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About Bonzo_fan

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  1. Bonzo_fan

    How the west was won

    I agree with you about Robert's voice and Bonham's snare sounding thin. I've never found the tempos to be a problem, though, and I prefer "Black Dog" a tad rushed if the alternative is too slow. My favourite version is 8/21/71 LA, and that one is coked up by "Black Dog" standards!
  2. Bonzo_fan

    What show or live song are you listening to now?

    Listening to 9/19/70 NY (Evening Show) a day late today, as I listened to the afternoon show yesterday. I forgot how great and intense the outro section of "Dazed And Confused" is from this show--wow! That's one of the sections that kept getting better as the years went along, but there aren't many Dazed outros as intense as this one! Hopefully this one is next-in-line for a soundboard release after 9/29/71!
  3. Bonzo_fan

    What show or live song are you listening to now?

    True, I forgot about that. I agree; Dazed from that show qualifies as special and unique as well. I would go with a Europe '73 version for the best instrumental virtuosity, but as far as its peak as a complete piece of music, more than just a song--like a symphony or opera, the 3/21/75 version takes the cake IMO. Each section has reached the peak/end of its evolution and is executed perfectly, with smooth and flawless transitions between each one.
  4. Bonzo_fan

    What show or live song are you listening to now?

    Neither do I. I've always liked that part as well.
  5. Bonzo_fan


    5/24/75 is definitely overrated, except for Trampled through to the end. And yes, a 6/22/77 soundboard would be a Godsend 🙏 I think the fact that the SB of the Noise Solo from 6/23/77 circulates, coupled with the release of the 3/21/75 & 9/29/71 SBs, proves that 6/22/77 and other 'holy grail' SBs likely exist...it's only a matter of time. And it's certainly encouraging that they would release 3/21/75 & 9/29/71 in consecutive years...
  6. Bonzo_fan


