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DISCID=e411870e
DTITLE=Led Zeppelin / BBC Sessions
DYEAR=1997
DGENRE=Blues-Rock, Hard Rock
TTITLE0=You Shook Me
TTITLE1=I Can't Quit You Baby
TTITLE2=Communication Breakdown
TTITLE3=Dazed and Confused
TTITLE4=The Girl I Love She Got Long Black Wavy Hair
TTITLE5=What Is and What Should Never Be
TTITLE6=Communication Breakdown
TTITLE7=Traveling Riverside Blues
TTITLE8=Whole Lotta Love
TTITLE9=Somethin' Else
TTITLE10=Communication Breakdown
TTITLE11=I Can't Quit You Baby
TTITLE12=You Shook Me
TTITLE13=How Many More Times
EXTD=BBC Sessions - Disc 1 of 2\nLed Zeppelin\n1997 Atlantic Recording
EXTD= Corporation\n\nOriginally Released November 18, 1997 \n\nAMG EXP
EXTD=ERT REVIEW: Led Zeppelin's BBC sessions were among the most popul
EXTD=ar bootleg items of the rock & roll era, appearing on a myriad of
EXTD= illegal records and CDs. They were all the more popular because 
EXTD=of the lack of official Led Zeppelin live albums, especially sinc
EXTD=e The Song Remains the Same failed to capture the essence of the 
EXTD=band. For anyone who hadn't heard the recordings, the mystique of
EXTD= Zeppelin's BBC sessions was somewhat mystifying, but the officia
EXTD=l 1997 release of the double-disc BBC Sessions offered revelation
EXTD=s for any fan who hadn't yet heard this music. While some collect
EXTD=ors will be dismayed by the slight trimming on the "Whole Lotta L
EXTD=ove Medley," almost all of the group's sessions are included here
EXTD=, and they prove why live Zeppelin was the stuff of legend. The 1
EXTD=969 sessions, recorded shortly after the release of the first alb
EXTD=um, are fiery and dynamic, outstripping the studio record for she
EXTD=er power. Early versions of "You Shook Me," "Communication Breakd
EXTD=own," "What Is and What Should Never Be," and "Whole Lotta Love" 
EXTD=hit harder than their recorded counterparts, while covers of Slee
EXTD=py John Estes' "The Girl I Love She Got Long Black Wavy Hair," Ro
EXTD=bert Johnson's "Travelling Riverside Blues," and Eddie Cochran's 
EXTD="Something Else" are welcome additions to the Zeppelin catalog, c
EXTD=onfirming their folk, blues, and rockabilly roots as well as thei
EXTD=r sense of vision. Zeppelin's grand vision comes into sharper rel
EXTD=ief on the second disc, which is comprised of their 1971 sessions
EXTD=. They still have their primal energy, but they're more adventuro
EXTD=us, branching out into folk, twisted psychedelia, and weird blues
EXTD=-funk. Certainly, BBC Sessions is the kind of album that will onl
EXTD=y appeal to fans, but anyone who's ever doubted Zeppelin's power 
EXTD=or vision will be set straight with this record.  -- Stephen Thom
EXTD=as Erlewine\n\nAmazon.com Editorial Review\nFrequently bootlegged
EXTD= and now digitally remastered by Jimmy Page, these tapes capture 
EXTD=a 25-month (1969 to 1971) arc in which Zep's sound grew to encomp
EXTD=ass the speed rush and jazz/blues festival stuff of their 1969 de
EXTD=but, the fully developed folkie musings of "Going to California" 
EXTD=(in which Plant vowed to make a hejira right up to Joni Mitchell'
EXTD=s front door), and the band's modestly popular multilayered epic 
EXTD="Stairway to Heaven." The Sessions also give a glimpse of nearly 
EXTD=off-the-cuff invention in an intense take on Robert Johnson's "Tr
EXTD=aveling Riverside Blues." Most other white blues musicians would'
EXTD=ve rushed to get this on vinyl; Page and Plant instead used it fo
EXTD=r parts, most notably taking its profound acoustic freneticism fo
EXTD=r Led Zeppelin III. --Rickey Wright \n\nAMAZON.COM CUSTOMER REVIE
EXTD=W\nthink for a second, February 8, 2003\nReviewer: jahsh (las veg
EXTD=as, nv)\nled zeppelin has done a lot of things musically, emotion
EXTD=ally, and every other "ally" in the book for people all over the 
EXTD=universe. they've accomplished this through various studio record
EXTD=ings and even more-so with live recordings. "BBC Sessions," is a 
EXTD=MUST as it can, as cameron crowe reportedly said to his mother, "
EXTD=...change your life." led zeppelin can tend to do just that.\nled
EXTD= zeppelin, however, cannot... \n\nexcuse me, led zeppelin HAS NEV
EXTD=ER or ever will be capable of (for more than the obvious reasons)
EXTD= doing anything LESS than what they did, and that is more than th
EXTD=e, "best." few musicians have been able to this- jimi hendrix, th
EXTD=e thirteenth floor elevators, miles davis, public enemy, etc. etc
