BoxSet

All transcriptions taken from Jeff Lybarger's Song of the Day Webpage!

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LZ IV

 


"White Summer"
Today‟s song originally was released on Led Zeppelin‟s debut album, side two, track two, clocking in at just 2:12; the beautiful and eerie “Black Mountain Side.” It was also issued on “Box Set I” as “White Summer/Black Mountain Side,” and that one clocked in at 8:01. So, either grab your copy of “Zep I,” or disc one of “Box Set” one, as we take a look inside Jimmy‟s instrumental showpiece for much of his touring career.

Before we dive into these two numbers, one thing must be addressed; Jimmy did not write either of these songs. Despite what the credits say on “Led Zeppelin I” or “Box Set” one, both of these songs were traditional Irish folk songs. “Black Mountain Side” was originally known as “Down By Blackwaterside” and later became known simply as “Black Waterside” when guitar legend Bert Jansch recorded it on his 1966 album, “Jack Orion.” On that album, Jansch listed the credit as “traditional.”

“White Summer” was recorded and released in 1962 by Davey Graham, another great British guitarist, under the title that it had long been known as; “She Moved Through The Fair.” In fact, not only did Graham record a version that mirrors “White Summer” almost to a T, but it was Graham who invented the tuning that both of these songs are in; D-A-D-G-A-D.

If you‟re a longtime fan of Zeppelin then you already know about the numerous times they “borrowed” other artist‟s songs and/or lyrics. Plant borrowed heavily from Robert Johnson, Blind Willie Johnson, Howlin' Wolf and other various blues singers. Page is also guilty of “borrowing” music – sometimes just a phrase or two – other times entire songs.

No matter how big of a fan you are, you simply cannot condone that type of behavior. That would be akin to me releasing an album with a Zeppelin song on it and claiming that I wrote it. Jimmy would have my butt in court so fast my head would be spinning. So, on that hand, I completely fail to understand how, or why, they chose to do these things, particularly when there were plenty of people who knew some of “their” music wasn't theirs.

On the other hand, every time Zeppelin did this, theirs has been better than the original. Now that doesn't excuse what they did, it just further proves their prowess as musicians. I don‟t believe that their legacy would have been any less renowned than it is now had they properly credited the artists they were so obviously influenced by.

I enjoy Davey Graham as a guitarist and Bert Jansch as well. I have a CD titled “The Art Of Finger style Guitar” and on that CD there are a plethora of artists and Graham has five songs included and Jansch has a beautiful track titled “Bridge” that must be heard to be believed.

However, despite my love for their music, I do favor Jimmy‟s version of these two songs over Graham and Jansch's versions. Perhaps it was becaushmmtI heard Jimmy‟s first, perhaps it‟s because Jimmy tends to play them with more of a rock feel; I don‟t reatitle know. But I do believe in giving proper credit when it‟s due, and in the case of “White Summer/Black Mountain Side,” that was not the case with Jimmy.

“White Summer” begins with some harmonics and then a simple picking pattern, a few sparse notes with Jimmy adding vibrato and bent notes for added effect. After he repeats this a couple of times the track takes off with some very fast picking, usually accompanied by Bonham keeping a steady beat behind him, but mostly staying out of the way.

The tuning on these songs gives the guitar a Dsus4 open sound, creating, as Page called it; „A very modal tuning, a sitar tuning, in fact!‟

“Black Mountain Side” is a fun piece, not only to listen to, but also to play. If you‟re a guitarist just starting out, it can be a bit tricky at first, but once you get it down it‟s just a total blast to play and to hear those special sounds emanating from your guitar.

On the first Zeppelin album Page used a Gibson J-200 acoustic guitar for the recording, but live he used the Danelectro guitar he‟s so well known for, with one exception being the Julie Felix show that he appeared on in 1970. For that performance he used a Gibson J-200 as well, and his playing was in really excellent form. It‟s a shame that Page never found, or doesn't own the rights to, the master tape of that performance, because that version would have been a very welcome addition to the Zeppelin “Box Set” or “Coda.”

Jimmy began performing “White Summer” in The Yardbirds and the song even appeared on two Yardbirds albums; “Little Games” and “Live Yardbirds: Featuring Jimmy Page.” During Zeppelin‟s career he played the combination of “White Summer/Black Mountain Side” from the very beginning up to their fifth US tour in 1970. On the Led Zeppelin DVD, recorded at The Royal Albert Hall on Jimmy‟s birthday, you can hear traces of what would eventually become two sections of “Midnight Moonlight.” The song{s} then re-emerged for the 1977 US tour as well as the 1979 Copenhagen Warm-Up shows and Knebworth as well as their 1980 “Over Europe” tour.

