Enzepplopedia is thrilled to bring you this firsthand account of Led Zeppelin's reunion gig at London's 02 Arena on Monday, December 10, 2007. Howard Mylett, world-renowned author of several important Led Zeppelin books, granted us this exclusive report.
Howard would like to publicly acknowledge and personally thank Tracey of Joan Hudson Management, London, Maria Orlandi and John Webster for their invaluable assistance.
Enzepplopedia would like to thank Howard for being such a devoted fan and good friend. We are deeply grateful for his willingness to share his knowledge, experience and enthusiasm with us. And now, with you! Rock on. Read on!
My 02 Review
by Howard Mylett
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Like so many others from around the world, I made my pilgrimage to the Millennium Dome, now known as The 02 Arena, on Monday, December 10. Over the next few months, the venue will be home to some of the biggest names in show business, from Céline Dion and Take That to Elton John and the Spice Girls.
My friend, John, and I arrived around noon. We made our way to the 02 Arena with its built-in cinemas, restaurants and bars. We collected our tickets and wristbands as proof of identity and joined a never-ending queue for merchandise. For £20 , I picked up a programme containing a 75-minute DVD history of Ahmet Ertegun's career! We then made our way to a burger-style restaurant to fuel up for the long wait ahead.
I found myself in the pleasant company of several fellow collectors, many of whom relayed tales of other live concerts. One of them had seen Rush 22 times! Another was a friend of some 25 years, Melvyn Billingham.
Speeding ahead to entering the 02 Arena proper, I became aware of how good a venue it appeared to be for rock concerts. Suddenly realising how far away from the stage our seats were, I asked if we could hire or obtain binoculars for a better view. I was told that when the show started, the video screens would more than compensate for the distance involved. Sure enough, they were right!
Harvey Goldsmith opened the proceedings with words of welcome and the opening bars of Fanfare for the Common Man courtesy of Keith Emerson, Chris Squire and Simon Kirke. We were underway with a who's who of Atlantic artists, ranging from Bill Wyman, Albert Lee, Paul Rodgers, Maggie Bell, Foreigner and a cast of hundreds, including a school choir, all turning in spot-on performances of their best known tracks. Foreigner and Paul Rodgers stood out for me with their powerful and uplifting musicianship.
Winding forward, the seating area resembled an igloo as people reached for topcoats and scarves just to keep body temperature normal. Punters walked by, laden with trays of beer and lager. Within five minutes of Led Zeppelin opening their performance, all of a sudden what seemed like several hundred occupants of vacant seats rushed back to fill every single space for the second coming!
As darkness fell, the screen above the stage ran the record-breaking news report footage of Tampa USA in 1973 when Zeppelin had become the biggest draw in the history of the world, overtaking The Beatles (from the "Special features" section of the newly released double DVD of the remastered and powerful Zeppelin film The Song Remains The Same).
A barnstorming version of Good Times, Bad Times, the first track on the first-ever Led Zeppelin album, although monumentally loud, had lost none of its power. This had been the first coming of Led Zeppelin. Over the next two hours plus, we were to be treated to 16 classic tracks, one of which was played live for the first time ever that evening.
Scanning right to left onstage, the silver-haired Jimmy Page was resplendent in a 3/4-length black 3-piece mohair suit and black shades, looking just as cool as ever! He played blistering, razor-sharp chops and riffs with a sound that was totally of his own unique making - never afraid to smile with recognition when his fellow members hit the perfect spot he was aiming to fill.
Robert Plant, now bearded but still looking like the ringletted time traveller we all know through some of his remarkable and inventive lyrics, had his black shirt tucked in. His dark trousers were looser-fitted than in the 70s, but he is still gifted with the greatest and most emotive vocal range of any rock singer.
Behind him was the natural heir to the drum throne of Led Zeppelin - the late John Bonham's son Jason. His knowledge of Zeppelin bootlegs carried him through six months of rehearsals and had slotted him into place, they say, from their first rehearsal. He only improved more as the concert beckoned. What an emotional night it must have been for him! All the other group members made regular eye contact with him as if to spur him on to bigger and better sounds. And it worked! His father must have been looking down and smiling. The Bonhams were a very proud family.
