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Led Zeppelin at Earls Court - May 24, 1975The final Earl's Court show, the final 1975 show, and the last ever performance of Dazed And Confused. The initial string of numbers are high powered and aggressive! No Quarter is a really great jam and the acoustic section is pretty good. Moby Dick and Dazed are rather boring however, which is sad and rather unfitting as it is the last ever performance of the latter. Stairway To Heaven was dedicated to Plant's daughter: 'Carmen - this song's to a little girl who sits probably wondering what it all about. So, where is the bridge?
Well, Carmen, were's your chance to find out where the bridge is. And if you know, please let me know after the show.' The solo is wonderful and the encores contain a tortured Theremin solo from Jimmy before the extra songs are played for the last night's sake.The band's fifth and final night at Earls Court begins with Alan 'Fluff' Freeman announcing 'we are here tonight because you and I have great taste' before Rock and Roll crashes into motion. Page blazes through the second guitar solo in Sick Again. As the song ends, Plant announces 'good evening and welcome to the last concert in England for a considerable time.' Page shreds frantically through an excellent guitar solo during Over the Hills and Far Away.
In My Time of Dying is introduced as 'an old work chant.' Page solos wildly as Bonzo and Jones pummel the crowd. An incredibly powerful performance, one of the best thus far.Bonzo is on fire during The Song Remains the Same, thrashing at his drums with wild abandon as Page's fingers race across the fretboard. The Rain Song is absolutely fantastic, one of the best in recent memory. Jones's somber piano solo during No Quarter features hints of Concierto de Aranjuez. The instrumental section is an epic journey. The band receives a thunderous ovation as the piece comes to a close.
The climax is reached during the blistering outro. An outstanding performance. Page plays a bit of Tea For One as Plant introduces Tangerine.
Going to California is delicately beautiful. Jones's mandolin work is fantastic.
Plant makes a few references to Monty Python and the Holy Grail, asking the crowd 'what is a shrubbery amongst friends?' Before an excellent That's the Way.The band gets into a bit of Robert Johnson's If I Had Possession Over Judgement Day before Bron-Y-Aur Stomp. Plant gives the crowd a brief history of Johnson's life before introducing Trampled Underfoot.
Page shreds erratically through an aggressive guitar solo. Bonzo is introduced as 'our blood brother' before a particularly thunderous Moby Dick. Plant says a few kind words about Peter Grant before introducing Dazed and Confused as 'the essence of the early Zeppelin.' The San Francisco interlude is hauntingly mournful.
Plant's ghostly howls echo through the arena. Page's fingers are like razor blades as he slashes and shreds through the frantic guitar solo/workout section. Plant can be heard exclaiming 'amen!' Off-mic during the call and response section.
Page solos wildly during the outro jam. A somewhat uneven final performance of the band's signature song.Plant dedicates Stairway to Heaven to his daughter Carmen, saying 'this is a song to a little girl who sits there, probably wondering what it's all about.' Page delivers an excellent guitar solo despite breaking a string near the end. Plant sings the final line in complete silence. As the band returns to the stage, Plant says 'is this our swan song, I wonder?'
Page hints at Ozone Baby following an excellent funky jam during Whole Lotta Love. Plant unleashes a series of blood-curdling screeches during the violent theramin freakout. Page's fingers get a bit sticky during the extended guitar solo in Black Dog. As the song ends, Plant announces 'good citizens of Great Britain, it's been five glorious days.
Thank you very much for bein' a great audience, and if you see Denis Healey, tell him we've gone.' Plant exclaims 'this is somethin' we never do!' As the band returns to the stage once again, joking 'any requests?'
Page blazes through the fast guitar solo during Heartbreaker. Plant pushes his voice to the limit during the final verse. The band closes the show with an explosive Communication Breakdown. Plant does his best Jamaican accent during a fantastic funky breakdown. As the band leaves the stage for the final time, he announces 'thank you very much for showin' us that England is still alive and well.' A fantastic finale to 1975.
Roger LinnPrince so loved Linn’s machines that he owned several (including the next generation LinnDrum). And yet, 'I tried to contact Prince a couple of times but never heard back,' Linn tells Reverb.' He was very important to my success. He didn’t just select a stock beat and press ‘play,’ but rather used it in unusual and creative ways, from detuning the drums to no longer sound like drums to the unusual beats he programmed to how he featured it in the mix.' In fact, Prince is said to have run the LM–1 through effects pedals to get the 'Doves' sound.In our interview with Linn, he goes deep into the history of his ultra–pioneering instrument, which includes setting the record straight once and for all about who the Linn 'drummer' was who provided those first 8–bit samples.Respected news outlets such as have taken some smart guesses (including Jeff Porcaro of Toto), but we’ve got the real answer here.
The Dawn of the Cardboard Box LM–1Remarkably, Roger Linn was all of 24 years old when he announced the LM–1, having started work on it when he was just 22. And the result wasn’t a toy by any means, rather, the first drum machine in history to employ samples.
Linn LM-1 Drum Computer'I was aware of sampling technology in the years leading up, but computer memory and parts were very expensive,' Linn recalls. 'My idea was that by storing only a single short sample of each of a few drums, the total required memory wasn’t so much.'
And The Kitchen Sink Snare Solo Pdf Writer Reviews
A skilled guitarist and songwriter, Linn had already toured with Leon Russell when he was 21 (and would later write the 1979 song 'Promises' for Eric Clapton). And like any good inventor, Linn began with necessity: having an always on–call 'drummer' to play on his demos.
