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zeplz71

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Everything posted by zeplz71

  1. zeplz71

    Robert Plant - Pre-Zep History

    BOJ with Plant went past March 1968. This post above billed as their "last appearance" of the BOJ w/Robert Plant was from May 28, 1968.
  2. zeplz71

    9/29/71 Immigrant Song sb release

    Thanks!
  3. apparently taken in Los Angeles recently
  4. Led Zeppelin Score Chart Topping Hit With RSD Release 05-01-2018 Led Zeppelin have topped the UK Vinyl Singles Chart with their debut Record Store Day release. The band's limited edition 7" single featuring previously unheard mixes of "Rock And Roll" and "Friends" landed at No. 1 on the chart ahead of tunes by David Bowie, U2 and Jimi Hendrix, among others as issued as part of the April 21 event celebrating the culture of independent record stores. The previously unreleased version of "Rock And Roll" provides an additional peek into the fabled 1971 "Sunset Sound Mixes" of "Led Zeppelin IV". Only two previous "Sunset Sound Mixes" have been released, the first being the version of "When The Levee Breaks" on the original album and the second the "Stairway To Heaven" mix that debuted on the 2014 deluxe edition reissue of the band's fourth record. The previously unheard "Olympic Studios Mix" of "Friends" is a stripped-down version without the orchestration that was included of the final mix that appeared on 1970's "Led Zeppelin III." http://www.antimusic.com/news/18/May/02Led_Zeppelin_Score_Chart_Topping_Hit_With_RSD_Release.shtml
  5. This one? Came out last year.
  6. yes, you're over-analyzing.
  7. zeplz71

    Next Soundboard Release

    +1 here!
  8. zeplz71

    Bonham's Double Bass

    Some info and pics in this thread
  9. zeplz71

    "HD vinyl"

