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LED ZEPPELIN at Knebworth: 40th anniversary blues

4 Ago

L’estate del 1979 è quella che considero la “mia” estate: ancora adolescente, ero in piena fustinella per il Rock; certo il “mio” Rock era sotto attacco, l’odiata disco music, il punk e la new wave stavano minando il dominio della musica più bella e colorata del mondo, ma io imperterrito continuavo a vivere per quel concetto musicale, per quel sound, per quegli ideali. Naturalmente ero già consapevole che gli anni cosmici di quella musica erano forse (appena) passati e che io non li avevo colti appieno vista la tenera età. Il 1969, il 1970, il 1971, il 1972, il 1973 e via discorrendo erano gli anni dei dischi con cui plasmavo il mio essere, ma sembravano anni appena passati e gli album relativi appena usciti … era come poter attingere dal pozzo dietro casa acqua freschissima mentre il ruscello che scorreva davanti a casa continuava imperterrito – seppur in modo discontinuo –  la sua corsa.

Nel 1979 erano già usciti o stavano per uscire dischi comunque formativi per il giovane Tim, album che contribuirono a modellare la mia struttura ossea, molecolare e spirituale. Desolation Angels dei Bad Company, Muddy “Mississippi” Waters Live, Nights In The Ruts degli Aerosmith, Cheap Trick At Budokan, Van Halen II, The Long Run degli Eagles, Breakfast in America dei Supertramp, Discovery della ELO e ancora Broken English di Marianne FaithfullDamn the Torpedo di Tom Petty and the Heartbreakers, Rust Never Sleeps di Neil Young and Crazy Horse, Joe’s Garage di Frank Zappa etc etc.

Naturalmente ero anche attento alla musica del momento: Reggatta De Blanc dei Police me lo porto cucito addosso tuttora … quel disco fu uno shock musicale fortissimo, lo stesso dicasi per Machine Gun Etiquette dei Damned, poi Sex Pistols, Clash, Joe Jackson, Ramones, Blondie. Facevo poi i primi tentativi col Jazz Rock, assorbivo i cantautori italiani e continuavo nella scoperta del blues nero.

Ma il 1979 è naturalmente l’anno di In Throught The Out Door dei miei adorati Led Zeppelin, album che – come se ce ne fosse bisogno – mi spinse ancora di più verso il mio gruppo preferito.. Sì è vero, era un album di transizione e forse non esattamente a fuoco ma, vista la mia predisposizione per gli album obliqui, diventò uno degli album fondanti di quel mucchietto d’ossa che chiamano Tim Tirelli. Qui di fianco le riflessioni fatte a proposito quando uscì la deluxe edition: https://timtirelli.com/2015/09/16/led-zeppelin-deluxe-editions-presence-ittod-e-coda/

Qualche giorno prima dell’uscita dell’album i Led Zeppelin suonarono due date al festival di Knebworth, il 4 e l’11 agosto. Fu il ritorno ufficiale del gruppo dopo due anni di fermo dovuto alla morte del figlio di Robert Plant. Per anni si è parlato di 210.000 spettatori la prima serata e 110.000 la seconda, ma in realtà furono poco più di 100.000 la prima e poco oltre i 40.000 la seconda. Tutto sommato niente male per un gruppo fermo da due anni e che ritorna in un momento – musicalmente parlando – ad esso assai poco favorevole. Non erano più i Led Zeppelin dell’immaginario collettivo, il chitarrista faceva regolarmente uso di pesanti sostanze stupefacenti e le sue performance non erano certo più le stesse. Meglio dei concerti di Knebworth furono le due date warm up a Copenhagen il 23 e il 24 luglio 1979 …

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Nonostante questo le date di Knewborth (discreta quella del 4, slabbrata quella dell’11) sono un dolce ricordo per i fan dei Led Zeppelin. Segnarono il loro ritorno, si pensava che avrebbero ripreso a correre e che quindi si avrebbe avuto la possibilità di vederli finalmente dal vivo. La sera del 4 agosto di 40 anni, me ne stavo sul balcone di casa con lo sguardo e l’animo volto a nord pensando a loro. Non sapevo che un ragazzo 17enne di un paese non troppo lontano dal mio – ragazzo che sarebbe diventato uno dei miei più grandi amici (yes, Riff, it’s you!) – fosse partito all’avventura insieme ad un paio di suoi sodali qualche giorno giorni prima a bordo di una Dyane 6 e stesse, in quel momento, guardando i giganti del Rock. Averlo conosciuto prima forse adesso potrei dire di aver visto i Led Zeppelin a Knebworth.

Qualche settimana dopo, il resoconto di Ciao 2001; comprai il settimanale di prima mattina ed eccitato lessi l’articolo prima di andare al lavoro (dove arrivai con un ora di ritardo). Il giornalista – parlando di Page – scriveva che (cito a memoria) “mostra qualche incertezza sulla mano sinistra, il peso di questo ritorno è enorme e Jimmy lo sta sentendo tutto su di sé”.

Chi avrebbe pensato che di li a un anno sarebbe finito tutto? Ma oggi è giorno di festa dunque al bando le malinconie … celebriamo il ritorno dei grandi Led Zeppelin a Knebworth 40 anni fa!

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Led Zeppelin, Knebworth (UK) 1979

Led Zeppelin, Knebworth (UK) 4 august 1979

Led Zeppelin, Knebworth (UK) 4 august 1979 Photo © 1979 Ove Stridh

Led Zeppelin, Knebworth (UK) 4 august 1979

Led Zeppelin, Knebworth (UK) 4 august 1979

Led Zeppelin, Knebworth (UK) 4 august 1979

Led Zeppelin, Knebworth (UK) august 1979

 

La copertina di The Song Remains The Same & il nuovo video amatoriale dei LZ al Kezar Stadium il 2 giugno 1973

15 Lug

La Copertina di The Song Remains The Same

Avendo scoperto i LZ con il doppio live The Song Remains The Same, la copertina relativa mi è sempre stata molto cara, e non ho paura di affermare che secondo me si tratta di una delle più belle copertine di un disco live di musica rock. Per anni ho fantasticato su quel teatro riprodotto sulla cover, immaginavo vecchi edifici americani presi a modello ed invece, ecco che viene svelato un altro piccolo grande segreto della storia dei Led Zeppelin, una minuzia per un essere umano medio, una notizia fondamentale per uomini di blues come noi.

La copertina fu creata da George Hardie della famosa Hipgnosis, che prese a modello il vecchio cinematografo Scala di Brixton, quartiere londinese; il teatro fu aperto nel 1911 e chiuso 1957, dopo di che venne usato per gli usi più disparati.

I due link riportati qui sotto spiegano bene la storia. E’ sempre curioso come ognuno di noi costruisca castelli immaginari su fondamenta che spesso sono ben poca cosa. Ma questo, lo sappiamo, è il potere del Rock.

http://www.brixtonbuzz.com/2019/07/brixton-history-led-zeppelins-live-album-and-a-closed-theatre-on-brixton-hill/?fbclid=IwAR36vlYSLVrRmFWfnGOQDNw7mVHEObvtRtMcy1MufiwDEXiv-HyAlh6rV0c

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http://www.brixtonbuzz.com/2013/06/the-old-south-beach-barscala-cinema-on-brixton-hill-looks-in-a-terrible-state/?fbclid=IwAR1TvAy2t2ufbznW8ZcV0zMx-XTBWnZ2SLKnTh4G9RqAt6py9lLFhRE9iDg

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LED ZEPPELIN, San Francisco Kezar Stadium 2/6/1973

Nuovo video caricato su youtube attinente allo show dei LZ al Kezar Stadium di San Francisco il 2 giugno 1973 (sì, il concerto da cui fu tratto quel famoso poster di Robert Plant con la colomba bianca in mano). Frammento filmato da un fan presente al concerto a cui qualche volenteroso ha sincronizzato l’audio soundboard del bootleg esistente di quella data.

