At the twenty-nine year mark of John Bonham’s passing, it was finally the time for Frankie Banali to break out his vintage 1969 Ludwig, metalflake, electric-green drum set. The exquisite 5-piece had not been on a stage or played live since March 18,1983, when QUIET RIOT played their first show after the release of Metal Health at the Roxy. The beaming kit had been used to record ‘Metal Health’, Billy Idol's ‘Money Money’ and many more. It remains a sentimental favorite from Frankie’s impressive collection. Tonight it shined a numinous green glow on to the well-worn, crushed-velvet couches of the Canyon Club as fans filed in for the anticipated special show to honor the legendary drummer and his band, LED ZEPPELIN.
Soaking in the atmosphere, I suddenly got the feeling that Frankie and Friends would be taking us back in time with an unrivalled performance. Frankie’s instrumental cohorts were; Chas West (Bonham), vocals, Mitch Perry (Edgar Winter) on guitar, and on bass, Sean McNabb (Dokken). My premonition was right. The moment the band locked into their opener, ‘Good Times Bad Times’, something transcendent took hold of the room. It was almost impossible to be subjective, to not be sucked in. Chas 
West’s quick kick to the base of his stand sent the mic flying up into the path of his hand as he channeled Robert Plant. “In the days of my youth I was told what it means to be a man." He sang an admission of age delivered with feral pride on an evening dedicated to the memory of Zeppelin's late drummer. And just like Plant, he waited for three songs before he offered a cursory “good evening”. By that time they’d already blasted through an incendiary 'Good Times Bad Times', a dramatic 'Ramble On' and the bluesy, stop-start rhythms of ‘The Rover’.
This evening’s Led Zeppelin set ensued from Frankie Banali’s long time pet project, ‘Frankie Banali and Friends - 24/7/365 - The Tribute To Led Zeppelin’. The compilation, with a no shortage of his famous friends, celebrates his all time favorite rock band and features some of the more unusual tracks. Contributors include; Tony Franklin, Doug Aldridge, Don Dokken, Robin McCauley, Gilby Clark and even Kevin DuBrow, which was sadly his last studio recorded performance. The compilation is an homage to, as he puts it, “the single greatest and most influential solid rock drummer that ever pounded out a groove behind a Ludwig drum set, John Bonham”.
They went on to play ‘What Is And What Should Never Be’ next and the band members smiled at each other and locked in like family. They only occupied about six square feet of the large stage. It was good before, but something of the devil seemed to get hold of them now. Mitch Perry dispensed Page power chords like Thor hurling thunderbolts, while bassist Sean McNabb kept iron time with cool reserve. During ‘The Ocean’, Chas kicked at the base of his stand, sending it in an arc over his head -1973 style. You could see the pleasure derived by the big grin on Frankie's face as the heavy metal icon flew into the drum thunder of ‘Dancing Days’.
Next was the Immigrant Song. The metallic green drum set and the drummer became one and delivered some big-time percussion. Frankie has always been known for his ability to provide the plodding, rock-solid bottom. His heaviosity has always been the cornerstone of his reputation. He understands the art of contriving a raucous sound. Banali hammered volcanic fills with the ghostly precision and ferocity of the late great Bonham. The sound quality of the ’69 Ludwig was unmistakable. A solo by McNabb followed. Frantic, gulping bass runs and rhythmic swagger were in order and in full force. During Heartbreaker’, Mitch Perry unleashed a blizzard of choppy chords during his solo, and right at the song’s climax Chas yelled out, “Mitch Perry on electric guitar!” The moment resonated right back to a Zeppelin show in the early 70’s. They closed the set with a cathartic ‘Whole Lotta Love’. Chas went stratospheric with his high notes and the song swelled to epic proportions before ending with a devils' choir of distortion. Rapturous applause followed. The green drum set beamed.
Frankie had brought the drum set onstage for the first time in 26 years in memory of John Bonham’s 29th anniversary of his passing. By next morning, the set was already cleaned, put back in its green drum cases and back on to its storage racks. How great to see it out again.
If you haven't already sold your soul to rock & roll, listening to Frankie and Friends should seal the deal. The musician’s CD is a must have. It's pure pleasure.
