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Swan

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    11
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About Swan

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  • Gender
    Male
  • Location
    Paris, France
  • Interests
    Media, filmmaking
  1. There is a thread somewhere about the sound issues during the gig. Looking at your videos, I noticed how Jason's overhead mike is pretty much directed towards the stage monitors... and I know that Robert Plant usually has them as loud as possible. Would that account for SOME of the leakage, hence even more feedback ? One thing that struck me also was that, unlike all the other videos on Youtube, yours allow us to HEAR JPJ's BASS !!!! And his playing throughout For Your Life was really great and groovy ! So... THANK YOU again for doing this fine videowork for us to enjoy ! ANd your cam is steady, which makes them all the better ! -->insert big thumb up here<--
  2. Hey there ! Let me tell you that your videos on Youtube are the most awesome testimonies - so far - to what the concert looked and sounded like ! EXCELLENT QUALITY ! It gives a genuine feel of the whole thing. Even made me shed a tear at some point...
  3. Well... if Kevin Shirley were a poster in this forum he would INSTANTLY become my new best friend... for life !!!!!! Not a word there that I couldn't relate to. Excellent read and thanks for posting this !
  4. Yeah... right ! And still... it felt like a long show to me at the time. I wasn't particularly keen on the ITTOD numbers, except for "In the evening". Remember I was only 15 (although Im still not a big fan of "Fools in the rain" !!) But I remember being real proud to instantly recognize the guitar intro to "Train kept a'rollin'" that opened the show, much to the amazement of the older members of the audience around me ! I was a real die-hard fan, at the time...
  5. I was lucky enough to attend one of the last dates of the European Tour - traveling with schoolmates by train to Zurich, Switzerland, in my 15th year... They only had 3 more gigs before it all crashed. I remember they started the show 45 minutes late and Robert apologized to the audience before they kicked some serious ass throughout the set. I vividly recall the whole arena seemingly experiencing a rythmic earthquake during "Kashmir", my favourite at the time and the first time I'd been in such a huge crowd swaying in transe, and I also remember the wonderful rendition of "Nobody's Fault..". The internet is a wonderful place because, not only did I find all kinds of stuff on the tour, reviews of the different gigs (and the one I had seen was rated one of the best of the tour !), but even better : somebody sent me the soundboard recording of that particular concert ! Bless him ! What I've heard from the O2 concert - despite the mediocre sound quality of the files here and there - is that they are playing today pretty much like 27 years never happened and, if anything, the performance sounded tighter (maybe because they were all on their best behaviour and concerned about possibly disappointing the fans... ) Well, that was my little Zep story... OH, and one more thought : thousands of raised lighters have been replaced today by thousands of raised cellphones... which obviously undermines the quality of the applause...
  6. The feedback issue would probably mainly occur on the vocal (PR) tracks and probably there would be some leakage onto the drums and keyboards tracks during the multitrack mixing and I'm rather confident there would be a few ways to doctor those tracks during the final mix. But it is indeed a bit annoying that this should happen during such a big, hugely anticipated and highly rehearsed event !!
  7. As always when "new" versions are being released of any artistic endeavour, it is a good idea to keep the previous version as well... It is really strange that they should want to shorten, edit out et splice so much from what was already a pretty good set of live performances. (and CDs being a different business from DVDs, why not allow fans to enjoy them as separate experiences, without the movie edits ?) Anyway, I really did enjoy the new mix and production and especially enjoyed The Ocean, Misty Mountain Hop (wow, the magical blending of the keyboard and guitar !!!) and others and couldn't help wondering why these versions never officially surfaced on CD earlier !!!!!!!!
  8. Here is a bigger size for the nice TELERAMA cover. This Arts & Entertainements weekly is really the most influential in France. Usually regarded as rather high-brow... They managed to have Led Zep on the cover of this issue, 24 hours after the gig (it's a weekly, remember), including a Jimmy Page interview and also - ironically - a raving review of the Plant/Krauss CD !
  9. Hey !! !!!!!!!!!!!!! How on earth do you have all the specs on the band's backline ?? It's crazy ! (and great!, of course...)
