I'm not a religious man, but GOD BLESS ROBERT PLANT!!! How I love this man! "Mighty Rearranger" just might be my favourite Robert Plant album...it's definitely in the Top 2...and the Strange Sensation was my favourite band of his solo years. So to see Mr. Plant back with Justin Adams and these cats is delightful news of the highest order! I truly have something to look forward to in 2012-2013 NOW!!! Cannot wait to hear what he and the band have cooked up...and hope he tours America! Thank you Robert, thank you, for staying true to yourself and your passions. And to all the nattering nabobs of negativity: a big FU!

In 1975 Jimmy would be holding a bottle of Jack Daniels. My how times have changed. Probably for the best...healthwise, at least.

Yep, that's her. Very tall with long great legs, dazzling eyes and smile...and can talk sports!!! What's not to love?

Sorry for the tardiness in posting this... In anticipation of Mardi Gras, last week's David Letterman show had an amazing performance by Erykah Badu, Mark Ronson, the Dap Kings and legendary Meters drummer Zigaboo Modeliste. It's part of this music project called "RE:Generation". Erykah Badu is one badass Soul Sista!!! Enjoy... http://www.youtube.com/watch?v=mKOwzHaPQOg&feature=youtube_gdata_player

^^^Good luck to her, then...I wish her well.

ESPN Sportscenter w/ Hannah Storm. Oh Hannah...Hannah...HANNAH!!!

Melo is a black hole...throw the ball to him and you're not likely to see it again. I have a feeling Wade is going to light Lin up tonight, and the Heat destroy the Knicks tonight. Rick, I think Walter was referring to your ALL CAPS post to him up above. He missed your explanation about your hard of sight wife, and thought you were yelling at him. Oh, and I wouldn't worry about the Lakers getting Howard...maybe if Jerry West and Jerry Buss were still running the team. But with the current bungling regime, it's a longshot the Lakers make any kind of decent trade. Nice win against Dallas last night, anyway.

I don't know exactly when the rule started, but photographers generally are only allowed to photograph the first few songs of a gig, then they usher them out of the photo pit. Even if this was not the case with this Zeppelin show, this is the second and last encore of an already VERY LONG concert. You don't know from listening to boots, but there were no cheap encores with Zeppelin...they would wait for minutes before coming back for encores. It's probable that all the photographers had left the show already by this point of the night. Remember they had to develop their photos and see if any were print-worthy for the next day's papers.

How 'bout ITTOD?

They probably play something like "Rain Song" or "That's the Way"...I could see blissing out to that. Massaging to something harder like "Wanton Song" or "Rock and Roll" might be more difficult.

The Watkins Family Hour(Sean & Sara) w/special guests including Jackson Browne @ Largo tonight 2.22.12.

It's only ripping the artist off if they intended to release the show to begin with. And even then, I don't buy the record industry's cry of woe regarding lost sales to bootleggers. For one thing, I doubt that sales of a bootleg make it past 1,000 or so. Compared to the millions sold of How the West Was Won, that's a drop in the bucket. I myself already had three different bootlegs of the 6-25-72 show when HTWWW came out, but I still lined up for the midnight release of the DVD and HTWWW. And I wager everyone else who had a bootleg of the 6-25-72 show also bought the HTWWW release. To be clear, I am not talking about pirate copies of the official albums and I don't approve of the people who stole soundboards and studio tapes from Jimmy. But a guy taping a show at the Forum is not taking money out of Zeppelin's pocket; you're swallowing the music industry's kool-aid if you believe that. For one thing, it's the mystique of the bootlegs that's partly the reason the legend of Led Zeppelin hasn't faded. This isn't like being a fan of the Beatles, Stones or Dylan, where you have 50 albums and umpteen official live albums to slate your thirst. With Led Zeppelin you only have 9 studio and 3 live collections...that's it. Oh, and a couple DVDs. And I have bought EVERY single one of those releases several times over in many different formats. So you'll forgive me if I don't feel guilty buying a copy of "For Badgeholders Only" for my nephew...a show the band has no intention of releasing as they neglected to multitrack it. People like Mike Millard didn't rip the band off...he did more to ensure the Led Zeppelin legacy than Dave Lewis and Stephen Davis and all the other writers combined. For it's one thing to merely read about how good Zeppelin is in concert, but it really hits home when you can hear for yourself...complete with all the Plantations. They should nominate Mike Millard for Sainthood.

There's a BIG difference between what Peter Grant did and what Jimmy does when he's in Japan. You're usually more knowledgeable than this...unless you're being deliberately obtuse.

