Led Zeppelin archivos - Botto Cayo

Led Zeppelin The Forum Los Angeles, CA June 21, 1977

Jose Carlos Botto — Sun, 20 Jun 2021 00:14:56 +0000

Known Faults:
-Tape flip in “Ten Years Gone” patched with GaryB master tape second source

Introduction to the Lost and Found Mike the MICrophone Series

Welcome to JEMS’ Lost and Found Mike the MICrophone series presenting recordings made by legendary taper Mike Millard, AKA Mike the MICrophone, best known for his masters of Led Zeppelin done in and around Los Angeles circa 1975-77. For the complete details on how tapes in this series came to be lost and found again, as well as JEMS’ long history with Mike Millard, please refer to the notes in Vol. One: http://www.dimeadozen.org/torrents-details.php?id=500680.

Until 2020, the Lost and Found series presented fresh transfers of previously unavailable first-generation copies made by Mike himself for friends like Stan Gutoski of JEMS, Jim R, Bill C. and Barry G. These sources were upgrades to circulating copies and in most instances marked the only time verified first generation Millard sources had been directly digitized in the torrent era.

That all changed with the discovery of many of Mike Millard’s original master tapes.

Yes, you read that correctly, Mike Millard’s master cassettes, long rumored to be destroyed or lost, have been found. Not all of them but many, and with them a much more complete picture has emerged of what Millard recorded between his first show in late 1973 and his last in early 1992.

The reason the rediscovery of his master tapes is such a revelation is that we’ve been told for decades they were gone. Internet myths suggest Millard destroyed his master tapes before taking his own life, an imprudent detail likely concocted based on the assumption that because his master tapes never surfaced and Mike’s mental state was troubled he would do something rash WITH HIS LIFE’S WORK. There’s also a version of the story where Mike’s family dumps the tapes after he dies. Why would they do that?

The truth is Mike’s masters remained in his bedroom for many years after his death in 1994. We know at least a few of Millard’s friends and acquaintances contacted his mother Lia inquiring about the tapes at the time to no avail. But in the early 2000s, longtime Millard friend Rob S was the one she knew and trusted enough to preserve Mike’s work.

Led Zeppelin, The Forum, Los Angeles, CA, June 21, 1977

As we approached the Vol. 50 milestone in our Millard recording series, it seemed appropriate to reach for something truly special to mark the occasion. But what show should it be?

There is little debate as to Mike the Mike’s most famous recordings, but choosing which one to celebrate for the big 5-0 proved vexing. Then came a great idea: Release the 50th show Mike recorded. We started to count from show No. 1 (The Who, November 23, 1973) and low and behold, show No. 50 just so happened be what is undoubtedly Mike’s most famous recording of all: Led Zeppelin at the Forum, June 21, 1977. You may have first met it under its all-time great bootleg title, Listen To This Eddie.

Fate, ladies and gentleman.

So here it is, Mike’s best known recording, transferred by Rob S from the original master cassettes to DAT in the early 2000s. This show has been bootlegged dozens of times and there are many remasters in the world, notably the work of our ally Winston Remasters.

The underlying transfers used for the best circulating copies most likely come from two primary sources: first generation cassettes (including JEMS’ Dolby-decode transfer of unmarked tapes made by Millard himself) and a first-gen copy Millard made from his master tapes to VHS HiFi, which at the time was an inexpensive, high-resolution alternative to digital formats like DAT. The VHS HiFi first gen was then converted to DAT and spawned a lot of the versions before the JEMS “Dolby On” series appeared.

This release has a verified lineage of master cassettes to DAT and we believe it represents the highest quality transfer of Mike’s master recording available. We are presenting the recording in two versions: one a flat transfer, the second lightly mastered by JEMS to move the sound image a little closer and lift Jimmy and Robert up slightly in the mix. Our Mastered Edition also uses the second recording of the show by GaryB (which JEMS released a few years ago) to patch the missing piece of “Ten Years Gone” when Mike flipped his tape. The choice is yours.

The show itself was the opener of the band’s six-night stand at the Fabulous Forum, what most fans consider to be the high-water mark on the 1977 tour. Mike recorded four of the six shows, and if you’re wondering why he didn’t do the other two, money and ticket availability were practical considerations for Millard at the time. As Jim explains in his notes, the scalping around these shows reached unprecedented levels and Millard’s salary as a furniture truck driver (he wouldn’t become an AV clerk a the college until late 1979) meant he couldn’t afford the seats he wanted for every show.

The Forum stand was originally scheduled for five shows in March (opening night was meant to be March 9) and went on sale January 31. Robert Plant’s tonsillitis forced rescheduling, the announcement for which included the addition of a sixth and final show on June 27.

Any Led Zeppelin collector would do themselves a favor by obtaining a copy of Dave Lewis and Mike Tremaglio’s authoritative book Evenings With Led Zeppelin: The Complete Concert Chronicle. It is an encyclopedia of Zeppelin’s touring history, packed with details, reviews, contemporary newspaper clippings, photos, ticket stubs, known recordings and so much more. If JEMS had a book club, this would be one of our first selections.

The tome includes a fantastic section on the ’77 Forum run, calling the concerts “among the most highly acclaimed performances of Led Zeppelin’s career. Thankfully, taper Mike Millard captured four of the Forum shows in exceptional quality audience recordings on his Nakamichi cassette deck. Bootleggers got ahold of Millard’s opening night tape and pressed it on one of the most popular Zeppelin bootlegs ever- Listen To This Eddie.”

