Got the Fab Four Liverpool 3LP box. Brilliant cover!

For what it's worth there are also a number of performances of Train on video by the Yardbirds with Jimmy in 1967-68.

I missed 8 + 13. Where did the painting come from and O2 attendance. wtf Reminds of Benny Hill as quizmaster he asks how many attended the cup final. Contestant says about 90,000, he says I'm sorry 90,002.

Absolutely, Steve. Never know what might have been in Bonzo's mind. Far from being a lawyer himself, he may not have wanted to take any chances. Of course it's all speculation but the feeling may have been any small misstep back in California and it all blows up again. Even if he was satisfied that the Oakland incident was legally dead and buried. Thanks for detailed reply!

Destroyer 4LP box (first show), the one with Seattle August 77 on the spine of the green slick, + The Destroyer 4LP box on Smilin' Ears (second show).

Well judging by some other sections of the forum, there may be some cynical responses to this topic. As has been stressed, it's all speculation, of course. But had Bonzo not died, the first thing that would've happened was the first leg of a North American tour. Robert and Bonzo had to be persuaded to return to performing in America. The Oakland incident was probably still weighing on Bonzo's mind, and he may have thought he'd be apprehended if they returned to America. It may have been explained to him that that wouldn't happen since the first part of the tour didn't include California. It may have taken some additional arm twisting for him to agree to additional west coast tour dates in early 81. He may have flatly refused, who knows. How well the first leg went would also probably have determined whether there would have been a Part Two to the tour. Both Bonzo and Jimmy were struggling physically by the early 80s. Bonzo's death seemed to be a wake-up call for Jimmy. As someone pointed out in the Led Zep 80 thread, it's not unreasonable to wonder if Jimmy might have been the one to meet an unfortunate end had Bonzo lived. Again, mere speculation. As for what kind of music they would have produced - i.e. new albums - judging from ITTOD, JPJ was having a more profound influence on their sound. Partly due to Jimmy's diminished state - and perhaps motivation - at least in the making of ITTOD. The music was more keyboard-based, even going back to the 77 tour when Dazed was dropped and No Quarter stood alone as the extended improvisation piece. I'm not saying they'd have gone all new wave - they were still a rock band - and we could point out any number of early 80s artists and wonder if that might have been what 80s Zep would have sounded like. Would it have been similar to Robert's first two solo albums? Even Deathwish II had prominent keyboard parts. I'd venture to say Robert's early solo sound was harder edged than Jimmy's. I think it still would have been a cooperative largely among Jimmy, Robert and JPJ. But who knows if Jimmy's influence may have been further usurped by Robert and JPJ if Jimmy's substance issues continued to get in the way of his creativity. With Bonzo - and Zeppelin - still around, it would have been a different Jimmy than what resulted in The Firm. I don't think they'd have taken a drastically different direction, but I think they each were in tune with musical trends. The prominent presence of keyboard-based sounds would have been significant, but also the mixture of big sounding fast-paced, high-energy tracks (guitars + keys) mixed with slower, quieter moments. The contrast of shades and moods that made Zeppelin unique.

It probably didn't help that it was spelled one way on LZ III (Bron-y-Aur Stomp) and another on PG (Bron-yr-Aur). Check out how he says it during Vienna 73. Go to 35:55 in for intro to the Stomp.

Ah ok Ash. You might try a music marketplace site like discogs, GEMM, cdandlp, musicstack, etc. There's so many. A vintage collector's item to be sure. Hope it doesn't get too expensive!

Was just listening to Texas Pop Festival yesterday! "Nice to be back in Texas" Robert says. Only 2 weeks earlier in Toronto he said "Texas is still as you've read about it" and related how they were called out for their hair length. Good thing there was no TMZ then! Those comments may have come back to bite them; perhaps booed off the Texas stage! Today it's Paris 10/10/69, the earliest available recording of the new setlist. First cracks at that GTBT intro, Heartbreaker and Moby Dick. For the first time, I think, the set includes a stretch where the audience's patience is tested a bit (a topic that gets discussed more for later years). WS/BMS followed by You Shook Me then the drum solo. That's a long stretch of soloing over an extended segment of the show. A harbinger of things to come. Can't go wrong with any show from this era, though. Fantastic!

