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Everything posted by tmtomh

  1. Gotta agree with you there. Well said!
  2. Dude, if you have to say, "I do it in a way that's quite clever and often funny," then by definition you don't.
  3. That video is an apt representation of your monotonous, endlessly repeated one-note criticism of Plant. You criticize him for being boring and repetitive, and you do it in the most boring, repetitive way possible. The clinical term for accusing someone of something you display yourself is projection.
  4. Musicianship-wise, they seem like the real deal to me. It's also impressive that they're so young but already have been performing and writing songs for five years. Whether or not they're a flash in the pan or become established artists probably will depend on the quality of their songwriting, which to my ears is pretty good, if not great - but definitely agree there's a lot of potential there.
  5. Steve, thanks so much for the link - very cool! But it sure sounds like the interview took place June 9 rather than June 7. Around the 28 minute mark, and then again later, the DJ says the band will play the four remaining shows Friday, Saturday, Monday, and Tuesday (e.g. June 10, 11, 13, and 14) and repeatedly refers to the Friday show as "tomorrow" and "tomorrow night." Also, earlier in the interview the DJ makes it plain that the band already have played one or more of the 6 NYC dates, and Page says they are off that day (the day of the interview). The only date that was (A) after at least one show had been played, (B) before the Friday June 10 show, and (C) a day off, was Thursday, June 9. So unless I'm missing something, the interview date was June 9, not June 7, yes?
  6. Duh! Bonzo's Montreux. How stupid of me!
  7. Plant's best-selling single: I think it was "Sea of Love". Page Grammy: Probably not the answer you're looking for, but Page and Plant won a Grammy for "Most High". Don't know why the quote didn't work here, but this was the question about why the wrong time duration was listed for How Many More Times, yes? I believe they did that to try to trick DJs into playing it on the radio - it was listed at like 3 minutes and something, typical length for a single, rather than its true full length. Black Dog on Denton show: I think didgeridoo (is that how you spell it?) 3 name-checked musicians: Roy Harper, Ian Stewart ("Boogie with Stu"), and ... i don't know. I would guess Walter's Walk, but I can't remember the story and am not at all sure. Dancing Days
  8. I agree that the 24th is a fantastic show, and clearly one of the very best of any post'73 Zeppelin show, period. Like @Strider, I first was exposed to this show via the Japanese "Copenhagen Warm-ups 2nd Night" 3-LP bootleg, which I purchased sometime between '81 and '83. Only Zep vinyl boot I ever owned. I remember the cover said it was from '77, and I remember the track listing was all opposites or puns on the real titles. So "Black Dog" was "White Cat" and the Noise Solo was "So Low." This is indeed a very good-sounding audience source, but even after I was able to get ahold of the better-sounding versions, I've always felt the sound quality was overrated. I would agree that the best Blueberry Hill source is better, as are the Millard recordings and a few others. Even with that it's a very nice listen. The only 2 issues are (1) the terrible clackety-clack sound of the upper frequencies of Jones' Alembic bass, which is somehow even worse-sounding than it is on the '77 soundboards; and (2) the occasional loud whistling and hooting by whomever was near the taper. But what a performance - they're all just on, and in sync. Page is great, but what I really love is Plant - his howls just echo throughout the relatively small venue. Knebworth does not measure up to it, although the 4th is a very good performance, and the 6 or 7 songs on the 2003 LZ DVD, as a kind of "best of" that show, are great and sound amazing - a wonderful listen as a mini-concert.
