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Otto Masson

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About Otto Masson

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    Zep Head
  • Birthday 01/13/1965

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  1. I have decided to stop contributing to these forums - no big news really, as for a long time now I have posted only occasionally and sometimes even missed out responses (sorry). I am perfectly aware that there are people who are not sad to see me go, although I'm not really sure who those people think forums like these are for if not somebody like me ... but then I must admit there have been a few clashes with some of them. I don't regret that actually, because it only means I tended to state my own opinions no matter what the popularity odds were. At any rate, that's how I see it. That said, however, many of even these people have at one time or another contributed things to these forums that I really, really appreciated, and I don't think there is any reason to dwell further on old disputes. I will not mention names - I think you know who you are. For my part, I have in the past tried to contribute something valuable on here, and I guess I could try to go back to that, but the thing is, I have always had other interests apart from my love of the music, and my enthusiasm for these forums has sort of slowly evaporated over time. So the logical thing seems to be to just quit. It's hardly a big event, but as I have been a part of these forums for a while, I thought I'd do it a bit formally. All the best to you - thanks for the many contributions I have learned from over the years; and most importantly, thanks to the band for the truly wonderful music.
  2. I'm fine P., thanks. Finally got the opportunity to see Jeff Beck this year - I believe that was one of the very first gigs with the new line-up. There was a warmup act, an Icelandic band called Mezzoforte (dunno whether you know or remember them, they had a minor European hit with Garden Party in the 1980's) and obviously some friction had been going on behind the scenes ... But you know, that way you know it's really Jeff! And it did help that I got a seat close to the middle of the sixth row. The sound apparently could have been better, but where I was sitting it wasn't much of a problem, and I saw them really well. Enjoyed the gig tremendously, fantastic musicians. And you? Attending concerts left and right as usual? Have you been to see Jeff recently?
  3. I don't think we need to worry about it - after all we have seen much worse in that department, if you remember.
  4. Steve ...15000? Admittedly a number like that is often enough insignificant as such, but in your case I'd say it's as good an opportunity as any to say that you've contributed a lot to the forums that I really appreciate ... At some points we may have argued a little, and while that fact is perhaps no mere accident, it's entirely irrelevant to the very real contribution you've made. So thanks!
  5. Here's a band from the era of supergroups - which of course arrived late in Iceland! Óðmenn were a trio featuring Jói G on bass, Óli Garðars on drums and Finnur Torfi on guitar. As you can hear they had been listening to Cream! The song is from their 1970 double album.
  6. A thread on Icelandic rock simply has to include Megas - artist name for Magnús Þór Jónsson. He started writing music in the late 1950's, I believe, but his first recorded album only came out in 1972. His lyrics, that have now been collected in a huge book, definitely rank among the best in Icelandic popular music, and he's a fabulous song writer. The example I give here is from 1987 and features Björk and her sister on backing vocals - as so many people here at least know Björk! The song comes from one of his best albums, in my opinion, and sees Megas working with musicians of a later generation, the one that initiated punk and new wave in this country. With Megas you do miss out when you don't understand the lyrics, but the man is a legend in these parts - very deservedly.
  7. All right - I suddenly remembered this thread! Let me first point out that the Youtube link in my first post is to a Trúbrot song that they actually got from elsewhere ... nobody here made any remarks about it at the time, but it's a Motown classic - by the Supremes, no less! Trúbrot did credit Holland-dozier-Holland for the song. The song is a particularly good example of the playing of drummer Gunnar Jökull and Hammond organ player Karl Sighvatsson. Both were truly great musicians on a world scale. Notice all the subtlety there ... the song, as indeed so many of the old Motown classics, is great; and utterly transformed here. Gunnar Jökull played with Syn in England - the band that later became Yes, and Karl or Kalli was he was always called later played with my all time favorite Icelandic band, Þursaflokkurinn, who I will talk about in a later post.
  8. Perhaps nobody's noticing the tasteless references there to the dramatic opening of Bach's Toccata and Fugue in D-minor. Oh well - I think it's hilarious ...
  9. Boston! Don't know about the rest of you, but I think I was 11 when their first album came out, and More Than a Feeling certainly wasn't my favorite on that album, but my younger self used to love Smokin', especially the part with the insistent riffing and the harpsichord and then the organ ... so way over the fucking top it's ridiculous. But I feel a kind of fondness for it now!
