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Everything posted by rogerthat

  1. "....(One of) two sports utility vehicles (SUV) believed to be transporting Jimmy Page and Robert Plant, two of Led Zeppelin's founder members, depart federal court in Los Angeles."
  2. A quick look at the list of showings reveals that 'Celebration Day' is NOT playing in.....Indiana, which of course is a shocking oversight that I presume will be immediately addressed. So. I'm WAITING.
  3. Thanks for the kind words, Steve. It was..... really strange for all of us Led Heads to have The Man here in town, flying in and getting cheerleaders to greet the band and all that. Jeez, we couldn't believe he was here AT ALL. I believe that - somewhere - I have the ticket. I'll keep up the hunt. I do know of one person with an audience recording - or he USED to have the audience recording. I've contacted him, and I'll post an update as events warrant. And a thanks to you for being a great resource over the years, especially since the official site came on line. Love to see yer posts here and on RO. I've enjoyed the videos of you guys here and elsewhere. NICE STUFF!! BTW, Boiler Up:
  4. The Firm Purdue University - Elliott Hall of Music West Lafayette, Indiana April 29, 1986 Hey. That's the Hall of Music. And I was at that show, seventh row center (more or less). GREAT SHOW. FANTASTIC SHOW. Ideal venue for The Firm. Acoustically warm and an enormous stage (90 ft proscenium) for prowling rock stars. Very intimate, even with 6,000 seats. The place was designed by the same folks that designed Radio City Music Hall. Very similar in many ways. I was living in sin (and I mean SIN) with my (now) wife. She wasn't interested in Zeppelin/Jimmy, but she humored me on my various excursions to concerts, ha! She was on the Dean's List, I went to class.....sometimes. BIG night for the local Jimmy Page-Led Zeppelin Appreciation Society. We had dinner and drinks (LOTS of drinks, boy could we sink 'em back then) and off to the show. My recollection (somewhat unreliable, I will easily admit) was that it did eventually sell out, or very nearly so. Selling out ANY show at Purdue is unusual, even today. They flew a private jet into the Purdue Airport (less than five minz from the venue by car) where they were met by the varsity cheerleaders, which got a sincere "THANKS FOR THE GREAT WELCOME" from Paul during the show. WOOT! Chris Slade did a KILLER drum solo and stood up at the end with a Purdue football jersey on. Yay! Tony Franklin obviously was the young, hip, unknown dude - who happened to drive the older gents in the band all night. Paul Rodgers was.....well, Paul Rodgers. What an amazing, effortless voice. And Jimmy was AMAZING. I dunno if he would say that it was a "magic" night for him, but it was for us. He worked the stage so fucking hard. Thrilling to see/hear him in that venue. There is a bootleg of that show, BTW. I know someone that did have a copy, don't know if they still do. I'll look into that. I "knew people" and we were offstage when the band finished the last encore. To me they acted like real friends, they were having a lot of fun. They teased each other, made fun of each other, laughed about mistakes, etc. VERY British. We didn't get close to them at all, just distant observers. Jimmy was clearly inebriated, and was chain smoking Marlboro Reds. Never without one it seemed. He kept the company of a ... girl, his "date" we decided, but also his coach and nurse. She toweled him down and allowed him hits off an oxygen (??) tank-like thing. That was surreal. He was drinking...something I didn't recognize (Absinthe, we speculated later) and brother, he could put it away. Holy cow. His girl would tell him how great he was, how fantastic he sounded, etc. "Thanks luv, thanks. Yer sweet". He didn't seem to know where he was when off stage, but on stage he was clearly focused and knew EXACTLY what he was doing. His playing was otherworldly, that's what I kept thinking, that's what comes to mind now. He had TONE, and his sound just cut right thru everything without overpowering the band. I've seen him play several times since, but never in the same kind of environment (the Hall of Music is NOT and arena, Jimmy should play more of these places., If he ever plays anywhere ever again, dammit). Anyway, killer show. I have long meant to post something about it, but never had. Steve's picture pushed me over the edge. I dropped my caffeine-free soda (my Absinthe days are long done) when I saw it with the clippings from the Exponent, as I sat in my chair at the mixing board, here.....at the Hall of Music, Purdue University. Cheers
  5. Holy cow. This is absurd, bickering like small children. Y'all need to cool it. I don't wanna have to pull this forum over and come back there..........