Naturalmente la qualità è amatoriale, ma per noi fan è un gran bel vedere.

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Aggiungo questo link visto che si dice che la qualità della sincronizzazione sia migliore.

https://drive.google.com/file/d/1Khgcc6Bl7ehYBKDAToGL8eDfZpX7pPag/view

 

 

BOOTLEGS: The Firm – Kongreßhalle, Frankfurt, Germany, December 3rd 1984

31 Mag

ITALIAN/ENGLISH

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 (upgrade 2016)

LABEL: no label

TYPE: audience

SOUND QUALITY:TTT½

PERFORMANCE: TTT½

ARTWORK: no artwork

PACKAGING: no packaging

BAND MOOD: TTTT

COLLECTION ZEP FAN: TTT

COLLECTION CASUAL FAN: T

Jimmy Page impiega più o meno 4 anni per riprendersi dal drammatico delirio dell’ultimo periodo dei Led Zeppelin. La morte di Bonham, il frantumarsi del suo progetto, l’uso feroce di sostanze chimiche pesanti, la mancanza di volontà riguardo l’essere di nuovo il magnifico musicista che era, il radicale cambiamento musicale che avviene tra i due decenni fan sì che i primi anni ottanta siano per lui un periodo di confusione. Una colonna sonora (per la verità ottima) nel 1982, la discutibile partecipazione all’ARMS tour a supporto della ricerca per la sclerosi multipla nel 1983, le sghembe apparizioni come ospite e un disco interlocutorio con Roy Harper. Page non troverà mai più la forza e la lucidità per modellare un proponimento concreto e duraturo ma all’epoca il progetto Firm sembrava l’inizio di una nuova era per il nostro. Il 16 luglio 1984 me ne stavo in piazza Duomo a Pistoia in attesa della sua apparizione per il tributo ad Alexis Korner. Ricordo chiaramente che già ero al corrente del suo sodalizio con Paul Rodgers. In quanto fan dei LZ, della Bad Co e dei Free, ne ero entusiasta. Si vociferava di Cozy Powell alla batteria, ma come sappiamo la sezione ritmica sarà poi formata da Tony Franklin (conosciuto grazie alle recenti collaborazioni con Roy Harper) e Chris Slade (figura nota tra le seconde linee del rock inglese e a quel tempo batterista piuttosto richiesto e in auge).

Sul finire del 1984 la band parte per un mini tour europeo, tour che anticipa l’uscita del primo album prevista per febbraio 1985 (disco che arriverà nella top 20 americana, diventando disco d’oro).

1984
11.29 Gota Lejon, Stockholm
11.30 Falkoner Theatre, Copenhagen
12.01 Olympen, Lund
12.03 Kongresshalle, Frankfurt
12.04 Pfalzbau, Ludwigshafen
12.05 Audiomax, Hamburg
12.07 Town Hall, Middlesborough
12.08 Hammersmith Odeon, London
12.09 Hammersmith Odeon, London

A quel tempo i bootleg sono persino stampati anche in Italia, poco dopo infatti riesco ad acquistare nel negozio di dischi da cui mi fornivo regolarmente (nel centralissimo Corso Canalchiaro angolo Piazza Grande di Mutina) il doppio Live in Frankfurt da fonte audience.

Black Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 – photo TT

Black Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 – photo TT

Dello stesso bootleg ne stampano anche una versione con la copertina rossa.

Red Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

34 anni dopo mi decido a cercare un upgrade, cosa non certo impossibile nell’era digitale dove tanto è condiviso in rete. Sono al corrente che ne esiste già una versione uscita …

Versione precedente su cd

Versione precedente su cd

ma riesco a trovare una buona versione del 2016 e mi ci butto sopra.

A dir la verità, non è che il miglioramento sia poi così evidente rispetto al bootleg in vinile in mio possesso, ma la tecnologia di oggi non può che migliorare – in fatto di pulizia – vecchie registrazioni live prese dal pubblico, cosicché questo nuovo transfer risulta molto gradevole per un fan dei Firm quale sono.

Il concerto inizia con la classica introduzione usata dal gruppo in quel periodo, la maestosa Jupiter di Gustav Holst da i Pianeti (1914)

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Il riff di Closer (The Firm – first album – 1985) apre le danze, nonostante sia solo il quarto concerto il gruppo pare coeso e in palla. E’ il periodo in cui Page suona quasi esclusivamente la Telecaster con lo Stringbender, un Page in discreta forma, lontano certamente dallo zenit raggiunto con i LZ, ma – per un fan – tutto sommato niente male. Finito il pezzo il pubblico si di mostra molto caldo e lo sarà per tutto il concerto. Questo è curioso, sono anni in cui il classic rock degli anni settanta non è certo di modo, punk, new wave e in parte NWOBHM la fanno da padroni, il gruppo propone brani da un album non ancora pubblicato o dai recenti dischi solisti (non certo di successo) di Page e Rodgers e si rifiuta di giocare facile inserendo in scaletta qualche pezzo dei LZ o della Bad Co.

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Segue City Sirens (Jimmy Page – Death Wish II soundtrack 1982). Slade  e Franklin formano una ottima seziona ritmica. Quest’ultimo suona un basso fretless, strumento molto in voga negli anni ottanta (e venuto alla ribalta nella seconda metà degli anni settanta grazie a Jaco Pastorius), apparentemente non adattissimo al rock di questo tipo, ma Tony riesce ad essere assolutamente convincente con esso, il lavoro che fa è entusiasmante. La carica del gruppo è contagiosa.

Subito dopo l’ incedere quadrato di Make Or Break (The Firm – first album – 1985) il pubblico inizia a gridare “Jimmy Jimmy” segno che, a dispetto del periodo, l’amore per lui e per i LZ in Germania è ancora forte. Morning After The Night Before (Paul Rodgers – Cut Loose – 1983 album) è un po’ caotica e fuori fuoco ed è seguita da Together (The Firm – first album – 1985). Questa la presenta Jimmy, quando si avvicina al microfono il pubblico si infiamma ancor di più. Con Together il gruppo torna compatto, è evidente che Page sia più a suo agio con i brani a lui direttamente collegati.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

Cadillac (The Firm – Mean Business album – 1986) è una outtake del primo album che verrà pubblicata l’anno successivo sul secondo. Il pezzo ha un vago sapore new wave. Prelude (Jimmy Page – Death Wish II soundtrack 1982) è la controversa versione di Page del preludio in MI minore Op 28, n. 4 di Chopin, nemmeno due minuti di musica strumentale con la solista che esegue la melodia in un arrangiamento non certo indimenticabile. Classiche atmosfere Rodgersiane in LA minore per Money Can’t Buy (The Firm – first album – 1985), discreto assolo di Page con l’ausilio del wah wah. Radioactive (The Firm – first album – 1985) è il singolo tratto dall’album. Un tempo sostenuto guidato dall’acustica di Rodgers. Ennesimo sviluppo in minore. Il riff dissonante che rese famoso il pezzo in studio fu suonato da Rodgers (quando tutti per anni pensammo fosse Page) e in ambito live naturalmente da Jimmy Page. Live In Peace (Paul Rodgers – Cut Loose – 1983 album /The Firm – Mean Business album – 1986 ) è il quarto pezzo in minore consecutivo e mi chiedo a cosa pensassero Jimmy e Paul quando buttarono giù la scaletta. Sei giorni più tardi i Firm ne faranno una grande versione all’Hammersmith Odeon di Londra, versione poi pubblicata nel Maxi Single contenente il remix di Radioactive, con in evidenza uno dei più riusciti assoli di Page degli anni ottanta. Qui a Francoforte l’assolo non sembra essere della stessa qualità, ma rimane ad un livello certamente buono; il pubblico applaude convinto. Midnight Moonlight (The Firm – first album – 1985) proviene dalla prima metà degli anni settanta. Page infatti la registrò insieme a Bonham al tempo delle session di Physical Graffiti col titolo provvisorio di Swan Song. I LZ non ne fecero nulla e così Page usò la base per scrivere il pezzo insieme a Rodgers poco prima del tour americano dell’Arms  del dicembre 1983, a cui parteciparono entrambi. Brano molto bello, articolato, profondo e per certi versi epico. Rodgers qui a Francoforte la canta molto bene. Nella parte centrale dedicata alla chitarra, Page gioca con l’accordatura aperta, cita White Summer e Black Mountain Side. Quando rientra la band è facile intuire che i Firm avrebbero davvero potuto essere una grande band se solo Page fosse stato più concentrato e volenteroso. La versione live You’ve Lost That Lovin’ Feeling ((The Firm – first album – 1985) dei Righteous Brothers non ha mai convinto del tutto e quasi scompare dinnanzi a quel piccolo capolavoro che è la versione registrata in studio. Qui a Francoforte però l’intenzione è quella giusta e il pezzo fila.

