Nope! It's a Rolls Royce Silver Could II. Check out the door detail.

From the steering wheel and the posh wood on the door, it looks like a Bentley. S1 Continental maybe? 1950's/60's.

"do you want to take it away John?" "if you like Jim"

Gonna be tough going with all his main guitars on show in a museum.... Wonder what their insurance costs are!

'The' Black Beauty? Maybe the one that was played at the 02. Page's original one had three selector switches by the time it went AWOL...

I find the two bolded comments a bit baffling, just from the context of previous work: LZ I GTBT - 2 guitars one panned hard L, one panned hard R BIGLY - Acoustic guitar panned hard L (reverb in R channel), other guitars come in panned hard L & R D&C - mostly guitars panned hard L & R, some active panning YTIGC - Acoustic hard panned R HMMT - Guitars panned hard L & R, some active panning. LZII WLL - Guitar panned hard L LS - Guitars panned hard L & R - main part hard L TY - Guitars panned hard R HB - Guitars panned hard L & R LLM - Main guitar panned hard L - other guitars need hard R Ramble On - Guitar panned hard R - other guitars hard L BIOH - Main guitar hard R, another one L, another in the middle. LZIII Immigrant Song - Main guitar panned hard L, other guitars hard R Celebration Day - Main guitar hard L, other hard R OOTT - Guitars panned hard L & R Gallows Pole - Guitar panned hard L Hats Off - ermm.... extreme example but still stands up. LZIV BD - one guitar hard left, one hard R R&R - main guitar hard L STH - acoustic hard R, other guitars hard L & R MMH - guitar hard L WTLB - main guitar hard L I think you can see the point. If there was a 'formula' that Page worked to production-wise, it would seem that for a majority of the time he had his guitars hard-panned, often with a big reverb on the opposite channel - BIGLY and WLL being excellent examples. He also compressed the living shit out of his guitars throughout their entire recording career. If you're criticising the guitar placement of Presence, why not on every other album too? If your criticising the use of reverb on the vocals, why not just about every other album too? (I think you don't like the slapback delay being used on Candy Store Rock (I'm not a fan either), but it was supposed to be a bit of a pastiche so it kind of stands up.) (Totally off-topic, but interesting an fact, Candy Store Rock is also unique because - despite what they've said - there's an acoustic guitar strumming away in there.)

It's definitely deliberate, and it's not tape hiss (or at least it's not a product of too much bouncing like with 'She's so heavy' by The Beatles). It's the sound of an echorec (or similar) delay unit with the feedback set high - the same device Page used with the theremin on stage.

He'll have had the Fender custom shop make an exact copy of the neck to put on it probably. That's what those guys do!

So, now we see one of the reasons Page was at Abbey Road Studios recently. He now seems to be into recreating his gear to make it marketable, rather than creating new music. Obviously there will always be an audience for this stuff, but you're going to have to have some serious wedge to be able to afford it I reckon. https://www.sundragonamp.com/?fbclid=IwAR1LRvvEZSz_e28rmKbvAJyYi_jD-7nK0RroRR6cZekPX6qaC_hwpe4zGN8

Yep.... here we go: https://www.independent.ie/entertainment/music/robert-plant-jokes-led-zeppelin-reunion-will-take-place-in-a-chip-shop-37087891.html

It's the kebab shop in Camden Town he went to straight after the O2, rather than going to the after party. It's a five minute walk from his house in Primrose Hill, and he's a regular customer. I believe (please correct me if i'm wrong) he referenced it quite recently as being the only place a reunion would happen - with tongue firmly in cheek.

Looks like Jimmy's Gibson only deal may be at an end.... https://m.facebook.com/story.php?story_fbid=10156759326952612&id=9366537611

Bwahahahahaha! 😂 That's hilarious.

