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Aquamarine

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babyblue
The other day I saw a pic of Plant and he looks like hell.

Classic case of "eye of the beholder."

He looks interesting and very good for his age. I could go out with a guy that looks like him!><

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desertblues68

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Aquamarine

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babyblue
The other day I saw a pic of Plant and he looks like hell.

Classic case of "eye of the beholder."

He looks interesting and very good for his age. I could go out with a guy that looks like him!><

You need coolin'...

Just got my copy of Led Zeppelin II Super Deluxe reissue.

These are GREAT packages.

Interesting in he book. I read that the band never wanted Whole Lotta Love released as a single as it was intended to be part of the album's concept, and that they were in fact in the studio the week of release of the single recording a standalone single.

WAS THAT ever released or see the light of day?????

Wrong forum I guess, but you all seem very knowledgeable.

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shadooby

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desertblues68

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Aquamarine

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babyblue
The other day I saw a pic of Plant and he looks like hell.

Classic case of "eye of the beholder."

He looks interesting and very good for his age. I could go out with a guy that looks like him!><

You need coolin'...

><

Here's what I could find :
The single

The single was planned in advance by Phil Carson from the London office of Atlantic Records. The manager of Led Zeppelin, Peter Grant, was unaware of what was about to transpire until Grant received word that over 500 singles had been pressed and had been shipped to Manchester for distribution. Grant had stipulated to Carson that under the contract Led Zeppelin had signed with Atlantic Records, the band had the final say whether singles would be released or not. With confirmation with Ahmet Ertegun, Carson had to recall all copies of the UK single and had to have them destroyed.[9]
The situation was different in the US where the single was released despite the band's wishes. The track had been edited down to 3 minutes 10 seconds, with the fantasy section cut completely, to make it of suitable length for US AM radio airplay, on 7 November 1969 (Atlantic #45-2690). Grant believed this was a mistake as it infringed upon the artistic integrity of the song and breached their contract, but it was released by Atlantic Records anyway. It reached Number 4 on the US Billboard charts in January 1970, and was also released as a single in the France, Germany (reached number one), Switzerland, the Netherlands, Belgium and Japan. All countries where the band had less control, until Atlantic Records was finally pressured to withdraw the edited single version.[10]
In 1997 Atlantic Records finally released an approved CD-single of 'Whole Lotta Love' where it reached Number 21 on the UK Singles Chart.[11]

http://forums.ledzeppelin.com/index.php?/topic/21658-do-stoness-fans-hate-zeppelin/

Just throwing it out there!

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Aquamarine
http://forums.ledzeppelin.com/index.php?/topic/21658-do-stoness-fans-hate-zeppelin/

Just throwing it out there!

It was fun to read this. Especially this: "Many of the IORR folks, though delightful, are pretty hard-core Stones fans. They don't like anyone who Keith Richards doesn't like "

[forums.ledzeppelin.com]

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shawnriffhard1
Here's what I could find :
The single

The single was planned in advance by Phil Carson from the London office of Atlantic Records. The manager of Led Zeppelin, Peter Grant, was unaware of what was about to transpire until Grant received word that over 500 singles had been pressed and had been shipped to Manchester for distribution. Grant had stipulated to Carson that under the contract Led Zeppelin had signed with Atlantic Records, the band had the final say whether singles would be released or not. With confirmation with Ahmet Ertegun, Carson had to recall all copies of the UK single and had to have them destroyed.[9]
The situation was different in the US where the single was released despite the band's wishes. The track had been edited down to 3 minutes 10 seconds, with the fantasy section cut completely, to make it of suitable length for US AM radio airplay, on 7 November 1969 (Atlantic #45-2690). Grant believed this was a mistake as it infringed upon the artistic integrity of the song and breached their contract, but it was released by Atlantic Records anyway. It reached Number 4 on the US Billboard charts in January 1970, and was also released as a single in the France, Germany (reached number one), Switzerland, the Netherlands, Belgium and Japan. All countries where the band had less control, until Atlantic Records was finally pressured to withdraw the edited single version.[10]
In 1997 Atlantic Records finally released an approved CD-single of 'Whole Lotta Love' where it reached Number 21 on the UK Singles Chart.[11]

If this was in response to my question - I was actually asking about the single they apparently were recording separately - that did not appear on LZ II.... the single they wanted to put out, but ended up releasing Whole Lotta Love instead...the mystery single......

