We wanted a musical feast and got a happy meal. Here’s hoping he was holding back for the 50th releases.

Any major new releases will likely coincide with the Xmas run-in for maximum profit.

In the world of Led Zeppelin, I've learned to never say never. I mean the Ahmet concert came out of literally nowhere. We shall see what unfolds.

Recording in the depths of winter in Britain. Is this ITTOD 2? ;-)

Each to their own, but it's a snore-fest for me. Like SIBLY grew up and got depressed. Only bit I really like is the opening riff in the weird time signature.

Flamin' Nora! That's steep for effectively a tribute act, albeit it a rather unique one. I saw JB play back in the 90s with Paul Rodgers, so already ticked him off the list. Still tempted though, 'cause they don't come out to Oz often. Hmm...

To my knowledge, all three members have to agree on any Zep posthumous releases. Of course I get your point that Jimmy would be the catalyst for any such activity. At risk of repeating myself, the two main stumbling blocks are: a. they are all minted and don't need the cash b. Plant is enjoying a glorious Indian summer in his solo career

I always loved the malevolent intro to this song when it was played live (especially the Knebworth 11th version when the camera cuts to Jimmy's face and he looks like an extra from The Walking Dead). Another treat is hearing Page playing his blue strat live: bending chords with the whammy bar and conjuring up demonic sounds. The one thing that never quite worked was the guitar sound blending with the synth. They never seemed to gel to form a powerful hole and sounded quite distinct. Maybe a limitation of the technology and sounds available at that time.

It's got nothing to do with that at all. There's a general census on this forum that CP has Page's best studio playing since Zeppelin, featuring the old guitar army back in force. The criticisms are generally that Coverdale's lyrics are cheesy and the production is over-blown, and are unrelated to Plant's jibes at Coverdale. It might be a cultural thing as well. I reckon a lot of American listeners won't mind the lyrics and production, but the Brits will def think they're a bit on the Somerset cheddar side.

I pray to God it doesn't involve something already released being remastered. That would be very underwhelming.

If Jimmy pulls out all the stops and give us a banquet of old Zep live stuff for the anniversary, then all will be forgiven for not coming good on his new music.

Won't these anniversary celebrations clash with Page's new album and solo tour? ;-)

It's more that it's Page's most fluent performance - especially in the solos - since 1975 and he maintains that consistency throughout the show. Plant is great too, the band are tight, and the sound is the best Zep audience recording I've heard.

I suspect there's a good chance that none of the band, outwith Page who is know to collect boots, have heard this performance in the subsequent years following the gig. But I still believe the chances of a soundboard are high, given that it was a Kneb warm-up and they would have wanted to hear how things sounded.

The only song I like by the firm was Cadillac. The collaboration didn't work, as Page was too adventurous for Rodgers, who had a brilliant, but big old fashioned voice, and a bag of cheesy lyrics to boot.

Jeezo, that blog post above on the CD is full of bitter recriminations and almost puts me off listening to it. Anyway, jams are jams, especially with house bands, so I'm not getting my hopes up. I remembering listening to Page's jam with Jaco Pastorius and the one he did at Phil Carson's nigthclub with Jason Bonham, and both were underwhelming.

I'm 99 per cent sure I read the studio time was free in return for Zep using it and putting it on the map, so to speak, as they were a huge band and word of mouth would spread. The studio was new and Sweden wasn't on the map as a recording mecca. Can't remember where I read it, unfortunately.

I loved the mixed on Presence. Crystal clear and you could hear the drums and guitars perfectly. Only dubious production was on Tea for One which was a bit muddy, but they maybe intentionally wanted a kind of hazy feel to that song given it's downbeat, world-weary vibe. I wished they had returned to the Presence studios in Germany for ITTOD, instead of being tight arses and going to Sweden to take up ABBA's offer of free use of their new studio. I mean, they weren't short of a bob or two and it was like -20 in Sweden when they went there. And they didn't even check out the studio beforehand and Page admitted the sound was "dead" when they got there. I don't think any of that helped the vibe of the ITTOD sessions.

If they want to take the tapes to the grave like some modern day tutenkhamon, then so be it. Who knows, the 50rh anniversary year could throw up some surprises. Probably an empress valley titanium box set for $10 zillion Bucks.

Sounds like a classic conflict of interest: Curbishley was managing both Plant and Page at the time, so giving Page more of the spoondoolies would have irked Plant and vice versa. I don't agree with Page's stance on wanting more of the royalties split, but I can see his point of view regarding Curbishley. He was paying Curbishley to represent him, not the other surviving members of Zep, so he would expect him to fight his corner exclusively.

Great find. Thanks for sharing. Looks like Curbishley made a shed load of money for Zep's surviving members in the 90s with that royalties deal. They should be very thankful, and interesting that Plant, Jones and (Bonham's estate?) agreed to Give Page extra cash unofficially because he was producer. Would love to know the point of principle that caused Curbishley to resign as Plant's manager. Maybe Curbs was a West Brom fan ;-)

Chase, that is your funniest joke ever!

Why? What would he use it for?

Agreed. Let's move on.

Can't let it go, can you. Have to reply with another insult. I put forward my reasons: specifically that you thought scraping a 50 per cent return on companion tracks was acceptable and I thought, along with many other fans, that it wasn't and the release was a major disappointment. To rationalise your argument you had to go to the lengths of creating a convoluted key system with ratings. When it comes to the point when your creating keys and tables and graphs to judge music, then you've lost the argument already. As I said, "music is judged with emotion and gut feeling" not pie charts and protractors. What's next a gantt chart to justify Page's musical inactivity.