The legend surrounding the bootleg title is that it was in response to negative feedback about Page’s playing attributed to Eddie Van Halen, though the book offers a second theory that the title was aimed at Eddie Kramer, calling out his engineering and production on The Song Remains The Same soundtrack.

One of Millard’s friends recently told us that he showed him the Eddie bootleg CD when it was released in 1990 and Mike blew a gasket. He was frustrated by vinyl bootlegs before, but the CD release of 6/21/77 heightened his anger about bootleggers profiting from his work.

Lewis and Tremaglio go on to say Mike’s recording of 6/21/77, “is still held in high esteem and is perched atop the list of many Zeppelin fans’ all-time favorite bootlegs.”

With good reason. The recording is a marvel of clarity, proximity and power. There’s an on-going debate about the overall appeal of soundboard recordings vs. audience tapes, nowhere more so than in the Zeppelin fan community. There’s no denying the sharpness of a great soundboard, but they can also sound a little clinical and usually have little to no audience atmosphere.

It can be especially disorienting when a soundboard emerges of a show we have all heard in excellent quality via an audience tape for years. Being so familiar with the sound of a specific audience recording, at times it can feel like the soundboard source lost something vs. gained something.

To me, Millard’s 1977 recordings are THE sound of Led Zeppelin in this era, period. Even if a complete board tape were to emerge of an LA ’77 show, it could never supplant the musical memory of Mike’s recording that is now so deeply engrained in our synapses. History is written and Mike’s incredible master tapes are essential, primary documents of the Led Zeppelin live experience.

The only rain on the Vol. 50 parade is that we’ve had to omit the opening song of the night, “The Song Remains The Same,” because Mike’s own recording of the song was officially released on the Led Zeppelin DVD, buried in a submenu.

While JEMS rarely if ever posTs shows thaT require us to cut officially released songs, given the wiDe availability of this recording already and the historic value of the show, we’ve elected to post sans “TSRTS.” Checking your local listings for other theaters where it might be playing.

In another bit of kismet, this release comes one day after the 40th anniversary of John Bonham’s death and the end of Led Zeppelin as we knew them. He was only 32 when he died.

Here’s what Jim R recalled about the momentous opening night of Led Zeppelin at the Forum 1977:

I attended the June 21, 1977 Led Zeppelin concert at The Forum, the first of six nights. I pushed Mike in the wheelchair.

Getting tickets for this set of shows was an ordeal. To be one of the first in line required a marathon Box Office camp out that began eight days before tickets went on sale. In January, even LA was chilly enough to warrant down jackets at night. By the time the box office opened there were thousands in line. Several local ticket brokers had crews of kids queuing on their behalf to maximize ticket acquisition. Demand was HUGE and resulted in the first $100 scalper price for a rock concert in LA.

The box office limit was a strict six tickets. Some people were already talking in line about pocketing hundreds of dollars after selling their tickets, but Mike and I being fans were focused on the best seats for the most nights. I scored six front row center tickets. Mike scored 18 tickets by going to a box office window two extra times. We called this technique “bouncing,” as in bouncing from ticket window to ticket window. Bouncing was dangerous as getting caught resulted in security confiscating all of your tickets.

Opening night we sat second row on the floor, a third of the way over from center. After getting to our seats, the wheelchair was tucked away next to the stage, ironically near Peter Grant standing on the side. Taping from the second row is perilous, being so close to security and to Peter Grant and his brutal reputation for “handling” tapers. Stage lights would spill onto our location and light us up. Not Good. But we got away with it four times without incident, though not without a lot of frayed nerves.

Two days before, we attended the San Diego show where Bonham had food poisoning. This affected his playing and likely results in one of the worst shows on the tour. But this night they more than make up for it. June 21st is considered by many to be one the best Led Zeppelin shows ever.

Included are a handful of pictures I took sitting next to Mike in the 2nd row.

###

JEMS is proud to partner with Rob, Jim R, Barry G and others to release Millard’s historic recordings and to help set the record straight about the man himself.

We can’t thank Rob enough for reconnecting with Jim and putting his trust in our Millard reissue campaign. He kept Mike’s precious tapes under wraps for two decades, but once Rob learned of our methods and stewardship, he agreed to contribute the Millard DATs and cassettes to the program. Our releases would not be nearly as compelling without Jim’s memories, photos and other background contributions. As many of you have noted, the stories offer an entertaining complement to Mike’s incredible audio documents.

On the thank you list again is Goody, for his pitch stamp of approval. And last but never least, mjk5510 for his post-production work that polishes key JEMS releases week in and week out.

Finally, cheers to the late, great Mike the MICrophone. His work never ceases to impress. May he rest in peace.

BK for JEMS

La entrada Led Zeppelin The Forum Los Angeles, CA June 21, 1977 se publicó primero en Botto Cayo.

New York NY us Madison Square Garden February 3, 1975

Jose Carlos Botto — Wed, 12 May 2021 01:42:05 +0000

It’s been a long time since we rock and rolled, bellowed Robert Plant as Led Zeppelin stepped on stage at Madison Square Garden last night, for the first of six shows (three at the Garden, three at Nassau Coliseum), over the next two weeks. It’s actually been a year and a half since Led Zep’s last appearance. In the meantime, their cult has become so enormous that this is the longest and largest stand and rock group has ever done locally.

