Hi! I'm Percy. I love all things related to 60s-80s music, particularly Kiss, The Beatles, and Led Zeppelin. This blog is a place where I collect memes and tidbits about my favorite music that I find interesting or that taught me something new - I'm deeply curious at heart and am always looking to learn more. Sometimes things get a little thirsty too. 😊 Occasionally, you'll see me posting about other assorted artists, including modern ones (mostly rock). I'm here to interact with my fandoms and would love to make friends, so don't hesitate to DM me or use my ask button!
I also have an AO3 account under the same name where I occasionally post works. I'm hoping to get more active on there in the near future! Please be advised that my works contain explicit content (as do some of my posts here).
In terms of interacting with me, while I can't control who reads my posts, please don't message me or contact me if you are a minor. I will also not tolerate any bigotry of any kind. I am a queer person, and if you don't like that, then this blog is not for you.
sorry this was going to be a tags addition because I only get to use my coated pantone swatchbook like 6 times a year when i have a new enamel pin to design, but...
"Page on Zeppelin III..." (Melody Maker, October 24, 1970)
Jimmy Page gives a track by track background to Zeppelin’s new album
Jimmy Page isn't disturbed at any adverse criticism of Led Zeppelin III because he hasn't read any reviews.
But he is aware that a number of Zeppelin fans would appreciate some backgrounding to the tracks of an album that has been greeted as either “their best yet” or “weaker rock.”
At Jimmy’s wooden boathouse home beside the Thames he spent a pleasant Saturday evening last weekend, listening to albums by the Cream, Jody Grind, Tony Williams and Don Ellis before getting round to a track-by-track review his group’s third endeavor to relate their musical feelings.
He explained the origin of the songs and occasional quirks between tracks. And he hinted at the future, and the content of Led Zeppelin IV, already on the drawing board.
IMMIGRANT SONG: That’s a voice at the beginning incidentally which somebody said was a wailing guitar. On stage the number has already developed into a much longer thing, with a full instrumental passage. The hiss at the beginning is a tape build-up, then John Bonham comes in. It’s not really tape hiss, it’s echo feedback. Robert wrote the lyrics to this one.
FRIENDS: Again Robert wrote the words. He did them all except on “Tangerine.” The idea was to get an Indian style with the strings. The string players were not Indian however, and we had to make some on-the-spot changes. John Paul Jones wrote an incredible string arrangement for this and Robert shows his great range - incredibly high. He’s got a lot of different sides to his voice which come across here. It has a menacing atmosphere. A friend came into the studio during the recording and it was bloody loud and he had to leave. He said “You’ve really done something evil!” Moog synthesizer at the end, and that’s a bottle neck string base, with John Paul playing.
CELEBRATION DAY: The reason the voice is alone is the tape got crinkled in the studio and wouldn’t go through the heads, so the end got ruined, but it worked out all right by using the idea of bringing the synthesizer down in pitch to the voice. It was either that or leave the track out altogether. Why “Celebration?” It’s saying “I’m happy,” that’s all.
SINCE I’VE BEEN LOVING YOU: This was a “live” track. John Paul plays organ and foot bass pedals at the same time. My guitar solo? It could have been better - but y’know. You are never satisfied with a performance, although of course there are those lucky musicians who can play it perfect every time. On these type of numbers John decides his own drum beat to play. We might occasionally suggest the use of conga drums on a particular number, but he always fixes his own beat.
OUT ON THE TILES: This is Bonzo’s riff (John Bonham). Originally we had a set of lyrics to go with this relating to a night going out on the tiles.
GALLOWS POLE: A traditional song which stems from Lead Belly. I first found it by Fred Gerlac. We have completely rearranged it and changed the verse. Robert wrote a set of new lyrics. That’s John Paul Jones on mandolin and bass, and I’m playing the banjo, six-string acoustic, and 12-string and electric guitar. The bloke swinging on the gallows pole is saying wait for his relatives to arrive. The drumming builds nicely.
TANGERINE: That’s commonly known as a false start. It was a tempo guide, and it seemed like a good idea to leave it in - at the time. I was trying to keep the tempo down a bit. I’m not so sure now it was a good idea. Everybody asks what the hell is going on. I did the pedal steel guitar and that’s Robert doing the harmonies as well as lead.
THAT’S THE WAY: Ah, this was written in Wales, where Robert and I stayed at a cottage. It was one of those days after a long walk and we were setting back to the cottage. We had a guitar with us. It was a tiring walk coming down a ravine, and we stopped and sat down. I played the tune and Robert sang a verse straight off. We had a tape recorder with us…that sounds a bit strange, but it was part of the kit… and we got the tune down. This wasn’t recorded in Wales, if I gave that impression. The ‘Los Paraguyos’ bit is the mandolin.
