The EP Booster Pedal, Xotic Effects USA

The original, vacuum tube Echoplex units have been used by many of the biggest names in guitar history.  The likes of Chet Atkins, Duane Allman, Eddie Van Halen, Joe Walsh, Eric Johnson, Randy Rhoads, Andy Summers, Joe Satriani, Jimmy Page, and many others, have all utilized the Echoplex as an integral part of their tone.  A tape delay effect unit, the Echoplex uses magnetic tape to record input signal and then output the recorded copy at desired time intervals, thus creating an “echo” effect.  This was the earliest incarnation of delay/echo – a truly analog guitar effect. Roughly designed after its predecessor, an amplifier called the EchoSonic, the Echoplex incorporated recently developed vacuum tube technology, which could be used as a filter when the delay effect was turned “off.”  This made the Echoplex function as a pre-amp, supplying a boost to the signal before it was processed by the amplifier.  This is the way in which a majority of the infamous Echoplex devotees have used it – as a pre-amp.  Most will use an Echoplex in the beginning of their signal chain with the delay effect turned “off,” gaining a clean signal boost that, many claim, is the key secret ingredient to their tone.

For whatever reason, the boost supplied by the Echoplex adds elements to a guitar signal that just sound better!  The unique combination of EQ, slight compression, and gain boost create harmonic qualities that beef up any guitar tone in the most desirable way.  The problem – vintage Echoplexes usually go for around $1000 dollars.  Not only that, the unit is heavy, about 1 square-foot, and filled with fragile, expensive magnetic tape.  Who wants to deal with all of that just for a signal boost?

That’s why Xotic Effects created the pedal that everyone is talking about – the EP Booster.  Probably the smallest pedal on the market, the EP Booster takes all of the unique elements of a vintage Echoplex pre-amp, and puts them into one compact stompbox.  With up to +20dB of clean boost available, dictated by one knob, the EP Booster provides that tonal “spark” that has made the Echoplex legendary.  Used as a permanent staple at the beginning of a signal chain, or as an occasional clean boost, the EP Booster will radically improve the tone quality of any guitar.  It also has an internal DIP switch for dialing in EQ and boost frequencies, to really hone the tone.  Overall, this little pedal has a big effect on the sound of an amplified guitar, one not easily described, but undeniable.  Don’t believe it?  Just ask the EP Booster’s biggest fans, Steve Lukather, Joe Bonamassa, Brent Mason, Dave Weiner, Oz Noy and Tim Pierce, to name a few.

So check out the EP Booster by Xotic Effects USA!  For more info on the pedal itself, check out the EP Booster website, and be sure to check out YouTube for some great examples of what this amazing pedal can do.

1975 Rickenbacker 4001 Bass

Although this is a guitar-oriented blog, it’s important to show love to our four string brethren.  In fact, I’m sure many of us dabble in bass, or at least consider ourselves decent bassists (it’s just a guitar without the top two strings rights?) given it’s similarity to the guitar.  For me, bass holds a special place in my heart – for many a year it was my primary instrument, before I picked up the guitar.

During my “bass period” I played in a multitude of various bands, but focused mostly on Rock n’ Roll.  I had a small arsenal of basses – a Fender Jazz Bass and a Musicman Stingray – but was too young to be a serious connoisseur or collector.  My Dad’s good friend Steve lived up the street, and every time we’d go to his house I’d be drawn to this funky looking bass in the corner – his Rickenbacker.  Steve is an avid music enthusiast and hobbyist who has been part of all kinds of bands throughout his life, and his Rickenbacker was some of the last remaining evidence of his younger musical endeavors.

Originally, Steve was a keyboard player.  He had some wild prog-rock set up that most likely emulated some of his favorites of the day – Emerson, Lake and Palmer, Blue Oyster Cult, Yes, Boston, etc.  At some point, I believe Steve wanted to join a particular band – a group that needed a bass player, not a keyboardist.  In a common twist of fate that has led so many musicians to their true instruments, Steve traded his keyboard rig for the Rickenbacker and an amp.  Now I’m not sure if this was Steve’s true calling (and I have no more information on this particular group) but regardless – Steve acquired this beautiful bass that many years later, another young musician was admiring.

Steve was always a huge supporter of my music – from jam sessions with him and my Dad to my own bands, he was always a positive presence.  So one lucky Christmas day (or maybe it was my birthday) Steve and my Dad decided it was time to bestow the great power of the Rickenbacker upon me.  Alas, I was the proud owner of one of the coolest and most iconic instruments of all time.

