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High-hopes Hailla

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  1. I agree. Then again, as someone noted, that's probably how Page wanted it. For sure, seeing Jones solo was my chance to truly enjoy ALL of his bass! As for Lesh--his sound is SO phenomenal in that Cornell '77 show. Especially Scarlet>Fire and the very next tune, Estimated Prophet. Then again, that whole show is so well recorded, like most from '77 spring. I also reckon Phil had a lot more overall audio input in the Dead than JPJ had in Zeppelin.
  2. Ha-ha! Great story, man. I'm sure there are plenty of these "Zeppelinaires" out there. Main point is, this guy appreciated your passion for the music and was cool about spreading the wealth. I had to laugh about his wife's attitude, though. Hell, BOTH of my wives knew Zep was my passion and my hobby, and yet neither one failed to give me a hard time about it. Then again, neither one ever accused me of making "good money," which was possibly an accurate take.
  3. I've known a couple of Zep fanatics with endless money who truly got off on the goal of collecting each and every high-end box set from Japan, and the more "Extremely Limited," the better. Why? Just because! Bragging rights, I guess. "I've got THE best collection in NYC now." Etc. They didn't have to spend time looking--their sources just sent them what they knew these cats wanted soon as they possibly could. This was a great thing, in the days before downloading, if you knew guys like this because you could ask them nicely to burn you copies of their silvers and they probably would, if they were in the mood! Even now, I assume high-end collectors who don't care about money get off on this. According to EV, there are 100 of these fuckers? Sounds about right.
  4. Strider: Great, compelling writing about a monumental concert and, as you point out, a significant show for the burgeoning boot industry. If it's true that the Fairport Troub pro-tapes from that jam session were stored at Universal, well, that just compounds that tragedy, because we already know too many specifics about what's been confirmed destroyed. That loss is going to hurt for decades to come, music-wise... As far as Blueberry Hill recordings, I can't say I've enjoyed any version of the show in the last 35 years as much as Nite Owl's recent matrix, but I'd like to get ahold of a "first edition" Blimp or Rubber Dubber vinyl, just for the historical beauty of it. I'm sure there's one available somewhere--and I'm sure I can't afford it right now. Finally, very poignant indeed if Janis and Bonzo partied at Barney's on Sept. 4, '70---she died just a few blocks away exactly one month later.
  5. Jaan Uhelsiki, a superb writer and editor at CREEM in the '70s, had this to say about Page and her interview with him: "Jimmy stipulated that I must first ask the publicist my question and then she relay the question to him--even though we all spoke the same language, and I was sitting a mere six feet from him. This went on for about an hour, and was so odd, and rather humiliating..." I still have that issue of Creem ('77, I think), and she rescued that nonsense and turned it into a truly insightful piece. I don't begrudge Page his attitude towards media, but he just doesn't like to talk.
  6. Steve: Really sounds amazing! Thanks for the great work and I would truly appreciate a link.
  7. I have to say, this snippet is some kinda revelation for me : these songs sound great--excellent fully dimensional SDB, like the best of the '75s, and also great Plant/Bonzo/Jones. And Jimmy holds his despite his digital fuck-up (far as I can tell , but I'm not a guitarist so I never know what's missing) IMO, Plant sounds healthier than during many a '73 American show, and everyone else seems primed and excited to be back. I can't remember the time-line but I guess by the third show Plant's voice was flued-into-oblivion? Goddamn shame, coupled with Jimmy's injury. Anyway, I NEED TO HEAR THE REST OF THIS SDB!
  8. Thanks---this should be an interesting listen. I agree with those who say the studio version trumps any 79/80 live. But there are a couple I think are great, including Copenhagen 7/24. At the end of the day, I think "Evening" could have been one of THE classic Zeppelin tunes--- from writing and recording to live-- if Page and Bonham had been at the tops of their games instead of basically at the bottom.
  9. Thanks for yer wisdom. Not surprised to hear this because I've really enjoyed the exceptional work Graf Zeppelin has been doing for some years now. (I say this as a huge fan off Winston and EAP.)
  10. Like others have said, these are incredible photos, and they bring these shows I've been listening to for years to life in a whole new way! Pretty damn amazing, man. It really is like finding buried treasure to be able to see them after all this time. And yeah, the quality of the shots themselves is pro-level to be sure. I could easily see some of these on a legit live album cover if Jimmy ever decided to have a go at these shows. We're lucky to have your shots. Thanks.
  11. "He did do things after 73 that were beyond anything he had done before. He did match, and in a lot of cases outdo, the energy level of a lot of shows. But there's a certain element of Page's mentality that ceased to exist after the 1973 tour. He was able to access a level of ingenuity and power over the fretboard that let him play with full confidence, where even his mistakes seemed like a racecar driver almost losing it on a tight turn. He was able to play with a flow that was awe-inspiring for listeners and musicians alike. He was able to convey an attitude into the strings that almost seemed like he had to hold back to keep it from outshining the other members or committing overkill. At any time he chose he could let his fingers fly on a lightning fast, articulate run, whereas later on this sort of thing only happened on his better nights. Maybe he just switched drugs, who knows. But the totality that was the 1973 Jimmy Page was never seen or heard again, at least as far as I've heard. " I'm gonna say that your paragraph above is the overall BEST take on '73 Page I've ever read, going back 30 years now. You touch on details and articulate specifics I've not seen written about before. And now I realize that this is what I've been hoping to read. Because to me, the '73 Europe shows are an "other-dimension" listening experience, largely because of Page. But since I don't know music and playing the way you do, my ability to articulate that "other-dimension," even to myself, has never been there. (Does this shit make any sense?) Look, I think the 2nd leg of the upcoming American tour was largely amazing, and I think they all busted their balls with genius playing and a whole lotta sweat to make the winter '73 U.K. tour an enduring triumph despite Plant's absurd fuckin' flu/throat disaster (sorry, but Plant not protecting his body and throat at that time was arrogant, IMO. He let his mates down.) But Zep Europe '73 was one of the TRUE heights in rock history, and I thank you for writing the words that help me understand why.
  12. Seattle 1973. I'm "revisiting" this show after mostly passing it by it for a couple decades. Fact is, when I got the "V 1/2" Dynamite Studios silvers back 25 years ago (at least), I found the soundboard to be so damn dry and dusty that I wasn't getting any "vibes" from it, as Robert would say. And at the same time I was probably totally cranking "Three Days After" 73/06-03 L.A.from Silver Rarities which despite the significant tape damage was, and still is, one of my favorite '73 recordings. Anyway, the Winston Remaster of Seattle '73 is my new go-to and it's great. I hear the Graf Zeppelin version is amazing too, so I hope to find it. Anyone have suggestions for other versions? Thanks.
  13. I'm enjoying the discussions coming up because of blackmikito's royal-orleans post. Learning a lot from all of it. Just goes to show, there's always more to discover. Always. The post itself is just awesome: gotta be the most informative, comprehensive and thoughtfully written in-depth Zep info I've read in many a moon. I guess I almost felt compelled to say this. With all the bullshit flying everywhere these days, about everything under the goddam sun, it just feels RIGHT to see a solid and passionate take on good ol' rock and roll, which is one of the few things keeping me and mine sane in this madhouse of a world.
  14. but good to Yeah you got that right. I dig your perspective and the way you put it down , so keep it going. When I sift through all the takes I can read about Zeppelin, or any other bands I care about, 98 percent of it is ego-driven, self-serving bullshit written by people who don't know how to write about music. They just like to hear themselves talk. You're the rare cat what knows his stuff and understands what a reader wants to read. Not saying I agree with you 100%, but good to have a perspective worth respecting.
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