Der Artikel von der Sun ist mittlerweile entfernt worden "legal removal"... Was man da nicht alles reininterpretieren kann.
Led Zeppelin (+ solo)
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Okay, es war wohl eine Ente.
Asche auf mein Haupt, ich war zu voreilig und habe mich durch die News auf den Babyblauen Seiten blenden lassen.
Ich entschuldige mich bei allen Fans, bei denen ich große Erwartungen geweckt und feuchte Träume produziert habe!
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Jetzt gibts doch ne Led Zeppelin Reunion für ein Konzert in London am 26. November:
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Das Konzert wurde auf den 10.12.2007 verschoben, da Jimmy Page es tatsächlich fertiggebracht hat, sich einen Finger zu brechen:
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Interview (Atlantic Promotext zur Veröffentlichung von Mothership am 9.11.):
ZitatLED ZEPPELIN: Jimmy Page & John Paul Jones
generic radio interview
1. Guys, is this a reunion or just a one off?
P: A one off reunion, yeah.
J: There you go. Both, yeah (laughs).
P: It is, it’s a one off reunion.
2. So is there more to come? Just in case the London show turns out fine?
P: There’s some to precede it.
J: There’s lots.
P: Yeah, there’s quite a lot of stages of preceding. We’ve got rehearsals, lots of rehearsals, starting from next week, isn’t it?
J: Next week. Yeah, next week.
P: From next week on.
J: And we should be rehearsing until the show.
3. There’s like a million people trying to get those 20.000 tickets. That puts quite some pressure on you, doesn´t it?
J: Yeah, the show’s gotta be good, that’s for sure.
4. Are you nervous?
J: No, because it will be good. (chuckles)
5. Any explanation for that demand? Why is it that so many people want to see Led Zeppelin again?
P: Why is there a large demand for it? I don’t think that we should ever underestimate the amount, well I guess we have to call it fanbase that Led Zeppelin has acquired over the years, you know. And those that have been Led Zeppelin fans have always been strong and there for us, you know, they’re not fickle. And the new fans that have come on, you know, new generations of fans in a way, you know, maybe… When I say we shouldn’t underestimate it, it was quite overwhelming as to the response. Which comes out to whatever it is. What is it? 120 million?
J: Yeah, 120 million hits, yeah.
P: Hits, hits.
J: I think it’s probably 30 million requests. But then a lot of people…
P: Oh, we could have done the Royal Albert Hall then (laughs).
P: For a year.
J: But I suppose a lot of people have heard the music since the band stopped actively playing, you know, well since the end of the band, and never got to see the band. And so there must be, you know, that must be a good percentage of people who really wanted to find out what it is like to actually see this music performed live.
6. But it is a tribute to the late great Ahmet Ertegün that makes you return to the stage?
J: That was the catalyst for it, yeah, that gave us the momentum to try it.
7. How important was he for you and your career?
J: Well, he ran the record label that we really wanted to be on. Whether he let us do what we liked or he was kept away from us while we did what we liked, I’m not entirely sure (laughs). Probably a little of both.
P: You know, the pace was sort of dictating itself if you like us to what we were doing and how and where we could get in to record and where we couldn’t throughout those albums, you know. They were certainly in the early days they were coming out really quickly, you know, it was quite a productive time. And I don’t think anybody actually wanted to get in the way. If someone said: “Well, we want to do this”, like the fourth album, we wanted to have it untitled and not Led Zeppelin appearing on the label of it, nobody was actually gonna say: “No!” (laughs) Because nobody would have the… they might say: “It’s not a good idea” or “It’s professional suicide” or whatever it was, but the thing was we didn’t want anything on the album cover. We had this sort of cloud to be able to do that, we built that up. And also we had the manager, who was an extremely canny manager and with that cloud for the band gave him the chance to be able to, you know, really go ahead with his ideas as well and as far as changing the music business as such, certainly relative to promotion of concerts and one thing or another.
J: He must have come to trust after a while as well, I mean if ain’t broke don’t fix it.
P: Yeah: “they know what they’re doing.”
J: “They know what they’re doing, the albums are great, they sell lots of them”, so as a record company person why should he want to meddle with it.
8. Rumor has it he fell asleep during the late night screening of “Song Remains The Same”. Is that true?
P: Well, he also fell asleep during… well apparently, I know this, because I heard Jagger actually say it, during some playbacks of their numbers - Rolling Stones, and he fell asleep in and they took that as a good omen.
J: (laughs)
P: So maybe we should take it as a good omen as well.
