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| Zeeta |
Roger Daltrey
by James Ellis, July 9th, 2003
As frontman for everyone's favourite guitar-trashing mod rockers The Who, Roger Daltrey needs no introduction. Following the deaths of John Entwistle and Keith Moon, Daltrey and Pete Townshend are the only surviving members of the band, and have just released a Live At The Albert Hall album in aid of the Teenage Cancer Trust. Look out for Metro Café's extra and exclusive questions. Who's your hero?
How does it feel to be part of your g-g-g-generation now?
Great. It's probably the best time of my life. I'd never leave England but I've been in LA for a while working on a show for the History Channel. And I'm doing My Fair Lady in August at the Hollywood Bowl.
It sounds like you've mellowed.
I have in certain areas. I can control myself a bit better than I used to. Thank God for that! But my passion about things that are wrong and things I can make a difference to hasn't changed at all. And neither has my passion for the music. The Who are still The Who.
When the band started, you said you were a better fighter than a singer. Has that changed?
Yes. I'm a lousy fighter now. Things break - I used to break things, but now it's me that breaks and they take longer to heal.
Would it be fair to say you've managed to drop every member of the band with one punch?
No. Just Keith and Pete. John and I never had a fight.
What's listening to the live album like following John's death?
I don't listen to it at all.
You're joking.
The music is in my head. I never listen to anything we do once we've done it. I like to be in the moment. Maybe if I listened in 20 years time, I could be more objective about it. But it's weird. I think it happens to a lot of artists: you record an album and you never want to see it again.
You must have been listening in the 1960s: when you made the guys come off speed because the sound wasn't right.
It wasn't so much the sound. It was the whole feeling of the force that was being created. We had such an energetic force, I thought that - when it was right - it could make a real difference to people's lives. When it was wrong, it couldn't. And there was a time where the drugs made it wrong. I still think the force is there and stronger than ever. I know John died last year and there is a difference, but Pete went out and played with a new vengeance after that and the harder he plays, the harder I work. It's a cyclical relationship.
Will The Who still record?
Very much so. We'll be in the studio in October. It may just be Pete and me from the original line-up, but we were always the driving force behind the band anyway. We've had Zak Starkey [Ringo Starr's son] playing with us for a while. It may not be the same without John, but it's not worse. It's just different. It would be too easy to focus on the door that's just closed and not on the ones that are opening up. I can tell you now, there's more fire in Townshend's belly than there has been since the early 1970s.
How has Pete been holding up since he was put on the Sex Offenders Register?
He's incredibly resilient and he's not low, he's elated. At the time, he was devastated of course. For me, it's reinforced my all-time opinion of him: he's one of the most honest people out there. He told the truth. From day one, he never ran away from it. He said: 'Yes, I did this. And this is why I did it.' And if he said he did it for that reason, I can guarantee that's why he did it. If he says he never downloaded images, then he didn't. People should look up to Pete Townshend. I don't know what kind of message the CPS is sending out: tell the truth and we'll treat you like a piece of crap.
Should the police have treated him differently?
I saw people in positions of authority - and I'm not slagging off the police here, but people who should know better - making sweeping statements, saying: 'If you give credit card details, you are automatically downloading.' Which is quite blatantly untrue. The definition of a download is clearly defined in law - it had to be because of the Napster case. All that these people were doing was fanning the flames. Pete made a naive error of judgement. And I don't praise him for that - it was wrong. But he did tell the truth and I think he should be praised for that and not smacked on the wrist. I'm angry that they had a list that meant something and now it means nothing. What the f**k were they thinking of? All it's done is publicise the list and drive something we all - Pete included - abhor further underground.
Do you advocate downloading tunes?
The bottom line is it's stealing. It's intellectual property and you have to pay for the rights to use it. The record companies and the Internet have to come to some kind of agreement where money is exchanged. Downloading will kill the record industry unless it's paid for. The big bands do help the little bands coming through.
And as a big band, you'd know that.
We were just bloody lucky.
Come on, you are phenomenal.
I agree. But we have been lucky. How come four people who were different and didn't socialise came together and made music with such passion? The extraordinary thing is that it doesn't seem to date. You have to give that credit to Pete. He was the most important songwriter of the 20th century. He did more to move music and lyrics on than any other writer. Look at Chuck Berry - fantastic songs, but all very similar. Look at John Lennon - lyrically brilliant, but most of the arrangements were done by someone else. Townshend did everything.
