Latest news with #RobertPlant
The National
2 days ago
- Entertainment
- The National
Artist 'thrilled' after meeting rock legend in Loch Ness
Jonathan Grant, a painter whose art shop is based at the Loch Ness Clansman Hotel near Inverness, was left delighted after he met the former frontman of the legendary rock band Led Zeppelin. Robert Plant, who founded Led Zeppelin in 1968 and played in the band until it broke up in 1980, had been in the Loch Ness area last week. Grant said he just so happened to 'glance' outside and caught a glimpse of a gentleman leaving the Loch Ness Clansman Hotel which he thought looked a lot like Plant. READ MORE: No independence referendum while I am PM, says Keir Starmer The Scottish artist said he 'dashed' out of his art gallery to confirm his suspicion and was delighted to meet the rock legend. 'I can honestly say it was a great thrill to meet Robert Plant,' Grant told The National. 'My art gallery shop is beside the main entrance to the Loch Ness Clansman hotel, and I happened to glance at this gentleman exiting the hotel and immediately thought it looked like Robert Plant. 'So, I dashed after him and by luck he had just got into the passenger seat of a car parked right by the front door.' Grant added: 'I chapped on the window which he rolled down and I asked if he was Mr Plant which he replied laughingly 'who's asking?'. 'I asked for a photo which he agreed to, and I then remembered I happened to have a painting of their first album cover on my art gallery wall, so I told him, and he asked to see it.' Grant, who paints Highland landscapes along with Highland cows, also just so happened to have painted Led Zeppelin's first album, which he said the rocker was impressed with. The Loch Ness artist added: 'A really nice chap and very humble too.' Robert Plant Grant shared his encounter with Plant to a Led Zeppelin fans group on Facebook, which has since amassed more than 20,000 likes. The 76-year-old rock star was in Loch Ness ahead of upcoming dates in Italy and France as part of a tour with music co-operative Saving Grace.
Metro
2 days ago
- Entertainment
- Metro
Netflix set to drop major Led Zeppelin documentary that's missing one key part
If you're a Led Zeppelin superfan who's already watched all the available online footage of their early days, you're probably going to love Becoming Led Zeppelin. If you want to listen to hits from 1968 to 1970 for two hours and 17 minutes, you'll also have a great time watching the documentary, which is set to drop on Netflix on Saturday, June 7. Hell, if you just want to marvel at the sheer volume and movement of young Robert Plant's golden curls, there's plenty in the film for you. But if you want to hear the true story of a band that was as controversial as it was popular, you've come to the wrong place. Full of never-before-seen footage of the band's first 18 months, interviews with John Paul Jones, Jimmy Page, Robert Plant, and new audio from the late John Bonham, the first authorised documentary about the best hard rock band to ever do it assumes a lot about what its audience already knows. Wake up to find news on your TV shows in your inbox every morning with Metro's TV Newsletter. Sign up to our newsletter and then select your show in the link we'll send you so we can get TV news tailored to you. Rarely bothering to even put names on the screen during interviews, the documentary feels so tightly controlled that often, what's not being said feels louder than what is. For stopping its narrative in 1970, before the band even reached their Stairway to Heaven era, the documentary manages to pack very little into a long run time. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video There is almost no mention of the troubling culture that famous rock journalist Mick Farren described as 'running in semen and beer and unpleasantness,' noting that he witnessed members of the band 'getting their d—- sucked by 13-year-olds under the table.' When there are references to the band's notorious rock n roll lifestyle, they come off as footnotes. Of course, no one is asking the band to treat the documentary as a confessional in which to unpack all their dirtiest secrets and inter-band feuds. Still, the absolute refusal to engage with anything that could possibly reflect poorly on their legacy makes the film colorless and impersonal. But one can't really blame the director, Bernard MacMahon, for this sanitisation of rock's infamous bad boys. Page – who is rightly depicted in the film as the beating heart of the band, handling much of their early business transactions, production, songwriting, and overall brand – is famously protective of Zepp's image. It's a miracle that an authorised documentary about the band was made at all, given that every attempt to make one over the years has been thoroughly thwarted. Page told Metro in a recent interview that countless people have approached him about