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Cristiano Radtke

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Aquamarine
http://forums.ledzeppelin.com/index.php?/topic/21658-do-stoness-fans-hate-zeppelin/

It was fun to read this.

...Yeah!! In fact: I think I like thàt forum better...

Jimmy Page in the ‘60s: His Pre-Led Zeppelin Session Work

Casual rock fans know Jimmy Page mainly as the pioneering guitarist for Led Zeppelin. For years, however, Page was one the busiest session players in London, laying down tracks for everyone from The Who to Tom Jones to Donovan to The Kinks. Page himself has often been reluctant to talk about this period, for the simple reason that he was too busy to recall many of the details. "They needed a kid to play on the rock-oriented dates," he once told writer Brad Tolinski, "but soon I started playing on all sorts of things, including acoustic guitar on folk albums and rhythm on jazz sessions. I took the bit in my teeth and went for it. It was a great apprenticeship."

Page’s earliest sessions—starting in 1963--were mostly with artists who have since been relegated to obscurity. Brian Howard and the Silhouettes ("The Worrying Kind"), Tony Meehan and Jet Harris ("Diamonds," which actually topped the U.K. charts), and Carter-Lewis and the Southerners ("Your Momma’s Out of Town") are among the first recordings on which he appeared. It was during this time that Page’s reputation as a versatile player took hold. "He was a fast player, he knew his rock 'n' roll, and he added to that,” said John Carter, of the Southerners. "He was also quiet and a bit of an intellectual."

Page biographer George Case asserts that 1964 was Page’s most productive year as a session player. Though many of the recordings he played on are mostly forgotten, songs like "Tobacco Road" (The Nashville Teens) and "I Just Can’t Go to Sleep" (The Sneekers) feature memorable riffs that foreshadow Page’s work in Led Zeppelin. A hit single that year titled "Leave My Kitten Alone," by one-hit-wonders The First Gear, saw Page deliver one of the first-ever solos on his newly purchased "Black Beauty" Les Paul.

Other sessions from 1964 saw Page apply his skills to monumental hits, both in England and in America. The first was Tom Jones’s "It’s Not Unusual," which featured Page on steady, straight-up rhythm guitar. The Tom Jones session was followed by appearances on several songs that have since become classic-rock staples.

As the year wore down, Talmy summoned Page into the studio again to "strengthen up" the riffs for The Who's "I Can’t Explain." Page also devised a scorching lead on the song’s B-side, "Bald-Headed Woman." Other noteworthy contributions that year include an appearance on Marianne Faithfull’s "As Tears Go By," and showing Keith Richards the solo that Richards employed on the Rolling Stones' "Heart of Stone." Indeed the version that appears on the Stones outtakes album, Metamorphosis, features Page on guitar.

Page kicked off 1965 by partnering with lounge-pop artist Burt Bacharach, helping the American songwriter record instrumental versions of classics like "Walk on By" and "Always Something There to Remind Me." British blues greats The Yardbirds then tried to recruit Page to replace Eric Clapton, who had left the band. Page declined, suggesting instead the group hire his friend Jeff Beck. Rolling Stones manager Andrew Loog Oldham then brought Page on board as guitar player, writer, and in-house producer for his upstart record label, Immediate Records. Under Oldham’s direction, Page worked with John Mayall’s Bluesbreakers (which then featured Clapton), future Velvet Underground singer Nico (for whom Page and Oldham wrote songs, hoping to turn her into the next Marianne Faithfull), and R&B singer Chris Farlowe. Page also recorded a single of his own, "She Just Satisfies," on which he sang lead vocals. During the first half of 1966 Page also recorded with Petula Clark, Lulu, Herman’s Hermits, and David Jones, a brash upstart who would soon change his name to David Bowie.

First as the band’s bass player, then as co-lead guitarist with Jeff Beck, and finally as the group's sole guitarist, Page was a member of The Yardbirds from mid 1966 through much of 1968. This part of the Page history constitutes a lengthy story unto itself. Since it doesn’t involve session work, we'll leave that chapter for another time.

