做个测试，看妳是不是腐女。
看下面连接的文章，如果妳看的很爽的话，那妳就是腐女了。
http://www.wretch.cc/blog/rockgnr/11289994
第三场CD1
http://www.megaupload.com/?d=5BXQQ0Q7
如果妳看的很爽的话,那妳就是腐女了
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完了.人家作者写的含情脉脉,我怎么是边看边乐啊,成喜剧了.
估计这类腐女,同人都是有闲又有钱的.俺们这类在经济衰退通货膨胀夹缝里的,哪有这逸志啊.那位板主好象很喜欢Jimmy.写的东西也算下工夫,收集了不少ZEP的资料.很用心思.还能做梦梦到老甘.比我这平均线蜡烛图的浪漫多了.
不过话说回来,很多东西远观美过近瞧.毕竟没有真正接触过(虽然很多接触过的人都是赞不绝口).单纯欣赏音乐更轻松些.研究乐队历史也是更有助于理解音乐.其他就是八卦了.
Bo Diddley也去了，诶，老人们大概只剩Chuck Berry,little Richard,B B King,Jerry Lee Lewis,Fats Domino几个了。
呵呵
Bo Diddley也去了，诶
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是啊,人越来越少,嗯,Les paul还活着,猫王的吉他手还在.还都有演出.
就是六十多岁这群嘻皮,也慢慢的一个个离开了.所以看前天JPJ和JP跟FOO一起那么开心.大家也都为他们高兴.
象Jimmy这么念旧的家伙,yardbirds时期的衣服都舍不得扔.现在也开始卖他的艺术收藏.大房子也卖了,转到慈善基金.这就是准备后事呢.他好象还在做的一件事是Led zeppelin的历史图集.
沙漏越来越空.哪还有时间浪费,Robert太任性了.
Page/plant Japan
第三场CD2
http://www.megaupload.com/?d=VSTR8CE3
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男孩乐队很难幸免.ZEP的两个frontman对比强烈,更容易引爆幻想.他们的音乐也是很多"性"元素.人家披头发的哥四个也就"握握小手",这边上来就是"every inch of my love".很黄很暴力的说.
俺很差劲地又去瞄了一眼.作者肯定是很喜欢ZEP,也很爱他们,写的很唯美,比那些三级的强多了.唯一的问题就是把Robert个性写的很强势主动,Jimmy很柔弱被动.有点倒吃麻花了.看来都被Dark lord的细声细语,可爱微笑给欺骗啦.他才是男人中的男人呢.即便是ML,也要比大块头的Robert狂暴地多.
http://uk.youtube.com/watch?v=4g0f3r9JG9c
http://uk.youtube.com/watch?v=gLua-CgzlEQ(那句'It's so sleazy I could live in there',估计记者以为他开玩笑呢,连Paul都一副'哥们,你就胡掰吧'的表情.)
http://uk.youtube.com/watch?v=bYkb5bvmzpw
http://uk.youtube.com/watch?v=RJiD2jlZBu0
http://uk.youtube.com/watch?v=li9b828JzEI
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这倒是挺像当年Suede那俩，原来老以为一脸俊秀的Bernard是个优雅的好脾气，后来才知道他脾气比Brett坏多了，当年离开Suede多半也是也他自己闹腾
-------------------------------------------------------------
哈，原来舞台表现看得出的，jimmy眼神最诱惑。dazed and confused也是jimmy在调教robert，确实
其实最早巡回时候(69,70),Robert是被groupies们追着跑的主,东躲西藏地.JPJ和bonzo只顾看热闹,这俩是妻管严,还怕引火烧身呢.后来Robert可主动多了.Jimmy 反而比他收敛,也就是固定的那几个groupies.都把时间花在淘宝上了.
some women of Zeppelin
http://uk.youtube.com/watch?v=70w27wlYPFU
http://uk.youtube.com/watch?v=Tq5NIUdJ7Tw
以后再碰到吵来吵去摇呀滚地,就让他看这四分钟摇滚定义.
Date: 16. October 1999
Venue: The Worcester Centrum, Worcester, Ma., USA
Recording: Very good audience recording
CD Title: Stone The Crowes
192bps
CD1:
Celebration, Day
Custard Pie
Sick Again
No Speak No Slave
What is & what should never be
Hard to Handle
Mellow down easy
Ten Years Gone
In My Time of Dying
Your Time Is Gonna Come
Remedy
CD2
The Lemon Song
Shake Your Money Maker
Shapes Of Things
Nobody's Fault but mine
Heartbreaker
Hey Hey what can I do
Whole Lotta Love
--Encores with Joe Perry--
You shook me
Oh Well
http://www.megaupload.com/?d=GB6ENZY4
http://www.youtube.com/watch?v=u7kZiahqg5o&feature=related
--------------
其实这事就跟他们的road manager Cole有关(这家伙很恶霸的说).还有同住的另一个乐队,还排了小电影.除了Bonham,其他人都不在场.
Cole也算是ZEP的工作人员,传来传去就成LED ZEPPELIN的事迹了.
他们真正的恶作剧,是把钓到的鱼,藏到更衣柜里,让打扫卫生的阿姨吓一大跳,就是个初中生水平的恶搞.可没红鲷鱼刺激.
1969
1970
1979
1968
1971
1976
1979
1977
1969
1969
1972?
1977
打一段1972年吉米 佩奇的访问
访问很长，在犹豫要不要整篇打上来
Before your were doing session work, you began your professional musical career with Neil Christian and
The Crusaders, didn't you?
JP:Yes , I was with them when Ileft scjool, but all the traveling to one night gigs made me ill- I used to get sick in the van. When it came to the point when I wasn't going to go on with Neil Christian any more, I was apporached by Cyril Davies, who was performing a group, and I went as far as rehearsing with them before I came to the decision that there was no point the same situaion of feeling sick during all the traveling, so I packed it in and went off to art school for about 18 months.
Then, when I Left there , I began to do sessions bit by bit, and the work just began to escalate; at first, it was a nice scene, because there were good things to be done around the advent of the Beatles and Stones booms, and I worked as a freelance. Because I was a new face on the scene, I got booking all over the place.
Legend has it that you got into sessions after you were spotted playing at the Marquee.
JP: Yes , it was something like that. I used to go up there and nplay in the interval spot with there other guys. We didn't really each other outside the Marquee.; we just to meet there, and get up and play.
死掉了，才几段就要了我的命
sound，你是怎么可以经常打那么长的文章上来？
JP:Nor really. You'd get the sort of situation where, say, a violonist session-fixer, who didn't really konw many other session muscians, would hear that there was a new guitar player around, and he'd book me for what turned out to be a ludicrous session-like muzak for supermarker or something like that, Sometimes, I'd be asked to do a session and the fixer would say"so-and-so waants you to do it" and I knew I'd be OK, that it'd be situaion sort of job, but often I'd arrive without knowing what it was for, and as I got a little more ecoerienced, thouse were the sort of things to avoid.....I mean, they were just a headache, things I shouldn't have neen doing.
还说我发言太长了
Led Zeppelin - Whole Lotta Love - on harmonica
录音棚时期的故事挺好玩的.他的性格还是很好.只要不过底线,什么够好商量.帮过很多人.
昨天的MOJO最佳现场给了O2.这身,哎呀...跟FOO那晚一模一样.
详细名单:http://www.mojo4music.com/blog/
The MOJO Breakthrough Act - The Last Shadow Puppets
The MOJO Song Of The Year - Duffy (Mercy)
The MOJO Roots Award - Toots Hibbert
The MOJO Les Paul Award - John Martyn
The MOJO Vision Award - Joe Strummer: The Future Is Unwritten (Julien Temple)
The MOJO Catalogue Release Of The Year - Pillows And Prayers: Cherry Red Records 1981-1984
The MOJO Medal - Dave Robinson
The MOJO Compilation Of The Year - Juno OST
The MOJO Legend Award - Irma Thomas
The MOJO Classic Album Award - My Bloody Valentine (Loveless)
The MOJO Maverick - The Fall
The MOJO Hall Of Fame - The Specials
The MOJO Hero Award - Motörhead
The MOJO Inspiration Award - John Fogerty
he MOJO Best Live Act - Led Zeppelin
The MOJO Outstanding Contribution To Music - Paul Weller
The MOJO Lifetime Achievement Award - Genesis
The MOJO Classic Songwriter - Neil Diamond
The MOJO Icon Award - Sex Pistols
http://www.youtube.com/watch?v=UpPYsmrfGb0
最后一点点镜头.
http://www.youtube.com/watch?v=BCgbRS2LrHY
这家伙太搞了.哈哈
还是1971最野性啊，呵呵，觉得那时的现场最厉害
JP:I was thinking anout those the other day, and I was wondering why Shel Talmy got so involved with the session men he used to use, because quite often, they just weren't neccessary at all. For instance, I wasn't really needed on the Who's I Can't Explain session, but I was there, and all managed to do was sneak in a couple of phrase on the B-side. Maybe Talmy used to have people like me standing by in case the group couldn't quite make it on same level. I mean, The Kinks didn't really want me around when they were recording.
One aspect of being in the studio while potential hits were being made was the press; too many people were making a fuss about the use of session men. I wasn't saying anything, obviously, but it just leaked out, and that sort of thing often led to considerable bad feeling.
Suffice it to say that, during the period of 1964-1967, I was in there grovelling around on a lot of sessions, but if I went into details, it would be a bit of a nuisance for the people concerned.
JP:That's fair enough. I didn't really do that much on the Kink's record. I know I managed to get a couple of riffs in on their album, but I can't really remember. I know that he didn't really approve of my presence.
JP:I chose that Les Paul Custom purely because it had three pick-ups and such a good range of sounds - it seemed to be the best all-rounder at the time. The Stratocaster is probably the best all-rounder now, but at that time it was the Les Paul. But Eric(Clapton) must take the credit fir establishing the "Les Paul Sound", the sort of playing he was doing in the Buluesbreaker, for instance. You see, even though I may have been one of the first to have a Les Paul, I didn't often get the chance to get going on it.
On the odd occasion, I was able to put a bit of feedback onto record or other, but it was only after all the musicians
had gone home, because when I played like that, they just used to put their finger in their ears. The limitation were often really frustrating - a factor which eventually led to my leaving session work - because I rarely had a chance to roar into something. The sax players and violinist used to look at me as though I were some kind of joke.
