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Dirigiblicus Maximus

No Quarter

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Is it just me of in NQ a track that really benefits from an audience recording? as great as the SB's from 75 are I just think the extra sense of space(espeicallly on JPJs piano) and volume you only get from an audience(or a really well mixed multitrack) suits it. Perhaps its just that with more shows on audience they caught the more inspired moments but for 75 Millards recordings of the 25th and the 27th in LA plus the less good sounding 21st in Seattle and 18th/23rd from EC remain my most listened to versions. From 77 the 21st and 24rd from LA and the second Destroyer show are probabley my most listened to aswell although I do love that MSG SB fragment.

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From 77 the 21st and 24rd from LA and the second Destroyer show are probabley my most listened to aswell although I do love that MSG SB fragment.

There is no 24th from LA in 1977...June 21, 22, 23, 25, 26, 27 were the LA Forum dates in 1977.

It's a shame that Mike Millard screwed up the March 12, 1975 Long Beach show, as I believe that was one of the finest NQ's I ever witnessed! If that show was available in good quality, it would be ranked among the best Zep shows ever, especially the version of NQ.

But the great thing about No Quarter live is that it is almost impossible to choose one over another. The 73 US tour had those great concise versions with Jonesy working the Fender Rhodes exclusively and Page building up his solo. The 75 tour was split between the Fender Rhodes in the early part of the tour and then around March Jones moving from the Rhodes to Grand Piano during the solo, but still keeping a dark ghostly vibe. Then the 1977 tour added the "nutrocker" segment, which lightened the mood a bit with its rock n roll honky-tonk sensibility.

BUT I LOVE THEM ALL! Laugh if you must, but I really can't pick a "best" NQ. Just when I think it's June 21 or 23 from the Forum in 1977, I will put on some 75 shows and fall in love with the continuous gloomy mood the band sustains...like "space-jazz". Ahhhh, but which 75 then, the early ones like Feb. 12 MSG or Feb. 14 Nassau? Or the later ones where Jones introduced the piano into the piece, ala Dallas and all points after?

Then, there's so many things to consider...how the band enters into the jam and how they exit...all the different ways and beats that Bonzo uses to kick things off. Just when I think I've found a NQ where Bonzo and Page and Jones are grooving at their peak, I will hear another version that just as good.

Consider the Feb. 14 and March 27 NQ's from 1975. Both are choice of course, but what is fascinating is how they approach the jam intro in similar but yet still intriguingly different fashion. On the Feb. 14 version, it is Bonzo that enters with that huge thump-thump of his kick drum while Jones sets up the jam on his Fender Rhodes. It's a sick, heavy beat. But on the March 27 version, a fascinating thing happens...this time it is Jones that pounds that beat with his left hand on the piano, while Bonzo lays back. I don't have the discs with me so I can't give you the exact time in the song to listen for this, but if you have these shows and listen to the NQ's back-to-back, you should be able to tell the part I am talking about as it is a recognizable "bam bam" riff, played by Bonzo on the 2.14 one and then Jonesy uses the same theme on the 3.27 one.

And you know what? Both are extremely cool ways to set up the jam section so it is nigh impossible to favour one over the other!

Which is one of many reasons why Zeppelin, even after all these years(40!) still has a vise-grip on my heart and soul. You can listen to dozens and dozens, nay, hundreds of Zep shows and always find something that they didn't do before. "Since I've Been Loving You", "No Quarter", "As Long As I Have You", "Dazed and Confused", "How Many More Times", "Stairway"...these songs constantly mutated in various ways and to try to pick one version over another is(with a few exceptions) nigh impossible.

It is like trying to pick a favourite child...or, if you're childless, a favourite ice-cream flavour. My stock answer whenever someone asks for my favourite version of NQ, SIBLY or whatever, is the one I happen to be listening to at the time.

Look, I love Radiohead...I think Radiohead is one of the greatest bands around and they put on amazing concerts. But a "Fake Plastic Trees" from 1998 is gonna sound pretty much like one from 2008; you don't get a lot of variation within the songs. Oh you might get something different like Jonny using a bow in the beginning of "Pyramid Song" during the 2008 tour...but the sounds and arrangement of the song are still basically the same as earlier versions. Which is why you only need a few shows from each Radiohead tour, just enough to cover the changes in the setlist, to satiate your fix.

