Mr_K
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Posts posted by Mr_K
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2 hours ago, Strider said:
Here you go Mr. K. One of my favourites of the year.
I am double lucky tonight.
First a cleaner version of March 12 and now this - a super version of March 3. It's like 2 lottery tickets coming in at the same time! I will have to download at least one tomorrow on Black Beauty.
I have 5 hours of new Zeppelin to hear and don't know which to finish first!
Thanks Strider!
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2 hours ago, Strider said:
This will change your mind about 3.12 Long Beach. The third source is much better than the overloaded first source.
Wow! This is an improvement. I hope to find it on Black Beauty. Thanks.
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On 3/28/2020 at 1:26 PM, Bonzo_fan said:
As somewhat of a 1975 nut, I've been working on this list for awhile. I decided to wait until after listening to the tour again this year to post it in case my opinion changed about any of them. Two quick disclaimers:
1. With the exception of 1/22 Chicago and 2/3 New York, the list starts with 2/6 Montréal as I haven't listened to the ones prior to it, and;
2. I'm going to wait until after listening to the Earls Court shows again in May to decide where they fall within the list, although I have an idea.
Hoping this can lead to a fruitful discussion to keep us all entertained for a bit while we're quarantined! So, without further ado, the ranking:
- March 21 - Seattle -- Obviously it's a tough call between this and Long Beach, but Seattle is 40 minutes longer and has my all-time favourite version of "Dazed And Confused." This show has always been my favourite of any year -- just has that "it" factor for me. Such a treat to have it in such great sound quality now.
- March 12 - Long Beach -- Phenomenal, energetic show, perhaps Page's best of the year. Love the atmospheric quality of the third source that came out a few years ago, could make quite a matrix IMO.
- March 19 - Vancouver -- The 5/24/75 Dazed was my introduction to live Zepp, but I'm pretty sure this was the first full show I listened to. Other shows (like the two above it) might have slightly higher peaks, but this one is just rock-solid, good to great versions all the way through, including my all-time favourite version of "The Rain Song." One of the coolest, best, most concise (22 minutes and change) versions of "No Quarter" as well. It helps that it's probably THE best sounding soundboard of them all.
- March 20 - Vancouver -- Just a hair below the night before, really. A few more screw-ups (e.g. missed cue exiting the solo in "Trampled Under Foot"), but perhaps slightly higher peaks (e.g. better "Dazed And Confused" than the night before, especially on Page's part). The "No Quarter" from this show is really good, and seems to get lost in the shuffle when discussing the best versions of NQ -- the whole show kind of gets lost in the shuffle IMO. Another great soundboard, though not quite as clear as the previous night.
- March 27 - Los Angeles -- This is probably where my ranking will get a bit controversial. I've always had a big soft spot for this show. Perhaps it's because I discovered it back when I conflated longest version with best version -- it features four 'longest''s ("Black Dog," "Dazed And Confused," "In My Time Of Dying" and "Over The Hills And Far Away") and one 'second-longest' ("Trampled Under Foot") in addition to several 'longest' or 'second-longest' of '75. Features perhaps my all-time favourite version of "No Quarter." I find Page's solo very dynamic, with a real sense of plot -- as a matter of fact, it's his longest NQ solo. Like 3/21 Seattle, this show just has a nice, albeit different, vibe. It's the best sounding of the three '75 Forum shows as far as Millard's recordings go, but is still slightly hissy and lacking "oomph." My opinion of 3/24 improved a lot after hearing the remastered soundboard (or is it a matrix?). I suspect that this show and the one on the 25th would benefit similarly from a soundboard and potential matrix.
- February 8 - Philadelphia -- Perhaps Page's best show of the year, maybe even his best post-'73 show. Hopefully the soundboard surfaces soon so that we can confirm the quality of it.
- February 13 - New York -- This is a fun one, featuring the first of the 40-minute versions of "Dazed And Confused" and Ronnie Wood's guest appearance on "Communication Breakdown." The slightly overloaded soundboard really liberated this one.
- March 3 - Ft. Worth -- One of the most energetic shows of the year, especially Bonham -- approaching Europe '73/U.S. '77 aggressiveness for him. What a nice surprise the soundboard of this was.
- February 12 - New York -- Another great Bonham show (see "Heartbreaker"). Definitely takes the cake for best sounding '75 show with the matrix.
- March 5 - Dallas -- Underrated show, great Jones and Bonham show. All-time great versions of both "Over The Hills And Far Away" and "Moby Dick." One of the best sounding soundboards.
