ITALIAN/ENGLISH
Led Zeppelin, Salt Lake City, Salt Palace 26 May 1973 (dadgad remaster 2019)
LABEL: no label
TYPE: soundboard
SOUND QUALITY: TTTTT
PERFORMANCE: TTTT
ARTWORK: no artwork
PACKAGING: no packaging
BAND MOOD: TTT½
COLLECTION ZEP FAN: TTTT
COLLECTION CASUAL FAN: TT
Altro remaster del 2019 di dadgad sempre relativo alla prima parte del tour del nord America del 1973. Altro soundboard (una cassetta solitamente stereo registrata dal bancone del mixer) che dadgad riprende in mano e ripulisce con la sua consueta bravura. Ho confrontato questo nuovo remaster con la versione che avevo (Georgia On My Mind) e direi proprio che questa nuova fatica di dadgad sia più chiara e brillante. Due parole sulla prima parte del tour del 1973 le abbiamo scritte nella recensione del concerto di Mobile (pubblicato l’11 aprile), passiamo quindi direttamente al concerto.
Gli 11.000 (mica male per una cittadina che in quegli anni aveva una popolazione simile a quella di Modena ad esempio, 175.000 cittadini o giù di lì) del Salt Palace si scatenano sin da subito per la solita sequenza d’apertura Rock And Roll (cuts in), Celebration Day e Black Dog. Plant e Page sono leggermente fuori fuoco; nell’assolo finale di Celebration Day il chitarrista inserisce la sezione ad accordi tipica dell’assolo accompagnato di Heartbreaker. Effetto echo fuori controllo nel cantato di Black Dog. Jones e Bonham sono comunque fenomenali.
RP: “Thank you. Good evening. It’s, uh, it’s very nice to be back here again. Unfortunately, uh. Yeah, it’s very nice to be back here. No messing about. This is a track, after five albums we’ve finally been able to find a title for the new one, which is called Houses of the Holy. And, uh, so there’s somebody out there. This, this is a track from one of the, from this album. It’s about mankind.”
Over The Hills lo sappiamo è cantata da Plant in questo tour con un registro più basso rispetto a quello altissimo usato in studio e nella date americane del 1972. Con questo brano Page e Plant sembrano entrati in partita, la prova è convincente.
RP:“Thank you. Right, well what I was gonna try and say before, now that Jimmy’s just broken a string it gives me an opportunity to say that we’ve been, us English-folk are usually living on sea level, you know? Right down. Now for over a week now we’ve been above four thousand five hundred feet. And, uh, I suppose it’s like the dinosaurs and the complete evolution of things where you get, you know, you get out of a certain environment into another. We’ve been managing to stay awake about eight hours a day and we’re supposed to have a good reputation for staying awake twenty-four hours a day, so anyway, it’s been a very good tour. I’m doing a bit of schpeel as you’ll appreciate, while a string is being changed. It’s been a good tour; we’ve played in, in Tampa, and we thought we’d see a few people there but fifty-eight thousand people came. That was, so then we played in Atlanta and we thought we’d see another fifty-four thousand people, okay? So we had to sit down for a few days and work it out. Anyway, we’ve got back into the swing of doing concerts and things again, after sitting down for at least three days. So we want this one, we’re gonna make this one, ‘cuz we move from here to the West coast, this is the last Mid-west thing that we do before we get entirely crazy in California. We gonna do, we gonna make this gig the best one in the Mid-west. What we’re about to do to do this, we all got out of bed about an hour ago so’s we could do it properly, ha ha ha. So if you’ll excuse this little gap, we’ve sent so many things on to California that, uh, we even sent all the spare guitars and, I even found one foot of mine was drifting across there. Now, how we doing, Raymond? We got a Scotsman doing the guitars tonight, so he’s, he might be a little distorted with the hype above sea level. So if you’ll just talk amongst yourselves for a second, we’ll have a chat. Now this is a very, very professional run group, so cool it for a bit, ha ha.I could do a harmonica solo but me harmonicas are in the, the West coast too. Ah, another musician amongst us.”
