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After their formation in 1968 and the release of their first album in January of 1969, Led Zeppelin were fast becoming a powerhouse of a band. The group had started their first US tour at the end of 1968 and were traveling heavily. The arrival of a new venue in Toronto called The Rockpile in 1968 coincided well with planning and the venues status as an old masonic temple fitted the bands aesthetic perfectly.

Ritchie Yorke was living in Canada at the time, working for the Toronto Telegram as their resident rock reviewer as well as The Globe and Mail. After being showed the first Zeppelin album, Ritchie had written an early review for the band, predicting the groups success, in contrast to numerous negative reviews by other music writers of the time.

This championing of Zeppelin allowed Ritchie to become friends with the band and opened several opportunities, including the chance to MC and introduce the band at the February Rockpile show.

A review of the show soon appeared in The Globe and Mail where Ritchie again sang high praise of the concert, claiming fans “expected a lot and few were disappointed. Considering the group was only formed a few months back, it’s remarkably tight and together.” The show was evidently a great success for all involved as the band returned to The Rockpile in August. A recording of the concert, with Ritchie’s introduction still exists on Youtube.

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After a couple of weeks in London seeing the sights and attending numerous meetings with labels, press and managers, Normie Rowe was ready for the studio. On September 16, a morning rehearsal was held at the producer’s office, a big T-Bone steak was consumed for a morale boost and then Normie was headed for Decca Studios in Hampstead.

Upon reaching the studio, the first sight surprised everyone, more than two dozen people crammed into the studio to work on a hit record for Normie. Five tracks were cut on the day, the first being “Mary, Mary”, a track composed by Mickey Keen and Robin Shaw. Both Normie and Ritchie were unsatisfied with parts of the lyrics, and so Ritchie did some re-arranging. Throughout the London recording stints a number of session musicians were used as the backing band, including John Paul Jones.

The other four songs recorded were “Turn On Your Lovelight,” “Ooh La La,” “Ain’t Nobody Home,” and “I Can Do Without Your Love.” Eventually it was decided “Ain’t Nobody Home” and “Ooh La La” would be the first internationally produced single for Normie. Released in November of 1966, the single sold well in Australia, making it to top 5 charts around the country. Australia had been using various top charts that varied from city to city until Go-Set Magazine produced a nationwide top 40 chart at which Normie’s single debuted at #6 before reaching #1 within a few weeks, giving Normie his first official national #1 hit.

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In early 1966, Ritchie Yorke had the itch to travel. He approached the management of one of Australia’s top pop stars, Normie Rowe, with a plan to launch his international career. The label liked the plan and jumped on board, giving Ritchie the job of International Operations Manager at Sunshine Records.

The Daily Telegraph quoted Ritchie as saying that “I feel the right thing for Normie is to be in the right place at the right time. The right place at the moment is Europe.” By the 21st of May, Ritchie had arrived in London and began to set up meetings with television agencies and record labels.

So on the 31st of August, Normie Rowe flew out from Sydney bound for London with the intention of a 3 month concert tour, as well as the recording of new material and promotional television and radio appearances. Ritchie met him at the airport and the two began their campaign.

Normie landed in London on September 1st and spent his first two days settling in and seeing the sights. On his first day in town he traveled to the Serpentine in Hyde Park for a swim, although after feeling the water his mind was changed. The next day was much busier, spent shopping at the famous Carnaby Street boutiques, visiting landmarks like Trafalgar Square as well as meetings with Polydor executives, his agent Eddie Jarrett and Kim Fowley. He also performed two press interviews and went on a tour of London clubs, dances and discotheque which continued well into the early morning. Normie now had the lay of the land and was really ready to get to work.