To the left of the stage, with keyboards and bass at the ready, stood the enigmatic Zeppelin bass man, John Paul Jones - often the underestimated anchor man of the group. Nearly all sixteen of the tracks performed that evening benefitted from the punchiest bass-laden sound I've ever heard. I'd seen Led Zeppelin live in concert seven times from 1971 to 1980, and the drumming complemented this bass really well. The Zeppelin engine room had stoked up for full steam ahead!
The second song of the evening was an upbeat version of Ramble On, inspired by Tolkien and The Lord Of The Rings. The unique tones of Robert Plant's vocals sounded in fine fettle. He looked the part of the storyteller, blending stop/start speed with musical punctuation. Jason Bonham's contributions were slotting into place nicely, as the final volume corrections were tweaked so as not to miss a beat, and give this night's performance power and volume - its best sound possible.
Black Dog was the third song and the first to involve the audience, which it did in fine form. Jimmy and John Paul Jones made their guitar twists and turns sound effortless, proving how underrated so many of Zeppelin's moves are.
On a personal level, my favourite Zeppelin track, In My Time of Dying, made it to fourth spot on the programme. A bottleneck blues number, it was played with razor-sharp sound. The track built to a manic musical climax of Robert asking St. Peter to let him through the pearly gates and telling all who listened that it felt pretty good up there! The blend of all four musicians made this a true tour de force with Robert in his best blues, pleading voice and Jimmy gritting his teeth to pull out more and more power chords before rounding the whole song together as if we, the lucky listeners, had been on a mission of spiritual enlightenment.
Song number five was For Your Life, from the underrated Presence album, played here live for the first time ever onstage. Vivid white lights illuminated the arena sides and overhead onstage screen as this tale of caution in the drug-soaked areas of the world that Zeppelin used to encounter. The tale unfolded on an audience probably not too familiar with the lyrics but the rapturous applause confirmed the thrust and power in the playing that once again benefitted from Jason's superb, crisp drumming style.
A lighter mood greeted John Paul's return to the keyboards for song six, Trampled Underfoot. He opened up with a funky feel to this highly sexual comparison to the moving parts of the motor car shown by Robert's crotch-thrusting delivery as his voice echoed around the arena and upwards to the stratosphere! Superb and relentless guitar work by Jimmy, coloured lights flashing across the stage and outwards heralded yet another facet of Jason's drumming.
John Paul Jones seemed to be having the time of his life and we, the audience, got into the funky feel ourselves! In front of me, a young couple danced together in a most provocative style which they kept up for another three songs. They appeared to be joined at the hip!
Always a huge blues fan, Robert was in his element as he sang a version of Nobody's Fault But Mine - a track he'd had in his own record collection for some time. The musical interplay and chanting style of this seventh song was definitely Zeppelin doing what they seem most happy to play, as the smiles on their faces revealed. Robert soloed on harmonica as the song varied in speed and intensity, enhanced by Jason's gear change drumming.
At the first sign of dry ice crossing the right side of the stage, we hoped for - and got - another outing from John Paul Jones. Song number eight was No Quarter. There were days when such solos lasted thirty minutes or more but, that night, we were treated to a more compact version. It allowed John Paul's keyboards to blend with Jimmy's wah wah pedal feature accompaniment and theremin.
This version was enjoyable for its conciseness, merged as it was with other worldly lyrics and tales of the "dogs of doom", as captured in John Paul's fantasy sequence (remastered in the newly released The Song Remains The Same double DVD release).
When I looked at the people up in the seats of the gods 'way above me, I realized that the accompanying screen projections were a true asset . The inventiveness of this night's concert video visuals benefitted greatly from a team that must have worked tightly to emphasise the power of the music and the skill of the group's playing.
Back now to black and white visuals and split screen visions of Jimmy in the blues showcase version of song number nine: Since I've Been Loving You. Jason was greeted with huge cheers as he held back on the beat until the climax, when Jimmy - now playing utterly brilliant intricate fretwork - consorted with Robert, whose range changed from a whisper to a scream, as he related tales of 'a back door man'.