Mic-ing every piece of a drumkit in the studio didn't really start happening until the late '70's. The early recordings would have had 3/4 mics max - this is why the room that the drums were recorded in was absolutely essential to the sound. The 3/4 mics would have been mixed in the studio (and processed by a series of compressors/limiters) to get the required sound, and sent to either 1 track (mono) or 2 tracks (possibly stereo, or to give you a little bit of room to play about with balance in mono). The Drum sound in Levee, for example, relies heavily on one single microphone dangling above a well tuned, brilliantly played drum kit in an obviously fabulous sounding room, and stuck through a great sounding compressor/limiter. This article gives a brief overview of some of these techniques which were made popular by Glyn Johns and still get used today with great results: https://www.recordingrevolution.com/the-glyn-johns-drum-recording-method/ As I said before, it's not the number of mics, or tracks, that determine the drum sound. It's how they're played and recorded - or in the case of Japan, premixed - before they get to tape. With some of the post-processing available today a great deal can still be done with a less-than-optimal pre-mix - again I point you at the Beatles Hollywood Bowl recordings, which George Martin thought were pretty much unusable back in 1964/5. If the Japan tapes were recorded too hot and distorted, then very much less can be done with them.

Absolute rubbish. Have you heard 'The Beatles at The Hollywood Bowl'? That's a Three track recording. The Drums on Led Zeppelin II (for example) are ALL on only two tracks. It's far from impossible to get a good drum sound with only two tracks, in fact some of the best ever recorded drum sounds have used only two tracks. It all depends on HOW they were recorded.

Dancing Days is played in an open tuning (DGBDGE I think, if memory serves) so it would have required either a re-tune or yet another guitar. Probably considered too much hassle for such a short song.

True. But from the perspective of the buying public Let It Be was the final album of newly recorded music. I think Phil Spector's production set it aside from the rest of The Beatles' canon anyway.... but it was still the last album. Much as, like or loathe it, CODA was Zep's last album.

Er... Let It Be was released after Abbey Road. Or doesn't it count because they'd split by the time it was released?

Badly mixed and badly mastered in the first place. Good mastering can iron out some of the problems of a bad mix, as we can hear in the latest remaster of ITTOD. However, even thought the new remaster is a vast improvement, it doesn't hide the fact that some questionable choices were made in the original mix. Back on topic... I think Presence sounds great.

It's the Wyre Forest, and the property is about 40 miles from the Welsh border. So it's nowhere near the border at all, really. The nearest big(ish) town is Kidderminster.

Robert nixed that waaaay before the O2. I heard him say he wouldn't work with 'those guys' again - full stop - the July before the gig. He may have been cagey about it in public, but his mind was very firmly made up. It was a one-off for Ahmet, and after that the door was shut for good.

34 lbs???? It's made from wood, not lead! My '69 deluxe weighs about 9lbs and it's not a light guitar. The doubleneck could possibly weigh twice that, at a push (although the SG style body is much thinner than an LP). I think it's more likely to be in the 12-18lbs range. I wouldn't want to have over my shoulder for 2 hours, but 15-20 minutes? Even at his most emaciated it shouldn't have been too much of a burden. Lifting it above his head for a few seconds? Not really an issue.

I think you're clutching at straws a bit there. Not big enough to be a video camera. Looks like a guy taking a stills shot to me. Also most video cameras would be rested on the right shoulder.

Perhaps not a literal 'call' (but you never know...), but the point I'm trying to make is that Jones obviously networks with people. He's always doing something, working with new people, getting up on stage and jamming, collaborating, producing, writing, arranging, experimenting, and obviously says 'Yes' quite a bit to the idea of working. Grohl was champing at the bit to work with JP & JPJ. JPJ was/is active and made himself available. JP was/is not and didn't. Page won't even get up and jam onstage any more, let alone collaborate with anyone (other than Halfin...). He's renowned for being reclusive, and he's his own manager, so I bet he's on the phone constantly drumming up interest for new musical projects. Not. The guy has a horde of people who would love to work with him, but nada, zilch, nothing musical (save a couple of noodly minutes in IMGL) that's new in 17 years. And then he's snarky at Jones for not asking him along?

All Page had to do was pick up the phone and say to Grohl 'about that project you mentioned? I'm interested....', like Jones did. Jones - proactive, collaborates constantly. I don't think he's into revenge, but I'll bet he appreciates a bit of karma. Page - gives off the hermit vibe, waits around for calls and gets disappointed and snarky when no-one does.