Here's to my Sweet Ranking - 14 Magickal Performances of "Dazed and Confused" from 1973

[1975NQ]

When discussing live performances of Led Zeppelin, the year 1973 is the one most likely considered their musical peak. And when discussing 1973, you have to talk about "Dazed and Confused". This is the year this song peaked, and really any version from this year is enjoyable. I decided to make a list of my 14 favorite performances of this song, listening to all available shows from the first 7 months (January - July) of the year. It took about 7 months to put together.

 

While the below performances are my own favorites, you can't go wrong with any of them. Some people may have Berlin, Preston, or New Orleans as their own favorite (all excellent btw). It's all subjective.  

 

I can hear magic and inspiration in the below performances which is what inspired me to create this list.

 

 

T

 

1. NYC, 7.27.73 -  During the band's final 3 nights of the July tour, they famously filmed all 3 shows at Madison Square Garden. This electric performance takes place on the first of those 3 nights. They were coming off of a 2 day break and were well-rested. The fatigue that can be heard at the end of the Pittsburgh show on the 24th is gone (it would return the next night on the 28th); what we have here is Jimmy Page and Led Zeppelin at the peak of their powers. They had 3 nights to put down the perfect performance for "Dazed and Confused", the centerpiece of the show and movie, and were able to make it happen on the very first night. Besides Page putting in one of the finest performances in rock history, Robert Plant sounds incredible. He's a lion roaring in the golden dawn morning. He's Apollo, bringing holy light to his flock, his pangendered, sun-dappled vocals echoing across the Garden. There's an alchemy at work with all 4 band members that can be seen, felt and heard.     

 

2. Essen, March 22nd -  On the subject of balance, a famous mystic once wrote "Balance every thought with its opposition. Because the marriage of them is the destruction of illusion." He was essentially paraphrasing Jung who believed true individuation/awakening could only be achieved through integrating our shadow self with our ego self (Jung himself was following ancient Eastern thought with this philosophy). There's a time for restraint and temperance, and a time for wild abandon. With this near perfect rendition, Page and the band strike a balance between the two. From the opening notes through the bow solo, there is restraint - the creative fire is funneled carefully into artful musicianship. Once the second solo begins, Page allows the fire to slowly build into a creative inferno and consume him. He becomes one with it. The band is locked in with him, and they achieve a level of play ordinarily beyond their own capability. The result is a truly magical performance that we are lucky enough to have access to. Page hints at "Train Kept A 'Rollin" in the second solo, and the outro is best left undescribed - better to just have a listen.

 

3. Seattle, July 17th - "Walk don't run" could be considered the theme for this unbelievable performance. The tempo is just a touch slower here, and it feels like Page and the band are intentionally slowing things down a fraction to make sure they get everything just right. Sometimes patience is the key ingredient when manifesting artistic success, and every facet of this performance feels like that - art. From the opening notes through to the mind-blowing outro, this is as good as Zeppelin got on a stage.

 

4. Bradford, January 18th - Here we have an absolutely blistering performance that just zips by - it's over before you know it. It's been a favorite for many years and has always sounded perfect to my ears. Both Page and Bonham are in peak form and are playing like they're psychically joined, raving in twin rapture, each pushing the other forward, faster and farther, reflecting off each others musical direction like two rainbows reflecting off the sun. The outro is almost too intense, as their twofold Oneness spirals chords and rhythms directly into the collective brain and spine of the crowd below.  Plant chants "do what you want". He almost sounds like he's performing an incantation to complete a spell.

 

5. Stoke, January 15th - Another stunning performance from the UK winter tour. While much well-deserved praise has been given to the March European shows, it should be noted that both Page and Bonham were playing insanely well on this tour, particularly in January. To my ears, the playing is as hot - or even hotter - than any other tour. The energy is palpable. Bonzo is playing with fire and frenzy, and Jimmy is razor-sharp. Bonzo shouts "nice one!" after the song's finale, and Robert repeats it in agreement.

 

6. Detroit, July 13th - There are some flubs here and there, and Page gets lost in the transition piece of a couple of sections, but he and the band more than make up for it with red-hot, dynamic playing. Jimmy Page is absolutely bursting with creative energy here. The bow section is one of the best I've heard, and there is a strong sense of drama throughout the entire performance - light and shade at its best. Plant sounds fantastic and is giving it his all. While the performance doesn't flow as perfectly as the night before, the peaks are sublime. This cinematic listen is like watching a movie about sun gods reveling in their power and showering light down onto the mortals below.

 

7. Detroit, 7.12.73 - This is as good as it gets. I love every second of Jimmy's playing on this version and usually have a huge smile on my face when listening. Lucky Detroit fans. It's too bad Robert wasn't in better voice for the San Fran section (which is played beautifully), but you can't have everything. Page is playing with savage ferocity. The solos are unbelievably fast - tangled groves of sonic pandemonium that snare the listener. They attack and intoxicate spirit and soul, body and brain. During the Mars section, Page becomes Mars himself and seems to be drawing fire up from the inner part of the earth, raining it down on the audience who welcome the devastation with euphoria, their minds folding up like flowers at dusk. In the outro, he sounds like he's guiding lightning by hand. This is Page tapping into his full potential, mining creative energy and conforming it to his will - and bringing the whole band with him. They are not only along for the ride but active participants - 4 stars in the creation of a transcendent, transformative performance.

