Damn, you're right. I've never realized the lyrical complexity and deeply perplexing concept of honky tonk women before.

Just got done listening to Providence, RI- 1973. A very good audience recording and a great show. Page very nimble, although he scrogged the RnR solo lol.

Man, I've been reading "The Garden Tapes" by Eddie Edwards and it's kinda blowing my mind how much editing went on for both the film and soundtrack. It honestly makes me lose some respect for them. Hell, even the Plantations were spliced from different nights. The whole thing is more or less a sham. It's really hard now to say "The version from TSRTS is the best" because....that's not an actual performance.

I liked Jones' look on the Danish TV special. He was the coolest, most confident looking member in the band. WTF happened.

Forgive the quotations, I'm on mobile.

Maybe as a whole with that monstrous set list, but I don't think Page was on as well as MSG 73. His soloing on No Quarter, Dazed, and TUF leave a lot to be desired. And whoever tuned his guitar for that Seattle show needed a beatdown. Robert's voice was also noticeably weaker. But yeah, I'd take a pro shot Seattle 75 without fantasy sequences over TSRTS if it was whittled down to about 12 of the best performances. Too much noodling in 75.

Sure about that? I'd always read that the fantasy scenes were planned from the beginning and the studio reshoots two years later were done to fill in the gaps.

So are you saying you don't enjoy watching Robert's naked kids piss in a stream?

Recently watched the Blu-Ray of this I got for Christmas. I have to say, after twenty years of Zep fandom and going from only hearing the studio albums to downloading every single bootleg and piece of concert footage, I now have a new appreciation for this. Maybe watching it on Blu-Ray on a 55" TV made me realize that I, like many others, have been unappreciative and taken this film for granted. This truly was the best year to film a Zep concert professionally, especially considering what a mediocre year 75 would be. 73 was the perfect balance between set list and performance. Robert's voice isn't as bad as I remembered. He actually sounds pretty good after warming up. Page is in his untouchable phase, improvising phenomenally and putting down some of his most solid playing ever. Arguably the best versions of SIBLY and No Quarter. I never really realized how badass Heartbreaker was for this show. It's a shame it gets interrupted by the robbery footage (Mega rich rock band loses some money, who gives a rat's ass? Jimmy probably spent that much on smack in 77). Then there's the cinematic blunder side. When I first saw this as a teen I wasn't bothered the least by the bad direction or effects, because experiencing anything even mildly Zep related put me in a state of pop culture Nirvana. Later on, after realizing these were just musicians being documented in a certain time and place and not Gods on earth, I began to accept the absurdity of the film. Maybe the worst for me is Robert's viking ship hauling ass across the sea with no sails. Of course when he pulls into the beach, you can clearly see and outboard motor and a pathetic attempt to blur out the smoke. The lack of drawing out any kind of script is amazing. The directors obviously just said "Let's just go out and film Robert walking around aimlessly. Zep fans will be happy with that." I know it's 73 and the boys didn't exactly bring in Kubrick, but I've never seen a more feeble attempt to film a medieval fantasy scene. "Let's see; Viking looking guy- check. Maiden in distress- check. Sword? Gotta have a sword- check. Castle- check. Ok, we're ready." I'm honestly surprised they used an actual castle instead of Jimmy's backyard. The fantasy sequences are more acceptable when you realize there was a mixed up attempt to target the younger fans. I suppose the directors assumed Zep fans were between five and twelve. Sure, Earl's Court 75 is probably the grown-up version of the band, but there's no denying that a certain amount of the magic and swagger is missing after 73. I think we all agree that a straight live footage film without the fantasy elements and terribly dated effects would've solidified Zep's status as the greatest rock band on the planet. We can only dream, but I'm still willing to endure the cringe in order to bask in the privilege of seeing my favorite band play in possibly their greatest year.

Ok, I listened. Yes, it's their worst song because of those wonky synths. A version minus all synths and clearer vocals would've been truly awesome, like an Achilles part 2. Why won't Jimmy give us that for an alternate version instead of a "rough mix" with the EQ unadjusted?

