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  1. Page vs Millard. I prefer Millard, warts and all. I was listening to selections from LA 1977/June 22 & 26 today. Rough as ever but a little more polished than the versions I first heard about 5 years ago. Better still with my headphones. I started comparing the 2 shows to the June 21st/23rd. What a fantastic pair for the best week of live Zeppelin. 6 sold concerts. A week even better than any 6 consecutive days of Europe 73. All capped off by Mike Millard, his 2 "amateur" recordings, 21/23, one of which, by common forum consensus, should be on any top must-hear-live 5 list. For a band that performed 100s of concerts, an anomoly. There are very few official live recordings. That I wish would change, expect will change, but understand. Jimmy Page wants to add something unique, something the bootleggers haven't created. More professionally recorded shows exist, and yet, I'm not hopeful as I should be. Consider what's been done. For what we have, more often than not, they do not make the grade for a top 5 recommended live recordings. Even the French radio program I haven't listened to from the official 2014 releases, and I haven't found a good reason to do so. How wonderful it would be if a Mike Millard recording ever turns up for the 22nd/26th, given the fantastic job he did with what's out there. And given the strength of 22/26 in the form they are now - one may become a new top 5 if released. To take one song - I'm not sure that the best No Quarter for that week wouldn't be the 22nd. Then I got a little angry, confused. How could one man, impersonating a handicap, with no equipment other than what he hid under a wheelchair, do more for me, to present live Zeppelin at their collective best, with a great audience rapport, than Jimmy Page, with all his expertise as a studio musician, with all his professional equipment, with all his skilled collaborators - i.e. Kramer and Shirley? Most of my store-bought live albums sit on the shelf. What am I missing from the official releases, RAH, BBC sessions, HTWWW, TSRTS? Is JP making a mistake by not releasing unknown shows in their primal form because they have the raw, unfinished form of a Mike Millard tape? Should JP make a search for "lost" bootlegs, as he did for the official DVD, and release those with no touch ups? Maybe l should listen to the official live releases again, but when I do, I always go back to the "amateur" recordings, as I'm doing now with 1977 NYC. If someone can point a preference to JP's production of live material, I might find something that I've missed. Thanks.