Promo shot 1984 - The Firm

Promo shot 1984 – The Firm

La sezione dedicata agli assoli dei singoli musicisti è un po’ fine a se stessa, erano anni in cui certe cose andavano evitate. Inizia Tony Franklin; tre minuti e mezzo di assolo per poi unirsi al gruppo per lo strumentale The Chase (Jimmy Page – Death Wish II soundtrack 1982). Quattro minuti insieme per arrivare al momento in cui Page prende l’archetto di violino per un esoterico momento zeppeliniano. Il pubblico naturalmente apprezza molto. Nel finale Jimmy aggiunge anche la parte con l’effetto usata nel tour americano del 1977. Segue assolo di batteria. Full Circle ((The Firm – first album outtake) è un’altro inedito del primo album e che mai verrà pubblicato. Hard Rock grintoso seppur senza brividi particolari. Curiosità, sembra contenere, nella parte finale, il giro di accordi poi usato da Jimmy in Over Now dall’album Coverdale-Page del 1993.  Someone To Love (The Firm – first album – 1985) chiude il set con la sua consueta carica. Durante l’assolo di Page la chitarra smette di funzionare. Franklin, Slade e Rodgers continuano (con un grande lavoro di basso) sino a che la chitarra di Page torna in vita. Il pubblico risponde alla grande alla richiesta di feedback da parte di Rodgers.

I bis sono costituiti da Boogie Mama (Paul Rodgers – Cut Loose – 1983 album) e Everybody Needs Somebody To Love di Solomeon Burke in una versione molto simile a quella che erano soliti fare i LZ nella tournée europea del 1973. Boogie Mama è un bis niente male, un bluesaccio che si sviluppa in uno scatenato rock and roll. Rodgers, Franklin e Rodgers (voce/chitarra) in alcuni momenti sono incredibili, Page non è male. ENSTL invece non funziona, sarà forse perché non ho mai gradito quell’arrangiamento ma il pezzo non decolla. Dopo circa 5 minuti la band lascia il solo pubblico a cantare il ritornello e se ne va per un paio di minuti, poi ritorna e riprende il pezzo da dove lo aveva lasciato. 11 minuti non certo indimenticabili.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

Concludendo, una registrazione audience buona per avere una testimonianza (insieme al soundboard di Londra 9 dicembre 1984) del primo mini tour dei Firm.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

 

Artist: The Firm
Source: Kongreßhalle, Frankfurt, Germany. December 3rd 1984
Time: Disc 1: 59:33
Disc 2: 57:11
Disc 1:
1. Intro (1:30)
2. Closer (4:09)
3. City Sirens (5:03)
4. Make Or Break (5:25)
5. Morning After The Night Before (4:55)
6. Together (4:21)
7. Cadillac (5:28)
8. Prelude (1:51)
9. Money Can’t Buy (4:20)
10. Radioactive (4:28)
11. Live In Peace (6:37)
12. Midnight Moonlight (11:27)
Disc 2:
1. You’ve Lost That Lovin’ Feelin’ (6:17)
2. Bass Solo (3:26)
3. The Chase (4:07)
4. Guitar Solo (6:48)
5. Drum Solo (5:28)
6. Full Circle (4:50)
7. Someone To Love (6:48)
8. Boogie Mama (8:07)
9. Everybody Needs Somebody To Love (11:21)

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(broken english)ENGLISH

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 (upgrade 2016)

LABEL: no label

TYPE: audience

SOUND QUALITY:TTT½

PERFORMANCE: TTT½

ARTWORK: no artwork

PACKAGING: no packaging

BAND MOOD: TTTT

COLLECTION ZEP FAN: TTT

COLLECTION CASUAL FAN: T

Jimmy Page takes more or less 4 years to recover from the dramatic delirium of the last Led Zeppelin period. The death of Bonham, the shattering of his project, the ferocious use of heavy chemical substances, the lack of will to be again the magnificent musician he was, the radical musical change that takes place between the two decades, make the early eighties a period of confusion for him. A soundtrack (excellent, after all) in 1982, the questionable participation at the ARMS tour in support of the research for multiple sclerosis in 1983, the crooked appearances as a guest and an interim record with Roy Harper. Page will never find the strength and lucidity to model a concrete and lasting purpose but at the time the Firm project seemed the beginning of a new era for our man. On July 16th 1984 I was in Piazza Duomo in Pistoia waiting for his appearance at the tribute to Alexis Korner. I clearly remember that I was already aware of his association with Paul Rodgers for his new adventure. As a fan of LZ, Bad Co and Free, I was thrilled. Cozy Powell was rumored to be on drums, but as we know the rhythm section will then be formed by Tony Franklin (known thanks to recent collaborations with Roy Harper) and Chris Slade (a well-known figure among the second lines of English rock and a drummer in vogue at that time).

At the end of 1984 the band left for a European mini tour, a tour that anticipated the release of the first album scheduled for February 1985 (a record that will arrive in the American top 20, becoming a gold record).

1984
11.29 Gota Lejon, Stockholm
11.30 Falkoner Theatre, Copenhagen
12.01 Olympen, Lund
12.03 Kongresshalle, Frankfurt
12.04 Pfalzbau, Ludwigshafen
12.05 Audiomax, Hamburg
12.07 Town Hall, Middlesborough
12.08 Hammersmith Odeon, London
12.09 Hammersmith Odeon, London

At that time the bootlegs were even printed in Italy, shortly afterwards in fact I manage to buy at my local record store (in the very central Corso Canalchiaro near Piazza Grande in Modena) the double lp live in Frankfurt from audience source.

Black Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 – photo TT

Black Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984 – photo TT

They also print a red cover version of the same bootleg.

Red Cover – The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

34 years later I decide to look for an upgrade, which is certainly not impossible in the digital age where so much is shared on the net. I am aware that another version already exists …

Versione precedente su cd

Versione precedente su cd

but I find a good version of 2016 and jump on it.

Actually, it’s not that the improvement is so obvious compared to the vinyl bootleg in my possession, but today’s technology can only improve – in terms of cleaning – old live audience recordings, so that this new transfer is very pleasant for a Firm fan as I am.

The concert begins with the classic introduction used by the group at that time: the majestic Jupiter by Gustav Holst ‘s Planets (1914)

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The Closer riff (The Firm – first album – 1985) gets it on, although it is only the fourth concert the group seems cohesive and on the ball. It is the period in which Page plays almost exclusively the Telecaster with the Stringbender, Page is in discreet form, certainly far from the zenith reached with the LZ, but – for a fan – all in all not bad. Once the piece is ended, the audience appears very hot and it will be so for the whole concert. This is curious, these are years in which the classic rock of the seventies is certainly not trendy, punk, new wave and in part NWOBHM are the masters, the group offers songs from an album not yet published or from recent (and obscure) solo albums of Page and Rodgers and refuses to play easy by inserting a few pieces of LZ or Bad Co. into the setlist.

