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Dane1968

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Everything posted by Dane1968

  1. Fair enough. Thanks for the info. Yeah it's still possible that he wasn't speaking literally. Probably the only person who truly knows what a lyric means is the person who wrote it.
  2. I met Hugh Jackman and his wife Debra about 17 years ago as they were just walking around the shops in Melbourne. It was no big deal as he was not yet Wolverine. Said hello and some other crap. What are you gonna say really? They're just people. They use toilet paper like everyone else. We still talk on the phone occasionally... No, we don't, that is just a lie. Must be annoying being famous at times, you could not even go to the supermarket to buy a ten-pack of toilet paper without a resulting TMZ story about how you must have the runs. As if the world needs to know that.
  3. You get the old line of 'If money was no object, what would you choose?' Obviously you would search for a priceless treasure. For most people money is an object of concern, however. I am a pretty ordinary player, I just play rhythm, by choice. My preferences would be: Les Paul. With humbuckers gives you a nice fat warm sound. P90's are dirtier but have more clarity. The body shape is very playable. The neck joint is a bit awkward, and they can be weighty. Cost a fortune. Firebird. The most comfortable body to play, but they are neck heavy. Has a real metallic dirty sound, but still bright. People either love 'em or hate 'em. Reasonable cost. Telecaster. A lot of Fender players choose a Strat, but I think a Tele sounds a bit meatier, and the volume knob is not in the way. I have no use for a tremolo. Reasonable cost. Everyone has their own preferences, and if it works for you then what more do you want.
  4. Lindsay Buckingham is F'n great. Rarely gets get regarded as a player, just part of the band. Epiphone guitars are good value if you can't afford the real deal. A few mods for a couple of hundred dollars and you're set. Around 50% or more of all players are realistically bedroom players and don't have the cash or need for a $5000 plus Les Paul. Still, I wouldn't mind... A nice Greco or Burny Japanese model are top notch without the price tag. Can anyone find a pic of English comedian Bill Baily with his 8 neck or whatever guitar... Now that is a guitar to save up for. And a pleasure for your guitar tech to set up and re-string every night.
  5. Yes, but I thought the lyrics were usually a bit more poetic, as it were. They were pretty open about sex and drugs, but usually in a more obscure way, rather than just flat out saying it. Myself I would not want to have lyrics like that. You can say it, but do you really have to say it so obviously. Isn't the art of musical poetry saying what you want to say, without actually saying it. Eg Rock n Roll "Been a long time since I did that stroll..." is not about going for a walk, not with his legs anyway.
  6. A couple of things I have read here and there (no sources as I don't takes notes of everything I read on the off chance I may have to quote it.) Robert has stated that he and Jimmy were musical collaborators, and never personal friends outside of the band, as they had nothing in common. True or not, I don't know. When you're in the middle of something you just see what you can see. When you have a later outside perspective you can be more rational and unemotional. Maybe a bit of the 'old girlfriend / boyfriend' syndrome. It has it's appeal to return to, but you're still going back to the same problems. Jason has copped a lot of flack. His response was that his father was his teacher, so naturally a student will have traits of that teacher, and still his own way of playing. If he mirrored his dad he was just a copy, if he played differently he was criticized for not playing like his father. He couldn't win either way. Poor bastard was never accepted for being himself. That kind of pressure can stop you sleeping at night. A great drummer, just a different type of drummer.
  7. Thanks. I could never understand a word in that song. Had no idea it was a drug song, and that Page would allow those lyrics. I don't care either way, but it seems out of place and too... sleazy or something. Druggies try to hide it, and that seems too blatant.
  8. Really? He was a free spirit on a journey every night - a recreational journey in his mind. Why do you think he was getting stoned every night? Called a trip for a reason. Sounds pretty acceptable to me. What I don't like is that there are not enough studio albums. I get kinda bored listening to the same ones over.
