Coverdale Page

[TNT96]

Hello Everybody

Does anyone know where I can get a copy of the Coverdale/Page DVD Live in Osaka 1993???

I have been looking forever

Any help would be appreciated!!!

Zeppelin in 2008 and beyond!

[SteveAJones]

Hello Everybody

Does anyone know where I can get a copy of the Coverdale/Page DVD Live in Osaka 1993???

I have been looking forever

Any help would be appreciated!!!

Zeppelin in 2008 and beyond!

I have both (12/20 & 21/93) Osaka concerts on dvd-r. Send me a PM.

[DanelectroGod]

Nothing like loads of Coverdale cursing

[lzfan715]

It's Coverplant.

[Mayqueen]

Nothing like loads of Coverdale cursing

How true. I actually quite liked the C/P material. If I can ignore the lyrics, I loved Jimmy's playing on it. One thing I can't do though is listen to them do the Zep material. I makes me want to grind my back teeth together to hear Coverdale's voice on it. I've totally bypassed any live C/P stuff because of it.

[LeD-kHaN]

How true. I actually quite liked the C/P material. If I can ignore the lyrics, I loved Jimmy's playing on it. One thing I can't do though is listen to them do the Zep material. I makes me want to grind my back teeth together to hear Coverdale's voice on it. I've totally bypassed any live C/P stuff because of it.

Coverdale-Page was a great album. Jimmy Page was very creative just like in Zeppelin days. Coverdale's influence was there, naturally. Good vocals. I would rate the album: 8/10

[leddy]

I like Coverdale's voice, love Whitesnake, Purple etc !! I thought he did a great job on C/P myself and although I loved Page and Plant getting back together, I think Walking into Clarksdale is a major dissapointment !! The live shows however were great !!

Edited December 28, 2007 by leddy

[King of the Hill People]

I think more Zep fans would have given it a more serious consideration if Coverdale hadn't done the Whitesnake thing. By all accounts really he's a good singer and I like the material from the C/P album better then the stuff from Outrider.

[leddy]

I think more Zep fans would have given it a more serious consideration if Coverdale hadn't done the Whitesnake thing. By all accounts really he's a good singer and I like the material from the C/P album better then the stuff from Outrider.

Early Whitesnake prior to 1987 album is all good stuff !!!

[Mattmc1973]

Jimmy's best playing since Presence, just monster riffs and guitar layering/orchestration.

[leddy]

Jimmy's best playing since Presence, just monster riffs and guitar layering/orchestration.

Yes its a great album !!

[Knebby]

I hate the album - and I was Whitesnake fan pre 1984, so I'm not biased because of that, Led Khan. Oh and I love WIC.

Edited December 28, 2007 by Knebby

[Ady]

Early Whitesnake prior to 1987 album is all good stuff !!!

Yep.

I especially liked Whitesnake when Ian Paice and Jon Lord were in the band. It was almost Deep Purple! Besides that, they put out some damn good albums during that period, "Ready an Willing" being my favourite.

[leddy]

Yep.

I especially liked Whitesnake when Ian Paice and Jon Lord were in the band. It was almost Deep Purple! Besides that, they put out some damn good albums during that period, "Ready an Willing" being my favourite.

Yes indeed, Lovehunter and Come and get it are my fave's !!

[ziggyp22]

I really enjoyed Coverdale Page -- I listen to the album quite frequently.

[Tea41]

I really enjoyed Coverdale Page -- I listen to the album quite frequently.

Coverdale/Page was a smoking album, Page killed it and had the crushing riffs and the studio guitar army concept going full motion again, also the acoustic guitar work on the album is spectacular and innovative. I.e. Take Me for A Little While intro, pure class. It's over Now, Whisper a Prayer, Absolution Blues, all crushing. Saccharine outtake is even heavier than anything on the album. Coverdale did a decent job, but his lyrics are not even close to Plant quality, they are a bit cheesy at times to be honest. Plant would have been great on that album, Lord knows Walking Into Clarkesdale was a moderate letdown for the hard cores, Plant voice was just whiny beyond belief, and Page, although good, seems like he held back. Plus the songs are ok, but sub-par for them, something huge was lacking, production was weird. I just don't know what happened there. JPJ said he found the album a disappointment, as he wanted to hear more Jimmy, he also said Page held back. It's got 3 really good tracks IMO(WIC,Most High,House Of Love, and Burnin Up is ok). Coverdale/Page was harder rocking, more classic Page studio attack, and some real hellaciously great playing and varied guitar tones, a more interesting album for me musically, but lyrically WIC has better, classier lyrics. 2 very different albums.

