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kenog

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Everything posted by kenog

  1. Ah yes, thank you. I recall she was going to be selling her LZ memorabilia,
  2. From Twitter. A fan met Jimmy at the Olympia Record Fair this morning, Saturday 16 November 2013:- Ian Miller ‏@ianmilleruk 14m I met Jimmy Page this morning. Just your average Saturday then. Ian Miller ‏@ianmilleruk3h Browsing vinyl at the music mania fair at Olympia
  3. Great photos - nice of you to post them. I am assuming it's not Melanie, but if you are in contact with M. tell her she is missed on the boards.
  4. OK Saj, does Mr James know about this?
  5. The Carluccios restaurant in Covent Garden used to be very, very expensive..
  6. Aen27 I don't have an Instagram account, but I am still able to see the text. I have copied it here for you. The two pictures on the site are the ones already posted here. 2 days ago Jimmy Page, possibly the greatest guitarist ever, hanging out with my wife, very proud. What a dude. #ledzeppelin #jimmypageFollow cameroncanete, bluesveinss, mikelawton11 and 15 others like this. nicolaljames Oh yeah baby! And he paid for dinner! What a gent! X mikelawton11 Where and how did you manage to meet him?! nicolaljames He's friends with a friend of mine and he brought him along last night - then they went to a poetry reading! We went to carluccios in south ken, so cool! denisse_lovesu Love this pic!!
  7. Another lucky person met Jimmy last night in London, 12 November 2013. Photograph copyright of Nicola L James at Twitter. The venue was Carluccios in South Kensington.
  8. rosiet, Without wishing this thread to go off topic, I don't know if you are aware that the concert that evening is covered on the site's Timeline, complete with setlist, commentary and photos from the show. Apologies if you have seen it already. http://www.ledzeppelin.com/show/april-10-1970
  9. kenog

    Hot pics of Jimmy

    Yes, FireOpal, I too thought it was a woman. However, I have to say she is not very feminine looking in facial terms. I can understand why some thought it was a bloke. I like the dog though!
  10. henrybonzo, When I clicked on the photo of the two of you, the zoom facility showed up the brand of scarf Jimmy is wearing - Lonsdale. It is only £5.99 and the photo of the scarf is on their website. Here's the link for anyone wanting to get the authentic Jimmy Page look. The one Jimmy has got is the black stripe. I thought it would be from some really expensive designer - wrong. http://store.lonsdale.com/lonsdale-college-scarf-902249
  11. From Halfin's Diary 10 November 2013:- "...Ended the day with Jimmy Page having Sunday dinner in Kensington discussing records…"
  12. Disco Duck, As far as I am aware he is a photographer like Scarlet. I think (?) he has assisted Scarlet on shoots in the past. I remember he had been helping out on the 'On This Day' feature on Jimmy's website.
  13. Thanks HB, His son in law is called Tom Brown (Scarlet's husband) I wonder if it was him. I've attached a photo here of Tom with Scarlet so you can see if it's the same bloke.
  14. Henrybonzo, Thanks so much for posting this here. It's fantastic!! Would you possibly provide more detail on this. For example, where about in London were you, what time of day, was he with Halfin or Makowski? I think it's brilliant that you went out one day, and just happened to meet Jimmy.
  15. Strider, Thanks for this. I think it was the cast that attracted me. Like you I haven't seen Michelle Pfieffer in a while, and I've always liked her work. I can take or leave Robert De Niro. So, you've saved me the price of a cinema ticket. Cheers!!
  16. I remember posting somewhere on the site that Genesis Publications was producing a book on Eric's guitars. At the time, there was no indication when it would be available for purchase, but I just looked and it is now available (for anyone with plenty money to spare!!) They are £375 each. Limited edition of 2,000 copies, each signed by Eric Clapton. The story of Clapton's entire career told through his guitars, own words, archival photographs and a 50-year gigography. Hand bound in leather with gold and silver blocking, housed in a silk-screened buckram slipcase 'One by one these guitars were the chapters of my life.' Eric Clapton Beginning with his blues roots and early days, Clapton's signed limited edition documents his entire career through the tools of his trade: his guitars. SIX-STRING STORIES is told through Clapton's own words, with background information for each instrument and archival photography spanning five decades. 'They belong to a very well-loved family.' Eric Clapton Nearly 300 pieces from Clapton's collection, sold across three Crossroads auctions, are brought together here for the very first time. SIX-STRING STORIES presents a 'family tree', making connections between Clapton's instruments and amps, and placing them in the chronology of his career.
  17. Atonypro, Thanks for putting your excellent photographs on here. The quality is first class and they are well composed. The top left hand one does indeed bring back the memory of John and Pat in TSRTS. The photo of all the drumsticks gathered at the back of the headstone is truly touching.
  18. Strider, Have you seen the Robert De Niro/Michelle Pfeiffer film, 'The Family' yet? It's just being released in the UK, any opinion from you or one of the other members would be appreciated.
  19. Uncut magazine has a new interview with Joni in its December edition. I've taken a look through it and it is certainly worth buying. Joni Mitchell has spoken out against the Sixties' culture of free love. In an interview published in the new issue of Uncut, Mitchell says "Free love? It's a ruse for guys. There's no such thing. "Look at the rep I got, there was a list of people whose path I crossed... in the Summer Of Love they made me into a love-bandit. "So much for free love. Nobody knows more than me what a ruse that was. That was for guys coming out of Prohibition. It was hard to get laid before that." Mitchell - who turns 70 today [November 7] - discusses her extraordinary career in the interview, including her thoughts on contemporaries Bob Dylan, the Woodstock generation, and her landmark 1971 album, Blue. Joni Mitchell discusses her mercurial career in an exclusive to celebrate her 70th birthday, in the new issue of Uncut (dated December 2013), out now. The singer-songwriter identifies Leonard Cohen and Bob Dylan as her only contemporaries, but also criticises Dylan for not being “musically gifted” and for alleged plagiarism. “I like a lot of Bob’s songs,” says Mitchell. “Musically he’s not very gifted, he’s borrowed his voice from a lot of old hillbillies. He’s got a lot of borrowed things.” Addressing her claim that Dylan is a “plagiarist”, Mitchell explains: “It’s not like I outed him. He stole all of his lines out of a Japanese hoodlum’s novel. There was a lawsuit impending, but it got dropped. He told me ‘I haven’t written a song in years.’ I said, ‘What’re you talking about? Who’s writing them, then?’ He came down to craft.” She claims she's not at all disappointed in Dylan, though, praising him for inventing "a character to deliver his songs… Because you can do things with that character. It’s a mask of sorts… To sustain a gift for a long time is rare." Mitchell was originally interviewed at length for the Canadian Broadcasting Company, and this will be the first time this incredible, in-depth interview has been published in print. Read more at http://www.uncut.co.uk/joni-mitchell/joni-mitchell-i-like-a-lot-of-bob-dylan-s-songs-but-he-s-not-very-musically-gifted-new#5WbuDCDlEJkydJzy.99
  20. kenog

