the travelling riverside blues band

The Story Behind Led Zeppelin’s “Travelling Riverside Blues”

Feature Photo: Bruce Alan Bennett / Shutterstock.com

When Led Zeppelin released their four CD Box Set Led Zeppelin on September 9, 1990, Led Zeppelin fans were treated to two Led Zeppelin recordings that had never been released before. One was a studio recording entitled “Travelling Riverside Blues.” The other was a live performance of “White Summer/Black Mountain Side.”

The Led Zeppelin box set was the first compilation of Led Zeppelin material ever released. The box set was released in three different configurations. There was a four-CD Set, a six-vinyl record set, and a four-cassette tape set. All three configurations contained a 36-page deluxe booklet. The box set was released in a large album sized hard cardboard box. All the songs on the album had been remastered. The initial Led Zeppelin CD releases in the 1980s sounded horrible. The Led Zeppelin box set contained the best sounding versions of those classic Led Zeppelin songs that we all grew up with. It was the first of many attempts at remastering the Led Zeppelin material.

Led Zeppelin was never known as a band that released rare material. With the exception of “Hey, Hey, What Can I Do,” all the singles released from Led Zeppelin albums contained only album tracks on the b sides. No greatest hits albums were released during their tenure. Led Zeppelin was always very guarded about their material. The arrival of the box set in 1990, only ten years after the band had broken up, surprised many Led Zeppelin fans. The grand surprise was the inclusion of the two unreleased tracks.

The inclusion of “Traveling Riverside Blues,” on the Led Zeppelin box set was the crown jewel of the box set for Led Zeppelin fans. The song had been recorded in 1969 at one of the seven BBC studios in London, England. Because the song had been recorded at one of the BBC studios. The BBC held the rights to the recording. Legally, Led Zeppelin could not release the recording until they negotiated with the BBC for the recording’s release. Led Zeppelin’s “Traveling Riverside Blues” performance was initially recorded by the BBC at Aeolian Hall in England on June 24th, 1969. At the time, Led Zeppelin was touring the United Kingdom. John Walters of the BBC produced the song’s recording. The song was broadcast on the John Peel Top Gear show on June 28, 1969.

The “Traveling Riverside Blues” recording is vintage Led Zeppelin circa 1969. Robert Plant’s incredible vocals fuel the song. Robert Plant is pitch-perfect on the tune, while Jimmy Page lays down his signature guitar solos and riffs. It’s a stunning recording of a band that seemed to be in their prime early on—a prime that never ended until the band broke up.

“Traveling Riverside Blues” is a song by Robert Johnson. It was initially written in 1937. However, because it was never released at the time, the public never heard of the song until the 1960s when it was released on the album King of the Delta Blues Singers in 1961

Robert Johnson’s original version.

The Story Behind Led Zeppelin’s “Travelling Riverside Blues” article published on Classic RockHistory.com© 2024

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About the author.

Brian Kachejian

Brian Kachejian was born in Manhattan and raised in the Bronx. He is the founder and Editor in Chief of ClassicRockHistory.com. He has spent thirty years in the music business often working with many of the people who have appeared on this site. Brian Kachejian also holds B.A. and M.A. degrees from Stony Brook University along with New York State Public School Education Certifications in Music and Social Studies. Brian Kachejian is also an active member of the New York Press.

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Traveling Riverside Blues by Led Zeppelin

Songfacts®:

• This was written and originally recorded by blues great Robert Johnson. Led Zeppelin borrowed heavily from American blues music. , CA) >> Suggestion credit : Henric - San Diego (Vaxjo
• Led Zeppelin first played this for a BBC session in 1969, but the song was never released on an album. It was placed on the Box Set in 1990, and it was also made a bonus track on the Coda album for the Complete Studio Recordings. >> Suggestion credit : A.J. - Toledo, OH
• Jimmy Page used a 12-string acoustic guitar to play this song. >> Suggestion credit : Jordan - St. Louis, MO
• In the third verse, it sounds like Robert Plant mistakenly sings "My baby geen bone" instead of 'My baby been gone." >> Suggestion credit : Nate - Buffalo, NY
• The lyric, "I've had no lovin' since my baby been gone" came from B.B. King's "Woke Up This Morning (My Baby Was Gone)."
• To get the fast bass beats, John Bonham used "triplets" on the bass drum - he would use the tip of his toe. >> Suggestion credit : Thomas - Toronto, Canada, for above 2
• More songs from Led Zeppelin
• More songs from 1982
• Lyrics to Traveling Riverside Blues
• Led Zeppelin Artistfacts

