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


ALLY PALLY 46 YEARS GONE:

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…

PHIL TATTERSHALL’S ALLY PALLY EXPERIENCE:

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
2018
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
Stadthalle
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
2018
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 
1972-12-04 
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 
Cleveland,OH 

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)

Thursday, October 18, 2018

Jimmy Page - 1988-10-16 - Bloomington, MN

Jimmy Page 
October 16, 1988
Met Center
Bloomington,MN


2nd Generation

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'
18. Stairway to Heaven

Jimmy Page - 1988-10-17 - Chicago, IL (Source 3)

Jimmy Page  
October 17, 1988
UIC Pavillion
Chicago, IL


Taper: Chris K.
Sony WMD6

01. Intro
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
15. Wasting My Time
16. Blues Anthem
17. Custard Pie
18. Train Kepta Rollin'
19. Stairway to Heaven

Jimmy Page - 1988-10-17 - Chicago, IL (Source 2)

Jimmy Page  
October 17, 1988
UIC Pavillion
Chicago,IL



Taper: Susan H.
Sony WMD3 & Stock


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'
18. Stairway to Heaven


Jimmy Page - 1988-10-17 - Chicago, IL (Source 1)

Jimmy Page  
October 17, 1988
UIC Pavillion
Chicago, IL



01. Crowd Cheering
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
15. Wasting My Time
16. Blues Anthem
17. Custard Pie
18. Train Kepta Rollin'
19. Stairway to Heaven

Thursday, October 11, 2018

Led Zeppelin - 1971-09-29 - Festival Hall, Osaka (SBD + Winston merge)

Led Zeppelin
September 29, 1971
Festival Hall
Osaka


101. Welcome To Osaka
102. Immigrant Song
103. Heartbreaker
104. Since I've Been Loving You
105. Black Dog
106. Dazed and Confused

201. Stairway to Heaven
202. Celebration Day
203. That's The Way
204. Going To California
205. Tangerine
206. Friends
207. Smoke Gets in Your Eyes
208. What Is and What Should Never Be
209. Moby Dick

301. Whole Lotta Love
302. Communication Breakdown
303. Organ Solo
304. Thank You
305. Rock and Roll


sb - soundboard (speed corrected -2%)
mt - multi track stage recording (edited to completion with Plantations and various patches by Winston)


This is a merge of the newly released soundboard, previously released stray

soundboards and the excellent remaster done by Winston.

Besides the speed correction on the SB portion there are a few small fixes to

clean up some very minor sloppiness in the performance. Moby Dick is not

quite complete but about 90% there. Black Dog is from the 28th (for the SB).

SB levels were brought down in order to level match and for headroom. Very minor eq and

limiting was applied and only in spots to get more cohesion in sound.

What an amazing Zeppelin concert performance. Thanks to the great work by Winston (he really pulled great sound from his sources) and the sharers of these soundboard recordings. This is not meant to be definitive, just cranked.

Enjoy!
ledsox

Friday, September 07, 2018

AC/DC - 1977-09-06 - Ft. Lauderdale (FM)

AC/DC
September 6th 1977
4 O'clock Club
Fort Lauderdale FL



WSHE FM Broadcast to Dat

01. WSHE Intro
02. Live Wire
03. Hell Ain't A Bad Place To Be
04. Whole Lotta Rosie
05. The Jack
06. Problem Child
07. Baby, Please Don't Go
08. WSHE Break
09. Rocker
10. WSHE Outro


Bon Scott       lead vocals
Angus Young     lead guitar
Malcolm Young   rhythm guitar backing vocals
Cliff Williams  bass guitar backing vocals
Phil Rudd       drums

Wednesday, July 18, 2018

Led Zeppelin - 2018 - The Overture: The 1972 Japanese tour

Led Zeppelin
2018
The Overture: The 1972 Japanese tour




Over the past few years Empress Valley have released some really nice box sets focusing on specific runs of concerts that are important milestones in Led Zeppelin’s concert history, Thunder Down Under – The Complete 1972 Australian And New Zealand Recordings, The Garden Tapes – The Song Remains The Same Concerts, and Earl’s Court – The Final Option. For their newest effort they chose to focus on Led Zeppelin’s second trip to Japan, a short tour consisting of six concerts that took place in the fall of 1972. After the success of the first Japanese tour in September 1971, plans were made for a return visit with Led Zeppelin again playing multiple nights in Tokyo and Osaka plus one date in each Nagoya and Kyoto. Compared to the previous year, the concerts were rather low key and subdued. The set list would go through changes as they were developing new pacing and dynamics of the concerts. They had been playing the same basic format for the past two years and this new sequence would feature Rock And Roll as the new opener, Dazed and Confused as the showcase number and Stairway To Heaven as the culmination of the set. The songs from the forthcoming, as of yet untitled, fifth record would be a major part of the set and Whole Lotta Love with its rich rock and roll Medley would retains its spot as encore. The tour did garner much attention from the tapers, multiple audience sourced documents/recordings exist for all six of the concerts, Led Zeppelin’s live prowess had quickly become legend.

