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White Phone

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Everything posted by White Phone

  1. Is there a non-Dime link to this cuztard pi version?
  2. imo one can't go wrong with the savage version from LA 6-25-72, expertly curated by James Page on How The West Was Won.
  3. This is a tough tour to nitpick all the way around the horn...Jimmy alternated between decent and train wreck, sometimes within the same minute, Plant's heart wasn't in it, undoubtedly Bonzo's most lackluster tour, and Jones' Alembic and keyboard sounds don't exude much warmth. It has its moments, but this is the tour that time forgot, unfortunately for good reason.
  4. ledzepfilm, I just want to say thank you so much for this… I can’t imagine the time and dedication you put into this project, and your willingness to share it with the community is kind beyond words. This is simply extraordinary! Thanks again!!!
  5. I’m assuming the cassette version is not different than the version on the original 1976 LP?
  6. Great thread...seeing the laser pyramid was incredibly exciting live...and I agree the segue from that into Achilles in the Fort Worth show sounds absolutely amazing, one of the great live moments imo. Glad to see some love for Landover 5-26, one because I was there and two because I think it’s better than advertised although the horribly dry soundboard does it no favors (as is often the case with 75 and 77 gigs). And the segue from White Summer into Kashmir is 77 was indeed thrilling. Oh, and Osaka 71 kicks serious ass!
  7. Due respect to all, the Osmonds onstage with Zep at EC never happened. Those concerts were covered extensively by the UK music press and no mention was ever made of anything like that. Further, Dave Lewis has written extensively about these concerts for decades (he was at all 5 gigs, and was present at the after party on the final night), and he has never mentioned, much less written about, a Zep/Osmonds onstage jam at the EC concerts. If that had taken place he certainly would have chronicled it. Taking everyone at good faith, this story is just a case of faulty memory. After all, the period in question was only 43 years ago...
  8. Couldn't agree more, and each book has its own place and is vital in its own way. The Davis book broke the ice and pulled back the veil. It was derided as BS by many corners upon its release but imo, all these years later, most of it seems to be plausible at worst. The only thing keeping Wall's book from being a big time home run are his contrived "fantasy sequences" (Wall apparently learning nothing from TSRTS film!). But again, nothing seems too egregious in terms of inaccuracies, again imo. The Hoskyns book may be definitive in that it seems to have the most on the record sources from folks who were actually there.
  9. The O2 version is flawless and is one of the greatest performances of Robert Plant's career, easily imo his greatest post-Zep era performance. The incredible visuals didn't hurt anything either. As for the real Zeppelin, there are some nice ones from 1975, but by 1977 the versions (when they were well done) took the piece to another level. Bonham was routinely spectacular on these, and on the recordings that capture the visceral response from the audience at the song's conclusion, it gives a real idea of what it was like to be there.
  10. Agreed with Johnlennon, the Dadgad version is the one.
  11. The version from the 1969 BBC Playhouse Theatre gig is also excellent. Always a soft spot for the version on the classic old German bootleg LP titled, appropriately enough, White Summer. Dusseldorf 1970 (?) if memory serves. Agreed, playing it in 1980 was a mistake to say the least. Also love the outtake acoustic version on the second disc of The Yardbirds Little Games special expanded edition of some years back.
  12. Someone please correct me if I'm wrong, but I thought the story was that Jimmy just turned the thing over to Kevin Shirley, and he was the one who FUBARed it. Its nice to have the songs not originally on the soundtrack, but the project was botched horribly in several places and that's all there is to it imo. Agree with Porgie, the best attempt to date at getting it right is the Heywood edition. Shirley hasn't worked on another Zep project since. Coincidence?
  13. Whiskey From The Glass, as far as I know, is only available on the Japanese CD of the album. The Window is a b-side which can be found on the Most High CD single. Also I forgot to mention a version of Upon A Golden Horse sans strings, which stands alongside The Window on the double b-side Most High CD single.
  14. Great post, John M! I will break this out again and give it a listen. The muddy production always throws me, and it remains disappointing all these years later that Page and Plant allowed the album to be hampered that way. I've been hot and cold on this album at various points across the years. Standouts to me are WTWWY, nice deceptive mellow groove at the start, and then very powerful. Blue Train strikes me well in recent times. Most High is great, but I actually prefer the "single" version. It's more concise and punchy imo. Heart In Your Hand is brilliant, and I imagine Plant's lyrics can probably hit home with most folks. Clarksdale is one of the best songs they ever came up with, and Page is tremendous here. Many of the live versions of this were incredible. Burning Up is a bit silly in a way, but I still always like a song where Page lets it rip, and Plant's "like a volcano" refrains at the end are cool. I like When I Was A Child, Plant is singing well and with emotion, and I really like Page's guitar work there. House Of Love and Sons Of Freedom are strong and edgy rockers. The Japanese "bonus" track Whiskey From The Glass is a sort of post-apocalyptic dirge, very effective. And the b-side The Window is a very dark and moody piece. Also I would again mention the live b-sides from the Shepherd's Bush gig. I think it would really be great if Page and Plant released that gig as an "archive" release. The band played well that night, and the recording is amazing.