BRON-Y-AUR STOMP: That’s an acoustic bass, not a double bass. It’s like an acoustic guitar with a reasonable body. John Paul took the frets out and he plays it acoustically. This has got the rattling of the kitchen sink - we’ve got everything in it! We over-dubbed Bonham on castanets and spoons.
HATS OFF TO (ROY) HARPER: There’s that freaky echo. The voice sounds like that because it went through a vibrato amp. This came about from a jam Robert and I had one night. There is a whole tape of us bashing different blues things. Robert had been playing harmonica through the amp, then he used it to sing through. It’s supposed to be a sincere hats off to Roy because he’s really a talented bloke, who’s had a lot of problems.
Which was Jimmy’s favorite track?
“I like ‘Gallows Pole.’ But there are others - the point is we have seventeen tracks to choose from to put on the album. Some were written out at the cottage. Some show different stages of development.
“There was a lot like our early stuff - pretty powerful. And John Paul Jones wrote a piece which was all piano, which would have related to what’s coming up in the future. This album was to get across more versatility and use more combinations of instruments. The next one will be just one long track on one side with these combinations of instruments, mandolin, banjo and so on. It would last about 25 minutes with instrumental sections. It’s still in the planning stages.
“We’ll never stop doing the heavy things, because that comes out of us naturally when we play. But - there is another side to us. The new album is totally different from the other and I see that it’s obviously a new direction.
“The fourth album should be our best, and if it isn’t well, we might as well give up and retire with red faces. I haven’t read any of the reviews but people have got to give the LP a reasonable hearing.
“Everybody in the band is going through some changes. There are changes in the playing and in the lyrics. Robert is really getting involved in his lyric writing.”
Where did the cover idea come from?
“It was my idea to have a revolving wheel. I remembered those old gardening catalogues. You’d turn it to ‘roses’ and find out what kind of manure to use.
“There’s a lot more to see on the wheel. When you get fed-up with the LP there is the adde pleasure of ripping the cover apart to find out what’s on the rest of wheel.” - Interviewed by Chris Welch
Uhh I don’t know how to start this but, I’m so done with the older part of the kiss army. I’m talking about Facebook, Kiss YouTube, and yes Reddit. I’m done with the endless comparing, antisemitism, and the utter refusal to change in any certain way.
I know that many of the members aren’t the best people in the world, but oh my days give them break! YouTubers like almost human are always (sorry for my French) up Paul’s, Genes, Eric’s, and especially Tommy’s ass. It’s so ridiculous! Getting mad at a person for doing their job and especially when they literally don’t have a choice in the matter. It’s their fault that they were put in that situation.
It’s been almost 4 years of me being in the Kiss army, and it’s just so exhausting to see grown men with families and rent to pay literally man-handling the current lineup to dirt. Sometimes I wish the original lineup would just kiss and makeup (see what I did there) so the other members shouldn’t get blunt end of the knife for their actions.
Sometimes I don’t even know if I can talk about any of this because I’m afraid of someone screaming at me for being wrong or having the “incorrect” opinion, for not glazing everything Ace and Peter does. It just sucks, I want to talk about music, kisstory, and just niche stuff about the band. Not playing compare and contrast of who’s better.
I’m just glad I’m mainly on here!
P.s: Anyone want to be friends, I kinda feel left out :(
Highkey I've been waiting for someone else to say this, feeling like I was being unreasonable for thinking it myself. I have a lot of respect for older fans, don't get me wrong - it's awesome that they were actually there for a lot of the big moments. But it's frustrating to see so much negativity in some communities, which is why I've largely abandoned Reddit for here. I want to hear about the incredible experiences of my elders (heh) without the obvious favoritism towards some members and antisemitic and homophobic comments towards certain other members. I hope that you find this community more welcoming - I certainly have! It's nice to have normal, reasonable people of many different ages here!
BP Fallon recalls staying in a hotel in Chicago when a group of female fans tracked down Plant to his hotel suite and burst through the door, only to be confronted by the sight of Fallon and Plant quietly playing Monopoly in face cream. “We’re trying not to laugh so the gunk won’t crack,” says Fallon. “We continue our solemn game of Monopoly… our visitors shuffle about uncomfortably, wondering what the hell had happened to sex and drugs and rock’n’roll. ‘Let’s go,’ one of them says. ‘It wasn’t like this with David Bowie.’”