Once Jimmy teamed up with Paul Rodgers for The Firm, this became a staple during the middle section of “Midnight Moonlight” during their 1984/85/86 tours and in 1988 on the Outrider Tour he again played this during “Midnight Moonlight.” In 1993, on the Coverdale/Page tour of Japan, he brought it back out as “White Summer/Black Mountain Side” and threw in pieces of other songs within the context of the piece, including “Over The Hills And Far Away” as well as “Kashmir” and “Midnight Moonlight.”

I have a theory that “Over The Hills,” which is in standard tuning, began life in this D-A-D-G-A-D tuning. The first picked notes in “White Summer” are the G string open, followed with a hammer on/ pull off on the second fret of the G string {3rd string} and then he plays the note on the 4th fret on the 4th string {D string}. “Over The Hills” begins the same way except he pulls off of that note on the 4th string, 4th fret {F#}.

It wasn't until the Coverdale/Page tour and hearing “Over The Hills” in this tuning mixed in with “White Summer/Black Mountain Side,” that I first realized that this was probably where he began writing that song. I don‟t have any concrete evidence to confirm this, but I do believe that Jimmy was playing around in this tuning one day and stumbled upon the seed for “Over The Hills.”

Even though Jimmy didn't write either “White Summer” or “Black Mountain Side,” he did write some pretty amazing songs utilizing this tuning. At the end of 1973 he began writing what we now know as “Kashmir” and during the sessions for Physical Graffiti he came out with “Swan Song,” later to be released as “Midnight Moonlight” with The Firm.

Personally, I love “White Summer/Black Mountain Side” as well as the songs that came after it that also employed this uniquely odd tuning. It was because of Page that I was introduced to the music of Davey Graham and Bert Jansch, and as a guitarist, I am eternally thankful for that. It was also through Jimmy and his use of the D-A-D-G-A-D tuning that I became aware of this way of tuning and playing the guitar. I have written a number of songs in this tuning and even all these years later, I still find it a very hypnotic tuning for the instrument that I love so much.

"Baby Come On Home"
Today's song comes to us from the 1993 release, Led Zeppelin: Boxed Set II, Disc I, track 5, clocking in at 4:29, "Baby Come On Home".

Gospel, soul, slight 1950's touch? In a Zeppelin song? All pretenders step off the bus please, you are not worthy. Folks, does it get any better than being a fan of Led Zeppelin? Who else do you know who could play something this sweet, this beautiful, this emotional, this soulful, this sad, this, this, this personal, this tale of love gone wrong? And still be referred to as "Heavy Metal".

From the very first notes we know we are in for something special. Are Otis Redding and Smokey Robinson in the house? Robert shines so bright on this song you feel like putting on the sunglasses just to listen to him. And he was what, all of 20 when they recorded this in 1968!!! Amazing!

John Paul stands out as usual, his organ work supplying the perfect touch. Creating beautiful harmony lines, going from sweet simple licks to all out blazing during the chorus. His position in Led Zeppelin was spent so much in the background, but his in-put, knowledge and skill were a very vital ingredient to the success they enjoyed in the music.

Pagey plays it pretty low-key, while Bonham shows again his talent at playing with the song. During the verses he keeps things together yet still puts in some very cool, off the beaten path fills, that "space", which is so important. Then on the chorus he just goes crazy, drumming with emotion and grace. As the song builds so does Bonham, adding something new each time.

The lyrics are sad. A love that has died, and Robert just begging for another chance. His emotion in this song is quite touching. You can feel his pain, pardon the expression.

"There was a time
I used to call you all my very own
We were so happy woman
Talking for hours and hours on the telephone

And then one day
I said you upped and walked right out of my life
Leaving me all by myself
All alone to cry every night"


Oh, the beauty in those words, the way he sings them. How in the world Zeppelin never released this. Probally BECAUSE they knew it would be a commercial success.

"Baby Come On Home" was available previously on the "Olympic Gold" bootleg CD, known as "Tribute To Bert Berns", who is also given songwriting credit on the box set. Moments like this are the definition of what Led Zeppelin were, and are all about. A tender, soul baring moment captured on tape.

