And near as we know this is all that's circulating?

Los Angeles Clippers have a new motto.

My take is it was part of the band expanding their showmanship on stage. The show presentation got more elaborate from 73 to 75 to 77. Stage effects, lights, sound, outfits. Ever evolving once they reached the point they could, in Peter Grant's words, "go to Saturn." The video we have give us some idea but based on accounts you hear and read from people who attended a show, it was some kinda spectacle that those of us who didn't could never truly appreciate.

Another reason that hopefully Jimmy, Robert, JPJ peak in on the forum every now and again. 🙂

Also posted this in the clothing thread (see what I did there?).

You'll have to take my word for it. As Kershaw retired the Padres to end the top of the 4th, FS1 played How Many More Times going out to commercial!

I gotta think the reason why we're seeing so much video footage emerge is the Becoming Led Zeppelin film makers' public request for any footage they might consider using in the film. Whether it's people thinking back "hmmm didn't I take a camera to a Zeppelin show?" or people who've been knowingly sitting on footage all these years, who wouldn't at least want to see their name in the film's closing credits if not wonder if they might get some money for their footage? In any case we're all the better for it. Love it!

And the ultimate "leave it in" decision must be the decision to leave in "nah leave it!" 😀

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https://www.ledzeppelin.com/image/john-bonham-interview-zap-zep-nme-8-72 This 1972 article is rather fascinating. Roy Carr observes that no member of either Zeppelin or The Who could possibly be replaced. Kinda spooky that his theory would be tested by both bands. Moon passed and The Who carried on. We lost Bonzo and Zeppelin was no more. Would it have been so bad for Who Are You to be The Who's "swan song"? Like Zeppelin, they'd had a nice run. Not like they had unfinished business - at least that's my perception. Did it come down to the security - or lack thereof - of the other band members as to what came next in their careers? Was it the level of respect each had for their departed bandmate? Not suggesting The Who had none for Moon but fact is they replaced him. And such was precisely the basis for Zeppelin's decision as stated in December. The "deep respect" and "sense of undivided harmony." If the sequence was flipped, do The Who make the same decision? We'll never know. But the answer to the thread title is undoubtedly, yes.

I think once the stage presentation became more elaborate from 73 forward - lights, smoke effects, how the sound was distributed throughout the arena - the set lists each tour were pretty much set in stone to allow for the stage/sound crew to know what was coming next. The show got highly choreographed by this time; I imagine the crew would have frequently gotten lost with any amount of improvisation.

If you can't beat em... 🙃

Requesting a PM as well please. Many thanks!

Requesting a PM as well please. Many thanks!

You Need Love was the title of the Muddy Waters version of the Willie Dixon original from which much of the lyrical content of WLL was lifted. There was a British EP commonly known as Muddy Waters Twist with which Robert was quite familiar. You Shook Me also came from this EP.

I hope someone calls Robert's attention to this thread. I'm sure he'd love this.

Great interview. Robert touches on so many aspects of the Zeppelin years. The band's origins, the development of the music, what inspired Robert, the rigors of touring, the band's behavior being a sign of the times that probably wouldn't fly today. Get the sense he may be past any distaste for speaking freely and reverentially of the Zeppelin years. Perhaps he's got a book in him going into great detail as only he could.

https://www.loudersound.com/features/why-steven-tyler-turned-down-the-chance-to-replace-robert-plant-in-led-zeppelin?fbclid=IwAR1vpgq9EjuwpW19BrCJ6d0thsbg5Zlt7w5y6wkkopqZUTgYmOniJVmX8z0

I must tread lightly but I'll mention that Robert has spoken openly of his affinity for Eastern cultures - the geography, customs, people etc. Don't know if Ana's seen a photo of Robert's then wife Maureen. But regardless of background it's certainly easy to see how Ana would've caught Robert's attention - or anyone else's for that matter. I wonder how Maureen reacted first time she saw the film. "Hmmm...who's that, Robert?" 😐 Are we certain the footage of Ana's reaction was filmed during SIBLY? TSRTS was such a copy/paste editing job it could've come from another part of the show. And how was it decided to shoot Ana during the show? Did Robert request it after he noticed her? Did the director discover her? One of the camera operators? Yea some of these questions may be impossible to answer. I'm floored that Ana didn't realize she was in the film until about 20 years later. That's amazing! As for the waiver question, I don't think that was part of the equation in public film making at the time. Remember when Woodstock came out in 1970 there protests from kids appearing in the film demanding compensation. Don't think that ever went anywhere. Besides it took 2-3 years to complete TSRTS; even if they thought of waivers, how do track those people down? Well maybe the cops but that's about it. Oh and the 2 guys Peter Grant abused during the pirate poster sequence! Imagine if they'd asked those guys to sign waivers? We'd never have seen that footage! It would've taken as much money as disappeared from the Drake Hotel. Wait...that makes me wonder.....nah couldn't be. 😄 Fantastic story. Thank you, Ana, for coming forward and sharing your experience with us!

Wew!!

May I nominate this man as the forum's favorite tennis player! I present to you Giulio Zeppieri.

Well let me offer this as food for thought. Has the emergence of the Bloomington 75 show made it more plausible that this soundcheck is indeed from the afternoon of that show? 75 was rejected based on how weak Robert's voice was in Chicago. Until Bloomington emerged that's all we had to go on. But compare and contrast this soundcheck with the Bloomington show - both in overall sound and Wanton Song in particular. My ears tell me it's a persuasive argument. Wanton Song is at 50 minutes.

Being suspicious I compared it to Copenhagen and it is different. Thanks to our pal Conneyfogle.

This was on the Isle of Jersey, a British tax exile, in late 75 after Robert's accident. They'd already recorded the Presence album in Munich and were on sabbatical. They visited Behan's and ultimately hopped on stage with the house band. No known recording.

A bit unrealistic tbh that a band bringing together the likes of Page and Rodgers would last any longer than it did. Ticket sales weren't great for the second tour; it may have been Chris was out of the loop on the business affairs of the band.