Whereas with Zeppelin boots, it's like a drug..the more you get, the more you want, the more you NEED! I have about 100 shows, and around 30-35 have NQ in the setlist.

And it ain't enough, I tell you! I want more NQ's...more SIBLY's...because each one I listen to has something new to discover.

It's like Plant always used to say when introducing No Quarter...it's a journey. And each one is unique.

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^^ Um thanks for that, hairs stood on end in excitement. This is my favorite music topic to talk about, live No Quarters.

I know both those well, 14th (I actually listened to 12th most but they are very similar) and 27th. Im sure I know the part you are talking about but I think many versions from 75 have bonzo coming in with jonesy around the same melody. But whats so special about the 27th to me is JPJ's piano solo teases nearly every melody he has played throughout all the past NQ's of that tour. Much like the 5th in Dallas, but nearly twice as much. Soon as he starts the melody you are thinking...oh here we go...then he just slows it back down. And sometimes he does two at once (two hands playing different parts on piano of course). But after hearing the piano Im always now sort of let down by any JPJ's NQ solo before the piano was introduced (March 4th 75, right?). But I definitely hear the melodies that started on the keyboards, just sound so much better with piano.

It would be nice to give time breakdowns, but our versions might be different lengths. I think a rule should be established that all times must start when the song starts.

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Is it just me of in NQ a track that really benefits from an audience recording? as great as the SB's from 75 are I just think the extra sense of space(espeicallly on JPJs piano) and volume you only get from an audience(or a really well mixed multitrack) suits it. Perhaps its just that with more shows on audience they caught the more inspired moments but for 75 Millards recordings of the 25th and the 27th in LA plus the less good sounding 21st in Seattle and 18th/23rd from EC remain my most listened to versions. From 77 the 21st and 24rd from LA and the second Destroyer show are probabley my most listened to aswell although I do love that MSG SB fragment.

I cant say I agree with this. Almost all NQ's that are not soundboard I wish to be, especially the quieter keyboard/piano parts where the crowd becomes more noticeable.

Listen to this Eddie may be the only show im totally content with audience wise. I dont have a problem with AUD recordings, unless they are unlistenable. My ears are very adjusted to bootlegs. But I think that the bass/drums benefit most from audience recordings.

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I cant say I agree with this. Almost all NQ's that are not soundboard I wish to be, especially the quieter keyboard/piano parts where the crowd becomes more noticeable.

Listen to this Eddie may be the only show im totally content with audience wise. I dont have a problem with AUD recordings, unless they are unlistenable. My ears are very adjusted to bootlegs. But I think that the bass/drums benefit most from audience recordings.

True there are some shows were I wish the audueince were quieter during sections like JPJ solo but I can't say I notice too much on any of those I mentioned. Drunken shouting near to the recorder annoys me but I barely notice a slight hum of audience noise in the background, generally people were pretty respectful for JPJs solo aswell. That extra bass depth is a big factor but I also find the piano loses sharpness on even the 75 boards and generally sounds less natural. On Millards audiences recordings I think theres superior instrument seperation aswell which I find more enjoyable on tracks like NQ where you can pick out soloing by all three men.

As with Eric I'd definately pick the March 27th from LA, first bootleg I ever bought and probabley my most listened to unoffical track. Evreything they'd been working on just seems to come together, JPJ solo flows beautifully avoiding any dead ends, him and Bonham find a great groove and above all the three peice solo is near perfect for me. Page needs awhile to find his way I spose as he almost always did but him and JPJ really have down all the little solo sections they've trying out over the previous month plus unlike some versions he doesnt dominate with his guitar allowing Jones room to build the atmosphere, even the closing piano line is perfect and the solo after the return chorus intense. One of the best peices of jazz fusion I'v ever heard espeically from the "rock side".

Edited by greenman

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^^ Not much Drunk shouting? Haha I dare you to count how many times the chick yells "YEEAOOWW" during the quiet parts of 03/27/75. But I actually find it a bit amusing. I have counted before but I dont think I realized she does it at the end as well.

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^^ Not much Drunk shouting? Haha I dare you to count how many times the chick yells "YEEAOOWW" during the quiet parts of 03/27/75. But I actually find it a bit amusing. I have counted before but I dont think I realized she does it at the end as well.

Not really over the top of the music though, considering there unruley reputation I find rather supprizing how quiet Zep audiences were for NQ, espeically at EC.

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3-27-75 is my favorite version. just perfect. funny because the rest of the show sounds tired to me.

