Led Zeppelin rehearsing reunion concert set

You can speculate all you want about whether Led Zeppelin will play another show or possibly even a concert tour after the one-off reunion gig next month.

Why not speculate, instead, about the one thing we know is going to happen: the one-off reunion concert!

They have to play songs. What songs will they play?

In separate phone interviews with Sun Media in Canada, John Paul Jones and Jimmy Page addressed this issue. Here's a portion of one write-up based on the interviews.

So what songs will Led Zeppelin play at its reunion concert next month?

The usual standards Stairway to Heaven, Kashmir and Whole Lotta Love? What about some obscure gems?

Neither Jimmy Page nor John Paul Jones would divulge anything yesterday in interviews with Sun Media, but they did provide a few clues.

"You don't want to give it all away," Jones said. "We played kind of the normal songs at the rehearsal."

In confirming that they'd "more than likely" play an acoustic or off-the-beaten-path song or two, Page said the band already has a "blueprint" of a setlist heading into rehearsals next week.

Here are my predictions:

• "Rock and Roll" - they have to start the show off with Jason's drum intro leading into the sudden roar of Led Zeppelin and that predictable "been a long time" sentiment
• "Good Times Bad Times" - they'll surprise us and pull off an excellent rendition of album one, track one; the vocals on it aren't all that high
• "Houses of the Holy" - you know this is a band favorite; it's been included on Remasters, Latter Days and now Mothership; I originally had "The Rover" in this place but switched it to "Houses"
• "The Song Remains the Same" - again, the sentiment is in keeping with the theme of the evening; plus, it's just such a rockin' tune and Jimmy will rule
• "The Rain Song" - it's not on Mothership, but it's natural to follow "The Song Remains the Same" with this, so they might aswell finish what they started; it's interesting to note that in 1980 they played this without having played "The Song Remains the Same"
• "No Quarter" - Jonesy just did a bunch of orchestra-sounding stuff, so they'll let him continue to dominate with his absolute trademark keyboard song; perhaps in the lower key of C# minor like on Houses of the Holy rather than D minor as they played in concert; Jason won't sit out for very long at all; piano solo will be relatively short, like on 1973 versions and studio album; Jimmy and Jonesy may jam with Jason pretty long after keyboard solo, though
• "What Is and What Should Never Be" - a Jimmy favorite, definitely in a lower key for Robert's sake, such as D; I was just listening to the version on Unledded a couple nights ago, and Robert was straining to hit some of those high notes

Before I continue, here's a side note on the lower keys I'm predicting for songs. Don't forget that in an article published Sept. 14, electric musical instrument manufacturer Hugh Manson tells the Exeter Express & Echo:

"Some of the songs [at the reunion concert] will be in a lower key than usual and, while you can tune a guitar to accommodate almost any note, the best way is to make an instrument to do the job - and that's what this is. In fact, all the basses used by the band in the concert will be ours."

John Paul Jones has long been a client of Hugh and his brother, Andy; Andy makes acoustic instruments, and Hugh makes electric instruments. An edition of "On This Day In Led Zeppelin History" from April 28, 2003, has more on the Manson brothers.

Ever onward! The acoustic set:

• "Going to California" - it's been done at so many Jones and Plant concerts, but they just have to do this one together again; it gives Jason the first part of a nice two-song break
• "That's the Way" - some of you may call me a heretic, but they should give Plant a rest on this and install Jonesy on lead vocals, which he took during his last solo tour
• "Tangerine" - Page's song, with Jonesy playing a triple-neck guitar and offering a nice mandolin solo; in this place, I originally had "All My Love" because it's a radio staple chosen for Mothership, but it's Page's least favorite song of the Zeppelin catalog, so I think it would be nixed if suggested
• "Nobody's Fault but Mine" part 1 - they start this one off with the Unledded rendition in the key of G and then ...

Back to electric:

• "Nobody's Fault but Mine" part 2 - ... they drop their acoustic instruments and finish the song with the full electric onslaught
• "When the Levee Breaks" - OK, stay with me on this; the song is played three half-steps lower so it's in D; Page switches to a custom bass so that Jonesy takes the lead on lap steel guitar; Plant pulls out his G harmonica and takes a solo before singing two different verses about three times each; where most fans would be expecting a guitar solo from Page, Jones awes everybody on lap steel
• "Dazed and Confused" - this will be close to the length of the first-album version but also includes some portions of "Achilles Last Stand"
• 
  "Stairway to Heaven" - yes, they're going to play it, no question, and it'll be great; personally, I really liked the version they did with Jason at the Atlantic Records 40th Birthday in 1988 (see above), and I thought Robert sounded great on it regardless of whether he was remembering the lyrics properly; he should be well-rehearsed this time
• "Kashmir" - a powerhouse of a song to close the regular set

Encores:

• "Black Dog"
• "Heartbreaker"
• "Whole Lotta Love" - Jimmy will steal the show during all three of these closing numbers

Uncle Earl, John Paul Jones protegees, enthusiastic in Virginia

Uncle Earl put on a great performance Sunday at the Birchmere in Alexandria, Va., a place they proclaimed as one of their favorite venues in the country. It's a place they attested they wouldn't miss their show, no matter how much trouble they had getting there, as they hilariously described for the audience between songs.

