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Mercurious

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About Mercurious

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    Zep Head

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    Midwest, USA

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  1. Incredible drumming, unbelievable drummer! Another "little thing" for me is "Bron-yr-aur". Such a cool and rare thing, strange C tuning humm. The last quiet moment in the movie, they're in the limo, driving to MSG from the airport ... sun is shining, the song comes on. A poignant moment, and even now, having seen the film too many times to count, that's the moment where I think, damn, these guys were just TOO good for words. smh in awe.
  2. He really rips away during Bron-yr-aur Stomp in '77 doesn't he? I can basically agree with most, if not all, of this ^^^^. He is a sculptor of sounds, and his setup w/ Showco for "Guitar Solo" is probably the thing he's most interested in on that tour. To me he's Erich Zann (HP Lovecraft story) at that point, which suggests he's out on a limb and in a different place entirely than he was shredding away in 1973. It's fascinating what he's trying to do there, and we can certainly say his interests r.e. guitar sound have changed a lot by then. Had he been feeling better physically, we may now look on it more logically as "the next step" from the changes in style he made in 1974-75. ..... note on WS/BMS -- it's kind of a personal statement for him, a place where he may feel grounded; and we can probably say he gets lazy at times relaxing in good old DADGAD, a very meditative place to be. As for 1980, I'm not familiar with The Damned (page liked them, later played with their drummer) so much but I do know that some of those licks he plays on the WLL jam in West Berlin can be found on Bauhaus records, and - fast forward 7 years - NY noise bands like Live Skull, Sonic Youth and Band of Susans. In 1980 that is new, new, new stuff to everyone's ears, a kind of No Wave of sorts, and it underscores heavily that Jimmy Page is no ordinary guitar palayer or person. I wish he had gone further down that path, and maybe that's what he and Bonham were playing on the next record, who knows? Anyway, sure sounds like Page knows what he's up to on those pieces (TUF as well). We've hijacked this topic, I'm sorry about that, all, it was done out of good will, certainly ...
  3. I was going for the Trampled Under Foot effect, and also thinking of that other thread where the topic was "Was Jimmy's peak 1973?". If one says he's at his best in 1969 is that an endorsement of the blues, the telecaster, the effects he's using in April 1969, his mental state or that only Hendrix can touch Zep live at that point in rock history? If one says it is 1972-3 is that an endorsement of his chops, the "Houses of the Holy" material, the advanced state of "dazed and confused" (and high fret speed), the good pick feel he had in New York, or Showco's advancements? How does the Led Zeppelin fan come to terms with the dissonance and jazz playing added to his repertoire in 1975? Is "Sick Again" supposed to sound sick or is he just using that mess to warm up? Jimmy Page gives even the greatest of Led Zeppelin fans a lot to think about. He himself has always said that technique doesn't enter into it - that the guitar is merely an instrument for expressing ideas and emotions. Right there, he's got us. To get too much into technique is to miss the point, and isn't being a Zep-head on this forum a nod to the idea that one "gets" Jimmy Page's point? A discussion of Page's guitar technique may not be appropriate for this forum, and I would suggest that it's probably not (not my call, thankfully). This is not the place for Blackmore fans to take shots at Jimmy Page, which is what the question of technique invites and the ditch where the discussion invariably heads, every time. (Hey, I like Highway Star, too, but it's just irrelevant to Jimmy Page's musical approach in 1974-75 - isn't Page quite deliberately heading in a different direction?) Bullseye! I would add that any discussion of pick technique such as the one that happened in the first 1/3 of this thread is largely irrelevant to Jimmy Page, who has always said he struggles with pick technique, and has always said that mistakes are often the most interesting and vital things that happen when playing live. To paraphrase Page again - Technique does not enter into it.
  4. Could be something Yardbirds related. Clearing out the vaults. Finally issuing "Knowing that I'm losing You" (the original "Tangerine")? Maybe he found a way to clean up the Anderson Theater recording. Or the devastatingly good LA Shrine shows. What's better than the Jimmy Page Yardbirds in their final days blasting through "Waiting for the Man"? (Oh, right - Led Zeppelin blasting through "As Long As I have You" medley). Could be about the Joe Cocker single too - "With a Little Help From My Friends" was a 1968 event.
  5. I think this thread would have been more interesting if we ran it through a wah wah pedal and a tone bender w/ mild distortion and everyone agreed to at least attempt to write backwards while simply agreeing to disagree about what the chords are supposed to be.
  6. Applause for your trip down the lost American highway and the Zep '77 experience. I'm really enjoying the reading. 1977 was the year I became a fan of that Ken Stabler Raiders team, but my NBA allegiances were to that team in the Midwest that traded Kareem to the Lakers. Which brings me to the point of this reply -- If you get some time, check out the Karol K channel on Youtube. Karol posts full video of late 1970s and early 1980s playoff games, the perfect medicine for any old school basketball Jones. There are 1977 playoff games posted and available now, including a few of your '77 Lakers. Last week watched the game 6 where Kareem scores 43 vs. Clifford Ray and Golden State. There is no charge for any of this, and no media conglomerate is striking any of the games she posts. It's too good. Sounds like you would dig it. While those games are free to watch, top available ticket for Sunday's Clippers-Jazz game is over $3,000. The sticker shock has frozen my laptop.
  7. STRIDER!!! Can't think off the top of my head what bootleg I first heard Plant yell that at the end of Bron-Yr-Aur Stomp - probably Destroyer or something from 1972, but I've always got a kick out of it. What other of the Elvi would write a song about their dog and joyously yell out the dog's name to the heavens high when the song was done? Love it.
