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About huw

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    Zep Head

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  1. The link that second post doesn't take you there anymore, but thanks to the Wayback Machine, we can still access the website that it eventually became. There are lots of "Page's gear" sites, but this is the one you want: https://web.archive.org/web/20150609032908/http://wholelottaled.webs.com:80/
  2. History of Jimmy's #1 Les Paul w/Joe Walsh

    It is extremely well documented that #1 is missing the serial number of the back of the headstock. At this point in time, the original cause may simply be filed under "miscelaneous repairs".
  3. The EP-1 & EP-2 were tube units, but the EP-3 changed to solid state. Page used an EP-2 until early '72, when he switched to the EP-3, so as far as TSRTS goes (1973 tour) he's not using the tube model anymore. https://web.archive.org/web/20150607193141/http://wholelottaled.webs.com:80/effects.htm
  4. Simple - I'd sit them down in front of a TV, and show them the Danish Television Special off the DVD. Four songs, with visuals. If someone doesn't "get" Bonham after that, they never will...
  5. I wrote an answer to a similar question on another forum: Hope that adds something for you?
  6. Lawsuit over Stairway to Heaven

    Today's obscure classical music term for you all to memorise & use is "Lament Bass". http://en.wikipedia.org/wiki/Lament_bass Notice how many hundreds of years back the examples go. Stairway & Taurus both use a standard (almost cliché) practice for harmonising a descending bass line under a minor chord, that has been around almost as long as harmony itself.
  7. Yeah, I mean Bonham put the band together, wrote most of the songs, and produced the recordings, so of course he was the leader. Oh, hang on a minute... I'm thinking of someone else Only kidding - and no offence intended! Joking aside, I think you could perhaps make an argument for Bonham being a "musical director" at times on stage, where he was in charge of the time keeping, and the tempos, but even there, Zeppelin is one of those bands where each member is the "leader" at different times during a concert: at times they're following Page, at times they're following Bonham, at times they're following Plant, and at times they're following Jones - it was symbiotic, not one of those situations where one guys is simply in change and that's that.
  8. Bonzo's Presence Ludwig kit...

    Hi Bonzoghost, good to see you. Yeah, I remember now: Sam did say, very briefly, that Jason had dismissed that photo, but he didn't go into any details. Such as how much time Jason spent at Polar Studios whilst they were recording, etc? Personally I still have my suspicions that the photo really does show Bonham's kits. I checked out the dates that the photographer visited the studios to take the pictures (which match), and the makes & configurations of the kits used by ABBAs drummers (they don't match), etc etc It seems quite a stretch to think that photographs taken at a studio where Zep were recording, showing drums in unusual sizes (26" bass, 15"x12" rack), that match Bonham's known configuration, that don't match the usual kits of ABBAs own musicians, and whose set up in the room matches the description that the studio manager gave of Bonham's set up in the big drum room, might not be Bonham's? With all due respect to Jason - I'm not buying that. Anyway - the Presence drums seem to be solved. That's a neat video.
  9. Bonzo's Presence Ludwig kit...

    You might find this photo interesting, the large version of my avatar. It's the cover of the Polar Studios information brochure, taken at the time that Zep had just been recording ITTOD. The photo is of the drum room at Polar, and you can see two kits - one green, one silver - in rather familiar sizes. Now, this is just a brochure, and it doesn't say "John Bonham's kits at Polar" on the photo, but the photo dates check out, so they might indeed be Bonzo's kits. If so, try your eyesight out on that silver kit: Sparkle? Chrome?
  10. They had a very wide range of influences, Robert in particular being very familiar with lots of stuff that was outside the "blues mainstream". For Jimmy, Hubert Sumlin is one who needs to be added to the list.
  11. Today's show is brought to you by the word "humour", as in: you guys really need to learn to spot a joke when you see one. It's not as funny as the author clearly thinks it is, but that's clearly a spoof, like the stuff in The Onion. Made me laugh, though!
  12. Plenty of 1960 bursts came with those knobs, as well as the earlier paint shade too. Gibson did not make all of the "1960" changes in one go, on January 1st 1960 - these things happened gradually, over time. A 'burst from early 1960 has the same specs as one from late 1959.
  13. Page's "guitar army" effect?

    Les Paul is where it starts - he invented the guitar army, in recording terms, even if he never called it that. http://www.youtube.com/watch?v=e0ffdwBUL78
  14. Learning the Blues

    While I agree with the notion that "blues can't be taught, you have to feel it" there are certain aspects of the basic vocabulary that are useful to know about. Firstly you should recognise the destination between "THE blues" and "A blues": the first relates to the emotional content of the music, the second to the structure. When you listen to Billie Holliday sing, you are hearing "the blues" regardless of the structure of the song she is singing, or even whether it is a "blues song"; but if musicians talk about a song being "a blues in E" they are nearly always talking about the structure of the song, and where the chord changes fall. (And just because a song fits the 12 bar form, doesn't make it "the blues" - it could be rock & roll, country, jazz or pop) The commonest such form is of course the 12 bar blues, but there are some other common ones like the 8 bar blues, and the 16 bar blues: Here's a link to a couple of those basic forms: 8 bar http://en.wikipedia.org/wiki/Eight-bar_blues 16 bar http://www.music.vt.edu/musicdictionary/text1-9/16-barblues.html 16 bar (alternate) http://www.angelfire.com/fl4/moneychords/16-barblues.html Of course there are a couple of important things to remember. Firstly, any of these forms can be dressed up, and varied, by adding or substituting various extra chords. The more you explore that, the further you travel along the road from blues towards jazz... Secondly, and this is quite important, is that the blues did not originate from a structured format - it only became 12 bars, or 8 bars, when it was written down to be played by a band (WC Handy is credited with being the first to formulate the blues as 12 bars IIRC). Before that musicians would change chords when it felt right, if at all. Listen to old recordings of the original blues performers (and it is first and foremost a performance based music) and you'll hear 11 bars, 13 bars, 10 and a half bars etc, often within the same song. Final thought - as with everything in music, listening is the most important part of learning: want to learn about blues forms? Listen to lots of blues.