Led Zeppelin (Official Thread)

ILoveJimmyPage

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It is silly, and also silly when the employees don't know what they're talking about either.

Regardless, I have to wait until Christmas anyway so I couldn't have bought it. :pullhair:
 

Jasonconfused

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Did anyone else go see Celebration Day at theaters? I was really disappointed to see that only about 100 of us showed up to a theater that holds 2000.
 

gcczep

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ETA for C-Day was Mondaze but instead in arrive today. Spun the Blu this evening. Excellent color fidelity with clean details. I can see the sparklies in Jonesy's shirt, Plant's weathered lines on his face, the nicks on Page's old Les Paul plus his sweat soaked white shirt and Jason Bonham's expressions as he rocks out behind his kit. You can see small things like the tape job on Page's amps. Funny how the Heineken brews are now replaced my tea cups and bottles of mineral water on the riser.

Audio via lossless DTS HD-MA was superb. Plant's vocal was slightly lower in the mix. Page's guitar work is rendered with either the notes bent along with the sustain. The BIG difference from the movie house airing was the weight of the rhytmn section. It had the wallop that was sadly absent then from Jones' rollicking bass runs to Bonham's pounding kick drum. Placement was Page on the right...Jones on the left unless all the members were all in the frame. Oh...and gone was that abrupt audio jump between Kashmir and the first encore being Whole Lotta Love. The audience applause is not as prominent as other concert discs I've watched but it is still immersive.

Other bits...the boys seem to lose the basic framework during Plant's harmonica solo in Nobody's Fault But Mine. Page sounded out of sync with Jones and Bonham during The Song Remains The Same. Be as it may, the smiles, the nods, the winks and eye contact on stage is all there. Vivid colors, full bodied sonics...it makes for a fine release overall.
 

gcczep

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Jimmy Page Digs Up 'Substantial' Rarities for New Led Zeppelin Remasters

Alternate Take - David Fricke [Rolling Stone]



"It will be coming out, bit by bit," Jimmy Page says with a tantalizing lilt in his voice. The Led Zeppelin guitarist is referring to his current labors in the band's archive, preparing new deluxe editions of each of Zeppelin's studio albums, from 1969's Led Zeppelin to 1979's In Through the Out Door, plus the 1982 post-breakup collection, Coda. Page says the reissues will include "added sonic and visual thrills," and he expects to begin issuing the first albums in the series sometime next year.

Details of the project emerged during Page's interview for the new issue of Rolling Stone – his longest and most extensive conversation with the magazine, coinciding with the release of Celebration Day, the new film and album of Led Zeppelin's 2007 reunion concert at London 02's arena. I had asked Page about the reissues in a phone interview three days before our first session in London, but he preferred to wait and discuss them in person – which he did, as soon as we sat down in a lounge in his management's office in London.

"The catalog was last remastered 20 years ago," Page said, referring to the 1990 release of the four-CD box set, Led Zeppelin. "That's a long time. Everything is being transferred from analog to a higher-resolution digital format. That's one of the problems with the Zeppelin stuff. It sounds ridiculous on MP3. You can't hear what's there properly."

Whole Lotta Extras
Based on the unreleased studio tracks that have circulated on bootlegs since Led Zeppelin split in 1980, following the death of drummer John Bonham, the group did not record a lot of additional songs for each LP. "But there was an overage of material – different versions of things, different approaches to the mixes," Page explained. He mentioned experiments with equipment and sound on early alternative takes at Headley Grange, the English manor where Zeppelin recorded some of their most iconic work, particularly their 1971 untitled fourth album.

"The classic there was 'When the Levee Breaks,'" Page said, "where the drums were set up in the hallway. You know what it sounded like – immense – from the recorded version. But we used the drums in the hall for a number of things, like 'Kashmir' [on 1975's Physical Graffiti] – some with closer miking. So there were a lot of different approaches. It will be fascinating for people to witness the work in progress."

Page is also looking at relevant live recordings and film to accompany the reissues. "There are concerts that were recorded – some that might have appeared on bootleg in some shape or form – and a certain amount of footage, though not a lot," he said. "I started doing this with [2003's] Led Zeppelin DVD and [the 2003 three-CD set] How the West Was Won, which was a superb live performance." Page believes BBC Sessions, a 1997 release of Zeppelin's recordings for British radio, "didn't have that open horizon" of the group's best concerts, "where you're just going and going, right over that horizon.

"But all of it is good," Page said of the music his band left behind, on record and in the vaults. "It has its own character and validity."

Your Time Is Gonna Come
Pressed on a release date for the initial reissues, Page warned that "you've got to get to the point where all of the members of the group are in agreement," referring to singer Robert Plant and bassist John Paul Jones. "I would hope it is sooner rather than later. But it will be in the course of next year and going on for awhile.

