Jump to content

greenman

Members
  • Content Count

    1,378
  • Joined

  • Last visited

About greenman

  • Rank
    Zep Head

Recent Profile Visitors

1,595 profile views
  1. I actually think part of the issue was just how good Jimmy was previously, he could basically play in a very loose and often improvised fashion but still retain the tightness needed for a song like Stairway. That meant that when he experienced a bit of a dropoff any weaknesses were MUCH more obvious than in a band who would just play tight rehearsed versions of songs. I think you see Page himself maybe realised that after 77 and I think you see for the 79 comeback shows he's playing tighter and more rehershed, good in one way but also I do think it loses something of the magic of Zep at their
  2. In retrospect I think they would have been better off putting 10 ribs on the album, maybe on side one instead of RO, shift that to side two and drop CSR entirely(or as a B-side in the US). Besides being IMHO up their with the bands best work(can't think of any other "lost" tracks as good, maybe Dennis Wilson's Holy Man) I think it would actually fit the album better. Its obviously very different in sound to the hard rock of much of the rest of it but it does have the same epic atmosphere as ALS, FYL and TFO plus I think diversity of sound was always a big part of Zep's appeal. As men
  3. Hendrix himself stated that surf rock was a big influence on him didn't he? around the same time as well Syd Barrett was playing some very loud/disordered guitar on tracks like Interstellar Overdrive. I do think Page was much closer to Hendrix than the likes of Clapton were, how much of that was influence of the latter on the former and how much was the two of them having similar influences is hard to say. Both I think valued classic rock n roll and RnB(and proto funk like James Brown) just as highly as they did blues and were obviously more open to expenaise psychedelic sounds. Theres ob
  4. Interesting compilation definitely, i'll try to get around to giving it a listen. I suspect actually if this was going to happen officially it would have replaced TSRTS, maybe a quad album with one disk each for RAH 1970, LA 72, MSG 73 and EC 75. That could actually have balanced quite nicely with each disk having one side of shorter tracks and an epic on the other side. RAH 70 Side 1 - Were Gonna Groove, I Can't Quit You, Communication Breakdown, Bring It On Home Side 2 - How Many More Times LA 72 Side 1 - Immigrant Song, Heartbreaker, Black Dog, Over The Hills a
  5. An underrated one is the 9/10/72 in Osaka, quite unique with most up tempo rockabilly stuff in it. Generally though I think mid/late 71 was really the peak for the extended medley versions were they hit the kind of level they had reached with HMMT in 1970. Some good Japanese and US ones mentioned but also some from the UK winter tour, 25/11/71 in Leicester is superb IMHO and the best version of Going Down they ever did. The Euro 73 versions are great as well, obviously less spontaneous in terms of what they include but incredibly energetic.
  6. Although I think this CD actually has a lot of the stuff on it that benefits most from a quality SB, stuff like NQ and DAC I enjoyed a lot already.
  7. There seemed to be a gap between the SB releases that happened in the 90's from 73 and 80 and what we got latter. I can't remember off the top of my head exactly who put out all that earlier stuff first but much of it was actually lables like Flying Disc Music that sold relatively cheap to the mass market so were offering decent money. I'd guess as that market was largely shut down it caused new sources to dry up and it was only the hype around the DVD and EV targeting a more luxury market on a decent scale that started things up again with the money to pay for sources. I do generally st
  8. From EV's perspective I spose I can see the logic in leaving them off, if your going to milk your customers don't rub it in releasing them same tracks again so quickly. Again though I'm guessing someone else will put out a knockoff that includes it all soon enough if you want a CD version. The Orlando board was very nice as well compared to a lot of later years stuff so I'm not surprised this source is as well. The biggest positive for me is that Dazed is complete, I feared it might just be a fragment but to hear the whole thing including all of Pennies From Heaven is a real treat. W
  9. Ultimately nobody is forcing anyone to buy any of this of course and its all going to be out there on the net as soon as its released. I mean if people really want a CD copy I suspect some other company is going to stick all of this stuff together on one release and charge a fraction of the price within a few months.
  10. I don't think even the 75 Seattle show was held in quite the same regard that an incomplete release would have given as much interest. The way this show is cut up again though does seem a little strange, I spose the 71 Florida show was a bit cut up as well but not to this degree which does make me think something has chopped it up afterwards.
  11. Not sure Page would bother with this, I mean any money involved is going to be very small change for him plus I think he'd have focused more on the early years as well. I suspect those stolen soundboards have ended up in the hands of someone who is slowly selling them off to EVSD to maximise their profits. I mean I don't to make a definitive statement as its possible this is all their is the show but I think its also possible that the person selling off material has realised that 29/9/71 is such a holy grail they can sell it off a piece at a time. Not sure about the one song releases whic
  12. Honestly though I doubt that really had much impact on their sales, it was always going to be on offer for free very soon after release anyway so nobody was buying it as a last resort it was people who wanted a CD copy of it. I would say as well that I'm not entirely convinced its just EVSD at play here, it could just as well be someone else selling them material piece by piece to maximise their own profit.
  13. Indeed, this track ordering does seem rather different to what we typically see from incomplete SB's of the era with so many gaps. I mean yeah we haven't had a confirmed SB from Japan 71 before so something different might have been going on there but equally I wouldn't be shocked if this isn't the whole thing, just enough for a proper release and maybe holding back enough for another big release sometime in the future. What I would say though is that whilst I would personally have WLL from this show as the best live performance Zep ever gave(the same track from 23/9 also up there) I'v al
  14. Going back to this after a good while spent with "10 ribs" I am actually coming around the idea it could have worked quite well in Presense. Yes its very different in soundin some regards to the rest of the albums heavy guitars BUT I would say it seems to fit into the more "stately" and less funky style of that album, perhaps better than tracks like Royal Orleans and Candy Store Rock. You listen to Tea for One especially and I think you can a similar sense of space and atmosphere. I could imagine a track listing with say side one ALS, FYL and 10 Ribs(with a proper name) and then FTBM, HOF
  15. I wouldn't agree the LA shows lack spontaneity, granted the setlist doesn't change besides SIBLY on the 27th but the songs themselves do. The 25th for example has Jones moving back to keyboards halfway though NQ and Spanish Eyes in Dazed, the 27th has Gallows Pole at the end of TU and the "Loving You" segment in Dazed. Indeed I would tend to say those two shows feel like some of the most spontaneous of the year to me with several of the solos also being quiet different(OTHAFA on the 27th for example). Besides technical issues I do tend to think that's really what holds the first half(and
×
×
  • Create New...