RFK Stadium 1989 Box
LESS THAN 5000 LEFT
The Grateful Dead battled the elements in July 1989, enduring drenching rains and stifling humidity during back-to-back shows at Robert F. Kennedy Stadium in the nation’s capital. In spite of the bleak weather, the band thrilled the massive crowds both nights with triumphant performances that rank among the very best of a busy year that included 74 shows and the release of the group’s final studio album, BUILT TO LAST.
ROBERT F. KENNEDY STADIUM, WASHINGTON, D.C., JULY 12 & 13, 1989 includes two previously unreleased concerts taken from the band’s master 24-track analog recordings, which have been mixed by Jeffrey Norman at TRI Studios and mastered in HDCD by David Glasser. The collection’s colorful slip case features original artwork by Justin Helton and a perfect-bound book with in-depth liner notes written by Dean Budnick, editor-in-chief of Relix magazine. The set will also be available as a digital download in Apple Lossless and FLAC 192/24.
When Jerry Garcia, Mickey Hart, Bill Kreutzmann, Phil Lesh, Brent Mydland, and Bob Weir rolled into D.C. in July 1989 for the Dead’s two-night stand at RFK, the band hit the stage running with a stellar rendition of “Touch Of Grey,” the group’s biggest hit from its only Top 10 album In The Dark, which was released in 1987. The following night, the band returned to its double-platinum commercial breakthrough when it opened the show with a fiery version of “Hell In A Bucket.”
“RFK Stadium '89 fell right in the middle of one of the best tours of the last 15 years of Grateful Dead performances, with these shows being the sixth and seventh of an 11-show tour. This tour is widely considered the start of a nine month period of sustained excellence, which ran from Summer '89 through Spring '90. The RFK shows are as good as any of the more famous shows from this period, including July 4 in Buffalo, July 7 in Philadelphia, and the Alpine run,” says David Lemieux, Grateful Dead archivist and the set’s producer. “When Bob Weir has asked me to provide copies of Grateful Dead songs to give to his bandmates to learn and rehearse, he almost always requests Summer '89, and I've often drawn upon the RFK shows for this purpose. It's really that good!”
Both shows feature standout moments, but the July 12 show is notable for a few reasons. Perhaps the biggest is that the first set featured at least one song sung by each of the band’s four lead singers – Garcia, Weir, Lesh and Mydland – something that rarely happened. Another surprise came when the band opened the second set with “Sugaree,” a song that almost always appeared during the first set.
Pianist Bruce Hornsby — who briefly joined the band between 1990 and 1992 — is featured on both shows. He played accordion during “Sugaree” and “Man Smart (Woman Smarter),” with a touch of keyboard-tinkling, on July 12, and then played more accordion the following night for “Tennessee Jed” and “Stuck Inside Of Mobile With The Memphis Blues Again.”
For fans of Mydland’s tenure with the Dead – which began in 1979 and ended in 1990 with the keyboardist’s tragic death – these stellar shows capture that incarnation in peak form. Among the long list of highlights are performances of live staples such as “Eyes Of The World,” “Wharf Rat” and “I Need A Miracle,” along with rarities like “To Lay Me Down,” which was played only a few times in 1989. The July 13 show also features the band road-testing “I Will Take You Home,” a track Mydland wrote with Dead lyricist John Perry Barlow that would appear later that fall on Built To Last.
Release Date: 11/10/17
Limited Edition of 15,000
A Dead.net Exclusive
Listening Party: THE BIG ONE
Far From Me
To Lay Me Down
Looks Like Rain
R.F.K. Stadium, Washington, D.C. (7/12/89)
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You had me at Look!
Guaranteed way to trash Jim's morning productivity:
Ha.. that Beatles link quite possibly trashed my morning productivity. :D
On the bright side I had a very pleasant morning.
Hey "possibly", not offended at all, and sorry if that came across as chippy - I was having a bad day, that was just a frustrating exchange.
I'm a huge fan of these kinds of documentaries of songs/albums/backstories, especially GD/Bealtles. The "Anthem to Beauty" doc is great. Would be great to have one that covers "Europe '72/Wake/Mars", another "Blues for Allah/Terrapin/Shakedown/Go To Heaven".
There are a lot of great videos that focus on Beatles. My fav is a music theory-heavy 48 minute video that explains why they are probably the greatest composers of the 20th century, and on par with Beethoven, Bach, and Wagner - fascinating stuff: https://www.youtube.com/watch?v=ZQS91wVdvYc. He goes through many of their songs - drop the needle at 19:58 for a forensic appreciation of Penny Lane, or 13:02 for a fascinating look at I Am the Walrus, 29:08 Eleanor Rigby, 15:24 Hey Jude, etc... I could watch it all day.
