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Everything posted by Sandey

  1. Very clearly the phrase is "above my head" in all available versions. (Page should have done more lyrics.)
  2. I just stumbled upon a youtube copy of the extended release of the Death Wish II soundtrack. One of the tunes left out form the original release was a really good one for my tastes: Baby I Miss You So, which reminds me of Rainbow. There's also this mellow instrumental. Though he was probably recycling and revisiting ideas and motifs already worked on, it seems Jimmy did still have a good bit of creative juice left at this point. Reading up on the history of the project, I was astounded to discover that Jimmy produced the material in a very short time around August-September 1981. For a ma
  3. Well yeah, Page was kinda loose live, but he played great acoustic guitar, and sloppy players can't really succeed at that. Page's playing style and approach is what I call expressionist; the effect is more important than how it comes about. It's a lot more precise and calculated than it sounds in my opinion. In concert Page was often drunk and/or drugged and sleep deprived so that's going to lead to some less than perfect playing live. Secondly Page didn't sound like a modern metal guitarist, or even an 80's one. But he wasn't a modern metal guitarist, so why should he be compared to tha
  4. "His timing is off, his bends suck, his tone is ok, his phrasing choices are amateurish at best." In my universe Page knows absolutely the fuck where he is timing wise. If you are too dumb to understand this you don't know what timing is. Otherwise a whole lotta meh form this guy. So the studio version is superior to live? I would like to hear the live version live, not studio. Anyway, since about 1985 Page has been looked down upon as a technically lacking player, so nothing new here.
  5. This guy is tops for Bonham drum covers, Mr. Mojo Risin, the channel is Kick it Like Bonham. https://www.youtube.com/user/MrMojoRisin1967 He has drum covers of songs from several albums and live versions as well.
  6. Indeed, due to the january birth I think of Jimmy as almost 1943. So two years older!
  7. No. Despite his age it might be feasible (physically), but that requires dedication and a continous life as an active musician. Someone like that is John McLaughlin who' s one year older than Jimmy, and is still at it.
  8. If there was a choice, I would much rather see an official release of Japan 1971, not that a complete RAH wouldn't be nice.
  9. As far as I'm concerned the outro to Black Dog is perfect. In OTHAFA the solo is more of a compositional element than a solo, but it is kinda tame and the recorded version deserves better. This might be one of the few important songs in the Zep catalogue where the solo is lacking something vital. The live versions are more frenetic and "evil" than the record, but retain the general outline and mood of the album version.
  10. Well how can this be, since JPJ is not even credited as a writer on LLM? Yes, Black Dog is John Paul Jones's riff, but Heartbreaker? Where did you get that from? I remember reading somewhere that Living Loving Maid is indeed maybe the only song where Jimmy contributed most of the lyrics, if not all.
  11. Many musicians have had hit songs that over time they started to get bored with or practically hate. Some perform them despite that, because they feel an obligation to deliver what their audiences want, others stop. Then there's a third category, Robert Plant.
  12. 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.
  13. Listening to the new Osaka 1971 soundboards. I'm dizzy from astonishment.
  14. 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.
  15. 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 l
  16. 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.
  17. 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.
  18. 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.
  19. 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 loo
  20. 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) int
  21. 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
  22. 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
  23. 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.
  24. 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.
  25. 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
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