I've read the books and seen almost every photo, but I don't recall reading or seeing anything about how the band traveled in the early days. Did they have a bus? Are there pics of the bus or the band on it? Did they magically teleport from show to show? Can someone give a reference to something about their early touring that describes their road experience?

My personal favorite, simply because there's no wah effect on the guitar. It sounds much more sinister.

A Blueberry Hill SB would be a major event. Especially if complete.

In the studio, Page was a known perfectionist. So I'd say what got recorded was what he intended, sloppiness or not. Live, Page was a top tier technician 69-73. Then, drugs. If you whittle down the possibilities of why he could be playing so badly, it simply sounds like he was high as a fucking kite. His brain was not in tune with his hands. There's no way a lack of practice for a couple years could affect a professional musician that badly. Especially after weeks of touring. Other than a few highlights in 77, he just never really got back on track due to his choice of drugs. Or that's my two cents anyway. The Houston 77 show is a good example of not just sloppiness, but forgetting where the strings on the guitar are. He's missing simple leads a beginner could play. Shame, too, because I love that bootleg.

Thanks for that link! I thought they did more than four songs, guess not. Anyway, here they are.

This show is one of my favorites! My favorite live versions of Black Dog, The Rain Song, No Quarter, and Moby Dick. No super long, dragged out extended versions. They kept the songs shorter and more solid. No Quarter is unique in that Page didn't use a wah pedal for the main riff. I haven't heard those other remixes, but I did my own a while back if you wanna check it out. I like my mixes a little bright, which some people don't.

I'd gladly drop a hundred bucks for a complete SB of that show. Even though incomplete, it's in my top three favorites.

A soundboard of Bath Festival 1970 would be interesting. First Immigrant Song and first That's The Way. Plus Johnny B Goode!

My favorite encores and medleys are with the Eddie Cochran songs. I'd love to have a list of his songs they did and the dates. This would have been mostly between 69 and 72. I'm thinking about making a compilation video for youtube.

Which show in particular? Berlin had the flute sound.

I know he had a grand piano sound for No Quarter in the later days, but did he ever have that sound for Stairway?

Stairway from Essen, Germany, 1973.

i think this is what I was trying to say, but danced around. It's like they said "Make us sound like the other bands." I know there are those who like this, but I uess I'm not one. The reverb, the echo, it was just too overproduced in my opinion. Just give me the equivalent of a soundboard with a slight amount of room reverb, like Houses. I honestly tie Presence in with Page's Outrider album for some reason.

I totally understand what the producers intended and can appreciate what is, but intentions can differ from what is considered appeasing by the average listener. I suppose by "bad" mix I really meant "unpreferrable by a lot of listeners". No doubt they mixed it exactly how they wanted. I would cite subjective preference, but I honestly think a more clear mix would have made this album more popular.

It was definitely for the Complete Studio Recordings, I remember that. It was an HSN style infomercial that would air late night and had some loudmouth host trying to act like he knew something about the music he was selling. Probably around 98 or 99.

Apart from Achilles and Nobody's Fault, which sound great, the other songs seemed to have a strange mix. Candy Store Rock for example, which I've ways assumed I hated until I listened again recently. It's not the song that bugs me, it's the weird mix. The bass and drums are Ok, but the delay and reverb on the guitar and vocals are just too much. The guitar is separated to far off to one side. I imagined this song having a "drier" mix like III or HOTH had, and realized it's a pretty catchy song with a mean guitar riff. Plant's vocals seem to have a deep hall reverb on them that almost sounds like wind blowing in places. Page's guitar fills that jump in and out on the sides of the balance also have a deep reverb that pushes the sound back in the mix. Very noticeable on Hots On For Nowhere. Bonham does excellent drum work on Royal Orleans, but the drums sit low in the mix and don't have that dynamic sound he had on songs like In My Time, Night Flight, or The Ocean. I think overall this album simply lost that layered, dynamic tone they had previously.

I think a lot of people agree the title track should've been on it. No idea why it was left off. Replace The Grunge with it. Black Country Woman would've fit the atmosphere of the album nicely. I think Boogie With Stu was better off on PG.

During the late nineties at night a cable channel called Mor Music (another one called "Much Music" but I don't think that was it) used to run live infomercials featuring artist boxed sets. I remember watching the Zep and Pink Floyd ones. I would just watch and dream about having all the Zep albums. I can't find anything through any search. Anyone else watch these?

Robert's best performance of the song to me is the Vancouver 1970 (Pure Blues/Mudslide) version. My favorite overall performance is Osaka 71. Page plays in a much darker mood on this one. For a speedier, livelier version- Orlando 71.

I just want a complete soundboard for the Orlando 71 show (Orlando Magic). My favorite Zep boot but the patches sound pretty bad and Whole Lotta Love cuts off during the medley, and probably my favorite live version of the song. The Bath Festival 1970 would be great too, with Immigrant Song being performed for the first time and that wild rock medley at the end.