Studio
Vaults
Led Zeppelin collectors are quite fortunate when it comes to owning outtakes and
rehearsals. Except for The Beatles and The Rolling Stones, no other big group
has as many and various behind the scene tapes as Zeppelin. So much of this material
has been released that it is possible to trace the entire history of the band,
from the first album sessions right through to their last.
The first massive collection to be issued was the Antrabata eleven disc set Studio
Sessions released more than a decade ago. This set collected every piece of tape
known at the time and presented them in a chronological, cohesive order. Despite
the knock against it for using inferior sounding tapes, it remains a popular and
sought after item. Akashic was going to attempt a comprehensive box set to be
called "The Final Option". This, however, was scrapped and only five
discs spread out over three titles, "Meet Led Zeppelin", "Scorpio
Rising" and "The Smithereens", have been released (and even some
of them collected totally faked songs!). Just a few years after the "new"
Scorpio label, with the new release "Studio Sessions Ultimate", gives
a much needed overhaul of Antrabata. Spread over twelve discs, Scorpio not only
includes everything found in the older box set, but also includes most of the
material that has surfaced in the past decade and uses only the best sounding
versions of the more familiar tapes. Finally, the Godfatherecords produced an
extensive, eighteen disc compilation of all known studio stuff at the time of
this release back in 2013 titled eponymously "Studio Magick". However,
few of the session dates have been edited in some ways, leaving more advanced
collectors a free gate to search for a couple of other titles, where the same
studio material is released in original form and content.
But there are still some excerpts worth mentioning when speaking about 'extras'.
TDOLZ's "Sessions" presents more than 20 minutes of undocumented the
Battle of Evermore material. Empress Valley's "Lost Sessions Volume 2"
debuts the first peak at some new outtakes from the second album. Celebration's
"Alternative Graffiti" title releases the 'long version' of Trampled
Underfoot. The ending is about a dozen seconds longer than the album length version.
Empress Valley's "Lost Sessions Volume 4" debuts drum tracks from In
Through the Out Door's rehearsals. Empress Valley's "Lost Sessions Volume
8's" only contribution is Poor Tom. Its ending is a few seconds longer, but
is most likely explained as a mixing error. The other material on the title can
be found on other titles, including Coda. Finally, Empress Valley released a massive
collection of unaltered takes for four individual tracks off Led Zeppelin II sessions
on "The Making Of Led Zeppelin II" four disc set. Each separate track
can be mixed to show a finished song that differs only in details from the album
version.
Thus, this discography is compiled from mentioned albums and its original tape
sources. The individual dates and locations will help You to choose the exact
session.
Led
Zeppelin I Sessions August - October 1968 AUGUST
12 or 19, 1968 - RONNIE SCOTT'S JAZZ CLUB BUILDING, 39 GERRADRD STREET, SOHO,
LONDON, UNITED KINGDOM Group's first ever studio rehearsal. The songs
rehearsed most likely include: The Train Kept A Rollin', Smokestack Lightning,
As Long As I Have You and early version of Dazed And Confused. AUGUST
23~25 or 26, 1968 - RONNIE SCOTT'S JAZZ CLUB BUILDING, 39 GERARD STREET, SOHO,
LONDON, UNITED KINGDOM Rehearsals continued. The location is suspected.
LATE AUGUST/EARLY SEPTEMBER 1968 - OLYMPIC STUDIO SESSIONS, BARNES, LONDON, UNITED
KINGDOM All four members contributed towards P.J. Proby's Three Week Hero
album. These sessions were the first time ever the band entered the recording
studio together. The songs recorded are Jim's Blues and Merry Hopkins Never Had
Days Like These. SEPTEMBER 23, 1968 - PANGBOURNE, LONDON, UNITED KINGDOM
Rehearsals of the material for the upcoming Led Zeppelin I in Jimmy's boathouse.
According to studio records they recorded under the name The Yardbirds.
SEPTEMBER 24, 1968 - PANGBOURNE, LONDON, UNITED KINGDOM Rehearsals of the
material for the upcoming Led Zeppelin I in Jimmy's boathouse. According
to studio records they recorded under the name The Yardbirds. SEPTEMBER
25, 1968 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Recording
Led Zeppelin I. According to studio records they recorded under the name The Yardbirds.
The session took place at late and was continued until the early hours next day.
They supposedly did do a full studio run through of As Long As I Have You during
these sessions that could possibly be released at some point. Flames and Chest
Fever were rehearsed for the album but no one in the band has ever confirmed that
either song was actually recorded.
SEPTEMBER 27, 1968 - OLYMPIC SOUND
STUDIOS, BARNES, LONDON, UNITED KINGDOM Recording Led Zeppelin I. According
to studio records they recorded under the name The Yardbirds. The session took
place at late and was continued until the early hours next day. The final mixes
of Babe I'm Gonna Leave You and You Shook Me were later used for Led Zeppelin
I. They supposedly did do a full studio run through of As Long As I Have You during
these sessions that could possibly be released at some point. Flames and Chest
Fever were rehearsed for the album but no one in the band has ever confirmed that
either song was actually recorded. Recording
Includes: 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 w/count-in), You Shook Me (take 1) [ cut ]. Source:
Incomplete superb soundboard recording. 21 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): I Sessions (Wendy
Records), Alternates And Outtakes I & II Volume 1 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Meet The Led Zeppelin (Akashic Records),
Robert's Last Stand (Red Devil), The Rockpile Canada 2-2-69 (Totonka), Sessions
(Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
The first and third track is full band run through Babe I'm Gonna Leave You. The
final product sounds much more restrained than these two takes, with Plant singing
his guts out. You Shook Me is the very first take according to the voice of engineer
Glyn Johns. It lasts for almost eight minutes and cuts out at the very end.
SEPTEMBER
28, 1968 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Recording
Led Zeppelin I. According to studio records they recorded under the name The Yardbirds.
The session took place at late and was continued until the early hours next day.
They supposedly did do a full studio run through of As Long As I Have You during
these sessions that could possibly be released at some point. Flames and Chest
Fever were rehearsed for the album but no one in the band has ever confirmed that
either song was actually recorded.
OCTOBER 1968 - OLYMPIC SOUND STUDIOS,
BARNES, LONDON, UNITED KINGDOM Jimmy Page and John Paul Jones home rehearsal.
Some other sources claims that the second musician was Steve Winwood or Steve
Miller (UK) instead of John Paul Jones. Recording
Includes: Guitar/Organ instrumentals
(take 1), Guitar/Organ instrumentals (take 2), Guitar/Organ instrumentals (take
3), Guitar/Organ instrumentals (take 4), [ cut ], Guitar/Organ instrumentals
(take 5), [ cut ], Guitar/Organ instrumentals (take 6), Guitar/Organ instrumentals
(take 7, with "voices") [ cut ]. Source:
Incomplete superb soundboard recording. 22 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): I Sessions (Wendy
Records), Danish TV And Studio Sessions (Watch Tower 1st and 2nd edition), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Meet The Led Zeppelin (Akashic Records),
Sessions (Antrabata Reference Master), & Studio Magik - Sessions 1968-1980
(Godfatherecords) Comments:
A very interesting jam. Its origin and purpose is a mystery and when they first
surfaced it was claimed the organ player was Steve Winwood. The music is very
moody and it sounds like Page and John Paul Jones trying to get a handle on Your
Time Is Gonna Come.
OCTOBER
3, 1968 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM According
to studio records they recorded under the name The Yardbirds. The band also worked
on Your Time Is Gonna Come, A Man I Know(later known as Good Times Bad Times),
Babe I'm Gonna Leave You, Too Good (later known as Communication Breakdown), How
Many More Times, Dazed And Confused and Blues I. Sugar Mama was later mixed at
The Sol Studio, Cookham, Berkshire, United Kingdom on May 1, 1981 and included
on Coda album. Recording
Includes: Sugar Mama (mix).
Source: Complete superb soundboard recording. Almost
3 minutes. Details: The tape is professionally
balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Bootleg
CD Reference(s): I Sessions (Wendy
Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Coda Advanced Tapes
(Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress Valley
Supreme Disc), The Lost Sessions Volume 8 (Empress Valley Supreme Disc), Sessions
(Antrabata Reference Master), & Studio Magik - Sessions 1968-1980 (Godfatherecords) Comments:
Thrilling slice of embryonic Zep from one of their first recording sessions. Plant's
excited yelp setting the pace. Plenty of echoes of The Yardirds here with the
1966 single Happenings Ten Years Time Ago a definite reference point. Slightly
different to the version that surfaced in lo-fi quality on bootleg in the early
1990s, this has an extra Sugar Mama' from Robert at 32 second.
OCTOBER
10, 1968 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM According
to studio records they recorded under the name The Yardbirds. The final version
remained unreleased until appearing on the 1993 compilation Boxed Set 2 (as shortened
and edited version), mixed at Atlantic Studios in November 1992 and promoted by
a single also. The track stems from an old master reel labeled "Yardbirds.
October 10, 1968". The master tape went missing for a number of years and
allegedly turned up in a refuse bin outside Olympic Studios in 1991. Recording
Includes: Tribute To Bert Berns
[AKA Baby Come Back Home] (take 1, instrumental with count-in, stopped), Tribute
To Bert Berns [AKA Baby Come Back Home] (take 2, instrumental with count-in, stopped),
Tribute To Bert Berns [AKA Baby Come Back Home] (take 3, complete full mix).
Source: Incomplete superb soundboard recording. 8
minutes. Details: The recording is professionally
balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin Box Set 2
(Atlantic) Bootleg
CD Reference(s): I Sessions (Wendy
Records), Alternates And Outtakes I & II Volume 1 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Meet The Led Zeppelin (Akashic Records),
The Rockpile Canada 2-2-69 (Totonka), Sessions (Antrabata Reference Master), Studio
Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
There are three takes of Tribute To Bert Burns, which surfaced in 1993 as Baby
Come On Home. A rather rare example of Zeppelin playing in a quite pop style!
The song was originally recorded in honor of the American songwriter and producer
who had died in December 1967. It is loosely based on two slightly different songs
Berns had written and produced for "Hoagy Lands" (1964) and "Solomon
Burke" (1965), although the lyrics were completely re-written for Led Zeppelin's
version. What's very interesting, on this track Page played a Leslie guitar and
Jonesy played piano and a Hammon organ.
OCTOBER
15, 1968 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM According
to studio records they recorded under the name The Yardbirds and worked on Black
Mountain Side and I Can't Quit You Baby (or I Had Too Much Pudding For Tea).
Led Zeppelin
II Sessions April - August 1969 APRIL
1969 - A&M STUDIOS, LOS ANGELES (CA), UNITED STATES APRIL 10, 1969 - OLYMPIC
SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM The band worked on But What
Is And What Should Never Be (later known as What Is And What Should Never Be)
and You Need Love (later known as Whole Lotta Love). APRIL 12, 1969 -
OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM
APRIL 14, 1969 - OLYMPIC
SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM The band also worked on You
Need Love (later known as Whole Lotta Love) and But What Is And What Should Never
Be (later known as What Is And What Should Never Be). Recording
Includes: La La (backing track).
Source: Complete superb soundboard recording. 4 minutes.
Details: The recording is professionally balanced
studio board tape. Official
LP Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Comments:
The new treat bestowed on Zeppelin fans. It begins with an enticing keyboard hook
that draws you in. The whole band comes in and what stands out is the 1960s style
song is the acoustic guitar strumming by Page that we all loved so well from the
likes of Roy Orbison, The Everly Brothers, Johnny Cash to Donovan to name a few.
Near the first minute tempo changes reminiscent of Page's Zep III era composition
"Swan Song" before it goes off into another direction as Bonham and
Page convert the song momentarily into an electric song but stop soon after. It's
John Bonham's drumming that holds the track together as a foundation. Very nice
descending acoustic chords by Page and we find the track has metamorphosized into
electric. This would be a nice piece for those countless tribute bands to slip
in to finish an acoustic song. For much of the song to this point it had you questioning
if it really even was Zeppelin music as it's so different to anything you've heard
but it is Page's slide work here at two and a half minutes in that confirms it.
APRIL
19, 1969 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Whole
Lotta Love is yet under its initial title, You Need Love and What Is And What
Should Never Be is But What Is And What Should Never Be. Recording
Includes: Whole Lotta Love (rough
mix), What Is And What Should Never Be (rough mix). Source:
Complete superb soundboard recording. 10 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Comments:
The famous Whole Lotta Love rough mix. At this stage in it's development in the
studio. It does not contain the backwards echo guitar slide nor a chorus. So we
are hearing this song in kinda embryonic form. There are no bongos yet added to
the midsection or sonic treatments by Page and Eddie Kramer. There's more theramin
than on the official release and it's crystal clear. When Jones's bass starts
working it's way back in to start the end of the middle section, you know the
guitar solo spot is near but it's not on this track. A fine example of how Zeppelin
laid down the foundations to a key track in their hits catalog before the added
enhancements and treatments were added. It's interesting at the end to hear John
Bonham do a 4-note drum lick to stop the track on the fade-out. What Is And What
Should Never Be rough mix with vocals is next. The track sounds pretty much like
the original. But at the start of the slide solo, there's a rough beginning to
it which will be edited out. So it shows the track's basics where laid down well
and just a few things like a vocal bit here removed or the rough slide start cleaned
up and it shows the band kept it simple and it works. Simplicity works and getting
a good 'live in the studio' basic foundation track down is a must. If you can't
achieve that then the song needs more work on the arrangement.
MAY
1969 - A&M STUDIOS, LOS ANGELES (CA), UNITED STATES Overdubs for Whole
Lotta Love. MAY 1969 - JUGGY SOUND STUDIOS, NEW YORK CITY (NY), UNITED
STATES MAY 1969 - QUANTUM STUDIOS, LOS ANGELES (CA), UNITED STATES APRIL
29/MAY 1, 1969 - MIRROR SOUND and/or GOLD STAR, LOS ANGELES (CA), UNITED STATES
A total of six tracks are recorded by the end of their stint in Los Angeles.