Jimmy rompe una corda, la sostituzione dura più del previsto, Robert chiacchiera con il pubblico fino a che Jones di siede al piano e in tre improvvisano Georgia On My Mind di Ray Charles.
◊ ◊ ◊
◊ ◊ ◊
RP: “Ahh, wait a minute, hold it, hold it. The night club has now closed down and we can get on with the concert. Right, this is a track from the, the album before the one with a title. It’s about what happens, you see how we speed up again, here? It’s the one about, about if you’re caught walking thru the park with the wrong stuff in your cigarette papers. ‘Misty Mountain Hop.’ “
LZ 26 may 1973 Salt Lake dadgad prod 2019 – homemade cover
Misty Mountain Hop e Since I’Ve Been Loving You seguono come di consueto. Ora tutto il gruppo è deciso e caldo. Il soundboard regala grandi emozioni e questa rimasterizzazione di dadgad riesce a far risaltare ulteriormente la connessione perfetta tra Bonham e le tastiere e pedaliera basso di Jones. Ascoltare in cuffia una SIBLY del 1973 in questa qualità audio (rammentiamo che comunque stiamo parlando di un bootleg) è sempre, sempre, una grande esperienza.
RP: “I think it would be advisable if you didn’t throw those green things around, you know. In case they hit somebody on the nut. This is a track from the titled album, uh. It’s called ‘No Quarter.’ “
No Quarter avanza tra la nebbia del vapore prodotto dal ghiaccio secco, effetto che ogni volta stupisce e incanta il pubblico. Il duetto strumentale tra Jones e Bonham prima dell’assolo di Page è di nuovo appassionato e bello da ascoltare. La solista di Page è ispirata e ben si incastra con i giochi ritmici stimolati da Bonham.
RP: “Well. As you can tell, as the group gets older, we get into all sorts of different trips. Ahh, sorry, different themes. But not even that. Different things. And, you go all around the world and you pick up, sort of, feelings from different countries, different towns. Just like this one. And in the end you find that it’s all the very same. So ‘The Song Remains the Same.'”
La vemenza con cui The Song Remains The Same inizia alza il livello di potenza della scaletta, a questo punto giunta oltre la metà. Sulla dodici corde Page fa quello che vuole, il chitarrismo che esprime in un solo pezzo incanta ogni volta. Sfortunatamente, passato sul manico sottostante, ci si accorge che la chitarra è scordata durante The Rain Song e anche il Mellotron di Jones sembra avere problemi. Chissà, forse i 1288 metri d’altitudine e il clima della città rese difficile la gestione dell’accordatura.
RP: “John Paul Jones was the Henry Mancini Orchestra. Whatever happened to Henry Mancini?”
LZ 26 may 1973 Salt Lake poster
RP: “Right, now, during these five years there’s been all sorts of different colors, musically, that we’ve come across, and put under plastic. And this is one of the very first. An oldie, but goodie”
Dazed And Confused dura circa 31 minuti. Robert pare davvero dentro alla dimension (come diciamo da queste parti); nei primi quattro minuti è senza dubbio lui il mattatore. Subito dopo entra in scena il trio Page, Jones, Bonham per la consueta meraviglia strumentale. Nella sezione “San Francisco” Plant continua a risaltare. L’entrata in scena dell’archetto di violino regala le suggestioni cosmiche che conosciamo. La scorreria elettrica che segue come sappiamo è uno dei massimi momenti di improvvisazione rock a tutto campo. I LZ come nessun altro. Mi chiedo cosa potessero pensare di un Armageddon musicale di questo calibro gli eventuali rampolli dei mormoni presenti al concerto. Alla fine il pubblico sembra in visibilio.
◊ ◊ ◊
◊ ◊ ◊
RP: “Thank you very much, Ta’. We enjoyed that too. As you might have gathered. Ohh. Here’s a song that was written in an entirely different mood.”
