I don't recall my vinyl being like that. As there were multiple sources(as many as 6 or 9, I think) for this show, you'll have to provide a label and Matrix # for us to help determine if you got a bad copy.

Happy birthday to our resident sports prognosticator/gambling addict: Rick! Aka LedZeppfan77 aka Newkidintown aka Icantquityoubabe...and my personal favourite incarnation, Yukon Cornelius. A true believer in his beloved(but often awful and tragic) Buffalo Bills and Sabres...for his, and his bank account's sake, I hope they win a championship one day. You can be a rapscallion sometimes...but who among us isn't at times...but I wish you a happy happy day, Rick.

All the pre-concert bits with Jones show him with that Prince Valiant/Little Lord Fauntleroy wig...reading to his children; the scene in the kitchen with Mo where he gets the tour dates..."ah, tour dates-this is tomorrow!". Also, look during "No Quarter"...as the song shifts from actual concert footage to Jones' fantasy, you see him with the wig, starting with him seated at that giant church organ during the keyboard solo part of the song. As for the Shepperton bits, "Black Dog" has a bunch...during the guitar solo you can even see Jones in his wig...also the Bonham closeups are Shepperton. In Dazed and Confused, there's a long dolly shot of Jimmy that ends with the camera zooming into Jimmy's eyeball as the footage then shifts to the guy being chased by concert security...that shot is from the Shepperton reshoot. Stairway has some bits that look like Shepperton as Robert and the lighting keep switching. Whole Lotta Love has some Shepperton footage...as the band comes out of the Boogie Mama section into the "Way down inside" part. I'd have to watch the movie again to find other examples, but the above is what I remember most.

I was flabbergasted and knocked sideways when Electrophile started this thread last year and so many others joined in. Such a surprise. A year later, you all have remembered again, which is really too much. I feel unworthy of the attention, but grateful for the birthday wishes from my Zeppelin family. Yes, it's the big 5-0...but I really don't feel any different than I did at 40 or 30. I'm in the middle of a birthday buying spree at Amoeba Records, before continuing with my birthday plans. So thank you one and all for your birthday greetings. May I be able to do the same for you one day.

Most definitely. I did the same thing, too, read the book by Peter Benchley after seeing the movie. The very definition of a "compulsively readable" book. I was glad the movie cut out the affair between Hooper and Chief Brody's wife, though. Spoken like a true medical professional. No, not a blu-ray...we saw "Jaws" at an actual theatre; the Alex Theatre in Glendale. In fact, as a point of reference, since this thread is titled "I've Been Going...", unless I specifically mention watching a movie on TCM or a dvd, all the movies I post about here are films I went out to see in a movie theatre. The kids loved "Jaws" by the way. And they showed a classic Bugs Bunny cartoon before the film, just like in the old days. It was "Captain Hareblower", with Bugs and Yosemite Sam, or in this case, Pirate Sam duking it out on the high seas. Classic. It just isn't the same watching these on a tv screen or a computer monitor...or god forbid, a cellphone.

That's on my to-do list...I've been hearing nothing but positive words about this and the LCD Soundsystem documentary "Shut Up and Play the Hits". Another day, another classic movie: today I am taking some kids to see "Jaws" on the big screen. None of the kids have seen the film before. Plus, as an added bonus, the people responsible for "Bruce" the mechanical shark will be there to talk about the making of "Jaws" and the difficulties in getting the shark to work. I still remember going with my little sister to a matinee of "Jaws" in 1975 and how she left my arm bruised from gripping it so hard during the movie. Especially when that dead guy pops out from the boat when Richard Dryfuss is trying to get the shark's tooth out. Robert Shaw FTW!!!

Jonesey had cut his hair after the 1973 tour(perhaps in preparation for becoming Choirmaster), so when they reshot some bits he wore a wig. Why he couldn't find a better one than that is a mystery, though. That made the one Cary Grant wore in "I Was a Male War Bride" look sophisticated. Poor Jones. Anyway, if you look at photos of the 1975 U.S. tour, you can see how short his hair was. I actually think this tour was one of his best "looks", stylistically...the short hair, the black shirt and vest. He looked cool...miles better than the goofy hair and mustache and 5-string bass from 1973. 1972 and 1975 were the tours I saw where Jones looked the best.