JP:Not exactly. In most casse, they'd give you a part which was written down, and sometimes it was good, but usually you'd only play it as it was written if you wnated to be reallt nasty. Often, the part would be really bad, and you knew that you could d so much better if noly you had the chance - you know, things that flowed and sounded better, and had more life in them. It all depended how willing the mucial director was; if he accepted your suggestion, you obviously had a free hand, but if he wanted every part to be his invention, you had to follow his instruction
问一下rover的吉他手一问题：有没有吉他的音阶图，或者有什么方法可以记主fret上的音阶？
http://news.AAB.co.uk/2/hi/entertainment/7458549.stm
XFM电台也有一点文字版访问:
http://www.xfm.co.uk/artists/interviews/2008/exclusive-led-zeppelin-reunion-the-spirit-has-to-be-there
-----------------------
他全是自己扒的，VC上有一个世界著名乐队谱集的资源贴，LZ的前5张的总谱都有
JP:That's right - I've listen to them, and The Everly Brother had a good steel player(on things like Lucille and I'm Not Angry)called Jhonny Day. I asked the Everly Brother who that was, because everyone was saying it was Chet Atkins and I didn't think it was. But I was interested in any of those guitarist who were bending string, all earthier ones.
JP:I went to see Bert Jansch at Les Cousins, just as hi second LP was released(June 1965) and he was great, fantastic, he really was. If he wa noly still working as a solo player now....
What about Davy Graham? Bert and John looked on him as a teacher, and held him above them in stature.
JP:He wasn't for me; I always thought that Bert was one with the touch; he was always far more adventurous and complicated in his technique, although Davy Graham, let's be fair, was the innovator of those raga things and he was really goof at those. But you listen to things like Alice's Wonderland and Finchs from the first Jansch LP, they're so complex and full of weird timings, and Davy Graham never did anything like that. So, yes, Bert Jansch really impressed me very greatly. His first album particularly is just great from beginning to end.
I thought that you and Davy Graham were matey in those days, and were involved in a kind of parallel development of Indian and Moroccan tunings?
JP: No, I was friendly with Jon Mark, who in turn was a good friend of Davy Graham's, who I've never met.
JP: Davy Graham never had a sitar, but he must take credit for working out those guitar tunings he used on his raga pieces - they had a somewhat similar tuning to the sitar, though I don't know wether it was intentional or not. I know that he'd been to Morocco and played with musicians over there, but I don't know if he ever got actively interested in Indian music.
Jon Mark and I got involved in Indian music, and had I a sitar sent over from Idia before any other people in pop, ccertainly before George Harrison, for instance. I'd been to see Ravi Shankar, years before he became fashionable, because the audience was nearly all adults - there were only about two young people there.
JP: I never did, because I knew what would happen when someone eventually did, and I wasn't wrong. To use instrument which has been developed over thousand of years as a quick gimmick, well.....
You're right about the gimmick value. I remember Donovan saying he was going to retire for six months and learn the sitar, and I remember the way The Byrds paraded one at the press conference for Eight Miles High.
JP: Yes, but that was a great record. I personally wasn't too happy with the way George Harrison used it on Revolver, though everyone else seemed to think it was incredible as far as sitar playing went. It wasn't, but later on, when he did Within You, Without You, I think that's unsurpassed to this day. So, he really did good things for Estern music, and was the one who woke people up to it on mass-media level, but it was people like Davy Graham who were into it long before anyone else
JP: I admir that I used to record one or two people - like Cyril Davies and Little Walter and John Lee Hooker - but that was to listen to rather than copy. No, Albert Lee's in a class of his own - country guitar - and I was never into that style.
That singel you made on Fontana, She Just Satisfies - why just the one?
JP: I wasn't allowed to make a second one; but that single was a joke and should anyone hear it now and have a good laugh, the only justificaion I can offer is that I played all the instrumen myselfy, expect the drums(Mint copies of the single go for ￡600 in 2008. - Ed). The other side was instrumental, featuring harmonica, bcause I get all interested in that arouond that time.
JP: Oh no, that was just to listen to - to put in my personal archives, which have quite a lot of interesting stuff - Jhonny Kidd, Cliff Bennett, all sorts of people.
Can you tell us about that Blues Anthology which came out in Immediate (two double albums in December 1969, a repackage of earlier single-album releases), and which has just been released yet again in the States?
JP: That was really a tragedy forme. Igor involved with Immediate, producing various things, including John Mayall's
(I'm Your) Witchdoctor, Telephone Blues and a couple of others around late 1965. Eric and I got friendly, and he came down and we did some recording at home, and Immediate found out that I had tapes of it and said they belonged to them. I argued that they couldn't put them out, because they were just variations on blues structures, and in the end we dubbed some other instruments over some of them and they came out - with liner notes attributeed to me (on earlier copies) though I didn't have anything to do with writing them. I didn't get a penny out of it, anyway.
Led Zeppelin Acceptance Speech - MOJO Honours List 2008
http://www.youtube.com/watch?v=xM3xxurMOZo
Xfm Video: Led Zeppelin at The Mojo Honours List 2008
http://www.youtube.com/watch?v=9ZOBKYIELoo
Led Zeppelin Acceptance Speech - MOJO Honours List 2008
Xfm Video: Led Zeppelin at The Mojo Honours List 2008
XFM的记者那个问题,DARK LORD还算客气,看着手指是变形了,还是年纪大了,很难恢复,我奶奶以前就是这样,做饭不小心伤了,再也长不好了.
新的MOJO后台:
Led Zeppelin - Backstage Interview - MOJO Honours List 2008
http://www.youtube.com/watch?v=F062VBK7Zy0
FOO那场,就觉得梳个小辩子,还真是用卡子捌到后边了.
要不有摄影师批评美国的杂志封面都是谎话,滚石肯定是处理过了,弄的某一帮人还乱猜是不是注射那类东西.
01. No Quarter 4:57
02. Shine It All Around 5:07
03. Black Dog 5:29
04. Freedom Fries 5:15
05. Down to the Sea 5:01
06. That's the Way 6:39
07. Hey Joe 7:07
08. Four Sticks 5:25
09. Takamba 5:18
10. Tin Pan Valley 6:31
11. Gallows Pole 7:31
12. Babe I'm Gonna Leave You 7:38
13. Encore break/band intros 3:42
14. The Enchanter 7:56
15. Blues intro/You Need Love > 2:05
16. Whole Lotta Love 9:07
http://www.megaupload.com/?d=3IPF09NO
JP: Stu from the Stones(roadie) was on paino, Mick Jaggar did some harp, Bill Wyman Played bass and Charlie was on drums.
There are also tracks on there by The All Stars,featuring you and Beck and Nicky Hopkin, all credited as your composition.
JP: Yes - they were tapes Immediate had in their possession from a long time before. It was, in fact, the Cyril Davis All Stars without their guitarist, and they were just tracks we'd done for fun after the real seeion was over. It was just a case of Immediate hustling together whatever they could to fill out the albums, and I'm really embarassed about the whole thing, because everyone thought I'd instigated it, and I hadn't at all. At it was, nobody got paid for any of it.
You joined The Yardbirds on bass, replacing Paul Samwell -Smith in July 1966 - can you tell us how that came about?
JP: Yes, Paul Samwell-Smith said " I'm leaving." It was a great night, because it was at one og those silly ball things - either Oxford or Cambridge, I can't remember which - but everyone was dressed up in dinner jackets, and Keith Relf
( The Yardbirds singer) got totally drunk and was rolling round the stage, grappling with the mic, blowing his harmonica in all wrong places and just singing nonsense words .... but it was great, just fantastically suitable for the occassion.(原来这人很早以前就是疯子一个）But Samwell-Smith adherence to strictly rehearsed neatness, and it was more than he could take. It was the last show, he'd just had enough and decided to quit.
JP: Yes, I used to go to all the gigs with them because I was really into what they were doing. So he jacked it in, and told the others that they'd do the same if they had any sense, but they had two gigs following closely and felt they had to do them, and it was a case of me helping them out of a spot. I offered to play bass, though I'd never played one in my life before. I knew their act and why they were doing and learned enough to get through, and then they suggested that I stay on. So I did.
We know that you turned down an offer to join The Yardbirds in January '65, when Clapton left, but you were also rumoured to be joining as an extra lead guitar earlier in '66.
JP: Jeff often used to say "I wish you could join, and we could playt together." I argee that it wiuld be good, but I never took it seriusly because there was this thing about five Yardbirds, and to bring in a sixth would have destoryed that. So my joing was never a real consideration until Samwell-Smith left and I took over bass. The idea was that Chris Dreja, who wa the rhythm guitarist, should learn bass and when he became proficient enough, we'd switch roles and The Yardbirds would then have two lead guitarist. That eventually manifested itself on The Stones' Ike ＆ Tina Turner Tour (which opened on 23 September 1966). A lot of people think I never played lead alongside Jeff, but in fact we played together for several months.
JP: Yes... but wait a minute, I think the switch was necessiated earlier than planned because of one of Jeff's collapse. We had to play this gig in San Francisco, at The Carousel I believe, and Jeff couldn't make it, so I took over lead that night and Chris played bass. It was really nerve-wracking because this was at the height of The Yardbirds reputation and I wasn't ecactly ready to roar off on lead guitar, but it went off alright and after that, we stayed that way - so when Jeff recovered,it was two lead guitar from that point on.
I read somewhere that you and Beck practised Freddie King solos note for note so that you could play in unison on certain numbers.
JP: It wasn't just Freddie King, we rehearsed hard on all sorts of things, especially inroduction riffs to things like Over Under Sideways Down, which we were doing in harmonies and we had section worked out where we'd play rehearsed pharses together. It was the sort of things that people like Wishbone Ash and Quiver have prefered, that dual lead guitar idea, of course, that was all very well in theory and at rehearsal, but no stage, Beck would often go off into something else.
JP: No, it was never a case of trying to blow each other off, because I was trying to get it working, so you had this stereo effect on the guitars. There was no point in doing battle, that would've just led to a useless sound.
When you left session work to play live, did you have to pay special attention to the visual aspects, like learing to leap around instead of just standing still and playing?
(奇怪的问题）
JP: To tell the truth. I didn't even think about it. When I'd been in Neil Christian ＆ The Crusader, I'd had to do things like arc over backwards(拱桥？） until my head touched the stage - you know, those silly things that groups used to do - but The Yardbirds were never into choreogrraphy or anything like that.... it was just a case of acting naturally, I suppose.
