SteveAJones
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The album title was changed from "Most High" to "Walking Into Clarksdale" prior to release but the cover art was not updated to reflect this change. Just another prime example of it's overall abysmal production.
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Producer Steve Albini suffocated and killed this album. It sounds as if your hearing them
perform down the hall in another room.
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That always made me wonder. Because the show on May 31th (well known as Bonzos birthday party) is pretty good for Page. His Stairway solo is one of his best. Really great playing.
But another thing: In an interview in 1986 Page said that he can't even play bar chords and scales. I can't believe that. In many songs there are bar chords (Stairway, ten years gone, Thank you) and not just power chords. And of course there are great scales in many songs. You can't play such solos without knowing scales. Was he just confused? I think so. I'm also a guitar player.
The May 31st 1973 LA Forum gig is a good performance, but so far as I know he only suffered a slight sprain. The postponement of the May 30th show was announced on
the radio as fans were arriving at the venue. This seems to be consistent with them
having arrived at the airport from San Diego, although I've also heard Jimmy actually
hurt it screwing around at the Riot House pool the day before. I tend to believe it
happened at the airport as he said, unless I ever confirm they flew up from San Diego
on May 29th instead.
I think what Jimmy meant concerning barre chords is he finds them difficult to play. He
may have even compared himself to Eddie Van Halen as a contrast. Anyway, he sure
does play scales, as evidenced by Achilles Last Stand, for example. JPJ originally had
doubts about it but Jimmy was convinced he could pull it off.
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Oh, I didn't notice you had already made a reply, Steve. I believe you are a few days off for the '75 incident.
Possibly. Richard Cole said after the concerts in the Netherlands (Jan 11) and Belgium (Jan 12) they all returned to England for three days before flying to the USA on Jan 15th; Cole says the injury happened during those three days. Apparently, the band
were interviewed by a tv crew in their hotel suite in Rotterdam (Jan 11) before the
show and so far as I know his finger was not injured at that time.
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May 30 1973
Reportedly sprained a finger on the fence at Los Angeles International Airport greeting fans who waited for the flight arrival. Concert for that night postponed until the following night.
Circa January 13-15 1975
Left-hand ring finger got crushed in a closing train door he tried to hold open for a passenger at Victioria Rail Station. Later the same day, a visit to a doctor for x-rays confirmed he had broken the tip of his finger. They departed England January 15th
for the United States. He adopted what he called a "three finger technique" on that
leg of the tour. This type of injury normally takes six to eight weeks to heal.
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I would guess the #1 Led Paul would be worth over $1mil as Page was the guitarist who really popularised it's use as the main rock guitarist's guitar.
They will never be sold in his lifetime, unless he fully retires from music and wants to raise money for his charities.
Agreed.
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shinedaddy & delux: I just thought I'd remind you both you don't have to reach agreement. Each of you raise valid points, and it would probably be best to post only those points, lest your posts be removed. The pointless personal attacks detract from your viewpoints, which are read here by everyone. Thank you for your contributions to this thread.
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You solved the mystery,unless someone refutes it. As SteveAJones wants in his thread,"collaboration."
The collaboration aspect was certainly robust and it seems a consensus was achieved.
Nicely done, everyone.
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Still,I can think of no other Led Zeppelin song that exhibits this quality. Why is that?
Well again, I think it was only used to enhance the momentum of that particular track.
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Reading back through this thread I came on this one. The vocals raised a whole octave? I call BS, & I'm quite confident in doing so.
You made some great points in your post.
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Unsolved Mystery for New Yorkers
Robert Plant Live at The Hard Rock Cafe
New York, New York
1985
Approximately two months ago, Led Zeppelin.com Forum member Heaven Knows contacted me concerning this gig she attended in 1985 prior to Led Zeppelin's reunion at Live Aid in July 1985. This gig does not appear in any book or website, and as such remains a bonafide mystery.
Since then, several prominent New York City radio djs from that era have been contacted, with at least one distinctly recalling this event did occur, but he could not provide a date more specific than "1985".
Based on performances, public appearances and media activity I have already confirmed for Robert Plant in 1985, I believe this Hard Rock Cafe gig almost certainly occured in May and most probably during the last week of the month (over the Memorial Day Weekend).
I would welcome a confirmation of the actual date via a ticket stub, promotional item, press review or news clipping, etc. Anyone who can provide one or also attended please PM me to discuss further.
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Listed below are the dates that were scheduled. I know tickets from the Chicago shows are being sold online. Do you know if any other tickets were printed for other cities, or merchandise (programs, t-shirts etc) is floating around from the tour that never happened?
I'm not interested in buying that stuff, just curious as to what happened with it all, or if it existed. Also were there any other tour plans for the West coast or the rest of the world?