a film: 'Yeah…Warner Brothers, who were trying to float this idea with an absolute idiot. We had a meeting, and he was saying, 'Oh, well, it starts off at the Continental Hyatt Hotel. And it's in the lobby and there's lots of groupies and then you come down in the lift…' Excuse me? What group is it you think are doing this? You're not talking to Led Zeppelin? Is it Mötley Crüe? Or Quiet Riot?' This kind of derision is common for the famous perfectionist, who describes the members of Led Zeppelin finding each other when they did with an air of mythos verging on biblical throughout the film. His pride is warranted and even admirable, but it's evident throughout that Page remains the ultimate authority over all things related to the band, and his desire to be the arbiter of how they're remembered leaves very little room for anything but insight into specific guitar riffs and concert footage. If you didn't know better, you might think the guys of Led Zeppelin were a group of adoring husbands who pined for their wives in tidy hotel rooms while on tour during the summer of love. The doc is at its best during the moments of vulnerability that slip through the cracks of the carefully plastered facade. Its a treat to watch complex emotions play across the musician's faces as they listen to Bonham's voice in a rare uncovered audio interview from '71. John Paul Jones, in particular, seems genuinely connected to the memory of his lost friend, offering quips like 'I was in love with that man's right foot.' But one doesn't leave the theatre feeling like they know the late drummer – who died in 1980 of pulmonary aspiration after drinking himself comatose – any better. More Trending Of course, seeing an early performance of a Whole Lotta Love in IMAX with surround sound is a chill-inducing, almost religious experience that just about makes up for the stubbornly lifeless aspects of the film. The life and energy ripping from every pore on Robert Plant's body in the archival performance footage is worth the price of admission, even if he comes across as a marionette controlled by his lead guitarist in the interview portions. Ultimately, this film is about the music, which would be fine if the music wasn't a product of the culture the doc completely ignores. A version of this article was first published on February 20, 2025. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: Urgent warning to Amazon Fire Stick TV users before popular app stops working MORE: Netflix fans already 'obsessed' with season 2 of show watched 250,000,000 times MORE: 'Dark' ITV true crime drama quietly added to Netflix soars up chart
Forbes
5 days ago
- Entertainment
- Forbes
‘Becoming Led Zeppelin' Documentary Arrives On Netflix This Week
"Becoming Led Zeppelin" partial poster image featuring Robert Plant, John Paul Jones, Jimmy Page and ... More John Bonham. Becoming Led Zeppelin — a rock documentary featuring Robert Plant, Jimmy Page, John Paul Jones and John Bonham — debuts on Netflix this week. Directed by Bernard MacMahon and Allison McGourty, Becoming Led Zeppelin debuted on IMAX screens on Feb. 7 and expanded to regular theaters on Feb. 14 before pivoting to digital streaming on April 4. The official summary from the film's studio Sony Pictures Classics reads, 'Becoming Led Zeppelin explores the origins of this iconic group and their meteoric rise in just one year against all the odds.' Led Zeppelin, featuring Plant on lead vocals, Page on guitar, Jones on bass and Bonham on drums, formed in 1968 and disbanded in 1980 following the tragic death of Bonham at age 32. During Led Zeppelin's 12-year run, the band released eight albums of original material and in 1982, issued a final album, Coda, which consisted of unreleased rejected tracks, outtakes and live recordings. The band released several classic songs from 1968-1980, including 'Black Dog,' 'Immigrant Song,' 'Rock and Roll,' 'Whole Lotta Love,' 'Stairway to Heaven,' 'The Ocean,' 'In the Evening,' 'Kashmir,' 'Ramble On' and 'Houses of the Holy.' According to Netflix, Becoming Led Zeppelin will arrive on the streaming service on Saturday, June 7. For viewers who don't subscribe to the platform, Netflix offers an ad-based package for $7.99 per month for two supported devices, an ad-free package for $17.99 per month for two supported devices and an ad-free package for $24.99 for four supported devices with 4K Ultra HD programming. Becoming Led Zeppelin marks the first time a documentary about the classic rock group has been authorized by the band. As such, Robert Plant, Jimmy Page and John Paul Jones granted all-new interviews to directors Bernard MacMahon and Allison McGourty, while the filmmakers tracked down never-before-heard and seen footage featuring John Bonham. During an interview with Hey U Guys alongside MacMahon and McGourtry,' Page explained why he finally said yes to a documentary about the group. 