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J.J. Jackson Remembers
LED ZEPPELIN: The Music and the Guys Who Made It

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How a Kid Met the King

There are over forty interviews in my brother, Frank Reddon’s, book on Led Zeppelin. But I’d like to tell you about one of my favourites because there’s an important lesson in it for all of us. And I need a good kick start every once in awhile with these subtle reminders!

The interviewee, Bill N., is an amazing guy who lives in Welland, where Frank works. They met through a mutual friend who was aware of how heavily into music they both are.

Bill has had an incredibly full life as a business exec, drag racer, music promoter and more! But when he was a kid, he met one of his idols (and Zeppelin’s, too): The King of Rock’n’roll – Elvis Presley. After all, it was Presley’s song, Baby Let’s Play House, which prompted Jimmy Page to learn guitar!

Anyway…

Young Bill listened to the radio constantly – especially to the blues music that was coming out of the United States. He was so knowledgeable, he landed a gig as DJ when Jerry Lee Lewis came to perform in Fonthill, a town close to his.

One night, a friend of Bill’s told him that Elvis was coming through Welland on the train. The kid’s father worked on the railroad and said it would be late at night. Like 3 or 4am.

Bill was only eleven years old. He told his parents he was going to get up really early, ride his bike to the train station and meet ELVIS! His Dad’s only comment was to say hello to the King for him.

His alarm went off, he hopped on his bike and rode to the station. Sure enough, there was a train stopped. The conductor pointed out the coach where Elvis and his entourage still had lights on. They were travelling between gigs in Toronto and Buffalo.

Bill approached the window and knocked. The blind flew up and there was Elvis, surrounded by teddy bears and flowers from that night’s concert!

They started talking about the blues. Bill told him how wonderful it was that Elvis was doing all this blues music and gospel. Elvis was so impressed, he called his guys over. “You gotta hear this kid. He knows more about music than all of us do!”

Fifteen minutes later, as the train was about to depart, Elvis stuck his hand out the window and said, “Bill, it’s been a pleasure. This is the highlight of my trip. I really enjoyed talking to you!”

Frank summed it all up like this.

“The fact you were only eleven and had such a knowledge of the ‘old blues’ must have floored him. What a fantastic story! You’re only able to tell it now because you made it all happen by getting your butt out of bed at 3:00 o’clock in the morning. That’s great!”

I hate to think about how many opportunities I’ve slept through.

How about you?
Lou Anne Reddon, Editor
Sonic Boom: The Impact of Led Zeppelin

Season’s Greetings from Enzepplopedia

It has been an exciting year for Lou Anne and me. The past year saw the release of our first two e-books and there’ll be more to come in 2010. We’ve made a lot of new friends in Zep and it has been our pleasure to share with you some information about your favourite band that may have been news to you.

We could think of no better way to review the past decade than to have the man behind Lemon Squeezings: Led Zeppelin News, Steve “The Lemon” Sauer, give us the highlights. He very generously shares a recent interview he conducted with Myles Kennedy, who for the first time speaks in depth about the band he was nearly able to form a year ago with half of Led Zeppelin.

Before we get into that, we’d like to wish you and yours a very Merry Christmas or a joyous holiday of your choice and every happiness for the coming decade.

As you know, my first book is called Sonic Boom: The IMPACT of Led Zeppelin. Well, folks, here’s an unusual example of how that impact endures.

This is a bottle of table wine produced in the Finger Lakes region of New York state. Look at the label. It’s called “Red Zeppelin”! On the back, the producers, Fulkerson Wine Cellars of Dundee, NY, admonish us: “Come on, wine people. Loosen up! Have fun with this zesty, etc. ROCK ON!”

We salute the musical taste of these vintners and will raise a glass to all of you this season.

Cheers!

C’est WHAT?!!

“ ‘Scuse me while I kiss this guy…” “There’s a bathroom on the right…”

Those are some of the better known cases of “disk-lexia” – lyrics that people THINK they hear.

Hendrix, of course, wasn’t gay. He said, “Kiss the SKY”. And CCR wasn’t pointing to the lavatory. They sang “There’s a bad moon on the rise”.

In marketing, music and life, perception may be reality, but what you see and hear ain’t necessarily what you get.