The all-female string band's set list was comprised of songs from the members' side projects and their two collaborative albums, the second of which was produced by John Paul Jones and also includes the Led Zeppelin musician on mandola, bass, piano, Papoose, wobbleboard, and a fair amount of background hollering.

What's really wonderful about this band is their versatility. Each g'Earl is proficient at her instruments -- Rayna Gellert on fiddle, Abigail Washburn on banjo, Kristin Andreassen on guitar, fiddle, harmonica, banjo and ukulele, and KC Groves on mandolin, guitar and mandola -- and each can sing. They trade off lead vocals from song to song, and their other individual talents, including Kristin's dancing and Abigail's keen sense of fashion, are all highlighted eventually. Onstage, they obviously displayed the same "enthusiasm, willingness and fine musicianship" to which Jones alludes in the liner notes to their March release, Waterloo, Tennessee.

At the Birchmere, Uncle Earl was joined onstage by the six-member King Wilkie, which Kristin proclaimed to be the object of her affection. Both groups are signed to Rounder Records. Several members made cameo appearances throughout Uncle Earl's set, and touring addition Laura Cortese played upright bass throughout it all.

One unexpected treat was a cover of the Police's "Canary in a Coalmine" in a nifty arrangement that could have been made by Rolf Harris. Another standout number can be found on Kristin's solo effort, Kiss Me Hello: "Crayola Doesn't Make a Color for Your Eyes." It's a children's song she cowrote and for which she won a songwriting contest earlier in the year. Immediately at the chorus, many audience members let out a noise that signalled either they had just recognized the song ("ahhhhh") or they thought its lyrics and harmonies were absolutely charming and angelic ("awwwww"). The song also benefited from Kristin's playful pattycake with Rayna, four-part harmony from the g'Earls, and a toy piano solo from King Wilkie's Reid Burgess. Uncle Earl's set concluded with an ensemble jam on the g'Earls' arrangement of the traditional "Black-eyed Susie."

After the show, I asked the gorgeous Rayna whether her group has taken a cue from Jones and enlisted Andy Manson in England to make them any acoustic stringed instruments. Rolling her eyes, she said, "I wish!" His equipment is a little pricey for the group, she suggested. One of Jones's instruments, a mandocello, is so large that she calls it the "water buffalo," she said, and it makes her jealous.

Then she really made me jealous. Kristin and Rayna said they have one more show in the United States this road trip and that Uncle Earl will be touring England this November. Their tour dates will end in time for the Led Zeppelin reunion concert in London on the 26th. Any plans to attend? First, Kristin stroked her chin and teased, "We'll see." Separately, Rayna's answer, however, was more direct. Maybe she doesn't have a water buffalo she can call her own, but she confirmed that indeed all of her band would be special guests of John Paul Jones at the Led Zeppelin show. Now who's jealous?

Manson brothers continue to innovate when building instruments

This news originally appeared in an edition of the newsletter "On This Day In Led Zeppelin History."

Instruments or equipment made or repaired by Hugh and his brother Andy Manson can also be found in the hands of such musicians as Jimmy Page, Jeff Beck, Steve Howe of Yes, Jethro Tull's Ian Anderson and Martin Barre, and members of Oasis and the Stereophonics.

"There's a new English band called Muse," Hugh told me. "They've got a massive recording deal with Madonna's label, Maverick." He said that the guitarist of Muse, Matt Bellamy, now 23, walked into Manson's Guitar Shop one day with an odd request: "Can you put a whammy pedal in the guitar?"

Hugh must feel that nothing is impossible. "So we built a little microprocessor in the instrument," he said. "I've made him some amazing stuff, with MIDI on board, an actual MIDI controller in the guitar. So for example, you can control a whammy pedal, which is on the floor, with a laptop computer pad on the instrument. It also has a built-in Theremin pad."

Bellamy's future is a bright one, predicted Hugh. "I think he is a guy to look out for," he said. "He is very exciting as a player, and he has some wonderfully demanding ideas for me to create. You should see what I'm working on for him now! It involves lots of lasers."

Necessity is the mother of invention, it's been stated many times. This could be the premise that guides the work of Hugh and Andy Manson, inventors in their own right. Andy, who designed and built the triple-neck guitar for John Paul Jones in 1976, is still creating new instruments for Jones these days.

"Andy's made something; it's not a secret anymore," Hugh told me. "It's a three-neck arch-top mandolin. It has mandolin, mandola and bass mandolin. It has a carved top. That features on the new album [on "Down to the River to Pray"], and we hopefully will be touring with it as well."

