Robert Plant becomes Led Zeppelin's second member honored by queen

Queen Elizabeth II has named Robert Plant for an honorary title, according to reports. Led Zeppelin's former singer was made a Commander of the Order of the British Empire, or CBE, in a list of honors released today.

He becomes the second member of Led Zeppelin to be named by the queen for a rank in the Order of the British Empire. In 2005, she bestowed a lesser honor upon Led Zeppelin guitarist Jimmy Page in 2005, naming him an Officer of the Order of the British Empire, or OBE.

So, Plant has made it onto a list of honorees. The queen names those who are to be given these titles, and there's an actual ceremony held later when the honorees hobnob with the royals. You can just picture this occasion in your mind.

Rarely have people ever refused royal honors. Might Robert Plant become one of them?

Plant has snubbed awards ceremonies in the past, but not showing up to the Grammys when he's been nominated or even guaranteed a Lifetime Achievement Award is one thing. A royal honor is another, and he knows this: He did show up alongside Page and John Paul Jones in Sweden in May 2006 to pick up the Polar Music Award honoring Led Zeppelin. That award comes from the Swedish royals.

Will it be any different when the Queen wants to meet up with Plant and congratulate him firsthand? Plant's not exactly a fan of the Royal Family, and he's made jokes about them in the past. But this may just be the time to swallow hard for a few minutes and go bask in an honor that not everybody gets in a lifetime.

Update, Jan. 7, 2009: Kevyn Gammond, who played guitar in the Band of Joy with Plant and John Bonham in 1966-1968 and then for Priory of Brion with Plant in 1999-2000, says Plant's honor is "very deserved" and "great news." Gammond, who is now a lecturer at Kidderminster College in England and founder of Mighty Atom Smasher (MAS) Records, told hometown paper The Shuttle that Plant "has done a great deal for many charities and organizations."

Update, Jan. 30, 2009: Plant reveals in a new interview why, after sufficient internal debate, he has opted to accept the title bestowed upon him by the queen.

Robert Plant denies rift with Jimmy Page

"I still see Jimmy [Page] quite a lot and he's very complimentary and supportive of what I'm doing," Robert Plant now says. "But we are in different places now and you have to go on to do different things." This new remark comes from an interview broadcast live on BBC Radio Wales on Dec. 21.

The singer had recently commented he would start out the new year with some recording sessions with Alison Krauss, intending to make their second album together.

Which means no Led Zeppelin reunion! No big surprise; he told fans three months ago not to expect him doing anything with Led Zeppelin. And all the while, the band could never have existed without him.

So, Plant says there's no feud between him and Jimmy Page. Which is good news considering the year Page has had.

It's pretty evident that Page would have liked for a Led Zeppelin reunion to have taken place by now. The world was still reeling at the beginning of 2008 from the universally heralded one-off Led Zeppelin concert of December 2007, it seemed further shows would be in the cards.

Back in January, even Jimmy Page was giving an impression that the band might be nine months from its first tour in 28 years. Speaking with reporters in Japan, Page spoke of a "parallel project" of Plant's from which he would be freed after the summer.

Never mind the discouraging news report in March of Plant allegedly having turned down a lucrative offer to take part in a Led Zeppelin reunion tour. The press didn't know what they were talking about: One minute it was that, and the next minute the tour was magically going to occur -- with Whitesnake as the opening act.

Undaunted, the rest of Led Zeppelin's would-be members spent part of the year tightening up their act:

• John Paul Jones and Page jammed with half of the Foo Fighters at a show in London, letting Dave Grohl and Taylor Hawkins take turns on drums and lead vocals while they ran through "Ramble On" and "Rock and Roll."
• Jason Bonham quit his dayjob to take part in whatever was going to happen.
• Page, Jones and Bonham rehearsed -- secretly at first, but then disclosing that they were jamming on new material and that they wanted to get an album out once they had the right singer. This revelation seemed to offer Plant assurance that the band would welcome brandishing new Zeppelin material.
  

But Page insisted Zeppelin would not exist without Plant: "If you're going to do a reunion, you need four members." So all they needed was their singer. An early report that the trio was rehearsing with an unnamed singer was worded to create the illusion that the singer was intended as a mere stand-in for Plant should he choose to rejoin them. They were rehearsing with him in mind but would tour without him if he said no.