Why are you spelling Fogerty's mame with an l?
You have my interest piqued..
I am enjoying this thread immensely. It makes one think and at the core of the conversation is money and morality.
If I like something, I do try and buy it and support the artist(s). But what really got me thinking is the rip off of Bonnie Dobson by Tim Rose. Every time the GD puts out a show with Morning Dew, Tim Rose's estate gets a cut (more specifically a cut from Bonnie's cut). Then again, I love that tune, and Tim brought more of an edge into the mix.. it's quite possible he brought more attention to the song and inspired more to cover it and hence increased overall royalties. Thinking about that too much might just cause ones brain to fart.
Then there was the excellent research by Cousins of the Pioneers. And the infinitely interesting Beatles take, which I really want to watch. And Dylan.. Woodie Guthrie, Harry Smith, John and Allan Lomax, and on and on.
Its all quite complex and the purist in me doesn't know what to make of it all but the listener and hack-job historian in me seems less on edge. Ah.. the Carter Family and Johnny Cash, when country music was par excellence.
I guess it's true, some of these artists were standing on the shoulders of giants and there were some charlatans and snake oil peddlers in the mix as well. What brought us Pet Sounds, Sgt Peppers and dare I say Anthem of the Sun? In Anthem to Beauty, Tom Constanten is quoted as shamelessly borrowing prepared techniques from John Cage when discussing the transition between the Other One and the delicious sounds of New Potato Caboose. But where is the muse and what is the catalyst to propel it all forward? Where did the masterpieces come from?
A small sidebar, if you find this interesting I suggest the heady read by Dennis McNally, "On Highway 61: Music, Race and the Evolution of Cultural Freedom"
Really fun stuff.. thanks to all for keeping the thread interesting. its one of the reasons I rarely go to the Steve Hoffman forums. If you are patient enough to side step past a few trolls, the kind, witty and knowledgeable folks here consistently deliver the goods and remind me why I like the music, history and culture of the Grateful Dead so much.
I've only seen the Rubber soul movie but it's one of a series done for a bunch of Beatles albums. I keep meaning to catch the others but haven't had a chance, and they're not very accessible unless you want to pay for them. They get released in arthouse theaters but otherwise are only really available by buying the DVD or maybe they might be on Netflix or something.
If you're a Beatles fan or a musician, they're absolutely fascinating. He takes the album, song by song, and analyses how they were recorded, isolating the different tracks (Rubber Soul of course was done on 4 track), sometimes playing the "influencer" song, and also giving some history of what was happening in the lives of the Beatles at the time.
Hey man I'm not looking for a fight, I'm sorry I offended you! I just saw the word plagiarism and connected it with what I saw in the Deconstructed docu, and thought it fit in nicely with the discussion here. Isn't there even a John Lennon quote where he says something to the effect of "good artists copy; great artists steal?" I'm probably wrong about that too, which I'm sure you'll point out.
I kinda' like this subject!
So here's another one: Eddy Arnold's I'd Trade all of my Tomorrows(for just one yesterday) written by Jenny Lou Carson in the 1940s. It does remind one of a line in a famous Kris Kristofferson tune.
Thats plagiarism, if it's not in quotes!! Isaac Newton said it first :) but apparently he didnt quote either and stole it from the 12th century from a person named Bernard of Chartres.
But I dont know how you could put quotation marks around a sound.
You know who cares the most about plagiairzing music capitalists, lawyers and maybe Lars ulrich (he's got napoleon syndrome and seems to think he's good drummer, geesh some people!!).
If you are quality musician who is doing their own thing and uses others ideas in tasteful and respected ways, build upon the past by all means!
There only so many combinations of chords, notes and melodies. You could do something totally out there but I can only listen to avant-garde music for so long. People like what they like and have found. If it aint broke why fix it?
This is a fascinating topic and the Folgerty topic has always been of special interest to me.
Till this day he can't give detail. I heard an interview recently (mabey on WTF).
What a crazy business!
