Dallas Knebs
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Posts posted by Dallas Knebs
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Swan Song/Midnight Moonlight took the longest so I don't know if that equates to difficulty
I'm Gonna Crawl was a try, try, try again track that started as a mandolin/hurdy gurdy/acoustic in Feb '70.
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Is JP a sloppy player?
in studio= no. You don't get hired and in demand by being anything other than someone who delivers precisely what is requested. You do not get called back ever if you do.
On stage = no.
No more than someone driving an automobile or operating machinery is whilst under the influence. Even on the best clean days every musician I know cringes when they hear playbacks of themselves and usually says "I heard it a little different than what it sounds like..."
On 4/30/2017 at 6:22 PM, Box of Jimmy's said:Drugs. Plain and simple.
At the O2 several- especially those who were not at the event- commented that JP was cautious, reserved and played safe. He played sober.
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EC this is the one you want...
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On 4/7/2017 at 5:01 PM, SteveAJones said:
Always loved that hot rod. I understand it's been owned by a private collector for many years now.
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On 4/13/2017 at 6:07 PM, SteveAJones said:
...Imagine Page, Plant and Jones reunited at the Chateau Marmont- Edit it down, press it to dvd and make tons of $$$, a portion of which should be sent to me for the concept. You're all welcome
this stuck with me since you posted it and ya know SAJ you have something here.
Could borrow some of the format from "It Might Get Loud" especially the informality. Screen it to theaters which would minimize the need to get on the promo circuit and slog thru all that and it would provide access to the content for many who would not be able to win a ticket lottery.
Aaaaaand JP could put together a soundtrack, remaster it- with a companion disc- and well there you have it the 50th Anniversary super D deluxe extra bonus issue with marbled mothership red vinyl with a SRTS genuine reissue tshirt available in Japan since the Medium and Large do not fit anglos.
See what you do to me- want to don't want to. Can't help it.
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On 4/17/2017 at 2:43 AM, SteveAJones said:
...which has pretty much already been done before with Jimmy & Robert on the In The Studio radio program with Redbeard.
speaking of warhorses...
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3 hours ago, SteveAJones said:
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Use the "search" function on this site for a smattering of info
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... how can they not. I am 100% confident of new composition and companion materials.
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On 4/8/2017 at 5:31 AM, Boleskinner said:
He acquired "Sticky fingers"
...73 is his peak...but a compilation of the best bits of each tour would suffice for me.
Exactly.
Excitement/enthusiasm peak was 68-71
Command/execution peak was 72ishI will say '79, '98 and '07 were just fine for me. Not a fan of the over-nuanced push and pull of his phrasing in '77-Over Europe, for me it's annoying.
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... would be nice to see blimps fly again- been a while now
hoping they do a night at Knebworth if they do anything and beam it to the world. Demand unprecedented. I am 100% confident new music will be involved.
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6 hours ago, SteveAJones said:
--but NOT Led Zeppelin
Mr. Graham did it - the source of many a scuffle
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...so what I hear you saying is "what a great song" and "it's fantastic that it is on an official release"
If the purpose of LZ music was to rise above critical pressures, it would not.
Rather, the band created demand unprecedented during a time of enormous competition [allegedly] I rarely listen to studio LPs, "glitches" and "sonic imperfections" prevent my enjoyment and pleasure not one iota.Warner had zero input regarding content.
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On 7/3/2016 at 11:52 PM, riffsofpage said:
I must be the only one who thinks "Live in Peace" is nearly as great as "Stairway to heaven"
not at all
originally on the Cut Loose album ====> Live in Peace 1983 [if you can abide the cilck track drum work btw he played all the instruments] It holds up ok.
Mendelsohn's work on the LP is like a textbook and frames the vocals- kinda the point- precisely.Live in Peace is my personal favorite from the band. So much care and emphasis had gone into "don't sound like Bad Company" or "LZ" we have to sound like our own unit. =====> solo begins 42:42
55:30 laser/bow worth a watch & listen
Commercial music was such a mud puddle then and no one was certain what would take off and Mean Business owes some of it's patchwork to that.
Next favorite from the band is:
Money Can't Buy- Live [1:55 track begins] -
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On 11/27/2015 at 11:37 PM, NealKenneth said:
My vote is for 28 May 1977 in Landover.
this one is on my list because of all the different little things they had worked into the number especially as it approached the finale- spent a great deal of time trying to chart it out back in the day.
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...it went a bit past 11pm and started a bit before 11am- started stepping over people in the bogs by about 8:30am and I thought ticketron wasn't in UK til '81
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Mr. Rosanne Rosannadanna, release says he had end of life issues including Alzheimers. RIP. Hope they do a fantastic send off and memorial.
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1 hour ago, renounce said:
...your view on the actual result of Caveman's work...
well... he got paid.
I think it speaks volumes that John Davis is doing LZ, Page and Yardbirds work. Caveman at that moment was a solid pick, else he would not have been employed. Technically, Caveman did what he was asked to do by the guy paying him to do it, at no point did that include pleasing and meeting the critiquing expectations of fans.
