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https://www.youtube.com/watch?v=TTFQlb1FWDE
The sound on this video is much better than what it actually sounded like in the venue that night, or so I've heard from people who went to the show and thought they were attending a motorcross event by mistake. The Kingdome had horrible acoustics for music, especially before they re-tiled the ceiling.
Sadly FORD was too young to make this gig, so I've only seen & heard the boots.
The Fish Rape Concert
No wonder a misogynist like slave FORD here would post such a vile video.
Sadly as much of a freak that I am of Zep. This tour was the beginning of the end for them live. Page was a mess. The set list was bloated with all the, I guess you would call epic songs. Page never got back to good form until the a first Firm tour. And his sound was completely different by then. I have a million Zep boots on c.d. and DVD. My favorites are all the 75 soundboards. The band is still tight and playing stuff off of their best album. I have this on DVD. And the Destroyer c.d. from Clevland 77. But they don't get much play. Especially this. Other than a few songs it's pure slop. Why bother when the band was so killer live on earlier tours ? I did enjoy the Copenhagen c.d.s I have from 79. The band sounds great. They were the warm up shows for Knebworth. The only 4 shows the played that year. The first Knebworth show is solid. The 2nd one a week later stunk basically. I guess Page decided the first show was solid so he celebrated before the next show ? He was sloppy as hell. A few 80 shows were o.k. But.........Quote:
Originally Posted by FORD
I love Zep, but when I got that show (along with Earl's Court and Knebworth) in a boot trade, it was literally a serious endurance test to get through that 1977 Seattle concert.Quote:
Originally Posted by 78/84 guy
It's like, here's a few songs, then a 15 minute piano solo, then a few more tunes and an acoustic set, then a 15 minute guitar solo, then a couple songs, then a 25 minute drum solo...yeesh.
Just a lot of stop/start with no sense of pacing...I mean, the show was...what? Upwards of three hours?
Zurich was pretty good far as the 1980 Europe shows went.
We think a lot alike. Zurich was the very 80 show I was thinking of. The 77 tour was a big mess. It had a few good moments show wise. Clevland that I mentioned is solid. Even with the mile long guitar & drum solos, but yeah. It was bloated. They stripped down the 80 tour.Quote:
Originally Posted by Terry
Seems to me the challenge of Zeppelin tours is to find one where Page & Plant are both at the top of their game. Percy is singing great here, Jimmy is sloppier than the salmon at the Edgewater Inn on the solos. Put on another bootleg show from 73 or so and Jimmy's solid, but Plant sounds like he just had a tonsilectomy without anasthesia.
Sort of like another band we all know in their tours of the last decade :(
Yeah, they were no Bananarama.
The Cleveland '77 show was - I think - the one that has been traded for decades as the 'Destroyer' Zep show...yeah, THAT one WAS pretty solid far as that tour went, performance-wise.Quote:
Originally Posted by 78/84 guy
The lengthy piano/guitar/drum solos on the '77 tour just bloated those shows and killed momentum. Has to be, what, perhaps 45 minutes of solo bloat that could have been either jettisoned or severely pared down and let the shows run for a little over 2 hours instead of closer to 3.
The band were smart on the 1980 Europe tour cutting that stuff down the minimal lengths. If a band can't get it done in 120 minutes, another 60 on top of it usually isn't helpful. About the only show I've seen that clocked in close to 3 hours and remained fairly effective was the Stones in 1989, and that also had the massive stadium production, fireworks at the end and a set list chock full of iconic Stones songs...and even THEN I think the show could have stood to have dropped maybe 3 or 4 lesser tunes that didn't stand up against the others (unless one considers Dirty Work's Harlem Shuffle and the Steel Wheels material to be right up there alongside Sympathy For The Devil).
But, yeah, that 1980 Zurich show demonstrated the band in energetic form, one song after another in fairly brisk fashion: listening to Trampled Underfoot and Achilles Last Stand from that gig, the band were still able at that late date to focus and deliver powerful stuff when they applied themselves.
♪ ♫ ♬ ♭Paige is your venus!Quote:
Originally Posted by Kristy
He's your fire, your desire! ♪ ♫ ♬ ♭
It would have been interesting to hear the follow up album to In Through The Outdoor. I don't hate it but....... Page took a back seat on that one. Probably because of his drug use. I remember him saying in an interview Bonham & him talked about wanting the next album to be heavier. I really enjoyed the bonus disc for Outdoor on the remastered disc. It was really great sounding stuff. The way it was mixed. It had some balls too it.Quote:
Originally Posted by Terry
I don't hate In Through The Out Door, either...however, as you said, "but"...Quote:
Originally Posted by 78/84 guy
Like, lyrically, ITTOD is one of the most relatable Zeppelin albums for me, because for the bulk of the songs Plant is singing about depression, loss and renewal. Far more relatable than songs about fucking groupies, or Middle Earth fantasy-laden lyrics.
Musically...well, I will say at least the band were still willing to push the envelope and pursue new musical avenues (In The Evening, Fool In The Rain, Carouselambra, All My Love), rather than just serve up Physical Graffiti Part 2. But...yeah, Page DID have a somewhat diminished role on that record, to the point where it was almost as if he was making special guest appearances when the guitar solos came around...and this was his own band!
Yeah, a follow-up to ITTOD would have been interesting, although from appearances during that period, if Bonham hadn't died when he had it could have as easily been Page who died around that same period. By the time 1979 rolled around, Page was a fucking mess. And it was beginning to affect his ability to play and write. In a lot of ways, Page never really came back as strong as he was circa 1975 after his subsequent half-decade heroin binge...both as a player and a composer. I mean, it wasn't an accident that John Paul Jones stepped up on ITTOD as a composer, with the result being that many of the tunes are centered around the keyboards: Page was probably too fucked up to come up with as many ideas as he used to.