And then came the further leaks that named Myles Kennedy and Steven Tyler. Putting names to the rumors added authenticity to them. Long before this week's offer from David Coverdale to sing for their band, some reporters were mentioning Jack White and Chris Cornell. Perhaps the theory was that the more in-demand the singing position in Led Zeppelin was perceived, the more Robert Plant would want it.

But through all this, Plant's concert itinerary with Alison Krauss -- that so-called "parallel project" that loomed from the get-go -- kept piling on through the late summer and deep into September and early October. While it's possible Plant had already made up his mind, he was never quite firm in his public interviews whenever asked about an eventual Led Zeppelin reunion. Everything sounded like we should wait and see.

That was the understanding until toward the end of all the touring, when Plant issued his parting thoughts on the matter: No, he wasn't going to do it. But good luck and best wishes.

That brings us to Plant's comments this week to interviewer Ruth Jones on BBC Radio Wales:

"I'm doing very well with Alison and I'm enjoying that.

"I still see Jimmy quite a lot and he's very complimentary and supportive of what I'm doing.

"But we are in different places now and you have to go on to do different things."

Plant has just spent all year touring and singing concerts, but he swore off all touring for another two years in September when he also put down his foot on Zeppelin activity. Asked about the chances of another Led Zeppelin tour, Plant suddenly alluded to the frailty of his mortal frame at age 60:

"Do you know how long it took me to climb up onto the stage here? And it's only four steps!"

Oh, please! That schtick again? That's so summer of 2007.

No feud between Page and Plant? If I were Jimmy Page, and if I had spent all of 2008 forecasting a Led Zeppelin reunion by year's end, I might be a little angry right about now.

Hopefully, this doesn't mean Page, Jones and Bonham will change their mind about going on the road without Plant and without the Led Zeppelin name. But I guess we will see.

I said back in March, after Plant's alleged rejection of a £100 million offer to reunite with Led Zeppelin, that I hoped Jimmy Page, John Paul Jones and Jason Bonham "would be able to move on and continue their own careers in a dignified manner if this tour thing doesn't come to fruition." And I also hoped "that they could carry on in whatever capacities makes them happy." I meant it, and I still hope that's what happens.

Whitesnake singer volunteers to participate on Led Zeppelin album, tour

David Coverdale has recently suggested the style of a Led Zeppelin reunion that he would like to see as a fan of Jimmy Page.

Conveniently enough for Coverdale, his plan of having multiple singers replace Robert Plant includes Coverdale as being one of them. Meaning, he would be able to sing a few songs and then sip tea backstage while somebody else went front and center to tackle other songs.

Essentially, he suggested a Ferris wheel of rock singers and said he'll be in one of the seats.

He also said Def Leppard's Joe Elliott would be up for the job if asked.

Coverdale is quoted in an article by StarPulse that has gotten some real traction on the radio. Apparently, it's pretty amusing to programmers that singers are offering their services to the Led Zeppelin members should they be looking to record an album and a tour.

That alone isn't a horrid proposition. But what jars is the idea of calling whatever results Led Zeppelin.

Come on, can a revolving door of performers sitting in with Page, John Paul Jones and Jason Bonham really be considered Led Zeppelin?

What would all the singers travel in? A clown car?

You can just forget the goal of being tight but loose. Doesn't this just come off as loose but loose?

Don't forget that going out under the name Led Zeppelin without Plant being involved is something Page has said, through his management, his current plans do not include. That would be the case even if Page hit the road with Jones and Bonham, three-quarters of the group that billed themselves Led Zeppelin when playing in London last year.

Still, Coverdale may not be one to play by Page's no-Zeppelin-without-Plant rule. As a previously undiscovered singer in 1973, he first broke into the professional music scene fronting British rock heavy Deep Purple following the departure of Ian Gillan, who had sung on all the band's prior hits including the 1971 smash "Smoke on the Water."

Deep Purple split up two-and-a-half years into Coverdale's tenure with him, after which the singer launched a solo career from which he ultimately formed the band Whitesnake. In the 1980s, the band earned repute for its own version of the faux-sentimental hair-band persona. Coverdale placed himself as an equal to Robert Plant, but the former Led Zeppelin singer chided Coverdale for his lame mimicry of him on Whitesnake songs like "Still of the Night" (see video below). Plant even dubbed him "Coverversion" as the two singers verbally sparred with one another in the press.

