The disaster was that the Tampa show was filmed by an audience member then accidentally exposed it afterwards. They were definitely on that night, both TSRTS and SA are among the best of the tour IMO. Also, whoever bootlegged the audio did a damn good job before the rain came down. Would have been amazing to have that whole show recorded in this quality along with some film footage. Fuck!!!

If this show were to come out in the same quality as Deus Ex Machina, I think it would blow it away.

What's criminal to me is being forced to watch JPJ riding around on a fucking horse while Page is playing the best solo of his life (or anybody else's).

How bout this thought, there never was a robbery. Maybe, it was staged. Ya' never know with these guys except for one thing...never believe what they say If the premise is that "the mafia got to them" then it would make sense that there would be no need to put that cash in a safety deposit box. Just hand it over to the mob, pretend there's been a robbery and get the money back from the insurance company. According to Grant, they actually got back more than they lost. Sounds like a win win situation if you look at it that way, not to mention the publicity it generated.

#1 To count the money, after each gig which was in cash (serious shit right there). #2 Stand on side of stage with arms folded while band plays...watching everything and keeping his crew on point as he always did. #3 Deal with the promoters and all their shenanigans, Cole could only do so much and he certainly had his hands full. #4 Keep band out of jail. Sans the Oakland incident, I'm sure that Grant 'managed' to prevent these hooligans from being arrested many many times, that must have been a full time job in itself. #5 this is a quote from a link below that I have added..."He was the hands-on manager who always travelled with the band, made sure costs were kept down, and that promoters paid up. Grant did more for LZ than what 99% of the managers from that era or this one ever did for their artists, the history of this speaks for itself. http://teamrock.com/feature/2016-11-21/the-last-days-of-led-zeppelin-g-force

Did any of the managers you talked to do this? "Peter Grant ensured that the vast bulk of ticket profits wound up in the hands of the band rather than in the hands of promoters and booking agents, and is reported to have secured 90% of gate money from concerts performed by the band, an unprecedented feat. By taking this approach he set a new standard for artist management, single-handedly pioneering the shift of power from the agents and promoters to the artists and management themselves." Or, did any managers you talked to manage to secure a record deal with full artistic control for their bands? I've never heard anything but admiration from other big time managers concerning Peter Grants handling of Led Zeppelin, and jealousy from the many many other bands who were ripped off by their managers, wishing they had had a manager like Peter Grant. "Grant should have never went on the road as his obligations were to Swan Song and his new acts". Really? I guess Peter Grant didn't do things in the normal way that others did, it seems to me to have been a very successful venture all around especially in comparison to any other band in history that I'm aware of.

This is fucking awesome! Thanks Sam

John Blackwell, gone at 43 yrs old....damn! RIP man

Such a great performance of this song. Jimmy's delicate playing is really outstanding here:

No, thats the reason 'Entwistle' kept touring. Notice how many times they've toured after Entwistle died? That blows that theory right out the window.

Hey Chase. I totally get where your coming from on this, so let me explain where I'm at on this subject: It always chaps my ass when The Who and Led Zeppelin are compared in this context. Led Zeppelins decision (including Grant) not to continue without Bonham was a testament to the importance of his contribution to the band as well as any desire or need to continue on as a unit without him. The Who (on the other hand) did the exact opposite with their two most most crucial elements that comprised the sound of the band. After those two were gone, what are you left with? Kinda reminds me of The Fast And Furious Franchise pt 17. Awww shit one of lead characters just got burned alive....next, gotta keep it moving man, theres still money to be made here folks. I can't really blame them though, this is how they put bread on the table....and we all need bread.

"Majority" my ass! They wanted that money, man. Plain and simple.

I'll bet it took less time for Townshend & Daltrey to make this "hard decision" than the "half a minute" it took you to find the answer to my question...a lot less. Besides, the Ox wouldn't have given a shit either way: “I wasted my whole fucking career on The Who,” he said between gulps of Remy Martin brandy, his favourite tipple. “Complete fucking waste of time. I should be a multi-millionaire. I should be retired by now. I’ll be known as an innovative bass player. But that doesn’t help get my swimming pool rebuilt and let me sit on my arse watching TV all day. I wouldn’t want to, but I’d like the chance to be able to.” This interview took place in the mid-nineties, at a time when John’s frustration at The Who’s post-Moon stop-start career, itself a product of Townshend’s need to find creative fulfilment elsewhere, was at its worst. There was also the gut-wrenching realisation that because of catastrophic business moves in the mid-sixties The Who would never make anything like as much as they deserved in royalties from the sales of their records. It is not hard to imagine John brooding over the rock star names in the Sunday Times Rich List, the individual Beatles, Stones, Floyds, Zeppelins and Queens, and, brandy bottle to hand, cursing his luck that he wasn’t amongst them.

Ok. but, you didn't answer the question....

Question? How long did it take The 'fucking' Who to replace John Entwistle?

They had to be tripping on acid at this show. I've never heard Bonham twist up the entire drum pattern during the solo section like this before, and Page and JPJ somehow rolled with it and turned into sheer fucking magic. The intro to the solo is much longer than I've ever heard and Bonzo is setting the tone for a very different version of this song. Again, they were on some good acid and slipped into another dimension here. What a trip!

Not the best recording, but the playing is really good. Page is seriously on point throughout his solo. Starts at 12:30

Vienna '73. Page and Bonham's playing sways between soft, aggressive and vicious. Its just fucking mean! One of my fav's