Marching Snare Solo
But what began as something personal and artistic soon called out for a wider audience.' When I would do demos of the early LM–1 prototype, people’s jaws would drop,' Linn says. 'They were amazed to hear the sound of a real drum when they hit a button. So I knew I was on to something.' When I would do demos of the early LM–1 prototype, people’s jaws would drop.
They were amazed to hear the sound of a real drum when they hit a button. So I knew I was on to something.' - Roger LinnThat something, as it turns out, came out of the gate before a proper chassis was even ready. Imagine someone at a modern music convention, showing off a revolutionary new effects pedal in a cardboard casing.
That’s what Linn did, but not without good cause.' People were starting to ask about it, and I wanted to take it to show to them, but the metal chassis wasn’t yet ready,' Linn says. 'So I put all the circuit boards and wires in a large, flat box, taped them down to the bottom of the box so they would stay put, cut the sides down to allow access, and put it in my car to show it around. It wasn’t pretty, but it worked well enough to get quite a few 50% deposits on a $5,000 purchase price.' Circuit Board from a Linn LM-1 Drum ComputerAmong those early believers were the likes of Peter Gabriel, Fleetwood Mac, and Stevie Wonder — not that it was easy for Linn to get the business going. An early partnership with Alex Moffett (the 'M' in LM–1) didn’t work out, so Linn got a loan from his dad for about $20,000.
'Then, when that ran out, I took the prototype in the cardboard box around to get deposits.' Linn invested everything but the kitchen sink, you might say, though he did pony up his 1967 bathtub Porsche. 'In a sense, I did sell my car,' he says. 'I paid the man who laid out my circuit boards by offering to give him my Porsche.' As for who laid down the beats that made 8–bit sampling history, Linn tells Reverb, 'It was a drummer named Art Wood, a good friend of mine with whom I had been in bands.
It seems that no matter how many times I tell people that Art played the original drum samples, no one believes it, and they love to create myths. I’ve heard that the original samples were played by Steve Gadd, Jeff Porcaro, Dave Garibaldi, and others, but it was all Art.' From Art the Drummer to Drum Machine ArtOnce artists started putting the LM–1 to work, they created a compendium of hits that literally defined pop music in the 1980s.
There is even devoted to the magic of the LM–1. Ask Linn what some of his favorites are, and he mentions The Human League’s 1982 hit 'Don’t You Want Me' along with most anything by The Purple One.He adds, 'Peter Gabriel also used it very creatively, bringing elements of world music into the beats he created. Michael Jackson’s use was mainly alternating kick and snare, but it provided a solid basis for his music, and I think that was mostly producer Quincy Jones.'
The 1982 Thriller album and 'Billie Jean' come to mind. 1986 Linn 9000Other breakthroughs followed — not just musical but also technological. The 1984 Linn9000 had the first pressure–sensitive pads, and his Timing Correct feature helped quantize the beats of erstwhile sloppy dashboard drummers to the nearest sixteenth note. Linn also credits his development of the 'shuffle' feature — copied by countless drum machines to follow — in part to Russell.' It was Leon who taught me about swing timing, which he called ’shuffle,’' Linn says. 'He explained that one of the big factors in a drummer’s feel was the degree of shuffle timing in his playing.
Some drummers played straight sixteenths with a hint of shuffle.' I added the code to delay — by a variable amount — the alternate 1/8 or 1/16 notes, thereby turning a straight beat in a shuffle/swing 1/8 or 1/16 beat and by an adjustable amount.
This allowed me to dial in the exact groove I wanted.' Smoother Synthesis: Enter the LinnStrumentLinn has hardly rested on any laurels, programmed or otherwise. His latest creation, the LinnStrument, takes music synthesis a big step forward. Imagine a colorful checkerboard array that the user can manipulate with their fingers to create dynamics, slides, and slurs that even the costliest synthesizers can’t.LinnStrument Introduction'A MIDI keyboard is little more than an array of on/off switches, and on/off switches are lousy for performing expressive music,' Linn notes. 'Anyone who has tried to emulate a solo violin, sax, or guitar on a MIDI keyboard knows this. As a result, instrumental solos have virtually disappeared from electronically generated popular music — something that existed in all previous forms.' But since it doesn’t use those switches — rather, it employs polyphonic 3D sensors — 'the LinnStrument permits a player to perform continuous and beautifully expressive movements in each note’s loudness, pitch, and timbre.'
Today, there’s so much potential solo creativity and so many potential instrumental stars but no electronic instrument capable of unleashing both.' - Roger LinnAs for his motivations, Linn puts it this way, 'Today, there’s so much potential solo creativity and so many potential instrumental stars but no electronic instrument capable of unleashing both. I want to enable new generations of virtuoso synthesis stars, the modern day equivalents of Jimi Hendrix, Eric Clapton, Stefan Grappelli, Miles Davis, or John Coltrane.' From the gear side of the equation, Roger Linn certainly belongs in a similar league of elites who can’t stop creating.' It’s not something I have to do but rather something I want very much to do. There’s nothing I’d rather do,' says Linn, who turns 62 in August.'
The fundamental assumption of retirement is that you work to make enough money to stop working. As I see it, I’m not working, I’m just lucky enough to get paid for my hobby. Why would anyone stop doing his hobby?'