This tour has also gotten much attention in the collectors markets with all six concerts being released multiple times and the premium labels have put together some very nice box sets documenting the entire tour. In 1992 the original Tarantura label released a deluxe 14 disc collection entitled The Campaign 1972, the set boasted front cover art based upon the famous “The Effect is Shattering” Houses of the Holy Advertisement featuring a powerful blast to the head and individual CD sleeves featuring traditional Japanese artwork with a Zeppelin somewhere in the scene. A wonderful set that continues to draw hefty prices. The last complete collection of this material dates back to 1999 when Last Stand Disc released Live In Japan 1972, a 12 disc box set featuring upgraded sound compared to the Tarantura but with less extravagant packaging, a hinged box with the “The Effect is Shattering” Houses of the Holy Advertisement featuring the head between two train car couplers and CDs housed in plain sleeves. Empress Valley has never presented this material in a collected form until now, in June 2018 the label released Complete Live In Japan 1972, a 12 disc set featuring the best recordings from each of the concerts with gaps filled by the next best source. The box has the same dimensions for the Ally Pally and History Lesson and several other sets, it comes in two different editions, The Campaign features “The Effect is Shattering” gun blast art on the cover, The Overture features “The Effect is Shattering” train couplers art, both have a slight holographic shimmer to them. Both versions have the same content, the CD’s are housed in three full cover sleeves (two concert per sleeve) featuring a live shot from the tour, looks like the Budokan October 3 concert. There are four stage pictures in a small envelope from the same concert, a fold open flyer with traditional Japanese art work that is quite beautiful and lastly let’s not forget the OBI. The packaging is beautiful, simple and effective.



Led Zeppelin
October 2, 1972
Budokan Hall
Tokyo

01. Introduction
02. Rock and Roll
03. Over the Hills and Far Away
04. Black Dog
05. Misty Mountain Hop
06. Since I've Been Loving You
07. Dancing Days
08. Bron-Yr-Aur Stomp
09. The Song Remains the Same
10. The Rain Song
11. Dazed and Confused
12. Stairway to Heaven
13. Whole Lotta Love
14. Crowd Anticipation
15. Heartbreaker
16. Crowd Anticipation
17. Immigrant Song
18. Communication Breakdown
19. Outroduction

The first night of the tour finds Led Zeppelin playing to a capacity audience at the world famous Nippon Budokan in Tokyo. There are eight known audience recordings in varying degrees of quality and completeness, Empress Valley uses the best recording as a basis for this concert. The recording has been released many times previous, early vinyl titles like Live At Budokan 72 (New OG 1149-50A-B), Live In Tokyo 10/2/72 (Toasted 1901 A-D), and Live In Tokyo Oct 2-3 1972 Budokan Big Hall (LLX 1233-4-5-6). On compact disc we have titles like No Use Greco (Tarantura GRECO 1), Dancing Days (Aphrodite Studio AS 91LZ002-3), Eastern Front (Great Dane 9226A/B), The Campaign (Tarantura 1972-5-1-12), Live In Japan 1972 (Last Stand Disc LSD 65/78), Presentation 1972 (Patriot 002-1/2), The Overture (Sanctuary TMOS-97201 A/B), Led Zeppelin Is My Brother (Empress Valley EVSD 319/320), and Budokan 1972 1st Night (No Label).

The recording is a near perfect, excellent audience recording, the taper was close to the stage and captured a clear, detailed and very enjoyable capture. The concert is virtually complete, there are a few cuts in the tape but none during the music, those few gaps are filled with other sources making as complete overview of the concert as possible. I pulled out my old go to version of the concert, EV’s Led Zeppelin Is My Brother, this new version is just a bit clearer and brighter. It does not sound like manipulation rather a better transfer, the very slight amount of tape hiss is still present as well. The second disc is also longer as the label has patched the missing parts of audience cheering, the transitions are very smooth and well handled.

The concert itself is merely a “nice starter”, the set list has had a near complete makeover, Rock and Roll is a natural opener and is played stand alone style yet hard to replace the Immigrant Song > Heartbreaker salvo from the previous year. This song would be the opener for the next couple years, not until the American tour in 1973 and the Rock And Roll> Celebration Day> Black Dog sequence would it be most effective. Starting their concerts with a killer one two punch has been a tradition since their earliest performances.

After being played very sporadically, Misty Mountain Hop finally gets a full time slot in the set, linked with Since I’ve Been Loving You, albeit with a pregnant pause, this would soon develop into a moment of high drama with Page playing a show stopping flurry of leads, here it is just good. The band have added even more previews from the fifth record, The Song Remains The Same and Rain Song get their inaugural performances, fully realized and very effective, Robert refers to it as Zepp on this night. This concert also marks the first time the Mellotron was used by John Paul Jones, the tape replay machine was used to allow Jones the ability to mimic the string arraignments during The Rain Song, the first version of the song is superb, the heavy section is very dynamic and quite impressive.

The Whole Lotta Love medley is a typical concert high point, Elvis numbers are always fun for the audience (and myself also, big Elvis fan), they play a great version of My Baby Left Me, Page rips some of his most tasty leads of the night during the song. Like the 1971 tour, the band digs out some very old numbers as well, Plant forces a bit of Killing Floor, aka the Lemon Song and after the group gets it together they manage an impressive version. The crowd awakens for the encores, Heartbreaker is well received and after a long period of clambering for more, the group returns with Immigrant Song and Communication Breakdown to end the concert proper, Jimmy hits the Wah pedal during Communication Breakdown and elicits a loud cheer from the audience, and me!



Led Zeppelin
October 3, 1972
Budokan Hall
Tokyo

01. Introduction
02. Rock and Roll
03. Black Dog
04. Over the Hills and Far Away
05. Misty Mountain Hop
06. Since I've Been Loving You
07. Dancing Days
08. Bron-Yr-Aur Stomp
09. The Song Remains the Same
10. The Rain Song
11. Dazed and Confused
12. Stairway to Heaven
13. Whole Lotta Love
14. Crowd Anticipation
15. Immigrant Song
16. Crowd Anticipation
17. The Ocean
18. Outroduction

The second night at Budokan is another somewhat tentative concert by the band and follows a similar pattern to the previous evening, that of the performance building and by the time of the encores, the old building has been really heated up. A staggering nine separate recordings exist from this concert, again in varying degrees of completeness and quality. For this version EV uses “source 3” as its foundation, this recording has been released on a few compact disc titles, 2nd Night In A Judo Arena 1972 (Tarantura T2CD-6-1,2), The Campaign (Tarantura 1972-5-1-12), Live In Japan 1972 (Last Stand Disc LSD 65/78), and Tokyo 1972 2nd Night (No Label), the label uses source 4 to fill gaps due to it being sonically similar and a bit of two other sources as well. The recordings are very good, again clear and detailed with the main source being a bit bass heavy that gives low end rumble but it has a very powerful sound because of it, it seems to accent Bonzo’s drumming, The Hammer of the Gods. The upper frequencies offer some crisp detail and all instruments and vocals are cleanly defined, both recordings are a bit more distant so the overall feeling is much more ambient than the previous evening, the audience sounds more animated.