Edited January 1, 2008 by Tea41

[Atlas Shrugged]

Coverdale-Page was a great album. Jimmy Page was very creative just like in Zeppelin days. Coverdale's influence was there, naturally. Good vocals. I would rate the album: 8/10

I disagree here. I find this CD a patch job of largely recycled Zep parts from Page. Eg. the beginning of Absolution Blues is 'In the Evening' but a cheap version of it. For me, this was the 1st time Page stopped developing in every musical sense (guitar player, producer, songwriter), and actually digressed. I find the production to be that of hair metal, with WAY too many tracks used, esp. on the career embarrassment for Page, 'Feeling Hot'. Boring, dumb riff, and hideous lyrics. Everything here is black or white, no subtleties or nuances, very little of artistic value, just bad corporate rock. Further, the opening riff to Shake My Tree is inane and sounds like the overly toppy sound of an Ovation acoustic, a guitar I detest.

I agree with Knebby, this CD does not even compare to WIC. There, Page tried untested waters for him, unlike the predictable CD with Coverdale. Eg. the sad solo in 'Blue Train', the surfer twang in 'Heart in Your Hand', the heavy and engaging main riff to 'WIC', the completely new territory of 'The Window' (excellent and highly engaging). Also the use of such dry, unforgiving production, making the success of the songs dependant on the personal factor, the emotional involvement from Page/Plant.

All of this IMO of course, don't take it as an attack on opposing views please. Just another, hopefully interesting, take on it.

[SteveAJones]

Also the use of such dry, unforgiving production, making the success of the songs dependant on the personal factor, the emotional involvement from Page/Plant.

You put this in a way which almost makes the dry, unforgiving production sound like a

good idea. You turned a negative into a positive. Nicely done.

[Tea41]

I forgot about "Heart In Your Hand", an extremely moody and cool tune, great slide work and atmosphere by Page. "Shining In The Light" is a nice tune too. But Plant's vocals on "Upon a Golden Horse" are absolutely painful (I hate to say it), what was he thinking? That whining? And that's coming from someone who loves everything Plant does. I'm surprised Plant was happy with that on the playback. Page needs better performances than that to work with, but I think he let Plant do anything he wanted because he was just happy to be together with Plant again. Same thing with "Sons of Freedom", great music, and Plant starts cool but gets so whiny (the perfect word to describe it), I have to shut it off, it's really hard to listen to. But Plant sounded good on "House Of Love", and "WIC", go figure. I love Page's solo on the title track "WIC" though, what incredible bends and tone. That being said, I'm confident the next studio album from Jimmy is gonna be way cooler than the WIC album, especially with that triumphant O2 Zep reunion under his belt.

Edited January 1, 2008 by Tea41

[Atlas Shrugged]

I forgot about "Heart In Your Hand", an extremely moody and cool tune, great slide work and atmosphere by Page. "Shining In The Light" is a nice tune too. But Plant's vocals on "Upon a Golden Horse" are absolutely painful (I hate to say it), what was he thinking? That whining? And that's coming from someone who loves everything Plant does. I'm surprised Plant was happy with that on the playback. Page needs better performances than that to work with, but I think he let Plant do anything he wanted because he was just happy to be together with Plant again. Same thing with "Sons of Freedom", great music, and Plant starts cool but gets so whiny (the perfect word to describe it), I have to shut it off, it's really hard to listen to. But Plant sounded good on "House Of Love", and "WIC", go figure. I love Page's solo on the title track "WIC" though, what incredible bends and tone. That being said, I'm confident the next studio album from Jimmy is gonna be way cooler than the WIC album, especially with that triumphant O2 Zep reunion under his belt.

I know what you mean, I think Plant has steered the car in reunions with Page. Great description if the solo in 'WIC'. I find it to be acid rock.

[TheCoastMan]

I know what you mean, I think Plant has steered the car in reunions with Page. Great description if the solo in 'WIC'. I find it to be acid rock.

I would agree that Jimmy was just thrilled to be working with Robert and gave him way to much say on the song writing and production of that album. If you really think about it, the early Zep material was totally Jimmy and Robert didn't even write a lot of the vocals. Later on Plant had more input, but Jimmy dominated the writing of the music and the production. That is, except for "In Through the Out Door."

Don't get me wrong I loved Plant's early solo work, but the last couple of projects he has done vocally just doesn't move me. I know there is Emmy buzz, but I don't even care for his vocals with Allison. It's almost like he has been trying to NOT sound like the Plant of Zeppelin. Clearly, based on the O2 show, he can still do it so who knows?