Whether or not Coverdale ever was Plant's equal, he sure gave off the impression that he was for a short time in 1993, when he successfully teamed up with Jimmy Page for a full album of new material and a handful of tour dates highlighting the musical past of each.



Although the Coverdale/Page collaboration played out on stages in Japan with their band striving to provide the antidote for Zeppelin-starved fans, the tour did not proceed beyond Japan as planned. Theirs was apparently not a successful enough relationship to stand the test of time, and its existence was completely overshadowed before long, by Page's next project: performing regularly again with Plant for the first time since the Zeppelin breakup of 1980. Their work between 1994 and 1998 was not Led Zeppelin either but, with the participation of its two most visible members, provided both the authenticity and temper the Coverdale/Page unit lacked.

The Page/Plant tours, which leaned heavily on the revered music created in Led Zeppelin, were highly profitable. That had a lot to do with the music, not the personalities. Handing over the Led Zeppelin reins to the man whose Whitesnake fame was based on golden locks, a large ego, and a huge voice with a mouth that won't refrain from cursing? That just won't cut it.

Led Zeppelin was a group of four musicians who bonded to create a unique fifth element. If Page and Jones go into a rehearsal studio with Bonham, their newly indoctrinated drummer, and create some fifth element with another singer and another voice, or multiple singers and multiple voices, it will still be some different fifth element -- not the one that was born in the Gerrard Street room in 1968. It won't be Led Zeppelin. And it shouldn't be called Led Zeppelin.

I can only hope Page and Bonham agree with Jones, who said in October:

"We don't want to be our own tribute band."

Guitar innovator Davy Graham dies at 68; popularized tuning that inspired Zeppelin's 'Kashmir'

Guitarist Davy Graham, a contemporary of Jimmy Page's and whose work inspired him, died yesterday, Dec. 15. A note posted at his official Web site, www.DavyGraham.com, says:

"It is with great sadness that we have to announce that Davy died yesterday amongst friends and family from a massive seizure at home after a short battle with lung cancer. There will be a private family funeral held in the next few days and a public memorial in January; details of which will be available at www.lescousins.co.uk shortly. Davy will be missed by those of us who loved him. The many fans who came to see his last concerts gave him much joy and satisfaction and was something he drew great strength from. Messages of condolence can be sent via davygraham@lescousins.co.uk."

Graham was 22 years old when he was performing a piece titled "She Moved Through the Fair." Its melody was derived from a traditional Irish tune and sometimes credited to Herbert Hughes. Graham adapted it to the acoustic guitar, playing it in the alternate guitar tuning DADGAD. In live versions, he sometimes combined it with another piece, "Blue Raga." One recording of this made in London in May 1963 was released that year on a four-song EP on the Decca label, called The Thamesiders and Davy Graham: From a London Hootenanny.

Upon hearing Graham's "She Moved Through the Fair," anyone familiar with Page's guitar instrumental "White Summer" would recognize the influence immediately upon hearing that piece. (Graham's original recorded version can be found among the bonus tracks on this remastered version of his first album, Folk, Blues & Beyond....)

Page would very soon be getting into session work in London at that time, and so it would take a few more years for his developing guitar style to manifest itself in front of a wide audience. In the final days of April 1967, when the Yardbirds were spending some time at De Lane Lea Studios in London, Page took the opportunity to record his own arrangement of the same guitar instrumental, which he was now calling "White Summer." Over two days, Page recorded it once on electric and another time on acoustic. A studio musician by the name of Chris Karan provided the exotic tabla drums on this studio effort. (Page's original released version can be found on the Yardbirds' Little Games; the other take can be found on the Yardbirds' outtakes collection, Cumular Limit.)

Page was using the DADGAD tuning, which was becoming common primarily among folk guitarists at the time since Graham's first use of it early in the 1960s. Among rock guitarists, this alternate tuning was unheard of. For the most part, it has stayed this way, but Page went on throughout his career to contribute some of those few exceptions.

The next one was recorded the following year, with Page on acoustic again and assisted by another session tabla player, this time Viram Jasani. That track was "Black Mountain Side," released on Led Zeppelin's first album. When Page played it live with Led Zeppelin, he inserted it into his longer solo showcase of "White Summer," adding rhythmic support from drummer John Bonham. One live version of the two was broadcast live on BBC Radio One's "Playground Theatre" in June 1969, with that performance finally seeing its release on Led Zeppelin's four-CD box set in 1990.


