Led Zeppelin/NY,USA 1969 Early Show New Source

The ZEP sound source excavation team “Dogs of Doom”, which has been in great form since the latter half of last year, has been strong in the US tour in the fall of 1969, as proven by the shocking excavation of “FINAL WINTERLAND 1969 2ND NIGHT” and “O’KEEFE CENTRE 1969 LATE SHOW”. Even at such a time, it is Carnegie Hall on the first day of the tour that enthusiasts around the world have been waiting for the excavation of sound sources for many years. This was the only time that ZEP held a concert at this venerable venue. Not only that, but their use of this venue had a very big meaning. Carnegie Hall is a concert hall originally known as a hall of fame for classical and jazz music. However, when the Rolling Stones held a concert at the main venue in 1964, the venue was in chaos. As a result, martial law was imposed banning rock concerts. However, as time passed, Carnegie Hall became more tolerant, and when The Byrds held a concert in September 1969, the gates of rock were opened again. Following the Byrds, it was none other than Led Zeppelin who held a rock concert at Carnegie Hall. Since the Byrds’ sound at the time was more country-oriented, it is assumed that their performance at the same venue was not a sudden thing, but this time, the most cutting-edge hard rock group at the time came from England. It is surprising that Carnegie Hall allowed them to do so, which is proof of how popular they were at the time. From the following year, more rock artists and bands had more opportunities to hold concerts, but still, starting with James Taylor, the majority of artists had a more subdued sound. That is why ZEP’s arrival at Carnegie Hall was a truly groundbreaking event. Because it was such a historic stage, the concert was widely reported at the time, but the essential sound source was difficult to unearth. On the contrary, even enthusiastic enthusiasts had long since given up on the existence of the sound source, but as soon as 2022 began, “Dogs of Doom” finally unearthed an audience recording that could be called the Holy Grail. What they unearthed was an audience recording that captured an early show from a stage that was held twice. Therefore, it was not possible to hear Eddie Cochran’s “Summertime Blues”, which was reportedly played many times in the second show, or “Bring It On Home”, which is likely to be the live premiere. Furthermore, the recording stopped in the first half of “How Many More Times”. However, the appearance of ZEP Carnegie Hall at last is still worth listening to. Although the sound quality is slightly distant and surrounded by echo, it clearly conveys that this state itself is the “sound of Carnegie Hall”. And yet the overall sound image is clear enough, and it is also worth listening to. In the first half of the live performance, Robert’s vocals are somewhat overpowered by the sound pressure of the performance, but the way the screams still reverberate through Carnegie Hall is a masterpiece, as expected of ZEP in 1969. And what is most surprising is the stunning freshness that makes it hard to believe that it has been buried for over 50 years. One of the highlights is the lack of roughness that is common to vintage audiences, and the very calm and calm texture. As you can see from the part where Robert says, “The new album will be released on Tuesday,” this was also the day that ZEP in the album “II” mode first appeared in the United States. As you can see from the fact that they can perform live at Carnegie Hall, you can feel their considerable popularity even at this point. Therefore, the audience’s reaction to the performance of new songs before the release was enthusiastic. In contrast to that excitement, “What Is And What Should Never Be” and others are performed very slowly and carefully, and the clear difference from the later, more mature live version is refreshing. Although he had already performed it at the BBC a few months ago, this was the second time he performed it on a regular stage, following the Lyceum a few days ago. Similarly, “Moby Dick” is also a repertoire that will soon be debuted live, but for Bonzo, it was a big deal to be able to perform a drum solo at Carnegie Hall. It meant that he could stand in the concert hall where jazz giants he admired, such as Max Roach and Gene Krupa, had left their masterpieces. That’s why you can see that he put a lot of effort into the usual development of the solo, which starts with a pattern that follows Roach’s “The Drum Also Waltz”. Contrary to Bonzo’s enthusiasm, there was also a scene that was very much like an early live performance, where Jimmy played off the key at the end. And due to the nature of the venue, Carnegie Hall, the song that looked the most on stage that day was “White Summer / Black Mountain Side”. In addition to the fact that Jimmy plays it carefully, the recording quality of this song captures the sound of his guitar, making it even more outstanding. This is a super valuable recording that captured a different day in a good way in the 1969 ZEP live performance, where the basic footwork was light and the sharp performance was easily performed. And yet, there was no need to adjust the sound quality at all for the reasons mentioned above. It was that fresh. Therefore, the only thing that was tweaked for this release was to adjust the rotation speed, which was quite slow. If the pitch is low with sound quality like this one, it will sound quite sleepy, so this is very important. Please enjoy the legendary 1969 Carnegie Hall that has finally been unearthed with accurate pitch! (Remastering memo) Corrected the pitch about 10% slower than a semitone. The sound pressure was low, so the overall volume was raised. The sound quality was not tampered with. Carnegie Hall, New York, NY, USA 17th October 1969 (Early Show) TRULY AMAZING SOUND(NEW SOURCE) (77:34) 1. Intro 2. Good Times Bad Times (Intro) 3. I Can’t Quit You Baby 4. Heartbreaker 5. Dazed and Confused 6. White Summer/Black Mountain Side 7. What Is And What Should Never Be 8. Moby Dick 9. How Many More Times