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Everything posted by tmtomh


    I agree 100% as well - best that there was no reunion tour, reputation/legacy intact.
  2. Yeah, as you know very well, I don't subscribe to your take on this. So as long as we're both willing to be civil about it, we can agree to disagree, yes?
  3. What live song do you skip or endure?

    Missed this thread when it first started - it's an interesting one though. To each their own of course. But I'm a little surprised that In My Time of Dying even was mentioned, let alone the impetus for the entire thread. It's one of my very favorite Zep tracks, and on the available recordings the band plays it well most of the time - in fact, of all the longer tracks they played from '75 onwards, it might be the most consistently well-performed. As for which tracks I tend to skip, I must admit that I skip Moby Dick a lot, and often the Noise Solo too. Sometimes I also skip partway into the '77 versions of White Summer if Page is having an off night, although I don't skip it entirely because the final couple of minutes are a really cool intro to Achilles. And while some of those very long 1977 No Quarters are cool, a lot of them are... not so much. So I skip those if it's not a strong night for that song. I also tend to skip Kashmir, Hot Dog, and White Summer when listening to the 1980 shows, because they f*** up Kashmir with alarming frequency on that tour, and by my count Page nails the Hot Dog solo exactly once (6-21 Rotterdam), and White Summer exactly never, out of the 14 shows on that tour .
  4. I think Plant feels far more established and secure with himself now, post-Dreamland and particularly post-Raising Sand. So while he still will likely not participate much in the promotion of any Zep live releases, I think he doesn't feel the same need he did in the '80s and '90s to run away from his legacy with Zep, or to keep Zep stuff out of the marketplace. Having 45-50 year-old Zep shows come out while he's touring as a Grammy winning, R&R HOF'er, critical darling with a band he loves, in venues to his liking, and doing some Zep stuff in his setlists, likely is little more than a minor annoyance (if that) for him. But 30 years ago, Zep had been gone for less than 10 years, much of the rock world was still in a state of semi-insanity trying to fill the void left by Zep, and Plant was trying to promote Shaken n Stirred while refusing to play Zep songs at his shows. A live Zep collection then probably seemed like a torpedo shot right into the hull of his emerging solo career.
  5. Yes, "Welsh singer" is a pretty basic mistake, although probably a well-intentioned one: the famous Bron-Yr-Aur cottage trip with Page is always narrated as a return for Plant to place he had lived in and love in the past. There's also the mis-dating of the Bombay trip to '71 when those sessions took place in early '72. I imagine the writer simply took Plant's slightly off recollection as fact. But I still think it's a great little piece. I just love reading almost whatever Plant says. His interviews are a lot like his musical direction: He touches on the same general themes and circles back to certain things, but every interview is a bit different and he's always changing up what he focuses on and how he says stuff.
  6. That's very interesting, and I think it actually illustrates why 10 or so years' worth of chronological releases is not likely to be how Page/Zep does it. I say this because after the first 6 years filled with potentially amazing stuff, the final 7 years represent a massive fall-off: 3 of the 7 would have no release at all; 2 of the 7 (1977 and 1980) would have to rely (as far as we know) on soundboard sources that generally are not up to snuff sonically or performance-wise for official release; and 1 of the 7 (1979) likely has available in official-release sound quality relatively few quality song performances not already released on the DVD (and from the rumors already planned to be updated this year or soon after with a Blu-Ray version of the DVD). So for all years after 1973, that leaves only one year - '75 - with a significant number of unreleased live tracks, well-performed, available in official-release quality. To put it another way, if Page and the band were willing to dip into soundboard sources and release a bunch of shows as the Dead have done for years and as some other acts have more recently begun doing (Stones, The Who, etc.), then they wouldn't make it chronological by year, but rather would just roll out the best shows (combo of good performances and good sound quality). But I just don't see Zep doing that. So if they're not just going to throw a bunch of soundboards out there, then they don't have nearly enough stuff for 10 years. So I would not take Page's recent reference to 10 years' worth of releases literally, especially in light of Plant's recent comment in an interview that the 50th anniversary doesn't start until September, so there's still time for the surviving members to get together and talk about what to put out (meaning it's possible nothing has been agreed upon yet aside from maybe one or two releases in the pipeline for the beginning of the anniversary). So I would guess that we will see one year's worth of releases to commemorate the 50th anniversary year, from Sep 2018 to Sep 2019. If the 2014/15 reissue pattern holds, that would mean they'd do 1 to 3 releases per cycle, and one release cycle approximately every 4-5 months, for a total of 3 or 4 release cycles - meaning a minimum of 3 releases and a max of 12, with the most likely number being between 3 and 6 total releases. This is all rank speculation of course - I could be completely, comically wrong - and it certainly doesn't rule out sporadic releases later on, perhaps keyed to the 50th anniversary of the particular concert.
  7. Planet Rock interview: 50th celeb Page