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City Sirens (Jimmy Page – Death Wish II soundtrack 1982) is the second number. Slade and Franklin form an excellent rhythm section. The latter plays a fretless bass, a very popular instrument in the eighties (and came to the fore in the second half of the seventies thanks to Jaco Pastorius), apparently not very suitable for hard rock, but Tony manages to be absolutely convincing with it , the work he does is exciting. The drive of the group is contagious.

Immediately after the square run of Make Or Break (The Firm – first album – 1985) the audience began shouting “Jimmy Jimmy” a sign that, despite the period, the love for him and for the LZs in Germany is still strong . Morning After The Night Before (Paul Rodgers – Cut Loose – 1983 album) is a bit chaotic and out of focus and is followed by Together (The Firm – first album – 1985). This is introduced by Jimmy, when he gets closer to the microphone the audience gets even more crazy. With Together the group becomes solid again, it is clear that Page is more at ease with the songs directly connected to him.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

Promo shot 1984 - The Firm

Promo shot 1984 – The Firm

Cadillac (The Firm – Mean Business album – 1986) is an outtake of the first album to be released the following year on the second album. The piece has a vague new wave flavor. Prelude (Jimmy Page – Death Wish II soundtrack 1982) is Page’s controversial version of the prelude in Minor MI Op 28, n. 4 by Chopin, not even two minutes of instrumental music with the lead guitar performing the melody in an arrangement that is certainly not unforgettable. Classic Rodgersian atmospheres in A minor for Money Can’t Buy (The Firm – first album – 1985), with a good enough solo by Page with the help of wah wah. Radioactive (The Firm – first album – 1985) is the single from the album. and its driven by Rodgers acoustic guitar. Yet another minor music development. The  famous dissonant riff in the studio was played by Rodgers (when for years we all thought it was Page) and in the live set is obviously played by Jimmy Page. Live In Peace (Paul Rodgers – Cut Loose – 1983 album / The Firm – Mean Business album – 1986) is the fourth minor piece in a row and I wonder what Jimmy and Paul thought when they scribbled down the setlist for the tour. Anyway six days later the Firm will make a great version of it at the Hammersmith Odeon in London, a version later published in the Maxi Single containing the Radioactive remix, highlighting one of the most successful solos of Page in the eighties. Here in Frankfurt the solo does not seem to be of the same quality, but it remains at a certainly good level; the audience applauds convinced.

Midnight Moonlight (The Firm – first album – 1985) comes from the first half of the seventies. Page in fact recorded it together with Bonham at the time of the sessions for Physical Graffiti with the working title of Swan Song. The LZs did nothing with it and so Page used that almost complete sketch to write the piece with Rodgers shortly before the Arms US tour in December 1983, in which both took part. Very beautiful piece, articulate, deep and in some ways epic. Rodgers sings it very well here in Frankfurt. In the central part dedicated to the guitar, Page jokes with the open tuning, he cites White Summer and Black Mountain Side. When the band rejoin in it is easy to see that the Firm could really have been a great band if only Page had been more concentrated and willing. The live version You’ve Lost That Lovin ‘Feeling ((The Firm – first album – 1985) by Righteous Brothers has never completely convinced me and almost disappears in front of that little masterpiece that is the studio recorded version. Here in Frankfurt though the intention is the right one and the song flows.

Promo shot 1984 - The Firm

Promo shot 1984 – The Firm

The section dedicated to the solo spots is a bit of an end in itself, they were years when certain things had to be avoided. Tony Franklin starts the thing; three and a half minutes of soloing and then he joins the group for The Chase (Jimmy Page – Death Wish II soundtrack 1982). Four minutes of intsrumental music together to arrive at the moment in which Page takes the violin bow for the esoteric zeppelinian moment. The audience naturally appreciates a lot. In the final section of his solo spot Jimmy also adds the part with the guitar effect used in the American tour of 1977. Then we have the drums solo. Full Circle ((The Firm – first album outtake) is another outtake of the first album and it will never be released. Gritty Hard Rock without any particular thrills. It seems to contain, in the final part, the chords section used by Jimmy in Over Now for the 1993 album Coverdale-Page. Someone To Love (The Firm – first album – 1985) closes the set with his usual charge. During the solo Page’s guitar stops working. Franklin, Slade and Rodgers coolly continue (there’s a great bass work at that point) until Page’s guitar comes back to life. After that Rodgers request some feedback from the fans, and the audience explodes.

The encores are Boogie Mama (Paul Rodgers – Cut Loose – 1983 album) and Everybody Needs Somebody To Love by Solomeon Burke in a version very similar to what LZs used to do on the 1973 European tour. Boogie Mama is an good encore, some badass blues that develops into a wild rock and roll. Rodgers, Franklin and Rodgers (vocals / guitar) are incredible at times, Page is again a bit out of focus. ENSTL on the other hand does not work, it may be because I have never liked that arrangement but the piece really does not take off. After about 5 minutes the band leaves the public alone to sing the chorus and leaves for a couple of minutes, then returns and picks up the piece from where it left it. 11 minutes certainly not unforgettable.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

In conclusion, a good audience recording that serves for an account (along with the London 9 December 1984 soundboard) of the first Firm mini tour.

The Firm – Kongreßhalle, Frankfurt, Germany. December 3rd 1984

 

Artist: The Firm
Source: Kongreßhalle, Frankfurt, Germany. December 3rd 1984
Time: Disc 1: 59:33
Disc 2: 57:11
Disc 1:
1. Intro (1:30)
2. Closer (4:09)
3. City Sirens (5:03)
4. Make Or Break (5:25)
5. Morning After The Night Before (4:55)
6. Together (4:21)
7. Cadillac (5:28)
8. Prelude (1:51)
9. Money Can’t Buy (4:20)
10. Radioactive (4:28)
11. Live In Peace (6:37)
12. Midnight Moonlight (11:27)
Disc 2:
1. You’ve Lost That Lovin’ Feelin’ (6:17)
2. Bass Solo (3:26)
3. The Chase (4:07)
4. Guitar Solo (6:48)
5. Drum Solo (5:28)
6. Full Circle (4:50)
7. Someone To Love (6:48)
8. Boogie Mama (8:07)
9. Everybody Needs Somebody To Love (11:21)

 

NEWS: nuovo bootleg soundboard dei Led Zep (LA 1975), nuovo video degli ELP a Fresno nel 1977, nuova biografia di Robert Johnson

23 Mag

LED ZEPPELIN

La famosa etichetta bootleg Empress Valley qualche giorno fa ha reso noto che a metà di giugno farà uscire (per la prima volta in assoluto) una registrazione soundboard di uno dei tre concerti che i LZ tennero al Los Angeles Forum il 24,25 e 27 marzo 1975.

Ancora non si sa di che data si tratti ed inoltre il concerto non sara completo (il bootleg in questione sarà composto da un solo cd), ma per un fan dei LZ l’uscita di un nuovo soundboard mai apparso prima è sempre un piccolo avvenimento, a maggior ragione sei si tratta di Los Angeles, “LA” città dei LZ.

Led Zeppelin – LA Forum marzo 1975

Dei tre concerti di Los Angeles del 1975 esistono come sappiamo le registrazioni da fonte audience (grazie al grande e mai compianto abbastanza Mike the Mike Millard), abbiamo parlato tempo fa qui sul blog di una delle tre:

https://timtirelli.com/2015/11/30/bootleg-led-zeppelin-los-angeles-forum-2531975-mike-the-mike-tribute-series-winston-remasters-2015-ttttt/

ma naturalmente poter godere di un soundboard è sempre molto eccitante.

Nuovo capitolo dunque per la cosiddetta Soundboard Revolution della Empress Valley che pubblicherà questo nuovo cd col titolo di The Night STalker e al contempo farà uscire anche una nuova versione (pubblicizzata come huge upgrade) dei tre concerti audience col titolo The Pareidolia Paradox, versione che conterrà anche il cd soundboard come bonus disc.

