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About Earthchief

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    Over the hills and far away

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  1. Remasters is fantastic. I'll give my vote to Physical Grafitti. The solid stone building evokes the solid mass of rock music within. No silly rock music cliche's on it either. ITTOD would have made a great cover for a sort of Led Zip Blues compilation. Presence felt more Pink Floyd. Houses of the Holy number two. Love Song Remains The Same as well. The blackness, the graphics. I like CODA as well. Led Zep 1V has a great front cover that really evokes the mystique of Led Zep to me but the dreary back looks like a punk or Supertramp cover. Worst album covers HTWWW and The BBC Sessions.
  2. No particular Order and only at this moment. Changes ever five minutes. Achilles Last Stand Song Remains The Same Stairway to Heaven Kashmir When the Levee Breaks. Battle of Evermore Whole Lotta Love In The Light No Quarter Over the Hills and Far Away
  3. Physical Graffiti could be the best 'Rock' Album of all time. But it's not perfect. A couple of wayward tunes on it. Led Zep 4 is however the Greatest Album of all time and utterly perfect. It is everything. It is the moment it lighting was captured in a bottle.
  4. 1. Led Zep 4 2. Physical Graffiti 3. Houses of the Holy 4. Presence 5. Led Zeppelin 3 6. Coda 7. Led Zeppelin 1 8. Led Zeppelin 2 9. In Through the Out Door
  5. Always loved the ending tom When the Levee Breaks. The fact that it's the last closing moment of their most perfect album - by the time to get to it you're exhausted with wonder and that thank you and goodnight slide and nonchalant un and down strum. God drops mike and walks off....
  6. 1 -. How Many More Times 2. - Bring It On Home 3. - Celebration Day 4. - When the Levee Breaks HOTH - Song Remains The Same SRTS - No Quarter PG - Kashmir P - Achilles Last Stand ITTOD - I'm Gonna Crawl C - We're Gonna Groove
  7. 1. JIMMY PAGE (by a country mile, nobody close, that book is closed, no one has ever come near in terms of sheer breath, diversity and creativity - did it all - did it without wall to wall effects - every solo a unique stand alone reimagined piece - patented the Guitar God Role/Pose/Benchmark - stunning virtuosity when he felt like it between cigarette puffs, deep reservoirs of soul, emotion and intensity when he felt like that). Some way down: 2. Robert Johnson (They still can figure out how he played some of those two part tunes - Defo most improved guitar player!!!) 3. Jimm
  8. I just love a coupe of tracks on CODA actually which you haven't listed. We're Gonna Groove would have been a monster if released in its original 1969 time. Blistering track. Darlene is pure vintage Zip to my ears. Poor Tom is delightful in the folky tradition of Zep. And on the De Lux version, Travelling Riverside Blues is on there apparently which is just a great dirty swamp blues rocker. I love Bonzo's Montreux as well.
  9. Ahh! Led Zep 111. What a beautiful thing. From the cover to the music inside. To me there would never have been a Led Zeppelin without 111. The first two albums sound very much of their era. If they'd stayed exactly on the same track they would have faded away and be just another one of dozens of power rock bands from that time. 111 changed everything. It was in a way the real beginning of the journey where they really did rewrite the rules and create the Led Zeppelin myth. 1 & 11 were likes odes to their influence. 111 onwards was the real deal. 111 to 1V to HOTH to PG and P - what a run.
  10. I've only just encountered Window and Whiskey for the first time and I think they're brilliant. Really interesting guitar, cool drumming/bass and vocals on Window. And Whiskey is just such a dark sinister blues guitar - love it. Always great to come across new stuff but this is excellent. If Radiohead played Window at Glastonbury it would have been lauded as genius.
  11. Ahh! ITTOD. What a conversation. First of all, a brilliant album cover from an era when album covers were part of the whole experience. And then we all put the record on! It's taken me years and years to come to terms with ITTOD. First of all, I always thought IGC was one of the most amazing ways to 'end it' as it were given that in theory it was the last song of the last album released while they were still a band. Plant's vocals are fantastic in that song. In the evening opens magnificently. And form memory I liked it 'a lot' but struggled with those chorus breaks and the sound of the
  12. I think history has already decided it's WLL and STH. If, God forbid any of them die, I would bet my house that the TV news broadcasts would show a clip of one or the other if not both. So I'll leave them two to the rest of the wider world. It can never be Kashmir for me because of one simple fact. As epic and magnificent as it is, it's missing the one vital ingredient that you need to be the one single legacy track by Led Zeppelin and that's a great solo by the world's greatest ever guitar player who strode the galaxies in dozens of amazing solos. Still bugs me a bit that there isn't a s
  13. It absolutely is a Led Zeppelin album. Especially for me as it was my first Led Zep album (bought for me as a Christmas present). At that time I had only ever heard Side A of IV on n old cassette that ran out just before the end. It was a year or so later before I ever hear the bit where plant sings the last line acapella. People forget there was no internet back then, no Led Zeppelin on TV. There were no magazines in my world with anything about LZ. I didn't know that the theme to Top of the Pops was a Led Zep riff. There was no classic rock radio in rural Ireland. I didn't even know what the
  14. As much as PG is the epic monster of an album that it is, it still doesn't touch IV for me. There's something mystical and magical about IV. It would be interesting to imagine a stripped down PG, shrunk to a single album size and ponder which of the tracks (other than Kashmir) would have been included. Challenging! It's sheer amount of songs does give it an advantage over all the other albums. There's something perfect about IV. The grind of BD. The dreamy mythical guitar/mandolin/vocal melodies or BOE. The 60's/70's hippy stomp with big riff MMH. The eerie gothic rumbling threatening FS, a m
  15. Hadn't seen that. Looks like just what I'd love, the story behind every song. What sort of stuff does it go into?
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