Page resumed his session work in 1968, joining Joe Cocker in the studio for the British singer’s cover of The Beatles’ "With a Little Help from my Friends." Page went on to play on five songs on Cocker's debut album. The most momentous session of this era, however, occurred when Page joined Donovan for Donovan’s "Hurdy Gurdy Man." In an attempt to emulate Pete Townshend, Donovan recorded the song playing power chords on his acoustic guitar. Page listened to the track, plugged in his guitar, and delivered what Donovan called “rock’s first power-chord solo." Controversy has always surrounded Page’s presence on "Hurdy Gurdy Man," with some asserting it was Alan Parker—not Page—who played guitar. In an interview with Uncut, Donovan himself clarified the issue.

"Originally I wanted to give 'Hurdy Gurdy Man' to Hendrix," he explained, "but he couldn't come in. So [producer] Mickie Most suggested Jimmy. [Musical director] John Cameron told him, 'All you’ve got to do is listen to Donovan’s guitar. Although it’s acoustic, the way he’s hitting it is the way the power-chords would go.’ So I guess Page listened. Jimmy added power and pagan rock. To this day, everyone wants that sound."

The "Hurdy Gurdy Man" session was significant for another reason as well. On hand to serve as arranger was John Paul Jones, and years later, drummer John Bonham recalled being present for the recording as well. In addition, future Led Zeppelin manager Peter Grant's office door adjoined that of Mickie Most, the session's producer. In summary, every key person in one of rock and roll’s most legendary bands—except one—was directly or indirectly involved with the session. The rest, as they say, is history.

[www2.gibson.com]

"When visiting a few Rolling Stones fan sites (particularly IORR), I continually encounter constant cheap shots at Led Zeppelin. Zeppelin never wrote their own songs...Page is a hack...Plant is a pussy in a flowered shirt...Bonham is overrated.

Very odd.
Is it simple jealousy? Insecurity?"

How about "simple truth"?

And they forgot "Page went down like a hawk on a 14 yo girl back in 73(?)". But I guess they can't write this on the other forum...

Anayway I ofund a gem there : about the rotten 80 tour s.o. wrote :
"Page was a junkie and it was really starting to show!
Bonham's personal demons were getting the best of him.
The 70's were over"

Yup that's what makes the Stones unique. They survived the 60's reinvented themselves for the 70's. They survived the 70's reinvented themselves for the 80's etc etc while LZ was doomed : the dinosaur could never survive when times changed.



Edited 3 time(s). Last edit at 2014-07-16 23:16 by dcba.

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dcba
the dinosaur could never survive when times changed.

Bonham died. That's what happened, not an inability to adapt or whatever. Hw was so essential to the band they chose not to go on without him, and rightly so, IMO.

We could always speculate with "What if's......"

...but regarding LZ and 1980....and being someone that has seen the band 18 times between March 1970 & June 1977, and has listened to all of the Boots of their 1980 European shows, I was not impressed with what I heard. My initial reactions were: The overall show was trimmed down by playing shorter versions of some songs (which is a good thing), but some songs appeared to be sped up a bit. Also I did not like Jones Keyboard sound. It appeared as if he left his full rig at home and took a lightweight all-in-one keyboard on tour with him. At first I just questioned the quality of the recordings (which obviously were not that great) but it was obviouly more than that.

...But IMHO the band was doomed by Bonham's passing. Many bands that have been around a long time started out great, got sloppy (often connected to drug abuse), came back later (maybe sobriety) and sounded great again....I am referring to live performances mainly.

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BluzDude
We could always speculate with "What if's......"

...but regarding LZ and 1980....and being someone that has seen the band 18 times between March 1970 & June 1977, and has listened to all of the Boots of their 1980 European shows, I was not impressed with what I heard. My initial reactions were: The overall show was trimmed down by playing shorter versions of some songs (which is a good thing), but some songs appeared to be sped up a bit. Also I did not like Jones Keyboard sound. It appeared as if he left his full rig at home and took a lightweight all-in-one keyboard on tour with him. At first I just questioned the quality of the recordings (which obviously were not that great) but it was obviouly more than that.

