Opeth // To Bid You Farewell

(Source: mrsnuff)

Led Zeppelin // Babe I’m Gonna Leave You

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Black Sabbath // Into The Void

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Megadeth // A Tout Le Monde

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The Beatles // Golden Slumbers-Carry That Weight-The End

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Type O Negative // Halloween in Heaven

Bonham on drums, Entwistle on bass as guest morticians
Bon Scott on vox, Rhoads just for kicks, on guitar Hendrix
Lennon sits in with his friend George but where is Morrison?

Of course I cried when I heard they’d died and took a part of me
Same time gave from beyond the grave became what was to be

(Source: mrsnuff)

Simon & Garfunkel // America

“Let us be lovers we’ll marry our fortunes together”
“I’ve got some real estate here in my bag”
So we bought a pack of cigarettes and Mrs. Wagner pies
And walked off to look for America

“Kathy,” I said as we boarded a Greyhound in Pittsburgh
“Michigan seems like a dream to me now”
It took me four days to hitchhike from Saginaw
I’ve gone to look for America

Laughing on the bus
Playing games with the faces
She said the man in the gabardine suit was a spy
I said “Be careful his bowtie is really a camera”

“Toss me a cigarette, I think there’s one in my raincoat”
“We smoked the last one an hour ago”
So I looked at the scenery, she read her magazine
And the moon rose over an open field

“Kathy, I’m lost,” I said, though I knew she was sleeping
I’m empty and aching and I don’t know why
Counting the cars on the New Jersey Turnpike
They’ve all gone to look for America
All gone to look for America
All gone to look for America

(Source: mrsnuff)

Dave Schulps Interview of Jimmy Page for Trouser Press (June 1977)

(I’ve got this from the book ‘Shadows Taller Than Our Souls’ by Charles Cross. And this is one hell-of-an-interview! This is only the Pre-Zeppelin part. There are eight parts y’know and I’m not patient enough to type ‘em all.)

PRE-ZEPPELIN

DS: I want to start out talking about ambitions before we get into all that kind of stuff, and sort of, what your ambitions were as a young guitarist and stuff like that. You didn’t immediately –

JP: It’s in stages, isn’t it?

DS: Yeah, you didn’t immediately go into a group.

JP: No, well I did play, well once I started getting a few chords together and a few licks together, I was searching feverishly for other musicians to play with, yeah, that’s for sure, but I couldn’t find any. It wasn’t as if there were an abundance like there are today. And I used to play with many groups on and off, anyone that could get a gig together really, that sort of thing.

DS: This is before Neil Christian and those people?

JP: Just before Neil Christian. But it was Neil Christian who saw me playing in a local hall, and he suggested that I play in his band, well I’d liked to play in his band, which was in London, and [indecipherable].

DS: Where were you from, you were from the suburbs?

JP: Yeah. So the fifteen-year-old guitarist went marching up to London with his guitar in hand. And I played with him for a few years.

DS: What got you interested in guitar playing? Was it just hearing it on record?

JP: Exactly. Yeah. I’d seen many records that were supposed to have turned me on to want to play but it was “Baby Let’s Play House”, Presley. You’ve got to understand that in those days, rock was sort of a dirty word, you know, it wasn’t even being played by the media. They just wouldn’t play it. When I said they wouldn’t play it, maybe you’d hear one record a day.

DS: But it wasn’t really until the Beatles that –

JP: Oh, no no no no – it broke well before the Beatles, but during the period that those records were coming out, “Good Golly, Miss Molly”, and things like that, Little Richard, Jerry Lee Lewis records, you’d hear about one record a day. That’s why you were forced to be a record collector if you wanted to get to be a part of it. Now I heard that record, and I just wanted to be part of it. I knew something was going on. I heard an acoustic guitar and a slap bass and an electric guitar – just three instruments and a voice. And it seemed to generate so much energy and I just thought, “there’s something happening here, and I want to be part of it”. And that’s when I started. Mind you, it took a long time before I got anywhere, by that I mean started to get any sort of dexterity in the fingers.

DS: You didn’t pick it up really fast? You weren’t –

JP: Well yeah, I mean I could pick it up as fast as – I was only learning off of records. I used to get each new Rickie Nelson record to pinch the James Burton licks and each new Presley, but I used to sort of learn them note-for-note perfect, and used to get B.B. King records. But all that was just the early stages and then after a while, I guess after one writes one’s first song, or something, you tend to depart from all that, and your own style starts coming through. It’s inevitable. You’ve got to have some sort of framework to work on.

DS: How old were you when you left Neil Christian and started really going into sessions, and how did you get into doing sessions?

JP: Well, I left Neil Christian when I was about seventeen, I guess. Sixteen-and-a half, seventeen. I went to art college for eighteen months, and then during that period I was jamming at night at a blues club, because by that time they’d just started to happen. And of course I already knew [swinging] music. And so I used to go out and jam with the interval band. Somebody asked me would I like to play on a record, and before I knew where I was, I was all doing these studio dates at night, and going to art college in the daytime. And it was a crossroads, you know, and now you know what one I took.

DS: What about that gig that Samwell-Smith departed on?

JP: Oh, the one in Oxford at the Marquee Club, with the undergraduates in penguin suits. He just got really drunk and fell into the drum kit and was making farting noises into the mike, and being generally anarchistic. Playing much like Johnny Rotten, like they do now. But I thought he’d done really well, actually, and the band had played very well, actually, that night. But he just added all this extra feeling into it. And when he came offstage, though, he said, “Well, I’m leaving the band”. Things used to be so final back then. The was no rethinking it, no going back on it, on decisions like that. Anyway, “I’m leaving the band, and if I was you people, I’d leave too”. To which he didn’t. And they were sort of stuck. Now Jeff had brought me to the gig in his car and on the way back, I said “I’ll sit in if you’d like so you can…” I think at that time I said, until you can get sorted out. But on the way back in the car – I mean, he’d often actually – think about it – he’d often said, “It’d be really great if you could join the band”. But I just didn’t think that it was a possibility in any way. Plus the fact that I’d turned him down a couple of times, I didn’t know what sort of feeling the rest of them would have about that, you know. Anyway, it was decided that we’d definitely have a go at it, and I’d take on the bass myself, though I didn’t understand bass, obviously, and then Dreja take over as soon as he could get it together, because he’d never picked up a bass before either, but except that, well I guess you know it was going to be easy for me to pick it up anyway, I suppose.

(Source: mrsnuff)

Gordon Lightfoot // The Wreck of the Edmund Fitzgerald

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I will have my indefinite leave now..so i hope this will help you cheer up.. Enjoy Geddy’s laugh! :)

(Source: mrsnuff)