    I'm content to let others judge our exchanges for themselves.
  8. Planet Rock interview: 50th celeb Page

    Sorry, but no. My comment above is based on an observation of what you've written here and how you've responded (and not responded) to others' expressions of their points of view. Anyone can review the thread for themselves and decide for themselves if my assessment of your recent comments seems right or wrong. Now if you want to see what a personal attack looks like, try this: "this forum is full of page apologists who are happy with anything he says or the substandard releases he puts out, and defend him to the hilt no matter what." That's what you wrote, and it was very clear that you were tarring several recent other commenters with a broad, nasty (and inaccurate) brush. If you want to be the "I tell the unvarnished truth and don't pull any punches" guy who equates rudeness with veracity, then expect to get a response when you make overgeneral, absolutist statements that take zero notice of what the people you're responding to actually have written. (As for the other thread you're referring to, I'll only note that I'd made a comment agreeing with someone else, and it was you who jumped back in to resume the argument, making the same kind of dismissive comment you'd already made repeatedly in the thread. Again, anyone can check out that thread ("Companion Discs Are Rubbish" thread) and see for themselves if I'm right or wrong.)
  9. Planet Rock interview: 50th celeb Page

    I agree with this, but I would say - and I am not criticizing you here - that it's not accurate to say this thread is deteriorating in general. Based on recent comments, it's basically just @Boleskinner, making his usual abrasive and absolutist comments. The only mistake others are making is in trying to respond to him with a type of courtesy and civility that is laudable but not what he's interested in. He has zero interest in reaching consensus with anyone or shifting his position in light of others' perspectives. I do think his comments have had a useful effect, which is that folks like you have been prompted to post thoughtful replies. But beyond that, it's best just to ignore the vitriol in his comments.
  10. Best FLAC to WAV converter for Mac?

    XLD, hands down: http://tmkk.undo.jp/xld/index_e.html https://sourceforge.net/projects/xld/ It's free, easy to use, and will convert pretty much any audio file format to any other audio file format. It also burns CDs, so you can just load up your FLAC files and burn them to CD from XLD without converting them to WAV (or anything else) first. XLD also can convert the files so you can put them in iTunes, and then burn them from there. (Though for iTunes you'll be better off converting them to Apple Lossless than to WAV - smaller file size, and better tagging/artwork functionality.) XLD also can rip CDs, and it can do so securely, guaranteeing 100% bit-accurate rips (or notifying you when there's an error), something iTunes cannot do. Hope this helps!
  11. Copenhagen 24.07.79 Oh yes!!

    Don't know what version the YouTube ones are, but IMHO the best-sounding version of the 7/24 Copenhagen show is a fan remaster done in 2016 or 2017. If it's circulating, it likely will be called the Pseudonym remaster. This remaster is not extreme, but rather tastefully done and remedies (or at least improves) all the original sources' shortcomings remarkably well. It brings a little more presence to counter the super-echoey hall ambience (apparently the 24th was taped from the balcony while the 23rd was taped closer, from the floor). It provides a bit more low-end oomph and overall frequency balance. And it somewhat tames the clackety-clack of Jones' alembic bass. Highly recommended.
  12. Next Soundboard Release

    Yes, almost all - or possibly 100% all - of Moonchild's releases have been pressings of Winston's work.
  13. Companion discs are rubbish

    "Lengthy ding-dong over the remasters" - I like that! We will indeed have to agree to disagree - and tolerate each other's ongoing posts about it in this thread.
  14. Companion discs are rubbish

    What about the tracks I specified in the comment right above yours? Those are not alt mixes or backing tracks.
  15. I love the chef's social media post about it.
  16. Companion discs are rubbish

    i agree with you on that. Not to mention, the Zep III and Coda companion discs by themselves offer a wealth of amazing material: Totally different take of SIBLY; That's the Way at the original speed/pitch with dulcimer; Jennings Farm Blues; Key to the Highway/Trouble in Mind; St. Tristan's Sword; blistering alt. take of Bring It On Home; the two 1972 Bombay tracks; great alt. version of In the Light; alt. take of The Wanton Song; radically different early version of Levee; Sugar Mama; and a great alt. version of Bonzo's Montreux that is superior to the original/official version.
  17. The best "Rain Song" live

    Not my favorite - but one every Zep-head should hear, because Jones' mellotron acts up so he does the final half or 2/3 of the song with an organ/piano instead of the mellotron - a unique and interesting performance!
  18. Best matrices aside from Four Blocks in the Snow?

