Saturday, June 15, 2019

Led Zeppelin - 1975-03-24 - The Forum, Inglewood, CA (Soundboard)

Led Zeppelin
March 24, 1975
The Forum
Los Angeles, CA

The Night Stalker / EVSD

01. Rock And Roll
02. Sick Again
03. In My Time Of Dying
04. The Song Remains The Same
05. The Rain Song
06. Trampled Under Foot
07. Stairway To Heaven
08. Whole Lotta Love
09. Black Dog

Wednesday, May 22, 2019

Led Zeppelin - 1977-05-22 - Fort Worth, TX (Texas Hurricane / EVSD)

Led Zeppelin
May 22, 1977
Tarrant County Convention Centre
Fort Worth, TX 

Texas Hurricane
EVSD 737-739

101. The Song Remains The Same (6:33)
102. The Rover / Sick Again (7:06)
103. Nobody's Fault But Mine (7:33)
104. In My Time Of Dying (13:42)
105. Since I've Been Loving You (9:05)
106. No Quarter (21:47)

201. Ten Years Gone (12:05)
202. The Battle Of Evermore (6:44)
203. Going To California (5:49)
204. Black Country Woman (1:42)
205. Bron-Y-Aur Stomp  (1:17)
206. White Summer / Black Mountain Side (5:30)
207. Kashmir (10:34)

301. Out On The Tiles  / Moby Dick (27:27)
302. Guitar Solo (10:56)
303. Achilles Last Stand (10:40)
304. Stairway To Heaven (12:38)
305. Whole Lotta Love (1:23)
306. Rock And Roll (5:44)
307. It'll Be Me (4:32) (with Mick Ralphs)

Led Zeppelin’s concert at the Tarrant County Convention Center during their North American tour in 1977 has circulated with three distinct audience sources. The earliest CD versions, Polished Performance 1977 (Pot), Song Of The South (Capricorn), and Unbooted (Tarantura) were all incomplete, coming from a single source and contained only about an hour from the end of the show. It’ll Be Zep (Silver Rarities), Complete Tarrant Concert (Wendy) and Jamming With Mick Ralphs (Empress Valley) all use mixes of the three audience sources to present the longest possible version of the show.
Zeppelin collectors have been truly blessed with the plethora of soundboards that have been slowly leaked over the last decade and we can now add Fort Worth 1977 to the fold. This is another excellent soundboard with a fairly even mix between the instruments similar to the other boards from 1977. The recording has a heavy feel in the low end (good for Jones and Bonham) and Page’s guitar sounds a little crunchier/fuzzier than normal.

Led Zeppelin was a little over a month and a half into their tour and “The Song Remains The Same” sounds very tight. Sometimes Zeppelin needed a couple of tracks to warm up before hitting full stride but tonight they get into it quickly. Plant addresses the audience after “Sick Again” and the band rolls into the first track from the new album, “Nobody’s Fault But Mine”. The start of “In My Time Of Dying” is stopped and has to be started again due to Jimmy’s guitar cutting out. This is a great version with the simple exception of a near train wreck during the coda. Page starts playing a few bars behind the rhythm section and it is rather hilarious at how long they go on before finally reconnecting. “Since I’ve Been Loving You” redeems with some nice “light and shade” moments and they all turn in some fine English blues. “No Quarter” is typically excellent with great interplay between the musicians and during John Paul Jones’ lengthy piano solo they break into a loose version of “Nutrocker” which keeps up the excitement. Page has some magical moments in his solos.

Disc two starts off with Jones on his triple neck acoustic. We are now able to hear the complete “Ten Years Gone” and “The Battle Of Evermore” which were sadly missing from the audience sources all these years. Jimmy’s execution of the main solo in “Ten Years Gone” is very nice.

The 1977 tour featured a long four song acoustic set and Plant offers a “cross-section of the acoustic stuff that we’ve done…trying to break the name of heavy metal” as he puts it. He talks of the border struggles in English history before “The Battle Of Evermore” adding “and I believe you Texans had a bit of trouble with that too”. He describes “Going To California” as more American than English and throws in “it must have been a Yellow Rose” in reference to the “flowers in her hair”. “Black Country Woman” runs non-stop with “Bron-Yr-Aur Stomp” which is unfortunately cut after only 1:17 and in return misses the first minute and a half of “White Summer” as well. “Kashmir” storms across the stage and is interesting as Bonzo throws in a couple extra fills in a few spots even though the Mellotron sounds slightly out of tune in places.

During Plant’s extended introduction of John Bonham, Page perfectly plays the opening lick to the “Heartbreaker” solo and clearly rouses the audience before the “Out On The Tiles” intro (It sounded so good it even got me excited). “Over The Top” is definitely the best way to describe this, Bonzo’s playing is monstrous from the start and he continues for a staggering 25 minutes or so. The electronic trickery during the tympani section sounds like a motor speedway at times. Page’s guitar solo follows. I have always found the effect he uses very noisy and the solo very boring up until the violin bow section. Perhaps you had to be there.

Page has some trouble with his tuning in “Achilles Last Stand” but he does his best to mask it. Bonzo is on fire again here but it is not enough to keep it from being a mere average performance. “Stairway”, on the other hand, is epic on every level and Page has a nice solo break before bringing the main set to a close.

“Whole Lotta Love” (featuring a prominent backing vocal from Jimmy) makes its tour debut tonight. It is used as a brief intro to “Rock And Roll” where Bonzo teases the drum intro many times before committing. If this isn’t enough, the band returns for a second encore and feature a cover of Jerry Lee Lewis’ “It’ll Be Me” with Mick Ralphs from Bad Company on second guitar. A rare Zeppelin moment.

Friday, March 01, 2019

Led Zeppelin - 1975-02-28 - Baton Rouge

Led Zeppelin 
February 28, 1975
Louisiana State University
Baton Rouge, Louisiana

Rampaging Cajun, 3cd by Empress Valley (#EVSD-534/535/536)
source: soundboard recording

101. Rock And Roll
102. Sick Again
103. Over The Hills And Far Away
104. In My Time Of Dying
105. The Song Remains The Same
106. The Rain Song
107. Kashmir

201. No Quarter
202. Trampled Underfoot
203. Moby Dick

301. Dazed And Confused
302. Stairway To Heaven
303. Whole Lotta Love
304. Black Dog

The second leg for Led Zeppelin’s tour in 1975 started on February 27th in Houston, but no tape is in circulation for that concert.  Baton Rouge is the second date and has been in circulation thanks to one of the best audience tapes from the era.  Rampaging Cajun on Eelgrass is the first release of an excellent quality, nearly complete soundboard recording. 

Like the other soundboards from this tour, it has remarkable depth and liveliness in contrast to the rather dry professional tapes from other eras.  There is good mix between the vocal, drums and guitar and the audience reactions to the music is clearly heard.  Some of the minor imperfections are some distortion at the beginning of “Rock And Roll” due to high volume overload of the bass and a drop in the guitar during “Sick Again” starting at the 0:52 mark.  Crackling is audible during the rocking part and ending of “The Rain Song,” some static where the volume runs too high on Bonham’s drums and Plant’s comments before “No Quarter” are missing.

Despite the imperfections this is one of the better soundboards to surface from this tour and offers another perspective on what is a very strong show. 