3-21-75 is a close second. i'm hoping the soundboard of that show appears one day!

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3-27-75 is my favorite version. just perfect. funny because the rest of the show sounds tired to me.

3-21-75 is a close second. i'm hoping the soundboard of that show appears one day!

Yeah the 27th is rather like the last night in LA from 77, they try to push everything to the limate but tiredness catches up with them a bit in the last 3rd. They really hit a sweet spot for both NQ and TU though, best versions of both tracks for me plus I love DAC up to the bow solo.

I'd guess the Seattle show is the boot everyone is waiting for given the number of 75 releases, doesnt of course mean whoevers selling them to EV has every show though.

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Yeah the 27th is rather like the last night in LA from 77, they try to push everything to the limate but tiredness catches up with them a bit in the last 3rd. They really hit a sweet spot for both NQ and TU though, best versions of both tracks for me plus I love DAC up to the bow solo.

I'd guess the Seattle show is the boot everyone is waiting for given the number of 75 releases, doesnt of course mean whoevers selling them to EV has every show though.

3/21 is considered to be one of the best (if not the best)show from 75, so I'm thinking that EV would hold that show as long as possible (assuming the board actually exists).

Being a jaded collector, and an owner of all of the 75 boards, I'm only interested in listening to a few songs from that tour (NQ being one of them) since the majority of the sets/shows (from 75) are somewhat redundant to me. However, a soundboard from 3/21 might entice me to entice me to listen to the full show more than once!

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3/21 is considered to be one of the best (if not the best)show from 75, so I'm thinking that EV would hold that show as long as possible (assuming the board actually exists).

Personally I'v always guessed that someone else was selling the recordings to them one at a time, either way I'm sure they know that the 21st is the real jewel in the crown if its out there.

Being a jaded collector, and an owner of all of the 75 boards, I'm only interested in listening to a few songs from that tour (NQ being one of them) since the majority of the sets/shows (from 75) are somewhat redundant to me. However, a soundboard from 3/21 might entice me to entice me to listen to the full show more than once!

Yes I must say I'm not exactly on the edge of my seat for alot of these 75 shows but I do think that by the last half dozen shows in the US and EC they'd finally gotten back the excitement for most of the setlist.

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Can't narrow my fave, but my faves are:

Earls Court 1975

San Diego 14/03/1975

LA 21.06/1977

TSRTS (1976 Soundtrack)

Vancouver 19/03/1975

I also have a soft spot for the Houston 21.05.1977 version.. ;)

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I just finished listening to Vancouver 3/19/1975, and I have to say, it might be my favorite :D

Some other versions I love...

LA 6/23/1977

Earls Court 5/25/1975

New York 7/28/1973

Seattle 7/17/1977 (Not a great overall show, but it had its moments)

Seattle 3/21/1975

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I've been scouring the net to see how I might be able to get hold of the Vancouver version but I've had no success so far. Can anyone help me?

Thanks, Pat

Edited by Pat71

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I've been scouring the net to see how I might be able to get hold of the Vancouver version but I've had no success so far. Can anyone help me?

Thanks, Pat

Check your PM ;)

Another really good version of a legendary live effort :)

Edited by johnlennon696

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Whoa...how the hell did I miss this discussion?! :blink:

"No Quarter"...my absolute, no mistake, number one absolute favourite Led Zeppelin song. Always was, always will be. The live TSRTS version is the one that first got me; thirty years later that's still my favourite Page solo.

IMO, as one of the live 'epics' of Zeppelin's repertoire, NQ was the one song in the set you knew was gonna be different from show to show. By this time Zep had stopped playing the medley type jams, and even D&C was fairly 'structured'. So's "No Quarter", but I think the secret, appropriately enough was in John Paul Jones. Anything went, starting with his keyboard/piano solo, how he would lead Bonham and Page back in and then how he'd respond to Page's playing in the guitar solo. I mean, the whole "No Quarter" jam/solo section something I could, and probably have at least once or twice, listen to all day. That's no to belittle Robert Plant's place in the tune- good vocal and lyrics, Robert (always did like the phasing effect on the vocal on HOTH).

