Led Zeppelin/Germany 3.11.1970

The Hamburg performance in 1970 was held for two days, and ZEP showed off the best performance on both days. Our store release “HAMBURG 1970 1ST NIGHT” proved this. The 70’s ZEP-like performance was as hot as a fireball, and the sound quality was surprisingly easy to listen to, making enthusiasts wonder, “How could such a high-quality sound source have been overlooked?” In that case, there was no reason not to release the sound source the next day. After all, the audience recording of this day was also overlooked, and even the title of the late test release was over ten years ago, so many people may be hearing it for the first time with this release. This is an audience recording, but the sound quality trend is similar to the previous day’s sound source. In other words, the expression “HAMBURG 1970 1ST NIGHT” sounds a little farther away, which is a perfect fit. Therefore, the power of the sound pressure is better on the previous day, but the overall texture, which is a little rough, is the same as the previous day. On the other hand, this has the big advantage that there is no sound cracking due to recording level setting mistakes in the opening “We’re Gonna Groove”. It is true that the sound image of the performance is inferior to the previous day, but I think many people feel that they can listen more calmly this time. Still, there are some sound sources that have been overlooked, and many people probably don’t even know the title “EVERYBODY, EVERYBODY” that was released for the first time. After that, a title coupling the two days of the Hamburg performance was released, but although it would have been nice to apply equalization to follow up the weakness of the sound image, especially for this sound source, the distortion was rather noticeable. There were times when I was in a state of full-on equalization, where I felt like I was losing control. This time, I didn’t do any equalizing, just adjusting the pitch. However, this sound source was originally distributed with the pitch lowered by a semitone, and from “White Summer/Black Mountainside” to “Thank You” the pitch was further lowered, which was a troublesome situation. is. Past titles were not very thorough in this area, so for this release, we have made careful adjustments to greatly improve listenability. On the contrary, the weak point is that the recording ends when “Whole Lotta Love” approaches the final stage. This is unfortunate. Aside from that, since “White Summer/Black Mountainside” on this day is showing an intense and heated development in the performance, that wonderful scene will stand out more if it is played back at an accurate pitch. The previous day’s live performance was a great performance with the 70’s ZEP at full throttle, and this day’s performance was not inferior at all! ZEP from 1970, whose basic footwork is light, is truly amazing, as he can easily perform hyper-performances centered on plant music night after night. While ZEP delivers their splendid high-energy performance as a matter of course, the contrast between the indifferent reaction of the Hamburg audience, who is not even excited by such an explosive performance, is heart-wrenching. I could see that trend from the previous day, but the audience on this day was not so excited that I wanted to tilt my head and wonder what was going on. In front of “Dazed And Confused”, the entire group, centering on Plant, makes fun of the blandness of the reaction, and the hyper performance and pastoral excitement will make you laugh. However, ZEP’s position at this time was that the songs on their second album, which were big hits at the time, generally received a better response than their first album, such as when the surrounding audience started singing along with “Heartbreaker.” It would be valuable for you to let me know. It is a scene that was heard only in 1970, such as Page’s elegant phrase that was heard at the timing of returning to silence after the excitement of “Thank You”. Anyway, the performance was heated, and during “How Many More Times,” Page played the phrase from Ravel’s “Bolero,” a development unique to the early 1970s, and when the medley reached “Long Distance Call Blues,” he stopped singing. Once again, a rare scene appears that seems to be making fun of the audience’s lackluster response, such as when the stopped plant tries to explain the blues by referring to Muddy Waters (lol)! This CD contains a high-voltage performance that is different from the previous day’s performance in its best condition, and you can thoroughly enjoy the ferocity of the performance and the excitement of the indifferent audience! Musikhalle, Hamburg, Germany 11th March 1970 Disc 1 (69:52) 1. Intro 2. We’re Gonna Groove 3. I Can’t Quit You Baby 4. Dazed and Confused 5. Heartbreaker 6. White Summer/Black Mountainside 7 . Since I’ve Been Loving You 8. Organ Solo 9. Thank You Disc 2 (47:59) 1. Moby Dick 2. How Many More Times 3. Whole Lotta Love