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About Canadianzepper

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  1. Baby, aaaah, just give it to me give it to meeee. Sure doooes, sure does.! Oddly, he never liked that he said this during the song and begged for it to be removed from the edit. I actually thought the question was perfect in the context of the song, as arbitrary and random as the lyrics themselves.
  2. So most of us know how much he has voiced disdain for the song. Rather unfortunate in some cases, other cases, he is light hearted about it. Not uncommon for a musician to years later look back at a song from a different perspective, especially a song that really became bigger than the band itself, as far fetched as that sounds considering their success. Really the song has become so massive that even fans of Zeppelin began to dislike it, and/or those who were old enough recall it being played far too often and ending their school dances. Maybe it's thing long shadow that bothers Plant so much when he knows there is so much more to offer within Zeppelin and even with his post-zeppelin material. Over the years, Plant has gone from admiration for his lyrics, to defensive about people abusing his lyrics, to outright overt unhappiness with he song itself. During the Kennedy Awards in 2012 he showed a rarely seen bit of emotion during Hearts epic cover of the song, which probably had more to do with seeing Jason on the skins and the open celebration of Bonzo from the choir. Regardless, where is he today on his opinion of this song? A song which he has played far too many times and has answered almost as many questions about as he had "do you think you guys will get back together"? I suppose it depends on the day of the week, but it would be nice to see Plant find some permanent and hopefully positive closure with this song. As I have hit mid aged myself, I find myself really appreciating the magnitude of this song. If a self proclaimed superfan can come to terms with this, hopefully one of it's creators can. It will be remembered long after any of us are around, and perhaps unfairly, it will remain in a category of it's own at the expense of other great songs. At the same time, it will draw many generations to the bands broad catalogue of masterpieces. Anyone?
  3. Why In Through The Out Door is a GREAT album

    No judgement on my part, just a point I always remember, that of all the quotes I have heard probably describes Zeppelin the most accurately, it was by Prince of all people and he suggested to the effect, I paraphrase, "look at Led Zeppelin, every song of theirs made you feel different." That's not just good music, that great musicianship and it's keenly true of the band and a song like Tea For One. So, back to my roundabout defense of Tea For One, a song I didn't particularly like either (or that entire album truth be told); it's a song you have to almost feel depressed to listen to. Maybe not that far gone, but, you have to almost act out the lyrics, lie on the bed looking at a clock in the hotel room and wish you were 1000 miles away back with the ones you love. Pages work on the song is great too, a top 5 solo in my opinion. Anyways, maybe that does something for how you see it, maybe not. Many people like Hot Dog for instance, and I've never liked the song, though I might sing it if drunk and wanted to present a parody of some hillbilly ho-down somewhere. I'm sure many don't view it that way, but I always have. As you said, to each their own. Per the thread, when I first listened to LZ I actually enjoyed this album a great deal, liked their "newer" stuff, as time went on I realized I was wrong about the guitar.
  4. Who wrote the solo/break in Kashmir from 3:25-4:15

    A good point, though I would argue that the musical ambition and creative energy is usually reserved for those in their prime. Few bands match that as time goes on for any number of reasons, mainly I presume, that hunger of being "in the moment, competing for the hearts and minds of relevant listeners and peers" and, sheer desire to produce something remarkable as an artist. Even age itself kicks a man to the curb and lowers his swagger. I can't imagine how it must have felt being in your 30's and your greatest creations almost impossible to match again. Even with Bonzo at the helm, I think it was understandable that they probably weren't going to create another Zeppelin IV or PG. It's just extremely difficult, and noone took the breakup harder than Page I imagine. So now the band goes their separate ways, and are always identified as that member of Led Zeppelin. Who could achieve a repeat performance in another band that matched their heights and creativity? So, you could argue that JPJ never put out anything close to Led Zeppelins work either. Noone did or has in my opinion, they are in the league of their own, which is why we are on their forum. I like some of the post Zeppelin stuff, but they are mostly ballads. Wonderful One with Page and Plant, Take me for a Little While with Coverdale/Page, and a few interesting songs by Page in his solo career. I didn't really get into JPJs studio production work. As it were, none of these songs really matched closely their efforts with LZ.
  5. Redditch to erect a statue of John Bonham in his honour

    Another benefit concert in the works? Hehe, just had to put that out there. This is great news, the least Bonham should get, and it would keep their music in the hearts of the town for generations.
  6. Who wrote the solo/break in Kashmir from 3:25-4:15

    Thread has gone off topic slightly, I will say I would love some interviewer to ask Page or Jones the truth about this particular stretch of possibly their most bombastic song, even as Stairways is their most iconic. Speaking of Stairways, in response to some of the discussion on the subject; I am sure I read somewhere that at least in regards to the flute that they are the real wood instruments in the song. Page felt that only the real instrument would suffice, he clearly had the foresight in regards to how important this song would be.
  7. Who wrote the solo/break in Kashmir from 3:25-4:15