  9. I watched the '07 gig with my kid. In For Your Life, my kid asked me if the song was called 'Boogie Woogie Wummer'. I think he was referring to the chorus type bit when the lyrics sound like, to me, '... Do it when you wanna...' Obviously neither of us have any idea what the lyrics actually are.
  10. When it is the one and only post, clearly it is just flogging a product to the most likely audience. Has not returned for a chit chat so it seems obvious they are just doing the promotional rounds. But that has nothing to do with how well or not they play, and fair enough I suppose a bit of promotion is good. I just don't like to be sweet talked into a relationship when it is really just a one night stand.
  11. Jimmy has said one reason he went from a Telecaster to a Les Paul was the increase in sustain. Nigel Tufnel comes to mind, having time to indulge in a bite to eat in between notes on his '59 Les Paul. Jimmy played a '59 and never seemed to enjoy that benefit. A bit odd considering much of Page's playing has no sustain at all. In many of his lead breaks, the notes just die off very quickly. Won't go through song by song, but on Houses of the Holy and Physical Graffiti albums it is very apparent. Yes I know he played a variety of guitars, but still.... Page never used much amp gain, but he would have had his amp volume cranked. If you cant get sustain with a loud amp, what's going on? I'm guessing Jimmy had a very light touch, while Ace Frehley is well regarded for having huge sustain while bending and vibrating the hell out of his strings. Both had similar setups. Most players in the 70's just cranked a Strat or Les Paul straight into a Marshall Plexi, didn't they? Different players, yeah I know. Fair enough live, when Jimmy was playing rhythm, lead, then quickly back to rhythm again; he didn't have time to just sit on one note. But in the studio?
  12. Not at all, although your chances of maintaining functional ear drums might be of concern.
  13. I think Hendrix's death was anything but accidental. And I did not mean he did himself in. "Apparently" his lungs had a litre of red wine in them, therefore he unofficially drowned. It is pretty much impossible to breathe in that much liquid without coughing it back up. At the worst you would suffocate by not being able to breathe. Clapton's reaction was that he was immediately pissed off at losing a talent as such, then thinking of himself as a selfish bastard for thinking as he did. Sorry I was not clear. It is a fairly common selfish reaction when you lose a loved one, that you immediately think of what you yourself have lost, and not of the deceased person having lost any possible future. People are not always as selfless as society would have us try to believe. I don't see that a a deliberate fault, but a natural involuntary human reaction. Then you would of course forget about yourself and think oh no, he could have had such a great life, and his family... About the worst thing ever for anyone to experience.
  14. This reminds me of Eric Clapton's thoughts when Hendrix died. His first reaction was "You c___. ". As in, how could you do that, you selfish bastard? Obviously when someone dies it is shattering, but for a band, there is always that small, just for a moment, thought when it comes up: So and so has fucked it up for the rest of us. What do we do now. And of course the shame of even thinking that is so disgusting to one's self, but I would think it crossed their minds for about half a second. And only half a second. Musicians are by nature somewhat self absorbed people. It would be an awfully conflicting time. Most people would not like to acknowledge or admit that about themselves, but it happens.
  15. You know the bullshit thing about the music biz? Everyone loves a twenty year old rock star to worship, but by the time you actually know what you're doing and can really play, and write (you'd be about 40 by then) nobody wants to know you 'cause your a has been. I don't approve of that, but it probably sums up why you get so many great musicians wasting away their peak years living in some seedy motel while the maid cleans the room, and tries not to knock over the rarely used guitar sitting in the corner, and tries not to vacuum up the pawn broker receipts carelessly tossed around. You either understand that or you don't, and it is of course just a stereo type joke.
  16. Hi Olivia, How do you deal with teaching Physical Ed when you have a beer hangover? That must be painful, and quite an achievement. Congrats.
