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Indice  ~  Get Off Of My Cloud  ~  Led Zeppelin

MessaggioInviato: 30 maggio 2014, 20:05
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
inedito
http://www.onstageweb.com/notizie/led-z ... ito-la-la/

per me buono solo il finale.....


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MessaggioInviato: 31 maggio 2014, 9:55
Messaggi: 2076Località: trevisoIscritto il: 24 febbraio 2006, 0:28
neanche a me fa impazzire


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MessaggioInviato: 29 agosto 2014, 15:41
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
[youtube]https://www.youtube.com/watch?v=UandfyNZxb4#t=10[/youtube]


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MessaggioInviato: 1 settembre 2014, 20:05
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
curioso di sapere quali saranno gli inediti che verranno pubblicati.
no quarter fu scartata all'ultimo momento dalla tracklist.


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MessaggioInviato: 5 settembre 2014, 11:34
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11

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MessaggioInviato: 5 settembre 2014, 17:37
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
chiamarli inediti è troppo: un mix non così diverso da quello uscito su vinile nel 1971
unica cosa interessante: manca il solo di page nel finale.


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MessaggioInviato: 17 settembre 2014, 18:08
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
Robert Plant sulle ristampe dei Led Zeppelin: 'Gli inediti? Poco importanti'

Non sarà arrivato agli estremi che raggiunse Elvis Costello nel 2011 in occasione della pubblicazione di "The return of the spectacular spinning songbook", ma la franchezza di Robert Plant circa la rilevanza delle bonus track contenute nella massiccia opera di riedizione del catalogo dei Led Zeppelin - outtakes e, per la maggior parte, versioni alternative di brani poi inclusi nelle tracklist originali degli album - potrà certamente apparire simpatica a tanti fan della band di "Good times, bad times", ma magari poco opportuna agli occhi dei suoi discografici, che sull'operazione discografica - una delle più imponenti attuate quest'anno su un back catalogue così importante - avranno verosimilmente investito molto in termini di impegno, risorse e speranze.

In sostanza, per il frontman - recentemente tornato sugli scudi discografici con il suo nuovo album soslista "Lullaby and... the ceaseless roar" realizzato con i Sensational Space Shifters - le tracce inedite contenute nelle riedizioni dei primi quattro album dei Led Zeppelin non sarebbero nulla di che: "Non credo che possano dare una prospettiva diversa sul gruppo", ha commentato il cantante a proposito dei provini nel corso di un'intervista rilasciata a Billboard: "Innanzitutto perché sono cose che risalgono a tanto tempo fa. Si tratta più che altro di materiale in corso di lavorazione, bozze ancora in via di completamento. Forse c'è qualche spunto che ci ha spinti ad andare in questa piuttosto che in quella direzione, questo forse sì...". Materia per irriducibili completisti, insomma: "Non c'è nulla di davvero rilevante. Non per quanto mi riguarda, almeno".

www.rockol.it


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MessaggioInviato: 5 febbraio 2015, 10:40
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
[youtube]https://www.youtube.com/watch?v=wkv1md6KQoo[/youtube]


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MessaggioInviato: 8 febbraio 2015, 15:26
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
Grande disco PG, non l'exile on main street dei LZ ma grande disco.


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MessaggioInviato: 24 luglio 2015, 17:06
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
JIMMY PAGE AL "GUARDIAN": "I LED ZEPPELIN SAREBBERO TORNATI AL ROCK CHITARRISTICO"