'All the documentaries that I'd seen up to this up to this one were really, really very, very lightweight,' Page told HeyUGuys. 'They didn't actually give any sort of perspective on what was actually happening with the music and why the music was what it was, why there was improvisation every night and that made us very different to everybody else. No, they missed all of it.' Page added that prior attempts by people attempting to document the career of Led Zeppelin 'could put in the figures of how many albums we sold, but it's like, 'Yeah, but you're forgetting why those albums are selling.'' 'So, I didn't have very much uh patience with those sort of things,' Page explained to HeyUGuys. 'I had a lot of patience with Bernard and Allison when they were when they were presenting the idea of what they wanted to do because it was so in line with the way that I thought about it, too … I'm so thrilled to be here now that they manifested exactly what they said they would do.' Becoming Led Zeppelin begins streaming on Saturday, June 7, on Netflix.
Forbes
6 days ago
- Entertainment
- Forbes
Grace Potter On Cinematic Feel Behind T Bone Burnett Produced Medicine
Rock history is littered with the fabulous tales driving the lore behind legendarily unreleased 'lost' records like The Beach Boys' SMiLE or Prince's Black Album. In 2008, Grace Potter entered the studio to begin work with producer T Bone Burnett, himself riding high on the success of 2000's Oscar/Grammy-nominated, Coen Brothers-directed, satirical musical O Brother, Where Art Thou?, on which he oversaw the music, as well as the 2007 album Raising Sand, the Grammy-winning collaborative debut from Led Zeppelin frontman Robert Plant and bluegrass artist Alison Krauss, which he produced. By that point, Potter had released a pair of solo albums since arriving in 2002 as well as two more alongside then backing band the Nocturnals. But working with Burnett would prove to be a different experience, one which found her comfortable in the studio for the first time, joined by vaunted session musicians like drummer Jim Keltner (Bob Dylan), keyboard player Keefus Ciancia (Jeff Bridges, Everlast), guitarist Marc Ribot (Tom Waits, Elvis Costello) and bassist Dennis Crouch (Gregg Allman, Elton John) on what would become the album Medicine. Known for her more raucous studio efforts, Medicine shook up the formula, delivering a more introspective affair - a batch of 12 songs which celebrate storytelling by placing Potter's powerhouse vocal front and center. Highlighted by the magical improvisational efforts of Burnett and company which accompany her on the album, Medicine utilizes Potter's background as a film major and director, driving narrative while displaying her full range as an artist. But come 2010, the decision was made to shelve Medicine in favor of riding the rollicking momentum Potter had built alongside the Nocturnals. While splinters were already forming, a trio of Grammy nominations nevertheless followed - with Potter left to ponder what could've/should've been. Storytelling inspired by a series of road trips which found her traversing the country via Route 66 (a similarly-minded, Potter-directed documentary film also remains in the works), informs her 2023 album Mother Road with the artist further embracing the artform on stage. During a recent pair of sold out, intimate performances at Chicago's hottest new venue Garcia's, Potter bared her soul over the course of two radically different sets, hitting upon covers ranging anywhere from Whitney Houston to Jimmy Cliff, while creating and developing characters on stage with her audience between solo numbers delivered sparsely but passionately on either guitar or organ. 'The Garcia's experience was… I think you caught my true form,' explained Potter during a recent phone conversation following the Chicago appearances. 'That is who I really am. And I really loved and appreciated the audience and how willing they were to partake in the experience of going into the wormholes of my mind. And creating something new - on the spot, together! Because it'll never happen that way again,' she explained of her one of a kind performances. 'And, in that same way, I think that this record is just such an interesting moment in my life,' said Potter, addressing Medicine. 'Up until that point, I was under the impression that a song is a song is a song. 