Sunday, May 29, 2016

Led Zeppelin - Studio Magik: Sessions 1968-1980

Led Zeppelin
Studio Magik
Sessions 1968-1980




CD 01: Led Zeppelin I & II Sessions

01 Babe I'm Gonna Leave You (Take 8)
02 Babe I'm Gonna Leave You (Take 9, Stopped)
03 Babe I'm Gonna Leave You (Take 9, Complete)
04 You Shook Me
 Recorded at Olympic Studios, Barnes, London, England on September 27, 1968

05 Baby Come On Home (Take 1, Stopped)
06 Baby Come On Home (Take 2, Stopped)
07 Baby Come On Home (Take 3, Complete
 Recorded at Olympic Studios, Barnes, London, England on October 10, 1968

08 Guitar Organ Instrumentals (Take 1)
09 Guitar Organ Instrumentals (Take 2)
10 Guitar Organ Instrumentals (Take 3)
11 Guitar Organ Instrumentals (Take 4)
12 Guitar Organ Instrumentals (Take 5)
13 Guitar Organ Instrumentals (Take 6)
14 Guitar Organ Instrumentals (Take 7)
 Recorded at Olympic Studios, Barnes, London, England on October 1968

15 Moby Dick (Intro & Outro)
16 Drum Solo
 Recorded at Mirror Sound, Los Angeles, CA between May 4th and 6th, 1969

17 Sugar Mama
 Recorded at Morgan Studios, Willesden, London, England in June 1969

18 We're Gonna Groove
 Recorded at Morgan Studios, Willesden, London, England on June 25th, 1969



CD 02: Led Zeppelin II Multitracks - Whole Lotta Love

01 Whole Lotta Love (Main Guitar)
02 Whole Lotta Love (Guitar Overdubs)
03 Whole Lotta Love (Bass)
04 Whole Lotta Love (Drums Right)
05 Whole Lotta Love (Drums Left)
06 Whole Lotta Love (Tympani / Tambourine)
07 Whole Lotta Love (Vocals)
08 Whole Lotta Love (Vocal Overdubs)
09 Whole Lotta Love (Multitrack Mixdown, Version 1)
10 Whole Lotta Love (Multitrack Mixdown, Version 2)
11 Whole Lotta Love (Multitrack Mixdown, Version 3)
12 Whole Lotta Love (Multitrack Mixdown Showcase)
 Recorded at Olympic Studios, Barnes, London, England in May 1969



CD 03: Led Zeppelin II Multitracks - What Is And What Should Never Be

01 What Is And What Should Never Be (Main Guitar)
02 What Is And What Should Never Be (Bass)
03 What Is And What Should Never Be (Drum Right)
04 What Is And What Should Never Be (Drum Left)
05 What Is And What Should Never Be (Main Vocal)
06 What Is And What Should Never Be (Vocal Overdubs Take 1)
07 What Is And What Should Never Be (Vocal Overdubs Take 2)
08 What Is And What Should Never Be (Guitar and Vocals Overdubs)
09 What Is And What Should Never Be (Multitrack Mixdown, Version 1)
10 What Is And What Should Never Be (Multitrack Mixdown, Version 2)
11 What Is And What Should Never Be (Multitrack Mixdown, Version 3)
 Recorded at Groove Studios, New York City and Olympic Studios, London in June 1969



CD 04: Led Zeppelin II Multitracks - Heartbreaker

01 Heartbreaker (Main Guitar Take 1)
02 Heartbreaker (Main Guitar Take 2)
03 Heartbreaker (Bass)
04 Heartbreaker (Drum Right)
05 Heartbreaker (Drum Left)
06 Heartbreaker (Guitar, Bass And Drums)
07 Heartbreaker (Vocals)
08 Heartbreaker (Vocals And Guitar)
09 Heartbreaker (Multitrack Mixdown, Version 1)
10 Heartbreaker (Multitrack Mixdown, Version 2)
 Recorded And Mixed at A&R Studios, New York City, NY on May 30th and 31st, 1969



CD 05: Led Zeppelin II Multitracks - Ramble On

01 Ramble On (Acoustic Guitar)
02 Ramble On (Electric Guitar)
03 Ramble On (Guitar Overdubs)
04 Ramble On (Bass)
05 Ramble On (Drum Right)
06 Ramble On (Drum Left)
07 Ramble On (Vocals)
08 Ramble On (Vocals And GUitar)
09 Ramble On (Multitrack Mixdown, Version 1)
10 Ramble On (Multitrack Mixdown, Version 2)
11 Ramble On (Multitrack Mixdown, Version 3)
12 Ramble On (Multitrack Mixdown, Version 4)
13 Ramble On (Multitrack Mixdown, Version 5)
14 Ramble On (Multitrack Mixdown, Version 6)
 Recorded at Juggy Sound Studio, New York City in June 1969



CD 06: Led Zeppelin III Sessions

01 Jennings Farm Blues (Take 1, Stopped)
02 Jennings Farm Blues (Take 2, Stopped)
03 Jennings Farm Blues (Take 3, Stopped)
04 Jennings Farm Blues (Take 4, Stopped)
05 Jennings Farm Blues (Take 5, Stopped)
06 Jennings Farm Blues (Take 6, Complete Basic Version)
07 Jennings Farm Blues (Take 7, Stopped)
08 Jennings Farm Blues (Take 8, Stopped)
09 Jennings Farm Blues (Take 9, Stopped)
10 Jennings Farm Blues (Take 10, Stopped)
11 Jennings Farm Blues (Take 11, Stopped)
12 Jennings Farm Blues (Take 12, Complete Full Mix)
 Recorded at Olympic Studios, Barnes, London, England in November 1969)

13 Untitled Guitar Instrumentals
 Recorded at Bron-Yr-Aur Cottage, Wales in May 1970



CD 07: Led Zeppelin III Sessions (Part 2)


01 Guitar Instrumental (Take 1)
02 Guitar Instrumental (Take 2)
03 Poor Tom (Take 1)
04 Guitar Instrumental (Take 3)
05 Guitar Instrumental (Take 4)
06 The Boy Next Door (Take 1)
07 The Boy Next Door (Take 2)
08 The Boy Next Door (Take 3)
09 The Boy Next Door (Take 4)
10 The Boy Next Door (Take 5)
11 My Oh My (Takes 1 & 2)
12 Bron-Yr-Aur (Takes 1 & 2)
13 Guitar Instrumental (Take 5)
14 Guitar Instrumental (Take 6)
15 Guitar Instrumental (Take 7)
16 Bron-Yr-Aur (Take 3)
17 My Oh My (Takes 3 & 4)
18 Bron-Yr-Aur (Take 4)
19 Poor Tom (Takes 2 - 6)
20 Hey Hey What Can I Do (Takes 1 & 2)
21 Immigrant Song
22 Bathroom SOng
 Recorded at Headley Grange Studios, Hampshire, England, between May and June 1970

23 Poor Tom (Take 1, Instrumental)
24 Poor Tom (Take 2, With Vocals)
 Recorded at Morgan Studios, Willesden, London, England on May 6th, 1970

25 Celebration Day (Instrumental)
26 Hey Hey What Can I Do (Instrumental)
27 Out On The Tiles (Instrumental
 Recorded between May and June 1970, Location Unknown



CD 08: Led Zeppelin III & IV Sessions


01 That's The Way (Full Mix)
02 Feel So Bad (Takes 1 & 2)
03 Since I've Been Loving You (Vocal Track)
04 Since I've Been Loving You (Full Mix)
 Recorded at Olympic Studios, Barnes, London, between May and June 1970

05 Stairway To Heaven (Take 1, Instrumental)
06 Blues Guitar / Piano Improvisation
07 Black Dog (Take 1, Acoustic Instrumental)
08 Black Dog (Take 2, Acoustic Instrumental)
09 Black Dog (Rehearsal)
10 No Quarter
11 Stairway To Heaven (Take 2, Instrumental)
12 Stairway To Heaven (Take 3, Instrumental)
13 Stairway To Heaven (Take 4, Instrumental)
14 Electric Guitar Improvisation
15 Stairway To Heaven (Take 5, With Vocals)
16 Stairway To Heaven (Take 6, With Vocals)
17 Stairway To Heaven
18 Night Flight
 Recorded at Headley Grange Studios, Hampshire, England, between January and february 1971)



CD 09: Led Zeppelin IV Sessions


01 The Battle Of Evermore (Take 1)
02 The Battle Of Evermore (Take 2)
03 The Battle Of Evermore (Take 3)
04 The Battle Of Evermore (Take 4)
05 The Battle Of Evermore (Take 5)
06 The Battle Of Evermore (Take 6)
07 Four Sticks (Take 1, Instrumental)
08 Four Sticks (Take 2, with Vocals)
09 Black Dog
10 When The Levee Breaks (Take 1)
11 When The Levee Breaks (Take 2)
 Recorded at Headley Grange Studios, Hampshire, England, between January and February 1971)



CD 10: Bombay Rehearsals & Houses Of The Holy Sessions


01 Friends (Rehearsing The Tune)
02 Four Sticks (Take 1)
03 Friends (Take 1)
04 Friends (Take 2)
05 Friends (Take 3)
06 Four Sticks (Take 2)
07 Four Sticks (Take 3)
08 Four Sticks (Take 4)
 Recorded at EMI Studios Bombay in March 1972

09 Walter's Walk (Take 1, Instrumental)
10 Walter's Walk (Take 2, With Vocals)
11 Walter's Walk (Take 3, With Vocals)
 Recorded with the Rolling Stones Mobile Studio at Stargroves, Newbury, Berkshire on May 15th, 1972



CD 11: Houses Of The Holy Sessions & Lucifer Rising


01 No Quarter (Take 1, Instrumental, Complete)
02 No Quarter (Take 2, Stopped)
03 No Quarter (Take 3, Stopped)
04 No Quarter (Take 4, Instrumental)
05 No Quarter (Take 5, Stopped)
06 No Quarter (Take 6, Stopped)
07 No Quarter (Take 7, Complete)
 Recorded at Island Studios, London in June 1972

08 Incubus
09 Damask
10 Unharmonics
11 Damask (Ambient Version)
12 Lucifer Rising
13 Lucifer Rising (Percussive Return)
 Recorded at Boleskine House, Loch Ness, Scotland between October and November 1973



CD 12: Pre-Physical Graffiti Outtakes (Part 1)


01 Untitled Instrumental
02 Untitled Instrumental
03 Ten Years Gone (Takes 1 - 12)
 Recorded at Headley Grange Studios, Hampsire in November 1973



CD 13: Pre-Physical Graffiti Outtakes (Part 2)


01 Swan Song 
 Recorded at Headley Grange Studios, Hampsire in November 1973



CD 14: Physical Graffiti Outtakes (Part 1)


01 The Wanton Song (Take 1)
02 The Wanton Song (Take 2)
03 Take Me Home (Take 1)
04 Take Me Home (Take 2)
05 In The Morning (Take 1)
06 Trampled Underfoot (Takes 1 - 9)
07 In The Morning (Take 2)
08 Sick Again
09 The Rover
10 Untitled Instrumental
11 ABC Song
12 In My Time Of Dying (Takes 1 - 7)
13 The Wanton Song
14 Trampled Underfoot
 Recorded at Headley Grange Studios, Hampsire between January and February 1974



CD 15: Physical Graffiti Outtakes (Part 2)


01 Ten Years Gone (Takes 1 - 4)
02 Boogie With Stu (Takes 1 - 9)
03 Night Flight (Takes 1 - 11)
04 Trampled Underfoot
05 Kashmir
06 Custard Pie
07 In The Light
08 Swan Song (Take 1)
09 Swan Song (Take 2)
 Recorded at Headley Grange Studios, Hampsire between January and February 1974



CD 16: Presence & In Through The Out Door Outtakes


01 Wanton Song
02 Wanton Song
 Recorded at Headley Grange Studios, Hampsire between January and February 1974

03 Royal Orleans
04 Tea For One
05 Don't Start Me Talking / All My Lovin'
 Recorded at SIR, Hollywood, CA in October 1975

06 Bonzo's Montreux (Take 1)
07 Bonzo's Montreux (Take 2)
 Recorded at Mountain Studios, Montreux on September 12th, 1976

08 Fire
09 Carouselambra (Takes 1 - 4)
 Recorded in Clearwell Castle, Gloucestershire in May 1978

10 Drum Segment
11 Carouselambra
12 Ozone Baby (Take 1)
13 Ozone Baby (Take 2)
14 All My Love
15 Wearing And Tearing
16 I'm Gonna Crawl
17 Fool In The Rain
 Recorded at Polar Studios, Stockholm in November 1978



CD 17: In Through The Out Door Sessions


01 Carouselambra (Take 1)
02 Wearing And Tearing
03 Fool In The Rain (Take 1)
04 Hot Dog
05 In The Evening
06 Southbound Saurez
07 Darlene
08 Fool In The Rain (Take 2)
09 Carouselambra (Take 2)
10 All My Love
 Recorded at Polar Studios, Stockholm in November 1978



CD 18: In Through The Out Door Sessions & Final Rehearsals


01 Ozone Baby (Take 1)
02 Ozone Baby (Take 2)
 Recorded at Polar Studios, Stockholm on November 14th, 1978

03 Darlene (Take 1)
04 Darlene (Take 2)
 Recorded at Polar Studios, Stockholm on November 16th, 1978

05 Wearing And Tearing (Take 1)
06 Wearing And Tearing (Take 2)
 Recorded at Polar Studios, Stockholm on November 21st, 1978

07 White Summer (take 1)
08 White Summer (Take 2)
09 Kashmir
10 Achilles Last Stand (Take 1)
11 Achilles Last Stand (Take 2)
12 Stairway To Heaven
 Recorded at The Rainbow Theatre, London, between April and May 1980



If you enjoyed the companion discs of the recently released Led Zeppelin Remasters you will probably love this behemoth of a box. For me it is an essential one. If you are into Led Zeppelin, then you NEED to give this set a listen, I guarantee you that you will revisit it often. This is one of those bootlegs that you need in your collection.

