Led Zeppelin/New York, USA 6.15.1972

Following our last release of the first performance in Japan in 1971, this time we will release live performances from 1972 and 1973, when ZEP’s live performances changed to groove-oriented. Both are famous sound sources for enthusiasts for a long time, but the quality of the performance is guaranteed! First of all, I would like to introduce the live performance on June 15th, the second day of the 1972 Nassau Coliseum. As mentioned in the official live album “HOW THE WEST WAS WON” (not “REDONE”…LOL), this tour featured a young Robert Plant singing with that one and only scream voice. This is the last tour. Plant’s voice began to fade from the first tour in Australia in 1972, but here in the United States, Plant revived and gave off the last shine of Scream Voice. The tour itself will be full-throttle from the Nassau Coliseum here, and ZEP will mass-produce a masterpiece with all of its members. Although it is near New York, unlike Madison Square Garden in 1970 and 1971, this year’s concert was held at Nassau Coliseum for the first time. Perhaps it was because it felt fresh and different from the MSG that we were used to doing in the past, that throughout the two days ZEP was at its best, and Plant’s voice was also at its best. The audience recording of the Nassau Coliseum in 1972 is characterized by a distant sound image for both days, but the mysterious recording state in which the details of the performance can still be clearly heard can be said to be attractive. ZEP has been conquering America since the end of 1968, but in 1971 and 1972, the position of the songs the band was playing changed significantly. In other words, the album “VI” was released, and “Black Dog” and “Stairway To Heaven”, which had been played as new songs before the release when they went to the United States the previous year, had transformed into big hits. As if to prove this, there are audience members singing the former song along with Plant (and in the live “sweet jerry roll” pattern), and when Plant announces the name of the latter song. Cheers testify to this great change. However, when the intro to “Stairway To~” begins, some people say, “Show me your ticket, which seat?” It’s a shame. However, the performance itself was a big hit at the time and was at the height of its popularity, so the free and relaxed performance that still does not fit into the formal format is even moving. In particular, Page’s guitar phrases are relaxed, and because there is no set pattern, the free performance can be enjoyed, and the audience will be excited by it, giving you an ideal sense of realism. And above all, since Plant’s voice is heard, it is also attractive that you can hear the original dramatic ending, which is different from after 1973. As I mentioned earlier, this recording is characterized by a unique, distant sound image, but interestingly, from the corner of the acoustic song where the quiet and delicate performance continues, the sound image approaches a more active state. This is a part where Plant can sing, something he has always enjoyed, but the fact that his voice is young makes it even more enjoyable to listen to. “Tangerine” has a more melancholic feel than the studio version, and it is unusual to hear Plant getting into a groove and shouting “Stryder!” before the interlude. To be honest, the highlight of this release is that it is summarized in “Dazed And Confused”. From the time of their debut until 1970, they had a long development while retaining a psychedelic atmosphere, and in 1971, as in the Osaka performance, they showed a free and thrilling development in which it was difficult to know where they were going. However, from this tour onwards, “Dazed And~” undergoes a major change, with the focus on improvisational tactics by three people other than Plant. This is a development unique to 1972, incorporating patterns from “Walter’s Walk” and “The Crunge.” Moreover, on this day, when moving to the latter, the way he held the pause in a different way than usual was thrilling, and it was a wonderful performance that combined the lightness of his feet until 1972 with the groove-oriented development from this period. . Most of “Moby Dick” has been cut except for the beginning and end, but in Seattle, where we previously released it, as soon as it started, the audience could be heard muttering, “I hate drum solo!” However, it seems that the taper here also stopped recording for the same reason. However, it is true that the drum solo cut does not appear as a negative point. Rather, it is regrettable that the recording was interrupted at the end of “Whole Lotta Love”. However, you can enjoy a lot of oldies here as well, including “Money Honey”. This is an audience recording from the second day of the Nassau Coliseum, which has long been famous as one of America’s great performances in 1972.This time, in order to alleviate the instability of the stereo balance, we purposely made it monaural, while avoiding excessive equalization. This CD version is based on the fan remastered version, which is said to be the best among enthusiasts. Upon release, we only made minor adjustments to the hiss noise. After this, please enjoy the new best version of Nassau Coliseum, which was the starting point for historic performances such as Seattle, LA, and Long Beach! Nassau Coliseum, Uniondale, NY. USA 15th June 1972 Disc 1 (61:36) 1. Immigrant Song 2. Heartbreaker 3. Black Dog 4. Since I’ve Been Loving You 5. Stairway To Heaven 6. Going To California 7. That’s The Way 8. Tangerine 9. Bron-Yr-Aur Stomp Disc 2 (58:57) 1. Dazed And Confused 2. What Is And What Should Never Be 3. Moby Dick 4. Whole Lotta Love