Jason Bonham

Sonic Boom ad
Advertisement

Sunday, June 8, 2008

Photos, footage of Page, Jones with Foo Fighters

"For someone that grew up listening to Led Zeppelin and never seen the guys live that was half of a dream. The Foos concert yesterday was brilliant but today was just awesome. Thanks for the great night...it was worth every penny even if I nearly got squashed to death. I can't even sleep I am so hyper. The photo is not the best... but man... I was shaking with excitement."
That's what one fan wrote when posting the photo at right of Jimmy Page online after Page and John Paul Jones sat in at Wembley Stadium last night on an encore set with the Foo Fighters.









Please help out my Comments section with your thoughts on this onstage jam!

Saturday, June 7, 2008

Led Zeppelin reunion at the Foo Fighters concert in London: A Fantasy

As Radiohead's Thom Yorke would be wont to tell me, "You're living in a fantasy."

Nonetheless, it was with sheer optimism that I devised a scenario for a surprise encore set by Jimmy Page, John Paul Jones and Jason Bonham at tonight's Foo Fighters show in London.

But it would take place only after the long show by the Foo Fighters, who are headlining the bill tonight at the second of two nights that were already more than six months in the making at Wembley Stadium.

And the whole time, the 85,000 screaming fans are even more enthusiastic tonight inside this packed house than the crowd of the same size was last night -- because, just as in a scenario straight out of the Led Zeppelin playbook written three decades ago, most of the band has been rumored to appear.

Tonight, Robert Plant is half a world away, at a place in upstate New York that locals refer to only as the CMAC. Not to be bothered, he's playing his own headlining show and even revisiting some Zep numbers with his current ensemble of bluegrass musicians -- Alison Krauss, T-Bone Burnett, Buddy Miller, etc.

Not an informed person in London expects Led Zeppelin's singer will show up. But some at the Foo Fighters show are swearing by it, that the rumor they heard, probably fifth-hand at best, was that Robert mysteriously didn't show up at his last few shows in America because he's been in London practicing all week.

One confused 13-year-old drummer from Liverpool has made his way to London with two of his friends, and he can't decide which member of the Foo Fighters he would rather have autograph his CD using his sweaty little Sharpie -- Taylor Hawkins or Dave Grohl. And he's heard every Foo Fighters song ever recorded and, unlike any other kid in his class, every Nirvana song.

But he hasn't heard more than three Led Zeppelin songs his whole life. He'll hear two of those tonight, but not the third, "Stairway to Heaven." And he's spooked at the thought of the scenario he and his two friends have concocted out of their imagination: that John Bonham has just returned from the grave and will now be reclaiming the drum stool warmed up for him recently by his son Jason.

Crazy little teen-age imagination.

When Jimmy Page was that young, he said he wanted to do chemical research when he grew up. And we all know how well that panned out.

The rumor, in its pure form, has been around for weeks but only recently repeated by the music press. Speculation began May 15 that something of interest to Led Zeppelin fans would happen when the Foo Fighters played Wembley. A very vaguely worded statement leaked out to a prominent member of a Led Zeppelin superfan online group, who said he had received the ambiguous message from the same confidential source who'd correctly predicted the precise timing last year of when Zep's reunion show was to be announced. Folks, that's the confirmed power of insight there, not a lucky guess.

Now, a British tabloid at week's end printed specifics from an undisclosed source who said Led Zeppelin would be represented onstage. The word is out. Fans may doubt its authenticity, but the word is out, and it's in the back of their minds at least. Some have chosen to accept it as gospel truth and can't wait to see Led Zeppelin.

At any rate, as the hours draw near to the stadium opening and admitting its first concert attendee, the lines at the venue are getting packed. People without tickets are hoping for a glimpse of Jimmy Page. They didn't bring cameras, but their cell phones can take mediocre pictures -- just in case. There's now a demand for tickets outside like you wouldn't believe. See how much a little rumor really means? Led Zeppelin T-shirts are everywhere.