- February 14 - New York -- Looser than the previous two nights in New York, but still a good one. First of three '75 "Since I've Been Loving You"'s and first of four "circular funk" sections in "Dazed And Confused" in '75 (3/21, 3/25 and 3/27 being the others). Another good soundboard.
- February 28 - Baton Rouge -- Starts about as well as any '75 show. The first two thirds of it are energetic, succinct and powerful. Unfortunately, Page falls off the rails rather spectacularly after "Moby Dick." Would be Top 10 with a stronger finish. As is, it's still pretty close. Nice, punchy soundboard.
- March 17 - Seattle -- This one can be kind of hard to rank. It's one of the flatter sounding soundboards, so the experience varies greatly when listening through a good stereo or car speakers versus headphones IMO. It certainly doesn't have any train-wrecks, but not many soaring heights either, apart from the solo in "Stairway To Heaven." Cool piano-drum groove in "No Quarter," but then the instrumental section wanders a little bit compared to the very best ones from March.
- March 25 - Los Angeles -- Kind of follows the same pattern as 5/24 to me -- somewhat sloppy/lethargic start, but a great finish. A very cool "No Quarter" with Jones teasing most of the piano-drum grooves from the preceding month before settling on one and then switching back to the electric piano partway through Page's solo. Neat "Dazed And Confused" as well with Plant singing "Spanish Harlem" in the "San Francisco"/"Woodstock" section. Not the best sounding Millard recording -- would benefit a lot from being matrixed with the soundboard once it surfaces someday.
- March 14 - San Diego -- I debated putting this ahead of 3/25. It has a great "In My Time Of Dying," and a very long (only '75 version over 30 minutes) and interesting "No Quarter." Pretty good soundboard.
- February 6 - Montréal -- Great showing from Page, Plant still working his way back. Perfectly enjoyable audience recording, certainly not sound quality-prohibitive.
- March 11 - Long Beach -- This one never seems to make a strong impression on me one way or another. It could be because I'm always looking ahead to the next night. The thing I always remember most is Bonham shouting into his mic at the end of "Moby Dick" lol. What confuses me is (correct me if I'm wrong), nobody has made a matrix of this yet. It's a great Millard recording and a great soundboard -- why wouldn't you make a matrix?
- March 10 - San Diego -- I feel like we need a soundboard of this one to accurately judge it. "Sick Again" sounds significantly faster than any other version I've heard, to the point of making me wonder if the tape runs slightly fast. Sounds like a very energetic show, but I'll reserve judgement until the soundboard surfaces.
- February 16 - St. Louis -- This one isn't bad by any stretch, and has some great highlights, such as "No Quarter," but also feels at times like they expended all of their "end of the first leg" energy at the three preceding New York shows. Good soundboard though.
- March 24 - Los Angeles -- My opinion of this one improved a lot when the partial soundboard surfaced, but still not enough to climb higher. The Millard for this one is very anemic sounding though, so it's possible that I'll think better of it when the full soundboard appears.
- January 22 - Chicago -- This one could be higher -- seems like a long time ago, so I may be misremembering as Roger Clemens would say. It's pretty good, and certainly nice to have for "The Wanton Song" and "How Many More Times." I'd like to hear the soundboard someday, because the audience recording, while clear, is a bit hollow/lacking punch.
- March 4 - Dallas -- Great, well-known soundboard, all-time great "Over The Hills And Far Away," mediocre performance overall.
- February 10 - Landover -- Mediocre show, but I LOVE Bonham's fills in the last verse of "Heartbreaker."
- February 7 - New York -- Not bad, but a valley between the peaks of Montréal and especially Philadelphia.
- February 3 - New York -- Marks the return of "Dazed And Confused," but it's a truncated and rusty version of it. They sound excited to be back at the Garden, but there isn't too much to remember the show by IMO.
Would love to hear what you all think!
My number 1. March 20, Vancouver. Listening to it as I write. I vote this gig as the "best of" in terms of the band being very tight, and playing well together on every song. No rust here. And Robert's voice is strong from the start. And Jones' bass is up in the mix. My gosh, what a musician. Under-rated and often under-mixed.
Tonight Zeppelin made it work. A real driving rock band.
"February 12 - New York -- Another great Bonham show (see "Heartbreaker"). Definitely takes the cake for best sounding '75 show with the matrix."
Agreed. And a great vibe.
