Led Zeppelin/Scotland,UK 1972

The hotly talked about ZEP has released a new excavated live sound source for the first time in a while! What was discovered this time was the Glasgow performance on December 3, 1972. The first audience recording from the period when the group began to shift towards rhythm-based improvisation in earnest, an irresistible time for enthusiasts. What is most surprising is the surprisingly easy-to-listen monaural sound quality. In Glasgow, where the second performance was held, the audience recording of the second day had been circulating with reasonable sound quality for some time, but this time’s sound source is much easier to listen to than that. Of course, it can’t be called the quality for everyone like Blueberry Hill or Eddie, but the sound quality is great enough for ZEP enthusiasts. Although the sound image has a sense of distance, the performance is captured with a solid outline, which is the secret to its ease of listening. Although the sound quality level is inferior to the previously released “ALEXANDRA PALACE 1972 2ND NIGHT” released on December 23rd, enthusiasts can imagine that it is mellower and easier to listen to than the Birmingham “LIVE FROM ENGLAND 1972” released on the 16th. Is it? In any case, the sound quality is surprisingly stable for a new sound source, and since it’s a time when enthusiasts can’t miss the daily changes in play, the “listenable quality” alone is a surprising new sound source that deserves attention. I should be able to call. In addition, cuts occur only in unimportant parts of the “Whole Lotta Love” medley, which is the devil for tapers, and other than that, it is a very excellent recording in that it is almost a complete recording of the live performance. For this release, as a matter of course, the sound source has been thoroughly brushed up. Fortunately, there was no pitch deviation (which is also excellent), so I made fine adjustments and, above all, equalized the performance to bring it to the forefront. Of course, these processes do not distort the sound source itself, but are simply processed to take advantage of the characteristics of the sound source. Since this is a sound source that boasts easy-to-listen sound quality, this equalization worked very well. As a result, I have evolved into a state where I can listen more carefully. Furthermore, we have thoroughly adjusted the noise that can be found here and there due to the vintage sound source, so we have listed them in detail in a separate section. As a result of such equalization, it becomes easier to understand the content of the performance, and on this day it becomes clearer that they are showing off a very wonderful performance from the beginning. After all, Paige is in top form. It plays really well, and the first good example is “Over The Hills And Far Away.” The guitar solo is really smooth, and in the later stages of ZEP, he used phrases that he started to use as a habit, but here he smoothly incorporated them as part of his tricky play and expanded them into phrases that were endless.It’s amazing. Just by listening to this, you can understand that ZEP on this day was extremely hot. On the other hand, Plant seems to have come to grips with the quality of his voice, which has begun to change in earnest, and is now able to sing in a natural way without having to shout. Regarding “Dazed And Confused”, whose development every night from this period until 1973 Europe cannot be missed, the development is relatively straight for the most part on this day. However, the San Francisco section was not decided yet, and Plant included a line from Neil Young’s “Cowgirl In The Sand” instead. He also invokes James Brown’s name at the end of “The Crunge” section, both familiar developments in early December. In this way, it was basically an orthodox development, but the ending was stretched out considerably by Bonzo and Page, and it was amazing to see him trying out various phrases that he had been warming up. As expected, it was a time when improvisation was full of imagination. And at the end of the live show, it was a blessing in disguise that the recording cut I mentioned earlier was the slow part of the second half of “Heartbreak Hotel” in the “Whole Lotta Love” medley. It is unique to this period that “Immigrant Song” is still played in the encore, but the most interesting part is Page’s solo part of “Heartbreaker”. In the middle of the song, he repeats the chords and rhythms of “Celebration Day,” and the band begins to match, eventually leading to Plant singing “Mona” by Bo Diddley (or, more likely, by the Rolling Stones). There will be a very rare development where things get exciting. “Thank You”, which concludes the show, had an interesting beginning, with Bonzo starting to beat the rhythm to stir up the audience, but then Jonesy played a phrase that sounded like a Scottish folk song and it suddenly calmed down. When it comes to the song itself, Plant’s passionate singing is also wonderful. In addition to the sound quality, which is so easy to listen to that it is hard to believe that it is a sound source that has been dormant for decades, the performance content throughout the entire show is rich. Therefore, I think many items will be created in the future, but please try the new ZEP live sound source for the first time in a while with this title, which highlights the contours of the performance without being sarcastic! (Remastered memo) ★Highly equalized to bring the performance to the forefront. Compared to the original sound, it is reasonably clear. ★I have adjusted the occasional cuts and noises as much as possible. The pitch was right. Live at Green’s Playhouse, Glasgow, Scotland 3rd December 1972 Disc 1 (53:53) 1. Intro. 2. Rock and Roll 3. Over the Hills and Far Away 4. Black Dog 5. Misty Mountain Hop 6. Since I’ve Been Loving You 7. Dancing Days 8. Bron-Y-Aur Stomp 9. The Song Remains the Same 10. The Rain Song Disc 2 (62:12) 1. MC 2. Dazed and Confused 3. Stairway to Heaven 4. Whole Lotta Love Disc 3 (35:25) 1. Audience 2. Immigrant Song 3. Heartbreaker 4. Mellotron Solo 5. Thank You