Those who have tickets aren't giving them up. They were purchased with Foo Fighters in mind, so they're fine with the price they paid whether Led Zeppelin has anybody there or not. Ain't no tickets changing hands tonight. Grasp onto those, they're precious!

Backstage, a BBC Radio 1 broadcaster has been talking about the Foo Fighters for the last half an hour, hosting a "Request Show" going out live across the country. He introduces a segment between songs and holds out the microphone to John Paul Jones. He's clad in a black button-down shirt and blue jeans, unbeknownst to radio listeners, and he's smiling. In his soft mumble of a voice, he speaks about being a fan of the Foo Fighters and relates a story about his February appearance with the Foos outside the Grammy Awards ceremony four months ago. He conducted an orchestra that accompanied the Foos playing their recent hit, "The Pretender." Jonesy says some Grammy promotional contest, "My Grammy Moment," also gave him the chance two work with one young musician. He laughs that he never met either of the contest's other finalists.

That appearance, he says on the air, was just before of production at an L.A. studio for Sara Watkins, a singer he toured with a few summers ago, and with Tom Petty's Benmont Tench on keyboard. He's excited about that project but really can't wait for tonight's Foo Fighters appearance.

What's this? There's no mention of the Led Zeppelin rumor? The host didn't ask if Jimmy Page was there too? Or if Jonesy was even sitting in tonight? Well, at least we fans know John Paul Jones was there. Jason and Jimmy could be too, you never know.

But at least John Paul is there. You can always count on John Paul. After all, who showed up at the Marquee Club in 1976 when it was rumored Led Zeppelin was sitting in with the Pretty Things? Jonesy. Who would drag another instrument out onstage with him, or learn a new vocal harmony part, at the drop of a hat? Jonesy. Who had to have a guitar custom-made for him so he could play two different acoustic guitar necks and a mandolin together all at once, just because Robert Plant ordered him to do so? J-P-freakin'-J, baby.

In London, he's there. That we know. Why he's there, we're not sure.

The Brits are psyched as Grohl and Co. take the stage. Foo Fighters come out with a vengeance. They're playing with passion, playing with fire -- I mean, this set is smoking! This set is burning! They're absolutely wild, and the crowd is absolutely wild, and they're cheering! and they're clapping! they're pumping their fists in the air! they're crowd-surfing to the extent possible due to the security around (and because they're truly British in their grace and reservedness).

Only a few times in the past has London been so turned on to a band. Foo Fighters did what few could do, turn on the lights of Big Ben just with the fierce energy audiences would make at the city's several famous venues. What, like Oasis? Blur? Duran Duran? The Smiths? Queen? The Sex Pistols? Bowie? Pink Floyd? Led Zeppelin? The High Numbers? The Beatles? Dylan? In terms of fans, the Foo Fighters are doing what they all did. (Yeah, in a category with Led Zeppelin.)

So it's only fitting that tonight, more than halfway through the show, John Paul Jones seats himself at a piano to play, for the first time live, "Miracle," from the Foo Fighters album In Your Honor. He was on the studio recording. To the audience's delight, Jones sticks around for one more song. A roadie hands him a mandolin so he can play "Another Round" with the Foo Fighters, which he also played in the studio with them. He remembers it was sometime in the first three months of 2005.

So Jonesy accepts an enthusiastic ovation when he politely waves at the end of his second song. Dave Grohl on the mic screams his name, "John Paul Jones!!!!!!!" as the only confirmed guest walks back offstage. At this point, the Foo Fighters play four more songs and then their show is over. The packed house is really letting loose.

There will certainly be an encore set. Grohl, who's a bigger Zeppelin fan than anybody else within 50 kilometers, promises there'll be an encore. Immediately following the Foo Fighters' tight last note, Grohl shouts, "Don't you go anywhere! Ladies and gentlemen, stay tuned for Led Zep-puh-lin!!!!!!!!!......."

