Led Zeppelin/MD,USA 1970

A beautiful transitional period… Such a term is perfectly suited to the stage of Led Zeppelin in the first half of 1970. It was a year that bridged the gap from the live performances of 1969, woven with youthful passion, to 1971, when the foundation of sophisticated hard rock live performances was laid. In particular, the first half of 1970 was a time when ZEP was still searching for a new love sound while dragging along the blues rock line of the previous year. Our shop is strong in this period, and we have continued to release items that allow us to trace this beautiful transitional period, from Bristol, the oldest sound source in 1970, to the Bass Festival, which marked the beginning of a new era, and have also created an opportunity for reevaluation. In particular, the US tour that took place from March to April can be called the final settlement of the live sound that ZEP had been playing since the previous year, which had maintained its hasty momentum. The release of the best version of “MEMPHIS 1970”, which is highly regarded as the best performance of this tour despite its rough sound quality, is still fresh in our memory, but “RALEIGH 1970” and “TAMPA 1970”, which boast particularly excellent sound quality on the same tour, are both considered to be the best versions released by our shop. Both titles have very good sound quality and are excellent sound sources that realistically convey the charm of the live sound unique to this period, which combines both dynamism and maturity. However, both sound sources have a weak point in that the live performance is not fully recorded. There are many sound sources that have excellent sound quality but have problems with the recording state, but these two are exactly the two that apply. The end of the live performance of Raleigh is not recorded, and the first half of the live performance of Tampa is not recorded. Nevertheless, both sound sources are highly evaluated among enthusiasts, and they are highly popular because they convey the charm unique to this period, when the band performed incredibly high-voltage live performances with light footwork. As if to solve such problems, the Baltimore performance on April 5th was unearthed in the 21st century. In addition, the show on this day has evolved into a fortunate situation in which three types of audience recordings were excavated. Despite this, there are surprisingly few releases of the sound source on this day. The era in which this sound source appeared, the first half of 1970, is a time that is often overlooked even among ZEP enthusiasts, and it seems that the official “DVD” release of the Royal Albert Hall was what threw a stone into that situation. On the other hand, it can be said that due to such circumstances, it was a new sound source that was not blessed with a release. The two types of audience recordings, excluding “source 2” with inferior sound quality, had their own items released, or there were items that combined both, but all of them were polluted by equalization reflecting the trend of the time, which made me feel that this sound source was overlooked. So this time, two types of sound sources from the 1970 Baltimore performance are coupled on four discs for the first time. This is because both sound sources have very good sound quality. First, “source 1” is recorded on discs 1 & 2. Compared to the next sound source, it is rough and has a slightly distant sound image. In that respect, it has a taste that makes you feel the era, but still, it is one of the top audience recordings in the first half of 1970. It is also attractive that the audience welcomes ZEP at a level that does not become a listening barrier. The results of energetically touring the United States throughout 1969 and gaining fans are shown here. “Source 3” recorded on discs 3 & 4 has excellent sound quality. Along with the previously mentioned Tampa and Raleigh, it is the best recording of this tour. Although the sound image has a sense of distance, the clarity and freshness are so impressive that it is hard to believe that it was recorded in 1970. If you have little experience with sound sources from the first half of 1970, we recommend listening to this disc. And yet, unlike the previous two performances, the value of capturing the full length of the show is also very high. It is also worth noting that both sound sources were recorded in perfect condition by filling in the missing parts from both sides. And above all, since there is no unnecessary equalization, the sound quality is natural, and you will be able to feel the stunning clarity that stands out especially in “source 3”. The way Plant’s scream, which can be called the greatest attraction of this period, reverberates throughout the venue is also captured without any omissions. In contrast, the sound system was plagued by a malfunction at the beginning of the show on this day. Plant explained this before the opening, but the live performance that started with a jump start surfaced at the beginning of “Dazed and Confused”. Unable to endure, ZEP continued playing as it was, and Plant screamed with his live voice without a microphone. What’s amazing is that you can hear that situation on both sound sources. As you can see from this incident, Plant’s performance on this day was so prominent that it is no exaggeration to say that it was Plant’s solo performance. In “How Many More Times,” where the development of the song is decided by him alone, Plant improvises in Japanese, as if he is saying “Let’s play! Let’s play! Let’s play!” before singing Presley’s “That’s Alright Mama.” (laughs) Furthermore, he tries to get the audience to imitate his shouts, and the free-flowing singing style unique to Plant in 1970 is captured with a very clear sound quality. The CD, which combines these two types of sound sources and records each in the best version (both based on the first generation copy, and the pitch is accurately adjusted for “source 3”), allows you to rediscover the charm of the 1970 Baltimore performance, where Plant and others’ light footwork shines! Live at Civic Center, Baltimore, MD. USA 5th April 1970 Recorder 1 Disc 1 (48:10) 1. Intro 2. We’re Gonna Groove 3. Dazed and Confused 4. Heart 5. Bring It Onbreaker Home 6. White Summer / Black Mountain Side Disc 2 (64:42) 1. Intro 2. What Is and What Should Never Be 3. Organ Solo 4. Thank You Moby 5. Dick 6. How Many More Times 7. Whole Lotta Love 8. Ending Announcement Recorder 2 Disc 3 (48:14) 1. Intro 2. We’re Gonna Groove 3. Dazed and Confused 4. Heartbreaker 5. Bring It On Home 6. White Summer / Black Mountain Side Disc 4 (64:44) 1. Intro 2. What Is and What Should Never Be 3. Organ Solo 4. Thank You 5. Moby Dick 6. How Many More Times 7. Whole Lotta Love 8. Ending Announcement