    Hot pics of Jimmy

    Blond guy? When the original photo was posted on the site, I thought it was a woman!!! Oh no!!!
  21. kenog

    Hot pics of Jimmy

    These photos are on the Photoshot site and are the copyright of individual photographers. Some of the ones of Jimmy are "interesting" to say the least. I remember one of the photos featuring Jimmy meeting a friend on the Kings Road being featured on the forums before, but Photoshot gives more than one pic.
  22. kenog

    Hot pics of Jimmy

    Thanks for that April Lyn. Make sure you keep coming back to the forums - no more long absences!!! Here's the rest of that one It's from one of his On This Day's. It said: 15 DEC 2010 I SAW GOGOL BORDELLO AT THE HMV FORUM I had seen the vibrant Gogol Bordello a number of times, and Eugene Hütz and his merry band of men and women whip up some serious energy at their shows. It’s always a pleasure to see Liz Sun.
  23. Yeah Yeah Yeah: The Story of Modern Pop by Bob Stanley Were Sweet better than Led Zeppelin? ... Here is an excellent and 'poptimistic' history that sticks two fingers up at 'rockism'. Sukhdev Sandhu The Guardian, Wednesday 6 November 2013 09.00 GMT Who would be brave – or foolish enough – to write a history of pop music? Aren't grand narratives a thing of the past? This is the age of niches, forensic focus, obsessive miniaturism. Full-length documentaries get made about Cockney Rejects, a Garry Bushell-managed Oi! band whose best-known single was a parody of a Sham 69 7-inch. At least three books exist on Felt, a Birmingham independent band from the 1980s whose albums bore titles such as Let the Snakes Crinkle Their Heads to Death. It's not unusual to see expensive editions of hulking great volumes on Swedish prog rock or American private-press oddities selling out in next to no time. The internet has been wonderful for microgenre mythomania. Established pop lineages are challenged as fanboys and DIY scholars share their passions for Japanese soft-porn soundtracks and jingly-jangly flexi discs from the Home Counties. It becomes ever harder to imagine a synthesist who could make sense of all these wonders, and do so with style and wit rather than synoptic grind, so as to bring together pop's mutually indifferent tribes for a productive pow-wow. One of the few people capable of undertaking this huge task is Bob Stanley. He's the co-founder of the three-piece band Saint Etienne who, since 1990, have fashioned a vast body of collage pop that joyfully absorbs elements of dub, 60s girl groups, English folk, German techno and Swedish groove, and allies them to stylish melodies and savvy lyrics. Perhaps because of his background as editor of Caff fanzine and later as a journalist for Melody Maker, he's always been attuned to the relationship between words and music: Saint Etienne have commissioned LP sleevenotes by the likes of Douglas Coupland, Jeremy Deller and Jon Savage. Yeah Yeah Yeah, as its title suggests, is a love song to pop. It sticks up two fingers to "rockism", that school of rock historiography which prizes authenticity, musicians who play their own songs, real instruments over software, artistes above one-hit wonders, sweaty men rather than pretty women. Stanley writes well about both Dylan and Donovan, but it's clear that he prefers the latter. Elsewhere he talks up under heralded soul singers Barbara Mason and Barbara Lewis rather than paeaning Hall of Fame-types such as Aretha Franklin, argues that Sweet were superior to Led Zeppelin, and champions the effervescence of Whitney Houston's "How Will I Know" over the earnest, showy melismatics of her later hits such as "I Will Always Love You". This isn't Stanley being contrary. He makes a convincing case for the vital role played by Jimi Hendrix's manager Chas Chandler in helping the guitarist demonstrate his genius by getting him to hold his showier pyrotechnics and channel his monumental sound into three-minute singles such as "Hey Joe". He lauds Lou Reed and John Cale's avant-pop alchemy on the Velvet Underground's "I Heard Her Call My Name", a song "so sharp and freakish and heart-piercing that it makes me burst out laughing every time I hear it". He also compares Patti Smith unfavourably to Blondie's Debbie Harry: the former uses 19th-century French poets as a signifier of seriousness; the latter, less self-consciously messianic, namechecks hip-hop modernist Grandmaster Flash in the lyrics to "Rapture". Stanley, to