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cookieshoes

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About cookieshoes

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    Zep Head

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  1. 1970/09/04 for the great atmosphere and lengthy spoken introduction to Bron-Yr-Aur. 1971/09/28 for the super long intro to Going to California, and the Beatles teases. 1972/06/14 for the great performance. 1972/06/19 for the debut of Black Country Woman. All six of the LA 77 acoustic sets for being pretty badass across the board, every single night.
  2. Bootlegs by a large mile. Blueberry Hill, Memphis 1970, MSG Evening Show 70, Boston Tea Party 1969, FIllmore/Winterland April 1969, Texas Pop 69, Belfast 71, Tokyo/Osaka 71, Nassau 1st night 1972, Seattle 2nd night 72, Hamburg/Essen 73, MSG 2/12/75, Long Beach 3/11-3/12/75, Vancouver 75, LA 6/21-6/23/77.... The official releases provide a great introduction, but the unedited bootlegs is where the true magic is. If a full copy of the soundboard for MSG 73 1st night ever sees the light of day, it would make the soundtrack to The Song Remains The Same obsolete for me. I don't really listen to Royal Albert Hall, BBC Sessions, or How the West Was Won, because I prefer other performances from those eras, which for me trumps the sound quality of those shows.
  3. I think the internet has already done most of the work for him at this point. Between RO, Undergound Uprising, Year of Zeppelin, this site, and the sites which feature ripped-off reviews (such as Argenteum Astrum), I think that pretty much every show out there, and every interesting detail has already been covered. Highlighting the "best version" of each show can really only be done via the internet, because so many sources can always get upgraded via remasters, matrixes, upgraded lowgens, and new soundboards. Printing a book for this type of thing is only going to become out of date within a few months, as opposed to the old days, where tape guides stayed relevant for years. Torrent sites and online reviews have already long been the norm. That's the only real way to stay up-to-date on this stuff. Great to see him active again, though. Definitely a trail-blazer in the Zep community.
  4. Troubled? No. Believe me, I listen to plenty of stuff post 73. Philly 2/8, NY 2/12, Nassau 2/14, Long Beach 3/12, Vancouver 3/19-20. NY and LA for 77, etc. Bonham was definitely phoning it in at EC. Compare his drumming at Dallas, Long Beach, or Vancouver in March to EC in May. Or better yet, compare EC to NY 2/3, which is probably his best playing of all of 75. No contest. At EC he sounds asleep in comparison. No offense to him, because he was a human being after all. Effects of alcohol, drugs, sickness, and burnout likely happened to him regularly. Remember Osaka 71 where he didn't even want to play Moby Dick at all? And then the song was removed for the subsequent UK tour, and his playing was significantly better. My point is that I think that a lot of shows gets raved about due to things such as the attendance (4/30/77), possible video (5/21/77, 4/30/77), possible soundboard (Bath 70), or because we have an existing audience source that was better than most for that tour (4/28/77, 5/30/77). This happens the most with 1977 shows, and certainly happens with 75 gigs when people talk about EC. The best gigs of 1977 happened in New York and LA. Between the two cities, that's at least the top 10 best gigs of the tour, with maybe one or two performances from the runs not as special. Landover, Pontiac, Cleveland, and Houston don't belong anywhere near the top of the list when you factor in NY and LA. Ditto for EC for 75 when you factor in the better played gigs from the US tour.
