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Led Zeppelin Official Forum

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woz70

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About woz70

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    Zep Head

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  1. Nope. Still very much there (there are reviews for the restaurant from easter Monday), and rather upmarket nowadays: https://www.maltstone.co.uk/
  2. It's based around the E mixolydian scale - which is an E major scale with a flattened 7th - but it doesn't use all the notes, so ends up being a Mixolydian Pentatonic. The notes are : E G# A B D The second part of the riff, which harmonises with first part, uses another pentatonic (E G G# B C#) and here the C# acts as a kind of blue note which is bent up to the D. There are literally dozens of ways to go about explaining the theory behind this, depending on whether you take a modal approach, a standard harmony approach, a chordal approach etc. etc. However I doubt very much that Jimmy was even considering any sort of music theory when he came up with the riff. The best explanation of how it came about and works is that it fits nicely under the fingers (as the majority of Led Zep riffs do) in the open position, is loosely based around an Em pentatonic shape (as a lot of the riffs are), and takes a big influence from early rock'n'roll and blues riffs. Check out 'Dimples' by John Lee Hooker, and 'Greeny' by Peter Green as a couple of examples of possible references for the riff....
  3. He looks more pissed off/grumpy than dazed to me. He certainly spends most of the video avoiding the cameras as much as possible. This was recorded around 2001, about 3 years after Plant had jumped ship from the Page/Plant thing. Maybe Jimmy had taken this session (and the Montreux concert they did around this time too) as a sign that Robert had had second thoughts and wanted to work with him again, had mentioned it and Robert just said 'Nope'. Who knows?
  4. Robert nixed that waaaay before the O2. I heard him say he wouldn't work with 'those guys' again - full stop - the July before the gig. He may have been cagey about it in public, but his mind was very firmly made up. It was a one-off for Ahmet, and after that the door was shut for good.
  5. 34 lbs???? It's made from wood, not lead! My '69 deluxe weighs about 9lbs and it's not a light guitar. The doubleneck could possibly weigh twice that, at a push (although the SG style body is much thinner than an LP). I think it's more likely to be in the 12-18lbs range. I wouldn't want to have over my shoulder for 2 hours, but 15-20 minutes? Even at his most emaciated it shouldn't have been too much of a burden. Lifting it above his head for a few seconds? Not really an issue.
  6. I think you're clutching at straws a bit there. Not big enough to be a video camera. Looks like a guy taking a stills shot to me. Also most video cameras would be rested on the right shoulder.
  7. Perhaps not a literal 'call' (but you never know...), but the point I'm trying to make is that Jones obviously networks with people. He's always doing something, working with new people, getting up on stage and jamming, collaborating, producing, writing, arranging, experimenting, and obviously says 'Yes' quite a bit to the idea of working. Grohl was champing at the bit to work with JP & JPJ. JPJ was/is active and made himself available. JP was/is not and didn't. Page won't even get up and jam onstage any more, let alone collaborate with anyone (other than Halfin...). He's renowned for being reclusive, and he's his own manager, so I bet he's on the phone constantly drumming up interest for new musical projects. Not. The guy has a horde of people who would love to work with him, but nada, zilch, nothing musical (save a couple of noodly minutes in IMGL) that's new in 17 years. And then he's snarky at Jones for not asking him along?
  8. All Page had to do was pick up the phone and say to Grohl 'about that project you mentioned? I'm interested....', like Jones did. Jones - proactive, collaborates constantly. I don't think he's into revenge, but I'll bet he appreciates a bit of karma. Page - gives off the hermit vibe, waits around for calls and gets disappointed and snarky when no-one does.
  9. If you listen really carefully you can hear the sound of a barrel being scraped.
  10. ...and that they called it 'no quarter'. I think that was what pissed him off the most.
  11. I live in the UK, and in the 80's Led Zeppelin albums were in the bargain bins. I bought CODA on vinyl in 1983 for £1. Being a Zeppelin fan was not cool until about '88/'89 - just before the first box sets appeared. If the album sales had totally tanked he wouldn't have got a good price for selling the rights. I think he took a pragmatic approach, saw a general downwards trend in royalties and decided to hedge his bets and cash in to get a lump sum to fund his solo career/divest himself of all things Zep/etc... It's ironic that he did it just before the first CD releases reinvigorated sales, but those are the gambles you take.
  12. You won't get any replies from raytuned. His stock reply to pretty much anything was 'I find this hard to believe', and was pretty incoherent in much of what he said in the 3 weeks or so he posted stuff on here. Hasn't been seen here for a coupla years.
  13. In 1975/76 the income tax rate in the UK for earnings over £20,000 was 83%. Basically this means that for every £1 they earned (over £20,000) they got to keep 17p. (Tax on earnings up to £20,000 would have left them with a tax bill of around £13,000. So - earn £20,000 and take home £7,000). As an example, let's pretend that they earned £250,000 in one year - a lot of money in 1975, but not inconceivable for them at the time: First £20,000 you get to keep about £7000 (actually a little more, but I'm keeping it simple). That leaves £230,000 to pay 83% tax on - a tax bill of £190,900. That left them with £39,100, plus the £7000 kept before the higher rate: A total of $46,100 they get to keep.... well actually it would be less than this too, because I've not allowed for National Insurance contributions (which , despite being called 'contributions' are actually compulsory). That's a total payment to the taxman of £203,900 from earnings of £250,000. I honestly don't think Grant 'forced' them to go into tax exile - I'm sure he would have just given them the best advice, which would have been 'get out of dodge or the taxman takes pretty much everything you've earned'. Their earnings and the taxman forced them into tax exile. You don't have to be a genius to look at those figures and think that they probably thought for themselves: 'why do I have to give 4/5ths of what I earned to the taxman. What can I do to avoid this?'.
  14. By 1988 he'd replaced the standard Danelectro bridge with a badass bridge to improve the tuning stability. As to his fascination with it - it has to be primarily the sound it makes, and then the way it plays. Why else would anyone prefer one guitar over another? Cheapness of construction doesn't really come into it. I've played some horrifically expensive guitars that were absolute dogs, and some super cheap guitars that I didn't want to put down. As for the blue strat - it looks like it's got a standard strat tremelo (which can be pretty stable if set up well, a well maintained nut and has well stretched strings...). Floyd Rose trems involve a lot of wood removal and I don't think he's particularly keen on that because of the way it changes the sustain/tone.