Over the course of conducting his interviews, Frank learned this right quick. One of his subjects was rather surprised when he got Frank’s first draft transcript for approval. After all, he was pretty sure that he would never have described Jimmy Page’s playing of the Theremin as “pathetic”.

Houston, we have an oops.

So it fell to me, as Frank’s editor and resident linguist, to go back and unravel the threads of that original conversation. The troublesome phrase turned out to be “He was moving his hand back and forth in the path of the Theremin”.

But hot damn! It sure sounded like “pathetic” to me, too. Good catch by our esteemed interviewee. And that’s exactly why we asked everyone to review what they’d told Frank before we published it.

I don’t know about you but, in any job I’ve ever had, you can sweat bullets over the big stuff. And it’s ALWAYS the little things that raise their ugly heads to bite you in the derrière.

Jimmy Page and John Paul Jones had the studio smarts to know this. As renowned Zeppelin author, Robert Godwin, explained to Frank: in 1968/’69, when Led Zeppelin’s first two albums were recorded, there was a universal flaw in recording techniques. No one had figured out how to successfully capture the “bottom end” of bass guitar and percussion.

And by the way, in those days, “stereo” was cutting edge in America but still mainly foreign in the UK where Zeppelin recorded.

If the recording engineer put too much bottom end on the master, the lathe would skip when cutting the lacquer and it’d drop out. However, the folks in Motown had figured it out. And, thanks to John Paul Jones’ passion for Motown, he knew exactly how they did it.

It was largely this attention to detail – not only in performing the music, but also in recording it – that made these early Led Zeppelin albums so sensational. They sound as fresh and exciting today as they did back then.

Funny, the things you can learn when you talk to people, huh?

Be True Blue to YOU

Here’s another life lesson, courtesy of Frank’s interviewees.

(If you’re starting to think you might like to read all the details in these stories, check out our website www.learn-about-led.com to find out more about Frank’s book on the impact Led Zeppelin had on people and rock music history).

Craig M. is an ethnomusicologist and professor at Montreal’s Concordia University. His take on Led Zeppelin being among the first of the “Post-Modernist” bands just blew us away. But before he got into that discussion with Frank, he had a quick history lesson from the world of country music.

It’s all about authenticity.

Professor M. has a favourite video clip he always shows his students. It’s of country singer Ernest Tubb.

Tubb performs his hit, I’m Walkin’ The Floor Over You, with a big goofy smile on his face. So what? Well, the song is about total abject misery! Why is he grinning like an idiot?

Prof M. tells us it’s because he’s an entertainer. That’s how it was done in his time (up to the mid 1940s). Later that decade, Hank Williams would start singing his songs like he felt and meant them. There was real pain in his eyes and body language. And people responded.

As Prof M. points out, the original bluesmen weren’t entertainers. They sang to forget their problems and to take control of their lives in the only area they could – their fantasies. It doesn’t get more authentic and true than that.

These days, even so-called “reality” shows are totally bogus. And everyone knows it. Audiences right now are outraged that Britney is lip-synching in “live” performance.

Another of Frank’s interviewees is a guy who wasn’t even born when Zeppelin disbanded. He told Frank that the reason Led Zeppelin’s music is still so popular with his generation is that it’s so REAL. Not overly packaged or slickly produced. There’s an energy even on their earliest albums that simply cannot be faked.

We’d all do well to take a page from Hank Williams’ songbook. Drop the BS and artifice. Sing it, play it, DO it – whatever IT is – like we mean it.

Led Zeppelin did.

Rockin’ in the (not so) Free World

So many movies these days disappoint, I rarely look forward to seeing one. But I can hardly wait to see Pirate Radio!

It’s inspired by the true story of the British government (which still owns and operates the BBC or British Broadcasting Corporation) trying to ban rock’n’roll in the mid-sixties.

Bands like Cream, The Kinks and The Rolling Stones (and later, Pink Floyd, Genesis and Led Zeppelin) were viewed as subversive influences on teenagers, inciting them to rebellion.

An American DJ started broadcasting the banned bands from a ship just beyond the edge of Britain’s territorial waters. The rest is history and a promising premise for a movie.

Just as the internet has changed the way the world communicates and does business, rock’n’roll changed the world from its very beginnings.

And the changes weren’t only cultural. Many were technological.