This particular Rickenbacker is a 4001 model that was made in January of 1975 (indicated by the serial number “OA499” on the jack plate).  It has all of the classic Rickenbacker features – neck-through construction, triangle inlays, wave-crest headstock, and iconic body shape.  But beyond its aesthetic, there are some really unique features of the Rickenbacker.  Firstly, Rickenbackers have dual truss rods as opposed to the standard single truss rod.  This allows greater control of neck concave, specific to each side of the neck.  Second, Rickenbackers are famous for their stereo output jack.  Yes, as opposed to a single mono output jack, as seen on most electric instruments, Rickenbacker has two outputs, giving the player an option for a stereo/dual-mono sound.  As written on the jack plate, one output is “standard” and together they create the “Rick-o-sound.”  Basically, this makes each output jack correspond with one pick up, so with two cables  you can run them into separate amps or into the Rick-o-sound DI box that allows you to blend the two.  There are many varying opinions about the practicality of this option, but nevertheless, it makes the Rick unique.  Lastly, the neck-through construction gives the Rickenbacker its instantly identifiable tone that has become associated with the likes Paul McCartney, Geddy Lee, Lemmy, and many others.  The 4001 is a truly innovative and unique instrument that has undoubtedly earned its placed in music history.

So overall, this is a very special, classic axe that I am so grateful to have in my collection.  Although now I mainly play the six string, I always come back to my roots and slap the bass with the Rick.  From some random shop, to Steve’s prog-rock bands, to my own musical escapades, this bass has seen quite a bit in its almost 40 year life span.  Vintage instruments are special not only for their tone, but for their history, history that can give a particular instrument distinct tonanilty, unachievable from any physical material – tone only achievable through its own unique life.  I can only imagine what this bass will have to say in another 50 years!

Keith Richards – “Life”

Few people in the history of the human race have had a life as unprecedented, indulgent, lucky, uninhibited, or impactful as Keith Richards’.  A full-fledged rock star since the age of 18, Richards has seen levels of excess and luxury unimaginable to even history’s most gluttonous monarchs.  A life even he never would have thought possible, Richards’ saga is one of mythical proportions, spawning enough mystery and folklore to fill volumes.  The creative force behind the greatest Rock n’ Roll band ever, Richards’ unlikely tale is sure to entertain even the least suspecting reader.

A book that in no way presents itself as “fine literature,” Life is a straightforward recollection of Richards’ journey from the rural wastelands of Dartford to international infamy as the original rock star – at least what he can remember of it.  Pieced together with the help of friends and contributors, this book is a fascinating story of a completely unprecedented life. Of course, it has its fair share of foul language, drug use, sex, violence, and let’s not forget, Rock n’ Roll, but Richards makes no attempt to glorify his past or impose his behaviors on others.  The focal point of the book is the music – something Richards serves above all else.  To put it simply, it’s the story of an English kid, immersed African-American music, who proceeds to use it as a vehicle for expression with a group of like-minded individuals, The Rolling Stones.  Like a lovable friend who just can’t keep it together,  Richards becomes an enticing character who, despite major flaws, you can’t help but empathize with.  Although a generally lighthearted read, Life will reveal a depth and sincerity behind Rock’s most notorious outlaw that will make you realize it’s not as easy as it looks.  As Keith says, “I’m not the guys I see on MTV, who obviously think they are me” – he is something far more complex.

One thing that I gained from reading Life is a greater appreciation for Keith as a musician and guitarist.  Recently, he was named # 1 on Rolling Stone Magazine’s “Top 100 Guitarists,” and I couldn’t agree more with their decision.  I mean talk about riff merchants – this guy is the wholesaler.  “Start Me Up,” “Brown Sugar,” “Happy,” “Satisfaction,” “Can’t You Hear Me Knocking” – 40 Licks is a vast understatement.  The king of tone, Keith is instantly recognizable.  As a player, he is amazingly well versed in the blues vocabulary.  I mean, all of the Stones are heavy into early African-American Blues – Chess Records, Robert Johnson, etc.  They may as well have Musicology degrees with a major in Blues – they really know their stuff.  Not only that, they even recorded at Chess records in Chicago during their first visit to America, where they were mentored by Willie Dixon and Muddy Waters!  But I digress.  Keith may not have chops like EVH, Hendrix or Page, but he’s channeling somethings much deeper – he is the greatest rhythm guitarist of all time.  Who would have thought that the torch of African-American blues would be passed on to five White, English lads?  Perhaps that is why Keith cannot be killed by conventional weapons.

