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Everything posted by pluribus

  1. I think he was referring to the soundcheck being recorded, as opposed to the show later on.
  2. The thing that links it to Chicago 73 is that the riff that they are jamming on at the start of the soundcheck recording was specifically played at Chicago 7/7/73 during the funk breakdown in Whole Lotta Love, and then never heard from again. Plants voice at the show vs the soundcheck could be due to him not singing at full volume at the soundcheck. Otherwise, could also be from other shows from early July, like 7/9 or 7/10.
  3. The sound check that has been around for years is from Chicago 1973. It’s not from 72 or from Minneapolis 75. The Wanton Song is a rough sketch because they had yet to finish the song and record it. As heard on the soundcheck recording, only that interlude had been developed by that point. The only other soundcheck out there is from 1/21/73, from the show in Southampton the day before the multi-tracked show on 1/22. That soundcheck is mainly Plant and Bonham , isn’t very long, and doesn’t sound very good. If I had to guess, the band probably had many of their soundchecks recorded.
  4. If this comes from those samples that had been rumored for years, and only shared recently, I sincerely hope that this amount of content was not what people crowdfunded for.
  5. But neither of the guys who ran TMOQ are named “Ralph” or “Harold”, like the authors of this book. I assume they interviewed Dub, based on the fact that they note the 1976 ending. Whereas Ken was active for years past that.
  6. That’s well-known. Just as it’s also well-known that Ed went to a lot of shows with Mike, which makes the “Listen to this Ed” theory even less likely. Ed was at those shows, and dozens more with Mike. So, nothing for him to be amazed at. He’d heard Mike’s tapes before, and was at the same shows up front. He knew how good they all were. And Mike’s friends didn’t supply bootleggers. So, all of this made up story about “Mike must’ve written a note on a tape, that then got given to a friend, that then ended up with bootleggers...” it’s nonsense. There’s no way that such a tape would’ve made it from Mike’s friends to a bootlegger. The bootleg label got the tape via some random trade that Mike likely made. Just like how the rest of his Zeppelin tapes got out. What is truly bizarre here is that bootleg labels had been making hundreds of albums with nonsensical titles for 15+ years by the time LTTE came out, and not a single person dissects any of those for hidden meaning. Bootlegs were always named using obvious jokes. Van Halen crapped on Page in the press, at a time when that band was king. Bootleggers took note. Simple as that.
  7. Robert Plant's "Plantations" from the final LA Forum show, June 27, 1977, right before "Whole Lotta Love: http://www.ledzeppelin-reference.com/geekbaseweb/Speechpage.aspx?Showid=524 Thank you very much LA. It's been ah, quite an amazing week. Good night, and see you again one day. Now you know the truth. Before we continue we'd like to thank you for being ah, a great audience. Sincerely, no bull shit. A bunch of geriatrics like us, it's reallu hard work, you know? We'd also like to thank ah, all the members of the cast. The full supporting cast has been ah, oh excuse me. The sound and lighting crew, Showco, very good sound system as you heard. Every night it's no good in the acoustic set, but the rest of it is great. Benji Lefevre from England who does all the funny noises, Ray Thomas from Scotland who can't tune guitars. Mick Hinton who was a bus conductor in Cambridge who can't tune drums, Brian who's covered in 7up and all the people in the wings there who've been making rude gestures for the last six days, and most of all the badgeholders of California.
  8. Given that the original bootlegs for Source 1 and Source 2 were vinyl, I suppose you’d want to search for those. There are lots of versions of the Blimp/TMOQ (Source 1) recording on vinyl, so I think it’s just a matter of picking one. Source 2 only ever had the one release via Rubber Dubber, so that’s that. The acoustic set from Source 3 was featured on the TMOQ vinyl of 6/3/73, but otherwise I don’t believe that Sources 3-6 have ever been put to vinyl. Source 1 has long since been upgraded via the tape source on Neutral Zone’s “Live On Blueberry Hill” in the 80s and Empress Valley’s “Live On Blueberry Hill” TMOQ source in 2005. Eat a Peach’s version combines the two. These are all CDs though.
  9. The Soul-Bender is a modern reproduction of the Tonebender, from a different company (Fulltone). Not the same as the actual vintage pedal that Page used, which was a Tonebender MkII. The Crybaby Wah-Wah that Page used in 1973 played little part in his sound, beyond providing the familiar wah-wah sound during songs where he used it (No Quarter, Dazed and Confused). If anything, having that wah in his signal chain resulted in having a slight bit of tone-suck, because the wah wasn't true-bypass.
  10. I get it. That being said, if the band announced that the next live release was a CD of Royal Albert Hall, I think there would be many of us who would be downright pissed. We need more releases from the archives, not more rehashes of material we’ve all already bought. FYI, they had already headlined the Royal Albert Hall in June 1969,. THAT would be a cool show to hear. As for 1970, I think the performance the day before the January 9 show, in Bristol, is much better. Check it out.
  11. Well, he’s been wrong on things like that before. This was nearly 50years ago. I’d go with the gear heads on this one. Again, see the thread I posted. Even his own guitar tech at the time was incorrect. Also, saying that he had the guitar “Fixed” could easily mean that the pickup was replaced, which all evidence points to being the case.
