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About mysticman560

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  1. mysticman560

    Led Zeppelin to do a Live streaming service

    Some years ago, ExperienceHendrix put up audio recordings on the official Jim Hendrix website, and the recordings sounded awful. Granted these were audience recordings that were of marginal quality to begin with, and their intentions were good, and I'm familiar with Wolfgangs Vault, but I don't have much hope for this forthcoming Zeppelin streaming service. Why not just issue these recordings as CD releases and digital downloads? I'd rather have physical copies of these recordings anyway.
  2. mysticman560


    I don't think that's entirely true... If the Yardbirds didn't have much of a following with bootleggers, then what about the existence of the audience recordings that exist of the Yardbirds from the spring of 1968? And the early Zeppelin recordings from 1969 that were captured when the band was still unknown? I have a substantial number of audience recordings of various bands from the mid-1960s circa 1966/1967, and I think that's when people really became serious about capturing recordings of rock concerts. The point is, it's highly likely that at least some type of recording of the band exists from the Fall of 1968. And why such a recording hasn't surfaced - is anybody's guess.
  3. mysticman560

    Led Zeppelin - Plagarists Or Innovators? Article

    Thank you. My question is related to the notion of re-purposing or refashioning the music of others, and is it innovation or something else? And what do people think? I'm not interested in opening the proverbial "can of worms" over the Taurus/STH debate. But I'll say this, it's also not about which is the better song, because that is a subjective thing. But in my case, I'm a long-time fan of the band, Spirit, and I enjoy their music as much as I enjoy Zeppelin and the Yardbirds.
  4. mysticman560

    Led Zeppelin - Plagarists Or Innovators? Article

    Agreed, the point is that "Taurus" by Spirit was Page's point of musical reference - not Davey Graham or Bach. Just as in my other post referring to "Think" by Jame Brown, the Saxophone riff was obviously restructured by Page to become the guitar riff for "Bring It On Home", which is (as you stated) another example of what he's done many times, take another musician's riff (or motif) and make it his own to varying degrees. So the question is, is it innovation or something else? What do people think?
  5. mysticman560

    Led Zeppelin - Plagarists Or Innovators? Article

    Just for fun, the Saxophone riff on James Brown "Think" certainly sounds like it was re-purposed for a certain tune on Led Zeppelin II. Can anyone guess what tune that is? https://www.youtube.com/watch?v=-bqK7meoDCs
  6. Here's an interesting perspective on the subject: http://theconversation.com/plagiarists-or-innovators-the-led-zeppelin-paradox-endures-102368 What are your thoughts?
  7. Ramble On. I think its the epitome of the blend of "light & shade" and acoustic/electric guitar that Jimmy Page strove for. And the bass line by John Paul Jones is one of the finest that he committed to record.
  8. mysticman560

    The Yardbirds

    No one really wants to be exposed to the bickering and arguing, it's ruining this thread. Please take it elsewhere. Thank you!
  9. mysticman560

    The Yardbirds

    The track on the MacLeans Toothpaste advert sounds like a variation of "Happenings Ten Years Time Ago" by the Beck/Page version of the band, although it doesn't sound like either of them are playing on the track IMO.
  10. mysticman560

    New Jimmy Page Biography Released

    A truly interesting "view" of this new biography: http://justbackdated.blogspot.com/2018/08/jimmy-page-definitive-biography-by.html
  11. mysticman560

    Which shows do we know were multitracked?

    We'll certainly take to the streets and protest if such sacrilege occurs! 😉
  12. mysticman560

