Led Zeppelin/Canada 11.2.1969 Late Show Upgrade

In the world of rare ZEP recordings, where even a single generation down is a hot topic for its upper feel and items are released immediately, the value of items from the early 1990s has not yet fallen. Toronto’s November 1969 audience recording at the O’Keefe Center was an unusual presence. It was “BEAST OF TORONTO” released by a nostalgic label, and a few years later, the same content “LISTEN TO MY BLUEBIRD” was released, and it was an unusually long-lived item in which no new items or upper versions have appeared even in the 21st century. Although the sound quality of these 1969 audience recordings was quite high quality, they were equalized, which was common before sound processing on computers became widespread, and the sound quality was flashy and even pseudo-stereo flavor processing was added. It was a finish that could easily be imagined as having been done to conceal the roughness of the sound in the cassette trade era. In addition to such unique sound quality, this sound source has a problem of a slightly low pitch, which is neglected in the above items. Although the condition of the sound source itself was exactly the same, GRAF ZEPPELIN’s “DRAW LIKE HEAVY MAGNET,” which had been quietly released with the distortion adjusted, was properly evaluated among enthusiasts, and was uploaded as a reference material when this sound source was released. However, it cannot be denied that the previous equalization gave an old-fashioned impression, which may have prevented it from being sold widely. Due to these circumstances, the O’Keefe Center has become an unusual situation in which the value of 1990s items has not decreased at all, but The Dogs of Doom team, who discovered new sound sources on the second day of Winterland last year and surprised enthusiasts around the world, have done it again this time. Or rather, just like the Atlanta Pop Festival, which was also a shocking discovery, they seem to be strong in the 1969 sound source. That’s why this version is also a shocking excavation that will surprise enthusiasts around the world in both content and sound quality. First of all, the recording time has increased dramatically, and the performance of the band that was the opening act before ZEP is recorded as a recording check (this is also similar to the time of Winterland). The group Edward Bear heard here is a local Toronto group, and they are playing “Everyday I Have The Blues”, a traditional blues rock. ZEP in 1969 had a strong blues color, so even though it is a fragmentary recording before they started, this should be easy to listen to. And ZEP’s part is also recorded for a long time before they appeared. After all, it is recorded from the announcement before the band appeared. The MC here is Richie York, a journalist famous for his activities in Toronto (Australian). It is also a convincing scene that he is the one who makes the announcement, as his relationship with ZEP has become deeper and deeper. Robert’s MC that appeared after this is also much longer than “BEAST OF TORONTO” (hereinafter referred to as the already released version), and even just the part at the beginning of this live will make you realize the surprising upper feeling. However, there is a surprising excavation at the end of the live. The most regrettable thing about this version is that “How Many More Times”, which was played after “Moby Dick”, ended up not being recorded, but the discovery of an encore more than makes up for that. The two Eddie Cochran covers shown here are the same as those at Winterland. It is generally known for the Royal Albert Hall the following year, but for enthusiasts, Winterland comes to mind. This excavation has renewed the oldest live performance. In particular, Robert made a huge mistake in the timing of his singing of “C’mon Everybody”, giving the impression that it was a live premiere. “Something Else” had already been performed on the BBC. Another thing that confirms the upper feeling is the sound quality. As mentioned at the beginning, the 90s trade sound source that was the basis for the already released version had been tampered with, but this time it is a natural, well-grounded mono without any unnecessary intervention. In addition, the bass of Johnsy is captured with amazing balance, and the lack of distortion is surprising considering the level of the audience recording in 1969. Of course, the pitch is accurate. Robert’s singing voice is a little suppressed in this recording compared to the sound pressure of the performance, but the way his voice at the peak of the scream reverberates like an earthquake in the O’Keefe Center is also a masterpiece. This is also incomparable to the previously released version. After all, the power of all the members was equal, and the hyper performance was performed without difficulty, which is much more than the previously released version. And yet, the performance is strong because they were busy with live performances throughout the year. It also explodes from the opening, but the “Heartbreaker” that is performed from the album that was just released at the time is particularly intense. This song has been a long-standing repertoire, and Jimmy’s fast-playing parts, before they became his “household” part, should be surprisingly fresh even for enthusiasts who have listened to ZEP’s live recordings. Then, the minor-key development that appears at the end of the next song, “Dazed And Confused,” and other hidden masterpieces that capture the stage unique to the late ’69s, where the performance is full of room throughout the entire song, have finally been upgraded! (Remaster Memo) All I did was increase the overall sound pressure. There seems to be room to increase the treble, but if I did that, the sizzling hiss would also increase and the atmosphere would be ruined, so I didn’t do anything. O’Keefe Centre, Toronto, ON, Canada 2nd November 1969 (Late Show) PERFECT SOUND (UPGRADE) Disc 1 (44;09) Edward Bear: 1. Every Day I Have The Blues Led Zeppelin: 2. Ritchie Yorke Intro 3. Good Times Bad Times Intro / Communication Breakdown 4. I Can’t Quit You Baby 5. Heartbreaker 6. Dazed and Confused Disc 2 (46:1 5) 1. MC 2. White Summer / Black Mountain Side 3. Babe I’m Gonna Leave You 4. Moby Dick 5. C’mon Everybody 6. Something Else