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Everything posted by Canadianzepper

  1. My guess about Pages having gems hidden in the vault just based on what I've read is that basically he released all he wished to in the remaster, limited edition releases. There is certainly other stuff, but none he deemed of value to his standards. He has basically put his his final touches on Led Zeppelin. He wanted it done right and his way while he could still have a say on it all. Someone will profit from it someday I'm sure. Just as they have with Hendrix. The appetite of a new generation for Zeppelin stuff far outweighs Jimis following. Thanks, in at least some part, his estate not even allowing releases of standard songs on youtube. In 2020 and beyond, this is how you gain new fans from music written long ago. How else will new generations hear it if they aren't exposed to it?
  2. It was an unprofessional performance by guys who were always professionals on stage. Even when they had a few pops before hand, they always brought their "A Game". They weren't prepared. Bonham proved during his concert how important he was to the sound they had all developed. Page in particular in this concert, seemed to miss the cues and fills Bonham would normally have provided . Collins was out of place for sure. Not entirely his fault, he probably would have done better if he had been the only drummer on stage and been forced to fill the song in himself, I can't imagine trying to drum while relying on someone else doing the same.
  3. Denmark 1969 concert was his most raw delivery in my opinion. Not even singing his own lyrics, but it was a sound that voice professionals would probably tell him wouldn't allow him to last long as he was singing with his throat (so it sounded like to me). The outtakes of Babe I'm Gonna Leave illustrated how wild Plant was. Loud, wild and young. It was probably why some in the industry had told him before he had ever joined Led Zeppelin that "he couldn't sing", he probably hadn't found that control yet, I imagine especially live. In this regard, Page wisely saw and heard what others might not have. I recall reading that Page had told Plant to sing BIGLY more mellow and build it up, his usual "light and shade" perspective which the entire band employed well during their career. If you listen to his old Band of Joy stuff, just before he joined Zeppelin you can hear some of that immaturity, but also the raw potential, he incorporated some of it in early Zeppelin stuff. All of the concerts and him pushing the limits constantly in concert (he hit some of the highest notes I've heard of any male singer during their early live concerts) definitely had to have run down his voice.
  4. Or, even just the evolution, if any, the riff took. I can't imagine that every guitarist that heard JPJ play No Quarter riff on a bass guitar, or even on lead could take what he is hearing and ultimately produce the effect and even the timing of the riff, maybe even alter the timing or add a note or two. I'm not sure how that works itself out in writing credits (one of the most mysterious and subjective issues often in rock history it seems). I can't even think of a song that Jimmy Page didn't have his name down as a writer other than Bonzos Montreux, All My Love and Southbound Saurez.
  5. I didn't know that. Both those sound like Page to me, but you might be right. I always consider that Page puts in a little extra swing to these riffs since they came from someone else. It's like many bands who do a cover and they play it with more energy since it seems so fresh and foreign to their own creative construction. Pages effect in both songs is perfect. When I saw Page and Plant live years ago No Quarter was without a doubt the most sonic. You could feel the riff in your bones, they must have had the amps overclocked, hah.
  6. No Quarter and Black Dog, in the same class as In the Light (with JPJ's great intro). Gritty, dirty, filthy and beautiful. Have a great night.
  7. The Jimmy Page in his heyday would have had those released within a week after feverishly working on them 18 hours a day until they were perfected. Page today...don't hold your breath. The only item I hope he keeps his word on his biography which he said would be released posthumously.
  8. I was turned on most by songs like Dyer Maker and All of My Love, Fool in the Rain and all their mellow stuff when I first got into LZ. It was always an interesting treasure hunt as they were before my time. I'm not surprised it was so well received after the bands tragedies and time off. Even when they ventured away from their core sound, which is a bit of a paradox as they did so quite often and trying to pin it down to a single signature or even genre was impossible; they were still clearly great musicians and arrangers. Certainly better than their peers, then and even today. A good find. Thank you for this.