What’s up for grabs is the title of world’s greatest rock and roll band. There are only two other serious challengers, Rolling Stones and the Who. The Who have not made a major album in three years. In the last five years, the Stones have made four great ones, but only three of their six releases have sold 1,000,000 copies or more. Led Zeppelin have only made five albums – with a sixth shortly to be released – and all of them have sold more than a million copies. One of them, their fourth, sold over 2,000,000. The Stones may have the rep, but Led Zep have the numbers. (D. Marsh, NY Newsday Feb. 75)

MADISON SQUARE GARDEN, N.Y.

Led Zeppelin, atop the rock heap these days, gave an exciting concert Monday (3), the first of six dates in the New York City area, three each at Madison Square Garden and Nassau Coliseum, Uniondale, L.I. The total haul for the Jerry Weintraub promotions here will near $950,000.

None of the rowdyness and damage caused by prospective ticket purchasers and those denied entry at other locations was in evidence at the Garden, where the youthful crowd was in better order than at many other local rock shows. Security was tip top, also.

Auditors were rewarded by the tour’s first performance of an expanded version of the oldie, “Dazed and Confused,” which had not been done previously because of a pre-tour injury to Jimmy Page’s fingers. They seemed okay in Monday’s tour de force as Page reinforced his rep as one of rock’s premier guitarists, a rep dating back to his days with the Yardbirds.

Although plagued with a sore throat, Robert Plant was dynamic as lead singer-sex symbol. Bass guitarist John Paul Jones excelled on a variety of keyboard in several numbers from the Britishers’ upcoming album, the first on their own Swan Song label.

Even John Bonham’s 18-minute drum solo had more inventive twists than heretofore. But it was still too long. Writing was a big production plus. [-Kirb. | Published 2-5-75]

Press Review: MADISON SQUARE GARDEN, NYC – The Led Zeppelin sold-out tour crashed and flashed its way into New York in the thoroughly professional way that only rock’s premiere heavy band can accomplish. The Zep proved again that they have no competition from the bands with whom they are often unintelligently lumped (i.e. Grand Funk, Deep Purple), as they create sophisticated hard rock with unusual and complex rhythms and expert vocal and instrumental construction and coloring.

The nearly three hour show this tour is slicker than in past years (gone. for example is the impressive acoustic set from several tours back) and did not lack weaknesses, especially in Robert Plant’s apparently hoarse voice which avoided the falsetto trademark of the last two LPs. and in the sound, which was muddier than would be expected from the massive PA system. Nevertheless, the show was by all indications a resounding success, with material spanning the complete history of the group.

High points of the well-paced set included an extended “Dazed And Confused” from the first album performed only once before on the tour due to Jimmy Page’s injured finger, which seemed to little affect his fine solo on the tune, the classic Stairway To Heaven, perhaps the most impressive tune of the evening , and the eerie “No Quarter” which featured bassist John Paul Jones’ tasty keyboard work. John Bonham’s drumming was particularly impressive this night and was featured solo in ”Moby Dick.

Three diverse new tunes from the upcoming “Physical Graffiti” LP were aired the unusual ”Kashmir.” the blues “In My Time Of Dying,” and “Trampled Underfoot”, all fine new pieces. “Houses Of the Holy” material rounded out the set and the two encores featured “Whole Lotta Love” and “Communication Breakdown”.

In all cases, the music was enhanced by a fine lighting system supplemented by laser and smoke effects.

Led Zeppelin continues to prove that heavy rock can be intelligently and creatively executed, and their incredible popularity attests to the fact that audiences can still recognize quality when they hear it. [-BK, Cashbox, 2/75]

La entrada New York NY us Madison Square Garden February 3, 1975 se publicó primero en Botto Cayo.

Southampton uk Southampton University (The Old Refectory, Student Union Building) January 22, 1973

Jose Carlos Botto — Fri, 02 Apr 2021 04:49:35 +0000

For two days, Southampton was blessed with the presence of the world’s top rock band.

On the first, it was the turn of the town, with Led Zeppelin blowing the minds of 2 1/2 thousand fans at the Gaumont. But the next day, our heroes came to the Union, and played to us in the Black Hole of Calcutta, or Old Ref. as it is sometimes known. The Gaumont concert had been pretty tight, but not as good as 1 would have expected from a band that had been on the road for t. past two months. But all my doubts were dispelled the next day. I don’t know if it was the atmosphere, or just being right at the front of the audience, but the Old Ref. concert was just fantastic. There’s no other word for it. They enjoyed it. and we enjoyed it, and that’s what matters. As usual, they were a bit slow to warm up – in fact “Rock and Roll”. their opening number, was very rough, and the next, “The Lady”, a track from LZ 5, wasn’t much better either.

“Black Dog” followed, and the audience joined in instantly on the ah-ah, aaah chorus, whereas it took the Gaumont audience a couple of goes to get it right. LZ were beginning to cook.

