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Mercurious

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About Mercurious

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    Zep Head

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  1. There's that rotten side of Robert again, hahaha. The "he's a fucking idiot" comment is a helluva blurt, if that's what he thinks of Coverdale. The way he rounds that up, though, the "he" in "he's a fucking idiot" is probably Page for working with Coverdale, not Coverdale for being one, despite the "can hardly wait any longer/feelings growing stronger" lyrical banalities. The writer interviewer might have clarified this for us, since at first glance it reads like he's calling Coverdale an idiot, though he's likely implying that he and Page were idiots for working with Johnstone and Coverdale. Oh, that Robert, hahaha. He's managed to call four people idiotic, himself included, even as Page is refusing to answer the question!!
  2. You mean, like Michael Lee? That should have happened. Deep down, we all know it on some level.
  3. they're going to stay on the same page as much as possible in any interview, but it's all BS. Robert just wanted to use his guys and maintain control. Just watched the entire 10/3/1995 blue ray show from Irvine, CA -- Robert actually makes a Herman's Hermits crack in his stage banter, his usual poke at Jones. It's all too much. I know, someone will say it's all part of Robert's sense of humor, and that these are good=natured jokes --- but the guy he's trying to jive with isn't there!! It's just too much. His knocks about replacing the hurdy gurdy player (Eaton) right before his solo also come off as a bit on the mean side. He's got a rotten side, that much seeps through. And what's he talking about, new stuff? It's entirely Led Zeppelin with some different arrangements & orchestration. To say Page-Plant was a project unto itself is just semantics, PR lawyering by a singer who lacks sincerity. I passed on a couple of chances to get tickets for this tour because there was no Jonesy. I missed an amazing show but I don't regret it one bit.
  4. I do appreciate Robert's solo work, too. I know it doesn't sound like it, but I really enjoyed some of it, and he did a great job with that Now and Zen band live.
  5. Some of it was pretty good, once you get past the Tall Cool Devo riff. There was too much other great stuff happening back then to pay Robert much mind. He's been playing Zep for decades now, just not with the guys who wrote the music, which is just sad. Meanwhile, Jimmy's giving us the full BBC sessions, a slew of Led Zeppelin construction pieces with each reissue, and the Soundtracks box with all of its soundscapes no one had heard before. He's doing exactly what some Zep heads want him to do, and I appreciate it. He issued a new album of covers yesterday that he produced in 1961 for Chris Farlowe -- 1961 !!! It's a cool piece of history and sounds great. How people slag him for not playing with people like Dave Grohl or rehashing Devo riffs, for example, is beyond me. I don't need him to be anybody or do anything he doesn't feel like doing, and he's already given us a lifetime of the best rock ever made, and more of his genius than we have a right to.
  6. What a cool piece of history! and it sounds great. Here, you can listen to "Money" on soundcloud without having to see who's buying ads on RollingStone.com. That's one mean version of "Money" - I'll take it over the Beatles version any day, beginning with today. After this, I hope he's able to pull that yardbirds project he's been talking about together. I have a feeling there might be some stuff no one's ever heard there, too.
  7. It's generally true. Yet here we are on a Led Zeppelin forum where the singer doesn't want much to do with Led Zeppelin. There was no excuse for not including Jonesy in Plant-Page, and it just looks silly twenty years later. 30 years later, really -- Robert should have given it up after Shaken 'n Stirred bombed. As for the thread topic, there's no doubt it was Robert's problem.
  8. Are you sure that was a positive statement? with Robert one can never be sure, especially when Lenny Kravitz was in the context. Had he said that after Jones' great production work on the Butthole Surfers album, the Diamanda Galas album or about the Merce at 90 shows at BAMA, we'd know it was positive, maybe. One can't take anything Robert says seriously.
  9. Ha! And the Ovation guitars, the acoustic first cousins to the slappity bap yap Alembic bass. Hell, they'll even pay you to play those thing!!! Yuck
  10. It's fascinating how different the markets were. Zep remained gods in the U.S. I do remember seeing Coda in the discount bins, and maybe TSRTS (one could find double live albums in those bins, usually). But I can't honestly say I ever saw even Presence in a discount bin. I remember hoping it would but it never happened. Atlantic wasn't going to give me a break on presence or any other of the eight studio albums. As I was looking up the actual sales numbers, I was floored how strong sales of ITTOD were. The album outsold just about everything else on the market 1979-82. It was released at about the same time as Van Halen II and Zenyatta Mondatta, to give two examples worlds apart as far as audience. ITTOD easily outsold them both, and outpaced sales of the first three Police records combined; and VH I and II combined. ITTOD easily outsold Robert's first three solo records, too, all of which ended up in the cut out bins of America. I realize Robert didn't want to be greedy, and had any number of reasons for selling the rights, but part of it may be that he just didn't want to look at how much more the Zep catalog was still selling in the states.