Tickets:
Only tickets for Chicago were put on sale to the general public, the sad irony being John Bonham was found dead the same morning the Chicago Tribune reported over 1,000 fans had lined up at the Chicago Stadium box office. A full page ad promoting the
ticket sales for the Chicago shows was also printed in that edition of the paper.
Tickets for the two Detroit shows were produced but never sold to the public. Sometime following the aftermath someone either purchased or helped themselves to a sizeable quanity of them and they are now available on the open market.
The Detroit tickets are much more diffucult to obtain than the Chiacgo tickets, which were definately purchased in bulk by a private enterprise and sold via ads in the press and ultimately online.
Tour Merchandise:
I've never seen any authentic examples of tour merchandise produced for this tour.
There was a number of official canvas carry-on bags produced but those were intended for band and road crew members. On the side it says "Led Zeppelin The 1980s Part One" in letters similar to that one the cover of 'In Through The Out Door'. These do surface from time to time and generally sell for about $150-$200.00
Tour Itinerary:
Important to understand the group had been on hiatus from touring for three years until the Over Europe tour that Summer, which went well. When it ended, Robert indicated he would return to the USA but only if the tour itinerary was kept to one month, so it's no coincidence that first leg of the tour is one month.
We can only speculate if Robert would have agreed to a second leg, or if they intended
to do a round of UK dates first. Some crew members have said something to the effect of they were thinking if all went well they figured they would have done a series of UK dates in December 1980 and the West Coast of the USA in Spring 1981.
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Steve, no answer to my "mystery"? Are you stumped or too busy? Here it is again:
Here is one for you.....Peter Clifton and Joe Massot were both hired, seperately and in succession, to film/finish the 1973 footage for TSRTS, filmed during the very last leg of the American 1973 tour....One of them, I forget which now (I believe Clifton), had previously worked with the band and filmed them during their spring 1970 American tour. The question is, what city(ies) did they film in and what constitutes the majority of the footage? Is it black and white, color, live, offstage, or what? And secondly, who currently owns the masters, or do they even exist at all?
Your question actually ties in to a larger project I'm working on so I certainly haven't
forgotten. It's not so easy to give you the most accurate answer on demand. This
one is going to take more time and coordination to arrive at the truth.
Feel free to PM me for an update anytime.
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Steve,
i remember reading an interview with Ian Paice. Can't find it again. He cleared up the whole thing. I remember he told "Bonzo came on stage. He wanted to play drums. I won't let him play and gave him a tamburine. So he played tamburine on the encore" I'm searching for the whole thing.... If i find it again, I'll post it here.
Thank you for your contribution here. If you can find it then perhaps it will further substantiate the comment John Bonham made about having a new album out soon.
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Can someone tell me what Jimmy believes in? I think it's the Order of something. He is maybe a wizard in it. Thanks in advance.
Many believe he is a Thelemite.
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And judging by what has been posted, I shall be happy to leave everyone else to wallow in his or her own obvious total ignorance and utter lack of intellectual discernment. Those of us who actually fucking know something because we've actually made serious, sustained study of it will always know that you're just wrong. Cheers to the lot of you.
I simply mentioned however fascinating it may be it's Non-Zeppelin content, and as such best examined within Ramble On. No need to presume others know nothing about it.
Your cute when your frustrated.
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1969. I think it was the Newport Jazz Festival.
Thanks, No Quarter Pounder, but I believe you misread the question. Your pointing out they were on the bill together at Newport Jazz Festival 1969, but I'm actually trying to
confirm the date in 1970 on which Jimmy attended James Brown's concert at the Odeon
in Hammersmith (London).
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For what it's worth all of this is why I generally avoid discussing these topics in this forum.
True or false, agree or disagree, rightly or wrongly it's just Non-Zeppelin Content.
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Although a recent Record Collector article claims that Page used the stage name "Nelson Storm", other sources state that Page actually used the name "Elmer Twitch". Jimmy may have also been credited as "Jimmy Price" during the Neil Christian days.
Another pseudonym used by Page: S. Flavius Mercurius (on Roy Harper's Stormcock LP).
Hello Swandown. I haven't seen the recent issue of Record Collector yet. His bandmates
recall he used Nelson Storm, as you know. I'm interested to see what the other sources
have to add to that.
I thought of S. Flavius Mercurius offline and my next immediate thought was no worries, Swandown will post it!
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Not to be nit picking here but, after many hundreds of gigs, 9 1/2 times out of 10 it is the bass that get's lost before the drums and also Page probably would want to hear the changes Jones was playing moreso than what Bonham did, aside from the regular quese. And besides, I don't think Page had a problem hearing Bonham.
Bill was referring specifically to the monitor mixes and it is only his opinion. Perhaps some comments from the band can shed more light on this topic.
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Thank you for letting this be known. I'd always been curious.