Nell’attesa godiamoci questo videoclip amatoriale di youtube:

EMERSON LAKE & PALMER

Quasi dal nulla appare un nuovo video degli ELP alla Selland Arena di Fresno il 5 agosto del 1977. 28 minuti di magnificenza rock in ottima qualità video. Una vera meraviglia.

ROBERT JOHNSON

Il 4 giugno verrà pubblicato Up Jumped the Devil: The Real Life of Robert Johnson, nuova biografia in inglese di RLJ. Sembra che sarà lo studio più approfondito mai apparso sino ad ora sul nostro padre putativo preferito. La sinossi qui sotto è molto promettente e io non vedo l’ora di averlo tra le mani.

SINOSSI:

Robert Johnson is the subject of the most famous myth about the blues: he allegedly sold his soul at the crossroads in exchange for his incredible talent, and this deal led to his death at age 27. But the actual story of his life remains unknown save for a few inaccurate anecdotes. Up Jumped the Devil is the result of over 50 years of research. Gayle Dean Wardlow has been interviewing people who knew Robert Johnson since the early 1960s, and he was the person who discovered Johnson’s death certificate in 1967. Bruce Conforth began his study of Johnson’s life and music in 1970 and made it his mission to fill in what was still unknown about him. In this definitive biography, the two authors relied on every interview, resource and document, most of it material no one has seen before. As a result, this book not only destroys every myth that ever surrounded Johnson, but also tells a human story of a real person. It is the first book about Johnson that documents his years in Memphis, details his trip to New York, uncovers where and when his wife Virginia died and the impact this had on him, fully portrays the other women Johnson was involved with, and tells exactly how and why he died and who gave him the poison that killed him. Up Jumped the Devil will astonish blues fans who thought they knew something about Johnson.

BOOTLEGS: Led Zeppelin, Fort Worth,19 May 1973 (dadgad remaster 2019)

13 Mag

ITALIAN/ENGLISH

Led Zeppelin, Fort Worth, Texas, USA Tarrant County Convention Center 19 May 1973 (dadgad remaster 2019)

LABEL: no label

TYPE: soundboard

SOUND QUALITY: TTTT

PERFORMANCE: TTTT

ARTWORK: no artwork

PACKAGING: no packaging

BAND MOOD: TTTT

COLLECTION ZEP FAN: TTTT

COLLECTION CASUAL FAN: TTT

Terzo remaster del 2019, terza ottima prova di dadgad. Non posso che ripetere quanto già scritto nei precedenti due recenti articoli: nuovo remaster 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. 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.

13500 (forse 14000) spettatori per la data texana al Tarrant County Convention Center di Forth Worth, data che inizia come da copione con Rock And Roll, Celebration Day, Black Dog. La qualità audio è davvero ottima (ricordiamoci sempre che stiamo parlando di bootleg), gli strumenti sono ben bilanciati, seguire la performance è un piacere. Il gruppo sembra in forma. Il basso di Jones è ben presente e pompa con la consueta stupefacente eleganza. Nell’assolo finale di Celebration Day Page sperimenta nuove cose, è chiaro sin da subito che sarà una buona serata. Seguire in cuffia John Bonham i è entusiasmante, le finezze che mette in campo sono godibilissime. Tiene il tempo con la potenza che lo contraddistingue ma tra un giro è l’altro vi infila passaggini deliziosi.

RP: Thank you. Good evening. A little more rapport. What happened to you on that ah, ah? Where you went? You were jerkin’ off. What happened? That’s my game. This is a song from, uh, Houses of the Holy. It’s, uh, it’s about man.

Over The Hills And Far Away è un altro momento adatto per apprezzare la coppia Jones/Bonham; mentre Page è perso nelle sue improvvisazioni, la sezione ritmica regge il pezzo con impeto e passionale precisione.

RP: This is, uh, quite an occasion, he said to himself. This is a track from the fourth album. This is what happens when you go for a walk on a Sunday afternoon in the park, and things don’t go so well. In fact, you end up in the jail house. It’s called ‘Misty Mountain Hop.’

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

 Misty Mountain Hop e Since I’ve Been Loving You proseguono lungo il sentiero del concerto. In SIBLY il piano di Jones mi irretisce ogni volta. La versione del 1973 è davvero insuperabile: arrangiamento sublime, gruppo sempre pronto a prendersi rischi e azzardare figadini musicali, assolo di chitarra di espressività cosmica.

RP: This, uh. Mr. soundman. This is called ‘No Quarter.’

Led Zeppelin 1973-05-Texas, USA

 

Purtroppo durante No Quarter il suono della pedaliera basso su cui John Paul Jones agisce contemporaneamente alle tastiere non esce in modo chiaro, è infatti un indistinto tumbleweed di frequenze basse che rotola continuamente sotto i piedi del polistrumentista. Buono l’assolo di Page.

RP: That was a new one. This is another new one. It’s about, uh, actually, I’ve got a funny feeling in me pipe. I swear, ha ha. Um, it’s about traveling about in, in, uh, different countries and finding out that at the very end that basically eveybody is just the same. There’s a few crazy people but basically, anywhere, everybody is the same. And it’s called ‘The Song Remains the Same.’

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

In The Song Remains The Same, The Rain Song la definizione del basso di Jones sembra perdersi un po’. Bonham durante TSRTS è la solita furia, stasera sembra ossessionato dall’uso dei timpani (tipo di tamburi della batteria posizionati a terra, in questo caso a destra del batterista). Lo scrivo ogni volta, ma il lavoro di Page sulla dodici corde è uno dei momenti più alti del chitarrismo rock. Alla fine il pezzo va a dissolversi in The Rain Song; la delicata chitarra di Page e il canto celestiale di Robert Plant mi confermano – come se ce ne fosse bisogno – che i LZ sono stati davvero stati i numeri uno. Entra poi il mellotron di Jones e mi sciolgo per l’ennesima volta di fronte alla maestosa musicalità del gruppo.

RP: John Paul Jones played the orchestra. Let’s hear it for John Paul Jones, who played the orchestra! As you’re so responsive, I think you can give yourself a good round of applause. We’d like to, uh, in fact, it’s nothing to do with we, it’s something to do with me. I’d like to dedicate this next one to, uh, an old friend of mine, if she’s about anywhere, The Butterqueen. Ha, ha, ha. The Butterqueen, fantastic. Do you know what it’s like? Far out. [fade cut]Hah. She is too much, really. And so are we. And this is an old one. An oldie but goodie. The Butterqueen.

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

L’introduzione di Dazed And Confused si caratterizza per un uso masiccio dei timpani da parte di Bonham. Molto bene Plant e assai riuscita la sezione dell’archetto di violino, grande impatto sonoro e magnetismo interstellare, ma è tutto il pezzo ad essere magnifico. I musicisti si trovano e si rincorrono secondo uno schema universale mandato a memoria, un po’ come facevano, nello stesso anno, i giocatori dell’Ajax. Alla fine trenta secondi di ovazione dopo trenta minuti di purissima tempesta elettrica.

RP :Good evening.”

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

Stairway To Heaven è impeccabile. Niente di più, niente di meno. Uno spettacolo.

RP: Thank you. Thank you very much. I think after, after that I’ll, I will put the lemon tea away and stand on the beer again. Oh, dear. So it’s gettin’ a little more personalized now, right? I’m beginning to feel, feel the presence of fourteen thousand people. [cut]

Anche in questo caso il soundboard si conclude con STH, nastro dunque incompleto ma da avere (anche grazie al lavoro di dadgad), se ci si considera una testa di piombo.

◊ ◊ ◊

◊ ◊ ◊

Artist: Led Zeppelin
Date: 1973-05-19
Location: Fort Worth, Texas, USA
Venue: Tarrant County Convention Center
Source: Soundboard
Lineage: Unverified Analogue low gen source>DAT>CDr>WAV>FLAC

Comment: 2019 Remaster, the difference from the old one is subtle but there is.