Frank interviewed several on-air radio personalities and a media historian from Emerson College. Professor Donna Halper has actually been credited with having discovered the Canadian rock group, Rush!

She said Zeppelin, Floyd and Genesis would never have existed if FM radio hadn’t developed at the same time. In the ‘60s, Top 40 AM radio ruled. (The Beatles were often featured on the BBC’s programme, Top of the Pops).

But in the United States, the Federal Trade Commission was insisting that station owners develop separate formats for AM and FM or risk losing their licence.

The classical music being played on FM just wasn’t making money. The audience was too small. So the station owners went to the largest demographic, the Baby Boomers. They were in their teens and in college. What kind of music did they want to hear? Rock’n’roll!

Rock’n’roll’s musicians were lining up in opposite camps, just as radio itself was. The Beatles were among “The Mods”; The Stones, Pink Floyd and Zeppelin were among “The Rockers”.

Robert Godwin, another of Frank’s book interviewees, was attending boarding school in Britain at the time. He said fans of one type wouldn’t be caught dead in the same room as fans of the other! The example he cited compared those who liked Zep to fans of the Archies singing Sugar Sugar.

But as Bob Dylan observed, “the times they are a-changin’”.

As hot a band as Led Zeppelin was, in the mid 1970s, it too would become “uncool” when punk and new wave started in England. Even Robert Plant referred to Zep as “dinosaur rock” when he addressed their nevertheless adoring fans at Knebworth in August 1979.

If you’ve already seen Pirate Radio, write a post here and tell us what you thought!

PS – “Rockin’ in the Free World” is Neil Young’s actual song title, modified for this post title. You probably knew that, but we’re giving credit where it’s due. We love Neil, Rush AND Zep!

October in Led Zeppelin History

Happy 40th, Led Zeppelin II!

I guess there’ll be 40th anniversaries of all things Zeppelin right up until 2020! But it’s worth celebrating the October 1969 release of the band’s second album, Led Zeppelin II. Released on October 22, 1969 in North America and October 31 in the UK, LZII was an amazing achievement on many fronts.

Led Zeppelin toured North America from December 26, 1968 to February 14, 1969. In mid-tour, the group’s self-titled debut album, Led Zeppelin, was released on January 12. For the sake of easier comparison, I’m going to call this Led Zeppelin I or LZI. Forgive me, you purists!

The material the band performed from LZI was very well received in the U.S. Jimmy Page and Peter Grant knew the band was on to something big and that they had to maintain the momentum. A second album as follow-up was a sound marketing strategy.

As Zeppelin continued to tour throughout the spring, summer and early fall of 1969, the concert stage became their crucible. Not only did the songs from LZI continue to expand as they improvised in concert, they were also developing and testing new musical ideas that would be captured on vinyl in Led Zeppelin II.

It was difficult to record that album, with the incessant touring. Between July and September, 1969, they largely did it while on the road, recording in the studios of their tour stops: Vancouver, New York, Los Angeles and London.

Eddie Kramer, who had worked extensively with artists like Jimi Hendrix, was the new sound engineer for this project. Glyn Johns had recorded the debut album. You only have to listen to the opening track of Whole Lotta Love with its chaotic mid-section to hear what a similarly great collaboration there was between Kramer and producer Jimmy Page!

Led Zeppelin I had done extremely well on the record charts, reaching #6 in the UK and #10 in the U.S. But Led Zeppelin II did even better, hitting #1 on the charts in both places! Zeppelin’s well-earned reputation for being great live and on record had spread like wildfire. Their fan base grew and sales of LZII skyrocketed.

Let’s take a look at some of the ways the band’s first two albums were unique and different.

All records are time capsules that freeze forever where a band is at a certain point of its career. When Led Zeppelin II was conceived and recorded, all four members of the band knew that they were making a huge impact on popular music. The energy and enthusiasm of LZI grew and carried over into LZII, which is even more urgent and jubilant.

The second album relied far less on covers of blues songs although there were a few. On Led Zeppelin II, the band fused rock and blues to create the bombast evident in Whole Lotta Love. They expanded lyrically, with Robert Plant starting to show his evolving talent in penning songs like Ramble On and Thank You.