Song number ten was immediately recognisable just by John Paul's dramatic bass introduction - the incredible Dazed and Confused. It allowed Jimmy to play a virtuoso showcase guitar solo in a green laser pyramid as he shredded the violin bow strings in a spectacular visual display that had the crowd gasping, some in disbelief as to how one man could produce such eerie and deeply horrific sounds that could be interpreted as music with the skilful use of distortion. Green laser lights bore effectively into the audience, as we diverted our eyes from their sheer power and glare.
Having read the popularity, especially on U.S. radio plays, the next surprise was song number eleven: the all-time classic Zeppelin track, Stairway to Heaven. The first sight of Jimmy's cherry red, double neck Gibson guitar led to murmurings of Stairway. The audience beamed with pleasure at the return of this essential track in the group's repertoire from 1971 onwards.
Robert's wistful opening lyrics, John Paul's pastoral keyboard played softly until the song increased in tempo. Then Jason entered the fray, speeding it along to its natural conclusion, when the group merged to a rousing finale with Jimmy bringing the track to a final flurry of 18-string virtuosity. Welcome back, old friend. How we've missed you!
For song number twelve, Jimmy Page retained his double neck guitar, still delivering multiple muscular riffs. The Song Remains The Same virtually exploded with hefty pounding drum patterns working hand in hand with the pumping bass of John Paul Jones. All gradually slowed, allowing Robert's opening lyrics of "I had a dream, crazy dream" to paint the unfurling vocal canvas for the group's worldwide travels.
Originally, this track would segue into The Rain Song, but tonight's version was a standalone performance more than worthy of the warm reception we, the audience, gave it.
At first, some of us were confused by the running order of selections the group had made. But this quickly became an added element to enhance an evening that was a veritable "Led Zeppelin jukebox"! Fans and journalists alike were given as varied as possible a cross-section of what the world's greatest rock band can deliver, bearing in mind that their last full live performance was in 1980.
So, 27 years on, after Jason's lighthearted vocal intro of I Can't Quit You Babe, we're into song number thirteen: Misty Mountain Hop. This whimsical track was based on police checking out hippies in the park, indulging in their soft drug habit. Jason's touch is lighter than usual in this particular selection, while Jimmy makes even this lighthearted number come alive with a style much different from his norm. Along with this track, Dancing Days and Rain Song - neither of which was played this evening - would have painted a very true picture of how a good many youth were acting in the late 60s, early 70s.
By now, things were building as we'd hoped. With Godzilla-style brutality, powerful stabbing guitars led us to the opening of song number fourteen: Kashmir. This rock anthem has become, perhaps, the group's third most-requested piece.
Now the 02 Arena was fully alive. People were punching the air, or playing "air guitar" - up on their feet, as the visually and musically spectacular tale of a long trek across "wasted, wasted land" unfolded before us. Robert virtually conducted the group onstage and the crowd on our musical sojourn. Replete with stop/start timings, the power crescendoed throughout. By the end, we had all grown accustomed to this adventure here before our very eyes as the invigorating playing locked together all three musicians behind Robert, allowing him to deliver what was, for me, his best vocal offering of the evening. His voice and delivery truly are the best in this rock genre.
As the group exited stage right, foot stomping, cheers and pleas for "more" were ultimately rewarded with the first of two encores. Song number fifteen, Whole Lotta Love, was a particularly fiery version with its mid-section theremin workout from Jimmy Page. He beamed with pride at the audience's reception. After six months of intensive rehearsals, he was once again witnessing the confirmation of what he'd always believed in, since that time in 1968 when he went into Melody Maker's office to tell journalist, Chris Welch, excitedly of this new group he was putting together, called "Led Zeppelin".
Robert, then Jimmy, thanked fans from over fifty countries for all they'd been through to get to the show, then exited the stage once again. Our hands were nearly blistered with feverish, clapping demands for their return.
Then, from the dimly lit stage, a drum kick heralded song number sixteen: Rock and Roll. It was a chance for the crowd to dance, jump up and down and roar our approval as Robert's voice perfectly hit all the high notes. All three musicians virtually defied the speed limits, almost colliding together in exhaustion at the no-frills ending. Words failed me. Why stop? It's only been two hours and nine minutes! But they had seen for themselves just how appreciated they were and how everything had gone according to plan. Led Zeppelin had played its heart out, yet still looked fresh as the band left to a welcoming after-show get together. A Led Zeppelin future looks bright for all fans and rock music lovers. Keep the faith!