For those who are familiar with the older Tarantura and LSD titles will find the sound much improved, the older circulating copies sounded like they had some sonic manipulation done to them, this version sound like a more direct, non tampered with version of the tape. I was somewhat surprised with this as EV had released the concert as part of their “Rock Explosion” series using the near excellent source 6, after several listens of both sources I find both compliment each other nicely and surprisingly I prefer this version of the concert, by the time the band are playing Since I’ve Been Loving You I was hooked by the sounds, sometimes the best sound is not always the best listening experience.

For the second night in Tokyo, the band moves Black Dog to second spot after Rock And Roll, yet both are not connected but makes for a stronger opening. Black Dog would retain second spot for the remainder of the tour. Other than some brief tuning, the band waste little time with chatter and seem content to just hammer the set out. Page is harassed by his acoustic guitar prior to Bron-YR-Aur Stomp, he can’t seem to get it in tune and Plant fills in the gap by asking “just one moment Gentlemen and Honorable Ladies, and Geisha’s”. Gone are the long acoustic sets of previous tours, the singular acoustic number is a perfect excuse for a hoedown, the audience clap along and enjoy the looseness of the song.

The Song Remains The Same is called The Overture at this concert, this version reminds me of the studio version, Plant’s vocals have the soft high sound to them, like a warm summer day. The Mellotron is clearly heard in this version, it sounds like Jones has to cohere then a bit at the beginning, once they get going it adds the needed orchestral vibe. Dazed and Confused is missing from source 3 so we get a nice chance to hear and enjoy source 4 for Dazed And Confused. It sounds like the taper was in a similar position to source 3 but this version does not have much bottom end and favors upper frequencies but is very clear and detailed. There is just a bit of audience noise making for a nice ambient recording, Plant’s vocals are in the forefront so we get to hear all his scat vocalizations. You can hear a couple source changes sporadically, just a few seconds, the splices are perfectly done and if not for the timbre change, you would not know it. The playing in Dazed finds the band shaking off a bit more of the cobwebs, Jimmy plays some great leads during the fast section after the bow solo and the rhythm section of Jones and Bonham are their typically perfect for this era.

Whole Lotta Love continues to change and evolve, Plant teases Elvis’ Blue Suede Shoes just before they launch into it eliciting cheers and laughs from the audience. Everybody Needs Somebody To Love now has lyrics and continues to evolve, by the next year it will become a powerful force during the European tour. The band continues the Elvis tribute with Let’s Have A Party and get into a killer bit of You Shook Me, as with the previous night, Page uses these songs to just soar by playing almost lyrical and quite fluent lead guitar. The encore cheer is interesting, someone close to the taper has what sounds like a cowbell they consistently beat on until the band returns and someone else has a clown horn that alternates with the bell, sounds like a crazy circus cheer. Immigrant Song is an encore mainstay, the song was very popular in Japan although it sounds a bit out of place when not coupled with Heartbreaker, old habits die hard I guess. The Ocean makes its one and only appearance in Japan as the final encore, amazingly you can clearly hear John Bonham counting in “One…two…three” yet sadly no “We’ve done four already” bit, again the temperature is raised by Whole Lotta Love and the encores!


Led Zeppelin 
October 4, 1972 
Festival Hall 
Osaka 

01. Introduction
02. Rock and Roll
03. Black Dog
04. Over the Hills and Far Away
05. Misty Mountain Hop
06. Since I've Been Loving You
07. Dancing Days
08. Bron-Yr-Aur Stomp
09. The Song Remains the Same
10. The Rain Song
11. Dazed and Confused
12. Stairway to Heaven
13. Whole Lotta Love
14. Crowd Anticipation
15. Heartbreaker
16. Immigrant Song
17. Outroduction

The first night in Osaka and the band seems to be more relaxed, perhaps the jet lag was behind them and they have adapted to their surroundings so to say. There are three known recordings from this date, all falling into the good to very good range. EV uses a mix of all three recordings using the second and best source as a basis, it is clear and detailed and supposedly been taped in the 5th row. Previous editions of this material can be found on such compact disc titles as Osaka Tapes: Raw Tapes (Amsterdam AMS 9610-2-1/2), Connextion (Amsterdam AMS 9612-2-1/2), The Second Daze (Mud Dogs 011/012), The Campaign (Tarantura 1972-5-1-12), Live In Japan 1972 (Last Stand Disc LSD 65/78), Moral Reader (Wendy WECD 94/95), and most recently Osaka 1972 1st Night (No Label). I have the recent No Label that uses source 3 as its foundation and this version is easily its equal.

The band hit the stage and get to it, very little chatting from Robert, in fact he introduces Over The Hills And Far Away while Jimmy is playing the beginning, after getting into some tasty leads during Black Dog, Page seems to have hit a bit of a stumbling block during Over The Hills, always on the edge…but effective! The transition from Misty Mountain Hop to Since I’ve Been Loving You is spot on, Jimmy was ready and nails it, in fact this is one of the best versions of the song from this tour, Page is in no hurry and he plays some nice quiet notes, not pushing at all, only adding to the drama. Plant does not seem to be pushing his voice, he sounds good just keeping it simple and not going to the high sustained notes, not having to battle the loud instrumental machinery (Nice Luis Rey Reference) he sounds joyous on Bron-YR-Aur Stomp.