I Led Zeppelin sarebbe tornati al rock chitarristico. Lo dice il chitarrista della band nel corso di un'intervista al britannico Guardian in cui discute degli anni in cui la band inglese se la dovette vedere col punk e fa il bilancio della recente campagna di ristampe. Il chitarrista si sofferma in particolare sugli ultimi tre album, quelli interessati dalle ristampe di "Presence" (1976), "In though the out door" (1979) e "Coda" (1982) in uscita il 31 luglio, e spiega che cosa sarebbe accaduto se il batterista John Bonham non fosse morto nel 1980.
"A me a John piaceva immaginare come sarebbe stato il disco successivo. Se ascolti tutto quanto il repertorio dei Led Zeppelin puoi sentire il modo in cui mi piace suonare: riff intricati, interessanti, provocatori. Anche a lui piaceva. Perciò, penso proprio che avremmo fatto un altro disco chitarristico pieno di riff dopo un album tastieristico come 'In through the out door'. Dopo la fine dei Led Zeppelin non ho toccato la chitarra per un bel pezzo, non ne volevo proprio sapere. Riprendere a suonare è stato terapeutico".
Il chitarrista ricorda gli ultimi anni, drammatici anni della band e in particolare la scelta di Robert Plant di incidere "In through the out door" (1979) e tornare sulle scene dopo la morte nel 1977 del figlio Karac a causa di un'infezione virale.
"La decisione di tornare a fare concerti e incidere un disco è stata ovviamente di Robert. Fu lui a decidere nel 1978 di tornare sulle scene. John Paul Jones portò alle prove una tastiera della Yamaha, 'una macchina da sogno', così la chiamavano poiché rappresentava lo stato dell'arte nel campo delle tastiere. [...] 'Presence' era stato un disco molto chitarristico e John Paul Jones era tornato a comporre dopo avere smesso di farlo per un po'. Lo studio degli ABBA, il Polar, ambiva a diventare una sala d'incisione di livello internazionale, perciò pensarono: 'Chi meglio dei Led Zeppelin può aiutarci a raggiungere lo scopo?'. Mi contattarono e mi fecero un'offerta piuttosto generosa. Era uno studio all'avanguardia e l'album che vi registrammo, 'In through the out door', è diverso da qualunque altra nostra cosa. Va bene così, ogni album dei Led Zeppelin ha un sound diverso, era logico compiere quel passo".
Quel che accadeva attorno al gruppo nella seconda metà degli anni '70 non aveva alcuna importanza, afferma il chitarrista: i Led Zeppelin avevano un carattere sufficientemente forte da resistere al punk.
"Il punk mi piaceva. Andai a vedere i Damned a Londra, c'era anche Robert. Oggi se la darebbe a gambe levate di fronte a quella musica, a me invece piace ancora. Amavo i Sex Pistols, li trovavo eccezionali, ma non per questo avrei cambiato stile - sai, col tempo finisci per apprezzare vari tipi di musica".
Page fa il bilancio della campagna di ristampe di tutti gli album in studio dei Led Zeppelin, corredati da un secondo cd contenente versioni alternative e rarità.
"Lo scopo delle ristampe è offrire una chiave d'accesso all'epoca in cui furono effettuate le incisioni. Se i Led Zeppelin erano all'avanguardia era grazie alla musica registrata. [...] Ho un'ottima memoria, perciò sapevo esattamente che cosa andavo cercando e cosa volevo sentire, si trattava solo di trovarlo negli archivi. Era diventata un'ossessione: volevo sapere quali bootleg esistevano in caso di sorgessero problemi ai macchinari che stavo utilizzando [...]. La selezione delle tracce incluse nei bonus cd è stata fatta per offrire un'idea dei primi stadi di lavorazione delle canzoni".
Page considera il lavoro sugli archivi completato. Di tutte le performance inedite venute alla luce, apprezza particolarmente le versioni alternative di "Whole lotta love", "Since I've been loving you" e "Stairway to heaven", e definisce "Key to the highway" una gemma che dimostra l'approccio peculiare degli Zeppelin al blues. Infine, rivela le origini della campagna di ristampe.
"L'idea di recuperare nastri di prova mi venne all'epoca del dvd dal vivo, intorno al 2003, ma all'epoca nessuno ne capiva il senso - e quando dico nessuno intendo il management. Non importa, quel progetto non era neanche lontanamente ambizioso quanto questo".

(Claudio Todesco)

http://www.rockol.it


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MessaggioInviato: 5 ottobre 2015, 14:00
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
45 Years Ago: Led Zeppelin Go (Mostly) Unplugged for ‘III’

When Jimmy Page and Robert Plant decamped to the isolated cottage Bron-Yr-Aur in Snowdonia, a region in North Wales, in the spring of 1970, their band Led Zeppelin was at a crossroads. It was time to make their third album and, having brought their families along with them, the two decided to flesh out some ideas in the primitive enclave devoid of running water and electricity.

Zeppelin had already done an album tinted with an unheard-of-until-then heaviness, which paid homage to their blues influences, in 1968’s eponymous debut. The 1969 follow-up, Led Zeppelin II, expanded upon its predecessor and infused into it the chaos they had encountered while touring the world.

