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Chris.

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  • Website URL
    http://www.myspace.com/chrisfederico

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  • Gender
    Male
  • Location
    Albuquerque
  • Interests
    Musical composition, performance, recording and production; book writing.
  1. Thanks! Although I have to admit, I'm surprised Jimmy didn't look at that symbol initially and think, "It looks like a word."
  2. At least they didn't steal anything from Jake Holmes, Pentangle, Spirit, Willie Dixon, Bukka White, Robert Johnson, Bert Jansch, Eddie Cochran, Muddy Waters..... (I'm a bigger Zep fan than Kiss fan, but claiming that a band who wrote their own songs and worked hard to build their reputation -- whether one likes their music or not -- as "the biggest joke in rock & roll history" when we're surrounded by Disney-fied mannequins and unoriginal, musically bereft products of American Idol-type travesties is ludicrous. Not to mention all that derivative, hippy-dippy shit that continued to breed during the '70s alongside Kiss and Zeppelin.)
  3. I wouldn't really call myself a die-hard Kiss fan...I don't much care for anything they recorded after 1979. I haven't taken offense; I just can't help but argue with weird terms about "value" when music is music. (Also, it's fun debating such things for some reason. Maybe it's just a slow day at work...)
  4. "Questionable artistic value?" This nonsense comes from the whole myth of "credibility." I call it a myth because all that matters is the sound coming out of the speakers. Kiss's first few albums were full of exciting, catchy hard rock (a lot of it more complex than the material on Zeppelin's first two albums, if that's your criteria); "artistic value" in music is a bit of a self-defeating term, because everyone has different tastes, and what's not good to you might be fantastic to someone else. At the risk of sounding like I'm attacking you, which isn't my intention at all, I'd like to hear the reference points by which you're able to listen to music and discern what "artistic decisions" its writing has involved. In other words, let's hear some of your songs, please. I'm curious about what you'd consider "answered artistic value." Take it with a nudge and a wink, not a scowl. Again, tastes differ, and I only get a bit vexed when someone attempts to apply pretentious terms that are extraneous to the actual sound of the music -- implying that those whose tastes are different enjoy "less artistic value," whatever the hell that implies in something visceral like music!
  5. You can't go wrong with either performance of the song, so you'll be set either way! Yeah, I'm in New Mexico. I don't miss all that snow up there! I guess I still think of Rochester as being small because I'm from Buffalo, which is a little larger. Or was, anyway. (I don't mean it as an insult or anything; smaller cities are usually much nicer.) I never got to see Zeppelin in concert, since I'm 35. The closest I got was seeing Page and Plant in '98. Pretty cool, although Charlie Jones' robotic drumming obviously always suffered in comparison to the real King of Rock and Roll, Bonzo.
  6. How the West Was Won is about a hundred times better. The Song Remains the Same is pretty lame for a Zeppelin show. I've been a huge Zeppelin fan for decades, and I've never liked that movie. I think it did more to lump the group, for people who aren't into it like we are, into that whole pompous Spinal Tap view of '70s bands than anything else. It's the closest they ever came to being boring. There are exceptions, such as the oldies medley during "Whole Lotta Love"; but for the most part, HtWWW kicks its ass on every level. ICQYB -- Rochester's a great little town. I still have relatives up there. "Heartbreaker" on the BBC Sessions is from the Paris Theater in London, 1971. On HtWWW, it's from Long Beach, California, 1972. Both versions rock.
  7. Any investigation into the symbol would be helped by taking into account that it's not actually the word "Zoso." Jimmy's said a couple times in the past that the formation of something that looks like a word is purely coincidence.
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