Regarding Detective, yes Jimmy (Robinson lol) produced select tracks on the first album. You can really notice the difference - esp in the drumming - vs. those he didn't. Referring to the vinyl LPs as I type!

You can find it on the Zeppelin bootleg titled Solo Performances. It's got Jimmy's Lucifer Rising as well as Robert's 3 singles - A and B sides from 66 and 67. Some nice bonuses; a great value. Good luck!

Toronto 18 Aug 69 (evening show). I wonder if any setlist of the medley includes Along Came Jones (the Coasters hit from the 50s). They seemed to have some fun with it. Perhaps a reference to Canadian mounties. I don't think they intended it as referring to JPJ necessarily. Can't imagine they ever alluded to this tune in any other show!

Fillmore West 24 Apr 69. It's agreed - is it not - that the available recording must be the second set of the gig? All the "missing" tracks would logically make up the first set of a gig from this era: Train, Quit, Dazed, Shook, HMMT. Absolutely unique As Long As I Have You. Great improvisation by Robert during JPJ's snafu. BTW as soon as Robert sings "Squeeze my lemon...." Killing Floor becomes Lemon Song for me. Even if they didn't know it at the time; even if Robert introduced the song as Killing Floor. That's what I call it in my setlists anyway FWIW.

Fillmore East 31 Jan 69 it struck me as they bid the audience goodnight after HMMT then came back for You Shook Me as an encore. It was their first time in New York which was a big deal. Robert's first time in America; he talked about coming to NY during the last Tea Party show. You Shook Me was an important number for showcasing the new album. They had to be pretty confident they'd be called back to leave it out of the main set!

The windows remain the same? I see what you did there! Thanks for the fantastic photo BTW!!

So this seems as good a time as any to revisit the following topics... 1. What's your opinion on the band's choice of set list for Tour Over Europe? 2. What was the band's planned set list for Led Zeppelin The 80s Part One? 3. What would your suggestions have been for The 80s Part One set list? Responses to one or more these may serve to answer the others as well. When I first started hearing the 80s boots, I thought it was kinda cool they returned to their roots and opened with Train. By all accounts they were after more fast pace, high energy quick hitters to keep up with the punk movement. Mission accomplished. But given time to reflect - and hindsight being 20/20 - I've gone the other way. Why not show a bit more confidence in your newer material and make the 1980 Zeppelin truly Led Zeppelin The 80s? Besides as was stated above, ITTOD was still a hot album well into 1980. For the American tour, I think In the Evening would have made a nice opener. The start builds - kinda like the '72 LA drone - and the theme of the track fits as an opening number. So then what about the second track? The band typically liked to hit the audience with 2 - or even 3 - songs back to back (to back) to start shows so another song with JPJ on keyboards would probably have to follow. Otherwise the pause would be too long with the switch to bass. Jimmy would probably have to swap out guitars but I'm that wouldn't take that long. Trampled perhaps? That might result in a 15+ minute opening salvo (Evening + Trampled); perhaps a bit too long. Or a number they didn't attempt as it turned out like South Bound Saurez? I come down on Hot Dog. I always thought Hot Dog came and went too quickly as a stand alone track mid-show. Why not pair it with another number? Perhaps extend the solo a bit? The band may have been uncomfortable not including a more well known song or two at the start, but like I said, showcase the newer material and put it out front. Then JPJ switches to bass for a stretch. Nobody's Fault and Black Dog would follow. Need at least one more bass tune here. Over the Hills, a well received track in America. The middle of the show could have taken many directions so I'll skip to the latter portion/end of show for now. It's been strongly suggested that Carouselambra was planned as part of the America 1980 set list. What form would it have taken? And would Jimmy have still done the violin bow segment? You'd have to think so; it was featured in every era of Zeppelin's existence. In only a few instances of abbreviated performances was it not done. An abbreviated Carouselambra could lead to the bow segment. Then Jimmy could do Black Mountain side (no White Summer) which leads into Kashmir as it had since 77. So essentially Carouselambra replaces White Summer, which some have stated was getting a bit tired by Tour Over Europe. Stairway comes next then the encores (more on those below). As for the middle stretch of the show, Trampled and Achilles remain. As well as All My Love, very popular at the time. Something would have to be dropped from the Europe set list. I agree with an earlier suggestion that SIBLY would be one to consider. That would be keeping with the theme of more of an up tempo vibe to the show so fewer slower, subdued numbers. Not to an extreme though, so Rain Song stays. And add in Misty Mountain Hop and Sick Again. Part of differentiating the Europe and America set lists, I think, is the receptiveness of the audience to specific tracks. So that would mean stringing together another segment of keyboard tracks for JPJ. As for the encores, I'd stick with a formula similar to Europe. At least 2 songs from a rotating group - WLL, RnR, Heartbreaker, Breakdown and I agree with the inclusion of Wearing & Tearing. There's been speculation it was planned as part of the 80 American tour; I think it would have fit nicely among a series of encore numbers. So here's where I come down on a Led Zeppelin The 80s Part One set list, again with the benefit of 40 years hindsight! In the Evening Hot Dog Nodoby's Fault Black Dog Over the Hills Misty Mountain Hop All My Love Trampled Rain Song Sick Again Achilles Carouselambra/bow segment Black Mountain Side Kashmir Stairway encores Without getting into song-by-song timings and accounting for between track pauses, I believe that set tops 2 hours. Let's face it, gone were the days of 3 to 3.5 hour sets. Look forward to anyone's feedback! Thanks, guys.