If Joe Massot was still alive, Jimmy Page could have possibly reached an agreement to allow for a new edit of TSRTS. But Massot died in 2002. But as I mentioned long ago, Jimmy could have avoided this impasse by just giving the project a different name. If he had just titled it "Live at Madison Square Garden" or something catchy, he wouldn't have had to follow the edits of the original film.

Having breakfast at a diner that has the Olympics on the telly. So I am finally getting my first 2012 Olympic exposure. New Zealand vs. Brazil, Women's Soccer. It appears to be live...Brazil just scored to go up 1-0. Erm...now they're showing Ping-Pong. Or, more accurately, NBC is showing commercials interspersed with Ping-Pong.

Just came home from being out with some friends to see the new restored expanded print of Sergio Leone's "The Good, the Bad & the Ugly". At least 4 or 5 extra scenes that were cut from the original release. It's part of this giant retrospective of Spaghetti Westerns that the American Cinematheque is screening for the next few weeks...including some that have inspired Quentin Tarantino. Not just Leone, but Corbucci, Santi, Parolini, and many others. It's been a fabulous week of great 'guy' films at the Cinematheque: "Dr. Strangelove" Wednesday, "The Deer Hunter" Thursday, "The Good, the Bad & the Ugly" tonight. And not a lick of crappy CGI.

Yes! + 1,000,000,000,000!

If violent movies were the cause of violence, shouldn't do-gooder doggerel like "Gandhi" and "Crash" cause an outbreak of universal love and brotherhood? Thank god the theatre I went to didn't overreact...not only did we get the "Man of Steel" and "Looper" trailers, we got to see the trailer to what looks to be one of the highlights of the year: Quentin Tarantino's "Django Unchained"!!! Hell yeah!!!

Hmmm, it's been so long since I saw the movie and I don't recall an inordinate amount of train shots...certainly not as overt and symbolic as Claude Lanzmann's use of trains and train tracks in "Shoah", his epic exploration of the Holocaust. Next time you have 10 hours to kill, rent it...everyone should see "Shoah" at least once. I should probably wait and see "Tinker Tailor Soldier Spy" again before answering your question, but I'm going to go on a limb and say that it was probably no more than a way of providing flavour to the film. I've found in my travels that trains are a more prevalent influence in European life than in America. Trains, and train stations lend a film a certain atmosphere. The next time I watch it, though, I'll pay particular attention to the train shots and see if I can detect any pattern or symbolism.

What the hell? I always miss these brouhahas. So after catching up over the last several pages, I don't understand why Steve was upset at Sam the Webmaster. It seems the main beef was between Jahfin and Steve. Sam merely answered a question. It's all such a trifling matter...as long as Steve's info is accurate(which it seems to be 99.999% of the time), who cares how or why he attains said knowledge. I also don't ever recall him saying he worked for the band, so it's curious that Jahfin brought it up...by this point it's a moot issue. I can't believe Steve will stay away long...he has devoted too much time and effort to his Mysteries thread to allow this minor kerfuffle to derail it and wither away. Besides, if he has Jahfin on ignore, Jahfin shouldn't be able to bother him, right? Wouldn't Jahfin's words appear invisible to him?

Saw "The Dark Knight Rises" at a midnight show last night. No metal detectors, no cops, no hassles, no overreaction to an aberration. Was going to see it at the Cinerama Dome, where the place was crawling with cops and media, but it was sold out. So I ventured further east on Sunset to the friendly confines of The Vista in the Los Feliz/Silverlake area of Hollywood, where nobody carries a weapon stronger than tofu. The movie was good...but with a few issues. I'm seeing it again on Monday at an IMAX theatre. I'll wait until then before writing more.