"March 21 - Seattle" -
Number 1? - great peaks, but the band was just.... what is the phrase?.... a little off kilter. With the soundboard, I find it is a good yet an over-rated show.
"March 3 - Ft. Worth -- One of the most energetic shows of the year....."
I'm going to have to find this Texas killer!
Interesting how opinions differ. I'm no fan of Long Beach but I still hope for a soundboard of March 12 to reconsider.
I'm listening to Moby Dick, from March 20th, as I finish. I can't believe it. I like it!
In reviewing these shows, it seems like the band has matured. 69 to 73 is great but wild. In 75, they no longer have to conquer America. They own America. And Canada too.
Thanks for posting.
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June 21 1977. Millard. My favorite. Like a professional recording with happy warts!
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14 hours ago, 1998giventofly said:
So from the limited knowledge I have from working on music myself, I think the biggest difference here was the fact that it wasn't compressed to high heaven and brickwalled to the point that actual musical frequencies were being lopped off because the recording was so loud. There's no difference in the sources, it's still the master transfer that was used in 2003. Technology may have come further but I don't think there's been anything groundbreaking in terms of improving the sound here.
I think the real difference was in not over-compressing the whole thing. This way everything has room to "breathe" if you will. The best example to my ears is Jones's bass being far more distinct on the remaster, versus the muddiness of the original at times. I can pick out what his part far more easily than on the 2003 version. And just in general, the new remaster is so much more clear and crisp.
Cool! Yea, I noticed JPJ bass much clearer here. Wonder why JP didn't make it so at first release.
Listening to DAC as I write. Much better.
Thanks!
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1 hour ago, 1998giventofly said:
This thread should have what you're looking for, makes for very interesting reading.
Yes, this is good reading. Thanks for the suggestion.
What I'm looking for is a more technical discussion of what the heck happened between the first release of HTWWW and the 2018 remaster. The 2018 remaster rocks - the original sounds to me - well, I don't want to put into print what I thought of it - but I do want to know what JP did to make this version much more "alive" than the original. How did JP achieve a richer sound this time? New sources, new technology, new ears?
Thanks!
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On 2/20/2020 at 6:25 PM, Walter said:
Was just listening to this and having a toast! Great to hear CD anytime - makes me want the smoking 9/29 version even more! So glad these shows are being unearthed. Thanks for sharing!!
Cool upload! How can we get the rest? Someone will have to a How Japan Was Won.
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This blows me away. Any thoughts on how they did it?
I'm now a fan of HTWWW. Much clearer, cleaner, tighter sound.
Thanks!
PS. I'm actually listening to a download from a local public library. Good for them!
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17 minutes ago, gibsonfan159 said:
I thought the exact same thing when I first listened to HTWWW and actually didn't listen again for many years. It was just too over processed and lacking any sonic character. Not sure if you've checked out the 2018 remaster, but it's a vast improvement. Especially with the drums.
Thanks Zep Heads JohnOsbourne and Gibsonfan159!
Still listening to Mobile 73 as I write.
I have not listened to the remaster HTWWW. Don't want to. I would like to hear Burn Like A Candle again if it was cleaned up. I don't have bootleg ears.
I think JP should leave producing to younger ears. Someone like Giles Martin is better able to give us a fuller, more authentic sound of a concert.
Especially after listening to a Mike Millard recording, it would be easy to replicate the magic of the band. Still can't believe that a guy in a wheel chair could hide equipment and make as good recordings as, well, Betty Cantor-Jackson for the Grateful Dead and Tom Dowd for the Allman Brothers Band. Wonder if any of the stage crew ever caught on to Millard's trick, watching him get out of the chair to adjust the tape?
This DAC is excellent from 73.
Thanks.
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Hello.
I'm listening to Mobile 73 as I write. After 10 years, I'm still blown away by how crisp and well-balanced the sound is. It's as though I'm in the 5th row now watching the band to a perfect EQ through the PA system. And the Plantations - wonderful! The way a live concert should be released.
72 HTWWW. Start to finish a run through maybe twice since it's release. It's almost like high-tech engineers hired a great cover band for a digital studio day and audience noise was added. Good music but not the real Zeppelin at their peak.
Any thoughts? Hoping to get the end of Mobile some day from the same source, with the encores, and without the over producing that makes HTWWW a "who is this?" experience.
Enjoy the forum!
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On 5/3/2018 at 10:39 AM, bluecongo said:
Honestly?