Il cambio di atmosfera che arriva con Stairway To Heaven è come una bruschissima frenata, ma l’ancestrale candore di quell’arpeggio impiega pochi secondi per irretire tutti i presenti. John Paul Jones pasticcia un po’, ma poi tutto prosegue come al solito. Pur ascoltandone l’ennesimo assolo di chitarra, non posso che concentrami su di esso e dirmi che gran chitarrista fosse Page nel 1973. Ad un certo punto inizia a giocare su frasi fatte di bicordi, trademark che diventerà famoso nei tour del 1975 e 1977.
RP: “That’s the way to the stairway. Thank you. Well, I reckon the guy who did that should get at least, get a rotten carrot. Very well done, sir. Actually, I’ll keep the rest of it as a memento of Salt Lake City.”
Salt Lake City in the seventies
Bonham introduce Heartbreaker nel tipico arrangiamento del 1973, a cui viene poi attaccata- prima della strofa finale – Whole Lotta Love (fade out).
In quest’ultima nella sezione funky Page alterna un riff di dubbia efficacia. In questi due ultimi pezzi il chitarrista sembra meno lucido, tutto sembra più caotico. Energico il breve interludio dedicato al Theremin, con mitragliate assolutamente degne di nota. Il nastro soundboard termina qui, manca quindi una bella porzione di Whole Lotta Love (dalla registrazione audience sappiamo che è l’umica versione del tour a non contenere l’intermezzo di Boogie Chillum).
The Salt Palace, Salt Lake City
Live recording quindi di ottimo livello, come abbiamo detto egregiamente rimasterizzata da dadgad.
♦♦♦
Led Zeppelin – 1973.05.26
Venue: Salt Palace
City: Salt Lake City
Country: USA
Title:
Label:
Quality: Excellent Soundboard
No Of Cds:
Comments: 2019 remaster from a Master>DAT source.
01 Rock And Roll (cuts in) (CD1)
02 Celebration Day
03 Black Dog
04 Over The Hills And Far Away
05 Georgia On My Mind
06 Misty Mountain Hop
07 Since I’ve Been Loving You
08 No Quarter
09 The Song Remains The Same
10 The Rain Song
11 Dazed And Confused (CD2)
12 Stairway To Heaven
13 Heartbreaker
14 Whole Lotta Love
Master>DAT(x)>CDr4>Flac>Remaster
cleaned, trimmed and remastered
dadgad prod. 2019
Altre produzioni di dadgad sul blog:
♦ ♦ ♦
(broken) ENGLISH
ed Zeppelin, Salt Lake City, Salt Palace 26 May 1973 (dadgad remaster 2019)
LABEL: no label
TYPE: soundboard
SOUND QUALITY: TTTTT
PERFORMANCE: TTTT
ARTWORK: no artwork
PACKAGING: no packaging
BAND MOOD: TTT½
COLLECTION ZEP FAN: TTTT
COLLECTION CASUAL FAN: TT
Another dadgad’s 2019 remaster always related to the first part of the 1973 North American tour. Another soundboard (usually a stereo cassette recorded by the mixing desk) that dadgad picks up and cleans up with his usual skills. I compared this new remaster to the version I had (Georgia On My Mind) and I would say that this new dadgad effort is clearer and brighter. We’ve already written few words on the first part of the 1973 tour for the review of the Mobile concert (published April 11th), so we go directly to the concert.
The 11,000 (not bad for a town that in those years had a population similar to that of Modena for example, 175,000 or so) of the Salt Palace are unleashed immediately by the usual opening sequence Rock And Roll (cuts in), Celebration Day and Black Dog. Plant and Page are slightly out of focus; in the final solo of Celebration Day the guitarist inserts the chords section typical of the accompanied solo of Heartbreaker. Echo effect out of control in the Black Dog vocals. Jones and Bonham are still phenomenal.
