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Everything posted by Bonzo_fan

  1. Bonzo_fan

    Definitive Blueberry Hill

    What's that?
  2. Bonzo_fan

    Shows from 1975 with no recording

    Even 3/12 Long Beach? I agree, the shows at the very beginning would be top of my list too, especially Bloomington, because didn't Plant get the flu after that show? Potentially his voice was good at that one?
  3. Bonzo_fan

    Shows from 1975 with no recording

    Yeah, I don't think it worked as well as Dazed did in the '75 style (slowed down/less energetic in parts). And even Dazed fell flat at least as often as it took flight in '75... Dazed is my favourite song of theirs, and '75 is my favourite touring year, but '75 Dazed is not my favourite combination.
  4. Bonzo_fan

    What show or live song are you listening to now?

    Indeed. Always been my personal favourite across all years.
  5. Bonzo_fan

    Seattle 1972 and Animal House

    Interesting take...could be!
  6. Bonzo_fan

    Vienna 73 and Bonzo’s Birthday Party

    5/13 Mobile is great too! It's a soundboard that runs into (or through--can't remember) "Moby Dick"
  7. Bonzo_fan

    Best Live Bass Solo

    Not sure if we were supposed to stick to actual solos as such, but I'll a bit of a sleeper: "Whole Lotta Love" on 7/7/80 in Berlin.
  8. Maybe it takes a drummer to notice Bonham's slight mistake. He doesn't go out of time or anything, it's just that it's a distinctive drum part of the song at that point and he starts it sooner than usual, forcing him to repeat it once more than usual.
  9. Yes, I noticed this for the first time on the board as well.
  10. 39:50 is in the bow solo...
  11. I would gladly drop up to $100 for silvers of the complete show in this case, even though that's probably more than I should spend on it as a 23-yr-old with more "responsible" things to do with my money. I suspect that there are at least 100 of us on this forum alone who would pay that for the complete show, so there's their $10,000... Also, with respect to cuts/songs left off of this (hopefully) initial release, the one that's been bothering me the most is the outro jam of Dazed being almost entirely missing. The outro jam of Dazed, along with the transition from 1-piece to 2-piece to 3-piece in NQ in later years, is my favourite part of live Zeppelin! Its omission from this release especially sucks because that part of the song is missing from the old good source (whatever the consensus is to call it) too, so we're stuck with the sub-par audience sources for it ☹️
  12. @gibsonfan159 Can you please do a nitpick of this show now that (some) of the soundboard is out?!
  13. Ahh, intersting. I will do that; thanks!
  14. Ok, thanks! Yeah, I made a membership a few minutes ago, but still couldn't figure it out. Doing the File Factory one now. Thanks! Zach
  15. Forgive my ignorance, but how does one download something from this Dime website? I'm trying, but not figuring it out lol
  16. Bonzo_fan

    Pick em . . Japan 1971 or 1972?

    To be fair, I've never listened to much from Japan '72--I've been meaning to for awhile now--but I suspect I will prefer '71 as the rest of you do.
  17. 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!
  18. 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!
  19. 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.
  20. Bonzo_fan

    What show or live song are you listening to now?

    Neither do I. I've always liked that part as well.
  21. 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...
  22. Bonzo_fan


    Thanks, Strider 😊
  23. 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)...
  24. Bonzo_fan

    What's the worst live performance of a song?

    Jimmy gets thrown off because Bonzo throws in the beat from "The Crunge"!
  25. 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.