Led Zeppelin/OH,USA 4.27.1977 Upgrade

The “dynamic” performance of ZEP’s 1977 tour was released last week and “LISTEN TO THIS EDDIE” was sold out in no time, but the “quiet” one was the Litchfield performance on April 27th. Isn’t it “DESTROYER” that contains the following? Since it was the only soundboard recording on the 1977 tour for a long time, it is a super standard that has produced countless items. Still, in recent years, “DESTROYER FIRST GEN REELS” has been considered the definitive album, and this was also a masterpiece that sold out in a short period of time. Of course, it is a classic sound source, so it is no surprise that the voices asking for its reissue began immediately after it was sold out. However, a new “DESTROYER” appears this time. It is not just a reissue of “FIRST GEN REELS” (hereinafter referred to as the previously released version). This time as well, it is based on the first generation version that appeared on the internet 10 years ago (uploaded by a person called “Weedwacker”), but the previously released version is “Moby Dick (Over The Top)” ”Due to the stage production of Jimmy Page’s guitar solo, the parts where the sound was panned violently left and right were somehow relaxed, making it almost monaural. Originally, in the case of sound board recording from the PA output, if the mixer intentionally distributes the sound to left and right, it will be stereo, but since it is assumed that the sound will be played on the basic stage, it will be mixed with stereo separation. There are very few. For example, there are sound sources such as Eric Clapton’s 1976 tour and the Rolling Stones’ 1978 Passaic where the entire live performance was made into stereo with the soundboard from the PA output, but such situations should be considered exceptions. Sho. Therefore, speaking of “DESTROYER”, it is basically monaural, but when it comes to the two songs listed above, it is correct that there are parts that become stereo. In fact, in the early days of CDs, when the Scorpio edition, which was the best of “DESTROYER” at the time, was released, shops were touting Jimmy’s solo as “proof of stereo output!” It was. Indeed, whenever he played a phrase using the theremin, the sound would fly from side to side, as if it were going in circles. I remember the indescribable feeling I had when I listened to it on headphones. In this way, “DESTROYER” originally had excellent sound quality, but in the 21st century, it feels like its level has reached its peak. However, while the sound quality has improved, there are some titles in the acoustic set that have been mysteriously replaced with copies of different generations, or like the previously released version that is considered the best title, there are parts that pan to stereo. It was a shame that each item had some kind of flaw, such as the bread not starting. Especially from the perspective of enthusiasts who have been accustomed to the stereo sound in which the sound jumps from side to side since the Scorpio record era, they may be wondering why the sound does not pan on the recent “DESTROYER”. Therefore, this time we have recorded the dizzying stereo performance in its original state, while also carefully adjusting the flaws that were found in past items. This is the case with pitch fluctuations at the end of a live performance. There were many items that had been neglected, so we carried out a more detailed restoration and carefully completed the “DESTROYER” without missing anything. And the reason why “DESTROYER” still remains a staple of the 1977 tour is not only because of the merit of soundboard recording. It is true that there was a time in the 21st century when ZEP’s position seemed to be shaken when soundboards were discovered one after another from the 1977 tour using the PA output from other performances, but ZEP’s live sound source was exhausted. When I looked at it, it turned out to be a sound source that thoroughly documented a typical day in the first half of the tour. When I expected to be able to hear the sharp performance of “LISTEN TO THIS EDDIE” such as ZEP beginners on the sound board recording, I was confused by the gap. However, the performance heard here is the normal business of ZEP in 1977, and it is said that it was a typical day in the first half of the tour. In fact, on the 1977 tour, there are days when the performances become so bloated that I get tired of listening to them. However, on the day of “DESTROYER”, the solid performance at the beginning of the tour was captured well, and the secret to its ease of listening is that it also has a solid sound. Despite all of this, Bonzo is consistently at his best from the opening to the ending, and it’s good that he doesn’t go out of control on his own like he did in LA. In addition, Page is getting better and better as the performance progresses, and the encore “Trampled Underfoot” is a true masterpiece. That’s why, as I said at the beginning, Eddie is “moving” while “DESTROYER” is “static”. A soundboard recording from the PA out representing the 1977 tour, which remains the same now and in the past. Carefully restored and released from the standard first generation sound source. Latest remaster of 1ST GEN of the best sound source “WEEDWACKER” in the last 10 years. Although it was a live show that appeared many times, there was always some kind of blemish, and there was never a definitive title. I didn’t do much extra this time other than the following. (★★This is definitely the best “DESTROYER” ever.) 1. Phase correction 2. Pitch correction 3. Minimum volume adjustment (slightly applying a limiter to increase the volume) 4. Unbalanced left/right volume balance No degree of adjustment. 5. Check the left and right frequency band balance 6. Eliminate small noise (just 1-2 places) In the previous releases, Moby Dick and Guitar Solo, the parts that were swung left and right were mixed towards the center. Therefore, the stereo effect was lost, but this time it is panned left and right as per the master. Live at Richfield Coliseum, Richfield, OH, USA 27th April 1977 Disc 1 (59:44) 1. The Song Remains The Same ★Cut-in 2. Sick Again 3. Nobody’s Fault But Mine 4. In My Time Of Dying 5. Since I’ve Been Loving You 6. No Quarter ★5:10 cut Disc 2 (44:52) 1. MC 2. Ten Years Gone 3. The Battle Of Evermore 4. Going To California 5. Black Country Woman 6. Bron- Y-Aur Stomp 7. White Summer ★0:29 cut 8. Black Mountain Side 9. Kashmir Disc 3 (61:48) 1. MC 2. Moby Dick ★Around 10:37~14:25 Originally released sometimes It’s supposed to be panned, but it seems like it’s centered from start to finish, so it’s not panned. ★The main disc is panned left and right. 3. Guitar Solo ★Cut at 10:09 ★Between around 2:45 and around 5:13 Sometimes it is panned to the left and right, but in the previous release it seems to be centered and does not pan. ★The main disc is panned left and right. 4. Achilles Last Stand 5. Stairway To Heaven 6. Rock And Roll★Cut-in 7. Trampled Underfoot SOUNDOBOARD RECORDING