sixpense
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Posts posted by sixpense
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13 hours ago, luvlz2 said:
A couple of things I noticed about the video:
1. Pic of Jimmy page behind Hughes' left shoulder
2. In the close ups Joe Bonamassa is seen playing a Telecaster while in the group shot he is playing a Les Paul Gold Top
3. The solo (and vocals) looked staged. Joe's solo has some tremolo pitch dips. It doesn't look like he is using a whammy pedal (he is not know for using one) probably used a Stratocaster on the original recording,
A good (but typical) BCC track.
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On 7/18/2017 at 6:29 PM, gibsonfan159 said:
Apart from Achilles and Nobody's Fault, which sound great, the other songs seemed to have a strange mix. Candy Store Rock for example, which I've ways assumed I hated until I listened again recently. It's not the song that bugs me, it's the weird mix. The bass and drums are Ok, but the delay and reverb on the guitar and vocals are just too much. The guitar is separated to far off to one side. I imagined this song having a "drier" mix like III or HOTH had, and realized it's a pretty catchy song with a mean guitar riff.
Plant's vocals seem to have a deep hall reverb on them that almost sounds like wind blowing in places. Page's guitar fills that jump in and out on the sides of the balance also have a deep reverb that pushes the sound back in the mix. Very noticeable on Hots On For Nowhere.
Bonham does excellent drum work on Royal Orleans, but the drums sit low in the mix and don't have that dynamic sound he had on songs like In My Time, Night Flight, or The Ocean. I think overall this album simply lost that layered, dynamic tone they had previously.
I believe the slap back echo/reverb used on the track was done on purpose. I saw this as Jimmy's nod to Elivs and his "Baby Let's Play House" era.
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4 hours ago, timothy5151 said:
Robbie offers his apologies to Jimmy Page,
His derogatory comments were for private ears only.
Sincere apology....... don't ya think?
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1 hour ago, mstork said:
+1
RIP
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Geddy Lee was a perfect fit to play with Yes on Roundabout last night.
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3 hours ago, John M said:
I agree with many of the comments to that Rolling Stone video link above. Typical Rolling Stone hatchet job.
I totally agree.
It also is incomplete. Going for the One is an excellent album and passed over. Jon Davison is not even mentioned. (He did write and record an album with them!) I don't believe Patrick Moraz is even mentioned either.
The guy has a hangup over Steve Howe's appearance. I would wonder how HE would feel if it was reciprocated.
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I believe Jimmy said there was an issue with The Black Crowes' record company relating to releasing any of their own tracks during their collaboration.
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RIP Chuck Berry. Thanks for the music!
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I would suggest "actively" ignoring this.
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2 hours ago, zeplz71 said:
It appears that Michael Skidmore has money to waste.
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On 2/2/2016 at 4:34 PM, dazedjeffy said:
The first photo is from December 4, 1966. Upon taking possession of the Tele from Beck, Page put the original white colored pickguard back on. The Tele looks worn.
The next photo is from February 2, 1967. Page put eight reflective circle on the front of the Tele. Pink Floyd's Syd Barrett was seen in the recording session for the movie "Let's All Make Love" in January 1967 with a Telecaster with reflective circles on the front. I've always said that Page did this as a nod to Barrett, however, I have never found a link between the two, such as a live date where both bands played or a Pink Floyd date around the London area when Page was NOT on tour.
The third photo is from April 13, 1967. This is the last dated photo I have of the Telecaster with the circles on it.
The fourth photo is from July 22, 1967. This is the first dated photo I have of the Telecaster having been stripped down and had the Dragon painted on it.
So, the transformation happened between April and July 1967.
Photo five is an older, yet undated photo of the interior of the Hunt Armory. See the history on the structure at http://pittsburghpa.gov/district8/armory-history. Better photos of the space at http://rs.locationshub.com/location_detail.aspx?id=045-10000637&user=45&photopage=1 It is *plausible* in photo 5 (with the American flag) might show the same ceiling layout/infrastructure. On that last link, there is a picture of a classroom, with low, false ceiling tiles. I doubt The Yardbirds played in there.
Syd Barrett's guitar was actually a 1962 Esquire. Fender recently posted a brief history of the guitar.
Psych Out: Syd Barrett’s ‘62 Esquire and the Dawn of Pink Floyd
The original Pink Floyd frontman’s “Mirrored Telecaster” was neither mirrored or a Telecaster.
Photo: Andrew Whittuck / Getty Images
The original lead singer, songwriter and guitarist for Pink Floyd, Syd Barrett burst onto the London rock scene in the mid 1960s as a mysterious, charismatic and eccentric figure.
Widely celebrated as a visionary and influential songwriter who laid the groundwork for the psychedelic rock sound, as a guitarist, Barrett remains somewhat underappreciated. While he was never a virtuoso in the mold of Jeff Beck or Eric Clapton, he was a versatile and innovative player who accomplished pioneering work using dissonance, distortion and feedback.
The electric guitar Barrett was most closely associated with was known as the “Mirror Disc Telecaster,” which is a misnomer, because for starters, it wasn’t a Telecaster. It was in fact a 1962 Esquire, and while the metal discs attached to it were reflective, they weren’t mirrors.
Barrett acquired the Esquire, which was originally white, in late 1965. Sometime in 1966 he had it shrink-wrapped in silver plastic film. The discs he attached to it were thin, polished silver metal plates that were in vogue in hippy London at the time; adorning everything from doors and walls, to jeans, dresses and floppy hats.
The Esquire’s cosmetic modifications made the it an important element of Pink Floyd’s otherworldly stage show, the discs reflecting the bubbling, psychedelic lights and projections back at the audience.