MAY 6, 1969 -
MIRROR SOUND, LOS ANGELES (CA), UNITED STATES There seems to be some confusion
as to the specific location of this studio - Chris Huston claims that there was
no Mirror Sound Studio on the west coast at the time. It is possible that initial
work was done with Huston at one studio, and then the Mirror Sound name became
attached to the tape box at a later point. Recording
Includes: Moby Dick intro/outro
mix (backing track), [ cut ], drum solo. Source:
Incomplete superb soundboard recording. 8 minutes. Details:
The recording is professionally balanced studio board tape. Moby Dick is introduction
and end only, without drum section. The official version sounds much more clearer
and contains no drum solo excerpt. Official
LP Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Bootleg
CD Reference(s): I Sessions (Wendy
Records), Alternates And Outtakes I & II Volume 1 (Boogie Mama), Bonzo's Last
Stand (Empress Valley Supreme Disc), Eternal Magic (Empress Valley Supreme Disc
3CD), Evolution Is Timing 2 (Empress Valley Supreme Disc), Led Zeppelin II Classic
Records 45rpm Treasured Version (Empress Valley Supreme Disc), Meet The Led Zeppelin
(Akashic Records), Sessions (Antrabata Reference Master), Studio Magik - Sessions
1968-1980 (Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
The Moby Dick backing track is how the song was originally recorded. As the song
stops where the drum insert would go, there's a pause and we hear Bonham count
out and the ending riff begins confirming what we'd been told if you don't have
the bootleg. The real treat was the extra power chord at the end with a rough
slide down and right off the fretboard!
MAY
10, 1969 - VANCOUVER (BC), CANADA Not confirmed at all if group recorded
anything or just rehearsed that day. Sources reported that they layed down harmonica
tracks and vocal overdubs for Bring It On Home (also recorded entire song).
MAY 19, 1969 - A&R STUDIOS (or) JUGGY SOUND STUDIOS (or) MAYFAIR STUDIOS (or)
GROOVE STUDIOS, NEW YORK CITY (NY), UNITED STATES
MAY 21, 1969 - A&R
STUDIOS, NEW YORK CITY (NY), UNITED STATES Recording
Includes: Heartbreaker (rough
mix). Source: Complete superb soundboard recording.
4 minutes. Details: The recording is professionally
balanced studio board tape. Official
LP Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Comments:
A rough mix much similar to the final album version but with different balance.
The drum track may have been replaced with another vibrant one as it's different
than the album and the guitar solo is a 'raw' first attempt to remind Page the
direction to take it in when he returns to it to redo it alone in the studio by
himself. The track has the harmnoic feedback beeps in it as the songs speeds up
after the guitar solo which I've always liked. What's really cool is the 3:30
mark in the track, reminiscent of the rave-ups the Yardbirds used to do and it's
different which made it an excellent choice for companion disc.
MAY
22, 1969 - A&R STUDIOS, NEW YORK CITY (NY), UNITED STATES The band
likely worked on Heartbreaker. JUNE 1969 - GROOVE STUDIOS, NEW YORK CITY
(NY), UNITED STATES Recording vocals and overdubs for What Is And What
Should Never Be. JUNE 1969 - MAYFAIR RECORDING STUDIO, NEW YORK CITY (NY),
UNITED STATES Recording of Moby Dick drum solo. JUNE 1969 - OLYMPIC
SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Recording of Whole Lotta
Love (middle section) and What Is And What Should Never Be. (Whole Lotta Love
middle section disputed - probably was recorded in May at A&M Studios.)
JUNE 1969 - MORGAN STUDIOS, WILLESDON, LONDON, UNITED KINGDOM Also recording
of Thank You and Living Loving Maid (She's Just A Woman).
JUNE 1, 1969 - JUGGY
SOUND STUDIOS, NEW YORK CITY (NY), UNITED STATES Recording
Includes: Ramble On (rough mix).
Source: Complete superb soundboard recording. Near
5 minutes. Details: The recording is professionally
balanced studio board tape. Official
LP Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
II "deluxe" and "super deluxe" editions (Atlantic) Comments:
Rough mix for the most delicate and beautiful song from the second album. It differs
only in lacking guitar overdubs; everything else is just about same as on album
version, maybe proportions between instruments are tiny bit different but that's
all. Also some backup vocal overdubs are missing. Very nice to hear these type
tracks to see how Zeppelin polished them as they are so called bare-bones tracks.
JUNE
25, 1969 - MORGAN STUDIOS, WILLESDON, LONDON, UNITED KINGDOM A competing
title for Living Loving Maid (She's Just A Woman) was Livin' Lovin' Wreck - it
is possible that the track may have been known by that title at the time this
backing track was mixed. Recording
Includes: We're Gonna Groove,
Thank You (instrumental backing track), Living Loving Maid (She's Just A Woman)
(instrumental backing track). Source: Complete
superb soundboard recording. 10 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda "original",
"deluxe" and "super deluxe" editions (Atlantic) & Led
Zeppelin II "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "original",
"deluxe" and "super deluxe" editions (Atlantic) & Led
Zeppelin II "deluxe" and "super deluxe" editions (Atlantic) Bootleg
CD Reference(s): Evolution Is
Timing 2 (Empress Valley Supreme Disc) & Studio Magik - Sessions 1968-1980
(Godfatherecords) Comments:
The band cut We're Gonna Groove (studio take of Ben E. King/James Bethea's song)
for possible inclusion on the second album. Although it was not used on the Led
Zeppelin II, this track remained as a set opener for their early 1970 shows. Thank
You is backing track. A backing track is usually a track that's missing some component-vocals,
guitar, bass or drums and in this case, it's the vocals. You get to hear this
love song's musical-instrument construction. It also is missing the nice delicate
classical style guitar solo in the middle and the fade out and fade back in at
the end of the track as well. Living Loving Maid (She's Just A Woman) is another
backing track minus vocals. These are neat for those of us that are in bands to
practice their Plant singing or for bars and taverns to avoid botched karaoke
attempts because of poor quality backing tracks. So these backing tracks should
be received well.
JULY
24, 1969 - ATLANTIC STUDIOS, NEW YORK CITY (NY), UNITED STATES The Bring
It On Home is yet under its initial title, Bring It All Home. This working title
(with "all") may have simply been a misheard "on". Recording
Includes: Bring It On Home (rough
mix). Source: Complete superb soundboard recording.
4 minutes. Details: The tape is professionally
balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Straight into the riff part with Robert's wailing harmonica and then very
much a live vocal with the singer freely expressing himself with complete abandonment-
as he was doing nightly on stage in the US at the time. Bonzo tearing along with
it all as the harmonica comes back in. Totally wild and chaotic with an electric
ending. Superb snapshot of their on the road ad hoc studio recording methods.
AUGUST
1969 - A&R STUDIOS, NEW YORK CITY (NY), UNITED STATES There are rumours
about in-studio film footage of the band laying down mixes. Recording
Includes: 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 (vocal overdubs bleed), 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 w/count-in), What Is And What Should Never Be
(drum left bleed w/count-in), 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), 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 and drums bleed),
Heartbreaker (vocals bleed), Heartbreaker (vocals and guitar bleed), Ramble On
(acoustic guitar bleed), Ramble On (electric guitar bleed), Ramble On (guitar
overdubs 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). Source: Complete superb soundboard
recording. 209 minutes. Details: The recording
is professionally balanced studio board tape. Bootleg
CD Reference(s): Alternates And
Outtakes I & II Volume 1 (Boogie Mama), Countdown (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Led Zeppelin II Classic Records 45rpm
Treasured Version (Empress Valley Supreme Disc), The Making Of Led Zeppelin II
(Empress Valley Supreme Disc, original & reissue), Led Zeppelin II Multi Track
Mixdowns (Empress Valley Supreme Disc, original & reissue), The Lost Sessions
Volume 2 (Empress Valley Supreme Disc), Royal Albert Hall 1970 (Wendy Records),
& Studio Magik - Sessions 1968-1980 (Godfatherecords) Comments:
The LZII pre-mixdown tapes. A short, few minute excerpt was released in 2000,
but now we have the complete tracks. Each of the four songs are divided into eight
separate tracks. Whole Lotta Love is no fading at the end, presenting fantastic
Theremin coda (perhaps that was kept on the reel for possible use but then left
out during mixing). What Is And What Should Never Be has also longer ending and
the song abruptly ends with a soft coda, similar to live arrangement. Heartbreaker
is just terrific - it looks like Jimmy is working hardly on middle guitar section
trying differences in his solo. We can finally hear how Ramble On is composed.
The first take shows basic acoustic guitar line, then two electric guitar overdub
takes followed. A gem, no doubt and such a historic piece of music.
AUGUST
5, 1969 - MYSTIC SOUND STUDIOS, LOS ANGELES (CA), UNITED STATES Overdubs
for The Lemon Song and Bring It On Home verses and chorus. AUGUST 12,
1969 - A&R STUDIOS, NEW YORK CITY (NY), UNITED STATES Jimmy Page and
Eddie Kramer complete the mixing of Bring It On Home and playback Living Loving
Maid (She's Just A Woman), Heartbreaker and What Is And What Should Never Be.
AUGUST 29 THRU 30, 1969 - A&R STUDIOS, NEW YORK CITY (NY), UNITED STATES
Final mixing of Led Zeppelin II.
Led
Zeppelin III Sessions November 1969 - August 1970 NOVEMBER
1969 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Rehearsal
session for Bron-Yr-Aur Stomp, then known as Jennings Farm Blues.
Recording Includes:
Jennings Farm Blues (take 1, stopped) [ cut ], guitar exercise, [ cut
], Jennings Farm Blues (take 2, stopped), [ cut ], Jennings Farm Blues
(take 3, stopped), Jennings Farm Blues (take 4, stopped), Jennings Farm Blues
(take 5, stopped), Jennings Farm Blues (take 6, complete), Jennings Farm Blues
(take 7, stopped), Jennings Farm Blues (take 8, stopped) [ cut ], 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).
Source: Incomplete superb soundboard recording. Near
25 minutes. Details: The recording is professionally
balanced studio board tape. Bootleg
CD Reference(s): III Sessions
(Wendy Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), The Lost Sessions Volume 6 (Empress
Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference
Master), Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions
Ultimate (Scorpio) Comments:
Led Zeppelin's manager Peter Grant at the time was quoted in the music press that
the band have "written a special number which they intended as their first
British single which they will be recording next week" for a January, 1970
release to coincide with their appearance at the Royal Albert Hall. This would
have been their first single but this, along with several throughout their career,
was scrapped and England wouldn't have a single from Led Zeppelin until 1997's
"Whole Lotta Love". What more interesting, the song was re-arranged
in the early 1970 and was re-named as Bron-Yr-Aur Stomp.
DECEMBER
13, 1969 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Final
recording of Jennings Farm Blues. Recording
Includes: Jennings Farm Blues
(rough mix of all guitar overdubs that day). Source:
Complete superb soundboard recording. Almost 6 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlnatic) Official
CD Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlnatic) Comments:
This is of what's called a final version of Jennings Farm Blues, with all guitar
overdubs etc. This mix mix is just sounds exactly the same as worked version from
November sessions but it's fully finished.
APRIL/MAY
1970 - BRON-YR-AUR COTTAGE, MACHYNLLETH GWYNEDD, WALES, UNITED KINGDOM Robert
Plant and Jimmy Page home rehearsal. Recording
Includes: I Wanna Be Her Man,
Down By The Seaside instrumental (several takes), Over The Hills And Far Away
instrumental >> Down By The Seaside instrumental, Guitar Instrumental, Over
The Hills And Far Away instrumental, Gallows Pole instrumental (several takes),
Guitar Instrumental, Down By The Seaside instrumental and with initial vocals
(few takes), Unknown Song, Guitar Instrumental (proto-Crunge), Guitar Instrumental
(few takes), Guitar Instrumental (proto-Crunge) [ cut throughout ].
Source: Incomplete excellent cassette demo recording.
Almost 47 minutes. Details: The recording is
amateur rehearsal tape. Many songs are in fact a short excerpts/medleys, severely
cut and sometimes rather hard to determine. Most of arangements varies much from
their later studio versions. Bootleg
LP Reference(s): Best Of Led Zeppelin
Vol. 1 (The Wizard's Quest Continuing Sage Records), The Final Option (no label),
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) Bootleg
CD Reference(s): III Sessions
(Wendy Records), Led Zeppelin III (Tarantura), Sessions (Antrabata Reference Master),
Studio Magik - Sessions 1968-1980 (Godfatherecords), Studio Sessions Ultimate
(Scorpio), Ultra Rare Tracks Vol. #1 (Missing Link), & Ultra Rare Trax Part
2 (Savage Beast Music) Recording
Includes: Guitar Instrumental
(take 1), Guitar Instrumental (take 2), Poor Tom (with pre-vocals line), Guitar
Instrumental (take 3), Guitar Instrumental (take 4), That's The Way (take 1),
That's The Way (take 2), That's The Way (take 3), That's The Way (take 4), That's
The Way (take 5), Friends (take 1), Friends (with pre-vocals line and count-in),
Bron-Yr-Aur (take 1), Bron-Yr-Aur (take 2), Guitar Instrumental (take 5), Guitar
Instrumental (take 6), Guitar Instrumental (take 7), Bron-Yr-Aur (take 3), Friends
(take 3), Friends (with pre-vocals line and count-in) (take 4), Bron-Yr-Aur (take
4), Poor Tom (several takes), Hey Hey What Can I Do? (take 1), Hey Hey What Can
I Do? (take 2) [ cut throughout ]. Source:
Incomplete very good to excellent cassette demo recording. 45 minutes. Details:
The recording is amateur rehearsal tape. The arrangements are almost the same
or similar to their studio versions. Bootleg
LP Reference(s): Hiawatha Express
(Stash) & The Making Of Friends (III) Bootleg
CD Reference(s): III Sessions
(Wendy Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Hiawatha Express (Condor), Hookin'
& Jabbin' (Tecumseh Recording Co.), Led Zeppelin III (Tarantura), Sessions
(Antrabata Reference Master), Stairway Sessions (Silver Rarities), Studio Magik
- Sessions 1968-1980 (Godfatherecords), Studio Sessions Ultimate (Scorpio), &
Ultra Rare Trax Part 2 (Savage Beast Music) Comments:
A wonderful piece of history here; these are the sketches for Led Zeppelin III
and besides that, are some great examples of Jimmy's acoustic guitar style. The
instrumentals are haunting and contain snippets of other songs, including Over
The Hills And Far Away, The Crunge and Down By The Seaside, and Gallows Pole as
well as Crosby Stills Nash's Suite: Judy Blue Eyes interpretation has nearly the
same arrangement it had when it was recorded and eventually released on Coda,
except Robert hums the melody. The second tape concetrates much on tunes known
from the third album and likely it was recorded few weeks after the first tape
as many songs sounds much maturated to their studio versions.
