Huh? Dazed and Moby are bad in your opinion on HTWWW? Not to me. Dazed is just off the hook bad ass, aside from the beginning of the jam when Jones and Page are in two different keys. LOL. The middle of Dazed '73 ( bow solo /jam section ) is more varied and may be " better" than in '72 , but that's just how it evolved. The way the band plays the head on HTWWW is so full of dynamic power and Plants voice is at its best. The ending is total Hammer of The Gods! Bonzo's solos on both versions of Moby Dick are brilliant but TSRTS is so chopped up, the editing is annoying. The version on HTWWW is much better in terms of continuity, his chops are incredible and I love the wood shell drum sound. I'm not a big fan of the compressed EQ job on HTWWW but I love Bonzo's green sparkle kit , especially the bass and toms. They have much more warmth and tone than the vistalites.

I've seen that pic before, but never heard it was possibly the last. Didn't even know it was taken after the summer '80 tour. Bonzo's face looks quite sunburnt and he does indeed look very thin. Does anyone here know if any pics were taken during the rehearsals in Sep of '80?

Good catch. It is likely a double exposure or superimposed shot of Rufus Jones playing with Duke Ellingtons band on their UK tour of 1967. Dukes band wore light/ white jackets which the sleeves are partly visible on the trombone players. Speedy also played a dark pearl Premier kit on that tour so that has to be it.

Thats not correct about Speedy. He played with Basie, Duke Ellington and James Brown in the 60's. I have a few records with him playing. I think he was active even in the 80's. Rufus "Speedy" Jones Born May 27, 1936 Died April 25, 1990 (aged 53) Genres Jazz Occupation(s) Drummer Instruments Drums Years active 1950s–1990 Associated acts Count Basie, Duke Ellington, Maynard Ferguson, Lionel Hampton, Henry "Red" Allen, James Brown I suppose they could've used some stock session photos to create a hip montage . Were these pics used as promo?? That would make sense then.

That's my thought too. I think there is video footage of this scene as well , might be wrong. They look more "officious" somehow than just groupies.

Yes! Very much so. I still am fascinated by these images. It looks to me like a reflection of the control room glass, not a montage or superimposed but that's definitely a possibility.

Another pic from the session. Anyone know who the drummer is?

Ah I see, sorry. I thought that was a GIF made from DVD menu footage from that gig. I'm sure I've seen it somewhere on the dvd.

I have read that the date is Sept 5 1966 on Page's website. Who is the drummer in the glass? Kenney Jones is the only name I could find related to that session, and that sure ain't him.

Looks like Zach Galafanakis worked for Showco...talking to JP.

That's from Reykjavik, Iceland June 22 1970

The Hawk is back in Chicago. Wind chill is -15 ° F.

Wish I could make out the print on the scoreboard. Pretty sure that's from 75, not 73.

Personal taste indeed. I strongly disagree, Page was clearly more versatile than Stevie. Consider all the variety of styles and influences represented in the Zeppelin catalog compared to Stevie's. The different effects that Jimmy either pioneered or commanded in his arsenal, the use of alternate tunings, the variety of sonics, the compositional variety. I'm certain that his experience in the London session scene contributed to his versatility. Stevie was a great blues player, but he didn't have that breadth of variety. Also, when did Stevie Ray Vaughan play Jazz? He is by no means a jazz player. Talk about rather rubbish! Still, Jimmy was sloppier.

Also, this thread title should be "Was Jimmy Page a Sloppy Player". Jimmy Page doesn't play anymore, as woefully demonstrated by his absence from the live music scene for years and his refusal/unwillingness to strap on a guitar and jam on a blues in Tokyo recently.

Agreed , on all counts. Jimmy Page, innovator , soulful, creative, multi- faceted and sloppy. SRV was most definitely a one or two dimensional player. A great modern blues player and that's about it. I really liked his playing though and when I heard him live at the University of Chicago in 1983 I was blown away. But most of his solos sound the same and I only listen to him once in a great while. However, Page I can listen to everyday, except for 77 and 80. No comparison as far as interesting soundscapes and compositions. Page had a way bigger arsenal of styles and sounds. SRV was way more precise than Page live but not as musically broad .