Comments: 21

• Tyler W from Florida One small note, there were many blues musicians decades before BB King who used the line "I've had no lovin' since my baby been gone" and variations of it.
• Rick from Miami Please don't squeeze me lemon
• Stungem 75x from Lancaster, Pa Definitely, one of the sexiest songs Zepp ever did. Definitely, one of my top 5 favs. It’s like a slow driving machine. Givin it to ya and unstoppable.
• Louis from Drexel Hill, Pa Ahmet Ertegun once said that Plant knew every lyric to every song ever recorded. You can hear that on albums and recordings of live performances. The lyrics "...kind-hearted woman, studies evil all the time..." comes from the Robert Johnson song "Kind-Hearted Woman".
• Ray from Bonneville Salt Flats, Ut @- kenny, Minneapolis, MN. You've heard the lyrics correctly: "I AIN'T GOING TO STATE NO COLOR, BUT HER front teeth is crowned with gold." RJ was talkin about one of his black hoochie mamas, very possibly the woman about whom he wrote Love in Vain. John Hammond did a video/DVD thing in the late 70s and looked up some of the people who knew RJ....including the woman "Willie Mae", I think. When he played the song for her she burst into tears. Remember...he wrote these songs in a much different time that the one we live in now and taking it further, RJ lived in a microcosm of barrooms, brothels, juke joints and other high class establishments. His co-denizens of this blues world within the southern black world was...how to say it....pretty raw and sex, color and other subjects that would be taboo in out politically correct world were acceptable in that juke joint world.
• Josh from Champaign, Il Inviting a woman into the "kitchen" in this context is an allegory for inviting them in the bedroom to do some "cookin'" ;o) If you can't stand the heat...
• Lisa from Blountville , Tn I've got a kind hearted woman, / she studies evil all the time. / I've got a kind hearted woman, / she studies evil all the time. / You would do to quit me ... Robert Johnson Got no lien on my body. / Got no mortgage on my soul. / Got no lien on my body, baby. / Got no mortgage on my soul John Lee Hooker First time I heard this was on the box set .I thought well Zeppelin dug up some old stuff.This was back in the day before I started to collect Zeppelin bootlegs. I've heard the Clapton version...aahh it's ok. Zeppelin's version is far superior. Great slide from Jimmy.Robert belting out almost every well know blues line is so great you really felt as if in this song it was Zeppelin way of saying how much love and respect they have for the blues.
• David from Los Angeles , Ca This song is freakin' cool, if you like this song i suggest you listen to Jennings Farm Blues.
• Kenny from Minneapolis, Mn "Come On In My Kitchen" is explained by an excellent, very informative article on Wikipedia. On the liner notes of the Robert Johnson LP, the lyrics of "Travelling Riverside" are quoted as "I'm going to stay around Goldsboro, til my front teeth is crowned with gold." Listen to it. To my ear, he says, "I AIN'T GOING TO STATE NO COLOR, BUT HER front teeth is crowned with gold." Am I wrong? If I'm right, what does that lyric mean?? My only guess is so unbelievable, I'm afraid to say it.
• Oldpink from New Castle, In No wonder that opening guitar sounded so "jingle jangle!" Roger McGuinn probably gets a big smile whenever he hears this one. Great fun, and it's cool how Plant bellows out random delta blues lines.
• Ray from Bonneville Salt Flats, Ut An interesting experiment: Listen to RJ's original recording. Then listen to Eric Clapton's version. Finally listen to LZ's version. Clapton's lyrics are almost word-for-word with RJ's. LZ's is far, far away from the original and includes lines from so many Delta blues song as to leave yer head spinning. Having said that, I still love all 3 versions. The only criticism I have of LZ is that the electric guitar added to the acoustic 12-string sticks out like a sore thumb. It just doesn't belong there. Still, it's one of my favorite LZ songs and gets a lot of play in my car and at home via WinAmp.
• Peter Griffin from Quahog, Ri Nope, it's definitely "geen bone". How Zeppelin could have never recorded this song for an album is beyond me. It is FREAKING AWESOME.
• Smalls from Uniontown, Pa, Pa I could probably type all day about this song, if I wanted to, but I'll keep it short and sweet. This song is so f'n awesome that words alone do it no justice, go and listen to it.
• Jamey from Montgomery, Al Instead of 'My baby geen bone', I think the lyric was "Had no lovin' since my baby could ball,yeah".
• Jambi from T-town, Mi another one of jimmy's beautiful bluesy slide performances
• Peter Griffin from Quahog, Ri He does say "geen bone". He switched the vowels around.
• Peter Griffin from Quahog, Ri Same sexual innuendo as The Lemon Song, sung differently and worded slightly differently.
• Hanna from Trondheim, Norway Squeeze my lemon, yeah! :p Led Zeppelin rooccks.
• Michael from Lorain, Oh "Squeeze My lemon" Classic, one of my favorites. I cannot believe how my parents did not like me listening to singers like marilyn manson. The lyrics are the same to their music. The only difference is the meaning is laid between the lines. It is just the same as my parents parents not wanting them to listen to the begginings of Rock and Roll. Rock and Roll can never die. Guitars and drums are what got me this far. Peace, Mikey
• Kuriente from Binangonan, Other The quote, "Why don't you come in my kitchen?" is actually a Robert Johnson quote. Johnson being the one who originally wrote this song back in the 30's. The Zeppelin version of this song is actually quite different than the original and is more of a tribute to Johnson than a cover. "Why don't you come in my kitchen" comes from Johnson's "Come on in my kitchen." There are also some references to "Kind Hearted Woman Blues".
• Anonymous from , Wi Yes, we know what you're talking about, Robert... but what does he mean when he asks, "Why don't you come in my kitchen?" I feel like there's something I'm not getting here...