    Until I hear and see some information, I can't assume he was the writer of this particular part of the song. I also can't imagine that if he wrote much of this stuff in a song that all members agree was a high water mark AND, as is well known, he arranged the song, that he wouldn't receive writing credit. You are right in that he probably got screwed over a few times, and I believe that was one reason he was considering leaving the band to become a school teacher. Bands are very protective of information, especially in the 1970's. As an example, Page as a session player played guitar on many groups work without credit, some of this work required creative and artistic freedom. He would receive his pay for his time and that was that. No royalties or credit.
  8. So of all the great riffs, solos, musical achievements and arrangements I have always found the orchestra work and interplay with Plants description to be their most powerful and memorable, and obviously that's saying alot. Just those approx. 50 seconds from 3:25-4:15 is what I am trying to understand. Such creativity that no other band could come close to approaching. Then of course Plant howls back into the cycling scale riff it's perfect. I have searched and wondered about this. Was it purely the creation of the orchestra or was it pre written by Page? If this was simply paid work by a "session" violinist, I must know who they are so I can seek out their catalogue. Anyone know the orgin of this? I have to discount it being Pages work simply based on the complexity of it that he couldn't have worked through on a guitar and bow. If he did in fact construct that my level of admiration and awe, even if he worked it through somehow with the violinist. P.S I had at one time thought it might have been something JPJ might have wrote on his keyboard and it was then transcribed and translated into violin, but since he doesn't have a writing credit on the song, I have to discount that also.
  9. Yeah I had heard it was her but was pretty sure it wasn't. In fact, if my memory serves correct someone who appears to be her bf looks at her and says something and she smiles just as Robert hits a high note. One of those "far out" expressions.
  10. I was thinking about how many times I have seen this movie as I own it, though haven't seen it in years. Anyways, anyone know of a site or public disclosure, "hey that was me?!" Who or where are the two dudes who security allowed back stage? "Alotta fun alotta fun?" How about the cop who said somewhat tersely, "no comment"? Or the stadium crew guy who was called "a silly c___" by Peter Grant? The guy sticking his tongue out to the camera in an evil pose? The girl smiling when Plant wailed in Since I've Been Loving You? The cop during the same song who looks at Plant probably wondering why this screaming banshee is so popular with the ladies? The overly medicated long haired guy who was chased during Dazed in Confused? The people involved in the stolen money from the safety deposit box? The poor media guy who was chastised by Peter Grant during the public reporting (what newspaper do you work for?)? Just so many funny little incidents and people I recall from the movie and it would be funny to hear from one of them in the internet age, even if the stories were just second hand. Hell, some of them could be members on this site. Cheers.
  11. JPJ is certainly great, but the entire band was. Each of them amazing, and exponentially more lethal when fused together. As an aside, In all the soul searching and love for the band all these years, I've come to the conclusion that Page was it, he made everyone drive themselves to be so much better, to reach deeper, including Jonesy (in my estimation based on all my reading, analysis and even their infighting about writing credits). Yes, strong language to be sure, but his focus and ability to make rendition and generate a vision that the rest of the band generally followed, while he produced allowed and encouraged freedom of everyone to contribute put it all together. Even in some of the great riffs that Jonesy pieced together, it was always Page who could lay it into a context. Black Dog, the bombastic overpowering sound of No Quarter etc. Any band would be lucky to have Jonesy that's for sure, but I wonder how he would have expressed himself if not in LZ. Or any of them for that matter. Page was the wizard who wanted complete expression from everyone and he was rarely disappointed. Also, as this is a dissection of the individuals, I feel none of them felt more comfortable outside of LZ than Plant. What does this mean? I'm not sure, other than the fact that Plant was probably the most versatile and willing to just jam with anyone, no pretentious desire to always be the Rock God, especially as he aged and the music scene changed. Another of my rants in the moment. Cheers.
  12. Jimmy Page & Chris Cornell To Collaborate In 2015

    Jimmy Page posted some thoughts on Chris passing and a photo of him onstage. Other artists also react on this page. http://www.guitarworld.com/artist-news/jimmy-page-and-other-rockers-react-chris-cornells-death/31185 Jimmy Page ✔@JimmyPage RIP Chris Cornell Incredibly Talented Incredibly Young Incredibly Missed. My favourite some from him vocally was probably "Say Hello To Heaven". The apex of rock singers from the 1990's on. RIP.
  13. Any time now.....

    I'm certainly not a hater, I find it humourous how it is reported that a possible reunion is in the works. I first saw this reported on Yahoo News, I mean...talk about stretching the facts and making assumptions/
  14. Any time now.....

    Playing guitar is like swimming to Page. Good video, too bad his amp was drowned out.