  10. Bayougal, thank you so much for the link to that interview with Jonesy - wonderful to read. Jonesy has answered this for me, hasn't he?The thing is they worked together in the sixties on sessions, as Jonesy talks about in the interview, but it was always mostly a professional relationship, whereas Jimmy and Robert became close friends in Led Zeppelin. If there are some real ideas to work on, they may still do it together - you never know - but that of course is not Led Zeppelin.
  11. Surely, if you think about it, you'll see that this is an exaggeration! Robert has also often spoken very highly indeed of Jimmy as a musician. There was a period when Robert needed to put some distance between himself and that Zep background, and as I see it, that need motivated the more sort of negative remarks. When it comes to personal relations between the two men, it's really more than a little risky to assess how it has developed. It does seem clear that Jimmy's problems in the late 1970's affected Robert, who I think tended to idolize Jimmy somewhat in the earlier years. Remember also that within the band Robert's role was mainly to come up with melodies and lyrics; musically he may have felt he still had a lot to prove after Led Zeppelin ended. In order to just get on with it, it may have been necessary to get some space to move in, you know what I mean? The legacy could be limiting in a way, because it had to be his own thing by then - no longer working on Jimmy's riffs and chord sequences, etc. And there's another side to Jimmy's discovery of Robert. Yes, Robert does owe a lot to Led Zeppelin, but he had a lot of talent - which is why he got into the band in the first place. Sure, the band made him sound great; but you could say the same thing about all the others, including of course Jimmy himself. He had a vision for this band; but the personnel just worked together in a way that nobody could have ever predicted. There was a real magic in the chemistry of the band. One of the great things about Jimmy, in my view anyway, is that he realized that from the outset, and that giving the rest of the band a real opportunity to contribute to the music didn't work against his own vision.
  12. Robert and Jimmy are and will always remain friends, I think, but their temperaments are extremely different. There are various interviews where Robert has said things that I don't particularly like, even apart from the ones that have been discussed here. And it is true that he sometimes makes unnecessary, somewhat nasty asides about other musicians (not talking about Jimmy here). Well, I don't really like that either. But hey, Robert is allowed to be himself ... and there was a rather lengthy period where he obviously felt a need to put some distance between himself and JP and the whole Zep legacy. You can criticize that if you're so inclined, but what's the point? He needed to go off at the time and record Shaken 'n' Stirred or whatever. That's what he's supposed to do, as an artist - what he is keen on doing and what he believes in.
  13. OK, that's a question ... but what does it mean? One more gig? A tour? Another album? A full-on revival of the band? The last option is merely an absurdity - it can not and will not happen. John Bonham died, after all. I loved the O2 gig, and Jason did a marvelous job. At the time I was rather hoping that they would go on to record an album and play just a handful of gigs - with the whole thing dedicated to Bonzo's memory. It would have been beautiful, you know? And I think it would have made Jimmy Page contribute new music ... keep in mind that there really aren't many compelling reasons for him to come up with new music, because of the role he played in Led Zeppelin. The others made it what it was and is, but the fact remains that Led Zeppelin constitutes his musical legacy, his artistic statement. It can not be topped, and Jimmy simply isn't one of the people who get restless if they're not always touring or recording an album, etc. But anyway, this little wish of mine didn't materialize. That leaves the question whether one or two more reunion gigs are still possible? Yes, that's possible - but it will not happen. Doing it right is a lot of work, they're getting older and have other things to do. Too much time has passed already. It's over. But what a musical legacy they've left! And watching Celebration Day now really feels like a celebration of that legacy. I believe thanks are in order ... not further speculation.
  14. I haven't seen this photo before. It's great! But also taken by Pennie Smith are the well-known pictures from Wandsworth Common in September 1974. Here's one of them, and it's definitely the same guitar.
  15. There is a short passage about Royston Ellis in a book by David Williams called First Time We Met the Blues. The author became a bit of a blues purist - no accident, because he wasn't a musician himself and after all there was an older scene of blues collectors in the UK which tended to see things from that kind of purist perspective ... of course, Jimmy and Jeff Beck both had a rockabilly sensibility and an interest in the possibilities of the guitar that made them see the blues legacy differently. We all have perspectives, however, and Williams's book is delightful reading, especially for those interested in the very beginning of Jimmy Page's musical life.