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'Traveling Riverside Blues' and the Roots of Led Zeppelin

Robert Johnson has become a mythical figure of the blues, who acquired his prodigious skills in a deal with the devil at the crossroads. The truth is he was a man who worked very hard to turn himself into a musician. His early attempts at music – sitting in with legends Charley Patton and Son House—were not successful, and he didn’t appear to have much in the way of musical talent.

But then Johnson found a teacher in Ike Zinneman, an unrecorded Mississippi blues player, spending a year developing his musicianship.

He returned to the performing world with a mature and unique style that drew upon blues, pop and country music of the day. It was certainly an amazing transformation, fueling the idea that he had made the infamous deal with the devil.

Although he only recorded 29 songs in his short life, the genius of his songwriting, musicianship and singing have influenced the entire development of blues and rock. He recorded “Traveling Riverside Blues” in 1937, but Robert Johnson’s music did not sell well in his own time. It was not until Columbia released a collection of his music in 1961 that the world heard him, and he began to get recognition for his remarkable achievements.

Rock groups like The Rolling Stones, Cream and Led Zeppelin found a lot of their inspiration from the songs and style of Robert Johnson. Led Zeppelin singer Robert Plant referred to him this way:“Robert Johnson, to whom we all owed our existence, in some way.” Over the years, Plant mixed in Johnson’s lyrics to many of their songs, but “Traveling Riverside Blues” was the only Johnson title they recorded. They tracked it in 1969, but it wasn’t released on an album until 1990.

This is Zeppelin’s “official” music video for the song: http://www.youtube.com/watch?v=RSht5j3Cnh0

Eric Clapton called Robert Johnson "the most important blues musician who ever lived”, and much of his career has involved Johnson in some way. From Cream’s 1969 “Crossroads Blues” to Clapton’s 2004 release Me and Mr. Johnson , Clapton has probably done more than any other musician to bring attention to the work of Robert Johnson. “Traveling Riverside Blues” appears on the 2004 tribute. Here’s Clapton playing it live:  http://www.youtube.com/watch?v=J-bK9RmbcKI

David Jacobs-Strain is a young blues player who has successfully merged his folk-blues training with a very modern approach to rhythm and style. His 2008 version of “Traveling Riverside Blues” is informed by both Robert Johnson and Led Zeppelin.