Zeppelin took close to a two week long break after concluding the first half of the tour on February 16th in St. Louis.  They started off the second half in much better health and with much more confidence than the first, setting a high standard in their performance.  The show starts off with “Rock And Roll” and the new song “Sick Again” before Plant explains the program for the evening, speaking about the “cross-section of musical color that we’ve managed to get together in the last six and a half years. Some old stuff, some new stuff, some cool, and some pretty raunchy stuff too. So hang on to your heads.”

A groove is reached with “Over The Hills And Far Away” where the guitar solo sets the precedent for continued experimentation by Page later on in the tour and “In My Time Of Dying” is the first announced song from Physical Graffiti, “that’s just it’s finally been … the egg has been laid .. or it it the guy who got laid?”  “Kashmir” is another and is dedicated to “quite a few people who passed our way. Mr. Royston, who’s travelling with us, Mr. Harold, who’s travelling with us, and many other folks who’ve given us inspiration from time to time.”

“No Quarter” is the first epic and is changed somewhat from the first leg.   John Paul Jones played the electric piano during the solo in the early dates, but now switches to grand piano.  One can assume the first such arrangement was in the previous show in Houston, but Baton Rouge is the earliest tape with this.  This version is very confident with an economic delivery and concise ideas from Jones making this one of the more effective performances from the tour.

“Trampled Underfoot” follows which Plant describes as “about a motor car, but as you people know, the guys who used to sing the songs back in the thirties, like ‘Terraplane Blues,’ and things like this, they used to sing about a motor car, but all they were talking about was boogying, you see? Does anybody know anything about boogying? … So this is an English version of the southern yazoo delta boogy song.”

The second long epic of the night is twenty-five minutes of “Moby Dick” featuring “the man with a bicycle clip caught in his sock, the greatest percussionist since Big Ben, John Bonham.”  The showpiece of the set is “Dazed And Confused,” lasting thirty-five minutes long and featuring CSNY’s “Woodstock” in place of Scott MacKenzie’s “San Francisco.”  Page attempts several unique riffs during the long improvisation.

“Stairway To Heaven” closes the show and Plants has a long, strange speech where he calls Led Zeppelin “just a fun bunch of boys” who “really intend that every gig that we do should be really, we really intend to have a good time every time we play. Otherwise, you’d understand that we wouldn’t be on the stage anymore together. It wouldn’t be true, you know what I mean? True, true, true, true, and if what you’re doing you don’t do with conviction, then you’re lying to yourself, right? So I wish we could all join hands and sing this together, but as there ain’t enough room, here it goes.”

Page expended much energy in “Dazed And Confused” and delivers a sloppy version the closing track.  He hits a few bum notes during the verses and can seem to generate many new idea in the solo.  The encores include the first long theremin solo as a link between “Whole Lotta Love” and “Black Dog” which will be greatly expanded in a few weeks time to include “The Crunge.”  Page again delivers a painful to listen to solo in the final song “Black Dog.”  Plant thanks the audience and says, “I’m gonna smoke such a sweet cigar. Good night Baton Rouge.”

Thursday, February 14, 2019

Pink Floyd - 1972-04-15 - Hollywood, FL (Moon Over Ocean - Golden Eggs 55/56)

Pink Floyd
April 15, 1972
Hollywood, FL 

101. Speak To Me
102. Breathe
103. Travel Sequence
104. Time
105. Home Again
106. Mortality Sequence
107. Money
108. Us And Them
109. Any Colour You Like
110. Brain Damage
111. Eclipse

201. One Of These Days
202. Tune Up
203. Careful With That Axe Eugene
204. Tune Up
205. Echoes
206. Set The Controls For The Heart Of The Sun

In a review of Pink Floyd’s concert in Atlanta, Georgia on April 18, 1972, local hip underground newspaper The Great Speckled Bird had this to say, “Pink Floyd is one of the few bands, perhaps the only one now, to maintain the integrity of electronic and psychedelic music, primarily because of their inventiveness.” The key word in there is inventiveness. The creation of Dark Side Of The Moon is most certainly the step forward in musicality and songwriting that really took Pink Floyd from cult act to mainstream Rock super-stardom. In my mind that’s why I enjoy the 1972 concert recordings so much. Who else would come out and play 45 minutes of new music that was not yet studio recorded? In fact it was not yet even ready, the band was continuing to flesh the piece out night after night. This year long gestation would allow the band to produce one of the most fluid pieces of music in the history of the medium.

This brings us to the latest release from the Golden Eggs label, a performance in Hollywood, Florida. There are two recordings that circulate for this date, the first and most complete was released some six years back on the Florida 1972 (Budgie 001/002) title. The recording is virtually complete, only missing the final song. The second recording features the tail of Dark Side and the entire second set. This new Golden Eggs title uses both recordings to present the complete concert. The first recording is easily very good, all instruments and vocals can be clearly heard and is very atmospheric. The tape sounds a bit distant and there is a bit of tape hiss present but this only adds to the warmth of an analog recording. The second recording was probably a bit closer to the stage and has more tape hiss with a more muddied sound yet clear enough that all instruments can be heard.

The audience is not settled as the performance begins, you can hear some sort of altercation between two attendees near the taper during Breathe, the band is not settled either. Based upon the liner notes, The Floyd did not like playing the concrete and metal buildings as it made it difficult to achieve the sound they liked. Dave is a bit rusty and flubs a line in Breathe but as they move into The Travel Sequence they hit a groove, the taper makes a mic placement adjustment and one can settle in and properly enjoy the performance. This recording picks up the sound effects nicely, the clocks come through clearly and get a small round of applause. Really like Nick Mason’s drumming in the song, very busy at the beginning and during the solo spot, his drums are captured well in the recording and even get a bit of punch to them at times. The Mortality Sequence is really dense, almost like a sensory overload, one could imagine having partaken in certain substances and hearing this in its quadraphonic glory, the voices, the animals…

The cash register sounds distant and Roger starts the iconic bass riff to Money with zero fan fare, typical for this time in history but boy how things would change (no pun intended). The song is well received, yet the audience seem to be getting restless, as the quiet beginning of Us And Them is playing, conversations are happening and the distant sounds of fireworks can be heard. Brain Damage and Eclipse are very strong and bring an end to the piece, the assorted lunatics in the hall give a nice ovation.

The blowing winds soundscape seems to get the audience moving and inspires them to clap along with One Of These Days as they settle in. The band plays a blistering version of the song, fast and corrosive and quite pleasing. The restless crowd talk and holler during the three minute tune up, Roger intros the piece as “This is an oldie, it’s called Careful With That Axe, Eugene…it’s got a very quiet beginning”. The tuning is our first taste of the second recording, the splice is seamless. Mason’s steady beat is interjected with sporadic fast cymbal work, Wright uses a swishing like soundscape sounding like someone trying to shush Eugene’s inner demons. Great scream, great jam afterwards and another patch from 6:49 to 7:23, as the song quiets back down, Richard plays a nice little flourish on the organ, very subtle. Another quick tune up patch for the tune up, the crowd is again restless at the beginning of Echoes as there was no real applause as the song begins, although once settled they get into it and it receives the biggest ovation of the evening. A twelve and half minute version of Set The Controls For The Heart Of The Sun is the final song, the crowd near the second taper are more well behaved and in tune with the Space Rock.

