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Buford T Justice

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About Buford T Justice

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  1. I used to be a fantastic law enforcement agent, perhaps the best. I revolutionised the role of law enforcement some say, and was top of my game for well over a decade. Buford T Justice had quite a reputation! Then it all fell apart. Some guy called The Bandit arrived and me and my team were derided overnight, seen as overblown dinosaurs. I retired from public view after a team member passed away after binging on coffee and doughnuts, and for a few years nursed a hitherto undisclosed Cod Liver Oil addiction. I occasionally emerged from retirement to see if the old magic was there - the flame occasionally flickered but could never be sustained. My dexterity to quickly cuff a crim had diminished. Now I spend most of my time talking about my most famous exploits - a four hour siege in Boston and 5 night residency at Earls Court lost property department particular favourites. I have also now featured on the cover of Law Enforcement Monthly and Coppers Journal, hilding my trusty handcuffs and double-shafted truncheon (not a euphemism) on more occasions than the number of spectacular arrests I actually became famous for. I rerelease Bufords Top Badguy Busts for the 15th time this week, just in time for a Christmas cash in. This time round there's alternative means of beating out a criminal confession shown to whet the purist's appetites. I regularly talk about getting the team back together, like the old days, baiting the hook to keep the interest going amongst the fans (egos never die even if skills fade). I've also got several past relationships to pay for, and a blossoming ongoing romance with a young professional sudoku puzzle compiler to consider. Just one more go at getting the team together and heading out there to bust the Bandit is all I really want.......but until that time, if it ever really will, please keep buying my rehashed attempts at past glories. Signed limited edition photos of my good self from a variety of forensic photographers from days of yore are available now.
  2. A number of years ago now, prior to the re-release of the albums and companion discs, O2 and such like, the Sunday Times rich list indicated that Page was worth £60 million. I can only presume this has increased - the odd Berkshire mansion purchase notwithstanding. Expense-wise he seems quite frugal - the old green army type jacket worn at the Wembley Foo Fighter gig must have disintegrated due to frequency of donning, and the black leather jacket seen endlessly over the last year or so is well on the way to the same fate. Accumulating more vinyl can't be overly cumbersome to his bulging wallet, foreign trips seem subsidised by award ceremonies and such like, and he can surely obtain pensioner's discount at Nando's or other date night venues whilst with his poetic friend. So, with plenty of cash and a frugal existence, what on earth will flogging this tat actually gain? A few grand here and there is surely chicken feed to him - is it worth the hassle? A quick laserjet print out accompanied by a squiggly signature and miraculously they are worth £1k plus each? What a total waste of time and more fool anyone who buys them. I can't even imagine a significant increase in value when he shuffles off this mortal coil. As Steve says, lack of management guidance is key here, alongside an ivory tower mentality and total ignorance as to what many fans want.....or rather wanted. Any enthusiasm I had for hearing him play again evaporated a few years back - I'd not cross the road to hear him busking now. I'll continue to enjoy the albums but anything beyond that is gone. And to think Plant was slated for not reuniting etc - he has fully retained his dignity through it all, doing his own thing for his own reasons with no desire to cash in. Similar story with JPJ. Perhaps the stories surrounding Page and the "how do we cash in big time" from the O2 are correct - ego and greed played a big part in him blowing his dream in recent times. Given his creative achievements how must he feel signing this stuff and having it flogged on a website? Rather cheapens everything in my eyes.
  3. No joke at all. I have it on good authority that a full-scale Pink Floyd reunion tour was abandoned last year because Roger Waters was preoccupied with a particularly gnarly weed that had become entangled in one of his mansions water spouts. Brian Johnson's "hearing problem" is actually a cover story as he battles to save his Buckinghamshire mansion from rapidly spreading Japanese knotweed. Add the Page issue to these examples and I think we all have to accept that home improvements are the biggest enemy to rock and roll since the heyday of Nancy Reagan. Expect a "Rock against B&Q (Home Depot)" benefit to be announced any day now.