“Misty Mountain Hop” and “Since I’ve Been Loving You” came next, giving John Paul Jones a chance to show us his dexterity on the keyboards. Until “Loving You” Jimmy Page had been churning out the riffs to make the numbers boogie, but on this one he gave us his first solo, very fast one second, and slow the next, getting everything out of each note. Just to watch him moving his fingers up and down the fretboard made very me very envious – he must have some natural gift. “Dancing Days” and “The Song Remains the Same”, two new numbers were the next, the first, a straight rocker very much in the LZ style, and the second. a longish complex number, starting and finishing with some low tempo-melodic guitar playing, and connected with a heavy rocking bit and a superb organ solo from John Paul Jones. The next number Robert Plant dedicated to the manager of the Gaumont — “Dazed and Confused”. This, a track from their first album, was used as a showpiece for Page’s long guitar solo. For part of this he used a big bow, and the highlight was when he hit the strings and got the note to echo back to him. When he’d been playing for about 10 minutes, the rest of the band joined in and stretched the number out to about 25 minutes.

https://www.youtube.com/watch?v=rESTcy4KvWs

Next was a beam of clear, white light, as Plant called “Stairway to Heaven”. Plant’s vocals, which had been a bit hidden by Page’s guitar before, came through beautifully, the song gradually rising to the peak of that superb rocking ending. That got everybody on their feet, and shouting for every LZ number under the sun. But Plant asked everybody to shut up for a moment, while he told them about his visit to the toilet. On the bog wall, he saw this name — Alan Whitehead and this next number was dedicated to him. It was “Whole Lotta Love”. The band went into a number of old rock and roll tunes, then “I Can’t Quit You Babe”, and back to “Whole Lotta Love- for a tremendous climax to the show. A few minutes clapping, and they were back to give us “Heartbreaker”, and then “Thank You”, featuring John Paul Jones with a long organ intro, and back for a third time.

Plant said how much they’d enjoyed the gig, and then they proceeded play “How Many More Times”, the first time they’d done it for 2 1/2 years. But you’d never have known it, it was so tight. Straight into “Communication Breakdown”, and then it was all over. See you again, they said, and a very nackered goodnight. This was the only gig they recorded on the whole tour because they reckon the acoustics of the old Ref are good —and after the show Jimmy Page said there would probably be a live album later this year. Let’s hope so — it’d be a great souvenir of a great show. -JOHN CLARK. (University of Southampton / Wessex Scene)

Setlist:

Rock and Roll, Over the Hills and Far Away, Black Dog, Misty Mountain Hop, Since I’ve Been Loving You, Dancing Days, The Song Remains the Same, Rain Song, Dazed and Confused (incl. San Francisco), Stairway to Heaven, Whole Lotta Love (medley incl. Everybody Needs Someone To Love, Let That Boy Boogie, (You’re So Square) Baby I Don’t Care, Let’s Have a Party, I Can’t Quit You Baby), Heartbreaker, Mellotron solo ~ Thank You, How Many More Times, Communication Breakdown.

La entrada Southampton uk Southampton University (The Old Refectory, Student Union Building) January 22, 1973 se publicó primero en Botto Cayo.

May 25, 1975 London uk Earls Court Arena

Jose Carlos Botto — Tue, 30 Mar 2021 01:51:20 +0000

IF THERE was ever a concert that you could brag about seeing to all your friends, it was the Led Zeppelin one at Earls Court on Sunday evening. It turned out to be a nocturnal delight, one which should be remembered for eons to come.

The American show that they brought home with them comprised some of the best rock music in the world, highlighted by opulent stage and lighting effects and an abundance of dry ice in traffic light colours.

https://www.youtube.com/watch?v=NfwZfGAKyec

Led endeavoured to take us on a musical journey of their six and a half years reign. Robert Plant made a jolly raconteur as he told us about the good times, the hard times and times when the four heroes sat around the fire sipping tea. The sound in the vast arena was amazingly clear and concise, which was why Zeppelin decided to add an extra half hour to their three hour show.

Rock And Roll was the first thing to get an airing, with Plant’s staccato voice machine gunning around the hall and proving that his golden larynx is an Instrument in Itself. Jimmy Page’s fluid, flaunting guitar work knocked everyone for six as he juggled with the chords, making them sing, dance, do almost anything. All this craftsmanship was guaranteed to get the most frigid listener buzzing like a bumble bee and warming up for the astounding things to come.

Above the massive stage stood a video screen depicting each member at different times so that the fans in the cheap seats could get a better look.

In My Time Of Dying contained some slidework wizardry from Page and a thumping bass from J.P. Jones, ‘though it was Kashmir which got the most response and it could well become a second Stairway To Heaven.

John Paul Jones, who up ’til now displayed some splendid bass work, shifted to piano to do some lilting melodies on the solemn No Quarter. But one of the highlights, for me was their mellow acoustic set. Comprising the illustrious Tangerine and Going To California. John Paul Jones on mandolin and Page on acoustic guitar, together made a beautiful kaleidoscope of notes. On these numbers, dear ol’ Bonham, looking portly of late, attempted to join in with the others for a four part harmony. Plant amusingly jibed afterwards that they’d be singing the Hollies’ Bus Stop next!

The next twenty minutes allowed Zep to get off and jam. The inimitable Moby Dick was the springboard for Bonham to demonstrate his drumming talents, and with the giant screen hanging overhead we could clearly see what the maestro was doing. Alas the drum solo was far too long and involved, giving way to a numb-bum, although admittedly, the first ten minutes of his playing were superb.

The well-known favourite Dazed And Confused was perhaps the most exciting visual sequence of all. Jimmy Page used a violin bow to produce some macabre, mind -boggling amends. A laser with three strips of light filled the stage to enhance the solo.

The finale was of course Stairway To Heaven, an extravaganza of all things bright an’ beautiful. This got the crowd on their feet and clapping for more.

The encore was Whole Lotta Love, improved with age in the same way a good wine tastes better if allowed to mellow.