 

 

 

8. Milwaukee, 7.10.73 - "Holy Christ!" This is the taper's exclamation after an amazing bow solo, and it succinctly sums up this white-hot version, lead by an unstoppable Page. Plant himself is in fantastic form and is with Page every step of the way. Tonight, he's a lissome emissary of Venus, radiating passion and valor in his singing. During the San Fran section, his twilight, watery vocals are a panacea for the 1973 audience, washing away all troubles of gas prices and recessions. The entire performance is visceral and heart-racing. It doesn't let up for a single minute until the explosive finale. No wonder they were so tired by the time they reached the Garden! You can't sustain this level of creative and physical intensity indefinitely.   

 

9. St. Paul, July 9th - On this night, Page and the band seem to pull this performance from the dark waters of the subconscious; Sometimes you gotta howl at the moon. It's a wild, exploratory version that is definitely more loose than tight - and a hugely enjoyable listen. Page is playing at an incredibly high level here.. He and Bonham are playing much more loose and letting go a bit, with fantastic results. Plant feels the spirit as well and puts in an equally revelrous performance.Whatever they summoned up this night, it's fantastically unique and a one-of-a-kind performance, start to finish.

 

10. Vienna, March 16th - Undeniable is the word that comes to mind when I listen to this performance. There's a timelessness to it that makes it seem like it's always been there and is "just so". There is a purity of purpose at work that begins with Jimmy Page, and it feels like the universe is helping him along here, guiding his movements and leading him to success. The whole band is with him, almost as if they sense this precise moment in time has a certain "quality" to it.

 

11. Hamburg, March 21st - When you have Page and Bonham playing with this kind of conjoined rapture, each plugged into the others corybantic rhythms like  twin whirlpool modons dancing across the sea, you get one of the most unique versions of this song ever played. Bonzo is a great beast here, playing with vitriol. It's his world on this lunar night, and we're all just visitors taking in the scenery. A triumphant, epic performance that deserves all the praise it gets. 

 

12. Oxford, January 7th - In this performance, we have an unbelievable Bonzo playing with military crispness, and there's an intense, heavy lead-in to the bow section. Plant's voice is a bit strained so he chooses a subdued approach, making the San Fran section sound woeful and ominous - and also adding perfectly spooky vocals during the bow section. The descending riff from "In the Light" is played in the outro. It suits the song perfectly, giving it a feeling of closure as well as actual descension - hidden truths, power, energy revealed to all and revelled in. In recent years, connections have been explored between what Jung called "the collective unconscious" and God, various areas of mysticism, and ancient texts. Descending into the unknown is often associated with darkness, but there can be many positives to exploring hidden worlds and dreaming of things beyond believing.  

 

13. Pittsburgh, July 24th - Listen closely, and you can hear, ever so slightly, mental and physical fatigue creeping into Page's performance by the time they get to Dazed on this night, which is near the end of the tour. He's not playing with quite the inspired ferocity he was at the Detroit shows or St. Paul earlier in the month. However, he's a professional and is playing with an insane amount of focus and artful temperance with very few flubs. Plant has a few cracks in the opening verses but after that puts in a phenomenal performance. The outro in particular is incredible and has Page hinting at "Train Kept a Rollin'". At the end of this near perfect performance, Plant says "I think this night is gonna be one of the good ones." 

 

14. Chicago, 7.7.73 - This night's version is similar to St. Paul, with Page once again having a rendezvous with Luna. The playing is loose (but tight) and festive,with Page keeping things open. He's tapping into his anima, the midnight pool of the mind, creating a panorama of playful, silvery phrases that result in a fun and unique version with magnetic personality to spare.  Page is relaxed but also in complete control, an eagle that finds its target naturally and with ease - the aim of Artemis musically invoked.

 

 

T

 

 

There are several performances that are equal to those on the list but were excluded from consideration for various reasons.

 

Notable exclusions:

 

Crowd interference - Boston

 

Audio - Aberdeen, Paris 4/1, Baltimore

 

Incomplete - Liverpool, Vancouver, Providence

Edited October 12, 2022 by 1975NQ

[JMH]

Damn. Some exercise. I reckon I’ve heard 4-5 from your list. Can agree that Vienna and Seattle are pretty damn strong.

[Strider]

Well, I can see that I have another listening exercise after I get through finding the electric hum in "Black Dog" and the unplugged jack in "Ten Years Gone" tonight.

I am surprised you have Hamburg so low and where is Offenburg on your list?

[Xolo1974]

Love that Seattle show. Offenberg has to be in there though. 

[Autumn Moon]

Can´t say that I prefer the 73 US D&C over versions from 69-72, but I agree that development and structure are truly magic.