  17. I never implied, if taken, that his lack of sustain was a bad thing. It was just unusual compared to his contemporaries of the time. Blackmore was incredible for his heavy Strat tone. Paul Kossoff, Free, could also sit on one note all day. Then it comes back to the great misconception that Page carried the whole sound, whereas the reality is Jones gave a great foundation to enable Page to ease back on the guitar, and yet still get a great band sound, not just a guitar sound. A lot of amp gain will give more sustain, but then you lose the clarity and subtle notes - and then you lose the whole light and shade thing. I think Ian Paice was as loud as Bonham, playing live he was, but then he was competing with more instruments so would not sound as prominent. He also had a somewhat lesser album recording sound and mix. When Ringo played, you could cough louder than he hit, but now I've kinda lost track of my point. Maybe that the belief is that Page was a loud raucous player when he was not at all - at least not all the time.
  18. Sixpence thanks, nice reply. A couple of things, they are my opinion, and they are mostly true: Bonham was no where as loud as people have been led to believe. Yes he was loud, in the context of the 60's and 70's. But at the time drummers did not tend to beat the shit out of their kits like they do today, so he was perceived as being extra ordinarily loud compared to everyone else. J P Jones has stated, loosely "No he wasn't as loud as people think..." Bonham was a solid largish six foot kinda guy, so he had a bit of natural weight behind him. I would not like to be on the receiving end of a punch. When you watch him play he did not pound his kit, he hit it correctly and solidly. If you hit a drum too softly it rattles and has no depth, hit to hard and it chokes the sound. Bonham knew the sweet spot in between. He knew how to tune a drum to get the maximum sound benefit. Playing a Tele or Les Paul has no real difference in volume, that is the amp's job. There will be a difference in sound but not volume. Sometimes a Tele will sound louder as higher frequencies carry faster than lower frequencies. You can probably hear a Tele better in your ears, and feel a Les Paul better in your body. This wasn't the topic, but Ace is one hell of a lead player. So much personality and feeling. He can, and does, sit on one or two notes and really just make you think he is playing more than he is. A lot of it was his confidence surpassed his ability. The greatest thing is seeing a player walk out on stage and believe in himself. It makes you believe you are seeing something better than you actually are. Page had that too. You could see he walked out on a stage and just loved playing and didn't care if he was the best or not.
  19. Hello all, Long time reader, thought I would sign up and participate. To be blunt I rarely actively participate in forums as they can degenerate into a wanking match but we all seem a civilized lot here, so why not. Yes I can be blunt but it is always the truth as I see it, I don't see the value in elevating the truth, as that is only fooling yourself. Obviously I dig Zeppelin. I am 48 years old now, but that number seems to keep changing so that will have to do presently. Was a semi professional musician, of no note, enjoy drums, guitar and bass. Can't sing a note for shit. Write a few songs now and then. We shall see how it goes... I say a lot of stuff in fun and humor but text does not always translate well at times. I will state straight off, why do people keep demanding for Jimmy to keep performing? After 40 plus years he's probably over it, as reasonably would any person be in any profession. He is not our property, he is not our puppet. Leave the guy alone and enjoy what he has provided. He is under no obligation to do anything except what he wants to, when and how he wants it to be. Thanks all.
  20. I don't get much time to post. Go to work, come home, cook food, wash dishes, do laundry, and have maybe two hours till I have to sleep and repeat. Some people call that life. I don't but it is what it is. Whoever invented money needs a good 'talking' to... Dane
  21. Presence is perhaps my fave. Then again some of it sounds like a Strat, but Jimmy said, and I only quote loosely, that he played all of it "...rightly or wrongly, it was all done on a Paul...". If that was the case, again I'm guessing, he was so pressed for time he didn't want to, or have the luxury, to mess around getting different guitar sounds set up. And yet he did get different sounds. But that's the point maybe. On some albums he had time, but the results sound rushed, and on Presence he had no time but it sounds like he had all the time in the world. None of this is a criticism, but when you make a point of stating a guitar's strength and why you chose that guitar, at times I don't think he got what he was looking for in a guitar tone. Then again a recording is not always a true result of the sound of a band playing together loudly in a room. Sometimes you get what you get and have to move on. It is not like today when a band takes three years to record ten songs - really? Presence is probably their best recording sound wise, very clear and distinct. Out Door is pretty damn good except for the low guitar mix.
