This is so cool. Well done, Don!! And thanks for the perfect sync as always, lzf! Another gem for the collection.

1969 - Communication Breakdown 1970 - Immigrant Song 1971 - Since I've Been Loving You 1972 - Dazed and Confused 1973 - Dazed and Confused 1975 - No Quarter 1977 - Achilles Last Stand

It's funny how different listeners like different things about Zep, but that's what makes us all unique. Apples and oranges, as they say. I personally would give this No Quarter an A++. The vibe is right. What you call "sleepy" is what I call laid back and fluid, which for me is the perfect approach for this song (talking specifically here about Page's solo). Regarding this particular version, the crowd was pretty rowdy to the point of concerning Plant and Page. I believe they played this extremely laid back version as a way to chill them out. I think JPJ was taking his sweet time noodling around in the beginning for this very reason. But the guitar solo itself is fantastic and one of my favorites for this song. Regarding the show itself, it has my vote for best show of March. Plant himself is in fantastic voice but unfortunately is popping and cracking all over the place, which is a huge detractor for me. I'm sure it was even more frustrating for him because when he's on (in between voice cracks), he sounds absolutely fantastic.

I love reading these types of comments on this forum, very insightful - thanks for sharing.

I am of the opinion that Page did, in fact, play on "You Really Got Me". The reason I think this is from an interview he did in Tokyo in 1990. The interviewer asked him point blank if he played on it, and he refused to say if he did or didn't. He kept repeating the same line: "I have played on Kinks records." He also very briefly made a comment on Ray Davies' behavior around the subject, which implied that the guy (Ray) was not balanced mentally and a bit of a hothead. It seemed quite obvious he was answering the question without directly answering it, which of course the interviewers didn't get at all (it was a horrible interview - the interviewers were not particularly intelligent, insightful, good listeners or able to read the room). In other words, Page didn't want to deal with the BS around the subject, be it litigious or otherwise. But his answers and the way in which he answered this line of questioning spoke volumes. He refused to say he DIDN'T play on the record which I'm assuming was a point of pride thing. He didn't want to deal with the drama but also refused to say he didn't play on the record.

+1. This is one of those shows I avoided for a long time due to horrible sound quality. However, there's now a remaster of this out there (Dario's channel) that is fantastic. And as mentioned, the tape really clears up around NQ, which is absolutely the highlight here, along with OTHAFA as you point out. The whole band is on fire for those two songs - just listen to Bonzo on OTH!

For the longest time, I avoided listening to MSG 2-3-75 for a couple of reasons. One, was Artie and his buddy are very chatty indeed throughout. And the other was that the original tape ran way too fast. However, I now have developed "Artie ears" and can deal - even when he's talking through a killer Page solo (which he does more than once on this tape)! I came across a speed-corrected version of this show in 2022 (I"m assuming this nit-pick is for the speed-corrected version), and it's a joy to listen to.

You're not wrong with this assessment, but I'd personally give this one an "A" for Page's solo alone. The overall show itself was bad. They were all painfully aware they were having an off night. By the time they get to NQ, you can hear (as you point out) in Jonesy's playing that he's not into it. It's a half-hearted effort. The thing lacks anima. But then Page comes in and puts in a tremendous, spirited effort. He's really trying to give the crowd something and also get the band (and himself) going to salvage the evening. It doesn't quite pan out, but the solo itself is one of his better performances from the US tour imho.

Most encores from 75 US tour were pretty rough due to Jimmy killing finger/hand pain with a mix of pain killers and JD backstage. That famous pic of him guzzling JD is from the Indy show, actually.

Joe Walsh is one of my favorite guitarists. Love the warmth in his playing - you can hear the fire and the passion. For those on the fence, and/or underwhelmed by the studio recordings, definitely check out his live stuff from the early 70s. It's incredible. Here are some I'd recommend, all fantastic: James Gang - Fillmore West, 11-21-70 (boot) James Gang, Live - Carnegie Hall, 5-15-71 (official) Joe w/Barnstorm - Arlington, 9-23-73 (FM recording, boot) Joe w/Barnstorm - Boston, 3-16-74 (boot)

Geddy Lee telling a cool story about Robert Plant to Jack Black on his recent promo book tour :

Fantastic. Glorious. You've done it again, my friend. Thanks for sharing this.

Your buddy gets the gold star for that one! And God bless those taping sections ... such a cool move for venues to do that. This is slightly off topic, but that Page/Plant show from 10-15-95 is great. Page's playing was getting progressively hotter towards the end of that 95 tour, starting around mid October, and he took the band right along with him (as per usual). Killer SIBLY from that show.

