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gibsonfan159

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About gibsonfan159

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    Zep Head
  • Birthday 01/09/1982

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    NC, U.S.

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  1. This dude is what the Black Keys should sound like. Good mix of rock, blues, and soul.
  2. Nitpicking Page 6/24/1980 Hannover (Gracias) A good sounding soundboard patched by an audience source in a few spots. Train Kept A Rollin- Take away the Zep name and you'd swear it's an underground punk band. First solo is played well, good bends and phrasing. Plant sounds a little shaky. Outro solo is raunchy and aggressive, also played well. A nice kickoff, but Plant's subdued vocals hold it back a little. "B+". NFBM- 1:38, everyone's out of sync for a couple seconds here. Harmonica- Not great, pretty half-arsed. 2:48, Bonzo drops out for a few seconds. Solo- Page rips out an excellent opening run, then proceeds to hit notes that sound out of key for the remainder. His guitar actually sounds a little sharp. A fairly strong finish and Page can be heard checking his tuning. "B". Black Dog- The verses are decent, rough around the edges. Solo- Very sticky throughout. It's not terrible, but sounds like someone shot him with a tranquilizer dart. "B". In The Evening- Solid first half. Solo- Surprisingly good, well phrased blues licks. Not playing some reverb drenched licks through the flute section was a missed opportunity for this song. The wah soaked outro is good. A solid version, but almost sounds like a certain amount of energy was missing. Still gotta go "A". Rain Song- Page plays some unique chords before starting the song. Plant sounds better now and sings with passion. The synths get a little loud in the mix halfway through. Rock section- kicks in very hard with Bonham laying down some monstrous fills, but Plant strains a little. Some masterful playing by Page on the outro. The synths being overwhelming hurts the audio aspect, but it's a fairly solid rendition. I did hear some off notes by Jones. "B+". Hot Dog- A sticky intro leads to a quick tempo. Solo- Fairly sloppy, but he manages to push through. Excellent energy balances out the rough playing by Page. "B+". All My Love- No bass coming through on the intro and Page is up front in the mix. 1:33, enter bass. Synth solo- Not bad. Guitar solo- Finally, a coherent sounding set of phrases for this song. As always, the band sounds more alive on the outro. "B+". Trampled Underfoot- Solid verses. Jones gets his usual, funky routine in. Solo- once again Page's phrasing sounds almost verbatim to the 1977 OTHAFA solos. A little sticky in places but good for the most part. 5:56, some strained bends. 6:15, Page goes acapella in the mix. The outro solo is aggressive but on the sloppy side. A decent showing if you can ignore the sticky fingers and audio problems. "B+". SIBLY- Some good noodling on the intro. Verses are played with enthusiasm. Solo- Page comes alive for some good phrasing. 4:54-5:04, tremendous set of bends. 5:06, a botched run. 6:32, sticky. Despite Page's stickiness in places, this version is played with true conviction and Bonham/Plant sound like they're back in 1973. "B+" overall, but "A+" on the must listen list. Achilles- Page plays the intro at break-neck speed and Bonzo comes in a little early, though it's quickly corrected. No bass again until 1:03. That sound crew from Dallas needed to be sent back to cow country. First solo- Page struggles with the first couple runs. Not a great flow, but he's keeping a steady stream of notes going. Second solo- a little better here with some aggressive licks. 7:38, flub. Third solo- No delay effect coming through makes this sound overly simplistic. 8:35, a good yell from Plant. Bonzo's tempo increases noticeably on the last few measures and Page has a hard time keeping up. "B". White Summer- Once the song takes off there's hardly a dull moment, with Page trodding along with energy and decent playing. I'd rate this highly for a 1980 version. "A". BMS- 0:24-0:30, As always, Page struggles with certain phrases. 0:59, As always, Page stops in an awkward fashion and plays a different variation. "B". Kashmir- 1:06, Bonzo misses the beat. Fairly good verses throughout. 7:20, Page's leads get choppy and hesitant. "B". Stairway- Very solid verses, nice playing throughout. Solo- Page gets on track for some very nice phrasing and runs, showing patience and not forcing anything. Slightly sticky in places and the last phrase is almost flubbed, otherwise an excellent solo. An audience source would really do this version justice. One of the better Stairways I've heard in a while. Only downside is that Jones' beautiful piano licks are too low in the mix. "A+". Rock And Roll- Again, no bass in the mix until 1:03. Page's tone is pure grit and grime and Plant sounds good. Solo- I don't think he could intentionally play sloppier, seriously. Bonham's final drum fills sound nice. "B". Communication Breakdown- An intro comparable to 1969. Solo- Out of nowhere Page gets some nimble fingers. 2:30, a riff switch up. Excellent. "A+". Final Assessment- Not the band's best show, but they put in the effort for an entertaining one anyway. Page was hit and miss as usual but did manage to wake up for a few numbers. The audio problems were undoubtedly affecting the band as Jones and Bonham were playing uncharacteristically. Highlights are a solid In The Evening, a very passionate SIBLY, a flawless Stairway reminiscent of LA 1977, and a superb finish with a punch-in-the-gut Communication Breakdown. I'm very interested in hearing any audience versions of this one.
  3. 2:32, the doves being released? Would've been awesome to have footage of Robert catching one.
  4. The only obvious time I've heard Page badly out of tune is 3/24/75. Or maybe you're just talking about playing out of key? As far as tuning, it wouldn't have been his fault.
  5. I was asking a serious question. I've always wondered if there actually was a connection and found the article interesting. Apparently there's no actual connection or significance, right?
  6. So, Hipgnosis more or less just found an old building for the artwork and there's no significance?
  7. No love for the Seattle version? I think it's more energetic than Knebworth with Bonzo playing more dynamically. He really kept that Seattle show alive.
  8. I'm not a big fan of No Quarter. First of all, it's out of place and kills the happy vibe of the album. I wish it had made it onto the fourth album. That guitar tone worked great on Black Dog but sounds like a saxophone here. With so many great live versions available there's no point in listening to it.
  9. 1. Depending on volume, an electric isn't gonna vibrate more than an acoustic. 2. Headphones are a thing. 3. Any statement Page makes is almost certainly a ploy to overplay the "sensitivity" of the house.
  10. Stereo as in separating the instruments in the balance. I was talking about creating a "false" multitrack of sorts by isolating frequencies.
  11. Different kind of "stereo", bud.
  12. I've been thinking about trying this. Taking a soundboard and creating four different frequency settings that isolate each member as much as possible (like you said, there will still be overlapping) and remixing them separately. At the very least this would allow slightly more control over the instrument balance compared to just adjusting the EQ.
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