Since Major Major apparently shut down the Movie thread(his is the last post and every time I attempted to go to that thread it self-destructed to the point where I had to reboot my connection), I'll post this here. In honour of the Rolling Stones 50th anniversary of their first gig, tonight(July 12) the American Cinematheque screened "Gimme Shelter", the Maysles Brothers film of the Stones' 1969 U.S. tour and the Altamont apocalypse. I always like to see it on the big screen when I can, and as it had been some time since I had, this seemed the perfect occasion to do so. More than 40 years on, this film still has a power nearly unmatched among rock documentaries...don't even try to put "The Song Remains the Same" in its class. It's not even in the conversation. If only Peter Grant had gotten the Maysles brothers to film the 1973(or any other year) tour. Mesmerizing, intense, frightening, disturbing...it's a good thing I didn't see this until I was in high school. If I had seen it when it was first released I probably would have been too scared to go see the Rolling Stones in concert in 1972. Hell, just reading about Altamont in Rolling Stone magazine, and other media outlets, was creepy enough...but there was just enough distance to the event itself that I could rationalize away any trepidation or fear. When you watch "Gimme Shelter" though, that distance is erased. There is no escaping the apocalyptic horror of Altamont...the look of terror and bewilderment on the faces of the audience, the menace and malevolence of the Hell's Angels, the pathetic attempts by the musicians to calm the crowd. There is a revealing sequence during "Sympathy for the Devil", where you see audience members crying and pleading with Mick Jagger to do something, anything, to stop the violence erupting around them. All Mick can think to do at that point is dance away to another part of the stage...it's like Mick looked into the abyss and for the first time realized the forces of darkness he had unleashed and how he was powerless to control them. Faced with this unfamiliar feeling, he could only revert to what he knew best...to shake his ass and mug for the crowd. In this way, you see him trying to convince himself that all is well..."what can a poor boy do 'cept to sing for a rock and roll band". Watch his face as "Sympathy" comes to a close as he leers and teases the audience like he's done a hundred times before, and you can detect a slight glimmer that he doesn't really convince himself...or the audience. He has no control over anything...the Hell's Angels own the stage and the environs. I have a bootleg tape of the entire Altamont performance and besides painting a clear and correct chronological order to the violence and the crowd's increasing anger at the Hell's Angels(at the point of the concert where Mick asks "Who's fighting and what for?", on my bootleg tape you can clearly hear the audience shout "it's the Hell's Angels". Even more creepy is the fact that you can occasionally hear the thumps of the pool sticks hitting some poor guy in the crowd. How the taper maintained his poise and position while this was going on is a miracle), it shows that while chaos reigned around them, somehow the Stones pulled it together enough to give one of their best concerts of the '69 tour. In fact, after Meredith Hunter's murder during "Under My Thumb", there don't seem to be any more incidents the rest of the show. Watching the credits at the end, which is always easier at a theatre than watching on TV, I was struck by how many familiar names pop up. I knew George Lucas was one of the camera operators...but apparently his footage was deemed unusable by the Maysleys. But also operating cameras were Elliott Erwitt and Gary Weiss. And Walter Murch was one of the sound guys. There's an interesting link to Pauline Kael's infamous review and the filmmakers response to her accusations here: http://www.mayslesfilms.com/films/films/gimmeshelter.html

"BEASTS OF THE SOUTHERN WILD"!!! http://www.youtube.com/watch?v=Wqt5m0OBkjE&feature=youtube_gdata_player I love movies that sneak up on you...under the radar...and allow you to discover them as opposed to being hit over the head by a drumbeat of publicity for months and months ala Spiderman(which apparently is not so 'amazing' after all). "Beasts of the Southern Wild" is one of those small, unlikely gems that periodically pop up at your local multiplex, almost hidden in plain sight amongst the summer action behomeths. But it has pleasures that are beyond the mediocre capabilities of those CGI orgies polluting the screens these days. There is a purity of vision, a true cinematic poetry at work here in Benh Zeitlin's first film, assisted by the beautiful and evocative cinematography of Ben Richardson. Set in a region of Louisiana called "The Bathtub", which is outside the levee walls in the Southern Delta, it is an eye, a window, into a life and culture very few of us will ever know or experience for ourselves. The main character is a remarkable, almost feral 6-year old girl named Hush Puppy, who lives with her father in their ramshackle compound among their various animals: a dog, pig, chickens. Her mother seems to have run off to somewhere...where or why is a mystery to the child. There is a big storm(shades of Katrina) and decisions must be made amongst the people on whether to flee or stay. Because these people live outside the levee walls, the film suggests they are almost a society outside of normal society itself...their own tribe with their own customs. I don't pretend to know much about Louisiana and the ways of the Bayou myself, having only been to New Orleans a few times and driven through Shreveport and the north a couple times, but to this city dweller, these people's lives seemed almost unfathomable. In fact, much of the movie has the mystic tone and feel of a fable, and there are moments of either surrealism or fantasy. Which, given that much of the film is from the point-of-view of Hush Puppy, and even photographed that way, makes sense. Oh, about that child...the 6-year old Hush Puppy? You won't see a better performance, by adult or child, all year. You may see one as good...but not better. Quvenzhané Wallis, who plays Hush Puppy, is in almost every scene and she will SEAR herself into your memory. It is an astonishing performance...it would be astonishing for an adult, so the fact that this little girl was able to summon the facial control and emotional facility needed for this role is a miracle. A Best Actress nomination should be a lock, and dare I say she should win. So the next time you're at the multiplex looking to escape from the heat, ignore the pallid, pathetic likes of "Spiderman", "Rock of Ages", "Savages", "People Like Us", "The Watch" and "That's My Boy" and instead seak out and reward yourself with the unique and amazing "Beasts of the Southern Wild".