我吾是讲故老，所以果句吾适合我
不知道jimmy和jeff双吉他的boot搞不搞得到
JP: I think that's right. I played bass on Psycho Daisies, and there's a bit of a story attached to Happenings..... We were in the studio waiting for Beck turn up, and Relf had this little bit recorded on a tape recorder, the sort of riff pattern for the song. Well, I worked on the riff and the structure of it, and we'd got it all ready by the time Beck eventually showed up. He just pu some guitar on top of it and that was it, but I think it turned out well. There's also a double lead on Stroll On( presumably the one recorded on the Blow Up soundtrack, though Page was on bass in the film, as I recall）. 这个I不是我啊
After Beckwa kicked out at the of '66 you carried on for about a year and a half, but only released four more singles and that terrible album Little Games (Released 8/67 in US, but never put out here). When you consider how immeasurably better the firt Zeppelin album, a year later, was in term of sound, performance, thought, arrangement and so on, it makes you wonder how Little Games could've been so skimpy and tatty.
JP: Well, on half the tracks we didn't even hear the playback, they were first takes. That's how it used to be done; we would spend time on singles, but Mickie Most(the producer or Micky Mose?) thought that LPs were nothing - just something to stick out after a single.（从此导致鸡米讨厌出单曲）
JP: No, it was us alright, but both of those tracks were a bit of a con-job. It happened like this: Mickie Most would say "Why don't we try to do Ha Ha Said The Clown(which had been a hit for Manfred Mann) but in a Yardbird style?" and we'd say "don't be silly". But he'd say "Come on, let's try it - it 'd be an interesting experiment if it doesn't work, we'll scrap it". Of course, no sooner was it record than out it went, despite the fact that it was terrible, and then to cap it all, we fell for exactly the same lie on Nilsson's Ten Little Indians, but at least we managed to get one interesting effect on that one. The was the sort of thing that led to lack of confindence within the group and its eventual split.
JP: If you've heard that, you'll know why it was stopped. Those sort of thing s are always happening in the record business. What happened was, Epic said to usa(in late '66) "Can we do a live LP?", and they sent down the head of their light music department to do it. The agreement was that if if was good, they'd release it, but if not, they'd just file it away. Of course, it was terrible; the bloke had done things like hang just one mic over the drums so none of the bass drum came out, and he'd miked up a monitor cabinet on my guitar instead of the real one, through which I played all the fuzz and sustain notes, so all that was lost. We knew it was just a joke when he did it. He assured us it would be alright; "It's amazing what can be done electronically," he said, and then when we wemt to listen the master tape, there were all the bullfight cheers dubbed on it every time there was a solo, and it was just awful, so they had shelve it. They must've dragged it out of the vaults a few years later when someone realised they had some unreleased Jimmy Page stuff, and out it came. It was just too ridiculous, but it circulated and sold a few copies before we put the injuction on it.
JP: Yes, over the months before the break, Relf, particularly,and McCarty had been talking about starting up a new scene. To counteract the sort of stuff I was listening to, they were into very light things like Simom ＆ Garfunkel, The Turtles and people Like that, and they wrote some songs in that vein, which they wanted to go off and record. I was in favor of us keeping the group together and tried to persuade them to stay and record their songs as The Yardbirds, because I knew we had the potential to pull it off. But they just wouldn't have have any of it. Keith was really the instigator, I think, and he said this very weird and interesting thing that I'll always remember: "The magic left for me when Eric left". Now, I've always thought that The Yardbirds' best stuff came from the Beck era, when they did all that incredible experimental stuff - but anyway, they decided to go.
JP: Well, I didn't want the group to break up, and I thought there was a chance that if we made it clear we were going to carry on, maybe Keith and Jim would change their minds and come back, but they went off and made their own record, produced by Paul Samwell-Smith. I can't recall their name at the mometn. (I think it may have been Together, who made a single on Clumbia late '68)
The New Yardbirds was have been you, Dreja, Terry Reid and a drummer called Paul Francis. Is that right/
JP: Almost, but I can't remember anything about Paul Francis. He must've been someone who Chris had in mind. Yes, it was goning to be Terry Reid, because I'd seen what a good singer he was when we toured with him (on that Stones/ Ike ＆ Tina tour); he was in Peter Jay ＆ The New Jay Walkers then, but by the time I got to him, he'd just been signed to a solo deal with Mickie Most, and he'd got a trio together but he recommedned this bloke called Robert Plant.
The drummer I had in mind was BJ Wilson (from Procol Harum) but I don't think we ever actually approached him, because when I went up to see Robert, who I immediately knew was the one for the job, he suggested I go and check out his friend John Bonham. When I saw what a trasher Bonzo was, I knew he'd be incredible. He was exactly the same sort of stuff as I was.
JP: Yes. He got wind that I was forming new group and phoned to see if it was true. Then he asked if he could join and I said "Great - you're in." Chris had always been interested in photography, he'd taken some really good pictues, and it always been a toss-up whether he'd leave The Yardbirds to do photography full time. I think he fot a chance to go to New York to work with Irving Penn, and that's what he did, went through an apprenticesship thing. He's back here now, I think, doing quite well. (He took the back cover shot on the first Zeppelin album.)
Plant and Bonham had been in the Band Of Joy, but John Paul Jones had been a session musician, doing a lot of stuff for Mickie Most (arranging Donovan tracks for instance). Is that how you knew him?
JP: Yes, I knew him through sessions. He even did that cello arrangement on Little Games.
So you went out as The New Yardbirds and did a tour of Scandinavia.
JP: Yes, but we dropped that name because we felt it was working under false pretence.
JP: Yes. Giorgio Gomelsky (the original Yardbirds manager) wanted us to do it; he was going to make a film and a record of the performance and, for my part, I said I'd do it if it was done chronologivally; a set with Eric on lead, a set with Jeff, then a set with Jeff and me, and fianlly a set with me, because it obviously wouldn't work with all with us on stage at once. I don't know why it never happened. All I can assume is that somebody wouldn't agree to it. I don't know.
Can you recall how you auditioned Robert Plant (who had been suggested as a possible singer).
JP: I went up to see him sing; he was in a group called Obstweedle or Hobbstweedle, something like that, who were playing at a teacher's training college outside of Birmingham to an audience of about 12 people... you know, a typical student set-up, where drinking is prime consideration and the group is only of secondary importance. He was airtight though, singing really well, though it was stuff that I didn't like all that much. Everybody will probably crucify me for this, but he was a Moby Grape fanantic and they were doing Coast stuff, which, as I say, I was never really keen on, because I'd seen all these group when I was touring with The Yardbirds and, being a guiatr player, I was primarily interested in other guitarist. Some grabbed me while others didn't.
Anyway, Robert was fantastic and having heard him that night, and having listened to a demo he had given me(of songs he'd recorded with his previous group, Band Of Joy), I realised that without a doubt, his voice had an exceptional and very distinctive quality.
JP: What amazed me more than anything slse, especially after the first LP was finished, was that nothing singnificant had happened to him before, despite his having been through so many different systems of management and so many group. You'd have thought he'd have been noticed at least, especially when they tried to exploit the Birmingham group scene as the successor to the Liverpool thing, but no. Our first meeting, under those conditions, was obviously a bit odd, but I asked him if he wanted to come down and spend a few days talking thing over, listening to records, discussing sounds and ideas and what-not, and to see what he thought. So that's what happened, and it worked out very well.
By the time, the musical policy of the group had been determined and presumably, to begin with , he adaptedddd to that?
JP: Yes, he sippressed his personal tastes to agree, I suppose, but he like the stuff we were doing just as much. I don't really know how fanatical he was about the West Coast Group - you've have to ask him - but I do know he was very keen on Moby Grape and even more so on Buffalo Springfield.
JP: Keith Moon came up with Led Zeppelin sometime during our Yardbirds/The New Yardbirds spell, and that seemed to fit the bill. We'd been through all sort of names, like Mad Dog, for instance, but eventually it came down to the fact that the name was not really as important as whether or not the music was going to be accepted ... I mean, we could have called ourselves The Vegetables or The Potatoes. Though at the same time, you have to live with the name you choose.
When the group signed to Atlantic, did you have to buy your way out of your old Yardbirds contract with Epic?
JP: No, I'd never signed any contract with them.... they didn't want me at the time. Mind you, as soon as the deal with Atlantic was annouced, they started saying things like "Hey, you can't record him, he's signed to us," but when we asked them to prove it, all they came up with was red faces and shuffling embarrassment.
Let's get on to the albums. The first one was allegedly recorded in 30 hours. Can that be true and, if so, now?
JP: Yes, it noly took 30 recording hours, because we knew exactly what we were going to do before we went into the studio.
But you'd only been together as a unit for about two months - if that!
JP: That's right, we'd been together for three weeks or maybe five, but we'd done a tour of Scandinavia and we'd rehearsed all the numbers before embarking that, and they were already starting to stretch on stage, which was a sign that we were beginning to fell comfortable with vertain songs. I suppose it was the fact that we were confindent and prepareed which made things flow smoothly in the studio and, as it happened, we recorded them almost exactly as we'd been doing them live. Only Baba I'm Ganna Leave You was altered, as far as I can remember.
Set list:
Ten Years Gone (rehearsal)
You Shook Me (rehearsal)
Celebration Day
Custard Pie
Sick Again
No Speak No Slave
What Is And What Should Never Be
Hard To Handle
Woke Up This Morning
Ten Years Gone
In My Time Of Dying
Your Time Is Gonna Come
Remedy
The Lemon Song
Sloppy Drunk
Shapes Of Things
Nobody's Fault But Mine
Heartbreaker
Hey Hey What Can I do
You Shook Me
Out On The Tiles
Whole Lotta Love
http://rs205.rapidshare.com/files/56605145/JPBC10_19_99_Greek_Theaterp1.rar
http://rapidshare.com/files/56611289/JPBC10_19_99_Greek_Theaterp2.rar
http://rapidshare.com/files/56616979/JPBC10_19_99_Greek_Theaterp3.rar
http://rapidshare.com/files/56619085/JPBC10_19_99_Greek_Theaterp4.rar
PS: 更多MOJO照片:
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好象见过,质量不好还是怎么的,以后再找找.
时间很短,从66年六月加入,到十月JB离开.就是他们给滚石和Turner两口子做开场的那次巡回.估计是没有好的录音留存下来.
录音棚就是上面采访里说的那张单曲,A面是Happenings Ten Years Time Ago,双吉他,还有JPJ搀和,背面是一吉他一贝司Psycho Daisies,美国版本背面是The Nazz Are Blue(这个印象不深).Stroll On这首就是电影Blowup里的那个.