But for what would become Led Zeppelin III, released Oct. 4, 1970, a conscious decision was made to go in the opposite direction. Hence the trek to Bron-Yr-Aur, which was about as much a contrast as could be from the frenzied composition of the second album. Besides, a much-needed rest was long overdue after the outfit’s fifth tour of North America, which finished in mid-April.

The relaxed, decidedly acoustic sessions produced a completed version of the delicate “That’s the Way,” and arrangements were settled upon for “Bron-Y-Aur Stomp,” a sort of country hoedown, “Friends,” which would later be laden with strings, the wistful “Tangerine” and rollicking “Gallows Pole,” the latter three for which ideas had already been simmering in Page’s wheelhouse. “Tangerine” went back to his days in the Yardbirds.

It’s also worth noting that during the term spent at the cottage, the pair wrote songs that would show up on subsequent recordings, including “Poor Tom,” “Down by the Seaside” and the acoustic instrumental named after Bron-Yr-Aur. Initial groundwork was also laid for “Stairway to Heaven” and “Over the Hills and Far Away.”

The songs from Bron-Yr-Aur were brought to the rhythm section of the band, John Bonham and John Paul Jones, at rehearsals and later recording sessions commenced at the East Hampshire mansion Headley Grange and then Olympic Studios in London. The album’s heavier pieces, “Out on the Tiles” and “Celebration Day,” spawned from more of a concentrated group effort during this period, as did eventual album opener “Immigrant Song,” which was famously inspired by Zeppelin’s visit to Iceland in late-June 1970.

Aside from the experimental oddity and album closer “Hats Off to (Roy) Harper,” which has Plant singing Bukka White’s “Shake ‘Em On Down” in the left speaker while Page plays slide guitar in the right speaker, the most conspicuous moment on Led Zeppelin III is the seven-and-a-half minute blues epic “Since I’ve Been Loving You.”

Originally worked up during the recording of Led Zeppelin II, the song proved too intricate to complete amid such frantic circumstances, so it ended up as one of the first to be focused on finalizing for III. Essentially recorded live in the studio, “Since I’ve Been Loving You” features one of Page’s greatest guitar solos, punctuated by a chilling howl from Plant, who showcases his own prowess on vocals throughout the track. Neither acoustic nor entirely heavy, it further confounded critics who didn’t know what to make of Zeppelin as a whole or the third album specifically.

Yet for the first occasion in the band’s brief history, the Zeppelin fanbase was just as puzzled as the critics when Led Zeppelin III hit shelves – and it wasn’t just because of the intricate die-cut, fully-functional pinwheel cover design which at the time was incredibly expensive to produce.

Where was the crunch of “Good Times Bad Times?” The feverish intensity of “Communication Breakdown?” The industrial peculiarities of “Whole Lotta Love’s” middle section? Had their beloved quartet of rowdy pillagers from the U.K. gone soft?

Journalists accused Zeppelin of jumping on the bandwagon of the singer-songwriter explosion of the late-’60s, conveniently forgetting previous lighter fare the band provided such as “Black Mountain Side” and at least portions of tracks like “Ramble On,” “Your Time is Gonna Come” and “Babe I’m Gonna Leave You.” Granted, those songs typified the “light and shade” for which Page was continuously striving, whereas the bulk of III’s material was just “light.”

The ensuing tours cleared up any confusion over Zeppelin’s abilities to deliver bombast, leaving worried fan reservations ultimately unfounded. The band was still a relentless powerhouse live, and the sit-down acoustic sets which featured material from III were a welcome respite for both the band and audience.

Retrospectively, while Led Zeppelin III may have been considered a sharp left in the fall of 1970, it’s since become recognized as one of the most representative creations of the wide musical spectrum the band was able to traverse.