The real secret, that had many guitarists stumped for years, is Keith’s tuning.  Taught to him by Ry Cooder, Keith began primarily using open-G tuning in the late 60s.  From Low to High it looks like this  – DGDGBD.  Keith would also occasionally remove the lowest D string, giving him a 5 string variant.  This tuning is the distinctive characteristic of his sound.  Using what he calls “drone notes,”  Keith plays his signature IV/I – I phrase with barre chord shapes borrowed from standard tuning.  You’ll notice that open-G tuning isn’t drastically different form standard tuning, so it retains many elements of traditional guitar, but allows major chords to be played with a single finger – an elegant solution for getting an intoxicated Richards to play otherwise difficult progressions.  But in all honesty, it’s genius.  Few guitarists have fully embraced alternate tunings or applied them in such a creative manner.  Most people will toy with open-E, common to slide guitar, and hardly break out of the standard lick repertoire.  Richards took a unique alternate tuning and made it his iconic sound, and the sound of Rock n’ Roll – no small feat.

Overall, Life is a worthwhile read that demystifies one of the greatest cultural icons of the 20th century.  Hearing the tale from his perspective, you realize that there is a primal element to Keith’s philosophy.  A modern-day pirate, an adventurer in cultural exploration, Keith has simply lived his life the way he has wanted, all the while serving music like a god.  A man who seems to know no bounds, Keith developed his own moral code, which he strictly abides by, one that you may find more chivalrous than expected.  So if you’re a Rolling Stones Fan, Rock history buff, or just want a fun read about an unimaginable Life, check out Keith Richard’s Life.

“Everyone talks about rock these days; the problem is they forget about the roll.” – Keith Richards

“Melodic Expressions: The Art of the Line” by Jon Maclennan

Today, there are endless ways to learn about the guitar.  From traditional teachers, to YouTube, to books, to good old fashioned trial and error, there are so many ways to go about your journey towards guitar mastery and musical nirvana.  But what if there was a new medium that combined the best of all these methods?

My good friend, fellow UCLA alumni, and passionate guitar player Jon Maclennan has just released an iBook titled, “Melodic Expressions: The Art of the Line,” designed specifically for the iPad.  What is an iBook?  It’s a “multi-touch textbook,” an interactive electronic book that integrates audio, video, photos, graphics and more, bringing content to life in ways previously unimaginable.  It’s everything you’d get from a book, and then some.  Plus, it’s digital, so you can store thousands of iBooks in a single iPad, while saving the trees!

Like me, Jon is an avid fan of guitar great Carl Verheyen, and Carl’s approach to improvisation.  In short, this school of playing is based on “lines,” instead of scales and arpeggios.  So often guitarists become trapped by scale shapes and boxes that ultimately inhibit their melodic creativity.  With this new alternative approach, the player practices “lines,” or melodic phrases, that can be used in improvisation.  In the same way a player would use a scale shape or an arpeggio when improvising, they can use these “lines” to create far more interesting and creative phrases, and ultimately more personalized expression.

Jon’s book is divided into three sections – Major, Minor and Dominant expressions.  Each section is filled with various licks, corresponding to the given harmony, that range from Rock to Blues to Jazz and even Country.  With the interactive iBook medium, each lick has multiple audio samples, and the option for you to plug into your own iPad and play along!  There’s also a “general tips” section, where Jon will teach you  how to create your own melodic expression and cultivate your own personal harmonic vocabulary.  Very cool!

Ultimately, I find this approach to improvisation and general music making to be the most fun and effective.  Although it’s important to familiarize oneself with scales and arpeggios in order to understand music in a theoretical way, these tools should not become crutches in developing your melodic voice and improvisational style.  It’s much more fun to create exciting lines and phrases that express your personal style and sound like you.  Although at first it may be difficult to write your own licks, books like Jon’s are a great place to learn the craft and gather inspiration.  So check out “Melodic Expressions: The Art of the Line” today on iTunes and take the first step on your journey towards developing your own personal melodic sound!

Check out this promo video on “Melodic Expression: The Art of the Line” for more info, and be sure to check out Jon Maclennan’s website for more about him and his music.