...But IMHO the band was doomed by Bonham's passing. Many bands that have been around a long time started out great, got sloppy (often connected to drug abuse), came back later (maybe sobriety) and sounded great again....I am referring to live performances mainly.

Had Bonham not died, I think Plant would have left sometime in the '80s.
The last five years of the band were not kind to him. A bad auto accident (which I'm told he still doesn't have full use of one arm), death of a child, death of his best friend, a wrecked marriage. I have a feeling when he has to revisit Zeppelin in any form, he's reminded of all this stuff. Kind of like you have to go back to a high school reunion every few years when it reminds you of all the bad things. The tears he shed at the Kennedy honors during Stairway weren't because it was a moving performance.

As someone who never knew Zep as a living band, I'm really surprised they lasted as long as they did and managed to produce such a run of spectacular albums, With the benefit of hindsight, it was probably a wise move to call it quits when John Bonham died and go out on a relatively high note. A reformed Zep limping through the 80s would not have been a pretty sight.

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Aquamarine

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dcba
the dinosaur could never survive when times changed.

Bonham died. That's what happened,

What I mean is with or without John they would have died in the 80's or they would have looked odd and passé, like Yes.
LZ never changed, they never adapted to new eras and therefore their time was counted. Otoh Jagger had/has a fantastic knack for capturing the zeitgeist of each ear and inject it into the Stones.

But as a reminder of what the 70's had to offer (warts and all) LZ's legacy is okay.

I think it has always rankled Jimmy Page that In Through the Out Door was their final album... not a great album by any stretch, and was the product of John Paul Jones and Plant, as Jimmy was missing in action due to his massive heroine addiction. He has stated in interviews it is his least favorite of their albums, and really was a departure with more pop sounding songs and some horrid 80s synth crap. It is a shame they didn't reform after the 02 concert and record a new album.

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Father Ted
As someone who never knew Zep as a living band, I'm really surprised they lasted as long as they did and managed to produce such a run of spectacular albums, With the benefit of hindsight, it was probably a wise move to call it quits when John Bonham died and go out on a relatively high note. A reformed Zep limping through the 80s would not have been a pretty sight.

I saw them many, many times. Even followed a tour through the East Coast, was at the famous Tampa riot show where they played 3 songs and they left because of a rain shower than lasted only 10 minutes . Honestly they were not very good and disrespected their audience by being wasted most of the time. I saw The Who when I returned and their concert was miles ahead of what I'd seen from Zep. We'd listen to boots of "White Summer" and laugh our ass off.

Why did you follow a whole tour if they weren't any good?

Also, with regard to not adapting to the times, it's only necessary to listen to the progression of their albums, from the blues band of the late 60s to the synth innovations (which I didn't like, either) of ITTOD (which did, however, have some amazing songs on it). To say they never changed is just incorrect, IMO. Plant then went on to incorporate just about every new genre into his solo career, while JPJ has had about the most varied musical career of anyone imaginable, so it also seems unlikely that they wouldn't have evolved further as a band. But, just as well to leave Zep where it was.

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Aquamarine
Why did you follow a whole tour if they weren't any good?

Also, with regard to not adapting to the times, it's only necessary to listen to the progression of their albums, from the blues band of the late 60s to the synth innovations (which I didn't like, either) of ITTOD (which did, however, have some amazing songs on it). To say they never changed is just incorrect, IMO. Plant then went on to incorporate just about every new genre into his solo career, while JPJ has had about the most varied musical career of anyone imaginable, so it also seems unlikely that they wouldn't have evolved further as a band. But, just as well to leave Zep where it was.

I was 17, it was history and following a tour did not begin with The Grateful Dead. There were moments of sheer brilliance and power, it was of course LZ but they were inconsistent. Still it was a great party we went to Disney World was recognized by Plant and we got passed the lines. Sang "Immigrant Song" riding Space Mountain with JPJ in front of car.... Still The Who were better although I never met them, thought they were macho tough guys and Zep was fem, Got that wrong...



Edited 2 time(s). Last edit at 2014-07-17 18:32 by DoomandGloom.

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DoomandGloom

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Father Ted
As someone who never knew Zep as a living band, I'm really surprised they lasted as long as they did and managed to produce such a run of spectacular albums, With the benefit of hindsight, it was probably a wise move to call it quits when John Bonham died and go out on a relatively high note. A reformed Zep limping through the 80s would not have been a pretty sight.