Where did you fit in?
I can't be objective, but I think I could add the drama to his lyrics, probably better than he could.
Would that be why you got into acting?
Not really. I just wanted to give it a bash and learn to do something new. I fell in love with the process of acting, bit the bullet and learned the trade. I've done stuff I'm proud of and stuff I'm not so proud of. What I have come to believe though is that most actors spend their careers polishing turds. There's not a great amount of good work out there, bar the classics.
Does Chesney Hawkes stay in touch?
I do hear from him quite regularly. He's doing well. He's a great musical talent and does a lot of writing.
He has disappeared for a while.
He's doing all right. Don't you worry. Just 'cos he's not in the newspapers every day, doesn't mean he's disappeared. He's probably got a better life now than he's ever had. Don't be swayed by the celebrity bulls**t thing.
[Edited by Zeeta] |
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| Joey |
Thanks !
Great Article .
You are much loved by the Joey !
Joeykins !
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| Zeeta |
I love this bit!!!
Interviewer: Come on, you are phenomenal.
Daltrey: I agree
YESS!
The Who are great! |
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| Joey |
" I love this bit!!!
Interviewer: Come on, you are phenomenal.
Daltrey: I agree
YESS!
The Who are great! "
Zeeta ....................I have always thanked " The Man " for Roger's Ego and Keith Moon .
" Rog. is one tough S.O.B. Ronnie -- Mongo ! "
JackyFly
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| sirmoonie |
The Petey! "He was the most important songwriter of the 20th century. He did more to move music and lyrics on than any other writer."
The Who!
You haven't buffaloed unless you've seen the WHO live. |
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| TheSavageYoungXyzzy |
Nice to see, 'specially with everyone buggin' Pete these days and ignoring the giant friggin' Lungs O' Daltrey.
Ohhh, man, it still cracks me up to see Daltrey trying "My Fair Lady". I'd pay money to see that, just for the humor value.
"Teach that woman 'Young Man Blues' with the marbles in her mouth and see if she chokes, Ronn- err... Roger!"
Here's part one of the interview with "The Petey" from Billboard.
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The Who's Pete Townshend says his life is getting back to normal after a traumatic six months. Townshend was accused of using his credit card to access a Web site containing child pornography (true, he says, but for research on an Internet campaign against child porn and for his autobiography, which details sex abuse perpetrated on him as a child) and downloading such material (untrue, and declared such by British police).
"I know I'm innocent," Townshend tells Billboard.com, "and apart from the first day when I heard the news when I was quite shaky and made quite a shaky statement I think, I've been absolutely certain that it was not about me." After accepting a caution from police, Townshend was shocked to be placed on the U.K. sex-offenders' list, albeit for a limited period and at very low status.
Due to recent events, Townshend's name is now known to a wider section of the general public than even the millions of Who fans, but he feels to an extent insulated from that scrutiny. "The people that I really care about are the people who have reached out to me in these troubles, and those are friends, fans, family and strangers who feel they know me through my work," he says.
He emphasizes that he is not smug about what has occurred. "I have been rapped on the knuckles and I don't want to appear like I don't take this thing seriously," he says. "There is a measure of the kind of rock'n'roll arrogance that I still carry in my dotage that made me think I'd have no trouble with it. I really thought of myself as a professional researcher who worked to help victims, not a guitar-smashing rock star. But the old rock star arrogance carried me into very dangerous water."
However, there's no disguising the sadness that Townshend now feels too awkward about the issue of child abuse to do anything other than continue raising funds for its treatment. "I should say no more really because I think what's actually happened here is that I have been silenced," he says. "On this issue, the issue that I was so passionate about, which was the subversion of the Internet, here I am: I can't really say a thing."
Townshend has been working on his autobiography, but the project has stalled for unrelated reasons. "I'm about a third of the way through," he offers. "I was loving it and I got to the part where I leave art school and then off I go with my guitar and I join the Who, and I started to get incredibly depressed. I started to think, 'Oh f*ck, I've got to sit here for two years writing about the Who'. So I couldn't do it. And then circumstances recently made me feel that people really need to know who I actually am, and the only way that they'll have a chance of understanding that is if I dispassionately write my life story. So I'm thinking about getting back to what I call the morning program: sitting down with a piece of paper and picking it up."