My favourite versions are: New Orleans, both Detroit shows, Seattle (the ultimate- slower, dark & some parts are devastatingly heavy), Providence and NY 27th.

I can´t stand Vienna as Plant ruins the whole vibe of the song. The way he "sings" while drowning in maximum reverb, that´s too much for me. Just my point of view. Funnily enough I was very close that night (1,5 years old and most likely sleeping), as my family used to live only 500 metres away from the Stadthalle. That was a huge advantage in my teens.

But I really like Offenburg, great gig, great D&C.

[JohnOsbourne]

Great list, I agree with much of it, but yeah:  where's Offenburg?

[1975NQ]

2 hours ago, Autumn Moon said:

Can´t say that I prefer the 73 US D&C over versions from 69-72, but I agree that development and structure are truly magic.

My favourite versions are: New Orleans, both Detroit shows, Seattle (the ultimate- slower, dark & some parts are devastatingly heavy), Providence and NY 27th.

I can´t stand Vienna as Plant ruins the whole vibe of the song. The way he "sings" while drowning in maximum reverb, that´s too much for me. Just my point of view. Funnily enough I was very close that night (1,5 years old and most likely sleeping), as my family used to live only 500 metres away from the Stadthalle. That was a huge advantage in my teens.

But I really like Offenburg, great gig, great D&C.

Oh wow, that's really cool. Must have driven your parents nuts tho with all the noise coming over lol. I'm with you on Providence. If we had a complete performance from that night, it would absolutely be on the list, probably in the top 5 somewhere.

Offenberg is definitely a great gig and one of my favorites from that tour, along with both Paris shows. I left off DAC from the list because that particular performance has never been my favorite. It's a strange one for me. Page is having an incredible night, and it's fun to hear him go ham on the song - but at the same time, it feels very erratic, rushed in some places, and all over the place. The band doesn't seem to be gelling like they do with the song on other nights. It's just kind of bonkers lol. Some parts of it are pure "wow", where I'll sit back and just listen to Page be amazing - especially when he's doing stuff that he typically doesn't do for the song. But other sections, it just sounds kind of chaotic and weird, at least to my ears. Does that make sense?

[1975NQ]

On 10/12/2022 at 12:03 PM, Strider said:

Well, I can see that I have another listening exercise after I get through finding the electric hum in "Black Dog" and the unplugged jack in "Ten Years Gone" tonight.

I am surprised you have Hamburg so low and where is Offenburg on your list?

Hamburg's great, I just like the other ones more. The 14 on the list are all essential listens, imho. 

[Autumn Moon]

15 hours ago, 1975NQ said:

It's a strange one for me. Page is having an incredible night, and it's fun to hear him go ham on the song - but at the same time, it feels very erratic, rushed in some places, and all over the place. The band doesn't seem to be gelling like they do with the song on other nights. It's just kind of bonkers lol. Some parts of it are pure "wow", where I'll sit back and just listen to Page be amazing - especially when he's doing stuff that he typically doesn't do for the song. But other sections, it just sounds kind of chaotic and weird, at least to my ears. Does that make sense?

That makes sense, absolutely.

By the way, your explanation reminds me of what I think about their 1975 concerts.

[1975NQ]

50 minutes ago, Autumn Moon said:

That makes sense, absolutely.

By the way, your explanation reminds me of what I think about their 1975 concerts.

Haha, yeah I think the word "erratic" best sums up that tour. Still some great nuggets in there, though. Especially with NQ (as you might have guessed from my username).

[in_the_evening]

"here's to my sweet ranking"...  cute.  Pretty sure I know where that comes from!!

[1975NQ]

2 hours ago, in_the_evening said:

"here's to my sweet ranking"...  cute.  Pretty sure I know where that comes from!!

Always good to have a little humor in the mix 😀

[Strider]

1975NQ, d'yer listen to all of the "Dazed and Confused"s in chronological order?

[1975NQ]

12 hours ago, Strider said:

1975NQ, d'yer listen to all of the "Dazed and Confused"s in chronological order?

No, I bounced around between the tours when listening. I was already familiar with many of them when I started the project, and it was nice to take my time with it. 🙂

[High-hopes Hailla]

I think your top choice of  7/27 Is a solid one. I’ve come to appreciate it more and more over the years in its full audience-tape glory. I can see why Page took so much of it for TSRTS. Back in the day (I bought the vinyl the day it came out) I believed Page and Plant’s excuses about it being “end of the tour/we were sooo tired,/not a classic representation of the band,” etc. ‘Course I believed it! I was 14, it was 1976, and I had nothing to compare the soundtrack to! A million years later I’m sure I’ve heard every “Dazed”’ played in ‘73 and I say this one’s a great choice. My go-to ‘73 Dazed, though,  is L.A. June 3. Specifically the SIRA silvers I bought when they came out—-‘92 maybe? I haven’t found a better version of 6/3 outside of Winston’s remaster, but I ain’t got that on silvers, obvs. Something special about this version(I notice it didn’t make your list).  Once you get past the awful tape glitches, the final 15 minutes are super-powerful, and the last 10 minutes are Page, Jones and Bonzo at their passionate best. THAT’S what I feel here: the emotions. The last three minutes never ever cease to make my jaw drop—after 3O years of the SIRA. And then Plant, at the end? His heartfelt compliment to Pagey? I’ve never heard Percy so sincere from the stage, and after the previous 30 minutes of vital emoting,  it just feels so right. Anyway… good list, mate.

