I must say, after reading this thread again I am surprised no one mentioned Hendrix.

Is it plausible that a young EVH had not seen the movie TSRTS? It was released in October 1976. I can't imagine young guitar players not watching it. Now maybe a player like EVH thought things like Page's "smear" technique were "sloppy", like the intro to SIBLY? But Page plays so many incredible clean and precise things in that movie it boggles the mind.

That would be great if THAT Joe Buck called a game !

When are they going to teach today's players to hit the other way? These shifts on every batter are so ridiculous and they only work because today's players cannot typically hit the other way. Last night with a runner on first and the first baseman holding the runner, the Rays had 3 infielders between second and third. There was 90 feet of wide open space between first and second. The batter should be able to punch one through the right side, and if you send the runner he gets to third. Instead as usual he pulls the ball to shortstop for an easy double play. So predictable and yet so preventable. The other thing they need to teach batters is how to bunt. Even in Little League they used to teach how to bunt and how to hit the other way. But they can't bother to teach fundamentals to major league players?

I guess I will watch the Series on mute. Joe Buck is more insufferable than ever, and that is saying something.

I hope they never do one. Hollywood would ruin the story. It would be ridiculous just like the Queen and Elton John travesties masquerading as movies. Those were horrible. Remember the stupid versions of Plant and Peter Grant in the TV series Vinyl?

I wonder if when Eddie made those comments about Page's live playing if Eddie had heard the BBC sessions including 1971. He most likely had not heard Supershow, Danish TV, or Royal Albert Hall 1970. Page's playing in all those gigs is razor sharp and very adventurous/fluid/creative etc etc. And even with all the edits in the official releases, Page in 1972 and 1973 was razor sharp, and even more adventurous and creative. Or just listen to the Europe 73 bootlegs. Page's live playing did not really begin to suffer until 1975. As exhibit A, watch the Danish TV HMMT solo and see if he played anything that clean or precise or executed in the 90s. The 90s were great, but still a shadow of Jimmy in his 1969-73 prime, not just on the "creative" level but also the execution level. Or go to Stairway BBC 1971, or really anything on BBC 1971.

I searched for this topic and could not find it so here goes. Zeppelin had some amazing song transitions on the studio albums. I have always been fascinated by them. I am thinking about the transitions with little or no space between songs. There are many great transitions due to song order, but in many cases there is some silence at the end of one track and or at the beginning of the next, which can lessen the impact. I am focusing on those transitions with little or no gap at all. Here is a list of my favorite such transitions. How about you? Other favorite studio transitions? Black Mountain Side - Communication Breakdown breathtaking, abrupt transition I Can't Quit You Baby - How Many More Times seamless flow but the musical mood changes Lemon Song - Thank You - a fade out into fade in, from ominous to beautiful Heartbreaker - Living Loving Maid - well, obviously Moby Dick - Bring it on Home - seamless transition Friends - Celebration Day - all based on a studio accident? Love that spiraling "airplane" sound Boogie with Stu - Black Country Woman - laughing into talking Nobody's Fault - Candy Store Rock - from one abrupt ending into an abrupt start. I always thought Nobody's Fault was one of the great Zeppelin song endings, like a black hole collapsing in on itself.

I guess it all depends on how shredding is defined. Jimmy Page broke new ground in lead playing going back to the Yardbirds Think About It solo which was incorporated and developed further in Dazed and Confused. Good Times Bad Times and Dazed studio solos broke new ground. And watch what he does in HMMT on the Danish TV clip. My goodness. Then have a look/listen to Dazed from Supershow. I am also thinking about Blackmore. The studio records before Deep Purple in rock don't show much in this area, but listen to his work on the gig recorded with the orchestra in Sept 1969. You have Child in Time there, and it is amazing, fully developed well before its release in June 1970. You also have a killer Wring that Neck which is light years beyond the 1968 studio version. Finally, listen to his breaks in Movements 1 and 3 of the Concerto for group and orchestra. Wow. And it was a one off gig done in Sept 1969.

I remember this review. This one particular bit is typical of the laziness of rock "writers". All they heard was the line "with the lemon in your hand" and didn't bother to listen to the rest of the lyrics, which are a great antidrug message. And in most of the track the singing is intense, in line with the lyrics. And what in the world is this supposed to mean? More meaningless drivel from a two bit poseur rock "critic". If this jackass and any of the other hipster doofus "mavens" of the time had ever taken the time and effort to listen to Zeppelin they could have written very interesting things about the music. But they did not because they could not get over themselves or the fact that Zeppelin was wildly successful in spite of their lame criticism of the band.

I know it is only about 90 minutes total, but the DVD audio from Earl's Court 1975 and Knebworth 1979 are really great. Jimmy picked excellent performances there to release and the sound and mix are fantastic.

one of the great rock and roll vocal performances of all time. Bonus - Elvis jamming on electric guitar.

released June 1969

Back in the 70s I read a Jimmy Page quote about the band Kaleidoscope so I started searching out their records. Those albums were hard to find back then, but I am glad I found them.

Interesting, but Rick never really gets close to Jimmy's sound. All this technology and Jimmy's sound is just so much better.

I look at it this way. The last release was TSRTS on September 7, 2018. The appeal in the lawsuit was granted September 28, 2018.

And then there is this one, with one of the wickedest bass tones I ever heard. It has a heaviness, a full/round sound, but also so much grit and bite. Unreal.

You can hear Jones pretty well in this one.