2014 Review:

While I have numerous titles containing Led Zeppelin Studio Outtakes I do not collect them as much as I do their live music. Years back I bought the Scorpio Studio Sessions Ultimate title as kind of a final word and up until now was a (for me) defining release of this material. Upon the official announcement that The Don would be attempting to produce a definitive collection of this material did I think, time to upgrade?  One only has to look at the scope of this collection, every known bit of out take and rehearsal material known to circulate among collectors. The new set is prepared in chronological order, each CD has its own subtitle and the set comes with an excellent 60 page booklet with detailed notes on each session from the incomparable Paul De Luxe and The Hermit. There are six gatefold sleeves that house the CDs, all have the track listing on the back and are beautifully adorned with studio shots of the band during the era found within the compact discs. The box itself is striking in its simplicity, a Black box with gold lettering with the Swan Song logo and individual band member signs on the cover; of course it is slightly thicker to accommodate six sets as well as the booklet. The care shown in the sets creation and its accuracy in detail are second to none, and for now this must be considered as definite as it stands at this time, for we do not know what will be unearthed in the future. The massive 18 disc set just so happens to be Box number 18 of an incredible line of box sets that has garnered praise from collectors.

Doing a review such as this is a daunting task and one that can include some pains to produce and I was incredibly lucky to have some superb references along the way that must be acknowledged. Firstly to Gerard’s excellent review of the Scorpio Studio Sessions, since that set came with a flimsy sheet with only basic information I long ago printed a copy of his review to use as a reference guide. Secondly to the Led Zeppelin Data Base and Argenteum Astrum, a site with a massive amount of information and a vast help for this review and also for my general collecting needs. Of course Led Zeppelin Live by Luis Rey and Dave Lewis’ Concert File are always excellent resources and inspiration in not only how I write a review but thanks to Luis how I listen to these tapes, both the studio and live material.



Disc 1 (65:59) Led Zeppelin I and II Sessions – Olympic Sound Studios Barnes, London England September 27,1968; Babe I’m Gonna Leave You (take 8), Babe I’m Gonna Leave You (Take 9 stopped), Babe I’m Gonna Leave You (Take 9 complete), You Shook Me. Olympic Sound Studios Barnes, London England October 10, 1968; Baby Come On Home (AKA Tribute To Bert Berns / Take 1 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 2 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 3 Complete. Olympic Sound Studios Barnes, London England October 1968; Guitar Organ Instrumentals (Take 1), Guitar Organ Instrumentals (Take 2), Guitar Organ Instrumentals (Take 3), Guitar Organ Instrumentals (Take 4), Guitar Organ Instrumentals (Take 5), Guitar Organ Instrumentals (Take 6), Guitar Organ Instrumentals (Take 7). Mirror Sound, Los Angeles, California between May 4-6 1969; Moby Dick (intro & outro), Drum Solo. Morgan Studios, Willesden, London England June 1969; Sugar Mama. Morgan Studios, Willesden, London England June 25, 1969; We’re Gonna Groove

These outtakes can be found in parts on the titles Olympic Gold on Scorpio (LZ 92-SC), Gems + Jams (ZELCD101), Studio Haze (Laughing Skull), Anyway You Want (KFM 008), Babe, I’m Gonna Leave You (Dynamite Studio DS92J031), Hairway To Steven (Invasion Unlimited IU9645-1), Early Days (Refinded Masters), Studio Sessions (Antrabata), and Studio Sessions Ultimate (Scorpio LZ-07001~12). “We’re Gonna Groove” is found on Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).

The sound quality of the material when compared to the Scorpio set is not as amplified as much so there is less hiss and has a warmer sound. Plant’s raw vocal on “Babe I’m Gonna Leave” is superb as well as is his vocal improvisations. I enjoy the “Baby Come On Home”, throw the backing vocals out and blues it up just a little it would have been an incredible song, I love the sound of Page’s guitar as well. The “Guitar Organ Instrumentals” are also good, Page’s playing is simply wonderful, it would have been interesting to here parts of this during his “White Summer / Black Mountain Side” showcase in the live shows. The “Moby Dick” outtakes are a very nice upgrade is sound versus the Scorpio titles as is “Sugar Mama”, there is still tape hiss present but they sound clearer. The version of “We’re Gonna Groove” was later released on Coda, this was not found on the Scorpio title but thankfully added to this set.

Disc 2 (72:28)  Led Zeppelin II Multi Tracks – Rehearsed and assembled during the bands second American Tour in 1969 with basic framework recorded at Olympic Sound Studios London May 1969 with additional overdubs added in Los Angeles. Final mix by Eddie Kramer and Page over two days at A&R Studios, New York City, NY. August 1969; Whole Lotta Love (main guitar bleed), Whole Lotta Love (guitar overdubs bleed), Whole Lotta Love (bass bleed), Whole Lotta Love (drum right bleed), Whole Lotta Love (drum left bleed), Whole Lotta Love (tympani tambourine bleed), Whole Lotta Love (vocals bleed), Whole Lotta Love (vocals overdubs bleed), Whole Lotta Love (multi track mix down version 1), Whole Lotta Love (multi track mix down version 2), Whole Lotta Love (multi track mix down version 3), Whole Lotta Love (multi track mix down showcase)

Disc 3 (58:11) Led Zeppelin II Multi Tracks – Recorded June 1969 at Groove Studios New York and Olympic Sound Studios London. Mixed at A&R Studios New York; What Is And What Should Never Be (main guitar bleed), What Is And What Should Never Be (bass bleed), What Is And What Should Never Be (drum right bleed), What Is And What Should Never Be (drum left bleed), What Is And What Should Never Be (main vocals bleed), What Is And What Should Never Be (vocal overdubs bleed take 1), What Is And What Should Never Be (vocal overdubs bleed take 2), What Is And What Should Never Be (guitar and vocal overdubs), What Is And What Should Never Be (multi mix down version 1), What Is And What Should Never Be (multi mix down version 2), What Is And What Should Never Be (multi mix down version 3)

Disc 4 (72:31) Led Zeppelin II Multi Tracks – Recorded and mixed in A&R Studios New York City, NY. May 30, 31, 1969; Heartbreaker (main guitar bleed take 1), Heartbreaker (main guitar bleed take 2), Heartbreaker (bass bleed), Heartbreaker (drum right bleed), Heartbreaker (drum left bleed), Heartbreaker (guitar bass drum bleed), Heartbreaker (vocals bleed), Heartbreaker (vocals and guitar bleed), Heartbreaker (multi track mix down version 1), Heartbreaker (multi track mix down version 2)

Disc 5 (61:41) Led Zeppelin II Multi Tracks – Recorded in Juggy Sound Studio, New York in June 1969 and mixed in A&R Studios in New York; Ramble On (acoustic guitar bleed), Ramble On (electric guitar bleed), Ramble On (guitar overdub bleed), Ramble On (bass bleed), Ramble On (drum right bleed w/tympani), Ramble On (drum left bleed w/tympani), Ramble On (vocals bleed), Ramble On (vocals and guitar bleed), Ramble On (multi track mix down version 1), Ramble On (multi track mix down version 2), Ramble On (multi track mix down version 3), Ramble On (multi track mix down version 4), Ramble On (multi track mix down version 5), Ramble On (multi track mix down version 6)

All Our Love (Beelzebub Records), Alternates And Outtakes I & II Volume 1 (Boogie Mama), The Black Bomber – The Recording Sessions (Beelzebub Records), Countdown (Boogie Mama), Early Ramshackle Days (Beelzebub Records), Led Zeppelin II Multi Track Mixdowns (Empress Valley Supreme Disc), The Lost Sessions Volume 2 (Empress Valley Supreme Disc), The Making Of Led Zeppelin II (Empress Valley Supreme Disc), Royal Albert Hall 1970 (Wendy Records). The most recent of Zeppelin outtakes to see the light of day, early in this millennium. They provide a fascinating glimpse into not only the mixing but how the songs were written and constructed. While sometimes some of the bleed tracks can get tedious other times you marvel at some sounds or parts you never heard before. I have always enjoyed the Classic Album series on VH1 (and on DVD) for this reason. The ensuing multi track mix downs are superb and offer a different glimpse at these songs we all know so well. The sound quality on all is impeccable stereo perfection and these outtakes are considered essential. The “Whole Lotta Love” mix down version 3 has an incredible ending. The mix downs for “What Is And What Should Never Be” have many added guitar snippets with version 2 and 3 being very enjoyable. The last “Heartbreaker” mix down version 2 has a much different guitar solo and some accented slides as well as some vocals snippets and is a superb mix up. The “Ramble On” disc is particularly interesting; the acoustic guitar bleed brings to light a lot of the depth of the song you don’t usually hear and notice due to the eventual prominence of the electric guitar. “Ramble On” has the most multi mixes, all variations of each other with extra vocals and guitar and drum snippets scattered throughout.

Disc 6 (71:38) Led Zeppelin III Sessions – Recorded at Olympic Sound Studios, Barnes, London England November 1969; Jennings Farm Blues (take 1 stopped), Jennings Farm Blues (take 2 stopped), Jennings Farm Blues (take 3 stopped), Jennings Farm Blues (take 4 stopped), Jennings Farm Blues (take 5 stopped), Jennings Farm Blues (take 6 complete basic version), Jennings Farm Blues (take 7 stopped), Jennings Farm Blues (take 8 stopped), Jennings Farm Blues (take 9 stopped), Jennings Farm Blues (take 10 stopped), Jennings Farm Blues (take 11 stopped), Jennings Farm Blues (take 12 complete full mix) Recorded at Bron-Yr-Aur Cottage Machynlleth Gwynedd, Wales sometime between April and May 1970; Untitled Guitar Instrumentals

The Jennings Farm Blues material is an electric take on the Led Zeppelin III acoustic song “Bron-Yr-Aur Stomp”, recorded as a possible single but the song remained unreleased by the band although one can certainly tell that considerable work went into it. It was first found on Jennings Farm Blues (Scorpio) and featured on 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), and Studio Sessions Ultimate (Scorpio). The sound source has been excellent since its first release; again the music does not seem as amplified as the Scorpio Studio Sessions Ultimate and has a warmer natural sound to it.

The “Untitled Guitar Instrumentals” have a long history and are a much valued tape in Led Zeppelin history as they are the only known tape of the band playing at Bron-Yr-Aur cottage in Wales. Long tired of touring in America and the social upheaval that was happening and directly affecting them they retreated to the quiet countryside to compose and the mostly acoustic material that came from it formed a good deal of the third and fourth records. The recordings have a long history with bootleggers going back to the vinyl days of Bootleg LP’s The Alternative Led Zeppelin III (The Swingin’ Pig Records), Best Of Led Zeppelin Vol. 1 (Rock Solid Records), The Final Option (Rock Solid Records & The Swingin’ Pig Records), Led Zeppelin Film Can (Rock Solid Records), Led  Zeppelin III Studio Rehearsals May 1970 (RL Records), More Inedits (MLZ), Studio Rehearsals May 1970 (Rock Live), Studio Rehearsals 1967-1971 Part 1 (Grasshopper), & III To Get Ready (Early Times) and on compact disc under titles like 1970 Studio Works (Theramin Music), Another Way To Wales (Black Swan), Led Zeppelin III (Tarantura), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The quality found on the Godfather box is very similar to what is on the Scorpio Studio Sessions Ultimate. There are many song references thrown in, my favorite is “Down By The Seaside” and although is just an early run through has many of the laid back components of the yet to be recorded version. Where the Scorpio version has song indexes, unfortunately the Godfather is one long 46 minute track. Another of the really great early tapes.


Disc 7 (69:40) Led Zeppelin III Sessions (part 2) – Recorded at Headley Grange Studios, Hampshire England sometime between May and June 1970; Guitar Instrumental (take 1), Guitar Instrumental (take 2), Poor Tom (take 1), Guitar Instrumental (take 3), Guitar Instrumental (take 4), The Boy Next Door aka That’s The Way (take 1), The Boy Next Door aka That’s The Way (take 2), The Boy Next Door aka That’s The Way (take 3), The Boy Next Door aka That’s The Way (take 4), The Boy Next Door aka That’s The Way (take 5), My Oh My aka Friends (takes 1-2), Guitar Instrumental (take 5), Guitar Instrumental (take 6), Guitar Instrumental (take 7), Bron-Yr-Aur (take 3), My Oh My aka Friends (takes 3-4), Bron-Yr-Aur (take 4), Poor Tom (takes 2-6), Hey Hey What Can I Do (takes 1-2), Immigrant Song, Bathroom Song aka Out On The Tiles. Recorded at Morgan Studios Willesden London England on May 6, 1970; Poor Tom (take 1 instrumental), Poor Tom (take 2 w/ vocals)

The first set of material is a rehearsal amateur tape some have attributed to Bron-Yr-Aur Cottage but it cannot be confirmed so it is label as Headley Grange. It has also been in circulation for a long period, Bootleg LP References are  The Alternate Led Zeppelin III (The Swingin’ Pig Records), Hiawatha Express (Stash) & The Making Of Friends (III) while on compact disc as 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), Another Way To Wales (Black Swan), Hiawatha Express (Toasted/Condor), Led Zeppelin III (Tarantura), Sessions (Antrabata Reference Master), Stairway Sessions (Silver Rarities), Studio Sessions Ultimate (Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), & Ultra Rare Trax Part 2 (Savage Beast Music). Again the tape is similar to the sound of the Scorpio Studio Session Ultimate. Being an amateur style recording there is some notable tape hiss present and at times what sounds like wind moving across the microphones is present but does not detract from the listening experience, just adds to the ambiance.

This is a very intimate tape featuring just Page and Plant giving us a glimpse inside their unique musical bond. “Poor Tom” features some nice percussion from what sounds like Plant clapping along on his legs as they are seated. The many takes of “The Boy Next Door” are wonderful, soft and gentle with some great improvised guitar from Page; clearly his skills on the acoustic guitar are vast. Great to hear the sounds of a dog, possibly Plant’s beloved Stryder adding his own compliment. The early takes of “Friends” include bongos from Plant and we see that musically it is taking shape, Plant sings vocal harmonies of what is to become the lyrics and Page adds harmonized vocals to flesh it out. You can clearly here Robert’s child during Take 3 of “Bron-Yr-Aur”, the addition of “Hey Hey What Can I Do?” with the acoustic guitar from Plant and some mandolin from Page sounds very like something you would hear from The Band. The early band versions of “Immigrant Song” and “Out On The Tiles” are tentative sounding, the latter has the chorus intact but the rest will continue to take shape.