 

[1975NQ]

2 hours ago, High-hopes Hailla said:

I think your top choice of  7/27 Is a solid one. I’ve come to appreciate it more and more over the years in its full audience-tape glory. I can see why Page took so much of it for TSRTS. Back in the day (I bought the vinyl the day it came out) I believed Page and Plant’s excuses about it being “end of the tour/we were sooo tired,/not a classic representation of the band,” etc. ‘Course I believed it! I was 14, it was 1976, and I had nothing to compare the soundtrack to! A million years later I’m sure I’ve heard every “Dazed”’ played in ‘73 and I say this one’s a great choice. My go-to ‘73 Dazed, though,  is L.A. June 3. Specifically the SIRA silvers I bought when they came out—-‘92 maybe? I haven’t found a better version of 6/3 outside of Winston’s remaster, but I ain’t got that on silvers, obvs. Something special about this version(I notice it didn’t make your list).  Once you get past the awful tape glitches, the final 15 minutes are super-powerful, and the last 10 minutes are Page, Jones and Bonzo at their passionate best. THAT’S what I feel here: the emotions. The last three minutes never ever cease to make my jaw drop—after 3O years of the SIRA. And then Plant, at the end? His heartfelt compliment to Pagey? I’ve never heard Percy so sincere from the stage, and after the previous 30 minutes of vital emoting,  it just feels so right. Anyway… good list, mate.

 

Thank you! And you hit the nail on the head with them really making you feel it. I think 6-3 is unmistakably a special show. You can feel the energy, emotion and power coming off both the crowd and the band ... it's like an aural glow, for lack of a better term. My go-to for the show is the Winston as well. One fun thing about this version of Dazed is the tape warble sort of adds to the magic lol. I mean, it only happens during the beginning of the bow solo (thankfully only a small portion) and kind of "fits" in a way.   

I realize this stuff is all subjective, and everyone has their own favorites. One great thing about Dazed in 73 is that, for the most part, they're all good. I'd say all are "good", most are "very good" and about half are "excellent". Which when you think about it, is kind of amazing, considering how many versions we have available from that year.   

Regarding 7-27, I came to have a much fuller appreciation for it when putting the list together. It was the first live version of Dazed I heard myself (SRTS original soundtrack), back in the mid 80s when I got into Zep. And after all these years, it's still the favorite. Who woulda thunk it.

[Plant77]

On 10/12/2022 at 6:37 AM, 1975NQ said:

When discussing live performances of Led Zeppelin, the year 1973 is the one most likely considered their musical peak. And when discussing 1973, you have to talk about "Dazed and Confused". This is the year this song peaked, and really any version from this year is enjoyable. I decided to make a list of my 14 favorite performances of this song, listening to all available shows from the first 7 months (January - July) of the year. It took about 7 months to put together.

 

While the below performances are my own favorites, you can't go wrong with any of them. Some people may have Berlin, Preston, or New Orleans as their own favorite (all excellent btw). It's all subjective.  

 

I can hear magic and inspiration in the below performances which is what inspired me to create this list.

 

 

T

 

1. NYC, 7.27.73 -  During the band's final 3 nights of the July tour, they famously filmed all 3 shows at Madison Square Garden. This electric performance takes place on the first of those 3 nights. They were coming off of a 2 day break and were well-rested. The fatigue that can be heard at the end of the Pittsburgh show on the 24th is gone (it would return the next night on the 28th); what we have here is Jimmy Page and Led Zeppelin at the peak of their powers. They had 3 nights to put down the perfect performance for "Dazed and Confused", the centerpiece of the show and movie, and were able to make it happen on the very first night. Besides Page putting in one of the finest performances in rock history, Robert Plant sounds incredible. He's a lion roaring in the golden dawn morning. He's Apollo, bringing holy light to his flock, his pangendered, sun-dappled vocals echoing across the Garden. There's an alchemy at work with all 4 band members that can be seen, felt and heard.     

 

2. Essen, March 22nd -  On the subject of balance, a famous mystic once wrote "Balance every thought with its opposition. Because the marriage of them is the destruction of illusion." He was essentially paraphrasing Jung who believed true individuation/awakening could only be achieved through integrating our shadow self with our ego self (Jung himself was following ancient Eastern thought with this philosophy). There's a time for restraint and temperance, and a time for wild abandon. With this near perfect rendition, Page and the band strike a balance between the two. From the opening notes through the bow solo, there is restraint - the creative fire is funneled carefully into artful musicianship. Once the second solo begins, Page allows the fire to slowly build into a creative inferno and consume him. He becomes one with it. The band is locked in with him, and they achieve a level of play ordinarily beyond their own capability. The result is a truly magical performance that we are lucky enough to have access to. Page hints at "Train Kept A 'Rollin" in the second solo, and the outro is best left undescribed - better to just have a listen.