The packaging is beautiful, Hollywood, Florida is in the southern part of the state and is nestled between Ft. Lauderdale and Miami on the picturesque Eastern shore. The label uses band photos superimposed over a moonlit shore with a blue hue and a full moon, very visually pleasing. The inner jacket folds open to reveal liner notes from the Fish Bowl Swimmer. Golden Eggs has not only done justice to the performance but also the tapes themselves by presenting them in a naturally sounding fashion.

Wednesday, February 13, 2019

Led Zeppelin - 1975 - Throwing The Wild Seeds (Nassau Coliseum 1975 Complete Tapes)

Led Zeppelin

Throwing The Wild Seeds
Nassau Coliseum 1975 Complete Tapes
The Godfather Records

Led Faces Over Coliseum
February 13, 1975 
Nassau Veterans Memorial Coliseum
Uniondale, NY

101. Stage Introduction (1:43) 
102. Rock And Roll (3:50) 
103. Sick Again (6:22) 
104. Over The Hills And Far Away (8:35) 
105. In My Time Of Dying (11:39) 
106. The Song Remains The Same (5:33) 
107. The Rain Song (9:06) 
108. Kashmir (9:58) 
109. No Quarter (19:17) 

201. Trampled Underfoot (9:10) 
202. Moby Dick (26:36) 
203. Dazed And Confused (41:28) 

301. Stairway To Heaven (15:27) 
302. Whole Lotta Love (5:53) 
303. Black Dog (8:37) 
304. Communication Breakdown (with Ron Wood) (8:14) 

The tape begins with the usual announcement of "the American return of Led Zeppelin." The crowd erupts as Rock and Roll crashes into motion. Page shreds through the guitar solos during Sick Again. As the song ends, Plant tells the crowd "tonight we are feeling good," and it shows. Page solos wildly as Bonzo and Jones hold down a funky groove during Over the Hills and Far Away. In My Time of Dying is outstanding. There is a slight cut near the beginning of The Song Remains the Same. There are some minor speed fluctuations during an otherwise excellent performance of The Rain Song

No Quarter is absolutely fantastic. Jones's dramatic piano solo is followed by a flawlessly epic guitar solo from Page. An amazing performance, one of the best thus far. Before Dazed and Confused, Plant tells the crowd "we got together a long time ago in a little tiny room, couldn't afford a big room... and one of the first things that we did made up our mind to stick together... and this was it." The San Francisco interlude is hauntingly beautiful, one of the best iterations of the piece thus far. The band is absolutely on fire during the marathon guitar solo/workout section, led by Page's maniacal, lightning-fast soloing. He once again includes the riff from Walter's Walk briefly before a slight cut in the tape. The Mars, The Bringer of War section is utterly devastating. The forty-one minute epic reaches its climax with the blistering outro jam. A stellar performance, quite possibly the best thus far. Undoubtedly the longest and most complex.

Whole Lotta Love is played nearly complete for the first time this tour. The frenzied theramin freakout is linked nonstop with the Out on the Tiles intro to Black Dog. Page shreds erratically through the guitar solo. As the band returns to the stage, Plant introduces "a good friend of ours, Mr. Ron Wood!" joking "we're going to have a happening." He hints at Roll Over Beethoven before introducing Communication Breakdown as "an old Led Faces number." Page and Wood trade licks during a fantastic funky breakdown leading up to the frenzied finale. A phenomenal performance. Must hear.

Few Hours With St. Valentine
February 14, 1975 
Nassau Veterans Memorial Coliseum
Uniondale, NY

101. Stage Introduction (1:45) 
102. Rock And Roll (3:50) 
103. Sick Again (7:09) 
104. Over The Hills And Far Away (9:29) 
105. In My Time Of Dying (12:05) 
106. Since I've Been Loving You (9:31) 
107. The Song Remains The Same (5:29) 
108. The Rain Song (9:46) 
109. Kashmir (9:33) 

201. No Quarter (23:45) 
202. Trampled Underfoot (9:46) 
203. Moby Dick (21:49) 

301. Dazed And Confused (37:03) 
302. Stairway To Heaven (16:40) 
303. Whole Lotta Love (6:06) 
304. Black Dog (7:48) 
305. Heartbreaker (10:25)

The band's final night in New York begins with a brief soundcheck before Rock and Roll explodes out of the gate. Plant sings about "the New York queens" during Sick Again. The thunderous rhythm section pummels the crowd as Page blazes through the guitar solos. The combined onslaught threatens to destroy the taper's equipment. As the song ends, Plant tells the crowd "today is one of the last of the pagan traditions that is carried on into the twentieth century, it's the day for... sewing wild seeds" before dedicating the show to Saint Valentine himself.

Prior to Over the Hills and Far Away, Plant announces "we intend to take a knife and cut right through the glorious ice cream of Led Zeppelin and give you a little bit of vanilla, a little bit of chocolate, a little bit of color, a little bit of everything." He mentions Swan Song for the first time before In My Time of Dying, which includes some great slide work from Page. Plant tells the crowd "there's a lot of numbers that we haven't done for such a long time that we've nearly forgot them, but there's a few people that we see here night after night... and so, for those people, we're gonna play you somethin' and who knows what it's gonna sound like!" before the first appearance of Since I've Been Loving You since 7/29/1973. The band seems a bit hesitant at first, warming up as the song progresses. Page is especially subdued, unsure if his injured finger can take the strain. As the song ends, Plant announces "despite our depleted physical forms, we intend to shake this building," adding "and as you're fully aware, we can't shake this building by ourselves."

The Song Remains the Same is somewhat disjointed with both Page and Plant getting a bit lost early in the song. Kashmir is introduced as "one that the regulars who come here every night know quite well." Plant delivers a strong performance, having regained control of his voice. As the song ends, Page makes a brief reference to Train Kept a Rollin'. No Quarter is fantastically epic. The climax of the instrumental section is explosively chaotic. An excellent performance. Page is on fire during Trampled Underfoot, soloing wildly at every opportunity with Bonzo close behind. A blistering performance, the best thus far. A large portion of Moby Dick is missing from the tape.

Plant dedicates Dazed and Confused to "all the people who've been good to us in New York." Page solos wildly during the lead-in to the bow solo, getting the band into a frantic jam prior to the hauntingly beautiful San Francisco interlude. Unfortunately, there is a cut in the tape during the heavy section, leaving us near the beginning of the bow solo. Page is absolutely on fire during the guitar solo/workout section. His fingers fly across the fretboard as Bonzo and Jones race along at top speed. As the song ends, Plant hints at Tangerine before admitting he's forgotten the words. Stairway to Heaven is introduced as "a song that supersedes our wildest dreams." There is a cut in the tape just as Page begins an excellent guitar solo. The theramin freakout during Whole Lotta Love is surrounded by a funky jam. As the band returns to the stage, Plant tells the crowd "we'd like to thank you for New York being New York." Heartbreaker is preceded by a heavy jam with references to Ricky Nelson's If You Can't Rock Me. The a cappella solo is followed by an impromptu rendition of Elvis Presley's A Mess of Blues. Page shreds through the fast guitar solo. Bonzo gets lost during the final verse, resulting in a unique stop-start arrangement. An incredibly loose performance.

Armed with a new double album, Physical Graffiti that would be in stores soon, Led Zeppelin prepared  for their much anticipated 10′th US tour.  The tour was to be broken into two legs following two European warm-up shows in Brussels and Rotterdam.  In keeping  with rock shows of the day, this tour was to be much more grandiose, incorporating a massive  light  show and laser bean effects for Jimmy’s violin bow solo during Dazed and Confused. And, for the very first time Bonzo and his drum kit were perched high atop a riser.