    Matrixes are one of those things I try really hard to like, but rarely do. I do like Bluecongo's Four Blocks in the Snow and West Bromwich ones - and his Mannheim 1980 is pretty nice too. But generally, matrixes underperform IMHO because of phasing problems - even when you line them up with the soundboard time-wise (which can be very challenging since a lot of audience sources often change speed repeatedly and unpredictably), the audience source still tends to go in and out of phase with the soundboard source at various frequencies. So you'll have some frequencies reinforced by the addition of the aud source, but other frequencies weakened. Sometimes it can be dealt with by a skillful ear and judicious use of EQ, but not always. And while we Zep fanatics have developed "bootleg ears" to be able to enjoy a lot of this stuff, nothing makes you realize how very distorted most audience sources are than mixing them with a pristine soundboard and hearing much of that clarity disappear. Now, it is true that soundboards are front-of house mixes never intended to be heard as-is. My understanding is that they typically are missing all effects that got added at the soundboard itself - you hear only the effects each member of the band had available to him via his instrument and on-stage amps. The good news is that with today's technology it's very easy to create a very good-sounding (although not necessarily 100% true to what the band's crew actually did at the time) facsimile of the missing stuff. The more difficult thing with soundboards is that they're sometimes not very well balanced among the band members. If the venue had terrible bass frequency resonances, then they turned down Jones' bass, meaning he's buried in the soundboard mix. A lot of boards have Page low in the mix, presumably because his guitar was really loud so the mixing guy turned it down a bit so the heard result in the venue would be better balanced. This kind of imbalance can be very difficult to correct. Sometimes it can be improved a good deal by EQ'ing certain frequencies that mainly effect just one instrument. Even with this problem, though, an audience source isn't necessarily going to remedy it.
  19. 9/29/71 Immigrant Song sb release

    Yes, it's pretty amazing sounding. I'm sure uncut track (in lossless rather than mp3 format too) will show up in the wild at some point. But that's not going to happen until the purchasers have received their copies - and that probably won't happen until EVSD pre-sells out the entire run, given that they feel they got burned by the early internet leak of the Seattle 3-21-75 release.
  20. How about an acoustic reunion?

    I think you make a reasonable observation - and I'm guessing that this also is fairly close to the type of scenario Plant suggested or would agree to for a reunion. And also the scenario Page and Jones probably rejected. I do think it would be cool, though.
  21. And the Blu-Ray is back up at Amazon UK.

    I agree with what you say here overall, but I would add one caveat. Plant has not necessarily declined all ideas for collaborating with Page and Jones. He just doesn't want to work with them as Led Zeppelin - and if Plant's insinuations are to be believed (and maybe they shouldn't be!), Page and Jones (and I'm guessing mostly Page) want to do it precisely as Led Zeppelin. I think that's the rub. If there were a possibility of the three of them getting back together, with a cast of other musicians, to play stuff that influenced Zep (blues, rockabilly, folk, some world music, etc.), along with new arrangements of some Zep material, I'm guessing Plant would be on board. But I doubt Page would go for it - and even if he did, it's likely it would end up sounding a bit too much like "Robert Plant and the Sensational Space Shifters with Jimmy Page and John Paul Jones."
  23. Earl's Court 25/05 best version

    Agree 100%. For me Liriodendron's "Keep Taking the Pills" is #1 (just listen to Bonham's drums on "Kashmir" and you'll see why I love it), with Bluecongo's "King Jimmy" my #2 favorite. Lirio's is a soundboard remaster, while Bluecongo's is a matrix: soundboard and audience sources synchronized with each other and mixed together. Which one you like better probably will come down to your personal preferences, e.g. whether you prefer ambience to be added to the base soundboard source via the addition of the audience source (Bluecongo's matrix), or via added reverb and other remastering techniques (Lirio's version). But these definitely are the best two versions, and I daresay it's just a waste of time to download any other version.
  24. I agree with your general point here. But at the same time, for a $20 bill it's more than worth it to me to get 148 out of the 150 minutes (about 99%) remastered with what I am betting will be better sound than the original 2003 mastering. I'm of course going to hold on to my DVD-A set from 2003, but it will be nice to have the new version too. Absolutely! I suspect the new mastering will easily beat the original - but how will it stack up against Winston's? That will be the more interesting (and fun) comparison.
  25. I believe part of the issue is that if a song is covered straight, then there's a "mechanical rate," a standard royalty rate that gets paid. But if the work is adapted/changed - for example being included as part of a medley in another song, as Zep always did - then the mechanical rate goes out the window and the rights holder can basically name their price or even refuse to give permission altogether. If this is correct (and if anyone here's a lawyer with expertise in this area, please correct me if I'm wrong!), then it could be that Page simply could not get permission at any price for some of this stuff; or that the price was so exorbitant for some of it as to eat up most of the likely profit from the release. Not being an apologist - just pointing out that the royalty cost and permission issues are more complex when it comes to stuff adapted for a medley.