The two takes of “Poor Tom” are excellent sounding outtakes, the final one being what is used on Coda. They sound just slightly fuzzy and are one of my favorite songs from that record. Previously found on All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio).

The rest of the record is taken up with excellent quality outtakes of “Celebration Day”, “Hey Hey What Can I Do?”, and “Out On The Tiles” sans vocals. They sound close to the final mixes and have seen compact disc releases as All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama), The Lost Mixes EP Volume 3 ~ Led Zeppelin 1970-1971 (Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), incredible as it sounds the story has the tapes being found in the garbage.

Disc 8 (78:04) Led Zeppelin III and IV Sessions – Recorded at Olympic Sound Studios, Barnes, London England sometime between May and June 1970; That’s The Way (full mix), Feel So Bad (aka Hats Off To Roy Harper takes 1-2) Medley includes Fixin’ To Die, That’s Alright Mama, Since I’ve Been Loving You (vocal track), Since I’ve Been Loving You (full mix). Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971; Stairway To Heaven (take 1 instrumental), Blues Guitar / Piano improvisation, Black Dog acoustic (take 1 instrumental), Black Dog acoustic (take 2 instrumental), Black Dog electric (rehearsal), No Quarter, Stairway To Heaven (take 2 instrumental), Stairway To Heaven (take 3 instrumental), Stairway To Heaven (take 4 instrumental), Electric Guitar Improvisation, Stairway To Heaven (take 5 w/ vocals), Stairway To Heaven (take 6 w/ vocals), Stairway To Heaven, Night Flight

The remainder of the LZIII out takes start disc eight, in incredible sound. It first appeared on Studio Daze (Scorpio) and was followed on titles like 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), Led Zeppelin III (Tarantura), Live On Tour With Led Zeppelin Volume 1 (Beelzebub Records), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), Studio Daze Revisited (Scorpio), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). The versions are excellent studio mixed version in outstanding quality and are musically a revelation. The song titles “Feel So Bad” is the music of “Hats Off To Harper” with lyrics from “Fixin’ To Die” and Elvis’ “Thats Alright Mama” sung in the “Hats Off” style.  The vocal track of “Since” is good but the final full mix of the song is incredible. It reeks with emotion and passion like no other song in the band’s vast catalog does and the playing was described by Plant as the sound of Led Zeppelin live, if the bootleggers microphones could accurately capture the bands sound, this song would be it.

The IV album outtakes are essential listening, mostly due to the fact that we are treated to several quality rehearsals of “Stairway To Heaven”, as well as other gems to boot. This recording has been out many times on bootleg LP as And IV To Go (Ugly Duckling), Inedits (LZ 1-2), Led Zeppelin IV Studio Rehearsals January 1971 (RL Records), Studio Rehearsals January 1971 (Rock Live), & Studio Rehearsals 1967-1971 Part 1&2 (Grasshopper) and on bootleg CD as All That Glitters Is Gold (Celebration Definitive Masters), The Lost Sessions Volume 9 (Eelgrass), The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), Studio Sessions Ultimate (Scorpio), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The “Stairway” versions start off rudimentary and have early versions of “Black Dog” in between, it is great to here Jonesy give direction and Plant improving the lyrics, something he would continue to do onstage. There is an early version of “No Quarter” also, a song that would continue to be worked on until its final form the next year. The history of “Stairway” is one of legend, the music comes to Page and upon hearing it Plant started the lyrics in a blast of semiotic energy between the two, this is a glorified idea but is pretty much confirmed when listening to the versions of the song. The sound is very similar to that of the Scorpio Studio Sessions Unlimited.

The last take of “Stairway” is an excellent studio outtake released as The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1 (Empress Valley Supreme Disc), some claim its legitimacy but Plant’s vocals are slightly different and Page’s guitar solo is total different, he has stated in many interviews that several solo were recorded. “Night Flight” is the full mix of the song minus overdubs done prior to its being released on Physical Graffiti, it has been previously found on Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).

Disc 9 (60:26) Led Zeppelin IV Sessions – Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971; The Battle Of Evermore (take 1), The Battle Of Evermore (take 2), The Battle Of Evermore (take 3), The Battle Of Evermore (take 4), The Battle Of Evermore (take 5), The Battle Of Evermore (take 6). Recorded somewhere between January and February 1971; Four Sticks (take 1 instrumental), Four sticks (take 2 w/ vocals), Black Dog, When The Levee Breaks (take 1), When The Levee Breaks (take 2)

One of my disappointments with the Scorpio Session box was that the “Battle Of Evermore” material was not present, save one small outtake. I have always loved this song and am glad to finally hear this music. Of course many collectors have this on titles All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), and Studio Sessions Ultimate (Scorpio). I give Plant much credit for this song, he brings in Sandy Denny from Fairport Convention to sing on the song and the vocal mix has the wonderful call and response aspect and his lyrics show his deep appreciation and knowledge of Welsh history combined with the works of JR Tolkein that brings the song to life. The quality of this material varies slightly but is all very good to excellent quality.

The remainder of the material has been found on All Our Love (Beelzebub Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), The Lost Mixes EP Volume 3 – Led Zeppelin 1970-1971 (Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). They are variations of the final mixes, “Four Sticks” has Bonzo’s drumming in the foreground and has a much different feel to it where the final mix is close to the one found on the record. The most interesting of these is the two “When The Levee Breaks”, both sound as if they are still a mix in process, all the above songs are superb studio quality.


Disc 10 (61:45) Bombay Rehearsals & Houses Of The Holy Sessions – Recorded at EMI Studios Bombay, India March 1972; Friends (rehearsing the tune), Four Sticks (take 1), Friends (take 1), Friends (take 2), Friends (take 3), Four Sticks (take 2), Four Sticks (take 3), Four Sticks (take 4). Recorded by the Rolling Stones Mobile Studio, Stargroves Newbury, Berkshire, England and Island Studios London England May 15, 1972; Walters Walk (take 1 instrumental), Walters Walk (take 2 w/ vocals), Walters Walk (take 3 with vocals)

Page and Plant’s trip to Bombay after the band’s legendary Australian Tour is one of legend, they spoke about it in various interviews and finally the tape came to light, and what a revelation it is, one that would certainly come to fruition some 20 plus years later when the duo reformed to produce the Un- Ledded project. Previously issued as All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes III Volume 2 (Boogie Mama), Complete 1972 Bombay Sessions (Tecumseh), The Lost Sessions Volume 2 – Led Zeppelin In India (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). I got my first taste of this tape on the Studio Haze (Laughing Skull), a version that was much poorer in sound and completeness. The sound quality found on this Godfather version is similar to the Scorpio Studio Session Ultimate and is excellent and complete. The music found within is very interesting; if you close your eyes you can almost envision Page and Plant working with the musicians who they have a limited dialogue with. The versions of “Friends” with vocals are incredible; his voice has some echo on it and a very ethereal quality to it that accents the music perfectly. The final mixes of “Four Sticks” are also very nice, although take 4 is not a complete version being cut about a minute in.

The remainder of the disc is comprised of three takes of “Walter’s Walk”, a song that dates back to the Houses Of The Holy era but would not see the light of day until the Coda record in 1982. The band would play the main riff of the song during “Dazed and Confused” and there are many good references to the song from the summer 1972 tour, such as Baltimore and San Bernardino. We are treated to the complete 13 minute tape, parts have been released on 1970 Studio Works (Theramin Music), All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Studio Daze (Scorpio), Studio Sessions Ultimate (Scorpio). The quality is superb studio quality, and the final two versions have been remixed sometime in 1982 when Plant recorded the vocals for the song, his last remaining thing he recorded for Led Zeppelin.

Disc 11 (57:00) Houses Of The Holy & Lucifer Rising – Recorded at Island Studios London, England and mixed at Olympic Studios by Andy Johns in June 1972; No Quarter (take 1 instrumental  complete), No Quarter (take 2 stopped), No Quarter (take 3 stopped), No Quarter (take 4 instrumental complete), No Quarter (take 5 stopped), No Quarter (take 6 stopped), No Quarter (take 7 w/ vocals complete). Recorded at Boleskine House. Loch Ness Scotland sometime between October and November 1973; Incubus, Damask, Unharmonics, Damask (ambient version), Lucifer Rising, Lucifer Rising (percussive return)

There is precious little of the material that encompasses the Houses Of The Holy record, all we have is 25 minutes of “No Quarter” outtakes, the quality is incredible and the final version with vocals is pristine in quality and showcases a mix I think that is superior than the one eventually released. The material was first found on Studio Daze (Scorpio) and then on 1970 Studio Works (Theramin Music), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Scorpio Rising (Akashic),  Studio Daze Revisited (Scorpio), Studio Sessions Ultimate (Scorpio).

The remainder of the material comes from 1973 and is a four track recording of instrumental music Page produced for Kenneth Angers film Lucifer Rising. Page was late with turning the music over to Anger who was much displeased and made light of the situation in the press. This was Page’s first foray into film, he would again dabble in soundtracks from 1982s Death Wish II. Previous releases include Brutal Artistry II (Midas Touch), Inducted And Possessed (Beelzebub Records), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio). Interestingly, Anger did not use any of the material, a true shame as the “Lucifer Rising” track is a 20 minute soundscape of very dramatic themes that have, as the liner notes state “give one the creeps”. If you love Page’s bow solos from “Dazed and Confused” and some of his electronic improvisation, this dark piece is very appealing and the same piece makes its CD debut on this set. The sound quality is certainly better than is what is found on Scorpio’s Studio Session Ultimate title, and is much more complete.

Disc 12 (54:21) Pre Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England November 1973; Untitled Instrumental. Recorded at Headley Grange Studios Hampshire, England November 1973; Untitled Instrumental, Ten Years Gone (takes 1-12)

Sessions (Antrabata Reference Masters) and Studio Sessions Ultimate (Scorpio) were the only two previous releases, I will defer to the liner notes; This is a real mystery. It consists of Page working out melodies on the acoustic guitar. Some of the melodies introduced on the guitar are then (very occasionally) played on piano. The piano playing is very good and causes questions as to whether or not it is Page playing or someone else. There is no further evidence on tape that he even plays the instrument. Nevertheless some of the melodies are recognizable including the fast break found in 1976′s “Hots On For Nowhere” and an embryonic version of “The Rain Song”. Sadly Godfather chose to leave it as one long 43 minute track. The quality is excellent and a slight improvement over the Scorpio version.

The rest of the disc is comprised of Jimmy working through “Ten Years Gone”, the material has seen previous released as All That Glitters Is Gold (Celebration Definitive Masters), Brutal Artistry (Midas Touch), The Complete Bombay 1972 Sessions (Tecumseh), Studio Sessions Ultimate (Scorpio “new”). Again the quality is excellent, the origin of these could have been to use as overdubs on the final version, one comprised of Page’s guitar army. Sadly, they are just fragments. One of the more boring discs in the set that does get a lot of “air time” on my stereo but is good to own for completeists sake.


Disc 13 (61:36) Pre Physical Graffiti Outtakes (Part 2) – Recorded at Headley Grange Studios Hampshire, England November 1973; Swan Song aka Midnight Moonlight.

The song has seen prior releases on Brutal Artistry (Midas Touch), The Lost Sessions Volume 10 ~ All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Studio Sessions Ultimate (Scorpio). Its origins go back many years, as early as February 1970 as found in Page’s showcase of “White Summer/Black Mountain Side” from the band’s date in Copenhagen on the 28 you can certainly clearly hear the introductory notes and would be played sporadically throughout the years, sadly as these instrumental workouts show, was never completed by the band. As we all know Page would dust of the song and work it into shape for his solo spot on the ARMS tour, one that would find him beginning a collaboration with Bad Company’s Paul Rodgers. The duo would go on to form The Firm and release the opus on their first self titled record in 1984. Again unfortunate that Godfather elected to leave it as one long track as there are numerous places that would have made sense. Quality wise it is similar to the Scorpio Studio Sessions Ultimate in terms of quality.

Disc 14 (72:34) Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song (take 1), The Wanton Song (take 2), Take Me Home (take 1), Take Me Home (take 2), In The Morning aka In The Light (take 1), Trampled Underfoot (takes 1-9), In The Morning aka In The Light (take 2), Sick Again, The Rover, Untitled Instrumental, ABC Song, In My Time Of Dying (takes 1-7). Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song, Trampled Underfoot

After the meandering of the previous two discs we get into the real meat and potatoes of this set. Thankfully there is a lot of studio material from the Physical Graffiti sessions for us to enjoy in excellent sound quality. This is a real glimpse inside the creative process of the band as they record their masterpiece. The tape has seen numerous releases on Bootleg LP as Alternate Physical Graffiti (The Swingin’ Pig Records), Hiawatha Express (Stash), In Through The Outtakes (White Box &  Widget Recordworks), Tangible Vandalism (TV & White Box), & White Summer (Marc & Rock Solid Records) and on CD as Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Headley Grange (Immigrant), The Lost Sessions EP Volume 10 – All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Physically Present (House Of Elrond), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio), & Totally Tangible (Blimp). The sound on this material, as stated before is excellent and very close in sound to the Scorpio Studio Session Ultimate.

“The Wanton Song” is much more advanced as found on the 1973 rehearsal tape / sound check. “Take Me Home” sounding like something that came from “The Crunge” with Plant ad libbing lyrics that sound like The Beatles’ “I Wanna Be Your Man”. “In The Morning” is an early work through of “In The Light”, it is interesting to hear Page working on the different riffs and time changes on the guitar, he has the ascending riff down. Even though Plant has some rough lyrical ideas down he seem to put in a great vocal performance and Bonham starts really pounding his set at the songs conclusion, great outtake. The “Trampled” takes are a lot of start and stops and finds Bonzo searching for the right beat, there are some nice spots of chatter between takes that is quit nice. Another “In The  Morning” follows, like the other has Plant (?) whistling the melody before the band start the song but the version is tame compared to the first.

