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Brigante

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  1. It's godawful, Chillum - it's like being seared by the the heat through the open gates of Hell, man! It's nearly half-eight at night and it's 26 degrees in the North of England in September! 'African plume'? Fuck you, African plume!
  2. Belted it down with rain this morning. Good. I'd sooner be soaked from rain than soaked in sweat!
  3. Knew you'd be loving it, mate! Thunderstorms predicted for a huge swathe of the UK on Sunday night - but all the weather maps show a gap with clear skies right where Sheffield is! #abandonedbythor!
  4. Truly vile, man. Blasting heat, drowning humidity, dazzling glare, bright blue sky, zero clouds, clothes literally soaked through with sweat, killing headache from screwing my eyes up against the glare, etc. Can't see the appeal.
  5. Or will, at this rate. I'm already older than most of my grandparents lived to be and I'm rapidly approaching the danger zone age that my parents karked it in, so the audience for this thing is diminishing all the time, man!
  6. Royals? Not fussed either way, but I was always glad that having the Queen meant that there'd never be a President Thatcher. That really would have been intolerable.
  7. What you probably don't like is all the effects and treatments that Alan Moulder did during the mixing. In 2013, Moulder said he: 'added samples to beef up the kick and snare with a Native Instruments Battery 3 cell. The great thing about that is that you can put any sample in, with any sample rate, and it works it out. We use a MIDI map, and we can write the velocities in so the samples follow the actual drum recordings sympathetically. The reason we added these samples was for extra clarity and to add low-end weight on the kick drum, and also to add a little bit more body to the snare. I had also set up some drum reverb plug-ins, the Reverb One, the Valhalla Room, and the IK Multimedia Classik CSR Hall reverb, set to 'drums medium hall'. I really like the sound of the IK CSR reverbs, they sound a bit like the old AMS RMX16, with a big, deluxe feel. I used the Reverb One and Valhalla Room on the kick and snare and also the tom sub. The Valhalla Room is a great plug-in, and it seemed strangely correct to use a plug-in with that name on a Led Zeppelin album! On some songs, the drums reverbs were automated to give the kicks big, explosive reverbs. It was similar with the timpani, which I put through the CSR big reverb, because you want it to sound quite grandiose. I also had additional reverb on the snare, to give it a bit of depth and make it sit in the track. It was more like a colour on an individual sound and to give it its own pocket.' A huge amount of work seems to have been done on the concert recordings before they were released. This is a pretty exhaustive account of it all: https://www.soundonsound.com/techniques/inside-track-mixing-led-zeppelin-reunion
  8. Bill Curbishley became Robert's manager between Shaken 'n' Stirred and Now and Zen. It may well have been Bill who persuaded Robert to rein in the experimental pieces, get a younger band and play a few Zeppelin songs. Or Bill may have been one of them - I think someone once said that Phil Johnstone urged him to think about going that way too.
  9. Agreed, Jonesy's contributions shouldn't ever be underestimated - I know they are, even now, but he added so much. I remember reading that stuff from Diamanda and her praising him for trying new things, not relying on Zeppelin's past glory, etc. Also her response at the London gig when someone yelled out 'The Song Remains The Same!' and she immediately went 'No it doesn't, motherf*cker!' Jonesy almost laughed. Just been reading about him producing the Mission in the late '80s - Hussey said JPJ actually cried when they got talking about Bonzo late one night. Nearly a decade on and it could still affect him like that, even in front of virtual strangers. I didn't expect that - again, because of the image we have of him as a very reserved character. Was also reading about how Aussie psych legends The Church wanted him to produce their Gold Afternoon Fix album in 1990 and they met Jonesy and he wanted to do it but the record label vetoed it, saying 'What's he ever done?' ! Huh?! That's the problem with keeping a low profile and letting others take the glory, I guess. Church guitarist, Marty Willson Piper, ran into Jonesy at an airport years later and told him how they were still sorry that the label had sunk the GAF production. 'Big mistake' was all Jonesy said! He was right, too.
  10. Exactly. Can't say it much clearer than that. A good example is the famous lead guitar line on the introduction of All The Young Dudes - it's instantly recognisable and it's an integral part of the recording. Mick Ralphs wrote it, not Bowie, yet the song's credited solely to Bowie, because he wrote the tune, the words and the melody. Ralpher isn't in the credits because his famous guitar line's part of the arrangement. Similarly, Walk On The Wild Side - Mick Ronson wrote that famous double bassline and Bowie wrote the doo-do-doo backing vocals and the sax part, but it's credited solely to Lou Reed because he wrote the tune, the words and the melody, while the bassline, backing vocals and sax are part of the arrangement. It does seem to go against all natural justice, but them's the distinctions.
  11. 'It's zero degrees in March, so I go outside in my sports bra and jiggle for the cameras'. Yeah, fine. No complaints here.
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