Robert Berridge is a professional boxer from New Zealand. And a big Zeppelin fan!

Never got to see the band live. What might have been in Fall 1980... Thanks to old concert posters, I've stopped by 53 Berkeley Street, Boston, Mass, the site of the Boston Tea Party club. Anyone know on what level the music club was located? Upstairs? Ground floor? Basement? Thx for any feedback!

A bit pressed for time but still wanted a full show. Nuremburg 80 it is!!

I think it's interesting to point out that, now that we have the 9/23/71 video, we see Jimmy played this song on the double neck in 71. And at least part of it, on the 12 string. The passage with this song during the video only lasts a few seconds so we can't really appreciate the song, but perhaps this helps explain why this song sounded so chaotic during this period. I think the first 71 version I heard was 9/24. Absolutely out of control! I got the sense that had I entered in the middle of the song, I'd have had a hard time determining what they were playing! So, I guess we can point to at least 3 different ways Jimmy played this song over the years. The isolated - and possibly first - performance from Copenhagen 71 where it's inside Breakdown. Must've been on the Les Paul. Then the Tokyo video shows us he used the double neck and played at least part of CD on 12 string. In USA 73 it was back to the Les Paul; obviously out of necessity since R&R leads straight into CD. In 79 the double neck was necessary since CD immediately followed TSRTS. But it appears CD was played exclusively on the 6 string neck in 79. In North America and Japan 71, Jimmy would have had his choice of guitars. There was certainly ample time following Stairway to swap out guitars if he wished. Perhaps an experiment or he may have been feeling the song differently during this period. But I think the Tokyo video sheds light on the difference between 12 string and 6 string treatment. The 6 string performances may have sounded tighter - though not necessarily better - while the 71 versions were pure madness. Equally fun to listen to in their own ways. Thanks for starting this topic. Interesting stuff.

Fantastic Stuff!! Was it a revelation to anyone else that Jimmy played Celebration Day on the double neck during this time period? It's a very short clip just before the acoustic set but that's Celebration Day. Perhaps as a matter of convenience since Stairway immediately preceded CD. Rather than swap out guitars and play CD on the Les Paul as he did later. Interesting!