9. But there´s hardly any characters like him out there these days, is there? I mean, Peter Grant is the other one. He must have been some character, too, or?
J: Yeah, he certainly was a character, but the interest of the band was actually central to his being. And he was extremely protective of the band in every way, you know, from people he perceived as trying to rip us off in some way or people who were just trying to interfere with us or people who were just annoying us. He would just keep everybody away, so that we could get on with what we wanted to do.
P: …which was make music.
J: …which was make music. Which was wonderful.
P: I mean, he loved the band and he loved the music, too, see.
J: Yeah.
P: He was passionate about it.
10. And he was very good at swearing, I noticed.
J: He never interfered himself, did he? Musically? He never ever said you should do more of that or do this. Never.
P: No, absolutely not.
J: He said: “You’re the musicians, you know, if I could do what you were doing, I’d be out there in a band.”
P: That´s right. But when you said he was good at swearing, ok, you’re referring to the only example you can bring up, which is “The Song Remains The Same” where he’s really having a go at people that were bootlegging us in the hall, in Madison Square Garden. I guess that’s what you’re referring to. It’s all bleeped out. But then you can see where he’s taking on another role, where he is at the press conference of the robbery, and you can see how he conducts himself under those circumstances. He was very cool-headed and very, very clever, astute man.
J: But he was also very passionate about anything to do with Zeppelin, wasn’t he?
P: Yes, he was, like I say, yeah.
J: It really was personal to him.
11. As we live in this age of reunions, where everybody’s going out there again: Do you have a laugh about The Who, Genesis or The Police reforming for whatever reason?
J: Oh, I wanna see The Spice Girls. You know I don’t.
P: (laughs) You just want an aftershow party, John.
J: Yeah, yeah.
12. Well, there should be a good one for your London-show as well. I heard Kid Rock is playing with Sam Moore.
P: You know, it’s fantastic this aftershow party, because actually there’s no room for the group to actually go themselves, which I find absolutely amazing. Because normally if you have a show there is an aftershow party for the group where they invite their friends or whatever or distant friends you haven’t seen for ages. There’s actually nowhere where we could actually do that, while everybody else seems to meet. First time I’ve heard of Kid Rock being on, to be honest. John, did you know?
J: What?
P: Kid Rock doing…
J: At the Dome?
P: Yeah, doing the aftershow party.
J: No, I didn’t know that. Are you sure?
P: Oh, I see. Anyway, the aftershow party seems to be such a complicated affair that I didn’t have any intention to any aftershow thing anyway, to be honest with you, because I’ll probably be on every molecule, ounce of atom of energy that I’ve got, I intent to actually give out on that stage when I get there.
J: (laughs)
P: I actually wished that I could just leave my house and go straight… walk down the steps of my house and up the steps onto the stage, because everything else is going to be taxing in between, and it’s gonna get in the way of what I, you know, of the focus if you like. And I reckon I’m gonna give so much, because I know what I’m like, that I will have given so much that I probably would like to just sort of meditate afterwards. I don’t know how you feel about that.
J: You’re right about everything else just getting in the way, really.
P: Yeah, absolutely.
13. Any spare tickets left?
J: Ah! You should be so lucky. We should be so lucky.
P: Yeah.
J: We have to buy the tickets.
P: We’re buying tickets to get our friends in, and we can’t even get enough of those. So even we’re in the doghouse with people like even friends and families. So don´t… It’s a charity event, isn’t it? It’s not our own gig, otherwise we probably would have structured it maybe a little differently in that respect. But, you know, there we are, it is what it is and it’s really good to be playing together. We’ve had a handful of rehearsals, so far, although we’re now gonna start the major bulk of rehearsals form now on in next week. And its just something to really look forward to it.
J: Yeah.
14. John, what were the differences you´ve had with Robert in the past? And have you solved them by now?
J: We’re all sitting on the same sofa, aren’t we? Answering the same questions.
P: Yeah, we are all three of us, we are here.
J: Yeah, all three of us.
P: No, no, yeah, you said the right thing (laughs). Sorry, I jumped in on this question, I just thought it was ironic.
J: No.
15. There’s so many bands quoting you as a major influence these days. How does that feel? Is it something you’re proud of?
J: Well, very discerning of them, I think. Very good choice on their part, they picked the right band to follow (laughs). But, no, I mean, I certainly am very proud and I know Jimmy is very proud of what we did. And I know why - it was a really good band, it is a really good band. And the music has just held up so well, and it’s really nice to see it being appreciated by younger musicians, and I’m glad it’s inspiring them.