Writing about the Who may not be something Townshend is keen on, but there is the probability of one last new studio Who album, rehearsals for which had started before Who bassist John Entwistle's sudden death in June 2002. The impetus for completing the album is coming from vocalist Roger Daltrey.
"He seems to be determined to get me back into a studio and to push me to making what he would call a Who album with him," says Townshend, "and I'm in no mood really to turn away from his friendship. He's been such a fantastic support to me in my recent troubles. So we'll probably go into the studio later this year and try and [get] some material out."
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Here's part two, with aforementioned "The Petey":
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The exposure Pete Townshend recently received over the police investigation into his accessing of a child pornography site dwarfed all other issues in his life. Under legal advice, he hasn't until now even been able to promote Universal's new deluxe version of "Who's Next." The 1971 album widely considered not only the Who's masterpiece, but one of the greatest rock albums ever made, has for the first time been remastered from original master tapes. It has also been massively expanded, with 35 additional tracks augmenting the original nine.
Unlike standard outtakes and b-sides, these additional cuts are an essential part of the back story of the album. Indeed, "Who's Next" originally started as a much larger project called "Lifehouse." It was a planned concept album that was to have been the appropriately grand follow-up to "Tommy," the so-called "rock opera" that had made the Who superstars in 1969.
Recalls Townshend in an exclusive interview, "We were riding on the back of 'Tommy', a hugely successful concept album, which was actually very dodgy in premise. That had done so well I almost had a carte blanche from everybody around me to do whatever I wanted. In a sense the concept behind 'Lifehouse' was a mechanical device to show how we become disconnected and unaware of the spiritual mechanics that go on in day to day life.
"I had done a similar thing with 'Tommy,'" he continues. "In 'Tommy' I used the device of a child being smitten, deaf, dumb and blind by witnessing a violent trauma. In 'Lifehouse' I used a similar device again: an individual plunged into a life of virtual reality fed by something like the Internet, suspended in a kind of parallel life in virtual animation, experiencing totally phony lifestyles." Into this very ambitious story were also mixed themes of community with audience and the musical resonance of individual human beings, which can be aggregated to produce a "universal chord."
However, Townshend's grand plan began to unravel when he also decided that the idea would encompass a motion picture, in preparation for which he arranged a workshop at London's Young Vic Theatre. Three concerts were arranged there, one of which was recorded. The concerts were intended to be the start of an audience participatory process, whereby the Who's music would change in response to fans' reactions to the songs and the event. "Some of the material is included in this package," says Townshend. "I'd done a lot of going round in the hall talking to people but at the end we just gave up and played a show."
However, that first intimation of the ungainliness of the concept was as nothing compared to the heroin-haze induced chicanery of Who co-manager Kit Lambert. Says Townshend: "Frank Dunlop, who was my writing partner at the time at the Young Vic, was approached by Kit Lambert and told we weren't really working on 'Lifehouse' at all, we were working on 'Tommy'." Dunlop arranged a press conference to clear the resultant confusion up, astonishing Townshend and alarming his Who colleagues, who had never seemed too enamored with 'Lifehouse' in the first place. "It was at that point when the members of the band lost faith in the idea," says Townshend, "because a whole bunch of journalists took people like [frontman] Roger [Daltrey] and [drummer] Keith [Moon] aside and said to them, 'You know Pete's mad. This will never work'."
The project relocated to America in March 1971. "Kit Lambert reached out and said, 'Listen, I'm in New York in the wonderful new Record Plant studios,'" recalls Townshend. "'Why don't you come over and we'll record some of the tracks and maybe we can knock something together?' Then I discovered that he was a six-month heroin addict. We went into the studio. We only did about five days and it was good fun but Kit was very, very uneven."
Some sense of stability finally descended on the project in May, by which point both the film idea and Kit Lambert had fallen by the wayside. Townshend was elated with the next studio chosen to record the "Lifehouse" songs -- Olympic, just outside London -- and the producer, Glyn Johns. "It just sounded so great," recalls Townshend. "It was one of the first records the Who had made that to me sounded good. At that time the studio was at its peak. It was a great big room -- nearly 100-foot-high ceiling. Beautiful Helios desk. Well-run. And Glyn was at his most effective in that room. Also, because we'd done so much rehearsing on the material -- both at the Young Vic and then in New York with Kit -- we went in and we just kind of played it, so it had that immediacy as well."