Now everybody is absolutely berzerk. They're getting it! They can't even fathom what they're going to see! Led Zeppelin is actually there, at Wembley Stadium, for the Foo Fighters show, and they're going to play! They're out of breath just thinking about it!

A few minutes pass in total blackness except for the lights of cell phones lit up everywhere. The sound is deafening. What in the world could possibly happen? Was Jimmy Page about to appear?

John Paul Jones makes the first appearance. It's his third instrument of the night. He walks from stage right with a bass strapped to him. A curtain opens, and centerstage, a new drum kit makes its appearance. This isn't at all the one Taylor Hawkins just used for two hours. This one is monstrous. It has a gong and kerosene. There's a crashing dirigible pictured front and center on the mammoth bass drum. And behind it walks a bald man in his forties who waves confidently as he assumes the stool. He's just puked backstage with nerves, but he hides that well, looking dapper with a pair of £600 shades in front of his face. Those who were guessing are right; this is is Jason Bonham.

Just those two, they gently slide into a funky groove not unlike Jonesy's instrumental from 2001, "Bass 'n' Drums." Displaying more than a few moments of inspiration, and even an obvious allusion to the riff of "Heartbreaker," it's been going on for a minute and a half when they stop. The curtains drop, and from stage right walks Jimmy Page with a cherry red Gibson Les Paul and a violin bow. He has a tall top hat in black on, with the type of long coat only a king would wear. He looks regal even without a crown. He may even look more like a magician, with his long, white hair. You even think maybe he has recently gone into chemical research in a laboratory where he's known as the mad scientist, ha ha.

He lets loose for a couple minutes playing the violin bow solo we all recognize. "Dazed and Confused," this is. After the solo, the curtains draw once again, to reveal Jones and Bonham now seen by all for the first time with Page. Cell phone lights flash, illuminating all points of the stadium. Led Zeppelin is here.

Page steps backward, to take his place opposite Jones. At Bonham's beckoning, they continue the song. There's no need for singing here. Page, leading, rips through parts of the song just like he did with the Yardbirds in 1967-1968, and with Led Zeppelin in 1968-1969. They're just as on fire as the Foo Fighters were at the beginning of their set! This place is rockin'!

And so, when the band goes back into its main theme, there's no screw-up like there somehow was in December when a full Led Zeppelin brought the house down at the O2. Tonight, everything is perfect. Their jamming was inventive and incendiary, but from here on out, this slow part is note-for-note, dead on. From Jones' side, Dave Grohl emerges with a handheld mic, ready to sing the last verse of "Dazed and Confused." For him, it's beyond his wildest dreams. Basically, he's here only to lead the audience in signing the words. He's not doing a Robert Plant imitation. But everybody else in the place, knowing there's no Robert Plant in the whole place, says it's OK if there are 85,000 amateur Robert Plant imitators in the place.

David Coverdale is even in attendance, rocking out in front of a mirror in a dressing room backstage with closed-circuit TV projecting the Led Zeppelin tune into his head. He was in the news recently, first telling an interviewer his Whitesnake enterprise was soon opening for Led Zeppelin, and then pulling back like John Kerry's vote for the war before his vote against the war.

"Dazed" goes over well, better than a lead balloon.

It's clear what song is next when Jason Bonham launches into the drum intro that his daddy copped off of a Little Richard B-side he and Robert loved. "Rock and Roll" is playing, and Grohl, though sharing the mic with Jimmy Page, is again merely singing to lead the audience. Page kills with his guitar solo. Jones and Grohl are grooving together at times. And Jason is tight but loose behind them all.

The song's last verse is followed by another quick guitar solo, and a final splash of Robert Plant imitation by 85,000 to sing, "lonely, lonely, lonely, lonely, lonely time." Before "time," some come in right away like on Led Zeppelin's studio take. Others prefer to wait and imitate their favorite Robert Plant improvisation, from any era of his career.