  4. To my mind there are several factors which may or may not have some bearing on whether he plays live at this event, or in a more sustained manner thereafter. 1. The work involved in the album reissues were regularly given as the reason for not moving to play live. That excuse - which was repeatedly given in endless interviews - this surely ended with Coda. 2. See 1, and add in an almost out of the blue re-release of an expanded BBC sessions (because clearly we all needed another version of the tracks provided last time!). Again, workload with this was the excuse given. 3. Prior to 1 and 2, business with the pictorial autobiography was the reason provided for inactivity. Which brings things up to date, so what happens now? Well, Tower House is covered in scaffolding so he could be unable to practice due to distractions from the sound of guttering being de-gunked? I'd say this could be as distracting to him as the BBC Sessions of work but unlikely to be used as a neat excuse in a sound bite. Could he aim to improve relations with "next door" by offering his services to Mr Williams as he too seeks to relaunch a grounded career? Id say pretty doubtful - hopefully he learned a lesson from the Puff Daddy debacle and so gives this a body swerve. Does he jump into re-hashing previously unreleased live stuff? Is there a demand for this - I mean, substantial demand to make it worthwhile financially in this age of file sharing and so on? Or do we discount all of this and give some consideration to his personal life. He's a regular at poetry readings now, attending to support and enjoy his new partner (and I wish him all the best in this). Said partner will have many associates of a similar age, a great deal of whom will have no idea who he is..........I'd suggest basic machismo may rear its head and we see a short spell of live performances in a vain attempt to prove himself still relevant, to his partner, her associates (and possibly himself). To be honest, I'll not bother attending any such show - I'd probably not even purposefully seek it out on YouTube - but I hope any such event goes well for him and is enjoyed by fans keen to experience such a last hurrah.
  5. I've been piecing together some strands of possible evidence which may inform Jimmy's next musical direction. Jimmy confirms, in numerous past interviews, his appreciation for Soundgarden's music - check. Jimmy seen backstage at several Soundgarden shows, including last summer's Hyde Park gig with Sabbath - check. Jimmy interviewed recently by Chris Cornell - check. Ross Halfin currently on tour with Soundgarden, photographing the Australian and New Zealand legs - check. Jimmy on the final leg of the reissues and, post book launch and previous campaigns, keen to enter the next stage - check. Jimmy has a young girlfriend, an arty type. Motivation to run over a new leaf and rekindle some of the adulation from peers and fans by throwing out some new tunes, letting her see what the fuss is about - check. All of this information leads me to believe that Page will accompany Soundgarden on some select date and, true to form, will indeed take on new sounds. Thayll and Cornell provide sufficient guitar firepower upfront.....so Jimmy will cameo on the spoons during the midsection of their Spoonman track. I have it on good authority that Jimmy was bashing out some pretty epic spoon rhythms whilst in Nandos with his latest squeeze. Sounds garden, Page, Spoons. I'm sallivating at the prospect. If this doesn't come to fruition then I, for one, will be distraught. The time is right for him to awaken from his creative slumber. A few gigs with them and, who knows, a world of spoon-related session work could follow, bringing the great man back full circle. Eat that Robbie Williams!!
  6. Any truth in the rumour that they all will meet at the crossroads just east of Clarksdale on the eve of the winter solstice and discuss reunion options then? I'd heard Satan himself was impressed with the mammon already offered but suggested they hold out for $1 billion each and a rider that included a stairlift being fitted to the Starship alongside one of those walk in bath shower things. Sounds about as logical as much of the other assertions elsewhere in this thread. For any tabloid journalists interested in my source for this please DM me - pretty sure you can get a double page spread out of this nugget given how you manage to create articles out of downright lies and figments of your imagination.
  7. Over the Hills and Far Away on MTV back in 1993. Bought Houses of the Holy, then best of, then the complete boxed set.
  8. Over the Hills and Far Away on MTV back in 1993. Bought Houses of the Holy, then best of, then the complete boxed set.
  9. I'm not crediting the journalists of the time, more the comments, theories, assessments, detailed reviews (with the benefit of hindsight and readjustment to consider legacy) expounded by numerous parties during the intervening years. These views and questions have been heard by the musicians endlessly - isn't there a point where they could indeed start to muddle the reality with the painted theory? I'd suggest it's entirely feasible that artists could take credit for things that have been said in the time since under the guise of "that's exactly what we meant to do." Anything that adds additional gravitas is unlikely to be discounted, it all adds to the legacy after all. Whether it was intentional or simply a view/theory that has been absorbed and claimed as fact in the time since is another matter. With that in mind I stand by my viewpoint.