The live performance of "White Summer" and "Black Mountain Side" shown above is taken from the Led Zeppelin performance on Jan. 9, 1970, at the Royal Albert Hall in London. It was included on Led Zeppelin's DVD in 2003.

Page turned to DADGAD again in the 1973/1974 recording sessions for Physical Graffiti. This time, it provided him with two completely original compositions, the better known being "Kashmir." That song, originally included on Physical Graffiti in 1975, is on the above-mentioned box set as well as nearly every Led Zeppelin compilation released since then. A remarkable live version recorded at the Knebworth Festival in 1979 was released on DVD in 2003 and is included below.


The other of Page's two known DADGAD compositions from the mid 1970s was then called "Swan Song," although at the time it did not survive beyond the demo stage. Page revisited it nearly a decade later, by which time Led Zeppelin had disbanded. Then collaborating with Paul Rodgers who helped to provide lyrics, they called their shaping composition "Bird on the Wing" in their early performances of it in 1983. Again, the piece was later retitled, this time to "Midnight Moonlight," in time for its first official release on record. It was included on the self-titled debut album of Page's band with Rodgers, The Firm. A live version is included below.


Davy Graham was not responsible for inspiring every note of Page's work on these songs, but without his influence, Page would not have developed these songs as easily. Graham's death, reported today, must deliver some sadness to Page, who recently mourned the passing of his one-time bandmate, drummer Michael Lee.

As further information becomes available about the public memorial currently being planned for Graham, LedZeppelinNews.com will deliver it.

John Paul Jones jams with Allman Brothers at U.S. charity gig

The annual Christmas Jam in Asheville, N.C., was off to a rockin' start on Friday night with John Paul Jones sitting in with the Allman Brothers Band and playing bluegrass with the Del McCoury Band.

The Citizen-Times quotes Haynes as saying Jones had traveled farther than anybody else participating in the annual event.

A mini-set on Friday with Warren Haynes on acoustic guitar and Jones on mandolin saw the two performing "Soulshine" and "Going to California." The latter might actually be better titled "Going to Carolina" due to a lyrical adaptation by Haynes. The photo at the right, credited to Paul Balicky of the Citizen-Times, is from this set and may be purchased by clicking here.

Jones didn't join the Allman Brothers Band until sometime after 3 in the morning, the Citizen-Times reported. He helped the set reach its climax with a performance of "Dazed and Confused" within the context of a unique "Mountain Jam," which utilizes the melody of "First There is a Mountain" by Donovan.

On the second day, Jones played two near-complete sets, first on several tunes performed with Michael Franti and others, and finally several Led Zeppelin songs with Gov't Mule.

Earlier on Saturday, he joined Ben Harper and the Relentless 7 for a set-ending "Good Times Bad Times."

Before a final encore jam of "When the Levee Breaks," Haynes told the crowd, as reported by the Citizen-Times, that in 20 years of having the Christmas Jam in Asheville, N.C., this year's was the best without a doubt.

The complete set lists can be found below.

2008 CHRISTMAS JAM

NIGHT ONE SETLIST (12.12.08)

GOV'T MULE
Brighter Days
Like Flies
Bad Little Doggie
Blind Man In The Dark
Sco-Mule w/ Tal Wilkenfeld on Bass and Robben Ford on Guitar
Fallen Down w/ Karl Denson

IVAN NEVILLE'S DUMPSTAPHUNK
Gasman
Mean While
She's Music
Livin In A World Gone Bad w/ Matt Grondin & Karl Denson
Badboy w/ Warren Haynes & Eric Krasno
Thank You Falletime Be Mice Elf w/ Tal Wilkenfeld, Eric Krasno, Warren Haynes, Danny Louis

DEL MCCOURY BAND
1952 Vincent Black Lightning
Squirrel Hunter w/ John Paul Jones
Little Georgia Rose w/ Travis Tritt
Old Kentucky Shore w/ Joan & Travis Tritt
My Love Will Not Change w/ John Paul Jones
Celebrate w/ The Lee Boys

JOAN OSBORNE
To The One I Love
Hallelujah
Cathedrals
Help Me w/ Warren Haynes
Christmas Time In New Orleans w/ Ron Holloway