After recording was finished, the decision was made that "Lifehouse" as a concept was to be abandoned and that the songs Townshend had composed for it would -- in juggled sequence -- be used to put together a conventional album. As that album would be a single disc, it meant jettisoning several songs (some of which appear on the new deluxe version). Asked how he felt about his dream being so discarded, Townshend merely says, "I didn't feel happy or unhappy. I just felt fantastically relieved."
The album would be released as "Who's Next" in August 1971. The set was highlighted by roaring rockers like "Bargain," beautiful love songs like "Love Ain't for Keeping" and the climactic, magnum opus "Won't Get Fooled Again." Of the latter track, a sort of call to arms for apathy, Townshend notes, "Writing a song like 'Won't Get Fooled Again' today would be a very dangerous thing to do. To say, 'Listen, I don't f*cking care. I don't care about what the politicians say, just don't come and talk to me about politics' -- you couldn't write that today."
Despite the epoch-marking nature of "Tommy" -- an album whose intellectual leanings helped change the public perception of rock music from teenage junk to a respectable art form -- "Who's Next" very quickly eclipsed its predecessor in terms of critical kudos. "I learned a valuable lesson," admits Townshend. "I learned that 'Tommy,' with only the best songs taken off it and released, probably would have enjoyed the same success. In other words, we would have got respect as a band that played great music and not necessarily as a band that were [just] great entertainers and were full of great ideas."
"I was really proud if it," he continues. "Proud of the way it sounded and also proud of the fact that although it was being perceived as a very straightforward album, I knew that there was a bit of depth there if you wanted to look. Subsequently, of course I've spent a lot of time trying to encourage people to look more deeply into 'Lifehouse.' It's become a kind of tradition among Who fans to nod their heads to me and say, 'Okay Pete, if you say so, we'll go and have a look'. That has meant a huge amount to me because I put so much energy into it. And I do feel it was a great lost idea."
Townshend reveals that Who fans were for whom he always specifically wrote. "The Who had such an incredibly clear audience brief: our audience was 80% male, they were fantasists, dreamers, they were football hooligans, they were romantic, they were idle pursuers of metaphysical dreamland, they were apolitical -- they were an extraordinary bunch of people," he says.
"Some of them were blue collar but some of them weren't," he continues. "Today I don't get that clear brief. What I get is an incredibly special, wonderful, corny friendship that I have with Roger. After all those years of thinking of him merely as the school bully, I love him so much that tears come into my eyes when I think about him. That friendship I hope will drive something between us that will produce good music but Roger and I as an 'old pals' act don't offer the kind of clear brief to a songwriter that the Who used to."
Last year, the three surviving Who members started work on their first studio album in two decades. Townshend: "We were in rehearsal at my studio in Twickenham and we filmed the whole thing. We ran through one of Roger's songs called 'Certified Rose' and we ran through one of my songs called 'Good Looking Boy.' That was as far as we got because two, three weeks later we were in L.A. waiting to tour and then found that [bassist] John [Entwistle] had died."
Townshend admits the reunion was not going completely smoothly: "We wouldn't have got a balanced Who album at the time anyway without an incredible amount of strategic commitment -- almost political commitment -- to doing an album that was a third my songs, a third Roger's songs and a third John's songs, which to be absolutely brutally frank about this, is not what I would call a Who album."
Did his colleague's death make Townshend regret having declined to make a Who studio album for so many years? "No," he says. "You have to realize that what made me stop making Who albums is very much the same thing that happened to Led Zeppelin. Somebody in the band died. And unlike them, I was very slow to get the message.
"We made another two albums that we probably shouldn't have made," he adds. "'It's Hard' and 'Face Dances' contained really good material for a solo album but they weren't classic Who songs." He cites torment caused by the Cincinnati concert disaster in 1979, which left 11 Who fans dead, as an additional reason for his reluctance in that period. "I didn't want to be seen to be lugging my body 'round the world in the aftermath of the Cincinnati disaster, which I really felt we hadn't dealt with emotionally," he says. "I'm not sure that we have to this day, so it had a massive impact on me.
"I really did believe that it was something to do with Who fans, something to do with the kind of promoters that we were working with, something to do with the way that we were being managed and fundamentally to do with the kind of music that we had started to play in the early '80s, which was kind of post-punk, old guard rock'n'roll, which is that, 'We can do what the f*ck we like' kind of arrogance. I'm not saying we were responsible. I'm not saying that any one faction was responsible. But I was certainly not responsible for handling it properly."