Major Major, I appreciate your comprehensive response to my post. And for the most part, I'm just going to leave it at that, because it's apples and oranges. Some people like the Eagles, some people don't. I am one of those who don't but I'm not going to begrudge the ones who do. I mean, I can agree that the Eagles, for all their flaws in my eyes, did have some good songs and some musical ability. They're not completely hopeless like Kiss. Just a couple clarifications before I go... 1) The BeeGees reference was more about that annoying high keening chorus of "Lyin' Eyes"...it reminded me of the castrated birds vocals of the BeeGees. 2) I haven't listened to "The Long Run" since 1980, but I do recall "The Sad Cafe" as being one of the two or three songs that didn't bore me to tears. Someone else mentioned "I Can't Tell You Why"...so I may go and give it another listen. But as for coked-out yuppies...maybe things were different in Merry Olde, but in the USA, every yuppie I met was an Eagles fan...and Phil Collins, too. You also have to understand, that unlike England radio, which acknowledged such a thing as the 80s and punk, new wave, and the latest developments in pop...in the US, rock radio pretty much buried its head in the sand and tried to carry on as if the 80s never happened and created the "classic rock" ghetto. The Eagles were played constantly and still are. So much it was inevitable you would get sick of hearing even their good tunes. There's a bar and grill next to the American Cinematheque where I frequently attend the film programs. No matter what day or what hour, whenever I come out of the theatre, you hear an Eagles tune blasting next door...usually "Take it Easy" or "Hotel California". It's become a running joke among me and my friends. Anyway, I've said my piece...more than my share, frankly. This thread is for Eagles fans, so I'll leave and shan't bother you again.

Really? You would take this: http://www.youtube.com/watch?v=edKq2tQcC_c&feature=youtube_gdata_player over THIS?: http://www.youtube.com/watch?v=LuaGneHBGXQ&feature=youtube_gdata_player

Yeah, I don't download or use an iPod so I would want a physical release, too...either cd or vinyl. But if the band was amenable to this idea, I would think they would have started doing this years ago. Nowadays, who knows what shape the tapes are in...but if they did decide to do something like what Phish and the Grateful Dead have done, I would buy every release!

It all depends on what your definition of "is" is.

Perhaps a Ouija board?