16. So you really are the daddies or the “Mothership” of it all?
J: Just say: “Yeah” (laughs).
P: Yeah, I’ll say yes. Daddy is a bit… fair enough, yeah.
J: That’s why it’s the “Mothership”.
17. How does it feel being living Rock legends? Is it everything you expected it to be?
J: I never expected it to be anything.
P: Never expected anything.
J: My ambition from a young kid was to make a living playing music, and that was it. I mean, you hear of people: “All I ever wanted to be was famous” or “All I ever wanted to be was a Rock star”. I never actually thought of it. I thought: “If I can just avoid doing a boring job and just make a living doing what I really loved, and what I was really passionate about, then that’s it”, I’ve done it.
18. Well, prior to Led Zep, the two of you have been session musicians for quite some time. And if you look at all the things you´ve done, there´s been a lot of work obviously, and a lot of influential work as well.
J: Yeah, but it was, as you said earlier, it was a good apprenticeship. What was it that it gave us? It gave us the discipline as well, we needed a lot of discipline to turn up at ten o’clock in the morning. And read what’s put in front of you and then focus, focus, focus, and get it right, because you only have a couple of run-throughs and they put the light on and you record it.
P: And you can’t be the one get it wrong either …
J: And you can’t be the one to get it wrong.
P: Or you won’t be seen again.
J: And that’s until one o’clock and then two o’clock another session starts, seven o’clock another session starts. Just like that, right away through. And the discipline to do that, when we started Led Zeppelin, when we were rehearsing the band and getting a show together, it was just so much help. And it became easy to do, to focus on the music and forget about all the other stuff and just get into working, and Robert and Bonzo really picked up on it, too. It was a band that always worked hard when we were together.
P: Yeah, that’s right, that’s right. It didn’t take us a long time to be good because two of us had that ethic, and John Bonham was so focused in his approach to what he was going to be playing, and it just jolt really quickly. And Robert wasn’t too shabby either when it came down to his, you know, his part that he was doing, his lyrics and things. He was really there.
19. And that school made for the big spectrum that is Led Zeppelin?
J: Well, that was our own interest, but we could actually, in a way I suppose… we were fluent in all the styles that we liked, if you know what I mean.
P: Yeah, I’ve got to say that from my perspective on, just as far as the studio playing went for the first year that I was doing, that I was a hired gun if you like, all the only information I would have would be: “Bring in an electric guitar and bring in an acoustic guitar.” But you didn’t know what that… when you got there, it wasn’t like you were a specialist at the time, you know. Well you were, but the fact was that they expected you to do everything, because everybody else did. So in other words you could be going in and I could be doing something that was a folk session, if you like. Then I’d be playing something where it probably be electric: “Well, you wanna throw something in, otherwise make up a riff or whatever”, and on and on it went. Or I could be doing like a commercial - all in the same day and the next day it could be Burt Bacharach. And this is exactly the same for me as it was for John. And then… you know what I mean?
J: Actually that’s a, I was thinking as you were saying, that’s a particularly English session thing, because if you were a Nashville session musician…
P: You’d know who you’re playing for.
J: …or a Detroit session musician, you’d be playing the same style of music all the time, pretty much. You would go from Nashville to Detroit from a morning and an afternoon and then to Rock´n’Roll in the evening, and then you’d walk in one day and there’ll be like a sixty piece, like a big Swing-, Jazz-band or something. And they just count you in and off you go, you gotta do it.
20. So what are you listening to today? What are you into? What is it that you just can’t stand?
J: The old cliché. As Duke Ellington said: “There’s only two types of music, good music and bad music.” And I’m afraid that still stands for me, you know. There’s good and bad of absolutely everything, even Trance (laughs).
P: Yeah.
J: But you have to listen to quite a lot of awful music to hear good music, I’ve found. (chuckles) But if it’s good, it’s good, no matter what it is, you know, it’s HipHop or Bluegrass.
P: Yeah, the old categories. All good music, the cream if you like.
21. Say, what’s it like sitting through “The Song Remains The Same” today? Is it difficult for you to watch it?P: It was already determined. The beginning of the film to the end of the film is already determined, so the fact of, the sort of director’s edit if you like of various things where it will cut from one number to backstage and all this sort of thing in the fantasy sequences. I mean, that’s what it is, you know, that’s the film that was put out. And it wasn’t as though we were in a position to be able to change any of the visuals of it, it was just the approach to the sound, to have something which was - considering we were gonna have only two DVD packages out ever, one was already out now and this one is about to surface - that we wanted to get it right, you know, in every respect. So that means sound-wise, I mean some of these numbers had already appeared on the DVD in 5.1 surround, so it made sense, really, if “The Song Remains The Same” came out it really deserved the best approach that we could put to it, you know, sonically in a surround sound world and in the world of today. And plus, so if that was the sound we were gonna approach also the extras, that was gonna be very important, so it became a complete package. And the time capsule on to itself with a little sort of stamp on it: “The Song Remains The Same”.
