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High-hopes Hailla

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  1. Yes, thanks for the update---and your excellent work all around. Got freaked out when I couldn't find BB for a few days. Figured maybe the ghost of Peter Grant came a-knockin'...
  2. Whoa! Brother, I am late to your "Stereo Project" work, but now I hear what I've been missing. Each show you've done your stuff on is now in Top Position for me, based on a couple hours' of listening,. Can't wait for the luxury of time (after this fucking Covid nightmare) to delve into a deeper exploration of your work. Thanks again---Josh
  3. We're older day by day. You feel it too? And the world's in chaos. So what's the point of vicious arguing on a site dedicated to a band we all love? It's bullshit. Someone has a legit criticism about screwing up some hoarder's pending maybe-releases? Take it PM. To keep it public is just grand-standing. Nobody in this singular genius band grandstanded. One of the many things that set them apart for the ages. My take, anyway.
  4. Whoa, that sounds superb. Would love a link to stave off the endless cold, grey days of Pittsburgh. Eye thank ewe!
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. Steve: Really sounds amazing! Thanks for the great work and I would truly appreciate a link.
  11. 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!
  12. 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.
  13. 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.)
  14. 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.
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