  6. Percy with....his.....bike. In Boulder, CO. http://www.flickr.com/photos/jmehal/3018889143/ The photog says that he "took this picture of Robert Plant just after meeting him in Boulder CO on 7/21/08, the morning of his concert at Red Rocks with Alison Krauss (Raising Sand Tour). "My Wife and I drove up to Boulder from Denver to go sightseeing (we were in from Georgia for the concert). My Wife stopped and asked him if he knew a good place to get breakfast...she had no clue who he was."
  7. Interesting story here: http://www.bloggernews.net/120117 Dunno about the "unrelated" part, however. "I owned LEDZEPPELIN.com for about 5-6 years. Led Zeppelin then and now is my band. "Ultimately I gave up (the domain name) without a fight, but I’m sure the bands lawyers billed them for the 1 inch thick book of a lawsuit I was served with. "Sorry dudes. My bad. "In this case the lawyers saw an opportunity to build a case against me, a fan that would have been happy with a stupid guitar pick from Jimmy. Instead I sat in silence for a year while they built a huge case as to why they should own the domain. When served, I freaked and called them yelling to take it, I never wanted that. One of few regrets. But I have a nice 1 inch thick book about me and the band and why I’m an idiot." :D
  8. From Buddy Miller's web site: "Following his show in Baltimore last Thursday evening, Buddy Miller was not feeling well. After consulting doctors at Johns Hopkins Hospital, tests revealed some heart blockage. "It was determined that surgery was needed right away. "He is now resting and recovering and expected to be released from hospital shortly. Buddy and his family would like to thank all for their well wishes and prayers." Ugh.
  9. http://wonkette.com/406714/in-olden-times-...uts#more-406714 Very funny, I thought. Cheers
  10. rogerthat


    That's AWESOME! Many tons of thanks! T-Bone back there, I see Bill Curbishley. Um, Harvey G. right there, too. Great record, great tour, great organization, great band. C'mon folks, do it AGAIN!!! "On the subject of Merlefest and similar festivals, it's a wonder that John Paul Jones hasn't fallen under nearly the same amount of scrutiny here as Plant and Krauss, especially given his appearances at Merlefest and Bonnaroo where he's appeared with Gillian Welch, the Duhks and Uncle Earl (who's record he also produced). That music is much more "bluegrass" than anything you'll hear on Raising Sand. On the subject of yodeling, one group I discovered through the Oxford American compilations is the DeZurik Sisters. You can check out their song The Arizona Yodeler which appeared on the 2005 Southern Music Sampler here." WELL SAID!!! A tip of that from me 2 you for the fine comments, well placed and well said. Merlefest is an amazing event, I recommend it to ANYONE (especially those with a more narrow view of the musical world than is healthy for them. It should cure that ailment if y'all would go). And I thought I would be the only person here that knew who the DeZurk Sisters were! Ha! Cheers.
  11. Holy cow. That really jogged memories for me. Well, fragments of memory anyway. The library in my junior high school had a subscription to People, and that issue was sitting on the librarian's desk. You know, BEHIND the check out desk and IN HER OFFICE. But I could see it as I walked in with the rest of the class. Man, I wanted to get that mag. No one had not heard a peep outta the Zep camp for fookin' AGES at that point. We were STARVING for anything, and there was a COVER story! Woot, woot. Well, I wasn't eggsactly chums with the librarian (I was with the French teacher, but that's another story - and a good one, too). So asking her to see the mag wasn't gonna get me what I wanted, I knew that much. So I just walked around and TOOK IT. Hahahahahahahha. I didn't care. I saw the Mighty Zep on the cover, and mentally I wasn't even IN class anymore, hahahahhahahaha. I went to the closest table and sat, kind of in a daze, staring at the cover. The rest of my class had gone to the study tables where we were assigned, seemingly 10,000 miles from where I was. I read the whole story, twice, in a few minutes. When I looked up, the old gal was lurking over me with a DefCon Four scowl that I didn't see again until I told my wife that I paid $200 for front row seats at a Page/Plant show years later. Hahahahahhaha. She got over it. GREAT show! When I sorta "came around", I apologized to her (the librarian, not my wife) for taking her mag without asking, sayin' something like "are you a Zep fan, too?" She wasn't. Man, she was wound tighter than an eight day clock. I spent lottsa time in the principle's office in those days. Now, about that French teacher........
