SteveAJones
-
Posts
24,158 -
Joined
-
Last visited
Content Type
Profiles
Forums
Events
Posts posted by SteveAJones
-
-
I remember reading somewhere that Jimmy personally phoned Terry Reid before the gig - just before TR was to go on stage, to give encouragement... coincidentally or not, that was the gig where Terry played one of Jimmy's guitars. I apologize for the lack of exact quote, I don't remember the source or even the date (some time in 200?) but it adds to the impression that Jimmy is a caring dude no doubt.
He also shows support for his friends by being there...Jimmy has attended at least three
Terry Reid gigs:
March 1969 Revolution Club in London
Jan 12 2004 House of Blues in Los Angeles
Nov 20 2005 Ronnie Scott's Jazz Club in London
(also Jimmy's first visit to this venue as he explained he "never liked jazz")
-
Steve,this probably doesn't belong on your thread,but if anyone knows,it's gotta be you.
Do Page and Plant have direct lines of communication with each other?
Is it a situation of "have my people get in touch with your people" or is it more personable when rock royalty deals with rock royalty?
Jimmy Page, Robert Plant and John Paul Jones can and most assuredly do call each other directly. One such occasion was in 1987 when Robert called Jimmy to invite him to come to the studio and contribute to his 'Now & Zen' album. A date was arranged and Jimmy recorded solos for 'Heaven Knows' and 'Tall Cool One' in just one afternoon.
In November 1983 Jimmy rang up Paul Rodgers to inquire if he fancied playing with him on the ARMS tour in America…Paul readily accepted. When he got to Los Angeles the
following month he immediately called Richard Cole. Jimmy also maintained a tradition of calling Ronnie Lane every year on his birthday (April 1st) to express birthday wishes and warm regards. These are a few examples of Jimmy reaching out to touch someone so to speak.
In contrast, Slash and Axl Rose haven't spoken directly to one another for nearly eight years and not long ago Axl went so far as to have Slash turned away from attending a Guns n Roses gig but then their relationship is far more acrimonious.
-
Steve...what are the actual heights of each member of Zeppelin?
Wolfman, they've each lost a little height since their Led Zeppelin heyday so generally speaking Robert is between 6' & 6' 1" inch, Jimmy between 5' 11" & 6' and JPJ between
5' 9 & 5' 10".
-
Is it this photograph that you mean?
If it is so, this was the one taken in summer or autumn of 1982.
At that time, this photograph was published in the music magazine December edition
(named Rocking On of Japan. A short explanation of "Jimmy Page and wife" was recorded there)
When I said Charlotte was "in the picture" circa '84-'85 I meant it as a figure of speech and not literally with any particular photograph in mind. Having said that, the photo you
posted has been a source of intrigue for me for quite some time insofar as confirming
precisely where and when it was taken. It has erroneously been captioned as a photo
of Jimmy with Patricia Ecker from time to time in various publications/internet forums.
-
Have criminal proceedings ever begun on this? Surely, with copyright laws being what they are, it would be an open and shut case.
So far as I know it never went to court nor even handled as a legal matter. It was a private matter taken personally and handled accordingly. Besides, unless you catch someone in the act it can be difficult to prove an allegation such as this.
-
But she was the ex wife when Jimmy said, "comforting my ex-wife".
Scott, I think there may be a misunderstanding here. Jimmy did not bring Patricia to
England until after The Firm completed their tour in Summer 1986; they married in England that December.
Initial evidence suggests the theft of tapes preceeds Patrcia's arrival, and if so whatever the thieves relationship with her may have been, the stealing was going on beforehand. Granted, it's tentative info and I do hope additional details will come to light. I haven't ruled anything out and note with interest when she arrived they spent 1987 over at Tower House as opposed to Old Mill House, thus affording others ample opportunity to be present in that home when he was not. Certainly possible the stealing went on for quite some time and to this day Jimmy may be uncertain exactly
when it began (or ended). Fortunately, he does know who was responsible.
-
Here's some trivia for you
He played that set without a plectrum
PS - Mr J did you once try to sell me a Spanish Zep mag for about £130 in Liverpool
Thanks for that, Herco. Insofar as the magazine sale it's a case of mistaken identity
for I believe you are referring to Zep enthusiast Steve Jones of Manchester, who is
a tall thin blonde gentleman. As for me, I'm in my avatar.
-
Jimmy doesn't wear a wedding ring (publicly, at least) now either. Hmmm
Yes, but he does introduce Jimena to others as his wife in social settings.