Recording live was expensive back then, and Led Wallet didn’t see the need for outlaying lots of cash to professionally record lots of shows like the Grateful Dead for example.
Im sure Jimmy has few regrets in life, but not professionally filming and recording more live shows MIGHT be one of them.
But I doubt it.
Well said!
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20 hours ago, gibsonfan159 said:
Nitpicking Page 3/20/75 Vancouver (Canadian Crush)
The follow up to the excellent show from the previous night. Great sounding, balanced soundboard (with Jones again up front a little and excellent clarity on the drums).
Rock And Roll- Tape cut jumps straight to the verses leading into the solo. Plant doesn't sound as warmed up tonight. Solo- Adequate, but a little sticky. 1:20, Plant yodel. Side note- 1:21, the guitar sound makes me think Page is using extra light strings because it sounds like it's tuned a little high, but what's happening is he's pushing down hard on the D5 chord here and the light string guage (being more flexible) is ringing out higher. I suspect the light strings accomadate his injured finger, though they also sound more thin and twangy.
Sick Again- Plant has smoothed out some. First solo- Very solid, with just a slight absence of fluidity. Outro solo- Some slop at 4:16. 4:27-4:33, sticky fingers. Plant mentions the "Pugnant" smells coming from the audience, I think he meant "Pungent". Overall a fairly solid version. "B+".
OTHAFA- Good intro. I really wish Page could have opened this live with an acoustic, maybe mounted to a stand of some sort so he could keep his electric on for the main riff. Minor chord flub at 1:17. 2:08, Plant wasn't ready. Solo- Weird note at 2:47. Some good fluidity at 3:00. 3:40-3:50, good noodling. 3:54, missed note. 4:12, listen to Jones! 5:17, Page improvs some staccato style chords that sound pretty good. 6:38, careful Robert. Good version with a fairly solid solo. "B+".
IMTOD- The guitar drops a little in the mix. First solo- Good flow, with Bonham and Jones really accenting it. Page doesn't go wild, but he puts down some solid phrasing. Second solo- Page gets more creative and does some unique stuff, excellent. "A".
TSRTS- Page cranks up his electric banjo, sounding especially twangy here. First solo, 2:53, a little sticky. Outro solo- Nimble fingers return. Good energy for a solid "B+".
The Rain Song- Excellent sound. Mellotron- 1:54, weird notes. The sound quality actually makes the fake symphony sound a little cheesy and over-bearing. Rock section- Hits pretty hard with Plant belting out some good throaty vocals. "A", despite the not-so-mellow-tron (heh).
Kashmir- Warning: Over-bearing mellotron. But fortunately the bass pedal is subdued. 3:16, a rare Jones flub. 4:17, Plant goes for the heavens. 4:49, Plant squeak. 7:38, there's that confounded bass pedal. Page sounding good on the outro. 8:22, that awesome drum fill again. I have to say, I personally enjoy the versions where Jones is non existent on this. Still a solid version, "A".
No Quarter- Nitpicking Jones- 7:39-8:00, wonderful little melody. Very un-Zep like. This section plays out more like a film soundtrack. Page comes in elegantly. 12:44-13:00, nice series of runs and riffs. Page is in the zone here, playing with good fluidity and phrasing. 15:18, wah pedal kicks in and makes the guitar very toneless and shrill. 18:00, Page never seems to have much to offer on this wind down part and is stepping on a good jam between Jones and Bonham. He's be better suited hanging out until the main riff comes in again, but that's my opinion. Outro- a solid finish. "A".
Trampled Underfoot- Energetic with Plant sounding good. Jones is doing some neat stuff on his solo. Page- Maybe not shredding, but playing in a way that really accents the music and falls in line with the groove. 5:52, takes Jones and Bonham a couple seconds to get back on the main riff. Strong version, "A".
Moby Dick- A dynamic performance with enough change ups to keep it interesting, combined with superior sound quality.