 

3. Seattle, July 17th - "Walk don't run" could be considered the theme for this unbelievable performance. The tempo is just a touch slower here, and it feels like Page and the band are intentionally slowing things down a fraction to make sure they get everything just right. Sometimes patience is the key ingredient when manifesting artistic success, and every facet of this performance feels like that - art. From the opening notes through to the mind-blowing outro, this is as good as Zeppelin got on a stage.

 

4. Bradford, January 18th - Here we have an absolutely blistering performance that just zips by - it's over before you know it. It's been a favorite for many years and has always sounded perfect to my ears. Both Page and Bonham are in peak form and are playing like they're psychically joined, raving in twin rapture, each pushing the other forward, faster and farther, reflecting off each others musical direction like two rainbows reflecting off the sun. The outro is almost too intense, as their twofold Oneness spirals chords and rhythms directly into the collective brain and spine of the crowd below.  Plant chants "do what you want". He almost sounds like he's performing an incantation to complete a spell.

 

5. Stoke, January 15th - Another stunning performance from the UK winter tour. While much well-deserved praise has been given to the March European shows, it should be noted that both Page and Bonham were playing insanely well on this tour, particularly in January. To my ears, the playing is as hot - or even hotter - than any other tour. The energy is palpable. Bonzo is playing with fire and frenzy, and Jimmy is razor-sharp. Bonzo shouts "nice one!" after the song's finale, and Robert repeats it in agreement.

 

6. Detroit, July 13th - There are some flubs here and there, and Page gets lost in the transition piece of a couple of sections, but he and the band more than make up for it with red-hot, dynamic playing. Jimmy Page is absolutely bursting with creative energy here. The bow section is one of the best I've heard, and there is a strong sense of drama throughout the entire performance - light and shade at its best. Plant sounds fantastic and is giving it his all. While the performance doesn't flow as perfectly as the night before, the peaks are sublime. This cinematic listen is like watching a movie about sun gods reveling in their power and showering light down onto the mortals below.

 

7. Detroit, 7.12.73 - This is as good as it gets. I love every second of Jimmy's playing on this version and usually have a huge smile on my face when listening. Lucky Detroit fans. It's too bad Robert wasn't in better voice for the San Fran section (which is played beautifully), but you can't have everything. Page is playing with savage ferocity. The solos are unbelievably fast - tangled groves of sonic pandemonium that snare the listener. They attack and intoxicate spirit and soul, body and brain. During the Mars section, Page becomes Mars himself and seems to be drawing fire up from the inner part of the earth, raining it down on the audience who welcome the devastation with euphoria, their minds folding up like flowers at dusk. In the outro, he sounds like he's guiding lightning by hand. This is Page tapping into his full potential, mining creative energy and conforming it to his will - and bringing the whole band with him. They are not only along for the ride but active participants - 4 stars in the creation of a transcendent, transformative performance.

 

 

 

8. Milwaukee, 7.10.73 - "Holy Christ!" This is the taper's exclamation after an amazing bow solo, and it succinctly sums up this white-hot version, lead by an unstoppable Page. Plant himself is in fantastic form and is with Page every step of the way. Tonight, he's a lissome emissary of Venus, radiating passion and valor in his singing. During the San Fran section, his twilight, watery vocals are a panacea for the 1973 audience, washing away all troubles of gas prices and recessions. The entire performance is visceral and heart-racing. It doesn't let up for a single minute until the explosive finale. No wonder they were so tired by the time they reached the Garden! You can't sustain this level of creative and physical intensity indefinitely.   

 

9. St. Paul, July 9th - On this night, Page and the band seem to pull this performance from the dark waters of the subconscious; Sometimes you gotta howl at the moon. It's a wild, exploratory version that is definitely more loose than tight - and a hugely enjoyable listen. Page is playing at an incredibly high level here.. He and Bonham are playing much more loose and letting go a bit, with fantastic results. Plant feels the spirit as well and puts in an equally revelrous performance.Whatever they summoned up this night, it's fantastically unique and a one-of-a-kind performance, start to finish.

 

10. Vienna, March 16th - Undeniable is the word that comes to mind when I listen to this performance. There's a timelessness to it that makes it seem like it's always been there and is "just so". There is a purity of purpose at work that begins with Jimmy Page, and it feels like the universe is helping him along here, guiding his movements and leading him to success. The whole band is with him, almost as if they sense this precise moment in time has a certain "quality" to it.

 

11. Hamburg, March 21st - When you have Page and Bonham playing with this kind of conjoined rapture, each plugged into the others corybantic rhythms like  twin whirlpool modons dancing across the sea, you get one of the most unique versions of this song ever played. Bonzo is a great beast here, playing with vitriol. It's his world on this lunar night, and we're all just visitors taking in the scenery. A triumphant, epic performance that deserves all the praise it gets. 