Apart from the visual enhancements, the only other mod to Barrett’s Esquire was a raised pickup, which fattened up the guitar’s tone. An early pioneer of creativity over technique, Barrett’s guitar work on Pink Floyd’s early singles and debut album, The Piper at the Gates of Dawn, was fairly basic, something the simplicity of the Esquire lent itself to nicely.
While some regard it as a poor man’s Tele, the Esquire actually has its own unique wiring. The lack of a neck pickup reduces magnetic pull on the strings. This gives the Esquire better harmonic overtones and helps create a more percussive attack, elements that can be heard in Barrett’s guitar work with Pink Floyd, which swings between between jangly and melodic to edgy, aggressive and near proto-punk.
Towards the end of 1967, Barrett acquired a white Telecaster (probably from the early ‘60s). Although he kept hold of his Esquire through the end of the sessions for the Floyd’s second album, A Saucerful of Secrets, he stopped using it live and typically played the white Tele at gigs.
Although, by that time, spurred on by rampant LSD use and the pressures of coping with pop stardom, Barrett’s psychological troubles had accelerated and his appearances with the band were becoming increasingly infrequent.
Somewhere in the middle of 1968, Barrett traded his beloved ’62 Esquire for a black Telecaster Custom. This would prove the last electric guitar he would ever own. He used it during his remaining time with Pink Floyd, on his two solo albums–1969’s The Madcap Laughs and 1970’s Barrett–and up until he withdrew from music and moved back to his mother’s house in Cambridge in the late 1970s.
So what became of the silver, reflective Esquire? Like Barrett himself, the guitar basically went missing. After it was traded in for the black Telecaster, it was basically lost to history, becoming yet another element of the mystery of how such a charismatic and visionary talent as Syd Barrett could’ve gone off the rails just at a time when he was poised to conquer the world.
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2 hours ago, StringBender said:
He played the blue strat on Someone To Love.
No he didn't. It was the Les Paul. I saw them on this tour. To be clear: "Everybody Needs Somebody To Love" the encore is the track I am referring to not the track written by the band. That track was the blue strat because he was using the tremolo bar.
I have audio of this show and it is Everybody Needs Somebody To Love where the problem happens.
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11 hours ago, luvlz2 said:
Jimmy's guitar goes out and Tony Franklin fills in with his bass for most of "Someone To Love" at this concert.
That was the Les Paul. (Possibly why he replaced the pickup)
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On 1/24/2017 at 0:24 AM, Boleskinner said:
Interesting. Cheers for that. Hopefully they will see the light of day.
I thought the band was really good and would like to hear some rehearsal stuff stripped of all the Wagner production.
Demand for a reissue must be quite low though, and we've just passed the 25 anniversary of its release...
I imagine Page, not EMI/Geffen, would own the stuff recorded at the Miami session?
Good question. I though that Coverdale/ Page was Jimmy's best post Zeppelin work to date.
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RIP John Wetton. Thanks for the music.
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Noticed this interview with Denny Carmassi (drummer for the Coverdale/Page project) http://www.anti-m.com/montrose/tenq_denny.htm
JW: Is there any project or projects you have worked on that you wish more people knew about?
DC: I guess it would have to be the Coverdale Page project. It was such a fun record to make with such a great group players. I guess some people know about it though, I have a platinum record hanging up on my wall. It's a shame that band never got to tour the United States, only a tour of Japan. We did some sessions in Miami that someday may see the light of day.
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On 1/13/2017 at 8:11 PM, The Only Way To Fly said:
Speaking of vocals... I thought I read on the forum here that the track "La La" did have vocals from Plant, but Page didn't include them. Any thoughts or conformations? Thanks!
Listened to a Page interview recently where Jimmy refers to this track. He stated that John Paul Jones provided vocals to the track by using "La Las " instead of humming in order to offer a vocal melody to the song, thus the track was called La La.
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RIP George Michael. A very talented vocalist.
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Good to see Rabin back out there again. Based on what I have seen, their drummer on this tour is really good but the band is lacking in the vocals department. I wasn't too keen on changing arrangements of old Yes songs but I thought that their performance of Awaken was powerful. I look forward to the new album.
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Received the Deluxe Box Set today and listened to the 5 lps and enjoyed it. I was worried about the production quality of the set due to previous problems with the studio releases but there were none for this BBC set.
The tracks for the lost second session are not the best of audio quality and one of the tracks fades early before the end but for historical purposes it is better to have something rather than nothing.
The BBC engineers messed around with the levels too much with some of the tracks to my liking, (Probably never worked a band that loud before) For example, one track has Bonzo's bass drum buried in the mix that gets louder seconds later and Jimmy's guitar gets louder in some tracks as well.
The booklet is not a hardcover like the studio releases and mainly contains images of contracts, other documents, the halls plus a few images of the band already seen before.
The band produces great performances (especially the full show from 1971).
I wonder if Plant plays bass on Sunshine Woman. It could have been an overdub (there are overdubs on other tracks) but the bass playing doesn't sound like something Jones would play. Maybe Jimmy will shed light on this in future interviews.
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1 hour ago, sam_webmaster said:
HMV Japan:
That CD at the bottom right is not an official release. Possibly one of those cds of tracks that influenced Zeppelin?
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2 hours ago, IpMan said:
Too bad the XYZ thing did not work out, I think Chris Squire would have been both an excellent foil as well as a measure of control for Page.
I agree. I am not a big fan of the bass players Jimmy worked with post-Zeppelin; the bottom end of the bass vanished.
Led Zeppelin's most beautiful song?
in Zep Polls
Posted
The Rain Song.
There is an acoustic instrumental from the Death Wish II soundtrack called Carole's Theme which could have been a cool Zeppelin track if tragedy hadn't happened.