http://www.youtube.com/watch?v=hPfpUv4hUOw

I think he has never been idle when it comes to his ambitions

LZR God Bless ConneyFogle

thank you for taking time to share love the pics- your review is more of a review than most reviews

coming from a place of enjoyment rather than audiophile crtitique: BBC seems a natural sound, more like I am in the audience in a close proximity TSRTS seems more of a bootleg than some bootlegs HTWWW seems like a super cleaned up bootleg Celebration Day however.... oh my dayum

thank for this !!! now listening to ....

wonderfully stated, feel the same way

NatGeo

flummoxed on this topic a little 1. The bar is set immeasurably high for Page studio-wise and live tour 2. Historical record is chock full which makes comparison accessible and quick ( music world would be quick to say: "Well... it's good- it's fantastic even. It's just not quite LZ '71 or it's like Landover except it would have been better with Plant- but only before his voice warmed out. Loved it, great to see Jimmy. Wonder when the next LZ release is...?? ) This creates a mine field within the realm of opportunity. Seems to me he only has two ways forward: a.) do something for fun or that is noble such as the O2 b.) do something completely different that is beyond compare to YB, LZ and previous solo or P/P stuffs. As deep and wide as his core competencies are, the man may not be able to escape himself, his reputation and that amazing stage presence. For what Page needs, he makes it clear that he wants time in the white hot aura of being near the drums. The sizzle there is life giving and he is anxious to share the experience. Love me some Celebration Day and I have no doubts that we will see more in the future. No idea what shape, form, means or timing- I cannot imagine keeping that kind of drive quiet much longer.

...and then the violin bow comes out 3:56+ sorta got in the zone and stayed there

bright light almost blindin'

You know he has stacks, both acoustic and loud

because in the estimation of the band they couldn't find any tracks that would add to the direction and flow of the set. Seems to me they had a lock on what works live and especially a lock on how to be LZ - and not a tribute band to their former selves doing a greatest hits and top of the pops from each album show.

David she is getting "fluffy" not hating on your girl there just sayin'... Fluffy works too. Maybe she told her handlers to fly off and now she does what she wants including bacon sandwiches and bon bons. No doubt I regard her as one of the most photogenic in the past 5 years.

love to see a vid of it

definitely got the Arthurian connotations VirginiaParker and your character was the topic of more than one conversation on the drive home from the midnight showing of TSRTS during the early '80s. topics ranged from King's Daughter, to Plant's sister to things a bit more seedy

after this finishes I am going to hit play on the Garden Tapes... thanks for the reminder Leb http://www.youtube.com/watch?v=SsOkqdRHhoc

one of those songs where I lose track of time and where it is in the song....

listening at work...

9-29 Osaka is gonna be the one isn't it the vinyl on the SRTS double LP never gets old, nit picking on the guitar tone- seems squashed which drys out the sweetness and growl. Best part of Page's live tone was the on-demand snarl and grit.

haven't visited this in a while, my notes and memory seem to line up with the scribemasters Evster & huw In the Evening seems to have multiple tunings used as well in the background wash/reverse echo layers. Caroselambra, How Many More Times, Battle of Evermore and When the Levee Breaks do as well. I think in a few instances he removed strings from the guitar and kept just a primary and two sympathetic strings. What I years ago originally heard as a flanger now sounds more like he was using variable tape speed during pre/post production.