"And I'm not just throwing on any old flotsam and jetsam," he insisted, referring to the bonus material. "This will be really substantial stuff."
 

aerozep3207

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Just got my copy of Celebration Day audio & blue ray video. I can't wait to check it all out. I'll give my review of it all tomorrow. It's Christmas in November.
 

gcczep

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Courtesy of Guitar Player:

Matt Blackett: Movie Review—Led Zeppelin Celebration Day

I caught the new Led Zeppelin concert film, Celebration Day, on the big screen last night. For those of you who don’t have time to read the whole review, here’s the upshot: It rules. Shot at London’s 02 arena at the late-2007 tribute show for Atlantic Records founder Ahmet Ertegun, the film features Page, Plant, and JPJ along with Jason Bonham on drums tearing through a 2-hour plus set. The theater screen was huge and the sound, after about three tunes, was loud and clear. Although the crowd wasn’t huge, it was very enthusiastic, with people clapping and screaming after every tune—very cool. Here’s what all the excitement was about.

They opened with “Good Times Bad Times” and sounded great—heavy and grooving hard. Jimmy Page had a curiously effected tone, with lots of chorus/flange on it. It was a little odd but an undeniably huge sound. They followed with “Ramble On” and it was really cool to see how Page picks and chooses from the various layers that are on the original. This one could have used a little more low end on the overall mix, because John Paul Jones bass line is one of the all-time greats.

Most of the tunes weren’t surprising. Of course they’ve gotta play “Stairway,” “Rock and Roll,” “Whole Lotta Love,” and “Black Dog.” They did, and they killed them all, with each guy sounding (and looking) great. There were, however, a couple of curveballs in the set. The band played, for the very first time ever, “For Your Life,” off Presence. That’s just an awesome tune and they did a brilliant job on it. Page rocked a Bigsby-equipped Black Beauty in order to cop the song’s crazy whammy work. I had always thought—erroneously, apparently—that the studio version was Page’s blue Strat. Seeing this performance, though, I’m thinking it had to be the Bigsby-fied Les Paul, because the tone was absolutely perfect. Another surprise was “Nobody’s Fault But Mine,” which sounded amazing.

So, was there anything that wasn’t amazing? Well...kind of. Pagey’s ES-350 went wildly out of tune about midway through “In My Time of Dying,” and that got a little painful. Some of the noisier aspects of tunes like “Dazed and Confused” went on way too long. JP’s incessant gum chomping was also very distracting. Did he get a Big Red endorsement or something? To see the high priest of classic rock chewing his cud like a four-stomached ruminant through the soundtrack to my adolescence mauled the buzz that I will neither confirm nor deny catching prior to the show. And, even though his whole pedalboard was way too modern-looking and anachronistic, almost all the tones that it produced (into a righteous rig of two plexis, four Oranges, and two Petersberg JP-100s) sounded big, huge, and Zeppelin-y (the aforementioned chorus notwithstanding). The thing that bugged me about his pedalboard was the presence of two freaking Whammy pedals. Those sounded out of place and just plain wrong. But even when he was playing a screechy, octave-up line through the Whammy pedal, he’s still unstoppably cool and funky. He’s still Jimmy Page. He can still do whatever the hell he wants.

Alright, ready for the coolest moments? I loved seeing Jimmy play his TransPerformance Les Paul on “Whole Lotta Love,” hitting the buttons to change tunings in real time. “Misty Mountain Hop” was damn near perfect, with Jason Bonham on killer backup vocals. (And speaking of Jason Bonham, I’ve gotta say that he laid it down the whole show, displaying impressive chops and good listening skills, nailing a bunch of accents with Page and Jones that really tied the tunes together. The main difference for me between Jason and his old man is I don’t get the same sense of danger from the younger Bonham. I just enjoy Zeppelin tunes more when I feel like the drummer could start a fight, commit a crime, or just explode at any moment. But that’s just me. JB played a great gig.) Although it’s never been one of my favorites, “Trampled Under Foot” was incredible. But the coolest tune of the night, and that would place it high in the running for the coolest tune of all time, had to be “Kashmir.” It’s hard to imagine a song being heavier, tighter, groovier, or more powerful than this. And, on a night packed with great tones, this was Page’s best tone. It would be impossible to top, and they didn’t top it with the encores, “Whole Lotta Love” and Rock and Roll,” but those songs still kicked major ass.

The fact is, this performance is an amazing feat no matter how you slice it. Simply mind-boggling from a bunch of guys that have been doing it since the ’60s. We can all learn from this movie. Bravo.
 

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