Maybe I missed it but has anyone mentioned yhe wierdest plagiarism case of all? When John Fogerty was sued by he who can't dance for plagiarizing himself now that's wierd. The unfortunate thing is Fantasy records was responsible for keeping a lot of obscure good stuff in print (unlikely paying any royalties) through reissues of stuff from defunct companies. One example that comes to mind is the wierdest folk musicians on the planet The Holy Modal Rounders "Ma's Out There Switchin' in the Kitchen, Dad in the Living Room Grousing and a Bitchin',and I'm out here kicking the gong for Euphoria
No complaint, just the facts. Look it up.
The lines "I'd rather see you dead little girl, Than to be with another man" in The Beatles "Run For Your Life" on Rubber Soul also appear in the Elvis version of "Baby Lets Play House"-one of the best rockabilly tracks ever recorded, incidentally.
But again, the Beatles actual song is very different. John Lennon, who wrote it, later put his own song down as being substandard. And in the company of the other songs he wrote in 1965, it is. But he wrote so many ground breaking, original and still amazing sounding songs during the 1960s that the odd blooper is to surely to be expected.
Possibly - I can't find the movie, you don't remember any of the the Beatles songs discussed or the songs they allegedly plagiarized, and now you're simultaneous emphatically REasserting "Yes, the Beatles plagiarized", and then in your last line saying maybe it isn't "plagiarism"? You're killing me. Moving on....
I'm not huge into The Beatles and can't remember the actual tunes that were analyzed in the "Deconstructing" movie, and I don't feel like watching it again just to back up my comment. I do remember that the analysis in the movie was absolutely phenomenal, and I really recommend it, especially if you like The Beatles.
In one case, there was an Elvis song that the Beatles used, and that Elvis song in turn was taken from black radio. In another case, I wouldn't have recognized the source had he not played the two side by side. Part of the brilliance of the analysis was in tying the Beatles song to whatever it was they were listening to at the time.
Yes, The Beatles plagiarized. Yes, they made it their own. Yes, all music is in some way plagiarism; otherwise no one would ever be interested in anyone's influences. That's what I meant when I said we're standing on the shoulders of giants. Plagiarism is perhaps too strong a word.
Vanilla Ice ripping off Queen.
Stones sue Verve, but Stones should have paid Staples
I seem to remember reading once that Ripple has the same melody-or chord structure-to a song in one of the big musicals of the day. I think it was a song from Joseph and His Technicolor Dream Coat. I have never heard the song from the musical, so I can't comment. But apparently, if I remember right, both parties were informed of the similarity-and neither cared.
Agreed on all points - and subliminal songwriting happens. That's what happened to Harrison with "He's So Fine" - probably just heard it so many times in the background on the radio that he started humming it without noticing the source. (Yes he got sued - I think settled out of court for a pretty penny. There was a McCartney song (I think "Yesterday"?) that he wrote and didn't do anything with for a while because it popped into his head so completely and easily he assumed it was some old chestnut he had "learned" subliminally. But then he played it for everyone and no one recognized it, so he gave it lyrics and recorded it.
I've mentioned it before, but Geoff Emerick is the engineer who worked under George Martin for most of their albums - his book "Here There and Everywhere" is a fascinating fly-on-the-wall account of his time with them. A must-read with insights into every album that will allow you to hear their entire catalog with fresh ears.
Back to the Dave's Picks board. 25 should be coming soon!
I never thought Come Together sounded like You Can't Catch Me at all. True it lifts some of its lyrics, but its obviously-to me-a completely different song. Musically its nothing like Chuck Berry. I believe The Beatles were successfully sued for copying the earlier tune, so I must be in a minority.
I think George Harrison was sued for the similarity between My Sweet Lord and The Chiffons He's So Fine. I can see the similarity there, but I have always assumed that George used the melody without being conscious of the earlier, recorded, song.
When you play an instrument, you sometimes hit on a great riff or melody, and think it is original, only to discover some time later that it has already been used by someone else. I hit on a corker of a riff last year, which seemed to be original. After a few days of happily blasting away, it dawned on me that I was playing Street Fighting Man, without realising it.
Yah, forgot about this one, but I hardly think it counts. This "plagiarism" topic came up in the context of Led Zeppelin/Dylan lifting songs in WHOLE CLOTH - lyrics, chord progressions, etc - and telling people "I wrote that". Comparing the Beatles to THAT is like comparing a murderer to a jaywalker. One line from the song IS borrowed: "Here come old flat top, he was movin up with me" was Berry's original line. That does NOT mean Chuck Berry wrote the masterpiece (and one of my favs) Come Together. The Beatles DID get sued for this, and settled out of court (by agreeing to cover 3 of Berry's songs! An odd punishment... "You stole my song - your "punishment" is to please, PLEASE record 3 more!" - Trivial suit, comical resolution.