In 1973 NQ was basically presented akin to it's studio counterpart, just a bit looser and more extended. By 1975 it had become a key part of the stage show, literally expanding on the '73 versions to great effect. By 1977 "No Quarter" was arguably the centrepiece of the show. It not only featured Jonesy's 'solo spot', laser show and all, but they took the jamming one step further by throwing in one of half a dozen or so variations ranging from '50's Jerry Lee style piano boogie (Cincinatti or Atlanta) to slow blues (i.e. the Badgeholders show) to my namesake, the "Nutrocker", a cover of an early Rock and Roll 'Nutcracker Suite' (i.e. April 28 in Cleveland). Hell, JPJ even throws in about fifteen seconds of "Lady Madonna" by the Beatles in Cincinatti! This was done as a 'prelude' to Page's long guitar solo, which generally kept to a more static format than in '75 but as with anything else in 1977 depended on Page's intoxicated chops from night to night. Some of these '77 solos do just meander a bit. Some are simply among Jimmy's best playing, though, such as the one from June 21. Still, no matter how you look at it, stretching a seven minute song to upwards of 35 minutes some night probably could try the patience of some people, the self-indulgent kind of stuff like long drum solos, etc that raised the ire of the Punks...but I love it.

Favourites? I haven't heard every one that's out there -yet- but most of 'em...let's see:

May 14, 1973, New Orleans- though Plant muffs the words, it's still a good early version.

July 28, 1973, New York- the bulk of the TSRTS version comes from this show, still a classic.

January 31, 1975, Detroit- Page may have a busted finger but plays a good solo just the same.

February 28, 1975, Baton Rouge- the first version where JPJ plays grand piano in the solo/jam section instead of staying on the Rhodes...a sign of things to come.

March 17, 1975, Seattle- the rhythm pattern the long jam is set to is crazy; Jones' and Bonham's Jazz influences really come out in this version.

March 19, 1975, Vancouver- similar to the previous, but it's performed so loosely yet gracefully you wonder how they did it...

April 27, 1977, Cleveland- Except for that cursed fucking cut in the tape eliminating the jamming section, I always liked Page's solo on this one.

April 28, 1977, Cleveland- the first time I heard this and Jonesy busted out the Tchaikovsky, I laughed. Pure Genius.

June 11, 1977, New York- for me, quite possibly the most perfectly executed version of the song, certainly in 1977. The jam rocks hard, almost a song in itself. A must hear.

June 21, 1977, L.A.- a close second to June 11, for the same reasons.

July 17, 1977, Seattle- on a bad night for Zeppelin, "NQ" was one of the few good things (is there a such thing as a "bad" version of this song?). Similarly played to June 21, but Page is indeed the wild card here; mostly he succeeds.

July 24, 1979, Copenhagen- reverting back to 1973 style, but very well done...("If only you wouldn't all clap so hard." - Bob Dylan, Manchester, 1966)

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^^^ Wow looks like I have a new best friend ;). Seems you somewhat started a project Ive been wanting to do. The Evolution of No Quarter. You have some rather unpopular picks in there as well as missing some popular ones or at least ranges, interesting.

But I want to pick out just one of those to discuss. 06-21 vs 06-23 of 77. Seems these are the most commonly chose versions as favorites with 06-23 usually getting the edge out. And the differences structurally are slight with 06-23 usually being said to have more of the blues jam and 06-21 has what? same style of jam I thought but less intense. And the obvious standout from 06-21 is bonzo's drumming. But it is so outstanding that it takes away from other parts of the song, like pages solo. And I really think that if it wasn't so outstanding this night (just the normal amazing) that this version would possibly be chosen less often as a favorite, I could be wrong though. I also just remember page being more outstanding in 06-23, especially in select parts of his solo and the blues jam.

What do you all think? If you like either 06-21 or 06-23 better, what makes you chose one over the other?

Edited by EzyEric

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Ike the song, not my faves, but I do like it. From what I have listened to and watched my fave is '73 MSG.

But Seattle '77, I just couldn't stand the really long piano solo, he has great skill, I'm not deniying that, but after abit it just got...sorta....too long..don't kill me just my opinion...:bagoverhead:

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^^^ Wow looks like I have a new best friend ;). Seems you somewhat started a project Ive been wanting to do. The Evolution of No Quarter. You have some rather unpopular picks in there as well as missing some popular ones or at least ranges, interesting.