-
Here ya go found it in my photobucket - sadly I didn't note the name or date of the magazine where the interview appeared but since it is in my collection I can look it up one day.
Conclusive beyond any reasonable doubt -- they never married. Many thanks, Knebby!
-
The tapes were stolen before 1986, I think it was around 1984/5 (I can get confirmation or Walter's Walk can provide it), and Jimmy stated in an interview when asked directly that he and Charlotte were never married - I've posted the cutting here a few times, if I have the time later today I'll search it out again.
Hats Off to You, Knebby; that cutting would settle more than a few bets out there.
As you know, Charlotte was "in the picture" circa '84-'85 and an even younger Scarlet would certainly necessitate the need for help with childminding, particularly with Jimmy recording and touring with The Firm. So if in fact the theft dates back to '84-'85, it calls into question just how many, if any, "solo demos" were actually stolen. I presume from Jimmy's comments over the years the stolen demos were limited to perhaps just a few instrumental riffs or concepts, as opposed to completed compositions. Nothing of any
solo consequence surfaced in the bootleg market that I can recall. Even so, he alluded to it being a form of "rape" and of course the '80 soundboards surfaced circa early '87, one of which was actually the source for the first bootleg Led Zeppelin cd ever.
-
UPDATE: Steve...It IS in the book I referenced. I assume you have it. It's called Jimmy Page: Magus, Musician, Man: An unauthorized biography By George Case.
It's at the bottom of pg. 219 top of pg. 220.........It states "Someone who was pretending to be a friend stole the tapes....They were staying at my house comforting my ex-wife." After this is a citation #56 which is found on in the back on pg. 258. The author cites "Tolinski, July 2003".
Hope this helps..............
Yes, I have the book, as well as the magazine interview which was originally published in the July 2003 issue of 'Guitar World' ("High Wired Act" …Led Zeppelin, the best live band in rock history by Brad Tolinski). I find the statement Jimmy made to be very peculiar.
Jimmy issued a press release in November 1986 to announce he had left The Firm to begin work on a solo album. You may recall he's always maintained he initially planned to record a double album, but says a number of his demos were among the tapes stolen.
He married his American girlfriend, Patricia Ecker in England in December 1986 and
according to Sandra Oattes, his housekeeper from circa 1977-1989, Tower House in Kensington became Jimmy's primary residence for one year only (1987).
In November 1987 Jimmy met with David Geffen and John Kalodner in London to preview his nearly complete solo album, and they signed him to a long-term recording
contract. Jimmy began promoting the album in April 1988, it was released in June 1988.
The housekeeper did not specifically cite a reason why Jimmy elected to reside in the
Tower House as opposed to Old Mill House, but I do know he had put Old Mill House
up for sale around that time (I posted photos from the original real estate portfolio to the Photo Forum some time ago). I suppose there is the remote possibility he allowed
long-time companion Charlotte Martin to stay at Old Mill House until the property sold
(it didn't, actually) but that seems far-fetched, given he and Patrica were newlyweds.
I believe what I have been told privately to be closer to the truth: insofar as Jimmy is concerned the woman (whom he refers to as "The Bootleg Queen") and male accomplice who stole the tapes were entrusted to help watch over his daughter Scarlet, who would have been around 14 years of age at the time. It's entirely plausible the woman was a friend or "source of comfort" for Charlotte Martin, and for this reason were granted
access to his home(s).
Finally, I find the quote Tolinski published to be peculiar, as it suggests Jimmy referred to Charlotte as his "ex-wife". So far as I know, they were never legally married nor did they ever wear wedding rings to suggest they were. He normally referred to her as "my lady". Perhaps Jimmy used the phrase "ex-wife" as an expedient way to summarize their complicated, long-term relationship.
Other thoughts, theories or opinions would be welcome...
-
Greetings inhabitants of Planet Zeptune,
I'm seeking copies of the Zep fanzine Pure Blues. It was published in the 80s and edited by a lovely gal operating out of Chicago. If you can help me out, or point me in the right direction, please contact me via PM here. Many thanks in advance.
Love,
Billy
Pure Blues was published by Claudia Chapman of Wolcottville, IN; there are a total of nine issues:
Jan/Feb '79
Mar/Apr '79
May/Jun '79
Jul/Aug '79
Sep/Oct '79
Nov/Dec '79
Jan/Feb '80
Mar/Apr '80
May/Jun '80
If interested I could have a full set of reproduction copies made for you, as I only have one original copy of them all.
-
I wouldn't be angry at you for revealing that I told you that Steve - I've mentioned it on the public forums a few times before. I see no reason to keep confidences for the couple in question, except in not revealing their names for legal reasons.