22. But there’s six unreleased songs on the CD. Were those in the vaults somewhere? Is there more material out there?P: No, no, no, well two of them haven’t surfaced before, have they? Yeah. Two have not surfaced before, because “Celebration Day” that hadn’t surfaced before on the previous DVD, if you like. And the other one was “Over The Hills And Far Away”, that hadn’t surfaced either before. So those were entirely, you know, new if you like. And then for example – I won´t go through every track here – but “The Ocean” was on the previous DVD and so that’s included in the extras now, because it wasn’t in the film, do you see? You can’t change one frame of the film. That’s legal requirement part, once they copyright of the film, but you can put extra things in there, extras. So it’s complete, it’s complete as it can ever be as far as the material goes.
23. John, what made you change your outfit during those nights at Madison Square Garden? Weren´t you told it´s being filmed?
J: Nobody actually told me that I was supposed to wear the same thing (laughs). I had an outfit ready for the last night which I never wore. It was, that’s how it was in those days. Everybody else seemed to know, but I didn’t.
P: Yeah, but plus it probably had great faith in the fact that they were gonna shoot everything, and it wouldn’t be an issue. It wouldn’t be an issue the fact that you had a different costume or whatever (chuckles), because it was gonna be there done (laughs).
J: No.
P: You know, changing between the numbers, because there is no footage, you know. There was no footage, and that’s how that came to be and we had a to re-shoot a bit in a sound studio sort of, so that we could at least get the lyrics, because they’d only had a half a verse of a song and things like that. So it was very interesting, quite an organic film really, the way that it sort of came together, and it’s interesting.
J: Yes (laughs).
24. There even was another haircut when you re-shot that sequence.
J: Well, yeah, I got home and they said: “Do you need anything for the re-shoot?” I said: “Yes, six inches of hair.” I did cut it all off, and so I had to wear this stupid wig, which nobody would let me touch. I wasn’t allowed to cut it or burn it or anything. So, it is as it is.
25. My first encounter with Led Zep was Live Aid in ´85.
P: Oh god!
J: Oh dear.
P: Yeah, it was really upsetting, wasn’t it?
J: That wasn’t very good. It wasn’t good.
P: We had no rehearsal! Two hours of the day of Live Aid is not what you really… Never having met the drummers before, it was interesting. That’s no exaggeration, that’s what it was. We came together on the spirit of Live Aid, believing on the wing on a prayer that we could just get it together, and quite clearly we couldn’t under those circumstances.
26. So that’s why there´s lots of rehearsals now?
P: That’s exactly why!
J: Very much so.
P: There’s no way that we could be persuaded to come together, we couldn’t persuade ourselves to come together without actually taking it really serious - as serious commitment, you know what I mean?
27. But the history of “The Song Remains The Same” is quite something, isn’t it? I mean, it took you two directors and there was a bit of a problem putting the whole thing together, or?
P: Yeah, yeah, yeah, ok, yeah. I mean, originally we came up with the ideas of doing the fantasy sequences, because we were short on footage.
J: It was supposed to be a concert film.
P: It was a concert film, yeah.
J: Just a film of a concert.
P: So that’s the first step out of the initial concept is the fact that now we’ve added the fantasy sequences, which is alright, it’s fine, but: then it goes on from there to actually re-shooting some of it, miming. Now this is an improvisational band, you know, we’re improvising and you’re miming to something that you improvised on the night and going: “Hm, that’s interesting …”
J: (laughs)
P: “… I don’t know what I did.” I didn’t want to know, I just did it. And it’s quite interesting. So it’s all of that all coming together and by the time it finally came out it was… Because we had the points of reference I think individually with the fantasy sequences, it was you still had a major part of it. But by the time it came out, my goodness gracious, have we moved on musically from that point? It’s just hit us when we first saw the whole Royal Albert Hall footage, we’re probably at the point of the third album or something. You know, and for us it was passé, passé, you know. But it’s good that we’ve got it there, it’s good that we’ve now revisited it…
J: And it sounds bloody great now.
28. What about “Mothership”? Under which aspect did you compile these tracks?
J: Well, it was an introduction really, I guess, to all the albums - as a sampler.