  9. Thanks! Yeah, after I posted my prior comment I googled it and it came up straightaway. Would be epic to hear it.
  10. Never heard about this - wow!
  11. That's a great question. At the risk of stating the obvious, they either have the whole thing and teased it because they had a new audience source for 2014 and wanted to get money for that first; or else for whatever reason the source who has the 9-28 soundboard only agreed to sell them that one track and so they used it as a sweetener to get people to buy the new-audience-source 9-28 release. Of course like everyone I sincerely hope it's the former possibility. If they do have the entire tape, I'm not at all surprised it's not out yet. If they'd released it soon after the prior 9-28 release it would have created a lot of anger among folks who bought that prior 9-28 release. Makes sense for them to tease it, then put the incredible 3-21-75 release out, and then when the dust has settled perhaps release the full 9-28 soundboard. The one indication that makes me think they might not have the entire 9-28 board, though, is that their recent warning to people about not sharing 3-21 online makes mention of Blueberry Hill and 3-12-75 releases coming up. They still might be planning 9-28 after those - since I would say 9-28 would be an even more epic release than 3-12 (because Japan '71 > USA '75), and arguably a more epic release than Blueberry Hill even (because existing Blueberry AUD sources sound much, much better than existing 9-28 AUD sources). In fact, given that many folks believe that the existing 9-29 source(s) is either a stage-mic recording or a high-generation copy of a terrible rough multitrack mixdown, it is possible that EVSD has access to both the 9-28 and 9-29 soundboards. If so, it would make sense that they would tease 9-28 and not 9-29, to keep the suspense and surprise up. If that were the case, a 9-28 and 9-29 soundboard release would without a doubt be something they would hold until after 3-12-75, Blueberry Hill, and almost anything else you could imagine. They could charge $1500 or even $2000 for such a release, and a small but sizable number of hardcore fans would gladly snap them all up.
  12. Of the sources we know (or are pretty sure) exist, for me #1 would be the 9/28/71 Osaka soundboard. The "Black Dog" teaser from a few months ago sounds shockingly good - best sounding soundboard I've heard from any '71 show. And while it's not 9/29, it's a very similar performance and the existing audience source is terrible sounding IMO. As for what I'd personally like to see, I'd say soundboard (or ideally the multitracks) from Bath '70, and as noted above a soundboard from 7-24-79 Copenhagen, which is indeed their best post-1975 performance, period.
  13. One small note RE the sound of the '77 tapes. If part of what folks are complaining about is the thin sound of Jones' bass (referenced above), that's nothing to do with the tapes or the taping equipment. It's because in '77 Jones switched to an Alembic bass guitar. Whatever the virtues of the Alembic might be, and however it might have sounded if you were actually there in the venue at the time, it sounds like absolute s*** on both the audience and soundboard tapes from '77. It's not only thin, but also distorted, and with an incredibly annoying "clackety-clack" kind of sound. It's just dreadful, and the only time I've ever heard its sonic problems tamed to a degree has been on an extremely well-done fan remaster of the 5-22-77 Forth Worth soundboard - which soundboard is the best-sounding circulating source for any '77 show. Perhaps the best example of the Alembic's sonic awfulness on tape is the 7-23 and 7-24-1979 audience tapes from the two excellent Knebworth warm-up shows in Copenhagen. Fantastic performances (especially the 24th), excellent audience tapes - but there's a horrid clackety clack all over them, and for years I thought it was some part of Bonham's percussion setup being captured badly by the taper because of the acoustics of the hall. Only earlier this year did I realize it's not percussion at all - it's the horrible upper registers of the Alembic.
  14. Good questions! The problem with the 1973 tapes, from what I understand, is that they were copied, or transferred to digital, using a tape deck (presumably a cassette deck) with improper azimuth alignment. That is, the tape head was not exactly 90 degrees perpendicular to the tape (or else it was, but the deck that the recordings original was made on was not). This results in an inability to capture all the high frequencies when playing back the tape during copying or digitization. That's why the '73 tapes are so muffled, and why there's hardly any cymbals at all on a lot of them. 1977 is more of a mystery - I have no idea why they don't sound better. As for the extra audience on the '75 tapes, I'm guessing that's just down to the type of equipment and/or the mic placement in '75 vs '73 and '77. As for Davis' appraisal of parts of the '75 tour, I certainly agree with him about MSG 2-12 and the Seattle and Vancouver shows - as to most hardcore Zep fans. St. Louis, though, is IMHO decent but not great. And conversely, while the tapes themselves unfortunately are a bit harsh-sounding, I think the performances in Nassau/Uniondale 2-13 and 2-14 are fantastic, especially 2-13. Dallas I agree is so-so, especially the first night (3-4). And I enthusiastically agree with him about the 3-24, 25 and 27 LA Forum shows - I never loved them and think they're overrated.