It was very gracious of you to have discussed this with me privately some time ago.
-
Easy for you to smile, I'll probably catch hell for it!
-
Ahhh, that would be great to get clarification! I also had read this somewhere! But of course don't remember, it had to be a book, I'm sure. I thought the guy was a friend of a girl that was watching Charlotte but basically they WERE houseguests! YIKES! To break a trust like that....
...change that to read the woman (and her male companion) watching Scarlet was the one who stole the tapes and you'd be correct.
-
I'm not totally disagreeing with you here. I'll have to pull out my ticket stubs. I remember Plant played on I think a Friday, then Van Halen was the very next night or the way other way around. I know Van Halen and Plant played back to back nights. I have a boot of Jimmy in MSG on 10/26/88.
I can confirm this with ticket stubs. I'll get back to you.
My original posts are 100% correct. Believe me, I'd know. Even so, I look forward to
your findings. Here are additional details:
Jimmy was staying at the Plaza Hotel in New York and he and the band were flown in a private jet to Philly and back. By the way Jimmy did not play MSG on 10/26/88 he played the Meadowlands Arena in East Rutherford, NJ. He actually happened to be battling influenza while doing that show, which he came down with in Cleveland on 10/20/88. It was his fourth since becoming ill but his performances did not suffer for it. In fact, each gig was exceptional in it's own way.
-
Well I hate to confuse the issue but I heard in interview where Jimmy said it was a guy that he was trusting to care for Charlotte while he was gone. Anyone else heard this one?
Can you cite the interview? I did receive word via PM whom was responsible and under what premise they were allowed access to his home. I don't wish to break a confidence
on a public board but if he discussed it publicly I could verify the comments in the interview.
-
And I was there! I think Page was 10/27/88 in Philly and Plant the 21st. Many brain cells ago but I was at both shows. I know they were within a week from each other.
Thanks for that; Jimmy played Philly the next night (10/30/88) as I posted originally.
-
Does anyone know the name of the artist and the name and date of the painting in this photograph? My friend and I always thought that this photo was taken at Pangbourne and the painting was one from Jimmy's collection of Pre-Raphaelite art:
Great question. Certainly the photograph of Jimmy was taken at home in Pangbourne. The name, date and artist of the Pre-Raphaelite painting is a mystery for now.
-
I'm of the opinion the recorder was possibly on an amp right behind/next to the drums, the way the cymbals are so hot and Bonzo's grunting. Are there any good photos from this gig we can examine?
This explanation courtesy of blackmikito:
As for the question as to whether or not the common recording that we have for this show is really an excellent audience recording instead of a soundboard....
First off, let me say this. Since I was in no way responsible for having made this recording, I admit that I can't say with any authority exactly why this recording sounds the way it does. I don't know why Bonham is so loud on the recording, while Plant is at times almost completely inaudible. I also can't say why it sounds better than almost every other audience recording I've ever heard, but yet also sounds worse than most any soundboard. It's a confusing tape, to say the least.
In any case, as we all have opinions as to what the recording is, I'll cut to the chase and give you mine. I think it's a soundboard.
Here's why...
Get out a copy of the show, and listen to "Going To California" through a pair of headphones. Notice that Jones' mandolin can be heard in the left channel, Page's guitar can be heard in the right, and Plant can be heard in the center. If you remove one earphone or the other, you will find that you can eliminate Jones or Page from the mix. Sure, you can still hear them in the background in the opposite channel. But when you put them back on, you'll see how isolated they really are in each ear.
To which...
Strict stereo separation = Soundboard
No recording from the audience, nor the stage, could provide the kind of stereo separation found on the Osaka recording. It just isn't possible. Sure, microphones from the audience could capture a general "stage left/stage right" feel. But not so much, nor so specific, so as to be able to strictly capture Jones in the left channel and Page in the right channel.
Notice that the shot accurately reflects the channel separation present on the recording: Jones on the left, Page on the right, and Plant in the center. Sure, you might see that photo and think to yourself "But why couldn't someone have recorded from in front of the stage, using two microphones expertly directed at Jones and Page? Why isn't that possible?"