Dazed And Confused- 2:21, Plant yodel. First workout- 5:09, awesome run. Page has a good flow going. The dry guitar tone doesn't sound great though. Woodstock- A flamenco style lead in to a stunning version, with Plant sounding like his older self. One of the best I've heard. Bow section is a little subdued except for when the drums enter, which sounds great. Second workout- 27:20-27:37, Page and Jones have a duel. Articulation is a little rough, but his phrasing is excellent through here. 29:00-29:20, Page is tearing it up. 29:40, some turkey sounds but still a nice run, aggressive run. Mars- Guitar is out of tune (I actually noticed it after the bow section, but he managed to avoid playing that string somehow til now). The climax hits hard though the guitar tone becomes very twangy, not Pagey's fault though. Finale- 36:35, Page is somehow doing dive-bombs on a Les Paul. The finale drags on a little. An excellent performance with Plant sounding enthusiastic and Bonham adding lots of nice little accents to Jimmy's playing. 39:37, a fan mentions the "Jack Daniels pic, which Plant acknowledges. Gotta be "A+" for 75, especially considering the Woodstock section.
Stairway To Heaven- Good tempo, but the mellotron is just slightly flat, almost unnoticable. 3:28, some flubbed chords on this ascending riff. Solo- 7:02-720, very sloppy. He gets back on track shortly after with some good phrasing and knocks the final four runs out of the park. I've gotta rate this track more critically than others and the flubs keep it at a "B".
Whole Lotta Love- 0:49, I love the way Page bends the chord here. Funk sections- Plant with the nimble toungue on "Licking Stick". Ozone Baby riffs galore. Theremin- Everything from a broken Atari to whale's screwing, with Jones putting down some RHCP bass lines. I can't imagine anyone on acid for this would've walked away sane. A cool version, but no "Crunge". "A".
Heartbreaker- Page's fingers aren't quite hitting the strings on the intro for some reason. 1:56, he puts down some very good fluid leads here. 2:48, not sure what's going on, maybe a technical problem. The solo- Sure it's subpar compared to others and he struggled some, but I've heard him do worse in some versions of Trampled Underfoot and D&C. 5:20-5:50 isn't bad at all. This is a bedroom jam solo and that's what it sounds like. 8:46, a very nice fluid run. 9:36, some flubs. Still gotta give it a C+.
Final Assessment- Another great showing from Page in Vancouver, where he always appears to be sober when he plays. I'm not sure if either show is better, but they're both definitely great for 1975 with Plant sounding very good. Apart from Trampled, Dazed and Whole Lotta Love, I'd pick the 19th as the overall better show, with a more fluid Page.
Enjoy your approach. You have one of those ideas that's so simple and good, everyone wonders - myself included - why they didn't think of it and execute.
Song by song , minute by minute, finish to close, you pick apart - pun intended - each flaw and success. And you help us to see concerts in a new way.
Hope at the end you decide on a best of 75. I'll have to re listen to Vancouver 3/19 to see if it can knock off NYC 2/12, which for me is still tops for the year.
And I'll wait for a complete earlier 1975 NYC soundboard to add to my collection.
Thanks.
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13 hours ago, SteveAJones said:
Rolling Stone trashed the first album and their most prominent writers did not hold the band in high regard.
Most if not all of that information can be found here:
Thanks for the quick reply!
Curious: a quote from the article is ”106 minutes and fifty three seconds of pure and alive rock as the sleeve insert put it...." I'm seeing 2:09:54 on my web site as I listen to the show. Is this a mix of the 2 bootlegs referred to in your post? PS. Sorry I didn't start a new topic on this. Thanks.
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Why a great album? No outstanding songs like WLL or STH or Kashmir, but an album that I can listen to repeatedly and enjoy from start to finish. Sure, I wish it was longer, had one or more songs with an edge to them, that really pushed a hard rocking sound that was a hallmark of of their earlier albums. Just one more tune other than ITE with a great guitar riff and I think the album would be rated higher than it is. Thanks.
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Am listening to 1970 Blueberry Hill. Really incredible show and great audience recording. One of my favorites. Can anyone tell me the history of the recording, the taper, the equipment, the location to the stage, the release of the recording, etc? Thanks.
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On 3/15/2017 at 11:36 PM, SteveAJones said:
The second Oakland show was Sun, July 24th. Their next show, New Orleans, was scheduled for Sat, Jul 30th.
The Complete Guide to the Music of Led Zeppelin by Dave Lewis (1994), When The Levee Breaks: The Making of Led Zeppelin IV by Andy Fyfe (2003), and Led Zeppelin - Dazed And Confused: The Stories Behind Every Song by Chris Welch (2006) are your best bets.
Thanks! I'll check them out.
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Hello. Any books on how Zeppelin wrote their songs? Something like "Paul McCartney: Many Years From Now"? Thank you.
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Hello,
Compare HTWWW and Burn Like A Candle after multiple listens.
