangement of this Bradshaw/Mann/Kay rocker. Bonzo would kick things off before Jimmy and Jonesy crunch down on the G to A riff before Robert soars over the top. Early 1969 tapes show this to be a perfect opener to get as good a sound balance as possible, even with the primitive PA systems of the time.

I Can't Quit You.

Linked without a pause after TTKAR via a simple yet effect blues motif, then comes a pause for Robert to begin their muscular yet deft arrangement of a Willie Dixon song, even if Jimmy leans much more heavily on Buddy Guy's riffs and pauses. Jimmy had in fact played on the session with Savoy Brown Blues Band, released in August of'66.

Already the syncopation and groove is palpable. Bonzo's use of dynamics and space is breathtaking here, underpinned by understated and solid bass figures by Jonesy, who recalled he never played blues before joining Zeppelin, making his contribution all the more remarkable. Also the first example of Robert's encyclopaedic Blues and Soul repertoire, early live performances attest to the number being stretched and mutated to include lyrics and pieces of songs like I Don't Know Which Way To Go, It Hurts Me So and Nineteen Years Old.

Dazed And Confused.

Like TTTKAR, a song brought through from the Yardbirds. Unlike Train, this is the beginning of an incredible musical journey. Discovered as I'm Confused, a menacing acoustic dirge by Jake Holmes in '67 that Jimmy had discovered on the 'Above Ground Sound of Jake Holmes' LP, plus he opened for the Yardbirds in Greenwich Village at that time.

By the end of the 'Birds it had new lyrics and a strong powerful arrangement. By the time they got to Olympic, Led Zeppelin had transformed it completely into 6 and a half minutes of mind blowing psychedelia. Jimmy had always said he wanted to create a Symphony with different movements, and here he has. Even in these very early days you could expect 10 minutes or more, including a longer more dramatic introduction, an elongated Bow episode and a spaced out finale. Even the post-Bow thousand notes a second solo, pulled from Think About It, stretched and twisted snake like over what was quickly becoming the most potent and powerful rhythm section of them all.

You Shook Me.

More Willie Dixon and a reminder that for all the possibilities and avenues Led Zeppelin could and would explore, they were still aware of the cornerstone of it all - The Blues. Another Willie Dixon classic, and a heavy sexy blues sludge. With very few exceptions John Paul would not have a Hammond Organ onstage, so the arrangement was solid and heady, instead giving Robert the chance to show off his Harmonica licks before Jimmy soared with an extended solo. The unaccompanied guitar/vocal call and response coda was a moment of high drama too, as Robert could effortlessly soar above the highest note Jimmy could wring out of his Telecaster!

White Summer/Black Mountainside.

A showcase for Jimmy, and another Yardbirds arrangement. Stretched to include moments of Black Mountainside and Bert Jansch's Kasbah, it could run up to 10 minutes depending on mood and set restrictions, and if John added thunderous percussion to turn it into a near riot onstage.

Babe, I'm Gonna Leave You.

Played if time permitted, with a simpler arrangement to the soon to be released version. Restricted by just one guitar and no backing vocals, Zeppelin's sheer dynamics pull this off even if it lacks the acoustic/electric light and shade juxtaposition of the LP version.

As Long As I Have You. 
Fantastic soul single by Garnett Mimms. This would run for anything up to 15, even 20 minutes as it segued into Fresh Garbage (Spirit), Bags' Groove (Miles Davis) and Sam Cooke's Shake plus whatever else came into their frenzied imaginations. A fantastic, loose marathon. It was in the set list for those Scandinavian shows, and was another cover song Zeppelin took to a whole other level.

Flames.
A song by Elmer Gantry's Velvet Opera. Probably recorded during the Olympic sessions, much like Baby Come On Home at the end of the famed 30 hours it took to lay down the first LP. Jimmy confirmed on his website this was included in the set at the first show on September 7th in Gladsaxe, Denmark.

Pat's Delight.

Early showcase for John Henry Bonham. Named after his wife, the solo construction is similar to that used in the shorter late 1969 performances of Moby Dick. The intro/outro riff is different, lighter and with more of a 'sixties' feel than the darker and heavier crunch of Moby Dick. Already a highlight in the set, overflowing with power and excitement, it would give John 10 or so minutes in the spotlight. Even at this early stage the 'hands no sticks' section was leaving audiences gasping...

How Many More Times.

The usual set closer. Jimmy had introduced a swinging, almost Jazzy arrangement of Smokestack Lightning to the later Yardbirds live show, and early versions of HMMT began with that distinctive snaking riff. Beginning quietly, Robert would become MC and introduce his mates to the audience, some of whom were probably still Dazed and Confused by the inclusion of only 1 actual Yardbird in the line up. As the show climax, this had the kitchen sink and a whole lot more besides. Mutated from Howlin' Wolf's How Many More Years, there's a section of Bolero before it descends into another Bow episode, where Robert would answer Jimmy's squeals and drones with vocal ad-libs of Shapes Of Things and Over Under Sideways Down in between moans and screams. Then we're into The Hunter, Albert Kings predatory classic where Robert primes his lovin' gun, even drifting into a snippet of self parody with snatches of The Lemon Song. As Zeppelin hit the home strait we even get the Barrelhouse lyric reference from Robert Johnson's Travellin' Riverside Blues. A show stopper, a hybrid of blues, psychedelia and more, and the way Led Zeppelin said goodnight.

