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Discussion in 'Music to Your Ears' started by ping-ping-clicka, Jan 24, 2021.
"But I'd better put you down for a little while..."
I really dig the singing and breathing through/with the harmonica Plant did in some of those early Zeppelin tunes, too. (Not this one, but others on the album if my memory is right). (Edited)
By the original author, his recording based on Otis Rush’s 1966 arrangement:
And, my favorite, the original recording by Otis Rush 1956:
I can smell the Old Style spilled on the floor.
(Edit: Not intended as a slam on LZ. We’ve all borrowed/stolen various licks and arrangements. I think the less flashy guitar and the older versions really work well for this number.)
The delay on the guitar is very cool, fascinates me,
in that the wet signal (delay) is louder than the initial dry attack, it POPS out at you, yet there is no sustain after this on the actual notes ( like a Revetb or some Distortion would impart). No trail- the notes are dead.
I think this may be a song Otis Rush may have done right? Definitely in his style.
Anyway love Led Zep I, ll, lll, llll, lllll, llllll, lllllll, llllllll.....
As much as I love Zeppelin, the earlier recordings have an authentic quality Zep didn't quite capture.
This live performance of I Can't Quit You Baby by Otis Rush is my favorite of his career, and he's one of my favorite bluesmen. This video just oozes cool.
I don't recall exactly where this was recorded, but it was one of the American Folk Blues Festival tours of Europe in the early '60s.
It's also worth knowing although Willie Dixon wrote the song, he wrote it about Otis Rush and the woman Rush was infatuated with at the time.
I don’t care what some blues purists or Zeppelin just copied or stole bashers may say. The album is powerful, hard rocking, bluesy, good headphone or speaker blaring music and is just plain good.
I really dig those old Zep records. Awesome song. Thanks for posting it.
It must be Sunday night
This is wonderful!
In this song we hear:
- where Jimmy Page gets the lead fill from
- where Ronnie Earl and others) gets his signature this backwards>forwards >backwards raking across the first 3 strings trill/ lick played over the lV chord
- where Jimmie Vaughan, Butterfield. maybe Buddy Guy too (?) get some of their vocal style from
- a true touchstone of electric blues
Pretty sure that's the Chess Records house band there. The great Fred Below on drums. I want to say it was recorded in Norway or Sweden on a Chess package tour.
I've always wondered why the top edge of his headstock was cut off.
Probably because not fitting in the case he had at the time. This headstock was particularly long!
I forget when I first heard Little Milton ( Probably in the '90's and I was in blues bands, listening and learning a lot- I went 'blues crazy,' buying CD's), but I remember thinking :
" This guy is every bit as good a singer and guitar player as the Three Kings, Otis Rush, Buddy Guy, Lonnie Brooks, etc., maybe better!"
Really dynamic and musical, but he didn't seem to be as big or universally popular as the others?
And I think it got a lot of people interested in looking back at the original versions.
Did Willie Dixon actually write this song or is he “credited” with writing it? I honestly don’t know the answer, but Buddy Guy says in his autobiography that Dixon put his own name on the paperwork for a lot of songs he didn’t actually write. He just knew better how to get credit, and what that credit is worth, than most of the naive musicians he backed up or produced in he studio.
The 8-tracks of Zep I and Zep II were always being played in the car in high school - not just my car, but pretty much every car you happened to be in. Those were great times, and those were great albums to have for a soundtrack to those days.
I love every LZ record, but I wish they'd stuck closer to the LZ I formula for at least a few records. II isn't too far off the mark, but III and beyond are different beasts.
Also, Plant's voice on LZ I is simply the rock voice IMO.