P: Yeah.
J: Yeah, it was put together in chronological order, and it just gives a taste of each album right the way through, start to finish.
P: Yeah, like a sampler. You know, we’ve deleted the other “Early Days” and “Latter Days”, that’s the point. Because that wasn’t really, that didn’t, when you see them putting sort of product out… you look at that one and it just seems totally out of context with the quality of the artworks and everything else, it just wasn’t there, and it wasn’t necessarily the best compilation if you like. So this was more balanced in every way, in every way it was balanced.
29. And those two are deleted in favor of this one then?
P: “Early Days” and “Latter Days” actually the worst thing about it was that it actually became one package with a silly little slip case and it got tattier and tattier and more compromised as it went on. This isn’t, you know, Robert titled it, it’s a strong artwork and there we go ever onward (laughs).
30. I heard there is going to be “Led Zeppelin - The Ride”, a rollercoaster in South Carolina, opening in 2008. What´s it going to be? Have you tried it yet?
J: Well, you probably can’t expect me on it, because I think I´m past that now, gone in those days, but it looks really good.
P: Well, how much do you know about it? You just know that it’s a ride. Then we can really only say that to be fair. We can only say that yeah it’s definitely gonna come off.
J: There are some special things about it.
P: Whatever music or whatever is obviously not known, is it?
J: No.
P: No. Well, I shouldn’t look at you with a questioning face, should I? Sorry (laughs).
J: Yeah.
P: Yeah, hopefully people will have fun on that. I know my kids will.
31. Maybe the carriages are shaped like guitars or something?P: No, I don’t think so. No, no, no, it’s regular sort of carriages if you like. They probably already said it can be repainted, you know, for other people sort of… have their band on there if they like. I don’t know.
J: Yeah, probably for AC/DC The Ride.
P: Yeah, AC/DC The Ride, yeah.
32. Say, if you listen to “Dazed And Confused” these days, that´s like Fusion-Rock before the term “fusion” was even invented, or?P: I don’t know what they call it. But it’s had a lot of labels put on it, yeah.
33. Is that due to your background we just talked about - the session work and the ability to jump from A to C within a minute? Or how did you come up with that?P: No. I mean, what it is, it’s going from actually having set a scene of this sort of high drama if you like, through to sort of Penderetzki meets a poor guitar playing musician through to some sort of Rock episode that hadn’t been heard before ever and never been sort of dreamed of. And then returns to a high climax back into this drama. No, I really believe that (laughs), that’s the first part about this….
J: It’s probably slightly misleading about the session thing. It gave us the tools to do it, but what you’re talking about is pure Zeppelin, it’s pure Led Zeppelin. And that’s quite different from anything that either of us ever did before.
P: Yeah.
34. Production as well? Because you really tried some new tricks there, didn’t you?
P: Well the thing is with “Dazed And Confused” it was something which was at that point was reasonably embryonic, but I knew what the sort of overall idea of it was. But yeah, it was definitely as far as production… Absolutely, absolutely the whole layers of it were. Nobody had really done anything like that.
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22 Milionen Klicks auf der offiziellen Homepage um eine Einladung zum Reunion Gig in London zu bekommen !!!!!
Da hat man mehr Glück im Lotto zu gewinnen -
Ist nicht auch das Reunion-Konzert in den nächsten paar Tagen?
Weiß jemand, ob es davon eine DVD geben wird
Ich bin mal auf die Setlist gespannt :cool: -
Ist nicht auch das Reunion-Konzert in den nächsten paar Tagen?
Weiß jemand, ob es davon eine DVD geben wird
Ich bin mal auf die Setlist gespannt :cool:10. Dezember
Nein - ich denke aber, daß es keine geben wird
Wahrscheinlich ein weitgehendes "Greatest Hits"-Programm - siehe "Mothership", oder wie das aktuelle Compilation-Album heisst
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@Doc: Danke für die Infos!
Bezüglich einer DVD-Veröffentlichung denke ich, dass die drei (!) Herren wohl erst nach der Show entscheiden, bzw. ob sie damit zufrieden waren oder nicht.
Also nicht so etwas wie bei Genesis, dass schon Monate vorher feststeht, dass es von einem bestimmten Konzert einen Mitschnitt gibt. -
Die Show ist auch leider nicht im TV zu sehen , werde mir aber jetzt die neue 2007-er DVD
"The Song Remains the Same" zulegen, gibt es seit Ende November u.a. bei Amazon (mit viel Bonusmaterial).