The “Untitled Instrumental” is what is described as a groovy jam, one can certainly agree as it is loaded with funk. The “In My Time Of Dying” takes are interesting to say the least, the band try and get Bonzo to get the right beat and it sounds heated. The final two songs are finished mixes, the sound is perfect, they have circulated under titles as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), & Studio Sessions Ultimate (Scorpio “new”).

Disc 15 (69:29) Physical Graffiti Outtakes (Part 2) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Ten Years Gone (takes 1-4), Boogie With Stu (takes 1-9), Night Flight (takes 1-11). Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Trampled Underfoot, Kashmir, Custard Pie, In The Light, Swan Song aka Midnight Moonlight (take 1), Swan Song aka Midnight Moonlight (take 2)

The 37 minute tape featuring the “Ten Years Gone”, “Boogie With Stu”, and “Night Flight” outtakes have been circulating on such titles as Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry II (Midas Touch), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). There are small scuffs during 2:18 and 2:29 of “Ten Years Gone”; they are also present on the Scorpio title, Disc 10 track 8. I do not own other versions of this tape and have to guess it is on the master. The song is in its final mixes and the extensive overdubs are all on there. “Boogie With Stu” was, of course, recorded back in 1971 and dusted off for inclusion on Physical Graffiti, the mixes provide no hidden gem within. Again it would be nice to have que breaks for the songs as some are quick snippets while others are a complete song.

The reminder of the disc has seen the light of day on All Our Love (Beelzebub Records), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Brutal Artistry II (Midas Touch), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc), Physical Graffiti Alternate Trax (Tarantura), Physically Present (House Of Elrond), Studio Sessions Ultimate (Scorpio), & Swansongs (Tarantura).

“Trampled” is a virtually complete finished mix. “Kashmir” is a stripped down version with drums, bass, and guitar before the Mellotron was added and is fantastic to hear. The version of “In The Light” is incredible, worth the price of admission alone, this is the “In The Morning” version with different lyrics. The quality is so pristine; one has to wonder why they chose to abandon this version. The last two tracks are full band instrumental version of “Swan Song aka Midnight Moonlight”. The second take is longer and where the first take is like the opening, this take sounds like the possible middle section. It cannot be stated enough, and certainly the hardcore collectors know that the Physical Graffiti outtakes are the most satisfying of this set and is essential listening.

Disc 16 (69:56) Radio Takes, Presence Outtakes, Bonzo’s Montreux Sessions and In Through The Out Door Outtakes – Recorded at Headley Grange Studios Hampshire, England 1974; The Wanton Song (WLIR 92.7 radio broadcast), The Wanton Song (WPLJ 95.5 radio broadcast). Recorded at Studio Instrument Rentals (SIR) Hollywood, Los Angeles October 1975; Royal Orleans, Tea For One (Hootchie Kootchie version), Don’t Start Me Talking – All My Loving. Recorded at Mountain Studios Montreux, Switzerland on September 12, 1976; Bonzo’s Montreux (take 1), Bonzo’s Montreux (take 2). Clearwell Castle, Forest Of Dean, Gloucestershire, England May 1978; Fire (Say You Gonna Love Me), Carouselambra (takes 1-4). Recorded at Polar Studios Stockholm, Sweden November 1978; Drum Segment, Carouselambra, Ozone Baby (take 1), Ozone Baby (take 2), All My  Love, Wearing And Tearing, I’m Gonna Crawl, Fool In The Rain

The first two tracks are from radio broadcasts and feature outtakes of “The Wanton Song”. The quality is excellent but sounds like it were recorded off of radio, it has seen prior releases as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc), Relax (Beelzebub Records). Luis Rey stated that if not for some slide guitar overdubs this could pass for a live recording. I agree as it has alot of energy and a live feel too it, this version has DJ comments after its conclusion. The second version is better sounding and similar to the other. Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio). The sound is similar to the Scorpio title and is excellent quality.

Sadly the sessions for Presence yields virtually nothing, all we have is this 8 minute fragment of rehearsal done while the band is in exile in California. The version of “Tea For One” is very nice, certainly not as up and down sounding as the final version is more of a Chicago blues, the “Don’t Start Me Talking” is a really nice jam. Prior releases are Bizarre (Tarantura), Brutal Artistry II (Midas Touch), Countdown (Boogie Mama), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). Quality is excellent and the tape sounds similar to the Scorpio title.

“Bonzo’s Montreux” was done in the fall of 1976, previously released as All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The song is very close to what would be released on Coda. Very inventive, one has to wonder why he did not incorporate it into his 1977 solos.

The second portion of the disc is the first glimpses of the band after the turbulent and very sad death of Robert’s son and the cancellation of the 1977 tour and band activities. Early rehearsals are done in England at Clearwell Castle and produce an interesting tape that has seen the light of day as Bizarre (Tarantura), Brutal Artistry II (Midas Touch), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Missing Links (The Diagrams Of Led Zeppelin), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is a very good amateur style recording, Page is playing very well and the music sounds nothing like what would be eventually released on In Through The Out Door, obviously Jimmy sounds very dominant. The run throughs of “Carouselambra” are simply wonderful, albeit raw. Jimmy’s guitar tone is excellent and Jones’ keys naturally have a dominant place in the mix but as Luis Rey states that Bonzo is the true star of this recording and leaves you wondering if the band would have ever played the piece live. The band has put considerable work into the song and Plant has vocals in place for much of the piece, great stuff.

The rest of the disc has us transported to Sweden and Polar Studios, home to ABBA and the sessions that would produce the band’s final studio album. All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc) are the previous titles featuring this 29 minute tape. I will refer to liner notes as they hit the nail on the head; These tracks are drum mixes of versions later used on the In Through The Out Door album. Stellar quality, you hear a drums view of the songs. We can clearly hear Bonham working on the drums with the tape of the vocals and guitar faintly in the background. It’s a brilliant insight into a brilliant drummer and makes me wish they had released the official album with this good quality. They sound fresh and excited. Bonzo lets out a “fookin’ ‘ell” right before “Fool In The Rain” and it’s a joy to hear.

Disc 17 (65:29) In Through The Out Door Sessions – Recorded at Polar Studios Stockholm, Sweden November 1978; Carouselambra (take 1), Wearing And Tearing, Fool In The Rain (take 1), Hot Dog, In The Evening, Southbound Saurez, Darlene, Fool In The Rain (take 2), Carouselambra (take 2). Recorded at Polar Studios Stockholm, Sweden November 1978; All Of My Love

The majority of this disc is the 58 minute tape and finds the music nearing completion with the final mixes being worked on. It has been much bootlegged starting with the bootleg LP The Complete Outtakes And Rehearsals (Swan Song), In Through Out Door Sessions (Toasted Records), In Through The Outtakes (White Box & Widget Recordworks), & Out Through The Back Door (Amazing Stork & White Box) and on CD as All My Love (Tarantura), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 ( Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is excellent, professional quality if just a little dull but is equal in quality to the Scorpio set. Again Bonham’s drumming is at the forefront of “Carouselambra”, simply incredible in his fills of what was  the last of the Zeppelin epics and one for the new decade. One has to wonder how they chose the material that would make the record, they produced a fast and aggressive rocker like “Wearing And Tearing” and elect to leave it off and make for a possible Knebworth special EP that is of course scrapped. Perhaps too aggressive for the rest of the material but a song that certainly lets you know that the dinosaur still had some fighting spirit left in its old bones. “Fool In The Rain” has some cool count in and some ad libs from Plant. “Southbound Saurez” has a different feel with Jones on the piano and Page’s guitar has a nice fuzz tone to it.

The final track is “All Of My Love”, this outtake is stunning in terms of sound quality and performance. Previously released on All Our Love (Beelzebub Records), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Studio Daze (Scorpio), Studio Daze Revisited (Scorpio), & Studio Sessions Ultimate (Scorpio). I remember being blown away by the original Studio Daze Scorpio title and this version of “All Of My Love” as it was much closer to how it was performed live and has a loser feel and features some great playing from Page.

Disc 18 (66:15) In Through The Out Door Sessions & Final Rehearsal – Recorded at Polar Studios Stockholm, Sweden November 14 1978; Ozone Baby (take 1), Ozone Baby (take 2). Recorded at Polar Studios Stockholm, Sweden November 16 1978; Darlene (take 1), Darlene (take 2). Recorded at Polar Studios Stockholm, Sweden November 21 1978; Wearing And Tearing (take 1), Wearing And Tearing (take 2). Recorded at the Rainbow Theatre, London, England and / or New Victoria Theatre London, England sometime between April and May 1980; White Summer (take 1) White Summer medley incl. Black Mountain Side (take 2), Kashmir, Achilles Last Stand (take 1), Achilles Last Stand (take 2) Stairway To Heaven

The final disc finds different mixes of the three songs recorded during the In Through The Out Door sessions that would eventually be released on Coda. Interesting as we have actual dates for each of the three songs and all are in the finished stages with just minor differences in the mixes. Previously released under the titles Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), & The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The songs show a possible different direction that the band could have explored on the record and possibly in the new decade.

The rest of the disc has the “final” rehearsal as it originally circulated as being from the time period directly before Bonham’s death. Ultimately it has the more plausible origin of being from rehearsals prior to the bands German tour 1980. It has had a myriad of releases beginning with the vinyl LP The Final Option (Rock Solid Records & The Swingin’ Pig Records), The Last Rehearsal – Bonzo’s Last Stand (Oznob), Out Through The Back Door (Amazing Stork & White Box), Strange Tales From The Road (Rock Solid Records), & Tangible Van-Dalism (TV & White Box) and CD as The Last Rehearsal (Missing Link), The Lost Sessions Volume 11 ~ The Final Rehearsal (Empress Valley Supreme Disc), Rehearsals (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Strange Tales From The Road (no label), & Studio Sessions Ultimate (Scorpio). The recording itself is excellent quality, the performances are not really noteworthy but an interesting listening experience as unbeknownst to the band that they were in their final stages of existence.

The last word? Many times previously when companies try to put together something and label it as definitive it always seems to fall short. As massive of a project as this was Godfather simply nails it and delivered what they intended to do; give fans the most comprehensive and complete collection of Zeppelin studio outtakes in the best ever quality. Certainly the most ambitious and best ever box set produced by the label, bar none.

Wednesday, May 25, 2016

Led Zeppelin - 2016 - Earl's Court The Final Option

Led Zeppelin
2016
Earl's Court The Final Option


Empress Valley Supreme Disc – EVSD 876~906
31 × CD - Box Set





I usually try to stay away from posting bootlegs on this blog, but (there is always a "but")  couple of regular visitors that know I avidly collect silvers asked me if I had this one available for upload. (Since not everybody has the 850 EUR asking price available) It's a massive gorgeous box containing several sources for all 5 shows of the 1975 London run... 31 cd's in total.
Unless new soundboard sources emerge for the first three nights I think this will be for the time being the definitive release for these five shows, I don't think that Jimmy will ever grace us with anything like this box released officially... so this is it boys and girls... 

Around this time 41 years ago Led Zeppelin took stage for the last night of this 5 night run and did not stop playing for almost four hours, so perfect timing to post this one. Ooooh yeah... i almost forgot... also as a bonus I included separate links for the pro shot videos of the last two nights .



Led Zeppelin
May 17, 1975
Earls Court Arena
London, England

Welcome Home





0101. Band Announcements
0102. Rock And Roll
0103. Sick Again
0104. Over The Hills And Far Away
0105. In My Time Of Dying
0106. The Song Remains The Same
0107. The Rain Song
0108. Kashmir

0201. No Quarter
0202. Tangerine
0203. Going To California
0204. That's The Way
0205. Bron-Yr-Aur Stomp
0206. Trampled Underfoot
0207. Moby Dick

0301. Dazed And Confused
0302. Stairway To Heaven
0303. Crowd Anticipation
0304. Whole Lotta Love
0305. Black Dog

The first show of the band's legendary five-night stand at Earls Court begins with a brief introduction by DJ Bob Harris welcoming them back to Britain before Rock and Roll crashes into motion. The equipment issues are evident from the start with Page's guitar cutting in and out during the initial verses. He blazes through the second guitar solo in Sick Again. As the song ends, Plant comments "you wouldn't believe that after all the trouble and messin' about to try and get this unearthly monster with us, the first thing that gets blown, right?" He introduces In My Time of Dying as "an old chain gang thing" before dedicating the song to Chancellor of the Exchequer Denis Healey. An incredibly powerful performance, Page solos wildly as Bonzo's thunderous pounding echoes throughout the cavernous arena.

The Song Remains the Same is a riotous explosion of energy. As Kashmir comes to a close, someone near the taper can be heard saying "that's what I've been waiting for." Jones is introduced as "master of keyboards" before No Quarter. The instrumental section has returned to its original heavy rhythm, abandoning the free-form jazz workouts of the west coast shows two months prior. The coda features some excellent soloing from Page. Tangerine is introduced as "a song of first love." Its first appearance since 6/27/1972, the song is performed in a new electric arrangement. As the song ends, Plant tells the crowd "that's the first time that there's ever been such a thing as four-part harmony on stage with Led Zeppelin."

The first appearance of the acoustic set since the end of the 1972 North American tour begins with Going to California. That's the Way is delicately beautiful. Plant explains to the crowd that he's forgotten the words to some of the older songs, so he's brought along lyric sheets to help him remember before Bron-Y-Aur Stomp. Page shreds through the guitar solo during Trampled Underfoot. Bonzo is introduced as "a man of character, of good karma... Mr. Vibes extraordinaire" before Moby Dick. Plant introduces Dazed and Confused as "the first thing that we ever played together," adding "and at the end of the first attempt at playing it, we realized that despite efforts by the Melody Maker to break us up, we should carry on forever." While not as ambitious and over the top as the west coast marathons, the band delivers a high-energy performance during the guitar solo/workout section. The frenzied outro jam is punctuated by a thunderous finale. Stairway to Heaven features an epic guitar solo. The band closes the show with a devastatingly heavy Black Dog.