I received the raw transfer as 1st Gen>DAT>CDR along with the Mobile and Kezar SBDs back in the years.

Considering the saga that surrounds these SBD tapes I prefer to list this as unverified gen.

This and the Mobile one do not belong to the well known branch.

Setlist:
01. Rock And Roll
02. Celebration Day
03. Black Dog
04. Over The Hills And Far Away
05. Misty Mountain Hop
06. Since I’ve Been Loving You
07. No Quarter
08. The Song Remains The Same
09. The Rain Song
10. Dazed And Confused
11. Stairway To Heaven

Speed&Pitch corrected and Remastered

dadgad prog.

Altre produzioni di dadgad sul blog:

https://timtirelli.com/2019/04/24/bootleg-led-zeppelin-salt-lake-city-salt-palace-26-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2019/04/11/bootlegs-led-zeppelin-mobile-municipal-auditorium-13-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2014/08/15/led-zeppelin-san-francisco-kezar-stadium-2-june-1973-dadgad-edition-2010-ttttt/

https://timtirelli.com/2013/07/12/led-zeppelin-the-kings-of-the-stone-age-bootleg-2013-empress-valley-3-cd-doctored-by-dadgad-ttttt/

https://timtirelli.com/2017/02/02/led-zeppelin-must-have-bootlegs-going-to-california-berkeley-14091971/

◊ ◊ ◊

(broken) ENGLISH

Led Zeppelin, Fort Worth, Texas, USA Tarrant County Convention Center 19 May 1973 (dadgad remaster 2019)

LABEL: no label

TYPE: soundboard

SOUND QUALITY: TTTT

PERFORMANCE: TTTT

ARTWORK: no artwork

PACKAGING: no packaging

BAND MOOD: TTTT

COLLECTION ZEP FAN: TTTT

COLLECTION CASUAL FAN: TTT

Third 2019 remaster, third excellent work of dadgad. I can only repeat what I have already written in the previous two recent articles: its a new remaster always related to the first part of the North American tour of 1973. Another soundboard (usually  a stereo cassette recorded by the mixing desk) that dadgad cleans with his usual skills. I wrote few words on the first part of the 1973 tour in the review of the Mobile concert (published on April 11), so we go directly to the show.

13500 (maybe 14000) fas for the Texan date at the Tarrant County Convention Center in Forth Worth, a date that starts as expected with Rock And Roll, Celebration Day, Black Dog. The audio quality is really good (always remember that we’re talking about bootlegs), the instruments are well balanced, following the performance is a pleasure. The group seems to be in good shape. Jones’ bass is very present and pumps with the usual astonishing elegance. Page tries new things in the final solo of Celebration Day, it is clear right away that it will be a good evening. To follow John Bonham, with the headphones on, is exciting, the subtleties he puts into play are extremely enjoyable. He keeps his tempo with the power that sets him apart, but between one ride and another he puts on delicious passages.

RP: Thank you. Good evening. A little more rapport. What happened to you on that ah, ah? Where you went? You were jerkin’ off. What happened? That’s my game. This is a song from, uh, Houses of the Holy. It’s, uh, it’s about man.

In Over The Hills And Far Away we can enjoy again the Jones/Bonham rhythm section; while Page is lost in his improvisations, the two Johns holds the piece with impetus and passionate precision.

RP: This is, uh, quite an occasion, he said to himself. This is a track from the fourth album. This is what happens when you go for a walk on a Sunday afternoon in the park, and things don’t go so well. In fact, you end up in the jail house. It’s called ‘Misty Mountain Hop.’

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

Misty Mountain Hop and Since I’ve Been Loving You continue along the concert trail. In SIBLY, Jones’s piano charms me every time. The 1973 version is truly unsurpassed: a sublime arrangement, a group always ready to take risks and hazarding new musical figures, the cosmic expressiveness of the guitar solo.

RP: This, uh. Mr. soundman. This is called ‘No Quarter.’

Led Zeppelin 1973-05-Texas, USA

Unfortunately during No Quarter the sound of the bass pedal (on which John Paul Jones acts simultaneously while playing the keyboards) does not come out clearly, it is in fact an indistinct low-frequency tumbleweed that continuously rolls under the feet of the multi-instrumentalist. Good Page’s solo.

RP: That was a new one. This is another new one. It’s about, uh, actually, I’ve got a funny feeling in me pipe. I swear, ha ha. Um, it’s about traveling about in, in, uh, different countries and finding out that at the very end that basically eveybody is just the same. There’s a few crazy people but basically, anywhere, everybody is the same. And it’s called ‘The Song Remains the Same.’

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

In The Song Remains The Same e The Rain Song, Jones’ bass definition seems to get lost a little. Bonham during TSRTS is the usual fury, tonight he seems obsessed with the use of tympani (type of drums positioned on the ground, in this case to the right of our beloved drummer). I write it every time, but Page’s work on the twelve strings is one of the highest moments of rock guitar playing. Eventually the piece dissolves into The Rain Song; Page’s delicate guitar and Robert Plant’s celestial vocals confirm – as if it were needed – that the LZs were really the number ones. When Jonesy’s mellotron enters I melt for the umpteenth time in front of the majestic musicality of the group.

RP: John Paul Jones played the orchestra. Let’s hear it for John Paul Jones, who played the orchestra! As you’re so responsive, I think you can give yourself a good round of applause. We’d like to, uh, in fact, it’s nothing to do with we, it’s something to do with me. I’d like to dedicate this next one to, uh, an old friend of mine, if she’s about anywhere, The Butterqueen. Ha, ha, ha. The Butterqueen, fantastic. Do you know what it’s like? Far out. [fade cut]Hah. She is too much, really. And so are we. And this is an old one. An oldie but goodie. The Butterqueen.

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

The introduction of Dazed And Confused is characterized by a massive use of the tympani by Bonham. Plant is very good on this track and the section of the violin bow is a real gas, great sound impact and interstellar magnetism. In the end the whole piece is magnificent. The musicians find and chase each other according to a very natural (to them) universal scheme, a bit like the Amsterdamsche Football Club Ajax players did in the same years, in fact I have always thought Jimmy Page was the Joahn Cruijff of rock music. At the end we have thirty seconds ovation of the public, after thirty minutes of pure electrical storm.

RP :Good evening.”

Led Zeppelin 1973-05-19 Fort Worth, Texas, USA

Stairway To Heaven is impeccable. Nothing more, nothing less. A unique spectacle!

RP: Thank you. Thank you very much. I think after, after that I’ll, I will put the lemon tea away and stand on the beer again. Oh, dear. So it’s gettin’ a little more personalized now, right? I’m beginning to feel, feel the presence of fourteen thousand people. [cut]

Also in this case the soundboard ends with STH, so it is an incomplete tape, but it’s a recording I suggest to have in your LZ bootleg collection (also thanks to the work of dadgad), if you consider yourselfselves a led head.

◊ ◊ ◊

◊ ◊ ◊

Artist: Led Zeppelin
Date: 1973-05-19
Location: Fort Worth, Texas, USA
Venue: Tarrant County Convention Center
Source: Soundboard
Lineage: Unverified Analogue low gen source>DAT>CDr>WAV>FLAC

Comment: 2019 Remaster, the difference from the old one is subtle but there is.

I received the raw transfer as 1st Gen>DAT>CDR along with the Mobile and Kezar SBDs back in the years.

Considering the saga that surrounds these SBD tapes I prefer to list this as unverified gen.

This and the Mobile one do not belong to the well known branch.

Setlist:
01. Rock And Roll
02. Celebration Day
03. Black Dog
04. Over The Hills And Far Away
05. Misty Mountain Hop
06. Since I’ve Been Loving You
07. No Quarter
08. The Song Remains The Same
09. The Rain Song
10. Dazed And Confused
11. Stairway To Heaven

Speed&Pitch corrected and Remastered

dadgad prog.

