Yes, he was a real doctor who toured with the band. There's more info about him in this thread: Also, you can find all of Robert's between song talks about badgeholders by going to this page and typing "Badgeholder" in the Plantation Search box at the top of the page: http://www.ledzeppelin-database.com/geekbaseweb/speechpage.aspx

There is an audience shot video from the centrum. Who ever shot it did a good job with it. I remastered the audio soundtrack, which came out pretty well. I still need to upload the video with the new audio, so I don't have a link just yet. I'll make a new post about it so everyone who is interested has a chance to download it.

Dupe....

Thanks. Hopefully the remaster enhanced what was always a really good performance.

I was at that show, too Jimmy definitely played really well. If you're interested, I remastered the soundboard from that show and merged it with an audience video of the show. Send me a message if you want a copy.

They only played Hartford the one time. They dropped the orchestras for the '98 tour but didn't play Hartford. The closest they got was NYC and Albany in NY and Boston and Mansfield Mass.

I was also at the Hartford Page/Plant show. It took place on 10/21/1995 and they had the Egyptian orchestra and members of the Hartford Symphony Orchestra performing with them. You can see some of those extra players in the wide shots in the video of Black Dog below, which is from the show. Regardless, it was a great show and Jimmy was definitely in fine form.

Send me a message if you want a copy of the full show.

One of the things I find interesting about the '75 tour is that it follows the longest layoff from performing live that Jimmy had since 1965. He joined the Yardbirds in 1966 and toured with them in '66, '67, and '68, then toured with Zep basically non-stop until late July, 1973. The break that followed lasted almost exactly 16 months (August 1973 - December 1974) so I wonder how much rust factored into his playing after the long layoff. Given the injury to his hand, it's hard to determine what part it might have played in the early parts of the '75 tour versus an intentional change in style versus rust. And I think it's interesting that he had even longer breaks between the end of the '75 tour and the start of the '77 tour and the end of the '77 tour and the '79 shows, as well as a shorter but still significant break between Knebworth and the 1980 shows, and the dates on those latter tours are known for sticky fingers. They were also relatively short tours (even though they were all meant to go longer), perhaps not giving him enough time to get into peak live form. This idea first occurred to me during the '95 Page/Plant. He was generally felt to be playing as well as he had in ages by the time the Fall shows rolled around, which was roughly half a year into the tour. His playing maintained a high level as the tour continued in early 1996. He then had a long layoff before the start of the 1998 tour, which featured early dates in Europe that gave him time to shake off the cobwebs outside of areas with major press coverage. He then returned to form for the latter parts of the tour, and continued playing well in 1999 and 2000 with The Black Crowes. TLDR; Maybe Jimmy just needed a good amount of time on the road to get into peak form.

Soundboards typically do not have any reverb on them, which is why they're often referred to as "dry". Any artificial reverb on the instruments at the show would be added after the point in the signal chain where the sounds from the instruments are recorded on the soundboard recording. That artificial reverb will be captured by the audience recording, and it will also be enhanced on that recording by the natural reverb of the sound bouncing off the walls of the arena (the absence of that natural reverb is why audience recordings of outdoor concerts typically sound different than audience recordings made at indoor shows.) The artificial and natural reverb captured in an audience recording are essentially "baked into" the recording, just like the sound of distortion on a guitar, and can't be removed (they can be reduced, but not removed completely, at least with any software I'm aware of.) Because of that, an audience recording of a show won't sound like a soundboard from the same show, even after remastering the audience recording.

I'll send you the link for the remastered show. I have the rest of it, but my internet is so slow it would take me the better part of a week to upload it (seriously.) One of the things I'm looking forward to in 2022 is finally getting high speed internet, either through Starlink or our town. Both are supposed to be available in the Spring (it's currently Winter here), so hopefully in a few months I'll be able to leap from 1980's internet speeds into the modern age.

"Bootleg: The Secret History of the Other Recording Industry" by Clinton Heylin is a book. It covers everything you just mentioned, and more.

The vast majority of the soundboards that have been released publicly came out decades after the band broke up, so I don't think the roadies were responsible or they would have come out much sooner. Also, the people who worked the soundboard for the majority of Zep's shows for which soundboards have been released were from Showco, an industry leader in live sound production. They worked for tons of big bands besides Zep and if they were found to be leaking soundboards their business would have suffered quite a bit, so they had no incentive to make a few extra bucks releasing those recordings.

Thanks. I'm glad you like it. I agree that Michael Lee was having a really good night, as he often did in the Page/Plant shows.

From the time they started in 1968 until The Song Remains The Same was released in 1976, there were no official live releases from the band, even though they had recorded a number of shows (Royal Albert Hall 1970, Japan 1971, the 1972 California shows that became HTWWW, etc.) Bootleggers helped fill that gap for an audience who was hungry to hear live Zep at home, and while the band may not have approved of them, they would have understood that bootlegs helped grow the legend of the band. Also, it would have been nearly impossible to stop people from recording shows without taking extreme (and expensive) measures that were not common at concerts back then. There were no metal detectors at the venues, and thoroughly hand checking everyone at a show would have taken too long at a sold out hockey arena or football stadium. The band could also have hired lawyers or detectives to track down Dub and Ken and the other people who were creating bootleg LPs (if you're interested in the history of bootlegs, check out "Bootleg: The Secret History of the Other Recording Industry" by Clinton Heylin), but that would have been costly and wouldn't have stopped the flow, just slowed it down for a while.

James Dewar, bassist and vocalist for Robin Trower. I always liked his bass playing and loved his singing. Can't believe it's been almost 20 years since he passed away.

I remastered disc four of the "No Quarter World Tour Highlights" box set. It's only part of the show, but a good performance from the soundboard that's worth hearing. If you want a copy, send me a message. Here's a sample:

My wife got me "Led Zeppelin: Denmark 1968-1970 (Unseen Nordic Archives)" by Jorgen Angel, which I really like.

Very nice. Thanks for all you guys are doing for the Zep community.

Thanks for this. Nice job once again.

A few tracks from it are up at Black Beauty: http://starship.mydns.jp/zeppelin/beauty/disp/boot.jsp?R_idx=2896

Buckethead - 7/9/2016:

Very nice. Thanks for this.

You'll find that Zep's live shows are a whole different experience than their studio albums. Start with the officially released live material (BBC Sessions, How The West Was Won, The Song Remains The Same soundtrack, the LZ DVD, etc.) and if you like them, go from there to the world of unofficial recordings. The easiest way to check the unofficial material out is in the Live forum on this site (see link below.) The sound quality of those recordings varies widely, from unlistenable to really good, but they give you a chance to listen to shows you otherwise wouldn't get a chance to hear. https://forums.ledzeppelin.com/forum/5-led-zep-live/ And here's a really good guide on another site to Zep's unofficial recordings: https://www.royal-orleans.com/phpBB/viewtopic.php?f=21&t=18827