Dazed and Confused is superb on this night. Page plays an embryonic passage that will soon evolve into San Francisco, even in this early stage it has an eerie sound with Plant’s moaning scat in the background. The post bow solo has Page seemingly improvising several themes trying to connect them all without loosing coherence, easy for him to do with the steady rhythm section of Jones and Bonham laying the foundation. Very enjoyable version of Dazed, made even more enjoyable by the great recording.

Other than the orchestra needed for The Rain Song, the Mellotron is also used for the flute like beginning of Stairway To Heaven, giving the piece a pastoral feel. Again Whole Lotta Love steals the show, Bonham kills it during the jam right before Everybody Needs Somebody To Love unleashing a thunderous barrage letting the band know he means business. The medley feature some more Elvis standards, it is documented that the band caught one of The King’s concerts at Madison Square Gardens prior to the stop in Buffalo in June and must have been an inspiring experience. Heartbreaker makes its second, and last, appearance in the first encore spot followed by the now obligatory Immigrant Song ending a superb, and vastly underrated concert.



Led Zeppelin
October 5, 1972
Kokaido
Nagoya

01. Introduction
02. Rock and Roll
03. Black Dog
04. Misty Mountain Hop
05. Since I've Been Loving You
06. Dancing Days
07. Bron-Yr-Aur Stomp
08. The Song Remains the Same
09. The Rain Song
10. Dazed and Confused
11. Stairway to Heaven
12. Whole Lotta Love
13. Crowd Anticipation
14. Mellotron Solo
15. Thank You
16. Outroduction

Fourth concert of the tour has the Zeppelin boys playing their only live concert in the city of Nagoya, while the rust has been shaken off the band seem in a hurry, after this concert they have a three day mini vacation. There are two known recordings from this concert, both incomplete but when edited right we can hear the full concert. This title uses source 2 as its foundation with source 1 filling a few gaps in the main set and for the encore. The Campaign (Tarantura 1972-5-1-12), Live In Japan 1972 (Last Stand Disc LSD 65/78), Live In Nagoya (Smile TOE 001), The Geisha Boys (Akashic AKA-9), Rock N’ Roll Springtime (Image Quality IQ-053/054), Dragon (Flagge), Sakura Looking Up! Great Discovery (Jelly Roll 10/11), High Noon (Wendy WECD 56/57), and Rock Explosion ’72 Live at Nogoya Kokaido (Empress Valley EVSD691/692) are all compact disc titles featuring this material.

Source 2 is a good to very good recording, it is a clear and fairly detailed document, the lower frequencies are a bit muddy but it captures the atmosphere perfectly. Source 1 is merely a fair more distant recording. For this version EV uses a similar mix as their Rock Explosion title with significantly upgraded sound. The hiss is greatly reduced, the volume is a bit louder and the sound is significantly clearer, it is not the mastering but a far better generation tape used, we can now enjoy this concert in best quality to this point, in fact this is the one recording that really surprised me, happily I might add.

The audience sound excited to see the band. As soon as they start Rock And Roll, they quiet right down. The sound quality improves and by the time the band plow into Black Dog it is clear and enjoyable. Page gives the solo a great workout and the audience duly rewards him with a nice ovation at its conclusion. The is the only concert on the tour not to feature Over The Hills And Far Away that usually follows Black Dog, yet Roberts opening remarks he states “Very nice for English boys to be in Nagoya…here is song off fourth LP…it’s called Misty Mountain Hop”. Page’s guitar seems to drown out Jones’ organ a bit giving the song a heavier sound that is really great, again he plays a great transition solo into Since I’ve Been Loving You that instantly changes the mood, he seems to toy a bit with the audience before playing the main guitar lead and the whole effect is like hearing the band in some subterranean small and smoky blues club.

Page has to do a bit of tuning prior to Dancing Days, they sound as if they are playing to an empty hall, the Japanese audience is extremely quiet as they listen to the song for the first time. “Too many Geisha’s spoil the broth…Here is song with John Bonham singing” is Robert’s chatter prior to Bron-YR-Aur Stomp. The recording is so clean you can almost make out the onstage chatter as they set up chairs at the front of the stage. It immediately gets the crowd involved as they clap perfectly in time with the song making for a very enjoyable version of the song. The Song Remains The Same is called The Overture on this night and sounds a bit tentative.

Dazed and Confused is again a show stopper, an audience member laughs with joy upon hearing the beginning bass line, Page is in no hurry to get things going and again seems to toy with the audience and sounds like he even throws Robert a bit out of time. The real journey begins once they begin section 3 and the instrumental wizardry weaves its magic on us. The song features an instrumental version of The Crunge and at 19:20 Page begins to play a bit of As Long As I Have You, pure nostalgia for sure. Stairway is very well received and they get a nice ovation as Robert begins singing, Jones’ Mellotron drowns out the guitar during the first few minutes.

The place gets hopping with another brilliant Whole Lotta Love and the audience begins to get loose. The Theramin section gives way to a great Everybody Needs Somebody To Love and the medley of oldies is great. Robert works the crowd up before Let That Boy Boogie and has a blues “conversation” with them, the bass seems to overpower everything but the vocals, Page lets it rip for his solo that is extremely fluent. As usual the band gets into a bit of Elvis with Let’s Have A Party and another ‘69 flashback with You Shook Me to round out the medley section in superb fashion. The encore is unique, the only version of Thank You from the Japanese 72 tour, Jones does his organ solo as a prelude and includes the traditional folk song Sakura Sakura (Cherry Blossom Cherry Blossom) that is very well received by the audience, a fantastic ending to a well played, very laid back concert by the band.