The first leg of the tour was plagued with ill health. Jimmy injured a finger which forced him to develop a new “3 finger” technique. This also meant that Dazed and Confused would  be put on the shelf, only to be replaced by How Many More Times.  Robert had the flu, and ongoing voice  issues while  Bonzo struggled with stomach problems. John Paul Jones  it seemed was the only member of the band to remain healthy throughout.

Songs from the new album that were added  to the setlist were Sick Again, In My Time Of Dying, Kashmir and Trampled Underfoot, with Kashmir quickly becoming one of the highlights of the show.  As Plant would often mention during the  shows, the  set list had been constructed to highlight a broad cross section of material from the groups six and a half years.

After what I consider to be the best show of the tour to that point at Madison Square Garden on February 12′th, the band must have been feeling quite good about themselves as they set up camp for two shows at the Nassau County Coliseum in Uniondale New York.

The February 13′th show was very good. By this time, Dazed and Confused was back in the set list as Jimmy’s finger problems appeared to be much less problematic.  This show is historically notable  due to the fact that Rolling Stone Ron Wood joins the band during the Communication Breakdown encore. For fans that are used to seeing Jimmy handle all the guitar work , it is interesting to see the interplay between the two of them as they both take rather long solos.  February 14′th was another energetic and forceful performance despite Robert struggling with his voice again in the early going. Highlights on this night were the inclusion of Since I’ve Been Loving You into the set as well as John Paul Jones at his improvisational best during No Quarter.

Soundboard tapes for the February 14′th show have circulated for quite some time already and have been released by various labels. The big excitement though was the discovery of the soundboard from February 13′th which surfaced only just recently. With this discovery, Godfather Records saw the perfect opportunity to package both these  superb shows into a single deluxe box set.

As for the sound quality, that is always a very subjective thing from one listener to the next, so speaking for myself only, I feel this release does contain the best available  sound and is very close to rivaling an official release. I’m not an audio engineer so I can’t give you the details of what Godfather have done to the sound, but trust me…it sounds good!

Never one to disappoint on the packaging front, Godfather has created another visually appealing box set. Enclosed in the outer box are two trifold cardboard cases, one for each night, as well as two miniature tour posters and a beautifully illustrated 18 page booklet.

If you have always been a fan of the New York shows as I have this box set will make a wonderful addition to your collection. Both visually and aurally  stunning it gets high marks from me.

Tuesday, February 12, 2019

Led Zeppelin - 1975-02-12 - New York City (40th Anniversary Edition - EVSD)

Led Zeppelin
February 12, 1975
Madison Square Garden
New York City, NY

Flying Circus - 40th Anniversary Edition 9CD Box
Empress Valley Supreme Disc

Audience and Soundboard Matrix

01. Rock And Roll
02. Sick Again
03. Over The Hills And Far Away
04. In My Time Of Dying
05. The Song Remains The Same
06. The Rain Song
07. Kashmir

01. No Quarter
02. Trampled Under Foot
03. Moby Dick

01. Dazed And Confused
02. Stairway To Heaven
03. Whole Lotta Love
04. Black Dog
05. Heartbreaker

Stereo Audience Source

01. Rock And Roll
02. Sick Again
03. Over The Hills And Far Away
04. In My Time Of Dying
05. The Song Remains The Same
06. The Rain Song
07. Kashmir

01. No Quarter
02. Trampled Under Foot
03. Moby Dick

01. Dazed And Confused
02. Stairway To Heaven
03. Whole Lotta Love
04. Black Dog
05. Heartbreaker

Stereo Soundboard Source

01. Rock And Roll
02. Sick Again
03. Over The Hills And Far Away
04. In My Time Of Dying
05. The Song Remains The Same
06. The Rain Song
07. Kashmir

01. No Quarter
02. Trampled Under Foot
03. Moby Dick

01. Dazed And Confused
02. Stairway To Heaven
03. Whole Lotta Love
04. Black Dog
05. Heartbreaker

Led Zeppelin’s February 12th Madison Square Garden show is among the most famous shows the band every gave. This is due to its long history of unofficial releases dating back to the days of vinyl using one of the all time best audience recordings ever to surface. The soundboard recording surfaced in 2002 several months after the release of the complete Earls Court boxset which had a previously unknown soundboard tape for the final night.

When Flying Circus (Empress Valley EVSD-185/186/187) was released, it was the first complete soundboard to surface for the American tour that year and caused considerable excitement. In contrast to the dry soundboards from the 1973 tour this had the depth and balance of an official release and many speculated this was a final mix by Eddie Kramer. In the subsequent years soundboards have surfaced for both Dallas shows, St. Louis, San Diego and Vancouver.

Empress Valley reissued this tape in 2003 on gold discs and in 2007 on a budget release. Eelgrass first issued it soon after the initial release and due to its popularity has gone into a second pressing. There are cuts 9:39 in “Moby Dick” and after Plant’s “good night” after “Stairway To Heaven.”

Considering the slow start of the tour, this is one of their best performances. Plant’s voice sounds good and Page is on too. The band’s introduction is cut and the tape picks up with the opening “Rock And Roll” and “Sick Again.”

“We came four blocks in the snow to get here you realize that? People were calling me up on the telephone today saying, ‘is it gonna be on, is it gonna be on?’ For a minute I wondered about my anatomy and then I realized there is some discrepancy about the weather. Isn’t it good it snows? Doesn’t it change the vibe of the city?” “Over The Hills And Far Away” is dedicated to the “keeper of the seasons, whoever and where ever he may be.” Great version of the difficult track and Jimmy Page duel with John Bonham in the middle of the solo.

Before “In My Time Of Dying” Plant again becomes very loquacious, saying: “This is what we would consider to be the last of the New York concerts. We got the Nassau County ones but we’ve always really dug playing in the Garden. So tonight we’re gonna have a really ecstatic one. This is codependent on two things: us and you. I’m in the mood to do a lot of talking but that’s not what it’s all about. We have a new album coming out shortly called Physical Graffiti. The likes of which we left in California.”

Page’s slide is devestating and afterwards Plant speaks in admiration of the piece by saying, “Ironically that’s what one might call an old folk standard. They become folk songs when nobody writes the music to them anymore and are passed on by memory. Can you imagine ‘Whole Lotta Love’ ending up like that?”

“The Song Remains The Same” and “The Rain Song” follow next. It is interesting that, despite Plant’s nightly announcement that they plan to play a cross section of all their material, the middle ninety minutes of the concert (from “Sick Again” to “Trampled Under Foot”) come from either Houses Of The Holy and Physical Graffiti.

There is a short delay after “The Rain Song” where Plant says, “It says: happy birthday, Abe. Sorry about that small intermission. This is a track from Physical Graffiti which once again takes the vibe of travel and experience and flashes of environments like the one we’re getting right now. This one is called ‘Kashmir.’”

The first very long epic of the night is “No Quarter.” Reaching twenty minutes, the versions on the first leg of the tour are long variants of those found on the previous tour with Jones remaining on the organ throughout the song’s duration. Later on he would introduce the grand piano changing the nature of the piece.