South Austin Music – Austin, TX

Lamar Boulevard in Austin, Texas is the street for guitar shops, and one of the coolest shops on the block is South Austin Music.  Established in 1986, SAM is now a staple of the Austin Music scene.  With a wide-ranging, unique inventory, SAM will entertain and surprise any guitar player, from novice to life long enthusiast.

One thing that makes a great guitar shop is the vibe.  Coming into a guitar shop can put a customer in a vulnerable state – you feel pressure to play well, talk the talk, buy something – for some, it can be very overwhelming.  That’s one of the reasons why SAM is a such a great shop – the staff create a very positive environment that welcomes all.  From the moment you walk in, you know you are actually allowed to play the guitars, not just stare.

SAM has a great selection of electric and acoustic guitars.  Aside from of all of the usual suspects (Fender, Gibson, Martin), SAM has a large variety of Eastwood, G&L, Danelectro, and Nation Reso-phonic guitars.  Of course, there are also some fantastic classics and lots of vintage pieces that’ll keep any connoisseur busy, all easily accessible and quite playable.

SAM also has a killer amp collection.  A large amount new and vintage Orange, Fender and Marshall amps pepper the shop’s perimeter.  They also carry some extremely hard to find Divided by 13 amps – wow!  And of course, they have many acoustic amplifiers and boutique makers.

Last but not least, SAM has an amazing pedal selection, filled with all the classics and newcomers.  From MXR to Xotic to Ibanez to Fulltone, they have everything you could want – and at very reasonable prices.  And once you’re through with all of this, SAM has every pick, string and accessory you could possibly imagine.  I ended up with a sweet new guitar strap!

So if you’re in Austin, TX, South Austin Music is a must!  Visit them @ 1402 South Lamar Blvd, Austin, Texas 78704 or on the SAM website

Andy’s Guitar Shop – San Diego, CA

Some may be surprised to hear that San Diego harbors a thriving and ever-expanding music community.  A mandatory Southern California destination on any tour, San Diego has as many local musical acts as it does big time visitors, keeping it lively on any given night.  Of course, the greatest by-product of a thriving music scene – guitar shops!  And one of the coolest shops in San Diego is Andy’s Guitar Shop.

Formerly known as El Rayo Guitarworks, current owner Andy Greenberg changed the name to Andy’s Guitar Shop after his old partner left the business.  A no-nonsense, little shop, Andy’s is a truly professional store, specializing in repairs and set-ups.  Essentially one giant repair room, split into an entrance/guitar showroom and full on “employee’s only” repair shop, Andy’s makes no pretense about its purpose.  Stocking a small supply of acoustic and electric guitars and a good selection of picks and strings, Andy’s Guitar Shop is predominantly a world-class guitar repair shop.

I waltzed into Andy’s on one of those rare rainy San Diego days.  Andy himself was in the repair side of the room, fiddling with a guitar.  I glanced over the small collection of axes dangling on the wall, and was drawn to a modified Epiphone hollow body.  I asked if I may noodle, and an employee granted my wish, even offering to change the strings if they felt too dead.  After a short bit of playing, Andy invited me to the repair half of the room to plug into a stellar Dr. Z amp.  He explained how he had modified this guitar, put in a Piezo PU and a stereo/mono switch – no easy feat!  Although I was just browsing, I was surprised by how he had transformed a seemingly middle of the road guitar into a professional, tonally diverse axe that played great.  One thing’s for sure, Andy definitely knows what he’s doing – I look forward to having him set-up some of my axes in the near future.

So if you’re in San Diego and want to check out a great shop, breathe life into an old, neglected  guitar, or just get a great set-up, visit Andy’s Guitar Shop @ 3043 Adam’s Ave. San Diego, CA 92116

The Ibanez RG350M – Such a JEM . . .

I have a fixation with Ibanez guitars.  The company’s retro styling, commitment to playability, constant innovation, and  iconic neon color schemes make them truly original (which is ironic as they faced law suits in their early years for plagiarism of competitor’s models).  As a result, many of their guitars are works of art, and have become collector’s items.  One of the guitars that helped establish Ibanez as a serious company for the serious player was the JEM.  Introduced in 1987, and co-designed by Steve Vai, the JEM was a Super Strat that came in Shocking Pink, Desert Sun Yellow, and Loch Ness Green.  Probably the most iconic features were the “Monkey Grip” handle cut out and the multicolored disappearing pyramid inlay – cool!

