Jimmy Page/NV,USA 05.29.1991 Soundboard Edition

After completing his work on the 1988 release of "OUTRIDER," Jimmy Page, while working on remastering the Zep albums, began exploring his next venture and began plotting a Led Zeppelin reunion. His 1990 appearance onstage with Robert Plant at Knebworth, where he delivered a stunning rendition of "Wearing and Tearing," was a foreshadowing of the reunion. It later emerged that Page was seriously pursuing a Zep reunion, even going so far as to select a drummer to replace Bonzo. However, Plant's desire to continue his solo career stalled the reunion plan, ultimately creating a decisive rift between Page and Plant. However, things took a turn in 1991, when Geffen Records, Page's label for "OUTRIDER," suggested the launch of the project that would eventually become Coverdale-Page. His duo with David Coverdale, which would become a sensation in the rock world two years later, was also a closely guarded secret at this point. Japanese music magazines at the time reported that Page, who didn't seem particularly busy, was living afloat on royalties from his Zep albums. In reality, Page, who was in the US for meetings and rehearsals with Coverdale, stopped by a club in Nevada and popped into a live band playing there. While Page made numerous pop appearances from 1990 to 1991, including the aforementioned Knebworth, this club performance was his longest. The truth of the situation was revealed when a few excerpts were included on the bootleg "GIG'N MAN" credited to Page, and then in 1990 it was released under the title "JIMMY PAGE AND SOLD GROUND," featuring a photo of Knebworth on the cover. However, this recording only featured an amateur band called Solid Ground, and despite being a soundboard recording, it didn't garner much attention. To make matters worse, the extremely high pitch of the recording suggests that the SBD cassette recording from the live house's PA system was pitched up through dubbing. This double whammy has led to Page's live recordings being completely forgotten. The Low Generation recordings being released this time have been circulating among traders for some time, but they have finally been forgotten since the 21st century, and now, for the first time in a long time, they are being released on a limited press CD. The pitch error, which was the biggest obstacle, has been thoroughly corrected for this release. This release is on a completely different level from previous releases, and for the first time, it truly conveys the relaxed atmosphere of a club jam. The greatest appeal of this recording is Page's unrestrained, unrestrained playing in the club. According to the band's announcement, Page will be joining them during their second set. The set begins with his signature slow blues. Page is a fish in water, belting out "I Can't Quit You Baby" over and over again. Naturally, he's eager to play more blues, so he repeatedly plays "Tea For One" to the band, urging them to play a minor-key blues. The band also starts with a three-chord blues, but their playing is in major, not minor. The female vocalist even begins singing James Taylor's "Steamroller." Despite this, Page continues playing the original "Tea For One" phrase, and the performance seems disjointed until halfway through. It was a moment where Page could have easily shouted, "That's not right!" Surprisingly, he adjusted the key to the major key himself, perhaps having already heard it before going onstage. The first slow blues piece played was Ten Years After's "Spider in (My) Your Web," followed by a James Taylor song. As these selections suggest, Solid Ground was formed by members in their late 20s and early 30s at the time, and the repertoire they performed clearly belonged to a generation later than Page. This release, recorded with exceptionally accurate pitch, highlights the generational gap between the band members and Page, rather than the generation of the tape dubbed. Interestingly, after this, the band and Page can be heard discussing which songs to play. Page apparently realized that the blues of Muddy Waters and Otis Rush were out of the question for these guys, and they compromised by playing the rock 'n' roll song "Johnny B. Goode." However, even this might have seemed more like "the song Michael J. Fox played in the movie" to the Solid Ground members than Chuck Berry (laughs). For this release, the album has been recorded with accurate pitch for the first time, resulting in a two-disc format. Interestingly, the second disc also features several rock and roll tracks that Zep incorporated into the "Whole Lotta Love" medley from their 1972 US tour. Starting with "Slow Down," the bassist, troublingly, doesn't play the riff, and the break doesn't even stop, making the listener want to say, "No way!" Yet the overall performance is up-tempo, almost like a "ZEP rock and roll" performance in a higher key. Page even plays the same riffs he used on "Rock and Roll." When "Louie, Louie," another track heard on the 1972 US tour, begins, the band's sense of unity is instantly heightened. The transition from there to "Wild Thing" and "Hang On Sloopy" is smooth, and the two vocalists, male and female, are in top form. Yes, as you can see from this repertoire, they were just a typical American club party band. No wonder they can't play the blues (laughs). But it was surprising to see Page in such a good mood throughout the show. Live at Crystal Bay Club, Crystal Bay, Nevada, USA 29th May 1991 SBD Disc 1 (45:03) 1. Introduction 2. Spider in Your Web 3. Steamroller 4. Johnny B. Goode 5. Hound Dog / Blue Suede Shoes 6. Smokin' Again Disc 2 (36:41) 1. Introduction 2. Slow Down 3. Old Time Rock 'n' Roll 4. Kansas City 5. Louie, Louie / Wild Thing / Hang On Sloopy / Member Introduction Solid Ground Band: Chris Schauer - Drums Rene Best - Guitar, Vocals Debbie McIntyre - Vocals Special Guest: Jimmy Page - Guitar SOUNDBOARD RECORDING