I saw them many, many times. Even followed a tour through the East Coast, was at the famous Tampa riot show where they played 3 songs and they left because of a rain shower than lasted only 10 minutes . Honestly they were not very good and disrespected their audience by being wasted most of the time. I saw The Who when I returned and their concert was miles ahead of what I'd seen from Zep. We'd listen to boots of "White Summer" and laugh our ass off.

That's odd
Having seen the band 18 times, they always gave their audience way more than their monies worth, more than any other band. While the Who in those days were wild and crazy (I loved them too) I was a bit disappionted with their shows because there was something "mechanical" about them....but maybe Zeppelin just liked the west coast more if what you say is true.

The Who's shows were usually highly professional. They'd come out great and seem to raise the energy and precision with each song. I'd think it can't get better than this and then they'd rock harder. The pacing of a Zep show was like a heroin experience, the acoustic set, White Summer a big mess. I once saw them play Black Dog and had no idea what song they were attempting till the "oh yeahs".

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whitem8
I think it has always rankled Jimmy Page that In Through the Out Door was their final album... not a great album by any stretch, and was the product of John Paul Jones and Plant, as Jimmy was missing in action due to his massive heroine addiction. He has stated in interviews it is his least favorite of their albums, and really was a departure with more pop sounding songs and some horrid 80s synth crap. It is a shame they didn't reform after the 02 concert and record a new album.

He may not have had much to offer songwriting wise for In Through The Out Door but Page's guitar work on the album is underrated. In the mid-late 70s articles I've read Robert was really into Little Feat and you can hear their influence on some of the material like South Bound Suarez. Also members of the group were spending a lot of time in New Orleans and the eclectic nature of that city's music probably influenced In Through The Out Door. Plant was a fan of Rockpile around that period too I believe.

Swap out Suarez and Hot Dog for Ozone Baby and Wearing and Tearing you have a more traditional Zeppelin-sounding album. So the rockier material was there (the outtake Fire for example as well) but the group guided more by Plant at that time went in a different direction. But looking back Zeppelin from '73-'79 had become a much more eclectic-sounding band-they dialed back the thunder somewhat in favor of widening their music palette with varying results. Reggae, doo wop, jazz, funk, soul, rockabilly and country sounds all found their way into post-IV era Zeppelin. In some ways In Through The Out Door (the 4th album of the post IV cycle) was the culmination of that genre experimentation.

Led Zeppelin announce second wave of reissues

> Led Zeppelin

Led Zeppelin have announced details of Deluxe Editions of Led Zeppelin IV and Houses Of The Holy.

The editions have been produced And newly remastered by Jimmy Page and will each be accompanied by previously unreleased companion audio.

They will be released on October 27 in multiple CD, Vinyl, And Digital formats, including Limited Edition Super Deluxe boxed set.

You can read our review of the first three Zeppelin remasters here.

Meanwhile, Robert Plant is on the cover of this month's Uncut.

The formats are:

Single CD – Remastered album packaged in a gatefold card wallet.
Deluxe Edition (2CD) – Remastered album, plus a second disc of unreleased companion audio.
Single LP – Remastered album on 180-gram vinyl, packaged in a sleeve that replicates the LP’s first pressing in exacting detail.
Deluxe Edition Vinyl (2LP) – Remastered album and unreleased companion audio on 180-gram vinyl.
Digital Download – Remastered album and companion audio will both be available.
Super Deluxe Boxed Set – This collection includes:
o Remastered album on CD in vinyl replica sleeve.
o Companion audio on CD in card wallet featuring new alternate cover art.
o Remastered album on 180-gram vinyl in a sleeve replicating first pressing.
o Companion audio on 180-gram vinyl in a sleeve with new alternate cover art.
o High-def audio download card of all content at 96kHz/24 bit.
o Hard bound, 80 page book filled with rare and previously unseen photos and memorabilia.
o High-quality print of the original album cover, the first 30,000 of which will be individually numbered.