    https://pitchfork.com/news/high-definition-vinyl-is-happening-possibly-as-early-as-next-year/ “High Definition Vinyl” Is Happening, Possibly as Early as Next Year With a new $4.8 million investment, an Austrian startup says it could have “HD vinyl” in stores by 2019 Vinyl record spins on a turntable, photo by Matt Cardy/Getty Images “High Definition Vinyl” has moved closer to a turntable near you. In 2016, a European patent filing described a way of manufacturing records that the inventors claimed would have higher audio fidelity, louder volume, and longer playing times than conventional LPs. Now, the Austrian-based startup Rebeat Innovation has received $4.8 million in funding for the initiative, founder and CEO Günter Loibl told Pitchfork. Thanks to the investment, the first “HD vinyl” albums could hit stores as early as 2019, Loibl said. The HD vinyl process involves converting audio digitally to a 3D topographic map. Lasers are then used to inscribe the map onto the “stamper,” the part that stamps the grooves into the vinyl. According to Loibl, these methods allow for records to be made more precisely and with less loss of audio information. The results, he said, are vinyl LPs that can have up to 30 percent more playing time, 30 percent more amplitude, and overall more faithful sound reproduction. The technique would also avoid the chemicals that play a role in traditional vinyl manufacturing. Plus, the new-school HD vinyl LPs would still play on ordinary record players. What’s next? Rebeat Innovation has ordered a big laser system, for about $600,000, with hopes that it will be shipped by July, Loibl said. Once that system is up and running, Loibl said he plans to produce test stampers for five to-be-determined “early mover” pressing plants. In September, the first test stampers would arrive at those plants. “Our goal is to officially present our test stampers at the Making Vinyl conference in October,” Loibl said, referring to the vinyl trade event held in Detroit. “It will take another eight months to do all the fine adjustments. So by summer 2019 we shall see the first HD vinyls in the stores.”
  10. Robert Plant cemented his legendary status at The Palais Theatre By Kate Streader http://www.beat.com.au/music/robert-plant-cemented-his-legendary-status-palais-theatre Robert Plant’s signature mop of curls may be grey, but he’s still the same rockstar the world fell in love with in the ‘60s. Defying the laws of time with a voice that has barely changed over the past 40 years, Plant is a testament to the fact that rock’n’roll never dies. Assuming their positions onstage and tearing straight into a ferocious rendition of Led Zeppelin classic ‘What Is And What Should Never Be’, Robert Plant and The Sensational Space Shifters set the tone for the evening straight off the bat. Following up with ‘The May Queen’ from the band’s latest album, Carry Fire, the set was certain not to be a one-note affair. The band continued to pull out an assortment of tracks from Plant’s solo career including ‘Mighty Rearranger’, ‘All the King’s Horses’ and ‘Carry Fire’, Zeppelin tracks ‘Babe, I’m Gonna Leave You’ and ‘Going to California’ and a few covers including the 1920’s hit ‘Little Maggie’, for good measure. Decades of experience as a performer and a reputation for his charismatic presence were evident in every facet of the performance, be it his quick wit when replying to shouting audience members – such as the woman who yelled for Plant to take his shirt off, to which he replied “at this time of night? I’m not fucking doing that” – to the way he simply exuded a level of confidence and comfort on the stage. Plant’s humility shone through as he often drifted to the fringes of the stage while his bandmates took over and he simply watched on in awe, clapping and dancing from the sidelines. Despite being 69 years old, his body never stopped moving to the rhythm. Though he never danced as a man trying to maintain a rock’n’roll persona or someone trying to grasp onto their youth, but as someone who is genuinely passionate about the music they make and can’t help but feel it with their entire body. The Sensational Space Shifters are no Led Zeppelin, and they’re not trying to be. Rather than trying to live up to the band’s iconic legacy, they put their own spin on Zeppelin classics such as ‘Misty Mountain Hop’ and ‘Bring It On Home’, never deviating too far from the original but still injecting their own sound. The Sensational Space Shifters proved they are a tight unit too, producing an absolutely flawless sound teeming with guitar, drum and violin solos and showcasing their dexterity with an electric lute, mandolin, double bass and a fiddle all appearing throughout the performance. The crowd ate up every minute of it, Plant could’ve sung ‘Happy Birthday’ and the audience would have thought it was genius. Everyone was completely consumed by the energy in the room, with ‘Please Read The Letter’ creating a singalong effect whilst ‘Gallows Pole’ had everyone on their feet dancing and ‘Babe, I’m Gonna Leave You’, complete with an exceptional acoustic guitar solo, earning the band a standing ovation. Finishing with a bluesy rendition of ‘Misty Mountain Hop’, it felt like finishing a good meal – everyone was full and satisfied – though nobody was refusing dessert, which was served on a platter when the band re-emerged with a medley of ‘Bring It On Home’ and ‘Whole Lotta Love’. There were several moments throughout the evening where Plant’s face would erupt in an immense smile or he would let out a sly wink or laugh to a bandmate, and it was truly heart-warming to see someone so in love with what they do after so many years. If one thing is for certain, Robert Plant is and will always be a rock god. Highlight: The setlist was the perfect balance of Plant’s solo career and Zeppelin tracks. Lowlight: Waiting in line for 45 minutes at the merch desk. Crowd favourite: ‘Gallow’s Pole’.
  11. zeplz71

    Hadn't seen this one before. What's the origin?

    Photo session with Chris Dreja before the Australian 1972 tour
  12. Whole lotta love for Plant at Bluesfest by Cathy Adams 31st Mar 2018 THE questions on everyone's lips ... would he play Led Zeppelin, and has he still got it? As Robert Plant left the Crossroads stage after more than an hour and a half, the resounding answer was yes, and yes. Robert Plant was charismatic. Conttributed Bruce Davis The Bluesfest headline act did not disappoint the thousands of fans who crammed into the tent to see him. Diehard Zeppelin fans got to see their music legend in fine form, and the younger crowd got a glimpse of the magic that catapulted the band into the history books as one of the greatest. The set was a class act in professionalism, something his competing act in the Mojo tent could learn a lesson about. As my fellow Bluesfest buddy put it: " He showed the music and the crowd respect". Sure, we all wish Page and Bonham (RIP) etc could have been there with him, but the Sensational Shapeshifters were just that, sensational. Robert Plant and the Sensational Shapeshifters were simply sensational. The crowd got to hear some new tunes, as well as some of Plant's older stuff - the beautiful Mayqueen - but when the notes rang out for That's the Way, the crowd went wild. Gallows Pole came later, but it was Whole Lotta Love that tore the house down. A charismatic Plant didn't just hit play on the classics, he transformed them in a soaring transcendental tribute to the originals. And while the very long wait in the carpark afterwards wasn't ideal, hearing " there's a lady who's sure all that glitters is gold" waft across the misty fields seemed a fitting end to the night. https://www.northernstar.com.au/news/whole-lotta-love-for-plant-at-blues/3375666/
  13. zeplz71