Led Zeppelin
May 18, 1975
Earls Court Arena
London, England  
No Quarter





0401. Band Announcements
0402. Rock And Roll
0403. Sick Again
0404. Over The Hills And Far Away
0405. In My Time Of Dying
0406. The Song Remains The Same
0407. The Rain Song
0408. Kashmir

0501. No Quarter
0502. Tangerine
0503. Going To California
0504. That's The Way
0505. Bron-Yr-Aur Stomp
0506. Trampled Underfoot
0507. Moby Dick

0601. Dazed And Confused
0602. Stairway To Heaven
0603. Crowd Anticipation
0604. Whole Lotta Love
0605. Black Dog

Review: There are moments during Zeppelin’s colorful, sometimes psychedelic, non-stop 240-minute show in the eerie wastes of Earl’s Court (the Stones do 50 minutes or less), when Jimmy Page’s searing guitar, carried by 60,000 watts of power, cuts right through the senses like some fast-acting drug and virtually blots out everything but the music.

And with lead singer Robert Plant looking like some demented Shirley Temple – thick blond hair falling in ringlets across his shoulders, Miss Selfridge’s blouse slashed open to the navel, neck and arms adorned with jewelry and a Bardot pout to his lips – this in its field is one of the most astonishing examples of pure theatre I have ever seen anywhere.

Up  there on stage, flanked by 40 tons of equipment that is generating enough light to illuminate Piccadilly Circus, Leicester Square and London’s theatreland as well, Page in his black velvet suit embroidered with gold dragons allows a smile to flicker across a weary face. And 17,000 people burst into applause as he picks out the intro for Stairway to Heaven, one Zeppelin’s most popular numbers.

In contrast, the group’s keyboard player and bassist John Paul Jones is a shy, intense introvert who two years ago seriously considered giving up rock to apply for the job of chief organist at Winchester Cathedral.

He remains in the shadows laying down excellent sounds to form with John Bonham the rhythmic platform for Plant and Page’s exotic excesses.

“When Led Zeppelin are peaking, then kiss your skull goodbye!”… or so they say! (R. Gilchrist, May 20, 1975)


The second night produces a much more relaxed and tight performance. No Quarter has to be one of the best versions ever and the acoustic section is incredibly intimate and effective. Jimmy's soloing, especially in the greatly expanded Over The Hills And Far Away, is staggering. The encores sound banal after the very good version of Dazed And Confused and the dramatic Stairway To Heaven.

As the show begins, it's obvious that the band has loosened up. tearing ferociously through the opening numbers. Over the Hills and Far Away is introduced as "the ultimate dream." Page blazes through an excellent guitar solo as Bonzo and Jones hammer out a funky groove. In My Time of Dying is incredibly powerful. Bonzo is on fire during The Song Remains the Same. Page's guitar cuts out briefly during the second guitar solo. The Rain Song is absolutely beautiful. As the song ends, Plant introduces Jones as "the only man who wears onions on his shoulders that I've ever met in my life."

Kashmir features an incredible performance from Plant. No Quarter is outstanding. Jones's dramatic piano solo gives way to an epic instrumental section featuring a fantastic guitar solo from Page. The band receives a long ovation as the piece comes to a close. A truly amazing performance, one of the best thus far. Going to California is introduced as "a song about the permanent constant search for any man with a vivid imagination for a Guinnevere." Before Bron-Y-Aur Stomp, Plant tells the crowd "I'm gonna sack whichever road manager has burnt the lyrics to the next song." As the song ends, he exclaims "we are The Knights Who Say Ni!" Peter Grant is introduced as "the man who made it all possible" before Trampled Underfoot. Page delivers an aggressive guitar solo.

Plant introduces Bonzo as "a man with no taste, no manners, no friends... my very best friend, the man who always kicks me when I'm down, ladies and gentlemen, John Bonham!" before Moby Dick. The Woodstock interlude during Dazed and Confused is hauntingly beautiful. Plant's ethereal howls echo through the arena as the bow solo begins. Page's fingers get a bit sticky as he shreds through the frantic guitar solo/workout section. The return to the main riff is devastatingly heavy with Bonzo thrashing wildly at anything within reach. The hypnotic outro jam is a cacophonous explosion of energy. As the song ends, someone near the taper can be heard saying "is that the end?"

Stairway to Heaven is introduced as "a song that came to us in a moment of great peace and tranquility." Page blazes through an excellent guitar solo. Plant delivers the final line in absolute silence. The band plods their way through the show-closing Black Dog. As they leave the stage, Plant announces "we'd like to that the road crew, Showco... and Denis Healey for being such a perv, goodnight."




Led Zeppelin
May 23, 1975
Earls Court Arena
London, England 
Awesome Foursome





0701. Band Announcements
0702. Rock And Roll
0703. Sick Again
0704. Over The Hills And Far Away
0705. In My Time Of Dying
0706. The Song Remains The Same
0707. The Rain Song
0708. Kashmir

0801. No Quarter
0802. Tangerine
0803. Going To California
0804. That's The Way
0805. Bron-Yr-Aur Stomp
0806. Trampled Underfoot

0901. Moby Dick
0902. Dazed And Confused

1001. Stairway To Heaven
1002. Crowd Anticipation
1003. Whole Lotta Love
1004. Black Dog

John Bonham's brother Mick recalls this night in his book 'My Brother John':

"Come May 23rd, Jacko (father), Debbie (sister) and myself, along with a good friend of mine set off to see for ourselves how the band had progressed since we had last seen them at Trentham Gardens. As soon as the band walked onstage, to rapturous applause, we were in awe at the whole bloody size of it. Showco had shipped in the PA system and light show that was used on their American tour and above the stage a huge video screen showing close up views of the band as they went about their business. For three and a half hours, we were treated to rock music from a band that you just know were glad to be home. Every enthusiastic move by the band was highlighted in a show that was second to none. Laser beams fired above the heads of the audience gave the effect of flaming arrows when they reflected off a mirror ball, filling the vast hall with snowflakes and stars..."


An excellent show ... "Good evening! Welcome to the show. Afer an absence of something like two years, I guess we're all ready for a little Physical Graffiti. Please welcome to Earl's Court ... Led Zeppelin! DJ David Jensen introduced the band in the great style Robert's voice is in strong shape (by 1975 standards) and the band rocks! "Last weekend we did a couple of warm-up gigs for these three. We believe these were the first three gigs to be sold out, so these must be the ones with the most energy stored up. You've been waiting!" Plant stated. Kashmir is thunderous and No Quarter contains some truly excellent improvisation from all three instrumentalists. The acoustic section is wonderful and Dazed And Confused and Stairway To Heaven are excellent version, though both will be bested the following night. The Whole Lotta Love encore has a really long jam leading into Black Dog, with the rhythm section cooking ferociously while Robert screams and ad-libs.


The band's third night at Earls Court begins with an enthusiastic introduction by David 'Kid' Jensen before Rock and Roll explodes out of the gate. Bonzo is like a thunderous stampede, hammering at his drums with incredible intensity. Page tears through the guitar solos during an aggressive Sick Again. In My Time of Dying is a wild cacophony. The band gets a bit lost in the melee at times. Plant hints at You Shook Me near the end of the song. Page's fingers are a bit sticky during The Song Remains the Same. Plant tells the crowd "my left arm is swollen beyond all proportion because I just had it chipped for cholera and smallpox and everything else that we might catch while we go hunting in the jungle for new words and new songs for a new album" following The Rain Song.

Jones is introduced as "Jonesy the maestro" before No Quarter. The electric piano intro is nearly inaudible due to PA problems, recovering before the first verse. Jones's ominous piano solo is followed by a long, wandering guitar solo from Page. Plant hints as When the Levee Breaks while introducing Tangerine as "a song of simple love, first love." That's the Way is beautiful. As the song ends, Bonzo announces "Robert Plant on vocals!" Plant tells the crowd "I think this evening is beginning to feel... silly!" before an explosive Trampled Underfoot. Bonzo is introduced as "a friend, a truly great percussionist, a man with a big heart" before Moby Dick.

Plant unleashes a spine-chilling scream at the beginning of the third verse of Dazed and Confused. The bow solo is preceded by a hauntingly heavy San Francisco interlude. Page shreds erratically through the guitar solo/workout section. The band nearly falls apart during the return to the main riff. The thunderous finale is punctuated by another blood-curdling scream from Plant. Stairway to Heaven is dedicated to journalist Chris Schaar Murray, who had recently described the band as "like a vibrator, it can get you off something ridiculous, but it can't kiss you goodnight." Page delivers an excellent guitar solo. The band closes the show with a devastatingly heavy Black Dog.



Led Zeppelin
May 24, 1975
Earls Court Arena
London, England 
Fourthcoming



1101. Band Announcements
1102. Rock And Roll
1103. Sick Again
1104. Over The Hills And Far Away
1105. In My Time Of Dying
1106. The Song Remains The Same
1107. The Rain Song
1108. kashmir

1201. No Quarter
1202. Tangerine
1203. Going To California
1204. That's The Way
1205. Bron-Yr-Aur Stomp
1206. Trampled Underfoot

1301. Moby Dick
1302. Dazed And Confused

1401. Stairway To Heaven
1402. Crowd Anticipation
1403. Whole Lotta Love
1404. Black Dog


This is a monster of a show. The best of the five Earl's Court gigs, this show has the band reaching a peak for 1975, one that is even better than Seattle and LA two months earlier. Nicky Horne simply introduced the band: "Welcome to Earl's Court. For the next three hours ... your mother wouldn't like it!" No Quarter must be the best version ever recorded, and Dazed And Confused is an incredible journey. Dennis Healey was again remembered during the introduction to the Dazed: "We gotta fly soon. Y'know how it goes with Dennis ... dear Dennis. Private enterprise ... no artists in the country anymore ... he must be dazed and confusd!" Stairway To Heaven contains probably the best solo ever by Jimmy on the song while Plant's vocal is not the best. The humour was belonged to the whole group so Bonham took the microphone as they climbed for the encores and said: "I'd like to say at this point that I think football's a load of bollocks!" what caued a quick retord from Plant: "I'd like to say that soccer's a wonderful sport, the best sport."



The tape begins with Nicky Horne announcing "for the next three hours, your mother wouldn't like it" as the band takes the stage. Things get off to a somewhat sluggish start, Bonzo sounds tired as he fumbles through the drum outburst at the end of Rock and Roll. Page's fingers get caught in the strings during the second guitar solo in Sick Again. As the song ends, Plant jokingly hints at Living Loving Maid during his usual "six and a half years" spiel. Page's fingers are like razor blades as he slashes and shreds through an erratic guitar solo during Over the Hills and Far Away.

In My Time of Dying is introduced as "a song that came from the deep south of America." The PA problems persist, causing Page's guitar to cut out briefly during the initial verses. Plant references Hey Joe, exclaiming "so I gave her the gun, and I shot her!" as Page launches into the first guitar solo. The band's timing gets a bit sloppy as the song progresses. Plant tells the crowd "it really is a treat to be playing in England again" before dedicating No Quarter to "anybody who's got any hope that everything can be okay in our wonderful country again." The instrumental section is transformed into a somewhat disjointed free-form improvisation featuring an excellent laid-back guitar solo from Page. Tangerine is introduced as "a song of love in its most innocent stages." That's the Way is beautiful. Page shreds wildly as Bonzo pummels the crowd during an erratic Trampled Underfoot.

Plant sings a few lines of Rip it Up before announcing "tonight, there's a lad watching his dad who is a remarkable drummer... he's a better drummer that eighty percent of rock group drummers today and he's eight years old, so... Jason Bonham, this is your dad!" prior to Moby Dick. The penultimate performance of Dazed and Confused is introduced as "a song that came at the very beginning of our time." Page solos wildly through the lead-in to the bow solo. The mournful Woodstock interlude is fantastic. Page erupts in a furious cascade of notes during the guitar solo/workout section, his fingers tear across the fretboard at lightning speed. The outro jam is extended beyond all limits. Stairway to Heaven is introduced as "a song which typifies the mood of hope, which in our brighter moments surrounds us." Page delivers a truly amazing guitar solo, building tension with each note as the epic drama unfolds. An unbelievable performance, one of the best thus far.

As the band returns to the stage, Bonzo announces "I'd like to say at this point that I think football is a load of bollocks!" to which Plant responds "I'd like to say that soccer is a wonderful sport, the best sport," adding "and that's got nothin' to do with Bonzo's sentiments." Whole Lotta Love features an excellent theremin freakout, which includes bits of Sex Machine and Turn on Your Love Light.


Led Zeppelin
May 25, 1975
Earls Court Arena
London, England 

Great Taste Last Night



1501. Before The Show
1502. Band Announcements
1503. Rock And Roll
1504. Sick Again
1505. Over The Hills And Far Away
1506. In My Time Of Dying
1507. The Song Remains The Same
1508. The Rain Song
1509. Kashmir

1601. No Quarter
1602. Tangerine
1603. Going To California
1604. That's The Way
1605. Bron-Yr-Aur Stomp
1606. Trampled Underfoot

1701. Moby Dick
1702. Dazed And Confused

1801. Stairway To Heaven
1802. Crowd Anticipation
1803. Whole Lotta Love
1804. Black Dog
1805. Crowd Anticipation
1806. Heartbreaker
1807. Communication Breakdown
1808. After The Show


The final Earl's Court show, the final 1975 show, and the last ever performance of Dazed And Confused. The initial string of numbers are high powered and aggressive! No Quarter is a really great jam and the acoustic section is pretty good. Moby Dick and Dazed are rather boring however, which is sad and rather unfitting as it is the last ever performance of the latter. Stairway To Heaven was dedicated to Plant's daughter: "Carmen - this song's to a little girl who sits probably wondering what it all about ... so, where is the bridge? Well, Carmen, were's your chance to find out where the bridge is ... and if you know, please let me know after the show." The solo is wonderful and the encores contain a tortured Theremin solo from Jimmy before the extra songs are played for the last night's sake.