RP: “Thank you. Good evening. It’s, uh, it’s very nice to be back here again. Unfortunately, uh. Yeah, it’s very nice to be back here. No messing about. This is a track, after five albums we’ve finally been able to find a title for the new one, which is called Houses of the Holy. And, uh, so there’s somebody out there. This, this is a track from one of the, from this album. It’s about mankind.”
We know that Over The Hills is sung by Plant on this tour in a lower register than the very high one used in the studio and in the American dates of 1972. With this track Page and Plant seem to be in the game, the proof is convincing.
RP:“Thank you. Right, well what I was gonna try and say before, now that Jimmy’s just broken a string it gives me an opportunity to say that we’ve been, us English-folk are usually living on sea level, you know? Right down. Now for over a week now we’ve been above four thousand five hundred feet. And, uh, I suppose it’s like the dinosaurs and the complete evolution of things where you get, you know, you get out of a certain environment into another. We’ve been managing to stay awake about eight hours a day and we’re supposed to have a good reputation for staying awake twenty-four hours a day, so anyway, it’s been a very good tour. I’m doing a bit of schpeel as you’ll appreciate, while a string is being changed. It’s been a good tour; we’ve played in, in Tampa, and we thought we’d see a few people there but fifty-eight thousand people came. That was, so then we played in Atlanta and we thought we’d see another fifty-four thousand people, okay? So we had to sit down for a few days and work it out. Anyway, we’ve got back into the swing of doing concerts and things again, after sitting down for at least three days. So we want this one, we’re gonna make this one, ‘cuz we move from here to the West coast, this is the last Mid-west thing that we do before we get entirely crazy in California. We gonna do, we gonna make this gig the best one in the Mid-west. What we’re about to do to do this, we all got out of bed about an hour ago so’s we could do it properly, ha ha ha. So if you’ll excuse this little gap, we’ve sent so many things on to California that, uh, we even sent all the spare guitars and, I even found one foot of mine was drifting across there. Now, how we doing, Raymond? We got a Scotsman doing the guitars tonight, so he’s, he might be a little distorted with the hype above sea level. So if you’ll just talk amongst yourselves for a second, we’ll have a chat. Now this is a very, very professional run group, so cool it for a bit, ha ha.I could do a harmonica solo but me harmonicas are in the, the West coast too. Ah, another musician amongst us.”
Jimmy breaks a string, the interlude lasts longer than expected, Robert chats with the audience until Jones sits on the piano and they (with Bonham) improvise Ray Charles’s Georgia On My Mind.
◊ ◊ ◊
◊ ◊ ◊
RP: “Ahh, wait a minute, hold it, hold it. The night club has now closed down and we can get on with the concert. Right, this is a track from the, the album before the one with a title. It’s about what happens, you see how we speed up again, here? It’s the one about, about if you’re caught walking thru the park with the wrong stuff in your cigarette papers. ‘Misty Mountain Hop.’ “
LZ 26 may 1973 Salt Lake dadgad prod 2019 – homemade cover
Misty Mountain Hop and Since I’Ve Been Loving You follow as usual. Now the whole group is firm and warm. The soundboard gives great emotions and this dadgad remastering brings out the perfect connection between Bonham and Jones’ keyboards and bass pedal. Listening to a 1973 SIBLY with headphones in this audio quality (let’s remember we are talking about a bootleg anyway) is always, always, a great experience.
RP: “I think it would be advisable if you didn’t throw those green things around, you know. In case they hit somebody on the nut. This is a track from the titled album, uh. It’s called ‘No Quarter.’ “
No Quarter advances through the mist of steam produced by dry ice, an effect that amazes and enchants the audience every time. The instrumental duet between Jones and Bonham before Page’s solo is again passionate and beautiful to listen to. Page’s lead guitar is inspired and fits well with the rhythmic games stimulated by Bonham.
