Friday, January 23, 2015

Led Zeppelin - 1977-05-22 - Fort Worth

Led Zeppelin
May 22, 1977
Convention Center
Fort Worth, TX

Texas Hurricane (Eelgrass EGL20256/57/58)




101. The Song Remains The Same
102. The Rover/Sick Again
103. Nobody’s Fault But Mine
104. In My Time Of Dying
105. Since I’ve Been Loving You
106. No Quarter

201. Ten Years Gone
202. The Battle Of Evermore
203. Going To California
204. Black Country Woman
205. Bron-Yr-Aur Stomp
206. White Summer/Black Mountain Side
207. Kashmir

301. Out On The Tiles/Moby Dick
302. Guitar Solo
303. Achilles Last Stand
304. Stairway To Heaven
305. Whole Lotta Love
306. Rock And Roll
307. It’ll Be Me (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.

With the announcement of a new stereo soundboard from Empress Valley, we knew it was only a short wait before the Eelgrass label would issue their version. 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.

Eelgrass uses the fatboy jewel case to house the three discs and features common but decent looking double sided artwork. I do, on occasion, enjoy nice packaging but what really counts is the music and Eelgrass delivers an excellent affordable alternative to the Empress package. Texas Hurricane is another excellent Zeppelin soundboard that is sure to please collectors.


Wednesday, January 07, 2015

Today no updates...

When the world becomes so serious that humor

 turns into a deadly profession...




Tuesday, January 06, 2015

The Beatles - 1969 - A/B Road (Get Back/Let It Be sessions: day 20 January 31, 1969)

The Beatles

Get Back/Let It Be sessions: day 20

January 31, 1969

 


Disc 1: (1:16:39)
01: Roll Announcement (0:12)
02: Two Of Us 31.01 (2:00)
03: Unknown 31.02 (0:38)
04: Hey Good Lookin' 31.03 (0:56)
05: Take This Hammer (medley) 31.04 (9:02)
06: Two Of Us (10A) 31.05 (0:53)
07: Two Of Us (10B) 31.06 (3:13)
08: Two Of Us 31.07 (0:23)
09: Two Of Us 31.08 (0:21)
10: Two Of Us 31.09 (3:04)
11: Step Inside Love 31.10 (3:07)
12: Friendship 31.11 (0:40)
13: Tales Of Frankie Rabbit 31.12 (1:05)
14: Two Of Us (11) 31.13 (3:48)
15: Deed I Do 31.14 (2:20)
16: Two Of Us (12) 31.15 (3:58)
17: I Got Stung 31.16 (0:58)
18: Step Inside Love 31.17 (0:14)
19: Let It Be 31.18 (0:41)
20: Let It Be 31.19 (0:58)
21: The Long And Winding Road 31.20 (1:55)
22: Let It Be 31.21 (0:42)
23: The Long And Winding Road 31.22 (22:31)
24: The Long And Winding Road (13A) 31.23 (0:50)
25: The Long And Winding Road (13B) 31.24 (3:51)
26: The Long And Winding Road 31.25 (1:07)
27: The Long And Winding Road (14) 31.26 (3:17)
28: The Long And Winding Road (15A) 31.27 (0:18)
29: The Long And Winding Road (15B) 31.28 (3:37)

Disc 2: (1:13:19)
01: The Long And Winding Road 31.29 (2:40)
02: The Long And Winding Road (16A) 31.30 (0:10)
03: The Long And Winding Road (16B) 31.31 (0:44)
04: The Long And Winding Road (16C) 31.32 (3:37)
05: The Long And Winding Road (16D) 31.33 (4:45)
06: Lady Madonna 31.34 (3:47)
07: The Long And Winding Road 31.35 (2:14)
08: The Long And Winding Road (17A) 31.36 (2:51)
09: The Long And Winding Road (17B) 31.37 (0:17)
10: The Long And Winding Road 31.38 (0:18)
11: The Long And Winding Road (18) 31.39 (5:38)
12: The Long And Winding Road (19) 31.40 (4:29)
13: I Want You (She's So Heavy) 31.41 (5:30)
14: Let It Be 31.42 (6:34)
15: Let It Be (20A) 31.43 (1:28)
16: Let It Be (20B) 31.44 (0:08)
17: Let It Be (20C) 31.45 (4:33)
18: Build Me Up Buttercup 31.46 (0:40)
19: Let It Be 31.47 (1:48)
20: Let It Be (21) 31.48 (3:42)
21: Let It Be (22) 31.49 (5:12)
22: Let It Be (23) 31.50 (4:18)
23: Let's Have A Party 31.51a (0:26)
24: Let's Have A Party 31.51b (1:21)
25: Let It Be 31.49P (6:09)