That is one hell of a flaw, haha. D6 did you dirty. Great info and great stories! That's great that you got caught twice in Detroit and kept going until you and your buddy got the gear in - persistence! Detroit is indeed a typically great October show .. especially considering Page was still playing through a bad cold (I believe he was fully recovered by the time he got to Rochester a few days later).

And best audience out of all the Outrider shows, according to Page himself!

That's definitely some bad luck - but pretty frikkin cool that not only did you see those other shows but taped them. You did a solid for thousands of people all over the world for years to come. Muchas gracias for doing that. Seriously, thanks very much. The Landover show has really great sound, that's a nice recording. Are you the taper who recently shared that one with LZ Boots for release on YT? I've heard all 3 Pittsburgh sources, and 2 of them do indeed have a similar audio feel. Now I know why lol. And they both sound great, really good captures - nice job! I would have killed to see Jimmy in one of those small venues.

No worries, I appreciate the information. I'll look into the online portfolios of the photographers you mention.

Yeah, that's a lot of scanning - and quite an impressive collection you have there. This shot of the Hammersmith is great. I would have loved to have been at the show on the 25th. It's tied with Portland and Troy as favorite Outrider shows. Anyway, no worries. A little mystery's good for the soul.

Just curious .. do you happen to have any backstory for this photograph? i.e. was it professionally shot, did the photographer get any other shots, etc. It's just a tremendous pic. I recently had it printed onto a cd, along with a paper slipcase for the cd, for playing in the car.

Thanks to all who have commented so far. That tour was, in my opinion, a very special time in Page's career. I think anyone who caught it was incredibly lucky. I was at the Oakland show myself. It's definitely the best concert memory I have, out of the many concerts I've gone to.