  11. Punk reminded Jimmy Page certainly that he and the Yardbirds invented it and were so hip that once upon a time they were doing VU covers, hence opening with Train Kept A Rollin' which served to remind them to get back to the basics, and to their own roots. They had dropped "Dazed" years ago for the '77 tour and decided not to bring the laser light show on the stripped down 1980 tour. No Quarter and Moby Dick were also dropped. But White Summer remained ... And once you got Zep going, you couldn't keep them from jamming. The dissonant Trampled uNderfoot jam extended 10+ mins. Whole Lotta Love could go much longer, and I've been listening to the wildly experimental WLL from Bonzo's Last Stand in West Berlin. JImmy's playing No Wave licks in that, and you can here where he was trying to work them into his repertoire. The Damned seems to have been the only band he liked, so his new wave/punk antennae was pretty limited to just a couple of things, and those were not the sort of things that anybody in the mainstream paid much attention to -- so when someone says "new wave" I'm pretty sure they've got many things in mind that Led Zep was not too interested in. The American masses in 1980 were getting re-acquainted with Rush on the radio and spent the summer going crazy over the new AC/DC and Van Halen albums, which sold about 5 million, and then some including the rest of their catalogs. This -- and trying to figure out what Devo was all about -- was what we were doing while waiting for the Zep tour, the most anticipated event since ... the last Zep tour. (edit: and of course, there was ITTOD, which outselling everything bu the AC?DC). The punk-new wave was a nascent thing, or two or three separate nascent things. The only people who cared about punk were people in punk bands and a few critics like Christgau and Bangs writing in the Village Voice -- and Robert Plant, apparently -- the numbers don't lie on this, so a lot of the "new wave" sensibility is a mythology we hear too much about now. How do the gold records the Clash got for Sandinista and London Calling 10-15 years after the fact stack up against the gold record Molly Hatchet received in the 1980 for Beatin the Odds? They don't, and the industry noticed that. Led Zep couldn't have cared too much about it all, in any case. THEY were the dominant force in the industry and the market. My question for anybody who knows is this: Was Zep planning to bring the full-on Showco production and laser light show to the US? My guess is they would have, but I think whether they were or not effects the answer to the original questions posed in this thread.
  12. Old thread, but interesting. I do wonder when Led Zeppelin records and tapes stopped selling in the U.S.? Can't say for the rest of the world but Atlantic never stopped stocking the "original 10" throughout the 1980s as rock radio played Zep incessantly and "Get the Led Out" segments were lunchtime and drive-time necessities. The RIAA certified sales database indicates that there was never a time between the release of Led Zeppelin I and the onslaught of the CD in 1988-89 that the Zep records and tapes were not selling in the U.S. If Robert's first four solo records sold 6 million in the 1980s, Zep sales more than doubled that.
  13. Yep. Darlene was piano slop, Ozone Baby was a bad idea and sounds like something that should have been given to Aerosmith -- I can hear Aerosmith doing both songs really well, fits their doo-woppy big band thing. .... Wearing and Tearing was ... hmm, I kinda dig that track, though it was more or less a simple Godzilla punk slab noise expression of Jimmy and Bonzo's frustrations with punk rock twerps Billy Idol and the Sid Sleaze, and maybe dumb jones-plant ideas like Darlene and Ozone Baby. Godzilla punk slab noise wins!!
  14. Just after the 6:00 minute mark, we have Simon Napier-Bell, the man accused of ripping off the Yardbirds. And what's all that stuffed behind glass under the liquor cabinets? A hundred and one baby dolls. The souls of all the songs he produced? Keith Relf's youth? One shudders to think what he's trying to say there. Very creepy. Here's the video that popped up after that one ... looks pretty interesting.
  15. The wiki-page says there was a lawsuit, but I've not read that before. I'm on the lookout for the Grant book, which would solve all of these mysteries. There is a thread on here about the Grant book from a few years back but it devolves into discussion of the incident in Oakland. Grant cleaned himself up in the late 1980s and was reportedly seen with Jimmy attending a Frank Sinatra performance in London in 1989. This was apparently the first time in years Grant had been seen in public. I would tend to lean toward Jimmy being frustrated with everybody at one point or another in the 1980s, including himself, so if he and Grant were ever at odds, that didn't last. As for Richard Cole - what's said in LA should stay in LA, unless it's something good.