Here are the complete versions of “Traveling Riverside Blues” tracked through time:

Robert Johnson “Traveling Riverside Blues” 1937

Led Zeppelin  “Travelling Riverside Blues” 1970

Eric Clapton “Traveling Riverside Blues” 2004

David Jacobs-Strain “Traveling Riverside Blues” 2008

Friday, July 20, 2012

A blast from the past: san jose's lifeline.

3 comments:

Hi Andy and Cat, I'm a really big fan of Lifeline and have been collecting their music since 1990. I first heard them on "Useless Wooden Toys" by the New Deal. I haven't been able to get my hands on all of their music though, especially the LP you posted a picture of above (the one with the gallow). Is there any way I can buy this LP from you or at least get a copy?? Please mail me at [email protected]

This band is great, lotta SJ skatepunk talk and history surrounding Frontline/lifeline on Turned Out a Punk Podcast. https://audioboom.com/posts/7560972-episode-256-joe-sib-22-jacks-wax-frontline

Great band! Lotta talk of SJ Skatepunk and band history on Turned Out of Punk Podcast https://audioboom.com/posts/7560972-episode-256-joe-sib-22-jacks-wax-frontline

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Amid the great unrest of 1968, a teenage jazz fan brought pianist Thelonious Monk to Palo Alto to play a concert. This is the story of how it happened.

Published on

For most of the citizens in the Bay Area city of Palo Alto, October 27, 1968, may have seemed just like another Sunday, but at a local high school, something extraordinary was happening: jazz legend Thelonious Monk was playing a concert.

Thelonious Monk playing a concert, of course, wasn’t all that out of the ordinary in 1968. What was odd was the promoter was an enterprising 16-year-old white Jewish schoolboy called Danny Scher. “My two idols were Thelonious Monk and Duke Ellington ,” says Scher, now 68, recalling how the Monk concert came about. “I had a dream of bringing them to my high school.”

Buy Thelonious Monk’s  Palo Alto here .

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The teenager had already organized two previous high school jazz concerts and was friends with a local promoter, Darlene Chan, whom he helped out occasionally. He told her about his dream and she said, “here’s Monk’s manager’s number, give him a call.” Scher followed her advice and was told by the pianist’s manager that Monk would appear for $500. After a deal was agreed, Scher was sent promo pictures, copies of Monk’s latest record, and a contract. “I was not old enough to sign it, so I gave it to the school principal to sign,” he says, adding that the principal only agreed to do it because it was a benefit concert. All profits from ticket sales would go to the school’s International Club, which supported schools in Kenya and Peru.

Promoting the concert

Scher worked hard to promote the concert. “I printed up posters, put ads in stores and put together a program,” he remembers, “so that even if I sold very few tickets, we’d have enough money to pay Monk. Tickets were $2, and if you were a student, they were $1.50. Back then, that was cheap.”

Even so, ticket sales were so slow that Scher decided to advertise the concert in East Palo Alto, an unincorporated area (at the time) located just north of Palo Alto. In 1968, East Palo Alto was considering a vote to change the area’s name to Nairobi. It was also regarded as a no-go area for whites. “There were posters all over East Palo Alto saying ‘Vote Yes On Nairobi,’ and there I was putting up my Thelonious Monk concert posters right next to them,” laughs Scher. “The police came up to me and said, ‘you’re a white kid, this really isn’t safe for you,’ but I wasn’t thinking like a white kid, I was thinking like a promoter who had to sell tickets.”

Monk’s visit came at a time when the United States was beset by racial tensions. The assassination of Civil Rights leader, Martin Luther King Jr., in April 1968 only heightened the country’s sense of division. But Scher continued putting up posters and began talking to some intrigued locals, who didn’t believe Monk would turn up at an all-white high school. “They were skeptical, so I told them, if you don’t believe Monk is coming, then don’t buy a ticket – but come to the high school parking lot, and when you see him, buy one.”

A temporary snag

Another twist in the tale came a few days before the concert when Scher called Monk to go over the concert arrangements. The pianist, who was in the middle of three-week club residency in San Francisco, shocked the schoolboy by saying, “I don’t know anything about it.” Monk told Scher he already had a gig booked that night and also had no way of getting to and from Palo Alto. “My brother can get you, he’s old enough to drive,” responded Scher, which satisfied Monk, who then agreed to play the concert.