  15. I doubt US 1980 would have been very good. Based on the recordings from Europe, they actually started out ok on that tour. But at the midway point it seems they began to tire. Well, more to the point, Jimmy and Bonzo began to tire. Jimmy's travails have been well discussed, but what is less talked about is that Bonzo wasn't in the best shape in Europe 1980 either. imo that's far and away his worst tour, his playing is much more pedestrian in many moments than it had ever been before. I don't find as many dazzling moments in his playing. Peter Grant was also said to be in a very poor state by this point as well. Probably one of the more overlooked aspects of the Zep saga. Perhaps if Grant had his wits about him, he might have been able to intervene and help Page and Bonham. Just speculation of course.
  16. I don't profess to know what was going on behind the scenes, but I believe Page was desperate to work with Plant again (that's become even more apparent in the years since), and Robert was calling the shots. Vis-a-vis the non-invite to Jonesy, having Plant's son-in-law playing bass pretty much says it all imo. I saw quite a few shows in both 95 and 98, and I enjoyed them, especially the ones from 98. Page was really back by that point, his best playing since 1973 imo. I enjoyed the WIC tour better than the first one. Cutting the waffle from the NQ tour and rocking out on WIC tour made that tour more enjoyable for me. At the end of the day, the Jones snub hasn't aged well. The fact that he apparently found out about it in the papers, and subsequent disrespectful Plant "quips", weren't a good look for P/P. That said, I went anyway and was glad I did. But I wouldn't blame Jones one bit if that era still sticks in his craw.
  17. Love the packaging job on Eat A Peach. But the top end on that set is too hot for my ears. Slumpy's to me is a much warmer recording. I'm sure there's one or two versions out there I have yet to catch up with, but right now Slumpy's is the best to these old, battered ears.
  18. I think Plant's angst during the "tax exile" period was at Page and Grant squirreling him into a studio to record Presence when he basically couldn't stand. From everything I've read, Plant likes a dollar as much as anyone, and no one could blame anyone of the era who had money not wanting to give it all to the British government.
  19. "Slumpy" is the kind soul who worked on the recording and made it sound so nice.
  20. My personal fave is Individually and Collectively, a 3-source Slumpy matrix, utilizing primarily the old Genuine Masters source, along with the "5th source", and a bit of the Rubber Dubber source to patch. It's a smooth listen imo.
  21. I'm plenty emotionally invested...for the past 40+ years. That Page and his Led Zeppelin gave us such great music that we're all here 36 years following the end of the band, speaks decisively to the quality and timelessness of that music. Clearly, he gave us something pretty special. I guess my point is that whatever he does or doesn't give now, at age 73...well, we can be upset about it (and I have been at times)...but when his epitaph is written, the irritations about his never recorded second solo album and things he sold on his website likely won't be mentioned. And even if they are, they will be dusty details eventually scattered to the wind. All that will remain in the end...is the music. And for that, he owes no one any apologies.
  22. My comments were more of a general nature about the attacks of Page on the net The Rover, and not aimed at you. I agree he could have chosen better photos. That said, it really doesn't matter to me who buys the photos, be they oil sheik playboys, or fans of slightly lesser means who decide to shell out some of their hard earned cash to have a signed photo of the man hanging on their wall. There's a market for collectibles with high priced pieces signed by big-time entertainers and athletes. Lots of fans buy them, hence my comment about simple supply and demand. Give Page this, at least the purchaser knows the product they buy from his website is coming straight from Tower House when they take the leap on one of them.
  23. Both Long Beach 75's are personal faves...the soundboard for 3/11 is excellent, but I actually prefer the Millard recording, it's terrific and there's more audience atmosphere. That said, it's been a while since I listened to the board, so I'm going to happily give that one a spin soon. 3/12 is a mammoth show, hands down one of the best 75 gigs imo. The audience recording not done by Millard is a little rough around the edges, but again there's a good atmosphere and the less vibrant sound gives the show some added heft imo. Millard got the last part of the show and of course that's a great recording as well. Nice thread, nick2632, can't believe I missed it for 2 1/2 years!
  24. It's really down to supply and demand...the Macoska print already selling out is an indicator of that. Page must believe there's a market for these signed photos or else he probably wouldn't bother with them. If some fans want to buy them, that's a personal decision. Of course most won't fork over the money for them, and that's perfectly understandable as well. I don't see any problem with it either way. Page is my favorite musician and I'm frustrated as well that he doesn't release new music or play live anymore. But I don't despise him over it. He's retired as a working musician. He'll soon be 73 years old. Most folks are no longer working by that point in their lives, no matter what the profession. Who knows how he feels physically/emotionally? I agree that he ought to give up on saying every year that there'll be a new project next year. But in the end it doesn't offend me. I mean, really, is anyone surprised at this point when next year comes and there's no new project? One other thing to consider...for years I've been reading that ARMS sucked, The Firm sucked, Outrider sucked, Coverdale Page sucked, Walking Into Clarksdale sucked...so if you're Page, maybe part of the thinking is that you're obviously never going to top Zeppelin, and many fans criticize much of your post-Zeppelin work, so why the fuck bother? You're not going to top Led Zeppelin, you're rich, and maybe it's more fun for you to work as an archivist rather than putting yourself out there again with something new that the internet won't like.
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