http://www.youtube.com/watch?v=DYOmp6N2DTs&feature=youtube_gdata_player

Here's another touching tribute to Trish from New York Magazine: Remembering Trish Keenan, the Extraordinary Singer for Broadcast By Nitsuh Abebe NYMAG.com January 14, 2011 It’s amazing how sad it can be to wake up in the morning and find your corner of the Internet swathed with MP3s and video clips and chatter about one of your favorite bands. It’s like that telephone call in the middle of the night: You know something bad has happened. And if you’d just been reading (and worrying) about the singer of said band being in the hospital, you can guess what it was. That person, this morning, is Trish Keenan, lead singer of an English group called Broadcast — owner of one of those singular voices that doesn’t strike you as anything so legendary, until you realize how perfectly it’s lodged a particular feeling in your head. Maybe it seems strange to write about Keenan here; I didn’t have nearly so much to say about the deaths of a few musicians who were probably more important, or at least better known. (Say, Captain Beefheart, or Ari Up of the Slits.) There are two differences, though, and they both leave me sad. One is that, by various accidents of taste and timing, Broadcast were always important to me, and plenty of others — more, it seemed, with every passing year. They’d managed to grow from a stylish late-nineties curio to a band that was always pressing in rich new directions, whether they were swimming in highbrow experimental waters, making evocative pop music, or — at their best — managing both at once. That’s the other thing: Keenan’s death comes, sadly, in the middle of a still-vital career, maybe even one that was at a turning point. Broadcast’s last LP release was in the fall of 2009, and it was one of those experiments; it was named album of the year by The Wire, a magazine devoted to left-field music. But the band had a habit of circling around pop — spending a few years in the laboratory, playing with sound, then making a gorgeous, melodic, inviting album out of all the odd things they’d discovered. I was looking forward to what they’d do next. But, as early reports have it, Keenan picked up the flu while traveling, developed pneumonia, and died early this morning. Some of us will miss her a great deal, and be glad for what music we have. So who are Broadcast? Scroll down to the videos embedded below. They started off as a five-piece band in the mid-nineties, with a sound that was both alluring and, at the time, fashionable. They were one of a few acts cobbling together something “futuristic” from bits of the past: old organs, jazz drumming, sixties folk and psychedelic music, beatnik cool. They had arcane influences, like an old psych band called the and “library music” — which is to say, the kinds of experiments with technology and sound that used to happen at institutions like the BBC Radiophonic Workshop, and those odd tones people of a particular generation mostly remember from wobbly old educational filmstrips. The music conjured a certain mood, and the mood invited far-fetched descriptions: Hey, imagine an old sixties Twilight Zone episode where someone winds up at a smoky club in the future — this might be the sort of act that would be playing! Over time, the band lost members, started making impressive pop songs out of http://www.youtube.com/watch?v=YhvN-lEPCsI, and eventually, in 2005, now down to just a duo, released my favorite record of theirs: Tender Buttons, a collection of blocky, buzzing keyboards and careful, bewitching songs. (It’s not their most immediate: That might be 2003’s Haha Sound.) Throughout, Keenan’s voice was one of the richest things Broadcast had going for them. It’s like an anchor: No matter how spare, abstracted, or foggy the music ever got — even to the point where it was just geometric sound-shapes floating by in the background — there was this still, methodical voice in the center, peering out at you. (Something about Keenan’s voice always sounds like she’s looking you dead in the eye, even though she tended to sing standing very still.) The voice has been described as deadpan, precise, lilting, haunting, ghostly, the sound of “innocent elegance,” a “drone,” and plenty of other things besides. Who knows: It has a certain effect. It seems to be calling out to you from some other place. It has no vast range or showy skills or amazing expressiveness, but it’s warm and even and you know whose hands you’re in. On some songs, Keenan sounds cryptic and oracular, as if she’s calmly telling the future. On others, like “Michael A Grammar,” it’s more like she’s taunting or teasing, trying to talk someone into something. In one interview, she described some of the band’s tracks as “nice little classroom folky songs,” and the dreamy image that conjures — some late-sixties schoolteacher singing softly in a hushed, institutional, blank space — captures exactly the kind of grace she brought to some of this music. For instance, “Tears in the Typing Pool,” the first of the songs below. It always feels a little silly to get too aggressively bereaved about the loss of a musician you liked — a person whose work you felt connected to, but never in the least knew. Still: Read over interviews with Keenan, and you see a thoughtful, dedicated, curious person, the kind of artist who cared enough about what she was doing that she’d actually set herself writing exercises. (One song a day, a song in a half-hour, that sort of thing.) She’d begun writing poetry and fiction, as well, and given the wealth of ideas and emotions she brought to Broadcast’s songs, I’d always wondered where that might lead — what might happen if she reached the age where music became a hassle and it was more attractive to sit down with a pen. But the work we do have from her is, for some of us, memorable enough, and well worth visiting.

In "TSRTS" film, "Moby Dick" is edited down to a palatable 10 minutes and Jimmy's bowing extravaganza is lucid and in the context of "Dazed and Confused", ie. it's part of an ongoing song. On the 77 tour, the drum solo and guitar solo were self-indulgent 20-30 minute solos...and Jimmy's especially could be haphazard and meandering at best, even with the added visual flair of the laser light show. And on those shows where the guitar solo followed the drum solo, that meant there was close to an hour of momentum-killing bullshit. The concerts often struggled to regain intensity and momentum after this. Although I never said it out loud, I often thought the same thing those people on the bootlegs said...enough with the guitar lesson, indeed, Jimmy! Play a goddamn SONG like "The Rover" or "In the Light"!!! But still, as bored as I and others might have been(the drum solo was the cue to hit the restrooms and snackbar lines and chat up the girls), you never heard booing at the end of a Zeppelin concert...at least I never did. Going back to the 1969 concert the OP referred to, I have never heard this Detroit show but I bet that for all the booing heard BEFORE Led Zeppelin came out, once they started playing the crowd's boos turned to cheers once they got a load of "As Long as I Have You" and "How Many More Times" piledrived thru their skulls. I bet you don't hear any booing DURING Zeppelin's set.

Can we have at least a week where somebody DOESN'T die? Rest in Peace Joe Thompson.