Led Zeppelin
October 9, 1972
Festival Hall
Osaka

01. Introduction
02. Rock and Roll
03. Black Dog
04. Over the Hills and Far Away
05. Misty Mountain Hop
06. Since I've Been Loving You
07. Dancing Days
08. The Song Remains the Same
09. The Rain Song
10. Dazed and Confused
11. Stairway to Heaven
12. Moby Dick
13. Whole Lotta Love
14. Crowd Anticipation
15. Stand By Me
16. Immigrant Song
17. Outroduction

After three days of rest, the band is back in the familiar city of Osaka for the best concert of the tour. The playing is sharp and inspired, so much that John Bonham even revives his Moby Dick solo…the vibes are real! There are four know recordings from this concert in varying degrees of completeness and for the most part they all have passable sound. For this set EV uses Source 2 commonly referred to as the H-Bomb source along with filler from sources 1 and 3. The taper was positioned in the fifth row and was able to get a great recording, albeit slightly unbalanced, he must have been in front of Jimmy’s amp as the guitar is slightly in the forefront, the rest of the band can be clearly heard and is really a nice document. There have been several recordings using this source dating back to vinyl on titles like Live (No label / matrix#), My Brain Hurts (Idle Mind IMP 1115A-B) and its reissues by Jester and renamed as Dedicated To John Henry Bonham. The concert has seen steady distribution on compact disc as Let Me Get Back To 1972 (H-Bomb HBM95R01/2/3), Tapes From The Darkside (H-Bomb HBM9301-3), Live In Japan 1972 (Last Stand Disc LSD 65/78), most releases of this concert use mixes of several sources as does this new version, The Campaign (Tarantura 1972-5-1-12), My Brain Hurts (Tarantura TCD-16-1/2), Moby Dick (Bolkskine House BHRCD-10), and Stand By Me (Wendy WECD 50/51).

Digging deep was needed to access this version, I needed to dig up an old version of the H-Bomb title Let Me Get Back To 1972 (many thanks to WGPSEC). This new version is a significant upgrade and is sourced from a very low generation of the tape. The old H-Bomb source was rather dull and had some noticeable tape hiss and had speed problems, the section around Everybody Needs Somebody To Love was very evident on the H-Bomb source, this new version does not have this or any speed issues. The sound is louder, cleaner, greatly reduced hiss and one can instantly notice is not heavy handed mastering but a much better version of the tape. I’ve been listening at a loud volume and it delivers a strong enjoyable sound. It seems the band really enjoyed playing in Osaka, the previous year provided two of the best concerts of all 1971 and while the playing thus far has been solid, the second night in Osaka is really special, the band delivers on all fronts.

The concert hits the note from the first song, although it seems there is some equipment adjustments needed as after Rock And Roll Robert talks of a problem and judging by the vocal levels, guessing a PA issue, Black Dog is the answer, then the best version of Over The Hills And Far Away follows, Plant’s voice has warmed up and the instrumental machinery is warmed and running like a precision machine, Page flies during his solo. Plant manages to get an introduction in for Misty Mountain Hop due to some tuning by Page, he talks of getting busted, something that can’t be talked about in England or America. Dancing Days is consistent with the other shows on this tour, the song has been a solid part of the set throughout. Bron-YR-Aur Stomp has been, sadly, dropped from the set, perhaps they knew Bonzo wanted to do a drum solo. Robert talks of being in Hong Kong over the previous days and then introduces The Song Remains The Same as “The Campaign”. Like the other tunes from the forthcoming fifth record, both The Campaign and The Rain Song have been very strong, although Page’s guitar is a bit out of tune prior to the solo that renders this version a bit flat, The Rain Song is superb though.

Dazed And Confused is excellent, the best version of the song from this tour. The beginning has that mysterious quality to it, Bonham is amazing, he does a couple short fast fills, pauses then hits the gong to great effect. The quiet section before the bow solo has Page working with San Francisco, this bit of improvisation inspires Robert who starts singing lines from Neil Young’s Down By The River, the audience gives them a nice round of applause for their efforts. During the slapping with the bow, Page seems to be in some unspoken dialog with the audience, the short section has a very intimate feeling. The audience seems to hang on every note and sound emanating from Page’s guitar, the Grand Sorcerer of the Magic Guitar in complete command. The fast section is good as well, as with the other shows from this tour Page plays a bit of The Crunge and seems to be working out new places to go making for an interesting, and well received version clocking in at close to 30 minutes.

Plant does a bit of hoedown improvisation prior to Stairway To Heaven, the intimate setting of the 2,700 seat Festival Hall sounds like a gathering of friends for those short few seconds. I love the Stairway’s from 72, they play it with confidence and it’s not yet a burden, Plant hits the highs as well, his voice has recovered sufficiently. Robert introduces “Ladies and Gentlemen, tonight we have an added pleasure John Samurai Bonham” in a moment of sheer hilarity, until you hear the drum solo. He plays with precision and the 16 minute solo is fast and intense and by far one of the more enjoyable Mody Dick’s I’ve heard. Whole Lotta Love is again a show highlight, it’s nice to hear it without the speed issues. Page gets into some cool riffs, he plays a couple notes of The Stones’ Satisfaction, Etta James’ Somethings Got A Hold On Me, Robert conjures up his Elvis roots again with Milk Cow Blues, Heartbreak Hotel, and Wear Your Ring Around My Neck and the medley ends with a superb Goin’ Down Slow, Page going from slow to incredibley fast and detailed leads that tease the audience to their delight, the last few seconds are sadly cut. The encores are interesting, first the band play a stand alone version of Ben E King’s hit Stand By Me that has Robert introducing Bonzo who does add backing vocals here and there, such are the happy feelings shared by group and audience. The song meanders along for 6 minutes and while an interesting oddity, never really hit me like Blueberry Hill. With just a minute to catch ones breath they plow into Immigrant Song full force and it’s a spectacular ending to a really great concert.