In the Fall of 1988, Jimmy Page toured the US and UK to support his first and only solo album, Outrider. Demand for tickets wasn't quite as high as in the glory days of Zeppelin. Smaller venues were booked, and larger venues were often not filled to capacity. It was ironic, as Page was playing better than he had in years. He was easily playing his best since 1973 and, in this writer's humble opinion, matched that level of playing during many performances. At the time, it felt like an unbelievable, well-kept secret, which perhaps is the way magic is supposed to work. For those who haven't explored this tour, I highly recommend diving in. While Jimmy's playing did get more fluid as the tour went on, you really can't go wrong with any show (and yes, this includes September shows). Here then are 10 selections from the Outrider tour. Thanks for reading, and God Bless. 1. "Stairway to Heaven", East Rutherford, 10.26.88 - The recording for this particular performance of the "Stairway" instrumental is fantastic, in that it perfectly captures the sound and atmosphere of the arena and all the voices within. You can hear the spheres of the audience who sing along as if it's the live version from the Song Remains the Same soundtrack melding with other audience members who choose to sing the classic album version. It's a huge collection of individual voices that somehow, wonderfully, end up sounding like one big collective voice ~ one vast countenance with many emanations. Jimmy's playing lights the way, as if he's holding up a lamp that emits one of those little balls that bounce along the lyric line for all to follow. The solo is incredible: pure Jimmy Page goodness in all its primal glory, from the first swirlings to the final note, and the crowd is feeling it. The fiery particles we encountered down in Troy are back again, acting as little helpers as they smoothly race through space and the band and the amps and the speakers and the dried gum stuck to the floor and the pot smoke and the illicit recording devices and the bad haircuts and the minds and hearts of those gathered. They're here to help us open the Gates of Heaven and see God face to face ~ to briefly create one eternal center of consciousness. The snake from our second selection has made its way up top as well and seems quite content comfortably perched at the crown of the tree (or mountain or stairway or ladder). As the crowd sings the final word, there is the briefest moment of quiet anticipation that is like the gathering together of the essence of silence; it is focused at a point. And in that smallest of windows before the holy eruption of joyous, euphoric applause, all existence seems to merge. No more Jimmy Page. No band. No arena. No audience. No thoughts. No worries. No you. No me. Only ~ One ~ Shining ~ White ~ Light. 2. "The Chase/Dazed and Confused", Portland, 11.11.88 - Reaching back millennia, it's been said that drama is not only magic but it's the oldest form of magic, with the stage itself being a magical temple. Under the misty, Athena gray skies of Portland, Maine, on the 11th day of the 11th month (fun fact: 11+11+88 = 110), Jimmy Page puts on a theatrical, magickal performance of "The Chase" that adeptly demonstrates this ancient wisdom. From the beginning, Page commands his subjects' attention with a proclamation of sorts, making it clear that he is the one and true King as he rolls forth in a majesty of thunder. As the song segues into the bow section, his magisterial lingam/bow addresses the receptive and waiting yoni/guitar to create a unique and vitalized life all its own. This newly created energy flows through him as he launches into the famous "Dazed" workout with vigor, a dynamic tour de force that sends the crowd into a frenzy. He's playing with an illuminated intelligence that feels limitless, creating a pure force that seems to be constantly spiraling outward. A fuller metaphor for this idea might be that of a spider drawing its thread from star to star of a young galaxy, creating a treasure house of sounds with each line it weaves. And then he brings us back to the eternal guitar line that started it all, the Father of all that would follow. Page makes the chunky, inexorable riff sound like a massive python slowly winding its way up a tree. The outro is sublime ~ the loyal subjects roar ~ the great spell has been cast. 3. "Over the Hills and Far Away", Worcester, Saturday, 10.29.88 - East of Springfield and west of Boston lies the city of Worcester, Massachusetts. Besides being known for the flowing waters of the Blackstone River and its historic Elm Park, Worcester has a rich history of reform - most notably regarding women's rights. Tonight, its residents are treated to a Jimmy Page playing on a higher plane. He's in fantastic form this evening and puts in a powerhouse of a performance for the entire show; tonight, we get the works. In particular, "Over the Hills and Far Away" is a revelation. For the song's solo, Page becomes the receiver of a primal force, using his will to manifest an intense volition that gets the desired result. Throughout the lifecycle of the solo, he disciplines the force into form with merciless severity (a great fortune for the listener). It starts off as a low, brooding rapture, solemn and slow. From there, he creates a concise fluctuation of notes that gets to the root of things. A mesmerizing sense of stillness lies within the rush, as if touched by Kali, the great and terrible Queen of Time (who also moonlights as the benevolent Mother Goddess of mercy). His playing is constructive, like that of the builder or engineer who intuitively understands the process of creation, analyzing and directing his work in real time. Jimmy's cup is overflowing here - not with Acapulco gold, but with alchemical gold. He's playing with an abundance of creativity ~ a Great Sea of creativity ~ that seems to come from a time before rules and laws and objects: a pure construct designed for the golden age. 4. "Prelude", London, Thursday, 11.24.88 - Entertaining a crowd in 2008 with a talk on the transformative power of classical music, English composer Benjamin Zander played Chopin's "Prelude in E Minor". Before going into the short piece, he asked them to think of someone they loved who was no longer with them, keeping that person in mind throughout the entire performance. It had a