  5. Completely agree. And if/when a soundboard, multi-track or footage ever gets released, people will immediately see that the show wasn't so much legendary as it was just a big festival where Zeppelin were the headliners. The opener/debut of IS is so rough, with Plant's improvised lyrics, that hearing it in better quality would only make the casual fan think "What the hell happened to the song I'm familiar with?". The rest of the show has its share of errors too, like Page's guitar going out in Heartbreaker. The HMMT medley is nothing to write home about. The Long Tall Sally encore is pretty good. Since I've Been Loving You is pretty good too. But only just "pretty good" for Zeppelin, where the bar is pretty high. Good show? Yes. Notable for Zep playing a huge festival? Sure. Best gig ever? Not compared to other performances that year that really were among the best. NY September evening show, Memphis 1970, and Blueberry Hill all slay Bath. Bath is as legendary for 1970 as Earls Court for 1975. It's all in the "story" of those gigs that make them legendary, and not so much that the gigs really were, beyond the spectacle that went along with them, with the photos and the posters and the rumors of films and multi-tracks. We all tend to hype up what we don't have. Prior to the videos and soundboard coming out for the EC gigs, people raved about those shows being holy grails, and always referred to them as the best shows Zeppelin ever gave. Once those vids and boards came out, people could finally hear how sloppy Page was, how trashed Plant's voice was, and how much Bonham was just phoning it in. Now you don't hear anybody talk about EC. Instead, people rave more about NY 2/12/75, which we've been able to hear for over 10 years now in soundboard quality. I think getting those other shows actually makes me like the ones we already had even more. I guarantee you that the same will happen with Bath. Once a board or mult-track comes out, people will listen to it for a week and then find themselves inspired to go back to Blueberry Hill.
  6. I'd say the more likely source is Jason Bonham. You have to remember that Jason lost his father very early, and so he has a much different interest in preserving all of those live Zep moments. That's his dad on those tapes. Watch the recent Charlie Rose interview, and the surviving members even make special mention that during the O2 rehearsals that Jason kept trying to get them all to do specific improvisations on songs like he had heard on various live tapes, and that none of them really had any idea what he was talking about because to them it was just a memory from a very very long time ago. That should tell you right there who actually cares about the tapes. I know that it's very easy to assume that it's Page doing the learking since's he's the one who has historically had all of this mystery going on, but he's going to be 70 years old in another year. Really think about that. That's great-grandfather age. Feeding bootleg labels tapes on the sly can't really be the thing on his mind these days. Read the interviews with Kevin Shirley from 10 years ago regarding compiling the Zeppelin live DVD and he makes it clear that Page wasn't too concerned with the preservation of the live tapes even back then, and that he was more interested in getting the job done quickly so that he could go visit his son while he was in the states. We can only hope that Page's been sitting on the soundboards to things like Boston 69, Bath 70, Osaka 71, etc specifically for pairing with the remastered Zep releases. I hope so, but we'll have to wait and see.
  7. Great to get these soundboards for sure. Hopefully we'll see more in this format, with two shows being released at the same time. As for the performances, I think that there's always been a little too much praise for 5/30. Same goes for 4/28 and 4/30. These shows always get mentioned as being good gigs, but I think that they end up being a "the best of the rest", which for 1977 isn't necessarily a good thing. Yeah, 4/30 might have a video attached to it, and 4/28 and 5/30 have recordings which have nice atmosphere to them. But the performances really aren't that special, and there are still lots of mistakes in the performances. The band making it through a show in one piece isn't necessarily the mark of quality. Plant's comment of "This is our fourth and final night here...so, you know what last nights in a town are..." after Sick Again on 5/30, kind of sums up the choreographed nature of these 77 shows. Considering that the band didn't even stay in Landover during the week they played there (they stayed in New York and flew back and forth every night), it reminds me of the "Hello Cleveland" scene from Spinal Tap. Add to this that Plant repeatedly pronounces the state name as "Mary-land", and his comment of "I don't think that was really magical though, do you?" after a sloppy Nobody's Fault But Mine, and I think it makes it even more clear just how much these shows were just another night on the long tour. The 1977 tour was all about New York and LA. Between those sets of shows, you have all you could ever want from 1977, including the only moments on the tour where the band actually broke away from their choreographed set.
  8. I notice in the earlier post that they list "Trampled Underfoot" after Bron-Y-Aur Stomp in the tracklist description for the 30th. However, I think the artwork actually shows "White Summer" and "Black Mountainside" as the tracks after BYS, and not TU. So, I agree that this is finally confirmation that TU wasn't played.
