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Darth Hoek

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About Darth Hoek

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  • Birthday 03/15/1937

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    Miskatonic University, Essex County
  • Interests
    All Led Zeppelin with a focus on Jimmy Page and his solo work, Faith no More 2015, Electric/ Acoustic 6 and 12 string Guitars, Vinyl Records + turntables, mountain biking/hiking, Reading/Writing, Political Activism, Gardening, Job Development for Autistic Adults in Eastern Massachusetts, Vintage N64

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  1. Even better...a typo, not just ignorance of the artists names!
  2. The John Lennon error is really funny...it is food for thought to think how a simple misprint on a boot can get a rumor like this going. I am sure most of the bootleggers didn't consider themselves archivers of this knowledge; for them it was certainly a money game. One could have a whole thread on the topic of mislabeled boots as it is pretty interesting.
  3. I wonder how it became attributed to Page with Winwood? Just the incorrect label from a bootleg?
  4. The store I got the boot in question from wasn't in Cambridge, but across the bridge on Newbury street back when it was cool like Cambridge still tries to be tower records was on one end of Newbury and boston common is on the other...There were a lot of great shops in Cambridge back then as well and I bought some troublesome sampling rate bootleg cdr's there as well a few years later that wouldn't function in my first gen cd player. This specific copy with the spanish guitar and keys likely falsely attributed to Winwood was on was on a cassette tape and this was in 1991, as I said it is long gone now. These boots were expensive ($18-$25), were labeled miserablely, and were at least 10th generation recordings and it sounded like it, but pre-you tube and 2004 DVD we thought they were the best thing. They would be in an easily moveable/hideable box on the counter called "imports" but everyone knew what was in there. The shops knew that the rocker kids who had gotten a sweet taste of the rare and unfiltered live zep would come back to get their fix no matter the price of the crappy recordings so they churned them out by the hundreds. In Boston 90% of the old shops are long gone and are now miserable clothing botiques, circle-jerk art galleries, and spas that change hands every year or so and mostly serve the obliviously rich tourists types staying in the air b+b's that have taken over downtown boston and sent rents and prices into the stratosphere (it is plain to see that I am not bitter at all!)...there are only newbury comics and Armageddon in Cambridge left now. Does anyone remember hearing that the keys on this were attributed to WInwood? Now I am curious again about this and I can't find anything conclusive on the internet (big surprise!).
  5. My CD version of this is in fine shape from the early 2000's. I have no reason whatsoever to spend $100 USD on the same thing but on vinyl. If it had more tunes than on the original it would be different story, but I likely would buy the CD. Others have said this here before, but this release certainly is a matter of Page just wanting to get the whole catalogue on vinyl and the house in order before he releases the new stuff. This release actually seems rushed to me given the pace of all the other promotional stuff over the past few years. Honestly, to me modern live shows which have been heavily digitally edited on vinyl vs. digital/cd are not as profoundly different or benefit from the format to my ear as a studio recording on vinyl vs. digital/cd does. I am sure that this idea has been discussed here before, but for modern versions of live shows I am usually happy with a cd or download.
  6. Outstanding Page performances after 1980

    The Japan version of Tea for One is excellent...how about this ten years gone from a P&P soundcheck on the same tour? Or how about For Your Life from the O2? Not super complicated but a viscious song none the less-and look at that damn gibson black beauty with the three humbuckers and a bigsby! That alone is fantastic to see. I posted on this thread before, but there are so many of these gems out there. It seems that these excellent post-1980 Page moments may be more of the norm than commonly thought.
  7. I am surely wrong but I remember hearing this years ago on a boot cassette I had bought in a now closed underground record store on the old Newbury Street (pre-gentrification) in Boston back in the early 90's on a day we all skipped school and took the "t" in. The tapes liner notes said that the keys were steve winwood with page on spanish guitar...it featured several takes of the spanish guitar and keys thing with a bit of studio banter along with some other outtakes as in the featured video above; also the friends/four sticks from P &P's trip to india. I remember thinking how fantastic that would have been if Page and WInwood worked together. Then I saw the RAH ARMS benefit concert with winwood and page and thought they were very different talents. But in 1969-1970? Anyways, The liner notes may have been wrong as it sounds like JPJ to me as well...but just thought it was interesting to point it out.

    As others have speculated this may be the chronological live set Jimmy has pretty consistently mentioned in interviews in the past. Could this (text highlighted below in bold) be a subtle hint from today's jimmypage.com post? I know nothing about this show although I am about to check youtube for it now... "On this day in 1973, I played the Old Refectory at Southampton University. It gave us an opportunity to play some of the newly recorded material live that was to be eventually released on Houses of the Holy. The audience celebrated our show with much enthusiasm and beer from the Refectory bar. This evening was recorded."

