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Everything about Coverdale/Page, right down to the goofy copping of the Presence artwork, is an attempt to recapture the pompous majesty of Led Zeppelin. It doesn't succeed, of course, but it does leave all of the Zep clones in the dust. Although Jimmy Page plays better here than he has since 1979's In Through the Out Door, there is a conspicuous lack of solos. If you've never liked David Coverdale, his performance will not change your opinion…

The Black Crowes were dogged with comparisons to the Rolling Stones and the Faces throughout the first decade of their career, so it came as a mild surprise that they teamed with Led Zeppelin guitarist Jimmy Page in late 1999 for a couple of concerts. Zeppelin had a mystique and majesty about them that the Crowes never attempted to emulate. They were an earthy, bluesy rock band and while they found a number of different ways to rework their influences, they never tried the stately grandeur that was Zeppelin's second nature. So, some observers were curious to see how these two approaches worked. Well, it worked very, very well indeed. It shouldn't have come as a surprise that it was a good, comfortable fit since Page always demonstrated a true love of blues and early rock & roll, even on Led Zep's heaviest moments. What may be a surprise, at least to listeners that always dismissed the Black Crowes as revivalist hacks, is how supple and muscular the band sounds on Live at the Greek and how powerful vocalist Chris Robinson is. The double-disc album essentially replicates an entire concert from Page and the Crowes, one of the first before they set out on a full-length American tour in the summer of 2000. They stick to Led Zeppelin classics and old blues and R&B standards like "Woke up This Morning," "Sloppy Drunk," "Mellow Down Easy," and "Shake Your Money Maker," plus the Yardbirds' "Shape of Things to Come" and Fleetwood Mac's "Oh Well." No Crowes songs are here due to contractual reasons - the band left American/Columbia in 1999, and they were not allowed to recut any song they released on the label in the years immediately following their departure; but in a way, that only strengthens the album. By pounding out hard-driving blues-rock and classic Zeppelin tunes, the band is able to stretch out and reveal just what a capable, versatile band they are. The true sign of their abilities is that Page sounds looser and happier here than he has in years; he sounds like he's truly enjoying himself, a quality that is debatable on the Page & Plant records, no matter what their virtues are. Live at the Greek isn't a landmark release, and only hardcore Page, Black Crowes, and Zeppelin fans are likely to want this, no matter how vibrant and lucent these faithful interpretations are. But for those fans, they'll be quite pleased with how good, how strong Live at the Greek is.

1997 Japanese 27-track compilation CD album featuring Jimmy's early work with Neil Christian & The Crusaders, Nico, The Masterminds, John Mayall & The Bluesbreakers, Eric Clapton, Joe Cocker & The Yardbirds. Jimmy Page is an English musician, songwriter, and record producer who achieved international success as the guitarist and founder of the rock band Led Zeppelin. Page began his career as a studio session musician in London and, by the mid-1960s, had become the most sought-after session guitarist in England. He was a member of the Yardbirds from 1966 to 1968. In late 1968, he founded Led Zeppelin.

Though the soundtrack for Death Wish 2 may not sound like an interesting record on the surface, it is actually a significant release for any number of reasons. For one thing, it was the first album that Jimmy Page recorded and released after the breakup of Led Zeppelin, and the album serves as a fascinating transition from Zeppelin's final studio release, In Through the out Door, to the work Page would do with his ill-fated supergroup the Firm. In addition to containing Page's work with a full orchestra, there are several pieces that showcase his well-established ability to create eerie, unnerving guitar and synthesizer lines, mainly to serve as accompaniment to the film. Page also delivers three fully composed rock songs, "Who's to Blame," "Hypnotizing Ways," and "City Sirens."

BLACK PAGE were formed in the mid 1980s as a Japanese rock quartet by Bunmei OGAWA (keyboards), Itsufumi OGAWA (guitars), Kozo SUGANUMA (drums), and Tsuneo KOMINE (bass) - already all of them had been musically professional. Regardless of their sense of humour cultivated in Osaka, they had played lots of gigs with their astonishing technique - featuring Itsufumi's complex guitar play much influenced by Alan Holdsworth, Bunmei's Emerson-ish thrilling keyboard explosion, aggressive drumming by Kozo called 'Tekazu-Oh' (in English, The King Of Full Speed … sorry no appropriate expression here), and Tsuneo's strictly precise bass-quake. In 1986 BLACK PAGE released their one and only album 'Open The Next Page', in that their terrific technical approaches could be remarkably approved by progressive freaks all around the world, but sad to say, they were disbanded soon after that.

Classical Opera continue their series of the complete Mozart operas on Signum with Zaide - a new completion of Mozart's unfinished work by conductor Ian Page. Composed during his early 20's, Mozart began work on the opera in Salzburg but later left the work to compose Idomeneo, subsequently leaving no overture or third act. The opera is set in a totalitarian regime where a couple have fallen in love, incurring the jealous of the ruling sultan.

Selection of rare cuts from Jimmy Page (& Friends) recorded during the 1980s.

The Black Crowes were dogged with comparisons to the Rolling Stones and the Faces throughout the first decade of their career, so it came as a mild surprise that they teamed with Led Zeppelin guitarist Jimmy Page in late 1999 for a couple of concerts. Zeppelin had a mystique and majesty about them that the Crowes never attempted to emulate. They were an earthy, bluesy rock band and while they found a number of different ways to rework their influences, they never tried the stately grandeur that was Zeppelin's second nature. So, some observers were curious to see how these two approaches worked. Well, it worked very, very well indeed. It shouldn't have come as a surprise that it was a good, comfortable fit since Page always demonstrated a true love of blues and early rock & roll, even on Led Zep's heaviest moments…