Instrumentally, they made giant strides forward, showcasing the individual talents of every group member on this album. John Bonham’s technique and power in Moby Dick would become a textbook study for aspiring percussionists. John Paul Jones demonstrated his prowess and training in classical music on the Hammond organ in Thank You.

Jimmy Page switched from his Telecaster to his Les Paul guitar, as the main axe on this album, achieving a fatter, fuller sound. Nevertheless, the harsh and vicious attack of Page’s Telecaster on Communication Breakdown (LZI) is mirrored on the Les Paul’s driving guitar riffs in Heartbreaker and The Lemon Song on Led Zeppelin II. The timbre is still rich and raunchy, but its quality is quite different.

Robert Plant’s vocals were evolving as fast as his ability to write lyrics. On LZI, his voice was raspy. J.J. Jackson described him as “a marbles-in-the-mouth bluesman”. Because Led Zeppelin II was recorded on the run, this raspiness takes on a sense of urgency, power and raunch! It’s frenetic. Just listen to Whole Lotta Love and The Lemon Song.

Yet there are still moments of great clarity, as in passages of What Is and What Should Never Be, Thank You and Ramble On.

Here’s a quick look at each track.

Whole Lotta Love is riff-based rock at its finest, in the tradition of Communication Breakdown. Page and Kramer make supersonic music, manipulating the technology of the recording studio. One of my book interviewees told me that he was studying late one night. When Whole Lotta Love came on, he jumped under his desk because he thought a plane was crashing into his room!

Plant’s voice comes through here in a frantic, erotic manner in the tradition of How Many More Times on Led Zeppelin I.

What Is and What Should Never Be is a beautiful blend of acoustic and electric guitar. It develops strong images of living a free lifestyle while incorporating the mysticism of Tolkien lore. Musically and lyrically, this very poignant song demonstrates Plant’s development as a lyricist.

The Lemon Song stems from Howlin’ Wolf’s classic blues number, Killing Floor. With Page’s outrageous guitar work and Plant’s scathing, regretful vocals the song follows in the footsteps of You Shook Me from Led Zeppelin I and yet, as always, the band manages to make it their own in new and exciting ways.

Thank You shows the quiet, sensitive side of Led Zeppelin, with John Paul Jones’ strong classical influence on the Hammond organ intro, Page’s hauntingly beautiful acoustic guitar work and Plant’s increasingly more sophisticated lyrics.

Heartbreaker kicks off Side Two. Yet another rocker, it takes advantage of a strong chromatic arrangement of notes that creates a hypnotically infectious main riff that would go on to thrill thousands in concert over the years. Jimmy Page’s scorching solo guitar work in the middle is unlike anything else on the album.

Living Loving Maid starts up so soon after Heartbreaker, it seems like another movement of the same song. All four band members make this straight, hard rocker pulse forward. Plant’s vocals are especially frantic in this one!

Ramble On is a welcome change of pace after the all-out attack we’ve just heard! It features another masterful blend of acoustic and electric guitar that complements the dramatic louds and softs of Plant’s idealistic “hippie” lyrics. This is an excellent example of how well Led Zeppelin’s songwriting is coming along at this point in the band’s career.

As mentioned earlier, Moby Dick is truly a textbook for would-be drummers. Based on an earlier Zeppelin creation called Pat’s Delight in honour of John Bonham’s wife, it leaves the listener breathless, wondering what Bonzo will do next. He even plays with his bare hands to create unique timbres of unusual aural interest – a technique that stunned concert audiences as early as when Zeppelin debuted at The Boston Tea Party in January ’69.

Page’s brilliant riff-based intro and outro are played with steely execution on his Les Paul guitar.

Bring it on Home is a tribute to Zeppelin’s earliest influences; in this case, to blues great Sonny Boy Williamson. Plant’s voice – and adroit harmonica playing – steal the show in this one! Page offers up another wealth of guitar riffs that stick in your mind’s ear like musical glue and with that, Led Zeppelin II is over.

Like its predecessor, the production techniques and arranging of songs on Led Zeppelin II convey the same sense of non-stop musical action that made the band’s concerts so exciting. There’s a split second between the pairings of Heartbreaker/Living Loving Maid and Moby Dick/Bring it on Home.

We’ve just reviewed a few of the factors that made Led Zeppelin II so special and helped create an impact on the world of popular music. Many of the album’s songs that the band played live for the first time in 1969 evolved and endured right up until the end of Led Zeppelin’s career in 1980. Whole Lotta Love and Heartbreaker are great examples.