'Here it is on my guitar. But now I'll play it on the keyboard.' That shouldn't change much for people - but it does. It really does! And I think allowing in the artistry of people who've done this a lot - who have the history and the trust with a producer like T Bone - I think it revealed truths within the lyrics of the song, and even within the vocal performances, that I didn't even know existed. Until I listened back with fresh ears.' While several of the album's tracks eventually found placement elsewhere, albeit in a vastly different form, today's release of Medicine, now available on CD or vinyl and for online streaming via Hollywood Records, marks the first time fans can hear the origins of that music, as written and worked up in the studio under the guidance of T Bone Burnett 17 years ago. Fresh off an appearance delivering 'The Star-Spangled Banner' at the Kentucky Derby, ahead of a summer run in support of Chris Stapleton, I spoke with Grace Potter about the relationship between Mother Road and Medicine, working with Burnett and how the embrace of both film and music inform the often cinematic feel that drives the terrific new album. A transcript of our conversation, lightly edited for length and clarity, follows below. Jim Ryan: You kind of spoke on stage at Garcia's about the road trip and the introspective process that led to Mother Road. Did that experience of kind of taking stock a bit, looking back in a way, help clear a path toward or lead you back to Medicine? Grace Potter: It did. Because I met back with all my ghosts - not to quote myself. But that's really what it was. I had long conversations with my former self. And the versions of me that felt guarded - or like I wasn't safe to explore my own agency and advocate for what I believe in as an artist. And the process of working with T Bone really opened that door for me - but then it was promptly shut. Again. So, I think it was an interesting revelation to have, years and years later, that there was this treasure just waiting - and how unfair it really was to not share that with the world. Because I have had so many opportunities to share music that the world has never heard. Medicine is not the only unheard music that I've been sitting on. And I really wondered why? I've been asking myself that question, especially with the release of Medicine. There are entire other albums worth of music, that maybe weren't recorded quite so masterfully as the T Bone record but that are songs that need to be reconsidered. So, as I've been preparing to embark on the next chapter of the Mother Road journey, Medicine felt like a really important sort of lost piece of luggage finally returned on the conveyor belt of my brain. Ryan: I was listening to Mother Road again this morning and storytelling really impacts and informs that record. But it's there on Medicine too. There were definitely themes emerging. Does it feel like sort of an appropriate follow up, in a weird way, despite everything in between? Potter: Absolutely. Because Mother Road is about digging into my history. And this is the history. It's like, 'Remember that thing that I was talking about? Here it is.' I was burdened by this record not coming out. And it was one of the many pieces of baggage that I didn't quite understand what had happened - and I didn't really want to go back. I'm such a forward-minded person. As an artist, we are impulsive. And we're always excited about the newest, hottest idea that we've just had. But, oftentimes, the newest idea is not the best idea. I have this pair of glasses that I love more than any other pair. And I remember when I got them, just feeling them on my face, it was like, 'These are the glasses I have always worn.' Maybe even from another lifetime. Every bit of the pressure point of where the glasses sat on my face, the weight of the lenses and plastic, the way the sun feels when it goes through the frame and kind of refracts off my eyeball? It is the pair I always go back to. And, of course, the lenses are scratched to s–t. I gotta replace the lenses. But it doesn't matter. There's just a feeling to it of being true to yourself and being as vigilant as possible when it comes to things that feel and are good. It's one thing just to chase the next good feeling. But, when you sit with the uncomfortable feeling, sometimes, I think there's a glow and it works: there can be an important lesson to be learned from going back through the uncomfortable moments and arriving at the most comfortable that you could possibly be. And I have that memory from making Medicine: I was incredibly comfortable. For the first time ever in the studio, I was comfortable. Ryan: I didn't realize you were a film major and a director. Obviously, T Bone has worked a bit in that world as well. At Garcia's, you were very much engaging in character development on stage. And suddenly it all made sense - because this album takes on a cinematic feel. Whether it's a songwriter, a screenwriter, a poet or anyone else, who are some favorite storytellers of yours? Potter: Certainly the Coen Brothers jump right out - right off the page. But I think it's really anybody who explores the absurd. Oliver Stone is another huge inspiration. David Lynch. I absolutely adore Catherine Hardwicke (and I think that she did an amazing job with the Twilight series - wandering into somebody else's story, which I always think is a really hard thing to do). Reed Morano is another amazing female director who also