Led Zeppelin (Official Thread)

gcczep

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^From what I read, Page "doctored" the last verse as Plant admitted in interviews that he was losing steam. Everything else was left alone. As far any other fixes, there were edits and looping for "Dazed" as there were timing issues during the change in structures. On the bootlegs, there were feedbacks during the show but either were not present on the recording or conveniently taken out. Same went for some of the in between song patter. What is unique is that the sound off the internet feeds had more balance and clarity then what I heard at the screenings. Sad but true...at least to me.

All the songs were straight readings with no extensions or improvisations with small recreations of the live solos from how they did it before. Plant sang economically in a lower octave or two while Page kept his solos short. The full rehearsal tapes I listened to were similar.
 

gcczep

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Short blurb about the upcoming release:

The legendary show was captured on film and the result, Celebration Day, is now available on DVD and Blu-ray. The two-hour feature length film is presented in high definition video with excellent audio quality (5.1, 48 khz/20 bit hi-resolution audio surround sound). The aspect ratio is 16x9. Already garnering critical acclaim, the film is directed by Dick Carruthers, who worked with Led Zeppelin on their award-winning 2003 release DVD, and includes the entire 16-song concert.

A bonus DVD in the deluxe versions features the dress rehearsal at Shepperton Studios, filmed a few days before the O2 concert. The band play the entire set that was performed at the O2, and the DVD provides a unique insight into the concert buildup. The rehearsal is filmed by a single camera in SD and recorded in stereo.
 

gcczep

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Showing his mettle in a new approach by Rob Adams [Herald Scotland]

19352022.jpg

John Paul Jones will probably never be entirely free of Led Zeppelin – and the bass guitarist isn't complaining.

As we speak, JPJ, as he's affectionately known, has just finished doing his share of the press for the release of Celebration Day, the film of the band's reunion concert at the 02 in London in 2007.

Unlike some rock stars whose bands have split up and who prefer the talk to steer exclusively towards what they're doing now or, more accurately, themselves, he's happy to acknowledge the importance of Led Zeppelin and what being in the heavy metal giants has done for him.

"It opened a lot of doors and raised my profile," says the man who, before joining Messrs Plant, Page and Bonham had had an invisible but audible presence on thousands of records as a session man. "It was also really good. I'm quite proud of the music we made and apart from anything else, that music was great fun to play – otherwise, what would be the point of doing it?"

Fun also plays a major role in what Jones gets up to these days. Those doors that Zeppelin opened have led to many and varied projects over the past 30 years, ranging from musical settings of 17th-century Spanish poems in the period style for harpist Andrew Lawrence-King and The Harp Consort to Mark Anthony-Turnage's opera about Playboy model-gold digger Anna Nicole Smith, and from bluegrass with Gillian Welch and David Rawlings to the freely improvised sounds he'll be creating with Norwegian experimentalists Supersilent in Glasgow next week.

He says: "Things just kind of speak to me – or not. I know immediately if it's something I'm going to like and the people I tend to like –Seasick Steve's a great example – tend to be a bit sideways, a bit on the periphery of the mainstream music business."

Jones had never encountered Supersilent, whose keyboards, drums and electronics are joined by Arve Henricksen's trumpet, before he was approached by Henricksen at a festival in Norway and asked if he'd like to play on their set.

"I said: What is that you do? And Arve said: We don't talk about it, we don't rehearse, we just play," says Jones in the sort of tone that signals his continuing intrigue and enthusiasm for the idea. "So I just plugged my bass into a big amp and off we went. It's extremely liberating. They're all excellent musicians and really nice people and I get to use all my electronic stuff that I don't get to use with anybody else. We've played together four or five times now and each time has been different. We'll do a soundcheck but that has nothing to do with what we'll play on the gig and while it's very different from Zeppelin, we seem to be getting a few Zeppelin fans along to gigs now, which is good."

Improvisation has played a significant part throughout Jones' career. There were long sections in Led Zeppelin songs onstage where he didn't know what he was going to play next. As a session player in the 1960s, he was continually expected to come up with a suitable idea instantly, whether it be a bass line for Shirley Bassey or a string arrangement for the Rolling Stones. Even before that, though, he says, improvisation coloured his experience as a teenage church organist.

"My playing of Bach cantatas was so bad that what I played before the hymns sounded better if I made it up, and I just got away with it," he says. "But I've always enjoyed going onstage with no rehearsal. Unless it's something that's been composed and has actual charts, like Mark-Anthony Turnage's Anna Nicole, I really enjoy going out there not knowing quite what's going to happen. It keeps me on my toes."

Away from Supersilent, his Minibus Pimps duo with Supersilent's guitarist-electronics whizz Helge Sten, and record production assignments – bluegrass sweethearts Uncle Earle and Nickel Creek's Sara Watkins have benefited from his ears – Jones is hard at work on an opera based on Swedish playwright August Strindberg's The Ghost Sonata that's due to premiere in 2015. He particularly enjoys writing for voices but needs complete seclusion to compose in.

"I turn off the phone, ignore my emails and just immerse myself in composition," he says. "It can get quite intense so it's also good to have something to escape into occasionally, something that just involves playing. Whether it means bass guitar, like these dates with Supersilent, or mandolin, I have no particular preference: I'm just happy to have something that can make a noise hanging round my neck."

John Paul Jones appears with Supersilent at the Arches in Glasgow on Thursday, November 15
 

ILoveJimmyPage

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Bought the special edition Rolling Stone magazine today. Gave it a quick glance. Looks like a lot of pictures I've already seen (and a few I haven't), interviews with Pagey and some reviews from the O2 show.

I couldn't find the new books though. :uh:

Can't wait for Celebration Day. Barnes will have it on the 20th.

My Christmas list will be largely comprised of Zeppelin this year. :bow::bow::bow:
 

gcczep

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Jason Bonham comments about the 02 show reheasals and pedals...

“We rehearsed over a six-week period, – three or four hours, five days a week. We never went through the entire set until the Thursday before the gig, and that was the only time Robert sang it from start to finish.

“When you’re opening the set with Good Time Bad Times, to do it the correct way you have to have the bass drum beater set pretty light, but I like it to be pretty heavy when I’m playing everything else. It meant that, for one song, I wouldn’t be happy with the way the beater was for the rest of the show.

“I tried every pedal, every manufacturer. I was so frustrated. One day Robert turns up and I’m in the parking lot reversing over the pedals in an SUV, going, “You’ll never work again!”

“He was like: ‘Everything alright?’

“‘Yeah, fine.’

“‘Who’s paying for that?’

“‘You are…’

“Somebody said to me, ‘Are you having a great time?’ I went, ‘No, I’m really, really struggling. I want it to be so perfect.’ I’d listened to the albums and I was trying to get everything exact. They said, ‘Forget it – be yourself and John will come naturally.’ It was the best advice. I went in the studio the next day and went for it. Robert turned to me and said: ‘You’re back! Where have you been?’ That was a key moment for me.

“The general thing we tried to do was go in and do the first three songs, and that was the start of the day. We all looked at it like, that’s the first corner. If you’re in a car race and you can make the first corner, the rest of the race will go pretty good. We didn’t want to have a first-corner crash and spend the rest of the night catching up. We wanted to feel relaxed.”
 

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