But something unexpected happens after the word "time." Jason sits there, motionless. He's not playing the drum outro everyone expects. Over the public address system, a familiar drum pattern plays. It's clearly John Bonham, and people confirm it visually when they see him looking almost slender in a red tank top at the Royal Albert Hall, also in London, from Led Zeppelin's show on Jan. 9, 1970. It was Jimmy's birthday. It was a special night, and so is tonight, coincidentally a week after what would have been Bonzo's 60th birthday. This was Jonesy's, Jimmy's, Jason's and Dave's way of paying tribute to John Bonham.

The video of Bonzo is above everybody's heads, on a huge video screen on the ceiling nobody knew was there all night and not used until just now.

Jason has some drum responses to his dad throughout this version of "Moby Dick." This heartfelt tribute is exactly like Zappa Plays Zappa but wordless. Jason speaks nothing except for some of the grunts his dad would make -- or some tennis players. When the main riff of "Moby Dick" emerges, the screen goes from showing the 1970 performance to a live shot of modern-day Led Zeppelin still rocking one of their few instrumentals out. They extend it by adding guitar solos from Page that would have been performed at the beginning of the song. The place is going nuts.

That's it. Dave Grohl shouts "Led Zeppelin" half a dozen more times and thanks everybody for coming out. As if they need to be thanked for seeing two of the world's most kickass bands back to back!

But it wasn't broadcast live, so it makes the news worldwide tomorrow. And the night goes down in Led Zeppelin History, its story repeated for ages.

That's what I imagine is happening.

Friday, June 6, 2008

Zep members rumored to be gracing London stage for BBC broadcast

The Foo Fighters' long-anticipated concert series at London's Wembley Stadium just became even more anticipated, thanks to reported rumors that the American band would be joined onstage by members of Led Zeppelin.

Multiple U.K. news sites -- including the Daily Star, a tabloid, and the New Musical Express -- are reporting on possibilities that Jimmy Page, John Paul Jones and Jason Bonham will perform onstage together this Saturday night for the first time since Led Zeppelin's reunion concert last December, also in London.

The Foo Fighters booked this pair of Wembley performances more than six months ago, and plans have been underway for a stage set up centrally in the venue to provide all concertgoers with a close-up view of the performers. Attendees may be getting even more musicians to admire if the Led Zeppelin members are really there to perform three of their songs, as the Daily Star has quoted a source as saying.

Aside from all that, the BBC is set to broadcast portions from Wembley Stadium. Those listening in may be able to hear this rare almost-Led Zeppelin performance.

Absent from the Zep members rumored to appear in London this Saturday is Robert Plant, who is currently touring North America with Alison Krauss. LedZeppelinNews.com will be at his show in Atlantic City, N.J., on Sunday. Stay tuned to this site for further information as it becomes available.

Wednesday, May 14, 2008

How new music from Led Zeppelin could eschew the new-music/bathroom-break paradox

Put yourself in the shoes of your favorite classic rock act.

Your band got back together and decided to have another go at it. It's been a while, but the chemistry is there, and you're juiced about some new music you're writing and rehearsing.

But your new music has not seen the light of day outside of a rehearsal studio, and you're not sure how well it would be received if you played it live alongside the many hits your fans would expect to hear. Bob Lefsetz describes the dilemma:

"[W]hen people go to the show today, they only want to hear the hits. They don't want to hear anything new. And when you do fire up your new compositions, they immediately go to the bathroom, got get a drink. New material is like the obligatory drum solo of yore, signal for a break.

"Therefore, every act that is not a flash in the pan is an oldies act. The customer, paying an overinflated price for a ducat, feels he DESERVES to hear the hits. That's why you charged him so much, right? ...

"You want to grow. But your audience won't let you. They don't want to hear anything new."

Lefsetz continues on in yesterday's post to offer what I consider a pretty good suggestion that could guide new music from any classic rock act, including Led Zeppelin, toward acceptance among fans -- so as to avoid the new-music/bathroom-break paradox.

The new album -- or even a disc or electronic download with only the songs you intend to play live -- comes complimentary with your advance concert ticket purchase. That way, fans can play it ahead of time and become acquainted with it and grow to love. It'll be something they actually want to hear because it fits in with the old stuff!