But I want to pick out just one of those to discuss. 06-21 vs 06-23 of 77. Seems these are the most commonly chose versions as favorites with 06-23 usually getting the edge out. And the differences structurally are slight with 06-23 usually being said to have more of the blues jam and 06-21 has what? same style of jam I thought but less intense. And the obvious standout from 06-21 is bonzo's drumming. But it is so outstanding that it takes away from other parts of the song, like pages solo. And I really think that if it wasn't so outstanding this night (just the normal amazing) that this version would possibly be chosen less often as a favorite, I could be wrong though. I also just remember page being more outstanding in 06-23, especially in select parts of his solo and the blues jam.

What do you all think? If you like either 06-21 or 06-23 better, what makes you chose one over the other?

I prefer 6-23. The guitar solo is more expressive and fluid, the band is more dynamic w/ the light/shade thing during the main section as well. The slow blues jam is awesome, and Robert actually hits the high notes in the verses like the studio version (rare for a live NQ performance).

But 6-21 is the next best thing to me.

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I agree the 23rds the better version and probabley the best from the tour, the 21st does feature some of Bonham's best playing in the long three peice jam though to the extent I think he overshadows Page and Jones.

Ike the song, not my faves, but I do like it. From what I have listened to and watched my fave is '73 MSG.

But Seattle '77, I just couldn't stand the really long piano solo, he has great skill, I'm not deniying that, but after abit it just got...sorta....too long..don't kill me just my opinion...

I can see why it wouldnt be to everyopnes taste as the latter versions espeically were unlike anything else the band did but if Seattle 77 is the only version you've heard besides TSRTS I'd give some of the others a try. That version is one of the performances that does definately sound "too long" to me aswell with JPJ less inspired than some nights and Page far from his best.

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^^^ Wow looks like I have a new best friend ;). Seems you somewhat started a project Ive been wanting to do. The Evolution of No Quarter. You have some rather unpopular picks in there as well as missing some popular ones or at least ranges, interesting.

Hello, Eric...it's a pretty watered down list, actually!

:D

But I want to pick out just one of those to discuss. 06-21 vs 06-23 of 77. Seems these are the most commonly chose versions as favorites with 06-23 usually getting the edge out. And the differences structurally are slight with 06-23 usually being said to have more of the blues jam and 06-21 has what? same style of jam I thought but less intense. And the obvious standout from 06-21 is bonzo's drumming. But it is so outstanding that it takes away from other parts of the song, like pages solo. And I really think that if it wasn't so outstanding this night (just the normal amazing) that this version would possibly be chosen less often as a favorite, I could be wrong though. I also just remember page being more outstanding in 06-23, especially in select parts of his solo and the blues jam.

What do you all think? If you like either 06-21 or 06-23 better, what makes you chose one over the other?

I'd still have to give the edge -though just barely, mind you- to the 21st over the 23rd rendition. For me, the one on June 23rd sort of meanders just a wee bit more than the one on the 21st...for thirty minutes, the "Eddie" version goes by pretty quickly!

That said, though, check the June 11 version, that one's my personal pick for best of '77.

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I've been diggin' the San Diego '75 version (Conspiracy Theory) of No Quarter. Love the piano and drum jam portion, sometimes I will play it for my students when we are changing classes and they are entering the room. They are like "what is THAT?"! :lol:

:peace:

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Just gave 3-27-75 another listen, after seeing it recommended. Wow, It is indeed another great one. They just let it develop and don't force it, there's such a Zep vibe on this jam

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I've been diggin' the San Diego '75 version (Conspiracy Theory) of No Quarter. Love the piano and drum jam portion, sometimes I will play it for my students when we are changing classes and they are entering the room. They are like "what is THAT?"! :lol:

:peace:

A lot of people mention this version, but I do not prefer it because its not too upbeat, it is very drawn out, especially the piano, which usually i like but this one doesn't seem to have the same melodies I prefer I think it might have a classical peice or two actually. If you compare it to the melodic development/stages in most of the other March versions you will see what I mean, I dont know it by heart well enough to quote sections.

Just gave 3-27-75 another listen, after seeing it recommended. Wow, It is indeed another great one. They just let it develop and don't force it, there's such a Zep vibe on this jam

Yes, to me this version brings together all the themes/melodies they fooled around with throughout the year. Jones piano build up is just amazing, he teases many of the melodies, sometimes 2 at once. I consider this the best version outside of 77 and the best piano solo ever. The rest of it is amazing too.

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Listening to the 27/3/75 version atm. Man, I had just been listening to '77 versions for so long but this is awesome! Haven't heard it in a while.

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