Led Zeppelin
October 10, 1972
Kyoto Kaikan
Kyoto

01. Introduction
02. Rock and Roll
03. Black Dog
04. Misty Mountain Hop
05. Since I've Been Loving You
06. The Song Remains the Same
07. The Rain Song
08. Dazed and Confused
09. Stairway to Heaven
10. Over the Hills and Far Away
11. Whole Lotta Love
12. Crowd Anticipation
13. Immigrant Song
14. Outroduction

The final concert in Japan is a quick one, the band further cut the set down, Dancing Days is the latest casualty. While being the shortest of the six concerts the playing is really good and quite inspired, the band hammers the gig out in record time like they have a train to catch. There are three known sources for the Kyoto gig, the first is rather poor sounding and used on very early titles like The Campaign (Tarantura 1972-5-1-12), the second main source and third filler source are much better and have been used on the following titles, Live In Japan 1972 (Last Stand Disc LSD 65/78), The Last Night In Japan (The Diagrams of Led Zeppelin TDOLZ 078), Mirage (Flagge), Live In Kyoto (Empress Valley EVSD 693/694), The Old Capital (Wendy WECD 66/67), and Evil Spirits in Kyoto (Tarantura TCD 170-172).

The sound quality of the main source 2 is overall very good and noisy, the vocals and guitar are in the forefront, the bass and drums are audible just not as clear and they are just a bit thin and raw sounding. Compared to Live In Kyoto its hiss is louder but it’s clearer, brighter and sounds more natural, you can hear the noise reduction on the older EV title and for me, not a huge upgrade but a more natural sounding one although not as significant as the Nagoya and second Osaka shows. “Nice to be in honorable Kyoto” is Roberts intro, albeit a bit prematurely as even Bonzo starts his drum intro to Rock And Roll then stops till the others are ready.

Misty Mountain Hop is introduced as being about “Japanese grass”, again the smaller venue has an intimate sound and feel to the concert, this is highlighted during a killer Since I’ve Been Loving You. Jones’ organ is clear in the mix, an essential element as it helps lay the blues foundation and Page lays down a passionate solo coupled with Robert’s moaning is perfection. The Campaign is played quite fast and the version of The Rain Song is just wonderful. When I look back at each of the six concerts, The Rain Song has been a highlight each of the times it was played. Dazed and Confused clocks in at just over 18 minutes, a compact version but still retains its intensity, perhaps a bit more. No “San Francisco” or Crunge workouts but the bow solo was great and the fast section was, well fast. In a bit of hilarity, after the song ends Plant says “If the man who’s sleeping in the front row will you please stand up”…who could sleep after that?

Another curiosity of the set is that Over The Hills And Far Away is played after Stairway To Heaven, Robert introduces it as “honorable track of fifth LP” while pointing out someone taking pictures. Whole Lotta Love has many a highlights, Freddie King’s Hideaway, Elvis’ That’s All Right Mama, and a rare version Brenda Lee’s Lets Jump The Broomstick along with the usual boogies. The sole encore is Immigrant Song, and like the previous night in Osaka, contains a bit of the old Yardbirds nostalgia You’re A Better Man Than I.

Final thoughts, Empress Valley have nailed this set. They present each concert using the best tapes for each and filling gaps with the next best one making for a very pleasurable listening experience. What I like about this set is that there is no unnecessary filler found on previous box sets, I do not need poor sources mixed with better sources done in redundancy and they gave us the best of the best. Speaking of sound quality, the label has done a great job by using low generation tapes and not tweaking the hell out of them, we get nice, natural sounding recordings. There are several upgrades in this set, Nagoya, and the second night in Osaka have been significantly upgraded, the other four are easily on par, and if anything a bit better than what has been released before. The mastering of the sources and edits are smooth and well done. The packaging is simple yet effective, while some expect more from a premium label like Empress Valley, we do get some cool extras and by keeping it simple it can be offered at an attractive price. Great box set and well worth seeking out.


Once again our good friend ethiessen1 has dropped some serious coinage and the first thing he did after receiving his package from the far east was rip it and wetransfer me the files so I would torrent them here for all to enjoy... All thanks to our benefactor, I am just the (very happy) messenger.

Sunday, July 01, 2018

Guns N' Roses - 2017-11-28 - San Diego (IEM Matrix)

Guns N' Roses
November 28, 2017
Valley View Casino Center
San Diego, CA



Not In This Lifetime San Diego 2017 - Collector's Edition
XAVEL - SMS - 154LE

101. Intro (2:00)
102. It's So Easy (3:15)
103. Mr. Brownstone (4:01)
104. Chinese Democracy (3:40)
105. Welcome to the Jungle (6:58)
106. Double Talkin' Jive (6:31)
107. Better (6:09)
108. Estranged (9:19)
109. Live and Let Die (3:35)
110. Rocket Queen (11:38)
111. You Could Be Mine (6:28)
112. New Rose (3:36)
113. This I Love (5:48)
114. Prostitute (5:40)

201. Civil War (8:11)
202. Yesterdays (3:42)
203. Coma (9:53)
204. Band Introduction (1:39)
205. Slash Guitar Solo (4:39)
206. Speak Softly Love (4:30)
207. Sweet Child O' Mine (7:55)
208. Wichita Lineman (3:39)
209. Used to Love Her (3:26)
210. My Michelle (3:43)
211. Wish You Were Here (6:12)
212. Layla (coda) (3:15)
213. November Rain (9:20)

301. Black Hole Sun (5:57)
302. Knockin' On Heaven's Door (13:52)
303. Nightrain (8:26)
304. Patience (7:30)
305. Madagascar (5:46)
306. Whole Lotta Rosie (5:22)
307. Don't Cry (4:04)
308. The Seeker (3:14)
309. Paradise City (7:11)
310. Outro (3:15)

Guns N' Roses - 2017-01-22 - Kobe (IEM Matrix)

