Definitely just the music for me. Maybe there is a bit of curiousity about what inspired Page, but really it's his interest not mine. When reading books my reaction to Pages interest in Crowley was more of "oh, that's different". I've never been into Lord of the Rings or anything that influenced Robert, so lyrically, I take from it in context on my own existence and experiences. I'm far more interested in how they forged a particular sound or what motivated them to write a particular song on an album than someones theology or world views.

Wanton Song is another one of Bonhams "galloping" deliveries. Yes, his drums do seem more in the forefront on that one. I enjoy the song most because of his dominance in the song. Dominance, by the way, which Jimmy had to have accepted as he made the final decision behind the production knobs. Bonham has always provided a heaviness to Zeppelin sound that in particular adds depth to Pages riffs. I might even argue that he and Page often infuse their sounds together as one so as a listener, especially if one is new to their sound; you cannot distinguish as clearly one from the other. It's why for me anyways, there isn't any comparison on the drums in rock history. Bonham isn't just a magnificant drummer, it's how vital he was to the overall sound of LZ that people don't apply to the equation when comparing his lesser contemporaries. Forget technical or even "feel", how about vision? He seemed to envision what the end product would sound like, Jimmys wizardly in the studio ensured it always reached fruition.

Good picks. CODA Is an album I've probably never listened to end to end more than once, but Bonham has some really fine, nuanced work on display. I'd put Poor Tom #1 in this regard, it showcased Bonhams ability to be a one man band, creating a coordinate rhythm that is alien to the average human. I didn't even want to hear the guitar or singing, just those drums over and over in perfect time.

Jimmys solo in this song felt like a desperate man firing off his last salvo, and somehow, somewhere he knew it (though he didn't). Only a supreme talent could take the backseat on an entire album but still provide the most resonating moment to their most astute fans. In the form of a solo on the last cut of the careers no less.

My guess about Pages having gems hidden in the vault just based on what I've read is that basically he released all he wished to in the remaster, limited edition releases. There is certainly other stuff, but none he deemed of value to his standards. He has basically put his his final touches on Led Zeppelin. He wanted it done right and his way while he could still have a say on it all. Someone will profit from it someday I'm sure. Just as they have with Hendrix. The appetite of a new generation for Zeppelin stuff far outweighs Jimis following. Thanks, in at least some part, his estate not even allowing releases of standard songs on youtube. In 2020 and beyond, this is how you gain new fans from music written long ago. How else will new generations hear it if they aren't exposed to it?

It was an unprofessional performance by guys who were always professionals on stage. Even when they had a few pops before hand, they always brought their "A Game". They weren't prepared. Bonham proved during his concert how important he was to the sound they had all developed. Page in particular in this concert, seemed to miss the cues and fills Bonham would normally have provided . Collins was out of place for sure. Not entirely his fault, he probably would have done better if he had been the only drummer on stage and been forced to fill the song in himself, I can't imagine trying to drum while relying on someone else doing the same.

Denmark 1969 concert was his most raw delivery in my opinion. Not even singing his own lyrics, but it was a sound that voice professionals would probably tell him wouldn't allow him to last long as he was singing with his throat (so it sounded like to me). The outtakes of Babe I'm Gonna Leave illustrated how wild Plant was. Loud, wild and young. It was probably why some in the industry had told him before he had ever joined Led Zeppelin that "he couldn't sing", he probably hadn't found that control yet, I imagine especially live. In this regard, Page wisely saw and heard what others might not have. I recall reading that Page had told Plant to sing BIGLY more mellow and build it up, his usual "light and shade" perspective which the entire band employed well during their career. If you listen to his old Band of Joy stuff, just before he joined Zeppelin you can hear some of that immaturity, but also the raw potential, he incorporated some of it in early Zeppelin stuff. All of the concerts and him pushing the limits constantly in concert (he hit some of the highest notes I've heard of any male singer during their early live concerts) definitely had to have run down his voice.

Or, even just the evolution, if any, the riff took. I can't imagine that every guitarist that heard JPJ play No Quarter riff on a bass guitar, or even on lead could take what he is hearing and ultimately produce the effect and even the timing of the riff, maybe even alter the timing or add a note or two. I'm not sure how that works itself out in writing credits (one of the most mysterious and subjective issues often in rock history it seems). I can't even think of a song that Jimmy Page didn't have his name down as a writer other than Bonzos Montreux, All My Love and Southbound Saurez.

I didn't know that. Both those sound like Page to me, but you might be right. I always consider that Page puts in a little extra swing to these riffs since they came from someone else. It's like many bands who do a cover and they play it with more energy since it seems so fresh and foreign to their own creative construction. Pages effect in both songs is perfect. When I saw Page and Plant live years ago No Quarter was without a doubt the most sonic. You could feel the riff in your bones, they must have had the amps overclocked, hah.

No Quarter and Black Dog, in the same class as In the Light (with JPJ's great intro). Gritty, dirty, filthy and beautiful. Have a great night.

The Jimmy Page in his heyday would have had those released within a week after feverishly working on them 18 hours a day until they were perfected. Page today...don't hold your breath. The only item I hope he keeps his word on his biography which he said would be released posthumously.

I was turned on most by songs like Dyer Maker and All of My Love, Fool in the Rain and all their mellow stuff when I first got into LZ. It was always an interesting treasure hunt as they were before my time. I'm not surprised it was so well received after the bands tragedies and time off. Even when they ventured away from their core sound, which is a bit of a paradox as they did so quite often and trying to pin it down to a single signature or even genre was impossible; they were still clearly great musicians and arrangers. Certainly better than their peers, then and even today. A good find. Thank you for this.

I think they still probably had another album in them. There was definitely friction at that time, for many reasons, most of them personal and deep. Within a short period of time their decline in cohesion as a group was as rapid as their escalation into stardom which reached it's peak when PG was released. I think releasing the studio recorded "throw aways" was probably the best business decision as the demand for the unreleased was probably higher than live stuff, which people could visually access with SRTS. Also, there were a number of bootlegs of this stuff circulating, so, like the BBC Session, Page wanted to dry up that market and release it in a professional produced format.

One talent Page had in my opinion, was going into a studio and seamlessly fitting a solo into a song. Talent and ability to produce the solo itself aside, he also reinforced perfectly the mood and overall expression of the song. For instance, I don't think Stairway to Heavens solo is his best, but, the way he melds it with the overall atmosphere the band is trying to emote makes it magnificent. On it's own, it sounds nice. When placed in the context of the song, it becomes epic. So, what solos did you feel DIDN'T fit in well with the song? Either were misplaced, or didn't seem to fit the groove. For me, it's probably the solo in Over the Hill and Far Away, and also the outro in Black Dog. Neither feel right to me. Not bad of course, but just not right.

Accidental double quote in above post. Oops