  9. I think they still probably had another album in them. There was definitely friction at that time, for many reasons, most of them personal and deep. Within a short period of time their decline in cohesion as a group was as rapid as their escalation into stardom which reached it's peak when PG was released. I think releasing the studio recorded "throw aways" was probably the best business decision as the demand for the unreleased was probably higher than live stuff, which people could visually access with SRTS. Also, there were a number of bootlegs of this stuff circulating, so, like the BBC Session, Page wanted to dry up that market and release it in a professional produced format.
  10. One talent Page had in my opinion, was going into a studio and seamlessly fitting a solo into a song. Talent and ability to produce the solo itself aside, he also reinforced perfectly the mood and overall expression of the song. For instance, I don't think Stairway to Heavens solo is his best, but, the way he melds it with the overall atmosphere the band is trying to emote makes it magnificent. On it's own, it sounds nice. When placed in the context of the song, it becomes epic. So, what solos did you feel DIDN'T fit in well with the song? Either were misplaced, or didn't seem to fit the groove. For me, it's probably the solo in Over the Hill and Far Away, and also the outro in Black Dog. Neither feel right to me. Not bad of course, but just not right.
  11. There will never be a Zeppelin reunion. That said, of the three living members, Page is Zeppelin. It will always be that way. What fans feel is what he felt and continues to feel. It was his baby that he would jump in front of a train to protect.
  12. Probably albums in the vein of "We're Gonna Groove", "Darlene" with a single power song in the mold of Achilles Last Stand (with less flair) on each album, assuming Page could stay on track. I would assume much more input from JPJ and a more mellow, time driven based by Bonzo, his power days behind him. With the advent of heavy keyboard music in Europe in the 1980's, it would have been interesting to see if Zeppelin tried to outdo the other bands at their own game. Just because they can. Alas, all left to conjecture at this point and at that point. RIP JHB.
  13. Well, I think there might be some slightly optimistic takes. I think, all things being equal (and there were no comparisons to other songs in history); it wouldn't be viewed nearly as vital today. When the song was released, it would always be the last song at school dances. It had the heart and minds of the youth, and even if you didn't like the genre, you had to appreciate this song. You also were forced to listen to it, it had constant airplay. It was loved by a generation, across genders, and analyzed by the kooks who said there were hidden, satanic messages. Once you reach level of consciousness and conspiracy theory, you KNOW you've got a hit. So, even those who didn't like rock music, didn't know Led Zeppelin, knew that song. For many, maybe even most, it's the only song they know from Led Zeppelin. The song itself is synonymous with the band, fortunately or unfortunately for fans like us who are aware of how deep their catalogue is. As an example, some of us remember the scene in Waynes World where there is a sign at the guitar store ("no Stairway to Heaven"). It was simply the song people played because it was one they first learned and it was easily identifiable to others. It was even for credibility, "hey, if that guy can play the opening chords of Stairway, he MUST be one hell of a guitarist" (even if the guy doesn't know anything more on the guitar than those opening notes). If this were released today, it would be a great cult classic. A few who didn't listen to rock music would be drawn to it due to the subject matter and pure musicianship, that's never changed. However, it wouldn't be embraced today because the culture of music has changed. "If I can't dance to it, I don't like it". "Too corny man" (even Plant sometimes took such a position at times, separated by many moons an experiences from the lyrics he once wrote.) I hardly even hear love songs played today, let alone slow tempo songs. This would be a long, drawn out song to most, their attention spans wouldn't accommodate it. Sadly, too cerebral for an impulsive, corporate fed consumer that wants their music formula without devitation.
  14. One could consider their entire catalogue, but I ask in regards to this song in particular for obvious reasons. Obviously there is a much different genre of music today and a larger focus on pop, R&B, rap music etc. However, there is also a smaller world with the advent of the internet, so, a bands anthem can go global in hours, could have untold downloads within the same timeframe, along with a bands video, awards shows etc. So, do people think the public would have embraced and catapulted this song into the stratosphere and it cross genres. Or, would it just be another nice song for the sophisticated upper class to listen to on their iphones when sipping on their herbal tea?