Disc 3: (48:39)
01: Dialogue (5:25)
02: Instrumental 31.52 (1:03)
03: Let It Be 31.53 (2:58)
04: Let It Be 31.54 (3:45)
05: Roll Announcement (0:25)
06: Let It Be 31.55 (1:03)
07: Let It Be 31.56 (4:42)
08: Let It Be 31.57 (1:04)
09: Let It Be - 12th Street Rag 31.58 (0:18)
10: Let It Be 31.59 (4:24)
11: Oh! Darling 31.60 (3:15)
12: Oh! Darling 31.61a (2:43)
13: Oh! Darling 31.61b (0:49)
14: Unknown 31.62 (2:43)
15: Let It Be 31.63 (5:37)
16: Let It Be (27A) 31.64 (4:23)
17: Let It Be (27B) 31.65 (4:02)

 
Apple Studios, Savile Row, London
Producer:
George Martin
Engineer: Glyn Johns
This was the 20th and final day of the Get Back/Let It Be sessions, and saw The Beatles perform the songs which had been judged unsuitable for the previous day's rooftop concert.


The main purpose was to allow the film crew to capture satisfactory versions of the songs. Primary among them were Let It Be, The Long And Winding Road and Two Of Us.
A performance of Two Of Us was included as the opening track on the Let It Be album. The Beatles completed the song early on in the session, leaving them with time to mess around in the studio. Among the performances were numerous golden oldies, and a version of Step Inside Love, which Paul McCartney had given to Cilla Black the year before.
Various other songs were also performed during the day, including a version of Lady Madonna featuring the lines "Lord and lady docker, in your private yacht/All the people wonder why you have such a lot". McCartney also sang on I Want You (She's So Heavy), which The Beatles had played earlier in week and were clearly keen to work on further.
Most of the takes of The Long And Winding Road were recorded after a lunchtime break. Among them was the version included on the 2003 album Let It Be... Naked. The song Let It Be proved slightly more troublesome, with The Beatles recording a total of 22 takes, beginning with a skiffle-style one with John Lennon on lead vocals, singing the words to a different melody.
Patience began to wear thin during this part of the session, with Lennon audibly bored and interjecting mischievous lines such as "And in my hour of darkness she is standing left in front of me, squeaking turds of whisky over me". McCartney, too, changed some of the lyrics, including a reference to "Brother Malcolm" (presumably Mal Evans), and changing "times of trouble" to "times of heartache".
The group did eventually record a take which - with overdubs recorded at a later date - was used on both the single and album. This was the penultimate take of the day; an edit of this and the final take was used in the Let It Be film.


So That's All Folks!

The Beatles - 1969 - A/B Road (The Beatles’ rooftop concert January 30, 1969)

The Beatles

The Beatles’ rooftop concert (Apple building)

January 30, 1969

 


Disc 1: (1:02:01)
01: Roll Announcement (0:17)
02: Slate Announcement (0:06)
03: Dialogue (0:12)
04: Roll Announcement (0:12)
05: Slate Announcement (1:00)
06: Get Back 30.01 (2:55)
07: Get Back 30.02 (3:37)
08: Dialogue (0:21)
09: I Want You (She's So Heavy) 30.03 (0:54)
10: Dialogue (0:29)
11: Take Announcement (0:04)
12: Get Back 30.04 (3:30)
13: Don't Let Me Down 30.05 (3:20)
14: I've Got A Feeling 30.06 (5:13)
15: One After 909 30.07 (0:16)
16: One After 909 30.08 (2:46)
17: Danny Boy 30.09 (0:43)
18: Dig A Pony 30.10 (1:18)
19: Dig A Pony 30.11 (5:11)
20: God Save The Queen 30.12 (0:51)
21: Warmup (1:51)
22: I've Got A Feeling 30.13 (3:33)
23: A Pretty Girl Is Like A Melody 30.14 (0:08)
24: Get Back 30.15 (0:13)
25: Don't Let Me Down 30.16 (3:21)
26: Get Back 30.17 (3:42)
27: Roll Announcement (0:11)
28: God Save The Queen 30.12P (2:33)
29: I've Got A Feeling 30.13P (3:33)
30: A Pretty Girl Is Like A Melody 30.14P (0:07)
31: Get Back 30.15P (0:16)
32: Don't Let Me Down 30.16P (3:18)
33: Get Back 30.17P (6:00)