powerful emotional effect on the small crowd and was an example of music's ability to reach across barriers and affect us deeply, particularly in the area of the brain that's connected with memory. Chopin himself wanted to be remembered for the composition and had it played at his funeral. Tonight in London, Page plays "Prelude" to a crowd that's roughly the same size and it's a stirring, royal performance, filled with grace. Gone is the wild abandon of the 70s rock star. In its place is the kind of patient, measured greatness that only comes with time and maturity. The opening notes are played slowly and lovingly with a kind of divine repose, like swans upon a lake. As he continues on, the playing becomes paternal, solid, reassuring. It evokes the nature of memory itself, a hydrangea blue patchwork of images and feelings that makes one reminisce about their own lives, their own story. In the climactic ending, there comes a sudden shaking, as if the harmony were broken up into innumerable fragments until a fearful blast petals forth, a trumpeting of majesty. But within the blare of the tempest sounds a voice steady and stern, yet full of peace and kindness. This is Page as Zeus the All-Father. He's the same ruler as in the selection below, cast from the same strong iron. But instead of the war leader, we have a monarch who uses his strength to keep order at home: the eternal patrician whose lordship is just, merciful and benign. 5. "Tear Down the Walls", Rochester, Tuesday, 10.25.88 - On the subject of ego, with its self-imposed limitations, Jung wrote in his Red Book that "if you remain between arbitrary and artificially created boundaries, you will walk as between two high walls; you do not see the immensity of the world. But if you break down the walls that confine your view, your ancient sleeper will awaken. Your world begins to become wonderful." Advancing up the ladder, we retreat from our golden castle below, searching higher ground for a new area of operation. We find it once again in New York, as we encounter Page and company performing "Tear Down the Walls" at the Rochester War Memorial. And tonight, the boys mean business. Page is in shock and awe mode. The kinetic energy of the crowd is explosive, and Jim matches it, swinging his axe like the goddamn Sword of Mars as he strikes the louder chord. It's martial music, wild and full of the rushing of fire. A take-no-prisoners, red-hot, crushing display of might that is simply unstoppable. The space that the Memorial sat on was originally headquarters for the Kimball Tobacco Company, built over 100 years earlier. William Kimball (whose name means "war leader") returned home from the Civil War and set his sights on transforming a small tobacco business into a major industry. A mechanic and inventor himself, he was directly involved in every aspect of the manufacturing process for his tobacco. Laser-focused on his objectives, he made the engagement of his will a strategic imperative, using action to transform ideality into actuality. Kimball's spirit seems to be with Page tonight, who puts in a performance purged of all impurities, excised of all weakness, with a will cast from the strongest iron. 6. "Who's To Blame", NYC, Sunday, 11.13.88 - For the final show of the US tour, Page played the Ritz Club in New York City. Originally called Webster Hall and built by Charles Goldstein over 100 years earlier, the building has a rich and fascinating history. Known for hosting wild, hedonistic, joyously disobedient events in the early 1900's, it earned the title "Devil's Playhouse". Over the years, many famous performers in all areas of music have reveled here, and tonight Page adds to the madness and mystery with a timeless rendition of setlist opener "Who's To Blame". John Miles shines bright on this one. His delivery is like a rosy dream of gold: a sunbeam of distilled equity that honeycombs the tightly packed club, managing to sound both sinister and resplendent all at once, as if he's marrying dual sides of the human condition. Meanwhile, Page is like a phoenix reborn, careering out of the night with a beautiful, radiant display that completely redeems any chatter of his playing not being on par with past glories. His true will is realized here, and on this night he's both Apollo, bringing illumination to the crowd below, as well as Dionysus, basking in the festivity as he rips and rends through the performance. And this is blended with the echo of all former voices and their music, so that the whole abyss is filled with their orchestration to one symphony. All the children are at play, and the Playhouse transmutes into a harmonious coagulation of Mount Nysa and the Temple of the Sun. It's a golden castle that's always been there, with Page acting as its immortal Prince. 7. "Emerald Eyes", London, Friday, 11.25.88 - Leaving the world of thinking and Hermes below us, we move farther up the ladder into a world of pure feeling with a song that Page often introduced as something that came to him "in an action of passion". That sudden lightning flash is the 7th selection on our list (as well as the 7th song in the setlist and 7th song on the Outrider album) and is an instrumental called "Emerald Eyes". The venue is the gorgeous Hammersmith Odeon, and the building's exuberant Art Deco stylings perfectly match the vibrant feel of the music. Art deco itself was born in Paris, the city of Love, and on this night the arena is briefly transformed into the holy mountain of Lady Venus, with the crowd rejoicing and giving adorations to her beauty. Appropriately, in Greek mythology, Aphrodite (Venus) was married to Hephaestus - the quintessential Hammersmith if ever there were one. In some belief systems, worshippers contact deity directly through their art. Once communion is achieved, deity then exalts the worshipper with inspiration. The worshipper may then represent deity symbolically through their chosen artistic expression. With each presentation, they are made into a beautiful instrument tuned to deity, tuned to rapture ~ and their performance is a thanksgiving and celebration of this holy tryst (and indeed a celebration of the power of cohesion in the universe itself, the ultimate communion). In tonight's performance, Page is an absolute force of nature, and he ardently crafts a deep and tender tune, like nightingales beside a waterfall. I've always felt that this song had a certain "Firm-ness" to it and would have fit in well with that material. From our unique vantage point as a speck in the stardust of ages, let's take a brief moment to appreciate this intense, moving victory, and then continue on with the climb. 