Nobody hearing those two songs together would notice borrowed line if you didn't point it out. Is this the only example of Beatles alleged "plagiarism" we can think of? "Possibly" had mentioned that the movie he saw had examples of plagiarism, which I suspect were more explanations of influences and inspiration (ie: John taking the chords from Moonlight Sonata and playing them backwards as a starting point when writing "Because", or George Harrison calling one of the Byrds to tell him they had just recorded a chorus structure inspired by them) That's not plagiarism - that's just getting shown the light in the strangest of places....
Hey, is there a GD board around here somewhere?
The funny thing is that I lifted the joke.
Come Together/You Can't Catch Me
This is a great bass lick from James Kirkland in 1960(check out the great James Burton solo while you're there...):
Same lick recycled by the Blues Magoos, 6 years later:
..and finally Deep Purple in 1970, with a little twist added:
Hey "possibly" - I read your comment and had no idea what you were talking about. So I found and listened to a podcast called "Deconstructing Rubber Soul", and I STILL dont know what your talking about. The podcast was disappointing. I was expecting an intelligent deconstruction of the songwriting and influences - instead we got two stoners singing (badly) half of every song on Rubber Soul, then giggling and citing a bunch of mostly common knowledge stuff with no real focus. "Deconstruction"? Reminded of Chris Farley interviewing Paul McCartney on SNL.
EDIT: OK, my bad - I now see there's a separate MOVIE, not podcast, and the trailer looks MUCH more intelligent than the podcast I heard. But I still completely reject the idea that they "plagiarized". Were they influenced/inspired by Carl Perkins, Chuck Berry, Byrds, Dylan, Roy Orbison, Little Richard, Beach Boys and many others with deliberate nods to them here or there? Absolutely - vocal techniques, complex harmonies, guitar tones and riffs, song structure/modal changes, the little Richard "Wooo!!!".... But that's not "plagiarism".
SO let me suggest you name the Beatles song that you'd call the MOST glaring example of "plagiarism" (and the song they copied) so we can know where you're coming from.
Don't mess with the Beatles....
That's a surprise about The Beatles being called plagiarists. I had always considered them to be original-or at least more original than most groups from their era. It seems I have thought this as I am not as familiar with soul music as I am with blues.
"Rubber Soul" is one of my favourite Beatles albums, too. Maybe the hint as to its sources is in the title. Perhaps a more appropriate title would have been "Plastic Soul".
There wasn't really any history of Zeppelin playing a couple of songs and leaving stage, it was more like a couple of anomalies, which I'm sure most experienced. I thought so when i read uncle sam's complaint. Thanks for the feedback.
The blues copywrite thing is a different story, lol I must say. Rolling Stone had an article with 10 or 12 songs they lifted. Funny thing is that Page blamed Plant for it, but it's obvious a lot of music was lifted, and not just Plant's lyrics. See what you started Keithfan, With your joke about who was on the telephone in The Ocean??
While we're on the subject of plagiarism, The Beatles were well adept at that art. If you have a chance to catch the movie "Deconstructing Rubber Soul," it's absolutely fascinating how Lennon and McCartney steal Motown hits without even changing the key or tempo and turning them into something new. While there can be ugly moral undertones of cultural appropriation involved in the process, music is an art of plagiarism. We stand on the shoulders on giants.
Here's a link to the trailer for Deconstructing Rubber Soul. I'm too lazy to see if the whole movie is out there somewhere.
Also, Led Zeppelin was awesome.
Thanks Cousins.. I did not know that piece of hand-me-down history.
Fascinating.. it's hard to listen to either of these versions and not think ...Left my home in Norfolk Virginia California on my Mind...
snafu, you're right about Bonnie Dobson's opinion of Tim Rose.
Wave That Flag.......U. S. Blues
New Minglewood Blues......New, New Minglewood Blues
Take Promised Land: Chuck Berry took credit for the melody, yet it's basically a rewrite of the Carter Family's Wabash Cannonball; AP Carter took credit for it, though it was written by J. A. Roff in the late 1890's.
There's a lot of similar examples within the Blues genre as well; Carl Perkins took credit for his Sun recording of Matchbox, which started as Matchbox Blues by Blind Lemon Jefferson.