 

12. Oxford, January 7th - In this performance, we have an unbelievable Bonzo playing with military crispness, and there's an intense, heavy lead-in to the bow section. Plant's voice is a bit strained so he chooses a subdued approach, making the San Fran section sound woeful and ominous - and also adding perfectly spooky vocals during the bow section. The descending riff from "In the Light" is played in the outro. It suits the song perfectly, giving it a feeling of closure as well as actual descension - hidden truths, power, energy revealed to all and revelled in. In recent years, connections have been explored between what Jung called "the collective unconscious" and God, various areas of mysticism, and ancient texts. Descending into the unknown is often associated with darkness, but there can be many positives to exploring hidden worlds and dreaming of things beyond believing.  

 

13. Pittsburgh, July 24th - Listen closely, and you can hear, ever so slightly, mental and physical fatigue creeping into Page's performance by the time they get to Dazed on this night, which is near the end of the tour. He's not playing with quite the inspired ferocity he was at the Detroit shows or St. Paul earlier in the month. However, he's a professional and is playing with an insane amount of focus and artful temperance with very few flubs. Plant has a few cracks in the opening verses but after that puts in a phenomenal performance. The outro in particular is incredible and has Page hinting at "Train Kept a Rollin'". At the end of this near perfect performance, Plant says "I think this night is gonna be one of the good ones." 

 

14. Chicago, 7.7.73 - This night's version is similar to St. Paul, with Page once again having a rendezvous with Luna. The playing is loose (but tight) and festive,with Page keeping things open. He's tapping into his anima, the midnight pool of the mind, creating a panorama of playful, silvery phrases that result in a fun and unique version with magnetic personality to spare.  Page is relaxed but also in complete control, an eagle that finds its target naturally and with ease - the aim of Artemis musically invoked.

 

 

T

 

 

There are several performances that are equal to those on the list but were excluded from consideration for various reasons.

 

Notable exclusions:

 

Crowd interference - Boston

 

Audio - Aberdeen, Paris 4/1, Baltimore

 

Incomplete - Liverpool, Vancouver, Providence

Hey Man! This is a badass list. I have gone back and listened to these shows and specifically this song. You have hit the nail on the head my friend. Amazing list 1975-NQ. Absolutely amazing. You have changed my mind not only on this song/performance, but also some of these shows. Great work my friend. Seriously man thank you. Great job. 
 

Have a good night NQ. 

[1975NQ]

1 hour ago, Plant77 said:

Hey Man! This is a badass list. I have gone back and listened to these shows and specifically this song. You have hit the nail on the head my friend. Amazing list 1975-NQ. Absolutely amazing. You have changed my mind not only on this song/performance, but also some of these shows. Great work my friend. Seriously man thank you. Great job. 
 

Have a good night NQ. 

Wow, thank you very much! I really appreciate the kind words. Your positivity is a boon to this forum. 

[JMH]

Only now I realize that letter k in the headline. Haha! Well done, sir.

[1975NQ]

36 minutes ago, JMH said:

Only now I realize that letter k in the headline. Haha! Well done, sir.

😛

I thought it was appropriate for the title and season. Having said that, I'm definitely not poking fun at anyone who believes in that stuff or is a practitioner. I'm not a practitioner myself, or even a dabbler, but do have a very healthy respect for it.

[1975NQ]

Happy golden anniversary to Bradford 1.18.73 entry 4 on the list. A great show (and Dazed) that deserves its place in the sun. ☀️

[William Austin]

I like your description of the 7/27 rendition… that they needed to get a perfect performance down on wax and voila there it is! Page himself may have realized this immediately since the next two performances are more of a drag.

I think the next closest they came to a perfect performance was in Mobile (although I just recently realized they skipped the call and response section and went straight from the first workout to the Page/Plant duel, much like 1975). In this rendition, Page is not only playing with Euro 73 improv, but also with 1972 tightness, and he attacks the song with more vigor than he did on 7/27. Not to mention, possibly Plant's best vocals for the song in 1973. 

[1975NQ]

2 hours ago, William Austin said:

I like your description of the 7/27 rendition… that they needed to get a perfect performance down on wax and voila there it is! Page himself may have realized this immediately since the next two performances are more of a drag.

I think the next closest they came to a perfect performance was in Mobile (although I just recently realized they skipped the call and response section and went straight from the first workout to the Page/Plant duel, much like 1975). In this rendition, Page is not only playing with Euro 73 improv, but also with 1972 tightness, and he attacks the song with more vigor than he did on 7/27. Not to mention, possibly Plant's best vocals for the song in 1973. 

The man worked well under pressure lol. I agree about the following 2 DAC performances on the 28th and 29th. They're very good, but you can really hear the fatigue in places.

Mobile is an energetic and enjoyable listen for sure. I particularly like what Page is doing in the first workout section - just groovin', raunchy rock n roll! I would put Mobile and New Orleans renditions as best of May shows (1st leg). As far as best Plant DAC vocals for 73, that's a good question. I'd have Detroit 7/13, Providence, NYC 7/27, LA 6/3, Paris 4/1, Aberdeen and maybe Bradford at the top of my own list. Plant is fantastic in the Pittsburgh rendition as well, once he gets past the opening verses.