  10. NICE WORK ! I really like the Black Beauty model - totally deserves its name...
  11. For those of you who can read Fench (well, why not, it's not a sin ! ha ha) here's the raving review from TELERAMA, the most influential French entertainment weekly, usually considered a tad too high-brow. They decided to put Led Zep on the cover of their Wednesday issue (wonderful pic), much to my delight (as I've been a subscriber for a few years now) http://www.telerama.fr/musique/23158-led_z...es_on_etait.php Led Zeppelin à Londres, on y était ! Publié le mercredi 12 décembre 2007 à 18h52 | Ils n'avaient pas joué ensemble depuis vingt ans. Hier soir, à Londres, les trois membres restants de Led Zeppelin – Robert Plant, Jimmy Page, John Paul Jones, accompagnés de Jason Boham, fils du batteur John Bonham – étaient sur la scène de l'O2 Arena. Deux heures de puissance et d'émotion... Ils sont venus, ils sont tous là, se disaient-on lundi soir, à l'O2 Arena. Et pas que les stars de poids, Paul McCartney, les frères Gallagher, Dave Gilmour, Kate Moss ou même, paraît-il, Paris Hilton. Non, il y avait aussi et surtout James, venu du Canada, Flavio, du Brésil, ou Laurie, une grand-mère du Minnesota qui, pour rien au monde, n'auraient loupé ça. Et des centaines d'autres, certains qui n'étaient pas nés en 1980, d'autres qui attendaient depuis vingt-sept ans pour voir ou revoir Led Zeppelin, réunis, enfin, pour le concert de l'année. 125 livres (200 €) le billet, plus le déplacement (transport, logement), le jeu en valait-il la chandelle ? La réponse ne tarda pas à venir. Oui, cent fois oui. Après quelques amuse-gueules de rêve (Maggie Bell ou Paul Rodgers, notamment, apportant leurs coffres précieux aux Rhythm Kings de Bill Wyman), les choses sérieuses ne se firent pas attendre. Sur grand écran, un télé d'époque diffuse un vieux JT américain du début des 70's. Le speaker présente quatre Anglais hirsutes qui viennent de batttre le record d'affluence établi par les Beatles au stade de Tampa. « Il s'agit de Led Zeppelin, un groupe dont le boucan, que vous soyez dans le stade ou aux alentours, sonne à peu près comme ça.... » Le riff d'intro de Good Times Bad Times résonne et c'est parti. Jimmy Page, le cheveu blanc, élegant costume noir, chemise blanche, se déhanche sur sa Gibson. Robert Plant, chemise noire (ça mincit) s'approche du micro : « In the days of my youth... » Premier miracle : la voix est là, retrouvée, presque intacte. Pas toujours en place au début, tout comme la batterie de Jason Bonham, fils de Bonzo, victime on l'imagine, du trac. Mais John Paul Jones, magistral, tient la barre, marque la cadence de sa basse monumentale, le temps qu'ils se ressaisissent sur Ramble On, puis Black Dog. Jimmy Page, comme s'il lâchait tout ce qu'il retenait depuis près de trente ans, a déjà décollé. Le public a le souffle coupé. Le son, la précision, l'intensité. Le tour semble joué, mais ça ne fait que commencer. In My Time of Dying vient après. Le titre que Plant ne voulait plus, ne pouvait plus chanter. Trop de mauvais souvenirs. La douleur est exorcisée. Page sourit, la salle a la gorge nouée. Deux heures durant, rien ne se relâche. Aucun tube écrasant ne vient éclipser des titres moins connus, juste des classiques (même For Your Life, de Presence, perle heavy funk jamais interprétée sur une scène auparavant), monstrueux alliages de puissance et d'émotion, qui s'enchaînent les uns après les autres, et Page, impérial, qui ressort un à un tous ses joujoux préférés : l'archet pour Dazed and Confused, la double-manche pour Stairway to Heaven, le theremin pour Whole Lotta Love. Aucun délayage, aucun temps mort. Sous nos yeux, on assiste à la re-naissance du groupe telle qu'elle a été cent fois décrite. Avec Jason Bonham, qui cogne aussi fort que son père, dans le rôle du ciment entre les quatre individualités, alchimie mouvante sur laquelle Page édifie ses architectures démentielles, infernales. Chacun se regarde, comme avant, cherchant à épater l'autre. Ou à ne pas le décevoir. Les musiciens jouent pour eux, pour nous, pour l'instant. Un ultime Rock'n'Roll, en second rappel, est l'affaire est pliée. Les drapeaux volent dans la salle. « On me dit qu'il y a plus de cinquante nationalités ici, dit Plant, juste avant Kashmir. » Il paraît troublé, ému, épuisé. Le pari du jour est gagné. Celui des trois autres pourraient bien se réaliser : comment Plant ne pourrait-il pas avoir envie de recommencer ? Un fois, deux fois, qui sait...
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