Other dadgad’s production on this blog:

https://timtirelli.com/2019/04/24/bootleg-led-zeppelin-salt-lake-city-salt-palace-26-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2019/04/11/bootlegs-led-zeppelin-mobile-municipal-auditorium-13-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2014/08/15/led-zeppelin-san-francisco-kezar-stadium-2-june-1973-dadgad-edition-2010-ttttt/

https://timtirelli.com/2013/07/12/led-zeppelin-the-kings-of-the-stone-age-bootleg-2013-empress-valley-3-cd-doctored-by-dadgad-ttttt/

https://timtirelli.com/2017/02/02/led-zeppelin-must-have-bootlegs-going-to-california-berkeley-14091971/

 

BOOTLEG: Led Zeppelin, Salt Lake City, Salt Palace 26 May 1973 (dadgad remaster 2019)

24 Apr

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:

https://timtirelli.com/2019/04/11/bootlegs-led-zeppelin-mobile-municipal-auditorium-13-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2014/08/15/led-zeppelin-san-francisco-kezar-stadium-2-june-1973-dadgad-edition-2010-ttttt/

https://timtirelli.com/2013/07/12/led-zeppelin-the-kings-of-the-stone-age-bootleg-2013-empress-valley-3-cd-doctored-by-dadgad-ttttt/

https://timtirelli.com/2017/02/02/led-zeppelin-must-have-bootlegs-going-to-california-berkeley-14091971/

♦ ♦ ♦

(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:

https://timtirelli.com/2019/04/11/bootlegs-led-zeppelin-mobile-municipal-auditorium-13-may-1973-dadgad-remaster-2019/

https://timtirelli.com/2014/08/15/led-zeppelin-san-francisco-kezar-stadium-2-june-1973-dadgad-edition-2010-ttttt/

https://timtirelli.com/2013/07/12/led-zeppelin-the-kings-of-the-stone-age-bootleg-2013-empress-valley-3-cd-doctored-by-dadgad-ttttt/

https://timtirelli.com/2017/02/02/led-zeppelin-must-have-bootlegs-going-to-california-berkeley-14091971/

 

BOOTLEGS: Led Zeppelin, Mobile, Municipal Auditorium 13 May 1973 (dadgad remaster 2019)

11 Apr

ITALIAN/ENGLISH

Led Zeppelin, Mobile, Municipal Auditorium 13 May 1973 (dadgad remaster 2019)

LABEL: no label

TYPE: soundboard

SOUND QUALITY: TTTT

PERFORMANCE: TTTT

ARTWORK: no artwork

PACKAGING: no packaging

BAND MOOD: TTTT

COLLECTION ZEP FAN: TTTT

COLLECTION CASUAL FAN: TTT

Remaster nuovo di zecca di questa vecchia registrazione live da fonte soundboard a cura di dadgad, fan noto nel circolo dei collezionisti di registrazioni dal vivo e specializzato in deliziose rimasterizzazioni. Il lavoro di dadgad mi sembra davvero ottimo, confrontato col bootleg Speed Freaks della Empress Valley questo nuovo remaster spicca per chiarezza, per assenza di fruscio e per pulizia, dadgad sa di sicuro il fatto suo.

Il concerto di Mobile fu la sesta tappa della prima parte del tour americano del 1973. Finita l’incredibile tournée Europea (le date di marzo in Germania sono semplicemente spettacolari, dal punto di vista strumentale uno dei picchi più alti mai raggiunti dal gruppo), circa un mese di pausa e poi via di corsa nel Nord America. Già alla secondo data (a Tampa il 5 maggio) fu battuto il record di presenze (appartenuto precedentemente, come sappiamo, ai Beatles), i Led Zeppelin incrementarono dunque l’isteria che già li riguardava, tuttavia le primissime date servirono al gruppo più che altro per carburare e per entrare nella giusta modalità.

Led Zep Mobile 13 may 1973 – 1973 tour first leg

Arrivati a Mobile i quattro erano già sufficientemente pronti e di buon umore e questo fece sì che il concerto fu un successo sotto tutti i punti di vista.

Il trittico d’apertura Rock And Roll, Celebration Day e Black Dog è come sempre efficace sebbene la voce di RP non sia ancora esattamente calda.

RP: “Good evening. I did say good evening. That’s better. We gonna, every eighteen months we seem to manage to get an album out, and this is a track from Houses of the Holy, which, uh. This is a song about, uh, man, if you like to call it that. It’s called ‘Over the Hills.”

Robert fatica un po’ in Over The Hills And Far Away, pezzo impegnativo per un cantante.

Led Zep Mobile 13 may 1973 dadgad 2019 remaster

RP: “Malacum salaam. It’s a bit of Indian. Um, this is a song about what happens in England if you go walking in the park and you have a packet of cigarette papers in your pocket and something to put in the cigarette papers, and things don’t go quite so well as they should. That sounds like, uh, that guy sounds like a nut. This is called ‘Misty Mountain Hop.”

Misty Mountain Hop e Since I’ve Been Loving You si susseguono nel tipico arrangiamento live del 1973; segnalo un ottimo JPJ al piano in SIBLY.

RP: “That was, uh, somethin’ off the third album, which we always will play as long as we’re in existence. It’s one of those things that we get off on a lot, you know? Talkin’ about gettin’ off a lot on things, uh, this is John Paul Jones, and a track from the new album. It’s called ‘No Quarter.'”

No Quarter inizia con l’impeccabile lavoro al piano di John Paul Jones; è un peccato che la pedaliera basso non si senta a sufficienza. E’ una versione in qualche modo simile a quella di studio e all’epoca appena pubblicata sull’album Houses Of The Holy. Adorabile il duetto Jones/Bonham prima dell’entrata in scena di Page. Particolari gli arabeschi creati dalla chitarra prima dell’inizio dell’ultima strofa. Versione stringata e dritta al punto. Il riff di chitarra del “ritornello” è suonato senza l’effetto wah wah, curioso.

Led Zep Mobile 13 may 1973 dadgad 2019 remaster (homemade cover by a fan)

RP: “Thank you. Good evenin’!t seems so early, really, to do a concert, ya know? ‘Cuz, uh, we only got outta bed about 2:30, so it, see, I just finished me bacon and egg and here we are. Well this might, what’s the name of this place? So we go to Mobile. So we go to Bombay. So we go to Hong Kong. So we go to Bangkok. And everywhere we go it always seems to be wild, heh, hah, hah, the same. This is a song called ‘The Song Remains the Same.'”

Altra accoppiata vincente è quella di The Song Remains The Same e The Rain Song.

RP: “John Paul Jones played the orchestra. You’re very kind.”

LZ 13 may 1973 Mobile dadgad prod 2019 – homemade cover

Dazed And Confused dura 28 minuti ed è meravigliosa. Tutto funziona a dovere, gli ordini del Signore Oscuro sono chiari, il gruppo lo segue con coerenza e coraggio lungo i sentieri dell’esoterismo musicale. Il botta e risposta tra Page and Plant durante la sezione dell’archetto di violino è perfetto. Il lungo assolo di chitarra che viene subito dopo è degno della fama che aveva Page in quel tempo. Finale magniloquente. Un trionfo.

La Stairway To Heaven del 1973 è quella definitiva. Arrangiamenti più ricchi e maturi e gruppo ancora al vertice delle proprie possibilità. Anche qui a Mobile ne suonano una versione incantevole. Robert Plant ispirato, John Paul Jones sicuro e diligente, John Bonham caparbio e superbo e James Patrick Page dispensatore di emozioni musicali di massimo livello. I Led Zeppelin insomma.

RP: “Thank you. Thank you very much. Well we been, uh, well we been together now for over five years and we’ve come to America a total of ten times, and the English tax people are quite pleased about this, ‘cuz they’re ripping us off terrible. We decided to live somewhere in between America and England and it’s pretty wet. Huh, huh, we gonna have to do it. But every time we come here we always manage to feature one of our favorite members of the group. A rather fat chubby happy fellow. Full of shit and speed, ha. I’m not talkin’ about the Drag Queen from New Orleans. I’m talkin’ about John Henry Bonham. ‘Moby Dick!’ Johnny Bonham.”