最主要的应该是Beck's Bolero这个作品.是他们私下搞的,跟yardbirds没关系,鼓是keith moon.加上JPJ,差点就组乐队了(LEd zeppelin的名字就是这时候小M发明的).现在JEFF还经常用在自己的音乐会上.它在摇滚音乐发展史上也是很重要的.
http://www.youtube.com/watch?v=AyP5L-iIkfM
Jimmy Page & Jaco Pastorius -[4.30.85] - Fannie Mae (Part 2)
http://www.youtube.com/watch?v=nabSXvAmZqI
Jimmy Page & Jaco Pastorius -[4.30.85] - Fannie Mae (Part 3)
http://www.youtube.com/watch?v=gfrEV1vUPYc
很稀罕的JAM,没想到有人录下来了.嘿,说不准是Jimmy自己的录音呢.Jaco是爵士贝司的高手.这是Firm时期,他自己的音乐会结束以后,去看Jaco的现场.好奇他用的是哪把吉他.
JP: It was a bit of each really; partly a case of "Let's get the job done and not mess about having party in there," and partly getting things as we wanted. It wasn't a first-take effort;we went on until we were happy with each number, but, like I said, we didn't have to worry about working on arrangements because we knew the stuff already..... and it came out very easily.
Compared with your previous album (Little Games by The Yardbirds), Led Zeppelin was immeasuably better, particularly the depth of soud and production. You produced that having had only limited experience. Was it a question of observation of other produers over a long period of time?
JP: Well. I'd done the Mayall single when I was a staff producer for Immediate, and that had given me a limited technical knowledge, but on that first Zeppelin album, we had Glyn Johns as engineer and he did a great job on the sound, which is the most important aspect of production really. The most annoying thing that can happen is going into the studio, playing well and sounding great, and then going into the control room to listen to the playback, only to find that recorded sound is flat and bears no relation to what was happening in the studio. Now, Glyn Johns is, and always has been, an ace engineer; things like sound don't hang him up because he's both confident and competent, and so we were able to tie things uo fairly quickly.
JP: I got it from the Joan Baez version, and I used to do it in the days of sitting in the darkness, playing my six-string behind Marianne Faithfull. I was told that it's a traditional song - I hope it is.
Why is How Many More Times, which inculdes The Hunter and all sorts of other bits and pieces, credited as being three minutes long when in fact it's over eight minutes?
JP: I don't know - maybe it's a misprint.
At a time when other groups were introducing and exploring varied themes, all the songs on that album (except Black Mountain Side) were sexual... was that a deliberate policy? Like, Robert attracts the chicks with his personality and the lyrics, and the blokes are attracted by your guitar virtuosity?
JP: You're making it sound as though the group was programmed into a certain format. It wasn't, of course. I mean, ever since the guitar became a vogue instrument, the male part of audience has tended to be fascinated by and involved with the guitar in the band. Like, the chicks used to go mad over Rick Nelson, but the blokes were watching James Burton. When you're forming a band, you don't sit back and think how certain aspects can be expolited. Apart from anyhing else, we didn't have time for such consideratons. Things just fell into palces and off we went.
JP: Sort of. We'd been working solidly right from the inception of the group, and we thought it was time to have a holiday, or at least some time off the road. So, Robert suggested going to this cottage that he'd been to with his folks when he was much younger.... he was going on about what a beautiful place it was. I was pretty keen to go too, because I'd never spent any time in Wales and I wanted to. So off we went. We took out guitars along, of course, but it wasn't a question of "Let's go and knock off a few song in the country," it was "Let's go and have a good time". A couple of our roadies came along too, and we spent the evenings around log fires, with pokers being plunged into cider and that sort of thing, and as the nights wore on, the guitars came out and numbers were written. So, though it wasn't planned as a working holiday, some songs did come out of it and were subsequently recorded on the third album.
There's some great stuff on that. I think Tangerine is my favourite.
JP: Well, funnily enough, that wasn't written at Bron-Y-Aur. I wrote that years earlier, after an old emotional uphwaval, and I just changed a few of the lyrics. I first tried recording that when I was in The Yardbirds.
JP: Not a wealth, but there is some... I don't know where. Tangerine was never actually finished, we just did the backing track for that, but we recorded My Baby, which Janis Joplin did. We did a good version of that, and we did quite a few riffy rock things which sounded alright. There is another track, Spanish Blood, which was Jim McCarty doing his Roger Moore immpersonation - like a story told over a Spanish guitar backing. That was really good actually, like one of those old story singles that used to get into the charts a few years back, but this was a romantic thing rather than the usual shoot-out Western theme. Most of these tracks were cut in the CBS studio in New York, but it was very near to the end of the grouop and they were never really completed.
Getting back to Zeppelin III, when did you unearth the triditional song Gallows Pole (which used to be a folk club standard around 1965, with everyone from Bert Jansch to Spider John Koerner doing ot)?
JP: That was on an old Folkways LP by Fred Gerlach,a 12-string player, who I think was the first white man to pick up on the instrument, having been influenced by Leadbelly. There are certainly heavy Leadbelly overtones on the record, and, as far as I know, the album wasn't well received. Gerlach goot despondent and retired to Venice in California, where he kept out of public eye. He must have kept playing though because he's just recorded a new LP on Takoma, which is very good. Anyway, I used his version as a basis, but the arrangement we used is totally fifferent, of course.
JP: That sprang from me. I suppose could say taht it was instructed, but under a strict cloak of secrecy. The story behind it is too long to go into, but it was intended as an esoteric little touch, and it was hoped that nobody would see it. Nobody didi except you, which just goes to show how unobservant most people are and how observant you are. One other person, to my knowledge, saw it, because Robert came up to me one day and said that someone had written to Atlantic about a strange inscription on the record. You see, I was the only one who in the group knew about it. (There's another Side Two... have a look)
Swiftly leaping onto the fourth, I think that album is important in a number of ways, principally for Robert Plant's writing, which seems to hit a peak.
JP: I think his first important lyric is on the second LP, you see. I never felt at all confident about my lyric and I was hoping he could do all that side of writing, which is what's happening now. Thank You is the song I'm thinking about. I think that was he starting point from which his writing of things like Stairway To Heaven developed; that and chorus of Whhat Is And What Should Never Be, which was the start of a serious lyric writer coming out.
JP: Yes,. Bonzo played that drum thing, just messing around while we were working on another song, and I joined in on a riff, and though it only lasted about quarter of a minute, we listened to the playback and heard the basis of a whole song, which we then got together, took about 15 minutes. Things like that often happen - in fact, there two or three spontaneously written things on the next album.... usually they're only riff numbers, but they're still loaded up with initial excitment and commucation.
Yet other songs are obviously developed in a very painstaking way - like Stairway To Heaven, say. How was that written? Lyrics firat, I would imagine from the metre.
JP: It was just the opposite,the music came first. I'd written it over a long period; the intro fell into place in Bron-Y-Aur, in the cattage, and other parts came together piece by piece. When we came to record it at Headly Grange, we were so inspired by how the could come out, with the building passages and all the possibilities, that Robert came out with the lyrics just like that. I'd say that he produced 40 per cent of the lyrics almost immediately. We all threw in ideas, like Bonzo not coming in until the song was under way - to creata a change of gear, so to speak - and the song and arrangement just came together. There was no uphill struggle on that one at all.
JP: Well, the third LP got a real hammering from the press, and I got really brought down by it because I thight it was good. I thought that Friends really had something, and that, track by track, it was a good LP. But the press didn't like it, and they were also going on about the enigma that had blown up around us. Now, we might have made it relatively quickly, but I don't think we became very dispirited. As a result, we left off for almost a year and when we came to make another album we felt not noly that it would make us or break us. So we purposely underplayed the group and gave no information whatsoever, which most people thought was certain professional suicide. But the LP came out and very well. Stairway to Heaven certainly hit a lot of people where they hadn't expected it and lots of reviews said things like "I haven't liked them up to now, but I'd like to revise my opinion," that sort of thing.
JP: Well, I begin to wonder. On our last American tour, this guy came up and got talking to me; he said he was from Rock, which is quite an eminent, and respected magazine in the States, isn't it? He asked me things like "Does Plant still gyrate about on stage?" and I said "Well,if it's a fast number, he doses move about, yes, but it depends what we're playing". This conversation went on at that sort of question he was asking, it became evident that he didn't really know what he was on about.
So I asked him exactly when he'd last seen the bnad. "Quite a while ago now," he mumbled, and when I questioned him a bit more it transpred that the only time he'd seen us was in Supershow, which was a film made a couple of months after we'd formed. It featured people like Roland Kirk and Steve Stills and Buddy Miles, and we were well down the list of artists, doing just two numbers at a time, I recall, when Robert had laryngitis - so it hardly did us justice - and that was all this bloke had seen.
So here was a respected critic, who had done review of our albums, and he didn't know the first thing about us. Didn't even know that we played acoustic numbers on stage. I'd been nice to him all the way along, but at that point I really let him have it.
JP: No, I just told him that I thought it was a cheek for him to do reviews of the band if he was basing him misconceptions on that film clip. But that's the sort of thing we used to get. The public was always 100% behind us, but we had few allies in the press.
So many big rock stars seem extremely vulnerable to press opinion, and yet most critic have lamentably little knowledge of their subject - but I've seen Hendrix's death, the break up of Cream amid all sorts of things attributed directly to the printed word.
JP: Yes, but the thing is, these reviewers are so authoritative. We know they might be twits, but the readers may well believe them because of the eloquent, authoritative way they write. It's so easy to criticise someone's music, but when you think how much thought and care and time it's taken, why not look for the good points at least?
I mean, if it's not your taste in music, then leave it well alone and let someone else do the reviews. For instance, when you ask me my opinion of certain groups, I'll tell you, but I don't want anybody to be influenced or jaded by what I say, because someone else may hold the exactly opposite view which is obviouly just valid.
JP: Well, I've been through all that and I have at times felt and been completely shattered by it all. It's not so much a question of retreating or hiding away, as being able to come over the top of it, which is not an easy thing to do. I suppose there a moment of realisation when the whole thing falls into perspevtive and you see everything as it really is. I got really despondent and shattered by all the bad press - not because we couldn't take criticism, because we can - but the proloned, deliberate snide press comments wore me down until I was becoming very unnerved, especially when I knew I was doing the best I could.
So, is press the only real pressure?
JP: Oh, no. You can develop a tremendous insecurity if your management isn't totally reliable. I know that money is a dirty word in this business, but the fact remains that if you have any measure of record success, you're going to have royalties coming in. Now, I'm sure you know of groups who have been working for years and years and end up with nothing because they've been screwed all the way down the line..... I mean, that sort of thing is heartbreaking. We're very lucky in that respect because we've got Peter Grant who is a fifth member of the group; he comes on every single gig we do, which is something very few managers would ever consider doing.