  12. Live Design mag pots this short write-up about the O2 light show. Nice pix! http://livedesignonline.com/concerts/led_z...n_reunite_2501/
  13. As usual, Evster nails it. I've read this piece about Unity before. The first time, I was appalled, but not surprised. It does not take a lot of imagination to realize that these musicians, who realized unprecedented power and wealth (along with complete creative control) allowed things to fly so far out of their control. Jimmy was the leader of the band - and therefore the multi-million dollar organization. How well things functioned (or didn't) likely followed his sobriety, or the lack of it. Clearly, he was addicted. Consider the behavior this situation enables. Think about why people like Bindon were being hired. The strain on relationships, the lying and deceit that is part of addictive behavior. The weight it placed on their friendships (everyone gets an assistant), their marriages, on their creativity and musical skills, the physical, mental and spiritual toll. Holy cow. Bonzo, of course, DIED from substance abuse. Drug abuse destroys lives. It is a horrible, ugly process. She was smart to get away from the situation, especially with a bun in the oven. Unity's story, while a bitter pill to swallow as we read it, is but one glimpse into a conflicted world where our heroes are moving through the worst part of their young lives while enjoying increasing financial rewards and more adulation with each (infrequent, relatively speaking) tour and/or album. Led Zeppelin essentially operated in a sort-of vacuum: Atlantic CONTRACTUALLY could not tell them what to do. They were not benefiting from any external or objective management that could warn them of their unsteady direction. Having Cole, Bindon and Grant around made it a VERY heavy organization. They did scare people. They intended to. Imagine thinking you are powerful (and you indeed are) and then snorting a six-inch line of coke JUST TO START YOUR DAY. And it ain't like there were robust substance abuse treatment resources scattered hither and yon about this time. As Diamond Dave liked to say, at the time, know one knew it was BAD for you (yeah, right). I have always thought that the worst details were still untold, and just as well. It remains a fascinating story - not because it's so tawdry (those are a dime-a-dozen in this business) , but because the story doesn't stop there. It goes on, still to this day, all the way up to the O2, a sober, amazing, powerful, dangerous display of the creative synergy Led Zeppelin were (and still are) so capable of. They remain for me a titanic force of nature. Renewed, revitalized, respectful of each other, the Bonham family and of course, Ahmet, the three of them came out the other side. Certainly not without ugly scars and heart-breaking loss, but they did. They reached out to Jason when he was ready (he experienced his own journey through an alcoholic fog at a young age). They played and rehearsed and became this tight unit once again, playing for a charity that was a legacy of their old mentor. And it was the blood, thunder, and the hammer of the gods. For me, that's the story: The wild ride from forming from the ashes of the Yardbirds through to The End, a glimpse of which we get from the tale Unity tells and on to the O2. I love happy endings.
  14. Excellent post, SC. Many, many thanks. I have been meaning to nose around, find out more about the AMAZING video/media presentation Zep delivered at the O2. This answers many of the questions I had. Well done once more, send more. !!
  15. Go here for more, um, "geeky" info: http://forums.ledzeppelin.com//index.php?s...ost&p=74158 http://forums.ledzeppelin.com//index.php?s...ost&p=75375 The link provided in this thread by KB is a promotional video from Meyer Sound (California, USA), manufacture of the line array system deployed at the O2 for the reunion gig. If you look at the links on the Meyer promotion, you can sign up to get one of their groovy T-Shirts. Enjoy the links provided in the thread copied above. Some nice photos of the FOH board available at the Meyer site. The thread itself was full of robust conversation about "the worst sound ever". "Geeky", indeed.
  16. I went to the Adage blog ("Songs For Soap") where I first saw the ad and they had pulled it. But it is indeed available on your link (which is the original link on this here thread). Guess I'm another punter that burned too many brain cells in the '70s..... THANKS for re-posting!!!
  17. Adage took the video down cuz Verizon said cease/desist. Haven't seen it upon U_Tube....anyone know where else it can be seen now? Meant to rip it when I first saw it, now I don't find it, not even a gogle. Yet.