The way Page is talking about having new Zep type material already written hopefully he would take a more dominant roll in the production if, and that's a huge if on Plants part, they do a new album.

[mos6507]

I disagree here. I find this CD a patch job of largely recycled Zep parts from Page.

Eg. the beginning of Absolution Blues is 'In the Evening' but a cheap version of it.

You can find connections between different Zep songs also. For instance, the drone of In the Evening is related to the drones on In the Light, or Lucifer Rising for that matter. Jimmy likes drones. When he likes things, he repeats them, evolves them. Look at Since I've Been Loving You -> Tea For One -> I'm Gonna Crawl -> Don't Leave Me This Way.

Anyway, I think Jimmy used the Transperformance on Absolution Blues. You can hear the guitar retune during this section. With In the Evening it was just a steady drone. Just because you can't appreciate the subtleties doesn't mean they aren't there.

I find the production to be that of hair metal

What do you expect? The era was hair metal (or at least the very end of it). I can't think of any other more comfortable genre that Jimmy could have fit into during that time than the one that LZ inspired. It certainly suited him better than the too-laid-back style of The Firm.

Listen to how much Robert's solo stuff latched onto whatever was trendy at that time (like the sampling on Now and Zen, now pretty cringeworthy). Was that really any bolder?

, with WAY too many tracks used, esp. on the career embarrassment for Page, 'Feeling Hot'. Boring, dumb riff, and hideous lyrics. Everything here is black or white, no subtleties or nuances,

I like the layering a lot. I think it has the best production on it of anything Jimmy did post Zep.

The nuance, what little there is, had to come from Jimmy alone because C/P was not really much of an ensemble. That's true of all post-Zep solo stuff. There is always a missing element. Like JPJ's stuff which is the heaviest but monotonous without vocals or guitar solos over them.

All of this IMO of course, don't take it as an attack on opposing views please. Just another, hopefully interesting, take on it.

It's not the ideal album. You won't find "Zeppelin" there because it's only 1/4 of the creative forces, twisted by Coverdale's influences. It just so happens to express the elements of Zep that I like best. So the things it doesn't have don't bother me as much as it does to you.

Jimmy doesn't really care much what the lyrics in his songs are. He leaves that up to the vocalists. He isn't as pretentious about the music as Robert. He is more concerned with the feel of the music. It doesn't have to be "deep" all the time. He doesn't need to hand-wring and navel-gaze over his music the way Robert does all the time. He's not afraid to just rock out on a "dumb" song with a simple verse/chorus structure. Stuff like Communication Breakdown and Rock and Roll are good examples. Feeling Hot, the song you hate so much, is just an extension of that. Really very little of the Led Zeppelin ouvre is conceptually deep and a lot of it is compositionally simple. Some of the best rock is simple and without pretense.

[leddy]

You can find connections between different Zep songs also. For instance, the drone of In the Evening is related to the drones on In the Light, or Lucifer Rising for that matter. Jimmy likes drones. When he likes things, he repeats them, evolves them. Look at Since I've Been Loving You -> Tea For One -> I'm Gonna Crawl -> Don't Leave Me This Way.

Anyway, I think Jimmy used the Transperformance on Absolution Blues. You can hear the guitar retune during this section. With In the Evening it was just a steady drone. Just because you can't appreciate the subtleties doesn't mean they aren't there.

What do you expect? The era was hair metal (or at least the very end of it). I can't think of any other more comfortable genre that Jimmy could have fit into during that time than the one that LZ inspired. It certainly suited him better than the too-laid-back style of The Firm.

Listen to how much Robert's solo stuff latched onto whatever was trendy at that time (like the sampling on Now and Zen, now pretty cringeworthy). Was that really any bolder?

I like the layering a lot. I think it has the best production on it of anything Jimmy did post Zep.

The nuance, what little there is, had to come from Jimmy alone because C/P was not really much of an ensemble. That's true of all post-Zep solo stuff. There is always a missing element. Like JPJ's stuff which is the heaviest but monotonous without vocals or guitar solos over them.

It's not the ideal album. You won't find "Zeppelin" there because it's only 1/4 of the creative forces, twisted by Coverdale's influences. It just so happens to express the elements of Zep that I like best. So the things it doesn't have don't bother me as much as it does to you.