JP: Right. At the time it didn't seem as bad as it actually was, because being in a group you expected that sort of thing, but I couldn't do it now. It was on the Dick Clark Garavan Of Stars, and it consisted of living in a bus for a month, tracelling from town to town, gig to gig. It got to the point where there were so many people on the bus that you couldn't use toilet; you either had to wait 'til you got to the gig or else hope that the bus would stop at some convenient place along the way. We were sharing this bus with Sam The Sham & The Pharoahs, Gary Lewis & The Playboy, and all sort of people. It was so crowed that we often had to sleep on the luggage rack, depending on whether or not Gary Lewis and his crew travelled by plane, as they sometimes did. We'd get to the gig and pile out, and Brian Hyland, who opened the show, more or less went straight out of the bus onto stage. There was no time to change or wash or anything like that. And, if it was a double gig, playing two hall in the same city, the bus would do a sort of shuttle service. Like, we'd come off stage, get on the bus which had just returned from taking Brian Hyland and whizz off to the other gig. It's just ludicrous to remember how bad it was.
So you don't get exploited like that any more?
JP: I think when you boil it down, the real pressure comes when you're doing the best you can and people are just writing it off as crap. That really affected me at one point, and I know of other people who've probably been affected to a greater extent, but I came to the conclusion that it doesn't pay to be too sensitive
JP: I like Fairport convention; I just got that double album, even though I had most of the tracks already. That's a group I've always liked, especially Liege & Lief, which for me was the best LP of 1969. I love those songs with stories, you see, and that LP is full of them. That's one of the reasons I like Jack Orion by Bert Jansch - I still listen to his album all the time. I'm very found of the early Sun records (true enough; he'd just invested in a pile of Sun single that very morning).
I don't know, I listen to all sorts of things, like those BBC radio archives programmes that they sometimes have; I have always try to listen to those because they invariably have something of interest. They recently had a man who'd travelled through India with a tape recorder, and he'd recorded a bagpipe band, which fasinating. That kind of unschooled folk music always interests me. But I can listen to something like that and then out on a Warren Smith record straight afterwards.
JP: I must admit that their musci was very good, but I saw them a number of times and they always struck me as being the perfectly balanced/rehearsed griup - sort of like The Hollies, where whenever you saw them the harmonies and balance and performance would always be perfect. They were like that; very cut and dried, and samey every night. They were obviously very good, even though they didn't strike me on an eomtional level, like Spirit did, for instance.
I saw Spirit a couple of times and thought they were very good.... and Kaleidoscope; they're my favorite band of all time - my ideal band - absolutely brilliant. I saw them one time and they played all the numbers of Beacon From Mars, all that Moroccan stuff, changing instruments and having a whale of a time, they were . They had such good roots and such a grip on their music. That bloke Sol (Soloman Feldthouse) was a real traveller.... the sort of bloke you'd meet on the road out in the East somewhere, and you knew there was phoneyness in him because it showed in his music. One night I saw them playing the Avalon Ballroom, and he was doing a flamenco thing, which wwas so authentic - easily as good as you'd expecet from a top concert guitarist. Then this line of flamenco dancers suddenly emerga from the wings and danced across the stage.... just too much. It sounds a bit corny, just explaining it you like this, but it certainly wasn't, because the spirit and enthusiasm was so great.
JP: I thought NRBQ were good.They had a nice light-hearted attitude, but the music undernearth was very solid too. They had a countryish guitarist who was very tasty indeed, but he did a religious thing and left the group.
JP: They're not Icelandic - that was just a red-herring type rumour - and only the middle two are actually runes. What happened was that we all chose a symbol and the four together became the title of record. Robert's is his own desifn: the feather, a symbol on which all sort of philosophies have been based, and which has a very interesting heritage... Like, for instance, it represented courage to the Red India tribes. John Paul Jones' symbol, the second from left, came from a book about runes, and was said to represent a person who was both confident and competent because it was difficult to draw it accurately..... and John Bonham's came from the same book - he just picked that one out (the three circles).
My symbol was one which I designed myself, but a lot of people mistook it for a word, ; 'Zoso', and some people in the States still refer to the record as 'Zoso', which is a pity, because it wasn't supposed to be a word at all, but something entirely different, and with a different meaning altogether. Basically, the whole title thing was just another ruse to throw the media into chaos and we all had a good laugh when the record went into the charts and they had to reproduce the symbols instead of a conventional title. Atlantic supplies all the pappers with the approriate sized block, but they didn't like it at all, because it set a precedent. So that album set two precedents; firstly the title, and secondly, the sleeve bore no wording ar all - not even the number or the name of the printer.
我说是jimmy在上面签名的那把吉他是不是ES-335
滚石的那张照片有什么问题？
为什么会导致说他注射了什么？
没人回答米牛牛那两印是什么字？
等拍卖的时候就知道了.
那张照片太年轻了,你看杂志就明白了,不过好歹还比上次三个人的那张自然点.舞台上他还是很显老的.头发乱乱的跟疯狂科学家一样.很可爱.
Jaco Pastorius 为Joni Mitchell拌奏的一张经典,他们还有一个DVD的现场叫shadows and light,管子上有很多.上面那次JAM,Jimmy后来说当时特紧张.嘻嘻,平时都是他让别人紧张,能让他紧张的屈指可数啊.可惜Jaco 这人也是早逝.疯子加天才.
joni mitchell mingus 1979
1. Happy Birthday 1975 (Rap)
2. God Must Be A Boogie Man
3. Funeral (Rap)
4. Chair In The Sky, A
5. Wolf That Lives In Lindsey, The
6. I's A Muggin' (Rap)
7. Sweet Sucker Dance
8. Coin In The Pocket (Rap)
9. Dry Cleaner From Des Moines, The
10. Lucky (Rap)
11. Goodbye Pork Pie Hat
http://rapidshare.com/files/75704302/Joni_Mitchell_-1979_-_Mingus.rar
ps,总出现'找不到指定目录'的错误.
http://rapidshare.com/files/90955059/Jonh_Paul_Jones_-_The_Thunderthief.rar
听说这家伙现在在教天文学
话说回来，jimmy大学毕业没？
看来是给人拉去当荣誉什么什么的
Brian May有去教吗?哪不得暴棚,他们乐队知名度在英国要比ZEP高好多呢.
JPJ有段时间去大学教音乐.你看最近MOJO采访,很有老师派头.
他的PHD的书近日正要出版。
Jimmy的大学没有念完。他这是荣誉博士，以表彰他对音乐工业的发展做出的贡献。
他的PHD的书近日正要出版。
Jimmy的大学没有念完。他这是荣誉博士，以表彰他对音乐工业的发展做出的贡献。
第二个印是“你服不服”
-------------
一切都是未知数.希望吧.
Jimmy的大学没有念完
-------------------
他好象没上大学.考的分数倒挺高,跟十字军混的时候,乐队的头头还去家里跟他父母保证不影响学习,演出都是周末.但没去正规大学,身体不行了以后,就去艺术学校画画去了.
家里很反对他学画画,所以对他玩音乐特别支持.好多小孩买一张唱片都得攒零花钱好久,这位家里专门装修了一间录音室给他,唱片都是论堆的,还有很稀罕的录音机,JEFF去他家,俩人就是制造噪音,录下来鼓捣.混乐队赚的钱就更新设备.每次呼朋唤友在家里排练,妈妈总是做很多好吃的点心招待.最后把老爸老妈都锻炼成重金属爱好者了.
好象他妈妈还在世诶,有人看到O2的时候老太太也去了.
上周四去看Journey的音乐会.
Snakes and arrows live CD1,2
http://www.megaupload.com/?d=PGU6Y5VJ
http://www.megaupload.com/?d=XU837HF0
老乐队里,这一只我感觉还是保持了创造力和高水准,不亏为技术派的代表,生命力强啊.
有人说这是上世纪前半叶最有影响力的一场音乐会.1938,1939.黑人音乐进入主流社会,R&B,Rock & Roll都是从这儿来的.
http://www.megaupload.com/?d=WKZZFFCS
http://www.megaupload.com/?d=6RDG1NBS
http://www.megaupload.com/?d=5OR19PRS
关于他小时候的志向，他14岁那年上电视节目的时候，主持人有问他，他说的是想进行生物和化学方面的研究并且找到癌症的治疗方法，但是他又说“我没有足够的头脑去成为一个博士”（or医生？都是doctor我没法确定他是哪个意思）。
well, you got one now, Jimmy :p
虽然有点晚了,但看到他的贡献被世人承认还是挺高兴.他不是那种家喻户晓的人物,虽然是有意为之(说实在地,做明星,Dark lord还是挺有本钱的,带着绝色老婆上上封面,出出镜头,跟媒体配合配合,再来点豪言壮语,指点江山,加些八卦小道,抄抄蜚闻,也不是不行),但名气与成就太不成比例了.
另外，the journey的演唱会是在上上个星期四，如果我没记错的话，6月17号的伦敦Hammersmith Apollo剧场。
Journey的新唱片制作人是帮Jimmy干活的工程师Kevin Shirley.照片是他的.
官方DVD,还有黑鸦,P/P都是他做助手.他最近透露说在忙一个神秘DVD,估计很有可能是O2.嘿嘿...
念书这得看个人兴趣,学位跟学问是两件事.Brian同志的确是位知识分子.这个看过没:
http://www.youtube.com/watch?v=7_NWq6L4j9I
这个活动见过照片，倒没看过视频。
他们俩85还是86的时候也在Hammersmith jam过，寻遍网络不见录音……绝望了。
我常说皇后家是高材生乐队，虽然Roger没念完XD，因为讨厌解剖所以逃离医学系的家伙……
Brian和John都是学以致用的能人，吉他啊音箱啊N多东西自己搞定。
关于John的鼓们
Pre Led Zeppelin Kit (?-'68), Ludwig Super Classic Green Sparkle
* Bass Drum 22"x14"
* Floor Tom 16"x16"
* Rack Tom 13"x9"
* Supraphonic Snare 14"x5"
Led Zeppelin Kit ('68/Tour U.S.A), Ludwig Black Diamond Pearl
* Bass Drum 24"x14"
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* Rack Tom 13"x9"
* Snare 20's/30's COB Tube Lug
Ludwig Representation kit, Ludwig Thermo Gloss Natural Maple (1969-'70)[7]
* 2 Bass Drums 26"x14" (Although one was removed as the band thought he was drowning them out!)
* Tom 14"x12" (Mounted on a snare stand, and then later a Rogers Swivomatic Mount was added.)