  8. He's feeling alright by the time they hit Madison Square Garden in early February, and they play Dazed for the first time on the tour. Chicago's a rough one for Plant - really struggling with the cold. Your assessment is pretty similar to mine. Dazed in 1973 is so good I can't imagine playing that any better, but I do enjoy the 1975 versions also. TU is something he doesn't have in 1973, and that backwards sounding bent wah wah noise on it is all too wicked and strange. I love that stuff. His solos on NQ in 1975 are advanced from the smooth 1973 solo, and one can see that he's going for a dissonant approach and introducing new ideas in his playing, an electric noise and jazz touch. By opening the 1975 sets with Sick Again, they are challenging the listener with new material and the new tone and approach on guitar. Earl's Court he's a little stiff to start out, imo, but Sick Again is supposed to sound sick, like falling down, so there is some cinema verite happening there. I think his doctor no doubt told him to lay off the guitar and let the finger heal, so I don't think he plays very much between the end of the U.S. tour in March and the Earl's Court shows in May. However, by NQ he's loosened up, and when he hits the wah to drive the solo to its end, he's on. There are much, much better shows than Earl's Court from that tour. Overall, his playing is more diverse in 1975, and the material has grown as well, imo. One might say he didn't want to tell the same old same stories he told in 1972-73, so he made some changes to keep the material fresh. "Tangents within a framework" indeed.
  9. Can definitely confirm. Grew up in the industrial cities north of Chicago - Zep was king, FLoyd was big, too. The girls loved Robin Zander from Cheap Trick and Kevin Cronin from REO. Punk rock? Didn't need it - we had AC/DC and Van Halen and Cheap Trick. It took a while but people became very interested in Rush and the Police after they kept making good albums. A lot of Rush fans, as I recall. Duran Duran was very controversial. Prince was not - he was loved. In 1986 the Firm concert at the Rosemount Horizon in Chi was a big deal. We were finally getting a chance to see Jimmy Page, there was quite a buzz. I was looking at Firm and Outrider tour dates recently and I can say he definitely did not play as many dates as he could have and should have in the Midwest. I was in Austin, TX (Stevie owned that town) and Florida (MTV dominated) during that tour, and there wasn't much buzz for the Zep or Jimmy in either place, nothing like the Midwest. When Jack White says "I don't really trust anybody who doesn't like Led Zeppelin," he's certainly speaking as one of us.
  10. It was cut and dried that Skidmore and the Wolfe Trust (which exists in name only - there is no such legal trust anywhere in the U.S.) could only claim the deposit copy of the music, not the recording. That they're asking the appeals court for an oral argument is an indication that this is just a publicity stunt to tarnish the reputation of Led Zeppelin and increase sales of Spirit's music, in whatever format. These people "harbor nefarious motives," there can be little doubt. Judge Klausner should have thrown the suit out but let it move forward so that a jury could make the call. It's not likely they'll find an appellate court judge who wants the publicity; there's no currency in it - federal judicial appointments in the U.S. are lifetime appointments. I also can't find anything in the 90-page filing that says anything about the $800,000 bill - I think the digital music news reporter may have made a mistake. Judge Klausner ruled that Skidmore and the Wolfe did NOT have to compensate Time Warner/Led Zep for the fees. If there were laws against crazy people with nefarious motives getting publicity we'd have to jail most of our politicians.
  11. I remember clearly an episode of "That Metal Show" where Ward (he was the guest) said that he liked Page on a personal level (not just as a guitar player) and that the one person he had not played with in his life who he really wanted to before the end was Jimmy.
  12. Steve Gorman? He's the Black Crowes drummer. Faith No More guy is Mike Bordin. Both good drummers. Agreed about Jason. There are nights on Outrider that are painful to watch. Other nights are brilliant. 1991 sounds right - I remember the rumors about Bordin being the guy they had chosen. Seriously? that guy? Too metal, I thought. Robert had misjudged the American market throughout the 1980s, and he must have been jolted that the Zep CD catalog was outselling his solo stuff. They had so much product out there, the new comp package, and everything else, why not go out and introduce yourself to the Gen Xers buying the stuff? For a moment, Robert was swayed. But only for a moment. Instead he began doing Zep covers with his band.
  13. Difficult to argue with any of this. In terms of "dexterity that flows" he really does hit a peak in 1972-73. He's in better physical shape then, I suppose, than later on, or when he was dealing with the fractured fret finger. He was also aided by the new material 72-73 -- he doesn't have No Quarter in 1970-71. He's got Thank You. He flows all over that, but after a while it's pentatonic jamming, effortless free and easy. The Rain Song and TSRTS help, too, and so does OTHAFA, which gives him a chance to get into some dissonant playing. What they're doing in Dazed 72-73 is simply awe-inspiring. When we hear guitarists talking about Jimmy Page changing their lives, they're usually talking about those years or 1969, when he's just blowing people's minds on those early tours. But I'd take No Quarter from 1977 over 1973 versions BECAUSE it's not effortless. I think it's more thoughtful playing, more expressive. He's definitely adopted a dissonant jazz phrasing and, no, it's not always smooth. Often it wasn't supposed to be. I also like all that wah noise on Trampled Under Foot, so there we have new material, new ideas, more dissonance. He may not be playing "better" in the political sense, but I think he's communicating more in 1975. In 1977 we have Achilles instead Dazed, and i can't make a call on that. The best thing about Page is that he doesn't just stay in one place -- he keeps evolving and devolving, not changing with the times but in what he wants to say with his playing. This is different from the question of "how" he was playing.
  14. 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!!
  15. You mean, like Michael Lee? That should have happened. Deep down, we all know it on some level.