MAY
6, 1970 - MORGAN STUDIOS, WILLESDON, LONDON, UNITED KINGDOM Take 2 was
later mixed at The Sol Studio, Cookham, Berkshire, United Kingdom and released
on Coda in 1982. Recording
Includes: Poor Tom (take 1, instrumental),
Poor Tom (take 2, full mix w/vocals). Source:
Complete superb soundboard recording. 6 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda (Swan Song) Official
CD Reference(s): Coda (Swan Song) Bootleg
CD Reference(s): III Sessions
(Wendy Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), The Lost Sessions Volume 8 (Empress Valley Supreme Disc),
Sessions (Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
Another example of Zeppelin preparing studio material. In fact, this is group's
own interpretation of Robert Wilkins' Prodigal Son number. Initially, this song
was intended to be a part of third album but this was never materialized. Two
different takes, from which the one was later used on Coda album in 1982.
MAY
29, 1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Immigrant
Song is yet under its initial title, Song In F (Overlord) and Hey Hey What Can
I Do? is Hey Hey What Will I Do?. Recording
Includes: Immigrant Song (alternate
mix w/count-in), Hey Hey What Can I Do?. Source:
Complete superb soundboard recording. 6 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic), Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic), & Led Zeppelin Box Set (Atlantic) Comments:
The legendary Immigrant Song. Page counts-in the track at the beginning. The Vocals
are on the right, center and left channels in your headphones. Plant delays singing
the word "tales" (of gore). The phrase "In spite of all your losin'"
sounds rough and edgier which gives one the impression this might still be at
the 50% phase of completing the track as they might have wanted a rougher attack
in the song since we're talking about Viking warriors here who were synonymous
with raping, killing, pillaging and gore and the band wanted that mood to come
across. The ending fade out is what is radically different from the official release.
Although nice to hear, it really didn't quite work and it looks like the band
made the better choice on the official cut. Hey Hey What Can I Do is probably
group's most light and shady, warm and friendly tune they've ever composed. Initial
7" single pressings of the song featured a slightly longer, gradual fade
that ends abruptly when the tape is turned off. Subsequent pressings had a quicker
fade, presumably to avoid the sudden end. This is the version that has been featured
on every CD release prior to companion disc. The new expanded edition of Coda
features an even shorter fade, excising the acoustic guitar fadeout altogether.
It is possible that the master tape for the song has been lost or damaged and
that every CD release has been mastered from a clean vinyl re-pressing of the
45. This could explain the absence of the original, full tag on an official digital
release.
MAY
30, 1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM That's
The Way is yet under its initial title, Robert's Song (later known as The Boy
Next Door). Recording
Includes: That's The Way (rough
mix with dulcimer and backwards echo). Source:
Complete superb soundboard recording. 5 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Comments:
The mandolin in the right ear sounds very nice. A second mandolin strums in the
left ear with Page's Martin in the center and right center channel in the headphones.
What's nice about this cut is you get to hear the vocals very fine. Always wondered
how Page got the acoustics to come in vibrant after the descending "Ah ..
a .. ah .. ah .. ah's". Another nice cut that stands much close to its bootlegged
version.
MAY/JUNE
1970 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Near this date
other songs were rehearsed: Friends, Celebration Day, Since I've Been Loving You,
Gallows Pole and Bron-Yr-Aur Stomp. Recording
Includes: Immigrant Song (with
pre-vocals line), Out On The Tiles (with pre-vocals line). Source:
Incomplete very good to excellent cassette demo recording. Near 6 minutes.
Details: The recording is amateur rehearsal tape.
The arrangements are almost the same or similar to their studio versions. Bootleg
LP Reference(s): The Making Of
Friends (III) Bootleg
CD Reference(s): III Sessions
(Wendy Records), Evolution Is Timing 2 (Empress Valley Supreme Disc), Led Zeppelin
III (Tarantura), Sessions (Antrabata Reference Master), Stairway Sessions (Silver
Rarities), Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions
Ultimate (Scorpio) Comments:
These two full band electric rehearsals are fascinating to hear as the band work
on them. Immigrant Song contains the famous screeching and inaudible lyrics different
from the Viking saga the song developed into. The final studio version doesn't
have a guitar solo, but the rehearsal has one that is short and primitive. Out
On The Tiles, John Bonham's song, has the basic melody and only the chorus present
("all I need from you/is all your love").
MAY/JUNE
1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Full mixes
are almost identical to their album versions. Remastered deluxe editions of Led
Zeppelin III (released in June 2014) dated one of blues tunes (Key To The Highway/Trouble
In Mind actually) as being from June 10 so this might misdated that session as
well. Recording
Includes: That's The Way (full
mix), Feel So Bad [ cut ], Feel So Bad (<< Fixin' To Die, That's
Alright Mama..), Since I've Been Loving You (vocal track), Since I've Been Loving
You (full mix). Source: Incomplete superb soundboard
recording. 23 minutes. Details: The recording
is professionally balanced studio board tape. Bootleg
CD Reference(s): III Sessions
(Wendy Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Led Zeppelin III (Tarantura), The Lost
Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions
(Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast
Music) Comments:
That's The Way sounds identical to the final version. Feel So Bad is a medley
of blues hits played by Page on a nervous sounding slide guitar and is part of
the sessions for Hats Off For (Roy) Harper which closes the third album. Since
I've Been Loving You is the take used for the final product with the addition
of Plant screaming during the solo. This is preceded by the three-minute vocal
take of Since I've Been Loving You of which many collectors question its authenticity.
MAY/JUNE
1970 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Date speculative.
It is whispered these outtakes were found in trash. Recording
Includes: Celebration Day (pre-vocal
mix w/count-in), Hey Hey What Can I Do? (pre-vocal mix), Out On The Tiles (pre-vocal
mix w/count-in). Source: Incomplete superb soundboard
recording. 11 minutes. Details: The recording
is professionally balanced studio board tape. Bootleg
CD Reference(s): III Sessions
(Wendy Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Bonzo's Last
Stand (Empress Valley Supreme Disc), Eternal Magic (Empress Valley Supreme Disc
3CD), Evolution Is Timing 2 (Empress Valley Supreme Disc), The Lost Mixes EP Volume
3 (Empress Valley Supreme Disc), The Smithereens (Akashic, 1CD & 3CD), &
Studio Magik - Sessions 1968-1980 (Godfatherecords) Comments:
All three songs sounds similar to their album versions. The only difference is
all are pre-vocal mixes.
JUNE
1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Final take
of Since I've Been Loving You, That's The Way and vocals/string overdubs for Friends.
JUNE 3, 1970 - OLYMPIC
SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Out On The Tiles is yet under
its initial title, Bahtroom Sound. Recording
Includes: Celebration Day (alternate
mix), Bathroom Sound [AKA Out On The Tiles] (instrumental). Source:
Complete superb soundboard recording. 7 minutes. Details:
The recording is professionally balaned studio board tape. Official
LP Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Comments:
Celebration Day ... this song is a disappointment only for the fact that we still
don't know how it originally began when we learned that the beginning was wiped
off. Page's fingers get stuck in between the strings as you hear a muted sound
so this is probably an early construction. The bass is crystal clear and it's
strings sound like they are long rubber bands. Very nice. In this one, the word
"And (she wonders if they'll dig the view)" stands out more. Not only
is an electrified banjo used on the track but a slide was used on it as well.
The real treat is Bonham's drum beat was made to stand out in the track. Very
nice! Bathroom Sound is a real treat here. You get to hear the guitar and bass
very clearly on the riff where as on the official release it's not as clear as
Plant's high pitched vocals are on top. It sounds almost just like an album version
except vocals so it must be a much finished and polished take.
JUNE
5, 1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Friends
is yet under its initial title, My My Oh My and Poor Tom is Old Tom. Poor Tom
was later mixed at The Sol Studio, Cookham, Berkshire, United Kingdom. Recording
Includes: Friends (instrumental),
Since I've Been Loving You (rough mix on first recording), Poor Tom (instrumental).
Source: Complete superb soundboard recording. 13
minutes. Details: The recording is professionally
balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Friends is an instrumental take. Nice clear beginning and it does not include
Plant's "fuck" swear word at the beginning. The bongos sound very clear
and are a pleasure to hear much louder and towards the front than on the official
release. Jimmy's low guitar string is really buzzing and that means he's strumming
very hard. At 02:23 mark you can hear some strange bass notes in the mix and even
a couple of whistles. Was Plant trying to get Bonham's attention? After closer
inspection, it is actually string noise from Page's hands as he used wound acoustic
guitar strings and may have changed to flat on the official release. There is
no orchestration added to the track yet either so another fine piece. This one
is also a backing track so you can sing along! Since I've Been Loving You is a
gem on companion disc. Page's guitar is very different from the official release.
He's experimenting more and taking chances. There is no squeaky hi-hat on this
track either. The organ is cut off and subdued by Jones into short snippets. Different
lyrics such as "Baby what can I do now" occur throughout. Jones finally
lays the organ on solid and that approach works better. So this is probably a
first take. Different vocals again with "So now I'm gonna tell you what I'm
gonna do yeah". Very different. As he sings this song again on the next few
takes, the emotion of the song will come more into focus until they arrive at
the official release. A different verse of "I'm gonna stop my crying over
you yeah" was cool as was "It breaks my heart losing you darlin. Oh!
Yo!" The guitar solo here sounds similar in start to The Song Remains The
Same live movie soundtrack. The ten second "Ahhhh" was nice to hear.
"I know you don't mean me no harm baby" was nice as is the intense buildup
after the different guitar solo. This one is a real treat! Poor Tom is just an
instrumental take that highlights John Bonham's simply sensational New Orleans
shuffle throughout. Bluesy acoustic overtones from Jimmy and the harmonica is
in there at 1:38 mark.
JUNE
10, 1970 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Most likely
the band also worked on everything else known from "blues reel" during
that session - see misdated session described as being from May/June 1970. Recording
Includes: Hats Off To Roy Harper
- Key To The Highway/Trouble In Mind (rough mix). Source:
Complete superb soundboard recording. 4 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
III "deluxe" and "super deluxe" editions (Atlantic) Comments:
This last combo is the top gem as we've never heard it before. A nice blues song
with harmonica with added tremolo effect on the voice. Fine blues harp by Plant.
Nice lyric "Life ain't worth living if you ain't with the one you love".
"Trouble In Mind" begins just at the end of second minute and this combo
may have also included "Hats Off To Harper", "Fixin To Die"
as well as other blues standards. One can only wonder what other blues acoustic
standards they were toying around with at this session. What's interesting about
this combo is it's close in similarity to "Operator" by Alexis Korner
and Robert Plant.
JULY
1970 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM Recording of
Tangerine, That's The Way and Bron-Yr-Aur. Working on Gallows Pole, Hey Hey What
Can I Do? and Hats Off To (Roy) Harper. One of mixes of Bron-Yr-Aur was later
used on Physical Graffiti album.
JULY 5, 1970 - ISLAND STUDIOS, NOTTING
HILL, LONDON, UNITED KINGDOM Recording
Includes: Gallows Pole (rough
mix), St. Tristan's Sword. Source: Complete superb
soundboard recording. Almost 11 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Led Zeppelin III "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Gallows Pole is a rough mix that stands not too far away from its album version
though. The vocals on this sound muddy so this confirms it is a rough mix. There's
a cough or noise in the left ear at 00:52 mark. At the very start of the song
you can hear Plant gripping the microphone and since this is a rough mix, it was
not removed from the vocal track. When the bass comes in it's a real treat. There's
no banjo yet at "Sista I emplore ya ... take him by tha hand". No guitar
overdubs either. No "ahhhha's" yet with the rest of the band on backup
vocals. Still don't know at 4:45 mark why that vocal cuts in like it was spliced
in or the tape cut. To get that effect, did Page press a studio button to enable
it to come in that way? Nice to hear the song stop with Bonham still playing and
Page on the right. St. Tristan's Sword is a legendary tune, for years believed
it was stored in group's archives and finally released on companion disc for Coda.
This three way instrumental work out from Summer 1970 sessions is built around
a totally invigorating bass and drum pattern the bass and drum syncopation
between JPJ and Bonzo is just outstanding. Bonzo putting to good use his best
New Orleans shuffle ala Poor Tom. Enter Jimmy for a Hendrix like feast not unlike
his rampant playing on Jennings Farm Blues. At 2:18 mark it all breezes off in
another direction with a clipped guitar effect as it chugs on with yet more scintillating
Page runs in the Jennings Farm Blues tradition. There's also a bridge part that
would later to be employed on Over the Hills And Far Away. Like the instrumental
La La on the Zep II companion disc, it's hard to assess where this piece was going.
Was it a warming up in the studio flexing of the musical muscle or a backing track
being honed for the addition of Plant lyrics and vocals? It strikes everybody
as being something of an initial pool of ideas - a Led Zep studio brain storm
to see what they had and could build on. Whatever it was destined for, it's a
simply splendid example of them having a blow and what a blow this is.
AUGUST
1970 - ELECTRIC LADY STUDIOS, NEW YORK CITY (NY), UNITED STATES Final mixing
of Gallows Pole. AUGUST 18 (or) 19, 1970 - ARDENT STUDIOS, MEMPHIS (TN),
UNITED STATES Jimmy Page completes additional mixing of Led Zeppelin III.
He overdubbed finally Since I've Been Loving You and honed the album from 17 tracks
down to 10 and completed mixes. Other mixing sessions held the place on Island
Studios, Notting Hill, London, United Kingdom.
Led Zeppelin
IV Sessions November 1970 - October 1971 NOVEMBER
11, 1970 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM When The
Levee Breaks is yet under its initial title, If It Keeps On Raining.
Recording Includes:
If It Keeps On Raining [AKA When The Levee Breaks] (rough mix). Source:
Complete superb soundboard recording. 4 minutes. Details:
The tape is professionally balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Comments:
This is a simply sensational initial run through from fall of 1970 with a totally
alternate laid back swampy feel, slightly faster in tempo to the original. Robert's
vocals have a sparse low register echoed scat singing element to them, adding
to the almost soundcheck run through quality of the piece. It certainly has a
total groove of its own with pummelling bass line from JPJ, Bonzo's drumming funky
as hell with a distinctive snare drum sound fades slightly and then reappears
with Robert moaning a muted 'Going home'' refrain. In fact, this fades far
too early you really want it to go on and on, such is the delightful jam
like quality of it all.
OCTOBER
/DECEMBER 1970 - BRON-YR-AUR COTTAGE, MACHYNLLETH GWYNEDD, WALES Page and
Plant returns to cottage for more writing and recording. They began working on
Led Zeppelin IV using Island Studios. DECEMBER 1970 - ROLLING STONES MOBILE
STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Working on Led
Zeppelin IV but failed to achieve results.
