Robert Plant & Strange Sensation 2002-06-06
Westway Studios, London, England
Set 1
VH1 Storytellers
Including The Tracks
SHIP OF FOOLS
FIXIN' TO DIE
WHOLE LOTTA LOVE
TALL COOL ONE
4 STICKS
DARKNESS DARKNESS
GOING TO CALIFORNIA
MORNING DEW
Including The Tracks
SHIP OF FOOLS
FIXIN' TO DIE
WHOLE LOTTA LOVE
TALL COOL ONE
4 STICKS
DARKNESS DARKNESS
GOING TO CALIFORNIA
MORNING DEW
Set 2
VH1 Storytellers
Set 3
VH1 Storytellers
Comment
After the death of Led Zeppelin drummer John Bonham in 1980, the surviving members went their separate ways, and Plant embarked on a highly successful solo career with smash albums like "Pictures at Eleven," The Principle of Moments" and "Now and Zen," and hit singles like "Big Log" and "Tall Cool One." He reunited with Jimmy Page for the Honeydrippers project in 1984, and again a decade later for "Unledded," "No Quarter" and "Walking into Clarksdale." In 1999, Plant formed the folk-rock quintet Priory of Brion and toured the UK and Europe. Plant and his new band Strange Sensation are currently on tour with The Who. Among the show's highlights:
* Plant introduces the Zep smash "Whole Lotta Love" with a little
background on its delta blues origins: "I went to Clarksdale,
Mississippi, which was once the center of the recording of black
musicians in the '30s ... and the wolf was howling -- McKinley
Morganfield. He didn't realize that his small wooden house was going
to be cut up and made into ZZ Top's guitar. What next?"
* On Led Zeppelin tribute bands: "To get where we got with our music
then, and to do what we are doing now, which is a different direction,
we're always looking back, everybody's always looking back. In
Zeppelin, we looked to Chicago and the blues ... As a kid in Britain,
we always looked to the blues -- there was a blues boom, there was the
country blues, the electric blues from Chicago and Detroit, the various
labels that were really famous -- we looked back to get our music. And
if these bands, by playing that music, go somewhere new, it's a
continuum. The cycle goes on and on, and one song leads to another."
* Prefacing his version of "Darkness Darkness," by Jesse Colin Young:
"The festivals of the '60s and the early '70s, where we shared the
stage with Janis Joplin, The Doors, John Lee Hooker, It's a Beautiful
Day, and on and on and on, just amazing people ... You can't imagine
what it was like for me to come from a hellhole in Midlands England,
where English popular music was really the worst cheese, just absolute
rubbish. And to get to America and find this whole other society, this
great society, this independence, this absolute confidence in a culture
- a culture within a culture ... There was a particular song at the
time that I loved, and I never, ever thought I could even go near it,
especially the way my life had gone."
* Regarding the social background behind "Morning Dew," by Bonnie Dobson,
assisted by Tim Rose: "[Compared to Britain], youth culture in the USA
in 1966 and '67 was a different thing ... There was disenchantment
with the American government -- with the government's policy, its
foreign policy, with Vietnam ... and the extreme responses and the
paranoia of the police and the authorities. And there was the
awakening of a new movement, and a new awareness, and the demand for
change - through popular song. And I guess if Dylan lit the fire, then
the Byrds, the Airplane, the Youngbloods, Buffalo Springfield asked a
lot of questions. And some of them have yet to be completely
answered."
* Plant introduces the Zep smash "Whole Lotta Love" with a little
background on its delta blues origins: "I went to Clarksdale,
Mississippi, which was once the center of the recording of black
musicians in the '30s ... and the wolf was howling -- McKinley
Morganfield. He didn't realize that his small wooden house was going
to be cut up and made into ZZ Top's guitar. What next?"
* On Led Zeppelin tribute bands: "To get where we got with our music
then, and to do what we are doing now, which is a different direction,
we're always looking back, everybody's always looking back. In
Zeppelin, we looked to Chicago and the blues ... As a kid in Britain,
we always looked to the blues -- there was a blues boom, there was the
country blues, the electric blues from Chicago and Detroit, the various
labels that were really famous -- we looked back to get our music. And
if these bands, by playing that music, go somewhere new, it's a
continuum. The cycle goes on and on, and one song leads to another."
* Prefacing his version of "Darkness Darkness," by Jesse Colin Young:
"The festivals of the '60s and the early '70s, where we shared the
stage with Janis Joplin, The Doors, John Lee Hooker, It's a Beautiful
Day, and on and on and on, just amazing people ... You can't imagine
what it was like for me to come from a hellhole in Midlands England,
where English popular music was really the worst cheese, just absolute
rubbish. And to get to America and find this whole other society, this
great society, this independence, this absolute confidence in a culture
- a culture within a culture ... There was a particular song at the
time that I loved, and I never, ever thought I could even go near it,
especially the way my life had gone."
* Regarding the social background behind "Morning Dew," by Bonnie Dobson,
assisted by Tim Rose: "[Compared to Britain], youth culture in the USA
in 1966 and '67 was a different thing ... There was disenchantment
with the American government -- with the government's policy, its
foreign policy, with Vietnam ... and the extreme responses and the
paranoia of the police and the authorities. And there was the
awakening of a new movement, and a new awareness, and the demand for
change - through popular song. And I guess if Dylan lit the fire, then
the Byrds, the Airplane, the Youngbloods, Buffalo Springfield asked a
lot of questions. And some of them have yet to be completely
answered."
Sources
| SHNID | Date | Venue | City | State | Archive Identifier |
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Created At
Sat Mar 25 2017 13:49:23 GMT+0000 (Coordinated Universal Time)
Updated At
Sat Mar 25 2017 13:49:23 GMT+0000 (Coordinated Universal Time)
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