Townshend is considering spending the summer cooking up some backing tracks for he and Daltrey to work on and turn into a new Who album. With half the band now gone, he is ambivalent about crediting said album to the Who but also admits, "He and I on a stage -- whatever we call ourselves -- can't avoid the fact that in some illusionary way we bring down the mysterious mantle of the Who around us. It will always happen. So we might as well call it the Who."
Oddly, at this stage, Townshend says he has no particular desire to make solo albums. But three decades' worth of unresolved ambitions for an unfulfilled dream still occasionally tug at him. Of "Lifehouse," Townshend concludes, "I still feel that if somebody gave me a couple of million dollars, I could do a little workshop which would demonstrate its very simple idea: music can reflect people."
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Roiight.
-tSYX --- You know a young man ain't got nuthin' in the world these days... |
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| jb |
I do not appreciate yet another Who article on consecutive days. As I said, I love the Who(probably 2nd to the Stones followed by Springsteen), but enough is enough. The umtenth farewell tours, the callous tour after J. Entwhitles death(albeit a great way to go), and Pete's controversial "study" on pornography, is too much for anyone to bear. |
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| Joey |
" As I said, I love the Who(probably 2nd to the Stones followed by Springsteen ) "
<----- Probably ?!?!?!?!?!
PROBABLY ?!?!?!?!?!?!
Easy little buddy , I know how to handle this ...........
That is IT Josh .................I have had enough . I am now renouncing my Judiasm and switching ove to Palestianism .
All Hail Arafat !!!!!!!!!
{{ Shecky ! }}}
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| sirmoonie |
Awesome article, SavageZZYXZZY!
You are much loved by the Mongo! |
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| jb |
O.K.-definitely 2nd!!!!!!!! |
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| Joey |
" O.K.-definitely 2nd!!!!!!!! "
You are much loved by the Jacky !
JACKYKINS !
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| Zeeta |
quote:
jb wrote:
I do not appreciate yet another Who article on consecutive days. As I said, I love the Who(probably 2nd to the Stones followed by Springsteen), but enough is enough. The umtenth farewell tours, the callous tour after J. Entwhitles death(albeit a great way to go), and Pete's controversial "study" on pornography, is too much for anyone to bear.
Yeah but did you even read it? It was a fairly humorous piece.
I read it on the train this morning and thought others may want to read it also.
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| jb |
My apologies Zeeta....it was not in reference to your article, but my friend Joey's obsessive pre-occupation with the Who. I never meant to be rude to you as you have always been very decent to me... again my sincerest apologies.
[Edited by jb] |
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| telecaster |
Roger was boinking and having an "affair" with a girl in my high school in the very late 70's early 80's. Somehow her dad got her backstage passes and the rest was history
It was really creepy since I knew her
She was hot but come on Rog |
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| jb |
As you know Tele, pussy is the most addictive drug of all................ |
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| Joey |
" Roger was boinking and having an "affair" with a girl in my high school in the very late 70's early 80's. Somehow her dad got her backstage passes and the rest was history "
I believe that was right around the time of the " infamous " 1979 WHO Concert Tragedy in Cincinnati .
The WHO started their sound check late for that gig and 18,000 fans waiting outside rushed to get in the Arena because they thought the show was beginning ( Actually , that is one of MANY reasons for the disaster and Martha was in the crowd that evening and almost got crushed to death -- Shiver ! ) .
Anyway , the " official " reason on why the band arrived so late to the arena was given as Roger was " laid up " with the flu all afternoon ..............................No we all know he was busy banging Tele's classmate ( girlfriend ????? )
YES !!!!!!!!!!!!!!!!!!!!!!!!!!!!
" I love the WHO more than ever Ronnie "
JACKY !!!! JACKY !!!!!! JACKY !!!!!!!
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| telecaster |
quote:
jb wrote:
As you know Tele, pussy is the most addictive drug of all................
It really never seemed to affect Mick did it? 
[Edited by telecaster] |
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| jb |
No....just cost him mucho dinero$$$$$$$$$$$$$$$ |
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| telecaster |
quote:
jb wrote:
No....just cost him mucho dinero$$$$$$$$$$$$$$$
I am glad to report I have been the picture of control as far as that is concerned.
