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.