There was an easy fix for the D6 flaw, but the damage was done by the time I found out about it. We had a Sony Store nearby, which is where we bought the equipment, and they fixed the D6 quickly when I took it in and complained. It was 50% larger than the D3, but it still works fine today. The D3 died a couple years ago. I see that my buddy traded LZ Boots the 10-15-95 Auburn Hills Page/Plant show also. The April show listed as Detroit was in Auburn Hills too, but LZ Boots' tape isn't either of ours. We were blessed with a "taping section" for the 1995 shows, and they put us in the correct spot too. I tried turning all my friends onto the Zep boots I'd been picking up since the early 1980's, but this particular buddy is the only one who really got into it, and he was (is) something else. He bought a DAT recorder for the 1995 tour, and he showed up at my place with a briefcase the night of the first show . . . he had built a collapsible tripod microphone stand with shock absorbers, and they actually let him take it in and use it.

It was more than a pleasure! Now that I think about it, I misspoke when I said my buddy and I had identical equipment. I had the Walkman Pro D3. He wanted to buy one but couldn't find one. I upgraded to the D6 and sold him the D3. The D6 had a known (not to me) flaw, though - the record button would sometimes just turn itself off. It did that a couple times during the D.C. show, so my tape is slightly incomplete. My buddy has shared a few things with LZ Boots recently - the 1988 D.C. show and a Page/Plant show from The Gorge (he had a DAT machine by then, and a short-lived but superior microphone), and I'm not sure what else. We traded the D.C. show to the guy from Fisheads International decades ago, so we assumed it was in circulation all these years. Sitting behind everybody else helped a lot with crowd noise, but beyond that taping is pretty straightforward - sit centered at the opposite end of the arena from the band, hold the microphone up so it's not blocked by people or seats and point it towards the stage, use good equipment and tapes, etc. This is bringing back some memories. I tried twice to sneak the equipment into Joe Louis Arena for Page in 1988 and got caught both times. We ended up duct-taping it to my buddy's back to get it in. He's hairless there, and I am not. We got caught taping the Rolling Stones at Spartan Stadium (1990?) because some clown did something which caused a bunch of security people to chase him past us. We got hauled into an interrogation room and got chewed out, then they took our tapes and escorted us out. We didn't much care because neither of us cares much for the Stones after 1968, but we had another buddy with us, and he just happened to be off taking a leak while all this happened. I went to Page/Plant in Cleveland alone in 1998 and got caught taping just as the encores began - they took my tapes and batteries but let me stay. I got caught four times trying to get my equipment into the building for Jimmy and The Black Crowes before giving up. But taping is great fun and there's no better souvenir than a tape of the show.

I encountered some bad luck trying to see shows from this tour. My flight to Chicago was cancelled after I had boarded the plane, and a show in Kentucky was cancelled the morning of the show after I had already driven there. I did catch Jimmy in Detroit (local for me), Washington D.C. and Pittsburgh, though. The shows were fantastic, especially Detroit. Joe Louis Arena was pretty close to full, but the Capital Center (D.C) was only about half full. The Syria Mosque (Pittsburgh) was sold out, but only had 3,700 seats if I recall correctly. It was amazing to see Jimmy in such a small venue! I bought a Walkman Pro in 1988 to start taping shows because Jimmy was coming. A buddy bought one too after hearing my Pink Floyd tapes, so both of us recorded the Page shows with identical equipment. There are several good tapes of Detroit, but if you have Pittsburgh or D.C., it's probably one of our tapes. The D.C. tapes have very little audience noise because we figured we might as well sit 15 - 20 rows behind everybody else to try to limit that noise.

This was a couple years before I got into Zep, but I remember seeing this on the local news at the time and wondering what the fuss was about.

The first two groups of three are pretty close, especially IV, II and III . . . the rest are not. Presence I PG IV II III HOTH CODA ITTOD

This does seem like the most likely source - it's obviously a very early version of the song and the sound quality is somewhat similar to the 2nd half of the Fillmore show. it's a shame so much of the song is missing.

I began collecting Led Zeppelin bootlegs in 1982, and by 1990 I had amassed the large majority of the shows in circulation at the time. I had also reached the point where 90% of my listening was shows from 1969 and 1970. As good as they remained throughout, the shows slowly became more structured, and the spontaneity and the sense that "anything can happen" in the early shows is the primary reason I still listen 41 years later. I'm of the opinion that the 2nd U.S. tour in April/May was their peak as live act, with the Winterland show on 4-26-69 being the absolute pinnacle. I also came to the conclusion that Jimmy Page never played his best when he knew he was being recorded for potential release, and the 1-09-70 RAH show is a prime example of that in my opinion. I'd take almost any night from the March/April 1970 tour over RAH, aside from (obviously) Memphis. This certainly doesn't mean I don't like the RAH show - I'm as thrilled as anybody to have it in the quality we have it in.