DECEMBER 5,1970 - ISLAND STUDIOS,
NOTTING HILL, LONDON, UNITED KINGDOM Recording
Includes: Black Dog (basic track
with guitar overdubs). Source: Complete superb
soundboard recording. 4 minutes. Details: The
recording is professionally balanced studio board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
There's a greater emphasis on the double track vocals on the chorus and you can
here John Bonham stick count in between verses. The guitar solo that closes the
track on the official album has yet to be layered allowing the listener to hear
Robert's vocal ad libs more clearly in the mix. This accents phrases such as 'push
me baby'' and 'feels good'' to greater effect on the fade.
JANUARY
1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED
KINGDOM Continuing recording from December last year. Black Dog, Four Sticks,
Going To California, The Battle Of Evermore and When The Levee Breaks were rehearsed
and recorded.
JANUARY
29, 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED
KINGDOM In an interview, Page claimed that the companion mix of Misty Mountain
Hop derived from work done at Sunset Sound; however, the SD book, without listing
another date, gives the alternate mix as deriving from Morgan Recording Studios,
which was the location of the master mixing sessions. It's possible that Page
was mistaken in his comment and that the track actually dates to the period in
which the album was being (re)mixed in the UK. Alternatively, it's possible that
recording was done at Morgan at some point prior to final mixdown. Recording
Includes: The Battle Of Evermore
(mandolin/guitar mix), Misty Mountain Hop (alternate mix), Going To California
(mandolin/guitar mix). Source: Complete superb
soundboard recording. 12 minutes. Details: The
recording is professionally balanced board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
The Battle Of Evermore is instumental mix. Awesome to have in this quality. It
is very interesting to be able to hear the arrangement/instruments so clearly.
Towards the end it sounds like whoever was playing the mandolin got a little lost.
The only bummer is that it fades too early. Misty Mountain Hop is mix that missing
vocal overdubs. Plant is still double tracked but is missing one or two higher
vocal tracks. Everything is really clear and separate in this mix - you can hear
each instrument pretty well and the drums sound absolutely incredible. Missing
underwater effect on the vocals during the outro "ooh ooo oohs". Going
To california is again an nstrumental mix. I always thought that gasp at the beginning
was Plant. Obviously it isn't. As with every instrumental track you can hear the
arrangement/instrumentation so much clearer. For me, this version is way more
moody also.
JANUARY
30, 1971 - ROLLING STONES MOBILE STUDIO/HEADLEY GRANGE STUDIOS, HAMPSHIRE UNITED
KINGDOM/ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM Rock And Roll
is yet under its initial title, Bin A Long Time. Recording
Includes: Bin A Long Time [AKA
Rock And Roll] (alternate mix). Source: Complete
superb soundboard recording. 3 minutes. Details:
The recording is professionally balanced board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
The main thing that is noticed is that with some of the guitar overdubs removed
from the track, the main guitar riff has more of a fuzzy sound and has the feel
as if it was recorded live.. Plant is a little more behind the band; in the final
mix he's more forward.
JANURY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Likely material
recorded between December 1970 and January 1971 and mixed. It is whispered that
these outtakes were found in trash. Recording
Includes: Four Sticks (pre-vocal
mix w/count-in), drum clip, Four Sticks (full mix w/count-in), Black Dog (full
mix w/count-in), When The Levee Breaks (full mix w/o drum intro), When The Levee
Breaks (full mix w/alternate lyrics). Source:
Incomplete superb soundboard recording. 28 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): IV Sessions (Wendy
Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates
And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Bonzo's
Last Stand (Empress Valley Supreme Disc), Control Monitor Mixes EP (Watch Tower),
Eternal Magic (Empress Valley Supreme Disc 3CD), Evolution Is Timing 2 (Empress
Valley Supreme Disc), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc),
The Lost Mixes EP Volume 3 (Empress Valley Supreme Disc), The Smithereens (Akashic,
1CD & 3CD), Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio
Sessions Ultimate (Scorpio) Comments:
The variations of the final tracks that was released on the fourth album. These
are pristine quality versions of the official releases with some minor variations
in the mix. The first take of Four Sticks is instrumental and we can hear the
entire rhythm lines. The second take of Four Sticks begins with Bonham playing
the rhythm on drums, stopping and speaking about the sound being "African"
before the tune begins again. This does sound slightly clearer than the final
version found on album. Black Dog begins with the same guitar tune-ups but there
is a Bonham count-in before the vocals begin. Bonham's time keeping on the sticks
is louder and the ending of the song contains a solo that was omitted from the
final version before the fade. The first take of When The Levee Breaks begins
with inaudible studio chatter and the opening drums are missing, beginning with
the first verse. Absent also is the second verse and some guitar overdubs. The
bass and drums are louder than the final mix. The other version of When Tke Levee
Breaks has a different lyrics and sounds kinda strange and it's complete, eight
minute version.
JANUARY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Recording
Includes: Stairway To Heaven (take
1, instrumental), Blues guitar/piano improvisation, Black Dog acoustic (take 1,
instrumental), Black Dog acoustic (take 2, instrumental), drum clip, Black Dog
electric (several takes), No Quarter (with pre-vocals line), 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 1, w/vocals), Stairway To Heaven (take 2, w/vocals) [ cut throughout
]. Source: Incomplete excellent cassette demo
recording. 43 minutes. Details: The recording
is amateur rehearsal tape. Bootleg
LP Reference(s): And IV To Go
(Early Times Music Inc.), 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) Bootleg
CD Reference(s): IV Sessions (Wendy
Records), All That Glitters Is Gold (Celebration Definitive Masters), Evolution
Is Timing 2 (Empress Valley Supreme Disc), In A Workhouse (Tarantura), The Lost
Sessions Volume 9 (Eelgrass & Empress Valley Supreme Disc), Sessions (Antrabata
Reference Master & The Diagrams Of Led Zeppelin), Stairway To Heaven Session
(Empress Valley Supreme Disc), Studio Magik - Sessions 1968-1980 (Godfatherecords),
Studio Sessions Ultimate (Scorpio), Ultra Rare Tracks Vol. #1 (Missing Link),
& Ultra Rare Trax Part 2 (Savage Beast Music) Comments:
The outtakes form the fourth album, these are essential. Especially in hearing
the development of Stairway To Heaven from its shy acoustic beginnings to its
masterpiece conclusion. The first take of Stairway To Heaven and the following
three instrumental tapes feature Page on guitar and Jones on electric piano. Stairway
To Heaven is a three and a half instrumental run-through of the opening theme
played at normal speed, faster, and then returning to normal. The following jam
features Jones playing a happy theme on the keyboard and Page accompanying him
with a bouncy, catchy melody. Black Dog rehearsals are sounds as if they was recorded
on a two-track, sounding heavy with the echo. Black Dog at this stage has yet
to be fully worked out and Plant is improvising lyrics on the spot (something
he would continue to do on stage for many years, come to think of it). By the
third take, the band are clearly having difficulty mastering the difficult riff
until Jones shouts out instructions and leads the band on the bass guitar. Page,
followed by Bonham hit into a groove with Bonham shouting, "Yes!". The
final take is a very confident delivery. No Quarter is the earliest reference
to the Houses Of The Holy song, three years before its official release. Even
in this primitive state the basic melody and structure of the song is present
although it is a bit too up-tempo. Plant scats vocals and Page plays a solo before
the tape runs out. The next couple of tracks come again from the Stairway To Heaven
sessions. The first four rehearsals feature Page and Jones again working on the
breaks and tempos of the piece. The final two Stairway To Heaven tracks are joined
by Plant adding vocals to the rehearsals and Jones adding recorders at the beginning,
bring the song closer to the final, recognizable version.
JANUARY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Recording
Includes: Stairway To Heaven.
Source: Complete excellent soundboard recording.
8 minutes. Details: The recording is professionally
balanced studio board tape. Bootleg
CD Reference(s): IV Sessions (Wendy
Records), Evolution Is Timing 2 (Empress Valley Supreme Disc), The Lost Sessions
Volume 9 (Eelgrass & Empress Valley Supreme Disc), Stairway To Heaven Session
(Empress Valley Supreme Disc), & Studio Magik - Sessions 1968-1980 (Godfatherecords) Comments:
This is the most recent session from the fourth album to surface. An alternate
take of Stairway To Heaven, some have disputed its authenticity. Much of the mix
is the official release. Bonzo places different accents here and there and Plant's
vocal has no reverb effects and the guitar solo is radically different. Page has
been quoted in the past that he recorded three different solos for the song.
JANUARY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Takes 4 through
6 are recorded with Sandy Denny on back-up vocals. Two final takes were later
mixed at Island and Olympic Sound Studios and used to produce the final version
released on Led Zeppelin IV. Recording
Includes: The Battle Of Evermore
(take 1), The Battle Of Evermore (take 2), The Battle Of Evermore (take 3), The
Battle Of Evermore (take 4, uncut version of previous take w/different lyrics),
The Battle Of Evermore (take 5, vocal line edited) [ cut ], The Battle
Of Evermore (take 6, final mix version 1), The Battle Of Evermore (take 7, final
mix version 2). Source: Incomplete excellent
soundboard recording. 32 minutes. Details: The
recording is professionally balanced studio board tape. Bootleg
CD Reference(s): IV Sessions (Wendy
Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates
And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), In A Workhouse (Tarantura), Sessions
(Antrabata Reference Master & The Diagrams Of Led Zeppelin), Studio Magik
- Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
The focus of this session and what makes it still relevant even after the Scorpio
boxset (which was, at the time of it srelease, called the most complete and comprehensive
collection of band's studo works), are the Battle Of Evermore outtakes. The first
two takes are very likely taken from the same run of takes because both sounds
very similar and only difference is that the first take is mono and is cut shortly
and second is stereo and complete. Take three is a few-second fragment of the
introduction. The fouth take contains the final instrumental track and has Plant
singing lyrics, with some variations from the final version, without Sandy Denny's
contribution. It is interesting to hear Plant working out the song as he goes
along. Him singing the tune by himself sounds one-sided and bare and one can understand
why they chose to invite Sandy Denny to sing on the track. Lyrically, this take
goes (and the final version are in parenthesis): The Queen of Light took her bow
and then she turned to go / The Prince of Peace embraced the gloom to wait the
night alone / (The Prince of Peace embraced the gloom and walked the night alone)
/ The Dark Lord rides in force tonight, and time will tell us all / Side by side
we wait the might, of the darkest of them all / Oh well, the time is coming and
would it be so much to say / The people will now let go / (I hear the horses thunder
down in the valley below / I'm waiting for the angels of Avalon, waiting for the
eastern glow) / The apples of the valley hold the seeds of happiness / The ground
is rich from tender care, which they do not forget / The apples turn to brown
and black, the tyrant's face is red / The sky is filled with good and bad, the
mortals never fail / Oh well, the night is long, the beads of time pass slow /
Tired eyes on the sunrise, waiting for the eastern glow / The drums will shake
the walls of stone, the Ringwraiths ride in black / (The drums will shake the
castle wall, the Ringwraiths ride in black) / The pain of war can not exceed the
woe of aftermath / No comfort in the fires at night that lights the face so cold
/ The runes of old have reappeared to swing the tide of war / (The magic runes
are writ in gold to bring the balance back, bring it back) / And the song ends
with Plant saying, "that's it!" The other takes are all of the final
version with Denny's contribution. The first has the vocals buried deep in the
music, and the other two contain variations on the echo.
JANUARY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM The track was
later mixed at Island Studios to be a part of Physical Graffiti. The below take
was also used during initial mixing of Coda at The Sol Studio, Cookham, Berkshire,
United Kingdom in 1981. Recording
Includes: Night Flight (full mix
w/vocals). Source: Complete excellent soundboard
recording. 3 minutes. Details: The recording
is professionally balanced studio board tape. Bootleg
CD Reference(s): IV Sessions (Wendy
Records), Coda Advanced Tapes (Boogie Mama), Evolution Is Timing 2 (Empress Valley
Supreme Disc), The Lost Sessions Volume 8 (Empress Valley Supreme Disc), &
Studio Magik - Sessions 1968-1980 (Godfatherecords) Comments:
Night Flight is full mix later overdubbed and releaded on Physical Graffiti album.
This take is the official cut but lacking overdubs.
JANUARY/FEBRUARY
1971 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Recording
Includes: Unknown song listing.
Source: Incomplete silent (?) color amateur footage.
Few seconds. Details: Page in studio playing
Strat. Additional, non-music footage from the mansion is in circulation, showing
band members having fan outside the house. Bootleg
Visual Reference(s): History Lessson
(Empress Valley Supreme Disc) Official
Visual Reference(s): DVD (Warner
Music Vision) & Travelling Riverside Blues (promo video) Comments:
An extremely rare and amazing found here! The video shows Page playing on Strat,
rehearsing or composing. Only few second fragment survived but very likely more
of footage is in archives. A gem!
FEBRUARY
1971 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM Recording of
Stairway To Heaven and Four Sticks. Down By The Seaside was also recorded and
later used on Physical Graffiti album. Night Flight was overdubbed. Initial mixing
of entire album but soon after abandoned because of mastering issues.
FEBRUARY 9, 1971 - SUNSET
SOUND STUDIOS, LOS ANGELES, CALIFORNIA Mixing session of tapes originally
recorded at Island Studios, Notting Hill, London, United Kingdom on December 5,
1970. Recording
Includes: Stairway To Heaven (Sunset
Sound mix). Source: Complete superb soundboard
recording. Almost 8 minutes. Details: The recording
is professionally balanced board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
Whooah! The legendary Sunset Sound mix. The added reverb in the beginning is a
little distracting while listening on headphones, on a proper stereo it would
be fine (ambience is really nice). First major difference: the recorders are hard
cut instead of faded out at 2:13. This is a bit jarring but works with what Page
said recently about each part of Stairway having definite transitions. There is
an amazing clarity to Bonzo's drums always fascinating to hear. Immediately after
the solo, the very ending of the solo you hear Page slide down the neck. Then
there are extra guitar overdubs as well as missing vocal overdubs from Plant.
In the final album mix, Plant is double or triple tracked. In this version there's
only one track - the lower one. There's a few extra guitar licks right after "to
be a rock and not to roll" - it sounds almost like he's mimicking parts of
the solo
FEBRUARY
11, 1971 - SUNSET SOUND STUDIOS, LOS ANGELES, CALIFORNIA Recorded under
the title Boogie With Stew. Recording
Includes: Boogie With Stu (Sunset
Sound mix). Source: Complete superb soundboard
recording. Near 4 minutes. Details: The recording
is professionally balanced board tape. Official
LP Reference(s): Physical Graffiti
"deluxe" and "super deluxe" editions (Atlnatic) Official
CD Reference(s): Physical Graffiti
"deluxe" and "super deluxe" editions (Atlnatic) Comments:
Boogie With Stu is again an interesting little peak into this number. The mandolin
is more proinent in this mix where as the piano and Robert's voice sits further
back here. It fades out with no laugh as on the original.