    Next Soundboard Release

    more more more! love it.
  14. The whole interview aired on Australia television. https://tenplay.com.au/channel-ten/the-project/extra/season-9/robert-plant but the link only works if you're in Australia.
  15. The new remaster sounds better to me. Drums are clearer, better eq and can hear the bass better too.
  16. That seems like Anaheim. http://www.ledzeppelin.com/show/august-9-1969 He used double-bass on a few shows during this summer '69 tour. You can see more at the Albuquerque concert. http://www.ledzeppelin.com/show/august-2-1969 Salt Lake City http://www.ledzeppelin.com/show/july-30-1969
  17. Robert Plant and Sensational Space Shifters celebrate the now at Orpheum By Randy Lewis http://www.latimes.com/entertainment/music/la-et-ms-robert-plant-sensational-space-shifters-review-20180303-story.html "C'mon, y'all!" the singer exhorted, as several of his bandmates circled around him with a fiddle, mandolin and banjo and ripped into a bluegrass-inspired breakdown during a rendition of Lead Belly's dark meditation on capital punishment, "Gallows Pole." It was the kind of call to action you might expect from a good old boy musician at any concert down South, except the singer here was English rock god Robert Plant, the "down" was downtown (Los Angeles) and it was only as far south as South Broadway. For nearly two hours, the musical collective — he tellingly remarked at one point that "we're the Sensational Space Shifters," not Rock Superstar & His Band — was mining one of the many strains of rootsy country music that happily isn't restricted to any one country. Over two sterling albums and a series of tours over the last five years, the Space Shifters have proffered a richly rewarding excursion through sounds of the American blues, English folk, and African and Arabic traditions. The music touches on most facets of Plant's 50-year career, nodding to the Led Zeppelin in the room just often enough to keep the die-hards from taking up an armed revolt. It was the final stop of their latest tour, and Plant confessed, "It's a little sad to be going home … so we'll be coming back again in about six weeks." Indeed, their next go-round will include a headlining stop at the second Arroyo Seco Festival in June, although who knows yet whether they'll be afforded the time to stretch out the way they did Friday night. The wide-ranging set began with "New World," one of the tracks from their recent "Carry Fire" album, and one that departs from the realm of mythological matters that occupy much of Plant's time as a songwriter, zeroing in instead on the world around him. "In songs we praise a happy landing / On yet another virgin shore / Escape the booming world / Embrace the new world / Out here the immigrant takes hold," Plant sang in an earnest salute to the spirit of exploration and expanding horizons. But he's not blind to the price at which those processes often come: "Across the plains and over mountains / Put flight to all who came before / They're barely human / It's time to move them / And let them kneel before the sword … Oh, oh, oh." The wordless invocation at the end of the thought is a device he employs often, as he did during Zeppelin's heyday, letting sound and tone say as much or more than words might. There were repeated "oohs," "ahhs," "ohs" and other vocalizings that reminded us just how remarkable an instrument the pliant Plant voice remains, even as he approaches turning 70 in August. Soon, however, it was back to the mists of time and eternal matters of the heart. In "The May Queen," the opening track from "Carry Fire," he applied layers of nuanced color as he sang of "A heart that never falters / A love that never dies / I linger in the shadow / The dimming of my light." The Space Shifters are an impressively flexible lot, capable of bracing hard-rock, which they unleashed in a final encore number that blended a couple of generous sections of the Willie Dixon-inspired "Whole Lotta Love" with "Bring It on Home," the latter a Dixon song popularized by Sonny Boy Williamson II before Zeppelin put its chugging spin on both tunes on "Led Zeppelin II." Guitarists Liam "Skin" Tyson and Justin Adams took turns on the leads and solos, shifting between acoustic and electric instruments, with Adams also occasionally bringing a mandolin into the mix while Tyson broke out his six-string "ganjo," the banjo-guitar hybrid. Bassist Billy Fuller also moved effortlessly between