Jimmy doesn't really care much what the lyrics in his songs are. He leaves that up to the vocalists. He isn't as pretentious about the music as Robert. He is more concerned with the feel of the music. It doesn't have to be "deep" all the time. He doesn't need to hand-wring and navel-gaze over his music the way Robert does all the time. He's not afraid to just rock out on a "dumb" song with a simple verse/chorus structure. Stuff like Communication Breakdown and Rock and Roll are good examples. Feeling Hot, the song you hate so much, is just an extension of that. Really very little of the Led Zeppelin ouvre is conceptually deep and a lot of it is compositionally simple. Some of the best rock is simple and without pretense.

This is a short post , but your post was a good one, I agree with what you say !! I do agree with what you said about roberts stuff latching on to whats going on at the time although thats not a bad thing.

Also there is nothing wrong with the music of hair metal and Page as you say fitted in !! The only thing wrong with hair metal I guess is the hair but some of the music was good !!

Edited January 5, 2008 by leddy

[Atlas Shrugged]

Mos 6507, The Firm suited Page far better than C/P. It was creative. The guitar on that was new sounding, and Page developed on those albums. The guitar on C/P had nothing to do with creative development, it was geared to sell to the Cinderella, Winger, Poison crowd. To answer your question, I expect originality from Page. His good work does not come from a form he fit comfortably into. Geez, that's not aiming very high. Look at the Firm, he was backed by a fretless bass, and he responded with some of the weirdest guitar of his career.

The drone on Absolution Blues was certainly not part of any evolution. I agree that he repeated ideas in Zep and evolved them. This is just a cheap cop though. Its to close to In The Evening. Terrible moment on the CD. There is overly obvious sounding guitar over that part as well.

You hear subtleties in this CD of patch work, do you? I can appreciate subtleties, and they are few and far between on this effort. 'Easy Does it' manages some. Its quite nice until the Little Mountain Studio imitation Bonham drums come in.

72 tracks has nothing to do with layering here. Its there to make extra noise, to cover for awful song ideas, and cheesy commercial instrumental tones.

Now, every once in a long while, I might get a little charge out of a song from this. The early 90's were fun, its a reminder of that. I find it to have a bit of associative value.

[mos6507]

Mos 6507, The Firm suited Page far better than C/P. It was creative. The guitar on that was new sounding, and Page developed on those albums. The guitar on C/P had nothing to do with creative development, it was geared to sell to the Cinderella, Winger, Poison crowd. To answer your question, I expect originality from Page. His good work does not come from a form he fit comfortably into. Geez, that's not aiming very high. Look at the Firm, he was backed by a fretless bass, and he responded with some of the weirdest guitar of his career.

There was a small amount of interesting stuff from the Firm, surrounded by a lot of pap like Paul Rodgers trying to be Michael Bolton on "You Lost that Loving Feeling". That is positively UNLISTENABLE. I mean, at least hair metal is 'metal', not some warmed over Big Chill music.

I was never that fond of the fretless bass on The Firm. It's different, but different for different's sake is meaningless. It has to work. And the fretless usually doesn't complement the songs. The fretless 'mwah' just totally overpowers Jimmy's thin telecaster guitar tone of that era. And Midnight Moonlight, as cool as it is, sounds pretty weak on the album compared to how it was played live.

The thing with the Firm is the rhythms were lethargic and plodding. The energy level was low. It was like a Led Zeppelin on tranquilizers. I mean, I can take some of that, but all of their songs were like that. The Firm could have used some hair-band hystrionics. Whether you like it or not, Feeling Hot on C/P has more energy in that one song than the entire Firm catalog.

The drone on Absolution Blues was certainly not part of any evolution. I agree that he repeated ideas in Zep and evolved them. This is just a cheap cop though. Its to close to In The Evening. Terrible moment on the CD. There is overly obvious sounding guitar over that part as well.

Well, that's your opinion. I don't think there is anything wrong with Jimmy Page playing in a characteristic style that he is most known for. Players like Tony Iommi have a pretty narrow palette to work from and are well regarded. Why should Jimmy be obligated to always go off on far-flung artistic tangents? You have to remember that Jimmy never had much of a solo career. He really wasn't in a position to do something unexpected after being away from the limelight for so long. If he were more prolific then he could afford to mix it up more. Something like C/P is merely Jimmy getting back to basics, building up a new foundation of LZ II/Presence style hard rock as filtered through Coverdale's hair-band sensibilities.

72 tracks has nothing to do with layering here. Its there to make extra noise, to cover for awful song ideas, and cheesy commercial instrumental tones.

You must not like Achilles Last Stand, either.