Slate Chocolate Marble
Slate Chocolate Marble

Led Zeppelin Official Forum

Register now to gain access to all of our features. Once registered and logged in, you will be able to contribute to this site by submitting your own content or replying to existing content. You'll be able to customize your profile, while also communicating with other members via your own private inbox, plus much more! This message will be removed once you have signed in.

Crimson Avenger

  • Content count

  • Joined

  • Last visited

About Crimson Avenger

  • Rank
    Zep Head

Profile Information

  • Location
  1. Was this your work then? If so, I salute you!
  2. woo hoo! Early 73 I think he's just immensely 'match fit'. He'd been playing and honing that stuff for years with regular touring. I'm not dissing it, it's brilliant. But he moves away from it. Before 75 actually; the US 73 tour starts to drop some of the rock and roll/ blues stuff.
  3. I think Page was very well prepared for the 1975 tour. The finger business forced him 'back to basics' for a while. In his book he refers to a 'spirited' rehearsal as soon as they got off the plane in the US. I'd take that to mean 'panic-stricken', lol. Early 75 could have been awful due to Plant's worsening voice. But the other three members are all on it and able to cover for him. Compare with 77, where Page starts the tour seemingly with no idea how to do the leadwork for ALS or TYG.
  4. Yup! I think the official TSRTS spoils us. Seemingly at random, we get arguably the best Stairway solo he ever played, and - in the original 1976 format at least - the best NQ. I'd maybe put it like this. In 73 we get the 'finished product' from him on stage, carefully worked out. In 75 he's more interested in exploring ideas with the guitar, the more so as the tour goes on. I agree, early 75 he's far more focussed and succinct. Nothing wrong at all in preferring that as a listener. Uncharitably, you might say that in 73 he has it all worked out. In 75 he plays until he runs out of ideas. In 77 he does that then adds a couple of minutes on the end
  5. I just finished listening to the remaster of 5/21/77 called How The Time Flies, and I love it. Sounds superb, and all the band - Jimmy included - are right on it. A great example of how a good remastering can make a bare 77 board tape into something very listenable indeed.
  6. Yup, Page's natural lead style is unique, and very hard to emulate. Pointless, probably. His picking and phrasing is all over the place, but it works once your ear is attuned to it. I once knew a fellow guitar player who insisted Page was literally useless, simply because you can't count his playing off on a metronome. Briefly knew, lol. I contend your point also holds true for much of his 1975 lead work, which is where that complexity peaks. Whether that is natural or carefully worked out, I'm not sure, and I'm not sure it matters. Would be great if a proper music journalist could one day get him to go into detail about all this, and make him answer properly! From 77-80, he was equally capable at times, but fell off the high wire quite often.
  7. I just listened to 3/17/75 OTHAFA... no 77-80 era stickiness at all, although he misses a note or two here and there. I'll concede the early part of that show isn't the best of 75. But that one is actually one of his more thoughtful solos, almost every phrase has a different idea in it, and I think I can hear something like Hots On For Nowhere in there around the 5 minute mark, for example. Hugely articulate; while some passages work better than others, there are no fuck ups in that one. There are 'many, many' great shows, lol. How about Chicago 1/22/75? A very nice early 75 show, pretty clear and listenable AUD, and Jimmy plays great. Check NQ, CB etc. Control, fluency, vibrato, it's all there. Off topic but Plant's not shabby there either; his voice troubles only really start after this gig. Page's phrasing has always been weird compared to other players, and I'd contend that peaks in 75, in terms of being sucessfully carried off. Where you hear sloppy and disjointed, I hear invention and a desire to be different and move on. His soloing gets longer as the tour goes on, but that's not an accident. Sounds like it's his 75 tone that you object to most. That's a fair point, it is a bit thinner than 73, on the boards at least. But it's not particularly different to pre 73 (that year spoils us tone-wise, I'd contend), and doesn't bother me personally anyway Ho hum. The 'hard picking' point is interesting. I think you can argue that for 77, where he is pretty brutal, but not 75. Maybe it's the board tape sound again. Each to his own. We're never going to agree here, but it's all good! 20 years ago this kind of discussion wasn't possible, as almost nobody could hear this stuff then.