"Hey Hey What Can I Do"
Today we are going to go back to a song that was never officially released on any Led Zeppelin album, yet, despite this obstacle, it was one of their most popular songs, not only during their heyday, but also since the unexpected and untimely end of the band.

Today‟s song comes from the B-side of the “Immigrant Song” single, clocking in at 3:55, the catchy and melancholy “Hey Hey What Can I Do.”

That this tune was so popular despite only being available as a request on rock radio in the 1970‟s or if you were lucky enough to find the “Immigrant Song” single, says a lot about Zeppelin‟s power and musicianship. Recorded during the sessions for “Led Zeppelin III,” apparently the band felt the song was “too commercial” and since we all know how Zep despised singles and commerciality, the song was left off their majestic third album.

In the UK, Atlantic Records released a title called: “The New Age Of Atlantic” in 1972 which also featured the song. With all that said, let‟s dive into the song, as this is certainly a great representation of the creative genius that drove the band, even if they chose to sometimes hide that genius, as they did with this number.

A simple acoustic guitar starts this little gem off as Jimmy strums the chords just prior to Bonzo‟s entrance. You can also hear the mandolin and it adds such a nice touch in this particular piece. After a few bars everything comes to a stop… and then Robert enters with a dramatic and mournful vocal over the love of his life and how he hopes to tell her she‟s the only one for him.

Wanna tell you ‘bout the girl I love
An’ my she looks so fine
Now she’s the only one that I’ve been dreaming of
Maybe someday she will be all mine
I want to tell her that I love her so
I thrill with her every touch
I need to tell her she’s the only one I really love…


As Robert sings the word “really” in that last line, the band pauses, allowing his beautiful voice to sing the word “love” a cappella and this is one of my favorite vocal performances that Plant ever recorded. There is a wealth of emotions in that one word; hope, longing, desperation and… pure, unadulterated love. As he carries the note out his voice somehow slides easily from being smooth to gravelly and then back to smooth.

I am no singer… so perhaps this is something that is easily done for those gifted with great pipes, but the way he pulls this off and the emotion that just drips from his vocal chords is extraordinary to me.

As his voice fades out the band blasts back in with that very catchy, hook-laden chord progression and then the true essence of the song hits us right in the face. This woman that Robert is singing about, this girl he loves so mightily is just not able to stay true to him.

I got a woman, want to ball all day
I got a woman and she won’t be true, no
I got a woman, stay drunk all the time
I said I got a little woman and she won’t be true


Now it‟s kind of funny, with the Internet and the ability to read the thoughts of anyone in the world right at our fingertips, I have discovered quite a lot of people debating on what this song is about. Many are absolutely positive that the girl in this song is a prostitute and many compare this to the song by The Police titled; “Roxanne.”

I, on the other hand, don‟t believe that is the case here. The opening verse has our singer claiming his undying love for this girl, the fact that she‟s the only one he‟s been dreaming of and also that he thrills with her every touch. If the guy knew, going in, that she was a prostitute, I would find it difficult to believe that he would be lamenting on her infidelity.

On Sunday morning when we go down to church
See the men-folk standing in line
Don’t say they come to pray to the Lord
Not when my little girl looks so fine
And in the evening when the sun is sinking low
An’ everybody’s with the one they love
I walk the town, keep a-searching all around
Looking for my street-corner girl


I read a great theory on the verse above where someone claimed that the line wasn't about going to church at all, that it was instead Robert using metaphors for how the girl acts all innocent in his presence but when he notices the way the other men are staring at her, he knows that innocence is not one of her virtues.

That is a very intriguing theory and it certainly caught my attention, though I don‟t necessarily agree with it. To me, it is what it says; they go to church and yet, the men are checking out his girl – perhaps they are fondly remembering an evening with her or – they are dreaming of an evening to come… hence the line – “Don‟t say they come to pray to the Lord.”

As for the line – “looking for my street-corner girl” a lot of people use this, as well as a later lyric, as proof that the girl is indeed a lady of the evening. Again, I don‟t see it that way. I think the singer is just frustrated with her and using slang terms to describe her and the position she has placed him in; walking around the town, searching for the love of his life, when he knows, deep down, that she has shacked up with someone else.

It‟s not that difficult to imagine the predicament that this would place anyone in. Particularly if they were in some small, isolated town somewhere, which, in this song, that‟s the feeling I am left with. The guy would feel foolish, like he was the joke of the town and this could lead to a number of actions on his behalf. Fortunately for us, the singer chooses to just leave. He doesn‟t act out in a moment of rage that he would regret for the remainder of his life, he simply realizes that no matter how much he loves her, she will not reciprocate that love nor will she ever be faithful and so he stands at the crossroads and decides the best thing to do, for his own sanity, is to simply walk away.