is a cinematographer. Those journeys that you go on with a Scorsese or a Tarantino - where their aesthetic, very much like T Bone, is the thing you are signing up for. Before you watch the movie - before you even consider the story or the premise or the log line - you're already in their world. Wes Anderson certainly has created his own world so beautifully, so many times over. But it's a feeling that you're chasing. And it's so close to music. When I put on Linda Ronstadt or I put on The Band or Billie Holiday or Les Baxter, I know that what I'm really hunting down is the memory of the last time I heard it. And I think that this record - because it sat in time and was not heard - there are so many missing memories that people are going to get to experience. And I think there will be a bit of déjà vu. Because there's a lot of familiarity with the songs. But the approach and the treatment of these songs has so shifted from what people know - and yet it's so familiar. Because we have the aesthetic of T Bone. You have the comfort of already knowing what my voice sounds like. But pretty much everything else has been reimagined. It's almost like a completely different movie plot. Even though the songs are the same. Ryan: Well, with T Bone comes players like Jim Keltner and Keefus Ciancia. Nothing against any of the musicians you've worked with but what was it like working with that particular group? Potter: Keefus. He's an imagineer. There's people that create these worlds. Like when you're at Disneyland and you're at the Animal Kingdom and suddenly you go from Morocco to Tibet. And somebody has sat down and thought about everything - right down to how many rows of palm trees need to be planted behind the set piece. And what genomes of palm trees need to shift from one to another to make you feel like you're moving from Northern Africa through all of these other wild worlds before ultimately ending up in the Himalayas. That's what Keefus does. And I think that with Jim, he just knew. It's like he had read the script of Medicine and got the movie - got the plot and was working with a director like T Bone, whose aesthetic was so reliable and so profoundly connected to his style of playing that there was just so little push and pull. It was just very organic. It was like being in an ocean that had always been there. Ryan: How much improv was there on this record? I feel like that's such an underrated life and music concept these days. But I felt like I was hearing it… Potter: A lot. Absolutely. Notice how all of the songs don't ever really want to end. There are very few songs that actually had an ending. That's because we didn't want to stop playing. And the improvisation was always there. Especially because I had come from the jam band scene. And T Bone was curious about that. There was a lot of, 'Well, OK - let's just keep playing...' Or, 'At the beginning of the song, let's not play right away. Let's not all start playing together. Let's let Keefus or Jim start this song. Don't come in right away, just wait. And you'll know. You'll know when it's time.' He wasn't standing in the window pointing going, 'And, scene!' And you could really feel that organic nature. Because, if you listen to it - and you have this understanding of how the song formula is typically approached - that was all thrown the f–k out the window. Ryan: It was interesting too hearing the horns and backing vocals. There were times Medicine sounded to me like an old Stax soul recording. How did you go about incorporating those elements? Potter: That was really fun. It was like in post - when you're on a film set and suddenly you're in this position of like, 'Imagine: this is a green screen today - but tomorrow it's going to be an entire, beautifully decorated hotel. Or a back alleyway of a film noir.' With the horn sections, T Bone had an arranger that would come into the studio just to pop in and check in on things - but wasn't present. So, it's not like the horns were in the room with us. And I was almost like an actor, coming to the premiere of the movie not knowing. 'OK, how did that green screen end up?' With the horns and the backing vocals, I wasn't there when they tracked those. But, again, I think that the thing that truly solidified the collaboration between T Bone and I was trust. That was what we had with one another. There was a lot of trust. And a lot of free falling toward a goal that I 100% understood, Jim 100% understood, Marc understood, Dennis understood and Keefus understood. And, when the horn players and the arranger finally presented what had come of it, it was actually what I had pictured and heard in my brain even while I was in the studio tracking it raw. Ryan: How did dreaming kind of impact the title track or manifest itself during 'Medicine?' Potter: I like telling stories about characters that are not me - and, yet, by the end of the song, it turns out it is me. 