  8. Cheers, yes, 23rd is my favourite too, although 18th is a very strong second. It's tantalising that pro audio and video should exist for 23rd at least. I too would love to know the story behind the blue strat. He seems to have used strats in the studio quite often.
  9. Ah, Jeff Beck, of course. That makes perfect sense, cheers. I knew Claption had a tele in the Yardbirds, but unlikely he would have given it to Page.
  10. Great interview, thanks for posting. I never knew Eric Clapton gave Jimmy his telecaster... is that widely known/accepted?
  11. I have a couple of questions about Earls Court... What's the best version of 18th to get? I can't get my head round the different sources (if there are different sources??) and releases. I've got Black Dragon Blue Axe, which seems OK, but I'd love a better version if it exists. When and on what songs did Jimmy use the blue strat? Nobody seems to quite know.
  12. I'd be interested if you could give a concrete example of stickiness in 1975... we may be talking at cross purposes! Sure he doesn't hit every note exact and some solos he struggles with (Rock and Roll springs to mind), but that applies equally to pre 75. But it's interesting that I can listen to 1975 (soapbox time: I've listened to every note of every show) and draw the opposite conclusion. I find it remarkably unsticky from Jimmy throughout. I'm pretty sure heroin wasn't an issue in 75. Stephen Davis insinuates it, but as with so much in his books there's nothing to back up the assertion. 1976 and beyond, sure. Books actually are maybe another reason why people have a poor view of 1975. Luis Rey's initial book was quite down on 75, which is understandable because he was writing before a lot of the good recordings came out. I don't have the more recent version, so can't comment on that. Davis in both his books makes a lot of disparaging comments about 1975 which are either unprovable or demonstrably false.
  13. I think Dazed is probably the culprit for many people's poor assessment of 1975. I for one hate - hate - the way he starts the first guitar solo, using a phrase which worked well towards the end of one of the solos in 73, but sounds hackneyed in 75. But he does it every night, so he's doing what he wants to, and executing it properly. It's not like ALS in early 77, where he's not worked out what to do with the lead and is clearly winging it. The best playing in Dazed 75 is usually in the second half, when many people will have switched off. As for the rest of 75, he's usually on it throughout and has done his homework for the tour. Just take almost any OTHAFA or TU, for example. I'm listening to TU from 18th May as I type, and it's great. He's good from the beginning too... I'm sceptical about the effect we hear 40 years on from the broken finger; it's hard to spot a difference between Brussels and Chicago. The early shows are shorter, but he plays well in January too. A decent board tape from Jan 75 would be most welcome. 1977, sure, he's down a notch or two, for whatever reason. But not 1975.
  14. 1975 for me. That's when he peaks in terms of ambition and complexity as a player, and he invariably pulls off what he's trying to do. I don't understand why people say he's sticky in 75... I just don't hear that. March 75 (although he was no slouch in Jan/Feb either) and then again in May at Earls Court are his peak as a player. Watch a few songs of the unedited Earls Court footage; he's utterly in command of the band and the instrument. It's a fair point to say that 73 and earlier he was more fun to listen to; he was doing more of the blues/rock and roll/Scotty Moore stuff then, which he largely cuts in 75. He hints at it in some of the Heartbreakers in 75, but never takes it very far.
  15. Any of those Chicago shows really. I picked 22nd because the AUD tape isn't too bad and seems like a great show. Isn't 21st the one there's almost no recording of? Now I think about it, WTLB doesn't bother me too much anyway, because I'm pretty sure it would sound awful. They canned it for a reason. Dropping Wanton Song and then HMMT was a real shame though. Point taken re 77 boards, but my point is that they are not unimprovable. They can be tweaked to make the experience more fun. 4/27 is the obvious case, but sue donim/pseudonym of this parish has been going some good things with other 77 tapes recently, for example.