    New Jimmy Page Biography Released

    From the Spectator: Jimmy Page Is a Capricorn - That Explains It All https://www.spectator.co.uk/2018/08/jimmy-page-is-a-capricorn-that-says-it-all/ n 1957, aged 13, Jimmy Page appeared with his skiffle group on a children’s TV programme dedicated to ‘unusual hobbies’ — skiffle apparently qualifying as one. During the show, he was interviewed by Huw Wheldon who, following an old-fashioned BBC lunch, arrived in the studio with a hearty cry of ‘Where are these fucking kids then?’ Asked what he planned to do when he grew up, Page gave a perhaps unexpected reply: find a cure for cancer. As we now know, this plan failed — but already, it seems, the young Jimmy wasn’t lacking in the swaggering self-confidence that true rock stars are required to possess (or at least to fake convincingly). Meeting Page during his 1970s peak, David Bowie’s manager noted with some alarm that he ‘did believe he had the power to control the universe’. So where on earth did that level of ego come from? Well, one obvious reason is that Page was always an extraordinary musician. When he was eight, his family moved from Middlesex to a house in Epsom, where the previous owners had left a Spanish guitar behind. Page was soon practising up to seven hours a day and, while still a teenager, had already established himself as one of London’s leading session musicians. Later in the 1960s, he played on — among other hits — Lulu’s ‘Shout’, Tom Jones’s ‘It’s Not Unusual’ and Petula Clark’s ‘Downtown’. Eventually, he became lead guitarist for the Yardbirds — following Eric Clapton and Jeff Beck — before founding, and then conquering the world with, Led Zeppelin. But, according to Chris Salewicz, a classic rock journalist of the old school, other forces were at work beyond simply musical talent. There was, for a start, the occult — which Page famously absorbed from the works of Aleister Crowley and which, says Salewicz, is ‘after all concerned with plumbing ones own mystic depths for certain truths that are beneficial to the whole of humanity’. And then there’s the fact that Page is a Capricorn — because, the way Salewicz tells it, Page’s star sign explains more or less everything about him: from his ‘Capricorn earthiness’ to his ‘Capricorn love of control’. It’s also why he voted Conservative (‘He has much of the love of tradition associated with that sign’) and, less controversially for a rock star, became a junkie (‘Capricorn is an astrological sign rather partial to hard drink and drugs’). In other words, this is a distinctly odd book. Salewicz does a fine and often exhilarating job of laying out the facts of Page’s life. Yet, his comments on them largely confirm the theory that there’s not a great deal of difference between a classic rock journalist and an old hippie. Led Zeppelin’s first concert, he tells us matter-of-factly, ‘punched their audience in their third eye’ — while, ‘as a Scorpio’, one 14-year-old groupie ‘would have made a strong connection with Jimmy’s Scorpio rising’. (No double entendre intended, I fear.) Even more striking is the degree of special pleading. Salewicz’s narrative spares us none of Page’s faults: his arrogance, vanity and legendary meanness. (After Led Zeppelins’s first rehearsal he charged the band for the beans on toast he provided — although, to be fair, at cost price.) There’s also plenty about Page’s now somewhat unfashionable sexual attitudes, including that well-documented fondness for underage girls and his habit of showing photographs of their vaginas to the rest of the band. ‘Girls come around and pose like starlets,’ he once told Life magazine. ‘If you humiliate them a bit, they tend to come on all right after that.’ When he turns to editorialising, though, Salewicz’s punches could scarcely be more pulled. ‘Some of Jimmy’s more unfortunate character aspects,’ he writes at one typical point, ‘disguised the fact that he was really an extremely evolved human being, and also essentially a nice bloke.’ Far more sure-footed is Salewicz’s affectionate but shrewd analysis of the music — which was clearly Page’s biggest love anyway. Like Keith Richards in his autobiography, he seems to have found no drug or chick quite as exciting as the discovery of a new tuning for his guitar. Once Led Zeppelin split in 1980, Page became a depressive recluse for several years, emerging only to try and recreate the glory days as best he could, or to curate yet another collection of their work. Meanwhile, for all its flaws, Salewicz’s biography does provide one other extremely useful service. Last year, in Uncommon People, David Hepworth made a strong case that: ‘The age of the rock star, like the age of the cowboy, has passed.’ Here, we get a particularly vivid reminder, by turns thrilling and uncomfortable, of that age in its pomp. For older readers, the result may well prove embarrassingly irresistible. Younger ones, I suspect, might be left wondering just how these people got away with it for so long.
  13. mysticman560

    Your Favourite Album Covers

  14. mysticman560

    Jimmy Page's Rickenbacker Transonic Amplifier

    There are lots of stories regarding the equipment used for the first America tour. I read that Page/Jones secured an artist endorsement & deal with Rickenbacker, presumably for the company to provide them with amplifiers in exchange for their endorsement. The common story that I've heard is that they left the equipment behind in America at the end of the tour in February 1969, yet, there's the story that Page replaced the speaker cones in a number of Fender amps he had in Pangbourne with the Rickenbacker ones and sold the Fender amps when he returned to England at the tours conclusion. We know from photos taken during the sessions for Led Zeppelin II that he kept several of the Rickenback amps, and possibly still used them during the second American tour in April/May 1969. And I believe that he stills own several of them, as I recall seeing them in the "It Might Be Loud" documentary, yet there's the story that he left some of the equipment behind in California at the end of the first American tour. Perhaps Steve Jones or another forum member can shed some light on all of this.