"If all the money is in touring, why are you trying to sell your music? Doesn't it make more sense to give it away, in the hope that people will have a better concert experience?

"... [I]f the $100 ticket came with the new material, the audience would be motivated to play the new stuff, in ANTICIPATION of the show. After a while, this will become the new behavior, people will know to listen to the free new music, because that's what the act is going to play!

"Even the Eagles. How many hits do they have? That's all people want to hear. But the band finally made a new album, they'd like to stretch out on stage. How do they keep the audience from being disinterested? By making sure each and every customer has the new music in ADVANCE!

"... If you're a touring act, you've got to stop thinking of your new music as a revenue source. Rather, it's an investment in your career, its vitality, its longevity. The key is to get it in as many hands as possible so your sphere of influence, your customer base, doesn't shrink, but GROWS!

"... As it is, you're announcing your tour almost a year before it happens, getting all that revenue up front, before anybody else does... If you give away the music with the ticket, the audience has a long time to become familiar with it! Hell, the dropping of the album and the on sale date happen simultaneously!"

So, what say you part-time Zep marketing strategists? Time has changed since 1980. Audiences, their demand, their expectations, have all changed. Could new Zep material be distributed as explained above? Would this do the trick? Could Led Zeppelin successfully adapt in the 21st century and help forge new behavior among its listening audience, the same way Led Zeppelin of yore revolutionized the 90-10 split?

Monday, May 12, 2008

Do Jimmy and Jonesy realize...?

Robert Plant's entire professional career has been one of constant evolution. When Led Zeppelin evolved as a band, Robert evolved as a singer. When Led Zeppelin broke up, Robert found new ways to branch out. When he made peace with his past, he discovered ways to redevelop the music of his past while never failing to forge new territory ahead.

Jimmy Page and John Paul Jones must be cognizant of this; after all, they're in the middle of it all. They're more aware of it than is any hack who's typing up opinions on a BlackBerry after a day's work in Washington, D.C., right?

But exactly how deep is their appreciation for how far Robert has come in the 28 years since Led Zeppelin ceased functioning as a creative force?

How many times do you think they have spun Robert's album with Alison Krauss to know what Raising Sand is all about? How many shows have they caught on their tour, which went to the United Kingdom last week?

Think either has watched enough Strange Sensation videos over the past eight years to understand Robert's passion in the Dreamland and Mighty ReArranger albums?

I don't think it's appropriate to consider the possibility of any future Led Zeppelin activity without fully comprehending the disparate personalities involved and the places in which those people must find themselves, and each other.

Any modern-day, full-length Led Zeppelin concert would, by all expectations, necessarily have to be more like that concert in London last December than any show before it. It's just natural and proper to assume this.

That means the inevitable numbers cannot be pulled. And we all know which ones those are. The band would be forever maligned if any of the following five did not make it into the set list of a 2008/2009 show: "Black Dog," "Since I've Been Loving You," "Dazed and Confused," "Stairway to Heaven" and "Whole Lotta Love."

Dare to put on a Led Zeppelin concert without those at this time, and nothing would be closer to professional suicide. Somebody, somewhere, would paint Led Zeppelin as irrelevant old folks who don't know how to pander to the masses when that's what they should be doing.

So, half your set list has already been dictated by popular demand. That much is set in stone.

Sure, save for "Dazed," these songs never dropped from Zep set lists once they made it into the live act. And Page, Plant, Jones and Jason Bonham had no problem playing them back then. They were in charge.

Someone at or near age 60 deserves better than to be told what to do. It must be frustrating when that happens.

On top of that, it's probably true that there are many songs a modern-day Led Zeppelin concert should ignore. Basically, anything not performed by Led Zeppelin by 1980 falls into that category.

Plant, Page and Jones have been fond of working cover songs into their own live sets and onto their solo albums since then. But it would be seen as heresy for Page to insist on adding Fleetwood Mac's "Oh Well" to a Zep set, or for Jones to demand "Down to the River to Pray" stuck in between a couple of acoustic songs.