Before Zep left the stage Robert Plant said: “Thanks for your time it’s been our pleasure.” Well, well, what an awfully nice fellow! [Record Mirror / May 1975 / JAN ILES]

Setlist:

Rock and Roll, Sick Again, Over the Hills and Far Away, In My Time of Dying, The Song Remains the Same, Rain Song, Kashmir, No Quarter, Tangerine, Going to California, That’s the Way, Bron-Y-Aur Stomp, Trampled Underfoot, Moby Dick, Dazed and Confused (incl. San Francisco), Stairway to Heaven, Whole Lotta Love (incl The Crunge), Black Dog, Heartbreaker, Communication Breakdown.

La entrada May 25, 1975 London uk Earls Court Arena se publicó primero en Botto Cayo.

September 14, 1971 Berkeley CA us Community Theatre

Jose Carlos Botto — Sat, 20 Mar 2021 02:37:31 +0000

Newspaper review from local press:

Led Zeppelin Bows In with a Roar

Led Zeppelin, tabbed a supergroup by many rock critics, proved itself only to be loud, boisterous and very deafening at their first Bay Area appearance in over a year last week.

Filling the Berkeley Community Theater with some 40 amplifiers and speakers, the English group apparently mis-judged its sound projection because its effect was almost unbelievable, and often unbearable. It is well known that Led Zeppelin is a talented group. Jimmy Page is without a doubt one of the best guitarists in the musical world, John Bonham is a great drummer, bassist John Paul Jones is an above-average performer and Robert Plant, well, he has been called a male Janis Joplin.

The concert, which started 20 minutes late, began with the barely recognizable “Immigrant Song,” with Page improvising to the hilt throughout the number and Plant dancing around onstage spastically to the tune.

“Since I’ve Been Loving You,” was moving, dramatic and gutsy, but absolutely too loud and so was “Black Dog,” from the newest album. Their mystic and haunting “Dazed and Confused” has improved by Page and his guitar. Zeppelin’s “Celebration Day,” a hard, driving number that was unbelievably loud, shook the auditorium and the people in it.

A quiet and peaceful interlude where the group sat down and performed a couple of tunes including the lyrical and soothing (to the ear) “Going to California” almost saved the evening. They played acoustic guitar, but even it was plugged in.

John Bonham, the drummer in the group, presented one of the most phenomenal drum solos this reporter has ever witnessed. The half-hour solo had the crowd in a frenzy and they roared its approval until his conclusion. From then on, the crowd stood until the end of the performance, apparently hypnotized by the music, and danced Whole Lotta Love”, a fast moving tune, interspersed with oldies but goodies like Rick Nelson’s old hit, “Hello Mary Lou.”

When called back for an encore, they went into “Been a Long Time,” also from their upcoming album and again blasted the audience out of the auditorium, ears ringing with the tunes of Led Zeppelin, probably the loudest group to
come out of England. — Oakland Tribune.

La entrada September 14, 1971 Berkeley CA us Community Theatre se publicó primero en Botto Cayo.

Led Zeppelin 8th August, 1969 Swing Auditorium, San Bernardino, California

Jose Carlos Botto — Sun, 21 Feb 2021 22:45:11 +0000

Jethro Tull was the main support act and San Bernardino-area group Trane (aka The Caretakers) was the 2^nd support act.

Swing Auditorium was an indoor arena located on E Street in San Bernardino, California, a suburb of Los Angeles. Named for Senator Ralph E. Swing, the arena was constructed at the grounds of the National Orange Show in 1949. It had a capacity of approx. 7,000 patrons. The venue altered in the 1960s, becoming a prominent rock arena for the West Coast. On September 11, 1981, the auditorium was irreparably damaged when it was struck by a small plane, following which the auditorium had to be destroyed.

Led Zeppelin Set List:

Train Kept a Rollin’, I Can’t Quit You Baby, Gotta Keep Moving, Dazed and Confused, White Summer / Black Mountainside, You Shook Me, How Many More Times (medley incl.“Lemon Song”, Schooldays, Hideaway, Hail Hail Rock ‘N’ Roll)

Hear the show here:

On an historical note Sharon Tate and four others were slaughtered the night of this concert and discovered the next day. Page said Zeppelin and crew were staying in bungalows behind Chateau Marmont when the murders happened and scared the hell out of everybody.

The band promptly moved out of the hills and into the Hyatt House in town. Also, The Beatles Abbey Road Album cover was photographed on the afternoon of August 8, 1969.

La entrada Led Zeppelin 8th August, 1969 Swing Auditorium, San Bernardino, California se publicó primero en Botto Cayo.

Led Zeppelin at Madison Square Garden June 11, 1977

Jose Carlos Botto — Thu, 18 Feb 2021 03:01:44 +0000

I was a Junior in High School when Led Zeppelin booked Madison Square Garden in New York City for a week of concerts in June of 1977. We were able to score tickets because they were sold by mail order – the promoter’s brilliant plan to circumvent the scalpers from getting the best seats. The downside, of course, was that we had no control where our seats would be. To our great surprise we received seats in the first tier of the Garden right next to the stage (stage left). Simply awesome seats! The last photo below shows the perspetive of where we were.

I shot Tri-X, Kodacolor II, and Panatomic-X. A whopping three rolls of film! Today I would easily snap off a thousand shots at a concert. Boy, how times have changed.

I had a 50mm and 200mm lens and my Dad’s Pentax body. Looking back at the photos now, I’m disappointed to see blurred shots and the graininess of the film. I kept the negatives in plastics sheets, but they still had tons of scratches and dirt on them. I discovered that the anti-scratch software on the Nikon Coolscan 4000 scanner would not work on the black and white images at all, so these shots were cleaned up entirely by hand – not the most fun Photoshop work.