  22. Poorly educated Punk rockers was perhaps a general statement. Yes, many were well educated but they liked to give the impression they were uneducated and stifled by the constraints of middle upper class, to appeal to those that actually were. Punk was about giving the finger to establishment, and you couldn't get away with that if you were born from/into the establishment. That is my understanding of English punk anyway. Apparently England in the late 70's was the wrong time to be bragging about being rich and educated - Thatcher recession? American punk was just about having a good time, English punk was to prove a point (more or less), and that having a chip on your shoulder was a valid excuse for being a teenager. Punk was also about that you didn't have to be an indulgent musical virtuoso (Page, Blackmore) to be in a band. The stated rock bands were just 'general examples': the point being that to progress into the eighties you had to somewhat alter your sound and image, which those bands that were successful did just that. Compare the Stones, Queen, Pink Floyd etc, their early work to their later work and it is obvious they grew and adapted to the times.
  23. Some people seem to confuse a producer with an audio engineer. A producer's primary job is that of a performance coach: to get the most appropriate instrument performance parts for the song. The audio engineer is jointly responsible for getting sounds, of which the producer has to direct what type of sound is required. The mixer then mixes, and again the producer will have directed what type of mix is required. A producer does a lot more than just making it sound good; it has to play good as well. In sporting terms, the producer would be the football coach, and the team play the best game they can under the coach's guidance. Page happened to be both.
  24. Hypothetically if everything was well within Led Zeppelin, you would have to ask where would they go musically into the 1980's? The 1970's had become an embarrassment: the music, fashions, lifestyles, shag pile carpets etc. Everything was about being new: new music styles, computer technology so on. The 70's were fantastic but things move on or get left behind. There was the New Wave of British Metal like Iron Maiden, New Wave pop bands like Human League, poorly educated Punk rockers. If you were past 30 years old it was over. Many successful rock bands of the 70's did not know how to fit in. Kiss were struggling, Aerosmith, Deep Purple and the Stones likewise. The great irony is that many older bands had improved playing and songwriting wise, with no body in the general public interested.
  25. As far as recording songs, this is usually more difficult than writing the songs. A band does not just walk into a studio, set up, hit record and play the song through once or twice. A band may play from five up to forty takes of a song. The usual run down is to record the drums, and maybe bass at the same time, while the guitar and vocals just play as a place keeper so everybody knows where they are in the song. Sometimes the guitars are kept, sometimes not. I have a bootleg of the studio recordings of Babe I'm Gonna Leave You. There are at least 15 takes. I think about take 12 was used for the final version. Bonham's playing was pretty appalling on some of the takes, all over the place, speeding up and slowing down. Maybe he was having a bad day but it took him 10 run through's to settle into the song. And after all that playing, Page would then do his own overdubs. So you can imagine the amount of playing Page did on each recording. Some bands like to record mostly live, others like to do bit by bit. I would think Zeppelin liked to get the whole song down as complete as possible. From these multiple takes, recorded on physical tape, the best parts are literally cut out of the tape then stuck/spliced together using adhesive tape to form a final continuous take. This final continuous take could have anywhere from three to twenty different pieces of tape stuck together (the tighter the band/drummer, the less pieces of tape.) This would then be duplicated onto a new reel of tape, and all the guitars, vocals etc would be overdubbed onto. Of course, this was the 1970's when a good performance was necessary. Modern recordings on computer are completely different, where a good performance is an afterthought: you could record a spicy dinner violently leaving your body and make it sound good. It is almost unheard of for a band to record the entire song with all instruments at the same time, in one take without mistakes, and keep all those parts for the final mix. Then again, some days everyone is just on, and it happens very quickly.