I often go through shows chronologically because I love following the evolution of the live performances and development of live versions - Dazed of course being the prime example. But I still listen to the albums within the timeline they were recorded. I think it all fits together to complete the full Zeppelin musical puzzle. If you're still not convinced, I would suggest as a compromise you listen to the studio outtakes and rehearsals. Lots of experimentation and nuances that may have been left off the albums but still made their way into performances. But it's true; nothing like Zeppelin live!

Whenever Burning For You comes on the radio - which is alot! - I'm thinking Fire of Unknown Origin (the song) is a better tune.

Obviously a lotta shit's been hashed and rehashed re EVH but nothing but paying respects. RIP a brilliant musician.

They're still considering an appeal to the Milky Way Galactic Court! 😛

Probably Royal Albert Hall. 9 Jan 70.

A fine choice, Chewmax, and welcome!

Bearing in mind, of course that RnR in 73 was the opener while at Knebworth it was an encore, the song served different purposes in the set. It was played at a slower pace in 73 as a starting point for building the energy level of the set, and IMO the slower pace suited Robert's vocal capabilities of the time, which were certainly on the rougher side compared to when the studio version was cut. As an encore in 79 the faster pace fit since the energy level has reached its peak and the finish line of the show is n sight.

Good Lord if Peter Grant ever saw that shirt! 😮

Perhaps the remasters made it worse. I like my vinyl "Berdu" boot on the Screaming Oiseau label.

So how did Sabbath know about Bron-Yr-Aur? I suppose they could've heard it live?

Thanks, Sam. Do you agree with Steve that the Yardbirds' last gig was NOT Luton on 7/7/68?

FWIW the ChromeOxide Yardbirds database, which has been around for a while, includes the same set lists for these shows. Wonder where they got them from.

Read the reviews of Zeppelin live back in the day and there are plenty of references to Janis in describing Robert's singing.

Moby Dick/Rat Salad.

At the time of the festival, a local TV station in Texas planned a documentary film about the entire festival. They compiled footage of many of the artists on the bill. The footage was never prepared for broadcast and only exists in rather crude form, but there's a video titled Got No Shoes, Got No Blues you might seek out. It contains much of the footage taken by the station including parts of Zeppelin's Dazed and Confused. Mine has some Isle of Wight 1970 film tacked on; a nice bonus. As for other available Zeppelin footage, there's a compilation of 16mm film of their performance including parts of I Can't Quit You, Dazed, You Shook Me, How Many More Times and Communication Breakdown. It runs about 11 minutes total.

Can't wait to see their take on Peter Grant's confrontation with that concert promoter in Baltimore!

No mysteries here! ^^^ 😛

It may be tempting for us ledheds to suggest this bootleg and that bootleg, but I would suggest beginning with what you missed in the 70s. Get into the albums and The Song Remains the Same film. Robert's solo material in the 80s is also good stuff. Try Jimmy's as well: the Deathwish II soundtrack, the Firm, the Outrider album. It's a lot to take in; take your time and let it wash over you. Eventually if you're so inclined, you can start sampling live performances. The material on the Led Zep dvd released in 2003 is a good place to start. Get ready to be wowed!

My take on Robert's comment at the start of the recording is, he says 'are you taping tonight? Leave that at the beginning of the tape.' He's asking the soundboard operator if they're recording that night's concert. Robert is aware they're recording the soundcheck. I think Robert was referring to an off-mic comment - probably a joke from Bonzo. Robert is saying to the soundboard operator, if you're recording tonight's show, leave that (Bonzo's joke) at the beginning.

The common thinking is that this soundcheck is also not from Chicago 73 either. Robert's voice was in god-awful shape in Chicago while on this soundcheck he's quite clear and strong. The precise venue and date of the soundcheck is a mystery but its a gem of a recording with Wanton Song, The Rover and Night Flight plus the extended workouts on some great rock n roll classics.

All in the wrists. That's where Bonzo got the snap on his hits.

6/27/69 BBC Rock Hour.

When this interlude first started evolving in late 72, the lyrics matched the music. Cowgirl In the Sand by Neil Young. Robert quickly adapted the San Francisco lyrics, of course, from about Ally Pally through all of 73 and the first leg of 75. Then as the mood struck him San Fran, Woodstock, For What It's Worth. I think the best Woodstock is the 4th night at Earls Court. San Fran is a tough call, there are so many. Shows late in either leg of the 73 North American tour generally have that relaxed, spacey feel that makes this section work. But the music was clearly adapted from Cowgirl In the Sand. Where Neil was picking individual notes, Jimmy would play many of them as riffs. Then, as stated above, Jimmy worked out the note progression as the intro to this interlude that wound up in Achilles Last Stand. Funny how the first time a mass audience heard San Fran was on TSRTS soundtrack. After Presence was released. It all seemed so natural.

Rated Physical Graffiti! How appropriate!