MAY
11, 1971 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Mixing
session of tapes originally recorded at Island Studios, Notting Hill, London,
United Kingdom on November 2, 1970. Recording
Includes: Four Stick (alternate
mix w/count in). Source: Complete superb soundboard
recording. 4 minutes. Details: The recording
is professionally balanced board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
The sound quality on this one is somewhat poorer than the rest. Synth/keys during
the chorus are much more audible as is Jones' bass. This is exact same mix we
have on bootleg that leaked some time ago (minus short rehearsal at the start)
but this version is kinda differently prepared - I'd say it is a bit more worked.
Definitely one of highlights from the companion disc.
MAY
19, 1971 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM Mixing
session of tapes originally recorded Headley Grange Studios, Hampshire, United
Kingdom on Rolling Stones Mobile Studio on January 29, 1971. Recording
Includes: When The Levee Breaks
(alternate UK mix in progress). Source: Complete
superb soundboard recording. 7 minutes. Details:
The recording is professionally balanced board tape. Official
LP Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlnatic) Official
CD Reference(s): Led Zeppelin
IV "deluxe" and "super deluxe" editions (Atlantic) Comments:
This is the most rough out of all companion mixes. It shows how complex this song
really is. So many different parts and little accents that, when skillfully mixed
together, create one of Zeppelin's most atmospheric songs. So much to mention
here, you're better off listening to it on your own. This version sounds very
similar to the intro-less version we have on bootlegs. For example, the intermittent
reverse stuff which starts at 5:50 (sounds like a cow mooing) is only present
or particularly noticeable on these two. In any event they seem more closely related
to each other than to the finished version or the other full-length, faster one
with different lyrics.
OCTOBER
1971 - SUNSET SOUND, LOS ANGELES, CALIFORNIA Final mixing of Led Zeppelin
IV.
Houses
Of The Holy Sessions December 1971 - November 1972 DECEMBER
3, 1971 - ISLAND STUDIOS, NOTTING HILL, LONDON, UNITED KINGDOM
Recording Includes:
No Quarter (rough mix w/keyboard overdubs - no vocal). Source:
Complete superb soundboard recording. 7 minutes. Details:
The recording is professionally balanced board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Comments:
Another standout highlight. Instrumental mix with JPJ piano prominent - theremin
prominent and the drums crystal clear. Another well up tears moment at the point
where the expected Page solo has yet to be added and JPJ extends his keyboard
input on grand piano sounding superb. His input here has the feel of the 1973
live versions. More keyboard overdubs as it fades. An enlightening mix that highlights
John Paul Jones incredible contribution to this track. This is definitely a showcase
of the rhythm section. The guitar is even quieter the third time around, allowing
Bonzo to really come through.
APRIL
30, 1972 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Over The
Hills And Far Away is yet under its initial title, Next One. Houses Of The Holy
originally recorded at Olympic Sound Studios, Barnes, London, United Kingdom on
April 12, 1972. Over The Hills And Far Away originally recorded at Olympic Sound
Studios, Barnes, London, United Kingdom on April 16, 1972. Recording
Includes: Houses Of The Holy (rough
mix with overdubs), Next One [AKA Over The Hills And Far Away] (guitar mix backing
track). Source: Complete superb soundboard recording.
8 minutes. Details: The recording is professionally
balanced board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) &
Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) &
Physical Graffiti "deluxe" and "super deluxe" editions (Atlantic) Comments:
Houses Of The Holys is a rough mix with overdubs the guitar riff is recorded
with less compression giving it a much chunkier sound. Robert's initial vocals
have less echo and are pleasingly upfront and clear. Bonzo's cowbell is much more
pronounced in this mix. The backing vocal "oooh oooh" is also higher
in the mix and you can clearly hear a tambourine as additional percussion towards
the close. Over The Hills And Far Away has muddy sound to start. Sounds like a
couple of gens removed from the master I believe. Clears up a bit as the other
guitars come in. Still sounds like it is a gen or two removed from the master
on the main solo. The acoustic cutting back in, pasted at the end, is a bit jarring.
Pagey could mixed it up more precisely but I guess it's just a reference take
and definitely worth to listen.
APRIL/MAY
1972 - PUDDLETOWN, RIVER PIDDLE, DORSET, UNITED KINGDOM MAY 5, 1972 - WIGAN,
UNITED KINGDOM (disputed) MAY 6, 1972 - WIGAN, UNITED KINGDOM (disputed)
MAY 7, 1972 - WIGAN, UNITED KINGDOM (disputed)
MAY 15, 1972 - ROLLING STONES MOBILE
STUDIO, STARGROVES, NEWBURY, BERKSHIRE, UNITED KINGDOM/ISLAND STUDIOS, NOTTING
HILL, LONDON, UNITED KINGDOM One of vocal takes was later mixed at The
Sol Studios, Cookham, Berkshire, United Kingdom and released on Coda in 1982 -
see May 16 session. Black Country Woman was also recorded, yet under its initial
title What's The Matter Here. Recording
Includes: Walter's Walk (take
1, instrumental), Walter's Walk (take 2, full mix w/vocals), Walter's Walk (take
3, full mix w/vocals). Source: Complete superb
soundboard recording. 13 minutes. Details: The
recording is professionally balanced studio board tape. Official
LP Reference(s): Coda (Swan Song) Official
CD Reference(s): Coda (Swan Song) Bootleg
CD Reference(s): Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), The Lost Sessions Volume 8 (Empress Valley Supreme Disc),
Sessions (Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
Walter's Walk was the instrumental track recorded during the rehearsals and recording
of Houses Of The Holy. The first take is instrumental while others two have vocals.
It's interesting that Plant recorded vocals at that time for Coda and this represents
his final recorded vocal performance as a member of Led Zeppelin. It is also confirmed
that while producing Coda, only the original guitar lick was a remainder of this
session.
MAY
16, 1972 - ROLLING STONES MOBILE STUDIO/STARGROVES, NEWBURY, BERKSHIRE, UNITED
KINGDOM Mixed at The Sol Studio, Cookham, Berkshire, United Kingdom. While
producing the album, only the original guitar lick was a remainder of this session.
The rest of parts were recorded (minus the drum tracks) and finished after 1980.
Some reports says that Page also played the bass track. Recording
Includes: Walter's Walk. Source:
Complete superb soundboard tape. 3 minutes. Details:
The tape is professionally balanced studio board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Brash instrumental take, taken probably from previous day's session and smoothly
edited in the studio. It's shorter more than a minute but the clarity and instruments
separation are exceptional.
MAY
30, 1972 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM The Song
Remains The Same is yet under its initial title, The Overture (known before as
Plumpton And Worcester Races). The Song Remains The Same originally recorded at
Stargroves, Newbury, Berkshire, United Kingdom on Rolling Stones Mobile Studio
on May 15, 1972. The Crunge (originally recorded at Olympic Sound Studios, Barnes,
London, United Kingdom on April 16, 1972. Recording
Includes: The Overture [AKA The
Song Remains The Same] (guitar overdub reference mix), The Crunge (rough mix -
keys up). Source: Complete superb soundboard
recording. Near 9 minutes. Details: The recording
is professionally balanced board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Comments:
The Song Remains The Same instrumental! It's really interesting to hear all these
repeative lead parts that were significantly shortened and they have way more
impact on the original album version. Jimmy's playing is very soft on the new
lead parts and entire song has more breath if you like this. It's almost as though
he went through the song removed all the air and had Plant add lyrics in those
parts to finish the song. All in all, this alternate mix shows Page's guitar army
at his best, even if instrumental have no such impact as original album mix. The
Crunge! Bonzo's drums sound pretty punchy. Bass is also much exposed here, with
much more ambient I hear in the mix. What does it mean by "keys up"
though? Sounds like the original version. Again, it sounds a bit like it's a gen
removed. A bit of difference in the keyboard towards the end is present.
JUNE
1972 - ELECTRIC LADY STUDIOS, NEW YORK CITY, NEW YORK One of the final
mixing sessions where the band prepared tracks for Houses Of The Holy. Recording
Includes: No Quarter (take 1,
instrumental), No Quarter (take 2, instrumental w/count-in), No Quarter (take
3, instrumental), No Quarter (take 4, instrumental), [ cut ], No Quarter
(take 5, with count-in), No Quarter (take 6, with count-in), No Quarter (take
7, full mix w/vocals, overdubs and count-in). Source:
Almost complete superb soundboard recording. 25 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): Alternates And
Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Evolution
Is Timing 2 (Empress Valley Supreme Disc), The Lost Sessions Volume 6 (Empress
Valley Supreme Disc), Sessions (Antrabata Reference Master), Scorpio Rising (Akashic),
Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate
(Scorpio) Comments:
The first No Quarter opens with Bonham banging the sticks and singing Who's Pictures
Of Lily verse before Jones begins the familiar cold organ intro. This is a complete
seven and a half minute run-through without vocals or guitar solo, but with the
same timbre of the official version. The second take is thirty seconds and is
aborted by Jones with a giggle. This is followed by another attempt stopped after
twenty seconds since Jones hits a bum note. This is followed by the second full
run-through, lasting another seven minutes. Again no vocals, guitar solo or grand
piano is present, but Jones and Bonham change the rhythm during the solo. After
two more aborted takes, with Jones hitting a really nasty note, we are rewarded
with the final take of the song. This one is complete with vocals, guitar solo,
and grand piano flourishes in the solo. There are also additional effects and
guitars by Page and some Plant moans that were eventually cut out of the final
release.
AUGUST
4, 1972 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Originally
recorded at Olympic Sound Studios, Barnes, London, United Kingdom on April 12,
1972. Recording
Includes: Dancing Days (rough
mix w/vocal). Source: Complete superb soundboard
recording. Near 4 minutes. Details: The recording
is professionally balanced board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Comments:
In my opinion, this alternate version is better than the official release because
of one thing and one thing only: John Bonham. With the guitar overdubbing stripped
down, the clarity of the drums and specifically the cymbals highlights the memorizing
drum playing by Bonham. The added clarity of the cymbals breath new life into
this song! JPJ bass is also much more clear and also sounds incredible. Again,
this should've gone on the album in the first place!
AUGUST
9, 1972 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM The Rain
Song is yet under its initial title, Best One Yet. Originally recorded at Stargroves,
Newbury, Berkshire, United Kingdom on Rolling Stones Mobile Studio on May 18,
1972. Recording
Includes: Best One Yet [AKA The
Rain Song] (mix minus piano). Source: Complete
superb soundboard recording. Near 8 minutes. Details:
The recording os professionally balanced board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Comments:
The acoustic on the right channel sounds superb as does the electric on the left.
Kind of reminds me of the Unledded version in the right channel. The strings sound
superb. Drums are a perfect balance. This should've gone on the album in the first
place! I am focusing on the acoustic channel in my mind. And wait a minute! I
do hear piano! So what they've removed really? Anyway, I feel this take sounds
much more reacher in some arrangements and instruments separation is definitely
better.
OCTOBER
19, 1972 - EMI STUDIOS, BOMBAY, INDIA Robert Plant and Jimmy Page reheased
with Bombay Symphony Orchestra conducted by Vijay Ragav Rao. Recording
Includes: Friends (teaching the
tune & several takes), [ cut ], Four Sticks (take 1, orchestra only),
[ cut ], Friends (take 1), Friends (take 2, with guitar & vocal), Friends
(take 3, with guitar, vocal & orchestra), [ cut ], Four Sticks (take
2, orchestra only), Four Sticks (take 3, orchestra only), [ cut ], Four
Sticks (take 4, orchestra only) [ cut ]. Source:
Incomplete excellent soundboard recording. 48 minutes. Details:
The recording is professionally balanced studio board tape. These are multiple
takes at the start along with long tune-ups, where Indian musicians are teached
by Page and Plant the right key. The rest are semi-finished takes, never released
anywhere else. Recording
Includes: Four Hands [AKA Four
Sticks] (orchestra only), Friends (with guitar & vocal). Source:
Complete superb soundboard recording. 9 minutes. Details:
The tape is professionally balanced studio board tape. These are semi-finished
takes, somewhat polished and edited in the studio for the companion disc. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) Bootleg
LP Reference(s): The Making Of
Friends (III) Bootleg
CD Reference(s): All That Glitters
Is Gold (Celebration Definitive Masters), Alternates And Outtakes III Volume 2
(Boogie Mama), Complete 1972 Bombay Sessions (Tecumseh Recording Co.), Evolution
Is Timing 2 (Empress Valley Supreme Disc), The Lost Sessions Volume 2 (Empress
Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams
Of Led Zeppelin), The Smithereens (Akashic, 1CD & 3CD), Studio Magik - Sessions
1968-1980 (Godfatherecords), & Studio Sessions Ultimate (Scorpio) Bootleg
Visual Reference(s): History Lesson:
The Video History 1958~2016 (Empress Valley Supreme Disc) Comments:
Page and Plant recruited famous Indian musician Vijay Ragav Rao to assemble an
ad hoc orchestra comprised of both western and Indian instruments. What can be
clearly heard are both Jimmy Page and Robert Plant speaking to Rao, and Rao translating
their instructions to the musicians. The orchestra tries their best but the different
takes reveal missed cues and misunderstandings. This is the first time they tried
to interpret their musical ideas to anyone other than members of the band and
they have difficulty in explaining what they want. Rehearsals exist only for Friends,
as well as a very good final take with vocals. For Four Sticks, the other eastern
inspired tune they practice, only more polished takes without vocals exist. The
official tracks have better stereo separation and precise quality is also much
improved over bootlegs. There's also a short video clips cirulating, shwoing the
group vacationing Bombay but no music has been achieved.
NOVEMBER
16, 1972 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Originally
recorded at Olympic Sound Studios, Barnes, London, United Kingdom on April 15,
1972. Recording
Includes: The Ocean (working mix).
Source: Complete superb soundboard recording. 4 minutes.
Details: The recording is professionally balanced
board tape. Official
LP Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): Houses Of The
Holy "deluxe" and "super deluxe" editions (Atlantic) Comments:
Hmmm, no count-in. The guitar is favored over the bass throughout a bit. The solo
is mixed in but I was digging the live feel to it. More guitar overdubs... Drums
coming through crystal clear and there's the bass finally. Not a big difference
between this and album version.