Read More: 45 Years Ago: Led Zeppelin Go (Mostly) Unplugged for 'III' | http://ultimateclassicrock.com/led-zepp ... ck=tsmclip


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MessaggioInviato: 5 ottobre 2015, 14:07
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
[youtube]https://www.youtube.com/watch?v=gMWNlgw99Rw[/youtube]

[youtube]https://www.youtube.com/watch?v=1xkQX6GIys0[/youtube]


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MessaggioInviato: 15 ottobre 2015, 11:57
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
Top 10 Led Zeppelin Acoustic Songs

For all the banter over whether they did or didn’t create metal, our list of Top 10 Led Zeppelin Acoustic Songs shows how adept the band was at mixing in more subdued elements. Though drawing the unrelenting ire of critics back then, Led Zeppelin could never be called one-dimensional with any seriousness. Guitarist Jimmy Page simply had too much of a propensity for adding different textures to the band’s songs, something that kept Led Zeppelin as far from being pigeonholed as possible. Still, tracks like the jaunty “Rock and Roll,” the boldly orchestral “Kashmir” and the blistering “Whole Lotta Love” more often blasted from passing car radios, and certainly get the majority mainstream radio play to this day. So, let’s take some time to dig a bit deeper in this Top 10 Led Zeppelin Acoustic Songs.

10
"Hey, Hey What Can I Do"

One of the aspects that made “Hey, Hey What Can I Do” so alluring is the fact that for two decades the song was so damn hard to get. Released as the flip side to the “Immigrant Song” 45 in 1970, and then on a random 1972 Atlantic Records sampler, it wouldn’t be available on CD or cassette until 1990, when the Zeppelin four-disc box set was released. Thematically, it’s a preview to “Going to California” (found later on our list of Top 10 Led Zeppelin Acoustic Songs), as frontman Robert Plant is having no luck with his lady. She works at a bar on the midnight shift and gets followed around by dudes all day, doesn’t go to church, is drunk all the time and wants to “ball all day.” So he packs up and moves away while his bandmates provide the soundtrack (check out John Paul Jones, who handles mandolin and acoustic guitar in addition to his usual bass duties).

9
"The Battle of Evermore"
The artists who have performed on albums in the Led Zeppelin catalog other than Page, Plant, Jones and drummer John Bonham can be counted on two fingers. Pianist and Rolling Stones co-founder Ian Stewart is credited on a pair of tracks (from Physical Graffiti), while Fairport Convention singer Sandy Denny provides the perfect foil to Plant, who once again goes off on another one of his Lord of the Rings-inspired lyrical tangents. Denny, who even got her own symbol on the record, had her parts performed in concert by John Paul Jones, most notably on Led Zeppelin’s abbreviated 1977 tour.

8
"Poor Tom"

This tells the story of Tom, a man saddled with being the seventh son of a seventh son. That gives him a second sight, which unfortunately leads to him discovering the cheating ways of his wife Annie Mae. He shoots her dead, and is then sentenced to the same fate himself. More of a skiffle and shuffle than anything else the band recorded – thank John Bonham for that – the song never found a place on a proper Zeppelin record until the outtakes collection Coda. “Poor Tom,” indeed.

7
"Friends"

This song certainly didn’t help the accusations that the band was trying to copy Crosby, Stills, Nash and Young on III. Plant shows surprising range here, proving his caterwaul could be just as useful to the band's acoustic side. Hardcore fans were pretty dismayed when the expanded edition of Led Zeppelin III came out and didn’t include the heavily bootlegged version of “Friends,” along with “Four Sticks,” which Page and Plant recorded with the Bombay Orchestra on a trip to India in 1972. Turns out Page was just holding off, including them instead on a companion disc to Coda's expanded release.

6
"Bron-Yr-Aur"

At a little more than two minutes long, this is the shortest track in the Zeppelin canon, but by far one of the most beautiful. Jimmy Page’s stark acoustic playing, warts and all, is the perfect track to put on for a loggerhead who considers the group nothing more than bloated, '70s cock-rock. It also provides the soundtrack to the sequence toward the beginning of the 1976 concert film The Song Remains the Same where the band travels by limousine from the airport into the heart of New York City for shows at Madison Square Garden – a period that, coincidentally enough, featured plenty of bloated, 70s cock-rock.

5
"Going to California"

"Going to California" doesn't include Robert Plant's most advanced songwriting, which just might be why it resonated so deeply with the masses. It’s a basic tale of longing for a better situation and, crucially, isn’t peppered with the singer’s penchant for overt references to J.R.R. Tolkien stories about hobbits. During live performances of the song, Plant would often drop not-so-thinly veiled references about Joni Mitchell, whom he was supposedly infatuated with – and add an addendum to the line, “Telling myself it's not as hard, hard, hard as it seems,” waiting five beats or so before lamenting, “It’s hard.”