Of course, today these guitars are fairly rare and infinitely more expensive than they were in the late 80s.  I mean, we’re not talking 1954 Stratocaster rare, but a vintage JEM in good condition will definitely take some research and cost upwards of $2700.  Not horrible, but you’re still buying a vintage instrument, which means all of the problems that may come with it.  So in my quest for a JEM, I had to face the reality that it was not in my best financial interest to purchase a real vintage JEM (although they will probably appreciate nicely).  Luckily, Ibanez still produces a guitar that bears resemblance to the mighty JEM – the RG350.

 

So, for roughly $430 I got a new Yellow Ibanez RG – the foundation for the 2011 JEM project.  Now there were a few elements I would never have – the Monkey Grip, the disappearing pyramid inlay, and the pink tremolo bar depression cut out.  I mean I could have gotten these things, but at that point and cost, I might as well have shelled out for the real deal.  So first I scoured the online community of JEM fanatics – Jemsite – until I found a parts supplier, Ibanez Rules.  From Ibanez Rules I ordered authentic neon green (with black writing) Volume and Tone knobs, and a Pink selector switch tip – all to match the original.  Next, it was time for the PUs, which were obviously to be Dimarzios, the only company still producing the late 80s aesthetic.  To sound like the best, Paul Gilbert, I got two PAF Pros for Neck and Bridge, and an  FS-1 for Middle position.  To match the original JEM, I got neon pink PU covers, and one creme/black zebra cover for a personal twist.  Lastly, I installed a neon green Dimarzio ClipLock strap – my late 80s JEM reproduction was complete!

Ultimately, this was a fun project!  Of course, it’s no spitting image of the original JEM, but it’s a modern progeny with the same general character and a much smaller price tag.  The Dimarzios sound killer, and at the very least, the guitar is a great conversation piece that fills the void in my arsenal of a late 80s shred machine.  So if you’ve got a thirst for some rare, vintage axe but lack the funds to obtain – make it yourself!

For more on the Ibanez JEM, check out Jemsite.

Stevie Ray Vaughan

I recently visited the “live music capital of the world” –  Austin, Texas – a city drenched in American culture.  Although its roots date back to the mid 19th century, in the last 50 years Austin has become well-known as a hotbed for musical artists.  From country blues to Texas swing to “South by Southwest,” Austin is a city on the pulse of American music culture.

One of the greatest musical treasures and cultural icons to emerge out of Austin was Stevie Ray Vaughan.  From local guitar hero to international blues ambassador, Vaughan is now a legend.  Achieving great success with his group, Double Trouble, Vaughan pioneered the sound of modern blues guitar, evolving what Albert King, Buddy Guy, and Jimi Hendrix had previously made contributions to.  But more than just a blues artist, Vaughan crossed over into pop culture.  His debut album Texas Flood went double-platinum, and he was a featured musician on David Bowie’s infamous Let’s Dance.  SRV continued to make groundbreaking records and give inspirational performances until his early death in a tragic helicopter accident following a show with Eric Clapton.  At age 35, SRV made an early departure, leaving behind a legacy that is still shaping the music world today.

Aside from his amazingly innovative and identifiable playing style, SRV is known for his guitar tone.  Although he used other guitars, Vaughan is almost exclusively depicted using Fender Stratocasters, most often a 1962/63 model called “Number One” – his favorite.  He used “heavy” .12 gauge strings which, like many other blues greats, he tuned down a half step, thus allowing greater flexibility when bending strings.  Another crucial element to his distinctive tone was a 40-watt Fender Vibroverb amp, which he often blended with other amps, most notably a 150-watt Dumble.  SRV was also a huge proponent of the infamous Ibanez Tube Screamer overdrive pedal, which became a staple of his dirty sound.  Fascinated by the endless combinations of all elements of guitar tone, Vaughan created many iconic tones that enthusiasts everywhere are still trying to emulate!

So in a nutshell, Stevie Ray Vaughan was one of the most innovative guitarists and musicians of his era – a true American musical icon.  As you walk the streets of Austin, Texas today, you can hear Stevie Ray Vaughan everywhere – in every club, band, and musician contributing to this musical hub.  The echos of his legacy still ring loudly, and his playing continues to inspire generations.  Next time you’re in Austin, be sure to visit the Stevie Ray Vaughan memorial statue to pay tribute to one of America’s greatest cultural icons, SRV.

