The guitar on the soundboard recording from 1969, sounds like his Telecaster, to me. Do we know when he switched for live performances and would that performance contain his Tele or his Les Paul #1? ADK-Zeppy

Steve, This is the clearest sounding of all of your recent re-working of soundboard recordings. Listening with my earbuds proves that to me. Excellent job, and thanks for sharing it with all of us. ADK-Zeppy

Steve would you kindly send me a copy of this latest effort? Many thanks. ADK-Zeppy

I can well imagine how much excitement would be generated when the announcement appeared tha5 Page & Plant and company would be appearing at a small venue or club. Perfect way to see these two up close and personal. ADK-Zeppy

I enjoy reading these critiques of the Zeppelin concerts, and I know it's a small point, but I would give lower marks overall to some of the songs with Page being out of tune or rushing the beat here and there. A lot of mistakes could be attributed to the hectic touring schedule and too, they were young and living in the moment” so to speak. The out of tune-ness can be due to those thin strings Page used and hot stage lighting, humidity, etc. where it's quite difficult to keep his guitar perfectly in tune. Fast forward to the mid 90's foursome with Lee, and Jones, and you don't hear much of that. Plant used his voice in a range that would ensure preserving it. Page was less frantic, more sure of himself and in control of his playing. My wish is for more “sound check” recordings to show up such as the YT one of Zeppelin working up a version of “The Wonton Song”. I sort of wish I could have witnessed them doing these recording rehearsals, because as guitar player myself, it would allow me to really judge for myself; their methods and musicianship. Then, wouldn't we all?

Hi Steve, I started last evening to listen to this creation and on “Sick Again” I hear Page's guitar split from the center into my left earbud. Was that intentional and was it on the original live recording of this concert. AFK-Zeppy

Hi Steve. Based upon these samples, I have to ask you to forward me the link to the Earl's Court performance. Thank you for sharing these amongst the forum members. ADK-Zeppy

I was a late comer to Zeppelin, but I was drawn to them for their group sound and the voice /guitar interplay between Plant's voice and Jimmy Page's unique approach to playing guitar where he blended rhythm and melody so that, at times, sounded like a 2nd guitar was in the band. My point is partly made when Page/Plant duo continued with a different bass and drum duo in the 1990's. Then too is that fact that Robert kept his voice intact up til’ recently, even though he has not the range of his younger days, his style and voice qualities are still recognizable today when many other singers cannot be as robust in their singing. ADK-Zeppy

I read Mr. Smith's book and throughly enjoyed it. Mr. Smith in his chosen profession, was part of the fabric and the “unseen” part of music making and the recording and documenting the music many of us grew up on. ADK-Zeppy

Thanks for this glimpse into your experience. Were you in Canada at the time you met all three? ADk-Zeppy

Quite a nice story and yes, you were lucky to catch him for a chance encounter. If were I in your position at that moment, I guess that I would have deferred to his privacy and said nothing. But, that's just me. I would have chalked its up to a lucky happenstance and let it go at that, that I was in the right place at the right time. ADK-Zeppy

I don't know if Jimmy or perhaps a tech did adjustment on his guitars, but many times pickups are lower to get a clearer tone. Page's neck PAF on his #1 is quite a clear sounding pickup and the bridge pickup was adjusted to get its best tone by itself and to get a certain middle position tone. Gibson was not too “scientific” in pickups assigned to their early Les Paul of the '59 era instruments. Different strengthen magnets were used and the tone results in one guitar may have been quite different in another. This is all conjecture on my part, but certainly Jimmy recognized “something” he heard in that instrument that Joe Walsh delivered to him, and he figured out a tone that he could manipulate to his advantage and do so to the point that we still discuss it 50 years later. Even Paganini could not manage that with a Stradivarius. ADK-Zeppy

It is something of a lost art these days when Rock guitarists use an array of pedals for their tones; not to mention multi channel amps. And, Page's #1 Les Paul had a particular set of pickups that were wound in perhaps a haphazard or not uniform manner, givIng it a not so typical Les Paul tone. There are some Les Pauls that don't lend themselves to the trick of tone sculpting and volume changes in the same manner that Jimmy's did. His #1 and his playing style were made for each other......think of a violin virtuoso and the Stradivarius that was perfect for him and his manner of playing. ADk-Zeppy

Muskee, thanks for posting that one of Jimmy's #1. I am always looking directly at that neck pickup each time I see a shot of his Les Paul. In his hands that'58 or '59 is just a magical tone and it was a combination of the right guitar and pickups and their windings together with his manner of selecting chords that made that Zeppelin guitar sound and attitude. I never get tired of listening to and watching him play it. I don't know if he personally set the heights on this guitar, or if he had a guitar tech mess will all of that. It is a very personal type of “housekeeping” with a lot of guitarists. ADK-Zeppy