electric and upright instruments, keyboardist John Baggot drew upon a small arsenal of instruments for varied effects, and drummer David Smith exhibited a mastery of irresistible rhythms that ran from the Bo Diddley-ish beat of the title track from "Carry Fire" to a simple bass drum-gospel-tambourine accompaniment for "The Gallows Pole." He also brought the mighty rock drive of the Zeppelin songbook with "That's the Way," Misty Mountain Hop," "Whole Lotta Love" and "Bring It on Home." English fiddler Seth Lakeman contributed prominently to several numbers, following his own well-received solo opening set. He appeared equally at home with Celtic-rooted stylings as well as the country-bluegrass numbers, as evidenced by the distinctive Creole-fiddle flavor he brought to "Gallows Pole" and the Arabic modalities required for "Little Maggie" from the Shifters' 2014 "Lullaby … and the Ceaseless Roar" album. Plant teased those in the audience earnestly committed to hearing him play anything Zeppelin-related. There were hearty cheers when at one point he announced, "I was in a band with a different name" before he quickly added "but not that name." Likewise near the end, the band also ventured into an atmospheric, ballad-like instrumental intro employing a gently descending chromatic chord progression — but not that descending chromatic chord progression. As they did during the rest of the show, Plant and his cohorts were chasing what was available to them now, in the moment, not what they could re-create from a day, a week, a year or a half-century ago.
  18. Robert Plant Is Tired of Answering the Obvious Question For fuck's sake: There's no Led Zeppelin reunion in the works. Instead, he's always looking forward. By Jeff Slate https://www.esquire.com/entertainment/music/a19045051/robert-plant-interview-carry-fire-led-zeppelin/ It’s hard being Robert Plant. Wherever he goes, the question hangs in the air: When will Led Zeppelin reform again? Will Led Zeppelin reform? When I meet the legendary singer in Manhattan’s Lower East Side for lunch at the fancy eatery in his hotel, he quickly does an about-face after entering the restaurant. Whether it’s the preternaturally lithe figure Plant still cuts at 69, causing heads to spin as we enter, or the muzak filling the posh bistro, he’d quickly surveyed the landscape and sensed the vibes weren’t right. In a flash, we settle onto a couch in a dark corner of the hotel lounge and order espressos—his white—and mineral water. But still, his legend looms large. There’s a bearded 40-something in a far corner, about twenty yards away. As we talk, it’s obvious he’s eavesdropping, at least as best he can. Perhaps it’s that constant audience that leads Plant to defend his current status as a solo artist; he’s in New York City for a show at the venerable Beacon Theater as part of the 21-date tour in support of his fantastic new album Carry Fire that he teases will be followed by a larger trek this summer. He literally bats away questions about Led Zeppelin, which will mark its 50th anniversary with a newly spiffed-up live album next month and a coffee table book later this year, with a dismissive wave of his hand. Nearly forty minutes into our encounter, I finally raise the specter of the elephant in every room Plant enters. “I have to ask, because my editors would kill me if I didn't: Do you ever see going back to do the big gig?” “My suggestion to you is to make sure you wear the right clothes when they kill you,” Plant fires back without missing a beat. But lest you think Robert Plant is a grumpy old curmudgeon, trading off the blessings of his past glories while indulging in vanity projects, let me put your mind at ease. Plant is charming and warm, happy to talk about anything you throw at him, although doing so at every turn on his own terms. And he’s earned the right. His solo releases and tours in the '80s and '90s were a clear departure from his Zeppelin days, and his work with his band since 2001, the Sensational Space Shifters, on full display on a new live DVD, the Band of Joy album with Patty Griffin, and his 2007 five-time Grammy winning album Raising Sand with Alison Krauss are all a testament to his restless nature as an artist, as well as the high quality of his solo output. In fact, Carry Fire, released last fall, is one of the best albums Plant’s ever made. And that includes his work with Led Zeppelin. So let’s just let him set the record straight, about the past, the