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Led Zeppelin Official Forum

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Flares

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About Flares

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    Zep Head

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  1. For me, PG was their last classic album. Presence has ALS, FYL and some great musicianship, but it's not a great song-writing album. It's a bit like Pink Floyd's animals. A fan's fan album, or one that serious muso's like. ITTOD has all my love and a great intro to ITE, but the rest is like a weak Plant-Jones album. By '75 the song-writing partnership between P and P had imploded. You're only as strong as your material.
  2. Usually the primary motivator for estate releases are money. So the best chance would be the archive falling into the hands of someone who is hard-up (not much chance of that I suspect). I guess the key question is this - legally, do the live tapes belong to Page or the entire band?
  3. My question was more about who assumes control of the archive after Page is no longer around, and would that mean a greater chance of legacy releases.
  4. Without sounding morbid, what happens when Page toddles off this mortal coil? Do all the soundboards and reels, etc. in his possession technically belong to someone in his will, or the band? I know currently they all vote on every Zep archive release and have to reach a unanimous decision or it is vetoed. But is this a gentleman's agreement or is it legally binding? It would be sad if really good soundboards never saw the light of day until after most of the fans from that era passed away too. A comprehensive download-only release of all the rehearsal and soundboard material - in best quality - as well as the Seattle, Knebworth and Earls Court DVDs would be great. That way, it's there for the die-hards, and you don't need a major record label to bankroll it.
  5. Yip, it's from 2011. I think it might be the only time he's played this live since 1980?
  6. just found it, oops:
  7. I'm sure I read somewhere (perhaps gig report on Tight but Lose website) that Plant and the SSS did a version of All My Love. It was in the last year or so. Would love to hear it, but I remember I could never find it anywhere. Has anyone heard this version? As far as I know, he hasn't performed All My Love since Zep split?
  8. nice. weird studio. very IKEA.
  9. I agree with you. The best songs of the night were Kashmir, For you Life and those that didn't rely on him being a virtuoso, a la 1968-73. Unfortunately he hasn't had the fluency since 1973. Page has tried to wing it twice before at Live Aid and, to an extent, The Atlantic Reunion and both were awful. I think it was the best Page could have done on the night. Sadly, he just isn't as good as he was in the early '70s.
  10. I follow a Bonham drum enthusiast on YouTube. He posted a link to this pic of Boham's kit in the Polar Studios, with the following: "Most die-hard Led Zeppelin scholars have always concluded it shoes the Silver Sparkle Ludwig kit Bonham received in 1975 (and allegedly used on the album Presence), but leading Bonhamolgist Nigel Foreskin has determined it to be : THE STAINLESS STEEL BONHAM GIGGING KIT." He also posted a link to a nice article on the closure of Polar studio with interesting stuff about Zep (I put the link to the full article at the bottom of the Zep content below): We sit down in the control room and Lennart Östlund finally finds a working socket for a CD-player. Proudly I pull out the surprise out of my bag, Led Zeppelin's last album "In through the out door" in a brown paper cover. Lennart was here helping to record it in December 1978. He hasn't really listened to it since then. -They were here for three weeks, they came on a Monday and left on a Friday. I remember that they weren't allowed to stayed at Grand (Hotel), because the drummer John Bonham had a bad reputation. But they were mellow. No one recognized them when we went out. The most important thing to them was that each week they'd have a cassette to bring home to their wives, as a proof that they had been working. He sniffs at the fact that three songs are missing on the CD. Then once again John Bonham's powerful drums echo throughout the studio. -He sat there, in the "stone room" in front of the cloud panel. With two sets of drums, Lennart Östlund remembers. But to get the right echo effect, we moved the speaker for the base drum out to the reception and put a microphone in front of it. He shows me the wooden room, where the guitar player Jimmy Page stood, and the soft room, the extremely dry, where Robert Plant sang what we're listening to right now. -Oh, he really sang false there, did you hear it? But it doesn't matter. These days you can correct things like that, but the music hasn't necessarily become any more fun because of that. We listen to another track. The next song begins with a synthesizer sound which sounds familiar. ABBA? Lennart nods. -Led Zeppelin liked ABBA. And that is really ABBA's synthesizer, the "Does your mother know"-synthesizer. I even think that Benny got the string sound from John Paul Jones (Led Zeppelin's bass- and piano player). I call Benny back to check with him. -This is how it was, says Benny. I had the same synthesizer as Led Zeppelin, a so-called dream machine. It was there in the studio. So John Paul Jones just brought his own sounds with him and put them in. He has a fantastic string sound which he had made. "Oh", I said, "that sounds so good, can I have it?" -Then later I received a package in the mail with four cassettes in it. That string sound appears in many ABBA songs. I still use it quite often. http://www.saladrecords.com/PolarStudioClosesEN.htm
  11. Burton still looking great. I remember watching him play with Elvis in the '68 comeback rehearsal footage and in the On Tour '70s video. Burton always looked kinda serious and not really into Elvis's japes and high-school humour. Great guitarist. Very versatile.
  12. The problem was that after Zep - who were the gold standard of rock - everything else Page did in the genre was never going to live up to the past. That's why he should have gone sideways and done more soundtrack work or something avant garde. DW 2 showed he was adapt at eerie soundscapes and in my opinion is some of his best post-Zep material. Plant went sideways for most of the '80s and so did Jones. Initially, it was the only way to go. Even Plant said he like dw 2 soundtrack but wasnt keen on the AOR Firm. Cadillac was cool because it wasn't a conventional rock song.
  13. I reckon he should have teamed up with Harper on a new project. They're good friends and it would have been a good way of keeping his hand in and getting back into recording. An all acoustic project, free of the 80s manure that hampered Jugula, could have been really interesting. In fact, there would be no shortage of younger folk musicians to pair up with him on a project, but obviously he's not keen. I reckon his new girlfriend must be in his ear, saying Jimmy get back out there, and with her poetry leanings she probably would be in favour of him doing a Harper-style project. I believe Jimmy has a kind of World Cup attitude, where he will only play if it's on a grand scale, like the Olympic appearances . An event that he feels is befitting of his status as Rock's grand magus. Sad, because if he had taken a few more musical chances he could have released many post-2000 albums by now.
  14. I'm not saying he's not a good singer. Just that he's a bit of a twatt.
  15. "Gross Neanderthal". lol. Plant was probably a bit like Coverdale in his early twenties until he realised how absurd the whole game was and matured. Guys like Coverdale are cartoon-like caricatures with no depth. He's a poster boy for a certain brand of shallow LA rock. For all their faults, Plant and Page are cultured and have soul, That's what separates them from rock's masses. I think Floyd are the same.