And the third verse, where all of this is revealed, is one of my favorite lyrics that Robert has ever written. It‟s nothing on a grand scale and part of it may just be the way the words work so beautifully together, but he paints an incredible picture in this final verse, proving once again his prowess as a lyric writer.

And in the bars with the men who play guitars
Singin’, drinkin’ and rememberin’ the time
My little lover does the midnight shift
She ball around all of the time
I guess there’s just one thing a-left for me to do
Gonna pack my bags and move on my way
Uh ‘cause I got a worried mind, sharing what I thought was mine
Gonna leave her while the guitars play


That entire verse is so beautifully written and so eloquently sung by Robert that I simply cannot imagine anybody doing it any better than he does here. It is simply perfection. The last line… the way the band stops again as he sings “Gonna leave her while the guitars play…” That! That is just priceless! You cannot listen to this song and not be moved by that final line in verse three.

The line about “My little lover does the midnight shift” is the other lyric that many point to as proof that she is a prostitute. However… just a few lines later he says he‟s going to move on his way because he has a worried mind… “Sharing what I thought was mine.”

And again, I find it impossible to believe that this person entered into a relationship knowing that she was, in fact, a prostitute and yet has the audacity to complain about her not being true or sharing what he thought was his. That just makes no sense to me.

I have never heard or read an interview with Robert where he addresses this song, though I‟m sure if he was ever asked about its meaning, he would give one of his typical, cryptic answers like; „Well… it‟s about a relationship that wasn't meant to be‟ or „There was a girl when I was 16 and she was a little older and, well, let‟s just say she enjoyed a lot of scenery.‟

One of the great things about many of Zeppelin‟s songs is that they don‟t force a set idea upon us, we are left, quite often, with the opportunity to take whatever meaning from the song that we so choose. And there again, is one of the reasons their music has resonated with so many people over such a long period of time.

Robert runs through the chorus again and then the song gets into a lot of improvisation. This is another of the great things about this song. The chorus after verse three ends with 1:11 left in the song… which provides a great opportunity for Robert to just go off. And he does.

We get the great “Yeah – No – Yeah – No – Yeah – No – Yeah - No” section, the many “Keep on, keep on, keep on, keep on…” sections and we also have multi-tracked vocals as we hear a howling cry of longing underneath the “Keep on” section. He also pays tribute to John Lee Hooker with the “Boogie… Boogie Chillen.”

As the song nears the end, with just :14 left, we hear another great “Ohhhhhhhhh oh, oh-oh” from Robert and then everything seems to just collapse as Jimmy‟s lone guitar sort of meanders around during the fade-out. A rather unique ending to say the least, but it‟s another of the many charms of this track.

Sadly, Led Zeppelin never performed this song in concert. You can‟t blame them as this was never released on an actual Led Zeppelin album, but I wonder if they realized how big this song was, particularly in the States.

When Jimmy and Robert formed Page/Plant, they did dust off this classic and performed it during their 1995 tour, finally giving many fans the chance to hear this very classic song in a live setting. Page performed it with the Black Crowes on their 2000 tour and many bands have covered this song, though none have ever come close to the sheer brilliance that Zeppelin achieved.

It‟s almost humorous that they never released this song on an album during their career. One funny comment on You Tube I saw was when a person said that most bands would sell their souls to have a song this great and yet, Zeppelin just kept it in the vaults all those years. It‟s funny… and true!

I remember in 1981 venturing out to a record store… and for those of you too young to know what a true record store was like, all I can say is that with all the technology today, nothing compares to having an actual ALBUM in your hands… but anyway, I went into this record store and the guy working there knew me and knew of my love for Zeppelin and when I walked in he pulled me aside. He had secured a still-sealed copy of the original 45 of “Immigrant Song/Hey Hey What Can I Do” for me.

I was in awe and I believe I paid all of $1.99 for it, which was a steal even in 1981. I also have the CD release… or rather, re-release of the single… that Zeppelin released in 1992 as part of the “Box Set I” and “Box Set II” releases. That one was inside a brown, sort of cardboard box type cover and has the 7 Atlantic Records logo and marking on it, just as the original 45 did. I still have that sealed as well!

So… another classic song from Zeppelin and one they decided to keep hidden away for many years. Fortunately we had radio back in the day and now, the song is widely available.

