Good evening. Well, we had a really good one last night. I don't know whether anybody was here, but ah, what we intend to do is try and get it better every night. So, with your, only with your cooperation can we do that, and you know what I'm talking about. You can't put it into words, and it doesn't get any cooler. Now that was silly. This is a track about ah, I suppose it's about you, and me, and, and, everybody. You've probably written one just the same. Over the Hills and Far Away.

Thank you. Another point to be made before we start taking the building into the stratosphere is that ah, we must eradicate the firecrackers because that is no longer clever. ah This is, now don't forget that will ya? You up there with the glasses. This is something that , what happens about ah, quite often in England when you mix with the wrong company, who've got flowers in their hair. It's called Misty Mountain Hop.

Jimmy Page guitar. At the end of my career, I should be able to give a television program on how to keep roses, but now as that, as that's about a kiss away ah, it's out of the question. ah This is a , this is a track from the album that took so long to find a title for, from Houses of the Holy. There's no need to get excited. Keep it cool. This is ah, featuring John Paul Jones on what's left of a synthesized piano. This is another story about a journey, a sinister journey this time, that we all have to go down. It's called No Quarter.

John Paul Jones on piano. This is ah, this is another new one, a newish anyway. It's about, I suppose it's a relation of what happened after we left here on the last tour, and we went to Japan, Hong Kong, Bangkok, Bangkok, Madras, Bombay, Quwait, and I got some good hashish too, but I'm never advocating a thing like that. This is just a vibe that we picked up on the way about people in general. It's got nothing to do with, everybody starts taking a picture when you say hashish. This is called The Song Remains the Same.

Good evening. I forgot to tell you that we tried to go to Cairo, but the phones were all off the hook, and we couldn't even get through. Can I hear voices? I knew I was going insane ah, yeah. Amongst the melee, in 1968, we managed to meet in a tiny little room, not half the size of this stage, and we all looked at each other in the facem and we all reckoned that we got somethign to do, that we hadn't quite done properly before. ah A lot of balling, a lot of boogying, but this.

Thank you very much. Here's soemthing that ah, was written about four years after the last piece that we did. ah If we keep going out on tangents like this, good lord.

Thank you. Thank you very much. That was ah, most encouraging of you. Thank you. Right, this is something with as much ah, I've said it before, I think I said it last night, but I think it's relevant. As far as the concentration goes, this is something with as much power, emotion, and sweat. Our precussionista man I've known most of my life. On drums, John Bonham. Moby Dick.

John Bonham. John Henry Bonham. You appreciation, John Bonham. Take a bow. Take a bow. Right.

Mala cum salaam. Good night New York. ah Dare I say it? Good evening. This is ah, another track from Houses of the Holy. It's, it's ah, our friend John Henry's big chance at a count in. Yes, far out.

We done four already, but now we're steady, and then they went hoochie coo one, two, three, four, hoochie coo.

Good night New York