  10. Buford T Justice, on 16 Oct 2014 - 09:03 AM, said: I watched It Might Get Loud yesterday and Jimmy commented the structure if Stairway was similar to an orgasm, the build and release. Now, I. May be doing him a disservice, but that sounds more like the regurgitation of a comment from an interviewer who has analysed the track far more than the creators likely ever did. The song itself is constructed as a stairway...it does gradually build to a release. Yes, I realise the structure is built that way and so it's a relevant description. My point is whether that was genuinely in the minds of the artists or a description made by journalists and reviewers appropriated by the artists to intellectualise their material. I think the latter.
  11. I often wonder how many of the stories became "fact" having been read, re-read, asked and re-asked of him by countless interviewers. Hear the same thing often enough and it can become a stock answer, whether it's really true or not. I watched It Might Get Loud yesterday and Jimmy commented the structure if Stairway was similar to an orgasm, the build and release. Now, I. May be doing him a disservice, but that sounds more like the regurgitation of a comment from an interviewer who has analysed the track far more than the creators likely ever did. There's numerous other examples where band members seem to pass off comments like these as fact or their own thoughts - I guess decades of having to answer the same questions do that. Regarding the book, looks great. Another example though of what appears to be a jimmy getting his estate in order as he enters late life. Photographs reviewed, catologued, categorised and printed - check. Outtakes reviewed, catologued, readied for current release and for release on future media formats - check. Retaining the legacy and a final swelling of the pension pot complete - and no one can criticise for that - what's next?
  12. I'm afraid I can't help but feeling totally underwhelmed by this reissue campaign. There's so much more information available online that the collectors will have sought out - I've just spent the last hour or so listening to a number of takes of Four Sticks and Ramble On for example, with/without certain instruments, overdubs etc. I presume this campaign is to make some rarities and pieces of interest available to the more casual of mainstream fan.....and I don't think it achieves that. The takes on there this far don't differ sufficiently from the album originals to prompt a listener to regularly revisit them. A missed opportunity I feel.
  13. During the Ocean and other such gaffes/intentional additions/oversights/etc. Anyone know why they haven't been asked? Given their status and the acceptance if their production values I'd have thought they'd have been a favourite to be asked to participate. So, with that in mind why have they refused? Surely one member vetoing wouldn't mean another couldn't proceed?
  14. I agree completely with this. The Hendrix programme was fantastic, with hugely informative insights from Eddie Kramer (obviously in lieu of Mr Hendrix himself). The ability to focus in on various instruments, insights into locations, influences and so on, would add even more colour to their recorded work. With his clear continued enthusiasm for the recorded works of Zeppelin, and his behind the scenes involvement, Page would be invaluable in this. I do wonder if such "scrutiny" may be seen by band members as removing some of the mystery behind the music etc. To my mind, 40 years or so on from most of the albums having been released, the mystery aspect is largely irrelevant and a change in approach to celebrate the mastery, to shine more light on aspects of the music, would further enhance their legacy. Hell, make a series of them covering all the albums (or at least up to Presence ). I'd like to see Page's face and hear from him on the squeaky bass pedal in Since I've Been loving You, the telephone ringing
  15. If you enjoy it then no one can comment otherwise, that's your opinion. I agree that any advance beyond a standard formula is to be applauded however would that album, were it a single album by a new and unknown band, be considered as favourably? I don't believe it would. Is it accepted more because of who it's by or because of a comparison that can be made with this album against previous albums (the level of difference versus previous albums being used as a "positive" to measure it by rather than the actual quality of the material)? That kind of thing is often used to highlight the quality of Zep - the different styles used, and does this album, perhaps more than most of the others, provide ammo for this particular "argument"? If the band had petered out following Presence would their legacy be any less than it is? I don't believe it would, the legacy had already been cultivated and the quality of material on ITTOD added nothing to this. Again though, respect to those who enjoy it.
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