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Dirigible

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About Dirigible

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    Zep Head

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  1. Both sets look like they're fun as hell to play; neither rack tom is mounted on the bass---nice that. My Ludwig set had a 24" bass too, bub72ck, lots of thump, easier to control.
  2. Thanks, huw! Exhibit A. Vis-à-vis Led Zeppelin and the blues, I prefer their rock music. As a musician I suppose I’m prejudiced in viewing blues as a tired cliché and steer clear of playing or listening to much of it. It’s fairly easy for musicians to throw a blues tune together on the spur of the moment; and musicians the caliber of Bonzo, Pagey and Jones with a vocalist like Plant can play a pretty damned mean blues when the spirit moves them. Their Willie Dixon stuff, ‘Since I’ve Been Loving You’ and ‘In My Time of Dying’ never fail to move me, but otherwise . . . no apologies.
  3. As far as I'm concerned, Bonzoghost, you've presented evidence that would stand up in a court of law. You've proven to me beyond all reasonable doubt that the Polar studios photo you posted is where John Henry played his parts on the New Yardbirds' final studio recording. The reason I visit this forum is to glean minutiae like that; I celebrate it, revel in it. Since this thread is about the drums of PRESENCE I should mention the album at least, but want to comment on IN THROUGH THE OUT DOOR first. IN THROUGH THE OUT DOOR took me years to appreciate the deepest depths and chiaros
  4. As much as I'd like to say Bonham was the leader of the band I'm sure James Patrick would disagree.
  5. I hate to admit it but until about ten seconds ago I thought the other kit was silver sparkle, but it is indeed stainless steel. So as Ed McMahon used to say to Johnny: "You are correct, SIR!" What really convinced me was the cymbals around the set. I know Bonzo's gear well enough I ought to have seen it the first time I looked; that is indeed his cymbal configuration, and heights too (ride very close to the bass drum). I agree that that is the drum room for the IN THROUGH THE OUT DOOR sessions. Richard Cole said Jones and Percy recorded during the day, and the heroin-fueled Pagey and Bon
  6. Phrase plays Bonzo better than anyone I've ever heard, except the late John Henry himself. His band Led Astray is pretty good too:
  7. The green sparkle Ludwigs have always been a mystery to me. The kit was supposedly destroyed onstage during a riot in Milan in July 1971. I've seen photos of the aftermath and the bass drum looks like it survived but afterwards may not have been road-worthy or studio-worthy. Yet Bonzo played a green sparkle set onstage until the end of the March 1973 German tour. How many green kits did he have anyway? Safe to say at least two. I'm still unconvinced either drum set in the Polar brochure belonged to Bonham, especially the green one. In the studio he insisted upon having a front head on
  8. The Boston Tea Party 1969 gigs that I've listened to were a mother. So were their Fillmore sets prior to that. Almost anything from 1970 is stellar. Same can be said about the second night in Berkeley 1971 (9-14-71 IIRC). Zep kicked ass in Oz in February 1972 and the California leg of the '72 USA run was likewise great. I've got half a dozen shows from the March 1973 sojourn and all of them are fantastic despite Plant's diminished vocals. Bonzo started hating Moby Dick early on and usually only played it in America where it was expected of him and he played a lot more call and response d
  9. I'm a Seattle 7-17-73 man myself, had the audience tape since '76, but five years ago got the soundboard. The differences are vast. Jones sounds huge on the audience tape but less so on the board recording. Pagey and Bonzo played well that night in Seattle. Plant was in much better voice than he was in NYC. Percy lost some octaves after June 1972; till then he could sing a line such as "got no time to back my bags, my foot's outside the door" and hit the notes he hit on the album. But never after June 1972. I always thought he had a throat operation to remove nodes from his vocal cords
  10. Peter Grant destroyed the Silverdome footage, kdh? I, too, must ask: how do you know this?
  11. People who did not attend the Cleveland 1977 shows but say they were great is beyond me. "Destroyer" sounds as sterile as a medical operating theater; in person however the Houston concert was a visceral kick in the chest although the soundboard doesn't live up to being there. If bootlegs are any indication (and they're not, they're a 32-year-old barometer reading at best) I'd've rather seen the Landover gigs than NYC. Judging from recordings, the L.A. concerts were the apogee of that tour, basically performed at the end of the long '77 road grind when the band was on top of their game afte
  12. I, too, think Bonzo was stellar in March 1973. I don't often agree with Luis Rey, the author of the bootleg reference book LIVE, but his assessment that the drumming was so inventive and rocking during that German tour was because of the absence of Moby Dick from the setlist makes perfect sense (to me anyway). Apparently Bonham didn't much care about soloing for fifteen or twenty minutes at a whack, even though Moby Dick received the loudest and longest applause at many concerts. But it was back in the show for the American tour a month later. Had the topic been best studio drumming I th
  13. The point I was trying to make about Moon was alcoholism is a disease that can ruin people's lives, or end them, as the premature deaths of Moon and Bonham emphasize. Whether Moon's appearance at the Badgeholders show amused people or depressed them, one thing is certain, that concert kicked ass because of Led Zeppelin, not cameo appearances by members of other bands.
  14. Poor Tom sounds like a New Orleans second line groove to me, or a stuttering cousin of it. Where a 22-year-old British kid picked that up, as well as the tricky Gallow's Pole, is anybody's guess. D'yer Mak'er I learned by singing the notes to myself. The last bombastic fill toward the end, the one that resolves with the stick striking the hi-hat as it opens and then quickly closing it again with the foot, may be the easiest drum part of the song to play; it's the fills Bonzo slipped in between lyrics that are the hippest (and hardest) to master.
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