"Travelin' Riverside Blues"
So pull up your favourite chair and get comfy. And for those of you taking the train, hopefully this will be as enjoyable as the last time. Rather appropriate really, trains that is, 'cause we're going back to a time when people used trains as the major source of transportation. We are going to go back and revisit the birthplace of the blues, down a winding road that will lead us right from where we came. Hope you enjoy the ride.

The scene is a desolate and dusty road, hidden under a dark moon. There is a tavern right over there, and as you look closer you see a figure with a guitar, playing and singing to a small crowd of people. You begin to walk toward the man and for the first time you notice a chill in the air. Funny you hadn't noticed that before. As you get closer you hear him finishing up a song called "Hellhound On My Trail." He's talking now, softly, too softly in fact, so you inch closer...closer...a little closer still... there you go. Just a mere few feet separate you from the man and you can hear his words. He doesn't look up. Not once. But he knows you're here. He just smiled, as if he's been expecting you. His eyes fixed on his guitar, a drop of sweat drips from his brow, (How, in this cool air, can he sweat?) you wonder, but soon the thought is gone and all attention is on the man with the guitar as he speaks.

"This is a song I jus' recorded, and um, I think theys gonna be releasin' it someday soon. It's a song about my girl, 'course I got several ya know, heehee, but this one be 'bout my special girl, an' I call her my rider. This song, um, clocks in around 2:47, at least it did when I recorded it, heehee, but since then I been working on a new arrangement, so it might be more like five minutes, 'cause I'm throwing in bits of other songs I wrote and some blues songs by other peoples too, and it's called "Travelin' Riverside Blues."

He begins playing the riff and you stand in awe. The man's fingers fly around the neck effortlessly. This old, ragged looking guitar sounds like a symphony in his hands. That pocketknife he's using to play the slide parts, how does he DO that? Without noticing, almost subconsciously, you move closer still.

"Asked sweet mama,
let me be your kid...
She said, you might get hurt
if you don't keep it hid...

Well, I know my baby
if I see her in the dark...
I said I know my rider
if I see her in the dark...

I'm going to Rosedale take my rider by my side
Still barrelhouse,
if it's on the riverside, yeah
I know my baby Lord, I said,
is really sloppy drunk...
I know my mama Lord, a brownskin
but she ain't no plum...

See my baby, tell her
tell her hurry on home
Had no lovin' since my baby been gone...
See my baby,
tell her hurry on home
I ain't had Lord my right mind...
since my rider been gone..."


The man sings with a passion unlike anything you have ever heard. His fingers make the guitar sing and cry. The small crowd of people stand with eyes locked on the musician, mouth's slightly open, as if in a trance. The effect is both mesmerizing and chilling. And then you notice, for the first time, there are no men around. There are only women. You look around and notice a group of men, standing about 25 feet away, with their backs turned to the musician, waiting for the 10:44 train, and you wonder what is going on. Why won't they come and enjoy this music?

Just then you look back and notice the guitar player staring right at you. Eyes black as coal. You feel as if you could drown in those eyes. That feeling of the cool night wind chills your spine and you stand helpless, unable to unlock your eyes from his.

"She's a kindhearted woman,
she studies evil all the time...
Squeeze my lemon till the juice
runs down my leg...
Squeeze it so hard
I, fall right out of bed...
Squeeze my lemon...
till the juice runs down my leg..."


After he sings this he once again looks up, staring hard and cold into your soul. You feel paralyzed by fear, yet excited with joy, so many emotions running through your veins. You feel a bit light-headed, perhaps you will faint. You can't take this anymore, it's just too much. The music driving... hard... into your brain, the bass notes pulsating against your chest. Now you are the one sweating. When you feel as if your knees will buckle at any given second he stops. The wind is the only sound you hear. The ladies stand around the musician and a few shout their praises. "Amen brother!" "Talk to me Robert!" "I'll squeeze your lemon honey, you come on home with Stella and I'll squeeze that damn thing real good!"

You feel yourself backing away slowly now. Almost as if you are floating. Safely away from the musician you sit down. Your heart begins to slow down to its normal pace as a young lady approaches and asks if you need a cold glass of water. You reply that that would be fine. Once she delivers the water you drink it down in one huge gulp, quickly you ask for another. One of the men walk toward you and asks what you were doing watching the devil play his guitar. You reply you were just watching a man outside a tavern, not any sort of devil.

