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  1. Led Zep I meets just about every definition of psychedelic, and let's not forget how much work Jones and Page did in the different psych genres 1966-69, from Sunshine Superman to "Glimpses" to Her Satanic Majesties Request. Of course, the Yardbirds put the rock in psychedelic rock, and half of Led Zep I is atomic Yardbirds material (Dazed, HMMT, BMS, plus You Shook Me = New York City Blues crystallized). Of the non-Yardbirds stuff, "Your Time is Gonna Come" and "Babe I'm Gonna Leave You" have a haunting psych vibe, and Babe had been covered by Quicksilver Messenger Service prior to Zep doing it, so that was becoming kind of a staple on the San Fran psych scene. There were psychedelic moments throughout, from "What is and What Should Never Be" to the breaks in In the Evening and Carouselambra, and then the outright masterpieces -- Dazed, Friends, Levee, No Quarter and Kashmir. Jones and Page discuss "The Pychedelic Legacy" of Led Zep in Jim Derogatis' book Turn On Your Mind: Four decades of great psychedelic rock (pp 388-390). "The goal was synaesthesia -- creating pictures with sound." -- Jimmy Page
  2. Great story!! And based on the recent comments on this thread, it appears that most of the animus on this forum about C/P back in 2008-10 is long gone. I keep going back to this record, even played it in a bar not too long ago, and the response was nothing but positive, as in "Hey, this is really good - what is it?" The go-to is "Don't Leave Me This Way", which toward the end soars with something of Kashmir or Achilles feel - classic Page, and great structural work, too. "Whisper a Prayer for the Dying" is also very strong structurally. The heavy droning dirge of "Take it Easy" typified the grunge era better than a lot of grunge did, imo. The album is a super strong, bluesy entry for the era, and has a diversity of content that most of the records of the time lacked. And yes, it was early enough to be "a grunge era" record, the beast still kicking in 1993 though not for long after. It's not perfect: there are the cringe-worthy lyrics of "Take Me" and a shameless pop offering on "Take a Look at Yourself". But what was Page to do, rewrite the lyrics when Dave wasn't looking? Dump a song his bandmates obviously wanted to sing and replace it with one of his droning slack tuning experiments? (hmm, that would have been good). This was a different, more easy-going Page than the Led Zeppelin producer. I know, he's often criticized for having been too easy-going in The Firm, but things were working quite well in C/P, obviously. I'm no Coverdale fan by any means but I like him on this record, like him a lot. He and Page brought out the best in each other in 1992-93, and the remarkable thing is that their partnership probably shouldn't have worked at all.... 25 years later and I can't be much more impressed than I'm finding myself to be about the results.
  3. "Ooops - We can't find what you're looking for", Rolling Stone says when you click that link from the first part of the thread. "Page not Found" says my browser, pun intended, summing up my feeling on those early pages of the topic. How could anybody dislike this album? much less despise it so much as to start a troll topic on the Led Zep forum of all places? Maybe it was Robert?
  4. $28.99 for the double CD. November 5, can't wait. Also finally decided to bite the bullet and get the Soundtracks set, so looking forward to that as well. I do wish they were still playing "Glimpses" on this tour, but even moreso that the official recording of the 'byrds had happened later in the tour (I guess it shows how wrongheaded Epic was about things back than, even before they added the annoyingly silly crowd noise). And "Live at Anderson Theater" was always just half a show. The Shrine Auditorium (L.A.) shows in June were stunningly good, judging by the bootleg, and by then they were doing a roaring evolved version of "Smokestack Lightening" where they lay the blueprint for "How Many More Times" before revving up into VU's "I'm Waiting for the Man" (off the Nico record) where Page rips out these great slabs of guitar noise. You really see how great the yardbirds were on the L.A. bootleg ... if only the Anderson was a magical night. Wish Grant and Epic had arranged a few "Farwell NY" sets to be replace the Anderson recording, but, again, I guess Jimmy and Chris were the only ones really up for that sort of thing in June .. All that bullshit filed, I'm ecstatic that Jimmy and Chris and Jim got this done for us!!!
  5. Yes, I wish there was a way to move the more recent stuff, which is really good, especially the remembrances of 1993, and hearing "Pride and Joy" and "Shake my Tree" on the radio for the first time. I guess just leave it be, despite the trashing the album receives at the start of a thread, which, as unpleasantly hip and wrongheaded as the initial reviews were, they have historical value too.