Plant introduces Jones by saying, “The next track features the impeccably clean fingernails of John Paul Jones. The man who make Monty Python’s Flying Circus a flop in New York. This is again about a journey…we never seem to get off of them.” At thirteen minutes Jones and Page get messed up and wind up playing in different keys making it sound horrible. After “Trampled Under Foot” they play the second epic of the night, a very long version of “Moby Dick.”

“Dazed And Confused” goes back to their “immaculate conception…referring to Jimmy, of course.” The band play a rare (for this tour) version of “Walter’s Walk” during the long improvisation. The band play a few bars of “Whole Lotta Love” as an introduction to “Black Dog.” They reward the audience with the second encore of “Heartbreaker.”

The band get into Elvis’ “That’s Alright” in the middle of the solo. Overall this is a very joyous experience which, despite the long epics, seems to fly by. This is a concert that is worth having in both the excellent audience and excellent soundboard recordings as well as the superb matrix of both sources. 

Sunday, February 10, 2019

Led Zeppelin - 1975-02-10 - Landover (Soundboard)

Led Zeppelin
February 10, 1975
Capitol Centre
Landover, Maryland

Hellfire Club
Eelgrass – EGL20262/63/64
Stereo Soundboard Recording

101. Introduction
102. Rock And Roll
103. Sick Again
104. Over The Hills And Far Away
105. In My Time Of Dying
106. The Song Remains The Same
107. Rain Song
108. Kashmir

201. No Quarter
202. Trampled Underfoot
203. Moby Dick

301. Dazed And Confused
302. Stairway To Heaven
303. Whole Lotta Love
304. Black Dog
305. Heartbreaker

Press Reports: Led Zeppelin Delights and Disappoints
Last Monday night, Led Zeppelin destroyed the Capital Centre.

Playing material both old and recent, and several cuts from their upcoming album, Physical Graffiti, the concert was close to rock heaven: with hard-driving guitar work, a powerful rhythm section, amazing vocal performance, flashy, sexual stage presence, solid keyboard and mystic Mellotron playing, and to top it off, a stunning array of stage gimmickry, the Led Zeppelin concert was certainly one of the most exciting and musically com¬plete in Washington in over a year.

But it was also a disappoint¬ment. The problem with Led Zeppelin is that they used to be a blues-rock band, carrying on the tradition they inherited from the Yardbirds. As a blues-rock band, Led Zeppelin made two out¬ standing albums, Led Zeppelin I and Led Zeppelin II, both in 1969, which are classics in that genre.

After achieving commercial success with the second album (helped along with the AM success of "Whole Lotta Love," a grueling six American tours in two years, and an overgrowing FM following), the band almost completely abandoned their Chicago blues roots, and made three albums which attempted to establish their own musical identity.

For the most part, it has been a failure. Led Zeppelin III was acoustically oriented and a disap¬pointment, lacking for at least one stellar effort. Their fourth album had a heavy metal crunch to it, and wasn't a bad album, but just couldn't hold its own against Led Zep I or II. Their last album, Houses of the Holy, was a trendy vinyl (reggae, Mellotrone), and a piece of pretentious garbage.

In context to albums by other good bands, the last three Led Zeppelin discs would be con¬sidered solid works, but con¬sidering that the same band in a blues format had accomplished a good deal more musical creativity and virtuosity, then Led Zeppe¬lin's last three outings have indeed fallen short of fulfilling their potential.

But the magic of Led Zeppelin has been able to keep their blimp from running into the ground. Their five albums have sold more than 11 million copies on Atlantic Records, outselling the Rolling Stones 2 to 1.

They have broken all sorts of concert attendance records, even those set by the Beatles. The Capital Centre con¬cert sold out in a record three hours. In New York, 120,000 tickets for six shows sold in thirty-six hours. Boston was sold out in one hour and twenty minutes. When the tour is com¬ pleted next month, Led Zeppelin will have grossed over 5 million dollars.

But don't let anyone think it wasn't a good concert. On stage were four competent musicians, who used to be four fantastic musicians. For the most part, they played well, but the musical perfections they once were showed clear signs of erosion.

Robert Plant, a disciple of Alexis Korner, is perhaps one of the best blues singers to come out of England. However, his singing of the concert opener "Rock and Roll" was awful. He was weak as well on other songs, but he also sparkled on some, particularly his delivery of "The Song Remains the Same." The stallion-like Plant evoked a stage presence which gave his lyrics greater impact, constantly swaying and flowing with the movements of the songs.

Drummer John Bonham and bassist John Paul Jones held together a strong rhythm section. But Bonham's drum solo during "Moby Dick" was rather point-less, despite the eerie sounds created when he hooked up the drumskins to a synthesizer. Jones demonstrated his depth as a musician by handling the key-board chores, which included organ, synthesized piano, synthe¬sizer and Mellotrone (a keyboard apparatus which has all the instruments of the orchestra on tapes).

But certainly it is guitarist. Jimmy Page that is the howitzer shot that made Led Zeppelin heard 'round the world. Playing both the six string and eighteen string guitars, Page filled the Capital Centre with three hours of guitar thunder and lightening. Firing his axe from his crotch, Page sent out scortching solos and frenzied blitzes via a variety of phase shifters', echoplexes, wah¬whas and other gadgets, proving why Mr. Page is one of the most important rock guitarists of the past thirteen years.

But, like the other musicians, Page was inconsistent, often find¬ing progressions in solos leading to nowhere, and being out of step with the others. Typical was "Dazed and Confused," which was both electrifying but yet at times sloppy. It was quite a visual display, as the guitarist tossed aside his pick and played his Gibson with a violin bow.

"Stairway to Heaven," "Black Dog." and "Heartbreaker," were done well, and Page's ripping into the opening chords of "Whole Lotta Love" brought back memories of Led Zeppelin at their best.

For a concert, it was great. For a Led Zeppelin concert it was marginal, a far cry from their performance five years ago at the Meriweather Post Pavilion when they opened the concert for the Who.

But most of the 18,000 at the Capital Centre were seeing Led Zeppelin for the first time, and the sometimes faulty musicianship was so easily diverted by the very presence of the band. Over two dozen engineers bathed the Led Zeppelin in a variety of multi¬colored lights. Concert "toys" were added, including a huge flashing "Led Zeppelin" logo on a backdrop screen, dry ice machines, smoke bombs, flashing lights, mirrors, and, my God, even a laser!

Back in the days when Led Zeppelin remained true to their musical capabilities, one would not find an elaborate concert show. Instead, only the band, their instruments, amps, and a big empty stage.

But those were different time's. People listened to Led Zeppelin then because they played some really great music. Today, people listen to Led Zeppelin because they're, Led Zeppelin. (J.Ramsey|3-75)

Rock And Roll finds the band playing well early on, Plant’s voice is rough as expected and he does not push it but the worst for him is yet to come, the instrumental “machine” is thundering along with Page playing a great solo. Sick Again follows and Plant’s voice sounds very rough, almost makes you cringe when you first hear it, thankfully it starts improving by songs end. Showing no signs of an injured finger Page’s playing early on as they continue the “dream” during Over The Hills And Far Away, his solo starts out a bit slow but quickly evolves into a nice laid back journey and Robert’s voice is starting to recover. Robert talks of new material “falling out of us” and asks the crowd if they have heard any on FM radio and they play something from their roots. In My Time Of Dying is a complete band song, the interplay of the musicians is spot on, Page lays down some of his best leads during this song.