Ask Bonnie Dobson how she feels about allowing Tim Rose to add some lyrics to Morning Dew. Hint not to happy it will forever read Dobson-Rose and he/his estate gets 25 %. As for the blues ripoffs there is one point not mentioned so far. As much as Zep The Stoned etc did rip off many bluesmen some of them recognized that they also brought attention, record sales and concert sales to those old artists. Not trying to justify what was done but as in so many things things are more complicated than at 1st blush
Yes, I agree, that sounds totally different how Bonnie Rait respected her blues sources compared to the way Led Zep simply plundered them.
I also like Bob Dylan, and I am also amazed at how he has used other peoples songs, changed the lyrics and claimed them as his own. He does this right up to his last few supposedly self penned albums. On "Modern Times" for example, he takes credit for having written "Rollin' and Tumblin'-he doesn't even change the title. Its an exact replica of the old blues song-with new lyrics. There are plenty more like this-especially on this album.
There was an interesting book on Dylan that came out last year, called "Why Dylan Matters" written by Richard Thomas. Its a bit pretentious, arguing that Dylan only matters because he was influenced by Ancient Greek and Roman poets. To me, whether he was or wasn't is entirely beside the point. But Thomas also tackles the topic of plagiarism, and uses the phrase "intertextuality" to describe a process whereby one artist incorporates the work of a previous artist, embellishes it and develops it and so can then legitimately lay claim to authorship. He reckons this is what Dylan did. I don't buy this for a minute. To me, it can only be true-and then debatably so-if the later artist lives within the culture of the art which he is appropriating. Bob Dylan was not a bluesman. When he uses the riffs of bluesmen he is playing music from a culture which he does not belong to-as opposed to someone like, say, Howlin' Wolf, who lived within the blues world and could lay claim to ownership as a consequence.
daverock - Agreed that there's nothing wrong with honoring the past by covering something to "make it your own". But LedZep didn't honor the music and the songwriters when they did covers - they (likely the manager) simply claimed LedZep wrote it - stole the credit and royalties as if the original author never existed. That's the most disrespectful thing you can do... Bonnie Raitt, contrast, took every opportunity to shine a light on her musical heroes like Sippy Wallace (sp?) and others, even pulling them up on stage with her during TV performances despite producers' protests.... LedZep PRAYED no one would remember the artists whose music they covered. Nobody's perfect, but this little maneuver was shameful.
Even worse is Bob Dylan who covers songs people KNOW aren't his, and still brazenly puts himself down as the author! I'm amazed he hasn't had legal issues over this - actually he probably has. I love his music, but he's a really odd dude.
Listened to the DaP from Boulder 1981 on a long drive today. Love the occasional 80's show, and this is a goodie. Far from perfect - 80's Dead creaks and wheezes a little, but this one rings the bell - a great listen.
To the Who's credit.. the Pete selected an excellent drummer from the audience to sit in and thus launched another long career.
Within the blues culture there is an established pattern of development of songs. Lyrics, riffs, melodies and rhythms are adapted and reused in different contexts within this culture to great effect. Robert Johnson, for example, used earlier songs as the basis for his amazing recordings in the late 1930s.
This doesn't mean, however that musicians outside this culture can legitimately take earlier ideas from within it for development/exploitation. Led Zeppelin had no connection with the world of the Delta blues outside their L.P. collection. I can remember a great review of a blues festival from around 1969 in Rolling Stone, by Stanley Booth. After hearing Furry Lewis, he marvelled at what an amazing life he must have led. After hearing Johnny Winter he marvelled at what an amazing record collection he must have had. Bands like Led Zep are okay until you have heard the real thing-after that they seem a bit...
Rather than end the show they should have done what The Who did and get a drummer out of the audience.
I made it to the 10-15-95 Page and Plant show at The Palace. As close as I got to Led Zep. Thought it was great although I was a bit disappointed that they had reworked No Quarter and I didn’t think that it was nearly as good as the version on Song Remains The Same.
I can still remember my early exposure to Led Zeppelin II as a teenager growing up in the early '80's and how gloriuous it was to hear in front of a stereo between the speakers and with the old Walkman with headphones. Just a brilliant album and stereo experimentations from the mixing standpoint. Sure, much of the music from this album was plagierized from blues artists, but the twist they put on it was pretty cool.
My personal favorite Zeppelin album would have to be Presence. I believe it to be their performance, creative and songwriting peak. Achille's last Stand is epic. Interesting how it wasn't as well recieved in rock critic circles as their earlier albums.