What's up jb? How bad is it? Hope you aren't living at The Breakers on a permanent basis now.
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| Martha |
[quote]Joey wrote:
" Roger was boinking and having an "affair" with a girl in my high school in the very late 70's early 80's. Somehow her dad got her backstage passes and the rest was history "
I believe that was right around the time of the " infamous " 1979 WHO Concert Tragedy in Cincinnati .
The WHO started their sound check late for that gig and 18,000 fans waiting outside rushed to get in the Arena because they thought the show was beginning ( Actually , that is one of MANY reasons for the disaster and Martha was in the crowd that evening and almost got crushed to death -- Shiver ! ) .
Yes I was in the crowd at the now historic Cincinnati Who Concert in 1979 and I almost bought the farm this night...came within literally inches of being crushed behind a door that they finally opened to try to control the crowd entering the building. My first husband saved me by somehow managing to pull me around and through the door otherwise, I would have gotten caught behind it and crushed into the unforgiving brick wall.
Shiver is right....I'll never forget it Ronnie.
Anyway , the " official " reason on why the band arrived so late to the arena was given as Roger was " laid up " with the flu all afternoon ..............................No we all know he was busy banging Tele's classmate ( girlfriend ????? )
I do not recall Roger having a cold, coughing or exhibiting any flu-like symptoms..the show went on in spite of the tragedies that had just occured. I think Tele is on to something here..lol!
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| Joey |
" came within literally inches of being crushed behind a door that they finally opened to try to control the crowd entering the building. My first husband saved me by somehow managing to pull me around and through the door otherwise, I would have gotten caught behind it and crushed into the unforgiving brick wall. "
<---- Baba was truly with you THAT night !
Amen little fella .......................The hair on the back of my neck is still standing on end -- like at a Howe Military Class Reunion .
Shiver ................................
JACKY !
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| FPM C10 |
A brainstorm - forgive me if this has already been suggested - the new Who album should be called "Who's Left?"
I'd be happier than anyone except maybe Joey if Pete & Rog come up with a great album. I'd rather hear a great new Stones album, though, and I don't have a snappy title ready for that one. Maybe...."Dirtier Work"?
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| TheSavageYoungXyzzy |
quote:
FPM C10 wrote:
A brainstorm - forgive me if this has already been suggested - the new Who album should be called "Who's Left?"
Yeah, right after he said for the first time that he and Roger were headin' back, Me and everyone else who liked John Entwhistle better when he was alive and coked up in Las Vegas hotel rooms with strippers said that "Who's Left?" should be the next album.
Fact is, Pete's got such a vicious streak that he might just do it.
quote:
FPM C10:
I'd be happier than anyone except maybe Joey if Pete & Rog come up with a great album. I'd rather hear a great new Stones album, though, and I don't have a snappy title ready for that one. Maybe...."Dirtier Work"?
Uggh. The filth pours into my veins thinking about Dirty Work II: Dirtier Work.
"Almost as bad as writing sequels to fifteen-year-old films for the money, Ronnie!"
-tSYX --- Two hits to the body... (Featuring Jimmy Page *and* John Paul Jones this time) |
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| Joey |
" A brainstorm - forgive me if this has already been suggested - the new Who album should be called "Who's Left?"
Fleabit ..........................Would you like to convert to Judaism ?????????????????
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| BILL PERKS |
THE WORLD WOULD BE A BETTER PLACE WITH DIRTY WORK II.SIMPLY DROP THE BAND IN A STUDIO LIKE WINDMILL LANE WITH NO CHICKS,NO KIDS,NO SIDE CHICKS,NO CHUCK LEAVELL, NO PRINCE RUPERT,AND NO DON WAS AND LET THE TAPE ROLL FOR 6 WEEKS.THEY'LL HATE EACH OTHER AFTERWARD,AND WON'T TOUR AFTER BUT THE WORLD WILL BE BLESSED FOR IT.
LONG LIVE STEVE LILLYWHITE!!!!!!!!!!! |
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| Child of the Moon |
quote:
TheSavageYoungXyzzy wrote:
-tSYX --- Two hits to the body... (Featuring Jimmy Page *and* John Paul Jones this time)
Ooh, I like that... and maybe the re-animated corpse of John Bonham can play finger cymbals or something.
Is it just me, or is Zep's "Trampled Underfoot" the funkiest rock song ever? |
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