  15. Thanks for those great pics! I'm not a huge US '75 fan (Earls Court, now that's another story...) - but I am loving this new release. As others have noted, overall it sounds very good. Sonically I would rank it 2nd only to Flying Circus (NYC 2-12) - i.e. this Seattle board is the 2nd-best sounding of all available sources from the US 75 tour IMHO. Jones' bass is a bit too prominent in the mix, but aside from the few minutes of Page's solo in Black Dog, I don't find Jones' bass to be intrusive. The only other sonic issue is that Bonham's cymbals sound pretty sizzly and one-dimensional in many places throughout the tape. But overall this show is not plagued by the high-end harshness or awful midrange crunch that many otherwise decent-sounding '75 Zep boards have. There's also a decent amount of crowd noise (for a soundboard), and a decent amount of ambience/reverb (again for a soundboard), especially on Plant's vocals. Speaking of which, this is the only '75 show that I can recall where Plant is not hoarse out of the gate with Rock and Roll. Except for a few moments in the final two encores (understandable after 3-1/2 hours), he's in perhaps the best voice of '75. Then there's the addition of SIBLY, which is of course great, and the best performance of the tour (though I think they played it only 3 times, so not much competition there) - and the overall looseness and vibe of the show. In addition to being long and containing many great individual song performances, this show is just fun in a way that most of the US '75 shows aren't.
  16. Nice one, @gibsonfan159! For the widely circulating remasters, I prefer dadgad's - IMHO it's the best one by a pretty good margin. There's a raw transfer out there, done in high-res, and I believe it is slightly better than the base source dadgad had available at the time he did his remaster - but that raw transfer would need a lot of work to become as good as, let alone better than, dadgad's end result.
  17. Not in my top 3, but I agree 100% that a complete sbd would be epic - the intro to Celebration Day is fantastic, but as soon as they go out of the intro into the main part of the song, the existing (or at least widely circulating) soundboard source ends.
  18. Very interesting! It's almost certainly one of these two 2011 pressings, which according to discogs are counterfeits: It's definitely not a 1969 pressing.
  19. RE right and wrong, I think there are three issues: Legal Moral Ethical Legal: It's illegal to sell bootlegs, and in many (most?) cases it's probably also illegal to distribute them, record your own tape at a concert, and so on. But as folks have noted, even Jimmy Page has no problem with fans sharing bootlegs (and presumably he has no problem, at least looking back now, with fans having recorded their own audience tapes at shows back in the day, even though Peter Grant of course did have a major problem with that!). One note, though: I've seen zero evidence that Page ever has bought a bootleg. My understanding is that when he goes into record shops and gets Zep bootlegs, he scoops up whatever he wants for free - it seems to be an unspoken (and often friendly) agreement whereby he takes what he wants in exchange for not prosecuting the record shop owner. Moral: I agree with the many others who say that freely sharing among fans is right, and selling bootlegs for profit is wrong. HOWEVER... Ethical: Ethics are more situational and less absolute than morals, and the fact is that many of the best Zep bootleg sources and shows, especially the soundboards, would not be available for fans to share if a bootleg label had not paid money to the original owner in order to get them to let go of it. We can argue until the cows come home about whether the tape owners would have eventually shared their tapes for free if the boot labels hadn't come calling. But given that some tape owners are still hoarding them despite the boot labels having money to pay, and given that some tapes are hoarded because they circulate among collectors whose entire pleasure is having something that no one else has or has heard, my view is that the boot labels are mercenary but are not the cause of the bootleg market. They are just players, even though their motives and tactics are in some respects distasteful. So from an ethical point of view, it's hard to justify free sharing without also being honest about the fact that by sharing anything that ever originated from a boot label, you are indeed condoning and depending on the bootleg economy. (I stress that I include myself in this). We can say that by helping freely share bootleg releases we are sticking it to the boot labels, but that's delusional IMO - if anything, by sharing boot releases, we're shrinking the pool of buyers, which helps keep bootleg prices high, since they have to recoup their costs and reap all their profits from an ever-smaller pool of buyers. As to sound quality, I have to agree with @irondirigible and @mknopfler: The very best bootlegs still do not sound as polished or clean as an official release. You might have a personal preference for the authenticity and atmosphere of a great audience tape, but that is not the same thing as the audience tape sounding as good as, or better than, an official release. And I'm sorry, but you can hook up all the tube amps and vintage gear you want and while the tubes might add pleasant 2nd-order harmonics and the vintage woofers might mate well with the vibe of a Zep audience tape, it's still not going to sound like an official release. A two-track tape - whether recorded from the audience, or recorded from the soundboard where the mix is meant to compensate for the sonics of the venue - never is going to sound as good as a multitrack mixdown. The closest things we have to direct bootleg-official comparisons are (A) The handful of soundboard tracks from the 6-27-72 Long Beach show compared to HTWWW, and (B) The 10-10-69 Paris bootlegs compared to the official Zep I reissue companion disc. (The Southampton and Royal Albert Hall 1970 bootlegs don't count because they're just leaked professional mixdowns, not bootleg sources.) For (A) the sonic difference is huge. Even if you don't like the mix or mastering of HTWWW, it's a proper multitrack mix, and the 2-channel Long Beach bootleg soundboard snippet simply is not official-release quality. For (B), that's a more interesting case, because the official release sounds much better than many of the bootlegs, but very close to the best-sounding bootleg versions. The reason is that while the source is a multitrack mix, it's one that was done live, on the fly, for FM broadcast, and apparently by a radio engineer who didn't quite know what he was doing. Even then, the official version has more polish, sounds cleaner, and has more consistent volume and overall presentation.