RP: “Well. As you can tell, as the group gets older, we get into all sorts of different trips. Ahh, sorry, different themes. But not even that. Different things. And, you go all around the world and you pick up, sort of, feelings from different countries, different towns. Just like this one. And in the end you find that it’s all the very same. So ‘The Song Remains the Same.'”
The vehemence with which The Song Remains The Same begins raises the power. On the twelve-string neck Page does what he wants, the guitar playing he manages to express in just one song is so rich that overtakes every time. Unfortunately in The Rain Song the six string neck is out of tune and even the Mellotron seems to be have problems. Who knows, perhaps the 1288 meters of altitude and the climate of the city made the tunings difficult to manage.
RP: “John Paul Jones was the Henry Mancini Orchestra. Whatever happened to Henry Mancini?”
LZ 26 may 1973 Salt Lake poster
RP: “Right, now, during these five years there’s been all sorts of different colors, musically, that we’ve come across, and put under plastic. And this is one of the very first. An oldie, but goodie”
Dazed And Confused is about 31 minutes long. Robert really seems to be in the right mood; in the first four minutes he is without doubt the protagonist. Soon after, the Page Jones and Bonham trio come forestage for the usual instrumental wonder. In the “San Francisco” section Plant continues to stand out. The entry into the scene of the violin bow gives us the cosmic suggestions we know. The electric raid that follows, as we know, is one of the greatest moments of rock improvisation. LZ and no other. I wonder what the offspring of the Mormons at the concert might have thought of a musical Armageddon of this caliber. In the end the audience seems to be in raptures.
◊ ◊ ◊
◊ ◊ ◊
RP: “Thank you very much, Ta’. We enjoyed that too. As you might have gathered. Ohh. Here’s a song that was written in an entirely different mood.”
The change of atmosphere that comes with Stairway To Heaven is like a very sharp braking, but the ancestral candor of that arpeggio takes a few seconds to cast a spell on all those present. John Paul Jones messes up a little, but then everything goes on as usual. While listening to yet another guitar solo, I cannot but concentrate on it and tell myself what a great guitarist Page was in 1973. At a certain point he starts playing phrases made of bichords, a trademark that will become famous in the 1975 and 1977 tours versions of STH.
RP: “That’s the way to the stairway. Thank you. Well, I reckon the guy who did that should get at least, get a rotten carrot. Very well done, sir. Actually, I’ll keep the rest of it as a memento of Salt Lake City.”
Salt Lake City in the seventies
Bonham introduces Heartbreaker in the typical 1973 arrangement, to which it is then attached – before the final verse – Whole Lotta Love (fade out). In the funky section of WLL Page alternates a riff of dubious effectiveness. In these last two pieces the guitarist seems less polished, everything seems more chaotic. Energetic is the short Theremin interlude, with absolutely remarkable machine guns effects. The soundboard tape ends here, so a big portion of Whole Lotta Love is missing (from the audience recording we know that it is the only version of the tour that does not contain the Boogie Chillum section).
The Salt Palace, Salt Lake City
So, an excellent live recording, as we have said, very well remastered by dadgad.
♦♦♦
Led Zeppelin – 1973.05.26
Venue: Salt Palace
City: Salt Lake City
Country: USA
Title:
Label:
Quality: Excellent Soundboard
No Of Cds:
Comments: 2019 remaster from a Master>DAT source.
01 Rock And Roll (cuts in) (CD1)
02 Celebration Day
03 Black Dog
04 Over The Hills And Far Away
05 Georgia On My Mind
06 Misty Mountain Hop
07 Since I’ve Been Loving You
08 No Quarter
09 The Song Remains The Same
10 The Rain Song
11 Dazed And Confused (CD2)
12 Stairway To Heaven
13 Heartbreaker
14 Whole Lotta Love
Master>DAT(x)>CDr4>Flac>Remaster
cleaned, trimmed and remastered
dadgad prod. 2019
Other dadgad productions on the blog:
timtirelli 
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Francesco 💙
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