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  1. First, thanks for that Otto! Where were you weeks ago? I pretty much had 85% accepted that was the chord anyway but it's also cool to see such a great behind the scenes. To tdc, anyone can have their opinion, I didn't care if you disagreed. I just found it annoying you didn't even say why...as if you were just ignoring my immediately previous post. As it turns out, well, you were, but apparently not on purpose so no harm done. To bouillon, wrong chord. That purple haze chord is not how Jimbo plays it. On a related note, notice that after Page shows Perry the chord he flubs it the first time playing it in time, then doesn't really try it again. It made me wonder if his ego didn't want Page watching him have to practice his chord, lol. Guitar playing is muscle memory. Even for guitar gods, if you've never done that exact chord shape before, you'll have to run through it some before you've got it down cold.
  2. On the album, why would you think he plays it as a C root when Page himself called it a G root chord? It also means you don't trust the tab from the magazine that interviewed Jimmy about it (the tabber specifically pointed out that the A-string 3rd fret is not being played but that people always think it is because JPJ's bass is in the mix)? Also consider that Jimmy specifically said the chord is unusual and you're suggesting very common chords instead. You could be right, but it's odd to gloss over that rather compelling evidence to the contrary. To clarify, when I was talking about the C9 no 3rd earlier, I was only referring to the chord that is formed when you add in Jonsey's bass playing the C. The live version I know nothing about. It may not be an overtly hard chord for a good guitarist, but neither is it an easy chord to finger quickly and without unintentional mutings ...unless you're used to classical guitar voicings or something. He may have played it different ways over the years out of laziness.
  3. Answering my own question here... I've now seen the magazine with my own eyes. It's transcribed by Jimmy Brown as 31033X...which is exactly how DewieCox said he plays it. You win Dewie, walk hard indeed! As Page suggested, it's quite different from most of this thread's guesses and other sheet music book's transcriptions rooted in C (apparently because that's the note JPJ plays). Of course, the interview was done by Brad Tolinski not Jimmy Brown so there's no way to know for sure that Brad got Page to show him the chord and Brad passed along that info correctly to transcriber Jimmy Brown, so this still might not be correct. But now we at least know what the magazine says (and apparently years ago GW transcribed it similarly but without the A-string note--as a straight forward Gminor). All we know for sure is that Jimmy referenced it as being a G chord. It was the interviewer that called it an astringent inversion. Reviewing the thread for thoughts that were on the right track... BTW huw, that's verbatim how Jimmy Brown described it "C9 (no 3rd)". Jimmy Brown has a Play the Best of Led Zeppelin lesson/backing tracks DVD that covers SIBLY, R&R, STH, & TSRTS.
  4. FireOpal, thanks for the info that it was actually from Guitar World November 2011. Online it didn't get posted until Dec. That link in the first post worked when I posted it. Guitar World must've removed it since then. Anyway, I'm sure I'll come across that issue one of these days. Here's another location for just the article: http://thefalconsnest.wordpress.com/tag/jimmy-page/
  5. To be clear, my point of view is that short of the possibility that Jimmy mentioned the chord, showed the interviewer, but the interviewer forgot or Guitar World's left hand didn't know what the right hand was doing and published a previously transcribed tab without the updated chord... ...There's no point in starting a debate when we don't have to. Nor should we have to try out different chords or ask Jimmy on his website. He already told us right there in a widely published magazine (and seemed to suggest that past tabs, including the ones I just posted were wrong) and if one of the dozens or more forum members who own that issue manage to read this thread, then hopefullly we'll know. So to whoever does have that issue, thank you in advance for letting us all know. I just don't want someone who has the issue to skim this thread and not reply because they think the orginal question about the magazine has been answered.
  6. I appreciate the anwers from you both, but still...no info how you came to that conclusion. That is, I still want to know what Guitar World Dec.2010 said it was. And maybe that's what both of you two were telling me, but you didn't specifically say so.