Never got to see Zeppelin live, but did see two Page and Plant shows on their first outing with a symphony orchestra and a group called The Egytian Pharoes. I believe '94 or '95. It was a two show run at The Palace of Auburn Hills. Even scored taper tickets for the second show, which was a surprise that they even offered them. The first of the two nights had an incident where some guy with a knife somehow got onto the stage and charged Jimmy Page. He was tackled before he got past the drum riser. It even made national news. I remember the first night being the better of the two, but did tape the second show, which was also good.
As huge a music fan as can be, I love scores of bands from the Beatles on... somehow, RollingDed or GratefulHalen just doesn't have the ring to it...
Certainly, Led Zeppelin were not the brightest of shining stars in the ethics department. From hotel vandalism, extreme drug ingestion, physical violence, consorting with underage groupies, etc., this was a band of savages on the road in the 1970s.
Their manager, ex-pro wrestler Peter Grant, was a bear of a man with a horrible temper and fierce intimidation tactics. People cowered before him, road manager Richard Cole as well as others in the entourage. Led Zeppelin were shrewdly and brutally managed into one of the most lucrative and artistically successful entertainment acts of their era.
Robert Plant did shamelessly nick wordly passages from old blues records - primarily in the early days before he found his muse as a lyricist. Jimmy Page, no doubt, put a heavy spin on several established blues riffs that went uncredited.
The blues, however, as any student of the genre knows contains many traditional songs and forms that have been handed down, modified and outright plagiarized for decades. It is part of the history of the style and Led Zeppelin were hardly the only ones to get over.
How Zeppelin rolled in their heyday was not tremendously different nor more excessive than several rock and roll bands of that age (The Who, Rolling Stones, etc.)
What really matters and stands the test of time to me is the fine body of work they left behind. Led Zeppelin III, IV, and Physical Graffiti are just monster albums and Houses of the Holy is no slouch either.
Some think only of the heavy bombast and banshee-like wailing of Led Zep, but anyone who's gone deep into their catalogue is well aware of the wide range of styles of which they were masters.
I feel their 2007 tribute to Ahmet Ertegun concert is a gem that shows them still able to reach the height of their glory all those years later. What a way to go out, indeed, a Celebration Day.
Drummer John Bonham, owing to immense intoxication, forced the end of a single concert after only three songs in Nuremberg, Germany in June 1980, three months prior to his death. Generally, they were known for playing marathon shows including many over four hours that included both acoustic and electric sets.
I once saw a Kinks show that lasted for less than 2 songs. During the second song Ray Davies smacked himself in the mouth with the microphone and broke a tooth. End of show. He was probably drunk - which brings us to Bickershaw (think Europe '72) which was the other time I saw the Kinks and they were horribly drunk and it was a sloppy performance which is probably being too kind to them. Banana Boat Song ? Do me a favour!
As for Peter Grant, a musician friend of mine met him and didn't have a good word to say about him.
I think this was an aberration.
Its not my area of expertise, but I don't think they varied the setlists much, if at all, from show to show within a tour.
They did do a really short show in Tampa that was called due to weather.
I'm sure someone out there has better detail, but I do not think this was the norm. Peter Grant, on the other hand.. would probably liked to have pulled the plug in a couple songs if someone was stiffing them on t-shirt or beer revenue. The man was a ruthless manager/promoter.
I never heard of Zeppelin doing this. Was it a regularity or one time special circumstance?
died in 1995, he did not think that led zepplin ripped off his song, he had no problem with the fact that that intro was a bit familiar. I think it is a bit coincidental that led zepplin opened for Spirit back in 1970 when Spirit was a hot band, but yet, they don't remember hearing any of Randy's songs. It's the lawyers who pushed that lawsuit and Mark Andes on behalf of Randy's family, who had gotten into a bit of a financial jam and were looking for a way to keep their heads above water. Really? lets blame the dead guy? As we all know, Jimmy Page has used others songs and licks and called them his own before. I met Randy several times in the 80's and the early 90's and he was a great guy, who didn't have much and never embraced the rock star life like so many others from his time, he never had a castle or a Roles Royce or millions of dollars. Him and his band once played at a bar for their evening meal, and a few bucks for gas. He never started a show, played a song or two, then left the stage and robbed everyone of their ticket admissions prices like zepplin did.
Another good one!
I would imagine that Randy California would be high up on any list of potential callers.
good one Keithfan
I always assumed it was one of a dozen or so Blues legends, looking for their royalties ;-)
I haven't glued my ear to that re-issue to know, but I have it on good authority that the chap ringing was Sir Elton John. Hope that helps.