  9. Wow, this is very cool. That completes the Landover run, all in soundboard. Although, I'm personally more a fan of the New York and especially LA gigs. I know a lot of people love Landover 5/30, but for some reason I can never seem to get into it. It's a great audience source, but there are no big surprises like those first 3 shows in LA. What will be really nice is having 5/25. The audience source for that show is rough, and if memory serves I think that night may have been particularly good for Bonham.
  10. The EV and WT 9/23 titles use similar sources, but according to Bootledz, the EV patched more of the cuts. Wendy's Osaka 9/28 boot has a patch of Stairway to Heaven from the next night, 9/29, which is kind of weird. And it apparently has some noise-reduction noise on disc 3.
  11. No need, this thread's just fine. Anyway, don't get your panties in a bunch, I've made my point. Enjoy the gig. Just do me a favor and don't forget what I posted next time they ask you to open your wallet for what ends up really only being a party for themselves. end rant
  12. Unfortunately I am. These things end up being cash cows for the people involved, while the real victims see next to nothing because the money that does get raised ends up being tied up by the organizers. Enjoy: http://www.snopes.com/rumors/charity.asp Also: http://en.wikipedia.org/wiki/The_Concert_for_New_York_City Scroll down to the bit that mentions how much the concert actually raised - just $35 million. Not a hell of a lot of money considering the people involved, and the scale of that tragedy. What's worse is that with all of those mega-millionaires involved, they could've each donated next to nothing out of their own pockets and raised more money between themselves, which all would've been tax deductible, by the way.
  13. For a good cause, for sure. But then again, New York is the center of the financial and economic world, so do they really need to be taking donations from people? This wasn't at all on the same level of 9/11, and it's nowhere near the type of travesty as what happens routinely in Asia and Africa. You'd think that the local mega-banks and wall street companies would be enough to fix the damage in NY, especially since they're likely to be the ones managing the money that gets collected in the first place. Also, what always rubs me the wrong way about these things is that they end up being nothing more than a vehicle for all of these acts to say that they're doing something for charity, while every one of them gets a big boost in sales of their records from all of the extra publicity they get. McCartney in particular will be cashing out huge for this. Would be nice if they disclosed that and donated those sales profits to charity, wouldn't it? Speaking of which, what a coincidence that this concert is right in the middle of the holiday shopping season. The storm was over by the end of October, and power was mostly back by the middle of November. Madison Square Garden was perfectly operational during the whole thing, and has been ever since. They move concerts and events in and out of there on a daily basis, so it's not as if this was some astronomical undertaking to set up that needed all this time since the event happened. Yes, this was a tragedy, but it would've been much more tasteful if they weren't broadcasting this outside of New York, and if it was left to the people with the deep pockets who are actually attending it. It was a New York situation, and New York has the money to fix it. Why bother those states and other parts of the world, that make less per capita and who have their own tragedies which routinely get ignored?
  14. I think it's possible that these things happened, but also suspect since they came from Richard Cole's recollections. As for Bonham punching Plant, they were childhood friends after all. Lots of friendships have those moments. Also, what unfortunately tends to get glossed over is that Bonham wasn't always a particularly nice person. It gets dramatized/romanticized as him turning into "the beast", or just being some rowdy kid who liked fast cars, but the reality is that he was drunk/drugged out a lot of the time in the later years, cheating on his wife regularly, and getting into physical confrontations with all sorts of people. Remember that story about Bonham nearly assaulting a flight attendant? Rock and roll lifestyle, road fever...I guess. If we're talking about things like this actually happening, sure why not. Kind of a bizarre topic to think about in any case. They were just people, after all. Plenty of people get in fights. As for why nobody beat up Page, it's pretty simple, ain't it? He was their boss back then. Including Grant's. He was the star, he put the band together, he signed the band's record contract, it was his publishing company, he paid for the first album, he produced all of the material. He was the band's bread and butter, and you don't mess with that. Ever wonder why he had the sole spotlight onstage, front and center, during the 75 and 77 tours? Funny that out of all of the people involved, it's actually Grant who was supposedly much nicer than his advertised persona would lead people to believe. Oakland 1977 aside, of course.
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