Despite all this, by far the majority of Zep songs were written and played in Standard Tuning. Your choice of tuning can greatly influence the overall sounds and textures of whatever it is you compose, but using a tuning on a guitar is not a method of composition, it's just the tool you use to express your musical ideas. In the early days of Zep, Page was obviously listening to other music voraciously - early blues, the folkiier musicians of the time as well as current bands of the time - and a lot of what he listened to informed his musical ideas (and his choice of tunings). His method of composition was pretty much like everyone else, ever: Listen to the stuff going on around you, stick it in a big mixing pot, add the filter of your own taste and preferences and see what comes out the other end. There's no 'trick' or magic(k) to it. Except, perhaps, the application of your own musical character to make all of the things you have referenced distinctively your own. He also had access to another great compositional tool - great collaborators who a) didn't necessarily listen to the same things he did (adding different influences can change the way you approach playing literally anything you hear), and very importantly b) came up with brilliant ideas of their own. If you come up with an idea, and run it through that particular filter you often find your own idea gets enhanced by the application of other peoples ideas, and their interpretation of your original idea. I'm sure I recall members of the band saying in interviews how much material came out of the improvised jams (and the way the band interacted in those jams), that happened when they were playing live - one of the best compositional tools there is!

I clearly remember watching this complete train wreck, having just bought tickets for the Outrider tour. I was beginning to think I'd wasted my money... Couldn't believe how awful Page was. I mean, I was prepared for merely 'not very good' after the Live Aid debacle, but this was on another level. I think the general consensus is that he'd had waaaay too much to drink before going onstage. He played the Heartbreaker solo like somebody who had once watched Jimmy Page playing it without the sound on.... the motions were there, but his left hand seemed to have virtually zero strength or coordination. I was embarrassed for him. And yet, six months later at Hammersmith his playing was very good indeed. I think if he's not touring he simply doesn't practise - he just relies on muscle memory. Muscle memory is a fantastic thing, but if you don't practice regularly you lose strength and dexterity.

There was a lot of mixing and matching between whole sections of different nights in some songs in the original release - but not just one instrument/voice. The easiest way to deal with it (and I think what they actually did) would have been to mix all three nights to stereo, and then edit together the 'best' bits to make an entire performance. By the time Kevin Shirley got onto the case in 2003 there was the ability to mix and match discrete tracks in each song (hence he was able to glue the mellotron from Stairway in Southampton into Stairway on HTWWW when Jones was actually still using the organ) and even to correct duff notes and incorrect timings. This would absolutely not have been possible in '76.

With non-linear digital editing that would be relatively easy nowadays. In 1976 it would have been ridiculously difficult, if not impossible to match a vocal from one show to the instruments from another. Considering how much variation went on from song to song and from night to night in terms of tempo, dynamic and overall 'feel', I'm still not sure you could convincingly match a vocal from one night to the bands playing on a different night.

Add to this that recent improvements in audio processing technology have also increased the possibility that multitrack recordings once dismissed as unusable for various reasons could now be rendered viable. Other innovations have opened the possibility that stereo recordings (soundboards for example) can now be remixed (to a certain degree). However... If there's not enough enthusiasm within the remaining band members, they're not going to see the light of day. If the sales figures versus effort involved don't add up, they're not going to see the light of day. Jimmy Page has a tremendous amount of inertia, and at the moment he's standing still.

No, it was actually Allen Klein, the stones’ manager, although Loog Oldham did sue later over royalties. Sounds like the whole thing was a bit of a clusterf**k, until May 2019.

Yup. It’s a completely digital recording. You're commenting on production values and instrumentation, not the recording medium. There are beautiful, warm sounding digital recordings and there are clinical cold sounding analogue recordings. It’s not what you record the sound on, it’s what you do with it during the recording, mix down and mastering.

Do you enjoy listening to the O2 ‘Celebration Day’ recording?

No. Obviously the implication is that Page would have been the one to die.