This is especially more challenging to Plant, who has never shied away from a good cover.

I mean, you can play "We're Gonna Groove" and "Gallows Pole" and "In My Time of Dying" at a Led Zeppelin concert. Even though they're (basically) covers, they're fair game because the original Zeppelin touched them.

But two of Plant's three most recent albums have been almost entirely made up of covers. Led Zeppelin never played songs by Gene Clark, Arthur Lee, the Everly Brothers, Stephen Stills or Skip Spence, so there are an awful lot of cover songs he favors that wouldn't quite fit into a Zep show.

Not only that, but it's also natural that Led Zeppelin shows would force the band members to ignore performing any songs from their outside projects. Who stands to suffer the most from this? Again, it's Plant, who since 1980 has taken part in eight albums of new material.

Imagine a Led Zeppelin concert that ignores Page's unremarkable solo album, Outrider, and any of the work by his other bands, the Firm and Coverdale/Page. Totally believable and appropriate, isn't it?

What are you giving up by ignoring JPJ's solo work? Mostly some great instrumentals spread across three albums.

Ignore Robert's post-Zep career in a concert, and there's a whole lot more auspiciously missing.

He went out and played some shows like that in 1998, playing to the big houses with Jimmy Page, and note how Plant ended up pulling the plug by the end of the year.

Tell Robert he isn't free to reproduce certain material onstage, and you may have yourself a dealbreaker, folks.

It is these factors that make a Led Zeppelin show seem restrictive to the creative process and to future evolution.

Fans who argue Page, Plant and Jones ought to write new material are kidding themselves if they think new songs will be given a fighting chance in a live setting. No matter how good it is, it would still be deemed a bathroom break. There's no room for a bathroom break in the Led Zeppelin legacy.

All in all, the band's own legacy is the hindrance that may keep the group from reforming yet again. It stands to be tainted.

The uneducated rumor mill says Led Zeppelin will be touring soon. And further, Whitesnake is opening for them. I'm going to laugh myself silly. There's absolutely no way this story has any credibility today.

And the money? Please. That won't change Robert's mind. Not now, not ever. "Tour" is a bad word. Maybe Led Zeppelin would agree to play a few charity events, but probably not more than about eight. He definitely isn't interested in the "T" word. It's just not about the money.

Personally, I don't see how a Led Zeppelin reunion could be anything more than just a few charity benefits and a huge commitment.

Friday, May 2, 2008

New online-only videos span Led Zeppelin's career

The other day, I chortled when I read a comment on this blog from my friend Rich, requesting some live Zeppelin clips rather than live clips of Zep covers from a music festival in 2008 where no Led Zeppelin members even appeared. He has a point!

It just so happens that some vintage live Zeppelin performances are being uploaded to Youtube these days with the approval of the band. The LedZeppelin Youtube channel is officially sanctioned by the group, so some video and audio clips are now seeing their official release exclusively online.

The channel has some clips from their previous official releases. Who could forget this excerpt of the powerful "I Can't Quit You Baby" from the Royal Albert Hall in 1970?

...or this funky version of "The Ocean" performed at Madison Square Garden in 1973?

...or the classic and penultimate take on "Kashmir" from the Knebworth 1979 shows?

But what's especially interesting to see are some of the videos added over the past couple of weeks whose release the band had heretofore withheld authorizing.

Chris Welch took some 8mm footage of the group on tour in West Germany in July 1970. Now these clips have been edited together and come to life with the soundtrack of "Celebration Day" supplied for effect.

An outstanding performance of "Sick Again" from the L.A. Forum in 1977 is presented in full with several sources supplying great angles of Jimmy Page in his white dragon suit wielding his double-neck guitar, and the rest of the guys doing what they do best. This montage was spliced together by Sam Rapallo, webmaster of the official Led Zeppelin Web site, www.ledzeppelin.com.