  6. He's done it!! It went on pre-sale today!! Very worthwhile indeed!!
  7. Yardbirds '68 just went on pre-sale today!!! Thank you, Jimmy! He's got the Live at Anderson Theater tapes remastered without the fake audience sounds and also those 1968 tracks that have been scattered over Cumular Limit, Ultimate Yardbirds and other Yardbirds anthologies but never presented all in one place with Page's involvement. Needless to say, this is big, particularly the Anderson Theater material. The only thing really missing here is the VU cover "I'm Waiting for the Man", which I guess wasn't recorded in NY?? At long last, the Yardbirds album that was but would never be!! Needless to say, I placed my order!! http://shop.jimmypage.com/products/599232
  8. Wow. I can't think of the last time I ever agreed more with a comment on the internet. Realizing this thread is about Robert, I would still say to everybody wondering why Jimmy won't do more, and hasn't: I don't get the sense that a lot of people really listened much to DW II or the Soundtracks album, things he did do that were great, or the surprisingly great Coverdale-Page album for that matter -- even though, as pointed out on the Coverdale-Page man thread, C-P went platinum here in the US -- Manic Nirvana and Fate of Nations did not. I don't think a lot of people realize that, especially in the UK. I've certainly been wrong more times than I care to think about, but that's just my sense of things.
  9. I remember the excitement generated by the Who farewell tour in 1982, and also how flat they sounded with Kenny Jones yet sold all these stadiums out anyway. It was proof positive that Zep had done the right thing in breaking up, I thought, and suggested to me that Townsend was a bit callous about replacing Moon. Nothing could have been further from the truth, of course, as Moonie was very dear to Pete and the Who had The Kids Are Alright and the Quadrophenia films in the works when Moon died. The show had to go on, if only to promote the art, and it was the right thing to do for Quadrophenia in particular. Through the years many of the reunion performances have happened within the context of the two rock operas, which require Townshend and Daltrey to play together, and why hire anybody else but the Ox to play bass? Moon's death did have its effects and Townshend and Daltrey spent more time on other projects. Townshend's Empty Glass (1980) was a fine album - some think it's a masterpiece. Daltrey did a film on his own. They made Face Dances and It's Hard, a couple of so-so efforts but for "Eminence Front", did the farewell tour in 1982 and then broke up. They didn't last very long without Moonie - 4 years, with much of that time spent on other projects. Zep didn't have quite the artistic obligations Townshend had with the Quadrophenia, and its all apples to oranges anyway. While the Who were doing their farewell tour, the Death Wish II soundtrack was out and I was ecstatic about it, happy to hear new stuff from Jimmy and know that he had succeeded expectations to both the film and the album. It's still a terribly underappreciated album. Pictures at Eleven came out later in the year, and, lo and behold, Robert made a fine album which received a lot of radio play and was a good listen and I played it quite a lot that summer while doing a horrible job fingering Robbie Blunt's guitar chords. (Yeah, I was all but convinced Robbie Blunt was Jimmy). Those were proud days to be a Zep head, knowing that they had done the right thing in calling it quits yet were still creating good and sometimes great music for us, though separately. But by 1990-91 the record stores have become cd stores and they're flooded with Led Zeppelin product. The people bought them, and they outsold everybody but Garth Brooks in the 1990s. How this translated into "we can't play with John Paul Jones" I will never understand, and most of what was said about now and than was and is bullshit, imo. I think from 1990 on the surviving members of the Who were more honest with themselves and their fans, let the critics howl and moan about the Tommy tour, which they did -- & who cares what the critics think anyway?
  10. Yep. My ears exactly. The LP sounds perfect - many have mentioned the lack of a bottom end, but it's there in a big way on the original album (vinyl on turntable) to the point where I thought page had perhaps mixed himself down overmuch. As I was reading the comments, kept hearing the opening jump of HOFN and the stumble down of NFBM wondering what album everybody's listening to. Of course, it's the remastered CD, which is "a bit a brittle" and the guitar is edgier. Tea for One, which has a certain warmth on the record, sounds chillingly cold on the CD. Listening to Royal Orleans on the laptop right now, and even in this less than ideal playback environment, it sounds fantastic. Page's attention to detail in arranging the guitar army is mesmerizing in either mix. Presence is not the best Zep album, but it was my favorite of the original eight studio albums for many years (I tend to lean toward Houses these days).
  11. "time is the HEALER" ??? What's that supposed to mean - this band had interpersonal issues that left wounds requiring healing? What is it with these (ex) Deep Purple guys and their assorted band dysfunctions?! I didn't think BCC was together long enough to have dysfunctions. Anyway any news on new BCC?
  12. Thanks Sam! Bringing back some magical electric memories, Netscape 4.0, which, if I recall, was also $7.99 (per month) and I remember the hyphen in the url! I had just seen Jimmy and the Black Crowes, too, on June 29 (first show ever at the Marcus Amphitheatre in Milwaukee), but I know I didn't even bother to try to get JPJ's show over the landline.
  13. Was this show really webcast in year 2000? That's jumping the shark while the shark still swimming beyond the breakwater, if that's the case. Not surprised Jonesy would be the person leading the music delivery game at this point, but does anybody know more detail about this webcast?
  14. You see my point, sir. Nine years ago, maybe it was different, and how Robert relates to/uses Zep was worth talking about. It's not a problem at all these days. I'm not one advocating or hoping for a reunion or any new material. I would like Jimmy to pull together the Yardbirds release that he's been talking about (simply because he was talking about it) and I wouldn't mind a second TCV effort, but they've done so much for all of us already. I'm just glad I was around during their time.
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