    Thanks, Strider 😊
  7. Bonzo_fan


    I think it's certainly one of the top contenders, but I don't think it's quite as obvious a choice as is sometimes suggested. As a drummer, I find different aspects of his playing stand out to me on each album/touring year. Led Zeppelin/'69 have his most aggressive bass drum work IMO (see "Good Times Bad Times," "Dazed And Confused," and "I Can't Quit You Baby"). Led Zeppelin II has some of his most interesting hi-hat work IMO (see how he makes straight 4/4 feel like a shuffle just by opening and closing the hat subtly on "Whole Lotta Love" & "Heartbreaker"). Led Zeppelin III has some very tight grooves in "Immigrant Song" and "Out On The Tiles," the latter featuring some excellent syncopation. The '70 shows still feature a lot of aggressive bass drum work and find his kit sounding as nice as it ever did IMO. Led Zeppelin IV finds him tackling some new time signature challenges ("Black Dog," which is easy enough to play, but would have been difficult to come up with the part (he plows ahead in 4/4 underneath the 5/4 riff), and "Four Sticks"). The '71 shows are sort of the last consistent hoorah for the super-aggressive bass drum work (aside from "Achilles Last Stand" later on I guess)--listen to "Black Dog" from 8/21/71 Los Angeles and notice how he never plays the bass drum that aggressively on BD in later years. His kit also sounds great in '71, and I find that his grooves sound very smooth in a kind of mobile, 'rollin' and tumblin''-sort of way--listen to "Heartbreaker" from 8/31/71 Orlando for an example of this. He does a lot of little partial rolls and ghost notes on the snare during the groove. 9/29/71 Osaka also features one the most spectacular "Moby Dick"'s of all time, and his rolling snare is evident on it too! I find '72 a bit more reserved than '71 for Bonham overall, but he's very tight, so you can't complain. Houses Of The Holy is maybe his most reserved album performance, but interestingly enough, a lot of its songs lent themselves to being live showcases for him ("The Song Remains The Same," "Over The Hills And Far Away," and "No Quarter"). It does have his funkiest groove though, in "The Crunge". Along those lines, '73 probably has his funkiest playing (particularly in the Dazed & WLL jams--especially in Europe). Europe '73 is kind of a final resurgence of the uber-aggresive bass drum at times. Overall, I would probably go with Europe '73 as his peak in the sense that it has the best combination of all aspects of his skill set/"game" being clicking at a high level and at the forefront, filtered through the very aggressive/'over-playing' mindset which would resurface in '77, if that makes sense. North America '73 is to Europe '73 what '72 is to '71 as far as Bonham is concerned, to me at least. Physical Graffiti has a lot of variety in his playing (as it does in everything else), but it definitely lays the blueprint for what would eventually be his '77 style with songs like "In My Time Of Dying" & "Sick Again". '75 gets an undeservedly bad rap on many fronts IMO, not the least of which is Bonham's playing. What his playing lacks here in spontaneity more abundant in earlier years, it makes up for with machine-like precision. '75 also features plenty of jaw-dropping individual songs from him (2/12/75 New York's "Heartbreaker" (precise) & his first two fills of the last verse of 2/10/75 Landover's "Heartbreaker" (spontaneous), 3/5/75 Dallas' "Moby Dick"), as well as legendary shows on his part (3/3/75 Ft. Worth). Presence is, in my opinion, his most impressive album performance. Other albums may have more fun or recognizable drum parts, but I would say Presence has the most technically difficult drumming, whether it's time signature stuff ("For Your Life") or pure physical difficulty ("Achilles Last Stand," which I consider to be the most difficult Zeppelin song to drum). Even "Candy Store Rock" has quite a trippy drum part for what is otherwise a fairly straightforward 4/4 song... I think it could be fair to say that '77 was the peak of his technical chops. His 'overplaying' in '77 sounds more calculated and controlled than it does in Europe '73. I think one of the best examples of his technical mastery of the instrument is 6/21/77 Los Angeles' "No Quarter". He completely takes the reigns and plays them like a lead instrument to perfection throughout a long jam meant to be a Jones/Page showcase, really, and contributes musical themes/ideas/riffs to the jam just like any other instrument would. Then, to top it off, he plays one of his most drool-inducing fills, at least for me, after the final "dogs of doom" line, which shows off his speed, precision, dexterity (getting back to the snare from the floor tom that quickly to go around the kit a second and third time) and syncopation (starting the first and second rotations around the kit on the bass in such a tight pocket). Really, his middle-years approach, which I consider to be his technical peak, was established on Physical Graffiti and in the '75 shows, and then elaborated upon on Presence and in the '77 shows. Basically, I would say that his chops continued to improve at least up until/through '77. It's sort of like what someone said in another thread back in the winter regarding the evolution of Page's playing over the years--Bonham's playing post-'73 may not have always been as fun, but it could be considered technically superior. I would say that his hands and his syncopation especially kept improving until their eventual peak in '77. Sure, the wild abandon of songs like "Good Times Bad Times" is great fun, and that is certainly an impressive drum track, but I find the machine-like precision of "In My Time Of Dying" and "Achilles Last Stand" even more impressive--and harder to replicate! You can hear this difference between early- and mid-years in his solos; the earlier ones are usually more spontaneous, which sometimes gives them a more energetic feel, but the '75 & '77 solos are, for the most part, so controlled and calculated (in a good way)...you can really hear him focusing on building tension in each pattern and just constructing it a bit more methodically. This, coupled with the overall increased length of the '75 & '77 solos (insane muscular endurance!), make these solos more difficult, and my favourites, though I would expect non-drummers to prefer earlier "Moby Dick"'s (understandably). In Through The Out Door is Houses Of The Holy's competition for Bonham's most reserved album, and this one stays just less reserved basically on the strength of "Fool In The Rain" alone, which is one of the greatest drum tracks of all time IMO. '79 has its moments that aren't a whole lot different than '77, depending on the song (7/24/79 Copenhagen & 8/4/79 Knebworth especially have great Bonham performances on "Achilles Last Stand"), but I have trouble noticing anything in his playing in '79 that's better than it was in '77. '80 is definitely his most reserved tour, but that certainly isn't to say that he played poorly (most of the time)...
  8. Bonzo_fan

    What's the worst live performance of a song?

    Jimmy gets thrown off because Bonzo throws in the beat from "The Crunge"!
  9. Bonzo_fan

    How The West Was Won Vs The Song Remains The Same OST

    Totally agree. P.S. The bass and toms are the only variable, as he used the same snare (Ludwig LM402) across all of his kit changes.
  10. A great version, indeed!
  11. My favourite public address moment has always been the introduction of the 9/19/70 evening show: "...as you know by now, the heaviest of heavies, they've become the most popular group in the business...THEY'RE HERE, LED ZEPPELIN!!!" Honourable mention to the 'outroduction' of 8/31/71 Orlando: "...uhh...William Combis, your wallet's up here"
  12. 😂 "No" to the OP or the post above yours nominating "Rock And Roll" from TSRTS?
  13. That must mean the full show 🤞
  14. Bonzo_fan


    As far as I know, it does/did circulate amongst a very elite group of collectors. I think Nutrocker is probably the guy to ask for more details on that.