EXTD=.\n\nas for the "shunned-i-wish-i-was-an-elitests' motto:" \n\n"[
EXTD=...]not as good without overdubs," a statement i've heard in so m
EXTD=any words more or less- whence spoken by a zeppelin "fan" complet
EXTD=ely revokes their opinion and self-proclaimed, "competence," that
EXTD= they acredit themselves for having. \n\ncriticisms, in that mann
EXTD=er, from anyone should and/or can ONLY be given when they WRITE/p
EXTD=erform/etc. songs contained in the zeppelin catalogue. this means
EXTD= WRITE not be able to play- anybody, including myself, can play t
EXTD=hese tunes verbatim- as they are standards to mosts guitarists. b
EXTD=ut,when one of us have written the most "requested rock song in h
EXTD=istory," or debuted an un-heard song from an up and-coming album 
EXTD=to a crowd that stared in silent awe after you played it, critici
EXTD=sms on this matter can be given- but never taken seriously. \n\nj
EXTD=immy page is the TWO HARDEST WORKING GUITARISTS IN ROCK N' ROLL H
EXTD=ISTORY. his perfomances on the 'BBC sessions' and on 'the song re
EXTD=mains the same' are proof of this. listening to live versions of 
EXTD=his songs showcases his great improvisational techniques with the
EXTD= blues and other songs- deviating away from pentatonic scales and
EXTD= warm-up's i leanred middle-school band class that can be heard a
EXTD= lot of other places. i would've liked to hear jimmy work around 
EXTD=some modal tunes as well- but his speed, great sense of time, and
EXTD= odd progressions are the most musical rock 'n roll compositions 
EXTD=ever created. live material from led zeppelin are guitarist/song 
EXTD=writer/singer/musician/fan "how-to's" and "you wish you could's" 
EXTD=that should be appreciated by everyone. \n\njohn bonham's ability
EXTD= to play under the group- not over shadowing or being too modest 
EXTD=with the rhythm, making it more than a percussive element to the 
EXTD=song... in some songs maybe even making it just as, if not, more 
EXTD=integral than melodic elements. its funny to see friends air-drum
EXTD= the bridge of 'stairway to heaven' that goes into the solo incor
EXTD=rectly (start counting on 'and'), or when 'dazed and confused' is
EXTD= sometimes mistaken for being in 4/4 or 3/3, getting lost on "mis
EXTD=ty mountain hop" for a quick count etc. etc... some of the his be
EXTD=st drumming on 'bbc...' would have to be on 'since i've been lovi
EXTD=n you.' especially after a thorough studying of the recorded vers
EXTD=ion is done. as with jimmy and the rest of the band- listening to
EXTD= a live version is like getting a whole new song- variations on a
EXTD= theme even, and sutdio work is NEVER lacking or missed in these 
EXTD=recordings. so for those of you that memorized all of those bonzo
EXTD= solos and confidently pound those dents into your dashboard, get
EXTD= ready for a new learning experience and dents on more places. \n
EXTD=\nrobert plant's vocals are undescribable- he too, rarely perfome
EXTD=d recorded versions verbatim live. "soulfull," stylings is what t
EXTD=hey could be called... could be. i just call it robert plant.\n\n
EXTD=john paul jones' song writing abilites weren't out in the forefro
EXTD=nt quite yet- at least i don't think, as far as i know- most of t
EXTD=he "more melodic/less" dissonant riffs/progressions are his- as i
EXTD= don't know exacts off hand- i cannot give him the proper credit 
EXTD=he deserves, most likely even with the specifics. \n\nthe best so
EXTD=ng on the set though would have to be, 'since i've been lovin' yo
EXTD=u.' displaying the band's entire scope and range- all the way fro
EXTD=m influences to their signature sound. they succeed in melting th
EXTD=e blues influences without sacraficing any oiriginality during th
EXTD=e verses and the solo. in the bridge portions and the ending, the
EXTD=y drop their trademark, "heavy-metal," sound in which all of the 
EXTD=band is other-worldly in sync with each other, creating recorded 
EXTD=evidence that they in fact did NOT sell their souls- as many of o
EXTD=ur parents' parent's might have thought. they even play gospel st
EXTD=yled changes, like the ending where robert plant can receive no p
EXTD=raise that would suffice. when plant sings, "do you remember mama
EXTD=, when i knocked up on your door..." the song turns into a psyche
EXTD=dellic master-piece (along with blues, rock, etc. masterpiece.) \n
