Good evening. I said good evening. That's a bit better. Well it's ah, we've been in California a little while, but let me tell you, it's, this is the place. This is the one, yeah. Tonight, we intend ah, to have, these are the last three gigs on our American tour and so we intend them to be somewhat of a very high point for us, and that can't be really achieved, obviously we really don't achieve that without a little bit of vibe, which I can already feel, and a few smiles. We intend to take a musical crossection of the work that we got together over the last six and a half years. A little touch of this, a little taste of that, a little toot of this, a little blow of that, and I suppose that if we were to call it a journey, we start by looking ahead.

Thank you. A gram is a gram is a gram. Well since we saw you last um, there have a been a few developments in the camp and a few camps in teh development. Bonzo decided not to have the sex change afterall, and ah, we got a new album out. Two very relavent points. Physical Grafitti finally made it to the shops. ah We intend to play you some of the tracks from it tonight. This is the first one. It's ah, comes from way way way back. A long long time ago.

Devil or Angel you breaking my heart. Right now um, over the period of time that we've had the pleasure of being able to come and play in most any country that we felt like. We took advantage to travel to spots and places in the globe, and on the globe, and on the face of the earth that people don't normally go, right? Places where the red light still shines for two rupees. Places where there's a magical feeling in the air, rather like Paul Rogers bedroom when he takes his shows off, and we found that whatever happens, wherever we go, we find people, and develop rapports with these people, and sooner or later, we have to boil it down to the fact that The Song Remains the Same.

So when we found that our bicycle clip was caught in our sockm we immediately set about doing something about it. This is very much the reason why we intend to feature Mr. John Paul Jones again on the mellotron. A rather cheap nasty improvised version of an orchestra, but ah, unfortunately with the tax and overheads, we can't afford to take an orchestra with us anymore. This is a song from Physical Grafitti ah, a song that I think that is becomming and maturing more and more as time goes on. It's called Kashmir.

Well that was a new one that seems to be stretching out a little bit more every night. This one is not quite so new, this next piece. It once again features John Paul Jones ah, keyboard man extraordinaire. John Paul Jones keyboard man extraordinaire. This is a very serious song. a song that reflects on some of the negative possibilities of ah, of a journey of the future, of tomorrow. It's called No Quarter.

John Paul Jones grand piano. Behind us we see that there is a little bit of basc carpentry being carried on. It's an arts and crafts center, this stage, tonight. It's a bit of carpentry here, a nail being knocked into wood. Throughout time the medium of blues music, and the use of a car has been used to sydicate the connection betweeen the human body and the motions of a car, right? You know, the old blues singers used to talk about their terraplane blues and something similar to squeezing lemons and things like that, which takes us back a bit. I still got the lemon mind you. This is something along those lines. It's not squeezing a lemon so much as gunning down on gasoline, and pistons, and Trampled Underfoot.

A four legged friend, he'll never let you down. Ladies and gentlemen, at the front of the stage right now, Elvis Pressley's right hand man, Billy Miller. You went down like a ton of bricks Bill. Treat me like a fool. It's our great pleasure, you can sit down again if you like, thank you very much. It is our great pleasure now to feature one of the finest precussionists in the band today. Maybe the greatest drummer ever to sit on this rostrum with us tonight. The mighty Mekon from Kidderminster, John Bonham. Moby Dick.

John Bonham. John Bonham. John Bonham. John Henry Bonham. Moby Dick. John Bonham. One of the finest drummers, probably the finest drummer that we've ever had. John Henry Boham, a childhood friend. What a wonderful drum solo, and what a wonderful head job in the dressing room, too much. Thank you Ahmet Ertegun. Well, as you can tell, we're more than elated to be in California again, and that I say from the bottom of my boots, really it's been great being here, although we really haven't been outside the hotel rooms too much, but there's plenty to do inside, as you can imagine. So let me tell you we tried to say in teh beginning that ah, we wanted, was that diarhea? We tried to say in the beginning that we intended to give you a crossection of the, of the music that we got together. So we should take you right back to the first day that we got

together in a little room. I can see you all there. In a tiny small room we got together and I think that this was probably about the first thing that we had a go at, apart from the secratary.

Jimmy Page guitar. Thank you very much. We really enjoyed that ourselves actually. We'd like to, we are in fact, it's not a case of liking, we are determined to give you just one more pastel shade of what we've been managing to get together. This is for all our English friends who've arrived in the, at the continental Riot House. This is for the foundations of the Continental Riot Houses, and this is for you people here who've made this a good gig.

Thank you very much. We've had a great time. See ya. Good evening. Thank you. It's been a great pleasure, and we intend to finish it in true Zeppelin style, OK?

Forum, Inglewood, Hollywood. It's been too much. You've been fantastic, fantastic. Good one.

Ladies and gentlemen, children of the sun, good night.