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    Electric Ladyland

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  1. Sounds massive, really nice balance with the bass as well. A link would be great when you get the chance, thanks!
  2. I’d love a link too, this is some quality stuff!
  3. Really enjoyed that, always nice to get an insight into how others see the band and their music, given that there are so many nuanced periods throughout their short career (69-71, 73-75, 76-79) Definitely agree on No Quarter being one of the bands centerpieces live, although I don’t much care for how it changed in 77 with the blues jam ruining (imo) the spirit of the song. They had it down to a T (especially JP) back as far as 73 and should’ve kept the structure the same. I digress, do you have any other podcasts out? Cheers!
  4. Wow I didn’t realise they’d used material from as early as 70, just makes you wonder how much stuff isn’t on CODA
  5. Yeah there’s some great stuff going on in the one I’ve listened to, I guess with the absence of a crowd it inspires a different kind of mindset I suppose this is another example of things that have been recorded but are being held in Page’s vault until further notice 😮 Do you reckon the song was completed towards the end of 73 and was one of those backlog tracks that eventually ended up on PG?
  6. Hey all, hope everyone is keeping well amidst this unfortunate pandemic. Was listening to a recording of a live rehearsal from 1972 recently, and noticed that Jimmy was teasing what would eventually become the Leslie-drenched double stop progression following the main riff in the Wanton Song. He deviates a lot from the actual song and plays some really cool improv around the idea with Bonzo thundering behind, a really cool look into how they develop ideas loosely. My question is, how many recorded soundchecks (if any) other than this are around?
  7. Hey all, After working on the Boss Tone Studio for months, I'm finally satisfied with everything and am pleased to share this with any Katana amp owners on this site :) This patch is based entirely on Jimmy's SuperLead Marshall that he used for the MSG run for their film TSRTS (allegedly modded with KT88's). Hope it's up to scratch, enjoy (link to download below) https://www.dropbox.com/s/snfebyzkbm8j1k2/JP%20CD8.tsl?dl=0
  8. Easily Achilles Last Stand from the first Knebworth show. Each member is on fire and the fill Bonzo plays after Jimmy’s solo is fucking sensational, not to mention Robert’s strong voice and of course Jonesy’s unusually prominent bass riffage.
  9. Keith Richards is just high up on his little pedestal, so he doesn’t really have much of a worldly view touring with that corpse of a band. At least he acknowledges that Jimmy was lightyears ahead of him musically, but that doesn’t excuse his comments about JB, especially with that metronome of a drummer in the Rolling Stones.
  10. I to IV HotH and PG Presence ...and the other two accidental offspring of excess and record company bs
  11. I don’t think we’re discussing the same segment. Whilst the majority of the song is clearly a Strat, the break after the solo in which Jimmy does a few bends is clearly a humbucker equipped guitar (LP).
  12. Are you serious? Give ITE another listen and tell me that isn’t the sound of a distorted neck humbucker. Good luck getting that thickness with a Strat.
  13. Put simply, the one dimensional aspect to Presence just worked. It was a gritty album and in my opinion that didn’t hurt it. Royal Orleans is the clear break between the darker tracks, comparable to Hot Dog balancing out the more keyboard laden tracks. Presence is also just so crystal clear in it’s production. Even with the numerous guitar tracks present on ALS, it’s never cluttered or messy. The same cannot be said for tracks such as Carouselambra and ITE, which can sound real muddy at times. Although many instruments are supposedly used on ITTOD, it doesn’t really result in a more intersting structure musically. Hell, I think Jimmy managed to texture Tea for One well with just an electric guitar than all the instruments on ITTOD. I guess the underlying point I’m trying to make is that whilst maybe ITTOD isn’t strictly a completely one dimensional album, it does lack cohesion, with much of the variety of tracks making for a pretty uneasy listening experience. PG is a prime example of wildly different ideas being done well, as is LZ III, and neither album is jarring to listen to.
  14. HotH just can’t be compared to ITTOD imo. Every song on HotH is just so original in its sound and structure. No Quarter and OtHaFA are prime examples of this. ITTOUD has many ambitious sounding tracks but idk, I just can’t seem to appreciate them. They’re all either too long or just lack direction. Carouselambra is a complete headache for me, although that could possibly be put down to the unfortunate mixing. And saying Zep albums are all very different is true to a point, yet LZ I and II are pretty much in the same vein. No fault in that of course.
  15. He could’ve been using any old guitar, but to my ear the tone on each song is the same. The only exception I can think of is the quiet part in ITE, with the Les Paul neck pickup, but the rest of the album is a twangy single coil sound. Even if they are as varied as you make it out to be, I find that it’s usually drowned out by other nuances and such.
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