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Sandey

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Everything posted by Sandey

  1. I was listening to an isolated Bonham drum track on YT. Was moved to tears for whatever reason, then thought to myself isn't his birthday around now? Yes. He'd be 75.The most soulful of drummers, creator of exquisite soundscapes, wild as a tiger, beautiful as a butterfly.
  2. Very clearly the phrase is "above my head" in all available versions. (Page should have done more lyrics.)
  3. 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.
  4. 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.
  5. "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.
  6. 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.
  7. Indeed, due to the january birth I think of Jimmy as almost 1943. So two years older!
  8. 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.
  9. 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.
  10. 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.
  11. 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.
  12. 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.
  13. 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.
  14. Listening to the new Osaka 1971 soundboards. I'm dizzy from astonishment.
  15. 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.
  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. 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.
  18. 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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