I was amazed to see how much information there is on the web for this specific concert date. Personal accounts. Photos. Even audio from the entire concert! All these years I had no idea.

The first black & white photo of Jimmy Page was just as the show opened with “The Song Remains The Same” playing his famed double-neck Gibson guitar and sporting nice, blown-dry hair (that didn’t last long). The color picture was taken during his extended guitar solo towards the end of the show. You can’t see it, but he is wielding his bow above his head. During the solo he was touching the laser beam that was passing over his head. This scattered the light all over the arena. I remember at the time thinking it was a very cool effect and a novel use of the laser.

I know people might find this hard to believe, but I found the concert to be both one of the best shows I ever saw while also having the distinction of being the most boring at times (during the extended keyboard and drum solos). I think I would have appreciated those moments more now. Back then I was probably more interested in just hearing what I was familiar with from the albums. With age I’ve come to appreciate and enjoy the improvisation more.

I remember at the end of the show that the lights came up in the arena and no one left. The crowd continued to scream loud and unabated. After what seemed a VERY long time, the lights cut out and Jimmy starts playing those great notes from the beginning of “Heartbreaker.” In looking at the play lists for all the shows during the week at the Garden, they didn’t play this every night, so I think it was quite special to see them perform it. Great way to finish a Led Zeppelin concert.

I hope the die-hard Led Zeppelin fans find this article so they can enjoy the photos. I have more to post if there’s any interest.

https://renderedgemedia.com/led-zeppelin-madison-square-garden-june-1977/

La entrada Led Zeppelin at Madison Square Garden June 11, 1977 se publicó primero en Botto Cayo.

Led Zeppelin 1969.07.20 Cleveland, Ohio

Jose Carlos Botto — Tue, 16 Feb 2021 22:42:40 +0000

Support Act: James Gang

Press Review: Zeppelin Lands To Big Cheers At Musicarnival

CLEVELAND – The Led Zeppelin made a four-point landing at Musicarnival here during the Eagle movement on the moon. The British quartet had a sold-out audience of 2,574 stomping, clapping and dancing in the aisles during their five song stint.

Jimmy Page, former anchor man for the Yardbirds, received a standing ovation for his bluesy solo “White Summer.” But the group hit their highest stride in the last part of their 10-minute “Dazed and Confused” when Page, singer Robert Plant, drummer John Bonham and bass guitarist John Paul Jones sailed in a tight, together jam.

Plant shakes and bumps like a burlesque headliner, swings the mike like a lariat, comes across with the funky finesse of a male Janis Joplin.

The Atlantic group scored with encore “Communication Breakdown.” A local group, the James Gang, also received a standing ovation. (JANE SCOTT / Billboard)

Press Review: Young Folks Take Trip at Musicarnival

While millions watched for the Eagle on the moon, 2,500 young people went on a 9-minute trip of their own.

They stomped, clapped, danced in the aisles as four British bombshells, the Led Zeppelin made a three-point landing at Musicarnival last night.

Lead singer Robert Plant, 21, comes on strong like a male Janis Joplin. His collarbone length blonde hair looks like a cheap permanent caught in the rain.

Plant shakes his shoulders, jumps high in the air, stomps his $60 python boots, twirls the mike like a lariat, does the bumps and grinds like a flat-chested sexy headliner. And the standing-room-only audience was with him all the way.

“Have you ever been shaken”? he rasped out to the audiences during his “You Shook Me” song and the group screamed back “Yes.” Plants murmurs words and syllables like Cab Calloway.

Feature for many was a fine solo, “White Summer” by Jimmy Page, one of the world’s best guitarists. He was the backbone of the old Yardbirds three years ago and he’s still a steel smash.

The Led Zeppelin did five songs. Their “Dazed and Confused a 10-minute ride, brought them sailing in a tight jam session that was the highlight of the night.

Drummer John Bonham, 21, in a black T-shirt that looked like the upper part of a 1920 swimsuit, hit a heavy beat that brought fee stomping and stepping.

“You make me feel so young!” Plant would up with their last song.

With screams of “more” the Led Zeppelin came back to do an encore, “Communication Breakdown.”

Nothing could be further from the experience last night.

The finale gave bass player John Paul Jones, 22, a chance to shine.

(-The Plain Dealer, July 21, 1969)

La entrada Led Zeppelin 1969.07.20 Cleveland, Ohio se publicó primero en Botto Cayo.

Led Zeppelin – Texas Hurricane Concert at Convention Centre, Fort Worth, TX, 22nd May 1977

Jose Carlos Botto — Sat, 13 Feb 2021 19:05:51 +0000

Jamming in the ‘rock room’ today is a recently (2014) circulating soundboard recording hailing from Led Zeppelin’s 1977 US tour and featuring the ‘tight but loose’ attitude that the tour is famous for. The soundboard is a thick sonic slab of prime Zeppelin, slightly flat, but well balanced and conveying an enjoyable clarity. While perhaps not as consistent as previous tours, the 1977 road trip finds the band toying with the set list, while playing the recent songs from Presence with fire and attitude. The featured recording comes from May 22, 1977 Fort Worth, Texas titled, Texas Hurricane.