  7. Thanks for moving the post mod. I figured the musician's forum had been scrapped only because (I realize now) I had gotten myself in the Main Forum Subforums directory, which doesn't include this one. Bouillon, though that's close to what I vaguely remember, I have to ask if you are getting that literally from the recent magazine article tab...partially because it's hard to believe I could forget a chord shape so simple (though it wouldn't be the first time my absent mind failed me) but mainly because Jimmy himself suggested previous tabs had been incorrect and simply muting the questionable D string doesn't exactly seem like a revelation. A quick check of other tabs I have shows it being tabbed in these other ways that are similar except that extra D-string note. "Volume I" A: 3 D: 5 G: 3 B: 3 and "Led Zeppelin 3" A: 3 D: 2 G: 3 B: 3
  8. Hmmmm, I dont' see a 'musician's' forum so... Can anyone that gets Guitar World magazine tell me what that "block" chord was that Jimmy refers to in that Dec.(?)2010 issue where he is talking about the Immigrant Song outro? I read that on the newsstands but forgot what the chord was by the time I thought about it again at home. The online article features everything but the tab and I presume that Jimmy revealed to the tab author or interviewer what the chord was. The guitar world transcription was definitely different than how the Hal Leonard zeppelin 'wheatfield' collection one tabs it (and apparently others). (For further clarification, I'm talking about near the end where every few measures they all take a quick stop to play a single beat in unison.) http://www.guitarwor..._iii?page=0%2C1 "PAGE: It’s a block chord that people never get right. It pulls the whole tension of the piece into another area or another dimension just for that moment. And a bit of backward echo makes it a bit more complete. "
  9. As Laura and others said, for those of us who weren't around back then, it's a treat to read such a detailed, exciting concert experience story. I literally got goosebumps a few times. Reading your post made me think of how I'd never been a huge fan of TSRTS (the song) until I heard it live at my first Page/Plant concert. So powerful and I remember thinking the atmostphere was like Beatlemania when they opened with it. It almost blows my mind to imagine what it must've been like to see those songs performed by the actual Led Zeppelin in their prime, but you did such a good job of describing it, I guess I don't have to Some months ago I went to the Jason Bonham Zep Experience expecting myself to enjoy a great cover band and get some Bonzo history. I think subconciously I had never had any serious thought of actually hearing some of those Zeppelin tunes live in person, as clearly that era has passed...or really anything even convincingly sounding like I'd imagine the proficient and powerful Zeppelin had sounded back in the day. So I was totally caught off guard to find myself choked up at points, able to close my eyes and let my imagination convince me I was hearing, at least, the original Led Zeppelin playing live. ...especially since some of those songs Page/Plant never got around to doing (and anyway, Page/Plant had a different feel, IMO). So it was a very satisfying experience and if I had forgotten what the band meant to me back when I discovered them at 14 and then spent the next decade obsessing, I was viscerally reminded of it then. Anyway, the point to that little aside is ...reading your story also took me to that place. So thank you for that. Only thing that makes me wonder about is your age. 10 years old? You were probably still wetting your bed a few short years prior and now you're engaged in minutes-long passionate french kisses in public and thinking things like "baby steps...baby steps"? Assuming your main source was your jounals, the way you recognized and analyzed the show's goings-on is almost unbelievably adult. It's impressive that you understood the significance of what you were witnessing. Obviously, a lot of it was written from your now-adult perspective so maybe if I reread it I'd see it was consistant with that explanation. As for your girlfriend...Robert Plant might as well have been a geezer to an 11 year-old girl. Pre-teens like Justin Beiber, teenage Leif Garret types, not hairy chested guys who could pass for 30, no? But I've never been an 11 year-old girl. EDIT: oh, though the part about your girl literally getting scared during Dazed sounds pretty legitimately like a kid experience, haha.
  10. No, "metal" is not it. We all recognize that many other LZ songs do things well that are also done well in ALS. That's a copout on your part. The important point (some of which are recaps) is that it has one of the most memorable, gripping intro/outro riffs of all time (the way the intro riffs start out out of time and then come together), a main riff that in the words of one of my past roomates (who wasn't even a LZ fan) is "not a riff you forget" (I was surprised he recognized it after I lazily played a few bars of it on my guitar one day...prompting his resonse that I still remember to this day), the best solo in the LZ catalog, the gripping military drum rythym in unison with the bassline (that changes slightly when repeated during the solo...to chilling effect), the non-standard song structure that doesn't just work but works magnificently, the only 10+ minute song I've ever heard that has never gotten tiresome even one time that I've ever listened to it, the cool uniqueness of the galloping bassline, the guitar/vocal in unison section (especially the syncopated rythmic playing Jimmy does in between the repeating unison lines), one of Bono's greatest drum showcases not just for technical difficulty but for how perfectly it lifts the song, the way it's seemingly overproduced but yet everything works perfectly to create its epic feel (don't slight its production merits; I've heard many well-written songs get held back by poor decisions made in the mixing and instrumentation...to get it perfect is always an accomplishment), the magnificent lyrics, and then ending the way it begins ...leaving you still holding that breath half-in while you let your adrenaline wear off. There's much more if I was to take the time/effort. I even like how in the last military rythym section Jonesey unexpectedly drops out for just a couple of beats. It seems your error is in thinking it has to all be summed up by one thing. Its all of those things. There are not plenty of songs in Zep's catalog that do so many things as well as ALS does. There must be a dozen moments in that song capable of inducing goosebumps. That doesn't impress you? If you read those things I listed off and think "I'm not sure what he's talking about", then you need to listen again, because it's what the rest of us are hearing. I normally am quick to write off differences in opinion as legitimate differences in taste, but since you're obviously a fan of Zep's music, I can't write if off as "well, you just don't like that type of music. Don't cop out.
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