In case anyone needs them, here are some download links (mp3 and flac): http://www.royal-orleans.com/phpBB/viewtopic.php?f=3&t=46588&p=909516#p909500 I have to say, I am blown away by how hot this show is. To be honest, I've never thought the Japanese shows, great as they are, were that much better than the smoking shows from North America a few weeks earlier. Plus the fact that this board was incomplete, I wasn't too excited about this release. Glad to say I was very wrong, sound and performance here is amazing, esp. HB, D&C, and STH. (CD is fun, not as good as Toronto.)

To the OP's query, the show can be downloaded here: http://starship.jpn.ph/zeppelin/beauty/file/index.jsp?R_date=1975/02/06 Personally I think this is a great show, probably the first great show of '75. It's not as good as Philadelphia or the famous Nassau shows, but the band (and Page in particular) is definitely in a groove. (FWIW Landover has been exposed with the soundboard, the wintry vibe of the audience recording appears to be illusory.) Plus the audience comments near the taper are fucking hilarious.

I hear a little bit of The Ocean in there as well.

Thanks for the previous reply. Different question: what was the temperature at the 1970 Bath festival? I know it was raining, and Britain, but it still looked freezing for late June.

When were these taken? The fall of '73?

This new song really tosses salad; sounds like some kind of New Wave shit. This is what they've been working on for the last 6 years?

I should also mention Philadelphia from 2-8-75, it's very fluid, almost 73-like. I re-listened to St Louis, and you're right, fantastic version of DC. The whole show really is great, even better than I recalled, but still a bit below the previous NY-area shows.

Sure, but the question is, who is "they"? The source surely has the complete shows, but I doubt EV does. I'm skeptical we'll see the rest of these shows. I'm actually more disappointed about TY and CB being left off 9-29 than WLL, to be honest. Still, it's an exciting release, it's been a great year for live Zeppelin!

I'll have to listen to the St Louis version again; my impression of the show is that it's a very nice end to the first leg of the 1975 tour, but not on par with the previous nights in NY/Long Island (apart from the stunning NQ in St Louis). As far as '75 goes, the 3-21 Seattle and 5-24 Earl's Court are at the top of the list. I love the '73 versions, esp. from July. Check out 7-12 Detroit, 7-27 NY, and 7-24 Pittsburgh for starters.

Agreed, one of the reasons that show is an all-time great. The version from the earlier Seattle show (the 17th) gets overlooked, it's outstanding.

I don't like '77 but I agree with this, what can be discerned sounds rather fluid. Ghastly recording, however.

You may well be right. (I think you may be mixing responses to different posts, BTW.) But it seems clear that these Osaka boards are coming from a different source than the "soundboard revolution" source (and even there you have to distinguish between the '75 and '77 shows).

Someone who would have had access to shows to be used in a presumed aborted official live release, e.g. Kevin Shirley or Jason Bonham.

Right! My suspicion is Page didn't have the energy/interest/motivation to put out an official "How the East Was Won" package, so someone in the Zep camp (perhaps out of annoyance) pirated the prospective shows.

My guess is the partial Osaka board from last year and this one (Black Dog was leaked, what, three years ago?) are coming from inside the Zep camp.

I used to believe this too, but the appearance this year of the 12-3-72 Glasgow show (a real gem) and the solid Detroit '72 show makes me rethink it. I agree there's probably not a lot hidden away, but there are probably some nice surprises.

Plus, the other dudes in the picture look more early 70's than late 70's. Didn't Page have a beard for the first couple of AUS shows?

Very cool picture, agreed. It's definitely not '71, but Page looks far too healthy for '79, I would have guessed '74.

The 14th is a great show, no question, but I think the previous night (the 13th) is better.

It's pretty cool, whatever it is.

FWIW a snippet of TFO was played at the final Earl's Court night, right before Tangerine. (And I fully agree, TFO is a truly great song.)

Only a fanboy would deny how similar the opening sequences of the two songs are. It's irrelevant that Page took the sequence in completely different directions (no one claims they're the same song), it's pretty clear (based on his evasiveness when asked about Spirit) where he got the idea in the first place.

They're claiming P&P were influenced by Taurus in writing STH, and that they violated the copyright that applies to Taurus' sheet music. Not a very strong case, and supposedly when California did reach out to Page in the 70's he was told bluntly (and factually) that there was no way he could hope to match Zep's legal resources. But ultimately it's gotten this far because of P&P's unwillingness to let go of the immaculate conception myth around the song, and simply admit (like musicians for centuries) that they'd heard something they liked, and expanded upon it. (STH is an incomparably better song, but that's not the point.)

Since California's estate isn't claiming to have originated those progressions, that's completely irrelevant. It's pretty obvious that Page was influenced by Taurus in writing STH, hence his evasive answers when asked about his familiarity w/Spirit's music. It doesn't follow of course that California is entitled to a writing credit, but that's the angle they're taking, not that California was the first person to come up with those progressions.

The rest of the following from 1973: 1st night in NY, 2nd night in Detroit, and Denver. From 1972 the first Manchester show.