Ok Major Major, since you asked so nicely, I'll illuminate the situation for you. My Eagles history goes like this. Heard their songs on the radio around 1972 or so and thought "ok" but nothing that made me wanna buy the record..."Take It Easy" was all right, but "Peaceful Easy Feeling" left me snoozing for the most part. I was into Zeppelin, the Stones, David Bowie, the Stooges, Sabbath in 72-73 and the Eagles sounded too limp, too much of that LA session-man vibe, if you catch my drift. My first Eagles album was "Desperado"...something about that song touched a nerve in me, and that, along with hearing "Tequila Sunrise", convinced me to get the album and give it a shot. I found the album uneven at best, but as a Zeppelin fan, I did recognize the producer's name Glyn Johns. During these years, I did see the Eagles in concert but it was usually because they were bill fodder...they were always opening for somebody or used to fill out those summer rock festivals. For instance, I saw them at the first Cal Jam in 1974...and I think I even saw them open for Yes(?!?) one year. So I never actually bought a ticket to purposely see the Eagles until 1976. Why 1976? Well, that is when Joe Walsh joined the band for Hotel California. The Eagles had put out 2 or 3 albums since "Desperado" but I pretty much ignored them, as when I heard "Lyin' Eyes" and "One of these nights", I had the same reaction as one of the above posters had: it reminded me of the BeeGees; and not in a good way. But I loved the James Gang, so when Joe Walsh joined I thought that might improve the Eagles and shake them out of their mellow rut. When I heard "Life in the Fast Lane" and "Hotel California" on the radio, they were rocking enough to convince me to spend a penny on the album. So I did...I spent a penny, plus $4 or so in shipping and handling. Allow me to explain. Back then, every so often in the magazines you would find inserts advertising these record clubs...Columbia, MCA, Polydor and others...where you could choose 8 or even 12 albums for 1¢ + shipping and handling costs. Then every month they would send you a catalogue and you could choose to get the monthly selection or some other release...but the catch was you had to pay the list price of $5.98 or $6.98...more if it was a double or triple album. So in early 1977 I decided to join the Columbia Record club, and among my 8 free picks were the Eagles "Hotel California" and "Greatest Hits 71-75". Aerosmith, Ted Nugent, E.L.O. and Bruce Sprinsteen were some of my other picks. The Hotel California tour was also the first time where I purposely went to see them in concert as a headliner. Then there was a long lull until 1979 with "The Long Run" release...even though the first song I heard from it on the radio was horrible ("Heartache Tonight"), I went ahead and bought the album anyway. Blech! Within a month I got rid of it and used the money to get the Clash's "London Calling instead. Only Joe Walsh's "In the City" was halfway listenable...the rest was mellow dreck ("The Long Run", "Heartache Tonight") or outright embarrassments like "The Greeks don't want no Freeks". It was clear this band sucked and not even Joe Walsh could make them worth my time or money. It was coked-out yuppie-rock for coked-out yuppies...something I wasn't interested in nor could I relate. I HATED cocaine. And so, as 1979 turned into 1980, I said "Sayonara!" to the Eagles...much as I bid adieu to many 70s bands that started to suck or that I had grown tired of: Aerosmith, ELO, Ted Nugent, Black Sabbath, Jackson Browne, Fleetwood Mac, Todd Rundgren, the Kinks, J. Geils Band, Heart, and more. I don't think I even bothered to see the Eagles on the "Long Run" tour, so disgusted was I with the album. I quickly put the Eagles and their coke-fueled personal soap opera in my rear-view mirror. Fast forward to 1994 and the Hell Freezes Over hoopla...I thought their MTV special was moderately ok; it wasn't as good as Page & Plant's, that's for sure. And the Eagles acoustic "Hotel California" was as dreary as Eric Clapton's acoustic reworking of "Layla". I did not buy the album. But since a lot of my friends were thinking of going to the concert, I briefly engaged the idea of checking out the reunion tour myself...UNTIL I saw how much tickets were!!! :faints: Money-grubbing assholes...NO WAY was I paying THAT for a bunch of coked-out has-beens! In 1994 I saw the Rolling Stones and Red Hot Chili Peppers at the Rose Bowl for $35. Lollapalooza 94(Beastie Boys, Smashing Pumpkins, George Clinton P-Funk, Nick Cave, Stereolab, Flaming Lips) was also around $30-35. The Eagles were asking for more than $100!!! I said "Go to HELL!" Take it from here, Jeff Bridges: http://www.youtube.com/watch?v=cVaiRLDM628&feature=youtube_gdata_player

^^^Dude, they're the CLIPPERS! There's 30 years of futility they have to overcome...you can't expect them to be consistent world-beaters overnight. Young teams require patience...especially on the road. So don't panic over a meaningless loss in the grind of the regular season. I guarantee you no team wants to face a healthy Clippers team in the first round. Ok, NBA fans...which LINguistic turn of phrase are you sick of the most: LIN-sanity? LINning? LIN-vincible?