EXTD=\nthe entire album is perfection- for lack of a better term, high
EXTD=lights being, 'whole lotta love," "dazed and confused," "that's t
EXTD=he way," well- i'm not in the mood to type down the entire trackl
EXTD=isting.\n\nall in all- the ablum, for those of us who yearn for n
EXTD=ew material sometimes, is a "change of scenery." never growing ti
EXTD=red of where led zeppelin took us, but just moving us down the st
EXTD=reet or out to the park for a day- some fresh air and sunshine, a
EXTD=nd just like the real world- we eventually come back home.\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nEssential for a full understanding of th
EXTD=is band., October 1, 2000\nReviewer: D. Mok (Los Angeles, CA)\nI 
EXTD=wasn't even born yet when these performances took place, so there
EXTD= aren't that many other places where I could have heard this band
EXTD='s live material.\nTo me, Led Zeppelin's BBC Sessions really poin
EXTD=ted to the studio skill of Jimmy Page. Live, without the benefit 
EXTD=of overdubbing, Zeppelin's music is not quite as good. Robert Pla
EXTD=nt, obviously, couldn't afford to cut loose his highest registers
EXTD= for fear of losing his voice before the concert/broadcast is don
EXTD=e, and since Zeppelin didn't use hired rhythm guitarists, when Ji
EXTD=mmy Page rips into his solos, there's no rhythm-guitar support, w
EXTD=hich takes away from some of the crunch of the songs. Honestly sp
EXTD=eaking, I don't think there's any version on this set that surpas
EXTD=ses the original recordings.\n\nBut that's not the point, is it? 
EXTD=The fact is, BBC Sessions is an excellent representation of the b
EXTD=and's history. Only after listening to that stripped-down version
EXTD= of "Stairway to Heaven", or the 15-minute wank of "Dazed and Con
EXTD=fused" (which doesn't come off well as a listening experience, th
EXTD=ough live audiences in its time mostly loved it), the noisy "Comm
EXTD=unication Breakdown". It's all testament to how great a job Jimmy
EXTD= Page did on crafting those Zeppelin albums. Musically speaking, 
EXTD=the Zeppelin backbeat (hailed by many as the best of all time) of
EXTD= John Paul Jones and John Bonham is the only part that didn't suf
EXTD=fer, coming off powerful and funky.\n\nJust from a musical standp
EXTD=oint, BBC Sessions isn't the greatest piece of the Zeppelin histo
EXTD=ry. Nevertheless, it's the closest I've ever come to seeing this 
EXTD=band live, and its existence only augmented my appreciation of Ze
EXTD=p's studio catalogue.\n\nAMAZON.COM CUSTOMER REVIEW\nLoud, Sexy a
EXTD=nd Raunchy, August 12, 2000\nReviewer: Nicholas Karp (Surrey, Eng
EXTD=land United Kingdom)\nThis collection of songs recorded from BBC 
EXTD=sessions is a quite oustanding collection showing Zeppelin as a y
EXTD=oung fire breathing blues band. The first side contains a powerho
EXTD=use of tunes with numerous versions of "communication breakdown" 
EXTD=and a couple of versions of "i can't quit you baby". This was zep
EXTD=pelin showing the kind of raw power and danger of their first two
EXTD= albums and many of the versions of the songs on this colleciton 
EXTD=actually outdo the original studio work, the sound is tougher and
EXTD= louder encompassing this period of Led Zeppelin better. The song
EXTD=s are also extended with dramatically lengthened versions of "i c
EXTD=an't quit you baby" and "dazed and confused", the first of many c
EXTD=lassics the group would do. Travelling Riverside blues, a robert 
EXTD=johnson cover is brilliant and is probably one of the best songs 
EXTD=never to get onto a zeppelin studio album thanks to Page's excell
EXTD=ent guitar playing.\nThe second side is an actual live show done 
EXTD=for the BBC which was done around mid '71 taking in the more elec
EXTD=tic focus of Zeppelin 3 and ZOSO with a slightly tamer but still 
EXTD=immensley powerful attack to the songs. It is clear though that Z
EXTD=eppelin have matured from the first side and the performance they
EXTD= give is something quite special. The medley at the end is an obv
EXTD=ious standout but it's the quieter songs such as "going to califo
EXTD=rnia" which shows us the leaps and bounds by which zeppelin have 
EXTD=acheived since their earlier work. Their effort of "stairway to h
EXTD=eaven" is also a defining moment and is a great introduction to o
EXTD=ne of the all time great songs. Black Dog is another great song, 
EXTD=and by using the "out on the tiles" intro, nobody saw it coming. 
