Led Zeppelin’s legendary albums are being celebrated with the release of a series of Hot Wheels die-cast toy vans plastered with the band’s artwork.
The collection consists of five-vehicle collection and is described by the manufacturers as a “New Hot Wheels Premium series for 2020, in commemoration of the British hard rock group Led Zeppelin.”
“This collection includes five different models, which present images of the covers of some of their albums, among which we can find Led Zeppelin (1969), Led Zeppelin II (1969), Led Zeppelin III (1970) and Led Zeppelin IV (1971).”
A fifth toy, the “Hiway Hauler”, is a miniature truck covered in art that celebrates Led Zeppelin’s North American tour of 1975.
You can check out the unboxing of the Vans below!
Slash’s Singer Myles Kennedy Pays Tribute to Jeff Buckley
This week Myles Kennedy of Slash’s band and Alter Bridge paid a touching tribute to 90’s alternative rock icon Jeff Buckely by covering his song ”
On December 9, ALTER BRIDGE performed in Paris, France’s L’Olympia, where Jeff Buckley’s historic 2001 live album was recorded. ALTER BRIDGE frontman Myles Kennedy played a cover of Leonard Cohen’s “Hallelujah” — famously covered by Buckley — on Jeff’s 1983 Telecaster guitar.
Prior to performing the song, Kennedy dedicated the song to Buckley, calling the musician “probably one of my biggest influences” and saying that “we owe a great debt” to Jeff, who tragically died in May 1997 in an accidental drowning at the age of 30.
Earlier this year, Kennedy told Music Radar about Buckley: “Jeff was such an important musical figure in my evolution, especially in the early to mid-’90s. Don’t get me wrong, I loved what was happening in Seattle. I’m from the Pacific Northwest and am very proud of all those bands and how much they affected music. But at that stage in my development, I was really trying to figure out how to integrate blues and R&B into what I was doing, to help inspire my own sound… I was just looking for guide posts.
“When Jeff Buckley came out, there was such a level of musicianship and emotive quality to his voice that really appealed to me. He had this angelic sound which I hadn’t heard many male singers utilize. He used a lot of falsetto and soft-spoken ideas, almost more of a feminine side, which I thought was really interesting. He had this power in his upper register. It was ferocious when he went into those almost Robert Plant-style wails; then he would bring it down into something very soft that would draw you in. It was his sense of dynamics and that overall control over his voice that really appealed to me. ‘Grace’ is a truly brilliant album… I think we were robbed of a great talent there.”