Physical
Graffiti Sessions October 1973 - November 1974
OCTOBER 17, 1973 - HEADLEY GRANGE
STUDIOS, HAMPSHIRE, UNITED KINGDOM Possibly the tapes are in the hands
of the group if were not wiped. Approach any tapes or LPs/CDs that claim to be
this date with caution. Recording
Includes: Baby I Don't Care (take
1), Baby I Don't Care (take 2), Jailhouse Rock (take 1), Jailhouse Rock (take
2), One Night, Don't Be Cruel (take 1), Don't Be Cruel (take 2), The Girl Of My
Best Friend, Jailhouse Rock (take 3), Jailhouse Rock (take 4), Jailhouse Rock
(take 5), Money Honey (take 1), Money Honey (take 2), Summertime Blues. Source:
Incomplete superb soundboard recording. (Need length.) Details:
The recording is professionally balanced studio board tape. Comments:
16-track professional recording. Still not released anywhere and possibly wiped
but the track listing is very promising and telling us that the band rehearsed
heavily on 50's classics as well.
OCTOBER
25, 1973 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Recording
Includes: Sick Again (early version).
Recording: Complete superb soundboard recording.
2 minutes. Details: The recording is professionally
balanced board tape. Official
LP Reference(s): Physical Graffiti
"deluxe" and " super deluxe" editions (Atlnatic) Official
CD Reference(s): Physical Graffiti
"deluxe" and "super deluxe" editions (Atlnatic) Comments:
Sick Again is a great insight into the embryonic stages of one of most recognized
songs from group's latter period. This song might evolved from The Rover as it
gives the similarities of this version's intro and the way it was officially credited
as an intro for Sick Again later during the 1977 North American tour. Whatever
the case is this is a really interesting piece. There are a few overdubs and a
phasered guitar giving it a distinctly different and more raw feel than the studio
version, closer to is live performances that were to follow later on. All to note
the phasered guitar gives another similarity to parts of The Rover. The drumming
is different on certain parts and matches that which we heard on the rehearsal
bootleg tapes. It fades away with Page's power chord sequence and Bonham's exemplary
drumming and Page's impressive bass lines (he played bass on this track).
OCTOBER/NOVEMBER
1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Initial rehearsals
on new compositions. Recording sessions are cut short on account of Jones becoming
disillusioned with his role as a bassist of constant rigours of touring and started
to think to leave the band. Page starts working on Swan Song solo project.
NOVEMBER 1973 - HEADLEY
GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Jimmy Page solo rehearsal. Due
arrangements sometimes this session is attributed to late 1970 or early 1971.
It is possible that some of these takes were initially recorded around that time
and then overdubbed during this session. Recording
Includes: Untitled Instrumental
(several takes, some with overdubs - guitar/piano) [ cut throughout ].
Source: Incomplete excellent cassette demo recording.
Almost 43 minutes. Details: The recording is
amateur rehearsal tape. Bootleg
CD Reference(s): Evolution Is
Timing 2 (Empress Valley Supreme Disc), Physical Graffiti Sessions (Wendy Records),
Sessions (Antrabata Reference Masters), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
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.
NOVEMBER
1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Jimmy Page solo.
The date of this session is still speculative. Some of takes are supposed to be
recorded somewhere between late 1970/early 1971 and overdubbed during this session. Recording
Includes: Untitled Instrumental
[ cut ], [ cut ], Ten Years Gone (several takes) [ w/guitar overdubs].
Source: Incomplete excellent soundboard recording.
11 minutes. Details: The recording is professionally
balanced studio board tape. Bootleg
CD Reference(s): All That Glitters
Is Gold (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical
Graffiti) (Midas Touch), The Complete Bombay 1972 Sessions (Tecumseh Recording
Co.), Evolution Is Timing 2 (Empress Valley Supreme Disc), Physical Graffiti Sessions
(Wendy Records), Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio
Sessions Ultimate (Scorpio) Comments:
The first track is another unidentified composition Page rehearsed during that
time. The twelve takes of Ten Years Gone takes are just very short attempts to
perfect the complicated guitar solo and trying to match it in the right key. It
is said that Jimmy Page used some 14 guitar tracks to overdub the harmony section
on this piece, which was originally intended to be an instrumental number. Thus,
some of these could be used later on finished album version.
NOVEMBER
1973 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Jimmy Page solo.
The date of this sessions is still speculative - some sources says might be from
November 1973 to May 1974. Some of takes are supposed to be recorded on late 1970
or early 1971 and overdubbed during this session. Recording
Includes: Swan Song [AKA Midnight
Moonlight] (several takes, smoe with overdubs - guitar/mellotron) [ cut throughout
]. Source: Incomplete excellent cassette demo
recording. 61 minutes. Details: The recording
is amateur rehearsal tape. Bootleg
CD Reference(s): Brutal Artistry
(The Alternative Physical Graffiti) (Midas Touch), Evolution Is Timing 2 (Empress
Valley Supreme Disc), The Lost Sessions Volume 10 (Empress Valley Supreme Disc),
Physical Graffiti Sessions (Wendy Records), Studio Magik - Sessions 1968-1980
(Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
This is the famous lost Zeppelin epic song. It occupied Page's attention for many
years and was considered for a proposed suite about the four seasons and gave
the band the name of their record label in 1974. Abandoned by the band, it later
surfaced on the ARMS tour in 1983 as Bird On A Wing and recorded by The Firm as
Midnight Moonlight. It is an important piece of Zeppelin's history. This recording
has Page playing acoustic guitar over splashes of Mellotron. He works on themes
that have been heard onstage for years in his White Summer improvisations, and
over the hour or so he runs these themes through many different textures and variations.
Some takes are several minutes long variations of the old Yardbirds tracks.
JANUARY/FEBRUARY
1974 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM The Wanton Song
is yet under its initial title, Desire. In The Light is yet under its initial
title, Everybody Makes It Through. Trampled Underfoot is Brandy And Coke. Some
sources reports it was recorded between November 1973 through May 1974. Recording
Includes: Desire [AKA The Wanton
Song] (take 1, w/count-in), Desire [AKA The Wanton Song] (take 2), Take Me Home
(take 1), guitar/bass exercise, Take Me Home (take 2), Everybody Makes It Through
[AKA In The Light] (take 1, w/count-in), Brandy And Coke [AKA Trampled Underfoot]
(several takes, with and without count-in), Everybody Makes It Through [AKA In
The Light] (take 2, w/count-in), Sick Again, drum clip, The Rover (acoustic &
vocal only), funk-jazz rhythm exercise [AKA Hots On For Nowhere instrumental],
ABC Song (non-Zeppelin content), In My Time Of Dying (several takes, with and
without count-in) [ cuts throughout ]. Source:
Incomplete excellent cassette demo recording. 63 minutes. Details:
The recording is amateur rehearsal tape. Bootleg
LP Reference(s): Hiawatha Express
(Stash), In Through The Outtakes (White Box & Widget Recordworks), Tangible
Vandalism (TV & White Box), & White Summer (Marc & Rock Solid Records) Bootleg
CD Reference(s): Alternative Graffiti
(Celebration Definitive Masters), Brutal Artistry (The Alternative Physical Graffiti)
(Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme Disc), Headley Grange
(Immigrant), The Lost Sessions EP Volume 10 (Empress Valley Supreme Disc), Physical
Graffiti Sessions (Wendy Records), Physically Present (House Of Elrond), Sessions
(Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
This tape is a crucial document for seeing the development of songs and the album
and the songwriting talents of Led Zeppelin. The Wanton Song is much more complete
than in the 1973 sound check tape with lyrics close to the final version and plenty
of missed time signatures. The second The Wanton Song is the same descending riff
from the earlier tape capturing the band nailing down that difficult transition
with the track ending with Bonham saying "hold on, hold on". Take Me
Home has a country picking beginning before landing on a Zeppelin groove very
similar to The Wanton Song with Plant singing about someone wanting to leave or
some such. The second take reaches almost five minutes and is more of the same.
In The Light is a very early version with its original diatonic arrangement and
lyrics about singing a song of salvation. The next tracks are the band working
out Trampled Underfoot. None of the tracks is longer than three and a half minutes
and they try different tempo over Jones' clavinet melody. Following this is another
five-minute stab at In The Light, called In The Morning at this point. Sick Again
is an early rehearsal of the closing track of the album. A short acoustic version
of The Rover followed and next song is an amazing attempt to groovy jam without
the title. The ABC Song is nothing more than Robert Plant teaching his daughter
Carmen the alphabet. It has nothing to do with Led Zeppelin but, since it was
always a part of the tape, it is included here. In My Time Of Dying rehearsals
consist mostly of Page working with Bonham to get the correct rhythm down. The
one version of In My Time Of Dying is an almost complete take lasting eight minutes
and breaks down by the end. The last couple of tracks reveal some tensions with
Bonham. "You've got to have a count" he says after one take. "There's
got to be a count. It would be easy but the way Rob..." "Just do it
again and see" Page says to the drummer trying to calm him down. "Now
just a minute, Rob's vocals never come in." Page plays the riff and Bonham
responds with marching patterns on the drums before it all come crashing down
and Bonzo saying still "we gotta have a count. We'll give Robert there his
freedom and it doesn't matter what Rob does we can still do it." Plant asks,
"but where are you counting from now?" "Well I can't count where
he stops because your vocals might be different. I mean, your voice might go half
a beat and we're gonna be fucked." Plant responds: "Ah, but if you do
that it will be like 'Black Dog', it gives me time to move." Bonham shouts
back, "but the reason we did 'Black Dog' is because we counted and you did
it afterwards". Sadly, the tape cuts out.
JANUARY/FEBRUARY
1974 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM The Wanton Song
is yet under its initial title, Desire. Trampled Underfoot is yet under its initial
title, Brandy And Coke. Some sources reports it was recorded between January through
May 1974. Recording
Includes: Desire [AKA The Wanton
Song] (full mix w/count-in), Brandy And Coke [AKA Trampled Underfoot] (full mix
w/fade ending). Source: Incomplete superb soundboard
recording. 9 minutes. Details: The recording
is professionally balanced studio board tape. The Wanton Song has count-in. Bootleg
CD Reference(s): Alternates And
Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative
Graffiti (Celebration Definitive Masters), Bonzo's Last Stand (Empress Valley
Supreme Disc), Control Monitor Mixes EP (Watch Tower), Eternal Magic (Empress
Valley Supreme Disc 3CD), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc),
Physical Graffiti Sessions (Wendy Records), Studio Magik - Sessions 1968-1980
(Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
Both songs are the final mixes done possibly at Olympic Studios that appear on
Physical Graffiti but with minor variations in the mix. The Wanton Song has a
count in and is perhaps a bit more raw in the vocals than the final mix. Trampled
Underfoot has soft piano intro from Jones. There are subtle differences in the
guitar mix and additional guitar dubs in the end. This version also fades out
whereas the final mix ends with a sustained chord.
JANUARY/FEBRUARY
1974 - HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM Some sources
reports it was recorded on November 1974. Boogie With Stu originally recorded
between December 1970 and January 1971 at Headley Grange Studios, Hampshire, United
Kingdom with Ian Stewart accompaning on piano. Night Flight originally recorded
at Page's home studio and mixed at Headley Grange Studios somewhere between January
and February 1971. Recording
Includes: Ten Years Gone (several
takes, full mixes) [ cut ], Boogie With Stu (several takes, full mixes),
Night Flight (several takes, full mixes). Source:
Incomplete superb soundboard recording. 37 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): Alternative Graffiti
(Celebration Definitive Masters), Brutal Artistry II (Midas Touch), Evolution
Is Timing 2 (Empress Valley Supreme Disc), Physical Graffiti Sessions (Wendy Records),
Studio Magik - Sessions 1968-1980 (Godfatherecords), Studio Sessions Ultimate
(Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music) Comments:
This is a fragment of tape that came out from one of final mixing sessions that
were later used to create final versions released on Physical Graffiti album.
Ten Years Gone sounds almost the same as officially released track, with all overdubs
and complicated melodic lines. Boogie With Stu was not recorded at Olympic Studio
in 1974 but at Headley Grange in 1971 with Ian Stewart of the Rolling Stones on
piano and was overdubbed during these sessions and used on the album after. Night
Flight is just the same as album version.
FEBRUARY
15, 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Trampled Underfoot is yet under its initial title, Brandy And Coke and The
Wanton Song is Desire. Recording
Includes: Brandy And Coke [AKA
Trampled Underfoot] (initial rough mix), In My Time Of Dying (initial rough mix),
Desire [AKA The Wanton Song] (rough mix). Source:
Complete superb soundboard recording. 20 minutes. Details:
The recording is professionally balanced board tape. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Physical Graffiti "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Physical Graffiti "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Hearing Trampled Underfoot's rough mix is probably a more raw listening expeirience
than the final mix. Robert's voice is double tracked here, his voice is fantastic
here. The clavinet and bass probably lead the way here more than the guitar. The
guitar overdubs are less common in this version and less prominent when they appear.
It all fits together very well and is a real treat to listen to here and it was
very interesting hearing this great layered and detailed composition stripped
down further to its backbone with less production. In My Time of Dying begins
with a cleaner intro and Rob's voice is a little clearer on this. Much of the
guitar work and Robert's voice is clearer on this generally. Robert's voice is
double tracked on here too also to note at times. John Paul Jones' bass seems
higher in this mix too and sits comfortably behind a crisper slide guitar line.
When Bonham speeds the thing up Robert's voice is very much clearer than on the
the final mix. You can hear even more on this mix a real essence of the room this
was recorded in. You can really hear the live performance. Robert's voice gets
clearer towards the end. It ends with the final chord and doesn't show Bonhams's
famous verbal exchange with engineer at the end. Page later said this was because
it was companion audio. Overall this much more space and reverb on this mix yet
with Page's guitar and Robert's voice being a lot clearer. The Wanton Song has
horse alternate vocals from Robert - overall different texture to the original
with a less Leslie effects on guitar break. Playful and less rigid in structure
mainly guitar driven though the clavinet can be heard rumbling in there.
Robert's last vocal cry is slightly extended. Different take to the bootlegged
alternate take aired on the WPLJ radio station in 1975 with far superior vocal.