TRAVIS TRITT
Homesick
Leave My Girl Alone
I Walk The Line
Pickin' At It
Anymore
Pressure is One w/ Warren Haynes
Movin On Over w/ Warren Haynes

WARREN HAYNES & JOHN PAUL JONES
Soulshine
Going To California

THE DEREK TRUCKS BAND
Down In THe Flood
These Days
Can't Sleep At Night w/ Susan Tedeschi
People
Anyday w/ Susan Tedeschi & Eric Krasno

ALLMAN BROTHERS BAND
Don't Want You
Cross To Bear
Gilded Splinters
Statesboro Blues
Stone Me w/ JJ Grey
Who's Been Talking w/ Robben Ford & Ivan Neville
Dreams w/ Karl Denson
Liz Reed w/ Tal Wilkenfeld
The Weight w/ Ron Holloway, Danny Louis, Susan Tedeschi, Joan Osborne, Ruthie Foster
Mountain Jam Intro
Dazed & Confused w/ John Paul Jones
Mountain Jam w/ John Paul Jones

ENCORE
One Way Out w/ Roosevelt Collier & JJ Grey

NIGHT TWO SETLIST (12.13.08)

MICHAEL FRANTI & JAY BOWMAN
Love Don't Wait w/ John Paul Jones, Robben Ford & Mickey Raphael
Sweet Little Lies w/ John Paul Jones, Robben Ford & Mickey Raphael
All I Want Is You w/ John Paul Jones, Robben Ford, Mickey Raphael & Eric Krasno
Hey World w/ w/ John Paul Jones, Robben Ford & Mickey Raphael & Eric Kranso
I Got Love For You w/ John Paul Jones, Robben Ford & Mickey Raphael & Ron Holloway
Say Hey



BEN HARPER & RELENTLESS 7
Number No Name
Shimmer
Lay There
Better Way
Fly 1 Time
Keep It Together
Dressed In Black
Boots
Up To You Now
Good Times Bad Times w/ John Paul Jones

GOV'T MULE
Southern Man w/ Patterson Hood
Lively Up Yourself w/ Karl Denson & Robben Ford
Livin' Lovin' Maid (She's Just a Woman) w/ John Paul Jones
Since I've Been Loving You w/ John Paul Jones on Keys
No Quarter w/ John Paul Jones on Keys & Audley Freed
The Ocean w/ John Paul Jones on Bass, Ben Harper & Mike Barnes
When The Levee Breaks w/ Ben Harper & John Paul Jones on Bass

Thanks to Michael, Clay, Wyatt and ZepContent, all on For Badgeholders Only, for bringing these details to my attention over a weekend I was otherwise occupied with my own gigs.

'I just came from this blinding gig ...'

As the story is told, John Bonham once explained his way out of a speeding ticket, enchanting the officer who'd pulled him over with a look under the hood of his brand new souped-up sportscar. In the process, he explained that he had just come off of the natural high of having played a "blinding gig."

Those words came to me last night after I was winding down from my third Houses of the Holy show with Classic Albums Live. I never played a gig in my entire life that was more blinding than Saturday, Dec. 13, at the Paradise Live stage at the Seminole Hard Rock Hotel and Casino in Hollywood, Fla.

Even a gentleman in the front row who'd seen the Thursday show told me last night there was a considerable difference in the band's performance at those two particular shows. For the most part, we did everything right at that first show, and we gelled. But at last night's show, we not only played it right but did so with a fluidity among us. We were graceful and articulate and heavy and emotional and powerful, all the things that make a Led Zeppelin performance, in addition to the precision that defines a Classic Albums Live performance. This was probably an appropriate mix of tight and loose.

This front-row attendee also commented that I seemed looser onstage. That went without saying. I definitely was. Feeling at home in this band helps out. Craig Martin and Nick Hildyard both made me feel welcome and important with their comments about me to the crowd. But what really made me feel like I was doing something over and above myself was the healthy supply of adrenaline running through my body when I was playing. I mean, here's a guy who can't dance at all, and I'm swinging and swaying through "D'yer Mak'er" and the choreographer's nightmare that is "The Crunge." Not that Merce Cunningham would be impressed enough to recruit me or anything, but I'm just letting the music be my master and heeding the master's call.

Of the most important things that stick out in my mind from the encore set, one is my spontaneous physical reaction while playing a number we hadn't performed at either of the preceding shows or even in rehearsal. Its title, "Since I've Been Loving You," was mentioned in a group e-mail a month ago as one to be prepared to play, but that's it. No further word of playing it until it was the next song, with 10 seconds to go before launching into it.

