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Sandey

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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 man supposedly down and out, the work is really very good. Just think about it: songwriting, lyrics, instrumentals and production.
  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 that style? The whole sloppy thing comes from the ideal that "technique" equals speed, even touch, metronomic timing and complicated scale runs. Page was about purposefully moving timing around the beat, of varying the touch, of seeking melodic and rhythmic phrases – all for maximum effect.
  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 like this as I used to.
  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 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.
  20. 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.
  21. 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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