These days, Hugh is closely involved with Jones' concerts, looking after the instruments and amplifiers. On tour, Jones has used an array of basses, keyboards, plus stringed instruments like the mandolin, ukulele and the bass lap steel. Other sounds come courtesy of the Kyma sound design workstation. All of that, including Terl Bryant's drums and Nick Beggs' Chapman stick, fall under Hugh's jurisdiction. "I'm responsible for the day-to-day running of the stage, really," he said.

It's a huge commitment, but Hugh couldn't be any more pleased with his boss on the road. "We go back a long way," he gushed. "John is so nice to work with, a great guy -- no attitude, just a true pro and an amazing musician. I wouldn't miss a tour for the world, although it does seriously cut into guitar building time!"

The brothers' building time is best explained in Andy Manson's book, Talking Wood: A Guitar Maker's Diary. With the foreword written by none other than John Paul Jones himself, the 140-page book was published in hardcover form. "There is only a limited run, so I think it will become a collector's piece," said Hugh.

"It's like an instrument maker's diary over a year," he added. "It's not like how to build a guitar, although you probably could from the photos! It's a diary of what a good guitar maker would do, if people are interested."

Around 250 color photos grace the book. Included among them are Jones with his eight-string acoustic bass, his 12-string bass, and the crowning glory, his triple-neck acoustic guitar. Some of the photos document the building of a replica three-neck for a Japanese Led Zeppelin tribute band called Cinnamon.

Next, what you can expect to hear on John Paul Jones' new album, The Thunderthief. It is scheduled to be released on Tuesday in the United States and later in the month in Europe.

Manson brothers building instruments for nearly 45 years combined

This news originally appeared in an edition of the newsletter "On This Day In Led Zeppelin History."

Not long ago, I had the pleasure of speaking by telephone with one of the men who makes John Paul Jones' musical instruments. Hugh Manson, of Manson's Guitar Shop in Exeter, England, gave me a few minutes of his time on Jan. 24, before heading off to help with Jones' Guitars for Landmines show in Manchester.

Hugh has been in the business of making instruments for more than two decades, but his interest in assembling things goes back further than that. The 47-year-old said, "I was always into making things when I was a kid. Model airplanes. When I got a watch for my birthday the first thing I would do is take it apart."

Aside from handiwork, another thing that interested Hugh was music. "The first thing that really made an impact for me was Bob Dylan and maybe Donovan," he said. Hugh mentioned that he "delved into" the Beat movement. "I was into Woody Guthrie stuff for a while. Then came the Beatles, the Stones, the Doors," he said.

He said he was about 14 when he first combined his musical interests with his skill for building things. "The first instrument I created was the Appalachian Mountain dulcimer, an American instrument made famous by Joni Mitchell but used by lots of people prior to that. It's a thing you play in your lap. I made that when I was about 14, I suppose -- maybe longer ago.I've still got it, and I still play it. That's where I started."

He explained his affinity toward musical instruments, saying, "[They] are one of the only things that people make that have to fulfill three functions: They have to sound good, look good and feel good. There are not many other things that people make that fulfill all three of those functions. Musical instruments use at least three of the five senses. New ones even smell good!"

Interestingly, while his brother Andy went off into the business of building electric and acoustic stringed instruments, Hugh instead sought a career in teaching. "After being a student I was a schoolteacher for a while. I taught art and design," he said.

But Andy was becoming too bogged down in his manufacturing work to continue doing it alone, and so he asked Hugh to join him in the business. Hugh said he jumped at the opportunity. "So I handed in my resignation at the school the very next day and went to work with Andy," he said. "That was 22-ish years ago."

By that point, Andy had already contributed to Led Zeppelin history himself by building one of the group's most recognized instruments. Hugh said Andy's connection with Led Zeppelin began with a knock on the door.

While they were living in Sussex, England, John Paul Jones lived nearby. "I even learned to ride motorcycles on his drive when I was about 15," said Hugh. One day, his mother said to Andy, "There's a 'pop star' living at the end of the lane. Why don't you go and knock on his door and see if he's got any work for you?"

Following his mother's advice, Andy knocked on the door. It was Mrs. Jones who answered. Andy inquired, "I understand there's a pop star living here." She replied, "My husband's a musician."

Before long, Andy met John Paul Jones, and they became friends. "John and Andy got to know each other pretty well," said Hugh. "John gave Andy tickets to a concert. ... Andy went to the gig and saw John use three instruments in the same number. He thought to himself, 'John needs a three-neck guitar.' Andy went away, designed one and made it. He made it in '76, and John said, 'Wow, that's amazing.' He used it on the next tour."

During that next tour, Jones' triple-neck guitar became one of the highlights of every show. Used on live versions of the song "Ten Years Gone" on the 1977 North American tour, the multifaceted instrument was seen by tens of thousands of people every night. "It has a mandolin, a twelve-string and a six-string guitar," said Hugh.

Over the years, the Mansons have made instruments for "a lot of English names," said Hugh, who currently overlooks more than just the instruments and equipment used on Jones' solo tours. "I'm responsible for the day-to-day running of the stage," he said.