  15. There is some truth in general, to what you say. I've always felt it was him not wanting others to know the magic potion he used in the studio which gave Zeppelin such a rich, ambient sound that added even more to their musicianship. I think Page had always left out a few details, like a great stew recipe that everyone thinks then can make but they never figure out all the ingredients. Regardless, I think about the timing of this and it would be hard to convince me he did this. Zeppelin II they did mainly "on the road" as it were. Different studios, even getting to test songs live, working them out, it was a very hectic time. You could make the argument that maybe some trickery was amiss if Heartbreaker were on Physical Graffiti, I just don't see this being their M.O at the time. Peter Grant and Atlantic Records wanted to milk their success in rapid fashion and who can blame them, with so many bands coming and going. Atlantic had paid them gobs of cash they needed to make some big returns. My guess is this solo was done and Page thought, "well, this is a somewhat sloppy but raw, impossible-to-replicate solo". He probably had a couple of other less impressionable ones and decided, "to hell with it, this one will do". I think Eddie Van Halen was influenced by it, Steve Vai said it was basically the solo in rock that moved him most. So, compared to the insanely clean solos he would lay down on tape, this one just had the proper amount of sludge of a band going 100 miles an hour. I think it's great and would be exactly the kind of solo one might expect from him during this hectic period. It's ironic that I recall reading that Page had doubts about even releasing Zeppelin II, he was not happy with it at the time as a whole. I think the song Living Loving Maid in particular was not really liked by the band. Such an influential album that merged rock with heavy blues, it's impossible to gauge how influential it was and they weren't pleased with it. These standards (much like Hendrix had) are the reason they made such timeless music.
  16. Hah. I was being facetious of course. Put it this way, it's a well orchestrated song, it will just never be one of my favourites.
  17. Plant hits some really high notes in the song. As in The Song Remains The Same, it seems a bit off to me. Even more so when the riff is toned down, unlike TSRTS where Plant was trying to match the rapid fire highly tuned guitar work. As for the lyrics, not to undermine his effort, but I'm guessing it was haphazardly written with him placing more of a focus on hitting a wailing, Moroccan vocal imitation than in reproducing something lyrically memorable. Considering some of Plants writing, some of the best in rock history, with and post-Zeppelin, he can be excused for not always having his A-game. Hah.
  18. The only song on the album I'd always skip, never felt it deserved to be on the album, always viewed it as a filler. Having listened to it again, many years later, I've decided that the song gets the nod to be included. The off beat timing, which somehow they pieced together as tight as they could, the baratone power riff which I never liked, now seems to have a more trance-like and unique quality. JPJ's syntheizer work and most importantly, Bonhams little pitter pattering rhythm, produce enough of a creative invention to be on the album. A reasonable send off at the end by Plant is superior to a precipitous conclusion. Maybe more suited for Zeppelin III, but, it's fair enough for Zeppelin IV. I won't press replay, but, I will at least indulge in it. Thoughts?
  19. Well, from his interviews he intended to speak candidly without reservation about the band. His logic was that doing so would prevent him being sued as he wouldn't be around. The only problem of course is how honest one would be about their own imperfections, especially after so many years have passed and one can look back at a younger time period with a less flattering view. I recall one particular interview Plant was in where the guy quoted something Plant had said when he was younger, Plant was uncomfortable knowing he said this so many years ago and he expressed some embarrassment for saying what he did when he was 20 years old or whatever. He owned up to it, but life is always this way isn't it? One grows wise, more serene and sober. They realize, they were once caught up in the emotion and energy of the moment. Much younger, less independent even. Not even their own man yet.