The band's fifth and final night at Earls Court begins with Alan 'Fluff' Freeman announcing "we are here tonight because you and I have great taste" before Rock and Roll crashes into motion. Page blazes through the second guitar solo in Sick Again. As the song ends, Plant announces "good evening and welcome to the last concert in England for a considerable time." Page shreds frantically through an excellent guitar solo during Over the Hills and Far Away. In My Time of Dying is introduced as "an old work chant." Page solos wildly as Bonzo and Jones pummel the crowd. An incredibly powerful performance, one of the best thus far.

Bonzo is on fire during The Song Remains the Same, thrashing at his drums with wild abandon as Page's fingers race across the fretboard. The Rain Song is absolutely fantastic, one of the best in recent memory. Jones's somber piano solo during No Quarter features hints of Concierto de Aranjuez. The instrumental section is an epic journey. The band receives a thunderous ovation as the piece comes to a close. The climax is reached during the blistering outro. An outstanding performance. Page plays a bit of Tea For One as Plant introduces Tangerine. Going to California is delicately beautiful. Jones's mandolin work is fantastic. Plant makes a few references to Monty Python and the Holy Grail, asking the crowd "what is a shrubbery amongst friends?" before an excellent That's the Way.

The band gets into a bit of Robert Johnson's If I Had Possession Over Judgement Day before Bron-Y-Aur Stomp. Plant gives the crowd a brief history of Johnson's life before introducing Trampled Underfoot. Page shreds erratically through an aggressive guitar solo. Bonzo is introduced as "our blood brother" before a particularly thunderous Moby Dick. Plant says a few kind words about Peter Grant before introducing Dazed and Confused as "the essence of the early Zeppelin." The San Francisco interlude is hauntingly mournful. Plant's ghostly howls echo through the arena. Page's fingers are like razor blades as he slashes and shreds through the frantic guitar solo/workout section. Plant can be heard exclaiming "amen!" off-mic during the call and response section. Page solos wildly during the outro jam. A somewhat uneven final performance of the band's signature song.

Plant dedicates Stairway to Heaven to his daughter Carmen, saying "this is a song to a little girl who sits there, probably wondering what it's all about." Page delivers an excellent guitar solo despite breaking a string near the end. Plant sings the final line in complete silence. As the band returns to the stage, Plant says "is this our swan song, I wonder?" Page hints at Ozone Baby following an excellent funky jam during Whole Lotta Love. Plant unleashes a series of blood-curdling screeches during the violent theramin freakout. Page's fingers get a bit sticky during the extended guitar solo in Black Dog. As the song ends, Plant announces "good citizens of Great Britain, it's been five glorious days... thank you very much for bein' a great audience, and if you see Denis Healey, tell him we've gone."

Plant exclaims "this is somethin' we never do!" as the band returns to the stage once again, joking "any requests?" Page blazes through the fast guitar solo during Heartbreaker. Plant pushes his voice to the limit during the final verse. The band closes the show with an explosive Communication Breakdown. Plant does his best Jamaican accent during a fantastic funky breakdown. As the band leaves the stage for the final time, he announces "thank you very much for showin' us that England is still alive and well." A fantastic finale to 1975. Must hear.


Led Zeppelin
May 24, 1975
Earls Court Arena
London, England 

He Must Be Dazed And Confused
Soundboard



1901. Band Announcements
1902. Rock And Roll
1903. Sick Again
1904. Over The Hills And Far Away
1905. In My Time Of Dying
1906. The Song Remains The Same
1907. The Rain Song
1908. Kashmir

2001. No Quarter
2002. Tangerine
2003. Going To California
2004. That's The Way
2005. Bron-Yr-Aur Stomp
2006. Trampled Underfoot

2101. Moby Dick
2102. Dazed And Confused

2201. Stairway To Heaven
2202. Crowd Anticipation
2203. Whole Lotta Love
2204. Black Dog
2205. After The Show



Led Zeppelin
May 25, 1975
Earls Court Arena
London, England 

Zeppelin Express Physical Rocket
Soundboard



2301. Before The Show
2302. Band Announcements
2303. Rock And Roll
2304. Sick Again
2305. Over The Hills And Far Away
2306. In My Time Of Dying
2307. The Song Remains The Same
2308. The Rain Song
2309. Kashmir

2401. No Quarter
2402. Tangerine
2403. Going To California
2404. That's The Way
2405. Bron-Yr-Aur Stomp
2406. Trampled Underfoot

2501. Moby Dick
2502. Dazed And Confused

2601. Stairway To Heaven
2602. Crowd Anticipation
2603. Whole Lotta Love
2604. Black Dog
2605. Crowd Anticipation
2606. Heartbreaker
2607. Communication Breakdown
2608. After The Show



Assorted Delights



Led Zeppelin
May 18, 1975
Earls Court Arena
London, England  

Alternate Source 1

2701. No Quarter
2702. Tangerine
2703. Going To California
2704. That's The Way
2705. Bron-Yr-Aur Stomp

Alternate Source 2

2801. Band Announcements
2802. Rock And Roll
2803. Sick Again
2804. Over The Hills And Far Away
2805. In My Time Of Dying
2806. The Song Remains The Same
2807. The Rain Song
2808. Kashmir

Led Zeppelin
May 24, 1975
Earls Court Arena
London, England  

Alternate Audience Source

2901. In My Time Of Dying
2902. The Song Remains The Same
2903. The Rain Song
2904. Kashmir
2905. No Quarter
2906. Tangerine

3001. Going To California
3002. That's The Way
3003. Bron-Yr-Aur Stomp
3004. Trampled Underfoot
3005. Woodstock (Excerpt From Dazed And Confused)
3006. Stairway To Heaven

Led Zeppelin
May 25, 1975
Earls Court Arena
London, England  

Alternate Audience Source
3101. Dazed And Confused
3102. Stairway To Heaven
3103. Crowd Anticipation
3104. Whole Lotta Love
3105. Black Dog
3106. Crowd Anticipation
3107. Heartbreaker
3108. Communication Breakdown



CD1-3 "WELCOME HOME" recorded live at Earl's Court Arena, London, England on May 17th, 1975 (audience source mix)
CD4-6 "NO QUARTER" recorded live at Earl's Court Arena, London, England on May 18th, 1975 (audience source mix)
CD7-10 "AWESOME FOURSOME" recorded live at Earl's Court Arena, London, England on May 23rd, 1975 (audience source mix)
CD11-14 "FOURTHCOMING" recorded live at Earl's Court Arena, London, England on May 24th, 1975 (audience source mix)
CD15-18 "GREAT TASTE LAST NIGHT" recorded live at Earl's Court Arena, London, England on May 25th, 1975 (audience source mix)
CD19-22 "HE MUST BE DAZED AND CONFUSED" recorded live at Earl's Court Arena, London, England on May 24th, 1975 (soundboard patched with audience)
CD23-26 "ZEPPELIN EXPRESS PHYSICAL ROCKET" recorded live at Earl's Court Arena, London, England on may 25th, 1975 (soundboard patched with audience)
CD27 "ASSORTED DELIGHTS" recorded live at Earl's Court Arena, London, England on May 18th, 1975 (Red Revil AKA No Quarter audience source)
CD28 "ASSORTED DELIGHTS" recorded live at Earl's Court Arena, London, England on May 18th, 1975 (alternate audience source)
CD29-30 "ASSORTED DELIGHTS" recorded live at Earl's Court Arena, London, England on May 24th, 1975 (alternate audience source)
CD31 "ASSORTED DELIGHTS" recorded live at Earl's Court Arena, London, England on May 25th, 1975 (alternate audience source)

Deluxe hinged open box housing individual glossy cartoon gatefold sleeves with discs plus inserts. Limited to 250 numbered copies. As for now, this is the most definitive and best sounding version for each of London May 1975 shows released. "Assorted Delights" contains bonus sources that are either previously uncirculated or not released in their entireties anywhere yet.





Some Background information
(Finding your way through all thoe different versions out there)

5-17-75, source 1
Arabesque & Baroque (Antrabata, 3cd), Join the Blimp (Tarantura, 4cd), & Nice Opening Night (IQ, 3cd)
Antrabata, Tarantura, and IQ share the same tape source. IQ has a couple more cuts between songs than the other 2 titles. Tarantura and IQ are both missing a short sentence after Dazed and Confused. Antrabata is missing most of the tape after Stairway, before Whole Lotta Love. Antrabata and IQ sound very much alike. Tarantura’s title is a good bit louder, as it was amplified some. This also brings up the background noise some too. These titles tend to run fast.

5-17-75, source 1 & 2 mixes
Chancellor of the Exchequer (Tarantura2000), Complete Earl’s Court Arena Tapes “I” (Empress Valley, 4cd), Devil’s Banquet (Power Chord, 4cd), Earl’s Court the Final Option: Welcome Home (Empress Valley, 3cd), Five Glorious Daze: Welcome Back To Britain (Tarantura2000), & La Promenade (Wendy Records, 3cd)
Power Chord debuted the second source and is it’s foundation. It uses source one to fill some gaps between songs, for all of Bron-Yr-Aur Stomp, fragments of Moby and Dazed, and the several minutes of audience cheer after Stairway. The constant source switching is annoying. The title is unnecessarily spread across an extra disc.
Empress Valley “I” is almost completely identical to Powerchord’s.
Tarantura2000’s Chancellor also uses source two as it’s foundation, but elects to use source one for Tangerine and Going To California. That’s an odd choice since those songs are available on source two and the foundation of the whole title is that source. Like the other two mix titles, there are constant source changes.
Wendy’s title is almost entirely source one but makes an unnecessary splice to source two for the last two seconds of the Rain Song. Several seconds are missing from the introduction and at the cut/disturbance after Bron. It’s been speed corrected and amplified.
Tarantura2000’s title from the Five Glorious Daze box is the same exact mixture of tapes as Powerchord. But, it’s not as good since they’ve introduced some sound changes between songs that sometimes sound like cuts, incorporated some bad noise during the first half of That’s the Way, and has one or more micro cut/repeats within the title. It’s amplified a bit over Powerchord.
EV’s “Welcome Home” is a mix using source one as it’s foundation and barely misses any source one at the splices. This time they elected not to stretch the show onto an extra disc. It’s sound is similar to IQ for the source they share.



5-18-75, sources 1, 2, & 3
Arabesque & Baroque, The Second Night (Antrabata, 4cd), Argenteum Astrum (Tarantura, 4cd), Black Dragon with Blue Axe: Journey Into the Fourth Dimension and Black Dragon with Blue Axe (Empress Valley, 6cd), Complete Earl’s Court Arena (Immigrant, 3cd), Complete Earl’s Court Arena Tapes “II” and “No Quarter” (Empress Valley, 4cd & 2cd from 22cd box set), Femme Fatal (Wendy Records, 3cd), Earl’s Court the Final Option: “No Quarter” and “Assorted Delights” (Empress Valley), Five Glorious Daze: “It’s Time To Welcome Home” and “Magical Atmosphere” (Tarantura2000), No Quarter: Journey Into the Fourth Dimension and No Quarter (Empress Valley, 5cd), No Quarter (Empress Valley, 4cd; Good Believe, 1cd; Tarantura2000, 3cd & 5cd), & Red Devil (TDOLZ, 4cd)

Foreword:
The first source for this show is found on Good Believe, Empress Valley’s 2cd “No Quarter” from “Complete Earl's Court Arena Tapes,” Tarantura2000’s 5cd release, EV’s “No Quarter” from the 5cd “No Quarter” box, and EV’s “Assorted Delights” from “Earl’s Court the Final Option.”
The second source was released on Immigrant.
The third source is on Tarantura, Antrabata, TDOLZ – while those three titles do use source two for the encores, their objective was releasing all of source three. Tarantura2000’s “Magical Atmosphere” uses the third source as it’s foundation, and completes using the other two sources.
The rest of the titles offering the whole show are three source mixes.
The performance can easily be placed on three cds but some of these labels stretched it out to four discs.

Source One:
Good Believe’s forty minute title was transferred from the old and incomplete vinyl release.
Empress Valley’s 2cd “No Quarter” from the 22cd box “Complete Earl's Court Arena Tapes” claims it was copied directly from the original acetate used for the vinyl release by the same name from many years back. Albeit, the first third of the show is now included. The title track isn’t complete and it’s sound is not in good condition. It seems to have some heavy suppression to remove unwanted sounds and has many “micro cut/repeats.” Additionally, it seems to be amplified to the point of being overblown. The strangest thing of all is a nearby person’s cough at 2:18. This exact cough is in the exact same place on the tape used by TDOLZ. Other identifying sounds, before and after the cough, are all very faint and do not match up to TDOLZ. In some instances, where talk near the taper is found on TDOLZ, there’s a convenient sound in the same place on EV that prevents clear interpretation. Combining that with some of the background suppression…it’s extremely difficult to be 100% certain about the truth. In all fairness, there are sounds on EV that aren’t on the other sources. Again, this is also from a label that release “less than honest” titles. Yet, no cd releases have cuts in this area. It is very possible that EV has spliced in tape during this section but it would also mean they did it perfectly in, and then out. The chances of that happening so seamlessly are super slim. The chances they’d add sounds and remove others to hide something are slim too – hopefully. Ultimately, sometime soon after the cough, the song is certainly from the proper source.
EV’s 2015 “No Quarter” reissues the audio from the EV’s original 2cd title from within the 22cd box.
EV’s 2016 first two cds of “Assorted Delights” reissues the audio from the 22cd box – with all of the defects they introduced intact (again). This time the liner notes refer to the familiar vinyl source (No Quarter through Bron) as “alternate source #1” (cd1) and the other part (intro through Kashmir) as “alternate source #2” (cd2).
Tarantura2000’s 5cd release contains 3 versions of this source, all very incomplete and full of “micro cut/repeats” (probably from software to “clean up” the sound). The first 2cds (TCD-53-1/4) are missing Kashmir. The second 2cds (TCD-54-1/2) only contain 4.5 minutes of No Quarter – the title track that’s always been 18 minutes on other releases of this source. It’s Bron-Yr-Aur has the “metallic” sound. The fifth cd (TCD-55) is sourced from the old vinyl release. Like the other four cds from this 5cd box, the sound has been “cleaned up,” producing all the digital problems, cut repeats, and so forth. That’s the Way starts off with some bad static and there are very serious digital problems after the song. The title is a big downgrade from the vinyl and Good Believe titles. Certainly one of the absolute worst titles by Tarantura2000.

