Good evening. No, I said good evening. Right, now that's the sort of communication level we intend to continue for about the next three hours. We don't want no energy draughts, right? If there's an energy crisis, that's not so good. We intend to, I don't know whether anybody was here last night. That's four, one, two, three, four. Well, we intend to do ah, we intend to try and cut across the spectrum of music, and the variety of music that's kept us ah, creating during the last six and a half years. Right through, right the way through, all the moods, all the different aspects of our music, and some of the new stuff of course too, but this is something that, this is a song that relates to, I don't know, this is a song that relates to life, I suppose.

So, so we finally managed, after about another year, or whatever it was, to, to get together, or rather to get other people to get together what we had recorded, and put into the shape of an album called Physical Grafitti, which according to the business side of things seems to be, seems to have sold more than ten copies so far this week, and ah, we're very grateful, and happy about it too, and we're gonna do some of the tracks from it tonight. This is the first one. It's really, I suppose um, goes back to the basics of all blue music, back to the negro chains, and back to the garden.

Well, I don't know who was swinging the pick to that. A long time ago that was what went on, so they say. Anyway, more recently um, the decadent capitolist hippies have been running around the world, sowing their wild oats, and having a really good time, which develops sort of a permanent smile on your face, you get that? You know what I mean? In our travels, we found that things ain't really as bad as all that. That there's a lot of hope and there's a lot of good folk, and there's a lot of good other things that end in oak. In fact, we found that where ever you go, in fact The Song Remains the Same.

Remember one of these? Well here we are for a second night in Dallas, and um, last night, last night we had to um, we had to instill upon you that life still existed on the planet. Tonight we instill upon you that John Paul Jones still exists on the planet, and in so doing, we'd like to feature one of the new things from Physical Grafitti, which features John on the famed, and constantly going out of tune, mellotron. This is a track about a journey through to the east. Any journey to the east really deserves noting down. This is one journey. It's called Kashmir.

Was that satisfactory? See, we really don't know if we can't hear ya, you know what I mean? I trust you can hear us. So, well, once again we ah, we move on to another sort of vibe that ah, we've come across in our mental musical travels. Once again it features the fingers of John Paul Jones. Tha magic fingers of John Paul Jones. They used to be mushrooms, but they turned into fingers. This is another track about a journey, right? Everything, as you walk in, as you walk out, as you go to sleep, as you move on down the road. This is a journey that's a little bit ah, it's called No Quarter.

John Paul Jones piano. Fender Rhodes and Grand piano/ We like to take you on these little sort of excursions of, of finer points. It's better than raving it up all the time cause you can do that until it comes out of your ear holes, you dog that? Right, but here is something that does ah, intend to change the mood of things a bit. It's the story about a motor car, and I think, if anybody was here last night, they'd remember how I was explaining about the thrusting of the valves, and the pushing of the motor. Just generally, all those wonderful things that cars do. IT's called Trampled Underfoot.

Thank you very much. Come to me for service every hundred miles. Baby let me check your points, fix your overdrive. Doctor, ah, we gonna um, we gonna , we gonna, we gonna present to you one of the most robust, strongest men, without a leotardm in show business. The only man who's so strong that he doesn't even need to wear one to prove it. The man who can go for hours without stopping, but he's a lousy lay. LAdies and gentlemen, our precussionist, John Henry Bonham. Moby Dick.

Let's hear it for John Bonham. John Bonham. John Bonham. Voted second to KAren Carpenter in the Playboy poll, John Bonham. We'd like to say what a great pleasure it's been being back in Texas um, even if me and Pagey have been flying to New Orleans every night, but tonight, who knows? What ever happened to the butterqueen? She got cheap and got margarine instead. um Anyway, apart from the sporting side of the business, we have attempted to ah, to use our brains a little bit, and ingenuity, and get some good tunes together for you. This is one of the very first ones. When we were, when we , he can't believe it, can he? When we were just infants in the game of rock.

Jimmy Page guitar. Thank you. That was, that was a number that was written um, nearly seven years ago. Yes, who'd believe? The musical progressions and the changes in key signatures, and, and time signature, and so on, as you can understand, change every night, which is the reason we dig playing it so much. Can you believe that? It's really nice to break away from the bounds of normal musical, you know some times there are certain things that hold you back like melodies, but when these gentlemen start, what can I say? Well one thing that can be said is that Dallas is still pretty hot, and that we've done two nights here, and one on Ft Worth, one in Houston ah, one at the penitentiary, one at the museum, and this is how we go out.

Good evening. I said good evening.

Dallas. Dallas. Thank you. John Bonham, John Paul Jones, Jimmy Page amd Fred Astair.