'Ah Mary,' all of the songs from my early career. 'Big White Gate.' 'Apologies,' which is sort of told from the perspective of the man - but is also certainly my narrative. 'Release,' which is this sort of pushing and pulling and letting go - while also holding on tightly (which is portrayed beautifully in the music video where I am two people who have split apart from one another: one who is not ready to let go and one who is 100% taking that leap and ripping all of the ties that bind away). All through my song catalog, you can hear that journey. But I believe that 'Medicine' was one of the very first explorations into that for me - where I was meeting someone who was seemingly defiantly against me and at odds with me - but was also me. It was an important piece of songwriting. And that's why I've performed it almost every night I've been on stage. I was just at doing a podcast thing and they showed me my stats. Which, by the way, I apparently am the #1 stat holder of 'only played once' songs. It was pages and pages and pages of one time only songs. And, I have to say, a bunch of them were from Garcia's! We covered a lot of ground in those two nights! But, to answer your question, the song 'Medicine' means so much to me because it was, I think, a defining - it was sort of the cannon from which a huge amount of my songwriting inspiration has come from since - all the way through Mother Road and into the future for sure. Ryan: 'That Phone' and 'Make You Cry' both kind of carry this triumphant spirit. At least that's what I heard. And there's a real sense of optimism that kind of shines through the album generally. In strange times like these, I kind of appreciate that sentiment - even if the songs were written 15 years ago. But was it important to strike an optimistic chord? Potter: I think it was actually a subconscious presence within me. With my band at the time, I was pretty frustrated with the desire to break away and find my own independent voice - but the resistance that was meeting me at every turn. And this sense of feeling trapped but not wanting to be a victim. And it's similar with the song 'Keepsake' from The Lion the Beast the Beat. Or 'Runaway.' There's all of these songs where I'm defiantly positive, you know? Or what my therapist might refer to as 'toxic positivity.' Because there's a part of me that always wants to see the good in not just myself - but in every character of the plot. It's like what's the point of placing blame when it could very well be that I am the product of my own doing? But, also, these actions that we take are directly connected to our hearts. Maybe not our brains - but certainly our hearts. And that those actions - and the consequences - are something that I'm ready to face and willing to face. Because not facing them just basically means you're living in this fantasy. So, I think there's something, like you said, that's sort of ecstatic about the freedom that I forged for myself in songs like those. And, I think, sometimes, just looking back to that record - and thinking about what my life was like and what the dynamic was in my personal life with the band at that point - it really rings true. I was just trying to write sort of a breakup song - like a projection of somebody else's life. But it was certainly not that. It was obviously coming straight from the source and from my own experience. Ryan: So, an album like this that is a bit introspective… Taking the time in between and revisiting it like this all of these years later, what do you learn during that process? Potter: I learned so much about how different songs can become from one treatment to another. How incredibly effective it can be to bring new membership into a band and into a recording space - how everybody brings something to the table. And that everyone's life experiences - and the way that a song and the lyrics of that song hit them - is gonna change the way that the world perceives it. Because, up until that point, I was under the impression that a song is a song is a song. 'Here it is on my guitar. But now I'll play it on the keyboard.' That shouldn't change much for people - but it does. It really does! And I think allowing in the artistry of people who've done this a lot - who have the history and the trust with a producer like T Bone - I think it revealed truths within the lyrics of the song, and even within the vocal performances, that I didn't even know existed. Until I listened back with fresh ears. I hadn't listened to the record in over 15 years when we first got on the phone with Disney and said, 'Hey! What do you think?' They were almost like, 'Well… what do you think?' And then T Bone listened to it like, 'Oh my god, yeah. Wow. This is still exactly the thing.' But it feels different somehow because of the time that has lapsed. And I think that's a really valuable thing. And something very rare to find in the music industry today.