“As my father already had a gig that day, I have a strong feeling that he said yes because it was a 16-year-old kid contacting him,” says Monk’s son, T. S. Monk, who produced and helped in the audio restoration of the Palo Alto concert tape. “It’s very unusual and outside the box; very Thelonious Monk.”

The concert

Arriving at the school parking lot in the Scher family’s station wagon, Monk and his band – tenor saxophonist Charlie Rouse, bassist Larry Gales and drummer Ben Riley – were met by several hundred people, both black and white. The group appeared on stage at 2 pm, following a couple of local support acts. Monk played a 47-minute six-song set, which included vibrant versions of his classic tunes “Well, You Needn’t,” “Blue Monk,” and “Ruby, My Dear.”

“It brought me chills because the energy of the concert was so high,” recalls Scher, who went on to become a west coast concert promoter and worked for many years with the legendary Bill Graham. “Everything’s a little faster, and the solos are longer than usual. When I first played the concert to T. S. Monk, he knew right away that his father was feeling good.”

“He was playing his ass off, and the band was really cooking,” laughs T. S. Monk, who says he first became aware of the recording 20 years ago but at the time wasn’t able to give it any attention. “I could hear that he was feeling really good. His best performances have always been live: there’s a different kind of energy and freedom than on his studio recordings.”

The recording

The fact that a recording of the concert exists at all is down to a school janitor who volunteered to capture it on his mono reel-to-reel machine. He gave the ¼-inch tape to Scher, who then kept it in a box for over half a century. “There’s a social media campaign to find out who the janitor was,” reveals Scher. “Based on the quality of the recording, he really knew what he was doing.”

Looking back, T. S. Monk believes the Palo Alto concert has new relevance. “I think it’s very appropriate to release it right now in America [in 2020] given its back story,” he states. “It’s a message of unity, which is something that we need on planet Earth right now.”

“It shows that music can bring us together,” says Scher. “I like to think that on that afternoon 52 years ago, everyone became colorblind.”

We are re-publishing this feature on the Palo Alto concert, which was originally published in 2020, on the anniversary of the concert in 1968. Buy Thelonious Monk’s  Palo Alto here .

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Birth: 1969

Death: 2023

Gary Patrick Swope OBITUARY

Gary Patrick Swope, an extraordinary guitarist, I.T. professional, husband, father and grandfather, died of heart failure on September 18, 2023, at his home in Felton, California surrounded by his loved ones. He was 54 years old. Gary was born on March 11, 1969, and grew up in Palo Alto. Throughout his life, he brought joy and inspiration to those who knew him. His musical talent, generosity toward friends and passion for technology were just part of his outsized personality. Gary became involved in music at an early age. In elementary school, he studied trumpet, but one day he touched an electric guitar and his life changed. Gary quit band class and committed to a life of guitar. He went on to play guitar in the Palo Alto High School Jazz Band and then later in the University of California at Riverside Jazz Ensemble and the San Jose State University Jazz Ensemble. Gary was a founding member and lead guitarist in “Soul Intention,” an 8-piece old-school funk band, and gigged at over 100 venues throughout California. Gary became fluent in rock, blues, funk, jazz, big band, swing, gospel, bossa nova, baroque and classical. He wrote and recorded a wide variety of original music and established GPS Productions. His expertise included sound production, audio editing, and composition. He produced dozens of songs used in TV, radio, film and web ads. Beyond his musical passion, Gary was an I.T. professional, designing tech manuals and making complicated processes simple through his diagrams and graphics. He worked in high-tech companies across Silicon alley and held positions in technical writing, quality assurance, technical support, graphic design and web development. Gary was also an avid sports fan. He loved the San Francisco 49ers and San Francisco Giants – especially when they won. A devoted and proud family man, Gary leaves behind his mother Judi, his wife of 25 years Christal, son Randy, and grandson Marik. He was preceded in death by his father Norman in 2014. Gary Patrick Swope’s passing leaves a huge void in the lives of all who knew him, but he will live on forever in the music he created, the love he shared, his generosity to friends and family, and the indomitable spirit he possessed. A celebration of Gary’s life will be held on September 30, 2023, in Palo Alto. Rest in peace, Gary.

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