Robert is chatty during this show, The Song Remains The Same gets its usual introduction and Plant mentions Kuwait, something that made me reflect on the world today and how years ago, a couple of hippy musicians from England traveled in the Middle East enjoying the culture of these regions, and in speaking of Kashmir, having the indigenous music influence their creativity. I prefer the 75 versions of Kashmir, more focused and heavy, Plant does not force the high notes, yet some of his oohh’s sound a bit painful. The introduction for No Quarter is a bit screwed up, the majority of it is on the tail end of the first disc, it sounds like Page is having some technical problems, he seems tentative in getting into the middle section and it hampers his solo at the beginning and while he recovers some fluidity, he never manages to fully get it off the ground. This carries over into a somewhat lack luster version of Trampled Underfoot where Jimmy struggles to sync with the rhythm section and boarders on erratic during his solo with some really interesting results.

Robert’s introduction to Moby Dick finds him referring to him as “ultra precise” and making a reference to Karen Carpenter, who Bonzo came in second to in Playboy magazine’s music poll. While it sounds like Jimmy needs as break, Bonzo sounds like he is just getting warmed up and plays a very enjoyable drum solo, he plays a phased section that reminds me of space during a Grateful Dead concert. Dazed And Confused clocks in at over 30 minutes, Heavy Zeppelin at its best. Since making its return to the set a week earlier the song is still a work in process as Page recovers his finger strength, the oriental riffs section is slow and mysterious and works well with Plant’s vocal effects as he swirls through Page’s mists. The fast middle section is really good with Page being pretty loose and fluent and the music is recovering some of primitive fury. Stairway To Heaven is the culmination of the show, Page plays a great solo yet Plant does not push it during the hard rocking finale as his voice is rough and raspy for the ending.

The encores are typical for the tour, Whole Lotta Love sounds a bit under whelming and Page’s fingers struggle with the complexity of Black Dog yet he manages to lay down a great solo. As we know from the audience source, the intensity of the audience leaves the band empowered and they play a second encore of Heartbreaker, Page plays an almost stuttered riff at times making for an interesting version but thankfully John Bonham is behind him and gives the song a kick in the ass making for a strong ending.

Saturday, December 22, 2018

Led Zeppelin - 1972-12-22 - London (Wendy)

Led Zeppelin
December 22, 1972
Alexandra Palace
London UK.

Audience recordings
Riot House
Wendy 2005 WECD-47/48/49

Source 2
101 Introduction
102 Rock and Roll
103 Over The Hills and Far Away
104 Black Dog
105 Misty Mountain Hop
106 Since I've Been Loving You
107 Dancing Days
108 Bron-Y-Aur Stomp
109 The Song Remains The Same
110 The Rain Song

201 Dazed and Confused (cut/repeat section at end)
202 Stairway to Heaven
203 Whole Lotta Love
 ~Everybody Needs Someone To Love
 ~Boogie Mama
 ~Let's Have A Party
 ~Heart Break Hotel
 ~I Can't Quit You Baby
204 Immigrant Song
205 Heartbreaker

Source 1
301 Stairway to Heaven
302 Whole Lotta Love
 ~Everybody Needs Someone To Love
 ~Boogie Mama
 ~Let's Have A Party
 ~Heart Break Hotel
 ~I Can't Quit You Baby
303 Immigrant Song
304 Heartbreaker
305 organ solo
306 Thank You

Guitars-Jimmy Page
Vocals-Robert Plant
Bass and Keyboards-John Paul Jones
Drums-John Bonham


46 years ago on Saturday December 23rd  1972, I was lucky enough to be in attendance at the closest gig Led Zeppelin ever played to Christmas in the UK. It was a cold  dank day and the walk up Muswell Hill to the Alexandra Palace was a bit of a trek. All worth it of course, as this very impressionable 16 year old was again in the company of musical giants.

The venue itself had not been used for a gig for years and was a little cold and impersonal – the sound also suffered a fair bit swirling around the high ceiling. Zep of course were brilliant – I had already read they were playing new tracks off of what was still being described as Led Zeppelin V (it would emerge as Houses Of the Holy the following March.) Hearing Over The Hills And Far Away, The Song Remains The Same,The Rain Song and Dancing Days was an immense thrill. The Jesus character who frequented many London gigs at the time stripped naked in front of me (ooerr!) and played a tin whistle during Jimmy’s Dazed violin bow solo. The Whole Lotta Love medley was memorable for a great Everybody Needs Somebody To Love, Let’s Have A Party and a scintillating  I Can’t Quit You Baby. Zep gig number two was ticked and I wanted more…much more… though that opportunity would not come around for another two years. By then I had a new mantra..if Led Zeppelin were playing in the UK I wanted to be there…


Long time TBL contributor Phil Tattershall was also at the December 23rd show – here are his memories of his first Led Zeppelin concert…

The announcement of Led Zeppelin’s 72/73 UK tour was incredibly exciting.  I’d had a copy of the double LP, Live On Blueberry Hill for a while and I’d captured their 1971 BBC radio performance as it was broadcast using our family reel-to-reel tape recorder.  Both had been played to death.

I was 18 in 1972 and I’d recently started work, but my old schoolmate Dave* was still job hunting.  He had a bit of spare time, also a motorbike, which meant he was just the man to journey into London in the vain hope of securing tickets for one of the Alexandra Palace shows from Harlequin Records.  Unbelievably, he was successful and managed to buy three tickets, the third being for another schoolmate, Neil**.

I proudly announced to my colleagues in the office that I was going to see Led Zeppelin, but being much older than me, they didn’t share my excitement.  I was shocked to learn that none of them had even heard of Led Zeppelin!

My first wage packet had been spent on a battery-powered cassette recorder and I thought that it would be a perfect opportunity to try concert recording for the first time.  Dave was a keen photographer and thought he’d try to take some pictures to complement my efforts.

The week before the show, we went for a ride on Dave’s motorbike to Alexandra Palace, to make sure that the ancient machine was capable of completing the 45 mile round trip.  It was a curious hybrid vehicle, self assembled from parts of two other bikes dating from 1936 and 1948.  It would need to transport three of us on December 23rd, so Dave had bolted an old sidecar to it.  I remember that reconnaissance expedition well; it was freezing cold and I sat in the sidecar listening to a cassette of ELP’s Trilogy album on both legs of the journey.  (I learned later that the sidecar was attached to the motorbike by a single bolt.  Dave was a bit of a slapdash mechanic!)

Come the 23rd, Dave, Neil and I undertook that intrepid journey from Hertfordshire to north London.  It was as cold as it had been the previous week, but the bike and sidecar served us well.  Outside the venue, I bought a show programme for 25p, which I later learned was unofficial (and is now very collectable!) and chatted to a guy from New York who had bought a ticket from a tout and was fearful that it might be a forgery.  It looked the same as mine though and I think he managed to get in OK.  My voluminous police-service surplus great coat served a dual purpose: it kept out the worst of the cold and effectively concealed my rather large cassette machine.  I gained access without hindrance.

Above the 1972 bootleg programme which I purchased outside the venue on the night – – the image is actually  Marc Bolan taken from a poster (thanks to Pete Burridge for that info).

Inside the hall it was apparent that there had been problems during the soundcheck and curtains had been hung from the ceiling in an attempt to tame the cavernous venue’s wallowing acoustic. It was an all-standing event and I was surprised that the hall was nowhere-near full, probably little over two-thirds of the floor space being occupied.  I later learned that fire regulations had limited the number allowed to attend.