Robert Plant’s voice is in decent shape and as Zep fans know his vocal screeches and reaches throughout a tour often left his vocal chords battered and bruised. Here the soundboard recording allows a glimpse into Plant’s vocal control and finds him in solid form. John Paul Jones is especially audible and having a particularly fine evening playing multiple instruments. His Alembic bass guitar is elastic thunder, aggressive, driving and a pleasure to focus in on. Bonham acts as the steel metronome and per usual leads the band; his drums are well mixed and up front. Page is also having an alchemical evening, sometimes conveying insanity through his mad soling that threatens to leave the earthly realms at any moment.

The concert begins with ‘The Song Remains the Same’ the usual opener for the tour. While not quite the kinetic level of the famed version from June 21, 1977 this is a substantial rendition lead by John Paul Jones. Without missing a beat the band leaks into a sludgy version of ‘The Rover/Sick Again’. Plant gets it going with mountain top vocals, pushing right to the very precipice of his range. Page greases the wheels for the evening with streamlined and chorused soling. The mix of the recording has settled in and Plant now acknowledges the crowd with a ‘Good Evening Fort Worth’. A humorous exchange occurs when Plant apologizes for a delay and states that there were ‘a few clouds in the sky between here and New Orleans’.

The band plays a standard for the tour reading of ‘Nobody’s Fault but Mine’ that features a well blown Plant harp solo before the first heavy highlight of the show occurs. Plant tells the crowd to ‘Dig It’ before a false start derails their first attempt at ‘In My Time of Dying’. Plant makes another comment about ‘clouds on the stage’ before beginning anew. The second attempt springs from the grave with demented metallic slide guitar from Page on point vocals from Plant. This reading is a top version from the tour and a cohesive performance from the group in spite of Page losing himself toward the conclusion of the song. The ending even features a quote of ‘You Shook Me’ for good measure, a nod to the bluesy attitude of the set.

The highlights continue with an all time and version of ‘Since I’ve Been Loving You’ introduced by Plant as, ‘another blues based, put together by ourselves’. ‘Since I’ve Been Loving You’ creeps like low lying smoke in a atmospheric version that features dripping keyboards by JPJ and aggressive clean soling by Page who conjures relentless dynamic twists on the blues theme. His first solo glows with stinging heated embers before submerging itself and cooling in dark pools of reflection. One of the finest live versions available in the rock rooms humble opinion and worth seeking out.

The centerpiece of the concert now follows in perfect time as the band is peaking and locked in tight. ‘No Quarter’ extends past twenty minutes navigating shadowy and jagged terrain, spotlighting the ample piano abilities of John Paul Jones and allowing for the band to improvise their journey. Following the introduction, Plant doesn’t even sing the verse before Page’s sonic ‘dogs of doom’ break down an ancient door revealing the mid song wilderness path. Jones performs a solo recital of haunted hanging piano melodies before he is joined by Bonham and a ragged and a enthusiastic rock and roll jam develops. This sturdy jam appears, but only momentarily before crashing back into JPJ’s moody soling. This excursion coalesces into the usual (awesome) ‘No Quarter’ jam, which materializes and finds Page burrowing below the earth, his soloing revealing magical strata to which Bonham lends a thunderous funkiness to each discovery.

Page now crouches low circumnavigating the netherworld revealed by his sonic searching. Bonham lights a fuse initiating numerous and small detonations. Page communicates through an unknown dictation; a small woodland creature answers his call and then disappears into an overlapping field of precariously stacked boulders. The jam explodes into a climax, leaving smoky remnants of Bonham’s deafening rolls behind before it continues over a series of steep climbs and descents. Page increases the tension, pokes Bonham and teases Jones into a series of call and response discussions. A syncopated and accented jam takes place between the trio before a swinging groove develops, leading into a return to the song proper. Page initiates the return back to the framework with a maleficent chord change that induces uneasiness and excitement. Plant sings the second and only verse before Page takes a magnificent solo to conclude another all time version of ‘No Quarter.

The introspective and stunning ‘Ten Years Gone’ follows featuring John Paul Jones on his famous three necked guitar presenting a 12 string, 6 string and mandolin. A highlight of all of the 1977 concerts Jones and Page blend their respective instruments into an extended representation of lost love and regret. This amazing version sets the stage for the ‘sit down’ portion of the show, the upcoming acoustic set.

Bonham moves to the front of the stage amidst smart ass comments by Percy. The acoustic set is a career retrospective beginning with a dramatic ‘Battle of Evermore’ containing JPJ on backing vocals. The entwined filigree’s of ‘Going to California’ offer diffused pinpricks of sunshine illustrated through Page and Jones delicate riffing. Plant offers a ‘Hot Diggity, its hard’ at the tunes beautiful conclusion.

A stomping ‘Back Country Woman’ prelude rides on donkey kick drum from Bonham before segueing into a high octane back porch ‘Bron Aur Stomp’. The stellar acoustic set allowed for a brief respite before the upcoming climatic apex of the concert.

Page appears with his trusty Danelectro guitar for a solo segment of ‘White Summer/Black Mountain Side’ that tribally bounds on Bonham’s tom toms. Page uses his segment to segue into the 1977 tour highlight of ‘Kashmir’. ‘Kashmir’ is a typically extravagant 1977 version with JPJ’s orchestrated warm breeze Mellotron quotes and Pages phased riffing bringing the crowd to a rolling boil, concluding with a colossal Bonham led climax.