Source Two:
Immigrant’s title is exclusively from the second source. The encores run too fast.
Source two is the basis for Tarantura2000’s 3cd title. When source two has a gap, it is filled with source one. When source one isn’t available to fill a gap, source three is used. This release reveals a few more minutes of tape than Immigrant. It has a longer introduction, the ending of Moby Dick, and some extra tape before the encores.
Wendy’s title is a mix that’s highly similar to Tarantura2000, using source two as the foundation. It often displaces a more of source two than necessary. Instead of using all of the source two intro, it elects to use source one for most of it. It offers an extra two minutes of tape after Stairway that are not found on titles prior to EV’s 2015 “Journey” release.

Source Three:
TDOLZ uses source two’s introduction and encores. Tarantura and Antrabata also use source two’s encores.
Antrabata’s cuts are in slightly different places. It has at least one additional cut beyond TDOLZ and Tarantura. It also has a slight instance of digital interference 80 seconds into That’s the Way.
TDOLZ’s tape seems to be more reliable when comparing the intro’s and cuts. The tape after the show on Red Devil and AA may be from a different source than the Antrabata.
Taratura2000’s “Magical Atmosphere” uses source three as it’s foundation. The cut at the track change for Going To California really make it sound like they’ve copied and edited directly from TDOLZ. The source two filler definitely seems to be copied directly from EV, as their micro cut/repeats are certainly repeated on this title too. The splices between songs often displace much more of source three than necessary.
Antrabata claims the source used was a “Master or 1st generation tape source,” but it’s sound is completely inferior to TDOLZ’s. Tarantura sounds a small bit better than the TDOLZ but may be due entirely to amplifying.

Mixes:
Empress Valley’s 4cd “II” and “No Quarter (4cd)” - EV mixes three sources for the music. Roughly speaking, the first third is the same as Immigrant. The middle third is from the original “No Quarter” title/source, and the last is the same as TDOLZ. The tape before and after the show are mixed too. The first part has been amplified a hair more than Immigrant’s. Additionally, EV has treated the tape some (usually between songs but during songs occasionally too), making the sound very awkward. The purpose of using the overblown/noisy “No Quarter” source for the middle part is not known. Overall, the title is really pointless. It switches sources too much and doesn’t offer good sound quality. Unnecessarily spread across four cds.
EV’s “Black Dragon with Blue Axe” reissues the audio found on the 2002 titles of this show by EV, onto this 3cd title.
EV’s “Journey Into the Fourth Dimension” has “new source” printed on the discs, but they do not contain a new source. Perhaps they meant to trick buyers when they edited/removed the signature clapping after Tangerine, Trampled, and maybe other similar edits elsewhere. This is another pointless mix, not offering the bulk of any of the three sources. (The section of s2 after Stairway mostly intact, only missing 11 seconds.)
EV’s “No Quarter” from “Earl’s Court the Final Option” is a three source mix using source two as it’s foundation. It misses little of source two at the splices. It’s not been amplified as much as Immigrant’s title.
Tarantura2000’s 3cd “No Quarter” from 2006 is a three source mix. It uses source two as it’s primary, then source one, then source three. It doesn’t include all of source two.
Wendy’s title is a three source mix using source two as it’s foundation. It doesn’t include all of source two.
Tarantura2000’s “It’s Time To Welcome Home” from the “Five Glorious Daze” box is a three source mix. It mainly uses sources two and three, but makes no attempt to offer all of either – it’s a useless mix. It has an odd and unnecessary splice after Tangerine to very briefly swap out one guy yelling during source one in the background for a different guy yelling during source three. Instead of mixing tapes to offer a more complete show, they decided to not include all the available tape after Stairway. The encores are from source two as usual, but for the last ten seconds of the show, they chose to splice to a poorer quality tape of source two.
Taratura2000’s “Magical Atmosphere” from the “Five Glorious Daze” box is a three source mix. Please see the “Source Three” section above for notes.




5-23-75
Arabesque & Baroque, The Third Night (Antrabata, 4cd), The Awesome Foursome (CG, 3cd), Complete Earl’s Court Arena Tapes “III” (Empress Valley, 4cd), Earl’s Court the Final Option: Awesome Foursome (Empress Valley), Express (Scorpio), Five Glorious Daze: Please Welcome To Earl’s Court (Tarantura2000), Physical Express (Jelly Roll, 4cd), Rites of Manhood (Tarantura2000), Thunderstorm (Tarantura, 4cd), & Welcome To the Show (TDOLZ, 4cd)

CG & TDOLZ both use a single source each, which do not document the complete performance. Both have incomplete Trampled Underfoot’s. CG placed Moby across the last 2 cds to fit the show on 3 discs. TDOLZ properly used 4cds to keep the songs together.
Antrabata, Jelly Roll, and the two Empress Valley titles all use source one as their foundation and then use source two to fill Trampled. EV’s “Awesome Foursome” includes almost every second of source one. These various titles have highly similar sound quality. Antrabata has at least 6 more cuts between songs, an unnecessary slight cut in Trampled, and is missing approximately 50 seconds of Moby.
Tarantura doesn’t have the few tape problems found on TDOLZ from between Over the Hills through Going To California. As with TDOLZ, Trampled is not complete but Tarantura cuts out 11 seconds too soon and then misses two dozen seconds of tape after the song. Tarantura’s Moby Dick is cut, missing two dozen seconds. Regardless of these faults, Thunderstorm is much better sounding than the others. It doesn’t have any extra background noise with the improvement of the music.
Tarantura2000’s “Rites” uses source two as it’s foundation. It uses source one for the introduction, part of Trampled, and possibly during the end of Dazed. A third source is used after Dying, Trampled, possibly during the end of Dazed, after Stairway, and during the last dozen seconds after the show. There’s a lot of channel shifting during Moby and Dazed. It seems to be a faked stereo effect. There are also a lot of little clicking sounds in the background during different sections of Dazed.
Scorpio’s title is a mix that uses the first source as it’s foundation and the second source to complete Trampled. It’s sound has been amplified more than TDOLZ.
Tarantura2000’s “Five Glorious Daze” title is almost the same as their previous release of this show. While it’s the same exact source mixture and audio content, it’s been slowed down a hair and the channel shifting is a little different. The show starts out with the right channel being much more prominent than the left. The shifting problems during Moby and Dazed are a little less noticeable. This time, two minutes into Tangerine, there’s a strange sound change that’s not on their previous release. It almost sounds like a brief source change, but likely isn’t. (Although, manufacturers do insert random brief source changes for unknown reasons.) It’s sound quality is similar to their original version.




5-24-75 audience source 1 & 2
Earl’s Court the Final Option: “Fourthcoming” & “Assorted Delights” (Empress Valley) & Fourthcoming (IQ, 4cd)
IQ’s “Fourthcoming” uses the first source for everything but No Quarter, where it shares the same source as “Assorted Delights.”
EV’s cds 3 and 4 of “Assorted Delights” from the box set feature the second source that sounds as if it were copied from vinyl. It starts with Dying, skips Moby and most of Dazed, and ends with Stairway.
EV’s “Fourthcoming” is the same mix of audience tapes as IQ, except it fills a couple of gaps between songs with the soundboard, and fills the big cut in Moby with the second source.

5-24-75 soundboard
Arabesque & Baroque, The Fourth Night (Antrabata, 4cd), Complete Earl’s Court Arena Tapes “IV” (Empress Valley, 4cd), Earl’s Court Arena 2405 Evoluzione (Empress Valley, 4cd, original and reissue), Earl’s Court (SIRA, 3cd), Earl’s Court Incident (Red Devil, 3cd), Earl’s Court the Final Option: He Must Be Dazed and Confused (Empress Valley), Five Glorious Daze: For the Next Three Hours, Your Mother Wouldn’t Like It (Tarantura2000, 4cd), Graf-Zeppelin-Marsch (Tarantura, 3cd), He Must Be Dazed and Confused (Empress Valley, 4cd), Odysseus (Celebration, 4cd), To Be a Rock and Not To Roll (Watchtower, 4cd), & Your Mother Wouldn’t Like It (TDOLZ, 3cd)

SIRA, Tarantura, Antrabata, and TDOLZ are the older titles, released when Moby Dick wasn’t available from the video soundtrack.
TDOLZ and Tarantura are virtually identical. The Tarantura has been slightly amplified.
SIRA mixes the soundtrack and audience tape. Excluding the soundtrack of Moby Dick, about 95% of the sb tape was used on this release. The audience tape was used to fill in the difference. However, they did split Moby across the last 2 discs to fit the show on 3 cds.
Antrabata also used the audience tape to fill in the soundtrack gaps.

Celebration was the first title to release Moby Dick. It notes the show as being from the soundboard. They may or may not have meant to mislead, maybe only meaning the recording was from a professional source instead of the audience. Upon their later release of the video, the cuts during the acoustic set were found to match their audio release of the “soundboard.” Odysseus does not use the audience tape to fill in gaps. It has a slight cut after Moby Dick and is cut while Dazed is ending, just like it’s predecessors. Also like it’s predecessors, the soundtrack generation seems to be the same, but only up thru the fifth minute of Dazed. From that point it clears up by a generation. Overall, it’s sound is amplified and even almost overblown in places.
Watchtower’s version is noted being from the soundboard. It has the most soundtrack tape before and after the show. Instead of using the partial soundtrack tape for Going To California, they spliced to the audience tape before it starts. Moby Dick contains 3 brief spots with severe static that are not found on the other releases. It is not cut after Moby Dick or during the end of Dazed. This title has almost six extra minutes of tape after Stairway.
Empress Valley used the same cds for their first two releases of this show (22cd box & He Must Be…). They make no source indication of any kind. Like Watchtower, they decided to not use the soundboard fragment for Going To California. It switches to the audience recording a few seconds early. Most of the tape after Stairway is not included. It is also missing some tape before and after the show.
Empress Valley’s third release (“2405”) is different from their first pair. It’s introduction has even less tape than their others, which were already short. The instance of static during the later part of Dying has been poorly removed, making the interruption more noticeable than the static. This time, the available sound board fragment is used for Going To California, but misses it’s last 4 seconds. All of the tape after Stairway and after the show are present. EV’s reissue title of the same name uses new discs, but has the same disc times. It’s a copy of the original.
Watchtower and the Empress Valley’s releases are from lower generation video soundtracks than the earlier titles by other labels. The music is clearer and there is less background noise. Watchtower and Empress Valley’s third release have the least amount of background noise and are almost completely identical. EV’s first pair of releases have more background noise than the third release. Watchtower and the Empress Valley titles have less low end then Celebration’s. However, Celebration’s slightly lower frequencies can be attributed entirely to the overloading. Those three titles lack really good low end. They are not left sounding high and tiny. There’s plenty of great mid range sound.
Red Devil’s release seems to be sourced from Watchtower’s release, but isn’t a direct copy. The introduction, tape after Stairway, and tape after the show have all been shortened. No Quarter has been moved out of sequence, placing it between two acoustic tracks. (The move was evidently done to use one less cd, just like with “Robert’s Last Stand.”) The cue stops match Watchtower until the move. The sound quality is identical to Watchtower.
Wendy’s title uses the soundboard as it’s primary tape and uses the audience tape too. Wendy has also introduced two new cuts, just before the opening song and the Song Remains the Same. They chopped out 9 seconds during In My Time of Dying where the split second of static is found in the tape. Instead of using the soundboard portion available for Going To California, they’ve elected to use the audience\tape. The splicing displaces available sb tape there too. The sound isn’t amplified as much as EV.
Tarantura2000’s title uses the soundboard for it’s foundation and uses the audience to fill. Instead of using all of the available board for California, they displace about 23 seconds of it. After Stairway and Robert’s “Good Night,” they’ve removed the sound from the microphone being set down. The title’s sound has been amplified a touch more than EV’s 2405.
EV’s fourth version to release the soundboard (with audience filler) is from the 31 cd box, subtitled “He Must Be Dazed and Confused.” While it shares the same name as their third release, it is different. This time they decided not to use the soundboard tape for the first part of California. A few minor static spots have been introduced just before Stairway and during the first couple of minutes. This release has all the tape after the show, unlike the last version. It’s sound isn’t as amplified as EV’s prior version.