There was no support act, just a children’s cartoon shown on a small screen above the stage.  I remember the cheer from the audience when one of the cartoon characters swallowed the contents of a bottle labelled ‘Super Speed Pills’.  Hmmm… that certainly wouldn’t be allowed in these days of political correctness and child protection.

The lights dimmed, I pressed the record and play keys of my cassette machine and hoped for the best.  As the band took to the stage, the bloke standing next to me was hit on the head by a beer can thrown from behind, prompting a stream of foul language from him and his companions.  The can’s impact and the subsequent profanities are perfectly captured on my tape.  Sadly the music, at the time the loudest noise I’d heard in my life, is less well preserved.  The poor cassette machine was overwhelmed by the volume and the recording is hopelessly overloaded.   The tape tangled 25 minutes into the show anyway, so it’s hardly an indespensible document.  Dave fared little better in his efforts to capture the visuals and his pictures were disappointing too.

The show itself was astonishing.  Of the songs from the yet-to-be-released Houses of the Holy LP, I remember being particularly impressed by Dancing Days, while friend Neil, a guitar player himself, was blown away by The Song Remains The Same.  The high point for me was the violin bow sequence in Dazed and Confused.  Thanks to my bootlegs, I was very familiar with the live version of the piece and always imagined each “da-da da-da” element being generated by a bow strike.  When I witnessed every other ‘da’ blasting out as the bow hit thin air, I genuinely thought some sort of sorcery was afoot.  (It wasn’t magic, of course, but an Echoplex unit.  I was so disappointed when I found out.  Jimmy was a mere human after all!)

Luckily, another amateur recordist was on duty that night and his results were infinitely better than mine.  My first experience of Led Zeppelin live was preserved for posterity and for that I’ll be eternally grateful.  One thing the taper missed as he flipped tapes was Robert’s “Goodnight – we’ll see you next year”.  I remember it well, because I was thrilled that it wouldn’t be too long before I could see them again.  As it turned out, I had to wait until May 1975, but I’m sure Robert’s intentions were honourable when he gave me what seemed a personal assurance.  I also recall narrowly missing out in the scramble to grab the tambourine he threw into the crowd at the end of the Whole Lotta Love medley.

The motorbike journey home in cold rain was deeply unpleasant, but we didn’t care; we’d seen the greatest band in the world.

When safely home, I extracted the tangled mess of tape from my recorder and reassembled it into a spare cassette shell.  As already described, the sonic results were disastrous, but, forty years hence, I still have that souvenir.

A couple of days later, back at work, the office manager, who was ten years my senior at 28, asked, “How did your pop thing go Phil?”  “Pop thing!??!!”, I thought to myself.  This wasn’t a “pop thing”: this was Led Zeppelin.  But there was no point in entering into lengthy discussion on the topic.  The older generation would never understand.

*Dave had another go at photographing Led Zeppelin in 1975 and was rather more successful.  The photos can be seen in TBL issue 15.

**Those familiar with one of the better audience recordings of the first Knebworth show will have heard a voice loudly proclaiming  “I can’t hear the bass, can you?” during The Song Remains the Same. That’s Neil.

Phil Tattershall.

There are two sources for the first of two shows at the Alexandra Palace in London in the middle of Zeppelin’s UK winter tour.  The first, presented on the first two discs of the current release, runs from the beginning through to the second encore and unfortunately doesn’t capture the organ solo and “Thank You”.  

This source is good to very good but very flat and dull sounding.  The music has a plastic spork hitting mashed potato quality.  Previous releases of this source include the vinyl Alexandra Palace and Riot House on P. Jump Records (JMP 2) and on cd as Flawless Performance on Image Quality (IQ-013/14/15) and Riot Show on Cobra (006).

The second source is documented on the third disc runs from “Stairway To Heaven” through to the very end and recording the complete encore.  This tape is significantly more clear detailed, dynamic and powerful with a hint of distortion present and has been released as Riot House on Chad (G.60 where it is erroneously dated from the following night and coupled with material from Raleigh, North Carolina April 7th, 1970), Alexandra Night on Right Stuff (RS-21012) and used by Image Quality to complete the first tape source on Flawless Performance.

The two London shows are a highlight from their longest tour of the UK that winter.  After “Over The Hills And Far Away” Plant complains about the freeze, comparing it to their last show they did in London in 1971.  “Since I’ve Been Loving You” sounds interesting with Jimmy’s howling guitar underlying Plant’s moans. 

While Page tunes his guitar Plant dedicates “Dancing Days” to “summer, inebriation and good times, and also requires a different tuning.  This is dedicated to those who might still be in high school.”  The guitar solo in “Stairway To Heaven” contains some haunting riffs at about the eight-minute mark that sound like a variation of the riff used in the final verse at the end.

Before “Whole Lotta Love” members in the audience are shouting out requests.  There are several votes for “Gallows Pole” but they don’t get it.  There is a cut at 11:40 during the medley but is otherwise complete.  Plant comes in too early for “Let’s Have A Party” during Page’s boogie improv. 

The encores are the longest for the UK winter tour with the complete “Immigrant Song” and “Heartbreaker” that was used for two years as the set opener.  This is the final time this was heard in public and this is also the penultimate recording of “Immigrant Song” (the final being on the Bradford soundboard).

The long show ends with John Paul Jones’ mellotron solo leading into a rare version of “Thank You”.  The solo is three minutes long and is similar to the versions played in Nagoya on October 5th and Newcastle on November 30th and Cardiff on December 12th.  It’s a fast paced and catchy tune played mostly with the string sounds.  He plays the mellotron also for “Thank You” giving the song a different, softer feel.  This is one of JPJ’s more interesting on-stage experiments and the second tape source for the first London gig is the best recording of the four.

Unlike previous releases, Wendy chose to archive the two sources instead of editing them together for a complete show so there is some duplication of material.  They also chose to follow the Cobra release in duplicating the old vinyl artwork with the picture of Jimmy taken from the Sydney, Australia show the previous February.  

On the back Wendy presents some nice pictures of the Hyatt West Hollywood aka “The Riot House”.  It is rather strange since the concert is from London and not LA.  Also on the back is a photo of the band c. 1975.  Sometimes it is nice to honor a past vinyl title on a cd release but perhaps this shouldn’t be one of them.  However this is a bit of an improvement over past releases, sounding pretty good and mastered at the correct speed.

12-22-72, source 1
Alexandra Night (Right Stuff) & Riot House (CHAD & Wendy)
These titles are from the excellent sounding shorter tape, containing the last hour of the show.
Right Stuff and Wendy are identical in content. Both are missing a second at the beginning, 26 seconds after Whole Lotta Love, 26 seconds
after Heartbreaker, and a few seconds after the final song. Neither have the tape glitch during Immigrant Song on CHAD.
Right Stuff seems to run a little slow. It's music and background noise are a hair louder than the other two. 

12-22-72, source 2
Flawless Performance (IQ, 3cd), Riot House (Wendy), & Riot Show (Cobra, 2cd)
Wendy is the only title solely from the second source. The only fault is the cut/repeat of tape after Dazed and Confused.
IQ and Cobra use the second source (poorer sounding tape) through the end of Heartbreaker. The mellotron solo and Thank You are
borrowed from the first source, but it's quality is not near as good as CHAD's.
Cobra moved Dazed out of sequence in order to squeeze the tape onto two cds, missing about 15 seconds of tape in the process. A few more
seconds are missing from the beginning and ending of the second source.
IQ seems to run a little slow. It's music and background noise are a little louder than Cobra's due to amplification. Wendy's title has been
amplified a bit more than IQ. 