[Plant77]

On 10/12/2022 at 6:37 AM, 1975NQ said:

When discussing live performances of Led Zeppelin, the year 1973 is the one most likely considered their musical peak. And when discussing 1973, you have to talk about "Dazed and Confused". This is the year this song peaked, and really any version from this year is enjoyable. I decided to make a list of my 14 favorite performances of this song, listening to all available shows from the first 7 months (January - July) of the year. It took about 7 months to put together.

 

While the below performances are my own favorites, you can't go wrong with any of them. Some people may have Berlin, Preston, or New Orleans as their own favorite (all excellent btw). It's all subjective.  

 

I can hear magic and inspiration in the below performances which is what inspired me to create this list.

 

 

T

 

1. NYC, 7.27.73 -  During the band's final 3 nights of the July tour, they famously filmed all 3 shows at Madison Square Garden. This electric performance takes place on the first of those 3 nights. They were coming off of a 2 day break and were well-rested. The fatigue that can be heard at the end of the Pittsburgh show on the 24th is gone (it would return the next night on the 28th); what we have here is Jimmy Page and Led Zeppelin at the peak of their powers. They had 3 nights to put down the perfect performance for "Dazed and Confused", the centerpiece of the show and movie, and were able to make it happen on the very first night. Besides Page putting in one of the finest performances in rock history, Robert Plant sounds incredible. He's a lion roaring in the golden dawn morning. He's Apollo, bringing holy light to his flock, his pangendered, sun-dappled vocals echoing across the Garden. There's an alchemy at work with all 4 band members that can be seen, felt and heard.     

 

2. Essen, March 22nd -  On the subject of balance, a famous mystic once wrote "Balance every thought with its opposition. Because the marriage of them is the destruction of illusion." He was essentially paraphrasing Jung who believed true individuation/awakening could only be achieved through integrating our shadow self with our ego self (Jung himself was following ancient Eastern thought with this philosophy). There's a time for restraint and temperance, and a time for wild abandon. With this near perfect rendition, Page and the band strike a balance between the two. From the opening notes through the bow solo, there is restraint - the creative fire is funneled carefully into artful musicianship. Once the second solo begins, Page allows the fire to slowly build into a creative inferno and consume him. He becomes one with it. The band is locked in with him, and they achieve a level of play ordinarily beyond their own capability. The result is a truly magical performance that we are lucky enough to have access to. Page hints at "Train Kept A 'Rollin" in the second solo, and the outro is best left undescribed - better to just have a listen.

 

3. Seattle, July 17th - "Walk don't run" could be considered the theme for this unbelievable performance. The tempo is just a touch slower here, and it feels like Page and the band are intentionally slowing things down a fraction to make sure they get everything just right. Sometimes patience is the key ingredient when manifesting artistic success, and every facet of this performance feels like that - art. From the opening notes through to the mind-blowing outro, this is as good as Zeppelin got on a stage.

 

4. Bradford, January 18th - Here we have an absolutely blistering performance that just zips by - it's over before you know it. It's been a favorite for many years and has always sounded perfect to my ears. Both Page and Bonham are in peak form and are playing like they're psychically joined, raving in twin rapture, each pushing the other forward, faster and farther, reflecting off each others musical direction like two rainbows reflecting off the sun. The outro is almost too intense, as their twofold Oneness spirals chords and rhythms directly into the collective brain and spine of the crowd below.  Plant chants "do what you want". He almost sounds like he's performing an incantation to complete a spell.

 

5. Stoke, January 15th - Another stunning performance from the UK winter tour. While much well-deserved praise has been given to the March European shows, it should be noted that both Page and Bonham were playing insanely well on this tour, particularly in January. To my ears, the playing is as hot - or even hotter - than any other tour. The energy is palpable. Bonzo is playing with fire and frenzy, and Jimmy is razor-sharp. Bonzo shouts "nice one!" after the song's finale, and Robert repeats it in agreement.

 

6. Detroit, July 13th - There are some flubs here and there, and Page gets lost in the transition piece of a couple of sections, but he and the band more than make up for it with red-hot, dynamic playing. Jimmy Page is absolutely bursting with creative energy here. The bow section is one of the best I've heard, and there is a strong sense of drama throughout the entire performance - light and shade at its best. Plant sounds fantastic and is giving it his all. While the performance doesn't flow as perfectly as the night before, the peaks are sublime. This cinematic listen is like watching a movie about sun gods reveling in their power and showering light down onto the mortals below.

 

7. Detroit, 7.12.73 - This is as good as it gets. I love every second of Jimmy's playing on this version and usually have a huge smile on my face when listening. Lucky Detroit fans. It's too bad Robert wasn't in better voice for the San Fran section (which is played beautifully), but you can't have everything. Page is playing with savage ferocity. The solos are unbelievably fast - tangled groves of sonic pandemonium that snare the listener. They attack and intoxicate spirit and soul, body and brain. During the Mars section, Page becomes Mars himself and seems to be drawing fire up from the inner part of the earth, raining it down on the audience who welcome the devastation with euphoria, their minds folding up like flowers at dusk. In the outro, he sounds like he's guiding lightning by hand. This is Page tapping into his full potential, mining creative energy and conforming it to his will - and bringing the whole band with him. They are not only along for the ride but active participants - 4 stars in the creation of a transcendent, transformative performance.