EXTD=What continues to amaze from this release is their ability to pla
EXTD=y live, there is not a moment where they seem to lose the rhythm 
EXTD=or go out of time to each other, making the "greatest live band" 
EXTD=tag easily theirs. The other thing is on the alternate versions o
EXTD=f the studio songs, even though they may be drastically different
EXTD=, they still clock in more often than not at the same time, showi
EXTD=ng their ability at transforming a song without sacrifice.\n\nBas
EXTD=ically this album is excellent and shows clearly that as a live g
EXTD=roup they were loud and they were untouchable\n\nHalf.com Album N
EXTD=otes\nThe material on the BBC SESSIONS is drawn from the band's p
EXTD=erformances for the British Broadcasting Corporation in 1969 and 
EXTD=1971. Disc 1 is presented in mono while Disc 2 is presented in st
EXTD=ereo.\n\nLed Zeppelin: Robert Plant (vocals); Jimmy Page (guitar)
EXTD=; John Paul Jones (keyboards, bass); John Bonham (drums).\n\nReco
EXTD=rded between 1969 and 1971.\n\nIncludes liner notes by Luis Rey.\n
EXTD=\nThere is no question that Led Zeppelin was one of the greatest 
EXTD=studio bands ever. Every rock album made since 1969 owes a huge d
EXTD=ebt to the techniques Jimmy Page developed, especially his ground
EXTD=breaking "guitar-as-orchestra" style of layering track upon track
EXTD=. But what is often forgotten is that for all of their studio tin
EXTD=kering, they could deliver a live performance as powerful and ful
EXTD=l of spontaneity as any "jam" band.\nDisc one, recorded on four s
EXTD=eparate nights in 1969, shows a raw, blues-obsessed rock and roll
EXTD= band. The emphasis is clearly placed on creating a highly-charge
EXTD=d improvisatory atmosphere. Recorded in 1971, just before the rel
EXTD=ease of their seminal IV album, disc two captures a band explorin
EXTD=g the limits of what they could create live without losing sight 
EXTD=of their roots. The performances are more cerebral and introspect
EXTD=ive, with more attention paid to arrangements, though they still 
EXTD=find the time to stretch out and jam, particularly during "Whole 
EXTD=Lotta Love" and "Dazed And Confused." Recorded at two critical po
EXTD=ints in the band's career, THE BBC SESSIONS offers an important l
EXTD=ook at Led Zeppelin as they define and redefine themselves, and i
EXTD=n the process, rock and roll.\n\nIndustry Reviews\nLet Page and P
EXTD=lant timewarp you back to a pre-PHYSICAL GRAFFITI era when Zep we
EXTD=re still breathing blues fire. These oft-bootlegged live shows fr
EXTD=om '69 and '71 (remastered by Page himself) are sloppy, gravy thi
EXTD=ck, and rife with inspired Page-Plant interplay... - Rating: B\nE
EXTD=ntertainment Weekly (11/28/1997)\n\n...the band at their rawest, 
EXTD=bluesiest best.\nMelody Maker (11/29/1997)\n\n...the mettle of th
EXTD=e mighty Zep comes through loud and raw....BBC SESSIONS is a must
EXTD= own...\nMusician (04/01/1998)\n\n...captures Led Zeppelin in the
EXTD=ir early, hungry prime, a white blues-rock band with big ideas an
EXTD=d the instrumental might and cocksure nerve to pull them off...\n
EXTD=Rolling Stone (12/25/1997)\n\nLet Page and Plant timewarp you bac
EXTD=k to a pre-PHYSICAL GRAFFITI era when Zep were still breathing bl
EXTD=ues fire. These oft-bootlegged live shows from '69 and '71 (remas
EXTD=tered by Page himself) are sloppy, gravy thick, and rife with ins
EXTD=pired Page-Plant interplay...\nEntertainment Weekly (11/28/1997)
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