  18. http://adage.com/songsforsoap/article?article_id=122966 Verizon does it justice. Check out the commentary by writer Mike Tunnicliffe, and then load the clip. Excellent! Running out to get a Verizon cell NOW! http://www.rollingstone.com/news/story/179...of_led_zeppelin Nice Q and A with JPJ. A follow-up to the "band meeting in January" story. Fingers crossed! Cheers
  19. Many thanks to all for the kind words about my recent post. I am happy if it helped clarify things. A special professional nod at TeeDee, who was dead-on with that post. Additional professional cudos to Heavy Baloon. A lighting tech with empathy for the sound-type!! And vise-versa!! Doesn't happen always/a lot, eh?? harharharhar........ Regarding what should be/is still being discussed, I would hope that the sound and the lighting and the video/media for the event WOULD get considerable, ongoing discussion here and elsewhere. It is both art and science, and you can bet that the musicians are VERY keen on every aspect of these issues. I assure you that there was a great deal of discussion among all participants at the O2 before and after the event. Prolly still is. Hope so. The tech support for this show was quite remarkable in so many respects, and it deserves attention!! Interesting link here to Kevin (Page-Crowes/Led Zep DVD/HTWWW/TSRTS CD/DVD Reissue) Shirley's review of the O2 event. He is a studio guy, not a live sound engineer, so whilst his opinion has CONSIDERABLE weight, he does come from a very different angle than live-sound-types do, the two disciplines are THAT different: http://www.modernguitars.com/archives/004061.html He also thought the mix was mucked-up from the floor level. He certainly isn't the only person that came away thinking this, of course. If I recall correctly, Thread Originator GitGlenn also was on the floor (so to speak) was he not? Shirley mentions that the "engineer found his fingers" eventually and things cleaned up as the show progressed. Quite obviously, KS understands what's going on and why, then says so without insulting anyone or making terrorist threats. Well done, KS!! Here's to hoping that Kevin gets a shot at working on the soundtrack for the DVD that Dick Carruthers shot! Cheers to all.....
  20. Holy cow, what a wild discussion. Setting aside the acrimonious tone and personalized insults thrown to and fro, there is a GREAT DEAL of misunderstanding, misinformation, ignorance and assumption in many of the posts here. The original and subsequent posts by GitGlenn (or whatever the handle is) rightly provoked negative responses because of the writer's unfortunate choice of words. While I cannot endorse GG's methods, it is very common for audience members who have high expectations for a performance, only to be disappointed by the sound at the venue, to be very hostile. And sometimes, rightly so. The idea, however, that he/she/it could "fix the sound in 10 minutes" is so arrogant, uninformed and presumptuous as to be embarrassing. I should clarify that I do concert sound for a living. I have quite a lot of experience at many different levels within the industry, from engineering to show production, and I am sympathetic to GG's complaint, however poorly presented. Nevertheless, the forum deserves what small clarification I can offer, so I shall try: First, the system at the O2 was NOT an “EV” line array, nor was Clair cabinets employed. The FOH board was NOT a Digico. The description of digital boards in the earlier post was incorrect on many general and specific technical levels. The short discussion about monitors touched on authentic issues but did so inexactly, as did the one or two posts about mics, etc., etc., etc. The system design begins with Meyer Sound (USA) MILO and MICA line array systems and 700HP subs with a Midas (UK) XL8 FOH digital console and a Midas Heritage H3000 monitor console. Meyer would have provided the system management electronics and software. Midas and Klark Teknik are located in Kidderminster, near Robert's home. He and Roy Williams - his FOH engineer - have used Meyer and Midas systems for many years now. Meyer Sound is located in California, owned by John and Helen Meyer, true pioneers in concert sound. Most of the rig was rented through Major Tom LTD in the UK. The system at the O2 was indeed operated by some of the best people in the live concert sound industry. As I mentioned before - and was rightly sited in one of the posts here - both Roy Williams AND Big Mick Hughes (Metallica) mixed at FOH, while Dee Miller mixed monitors. Lars Brogaard (Rolling Stones) as principle in Major Tom LTD also provided his expertise. Both Meyer and Midas provided system engineering by providing their international touring designers. It is true that Led Zeppelin, and Jimmy Page particularly, greatly influenced both the system design and implementation. Jimmy indeed auditioned systems and interviewed engineers before making certain decisions. Robert would not have worked without Roy looking after all aspects of his vox, simple as that. The problems