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* 14"x6.5" Chrome Supraphonic 402 Series Snare
* Twin Congas Ludwig 12"
* Cowbell Ludwig Gold Tone
Studio and live Kit ('70 - '73) (Led Zeppelin III, Led Zeppelin IV, Houses of the Holy), Ludwig Green Sparkle
* Bass Drum 26"x14" (Also had an extra bass drum which was kept as a spare)
* Rack Tom 14"x10" on Rail Consolette mount.
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* 14"x6.5" Chrome Supraphonic 402 Series Snare
* Ludwig 29" Machine Timpani (1972+)
* Ludwig 32" Universal Timpani (1972+)
* Bass Drum 26"x14" (Spare bass drum kept, as these drums were reknowned for cracking)
* Rack Tom 14"x10"
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* Floor Tom 20"x16"
* 14"x6.5" Chrome Supraphonic 402 Series Snare
* Ludwig 29" Timpani
* Ludwig 30" Timpani
Studio Kit ('75) Ludwig Sparkle Silver Finish
* Bass Drum 26"x14"
* Rack Tom 15"x12"
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* 14"x6.5" Chrome Supraphonic 402 Series Snare
* Ludwig 29" Timpani
* Ludwig 30" Timpani
Final Touring Kit ('77-'80), Ludwig Stainless Steel
* Bass Drum 26"x14"
* Tom 15"x 12" Mounted on Bass Drum with a Ludwig Rocker Tom Mount, because his usual rail mount couldn't fit a 12" deep tom on the Bass Drum. (Changed to a 14"x10" Stainless Steel tom with classic lugs for the Europe tour of 1980)
* Floor Tom 16"x16"
* Floor Tom 18"x16"
* Floor Tom 20"x18" was used on occasion as well.
* 14"x6" Chrome Supraphonic 402 Series Snare (Slightly shallower than his usual 6.5 model, but probably wouldn't make that much difference in sound.
还有很多关于Cymbal，drum heads和pedals的材料……
还有前面几页里有一个下载地址是鼓手杂志的一个长篇介绍,比较专业.喜欢打鼓的可以用来参考.
六十年代后期这帮英国鬼子都挺厉害呢.Roger Waters毕业设计的英国银行地下金库现在还用着,Pink Floyd的舞台灯光设计,都是他们自己画的图纸.老Pete就是一哲学教授啊.还有那些个民谣,PROG乐队里,厉害的人物也很多.要不能鼓捣出那么多漂亮的音乐,综合素质,嘻嘻.
为什么两个James(Page,Hendrix)最受尊重,先作人,再做音乐!
准确率可能有误差,鼓手杂志应该更精细.
Cymbals
John Bonham played Paiste cymbals. He used Paiste Giant Beat cymbals until 1975. The Paiste Endorsement Agreement shows he experimented with cymbals including the 602 series before changing to a complete set of what is now the 2002 series in '75, which he used for the rest of his career. His setup:
During the time his setup consisted solely of giant beat cymbals (1968 - 1971):
15" Paiste Giant Beat Hi-Hat
18" Paiste Giant Beat Crash / Ride (On Left)
20" Paiste Giant Beat Crash / Ride
24" Paiste Giant Beat Crash / Ride
38" Paiste Symphonic Gong
During the time his setup was mixed between Giant Beat and 2002 cymbals (1971 - 1975):
15" Paiste 2002 Sound Edge Hi-Hat
18" Paiste Giant Beat Crash / Ride [Switched to 18" 2002 Medium 1973](On Left)
20" Paiste 2002 Medium
24" Paiste Giant Beat Crash / Ride
38" Paiste Symphonic Gong
During the time his setup consisted solely of 2002 cymbals (1975 - 1980):
15" Paiste 2002 Sound Edge Hi-Hat
18" Paiste 2002 Medium (On Left)
18" Paiste 2002 Ride (Used as Crash)
20" Paiste 2002 Medium Ride (Formula 602)
24" Paiste 2002 Ride
Sometimes a 16" Paiste 2002 Medium under, and to the right of his 20" (as seen in Knebworth 1979)
38" Paiste Symphonic Gong
这个地方有很多鼓手的资料,很好.
http://www.drummerworld.com/drummers/John_Bonham.html
我一直以为他的双亲不在了，
看到你们说Brian，我想到了Brian Jones。
心想这小子那有那么好学，看下去才知道说的是Brian May
Dark Lord跟jpj开个摇滚学校嘛
Jugula
Jimmy Page and Roy Harper
1 Nineteen Forty-Eightish
2 Bab Speech
3 Hope
4 Hangman
5 Elizabeth
6 Frozen Moment
7 Twentieth Century man
8 Advertisement
http://www.sendspace.com/file/fxpxjd
以前的人干什么都亲力亲为，现在是赶什么都用电脑。
哎！
http://youtube.com/watch?v=tkOUZp-xTZY
Roy Harper and Jimmy Page - Short and Sweet
http://youtube.com/watch?v=XCeqKvTYpZk
同一首歌(David写给Roy的),截然不同的处理.没想到还有84年Jimmy个Roy的BOOT存在.赶紧去找找.
巡回的第一场.声音质量B.观众噪音太多.
101 - Rich Woman 5:30
102 - Leave My Woman Alone 5:02
103 - Black Dog 6:08
104 - Sister Rosetta Goes Before Us 4:01
105 - Through The Morning, Through The Night 4:07
106 - Fortune Teller 4:46
107 - Black Country Woman 5:12
108 - Twentynine Palms 6:01
109 - Waiting For A Long Time 3:25
110 - Laissez Les Bons Temps Rouler 6:02
111 - Trampled Rose 6:21
112 - Green Pastures 3:39
113 - Down In The River To Pray 4:16
114 - Nothing 6:05
201 - Killing The Blues (4:31)
202 - When The Levee Breaks (6:04)
203 - The Battle of Evermore (6:21)这首感觉是整场的高潮,编排执行的都好.
204 - Please Read The Letter (6:03)
205 - Gone Gone Gone (3:26)
206 - Crowd Noise (3:17)
207 - Stick With Me Baby (3:15)
208 - One Woman Man (3:05)
209 - Your Long Journey (2:40)
Robert Plant - Vocals
Alison Krauss - Vocals and Fiddles
T-Bone Burnett - Guitars and Vocals
Stewart Duncan - Guitars and Mandolins
Buddy Miller - Guitars, Mandolins, Pedal Steel, Autoharp
Dennis Crouch - Bass, Banjo
Jay Bellerose - Drums and Percussion
http://www.megaupload.com/?d=PC2H2ULE
我们每个人内心深处都有点猥亵哦，只不过他是公众人物，被放大了
Pete算最有深度的几个之一.有很多人也就是借宗教哲学做晃子,真正有学问的并不多,他,Jimmy都是那一类.
Robert Plant & Honeydrippers Sea Of Love SDB 1985 London
In the Mood,
Pledge Pin,
Big Log,
Thru with the two Step,
Little by Little,
Slow Dancer,
Good Rockin Tonight,
Young Boy Blues,
Sea of Love,
Honey Hush
http://rapidshare.com/files/12756284...ea_of_Love.rar
Roger倒真是越老越有魅力
发现两张老杂志(可能是日本)的照片.漂亮吧.特别是那把Danelectro,最性感妖魅.它的声音却是那么古朴悠远,拿在Dark lord这个既神秘幽雅又狂放不羁的美男子手里,绝配啊.
PS,还真会选背景,垃圾箱还是排气口? 很符合这位先生的个性.
遍插吉他少两把，龙纹黑美何处寻
我一直觉得猥亵男的长相在PF里格格不入，还导致我失去探索PF的专集兴致。
一个有趣的发现
在跟roy harper合作的专集中写到
Jimmy Page
Electric and\ or acoustic guitar on everything including the snooker table
还有stills在一期classic rock访问中提到他跟jimmy玩了一夜的桌球
另外在sound贴的图里有jimmy在家玩桌球的照片
三个线索加起来得出的结论，jimmy很喜欢玩桌球
图里的是jimmy还拥有的吉他，还是真的是jimmy的吉他？
因为那把黑美人被偷，而龙琴被解体做了黑色的tele，所以我想才没照相的份儿。
等jimmy把它拍卖了吧，不过没太可能，呵呵。
看来jimmy依然保持着不打入主流媒体的想法，坚持靠唱片来那个什么（穷词，想不到词了）
他可能对这类东西不以为然.虽然现在很多乐队靠这类游戏吸引新一代歌迷,创收赚钱.
对了,他跟JACK WHITE一起的那个记录片电影节后就没有消息了.好期待啊.
---------------------
是真的原班武器.日本杂志总能搞到好照片.大概是对他们有优待,下面也是,在日本照的:
说到主流与地下,ZEP很有意思.说他们不主流吧,如果现在举办一场音乐会的化,按帅哥邦的话就是,在大漠里搭台,观众能站满整个撒哈拉.唱片销量也排个世界前三四的.要说他们主流吧,O2最逗的一个笑话就是,有个外国的歌迷入海关的时候,很兴奋,跟人家打讪说我是来你们国家看Led zeppelin的.工作人员很有礼貌的回答:欢迎,这个人在哪演出呀?
July 13, 1974
Madison Square Garden
New York, NY
Soundboard
192 Kbps MP3
Sound Quality: A
01. Smile
02. Let It Grow
03. Can't Find My Way Home
04. Willie and the Hand Jive
05. Let It Rain
06. Key to the Highway
07. Blues Power / Have You Ever Loved a Woman
08. Layla / Presence of the Lord
09. Steady Rollin' Man / Crossroads
http://www.megaupload.com/?d=UCICDD0G
1984年Rod Stewar美洲巡回西雅图站,谁来做嘉宾了? Jeff Beck!
声音质量:soundboard A
出版:日本90'
Track listing:
disc 1
The Stripper intro.
Sweet Little Rock And Roller
You Wear It Well
Hot Legs
Tonight's The Night
You're In My Heart (The Final Acclaim)
Dance With Me
All Right Now
Young Turks
http://www.megaupload.com/?d=JHGBBFLP
disc 2
Infatuation w/ Jeff Beck
People Get Ready w/ Jeff Beck
Rock My Plimsoul w/ Jeff Beck
I Ain't Superstitious w/ Jeff Beck
The Pump w/ Jeff Beck
Bad For You w/ Jeff Beck
Passion
Gasoline Alley
Maggie May
http://www.megaupload.com/?d=9HF6ZIYM
本来Jeff是说好做整个巡回的.这家伙临时变卦退出.让这场唯一的录音更显珍贵.
要说Jeff现场是比Jimmy精准.Jimmy是聪明,错的能变得比对的还好听.照他的话,艺术家没有对错这一说.赖皮啊.
