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About zep73

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  • Birthday 05/20/1957

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    "On a river bend just west of Chicago"

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  1. Thanks for the updates Steve. I pressed my guy at the show for a review, all he says is that it was a very hot set, maybe not quite 90 minutes. No Zep stuff though. His phone was close to dying, so I'll hear more later I hope.
  2. The manager of the Metro is a guy I grew up with, and a couple of the other guys from our group are at the show. I'm stuck at work tonight, just my luck! I've gotten several texts so far, by all indications they're smokin' the place. One of the guys wasn't prepared for Grohl on drums, Haha! They're supposed to call when the set is over, maybe I'll have some info. It's almost 2:00 A.M. here, I'm not sure how long they'll play.
  3. I was there too Steve, sitting 2nd. row right in front of Page's side of the stage... (Check out some of the photos of the show I took in the '77 photo section) When they came out, and before the lights went on, you could tell he was wearing something different. When the lights blasted on, there he was in the what has come to be known as "The Storm trooper Outfit" SG doubleneck blazing TSRTS! I was floored, thrilled really, because I didn't at the time fully realize the implications, I guess... I was at the aborted Saturday show too, and I was more concerned about whether or not Jimmy would be ready to go for this show than anything else. I really, honestly thought it was a special treat of some kind for the Chicago audience to make up for the previous night, something totally different and cool. I settled on the idea that it was somehow supposed to be representative of a zeppelin commander, and isn't that what he was? I was a wonderfully oblivious 19 yr. kid, and I didn't even think of any unsavory connection to the outfit. He did later take off the military hat and put on a white fedora, and eventually found time to change back into the white satin outfit. You don't want my review of the show, because in my eyes, even after having seen the band seven times previously, they could do no wrong, especially from those seats! Let's just say it would be glowing and one sided. I thought they were wonderfully relaxed, and really blew the roof off the old barn that Easter Sunday....
  4. Growing up and listening to some of that stuff, it just added to the mystique of the band. The studio chatter, throat clearing, coughs, stick clicks, airplanes and squeaky drum pedal sounds all made the band sound very earthy, very organic, and supremely confident. Jimmy was obviously a wizard and a mad scientist in the studio, and a perfectionist in many ways, but he and the band somehow knew that all of that other stuff was a part of the music, and as such, was a moment in time, captured as it happened and recorded for the ages... I treasure it all to this day, because in a way it feels like in those moments, you had a seat in the back of the studio, (or hallway, or wherever else they decided it would sound cool to record) a co-conspirator, an insider with a pass to be there while the coolest tracks EVER were laid down. Cool thread.
  5. These things drive me crazy, but here's my lousy two cents.... I'm here posting on this site because I'm a Zep guy, a Plant guy, so obviously I'm a biased. But you know what? Throw all of that out, and the case STILL has to seriously be made for our guy Rob to top that list. Freddie was clearly special, and we miss him to this day. Paul has a fine voice, but he's just not on the same planet as Robert... It's just not a contest.
  6. Presence is just another part of what is, IMHO, the most diverse, rich, and powerful catalog of music ever written and performed by an act of their genre. I can't pick a favorite, and never really could. That's the beauty of the work... that's why I still never go a day without listening to some part of it....
  7. His sense of "feel" and ability to create... His background and influences evidently had a great deal to do with the way he played, but you simply cannot package up what he did and teach it. You can listen to and watch him over and over, memorize it, transcribe it, try to play it note for note and maybe even succeed, but his strength was in his sense of knowing just what to do when, where, and how much, and to CREATE.... I grew up listening to him as we all have, and still do, every single day. And even after hearing "Misty Mountain Hop" for the zillionth time, I still wonder, what the hell was he thinking? Sounds easy when you listen to it, but his ridiculous sense of timing and ability to drop a cymbal hit at a strange time always amazes me. The music pushes and pulls, and he's right there