4
"Gallows Pole"

Hands down one of the darkest songs in the Led Zeppelin catalog, the traditional "Gallows Pole" tells the old story of man trying to avoid being hanged, imploring the hangman to wait until his family shows up with the wares necessary to stave off execution. Despite receiving some gold and silver provided by his brother, and some old-fashioned lovin’ from his sister, the hangman still carries out the task at hand. The way the song builds from a simple acoustic melody to a frenetic back and forth with banjo, mandolin and electric guitar, with Plant becoming more and more desperate, is storytelling at its finest.

3
"Black Country Woman"

"Black Country Woman" is an encapsulation of the Delta blues that inspired Jimmy Page and Robert Plant. You can almost picture the band sitting on a front porch somewhere in the deep south hashing out the track. That might be the main reason why they wanted to record it outside, at the Stargroves estate in South East England’s Hampshire. It’s got a loose, outdoorsy feel to it, complete with the sound of airplane flying overhead at the beginning, which Plant, who plays some solid harmonica on the track, casually told engineer Eddie Kramer to leave in.

2
"That’s the Way"

Arguably the finest track to come out of the Bron-Yr-Aur sessions, and inspired by the surrounding lush landscape, “That’s the Way” was written in a short amount of time by Page and Plant, and showed that even at their most elementary the group could have an impact. The lyrics are said to be about such wide-ranging topics as the environment and the hassles the band members would face by the less progressive areas of America because of their looks.

1
"Babe I’m Gonna Leave You"

A fascinating piece of history, the No. 1 song on our list of Top 10 Led Zeppelin Acoustic Songs was one of the first Jimmy Page and Robert Plant worked on together. As the second track on the first album, following the explosive “Good Times, Bad Times,” it immediately quiets things down. But it’s not long before Plant shrieks, the instruments flare up and it becomes the earliest embodiment of what Page would later note as his goal of having “lots of light and shade in the music.” To wield so much power in a song that is primarily acoustic without it becoming cumbersome is a testament to how much talent Zep possessed and the promising future that lay ahead.


http://ultimateclassicrock.com/led-zepp ... tic-songs/


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MessaggioInviato: 23 ottobre 2015, 15:22
Avatar utenteMessaggi: 1908Iscritto il: 20 dicembre 2010, 22:27
Led Zeppelin / Mothership 4LP

Immagine

If you’ve spent the last year buying the Led Zeppelin Super Deluxe Editions then your appetite for Zeppelin vinyl is probably well and truly sated… but just in case, the band’s 2007 compilation Mothership is being made available again across four vinyl records.

It was issued on the black stuff at the time, although the vinyl renaissance was a few years off at that point and the two-CD and 2CD+DVD formats were what the majority would have opted for.

Probably the key buying point here is that this new vinyl set uses the new 2014/15 remasters, which is good news since the original compilation mastering has never been fans’ favourite.

The set is smartly packaged in outer box with embossed artwork and a large booklet with David Fricke notes. The two-CD version is also being reissued.

Mothership is reissued on 6 November 2015.

Side 1
1. Good Times Bad Times
2. Communication Breakdown
3. Dazed And Confused
4. Babe I’m Gonna Leave You

Side 2
1. Whole Lotta Love
2. Ramble On
3. Heartbreaker
4. Immigrant Song

Side 3
1. Since I’ve Been Loving You
2. Rock And Roll
3. Black Dog

Side 4
1. When The Levee Breaks
2. Stairway To Heaven
3. The Rain Song

Side 5
1. Over The Hills And Far Away
2. D’yer Mak’er
3. No Quarter

Side 6
1. Trampled Under Foot
2. Houses Of The Holy
3. Kashmir

Side 7
1. Nobody’s Fault But Mine
2. Achilles Last Stand

Side 8
1. In The Evening
2. All My Love


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MessaggioInviato: 20 novembre 2015, 19:05
Avatar utenteMessaggi: 3950Iscritto il: 15 giugno 2006, 18:11
Seattle, Jimmy Page a sorpresa sul palco per una versione di 'Rock'n'roll' con elementi di Nirvana, Alice in Chains, Guns N' Roses, Black Crowes, Soundgarden e Cheap Trick - VIDEO

http://www.rockol.it/news-649414/jimmy- ... emp-museum


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