FEBRUARY
28, 1974 - RONNIE LANE'S MOBILE/HEADLEY GRANGE STUDIOS, HAMPSHIRE, UNITED KINGDOM
Trampled Underfoot is yet under its initial title, Brandy And Coke, Custard
Pie is Drop Down Mama and In The Light is Evereybody Makes It Through. Some
sources reports that Trampled Underfoot and Ten Years Gone from bootleg tape are
recorded on Ronnie Lane's Mobile at Headley Grange Studios, Hampshire, United
Kingdom on February 20, 1974 and Custard Pie, In The Light and Swan Song on Ronnie
Lane's Mobile at Headley Grange Studios, Hampshire, United Kingdom on February
27, 1974. Recording
Includes: Brandy And Coke [AKA
Trampled Underfoot] (normal ending), Driving Through Kashmir [AKA Kashmir] (instrumental
w/count-in), Drop Down Mama [AKA Custard Pie], Everybody Makes It Through [AKA
In The Light], Swan Song [AKA Midnight Moonlight] (take 1), Swan Song [AKA Midnight
Moonlight] (take 2). Source: Incomplete superb
soundboard recording. 32 minutes. Details: The
recording is professionally balanced studio board tape. Recording:
Everybody Makes It Through [AKA In The Light] (early version in transit), Everybody
Makes It Through [AKA In The Light] (rough mix). Source:
Complete superb soundboard recording. 15 minutes. Details:
The recording is professionally balanced board tape. These are semi-finished takes,
somewhat polished and edited in the studio for the companion disc. Official
LP Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Physical Graffiti "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Coda "deluxe"
and "super deluxe" editions (Atlantic) & Physical Graffiti "deluxe"
and "super deluxe" editions (Atlantic) Bootleg
CD Reference(s): Alternates And
Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative
Graffiti (Celebration Definitive Masters), Brutal Artistry (The Alternative Physical
Graffiti) (Midas Touch), Brutal Artistry II (Midas Touch), Evolution Is Timing
2 (Empress Valley Supreme Disc), The Lost Sessions Volume 12 Empress Valley Supreme
Disc), Physical Graffiti Alternate Trax (Tarantura), Physical Graffiti Sessions
(Wendy Records), Physically Present (House Of Elrond), Studio Magik - Sessions
1968-1980 (Godfatherecords), Studio Sessions Ultimate (Scorpio), & Swan Songs
(Tarantura) Comments:
Trampled Underfoot is another mix of the final version and Kashmir is the instrumental
rhythm track used in the final version. Custard Pie is again the final mix but
without the harmonica at the end. In The Light is a perfectly mixed polished version
of the version heard on the Headley Grange rehearsal tape. It is amazing to think
how far this version got before they scrapped it in favor of the arrangement used
on Physical Graffiti. The following two tracks are perfectly mixed versions of
Swan Song, but with no vocals. Since the band spent the time to record and mix
Swan Song in the studio, it begs the question why it was never completed with
vocals. There were some stories in the press that Page was working on a suite
based on the four seasons and this was one of them, but that project never got
off the ground. This tape got released because Plant himself gave it to someone
who passed it around and we are all fortunate to have it available to listen to
and enjoy. It is truly the greatest of Zeppelin's lost tracks and deserves an
official release, even in this form, in the future. First version of In The Light
from companion disc (Physical Graffiti) is the complete version found on the 1990s
bootleg tape. Distincly different arrangement from the original and John Paul
Jones' harpsichord keyboard sequence opening up. This later replaced by softer
drone links. Robert brings in different lyrics here such as "Sunshine brings
laughter". In this mix you can really here the feel of Headley Grange in
the drumming. Very spacious and roomy, a real listening treat. Some aspects of
this made it onto the final version too. It's to hear it sounding a lot clearer
than the 1990s bootleg. A real fascinating insight into a much over looked Zeppelin
masterpiece. The second version of In The Light from companion disc (Coda) is
much longer and much more advanced take. Opens with the familiar drone of the
original. What we have here is a mix that features the early 'Sunshine brings
laughter'' lyrics of the version of this on the Physical Graffiti companion disc
matched to Jonesy's drone links - the Elizabethan intro keyboard part having been
replaced. At 1:42 mark Jonesy applies an additional keyboard motiv going into
the chorus parts. No overdubs on the close.
SPRING
1974 - STARGROVES, NEWBURY, BERKSHIRE, UNITED KINGDOM OCTOBER (or) NOVEMBER
1974 - OLYMPIC SOUND STUDIOS, BARNES, LONDON, UNITED KINGDOM Overdubing
and mixing tracks for Physical Graffiti.
NOVEMBER 13, 1974 - OLYMPIC SOUND
STUDIOS, BARNES, LONDON, UNITED KINGDOM Kashmir is yet under its initial
title, Driving Through Kashmir. Guitar and drums are recorded on Ronnie Lane's
Mobile at Headley Grange Studios, Hampshire, United Kingdom on October 25, 1973.
Vocals, drum phasing, 12-string etc. are recorder on Ronnie Lane's Mobile at Headley
Grange Studios, Hampshire, United Kingdom on February 21, 1974. Strings, brass
and mellotron are recorded on Ronnie Lane's Mobile at Headley Grange Studios,
Hampshire, United Kingdom on November 10, 1974. Recording
Includes: Driving Through Kashmir
[AKA Kashmir] (rough orchestra mix). Recording:
Complete superb soundboard recording. 11 minutes. Details:
The recording is professionally balanced board tape. Official
LP Reference(s): Physical Graffiti
"deluxe" and " super deluxe" editions (Atlantic) Official
CD Reference(s): Physical Graffiti
"deluxe" and "super deluxe" editions (Atlantic) Comments:
This is a different look at Zeppelin's eastern anthem Kashmir. The guitar and
strings are more prominent here. At times it sounds clearer and bigger than the
original and the closing orchestral overdubs are genrally clearer. A true demonstration
of Kashmir's power as one of the most definitive progressive rock anthems ever
to have been put to tape. However, it's a shame that instrumental version didn't
leak as it could show much different perpsective on this fabulous tune.
The
Wanton Song Radio Broadcast January 1975 JANUARY
1975 - RADIO BROADCAST, NEW YORK CITY (NY), UNITED STATES Recording
Includes: The Wanton Song (alternate
take full mix) [ cut ], The Wanton Song (alternate take full mix w/DJ comments).
Source: Complete very good to excellent professional
FM broadcast recording. 7 minutes. Details: The
recording is professionally balanced studio board tape. Bootleg
CD Reference(s): All Is Afe For
Rock And Roll (Eelgrass), Alternates And Outtakes Led Zeppelin IV & Physical
Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive
Masters), Brutal Artistry (The Alternative Physical Graffiti) (Midas Touch &
Scoepio UK), Evolution Is Timing 2 (Empress Valley Supreme Disc), The Lost Sessions
Volume 12 (Empress Valley Supreme Disc), Sessions (Antrabata Reference Master),
Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate
(Scorpio) Comments:
It was never confirmed how this song found its way to the public transmission.
Definitely an outtake from which official version was made, possibly leaked out
from Eddie Kramer studo reels. Two different radio broadcast have been recorded.
The first version has no DJ comments while on the second we can hear the speaker
saying that this song is an alternate take.
Presence
Sessions October - November 1975 OCTOBER
1975 - STUDIO INSTRUMENT RENTALS (SIR), HOLLYWOOD, LOS ANGELES (CA), UNITED STATES
Other sources claims September or November. Page and Plant are joined by Bonham
and Jones for three weeks of on and off rehearsal sessions for the new album.
Recording Includes:
Royal Orleans (instrumental) [ cut ], [ cut ], Tea For One [AKA
Hootchie Kootchie version] [ cut ], Don't Start Me Talking (<< Blues
Medley, All My Lovin'..) [ cut ]. Source:
Incomplete very good to excellent cassette demo recording. Almost 8 minutes.
Details: The recording is amateur rehearsal tape. Bootleg
CD Reference(s): Bizarre (Tarantura),
Brutal Artistry II (Midas Touch), Countdown (Boogie Mama), Evolution Is Timing
2 (Empress Valley Supreme Disc), In Through The Out Door Sessions (Wendy Records),
Sessions (Antrabata Reference Master), Studio Magik - Sessions 1968-1980 (Godfatherecords),
& Studio Sessions Ultimate (Scorpio) Comments:
Presence, the band's seventh studio album, is poorly documented. Probably because
of the conditions under which it was written and recorded, no outtakes or alterntoe
mixes exist. The only circulating tape is this fifteen minute amateur recording
of the initial rehearsals in California. Royal Orleans is only a seventeen second
fragment of the opening riff. Tea For One is called the Hootchie Cootchie version.
The commercial version is a slow blues dirge, but on this tape is played at a
faster pace with Plant singing the hootchie cootchie lyrics over the plodding
rhythm. The final five minutes of the tape show the band jamming on some blues
oldies before the tape cuts out. It is valuable since this is all we have from
such a tumultuous time but doesn't really reveal all that much.
NOVEMBER
12, 1975 - MUSICLAND STUDIOS, MUNICH, GERMANY Recording
Includes: Royal Orleans (reference
mix), Hots On For Nowhere (reference mix). Source:
Complete superb soundboard recording: Near 8 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Presence "deluxe"
and "super deluxe| editions (Atlantic) Comments:
Royal Orleans start with a short count-in and hi-hat from Bonzo and we are off
for a reference mix that features a very different vocal delivery to the officially
released version. Contrary to what initially everybody thought, this is not a
John Paul Jones vocal but Robert Plant applying the lyrics in a harsh bluesy manner
which could remind Dr John. The final gruff snarl at 2:52 mark of Oh whiskers'
brings to a close a very unorthodox Plant vocal performance. Hots On For Nowhere
... both the vocal and bass are much more upfront in the mix which makes for a
grittier texture. There are no vocal overdubs on the outro section just Roberts
Oh- ho-ho' right through to a full ending after Jimmy's guitar part
as Robert adds a final Aha oh- oh- ho' phrase. Still swinging without the
overdubs.
NOVEMBER
17, 1975 - MUSICLAND STUDIOS, MUNICH, GERMANY Recording
Includes: 10 Ribs And All/Carrot
Pod Pod (Pod). Source: Complete superb soundboard
recording. Near 7 minutes. Details: The recording
is professionally balanced studio board tape. Official
LP Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Comments:
Opens with low key piano from John Paul Jones. Mournful, forlorn and reflective.
Jimmy drifts in at 2:39 mark with some minor descending electric strumming, quite
possibly courtesy of the Telecaster B bender. Behind all that there's an acoustic
guitar all very autumnal and Ten Years Gone-ish. Then John Bonham enters.
It all leads on to something of a crescendo in an All My Love outro tempo. So,
Jonesy did take the piano out of the flight case for the Munich recordings
it's emergence throws a new light on what had previously thought to be an eighteen
day frenzy of guitar, bass and drums arrangements. There was indeed some subtly
going on down at Musicland Studios and here it is. One for the theorists indeed
but one things for sure, with a suitable Plant lyric this has all the makings
of a classic Zep romantic offering in the Ten Years Gone/In The Light vein.
NOVEMBER
20, 1975 - MUSICLAND STUDIOS, MUNICH, GERMANY Recording
Includes: For Your Life (reference
mix). Source: Complete superb soundboard recording.
6 minutes. Details: The recording is professionally
balanced studio board tape. Official
LP Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Comments:
As the riff halts each time, there's a pronounced echo effect. Altogether a denser
mix. Again the overdubs are more upfront. The solo is an alternate version
the final stinging one has yet to be added. This one bends and twists on to the
canvas creeping up on the listener in the process. Always on the edge
and
essential in any mix.
NOVEMBER
23, 1975 - MUSICLAND STUDIOS, MUNICH, GERMANY Achilles Last Stand is yet
under its initial title, Two Ones Are Won. Recording
Includes: Two Ones Are Won [AKA
Achilles Last Stand] (reference mix). Source:
Complete superb soundboard recording. 10 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Official
CD Reference(s): Presence "deluxe"
and "super deluxe" editions (Atlantic) Comments:
The vocal track on Achilles is more upfront and with less echo and sheen making
for a different texture to the vocal. The stereo effect of the guitar overdubs
has a slightly different resonance. Slightly alternate overdubs in the mix here
and there are also present. The whole track leading to a more defined jangling
Page finale, just like on 1977 tour.
NOVEMBER
29/30, 1975 - MUSICLAND STUDIOS, MUNICH, GERMANY Final mixes of Presence.
Bonzo's Montreux
Sessions September 1976 SEPTEMBER
9, 1976 - MOUNTAIN STUDIOS, MONTREUX, SWITZERLAND Page produces Bonzo's
Montreux and also plays A.R.P. synthesiser and guitar on the track.
SEPTEMBER 12,
1976 - MOUNTAIN STUDIOS, MONTREUX, SWITZERLAND Page produces this song
and also plays A.R.P. synthesiser and guitar on the track. One of below takes
was later mixed at The Sol Studio, Cookham, Berkshire, United Kingdom and released
on Coda in 1982. Also, part of it was mixed in May 1990 at Atlantic Synclavier
Suite in New York and spliced with Moby Dick from Led Zeppelin II and then released
in 1993 on Led Zeppelin Boxed Set 2. Recording
Includes: Bonzo's Montreux (mix
construction in progress), Bonzo's Montreux (take 1, full mix), Bonzo's Montreux
(take 2, full mix). Source: Complete superb soundboard
recording. 13 minutes. Details: The recording
is professionally balanced studio board tape. Official
LP Reference(s): Coda original
and "deluxe" and "super deluxe" editions (Atlantic & Swan
Song) Official
CD Reference(s): Coda original
and "deluxe" and "super deluxe" editions (Atlantic & Swan
Song) Bootleg
CD Reference(s): Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), In Through The Out Door Sessions (Wendy Records), The Lost
Sessions Volume 8 (Empress Valley Supreme Disc), & Studio Magik - Sessions
1968-1980 (Godfatherecords) Comments:
The second and third takes are known for years and both are very similar takes
later used to produce final mix for Coda album in 1982. The first take in progress
is newly surfaced alternate take from companion disc that reveals similar but
not the same track lines to the original version - syn drums are clearer in the
mix, the hi-hat is very clear towards the finale, there's less effects on the
treated parts and a shout from Bonzo is present at the close. Overall, all three
takes shares only minor differencies.