The Guitar Connection – Venice, CA

Serious guitar collectors are a breed all their own.  Often afflicted by a serious case of G.A.S.  (Gear Acquisition Syndrome), many enthusiasts have gathered collections that could easily be featured on an episode of “Hoarders.”  Constantly buying and selling, always looking for the next piece of equipment, begging you, “no matter what, do not let me buy another guitar,” every guitarist, and their significant other, can relate to the never-ending cycle of guitar collecting.  At The Guitar Connection in Venice, CA, one of the most bizarre and interesting guitar stores in the world, owner Mike Van Voorhees has made his own personal collection the inventory of his small business.

The Guitar Connection is a unique surprise on the up and coming Venice street of Rose Avenue.  Outside, you are instantly drawn to the pleasing vintage aesthetic, which summons you to peek inside and see what gems are hidden within its walls.  After you’ve been buzzed in by Mike, you enter – well, his living room – which has been transformed into the guitar showroom of the Guitar Connection.  See, what makes this shop truly original is that it is half-house-half-store, and everything for sale is part of Mike’s personal collection.

Once you’ve been let in, Mike watches you browse from his kitchen doorway, asking questions and adding personally commentary about certain items.  Although, and I’m sure he would agree, he is not the greatest salesmen (and his odd antics may scare off many customers), it is evident that this store and its collection are his life, and things he values very dearly.  Every instrument and amp has its own history, which Mike will gladly share with you.  A mixture of high quality and lesser instruments, The Guitar Connection inventory has all the peaks and troughs of any life long player’s collection.

Exclusively used and vintage instruments, some highlights include two Gibson “Black Beauty “Les Pauls, some rare Gibson Hollow Bodies, an original 1966 Fender Bassman amp, and some nice vintage Stratocasters – all set up and maintained by Mike.  There also some vintage 80s shredders, like Hamer and Ibanez, and a bunch of novelty curve balls that you are unlikely to see elsewhere.  Mike also buys used instruments, rents, and does repairs and set ups.  And although I can’t speak to his repair quality or expertise, I am sure he is more than capable of fixing up any axe, and has all of the knowledge and passion acquired by a life long enthusiast.

So for a unique, one of a kind guitar shop, be sure to check out The Guitar Connection @ 633 Rose Ave. Venice, CA 90291.

“LZ-’75: The Lost Chronicles of Led Zeppelin’s 1975 American Tour” by Stephen Davis

Along with the Beatles, Led Zeppelin are the definitive “band.”  With four distinct personalities,  unprecedented success, an iconic sound, and loads of unusual behavior that have evolved into legend, LZ raised the bar for every Rock n’ Roll band to come.  Maintaining a well protected mystique during their most prominent years, few know the true story behind the world’s greatest rock band.  In 1975, LZ embarked on a North American tour that would go down in Rock history as one of the most wild and legendary tours ever.  One lucky, young journalist, by the name of Stephen Davis, was invited to join the party.

LZ had just released the now classic album, Physical Graffiti, and used this tour to promote new songs like “Kashmir,” “The Wanton Song,” and “Trampled Under Foot.”  Davis, one of the few members of the press that LZ trusted, was given a backstage tour pass, personal interviews, and a seat on the infamous Starship airplane.  His entire experience was documented in three notebooks, which Davis lost for 30 years – only to be rediscovered in 2005.  That discovery led to this book.  Unveiling some legendary events – like LZ’s stay in Los Angeles – providing honest criticism of performances, and giving insightful details about the people and environment of LZ’s world, Davis paints an enthralling picture, drawn from the eyes of a young journalist living the dream.

With many hilarious and unbelievable stories that have become Rock folklore, greatly influencing the cult classic Almost Famous, LZ-’75 is a must read for any Zeppelin fan or Rock history buff.  A relatively short and easy read, this book takes you back to a time when Rock n’ Roll ruled.  It’s hard to imagine, but in 1975 LZ were the most commercially successful band in the world – akin to a modern-day Rihanna or Katy Perry.  Dethroning the Beatles, LZ played for the largest crowd in history, and in 1975 Physical Graffiti was No. 1 on the Billboard Charts.  Davis’ tale is an insiders look on how the band members and entourage kept their sanity, and kept the show rolling amidst this unprecedented success.  From Page’s battle with a broken ring finger to Bonham’s split personality to Plant’s historic quotes (“I am a golden god!”) to John Paul Jones’ subdued English manner, Davis shows the real Zeppelin, warts and all, as they once again crossed the pond to conquer America’s youth.

So check out LZ-’75 by Stephen Davis for an entertaining and unimaginable look back at the high water mark of Rock n’ Roll!