Bonham then gets his opportunity to amaze with a hyper extended half hour ‘Over the Top/Moby Dick’. Pharmaceutically charged and holy rolling Bonham is the schizophrenic drum corp. leader with awe inspiring triplets in triplicate. Bonham plays through rumbling Tympani and echoed and disorient jet liner effected drum rolls to the point of exhaustion, finally returning to the recognizable ‘Moby Dick’ theme.

Following the Bonham showcase, Page takes the stage alone for a diabolic and crazed array of soling first with plectrum then with bow. Pitch manipulated screams and streaks of found sound created by Page’s sonic creations abound during this segment. Listen for the quote of the ‘Star Spangled Banner’. Page’s Echoplex and bow also add to the madness through deft uses of feedback and eye watering demonic conjuring. Page’s ‘Dazed and Confused’ bow theme appears, including a quote of ‘Beck’s Bolero’ and acts as a prelude to the full arsenal ‘tour de force’ of ‘Achilles Last Stand’. The bow solo slams your privates in a wooden drawer and then listens for the devil wind emanating from Page’s distorted guitar signaling the arrival of ‘Achillies’.

The band rises to the high standard of the previous songs and delivers a stellar version of ‘Achilles’. The diverse and multiple changes and studio guitars are no match for the bands enthusiasm and solid playing. Jones rattles the frets out of his bass neck too keep up with Bonham and Page plays the multiple guitar parts with flash and flair. The concert could very well have ended here, but the band still has a bit more to give.

The expected but no less effective ‘Stairway to Heaven’ comes next with the band taking the song past twelve minutes and moving through the changes with grace. Page’s soling on the double neck is unique and well played. There is no other way that the main set of this concert could have been more properly concluded.

The band returns for the tour debut of ‘Whole Lotta Love’ which acts only as a short introduction to ‘Rock and Roll’ for the first encore, initiated by Bonham who will not take no for an answer. This song combo illustrates proof of the excitement the band felt during this inspired performance. They absolutely slam through this version of the oft-played classic. If that was not enough for the soaked up and rung out crowd the band returns for a second encore with label mate Mick Ralphs of Bad Company to join in on guitar. Plant again makes a humorous comment I will leave for the listener’s discovery. What the band does close the show with is an ultra rare rendition of Jerry Lee Lewis’s ‘It’ll Be Me’. The band jams the tune like its an every night occurrence and Percy swaggers and sings with an early rock and roll attitude. A special conclusion with a special song for a unique concert filled with moments of note.

For fans of Led Zeppelin’s live excursions the soundboard recording ‘Texas Hurricane’ is an exciting representation of Zep’s 1977 tour. A nice companion to the famed ‘Destroyer’ boots, in many ways this concert equals and/or surpasses the performances in April. The soundboard quality is just what every Zeppelin fan could ever want and the performance offers a few rare moments in addition to moments of pure musical genius.

https://www.youtube.com/watch?v=AIcXRJwpJBM

Setlist:

The Song Remains The Same, (The Rover intro) Sick Again, Nobody’s Fault But Mine, In My Time of Dying, Since I’ve Been Loving You, No Quarter, Ten Years Gone, Battle of Evermore, Going to California, Black Country Woman, Bron-Y-Aur Stomp, White Summer ~ Black Mountainside, Kashmir, (Out On the Tiles intro) Moby Dick, Jimmy Page solo, Achilles Last Stand, Stairway to Heaven, Whole Lotta Love ~ Rock and Roll, It’ll Be Me.

La entrada Led Zeppelin – Texas Hurricane Concert at Convention Centre, Fort Worth, TX, 22nd May 1977 se publicó primero en Botto Cayo.

March 22, 1969 Birmingham uk Mothers Club

Jose Carlos Botto — Sat, 13 Feb 2021 03:10:13 +0000

This is the earliest known true live recording of the band during their UK Clubs tour. I’m very curious if the rest of the tape will be available someday.

John’s brother Mick recalled the show in his book “My Brother John”:

“The place was packed and as the band launched into their opening number, the venue erupted. The end result of course was a great night for band and audience. Apart from a slight hiccup involving the pal who’d accompanied me. Eddie Povey was another soul brother, and he decided it would be a good idea to holler “Sock it to ’em Jimmy!”, just as Pagey was ripping into a great solo. For a split second, I swear the place went quiet as everybody looked around to see what idiot could have shouted such a line in ‘Mothers’. Being as we were the only ones wearing Ben Sherman shirts surrounded by a sea of flower jackets and perms, it didn’t take long to come up with ‘it must be one of them tossers’. Heads down, we watched the rest of the show until it was time to go backstage and meet the band, where Eddie had to go one better and tell Jimmy that if he kept it up he could be a good guitarist. John and I looked at each other in disbelief, and then he smiled widely and gave me a right pisser round the side of my head (only a fun one), then said to me ‘Give that to you mate on the way home’.

Led Zeppelin
March 22, 1969
Mother’s Club
Birmingham

Setlist:

includes: Train Kept a Rollin’, I Can’t Quit You Baby, Dazed and Confused, You Shook Me, How Many More Times.

Mothers (formerly the Carlton Ballroom) was a club in Birmingham, England during the late 1960s and early 1970s. Mothers opened above an old furniture store in Erdington High Street on August 9, 1968. The club, run by promoter Phil Myatt, closed its doors on 3 January 1971.

Mothers was voted number one rock venue in the world by America’s Billboard magazine and John Peel, a regular DJ at the club, was quoted as saying: “People are amazed to hear that for a few years the best club in Britain was in Erdington.” (Wikipedia)

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