In
Through The Out Door Sessions May 1978 - February 1978 MAY
1978 - CLEARWELL CASTLE, FOREST OF DEAN, GLOUCESTERSHIRE, UNITED KINGDOM Carouselambra
is yet under its initial title, The Epic. Some reports says that Page brought
Shake My Tree riff to the band but only Bonham was interested and nothing developed. Recording
Includes: Fire [AKA Say You Gonna
Leave Me] [ cut ], [ cut ], The Epic [AKA Carouselambra] (take 1),
The Epic [AKA Carouselambra] (take 2), [ cut ], The Epic [AKA Carouselambra]
(take 3), The Epic [AKA Carouselambra] (take 4) [ cut ]. Source:
Incomplete very good to excellent cassette demo recording. 17 minutes. Details:
The recording is amateur rehearsal tape. Bootleg
LP Reference(s): The Complete
Outtakes And Rehearsals (Swan Song) Bootleg
CD Reference(s): Bizarre (Tarantura),
Brutal Artistry II (Midas Touch), Evolution Is Timing 2 (Empress Valley Supreme
Disc), In Through The Out Door Sessions (Wendy Records), 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 Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate
(Scorpio) Comments:
An excellent snapshot of the band in another tumultuous time. Reconvening in a
secret location after the death of Plant's son Karac and the cancelling of the
rest of the US tour in 1977 (along with plans to tour Europe, Japan and South
America), this amateur recording shows the band "saying hello" to each
other again and attempting to formulate their future sound. Fire [AKA Say You
Gonna Leave Me] sounds like the starting section of an aborted epic masterpiece.
Bonham heavy drumming, Plant's wailing and Page's abstract soloing are unheard
fascinating and makes one which they actually finished the piece. The four takes
of Carouselambra are dominated by Jonesy on the keyboards.
OCTOBER
13, 1978 - EZYHIRE STUDIOS, LONDON, UNITED KINGDOM Rehearsing Carouselambra,
In The Evening, All My Love (then under working title Hook) and Wearing And Tearing.
NOVEMBER 1978
- POLAR STUDIOS, STOCKHOLM, SWEDEN Carouselambra is yet under its initial
title, The Epic and Southbound Saurez is Southbound Piano. Recording
Includes: The Epic [AKA Carouselambra]
(take 1, instrumental), untitled fragment, Wearing And Tearing (w/count-in), Fool
In The Rain (take 1, w/count-in), Hot Dog, In The Evening, Southbound Piano [AKA
Southbound Saurez], Darlene (w/count-in), Fool In The Rain (take 2, w/count-in),
The Epic [AKA Carouselambra] (take 2, with vocal) [ cut throughout ].
Source: Incomplete excellent soundboard recording.
58 minutes. Details: The recording is professionally
balanced studio board tape. Bootleg
LP Reference(s): 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) Bootleg
CD Reference(s): All My Love (Tarantura),
Evolution Is Timing 2 (Empress Valley Supreme Disc), In Through The Out Door Sessions
(Wendy Records), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions
Volume 4 ( Empress Valley Supreme Disc), Sessions (Antrabata Reference Master),
Studio Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate
(Scorpio) Comments:
The first take of Carouselambra is the instrumental track used for the final mix
without vocals. This is the last of Zeppelin's great epics and incorporates new
wave and disco elements within a bombastic idiom that only Zeppelin could pull
off. This sounds brighter than the final version and doesn't end in a fade out.
Wearing And Tearing was going to be a special EP to commemorate the Knebworth
concerts but was scrapped and wouldn't be released until 1982's Coda. This is
the final version of the piece with a count-in by Bonham and additional Plant
interjections throughout the song. Fool In The Rain begins with a count-in from
Bonham. And Plant, referring to the Latin flavor of the song, shouts "quartro!"
There is an additional "oh yea" by the beginning but the whistle, Plant's
vocals in the bridge and guitar solo are missing. Hot Dog is the same as the final
version except with the guitar solo missing and Plant throwing in funny interjections
like "that's my kind of music" and "c'mon Mr. Philips you can do
it again". In The Evening sounds dull and fuzzy compared to the others. Since
it has the vocals, guitar solo and vocal and guitar overdubs this is the final
product but has a drone introduction rather than the one used for the final take.
The second Carouselambra begins with a snort and giggle and contains the final
take of the lyrics.
NOVEMBER
1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN Carouselambra is yet under its
initial title, The Epic. All My Love Is The Hook and I'm Gonna Crawl is Every
Little Bit Of My Love. Recording
Includes: drum segment, The Epic
[AKA Carouselambra] (drum track) [ cut ], Ozone Baby (drum track #1), Ozone
Baby (drum track #2), The Hook (drum track), Wearing And Tearing (drum track)
[ cut ], Every Little Bit Of My Love [AKA I'm Gonna Crawl] (drum segment)
[ cut ], Fool In The Rain (drum track) [ cut ]. Source:
Incomplete superb soundboard recording. Near 29 minutes. Details:
The recording is professionally balanced studio board tape. Bootleg
CD Reference(s): Bonzo's Last
Stand (Empress Valley Supreme Disc), Coda Advanced Tapes (Boogie Mama), Eternal
Magic (Empress Valley Supreme Disc 3CD), Evolution Is Timing 2 (Empress Valley
Supreme Disc), In Through The Out Door Sessions (Wendy Records), The Lost Sessions
Volume 4 (Empress Valley Supreme Disc), & Studio Magik - Sessions 1968-1980
(Godfatherecords) Comments:
These tracks are drum mixes of versions later used on In Through The Out Door
album. Stellar quality, you hear a drum's 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 let's out a "fookin' ell" right before Fool
In The Rain and it's a joy to hear.
NOVEMBER
14, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN All My Love is yet under its
initial title, The Hook. One of Ozone Baby takes was later mixed at The Sol Studio,
Cookham, Berkshire, United Kingdom and released on Coda in 1982.
Recording Includes:
Ozone Baby (take 1, full mix w/vocals) [ cut ], [ cut ], Ozone Baby
(take 2, full mix w/vocals) [ cut ], The Hook [AKA All My Love] (full mix).
Source: Complete excellent to superb soundboard
recording. Almost 14 minutes. Details: The recording
is professionally balanced studio board tape. The All My Love has better quality. Official
LP Reference(s): Coda (Swan Song) Official
CD Reference(s): Coda (Swan Song) Bootleg
LP Reference(s): The Complete
Outtakes And Rehearsals (Swan Song) & Studio Sessions Ultimate (Scorpio) Bootleg
CD Reference(s): Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), In Through The Out Door Sessions (Wendy Records), In Through
The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley
Supreme Disc), The Lost Sessions Volume 8 (Empress Valley Supreme Disc), Studio
Magik - Sessions 1968-1980 (Godfatherecords), & Studio Sessions Ultimate (Scorpio) Comments:
Ozone Baby are just two compact and already finished takes with different endings.
Very sadly, no one is complete though and there's no big difference from the Coda
version. All My Love is one of the greatest outtakes from these sessions to emerge.
It begins with giggling and tuning before Jones counts the band in. After an abrupt
stop and another giggle, the band begins again. There is a deeper drum sound than
on the final version but the vocals are the same. This version is missing the
trumpet fanfare solo in the middle and unlike the version on In Through The Outdoor
comes to a stop instead of a fade. What is chopped off is some of Page's most
lyric and sublime playing on record. It is well known that he and Bonham didn't
care for this song, but it is a mystery why the final edit chose to omit these
beautiful and delicate riffs.
NOVEMBER
15, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN Southbound Saurez is yet under
its initial title, Southbound Piano and All My Love is The Hook. Recording
Includes: In The Evening (rough
mix), Southbound Piano [AKA Southbound Saurez] (rough mix), The Hook [AKA All
My Love] (rough mix). Source: Complete superb
soundboard recording. 17 minutes. Details: The
recording is professionally balanced studio board tape. Official
LP Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Comments:
In The Evening. An epic song. Alternate effects on the drone intro which recalls
the live Knebworth arrangement giving it a more Eastern in feel. A much cleaner
vocal track with less echo this really adds a new majesty to the piece.
The guitar is also mixed higher. On the slowed up refrain with Jimmy's guitar
effects, this mix allows you to clearly hear Jonesy playing that beautiful flute
like keybaord motiv that could be heard on the live versions. His bass playing
is also exemplary. Moving into the finale the outro sounds very live and pure
all in all, this rough mix is a total joy. Southbound Saurez mix has the
piano right to the fore and the solo from Jimmy is much more prominent. Overall
this mix highlights how much is going on here with the vocal overdubs and stomping
piano adding to the busy nature. A once underrated track that will command deserved
renewed attention now. All My Love ... not too much to report here - a cleaner
vocal track is noticeably. However this is not the much bootlegged Monitor Mix
and therefore does not have the extended fade out and full ending. This mix fades
as the original version. Shame the long ending was not retained.
NOVEMBER
16, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN One of below takes was later
mixed at The Sol Studio, Cookham, Berkshire, United Kingdom and released on Coda
in 1982. Recording
Includes: Darlene (take 1, full
mix w/vocals), Darlene (take 2, full mix w/vocals). Source:
Complete superb soundboard recording. 9 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda (Swan Song) Official
CD Reference(s): Coda (Swan Song)
Bootleg
CD Reference(s): Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), In Through The Out Door Sessions (Wendy Records), The Lost
Sessions Volume 8 (Empress Valley Supreme Disc), & Studio Magik - Sessions
1968-1980 (Godfatherecords) Comments:
Another two compact album mixes, differs in minors only.
NOVEMBER
17, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN All My Love sessions.
NOVEMBER 21, 1978
- POLAR STUDIOS, STOCKHOLM, SWEDEN One of below takes was later mixed at
The Sol Studios, Cookham, Berkshire, United Kingdom and released on Coda in 1982. Recording
Includes: Wearing And Tearing
(take 1, full mix w/vocals and count-in), Wearing And Tearing (take 2, full mix
w/vocals and count-in). Source: Complete superb
soundboard recording. Almost 11 minutes. Details:
The recording is professionally balanced studio board tape. Official
LP Reference(s): Coda (Swan Song) Official
CD Reference(s): Coda (Swan Song) Bootleg
CD Reference(s): Coda Advanced
Tapes (Boogie Mama), Different Mixed Coda (POT), Evolution Is Timing 2 (Empress
Valley Supreme Disc), In Through The Out Door Sessions (Wendy Records), The Lost
Sessions Volume 8 (Empress Valley Supreme Disc), & Studio Magik - Sessions
1968-1980 (Godfatherecords) Comments:
And another two album mixes of possibly groups' most punk-ish song ever! The difference
is instruments separation.
NOVEMBER
22, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN Recording
Includes: Fool In The Rain (rough
mix), Hot Dog (rough mix). Source: Complete superb
soundboard recording. 9 minutes. Details: The
recording is professionally balanced studio board tape. Official
LP Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Comments:
Not too many differences on Fool In The Rain - the solo is slightly clearer and
more up front in the mix and generally the guitar effects are more pronounced
behind Robert's vocal. Bonzo is brilliant throughout of course. Hot Dog is a much
more punchier mix with the harmonised vocals sounding less harsh. Bonzo's rimshots
at the end of the chorus are more to the fore. Overall this zips along with renewed
gusto there are some minor extra parts to be heard on the solo. Jonesy's
final piano sign off motiv at the close is slightly cleaner in the mix.
NOVEMBER
23, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN Carouselambra is yet under
its initial title, The Epic and I'm Gonna Crawl is Every Little Bit Of My Love
(also known as Blurt, Blot or I Could Crawl). Recording
Includes: The Epic [AKA Carouselambra]
(rough mix), Every Little Bit Of My Love [AKA I'm Gonna Crawl] (rough mix).
Source: Complete superb soundboard recording. 16
minutes. Details: The tape is professionally
balanced studio board tape. Official
LP Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Official
CD Reference(s): In Through The
Out Door "deluxe" and "super deluxe" editions (Atlantic) Comments:
On this mix of Carouselambra, the guitar is the lead instrument with the synth
work further back in the mix. Bonzo is also more to the fore. The link into the
slowed down sequence at 4:10 mark has Jimmy's guitar runs chiming away with increased
clarity. At 6:45 mark there's a double track vocal effect on the 'I heard the
word I couldn't stay ... another day' line. The vocals are slightly higher in
the mix but not radically so. The fade out has differing nuances from JPJ's GX1
synth have improved separation with the synth effects echoing away. I'm Gonna
Crawl is less sheen on the vocal here and the solo is more upfront - highlighting
the sheer brilliance of something of an underrated performance which will now
enjoy rightful acclaim. Jimmy's solo is just exquisite.
DECEMBER
19, 1978 - POLAR STUDIOS, STOCKHOLM, SWEDEN Guitar overdubs and the final
mixes midway through the final week of sessions for the In Through The Out Door.
FEBRUARY 1979 - POLAR STUDIOS, STOCKHOLM, SWEDEN Final mixes for In
Through The Out Door, in January they had ten tracks mixed and ready to release.
Final
Rehearsals June - September 1980 JUNE
2, 1980 - NEW VICTORIA THEATRE, LONDON, UNITED KINGDOM Some sources says
the band rehearsed at Rainbow Theatre between April 29 - May 4 first and then
moved to New Victoria Theatre between May 5 - May 12. Recording
Includes: The Train Kept A Rollin',
Out On The Tiles Intro >> Black Dog, In The Evening, The Rain Song, Hot
Dog, All My Love, Trampled Underfoot, Since I've Been Loving You, [ cut
], White Summer, drum/guitar clip, White Summer (<< Black Mountain Side..)
>> Kashmir, Achilles Last Stand (take 1), Achilles Last Stand (take 2),
Stairway To Heaven. Source: Almost complete excellent
soundboard recording. 78 minutes. Details: The
recording is professionally balanced studio board tape. Only second part of rehearsal
is in general circulation, taken from higher gen copies. Bootleg
LP Reference(s): The Final Option
(no label), 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) Bootleg
CD Reference(s): 1980 Rehearsal
(Empress Valley Supreme Disc), Bonzo's Last Stand (Empress Valley Supreme Disc),
Eternal Magic: Full Rehearsals 1980 (Empress Valley Supreme Disc), Evolution Is
Timing 2 (Empress Valley Supreme Disc), The Last Rehearsal (Missing Link), The
Lost Sessions Volume 11 (Empress Valley Supreme Disc), Sessions (Antrabata Reference
Master), Strange Tales From The Road (no label), Studio Magik - Sessions 1968-1980
(Godfatherecords), Studio Sessions Ultimate (Scorpio), & Tour Over Zurich
(Wendy Records) Comments:
On this tape are the epic numbers that were included in the set list on Zeppelin's
final tour. White Summer, which by July would sound wandering and incoherent,
sounds pretty good here, as do the two takes of Achilles Last Stand. Stairway
To Heaven, which Plant hated by this point, sounds stale. He said they used to
do a reggae version in rehearsals which would be great to someday hear.
SEPTEMBER
25 - BRAY STUDIOS, BRAY, BERKSHIRE, UNITED KINGDOM Final rehearsal of the
group. After few attempts the band suggested to move rehearsals for the next day
because John Bonham was drunk. The next day he was found dead and the band had
decided not to rehearsing anymore.
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