  12. They already released RAH nearly 20 years ago. Go download a copy of DVD Audio ripper and there you go. There are other unreleased performances which are far more deserving of release... 1968 UK live recordings Bill Graham recordings from the San Francisco and New York Fillmore shows in 1969. Boston Tea Party 1969 Festival recordings from summer 1969 Bath 1970 Japan 1971
  13. Armstrong may have “fixed” it, but that obviously involved replacing the pickup with the current Gibson offering, complete with shiny new pickup cover. You can hear the classic T-Top midrange “squawk” in Page’s tone after he switched to the new bridge pickup after Australia 72. Here’s some folks who researched it in more detail: https://www.lespaulforum.com/forum/showthread.php?131067-Jimmy-Page-pups-in-1-and-2#post_1577808
  14. Yes, but that guy hasn't left the stage since the 1960s, and no one expects him to bust out a solo (which he has never been known for anyway). Also, he is still with his original band, who share the heavy lifting with him. No different than the big productions by McCartney or the Who. They never stopped touring. Jimmy hasn't even done anything on the small scale the past 13 years. Even Les Paul held down a weekly gig at the Iridium club in New York for 15 years at that age.
  15. Love this ranking. Although I would put Nassau 6/14 as the easy number 2, over LA Forum 6/25. Nassau 6/14 was the last show with Plant’s “real” high range in his voice. Weekend is amazing. Epic show. Denver 6/21 and San Diego 6/23...where are you?????
  16. As of me typing this post, Jimmy Page is 76 years old. For some perspective, here's a photo from 1987, showing a 43 year old Jimmy Page with Les Paul, who was 72 at the time. As you look at the photo, imagine an alternate universe where it's the 72 year old that people keep hoping will go tour the world nonstop, spending countless hours on buses and airplanes, living out of hotels, and jumping around a stage for three hour concerts every night, playing music at jet-engine levels of loudness, with the stamina to rip through fiery extended solos from songs written 50 years ago, featuring overtly sexualized lyrics aimed at teenagers.
  17. Well, keep in mind that all of those great Winston and Dadgad remasters of the Empress Valley Soundboards wouldn't be possible without Empress Valley releasing those soundboards in the first place. Given that Empress Valley is Moonchild, it's hard to find much to complain about in any area here. Nowadays there are about 50 remasters out there for any one new show that comes out. Anyone familiar with the Mike Millard story knows that he would probably be livid if he knew his recordings were being shared out at all. On top of which, they are being EQ'd before they are released, which would also not make Millard very happy. So, add that to the pile.
  18. That's an easy one. He had the pickups and the pole pieces flush with the pickup ring. Always. Kitchener 1969, with the original pickups, after he took the bridge pickup cover off: Detroit 1975, with the T-Top replacement he had installed in 1972 after the original pickup died:
  19. What are you looking for? There are thousands of photos of Page with the guitar. Are you looking for the original pickups on the #1 Les Paul? The replacement T-Top bridge replacement from 1972? The Seymour Duncan bridge replacement the guitar has now? The pickup height?
  20. The footswitch is for activating the echoes on the Echoplex. The Echoplex was always on, and had a preamp circuit built-in that was also always on. All the footswitch did was to activate the tape echo recording and playing back Page’s signal. Just like stepping on a delay pedal. There was no “activating” the amp overdrive. The overdrive sound was produced by turning the amp up loud, to stage volume. Page achieved his “clean” and “drive” sounds by rolling the individual volume controls for each pickup in his Les Paul up and down. At “10” on one Volume knob, he had the full signal going to the overdriven amp. Rolling that same volume knob back to, say, “5” cleaned up the sound because the overdriven amp was no longer receiving as loud of a signal from the guitar. The Les Paul also has a toggle switch to select the bridge pickup, the neck pickup, or both. Page would roll down the neck pickup’s volume for the intro to Over the Hills, to get the clean sound, and then flip the toggle switch to the bridge pickup already set at “10”, for use when the loud part of the song kicks in. The photo you posted is from the LA Forum, 1972. So, you can actually hear him use that exact rig all over that recording.
  21. The only drive pedal he ever used live was the Univox Unidrive, in March 1971. He was even featured in their ads.
  22. He used amp overdrive with a Tonebender MkII for solos, for Zeppelin I, and amp overdrive + a Tonebender MkII for solos through to the end of the first US Tour. With the second US tour, (April-May 1969), he kept the same setup, added a Les Paul, and experimented with leaving the Tonebender on all the time. He switched to a Tonebender MkIII for June-July, which is also when he got his custom Hiwatts. He was on/off with the MKIII with the Hiwatts until the fuzzbox disappeared altogether by August 1969. For 1970 he was all Hiwatt. He used a Univox Unidrive for the Back to the Clubs tour in March 1971, and then a MKIII Tonebender for Montreux 1971. After that, it was his amps only. He had his Hiwatts modded on a regular basis throughout 1969-1971, just as he also had his Marshall Superbass regularly modded once he switched over in late 1972. It was the combination of the boost in the preamp of the Maestro Echoplex EP-3 together with the mods to his Marshall that gave him his sound from 1972 on.
  23. Nah. There are so many more Millard releases for them to copy from Dime. Those and whatever else the Empress Valley folks decide should be released as a budget Moonchild release.
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