There must be a post somewhere about this, so redirect me if needed. I tried doing a search top right but couldn't. My Samsung tablet might be a little ornery.
Why am I still wanting a complete soundboard of BLAC and still listening to HTWWW? JPJ's clean, powerful supporting bass, Bonzo's stupendous overpowering drums, JP's elegant guitar, and RP's clear vocals in excellent shape. But I miss the Plantations, the extended WLL, and the feel of the audience.
Did JP overwork it? With Mike Millard's recordings, especially 6/21/1977, you're there in row 6 and don't want to leave. Even the rough BLAC has a better live feel. HTWWW, good as it is, is studio recording in reverse, a bit over produced and under songed.
HTWWW leaves out Louie, Louie and Thank You? That should have finished off the official release.
Any thoughts? Thanks in advance.
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I have always considered Jimmy Page's guitar playing to be an art form.
Given that this thread is a discussion of his 'sloppiness' as a guitarist, the following quotes by famous Victorian Art critique John Ruskin, came to mind:
"All great art is the work of the whole living creature, body and soul and chiefly of the soul" -- The Stones of Venice I (1851)
"The picture which has the nobler and more numerous ideas, however awkwardly expressed, is a greater and better picture than that which has the less noble and less numerous ideas, however beautifully expressed" -- Modern Painters I (1843)
"Men were not intended to work with the accuracy of tools, to be precise and perfect in all their actions" -- The Stones of Venice II (1853)
Ruskin and rock. Nice!
I would add that the "whole living creature" includes Bonham, Jones, and Plant. The synergy between them made Page's solos a spotlight.
Artists need an outside, unique stimulus. Maybe Rembrandt was "sloppy" too, but his brush and palettes and models worked together to make him a classic.
I think Page's uneven excellence needs to be taken in context with the "steadiness" of his fellow musicians. His band put him on the rock pedestal.
Thanks.
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I would personally say the nuances you hear Jimmy Page play were picked up by his learning to play early on from recordings of other musicians. They form part of the feel of the pieces and are typical of blues and folk. I can give you many examples where the written music for Led Zeppelin sounds slightly lacking when played as written, but working with a recording it becomes possible to hear just that slightest pull-off from a note, say when changing position that isn't significant enough to be written down, but the piece sounds not quite right without it. It really isn't carelessness, it can take time to add that form of nuance to a piece and I'm sure many are totally deliberate to create colour or facilitate playing in one way or another. They tend to flow quite easily when the right and left hands are relaxed and the fingerings used by the original artist are replicated. They form the signatures or particular styles of course too.
It's always worth taking the time just to put on a recording and replicate what you hear now and then, there is much to be learnt from it and incorporation of nuances becomes second nature very quickly.
I'll just add also that replication of the nuances often gives an indication that one is playing the piece in the same way, some say you shouldn't bother but it really depends what one is attempting to achieve or learn at the time.
As a final edition to this post, It's all about how the music sounds, if a particular nuance works it was meant to be there!
Nice post! And I agree. It's all about the nuances. From Charlie Christian to Joe Pass, and Duane Allman (a guitarist who listened to jazz greats), the best made the most of coloring. I'm listening to them over because of their phrasing, their ability to get the most expression from often simple lines. Jimmy Page was a master of improvisation, often using similar patterns in new, exciting ways.
Thanks.
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Sydney 72. No contest. JP reached for every note and didn't miss. It just builds and builds and doesn't stop. Even the intruding audience/taper comment can't take away enjoyment after listening many times. And the rest of the show ain't so bad.
Thanks.
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Hmm, this is very hard, but I think that my favourite performances have to be:
Early days: 29-9-1971
Latter days: 21-6-1977
Agreed. Especially to introduce new listeners to the Led Zeppelin live. One caveat - 9/29/71 is great start to finish. 6/21/77 is a supreme listen without the drum and guitar solos - a huge chunk of the show. For the "middle" period I'd take Offenburg 73. If I had only 3 shows, if all the others were somehow wiped clean, I'd pick those to keep. Of course, should the soundboard for Mobile's 1973 encores become available. ......
Thanks for the post.
Ranking The 1975 Shows
in Led Zeppelin Live
Posted
Hello again.
I had a Zeppelin mind block, where you forget that a concert exists because you can't download it quickly.
I just went to the topic, "SOUNDBOARD FORT WORTH 1975?" I saw my post from November 2015 - this show had a 6 hour download. So I didn't. And forgot it existed. Now my Zep head has been freed.