Guns N' Roses
January 22, 2017
World Hall
Kobe, Japan


Kobe 2017 - Definitive Edition
XAVEL - SMS-137
Multiple Stereo IEM Sources Matrix Recording

101. Intro (Looney Tunes - The Equalizer) (3:02)
102. It's So Easy (3:34)
103. Mr. Brownstone (3:57)
104. Chinese Democracy (3:38)
105. Welcome To The Jungle (5:46)
106. Double Talkin' Jive (5:32)
107. Better (6:07)
108. Estranged (8:49)
109. Live and Let Die (3:22)
110. Rocket Queen (10:35)
111. You Could Be Mine (5:58)
112. You Can't Put Your Arms Around A Memory (intro) - New Rose (3:40)
113. This I Love (5:22)
114. Civil War (7:38)

201. Coma (9:43)
202. Band Introduction (0:35)
203. Slash Guitar Solo - Speak Softly Love (6:45)
204. Sweet Child O 'Mine (6:32)
205. Out Ta Get Me (4:09)
206. Wish You Were Here (3:52)
207. November Rain (9:19)
208. Knockin' On Heaven's Door (9:47)
209. Nightrain (6:26)
210. Sorry (6:44)
211. Don't Cry (4:12)
212. The Seeker (3:09)
213. Paradise City (7:29)

Guns N' Roses - 2017-01-21 - Osaka (IEM Matrix)

Guns N' Roses 
January 21, 2017
Kyocera Dome
Osaka, Japan


Osaka 2017 - Definitive Edition
XAVEL - SMS-136
Multiple Stereo IEM Sources Matrix Recording

101. Intro (1:20)
102. It's So Easy (3:28)
103. Mr. Brownstone (4:00)
104. Chinese Democracy (3:39)
105. Welcome To The Jungle (5:33)
106. Double Talkin' Jive (5:41)
107. Better (6:09)
108. Estranged (8:50)
109. Live And Let Die (3:19)
110. Rocket Queen (10:29)
111. You Could Be Mine (5:57)
112. Attitude (2:59)
113. This I Love (5:27)
114. Civil War (7:30)

201. Coma (9:38)
202. Band Introduction (0:36)
203. Slash Guitar Solo (6:20)
204. Sweet Child O' Mine (6:24)
205. Wish You Were Here (4:17)
206. November Rain (9:18)
207. Knockin' On Heaven's Door (10:04)
208. Nightrain (6:31)
209. Angie (intro) - Patience (7:21)
210. The Seeker (3:07)
211. Paradise City (8:01)
212. Outro (Far Away Eyes) (4:29)

Tuesday, June 19, 2018

Led Zeppelin - 1972-06-19 - Seattle, WA (Lets Do It Again / Badgeholders)

Led Zeppelin
June 19, 1972
Seattle Coliseum
Seattle, WA


101. Immigrant song
102. Heartbreaker
103. Black Dog
104. The Ocean
105. Since ive been loving you
106. Stairway to heaven
107. Going to California
108. Black country woman
109. That's the way
110. Tangerine
111. Bron-yr-aur-stomp

201. Dazed and confused
202. What is and what should never be
203. Dancing days
204. Moby Dick

301. Whole lotta love
302. Rock and Roll
303. Organ solo
304. Louie Louie
305. Thank You
306. How Many More Times
307. Over the hills and far away
308. Dancing days

Everything you have heard about this concert is absolutely true.  This show may rank number one, or at least in the top three.  They play with ferocity, professionalism and looseness that is rare even for them.  This show is so good that Robert Plant was still talking about it five years later at their stop in Seattle on the 1977 tour.

Unfortunately this classic show is cursed with one of the worst sounding tapes available.  Some have said it is THE worst.  I wouldn’t go that far.  Even though it is plagued with a loud audience and numerous cuts, it is listenable and enjoyable once you give it a chance.  It is almost impossible over the three hours to not be swept up in the party atmosphere.  The surprises begin after the third number with the premier of “The Ocean” and the fun never stops.

“Black Country Woman” from Physical Graffiti is premiered in the acoustic set, and ironically is the longest live version played by the band.  “Whole Lotta Love” includes the Roy Orison classic “Only The Lonely”, and the encores include more previews from Houses Of The Holy with “Over The Hills” (the beginning is unfortunately cut), and the second version of “Dancing Days” this evening.

What makes this show legendary isn’t necessarily all of the previews (“The Ocean”, “Over The Hills And Far Away”, “Black Country Woman” and “Dancing Days” played two times), but is the loose attitude of the band that enables them to do so.  They play as if they are all alone in a room with no distractions and no pressure.  There isn’t a hint of self-consciousness in the entire performance and the light and shade ethos really shines.  Despite the poor sound quality this is an essential show to own.

Sunday, June 10, 2018

Roger Waters - 1984-07-26 - Rosemont Horizon, Rosemont, IL

Roger Waters 
July 26, 1984
Rosemont Horizon
Rosemont, IL


Lunatic Rave
Mid Valley 732/733

Soundboard Recording

01. Set The Controls For The Heart Of The Sun
02. Money
03. If
04. Welcome To The Machine
05. Have A Cigar
06. Wish You Were Here
07. Pigs On The Wing
08. In The Flesh
09. Nobody Home
10. Hey You
11. The Gunnerís Dream
12. 4:30AM (Apparently They Were Traveling Abroad)
13. 4:33AM (Running Shoes)
14. 4:37AM (Arabs With Knives And West German Skies)
15. 4:39AM (For The First Time Today ñ Part 2)
16. 4:41AM (Sexual Revolution)
17. 4:47AM (The Remains Of Our Love)
18. 4:50AM (Go Fishing)
19. 4:56AM (For The First Time Today Part 1)
20. 4:58AM (Dunroamin Duncarin Dunlivin)
21. 5:01AM (The Pros And Cons Of Hitch-Hiking)
22. 5:06AM (Every Strangers Eyes)
23. 5:11AM (The Moment Of Clarity)
24. Brain Damage
25. Eclipse