Disc 2: (45:55)
01: Roll (0:17)
02: Slate (0:06)
03: Dialogue (0:12)
04: Roll (0:12)
05: Slate (1:00)
06: Get Back (2:55)
07: Get Back (3:37)
08: Dialogue (0:21)
09: I Want You (She's So Heavy) (0:54)
10: Dialogue (0:29)
11: Take (0:04)
12: Get Back - Stereo (3:29)
13: Don't Let Me Down - Stereo (3:19)
14: I've Got A Feeling - Stereo (5:12)
15: One After 909 (0:16)
16: One After 909 - Stereo (2:45)
17: Danny Boy - Stereo (0:43)
18: Dig A Pony (1:18)
19: Dig A Pony - Stereo (5:09)
20: God Save The Queen (0:51)
21: Warmup (1:51)
22: I've Got A Feeling - parts Stereo (3:32)
23: A Pretty Girl Is Like A Melody (0:08)
24: Get Back (0:13)
25: Don't Let Me Down Part Stereo (3:21)
26: Get Back - Stereo (3:41)

Apple Studios, Savile Row, London
Producer:
George Martin
Engineer: Glyn Johns
The Beatles, with Billy Preston, gave their final live performance atop the Apple building at 3 Savile Row, London, in what became the climax of their Let It Be film.

We went on the roof in order to resolve the live concert idea, because it was much simpler than going anywhere else; also nobody had ever done that, so it would be interesting to see what happened when we started playing up there. It was a nice little social study.
We set up a camera in the Apple reception area, behind a window so nobody could see it, and we filmed people coming in. The police and everybody came in saying, 'You can't do that! You've got to stop.'
George Harrison
Anthology

30 January 1969 in London was a cold day, and a bitter wind was blowing on the rooftop by midday. To cope with the weather, John Lennon borrowed Yoko Ono's fur coat, and Ringo Starr wore his wife Maureen Starkey's red mac.

There was a plan to play live somewhere. We were wondering where we could go - 'Oh, the Palladium or the Sahara.' But we would have had to take all the stuff, so we decided, 'Let's get up on the roof.' We had Mal and Neil set the equipment up on the roof, and we did those tracks. I remember it was cold and windy and damp, but all the people looking out from offices were really enjoying it.
Ringo Starr
Anthology

The 42-minute show was recorded onto two eight-track machines in the basement of Apple, by George Martin, engineer Glyn Johns and tape operator Alan Parsons. The tracks were filled with the following: Paul McCartney, vocals; John Lennon's and George Harrison's vocals; Billy Preston's organ; McCartney's bass guitar; a sync track for the film crew; Starr's drums; Lennon's guitar; Harrison's guitar.

That was one of the greatest and most exciting days of my life. To see The Beatles playing together and getting an instant feedback from the people around them, five cameras on the roof, cameras across the road, in the road, it was just unbelievable.
Alan Parsons
The Complete Beatles Recording Sessions, Mark Lewisohn

The songs performed on the roof:
Brief, incomplete and off-the-cuff versions of I Want You (She's So Heavy), God Save The Queen and A Pretty Girl Is Like A Melody were fooled around with in between takes - as was Danny Boy, which was included in the film and on the album. None of these were serious group efforts, and one - the group and Preston performing God Save The Queen - was incomplete as it coincided with Alan Parsons changing tapes.

The Beatles' rooftop show began at around midday. The timing coincided with the lunch hour of many nearby workplaces, which led to crowds quickly forming. Although few people could see them, crowds gathered in the streets below to hear The Beatles play.
There were people hanging off balconies and out of every office window all around. The police were knocking on the door - George Martin went white! We really wanted to stop the traffic, we wanted to blast out the entire West End...
Dave Harries, engineer
The Complete Beatles Recording Sessions, Mark Lewisohn

Traffic in Savile Row and neighbouring streets came to a halt, until police from the nearby West End Central police station, further up Savile Row, entered Apple and ordered the group to stop playing.
It was good fun, actually. We had to set the mikes up and get a show together. I remember seeing Vicki Wickham of Ready, Steady, Go! (there's a name to conjure with) on the opposite roof, for some reason, with the street between us. She and a couple of friends sat there, and then the secretaries from the lawyers' offices next door came out on their roof.