  20. Yes, the final guitar solo in the original is epic.
  21. Apparently the band left the title track off of Houses of the Holy because they felt it was too similar to Dancing Days. I like Black Country Woman, but I can't see where or how it would've fit in with the rest of Houses of the Holy.
  22. Fun topic! My preferences don't change often, but they have gradually changed over the past 5-15 years. Physical Graffiti - My favorite since I first started buying my own music at age 12 Zep III - This one has moved the most on my list since my tween and early teen years. The light and shade are just amazing Zep I - The second-biggest mover since my early years.i Has any band been more fully formed at its debut, especially after taking only, what, 3 weeks to make the album. Also, ironically this earliest album might be their best sonically too Zep II - After all these years, Whole Lotta Love by itself has like a half-dozen spine-tingling moments. Zep IV - Played to death of course, but Levee never gets old and listening to the reissue companion disc really sheds new light on how genius this album is Houses of the Holy - Love the songs, don't love the helium (TSRTS) and quaalude (No Quarter) vocals; and find the sonics/production a little too trebly and not quite muscular enough. I much prefer the versions on The Song Remains the Same soundtrack. Presence - I run hot and cold on this, depending on my mood. Sometimes I think it's a sterile, depressing record with no light and shade. Other times I think it's a tour de force of incredible intensity and energy. In Through the Out Door - I don't rank this as distantly behind the other albums as a lot of folks here seem to. In the Evening is a killer track and can stand with most other album openers in the catalogue. I'm Gonna Crawl is IMHO terribly underrated. I think Fool in the Rain is a fantastic song that no other hard rock band could ever have pulled off. And All My Love is beautiful. Coda - Just listened to it today from beginning to end for the first time in quite awhile, and was surprised how much I enjoyed it. I still will never love Ozone Baby, but the rest of the album is actually pretty solid IMHO. For what it's worth, if I were to add in the other officially released audio, I'd put How the West Was Won between Zep I and Zep II; The Song Remains the Same between Zep IV and Houses; and BBC Sessions between Houses and Presence.
  23. Absolutely my favorite Zep album, and almost impossible to pick a single favorite track. But if I had to choose, I'd have to say In My Time of Dying is my #1 and Ten Years Gone is #2. Kashmir would be #3, and then Custard Pie, The Rover, Trampled Under Foot, In the Light, Bron-Y-Aur, The Wanton Song, Boogie with Stu, and Sick Again would all be tied for #4.
  24. It seems we're clearly talking past each other and appear to feel the other is not hearing what we're saying. Wouldn't be the first - or 1000th - time that has happened on an internet forum. Perhaps we can at least agree on that.
  25. I agree we need to agree to disagree. As for an argument, I've made my argument, in detail, with a list of tracks and five different reasons why I think they are worthwhile. I agree with you 100% that you don't have to agree with my reasons - but to say I don't have reasons at all, is just silly. Conversely, your argument seems devoid of specifics, and your main "reasoning" consists of zingers ("we got a happy meal instead of a mother lode") and vague generalities that have no bearing on the actual argument: "music is judged with emotion and gut feeling" - well of course it is. We just feel differently about the tracks.