To which, sure it's possible. But, the reality is that it didn't happen. See this photo from the Osaka show itself, of the only known performance of "Friends":
This shot occurs later in the show, after the band had played "Going To California", and Jones had gotten up to put on his bass. Note that Bonham is now to the left of Plant, having taken Jones' spot onstage. Which means, that if the recording we have was really made from the stage/audience, we should now hear Bonham's conga drums in "Friends" in the left channel of the recording, given that Bonham was now situated physically in the same place where Jones and his mandolin were during "Going To California", correct? Yet, this doesn't happen. Instead, during "Friends", we hear Bonham in the right channel with Page, and Jones in the left. Which, if this was an audience, or stage recording, wouldn't make any sense. Whereas a soundboard not only reflects what the microphones are recording, but also where the soundman wants to put them in the stereo spectrum (regardless of where the players actually are onstage), a stage recording is slave to the physical location of whatever is making the sounds onstage. To which, whatever is making sound on the left of the stage, will always be heard on the leftside of the recording. Just as whatever's on the right, will always be heard in the right. Yet, that isn't the case when you look at those two photos while listening to the recording. What is "left" on one song (Jones in GTC) becomes "right" a few songs later (Bonham in Friends).
And so, you might ask "But what about the possibility of the recording having been made off of the band's stage monitors? Couldn't that explain the channel separation and all of those questions about stage positioning?"
For that, the short answer is again "No". Because, if the recording was made from anywhere else but in front of the stage, then there wouldn't have been any of that stereo separation found in the acoustic set on the recording at all. Sure, perhaps recording from stage monitors on the side or from another place onstage might have been possible, but consider that the band didn't even use monitors during this period. Neither on the stage, to the side of it, nor in the air above:
Which means, given the band's equipment setup, that if someone really recorded on the stage (besides the arguments against this above) that person would also have had to have found a way to not only pickup the jet-engine-loud sound of Page's amps and Bonham's drums without distorting, but they also would've had to have been able to pick up something so quiet as the sound of the band's acoustic instruments during that portion of the show and still have that be audible too. Given that no monitors were present to help compensate for the volume difference should anyone have tried to record from the stage, the difference in sound would've been enormous. And, again, it goes back to that question about the physical position of the band onstage during the different times of the show. How could any one set of mics strictly split the sound of Jones' Mandolin in the left channel, with Page's acoustic in the right, and yet, in the same recording, also split Bonham's drums and Page's amps the same way? Especially when those two groups of instruments (Jones' mandolin and Page's acoustic guitar vs. Bonham's drums and Page's amps) are located on completely different parts of the stage? The answer is, again, no, that isn't possible.
And so on and so forth. There are more examples I could give for why this recording is a soundboard (such as Plant's mic-handling noise, and the proximity effect of his voice/breathing into his mic during certain parts) but I'm guessing that if you didn't buy the points above, chances are that you won't agree with those either. To which, all of my ranting will amount to little more than technical talk trying to discredit theories about a "magic stage microphone". The proof will ultimately depend on whether or not a more complete or otherwise obvious version of this recording surfaces. As you can see, I think that the version that we've had all this time is more than enough to prove what this recording is and what it isn't. But, that's neither here nor there, I suppose. What's most important is that, regardless of what any of us think this recording might be, the concert it features is one of the very best shows that the band ever gave.
blackmikito 1/22/08
-
I would love to have the show in its entirety.
There is at least one complete audience audio recording and two different audience video recordings in circulation.
-
Who's the director of that sequence, and, can we ask him?
Peter Clifton. He's living in Australia now. I may be able to track him down now that you mention it. He's busy co-producing one film and developing another based on a book.
-
Toronto definately has exceptionally beautiful women. One in particular does come to mind.
-
Page, Plant and the band were in top form.....absolutely superb!
One of the hightlights was Robert spotting a hottie in the front row during 'How Many More Times' and shouting into the mic "Rex! Rex! Rex!" (personal assistant Rex King)
and making crazy eyes at her. I'm pretty sure Robert didn't sleep alone that night.
Another was Robert walking out for the encore holding an assortment of red, white
and blue balloons in honor of the American 4th of July holiday and releasing them
skyward where they promptly got entangled above the stage in the rafters. Robert
looked over at Jimmy and laughed.
Zeppelin Mysteries Hosted by Steve A. Jones
in Led Zeppelin Master Forum
Posted · Edited by SteveAJones
House of Blues - The Joint 8430 Sunset Boulevard
The Joint is part of the House of Blues complex.
The date for Terry's March '69 gig is unconfirmed but quite possibly on Fri, March 21st after Jimmy finished up for the evening at BBC Lime Grove Studios - Studio G. Led Zeppelin were short-notice replacements for The Flying Burrito Brothers and held a 5:45pm recording session for 'Communication Breakdown' telecast later that night on 'How Late It Is' at 10:50pm. Anyway, going to Terry's gig would have been a source of joy and relaxation for Pagey.