Friday, December 14, 2018

Iron Maiden - 2018 - 1977 Tapes (The Dennis Wilcock Days)

Iron Maiden
1977 Tapes

01. Prowler
02. Floating
03. Charlotte The Harlot
04. Dennis Wilcock MC
05. Sanctuary
06. Another Life
07. Strange World
08. Charlotte The Harlot
09. Wrathchild
10. Iron Maiden

Dennis Wilcock vocals
Steve Harris bass
Bob Sawyer guitar
Terry Wapram guitar
Dave Murray guitar
Tony Moore keyboards
Ron "Rebel' Mathews drums
Thunderstick drums

Dennis Wilcock sold the complete tape to Steve Harris for 10K... so do not expect to see any kind of official or unofficial release of the complete thing any time soon... So enjoy what we do have...
Up The Irons!

Wednesday, November 28, 2018

Black Sabbath - 1980-08-09 - Philadelphia, PA

Black Sabbath
Auguat 9, 1980
The Spectrum
Philadelphia, PA

Heaven And Hell In Spectrum
No Label

01 Supertzar
02 War Pigs
03 Neon Knights
04 N.I.B.
05 Children Of The Sea
06 Sweet Leaf
07 Drums Solo
08 Sweet Leaf (Reprise)
09 Black Sabbath
10 Heaven And Hell
11 Iron Man
12 Guitar Solo
13 Die Young
14 Paranoid - Heaven And Hell (Reprise)

Black Sabbath - 1980-06-02 - Offenbach

Black Sabbath
June 2, 1980
Offenbach, Germany

Lonely Is The Word
Zodiac 010

101. Supertzar
102. War Pigs
103. Noen Knights
104. N.I.B.
105. Lonely Is The Word
106. Sweet Leaf
107. Drum Solo
108. Sweet Leaf (Reprise)
109. Children Of The Sea

201. Black Sabbath
202. Heaven And Hell
203. Iron Man
204. Guitar Solo
205. Die Young
206. Paranoid
207. Children Of The Grave

Wednesday, November 14, 2018

Deep Purple - 2018 - Osaka

Deep Purple
Osaka 2018

Osaka 2018 / Shades 978

October 17, 2018
Festival Hall
Osaka, Japan

101. Mars, The Bringer Of War
102. Highway Star
103. Pictures Of Home
104. Bloodsucker
105. Strange Kind Of Woman
106. Sometimes I Feel Like Screaming
107. Uncommon Man
108. Lazy

201. The Surprising
202. Time For Bedlam
203. Bird Of Prey
204. Keyboard Solo
205. Perfect Strangers
206. Space Truckin'
207. Smoke On The Water
208. Can't Turn You Loose
209. Hush
210. Black Night

October 18, 2018
Festival Hall
Osaka, Japan

101. Mars, The Bringer Of War
102. Highway Star
103. Pictures Of Home
104. Bloodsucker
105. Strange Kind Of Woman
106. Sometimes I Feel Like Screaming
107. Uncommon Man
108. Lazy

201. The Surprising
202. Time For Bedlam
203. Birds Of Prey
204. Keyboard Solo
205. Perfect Strangers
206. Space Truckin'
207. Smoke On The Water
208. Summertime Blues
209. Hush
210. Black Night

Deep Purple - 2018-10-14 - Chiba (Shades)

Deep Purple
October 14, 2018
Makuhari Event Hall
Chiba, Japan

Makuhari 2018 / Shades 977

101. Mars, The Bringer Of War
102. Highway Star
103. Pictures Of Home
104. Bloodsucker
105. Strange Kind Of Woman
106. Sometimes I Feel Like Screaming
107. Uncommon Man
108. Lazy

201. The Surprising
202. Birds Of Prey
203. Time For Bedlam
204. Keyboard Solo
205. Perfect Strangers
206. Space Truckin'
207. Smoke On The Water
208. Going Down
209. Hush
210. Black Night

Wednesday, November 07, 2018

Ten Years After - 1972-12-04 - Seattle

Ten Years After 
Seattle Center Arena
Seattle, WA

01. One Of These Days
02. Silly Thing
03. You Give Me Loving
04. Good Morning Little Schoolgirl
05. Rock & Roll Music To The World
06. Hobbit
07. Standing At The Station
08. Turned Off TV Blues
09. Crossroads
10. Classical Thing
11. I Can't Keep From Crying, Sometimes
12. 1I'm Going Home
13. Choo Choo Mama
14. Sweet Little Sixteen

Alvin Lee - guitar, vocals
Chick Churchill - keyboards
Leo Lyons - bass
Ric Lee - drums

This recording captures TYA towards the end of the American leg of their campaign to - literally - deliver again their „Rock & Roll Music To The World“. When the band commenced touring to back their new album of same fitting title in mid-September 1972, they obviously had decided to alter their set lists this time around in contrast to the relatively rigid sets on previous (and subsequent) tours, one of reasons why I have a BIG soft spot for this tour - which would extend up to May 1973(!). 

So, either „Slow Blues in C“ or (obviously less often) „Turned Off TV Blues“ was played at one point or another, they would either do a looooong improvised jam or „I Can’t Keep from Crying, Sometimes“, and – look here – Alvin and CO. were even able and willing to pull REAL surprises out of their hat every now and then, such as „Spoonful“ or „I Woke Up This Morning“. 

We may consider ourselves extra-lucky that this very recording does contain such a rabbit rarity! What you get to hear is the only known (to me, at least) post-1968 version of „Crossroads“ – and what a tight and high-energy rendition this is!

Friday, October 19, 2018

Jimmy Page - 1988-10-19 - Cleveland, OH (Source 1 & 2)

Jimmy Page 
October 19, 1988 
Public Hall 

Source 1:

01. Radio Promo Ad
02. Who's to Blame
03. Prelude
04. Over the Hills and Far Away
05. Wanna Make Love
06. Writes of Winter
07. Tear Down the Walls
08. Emerald Eyes
09. Midnight Moonlight
10. In My Time of Dying
11. City Sirens > Drum Solo
12. Someone to Love
13. Prison Blues
14. The Chase (end cut)
Wasting My Time (missing)
Blues Anthem (missing)
Custard Pie (missing)
15. Train Kepta Rollin'(Start Cut)
16. Stairway to Heaven

Over the years I have only found two sources for this show, sadly enough one misses a bunch of tracks and the other one misses Stairway To Heaven... so with the hope that a complete source surfaces or that someone does a matrix , and to celebrate it was 30 years ago today (yeap... we're getting old kids!) here are both sources I have found so far...

Source 2

2nd Generation Tape

01. Who's to Blame
02. Prelude
03. Over the Hills and Far Away
04. Wanna Make Love
05. Writes of Winter
06. Tear Down the Walls
07. Emerald Eyes
08. Midnight Moonlight
09. In My Time of Dying
10. City Sirens > Drum Solo
11. Someone to Love
12. Prison Blues
13. The Chase
14. Wasting My Time
15. Blues Anthem
16. Custard Pie
17. Train Kepta Rollin'
Stairway to Heaven (missing)