Eric Clapton - guitar
Roger Waters - bass / guitar / vocals
Tim Renwick - guitar / bass
Chris Stainton - bass / keyboards
Andy Newmark - drums
Michael Kamen - keyboards
Mel Collins - saxophones
Doreen Chanter - backing vocals
Katie Kissoon - backing vocals

Pink Floyd - 1970-04-29 - San Francisco (Definitive Westworld)

Pink Floyd
April 29, 1970
Fillmore West
San Francisco, CA


Definitive Westworld
Sigma

101. Grantchester Meadows
102. Astronomy Domine
103. Cymbaline
104. Atom Heart Mother
105. The Embryo

201. Intro
202. Green Is The Colour
203. Careful With That Axe, Eugene
204. Set The Controls For The Heart Of The Sun
205. A Saucerful Of Secrets
206. Interstellar Overdrive

Live at Fillmore West, San Francisco, CA. USA 29th April 1970.
Stereo soundboard recording

David Gilmour
Rick Wright
Nick Mason
Roger Waters

Atom Heart Mother on KQED the next day

Pink Floyd’s concert at San Francisco’s famed Fillmore West is one that most collectors, even causal fans, have in their collections. The quality is excellent and the performance is its equal, the Floyd certainly shared a common vision with the psychedelic West Coast music community that inhabited the Bay Area. By spring 1970 the band had settled nicely into a group of songs that would, for the most part, form the basis of their live sets for throughout 1971. Like many I love these years, the Space Rock themed explorations enhanced with subtle mood nuances powered by incredible musicianship from all four Floyd’s make for some of the most invigorating listening one can find. Needless to say, material from these years takes up a bit of space on my shelves and is steadily taking over!

Back to the Fillmore show on April 29, 1970, the subject of this new release from the folks at Sigma where they revisit one of their earliest titles, Westworld (Sigma 4). The concert has been released many times, the first title I bought was Black Glass (Eclipsed NK-008), much to my disappointment the sound was hidden under a deep layer of hiss but thankfully I was able to upgrade to Live At Winterland (The Swingin’ Pig TSP-CD-170-2) and later Interstellar Encore (Pigs On The Wing OMS002/3) a title I ditched as it was CD-R that was thankfully copied as Pink Pigs Over Fillmore West (Euro Boots EB-30), and finally Westworld (Sigma 4). What I have always found frustrating about this concert is the lack of real information about the tapes themselves. What is known is that the circulating bootlegs are two source mixes, the soundboard portion many to believe is an Open Air Mic recording, the audience portion being just that, an excellent audience source. Why was the soundboard recorded? Possible radio broadcast? Bill Graham’s people? Who knows, the recording is excellent mono yet sadly incomplete. The audience recording is even more frustrating, first off, is what circulates complete or is the entire concert sitting in someone’s attic, some even believe that the same person is responsible for both, while others believe one got a hold of the other and made the mix of both. I for one would love to hear this concert in the quality captured by the audience tape, certainly the work of someone with really good equipment. The last item with this concert is the channel chirp that plagued latter releases, most attribute it to a faulty reel in its earlier analog days.

Is this title an improvement over the original Westworld? Well the title says this is the Definitive Westworld. The sound for one is only a very slight improvement, to my ears it sounds very slightly cleaner, they have not boosted the sound as much either especially between songs and the sound is more open for lack of better word. The reel chirp is a bit confusing, the label boasts they did significant work to eliminate it. I pulled out my old Pink Pigs Over Fillmore West and based upon several listens of this new title, used Cymbaline as a base-point. On the old Euro Boots title it’s there, can’t miss it and noticeable. Same song on Sigma 4, you don’t hear it. Again back to Sigma 209 and you can faintly hear the remnants of the chirp, barely. This is my theory, I read about, did not download, a remastered version of this tape where they took the original mono source where left and right channels are the same and used only the channel that did not have the chirp and mirrored it thus creating a version with no chirp, this could explain the very slight difference in sound from Sigma 4 to Sigma 209, the former used this remaster, the latter did not.

What is soundboard and what is audience? Well certainly the whole first set is the soundboard / open air mic recording. Its clarity of instruments, vocals complete mix is superior. It sounds like there is a patch in Atom Heart Mother, about 10-10:45 where it sounds like an audience source, the drums are way lower in the mix and it almost sounds like you can hear the sound moving thanks to the Azimuth Coordinator. The audience source is used for Set The Controls For The Heart Of The Sun, A Saucerful Of Secrets, and Interstellar Overdrive. Curious is the first three minutes of Set The Controls, it is either a third source or a different generation of the audience source.

For those who are not interested in any of the previous two paragraphs worth of babble, this new release sounds a tiny bit better than the original Westworld. Make no mistake we are dealing with the same sources so better transfer, better mastering techniques and software and those we should thank. That being said the Fillmore East show is an excellent concert, in fact that entire Spring 1970 American tour is, Stonybrook, Port Chester, KQED, and Santa Monica are the other circulating boots from this tour. The set-lists are superb, hell just the inclusion of Grantchester Meadows is worth the price alone (save for Stonybrook as its not on that recording). The West Coast dates feature a band playing to the same like minded counterparts as Europe, before the hoopla would creep in.

The packaging is what we come to expect from Sigma, full color inserts wonderfully adorned with live shots of the group in the intimate theater setting. The gig poster is recreated on the front cover, always liked that one with the Ummagumma pic with the band and all their instrumentation. Oh crap let’s not forget…a sticker! Definitive Westworld is certainly a decent upgrade to the original, better sonic quality for sure but to me, I hear nothing to make the claim as Definitive as we all know, the title is only as good as the next release or a better generation of the tapes appear.