Jump to content

Blaize86

Members
  • Posts

    84
  • Joined

  • Last visited

Profile Information

  • Location
    New Jersey / New York

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I must say sometimes these You Tube reaction videos even make me rethink a song. It is a stellar send off for the band. Maybe take down the JPJ orchestration approach and turn up Jimmy’s guitar and you have a gem of a song with an outstanding solo. However, it’s Robert who takes command here and gives one of his best , most passionate vocal takes. Sounds better with age.
  2. The Rover. You can actually here the drum set breathing through the song.
  3. There will never be a doc on LZ. There is very limited or any real good footage. Solid interviews or even backstage stuff is rarer than Bigfoot sightings. That’s why we love them. The less we know.
  4. This performance , which bests 5/24, proved to me what a fantastic vocalist Robert is. This second vocal break at the end where he just pushes himself to the brink adding some soul and deep blues phrasing. After 4 1/2. 3 hr shows and his voice not exactly in top form how he musters this up is simply amazing. . Along with a smile at the end... Cant seem to get footage on here ..whoever can...a big thanks.
  5. A pivotal time , live playing wise, in their career. I believe this is where the cracks started to show. On the 1972 American tour Robert went to using a very high pitched almost constant falsetto. I believe that was the point where he just blew it out. As you can hear in HTWWW , to me, it lacks any depth and quite annoying. I prefer , believe it or not, TSRTS voice technique as in The Rain Song. It was powerful yet teetering from night to night. He was not going high anymore because he really consistently could not. There are moments like in LA in 1973 where Plant is devastating but he’s moving his voice around finding it’s strongest point because at this point there wasn’t much high register left. 1972 is where the inconsistency started especially in Japan.
  6. Figures , Robert sounds like crap. The only possible doable 8mm and it’s one of the worst nights of 1975. Percy ruined a lot of nights in 1975.
  7. Never enjoyed these shows. Just hated the sound of Jimmy tone and Robert voice. This , to me, was a critical time of a demise of live standards for LZ. This is where they started to get too loose and on the verge of sloppiness. America 1973 was around the corner and they were “pushing it” on this leg of the tour. This was one leg they should have put aside and rested for quite a while...especially Robert. I realize Europe 1973 was also on the horizon and Jimmy was a total a beast during that tour but Robert was pushed way too hard during late 1972 and winter 1973 shows.
  8. Soundboards suck! I don’t get the attraction to SB. Makes the band sound flat. Give me a thunderous audience recording so I can hear what they heard in the 1970s. I read reviews of the heavy “ thunder “ of the live shows but sounds very mean and mild with soundboards.
  9. Just wondering about the delay..or is it no big deal? Foreigner, Aerosmith, and so forth. Is there a reason why these four lads have been declined over and over. I realize they aren’t a “song based “ band like The Who as JPJ has stated. It’s all a puzzle. I’m just surprised they are not in it.
  10. I have always been a huge fan of the Montreal 1975 show. The STH solo is simply astounding and when it hits its peak , it’s Bonzo who just plays off Jimmy that sends chills through my body every time I hear it. I have also come across an HD version of STH Earls Court , solo only, with video and with incredible audience sound. It really gives the band the due they deserve. To hear Bonzo’s drums sounding so powerful and clear with awesome tone against Jimmy’s solo is something that old timers like me will never ever see again with the future of rock n roll. I love Jimmy’s tone in 1975 on STH, especially the solo. I feel the difference from 1973 lies with the solo going into areas of more melody and with John’s added tom tom work and off beat ( he’s playing with Jimmy) playing, it’s just incredible. Jimmy’s face buried in his long hair just adds to the mystic. Do me a favor. Get on You Tube and get the Montreal snow in 1975 ... go to 2:18 ( hrs)....just freakin blast it. Just when you think he’s gonna pack in the solo, he pushes it even more with melodic note bending creating an emotional solo that sends shivers up the spine and John doing magic behind him. My favorite. Any other recommendations ?
  11. The huge difference in the song is Bonham. The live recordings in Japan and Canada in 1971 compared with 1973 are staggering, in my opinion. Bonham and Jones are locked in sync while Jimmy goes off. JB then changed and started playing with Jimmy more and using his foot a lot less and open high and toms more. In the Osaka recordings when Bonham was fighting with Plant and annoying the band , I believe JB left his high hat open deliberately to annoy the band and drown out Plant. You can also pick up while Jimmy is soloing 2nd time around , John just drops the beat I assume to try to piss him off. I could just see Page looking at these two young un schooled Midlands musicians and saying “ would you just get on with it John “!. I hate to say this but the 1971 live versions are far superior since I believe Jimmy was playing much better and kinda left alone while JPJ and JB locked in. Only when Jimmys altered his tone and his soloing began to decline a bit, did Bonham start playing more with him than Jones. I know I’m risking the next statement ( I am a a risk taker ) but I just feel that Bonham over plays a tad to mask some of Jimmys slurred sticky soloing , at times ( anything live circa 1977 ) , especially during the 1973 live versions of this song. The original on SRTS I do enjoy especially the 2nd solo but the remastered I rarely listen to. It lacks a heavy bottom sound and rhythm tightness than 1971 by far. Nothing compares to Toronto 1971. It’s probably the best I have ever heard the band play.
  12. Soul Train Brother is the best. A lot of the reactions are from people with black blues and rap backgrounds who hear a lot of that in Zeppelins music. Also, the heavy bottom bass and drums production really surprises people.
  13. Your joking. Only a real musician would know that is a typical non listener view. It was their ode to the blues ... It was their sound. Their bombastic balanced instrumental sound Song structure without repeated chorus chants. The sound of their music transcribed to radio perfectly Album oriented without single releases 90 percent of gate 4 hr shows before Springsteen was even 20 yrs old Perfectly producing that studio sound Guitar overlays giving a thick bottom production Repeated smart riffs using different chord structure and timing ( throws the listener off a bit ) You can’t pinpoint this band and that’s the real reason .. Early they were thrash metal like with a blues base. Then morphing into heavy riff and drum backbeats while introducing their acoustic side along with some psychedelics mixed in with intricate song structure with an underlying bass melody. Being aloof and uncatorgorized is a gift in any art. Brando had it as an actor. Who can do Streetcar then play Julias Caesar in a two year span. The Beatles broke out in later years. The Rolling Stones ..pop? Rock ? Blues ? But Zeppelin hold the torch because you can add the mystery of their low key media exposure and total independence from the music industry folly. They were a fans band. Thats why
  14. Just listen to some tapes on the opening SRTS in 1977 and you can hear the double neck out of tune. Just listening to The Rover intro plenty of times he goes out of tune. Also during NQ in 1977 it seemed he was off key with Bonham's snare sound and Jonsey keys quite often. It didn’t blend well like in 75 and or course 1973.
  15. I loved those 1971 early 72 of Jimmy and Robert looking all conservative ( and playing wise too) with sweaters and beards. It seemed like Jimmy was in such command almost from a collegiate standpoint playing masterfully fluent and conservative. I realize the times, but it seemed to me that was a poignant point before the excess arrived. There sound became hollowed in 1973 and 1975 a bit live, until the overloaded volumetric thunder of the 1977 tour. In 1977 whenever you saw Jimmy with a ciggy , in 1979 to at KW, ( not Copenhagen ), you knew he was escorted to the stage. His playing was downright at times just awful. Like his fingers were sown together , out of tune quite often in 1977, and couldn’t play the easiest guitar solo , one that he composed himself! Jeez I must be bored in NJ making these early morning observations ....
×
×
  • Create New...