All three distinct eras of Fleetwood Mac have their moments, whether it's Fleeteood Mac Mk 1 (Peter Green-Jeremy Spencer), Mk 2(Bob Welch-Christine McVie), or Mk 3(Lindsey Buckingham-Stevie Nicks). For pure hard English blues, the Green-Spencer-Kirwin triple-guitar attack was hard to beat. Get any live album from that period, especially Live at the Boston Tea Party 1970 or Live at the Roundhouse Chalk Farm in London 1970, and you will hear some mighty epic blues jamming. Besides "Albatross" and "Oh Well", "Black Magic Woman", "Green Manalishi", and "Rattlesnake Shake"(best song about jerking off EVER!) were well known songs from this era of Fleetwood Mac. Because it was sandwiched between the mercurial Peter Green years and the later Buckingham-Nicks commercial blockbuster era, the Bob Welch period often gets overlooked, but "Bare Trees" is an understated gem, with the original recording of Welch's "Sentimental Lady" and Christine McVie's great "Spare Me a Little of Your Love". Plus, I will always have a soft spot for the Welch-era's "Hypnotized". Obviously the Buckingham-Nicks era needs no introduction as the 1975-1982 era was their most high profile and successful period. But there is a reason those albums sold so well...there are some good songs on there by Christine, Lindsey and Stevie. The production may get a little glossy at times, but to me, the "White Album", "Rumours" and "Tusk" all hold up better than the Eagles output during the same period. I'd rather listen to Fleetwood Mac(any era) than the Eagles anyday. And yes, Christine McVie is the bomb...great voice, great talent. That rhythm section of Mick Fleetwood and John McVie wasn't too shabby, either(again, they were superior to the Eagles' rhythm section)...they were the glue and foundation throughout each of the three eras of Fleetwood Mac.

Jon Brion, Richard Thompson, Joni Mitchell, Aimee Mann, Jim Boggia, Michael Penn, Robyn Hitchcock, Elliott Smith, and Bert Jansch are some others I have seen pull it off.

He doesn't have to sing...just play guitar instrumentals or something. Just play or his gifts are just going to atrophy.

Saw this last night. The last of the trilogy of films that Jonathan Demme and Neil Young have collaborated on and a great way to end. I posted more about the movie over on the Neil Young thread in the Other Music/Bands section.

Tonight-July 3, 2012: BEACH HOUSE @ The El Rey Theatre...with Wild Nothing.

Have you seen the ticket prices for the tour? Crazy. I saw the new Jonathan Demme/Neil Young collaboration "Journeys" last night. Excellent as always when these two get together. A bit of a shock to see how much Neil Young has aged in just the short time from the previous Demme concert doc "Trunk Show". "Heart of Gold" from 2006 was their first and now "Journeys" completes the Demme/Young trilogy. You already should know the premise, but briefly: Neil Young(led by his brother) drives from his hometown Omemee("there is a town in north Ontario") to Toronto to perform a solo concert at Massey Hall during his "Le Noise" tour of 2010, with Jonathan Demme along for the ride to film it all. Unlike the previous two films, this concert is just Neil alone with his guitar(acoustic and electric), harmonica, organ and piano. The setlist is almost half "Le Noise" songs. There are also some old nuggets like "After the Gold Rush" and "Ohio". The sound is amazing...when Neil strikes the top E string on his guitar, you can feel the vibrations transmute to your body. A very emotional performance, with Neil close to tears a couple of times. A MUST-SEE...unless you don't like Neil Young. In which case, what are you doing here on a Neil Young thread? A thought that ran through my head as I watched the film was how different in their approach Neil Young and Jimmy Page are...not just in regards to their guitar-playing styles but also in manner and personality. I mean, could you see Jimmy allowing Demme such close and personal access to his thoughts and personal history? Could you see Jimmy sitting in a small hall and just playing a guitar with no backing band?