We decided to go through all the stuff we'd been rehearsing and record it. If we got a good take on it then that would be the recording; if not, we'd use one of the earlier takes that we'd done downstairs in the basement. It was really good fun because it was outdoors, which was unusual for us. We hadn't played outdoors for a long time.
It was a very strange location because there was no audience except for Vicki Wickham and a few others. So we were playing virtually to nothing - to the sky, which was quite nice. They filmed downstairs in the street - and there were a lot of city gents looking up: 'What's that noise?'
Paul McCartney
Anthology


The Beatles began with a rehearsal of Get Back while the film cameras were being set up. At the end it was applauded by the spectators on the roof. In response, Paul McCartney mumbled something about cricketer Ted Dexter, and John Lennon announced: "We've had a request from Martin Luther."



Another version of Get Back followed. An edit of these two versions was included in the Let It Be film. Afterwards Lennon said: "We've had a request for Daisy, Morris and Tommy."
The third song was Don't Let Me Down, as featured in the Let It Be film. Afterwards The Beatles went straight into I've Got A Feeling, which was used in both the film and the album. At the end of the song Lennon can be heard saying: "Oh my soul, so hard."
One After 909 was also used in the Let It Be film and album. At the end of it Lennon broke out into a brief impromptu rendition of Conway Twitty's 1959 hit Danny Boy.
The sixth song The Beatles played was Dig A Pony. A short rehearsal was played first, with Lennon asking for the lyrics. They then performed the song properly, with a production runner on the film, Kevin Harrington, kneeling in front of Lennon holding a clipboard bearing the lyrics. George Harrison, too, briefly knelt next to Harrington.
Dig A Pony began with a false start. In the film, Ringo Starr can be seen putting his cigarette down and crying out 'Hold it!' This, and the full version that followed, were both included in the album and film, although on the LP the 'All I want is..." refrain which opened and closed the song were later cut by Phil Spector.
George Harrison joined Lennon and McCartney on vocals for the excised lines from Dig A Pony. He also contributed minor backing vocals to Don't Let Me Down and I've Got A Feeling.
As Alan Parsons changed the recording tapes in Apple's basement studio, The Beatles and Billy Preston performed an off-the-cuff version of God Save The Queen. This was never used; nor were second versions of I've Got A Feeling and Don't Let Me Down.
The final full song was Get Back, although The Beatles nearly stopped performing when the police arrived on the roof. The officers demanded that Mal Evans turn off the group's Fender Twin amplifiers. He complied, but Harrison immediately turned his back on.
Evans realised his mistake and turned Lennon's back on too. The amplifiers took several seconds to start again, but The Beatles managed to continue long enough to see the song through to the end.
In the end it started to filter up from Mal that the police were complaining. We said, 'We're not stopping.' He said, The police are going to arrest you.' 'Good end to the film. Let them do it. Great! That's an end: "Beatles Busted on Rooftop Gig".'

We kept going to the bitter end and, as I say, it was quite enjoyable. I had my little Hofner bass - very light, very enjoyable to play. In the end the policeman, Number 503 of the Greater Westminster Council, made his way round the back: 'You have to stop!' We said, 'Make him pull us off. This is a demo, man!'
I think they pulled the plug, and that was the end of the film.
Paul McCartney
Anthology

As a climax it could scarcely be bettered, with McCartney brilliantly ad-libbing, "You've been playing on the roofs again, and that's no good, and you know your Mummy doesn't like that... she gets angry... she's gonna have you arrested! Get back!"
The police presence ensured that The Beatles would play no more on the roof. The concert over, McCartney thanked Starr's wife Maureen for her enthusiastic cheering with a simple "Thanks Mo".

I always feel let down about the police. Someone in the neighbourhood called the police, and when they came up I was playing away and I thought, 'Oh great! I hope they drag me off.' I wanted the cops to drag me off - 'Get off those drums!' - because we were being filmed and it would have looked really great, kicking the cymbals and everything. Well, they didn't, of course; they just came bumbling in: 'You've got to turn that sound down.' It could have been fabulous.
Ringo Starr
Anthology

Then, of course, there was John Lennon's immortal closing quote: "I'd like to say thank you on behalf of the group and ourselves, and I hope we passed the audition." Both these comments were used at the end of Get Back on the Let It Be album, although the version of the song was not from the rooftop performance.

Around half of the performance was used in the Let It Be film. Furthermore, edits of I've Got A Feeling, One After 909 and Dig A Pony all featured on the Let It Be album.
The final Get Back take was included in the Let It Be film, and appeared on Anthology 3 in 1996.
An edit of the two Don't Let Me Down takes was included on 2003's Let It Be... Naked, due to John Lennon getting the vocals wrong at different points in both. That album also contained an edit of the rooftop performance of I've Got A Feeling and another version, recorded on another date.