What better way to close this 40th anniversary of Led Zeppelin II than with one of the tracks? For giving us four decades of musical excellence, we Led Zeppelin fans say Thank You!

Zeptember in Led Zeppelin History

Here are Steve “The Lemon” Sauer’s reflections on historical events and recent news surrounding the band that is our focus – Led Zeppelin.

Steve has been learning about the Led Zeppelin story from books and personal interviews he has conducted over the years. For just as long, he’s been sharing those stories through his online publication On This Day in Led Zeppelin History (www.OnThisDayInLedZeppelinHistory.com) as well as his more recent offering, Lemon Squeezings: Led Zeppelin News, (www.LedZeppelinNews.com).

Many thanks to Steve for his help and insights.

Let’s roll!
Frank Reddon

Steve Sauer Remembers Zeptember

As Frank mentioned, I’ve been publishing On This Day in Led Zeppelin History in one format or another since 1998. Each year, during the month I call ZEPtember, the dates remind me of the extreme highs and lows experienced throughout Led Zeppelin’s history.

Those highs began in Zeptember 1968, shortly after the first rehearsals that brought Jimmy Page, John Bonham, John Paul Jones and Robert Plant together. The first live concerts of this new band (then known briefly as The New Yardbirds) took place on Zeptember 7 at the Gladsaxe Teen Club in Copenhagen, Denmark.

They first recorded their own material at Olympic Studios, Barnes, London, England on Zeptember 27. The recordings for that first Led Zeppelin album were made shortly after that, giving us the earliest preserved document of how powerful this young band sounded in those formative days.

The month also includes several other highlights, including a historically beloved concert at Los Angeles’ Inglewood Forum on Zeptember 4, 1970. That performance yielded the famous bootleg LP set Live on Blueberry Hill later that decade.

On Zeptember 23, 1971, Led Zeppelin embarked on its first tour of Japan, a set of dates full of wonderfully hilarious stories about samurai swords, food fights, a suspected peeping Tom incident and other lighthearted shenanigans that may or may not have contributed to the group being banned from the Tokyo Hilton hotel.

Zeptember 1980 began as a month full of expectations. The band took the opportunity on Zeptember 11 to announce a set of tour dates in North America. A revitalized Led Zeppelin gathered on Zeptember 24 to begin rehearsing for the tour, planning to debut a live arrangement of Carouselambra, the longest and most difficult number from In Through the Out Door.

Sadly, that anticipated North American tour never came to fruition because John Bonham died in his sleep only one day into rehearsals, Zeptember 25.

In some ensuing years, Zeptember showed some rays of hope. In 1985, two months after the first performance by Led Zeppelin’s surviving members, Robert Plant said farewell to the first group of touring musicians in his solo career.

This occurred at a time of piqued public interest into Led Zeppelin’s history, with the unauthorized Led Zeppelin biography Hammer of the Gods by Stephen Davis becoming a New York Times Bestseller.

Many believed that circumstances were paving the way for a more permanent reunion. Indeed, some rehearsal sessions the following year took place, briefly bringing funk drummer Tony Thompson of Chic into the fold.

Likewise, a new wave of hope was ushered in during Zeptember 2007 with the announcement of a Led Zeppelin concert to follow later in the year as a way of paying tribute to the late Ahmet Ertegün.

When guitarist Jimmy Page broke his finger, the original November 26, 2007 performance at London’s O2 Arena was rescheduled to December 10. That evening, the surviving members of Led Zeppelin, with the addition of John Bonham’s son, Jason, treated fans to a brilliant performance truly worthy of bearing the Led Zeppelin name.

One year ago this month saw the release of Frank Reddon’s first published book, Sonic Boom: The Impact of Led Zeppelin. Volume 1 – Break & Enter. This 736-page hardcover book collects rarely told stories from Led Zeppelin’s initial tour of the United States and Canada plus many contributors’ thoughts on the debut Led Zeppelin album.

For those of you who haven’t yet seen this textbook-quality work for yourselves, I suppose now would be a great time to disclose I’m one of the contributors, although I’m certainly not alone in that capacity.

Over the past few weeks, we’ve experienced a unique Zeptember.