    Weren't they all working on some new zep book as well? Maybe they met up for that and caught the BCC show...I need to check if it is going to be a genesis publication like the Page book, as I think they are out of England. If they truely were in the studio to finish up some 40 year old songs, then they really need to finish Fire (say your gonna leave me) as that would actually get some good airtime on the rock stations (as I have said before I am sure). I feel earlier attempts at gaining radio play with rediscovered unreleased tracks al la' sunshine woman, boogie mama, or baby come on home (which were not as "modern" sounding) didn't get the airplay they deserved...a finished version of Fire would get crazy airplay on rock stations around Boston! Then the new Zeppelin 50th anniversary "product" would sell well for sure... I am sure this is a big flurry of nothing like the last snow forecast....
  10. JimmyPage.com has changed it up this year!

    I figured as much...I had a lot more time off this January than usual with the bad weather. Anyways it was new info to me!
  11. Jimmy page.com has been a bit more exciting in my opinion as I have noticed over the past few days. To start, yesterday I saw jimmy's site posted about the rock and roll hof induction of Led Zeppelin. The text was a bit snarky referencing tensions and egos as I remember, but I paraphrase...look it up I suppose somewhere if it pleases you... Now today the we get an answer to what Jimmy may have done, had the Peace Concert happened in Bejing. Quoted directly from Jimmypage.com, "There had been a move to do a Peace Concert, hosted by the Chinese Government, at the Bird's Nest Stadium in Beijing and I had been invited to appear. There had been a full-size classical orchestra offered and I saw a possibility of doing an instrumental set including Chengdu percussion and the orchestra. It could have been an interesting blend. There had been a meeting with some officials where it was said that they would need to see the artists' lyrics up front and I thought that was fair enough, but a Peace Concert in Beijing could have had its moments of mischief. It was fascinating to see how it might proceed; in fact, after a postponement from 17/04/10 to 11/11/11, it ran out of steam. At the press conference at the Beijing Ritz I was given an award called 'Pathways To Peace' - it was the first time the award was given from the United Nations." I remember being excited for this event and being wicked bummed out when it fell through. I wonder what Jimmy would have played over those drums. The cacgce tuning all strummed out? Some wierd baritone-danelectro-looking-but-not-double-neck? It is nice to finally have some new content on .com...unless I just missed this last year...which is entirely possible!
  12. Talked to Audrey Hamilton today......

    When I think of Zeppelin I think of a super talented band which happens to get far too crazy when they are on the road but at the end of the day basically created the rock genre. When I think of Kiss I think of Pabst Blue Ribbon, carnies on blow, derivative lyrics, and bad choices...pretty much says it all! When I think of Ace Frehley...I probably should stop here I am getting a bit too mean to the kiss fan out there!
  13. Page’s amp

    Yah, JPJ's amp not Jimmy's...although it seems we must take the vendors word on this Ric bassamp's provenance since he only has a grainy photo for evidence, and the amp itself has no markings linking it to Zep or JPJ at all. Not to be mean but damn; I bet the thing sounds like a P.O.S too....$25,000....give me a break; for that much I want something concrete to prove to me what is being sold is the real deal (and it to have been Jimmy's). Now, I have a vintage vox wah pedal over there...hmm...I could say it was Pete Townsend's and ask $25,000 too. What a great idea! I also have a bridge available for sale...
  14. What next? AGAIN

    A Tribute to Johnny Kidd and the Pirates. Run it through the eq software, clean it up and put it out on vinyl; I will throw the money at it as needed. I feel Page's reluctance to clean up these awesome bootlegs and the few studio outtakes that were stolen from his house in the 80's or whatever really diminished the quality and variety of stuff on the most recent remasters bonus discs. He was quoted saying he didn't want to release stuff that was readily available on bootlegs, which is kind of silly if you think about it given how few people actually do collect bootlegs today. I remember, as I am sure everyone here has heard many times themselves, a great sounding boot I had of Fire (say your gonna leave me)--I wish they had gotten together and finished this track for the Coda set. Could have either played a bit in the studio for it as the Beatles did w/o John several years back, or just used what they had to mix a finished version. Not that Coda needed it; surely it was the best of the most recent release's bonus content by far. PG was the biggest disappointment for me for bonus content; but sound quality was aces across the board (except for the Paris show off of LZ1).
  15. Outstanding Page performances after 1980

    I saw P & P at Great Woods in Massachusetts in 98' and they were amazing, so I guess this is my outstanding performance for Page post 1980. Page did the version of BIGLY with the solo as shown in the earlier post here and it was even more powerful to see it live. They also did a "real" version (not the rather miserable acoustic thing from No Quarter 1994) of No Quarter (or as real as it could be given the not-JPJ-and-Bonzo rhythm section) where Page's playing was just as fluid, jazzy, and technical as the version of No Quarter from the TSRTS film. ( Part 1 of 2-P & P Mansfield Ma. ) (No Quarter starts ~25 min). Page seemed like he was really in his element and was playing like was 1973 again. He has presented this way during other events where he is well practiced and not too F'd up to keep it on track; such as the O2, Roy Harper's Birthday event ( Page With Roy Harper "Same Old Rock", ) and the with the Black Crows. One other event that always stood out to me was the Montreux Jazz Festival 2001 where they did Elvis tunes and a cover of candy store rock ( BLPH 2001 P & P. ) Too bad they stopped playing together right after-I really felt the 50's stuff would have helped to them get back on track since it was their common interest back in the day. There of course have been other moments besides these and hopefully there will be even more!