The tracklisting is:

Led Zeppelin IV
“Black Dog”
“Rock And Roll”
“The Battle of Evermore
“Stairway To Heaven”
“Misty Mountain Hop”
“Four Sticks”
“Going To California”
“When The Levee Breaks”

Companion Audio Disc
“Black Dog” – Basic Track With Guitar Overdubs
“Rock And Roll” – Alternate Mix
“The Battle Of Evermore” – Mandolin/Guitar Mix From Headley Grange
“Stairway To Heaven” – Sunset Sound Mix
“Misty Mountain Hop” – Alternate Mix
“Four Sticks” – Alternate Mix
“Going To California” – Mandolin/Guitar Mix
“When The Levee Breaks” – Alternate UK Mix

Houses Of The Holy
“The Song Remains The Same”
“The Rain Song”
“Over The Hills And Far Away”
“The Crunge”
“Dancing Days”
“D’yer Mak’er”
“No Quarter”
“The Ocean”

Companion Audio Disc
“The Song Remains The Same” – Guitar Overdub Reference Mix
“The Rain Song” – Mix Minus Piano
“Over The Hills And Far Away” – Guitar Mix Backing Track
“The Crunge” – Rough Mix - Keys Up
"Dancing Days” – Rough Mix With Vocal
“No Quarter” – Rough Mix With JPJ Keyboard Overdubs - No Vocal
“The Ocean” – Working Mix

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

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Hairball
Led Zeppelin announce second wave of reissues


The tracklisting is:

Led Zeppelin IV

Companion Audio Disc
“Black Dog” – Basic Track With Guitar Overdubs
“Rock And Roll” – Alternate Mix
“The Battle Of Evermore” – Mandolin/Guitar Mix From Headley Grange
“Stairway To Heaven” – Sunset Sound Mix
“Misty Mountain Hop” – Alternate Mix
“Four Sticks” – Alternate Mix
“Going To California” – Mandolin/Guitar Mix
“When The Levee Breaks” – Alternate UK Mix

Houses Of The Holy

Companion Audio Disc
“The Song Remains The Same” – Guitar Overdub Reference Mix
“The Rain Song” – Mix Minus Piano
“Over The Hills And Far Away” – Guitar Mix Backing Track
“The Crunge” – Rough Mix - Keys Up
"Dancing Days” – Rough Mix With Vocal
“No Quarter” – Rough Mix With JPJ Keyboard Overdubs - No Vocal
“The Ocean” – Working Mix

This is really really disappointing. I was expecting a lot more of studio stuff ( who gives a sh!t about alt mixes I wanted "take #1"stuff) and a disc or two of live material.

The LZ omen continues : the bootleg releases still are a lot more interesting than the official ones.

I guess some like it, but seriously?! They have nothing else to work with or offer besides alternate takes? That certainly annoys me. At the very least the others had one unreleased song. Can't even offer something live.

Maybe its just me, but I found the first 3 reissues completely unnecessary. Certainly nice to have the remastered albums, but the companion discs have been far underwhelming IMO. The first one is good with the live concert. I didn't particularly enjoy the concert, but I give them credit that at least thats something substantial. The others with alternate takes are something I heard once and doubt I'll ever heard again. The 2 or 3 new songs between those companion discs though were very good.

And another problem I have is that they aren't even filling the brim with these discs. Its the original albums, which mean half of that CD goes unused, and then the companions are around the same length as well. Wasting half the space on both CDs when LZ II and III albums and companion discs could have basically fit on one CD. I've never owned the Zeppelin albums on CD (have the box set but want the individual CDs) so thats the only reason I'm buying them, but I'm finding all the hoopla Page said with these releases is really not as wonderful as he said they'd be.

Not a LZ fan (far from it) but I'd buy this boot box instead :
[bootlegpedia.com]

By contrast Mick did good with the reissues and the SA releases

Agree that these are all a bit underwhelming.
I mean do we really need to hear '“The Crunge” – Rough Mix - Keys Up" ??? lol

Still hold out a little hope for Physical Graffitti...hopefully something other than alt. takes...

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

didn't follow the discussion at all, just found this to be a pretty solid rendition
and this seems to be a good place for it. i like Jason Bonhams playing a great deal.

Plant looks a bit like the Cowardly Lion in The Wizard of Oz these days.