I have cdrs of lossless version of Blow Jobs that I got off an old torrent site years ago. I also have an excellent two source mix from same torrent site . Here's the info... 3/21/75 Seattle- 2 source mix from masters- Source 1 Lineage: Stan Gutoski's master reels x2 @ full-track mono @ 7.5 ips > Bill Bratton's 1st gen reels x2 @ full-track mono @ 7.5 ips > wav (24/96) Source 1 Taped By: Stan Gutoski in association with JEMS Source 1 Transferred By: weedwacker (Andy R.) Source 2 Lineage: Mike Tate's master cassettes x4> Bill Bratton's 1st gen reels x2 ( reel 1 @ 3 3/4 ips and reel 2 @ 7 1/2 ips) > wav (24/96) Source 2 Taped By: Mike Tate and Mark Gorelick Source 2 Transferred By: Presence (Jason P.) Both sources mixed and edited at 24bit / 96000kHz. Finished wav files downsampled to 16 bit / 44100kHz cd quality wav files and sbe corrected. I can upload lossless files to dropbox or wetransfer for you.

Yes!!! But, IMO it was the chemical reaction that was magical. The alchemy of the four elements. They collectively caught magic. To me, nothing after Bonzo's death is worthy of those defenses, tight but loose , sloppy but magical. Yes they've had successful carreers post Zep but none of them have produced music that I want to listen to on a regular basis. Of course Page was sloppy, especially live when he was high, trying to play voicings and parts to cover two guitar lines at times, guitar slung down low, gyrating and posing constantly. Plants voice was pretty well fucked after 1972 as well. But the alchemy transformed the overall sound into rarefied musical gold. Plenty of guitarists , musicians for that matter , that are technically precise but it goes in one ear and out the other. Pagey sticks in the middle of the head, flubbed notes and all.

In 1977, when I was 11 , my dad took me to see the The Song Remains The Same at the Carnegie Theater in Chicago. I was mesmerized from start to finish , especially with the haunting chords and riff of No Quarter. I got home and looked through the Zep Lps we had at home until I found that track. I played drums since I was 5 and after seeing the film I became obsessed with learning every note Bonzo played and trying to emulate his sound and feel.

Sure seems odd that there aren't any other board tapes from '72. I guess that years tapes were well hidden!

Jimmy has frequently browsed and bought/been given bootleg Zep titles in Tokyo. I'm sure he can't help but go down memory lane, curious to hear certain gigs .

Thanks duckman! Good info. Wish we had the other reels! Or any more boards from 72.

I have this too, as well as the Godfather box set which includes them on the last disc. Moby Dick is incomplete. These must be pre Kevin Shirley and they sound incredible. Where is the rest?? Why no good boards like this from 72? Not one. Seems strange.

Does anyone know why there are only three soundboard tracks from Long Beach '72 and their history? What Is And What Should Never Be, Dancing Days and Moby Dick. IMO, they sound better than any other unofficial board tapes, including any from 73,75,77. They are crystal clear and have a great sense of space that most boards don't have. I love the unprocessed sound way more than HTWWW. Are these multi tracks that sneaked out while HTWWW was being put together? It's interesting that these are the only known board tracks from '72 and they are so damn great sounding. Hoping some of the very knowledgable folks here can comment on this.

No, from the '71 version. I just checked it and there are about 12 bars missing at around 3 min mark. Plant sings 12 bars of Feel So Bad before singing " feel like my engine ain't got no". I haven't seen anyone else mention this edit, but it's definitely there. Small but nonetheless significant. Wow, so It's Your Thing is missing too from the Playhouse '69 version?? Bummer, that's such a funky ass moment! What else is chopped I wonder?