Jimmy the Perfectionist

[FireOpal]

far from a perfectionist

the little bit that I know demonstrates that Page is however ultimately unwavering in pursuit of what is most vital; and singularly, utterly ever watchful of the best interests of the band and its members.

this takes the form of what is done, what is not done- Page favors the feel of the band over the pristine sterility of heavy handed producers/label thugs/manufactured sounds "it". In a world of loops, sequences, ProTools and plug-ins, the moment, "that take", the shimmer and halo of the ether unity around them, not the notes, not the formula, not the demographic.

If anyone still holds to the perfectionist label, the following cured me.

Dallas, how does this compare with other "organic" (i.e. played by humans not machines) music - I would imagine those songs also have fine variations in BPM?

[Dallas Knebs]

do not read this post if you have ADHD or tire easily of info and minutia dumps

Dallas, how does this compare with other "organic" (i.e. played by humans not machines) music - I would imagine those songs also have fine variations in BPM?

here is the backstory on hearing:

1. as with all of our senses "hearing" is our brain's ability to receive the delta change in status quo, our brains "hear" and average the intensity of the change (can result in hearing fatigue etc) A component of our hearing includes the vibrations and pressure changes against our bodies and proximities.

2. listening happens when the delta is interpreted

3. music happens when we respond to the interpretation- memory creation/recall, response of all known and unknown manner

So what: hearing, listening and music are "adaptive" simulatneously within and without, hence, the dynamics. Dynamics is the presence of adaptations- measured any way you like. tempo, rythym, harmony, melody, accent, amplitude- most importantly affecting the mind, will and emotions with physical and memorable response; Page puts it out there as light and shade.

now, your question is: compare STH to other composition recordings.

conclusion: LZ performances (LP & live) are like snowflakes; individual and stand alone. So to for others. The comparative is that LZ are free from the trappings of manufactured to fit a template whims of a producer or label.

Insofar as graphs and diagrams approximating the ones I posted, several university studies on the topic are available thru Google for those who enjoy this sort of thing- including mood scanners.

Point to remember: LZs found a way to allow themselves to be dynamic- at once the tightest band in the world/at once the loosest band in the world. Still are.

[the chase]

Jimmy Page is a perfectionist.. It has to feel right.

Whether it's live as well or in the studio, he's trying to capture emotion more than anything .. not technical perfection.

He definately noticed the squeak on SIBLY. I've read interviews where he mentions it.

[Bonzoleum]

Jimmy Page is a perfectionist.. It has to feel right.

Whether it's live as well or in the studio, he's trying to capture emotion more than anything .. not technical perfection.

He definately noticed the squeak on SIBLY. I've read interviews where he mentions it.

You can hear technical flubs all over the place on the records, but you hit it on the head, Chase! FEEL PERFECTION.

There are couple other songs where you hear the squeaky pedal. I've too read interviews where Page and Jones both talked about it.

[Charles J. White]

Coverdale Page is where Jim was a pure perfectionist, go back and listen to that album from start to finish - Page was on fire!

[Nutrocker]

The thing about Page being a perfectionist is a myth, imo.

You can tell Page was always torn between feel and perfection in the studio, which explains why so many of these questionable little things were left in...deliberately (laughing, airplanes, squeaky bass drum pedals, bum notes in solos). I think Jimmy was rebelling against the restraint and discipline he encountered as a session musician. Certainly you won't find any of the little quirks found on Zeppelin records on those tunes!

Which is why I've always considered Page's insistence on 'frankensteining' the official Zep live releases (Celebration Day excepted...I think) a load of hooey. Lemme get this straight, Jimmy: you have no problem with letting decidedly iffy moments in solos on "Hot Dog", "Fool In The Rain" and "Heartbreaker" slide, but you won't put out unadulterated live material because it wasn't 'technically perfect'- from a sound quality point of view, maybe it wasn't. But as far as the playing/performance in the studio anything goes? Bit of a double standard there.

[Dallas Knebs]

with DAW advances it no longer has to stay "imperfect"

he fixed Hot Dog and Fool in the Rain on the iTunes release, SIBLY is almost too bright in spots the kick drum is just massive

[wrong-note-rod]

I remember one interview in a guitar magazine, they were discussing the Stairway to Heaven guitar solo on Led Zep 4. And the interviewer asked Jimmy if he had written it out beforehand and then just played it like he wrote. Jimmy said, no, I cued up the backing track and just let it rip (or something like that)

the interviewer was aghast, and said, "You WINGED that solo?"

and Page said yeah, altho he tried it 3 times, the first one was the best.

Thats not a perfectionist, who would have overdubbed it ten zillion times and got every single note in perfect pitch. Thats the mark of somebody who was incredibly skilled and could throw it down on the mark and live with what tiny imperfections there were.

[Disco Duck]

I remember one interview in a guitar magazine, they were discussing the Stairway to Heaven guitar solo on Led Zep 4. And the interviewer asked Jimmy if he had written it out beforehand and then just played it like he wrote. Jimmy said, no, I cued up the backing track and just let it rip (or something like that)

the interviewer was aghast, and said, "You WINGED that solo?"

and Page said yeah, altho he tried it 3 times, the first one was the best.

Thats not a perfectionist, who would have overdubbed it ten zillion times and got every single note in perfect pitch. Thats the mark of somebody who was incredibly skilled and could throw it down on the mark and live with what tiny imperfections there were.

I could never work that way. I'm too much of a worrywart. I would need the security of having my solos worked out and well-rehearsed BEFORE I recorded them or performed them in front of an audience. I would gladly trade seat-of-your-pants inspiration for consistency. However, my few adventures in music have involved classical and musical theater repertoires; genres where note-for-note perfection matters.

[Virginia]

So what you all are saying is that his perfectionism came across more in terms of getting the overall sound he wanted, vs being in the weeds on the details? (more macro vs micro?)