Pretty interesting re: adding milk last to brewed tea by the pot compared to tea bag variety. I tried both ways with the loose leaf that I brew every morning. I can not determine the difference, by the way. My “theory” is that in prior days in Britain, fresh milk may Not have been easy to chill or keep that way, so milk added first may not have clotted as much when the hot tea was poured into it., whereas the opposite would not appear as appetizing in the cup. No? For the past 25 years or so, I have ordered loose leaf tea from The Republic of Tea, first by mail order and now online. One variety I cherish and a bit more pricey is Keemun from Anhui Provence in China. Small dried leaves...sweet and smooth, with a touch of smoke and chocolate and with a bit of milk and sugar can be a great start to the day. The other I use is “All Day Breakfast Tea; which is a blend of Keemun and silver tipped Oolong leaves, also really great. I don't mind spending for the additional cost and shipping, as it really is one of life's enjoyable moments. I don't order Keemun too often, but last order was in part paid for by the “points” I accumulated and was about to lose. ADK-Zeppy

Love this post!! being from Massachusetts where we threw your King's tea (by the case) into Boston Harbor because of His Majesty's tax increase, I have developed a love for imported Teas. At least two cups each morning and it helps me make my ancestors' ancient connection to Hampshire over where you enjoy your tea, daily. My question is: Is it true that arguments can get carried away over there as whether it's “Milk in first”? ADK-Zeppelin

On the Led Zeppelin albums and stage performances, I don't think Page was using all that much gain as compared to what I hear in the 2007 O2 performance. In the later one, you can hear the gain rumbling in his amp(s) even when playing softly, and in the Zeppelin, his tone was mainly derived from sheer volume......and it's that era that I think Jimmy deserves a heap of credit in the amount of control that he demonstrated in how he could handle an amp on the verge of it blowing up; not withstanding the amount of tones that he summoned forth from them. Hendrix was another one and both players were amongst the few at the time that could play at extreme volume and still sound great. ADK-Zeppy

Yes, to the previous post. The one with probably the most structured musical knowledge was John Paul Jones whom Page had worked with in recording sessions. Jimmy may have recognized Jones' talents back then. The main asset that JPJ had in Zeppelin was his ability to take the sounds he heard from his band mates and come up with an “arrangement”. The reason that I state this is that many of Zeppelin's songs almost have a “Classical” feel to them which upon repeated listenings do take on a really symphonic feel. Just as a well-rehearsed symphony orchestra would do, Zeppelin used the “light and shade” approach to their lengthy hits songs. Page, himself, described his work into that phrase. ADK-Zeppy

Are Page and Plant performing from memory here, or was there some prior rehearsal for this performance? ADK-Zeppy

I'm thinking that the radio broadcast may have been in stereo. No? Ican remember have a few long play 1960 era recordings that were done in monaural and converted late to a sort of “faux” stereo which to me sounded just horrible. ADK-Zeppy

Steve, listened to the downloaded remaster work. I enjoyed the stereo and fidelity of a +51 year-old broadcast. Excellent work on your behalf and looking for more from your future projects. ADK-Zeppy

If this is a fine as your others, I'm in! Sent you a p.m. ADk-Zeppelin

I have read on other websites that Jimmy did not use much gain on his amps. That huge tone from his Marshall amps was mostly sheer volume and controlled from his guitar. ADK-Zeppy

Thanks for the heads up, Sam! I'm one of the army of 29,000 here who has the Celebration Day HD video on my tablet. Well worth the space it occupies in the memory. For other Zeppelin fans that have this concert, here is a link to an interesting article on how the sound was done and mixed for that historic music event. https://www.soundonsound.com/people/inside-track-mixing-led-zeppelin-reunion ADK-Zeppelin

It should not be too surprising that Bonham, Jones, and Jimmy bonded so well as musicians when united in Zeppelin. Page and JPJ had worked for some some time before Zeppelin, as studio session players and there were occasions where both appeared at the same session. Jimmy in his own words related that he was 1st choice call for mostly Rock type of music and Big Jim Sullivan drew many calls in the same role for Countrish type music. Being constantly chosen for those roles meant that you had to have the ability to improvise something to fit the music and that the talented ones have that delightful habit of always putting the “right notes” in the “right spots”. Those are the players that are on call frequently. Bonham being the guy that can drive the music, had to listen to everything going on and decide how to slow it down or speed it up and when to put in an accent at spots as sort of a que up to a soloist. Bonzo when in Zeppelin for a spell developed a feel for Page's style which of was sometimes a “shoot from the hip” and take your chances approach to playing when in Zeppelin; something not quite so available to him when playing on other artist's sessions. Jimmy's taking of chances adventures is best heard in the “Immigrant Song”. The composite performance video filmed in both Long Beach Arena in Los Angeles, CA in summer '72 and the Sydney Showground, AU February, 72 is an example where Page goes on a limb and just before the breaks, comes back in to finish a solo. It's one aspect of Page's playing skills that kept him the exciting player he was, is not heard often enough in my estimation. ADK-Zeppy