encountered at this event were anticipated somewhat as the O2 does have challenging acoustic properties. Many of the biggest acts in the world have played there with mixed results, including Prince and Elton John. Jimmy was quoted prior to the Dec 10th event as being impressed with the system and mix at Elton's show and claimed he would be “speaking to his sound engineers”. No in-ear monitors were employed. Robert famously dislikes them, as many - but hardly all - older musicians do. Jimmy and JPJ likely reason their monitor preferences the same as Robert. There were, instead, many similarities between the monitor system at the O2, the one normally employed by Robert on his many recent international tours, and the basic designs used by Led Zeppelin dating back as far as 1973: floor wedges, side-fills and BIG cabinets hung above stage left and right. Stage levels would have been LOUD, always a problem for the monitor engineer regardless of how carefully prepared he or she might be. Speaking directly to the feedback heard primarily at the beginning of the show (although occasionally it reoccurred), this was likely a result of vocals in the monitors that suffered from one or several very errant or "hot" frequencies that have to be hunted down as the performance goes on. This is really fucking hard to do, especially under the gun and with little time to sort out if the issue is acoustic or mechanical or both. It can easily be presumed that the monitor engineer worked as hard and as fast as he could, drawing on many years experience, to eliminate the issue, probably via his many EQ options, and it simply took him longer than anyone - especially him - would have liked. But he did fix it. Addressing the complaints posted here about house sound, an old axiom from the theater can apply: many times, the "best" seat in the house can be the worst place to see and/or hear a show. Sound systems for large venues especially are designed for the overall size and acoustic properties of the venue, followed closely by the requirements of more specific areas. Certain compromises are inevitable, and the science and art of sound reinforcement certainly is ongoing. Acoustic properties at venues influence outcomes substantially, of course, and the O2 is one of the most difficult places to design and operate large concert sound reinforcement systems, as we have noted. Where a person stands (sits) also greatly influences their experience and therefore, perception of how successful the engineers were. I can guess that GG could have been at a disadvantage because of close proximity to where the subs were landed, and if so, was victimized by his "great seat". The engineers would have made every single attempt their education, training and experience would allow to anticipate and solve the enormous mechanical, acoustic, and production issues they faced at this event. It is very true that measurements made in an empty arena would betray how the system would perform once an audience populated the venue, but there are methods that anticipate some of – but not all - these factors. I know from personal experience what it is to take measurements, factor in absorption properties and be completely wrong. I am not saying these guys were wrong; I am saying that I have empathy, to say the least. It is also true that Led Zeppelin is both notoriously loud and averse to sound checks, something that does not help the sound-types. Add the enormous expectations WORLDWIDE for this event, and you may begin to have a sense for what all the participants were going through as they worked to fulfill everyone's expectations. The event was recorded by all accounts, either for an album or DVD or both, and it could have been tracked with a ProTools rig at FOH, but for an event of this magnitude this kind of arrangement is doubtful. There would have been an active stage split of some sophisticated variety going to a separate recording system placed separately from the house system. The video record was directed by Dick Carruthers, famous for his work on the Led Zeppelin DVD and consulting on the recent TSRTS DVD reissue. By most accounts, the event generally and the house sound particularly were successful. There were issues, and audience participants are entitled to their opinions and reactions. Those of us who have been in the monitor or FOH chair literally work day and night to get the best show for the audience and the performers. Sometimes there are issues, but everyone works like hell to solve them. No one deserves to be “shot”. Please reference the provided links for specifics on the house and monitor system: http://mixonline.com/news/meyersound-ledze...02arena-122707/ http://prosoundnewseurope.com/index.php?op...5&Itemid=27 http://www.unityaudio.co.uk/article.php?id=50&loc=news http://www.midasconsoles.com/pressreleases...d-Zeppelin.html http://www.meyersound.com/news/2007/led_zeppelin/ http://www.wholelottamilo.com/
  21. http://www.undercoverhd.com/news/Story.aspx?id=3748
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