  20. It's like that long lost girlfriend, all the memories, but it's long over. What they did was captured on tape, thankfully. It cannot be replicated. Once Bonham was gone, even if they found a suitable replacement, that spirit was gone. Had been gone for some time, even as they still created great music. After so long, so many rides, too many life experiences, it was never going to be the same. You can hear a clear difference in the passion even in the songs early compared to later. It gets tiring and you only have so much mojo then it becomes a fun job, but still a job. Sadly (or maybe fortunately), for me at least; the best we have now is watching reaction videos on youtube of a new generation hearing it for the first time. I like watching their reactions, their confusion, their shock that such inspiring music exists. Once in awhile I'll listen to some old live boots and hear something I haven't heard before, but it's clearly all been done. Since I cannot rehear the music again for the first time, it's fun to see others do so. What would be the ultimate gift from the grave would be if Page did as he said he would and releases a tell all book, "the truth" if you will about the band and their experiences. I'd pay top dollar for that book, and I know millions of other would as well.
  21. Probably Coverdale/Page and the Page/Plant No Quarter album and subsequent tour.
  22. It's a a great album with it's own character. I generally only find myself listening to "Since I've Been Loving You" from that album with any frequency, but, the second side with Tangerine and the other acoustic work is a great listen on a rainy day or just relaxing.
  23. This is going to be a long one since I can't sleep. I look at it this way, how do we create music? Deep in the grey matter of the brain a sound sticks and never leaves. Maybe a sound you heard many years ago, could be from a movie, another song or someone just drumming on a table. Your brain might not even remember it entirely as you heard it, but you somehow piece together a similar sound when you are constructing your own riff. Whether it's guitar work, drumming, the tone of ones singing, it is a combination of experience, sometimes classical training, that mystical spark that originated from the heavens, and/or an influence from somewhere. As an example. So many Led Zeppelin stuck in my head when I was kid, I heard the songs before but it they were before my time, so I didn't listen to their music organically as a new band. However, they of course were played often on radio, I just never listened to rock music that often, other than my dads tapes and none of it was Zeppelin. So, the slide and follow through in the song When the Levee Breaks comes to mind. When I started getting into Zeppelin and my buddy told me "this is the album you need to listen to" and he put on the Levee Breaks, it immediately sparked that memory, I knew it was the sound I had always remembered and enjoyed, I just hadn't heard it in years, nor did I know the source. It didn't sound exactly as I remembered it from God knows when as a kid, but I knew without question, it was the song. Same goes for Kashmir, even Whole Lotta Love. Ironically, it wasn't the now famous riff I remembered, but what I could have described as the "airplane sound" (the slide guitar) in the song, and also, I thought Plant was just mumbling indiscernible lyrics, when he was in fact saying "you wanna whole lotta love". Now, for arguments sake, let's say I became a guitarist, completely self taught and not educated on well known guitarists and their work. I could have constructed similar sounds, some from my own magical of creation, others, from those same riffs I heard years earlier. You might listen to my stuff and say, "that sounds like when the Levee Breaks", you could even play it for me and I would remember that source. I suppose, some of their work with the blues, especially Plants lyrics, was a direct carbon copy. Some of it impossible to trace back the source, others, just a rip off. I have to think, when Page in particular, was sitting at home trying to come up with some new material, the spark will strike and he might come up with something similar to a sound he heard in a movie or some other source many years earlier. Might be obscure, might be more well known, but it will conjure up somehow in his brain. Ditto for music he heard when travelling the world. I think of songs like Friends or Four Sticks. They have that Eastern sound to their body. I can't say it's theft, it's just an influence and they expanded and applied it to rock music. Bottom line I suppose, creation is a magical process. We are amazed at not just the technical structure, but more importantly the creativity. Which, in my opinion is never more pronounced then when I hear Pages solos. When he plays without predetermined structure and just let's the notes rip from somewhere in within him, to me they are the best part of their catalog. Since I've Been Loving You, 10 years Gone, Heartbreaker, Dazed and Confused, Stairway to Heaven, on and on, just solo work without proper words to describe. Those solos are just raw God like creations, the likes we have not seen outside of Hendrixs work, which was different, but outstanding in it's own way. Thanks for your time
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