5-25-75 soundboard
A 2 Last Nights (Tarantura), Bataille de Trafalgar (Wendy Records, 4cd), Conquistador (Watchtower & Water Tank, 4cd), Complete Earl’s Court Arena Tapes “V” (Empress Valley, 4cd), Earl’s Court `75 Final Court (Celebration), Earl’s Court the Final Option: Zeppelin Express Physical Rocket (Empress Valley), Five Glorious Daze: Watch Out For the Holy Grail (Tarantura2000, 4cd), Shake For Me Baby (Missing Link), Welcome To the 1979 Knebworth Festival’s bonus disc “Epilogue” (Watchtower, 1cd), When We Were Kings (Empress Valley, 4cd), Young Person’s Guide To Led Zeppelin (Empress Valley, 4cd), & Zeppelin Express Physical Rocket (Empress Valley, 4cd)

Missing Link and Tarantura are the older releases and do not contain the extra material (TSRTS & Rain) found on Celebration.
Celebration uses the same tape found on the other titles for the shared songs. All three slow down during Kashmir but Celebration makes an adjustment just before No Quarter. This title also misses the last 3-4 seconds of Tangerine. There doesn’t seem tape generation difference. There’s no amplification and doesn’t have any background noise. The new material comes from a clean but flat sounding professional source.
Missing Link’s title is a little louder than Tarantura due to amplification. It is missing the last 3-4 seconds of Tangerine due to a fade out. Tarantura does not fade.
Empress Valley was the first to release the full show from a professional source. They used the same cds for their first two releases of this show (22cd box & Zeppelin Express…). Kashmir, No Quarter, and Tangerine have been available for many years. It splices to the old pro source for the final two minutes of No Quarter and continues to use it through the last half minute of Tangerine. From that point, the audience tape is used for thirty seconds to complete the song and a little bit of time afterwards. These two Empress Valley titles are missing most of the extremely long introduction, almost 8 minutes of tape after Stairway, a little more after Black Dog, and a bit more after the show too. The music and background noise are slightly louder than Watchtower’s. The difference is just due to amplification.
Empress Valley’s third and fourth releases, When We Were Kings and Young Person’s Guide, are different from their earlier pair of releases. This time the large amounts of tape before the show, after Stairway and Black Dog, and after the show are available. The big overlap of tape between discs is present again, but about a minute less than before. The loudness of the music and background noise is less this time, making it virtually identical in sound to Watchtower. (Young Person’s Guide uses the same disc times and matrix numbers, but they’re not the same discs from WWWK.)
Watchtower’s Conquistador is musically similar to Empress Valley. Fortunately it lacks the large amounts of tape overlap between discs. It misses a few seconds of Robert’s commentary just before switching back to the soundboard before Going To California.
Watchtower’s “Epilogue” claims to be from an alternative board source. It starts with a shorter introduction and ends just after Kashmir. The sound is almost completely identical to Conquistador.
Empress Valley’s music and background noise are slightly louder than Watchtower’s. The difference is just due to amplification.
Red Devil’s release seems to be sourced from Watchtower’s release, but isn’t a direct copy. The introduction, tape after Stairway, and tape after the show have all been shortened. No Quarter has been moved out of sequence, placing it between two acoustic tracks. (The move was evidently done to use one less cd, just like with “Robert’s Last Stand.”) The sound quality is identical to Watchtower.
Water Tank’s title has the same matrix numbers, disc times, cuts, and sound as Watchtower. It’s either a direct disc copy or is issuing unused discs from Watchtower’s production.
Wendy’s title is similar in sound and content to WT and the latter EV’s, just using a little of the audience tape for Tangerine. The title misses the first 41 seconds of the seven plus minute introduction. It has a brief moment of static in No Quarter, just before the splice to the older board. It’s this spot were Wendy offers a few seconds of the better board before splicing out to the older. They also offer about six seconds more of the older board right before the splice to the audience tape to complete Tangerine. That’s ten seconds of the better board not found on prior releases.
Tarantura2000’s title from the “Five Glorious Daze” box set presents most of the soundboard and fills the usual musical gap with the audience tape. Most of the introduction, tape between Stairway and Whole Lotta Love, and the tape after the show are all missing. Dying has a micro cut/repeat – a very common item (still) on T2K titles. An extra soundboard snippet appears on this title of Robert speaking, just before the usual soundboard starts up before California. It’s sound has been amplified a bit.
EV’s “Zeppelin Express Physical Rocket” from the Earl’s Court the Final Option box is different from their previous titles. There’s a bit of static found that starts about halfway into the introduction. Like the T2K box, this Dying also has a micro cut/repeat in the same place. The only part of the soundboard it’s missing is when it splices to the audience source six seconds too early. It’s sound is similar to Wendy.




5-25-75 audience sources 1 & 2
Arabesque & Baroque, The Final Night (Antrabata, 4cd), Buck Rogers (Tarantura, 4cd), Earl’s Court 75 (Mud Dogs, 3cd), Earl’s Court the Final Option: “Great Taste Last Night” & “Assorted Delights” (Empress Valley), & Great Taste Last Night, (IQ, 4cd)

EV’s cd 5 of “Assorted Delights” from the box set debuts the second audience. It starts during Dazed, and continues through the rest of the show.
EV’s “Great Taste Last Night” from the box set is a mixture of both audience tapes and the soundboard. The primary tape is the first audience source, then fills from the second audience tape when available, then relies on the board for gaps before Dazed. Not much effort was made to preserve all available audio from source one, but it does offer 45 seconds of tape after California that’s not been available previously. It’s sound is amplified a little less than Antrabata.
All of the other titles seem to be from the same bootlegger's tape and share most cuts.
The IQ has evidently been amplified which usually brings up a little hiss but this contains a lot of hiss. The sound level isn't any better than the others.
Mud Dog's sound is inferior, its' track list is rearranged to fit the show on 3cds, and has an unnecessary cut in Dazed which then repeats a 25" section. It does contain the full introduction.
Antrabata's intro is missing 40 seconds but doesn't have any hiss and sounds very nice. Tarantura is missing the last half note of Rain Song. Overall, it is missing about 15 seconds of tape from between songs. However, it’s sound is definitely louder than Antrabata’s. It is probably only due to amplification but it makes it more enjoyable to listen.


BONUS STUFF


Since I also have it on my laptop at the moment as a nice bonus for the ones that do not have it yet I have added the videos for the 24th and 25th of May







Led Zeppelin at Earls Court - May 24, 1975
(by Kenneth Winovich‎)

Led Zeppelin's fourth concert at Earl's Court back in 1975 can't be described in any other way than sheer brilliance. For three hours and thirty-three minutes, they pounded a thirsty British audience who'd been starving for their return to England with a salvo of cuts from their double album 'Physical Graffiti' interspersed with their catalog of hits. Introduced by Nicky Hopkins with "your mother  wouldn't like it", it was evident right from the start of the show that the band were going to captivate their mostly youthful audience despite the fact that the cameras were rolling.

The band settled into a tight groove from the opening track 'Rock And Roll' and they never let up. Lead singer Robert Plant, with his Indian arrowhead necklace, belted out all the songs with ease with just a few hints during the show of his recovered flu from the U S Tour that ended just two months prior. Alongside Plant was Jimmy Page, dressed in a black dragon suit that made him appear at times as if he was literally on fire on either of his sides and musically, that was definitely apparent as well. With his bell-bottom cuffs engulfing his entire shoe legnth whenever he bent his legs, he fingered off a blazing guitar solo during 'Over The Hills And Far Away' all the while coming dangerously close to getting hit in the face by his own necklace. This iconic image had every male kid in 1975 wanting to get a pair of the widest bell-bottoms possible!

The Zeppelin Earl's Court marathon was full of drama and pent-up tension. Page extended his arm horizontally across the audience from left to right after he fired off the first slide guitar note verse to 'In My Time Of Dying' and he's backed up by the best rhythm section in rock that can best be described as a well-oiled machine. In fact the rhythm section was so hot I expected bass player John Paul Jones to loose one of his onions that dangled from his shoulders who's purpose is perhaps to
ward off vampires. Blood sucking vampires? No. Perhaps the press? Maybe.

As the crowd was still trying to recuperate after the first four tracks, Plant settled into a playful mood with both his band and the audience, making the comment "Well, alright Johnny Bonham!" Plant introduced the next song 'The Song Remains The Same' by commenting "if you give it, you get it back" and the adrenaline rush then flew right off the scale. The audience had been giving and so got it right back! The barrage of electrifying double-necked chords and notes peeled off by guitarist
Jimmy Page throughout the song were enough to leave any of their nearest competitors decimated. This song has enough power and energy to move mountains with it's relentless sound waves and again Page has the backing band to help hammer it all home. This version is thunderous due to the ambience of the hall and Bonham's wrists.

But Zeppelin also have the ability that few other band's possess to slow it all down a bit without boring their audience (or pissing them off) while at the same time still make it exciting as in the next track 'The Rain Song'. Plant's voice echoes both naturally due to the hall's ambience and with special vocal fx. Bonham adds his signature touch by smashing his Paiste gong and Robert Plant licks his finger and forges on with the next verse of lyrics. Plant purposely stutters "Just...just...just a little rain" now and then to emphasize certain words in the song lyrics for maximum effect. This is why
a Led Zeppelin concert becomes an event. Dynamics. Light and shade. From a whisper to hell-fire.

The powerful 'Kashmir' was next after a Bonham "2...3...4" count in, with it's far east trappings that ensnare the listener throughout the song's length with it's hypnotic, addictive beat. Plant again stutters with "bbbbbbb....baby! Star Delight!" before he unleashes an echoed "Where I'll be!" It's worthy of note to mention the tight interplay between Page and Bonham before Plant set's about moving the track near completion with "Sure as the dust that blows high in June.....when moving through Kashmir". Although the song moved along a tad slow, it still was breathtaking as hour one finished. Plant jokes with the audience that "If you take the A449 past Droitwich and take the third turnoff on the right, it's just up the road a little with a white fence."

To kick off hour number two was the ever solid John Paul Jones who is featured on 'No Quarter'. You easily get a sense for how good he really is when the dry ice machine get's a little carried away and Mr. Jones is unable to see his piano yet still somehow manages to come away without playing a single sour note. Things only get better when he stands up and switches to another piano which ushers in a wonderful jam exchange between him, Page and Bonham which ends with the crowd going nuts. As Plant starts the final brooding verse, he stomps three times on the stage with his right foot for added drama and then belts out "They choose the path where no one dares.....oh, what misery without quarter." Plant again belts out a 'natural' repetitive echoed "Give it to me" with the entire sentence sung real fast about ten times as Page waves his arm laterally along the crowd on the last played chord. Fantastic! Talk about drama!

Up next was the wonderful 'Tangerine' as Jimmy Page played the song on the upper twelve string electric guitar and this gets a huge round of applause from the audience and they more than readily will enjoy the acoustic set which was brought back from the past but wasn't played on the 1975 U S Tour which is what makes these Earls Court shows even more intimate. The wonderful 'Going To California' was next with the multi-talented John Paul Jones on mandolin and any Zep fan can see why the band always ran to Jonesy when they couldn't quite work out how they were going to polish off a track and he's more than reliable. The joyful 'That's The Way' was next with as Plant worded it 'stage chairs supplied by habitat'. The acoustic set comes to a close with 'Bron-Y-Aur-Stomp' after Plant introduced it with "the blues as in 'clichés, toupees and three plays'. John Bonham
clearly wants to sing on the track and Plant quips with "Can we have some blues from Bonzo?" Plant tells of the song's story about his blue eyed dog who 'keeps his mouth shut'. When the acoustic set is over, Plant slips out the joke "Are ya' alright, Wally?"

It's at this point in the show that one really learns just how captivating and sensational Led Zeppelin are when they unleash the next song 'Trampled Under Foot'. Guitarist Page keeps bending his left knee in order to press down on the wah wah pedal while Plant preens across the front of the camera, all the while with stage bathed in kaleidoscopic twirling lights in six different colors. It's a far-out spaced-out colorful journey. So good that you don't even want the song to ever stop! Plant fires off another natural echoed "Give it to me....give it to me.....give it to me....yeah!" followed by several senetences of 'Gallows Pole' lyrics and it fits in well with the songs driving beat. The crowd goes bonkers and are overcome with emotion when it's finished. And Zeppelin have by now surely pummeled their audience all of hour number two! No let-up.

Then it was time for the 'master of the skins' to demonstrate his proficiency at the drum stool. John Bonham pounded out another great 'Moby Dick' performance. The drum solo contains about five parts and gets rolling with snare drum and floor toms all played with sticks. But then Bonham alternates with his left hand by hitting different floor/rack toms all the while complicating the beats by stopping and then starting up the snare drum. He then cleverly places his left-hand stick on the
snare drum at a 45 degree angle and then taps on it with his right-hand stick all the way down the legnth of that stick while keeping pressure on the snare head before a sudden outburst of floor toms! The next part of the solo involves knurling up his left thumb and pressing down on the top of the snare drum followed by bare-handed strikes of the rack toms and gong! For the next part of his solo, Bonham plays two tympani's with sticks and a phaser effect is added while he presses on their foot
pedals. He even taps on the tympani rims and their side mounting brackets. I even caught him playing 'Whole Lotta Love' with the drums and finally Page joins him on stage as he unleashes a flurry of strikes while criss-crossing his arms! As the band wait for him to finish with a last drum strike, he stands up and twirls his sticks at them and brings the drum track to a close! What a climactic ending!

The crowd, already 'dazed' by Bonham's drum solo then find themselves at Jimmy Page's mercy in what will become a 31 minute guitar extravaganza in 'Dazed And Confused'. This half-hour plus opus has everything but the kitchen sink thrown in. It includes plectrum scrapes, wah wah, hammer-ons, pull-offs, power chords, violin bow, echo, crypton lasers, dry ice, lightening-fast high-pitched in-your-face guitar notes and enough dance moves that will seal the deal for all-time as to who the best rock guitarist in rock is. This nice spacey version includes many exploratory excursions causing Plant to comment afterwards about all it's plots and time signatures and a very eerie and lively 'Woodstock' insertion highlighted by Plant's "We are star dust. We got to get ourselves back to the Garden" (Of Eden or Madison Square perhaps!). There is nothing else in rock that compares to it whether it's the '72, '73 or '75 live versions and even all previous versions from the late 60's and early 70's. There will be one more showing next show before it is retired. Zep were looking toward the future.

The show ends with the melodramatic 'Stairway To Heaven' and this has got to be the best live version of the song ever recorded. For me the jury's still out on that one as I have yet to finish listening to every live show there is but it will probably top them all! The guitar solo is Jimmy Page at his brilliant outstanding best and it leaves one asking why this show still sits in the vaults. After three hours of no bullshit opening acts, Led Zeppelin slayed their audience and now, at the three hour plus mark, they close out this marathon with their most beloved track. The fans scream and stomp for over seven minutes before the band return to the stage for two encores. The heavy-hitting 'Whole Lotta Love' kicks off the first encore with it's James Brown 'Sex Machine' middle medley and a very striking Plant/Page theramin battle leaving all wondering whether Plant or Page won the battle. The show closes out with 'Black Dog' which was filled with energy both in the rhythm section and Page's soloing. Wow! If you're like me and can't stand watching a boring movie and only watch academy award winners or nominators, then you go ahead and apply the same with music and music videos. Who wants to waste their time watching a boring act? Then you're best directed to watch a show like this. If your co-worker or neighbor says to you "You need to get out of the 70's man", simply respond "For what? Poodle rock"? This is why Zep fans never get enough. Outstanding! Tops!