Forbes
24-05-2025
- Entertainment
- Forbes
Rock Documentary ‘Becoming Led Zeppelin' Gets Netflix Streaming Date
Becoming Led Zeppelin, featuring rock icons Robert Plant, Jimmy Page, John Paul Jones and John Bonham — is coming soon to Netflix. Featuring new interviews with Plant, Page, Jones and archived footage of the late drummer Bonham, Becoming Led Zeppelin premiered in IMAX venues on Feb. 7 and expanded to regular theaters on Feb. 14. The documentary next arrived on digital streaming on April 4. The official summary for the documentary reads, 'Becoming Led Zeppelin explores the origins of this iconic group and their meteoric rise in just one year against all the odds.' Becoming Led Zeppelin is directed by Bernard MacMahon and Allison McGourty. Plant, Page, Jones and Bonham formed Led Zeppelin in 1968 and went on to make rock history with several classic songs, including 'Stairway to Heaven,' 'Rock and Roll," 'Ramble On,'' 'The Immigrant Song,' 'Whole Lotta Love,' 'Good Times, Bad Times,' 'Black Dog,' 'Houses of the Holy' and 'Kashmir.' Led Zeppelin disbanded in 1980 following the untimely death of Bonham at age 32. Becoming Led Zeppelin will make its debut on Saturday, June 7, according to a new listing on the streaming platform on Saturday. For viewers who don't subscribe to Netflix, the platform has three streaming packages. An ad-based package costs $7.99 per month and accommodates two supported devices, while an ad-free package costs $17.99 per month for two supported devices. The streamer also offers and ad-free package for four supported devices with 4K Ultra HD programming for $24.99 per month. Prior to Becoming Led Zeppelin, directors Bernard MacMahon and Allison McGourty made a three-part 2017 documentary series, American Epic, which examined the origins of roots music in the U.S. in the 1920s. After that, MacMahon and McGourty set their sites on what would eventually become Becoming Led Zeppelin. MacMahon told Interview Magazine in a February interview that he was inspired by Led Zeppelin after reading a paperback book about the band's early years when he was 12 years old. "It was about the early period of the group and how these four guys from different parts of Britain came together,' MacMahon recalled for Interview. 'They're struggling to find their way in the music world, but they're working incredibly hard. Two from the Midlands who can't get into the snobby London music scene and two in the London scene that are session musicians and on massive records. 'They get together and recognize there's something special because of all the stuff they've individually done,' MacMahon added. 'Jimmy Page says, 'We're going to not do anything that the music industry tells us to do. We're not going to do any singles, we're not going to do TV, we're not going to do interviews. We're going to pay for the album ourselves and then we're going to own the album.'' Becoming Led Zeppelin earned $10.4 million at the North American box office and $2.7 million internationally for a worldwide box office tally of $13.1 million. Production budget information for the film is not available. The film was a big hit with Rotten Tomatoes critics with an 83% 'fresh' rating based on 42 reviews and a 95% 'fresh' Popcornmeter score from 1,000-plus verified user ratings. Becoming Led Zeppelin arrives on Netflix on June 7.