但Jeff就是脾气大,没长性儿.两人中和中和就好了,另一位的性儿又太长了,快成终生不渝了:(
现在翻翻三剑客的不同时期的现场,觉得很多工作都被他们(外加另外几个,Hendrix,Iommi,Blackmore...)做完了.要不说"老范之下,再无大师".就说这速弹,听听Jimmy71年的速度,不光是快,更重要的是速度的变幻,速度的起伏,三件乐器的速度配合.现在有的乐队,肚子一挺,架子一拉,生生地把个艺术活给干成体力活了.
这点上颇像我们对待“反动学术权威的态度”，把人家反对了，后继就无人了，现在就知道“大师”的珍贵了。
大家都是三分钟明星，真的不知道现在什么音乐能像jmmy说的，will hold on！
那是个很常见的progression.很多人用过.
大家都是三分钟明星.
你说是老家的土鸡好吃,还是超级市场里的速成鸡好吃.嘿嘿...
早期的朋克，电子都很好,跟早期的摇滚,早期的金属一样,一跟风,一商业就鱼目混珠的多了.跟唱片工业的变化也有关,以前做这一行的,都是音乐爱好者起家,六七十年代市场作大,很多投资人眼中,音乐就跟别的商品一样.只要有钱赚就好,杀鸡取卵,拔苗助长,弄虚作假....难免的.作为消费者,咱们自己别上当就行了.其实好东东还是很多的.
Stevie Ray Vaughan & Jeff Beck -- The Fire Meets The Fury - 1989
这张唱片是某个公司宣传用的.两个人的现场拼盘,不是他们一起JAM.
01. Stand On It
02. Tightrope
03. Going Down
04. Pride And Joy
05. Guitar Shop
06. The House Is Rockin'
07. Blue Wind
08. Couldn't Stand The Weather
09. Savoy
1 0. Crossfire
1 1. Freeway Jam
1 2. Look At Little Sister
1 3. Superstition
1 4. Superstition
1 5. Beck's Bolero
16. Willie The Wimp
http://www.megaupload.com/?d=T41K7LN0
这个现场还是MTV拍的.现在的MTV早就面目全非了:
Stevie Ray Vaughan & Jeff Beck
http://youtube.com/watch?v=2UIptI2rcjg
Eric Clapton & Jeff Beck - Cause We've Ended As Lovers
http://youtube.com/watch?v=ZshJfWzgmok
Classic Rock
Classic Rock
MOJO
MOJO
Jimmy Page's lost Drunken Jam Session
http://www.youtube.com/watch?v=cUbp19dNw0k
好玩的东东.同意黑胶的主人,很象他早期的(73之前).不过觉得不是喝多了.更象是一个人边试边玩,录音很可能是被偷出来的.
O2,到是用了哇,DNC这首哇起来没完.反而是Trampled Under Foot用whammy pedal太精彩了.
Jimmy Page walking off stage
http://www.youtube.com/watch?v=-vTAV9L0gsM
下台之后的去向,上面杂志可有暴料,太猛了...
Queen Elizabeth II Stadium
Christchurch, New Zealand
Disc 1
1 Hotel California
2 Victim of Love
3 New Kid in Town
4 Wasted Time
5 Pretty Maids All In a Row
6 The Girl From Yesterday
7 I Can't Tell You Why
8 Ordinary Average Guy
9 Lyin' Eyes
10 One of These Nights
Disc 2
1 Tequila Sunrise
2 Help Me Through The Night
3 Love Will Keep Us Alive
4 Heart Of The Matter
5 You Belong to The City
6 The Boys Of Summer
7 Funk #49
8 Dirty Laundry
9 Smuggler's Blues
10 Life's Been Good
11 Heartache Tonight
12 Life in The Fast Lane
Disc 3
1 Already Gone
2 Rocky Mountain Way
3 Desperado
4 Take It Easy
PS, 感觉08年这躺巡回,比上次的告别巡回要好,一个是对新唱片很自信,一场三十首歌,三分之一是新作品.开场,中间坐下来的箱琴部分,中心高潮都是新歌为主.反而是加洲旅馆安排在第四五首,很普通的对待.二是队员状态很好.声音保养不错,特别是老JOE,闭上眼睛,真跟回到三十年前一样.三是舞台设计灯光即简洁又实用,配乐的影片很迷幻.
PPS,老鹰多亏有老JOE,才不会闷.要不真成了为大伙儿卡啦OK的拌奏乐队了.类似这段的即兴不少,最后是越来越疯.结束语是Desperado:
THE EAGLES - JAMMIN' - O2 - 26/3/08
http://de.youtube.com/watch?v=vjzdSKhT6c8
几个七十年代的录像:
The Eagles - Hotel California
http://de.youtube.com/watch?v=hcwr1nbmWLI
Eagles - Tequila Sunrise
http://de.youtube.com/watch?v=jCyCa-CgdhM
http://www.megaupload.com/?d=OYXLKT8T
(Soundboard mp3@320)
01 - Peaceful Easy Feeling (8:36)
02 - Best Of My Love (5:38)
03 - Tequila Sunrise (3:44)
04 - Help Me Through The Night (4:47)
05 - The Heart Of The Matter (6:37)
06 - Love Will Keep Us Alive (5:41)
07 - Learn To Be Still (5:00)
08 - Hotel California (7:26)
09 - String Soundcheck (2:07)
10 - Wasted Time (5:24)
11 - Wasted Time Reprise (1:30)
12 - Lovers Moon (4:33)
13 - Pretty Maids All In A Row (4:39)
14 - I Can't Tell You Why (7:25)
15 - The Girl From Yesterday (5:44)
16 - New York Minute (8:15)
17 - The Last Resort (7:18)
18 - Band Intros (1:36)
19 - Take It Easy (5:09)
20 - One Of These Nights (4:47)
21 - In The City (5:07)
22 - Heartache Tonight (4:59)
23 - Life In The Fast Lane (8:31)
24 - Get Over It (6:13)
25 - Desperado (5:21)
The Great Don Henley - vocals, percussion
Glenn Fry - vocals, guitar, keyboards
Joe Walsh - vocals, guitar
Don Felder - guitar
Timothy B. Schmidt - vocals, bass
http://www.megaupload.com/?d=YDK1ZXQQ
昨天没时间打英文,上面那套录音质量非常好,'加洲旅馆'的intro是我自己最喜欢的一版.下面这套七十年代录音也很稀罕.
Eagles
The Kingdome Seattle, WA 8/6/76
声音质量: A (Soundboard Recording)
Disc 1
1. Take It Easy
2. Outlaw Man
3. Doolin-Dalton
4. Desperado (reprise)
5. Turn To Stone
6. Seven Bridges Road
7. Lyin' Eyes
8. Take It To The Limit (Cuts In)
Disc 2
1. Desperado
2. Midnight Flyer
3. Already Gone
4. One Of These Nights
5. Funk #49
6. Good Day In Hell
7. Witchy Woman
8. James Dean
http://rapidshare.com/files/57363207/ES76Part1.rar
http://rapidshare.com/files/57367415/ES76Part2.rar
from total guitar:
奖品是什么？是合照吗？
还是借No.1给那小孩玩会儿？
老鹰就只知道那手加洲旅馆，其它的全然不知
在犹豫要不要下来听听补补课，恩.......
最有意思的是老鹰这哥几个,你恨我,我恨你的.就是后台都互不搭理,可凑一块儿就能制造这么好听的音乐.真跟有神秘之手幕后操纵似的.
他们家的Joe Walsh跟Jimmy是特铁的哥们.那把Les Paul就是他半送半卖的.推销的广告词就是:这个吉他就是天生注定归你的,信我的没错.后来75年为滚石杂志的拍封面,Joe还特地拉了自己的经济人一块去给Jimmy保驾.对了,以前见过个旧报纸照片就是Zep跟老鹰一起逛商店,印象深的原因是照片上Jimmy帮JPJ挑项链,那是JPJ头发最长的时候,小女生模样,暧昧得很.嘻嘻.
上面的照片就是吉他杂志网站评的,谁的合影最牛,奖品就不知道了.
Bootleg --1993 排练录音
质量 A-
Recorded live in an empty theater in London.
The set-list is a mix of Coverdale/Page, Whitesnake and Led Zeppelin tracks
不喜老白蛇声音的就把他忽略不记好啦,吉他还是不错的.
那个时候很多人都批评Jimmy落伍了,Grunge最流行啊.就跟八十年代初电子之类的流行,他却玩乡村民谣,可几十年以后,反而觉得这个不赶时髦的家伙最棒,哈哈.
Line-up:
Jimmy Page - Guitar
David Coverdale - Lead Vocals
Denny Carmassi - Drums
Guy Pratt - Bass
Brett Tuggle - Keyboards / Vocals
Disco 1
Absolution Blues 6:03
Slide It In 2:47
Rock And Roll 4:22
Over Now 5:01
Kashmir 8:30
Take A Look At Yourself 5:24
Pride 'n' Joy 5:05
Take Me For A Little While 6:05
In My Time Of Dying 10:08
Disco 2
Here I Go Again 4:21
Don't Leave Me This Way 9:00
Feelin' Hot 5:31
Still Of The Knight 6:33
Whisper A Prayer 7:09
Black Dog 5:40(missing)
Shake My Tree 5:42(missing)
http://www.megaupload.com/?d=EZRMI5OQ
找到了，听过一次，想再听时
电脑重装没了，重新在原来的blog下过所有的boot
数量太多，日期忘记了，所以没耐心找
居然有人上传到管子上了
发现了几个有趣的mv，简单又粗糙的画风，我觉得跟zep的风格蛮配的
http://www.youtube.com/user/godgoo
听'Communication breakdown',有没有觉得,什么叫Punk,早在68年都定义好了.后来那帮Punk还猛踩Zep,Jimmy就是太绅士了,一句反驳的话都没说过,前几天还在那儿夸性手枪呢.
"Stand by me"一直以为是披头士的歌呢,原来是Ben E. King的.这就不奇怪了,他们是一个唱片公司的.去年他们老板的纪念会上,JPJ有给Ben拌奏.O2的时候,Ben也去了.
ZEP这个版本好funky,好原始啊.
Ben E King - Stand By Me (Legendado)
http://uk.youtube.com/watch?v=QxRyPKYlIsc
这些才是真正的歌手,声音有个性,不一定很完美,很漂亮,但特别真实感人.