 

 

 

8. Milwaukee, 7.10.73 - "Holy Christ!" This is the taper's exclamation after an amazing bow solo, and it succinctly sums up this white-hot version, lead by an unstoppable Page. Plant himself is in fantastic form and is with Page every step of the way. Tonight, he's a lissome emissary of Venus, radiating passion and valor in his singing. During the San Fran section, his twilight, watery vocals are a panacea for the 1973 audience, washing away all troubles of gas prices and recessions. The entire performance is visceral and heart-racing. It doesn't let up for a single minute until the explosive finale. No wonder they were so tired by the time they reached the Garden! You can't sustain this level of creative and physical intensity indefinitely.   

 

9. St. Paul, July 9th - On this night, Page and the band seem to pull this performance from the dark waters of the subconscious; Sometimes you gotta howl at the moon. It's a wild, exploratory version that is definitely more loose than tight - and a hugely enjoyable listen. Page is playing at an incredibly high level here.. He and Bonham are playing much more loose and letting go a bit, with fantastic results. Plant feels the spirit as well and puts in an equally revelrous performance.Whatever they summoned up this night, it's fantastically unique and a one-of-a-kind performance, start to finish.

 

10. Vienna, March 16th - Undeniable is the word that comes to mind when I listen to this performance. There's a timelessness to it that makes it seem like it's always been there and is "just so". There is a purity of purpose at work that begins with Jimmy Page, and it feels like the universe is helping him along here, guiding his movements and leading him to success. The whole band is with him, almost as if they sense this precise moment in time has a certain "quality" to it.

 

11. Hamburg, March 21st - When you have Page and Bonham playing with this kind of conjoined rapture, each plugged into the others corybantic rhythms like  twin whirlpool modons dancing across the sea, you get one of the most unique versions of this song ever played. Bonzo is a great beast here, playing with vitriol. It's his world on this lunar night, and we're all just visitors taking in the scenery. A triumphant, epic performance that deserves all the praise it gets. 

 

12. Oxford, January 7th - In this performance, we have an unbelievable Bonzo playing with military crispness, and there's an intense, heavy lead-in to the bow section. Plant's voice is a bit strained so he chooses a subdued approach, making the San Fran section sound woeful and ominous - and also adding perfectly spooky vocals during the bow section. The descending riff from "In the Light" is played in the outro. It suits the song perfectly, giving it a feeling of closure as well as actual descension - hidden truths, power, energy revealed to all and revelled in. In recent years, connections have been explored between what Jung called "the collective unconscious" and God, various areas of mysticism, and ancient texts. Descending into the unknown is often associated with darkness, but there can be many positives to exploring hidden worlds and dreaming of things beyond believing.  

 

13. Pittsburgh, July 24th - Listen closely, and you can hear, ever so slightly, mental and physical fatigue creeping into Page's performance by the time they get to Dazed on this night, which is near the end of the tour. He's not playing with quite the inspired ferocity he was at the Detroit shows or St. Paul earlier in the month. However, he's a professional and is playing with an insane amount of focus and artful temperance with very few flubs. Plant has a few cracks in the opening verses but after that puts in a phenomenal performance. The outro in particular is incredible and has Page hinting at "Train Kept a Rollin'". At the end of this near perfect performance, Plant says "I think this night is gonna be one of the good ones." 

 

14. Chicago, 7.7.73 - This night's version is similar to St. Paul, with Page once again having a rendezvous with Luna. The playing is loose (but tight) and festive,with Page keeping things open. He's tapping into his anima, the midnight pool of the mind, creating a panorama of playful, silvery phrases that result in a fun and unique version with magnetic personality to spare.  Page is relaxed but also in complete control, an eagle that finds its target naturally and with ease - the aim of Artemis musically invoked.

 

 

T

 

 

There are several performances that are equal to those on the list but were excluded from consideration for various reasons.

 

Notable exclusions:

 

Crowd interference - Boston

 

Audio - Aberdeen, Paris 4/1, Baltimore

 

Incomplete - Liverpool, Vancouver, Providence

Hey man, I know I’ve responded to this thread, but damn, just reread the 7/27 post. That shit is on point. Robert is crushing it! Jimmy is straight possessed, JPJ is just doing his thing and is the consummate professional without boasting or bragging. John is absolutely killing it. The three frontmen are without a doubt pushing and just creating something that no band had ever achieved. Really what I wanted to say, and also second what a few others have said, your description is spot on. I have to say, I prefer this voice from Robert, the tone and ferocious playing from the three musicians is simply unmatched/unbelievable. 
 

1975-NQ, what an amazing illustration and description you have given! Dope! 

[JMH]

A confession: you made me have a first go on the bootleg version of Dazed from 27th.

Tight. Will need to repeat the exercise.