"Ah, but that's where you are wrong my friend. That's how he gets you, see. He's tricky, that devil. You have been warned." With that he walks away and disappears into the crowd. About fifteen minutes pass and you rise to start back to retire for the evening at your hotel. The conductor yells out that boarding is in 10 minutes. Then, what's that, where is he going? The musician is walking over to a road, with his guitar still in his hand, but why? Why is he going over there. There are no people over there. Who will hear him playing over there in the shadows? You decide to investigate and begin, at a safe distance, to follow.

As he stands in the crossroads he begins playing and singing. You look around, certain he must be waiting for someone, but who? There is no one around. Not a single soul. Wait just a minute. What the hell is that????? You take refuge behind a large oak tree. You see a large, dark figure, engulfed in a black cape, who has just appeared from out of nowhere, walking toward the musician. You want to yell for the musician to run, get out of there, but fear has placed it's tight grip around your throat and you can't begin to utter a single sound. You stand and watch...and listen...

"Hello my friend, you rang?"
The musician stops playing and turns to face the figure standing behind him.
"No, no my friend," the shadowy figure says forcefully, "remember my request?"
"Yes, sorry." He turns back and is facing away from the tall, dark presence.
"The reason I wanted to talk is, you know, this "deal" we made is workin' out great. I can play things nobody else can even come close to, I gots me lots of nice lady friends, but I was wonderin', how am I gonna be remembered? Am I gonna be remembered? I wanna live forever, so to speak. I jus', ya know, was wonderin'" "My friend, fear not, you and I made a deal, and I never go back on my word. Here, take this, and give it to that young little white girl standing over by the train." The dark figure has placed something in the musicians hands. The musician looks down, and sees a record. The label reads:

ROBERT JOHNSON Traveling Riverside Blues (live) 5:09

"How did you do this? I jus' played that song moments ago. MOMENTS AGO! This is impossible!" The dark shadow lets out a mighty roar and leans in close to whisper in his ear. "My friend, with me, all things are...possible. YOU, of all people, should know this. Yes?" "Yessir, but..." "Fine, then, carry on. The little girl is here with her family, her folks will ask the conductor a few questions in exactly one minute and 23 seconds, when they do, approach her and give her this record. She will someday pass it on, and you my friend, my dear, dear friend, will be remembered...FOREVER!!! Hurry now, my friend, your time... is short."

With that the shadow was gone. You watch as the musician walks back toward the train. You can't believe what you have just seen and heard, but you decide that you have to help the little girl. This man, this demon man, cannot be allowed to get near her. The little girl, so cute, is holding her mother's hand. But, just as the shadow had predicted, she turns the hand loose and walks over to the conductor with her husband. The musician approaches the little girl, and you are just inches away as he leans down and says:

 "Hello little girl, would you like a present?" In an English accent she replies, "Oh yes, but mummy wouldn't approve of me taking gifts from strangers." "Well then, please allow me to introduce myself. My name is Robert. There, we aren't strangers anymore. Here, I have a record for you. Isn't it nice?" "Oh I do thank you so, I shall treasure it always. Robert, you say? Well I must say, I do fancy that name, I shall remember it always. Perhaps someday I shall have a boy and I will call him Robert too. It's a good, proper, English name, it is." "Fine, just take very good care of that record. It's my life in them there grooves. Goodbye for now."

"Good day to you Mr. Robert."

You watch and make certain the musician is out of ear shot and you start to approach the little girl, but she too has turned and is now walking the opposite direction. If you could just get past these...people...yes... excuse me...oh... little girl...

As her mother returns she sees the gift and asks her daughter, "What is that love?" "Just a record mummy, but I mustn't be careless with it, it's going to be very valuable someday." "Well then, pack it away and let's go, the train departs in two minutes flat."

Standing there, you feel defeated. The chill is worse now and as the conductor yells out "All aboard! Final call, all aboard!", you look up and see the little girl directly in front of you, staring at you through the window by her seat. You begin to wave frantically, trying desperately for her to understand you, but she smiles and waves back. The train begins moving, and you back away, a feeling of complete helplessness has overtaken you. Despair, fear, anger, and the question of what will happen. What, in the name of God, has taken place here tonight?

As the train departs the station you find yourself alone, standing in the loading area, the chill of the night air nips at the back of your neck. The girl is on the train, the musician has disappeared, the men are gone, the women are gone. You are alone now. You turn to walk back to the hotel and you see him, the dark, shadowy figure, and he's walking right at you...