Depends on what they/their lawyers negotiate. Could be a lump sum based on projected sales and the length of the clip, could be a percentage. I should imagine lots of wrangling, and big money involved. Just look at the recent Stairway to Heaven fishing expedition by Taurus. When you consider how badly the Stones screwed The Verve for Bittersweet Symphony (they made not a penny from that song, until Jagger and Richards relented last year I think..) you can see how difficult and long winded negotiations might be. Then also consider that Page grumbled about Charlie Jones and Michael Lee getting writing credits for Walking into Clarksdale, he probably objects to any amount being taken.... ...so the songs get taken out.

Not while Page is alive. Especially not when the copyright owners of those other songs want their pound of flesh, which is why they were removed in the first place. And if you mean the multitracks as literally separate tracks for people to mix..... never. Very few artists would ever release the multis of their music.

These are opinions, not amp settings! He said so. Scores out of 10 I guess.... 😉 I mean, if you're going to give people amp settings for Jimmy first you've got to specify: Is it live tone, or the tone used on an album for a specific song? If it's live: what year? what amp? (WEM, Rickenbacker, Supro, Vox, Marshall, Petersberg, Orange, Fender, etc...) what cabinets? (are they open or close backed? what speakers are in the cabs?) is he using the Tonebender? is he running the guitar through the echoplex first? is he using the Pete Cornish board? just for starters.....

Here you go. The rhythm's been simplified to make it easier to tab: https://www.tunelessons.com/Tab/XKL4WsdA

No. That numbering system only started in 2001 and does not indicate the age of the vehicle - only when it was first registered. For this format of license plate - only used between 1963 and 1982 - the Final character indicates when vehicle was first registered for use on the road. (In the UK cars keep the same license plate forever - unless the owner has it changed). In this case the letter C. Which means the car was registered between January and December 1965. You can't tell when the photo was taken from the license plate.

Bit of a daft question really. Because he wanted it. If the sound engineers had applied an effect to his voice he didn't want, he'd have told them to get rid of it.

Xolo1974 is talking about the machete job done between the 1976 "No Quarter" (sublime) and the 2007 re-release version (a crime against humanity). Obviously your point is the differences 2007/2018. The bitter taste left by the 2007 version runs deep.

It’s an interesting article, but you’re going to be disappointed if you think it’ll give you any Page production “secrets”.. No need to dig out a copy of the magazine. The whole thing is here: https://www.soundonsound.com/people/inside-track-mixing-led-zeppelin-reunion

Baritone guitar I believe... Standard tuning down a fifth, so ADGCEA.

More like 20 years.

He had a son with Maureen's sister. Jesse Plant is Shirley's son.

It's all about the PA the band brings with them. In the Beatles' day (Shea stadium for example), they'd use the 'house' PA, which was generally a piece of shit used for announcements. But that didn't last long. After that, for a while anyway, big amps were used, with the vocalist having a PA and the drummer having to bash the shit out of his kit. Then, finally, everything went through the PA, and that's where we are today. There are generally two PA's in use at a gig - the front of house that blasts the audience, and the monitoring/foldback/sidefill system that the band get to hear, with their own separate mix. Nowadays most guitarists will play big gigs with (relatively) small amps or combos (even if they've got a wall of, usually dummy, amps), and rely on their foldback sound so they don't have to stay close to their amp to hear themselves properly. It also means there are less completely deaf guitarists nowadays!

....and the last time it was seen on stage, in public, being played by Page was...? The point is the "remains in active use" is a little disingenuous.

The number one "remains in active use today"? In a museum?

We use pounds (lb) in the UK too. 130lb is just over 9 stone. If Bonzo had weighed that much he would have looked emaciated. Jimmy probably weighed about that much towards the end of the '77 tour. He was more likely in the 14 - 16 stone range (200-230lb). In case you're wondering... Kilograms weren't really used to measure peoples weight in the 70s, but 130kg is about 20 stone - more in the Peter Grant range. Sooo.... Planty was most likely just taking the piss out of his friend.

...and here’s the car from the outside. About 1:10 on the video. Bonzo’s Jensen Interceptor appears a bit later too.