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About Sandey

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  1. The law and it's application is horrible at the moment. Here are two more examples that amount to copyrighting basic musical elements. Katy Perry vs. Flame: https://www.youtube.com/watch?v=0ytoUuO-qvg Ed Sheeran vs. Marvin Gaye: https://www.youtube.com/watch?v=0kt1DXu7dlo If musicians want to avoid being sued like this, the only option is to not make new original music.
  2. Listening to the new Osaka 1971 soundboards. I'm dizzy from astonishment.
  3. My favourite is 2/12/75: it's spirited, clear, dynamic, disciplined and has nice execution of the main ideas Page had for the solo. The blend of coke, booze and sobriety was about right. The 77 versions are too frenetic for my taste, suits TU fine, but not this.
  4. Inspired by this I had a listen to the first five tracks yesterday (on headphones, first CD version). I think reverb is an important part of the album's sound; Plant's voice has quite a lot of it. I was also surprised by the space JPJ's bass had on Lemon Song. Like you said Page let the band shine, he didn't splurge guitar all over the place on that one, even if it sounds like that. It's really dynamic and disciplined. On Heartbreaker I never realized there were three guitar tracks when the band comes in after the solo. So thanks for the idea. I don't often listen to music with concentration like this as I used to.
  5. LOL @lpMan! For me the Japan shows of 71 and most of 72-73 are all peak Jimmy. I think this is mainly about consistency, because there are patches of brilliance just about every year, if only for one song in a show. Then there's 1998. This is something I stumbled upon once.
  6. Jennings farm blues is my fave. 10 ribs & all is interesting. I can imagine a young Kate Bush singing on that one. Strangely enough Roy Harper has worked with both Jimmy and Kate, fact.
  7. Kind of glad to see I'm not the only one who skips Dazed, at least most of the time. The drum solos and noise solos I'll skip as well, but I usually enjoy IMTOD and trampled UF. Kashmir is sometimes just too plodding and repetitive for my taste. It's the one song where I disagree with the band and many fans. It's good, even great, but not even close to being their best song. I need to be in a certain kind of mood to want to listen to it.
  8. My perspective comes from another corner of the world, Finland, where merchandise and bootlegs were quite hard to come by at the time. I remember back then the (wannabe) tough guys in school listened to Twisted Sister, Wasp, Ratt etc. Everything else was for nerds or girls. In this situation some people knew about Zep and there seemed to be a kind of respect for it. But it was the (TV) video age and Zep wasn't on MTV at all, although towards the end of the decade there were occasional videos featuring Zep on Sky Channel's program Monsters of Rock. Alongside the metal bands of the time they looked and sounded antiquated. Basically I got the feeling that Led Zeppelin was something firmly in the past, but considered important and fundamental. The Zep presence was much bigger in the 90's and onwards IMO. But I'll stress that this is simply my personal view and memory as a teenager at the time.
  9. Andy Johns is the one responsible for that sound at least as much as Page, probably more. The recording process and reactions to it are detailed in this interview: http://www.musicradar.com/news/drums/andy-johns-on-the-secrets-behind-the-led-zeppelin-iv-sessions-586533 Two tales about the drum placement: Andy Johns says it was his idea to move the drums to the hall, while Jimmy says the (new) drums were already set up there by one of the techs. A sort of happy accident. Whatever way the drums ended up where they were, it was down to Andy to capture that sound. There's another (probably AJ) interview that I remember where it was said that Bonzo had never been as happy with his recorded drum sound as on WTLB. Page off course had to have his recording engineers think along the same lines as he was, but they still had to do their job of actually getting a good sound. Famously on led Zeppelin II, Andy's brother Glyn Johns recorded the drums using a then new method that is now named after him.
  10. It's Zep's art-rock album, and as an album it works really well. It doesn't have the definitive killer tracks that other Zep albums have, but again, as a whole it works. In some ways ITTOD was cutting edge at the time. What I can think of is there were bands like The Cars and Blondie with a pop/rock aesthetic and a bit of keys thrown in. Then there was Roxy Music, whose Flesh and Blood album (1980) is laden with synth sounds. I think ITTOD was a decent band effort, and Page's diminished contribution is blown out of proportion IMO. How was Page not contributing enough to the album? Yes, he didn't supply loads of riffs and great song ideas. But how many artists are really consistently productive (at a high level) every single album over a decade or more? Did Page not play guitar on every track? Did he not work on the production of the album?
  11. At his age Jimmy is perfectly entitled to retire, but the silly thing is he goes on and on about something being in the works. I remember following his website sometime in 2005 or 2007 and it was the same thing: next year. If we think about his ability to play, it was fine in 2007, and still fine in 2008 when on stage with JPJ and Foo Fighters. John Mclaughlin and Andy Summers (of The Police) are his age and are still out playing. It's possible. My view is that Jimmy should get new people to work with, take a risk, fumble, learn something new, to hell with reputation. Life and music are bigger than that. The "quite different direction" is a good idea, the right idea IMO, but for whatever reason he's not doing it.
  12. For studio versions Black Dog is a sentimental favourite of mine, and basically the solo is the reason I play guitar. Live (bootlegs included) there's too much to choose from, but I'll pick a version of OTHAFA. Let me explain. Since there's scarcely anything conventional or pretty about the developed '75 live solo, I think it required a great performance to come out right, more than perhaps any other solo. One precious good example is from 2-12-1975, and I call it the "electric bagpipes from hell" solo. You can just tell Page was totally in the zone for that one.
  13. I have an ASAT classic, which is basically a revamped telecaster. It's a great instument and acoustically it's the most "live" electric I have ever come across, a really versatile quality instrument. The sad thing is these have less recognition and resale value than Fenders. On the bright side it means they are good value when buying.
  14. Well I can play without looking, but I have a habit of looking. See what Eric Clapton does! Something that's not come up is the scale length vs string tension aspect. Basically on strats and teles 09 gauge will feel about the same as 10's on gibsons and other short scale instruments. Short scale means 24.75 inches vs the 25.5 of strats etc. It's the same as stretching a rubber band, the longer you stretch it the tauter it is, simple physics. I used to have Les Paul deluxe that I mostly played with 10s. Then I moved on to a telecaster and found I couldn't bend as easily, so I started using a hybrid set 9's for the plain strings and 10's for the wound strings. These days I'm using a short scale guitar with 11's, but don't do much bending. Regarding string brands I find they sound different. Guitars are also different in the way they react. I have a tele that sounds good with almost anything, but the afore-mentioned Les Paul would sound dead or somehow off with certain brands of strings. Like everything in the finer points of guitar playing you just have to experiment and find what works for you.
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