前两天找到Leon Russell -A Song For You
http://uk.youtube.com/watch?v=wD-eCn2vbsU
还有很感动的是这个,生命尽头的歌,唱给老朋友,我看Willie都快哭出来了:
Ray Charles Leon Russell Willie Nelson - A Song For You
http://uk.youtube.com/watch?v=7sXGT0WhFnU
下面这个就太绚,太作做,跟歌的本意相差悬殊.估计再过N多年,就能更好地唱出歌中滋味了:
Christina Aguilera - A Song For You (live@the Grammy's 2006)
http://uk.youtube.com/watch?v=0eiWpfSI3pk
她也绚技巧,但野性未失,跟乐队的互动要有意思的多.毕竟是福音歌手出身,总是有些些宗教感:
Whitney Houston - A Song For You live (WHH 1991)
http://uk.youtube.com/watch?v=Za9i_iEJ8xk
Donny Hathaway - Song for you ~ LIVE!
http://uk.youtube.com/watch?v=mnkl-YQ-XWU
最新的消息:北京奥运会的闭幕式,Jimmy会来,代表伦顿.原来猜想是披头或滚石.以前这类任务都是他们的.也许是因为黑君那谣传的中国血统?
你那里得到的消息？
我一直以为只有zheng 界人物会参加这盛举。
他老人家去干吗？是被邀请，还是自己掏腰包？
Bonzo的暴行摘自05年10月的mojo
When the band arrived to play the Forum in LA in May that year, after the show was thrown in Laurel Canyon to celebrate Bonzo's 25th birthday. George Harrison crowned Bonham with his own birthday cake. In return Bonzo chased the former Beatle and threw him and his wife into the pool fully clothed, followed by anybody he could lay his hands on. Jimmy, meekly complaining he couldn't swim, was allowed to walk into the pool in his new white suit with the Zoso symbol on the back.
突奇想，Jimmy会不会穿套有龙的衣服去参加呢？
还是穿回以前那套？要是真的话，单是想起来就想笑
在8月24日盛况空前的闭幕式上，我们还可以看到摇滚歌手Jimmy Page和流行歌手Leona Lewis的合作演出。届时33岁的英国球星贝克汉姆会乘着伦敦的标志性红色双层巴士登场，之后用一记精彩的踢球冲进人群。来自英国的舞蹈家会用打破传统套路的舞蹈表现形式为2012年伦敦奥运会倒计时。
每届奥运会结束前，都会为下届东道国预留8分钟的表演时间，从主办方已得到证实，届时的表演将由英国皇家芭蕾舞团和CandoCo(残疾人舞蹈公司)联合出演。
中国的开幕闭幕都是集体主义,人海战术.伦顿只能玩个人英雄主义了.
三块钱快买机票，联络一群zep的粉丝围攻黑暗君王
在my space上试听了，感觉不错
还有老母船和新的songs将出黑胶
有空去唱片店转转吧
闭幕表演这消息的可信性有多大啊？
官网上没说。里面的论坛讨论了已经9页了，大家都没个准
～～～～～～～
鸡冻啊，在想能唱个3分钟就不错啦
想了半天才想到说的是大嘴巴
不怎么了解jimmy的政 zhi意向
他好象只是对令一个世界感兴趣
不管别的，PM是肯定不会来中国的，他之前反奥运积极着呢。滚石是想来也没办法，就Ron Wood那个状况怎么办啊。
虽然我一直觉得Jimmy来这事也不靠谱，和他平时的为人做事风格差太远。还是跟Leona Lewis，这也忒囧了。
Queen+Paul Rogers的新专辑刚发售，9月要巡演。其实我本来觉得如果一定要找著名的摇滚吉他手，Brian May更适合这种场面。
我一看那条消息,也是不信,但据可靠的内线情报,来北京应该是真的.
楼上nordicengel提的QUEEN的BRAIN,的确是适合这类代表官方的活动.而且在英国的大众知名度要比Jimmy高好多.就是Pink floyd家的也要比Jimmy有名.
后来白板提到一号琴,想起他的琴弓魔法棒.伦顿的组织者还真聪明,因为这奥林匹克运动会其实是赞美众神的典礼,他们高兴了,天下太平,风调雨顺,不高兴了,就弄个苹果逗你玩.说真的,跟'扬我国威'是两码事,在众神眼皮底下扬威,那不是找S嘛.所以这位hammer of Gods,货真价实的大祭司真就是不二之选了.
不过歌迷里好象很多反对的声音.跟流性歌手合作诶,还是个选秀出身的.很多人不以为然.不管啦,反正他能出来就很不错啦.别挑三捡四的.
由于下界的奥运会在英国举行，多名明星会闭幕的交接仪式上表演。
Jimmy Page 会是其中的一人。
尽管没Led Zeppelin的其他成员，但是见上JImmy Page也是一个难得的机会
不知道兵总能不能搞个访问什么的？
Led Zeppelin’s Jimmy Page Part of Olympics Closing Ceremony
Although Zep fans are unlikely to hear "Stairway To Heaven" or "Ramble On" blaring from the sound system during the closing ceremony of the 2008 Summer Games, Led Zeppelin guitar legend Jimmy Page will be part of the show.
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这么厉害!都是鬼佬炒得吧,国人听摇滚的少啊,知道Jimmy的人更少.hicomehere,羡慕S你们北京人啦.应该是属实,他们伦顿主办者对泄密这事儿还挺生气的.唯一可惜的是不会演出ZEP的作品.也许他会即兴加入点片断吧.
又是那件绿军装！？
他难道不用洗衣服，还是他家里的衣柜装的全是同一件衣服？
这人那么小气,肯定不会重复买同一件衣服,不过这件是外套,不用天天洗的说.奥运会上穿也行.
刚才到youtube上找了找Leona Lewis的录像,以前顶多是见过这个名字,但真没听过她的作品.说实话,太做作了,不喜欢.她学美国的女歌手,跟WH,MC年轻时的演唱相差悬殊:
Leona Lewis - Bleeding Love (Official US Music Video)
http://www.youtube.com/watch?v=5-ctIC65PV0
可千万别用这个女孩的作品,太差了(好象透露的小道说,可能性挺大,气S).选一个ZEP的,任何一首都比这强啊.要不写首新的也行.
Jeff以前也跟选秀出身的歌手合作过,效果很好,一个原因是Jeff的吉他很具歌唱性,女歌手跟ROCK风格也比较靠近.
American Idol - Top 6 - Idol Gives Back - Kelly Clarkson HD
http://www.youtube.com/watch?v=5KFQbZMO7fg
Amy Winehouse - You Sent Me Flying
http://www.youtube.com/watch?v=Z5E58iYhhLo
还有个学Joplin,唱blues的Joss stone,
Joss Stone - Son of a Preacher Man
http://www.youtube.com/watch?v=TBH8o8XXnVM
Leona现在非常，非常的出名，以名头来说跟Amy不相上下，但是我从来不喜欢她，这就是为什么我觉得太囧了。
她和Jimmy的风格，我是想象不出来到底怎么配到一起去。
和Jeff合作的Kelly Clarkson是美国超女第一人，虽然不漂亮嗓子还是有的。
-----------------
太难了,不过也算挑战.Leona能唱,关键是选曲,象Rock n Roll,Whole lotta love这类,谁唱都行.只是表现力多寡罢了.
不知道看得见看不见
-----------------
望远镜啊.现场的声音总不会错.嘻嘻,他们是下界主办国,应该是最后出场吧,以前是不是都这惯例?
还有啊,有彩排吗,是在哪里呀?鸟巢?
不是摇滚fans的人多半觉得莫名其妙，是摇滚fans的人心中有珠玉在前铁定囧掉。
我觉得也有可能是为了这次活动写的新歌。
要是皇后的话，就可以正好上个we will rock you了= =
反正中国观众对ZEP的歌也不熟悉,不用考虑共鸣的问题了.上个月跟FOO FIGHTER一起选歌的时候,Dave想唱TRAIN KEPT A-ROLLING.JIMMY说怕FOO的观众不熟悉,最后选的ROCK N ROLL.
新歌当然最好,可需要排练的时间长,不知道他们有没有这个时间.
他们是八分种里第一个节目,最好选鼓动气氛的开场曲,类似Immigrant song这样的.重重的RIFF一起,震天动地,哇哈哈,众神之锤,长城都得晃俩晃.
转载Ross Halfin的日记
Off to Beijing, China today, with my old chum Jimmy Page. I don't have any idea what to expect - never been. All I want to do is see the Great Wall. Flying from Heathrow Terminal 5 - it'll be liberating arriving in Bejing with no bags, courtesy of British Airways...
诶呀,四年后的伦顿开幕式肯定精彩啊,也不用练什么团体操了.把beatles,stones,pink floyd,zep,the who,bowie,radiohead...叫一块就行了,多省钱呀.
最新消息:LEONA LEWIS and JIMMY PAGE will perform Whole Lotta Love at the Olympics closing ceremony. ---the sun(http://www.thesun.co.uk/sol/homepage/showbiz/bizarre/article1585338.ece#OTC-RSS&ATTR=Bizarre)
虽然这家报纸可信度一向不高,不过其他小道也是这首,看来theremin是一定要用的啦.
SOUND-OF-MUSIC 能查到他住哪个酒店么~~~ 呵呵 感觉他不应该住在奥运村
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不知道,应该是最好并低调的那种.他自己度假旅行的时候总是喜欢去看地下乐队,这次有任务,可能没那么自在,不过北京什么酒吧最摇最酷,吉他手最牛?可以去碰碰运气,说不准还能听他的jam呢.就跟年初去泰国,召集了好几个当地厉害的吉他手,玩了一晚上.
似乎这次的贝司是提前录好的.鼓呢?会不会也用录音.哎呀,要是整个乐队都去该多好.这样的半调子,晕.
对，闭幕式在鸟巢，但是坏消息是门票实名制，估计是没戏了，但是我会去试试看的~~现在在打听彩排的消息，暂时还没有
http://2008.sina.com.cn/hx/other/2008-08-21/1027239732.shtml
对了,闭幕式上的音响应该是共用呢,还是用自己的?
http://2008.zaobao.com/pages1/focus080822.shtml
Whole Lotta Love 本身就很长,O2版本是7 分钟,奥运这次得砍一多半,能行吗?最后的民歌Derby Ram有吉他的事吗?
http://www.fynews.cn/html/200808/21/083012640.htm
(这最后一句说的:北京奥运会闭幕式上，Led Zeppelin 64岁的传奇吉他手Jimmy Page将和贝克汉姆、约翰逊等联袂登场，见证伦敦接过奥运旗帜。有媒体评价说：“当我们开始向世界展示英国的最佳一面时，像Jimmy Page这样伟大的英国人在演出上出现将是最完美的。” )
好多ZEP的歌迷是反对他来的.什么理由都有啦.本来好好的.现在弄得我都紧张了.