8. "Writes of Winter", Pittsburgh, Wednesday, 11.09.88 - In this selection, we have Page playing the Syria Mosque in Pittsburgh. The mosque was originally built in 1919 as a mystical sanctum for the Shriners and was a prime example of Exotic Revival architecture. Some freemasons and shriners would use the black dog-faced image of Anubis the Protector ~ "he who is sacred upon the mountain" ~ in their buildings and literature. In certain circles, Anubis can be called upon to offer protection, and those who receive his protection can show gratitude by honoring his image in their works. These images can be both hidden and revealed. As for the performance itself, all I can say is - Holy Moly. Page's instrumental here is pure splendor. Perhaps inspired by the architecture of the building and the history within its walls, Page seems to be tapping into the unseen force from which the Gods are sprung. His fingers fly with the swiftness of Hermes. Quick trills inform the air; the notes become a perpetual choir of myriads and seem to go on into infinity. This is the glory of Page in full flight, his truest essence now separated from any inauthentic dross that might dilute his awareness. The chain of systems is falling unthinkably far below his feet. It's a kind of holy detachment, and his performance is one for the books. What more could the boisterous, uber-appreciative Pittsburgh crowd ask for? I'm sure their heads were still buzzing as they drifted back home through the crisp, chimney-smoked air and sidewalks littered with bright, tawny leaves that looked just like little fire opals under the reflected moonlight emanations of Fall. 9. "Midnight Moonlight", Birmingham, Monday, 11.21.88 - Farther up the ladder from the kingdom of worldly affairs, we climb the rungs towards something more ethereal. This particular recording has John Miles' vocals sounding far off and distant, like listening through a twilight veil of mist. It gives the performance a dream-like quality which suits it nicely. Luckily, Page's guitar is coming through like the clearest quartz, piercing the veil and allowing us to hear every note perfectly. The song's protagonist is in a watery, dream-like state himself, or perhaps the watery dream is the state he's in ~ like the myth of Endymion who waits for the Titan Selene to visit him each night in his slumber, his bed an altar, his javelin in hand. Carl Jung called dreams and unconscious images "the matrix of mythopoeic imagination", and tonight Page plays with starlight wonder, guiding us through the constantly moving tune while keeping stability through the changes. He is the foundation for the song, and his fixed will is evident throughout. The middle section has "White Summer", "Black Mountain Side" and "Kashmir" played with a serene, otherworldly focus, as if Jimmy is in a thistled dream state of his own. As he immerses himself in the "Kashmir" riff, all sound is gathered into one, an endless monotone of power impregnable, like the trumpeting of an elephant in spring. Just as the character in the song may be connecting with his unconscious self, here we have Page experiencing ego dissolution and embracing his own "bird on the wing" as he submerges into his anima. 10. "Prison Blues", Troy, 11.05.88 - Even the simplest of blues songs leave themselves open for interpretation, which is part of their magic. You can take a given song at face value, or you can see it as a metaphor. In the case of "Prison Blues", we have the idea of the main character stuck in prison (for a crime he didn't commit), and he's afraid to escape by climbing the ladder. This particular song is begging for interpretation. How many of us have at one time or another been in prisons of our own making? And what stops us from climbing the ladder to escape? Do we want to stay incarcerated out of guilt - do we feel we deserve to be there? We all have demons in our past. No one has lived a life free of regrets. Perhaps the beginning of escape begins with forgiveness, with compassion for our own selves. We don't absolve ourselves of responsibility for our past actions - accepting personal responsibility at all levels is imperative for any kind of growth. But we can offer ourselves and others forgiveness, and through that compassion we can move forward. Or rather, move upwards, as we begin to climb the ladder. Just like Princess Persephone, as told in the Eleusinian Mysteries, was imprisoned by Hades (the descent) and eventually released (the ascent) to be reunited with her mother Demeter so too can we ascend the prisons of our own making.The ancient Greeks believed in the afterlife and that this Earthly existence was in itself a kind of prison. Every year, they would make an annual pilgrimage to Athens, coming from all parts of Greece. From there, they would walk the "lere Odos" - Sacred Road - to Eleusis to perform their secret initiation. Tonight, in Troy, NY, Page is performing an initiation of his own. And from the sound of it, he had his Wheaties that morning. Calcinating, russet chords lead up into airy, citrine-tinged notes that reverberate across the temple of this rock and roll kingdom (and through the literal temples of those gathered like fiery particles on a sacred mission). He pours himself into the song and becomes one with his mistress/guitar. The soul of the music takes the shape of a pure maiden's voice, and she sings across the temple in a wash of colors that cover the full spectrum of feeling: swagger and dominance; cathartic, rapturous release; and deep, heartfelt blues that come from way down in the dirt. It's as if some echo of red, gold and blue chimed through her notes to communicate its message: that the perfection of the universe is the realization of the ideal of one's passion. Whether one is looking for redemption, enlightenment, or immortality through their work, perhaps the starting point is this message. So as we begin to climb the ladder (or stairway or tree or mountain) through this list of selections, let's keep that in mind as we move up the path.

These are great. Thank you very much for sharing!