The band takes flight in this 8mm footage shot on location in Pittsburgh in 1973 outside the Starship. This was the location of a famous photo shoot in which the band poses next to their touring plane with Robert Plant opening his arms wide. The first half of the footage is accompanied by Page's guitar instrumental "Bron-Y-Aur," until we arrive at the concert. Then, snippets of that night's version of "Rock and Roll" and "Black Dog" kick in with the visuals synched up to the tunes.

Cut to a year earlier in San Bernardino, Calif., where the band can be seen and heard ripping up a version of "The Song Remains the Same" a whole year before it was released. Page's guitar antics continue in the middle of his "Heartbreaker" solo. This also includes snippets of "Black Dog," "Stairway to Heaven" and Page's violin bow solo from "Dazed and Confused." Remarkably, before the footage ends with a brief snippet of "Whole Lotta Love," we get a glimpse of a rare onstage performance of "The Crunge."

Here's a version of "Kashmir" recorded in Los Angeles the year it came out on album. That Mellotron John Paul Jones plays may not be quite in tune, but what else would you expect from a 1975 performance?

Fast-forward two years, again in Los Angeles, and this time there's nearly 10 minutes' worth of Led Zeppelin performing. This 8mm footage includes a shot of Jones at his keyboard during "Trampled Underfoot" and another of John Bonham during his "Over the Top" drum solo. Page can be seen performing portions of a guitar solo that preceded "Achilles Last Stand." But the biggest surprise of the night comes five-and-a-half minutes into the video, when Led Zeppelin welcomes a rare guest onstage -- namely Keith Moon, drummer for the Who. With Keith at Plant's microphone and Plant at the drums, hilarity ensues! Moon then sticks around to play timpani and tambourine for the encores, and Page marks the one-off occasion with an out-of-tune string heard a few times at the beginning of "Rock and Roll."

There are also segments from several shows on Led Zeppelin's final tour. Catch up with them in 1980 at their destinations in Munich:


...and Zurich:

...and Rotterdam.

About the author

Steve "The Lemon" Sauer is a writer and musician based in Boca Raton, Fla., who has dedicated a portion of his life researching the history of rock group Led Zeppelin and monitoring the ongoing careers of the band's surviving members. Although he was barely a year old when Led Zeppelin broke up and it took him until his teen years to appreciate the music, it didn't take long to make up for it.

Steve is currently a contributing writer and consultant for Get the Led Out, a weekly syndicated radio program hosted by Carol Miller and syndicated in 100 U.S. markets including New York and Los Angeles. He also provides content for a Web site associated with the radio show, www.LedZepOnline.com.

In 2007, Steve launched Lemon Squeezings: Led Zeppelin News to cover the lead-up to the band's reunion concert at the end of that year. Since then, he has closely examined every rumor of a followup tour since then, often dispelling or clarifying misinformation perpetrated by the mainstream media. Using his journalistic training, Steve has also uncovered some facts and accounts previously unreported elsewhere.

At age 18, he began publishing On This Day In Led Zeppelin History, a daily newsletter detailing the interactions of members Jimmy Page, Robert Plant, John Bonham, John Paul Jones, and their manager, Peter Grant. The newsletter is located at www.OnThisDayInLedZeppelinHistory.com.

He enjoys uncovering stories and has employed various methods to communicate those stories to Led Zeppelin's vast fan base, utilizing terrestrial radio and the many facets of the Internet: from Usenet newsgroups to plain e-mail and now Facebook and Twitter. Steve also connects with live audiences when performing as a backup vocalist and keyboard player with various bands, including past onstage appearances with three cover or tribute acts performing the music of Led Zeppelin.

Do you have a news tip to share with Steve? Do you have something you would like him to write about? Would you like to book him for a speaking engagement? He can be contacted by e-mail at Steve at LedZeppelinNews.com.

Other Led Zeppelin information from Lemon Squeezings

Lemon Squeezings archive

Like what you see?

Please consider a donation today to help keep LedZeppelinNews.com up-to-date!