present, and the future. With releases marking the 50th anniversary of Zeppelin, and the most recent reunion with his former bandmates now more than ten years ago, Robert Plant considers Led Zeppelin firmly in the past. All those projects, well, they’re going to do somebody some good somewhere, and that's good. But you don’t even have to talk to me if all you want to know about is Led Zeppelin. Thirty-eight years ago [Zeppelin’s drummer] John Bonham passed away, that's all I know. That's it. That's the story. You know, Led Zeppelin was an amazing, prolific fun factory for a period of time, but it was three amazing musicians and a singer living in the times. Those times. That's not going to stop me doing what I’m doing now. So that's a headline, or not a headline. It doesn't matter to me. Instead he prefers to challenge himself and his audience—even if that alienates Led Zeppelin fans. If I didn't I'd be a whore, and I'm never going to be that. I'm only a singer, and therefore I can get bored really quickly. And if I get bored really quickly, what am I doing nearly 70 years old being bored? No chance. So I move on all the time. “Immigrant Song” had nothing to do with “That's the Way.” “That's the Way” had nothing to do with “The Crunge.” And that's got nothing to do with “Heaven Knows” or “The Way I Feel.” Some of it has been an attempt at some kind of social commentary, and other stuff was a way to close the door to the dream factory. But I've still got a foot in that door, which is no small thing with the industry in the state it’s in, and I want to use that to play with words and sounds and to find exciting new ways to make music. The fact of that is, in the last ten or fifteen years, my work has been really well received. And it's very nice to see, and it makes me feel a bit that I’m in the right place, at least for some people, even if other people just don't know about it. I mean, it is basically about opening the blinds. Look, how many thousands of people are there in the airports that I travel through, who are amazed that they see me, yet have no idea of what I'm doing? Not a fucking clue. That's how it goes, and I’m fine with that, especially since the emergency departments of the geriatric wards are filled with people like me, still hanging on, because there was something else before. He tried making a second album with Alison Krauss, and would love to take another stab at it. I wouldn't have minded doing it again if we had actually had the impetus. Allison and I tried to make another record with [producer] T. Bone Burnett but the songs weren't of the same standard. And we didn't write songs—it wasn't a songwriting environment—and so there was nothing to be done there. But even now she and I still talk about doing some more stuff. I have a huge collection of amazing American songs—songs I love, songs that would be easier for her to perhaps move into the space to tackle. But there's no need—if it doesn't work, it doesn't work. But surely there’s a lot of money to be made by reuniting with Led Zeppelin, especially in the corporatized world we live in. Speak for yourself! But what about time? Time! Time is the mighty rearranger. That's what it's all about. If it's easy, and it's not of a great deal of consequence, okay. But when you're in your seventies? You have to be really careful about maybe putting a bit more time into playing bingo, and enjoying the time you have left. For me, my time has got to be filled with joy and endeavor and humor and power and absolute self-satisfaction. That’s not with Led Zeppelin. That’s doing what I’m doing right now, with this band, on this tour. Look, if substance was of no value, or of no significance, then I wouldn't be trying to do anything. But I believe it is, so this is what I do and all this talk about this or that or the other—you know, selling out the Mojave Desert—it so archaic. It's just such a ridiculous criteria by which to be judged. When you've been there, like me, and you know how shatteringly insular everything becomes, it makes my relationship with this carnival I’m with currently priceless. But to try and make it something to fit in with the a symbol of success just for the hell of it, or to go back to try to relive the glory days, I don't think that's really where I'm at at this time in my life. But as for what I’ll be doing in five years time, I haven't got the answer. I haven't got a clue.
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