John Paul Jones’s new band, Them Crooked Vultures, announced its first headlining tours of North America, Europe and Australasia.

Robert Plant appeared at a charity gig in London, England to benefit an organization that champions music therapy.

A film documentary featuring Jimmy Page and two other generations of guitarists, Jack White and The Edge, called It Might Get Loud, opened in movie theatres throughout the United States this month. (It premiered at the Toronto International Film Festival last Zeptember – 2008).

As for Jason Bonham, this Zeptember saw him announcing some upcoming tour dates with Bonham, the eponymous band that earned the second-generation drummer his first Gold record award.

Although the prospects of any of these four celebrated musicians collaborating in the immediate future are not very promising at the moment, I can’t help but believe we are going to see a time of prosperity for them. That’s my hope for the new month about to begin, which is, of course, Rocktober.

My friends at Enzepplopedia have given me the honour of introducing their latest publication, an e-book called J.J. Jackson Remembers Led Zeppelin: The Music and the Guys Who Made It.

This e-book of more than 80 pages offers complete transcriptions of interviews that Frank Reddon conducted with the late J.J. Jackson. Five of the six interviews have never been published in their entirety anywhere before.

J.J. Jackson was ingrained into the American consciousness as one of the original five video jockeys for MTV. To those who heard his voice on the radio in Los Angeles and Boston before that, however, he was a beloved on-air personality of the late ’60s and all throughout the ’70s. To the members of Led Zeppelin, J.J. was a treasured friend.

This unique story places Jackson as a Boston radio DJ who had the presence of mind to promote Led Zeppelin on the air prior to the release of their first album. Because of this, Led Zeppelin experienced some of its earliest successes in Boston and Jackson earned the band’s valuable friendship.

In these interviews conducted five years before his death, Jackson speaks with excitement as his vivid memories literally come to life.

In reading this, you can tell those memories are just gushing forth! Jackson and interviewer Reddon sometimes become sidetracked in their conversation, but it’s always a journey the reader can come along on, and it is consistently diverted back to the original topic in a timely fashion.

Notably, Reddon makes a brilliant move seldom seen elsewhere. He provided his interview subject with some live audio recordings of the four Led Zeppelin shows Jackson personally attended at The Boston Tea Party (Jan 23 – 26, 1969), prompting further recollections. There’s no other book on the market like this one!

J.J. Jackson Remembers Led Zeppelin was written by Frank Reddon, edited and compiled by his sister, Lou Anne Reddon.

The e-book also includes a foreword written by one of my heroes, Dave Lewis, author of the fine long-running Tight But Loose fanzine series and books including Led Zeppelin: A Celebration, The Concert File (with Simon Pallett) and the recent book Then as It Was about the Knebworth Festival in 1979. In that book, Lewis transcribes an interview that J.J. Jackson conducted with Robert Plant and John Paul Jones after the festival.

Led Zeppelin may not be an active band today, but authors like Frank Reddon have given its modern-day fans a new way to share their love of that band. For folks who never saw Led Zeppelin perform live, this new e-book provides an opportunity to experience the firsthand accounts of someone who not only had those concert memories but also had unparalleled access to the band in its formative days.

It is a joy to read and another great reason this is a wonderful time to be a Led Zeppelin fan.

Steve “The Lemon” Sauer
Zeptember 2009

Led Zeppelin Black Dog 1973 (From YouTube)

August in Led Zeppelin History

August is an auspicious month in Led Zeppelin history!

Robert Plant was born on August 20, 1948.

In August of 1968, the newly formed band began rehearsing for its debut tour that fall as The New Yardbirds in Scandinavia.

On August 4 and 11, 1979, Led Zeppelin rocked hard at Knebworth House in Stevenage, for what would be the band’s last performances in the United Kingdom.

And this August, a special event celebrating 30 Years Since Knebworth was organized by Graeme Hutchinson and Dave Lewis. An auction in support of the ABC Trust (Action for Brazil’s Children, co-founded by Jimena and Jimmy Page) was held, raising an estimated $1900 for the charity.

By all accounts, tribute band, Boot Led Zeppelin, totally rocked the joint.

For a very entertaining review of the Knebworth at 30 Celebration, check out Dave Lewis’ Diary online at www.tblweb.com.