"Wow listen to the clarity, the mud is gone wow listen to the chink and transients on the bass..." and it is impressive, Caveman did a solid job. Taking analog to digital tho is going to have a downside. The toms on the kit tell the entire story. At some points it's like a mic was dropped inside a tupperware container.
With Caveman's work, the apparent level, relative level and perceived level [humans hear in averaged btw] are as high as -0.2db rather than bumping along around -6db and breathing/expanding up and down. Not much room to breathe when the range is so narrow and already at the top.
Contrary to urban legend, Caveman did not push/compress/chop the signals excessively. Had he done that the noise floor would have come up so high as to be a huge distraction.
For me, what I will tell you is that I prefer the original releases on vinyl. Folks who have never owned a turntable have not experienced the expansion that occurs when you crank an LP and that sizzle and glow happens. It's not possible in the digital realm. LZ vinyl was produced in a way to allow the listener to crank it. CD/stream are pre-cranked typically about 6db to 9db hotter than mid-70x levels- and the RMS is still getting louder.
When you opened Presence for the first time and the intro to ALS started... then For Your Life. Beyond brilliant. LZ is amazing in that with the headphones on you could hear so much going on. The placement and movement within each section of a song- then looking at each side of the LP as a whole, the artistry is unmatched thru the entire catalog.
I enjoy HTWWW, it seems to take some effort tho.
PS... Not much is said about the Celebration Day release in 2012, especially the night and day differences between the blu-ray and the CDs. Alan Moulder's work on Celebration Day is fantastic considering what he was given. Once he received instruction on the sound of the band, the outcome was LZ 2007. The digital product is ok and the vinyl is really close. My ears do not feel like someone is hitting my eardrums with an icepick after about 2minutes of listening.
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...and frame that with the obligatory appeal
more $$$ for the lawyers
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7 hours ago, renounce said:
Shirley 'tightened' Bonzo's drum sound a little.
Also, the vocals seem strangely divorced from the rest of the band somehow.
You have great ears. Caveman referred to restricting "tightening" the drums to a ~range of -45L and +45R which does several things. Primarily the drums no longer step on and compete with the ambience. Surgically applied gating to the individual drum tracks added focus and room to the overall sound. Significant bleed outside of this range covered up some of the performance which then allows the listener to hear the boxiness of the vocals. They were tightened up as well for the same reasons.
Additionally the guitar was sweetened by block eq and parallel dynamic eq throughout. Adds clarity and smooths out some of the signal. If anyone is a guitar player, the frequencies targeted were roll off under 180hz -24db slope, cut at 505hz Q6, 632 boost Q8, 1.86hz boost Q6, roll off at 6.32 -12db slope.
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11 minutes ago, The Old Hermit said:
Whatever happened to Jimmy Page the sonic perfectionist?
just speaking for myself I have regarded the perfectionist aura as urban legend, a great deal of LZ material is sonically tragic or near tragic. To a fault, Page left it alone if he thought it sounded good at the time. LZ tracks are notoriously less processed and finished out than most of the era- which allowed the dynamics to keep the spotlight and that is what the band is about- the band dynamic. 24/96 reveals so much that it is to the point of distraction. I admire and appreciate the commitment to not deviate from the source but... nvm.
on the subject of royalties- this a side topic to the point of securing copyright renewal
on the subject of different releases being compressed/chopped is urban legend as the technique primarily employed is block eq and parallel eq- an enormously effective go to method of restoration/remastering. While technically a superior outcome, it leaves some of us with listening fatigue and a less pleasant experience.
I went back and listened to some original boots [1/4" TDK cassettes from the late 70s] of the BBC and I have to say they are slightly more pleasing to my ear than what I hear on the promos. Noticed that a LP from which the cassettes were made must have been missing some tracks and they were rearranged to better fit the 30mins a side. Seriously good boot. Didn't even have to hit the DBX A/B button on the deck...
as a nostalgic moment I remember when KZPS 92.5 played this bootlegged version of D&C in 1982 just before midnight- I just could not believe it. We were in a parking lot on Greenville Ave and the entire parking lot was listening to it. The power of music to unite was on full display. Next night we caught TSRTS at midnight. Dallas in the 80s... and Austin.
Yet I digress... am thankful for this release warts/bumps/winces and all. The joy that LZ music brings is it's own treasure regardless of the form.
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Mountains of 1/4" tape could make mountains of releases yet why bother when it is outside the scope of what the band was about... ref. Roger Waters travesties...
so including companions LZ has released more than 20discs which for me is plenty.
Live LZ music is available thru boots although so many marked as "SoundBoards" are not. Plenty of boots for me. EC official release, now that is it for me."Take Me Home/In the Morning/In the Light" and "Fire/HOFN +Closer by The Firm + SMT on C/P" and a few of the others on The Firm and Walking into Clarksdale have their origins from '71 & '72.
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am thinking maybe Page should grow out the sideburns to match 1967- he could pull it off
Page/Plant 05/10/95 America West Arena, Phoenix
in Pre / Post-Zeppelin Forum
Posted
...and "You Can't Seize A Sunrise"
Conneyfogle started a memorable thread a while back here =====>