making us all still gasp in awe 40 years later... To me, he had the chops for sure, but he didn't really choose to uncork 'em on the studio stuff. Instead, he created a sound and style that is truly the unique benchmark that all drummers of his genre to this day must measure themselves by, period. I didn't know him, only know what I've read and heard. But I really believe that he was a humble, shy man who at times really and honestly didn't think he was very good. If he could see how influential, revered, and beloved he is today, I think he would be shocked and amazed by it all. But the bottom line is this: Quite simply, what he did that others couldn't do, was to be the only drummer in the world that was, is, and always will be, good enough for Led Zeppelin....
  8. Here's a taste of that show, check out the Plant voice crack at 4:44.
  9. Exactly! I was at all three Chicago shows in '75, it seems to me I remember that it was Robert who was having "difficulty coping with the climate." And it was damn cold! Opening night was Jan. 20th, and anyone who has spent anytime in Chicago during the month of January knows how much it sucks! Crowe's notes are incredibly cool, especially seeing what he jotted down as he was seeing and hearing it, just as I remember much of it that night. Pheobe Snow's "Poetry Man" on the P.A. fading out just as the lights went down, the crowd letting out a roar as the band took the stage in the dark, amps humming, indicators glowing... Bonzo warming up that monster amber vistalite kit.... BA-BA-DOOM-DOOM-DOOM! I recall vividly how rough Plant's voice was that night, and I can close my eyes and still hear that crack in his voice that Crowe mentions at the end of Stairway, but they were brilliant... Waaay to fuckin' cool.
  10. "Babe I'm Gonna Leave You", April, 1973. Great dynamics, slow and soft, and then the band crashes away before slowing waaay back down, and then repeating the whole thing again several more times... And it's just as good today as it was over 35 years ago. Cutting school, parents at work, my room, my old phonograph.... And I STILL remember asking her what she wanted to hear, the first Zep album, Zep IV, or Alice Cooper's Killer....No hesitation, it was gonna be the first album. It didn't get any better than that , makes you want to go back....
  11. Yes, "bright" is the way to describe it... I always thought it sounded like perfectly toned and polished bells, upbeat and cheery for the most part, and I attach some of the warmest memories of my youth to those tracks. That, along with the springtime release of the album, and the monster tour that marked my first concert put it as one of my fave Zep albums.
  12. I'm no big fan of either Rock Band or GH, but the accesories for a Zep driven game would be pretty cool, I have to admit. Imagine Jimmy's Les Paul sunburst, the SG doubleneck, maybe even the Danelectro. And you'd have to lose those lame ass "drum kits" and buy the Bonham Ludwig vistalite "Zep Set" version, complete with three circle symbol instead of the generic bass drum logos they sell for the front of the kit....!
  13. Corona Extra, pulled out of the bottom of a cooler of crushed ice, super cold with the biggest, fattest, wedge of lime you can cram down the neck of the damned bottle!
  14. I listened it the studio version TWICE today, and drummed to it TWICE yesterday. Again, it's likely that bashing the song by those "in the know" just became the fashionable thing to do, but I don't know. Maybe some people did just get sick of it. I think some hardcore fans resented the fact that because of it, much of the other stuff the band did got neglected. I can see getting burned out on a song, but it really is quite brilliant, and every time I hear it, I go back to a simpler, sweeter, and more innocent time, a time when the future was wide open, and the possibilities were endless... Memories of great times, great places, friends, and lost loves always come flooding back. I certainly don't play it every day, and I would never even attempt to decipher or pretend to know whatever deep meaning everyone seems to think is there. But it still has an enormous amount of sentimental value to me, and therefore I stop what I'm doing every time it comes on and listen to it, and probably always will. I'm sure Robert has his reasons for disliking the song, and if anyone has a right to do so, it would be him. But for my part, I believe it to be a masterpiece of composition, mood, and dynamics, often imitated, never again to be duplicated. It is a defining moment in the history of the genre, and as such should not be diminished....
  15. Right now I'm drumming to the first two Zep albums with the Ipod ear buds under my ear muffs. "I play for me, I play for free..." Oh yeah, and I'm NOT already as good as John Bonham.
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