I'm gonna go back and listen to Carouselumbrella again just to make sure I'm justified in calling it the worst Zep song. It's been ten years since I've heard it. I love the old bluesy grit of Hats Off. You can't like delta blues and not like this song. I like Dyer Maker. Catchy riff, powerful vocals, awesome lead work, cool drum fills. You're an asshole if you don't like that stuff. Hot Dog is a fun song. It's supposed to be a humorous nod to country/rockabilly. I can tolerate the Crunge because I can hear what it's supposed to be after hearing it live. It just didn't carry over in the studio well. The Coda tracks are neither here nor there. They're just uncreative and boring.

Oh man, I like this idea. Other than the Stargroves sessions, there's not a lot of visuals of Zep in the studio. I've never seen anything from the Physical Graffiti sessions.

With all due respect, and I love the Stones, but their venture into disco disqualifies them from criticizing anyone. And I'm not talking a mockup disco track like Trampled (which was too up tempo to be disco anyway).

Wah pedal, violin bow, theremin. Later on the effects he used during his solo in 77. Page absolutely used everything to accent the music, no doubt, but I can see where a guy who just plays rhthym guitar might see it as a circus act.

No English bands at the time seemed to give respect towards each other, especially the successful ones. Richards, Townsend, and Ian Anderson all threw shade toward Zep, but bands from other countries adored them. I think it's just a penis contest for who gets bragging rights for being the hometown heroes. The Who and Tull I can understand. They wrote lyrically driven concept albums that made you think. I could understand why they'd think Zep were shallow. But the Stones wrote basically the same riff rock "Whoa mama" type music. Of course it's also easy to see that Zep were a "circus" act in the early days, with Bonzo being the power drummer of power drummers and Page using endless gimmicks and effects. Easy to understand how other musicians could just roll their eyes at them.

Damn, was embroidering technology that bad in the seventies?

In my head I keep wanting that riff to come back in as the chorus or something. That would've been an awesome groove for Page and Bonzo.

Probably shooting out my ass here, but after 73 the band seemed to make a set list based on the songs that allowed for improvisation and exploration. Songs that had a straight forward, repeating riff disappeared from the live set. Maybe they were afraid of boring people? Personally, I think an extended guitar solo on every song gets old. Wish they had done more basic tracks live.

I think the vocals were too soft on Candy Store Rock. I like to imagine Plant still having his high range for this. I think that would've made it way more interesting. HOFN is the third best track on the album to me. Very catchy and upbeat. Tea For One is tied with Carouseumbrella for least listened to song.

To me, this is the most mysterious Zep track. Also one of my favorites. What was the intention of the song? Did they only put it together for the radio show? Is there any back story whatsoever of the song outside of the radio show? Was it meant for an album and then canned at the last minute?

Got the Feb. 12, 1975 MSG show up on youtube. Not a great performance, but pretty solid for 75. Added depth to the flat soundboard.

I'm not as disapointed in the material as I am the way it was released. That alternate SIBLY turned me on to the song after being bored by it for so long. One thing is certain with Zep and their marketing; Greed and product control to the max. Why not release all the companion songs on a double/triple disc set with new artwork? Forcing people to buy/rebuy all the albums was just begging for them to be pirated. At least a compilation album with new original artwork would've given collectors a good reason to buy it. It's no different than putting Hey Hey What Can I Do on a single instead of the album, just to force the sell of the single. In the digital age, this just isn't smart marketing.

That Kashmir is my favorite version. Not sure which source you have, but mine has Robert's vocals clipping quite often, unfortunately. Edit: I thought I was on the last page of this thread lol.

It's certainly a matter of opinion, but I've always thought Page was below average on Destroyer. That TSRTS sounds like his fingers are taped together.

Something Page always struggled with on the 75 tour- the Black Dog solo. This one is from Baton Rouge. How this show started off so great and turned a bit so bad near the end baffles me. I think Page may have indulged backstage during Moby Dick.