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JohnOsbourne

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About JohnOsbourne

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    Zep Head

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    The Darkest Depths of Mordor

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  1. Plus, the other dudes in the picture look more early 70's than late 70's. Didn't Page have a beard for the first couple of AUS shows?
  2. Very cool picture, agreed. It's definitely not '71, but Page looks far too healthy for '79, I would have guessed '74.
  3. The 14th is a great show, no question, but I think the previous night (the 13th) is better.
  4. FWIW a snippet of TFO was played at the final Earl's Court night, right before Tangerine. (And I fully agree, TFO is a truly great song.)
  5. Only a fanboy would deny how similar the opening sequences of the two songs are. It's irrelevant that Page took the sequence in completely different directions (no one claims they're the same song), it's pretty clear (based on his evasiveness when asked about Spirit) where he got the idea in the first place.
  6. They're claiming P&P were influenced by Taurus in writing STH, and that they violated the copyright that applies to Taurus' sheet music. Not a very strong case, and supposedly when California did reach out to Page in the 70's he was told bluntly (and factually) that there was no way he could hope to match Zep's legal resources. But ultimately it's gotten this far because of P&P's unwillingness to let go of the immaculate conception myth around the song, and simply admit (like musicians for centuries) that they'd heard something they liked, and expanded upon it. (STH is an incomparably better song, but that's not the point.)
  7. Since California's estate isn't claiming to have originated those progressions, that's completely irrelevant. It's pretty obvious that Page was influenced by Taurus in writing STH, hence his evasive answers when asked about his familiarity w/Spirit's music. It doesn't follow of course that California is entitled to a writing credit, but that's the angle they're taking, not that California was the first person to come up with those progressions.
  8. The rest of the following from 1973: 1st night in NY, 2nd night in Detroit, and Denver. From 1972 the first Manchester show.
  9. Fully agree about Bolin, great guitarist, unfairly overlooked. Tragic that he couldn't keep clean.
  10. Cry Me a River is irrelevant here because Page only recently referred to it as an influence on STH (although he's always cited Graham as an influence on his acoustic playing as a whole), when the whole "immaculate conception" account couldn't be maintained. (And who cares if Graham's estate sues California's, or California's sues Journey? More irrelevance.) The issue concerns Taurus, it's obvious similarities to STH (in the beginning of the songs, it's again irrelevant that STH is a much better song), the connection between Spirit and Zep in the early days, and P&P's evasive (and easily refuted) statements about their familiarity with Spirit and their music (not to mention P&P's not-so-glorious history on these kinds of issues). Regardless of why California didn't pursue legal matters in his lifetime (too many people here seem to think "contingency basis" means lawyers can summon evidence out of thin air), this case is hardly baseless. This is not to say it's particularly strong, but it's amusing how many fanboys seem genuinely shocked that such allegations could be made against Zep.
  11. I stand corrected, the extent to which jurors will hear recordings is limited: https://www.bloomberg.com/news/articles/2018-09-28/led-zeppelin-to-face-retrial-over-stairway-theft-claims However, they *will* hear the recording, and it's hard to believe at least some of the jurors won't be influenced by it. And speculation about what witnesses P&P can provide aside, neither of those claims (esp. Page's) is particularly believable.
  12. Since the jury dismissed the claims of similarity based on in-court performances based on the sheet music, the question of access was neither relevant nor irrelevant, it played no role at that stage. (BTW, the official "immaculate conception" mythology of STH's origins has to now be put to rest, P&P should have done that from the start.) The problem now is that in the new trial, the jury will hear the *recorded* versions of the two songs, and only a deaf person could fail to notice the similarities in the beginnings. Then we come to the question of access, and this is precisely where P&P are weakest, given their evasive (and now refuted) statements about their familiarity with Spirit's music (as well as their own history in these matters, jurors can be instructed to ignore this but it's a reality that at least a few of them will know the background). You seem to be suggesting that P&P can commit perjury; yes, I suppose they can do that. I suspect their lawyers will advise against it, however.
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