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Colonial

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About Colonial

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    Victoria, British Columbia

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  1. I don't know... think about it, how many times have you listened to a cringeworthy opening number (Rock and Roll in particular), but then by the time he gets to e.g. the Rain Song or Kashmir he's nailing it. It's rare that he misses that epic note at the end of the bridge in Kashmir, and I always find myself saying "where was that an hour ago?"
  2. Yes, I think a more appropriate view for this thread would be: "I love live versions of Moby Dick and skip right to them" lol.
  3. Yeah I mean that the loss of his high range begins noticeably on the second Japanese tour, so I suppose to say June is more accurate.
  4. Apologies if such a thread already exists, but I did search. I love Zep, I have pretty much every show as far as I can tell. But here are a couple of things that make me a little crazy after all these years. Maybe these are the rough parts of the diamond, I don't know. I'll just air them in the hopes of finding kindred spirits rather than judgement. 1. Whole Lotta Love, live, didn't always suck. But it often sucked, at least compared to the rest of the show. Jimmy and JPJ found it hard to recreate the depth, power and tone of the opening riff live in a way which had the sam
  5. For me it's a real toss-up. TSRTS has better sound overall. Robert's voice is post-Japan and he struggles as usual to get it into gear through Rock And Roll, which is just a disappointing way to start a show. There are however some killer versions on that album that stand up not just against HTWWW but well known and well loved boots. I love the DAC version, which has maybe the best "San Francisco" break. NQ as others have said is epic, and in my opinion just the right length. TSTRTS and TRS are fantastic. And the recently added tracks in the reissue are boss. But WLL sucks, as -- I wil
  6. Colonial

    1974

    Yup, it's a tax exile reference.
  7. Colonial

    LA Drone?

    I have no idea why they stopped using it but I agree, it's a cool intro. And from a period in which some would argue the band were at their peak as a live act - I think Jimmy made this point regarding why he chose the June 72 shows for HTWWW. So when I hear it, I think, man this is when they had it all going on.
  8. My understanding has always been that the 27th show was the one which circulated early and widely on vinyl, under that name.
  9. Posters above are correct re "misery." It's very clear on a number of concert recordings.
  10. And I think it's also true that, due in part to conscious choices made by Zeppelin themselves, the Stones had more of a place in public consciousness at the time. They were the ones on the radio and topping singles charts and on Saturday Night Live. Zep were massive in the hearts and minds and basements of teenagers like me. I think that's migrated since and the mythical aspects of LZ have taken a greater hold in the public imagination and as a musical influence in recent years. But that's difficult to prove and I get the pique about the attendance "revisionism."
  11. Having been all even handed in the previous post, I will say one inflammatory thing. At their peak, there was no one better that Zeppelin at being Zeppelin. But there was a band better at what made the Stones great at their peak than the Stones themselves: Faces.
  12. If we're slagging either the Stones or Zeppelin -- and I'm not sure there's much point to that, but if we are -- can I just say that even being someone who loves the Stones, their post-Tattoo You output gets almost no play through my speakers, because at best it's just OK. Have to agree with the earlier poster who said they weren't relevant after 81 (and even THAT album was largely 70s outtakes). To claim otherwise is frankly trying too hard to make a weak point. The Zeppelin equivalent is the crowd that sees ITTOD as somehow similar in quality to the 69-75 output. Full marks for effort, a
  13. His other tunes are also brilliant. "Your Biscuits Are Big Enough For Me" being a fave.
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