But I was prepared. I selected the organ sound Nick had shown me on Thursday afternoon, labeled "Soul Man." I had tried out a few seconds' worth of licks on the sound at that time and, finding it to my liking, moved on to something different. Now that sound was coming in handy. We're doing "Since I've Been Loving You" live.

(The physical reaction thing is coming up. Honest.)

I sit down to play the tune. It's an organ I'm playing, and whenever I play the organ I'm sitting. I used to play church organ, after all. And this is no different. The song starts out all somber and delicate. It's fitting to be seated. But there's a point in the song, at its climax, where it becomes necessary to, er, adjust. And that's what I did. The Lemon let loose and sprung up from the stool, simultaneously kicking it backward at a monitor. It was as unanticipated as the song suggestion itself.

And totally unlike John Paul Jones! That's one guy I've never seen throw stuff around onstage.

But I have heard him crack some dry humor at shows. Almost every night on his first solo tour, in 1999, he was having comical exchanges with audience members based on "Fe fi fo fum" and other quotes associated with him. So I tried my hand at some humor last night. Crickets! Yeah, I think I'll stick with the music.

I've said it before, and I'll say it again. We are working up a particular number from Presence. We are looking forward to all three of our remaining gigs at Paradise Live, but we'll have extra reason to play it at the last show, since it really will be the last Zeppelin show ever at that little theater. Classic Albums Live will be moving to another South Florida venue in 2009, but we are sure to go out with an unforgettable gig on Saturday the 20th. Probably another "blinding gig."

Update: I added a YouTube video above of the first minute or so of "Stairway to Heaven" from our finale performance on Saturday, Dec. 20.

Encores take high priority at Classic Albums Live 'Houses' show

Led Zeppelin never played "In the Light" live. But Classic Albums Live did, and we nailed it. That's what we kicked off Friday's post-album encore set with, after band introductions by Craig Martin. So it was right after the audience found out I was making my debut with the group this concert series that I gave my best performance of the night.

The only thing done differently from the album version of "In the Light" was I didn't have the delay effect on my lead for the intro and the reprise halfway through the song. I'll probably use that the next time we do the song, after I try it out. This is all new to me, these fancy effects and stuff.

John Paul Jones was in Asheville, N.C., with a bevy of folks jamming on "I Can't Quit You Baby" and "Going to California." In Hollywood, Fla., we had our own crop of celebrities at the Seminole Hard Rock Hotel and Casino for a Biker Bash afterparty. Richie Sambora and James Belushi were around. We thought we were going to face the proposition of being asked to jam with them. In a way, I'm very glad it didn't happen.

That's because it kept things on track with our band. All but one of the other encores we played were things we ran through only on the day of the gig. The difference between the first and second shows is the crowd. Thursday audiences are all ages, so with the kids there we tend to play more of the radio staples, the Mothership list. Like on Thursday night, "Stairway to Heaven" and "Whole Lotta Love" were a must.

But the more mature Friday night audience allows us to dig out lesser heard Physical Graffiti and In Through the Out Door cuts, for example. "Fool in the Rain," another one Zeppelin never did. I played the jangly piano of "Hot Dog." The guys ran through "Heartbreaker," and I joined for backing vocals on "Living Loving Maid (She's Just a Woman)." Things ended with "How Many More Times," which the band played as a fourpiece to finish things off.

The only encore we repeated from Thursday night was "Moby Dick." Both nights, I watched from the side of the stage mindful of something I recently read, probably on the For Badgeholders Only discussion group: that Robert Plant tended to be attentive to John Bonham's solo at Zeppelin shows because he loved watching his friend reinvent rock 'n' roll drumming on a nightly basis. That might even be an exact quote of what I read. Isn't that a great concept?

We still have a few more surprises in store for the next few shows, which will naturally include the full album of Houses of the Holy. But we have a Presence surprise coming up! I don't even know if Houses of the Holy is legitimately the main attraction anymore, the way these encores are coming along. The four remaining shows are gonna smoke!

Update: This thread on the Classic Albums Live message board is dedicated to the show from Friday, Dec. 12.

Second update: I added a YouTube video above featuring the performance of "In the Light" from our finale performance on Saturday, Dec. 20.