1 - Your Time Is Gonna Come 2 - Living Loving Maid (She's Just A Woman) 3 - Hats Off to Roy Harper 4 - Misty Mountain Hop HOTH - D'yer Mak'er PG - Houses of the Holy Presence - Royal Orleans ITTOD - All My Love Coda - Bonzo's Montreaux

Presence Led Zeppelin Physical Graffiti IV III II Houses of the Holy Coda In Through the Out Door

Cheaper here. https://t.co/Rb3s7RsrGy

"And who are you?", 1-10-69 Fillmore West, after Plant introduced the rest of the band at the beginning of HMMT.

Cassandra worked as a showgirl in Las Vegas when she was 17, but the Yardbirds were no more by the time she turned 17 in September, 1968.

Thanks. I generally assumed there are others, but it is nice to see one. The sticker placement is somewhat better on that one also. Marc

Thanks. I haven't seen another with the sticker myself, but the record itself isn't quite as rare as I thought when I started collecting in the 1980's - it's difficult to find more because of collector pressure than rarity. I began collecting Zeppelin bootlegs in 1982 and quickly became "Yardbirds - curious". I became a big fan of the band very quickly, and of Jeff Beck also. I started buying original Yardbirds releases because a number of tracks hadn't been reissued officially and I wanted them at better quality than the bootleg compilations that existed. I eventually did the same with She Just Satisfies after writing to dealers and collectors all over the world through Goldmine magazine. I eventually began collecting Yardbirds records for the sake of collecting as well. I sold the collection to Craig Moore (not Moerer) in 1996, mostly because I couldn't find anything new to add. Once the internet (and eBay) came about, I started paying attention to what was out there and what things were selling for. It only took 15 years of doing so before I got sucked back in. The item that pulled me back in was the Japanese Happenings Ten Years Time Ago / Psycho Daisies red vinyl 45 w/PS. I scoured the web like never before looking for contacts and buying opportunities, and within a month I found a new website a Japanese collector had built so he could sell his collection. That's where I found this copy of She Just Satisfies. My timing was quite fortuitous - prices were way down from a few years earlier, and a staggering number of rare items were popping up all over the place. I've never had much interest in memorabilia aside from records and live recordins. I do have the handbills from Fillmore West (Yardbirds and Zeppelin) and the Grande Ballroom (Yardbirds only), but that's it aside from the music. The owner of a local record shop started collecting and dealing in the handbills in the mid-1980's and had big stacks of them for sale at $5 to $10 each. I should have picked up a complete set (or five . . .).

Baja is a cover of the 1963 version by The Astronauts. JPJ admitted much later that he didn't play on A Foggy Day In Vietnam at all, and the backing vocals are rumored to be by Darlene Love and The Blossoms. I first encountered these tracks on a bootleg LP in the early 1980's, along with Jimmy Page's She Just Satisfies / Keep Movin' and the Robert Plant singles. The U.S. white label promo of the JPJ 45 is fairly common, but I've never seen a stock copy. The U.K. stock copy is rather scarce. Fun and interesting stuff to listen to!

I began collecting Led Zeppelin bootlegs in the early 1980's, and it quickly dawned on me that Jimmy Page never played his best when he knew he was being recorded. As good as 4-27-69 is, the 4-26 show at the Winterland puts it to shame - I have long considered the 4-26 gig the absolute pinnacle of the early Led Zeppelin, and I very much prefer the early shows to anything that came later. Led Zeppelin remained an improvisational beast throughout, but they were much more so in the early days. They were still in the process of conquering the world, they were young and hungry and feeding off the energy of the tremendous response to their shows, drinking and drugging were at a minimum, and they were 100% focused on the music with little regard for showmanship. The 1969 shows in particular were so incredibly different from one night to the next - they played basically the same songs every night, but with wildly different arrangements each night. To me, something was lost as the shows slowly became more structured, despite the very high level of the actual playing. It's difficult to cite individual tracks from the 4-26-69 show as standouts, as all of them are superior versions. Personal favorites, though, are As Long As I Have You and the earliest known performance of Whole Lotta Love, a version completely unlike the released version and subsequent live performances. This show is also the earliest recorded performance with the theremin, and it was never again used to such great effect. Other standout early performances are Fillmore West 1-10-69, Boston Tea Party 1-26-69 and any of the few shows available from the fall of 1969. The winter/spring 1970 shows were phenomenal as well - if I had to recommend one, I'd go with Copenhagen simply because the full array of encores are included in the recording.