1) A soundboard tape has no relation to a live album, except that the same moments in time are captured on both. A professional recording is almost always done on a multitrack recorder, which means that each instrument is put on its own tape track: the guitar, the bass, each of Jones' keyboards, Plant, Bonham's snare, kick, hi-hat (etc); each of these is committed to its own track, which allows it's volume level and equalization to be altered (in a studio environment) independently of the others. Also, the actual tape used to capture these tracks is of very high quality. This is why "The Song Remains the Same" sounds so much clearer than any bootlegs.
2) Once in the studio, these independent tracks must be "mixed" into a final stereo recording. It is this mix that the consumer (you and me) will hear. Believe me, creating a superb mix is extremely time consuming, and terribly difficult. Should the guitar be louder here? Are the vocals loud enough, or too loud? In a regular studio recording, mixing usually takes as long or longer than it took to record a song.
3) In creating a live album culled from multiple live dates, each of these mixes must be further tweaked to give them a cohesive sound. Here's an example of what I mean: I'm sure some of you out there have a bootleg or two that came from multiple sources. When the sound switches from one set of "sound values" to another, you probably find it momentarily jarring. This is the last thing the maker of an album wants. So while these mixes are being made, the producer and engineer must take great care to make each song sound as though it came from the same "space," even if it didn't. These "spaces" can be further tweaked in the "mastering" stage, when final EQ and compression are placed upon the recordings. A further example of what I mean: We all know that most of Zeppelin's studio album were recorded at several different studios, but each album sure has it's own sonic signiture. I promise you that great care was taken to make each album sound as cohesive as it does.
4) All of these technical sound-quality considerations have nothing at all to do with picking the "best" version of a song. That's another extremely time-consuming and emotionally painful process unto itself.
5) Unrelated, but interesting: Most soundboard tapes come from the monitor board, not the front-of-house (FOH) board. The FOH board is the board used to mix sound for the audience; this board is designed to take in all the sounds from the stage and regurgitate one mix for the house. The monitor board provides sound for the bandmembers on stage. Monitor boards are designed to take in the stage sounds and regurgitate many different mixes, because each member of a band likes to hear different things in their monitors. For example, Bonham probably needed to hear more of Jones' bass than of Page's guitar, but Page probably needed to hear more of Bonham's drums than of Jones' bass. Because a monitor board can output many different mixes, one of these mixes is dedicated to making a tape with each band member (hopefully) mixed correctly.
Hope you found that interesting.
Bill O'Neil
Venice, CA, USA
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Name Change to John Paul Jones
Here's the details on why John Baldwin changed his name to John Paul Jones, courtesy of an interview with Andrew Loog Oldham in "Goldmine" magazine (November 24, 1995):
GOLDMINE: How did it come about that you hooked up with John Paul Jones, later of Led Zeppelin?
OLDHAM: I was given a chance by Decca to produce something other than the Stones, so I called on a young arranger I knew named John Baldwin.
The thing was, I wanted my arranger to have a more artistic surname than Baldwin, particularly as I'd be recording a single with him.
There was a new Robert Stack movie going the rounds, called "John Paul Jones." I had no idea what, or who, it was all about, but the name had the kind of ring to it that I'd always liked. I called up John and told him the news. "No more answering to the name of Baldwin. From now on, you're John Paul Jones."
If only I'd known what he would go on to become, maybe I'd have asked for a percentage on what he earned from the name. Or maybe I wouldn't. I'd pinched it from an American folk hero; all I'd done was pass it onto an English one.
(Courtesy of Achilles Last Stand)
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Jimmy Page would use the alias James McGregor. Did he use other aliases and what were they? Did any of the other members use an alias?
Charles Obscure. I can't think of any the other three ever used as an alias.
Edit: Nelson Storm was the stage name Jimmy Page used circa 1959-60 while touring for about a year as the guitarist for Neil Christian (his birthname is Chris Tidmarsh).
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He invited this collector down to Abbey Road studios for a weekend (with said tapes) so that he could make copies of these tapes again for his collection. He was extremely nice, kind and generous to the collector and their spouse.
Knebby, would this be the "return of the tapes in May 1999" which walterswalk referred to about six months ago? How unfortunate if there has yet to be a return of those originals. I was made aware of how they were stolen and who did it, as you know.
May 1999 is certainly consistent with Jimmy having been at Abbey Road Studios working on ideas for new Page/Plant material.
Walking Into Clarksdale - Rediscovered
in Pre / Post-Zeppelin Forum
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Jimmy has questioned the songwriting credits that were assigned. They did fulfill their extensive, obligatory press and promotional duties but otherwise have seldom spoke
of the album. They had started working on it in Nov 1996 but it was not finished until December 21 1997.
Robert's doing Please Read The Letter on his current tour with Alison, so he must enjoy
it, although it was not performed on the '98 Page/Plant tour. You may recall that tour was criticized for it's stagnant setlists, so go figure.