Led Zep Mobile 13 may 1973

Quello di Moby Dick credo sia uno dei miglior riff del rock e qui il gruppo lo rende molto bene. A questo seguono ovviamente circa 15 minuti di acrobazie ritmiche. Non è da tutti ascoltare per intero un assolo di batteria, ma quando si tratta di John Bonham una volta iniziato ad ascoltarlo poi è difficile tirarsi indietro. La foga percussiva, l’immenso talento, la creatività ritmica e il senso del rock che aveva Bonham, non possono che irretire ed incantare gli amanti della musica Rock. Versione riuscitissima.

Led Zep Mobile 13 may 1973 poster

Il nastro soudboard di Mobile termina qui, non contiene tutto il concerto dunque ma è comunque una gran cosa che sia arrivato sino a noi, se poi consideriamo il nuovo remaster di dadgad, beh diventa un registrazione live da avere.

Led Zep Mobile 13 may 1973 ticket

Led Zeppelin – 1973.05.13
Venue: Municipal Auditorium
City: Mobile
Country: USA
Title:
Label:
Quality: Excellent Stereo Soundboard

Comments: 2019 Remaster from an unverified gen analog tape>DAT>CDr transfer.

01 Rock And Roll
02 Celebration Day
03 Black Dog
04 Over The Hills And Far Away
05 Misty Mountain Hop
06 Since I’ve Been Loving You
07 No Quarter
08 The Song Remains The Same
09 The Rain Song
10 Dazed And Confused
11 Stairway To Heaven
12 Moby Dick

Unverified gen analog tape>DAT>CDr

remastered and speed corrected

dadgad prod.

 

(broken) ENGLISH

Brand new remaster of this old soundboard source live recording by dadgad, a fan known in the collectors’ circle of live recordings specialized in delicious remastering. The work of dadgad seems really good to me, compared with the bootleg Speed ​​Freaks of the Empress Valley, this new remaster stands out for its clarity, for no hiss and cleanliness, dadgad knows for sure how to make an old recording shine. The Mobile concert was the sixth of the first part of the  1973 American tour. The incredible European tour ended early april (the march dates in Germany are simply spectacular, from the instrumental point of view it is one of the highest peaks ever reached by the group), about a month break and then off to North America. On the second gig (in Tampa, May 5) there was the attendance record (previously belonging as we know to the Beatles), Led Zeppelin therefore increased the hysteria that already concerned them, however the very first dates served the group more than anything else to get going and to enter in the right mood.

Led Zep Mobile 13 may 1973 – 1973 tour first leg

Once in Mobile the four were almost ready and in good spirits and this meant that the concert was a success from all points of view. The opening triptych Rock And Roll, Celebration Day and Black Dog is as always effective although the RP voice is still not warm enough.

RP: “Good evening. I did say good evening. That’s better. We gonna, every eighteen months we seem to manage to get an album out, and this is a track from Houses of the Holy, which, uh. This is a song about, uh, man, if you like to call it that. It’s called ‘Over the Hills.”

Robert struggles a little in Over The Hills And Far Away, a challenging piece for a singer.

Led Zep Mobile 13 may 1973 dadgad 2019 remaster

RP: “Malacum salaam. It’s a bit of Indian. Um, this is a song about what happens in England if you go walking in the park and you have a packet of cigarette papers in your pocket and something to put in the cigarette papers, and things don’t go quite so well as they should. That sounds like, uh, that guy sounds like a nut. This is called ‘Misty Mountain Hop.”

Misty Mountain Hop and Since I’ve Been Loving You follow each other in the typical 1973 live arrangement; I report a great JPJ on the piano in SIBLY.

RP: “That was, uh, somethin’ off the third album, which we always will play as long as we’re in existence. It’s one of those things that we get off on a lot, you know? Talkin’ about gettin’ off a lot on things, uh, this is John Paul Jones, and a track from the new album. It’s called ‘No Quarter.'”

No Quarter begins with John Paul Jones’ impeccable piano work; it is a pity that the bass pedal volume is low. It is a version somewhat similar to the studio one at the time just published on the Houses of the Holy album. The Jones / Bonham duet before Page entered the scene is adorable. Unusual are the arabesques created by the guitar before the beginning of the last verse. Short version and straight to the point. The “refrain” guitar riff is played without the wah wah effect.

Led Zep Mobile 13 may 1973 dadgad 2019 remaster (homemade cover by a fan)

RP: “Thank you. Good evenin’!t seems so early, really, to do a concert, ya know? ‘Cuz, uh, we only got outta bed about 2:30, so it, see, I just finished me bacon and egg and here we are. Well this might, what’s the name of this place? So we go to Mobile. So we go to Bombay. So we go to Hong Kong. So we go to Bangkok. And everywhere we go it always seems to be wild, heh, hah, hah, the same. This is a song called ‘The Song Remains the Same.'”

Another winning combination is that of The Song Remains The Same and The Rain Song.

RP: “John Paul Jones played the orchestra. You’re very kind.”

LZ 13 may 1973 Mobile dadgad prod 2019 – homemade cover

Dazed And Confused lasts 28 minutes and it is wonderful. Everything works properly, the Dark Lord’s orders are clear, the group follows him with consistency and courage along the paths of musical esotericism. The call and response between Page and Plant during the violin bow section is perfect. The long guitar solo that comes soon after is worthy of the fame he had at that time. Magniloquent ending. A triumph.

The 1973 Stairway To Heaven is the definitive one. Richer and more mature arrangements and group still at the top of its game. Also here in Mobile they play an enchanting version. Robert Plant inspired, John Paul Jones confident and diligent, John Bonham stubborn and superb and James Patrick Page dispenser of top-level musical emotions. In short: Led Zeppelin.

RP: “Thank you. Thank you very much. Well we been, uh, well we been together now for over five years and we’ve come to America a total of ten times, and the English tax people are quite pleased about this, ‘cuz they’re ripping us off terrible. We decided to live somewhere in between America and England and it’s pretty wet. Huh, huh, we gonna have to do it. But every time we come here we always manage to feature one of our favorite members of the group. A rather fat chubby happy fellow. Full of shit and speed, ha. I’m not talkin’ about the Drag Queen from New Orleans. I’m talkin’ about John Henry Bonham. ‘Moby Dick!’ Johnny Bonham.”

Led Zep Mobile 13 may 1973

I think that Moby Dick riff is one of the best of rock music and the group play it very well here. This is obviously followed by about 15 minutes of rhythmic acrobatics. It is not for everyone to listen to a drums solo in its entirety, but when it comes to John Bonham once you start listening to it then it’s hard to stand back. The percussive enthusiasm, the immense talent, the rhythmic creativity and the sense of rock that Bonham had can only enthrall and enchant Rock music lovers. Very successful version.

Led Zep Mobile 13 may 1973 poster

The mobile soudboard tape ends here, it does not contain the whole concert but it is still a great thing that this beautiful tape from the beginning of the 1973 tour is available to us, if we consider the new dadgad remaster, well it becomes a live recording to have.

Led Zep Mobile 13 may 1973 ticket

Led Zeppelin – 1973.05.13
Venue: Municipal Auditorium
City: Mobile
Country: USA
Title:
Label:
Quality: Excellent Stereo Soundboard

Comments: 2019 Remaster from an unverified gen analog tape>DAT>CDr transfer.

01 Rock And Roll
02 Celebration Day
03 Black Dog
04 Over The Hills And Far Away
05 Misty Mountain Hop
06 Since I’ve Been Loving You
07 No Quarter
08 The Song Remains The Same
09 The Rain Song
10 Dazed And Confused
11 Stairway To Heaven
12 Moby Dick

Unverified gen analog tape>DAT>CDr

remastered and speed corrected

dadgad prod.