Communication Breakdown.

The usual first encore, sometimes used as an opener as well. Proto-Punk meets Eddie Cochran and nigh on invents Heavy Metal! Close to the recorded version in arrangement, Jimmy would rev up the band with an extended introduction before lift off. Another moment of high drama and power, Robert's unearthly screams the icing on the cake. The usual way to round off the night

For Your Love.

Another Yardbirds classic, slowed down to a Hendrix influenced grind, with more than a passing nod at the future arrangement of Killing Floor. Would have been an (occasional) encore during those early shows, in particular if Communication was chosen to open the set.

And there we have it. 60, maybe 75 minutes of prime, potent early Zeppelin. Both 1968 Marquee shows would have the same basic structure, plus the addition of some guitar free Harmonica jamming should Jimmy break a string during the early assault. One review of the December 10th show talked of Led Zeppelin being 'too forceful', and a need to 'cut down the volume a bit' even if there was praise for the Bow episode in 'Days Of Confusion'(sic). 4 more British shows would follow over the next 10 days before Led Zeppelin headed off to the West Coast and fame & fortune. For those lucky enough to have been at either of the '68 Wardour Street shows it was a never repeated experience of seeing a fledgling band bursting through like no other either before or since.

Fast forward to March 1969. Led Zeppelin's 3rd UK tour would bring them back to The Marquee on March 28th. In this short space of time they already had played 64 gigs, 2 BBC Sessions, 3 TV appearances and 2 filmed performances (one live, one mimed) under their collective belts.

Once again, a press report of the march show in Melody Maker adds to the confusion and legend, noting that not only did they play two encores including 'The Train', but did so to a crowd of 1800!

   

Of course the Marquee gig was one of 14 UK shows in just 27 days and all would be single set blasts. Only when they returned to the US would the 2 set  marathons start to take shape. The next London show would be at the Royal Albert Hall, then the Lyceum Ballroom and a return to the Albert Hall. From there on it was  onwards and upwards to The Empire Pool, Alexandra Palace and Earl's Court. Led Zeppelin's days on the Pub and Club circuit were well and truly over, or  so it would seem. 

But, as they set about plans for gigs and tours in 1971 the idea was discussed to go back to their roots in the UK, back to those venues that had booked them from the off. Perhaps overwhelmed at the size of some of the US Stadia they'd risen to in such a short time, they wanted to get up close and personal again. Stung by the harsh treatment of 'III' and buoyed by the fantastic new songs they'd written for their next 4th LP, they looked to the fans.

12 shows in 19 days, from Belfast to The Marquee via Dublin, Bath, Nottingham and and 7 more around the UK. Tuesday March 23rd was the date for Led Zeppelin's 4th and final appearance at The Marquee.  It had only been 5 days short of 2 years since that last gig, but Zeppelin were a completely different animal. Only two songs remained in the set from those early days, plus Bonzo's showcase. 2 years older, wiser and more confident. In those 725 days between Marquee gigs there had been 5 American Tours alone, almost of 200 shows and two more LP's released and another very much in the pipeline.

Although we sadly have no recordings of any of The Marquee shows, the set would have almost certainly been very similar song wise as their very next show 9 days later at the Paris Cinema, Lower Regent Street recorded for the BBC and less than half a mile away. Here's the probable set list-

Immigrant Song/Heartbreaker

Since I've Been Loving You

Black Dog

Dazed And Confused

Stairway To Heaven

Going To California

What Is And What Should Never Be

Moby Dick

Whole Lotta Love + Medley

Encore -

Communication Breakdown

Also That's The Way, Rock And Roll, Thank You and possibly Bring It On Home were featured in the set or as encores at this time. A show fit for a stadium played for a very lucky few hundred fans in a packed club, a venue of such status and legend and with such history it's only fitting that The Marquee would host their last ever 'back to the clubs' show.

Tonight marks 50 years since that first appearance. This celebration aims to showcase and highlight the energy and power of that initial burst, and also the incredible leap in songwriting and performance Led Zeppelin achieved by the time of that final 4th appearance. I hope you enjoy this evening and reflect on a time when the greatest live band of the Rock era - Led Zeppelin - played four memorable shows at the greatest club venue of the Rock era - The Marquee.

Andy Adams, August 2018

Special thanks to Michael Starke for photographic research. 

Photo credits (where known) - Eric Hayes (march '69), D Tarle (dec '68) andB Norman (march '71)

Copyright Andy Adams/Tobear0ck, 

no reproduction in part or full

without permission.