quote the title of film scholar Thomas Schatz's history of classic Hollywood, is a believer in the genius of the system. It's not drugs, suffering or tortured outsiderdom that's responsible for the best pop music, but "hard, honest toil". He adores Brill Building songwriting teams such as Goffin and King, Motown's production-line approach to pop, Abba's Bjorn and Benny, the KLF, and junglist pioneers such as PJ and Smash who, like many (often overlooked) black producers of dance music, married functionalism to sonic innovation. Yeah Yeah Yeah really comes into its own when discussing the forgotten tropics of 1940s and 1950s music. Of Vera Lynn, whose "Forget Me Not" was one of the biggest hits of 1952: "It sounded distant, echoing, a ghost of Christmas future." Nat King Cole, Stanley observes, "was rarely a seducer. Usually, he was to be found in the near distance, there to accompany the wooing of other couples." Even more delicate is his description of early doo-wop: "The voices reverberated around alleys and subways, hallways and staircases, even school gyms, anywhere its perpetrators could find an echo to lift the sound from the ground, closer to the stars." Stanley is also good on the much-patronised genre of skiffle. Not only does he point to Lonnie Donegan's "Cumberland Gap" and the implausibility of "a song about illegally transporting pig iron being British pop's fountainhead", but he emphasises the thrash and clatter of skiffle, the DIY cheapness of the household instruments it used, the proto-hip-hop way it sampled and recontextualised American blues to create new exhilarations. Stanley's suggestion that skiffle anticipated early Fall records is inspired. So is his identification of tape delay and dub-like effects in Jimmy Young's 1956 single "Chain Gang", and his comparison of the black horror at the heart of Roy Orbison and Joy Division. Best of all is his account of Bing Crosby's "The Isle of Innisfree", a froth of Celtic pastoralia whose lyrics he likens to Guns N' Roses' account of "Paradise City" ("Where the grass is green and the girls are pretty"). Yeah Yeah Yeah is full of sharp one-liners (Elvis Costello "wore a surgically enhanced arched eyebrow and wrote pun-packed songs while singing as if he was standing in a fridge"), contains extraordinary facts (Chic's original name was Allah and the Knife Wielding Punks) and offers evidence of an extraordinary amount of listening (glam bands Spiv, Jook, Chunky and Spunky Spider; "Wickford's So Boring" by Grinder; Wanda Jackson's "Fujiyama Mama" with its immortal lines: "I've been to Nagasaki, Hiroshima too./The same I did to them, baby, I can do to you.") This excellent book enacts its own version of pop justice as it spotlights not only bands that have suffered condescension – such as the Bee Gees – but also forgotten DJs like the Light Programme's Jack Johnson and Detroit's The Electrifying Mojo. It recalls the session guitarist Bert Weedon, whose manual on the instrument changed the lives of Jimmy Page and Eric Clapton, and the Liverpool ship waiters – known as Cunard Yanks – who returned home from their transatlantic voyages with records that would have a detonating impact on the imaginations of Merseyside teenagers. The 21st century, however, is almost skirted over. Stanley argues that the Britpop-era complicity between the music press and Top of the Pops dealt a death blow to what had been a productive tension between margin and centre. He is a lover of vinyl, and believes that digitisation has changed things for the worse – that the internet flattens the musical landscape as much as it enhances it: it's a click democracy with people filesharing and sampling with near-decadent ease. But there is one problem. Over the last decade Stanley's poptimism – its lack of snobbery, its rejection of the principle of "guilty pleasures", its exuberant and cross-generational linkages – has become the norm. Without friction, without patrolled borders between different types of music, what emerges is an everything-goes world that's more enervating than exciting. Poptimism may need rockism more than it thinks.
  24. Bob, I have just seen this post - thank you for your enthusiasm and good manners.
  25. SAJ, do you know who the guy is in the photograph at the right hand side (with the beard)? It's just that he reminds me of one of the LZ roadies - could it be Rex King?
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