Led Zeppelin/Studio Sessions 1968-1969 & more

It was at the height of the CD bubble that Scorpio gave us a glimpse of ZEP studio sessions with the shocking title “JENNINGS FARM BLUES” on “STUDIO DAZE”, but a while later, in 1992, ZEP “OLYMPIC GOLD” had a big impact on enthusiasts. While the previous two albums featured sessions from “III” onwards, this time they recorded sessions for the first two albums. Moreover, the sound quality was also excellent. What was even more shocking was that it even included the unreleased song “Baby Come Back Home.” After this, it will be released as the centerpiece of the official “BOX SET II”, but the shock of hearing the session scene before that was even bigger, and with the release of “BOX SET II”, I was once again excited about “OLYMPIC GOLD”. There was even a phenomenon where the importance of However, this was a time when information was still scarce in terms of data, so Steve Winwood’s name was credited instead of him in the organ and acoustic guitar instrumentals that Page and Jonesy attempted together, and in some cases. There was also the roughness that the sound source was recorded with the pitch out of order. Therefore, this time I carefully adjusted the pitch of this old masterpiece. However, at that time I had no way of knowing that the pitch of “Baby Come Back Home” was crazy, but the more I listened to it again, the higher the pitch became. Besides, at the time of recording, the unique R&B ballad session scene recorded under the working title “Tribute To Bert Berns” is still worth listening to. The versions that can be heard on “BOX SET II” and the current deluxe edition of “CODA” were remixed by Page when they were recorded, but here we not only get a glimpse of the session scene as before, but also a very rough mix. Even the OK take with Plant’s vocals can be heard until the performance stops without fading out. Also, the intro and outro sessions for “Moby Dick” were included in the deluxe edition of “II”, but another take of Bonzo’s drum solo is not included. What’s more, the solo you can hear here is surprising because he was experimenting with a pattern that followed Max Roach’s “The Drums Also Waltzes” in the studio, as he often performed live. The pitch is also adjusted here. And Scorpio’s specialty (in a good sense) inflated bonus included session work sound sources centered on Page before ZEP, but since this was generally taken from records, there was quite a bit of scratch noise. It was. So this time I deleted them as much as possible. (Remaster Memo) The pitch below has been corrected. *Tribute to Bert Berns Approximately 25-35% faster than a semitone *Instrumental Approximately 20-30% faster than a semitone *Moby Dick #1 Approximately 20% slower than a semitone Reduced needle crackling on Extra Tracks. Corrected silence gap at song cut point. Olympic Sound Studios, Barnes, London, UK September & October 1968 STEREO SBD Mirror Sound, Los Angeles, CA, USA 6th May 1969 STEREO SBD Olympic Sound Studios, Barnes, London, UK 27th September 1968 01. Babe I’m Gonna Leave You #1 02. Babe I’m Gonna Leave You #2 03. You Shook Me Olympic Sound Studios, Barnes, London, UK 10th October 1968 04. Tribute to Bert Berns #1 05. Tribute to Bert Berns #2 06. Tribute to Bert Berns #3 Olympic Sound Studios, Barnes, London, UK October 1968 07. Instrumental #1 08. Instrumental #2 Mirror Sound, Los Angeles, CA, USA 6th May 1969 09. Moby Dick #1 10. Moby Dick #2 Extra Tracks 11. George Wallace (P.J. Proby) 12. Leave My Kitten Alone (The First Gear) 13. Train Kept A Rollin’ (Screaming Lord Sutch) 14. A Certain Girl (The First Gear) 15. Honey Hush (Screaming Lord Sutch ) 16. Night Comes Down (Mickey Finn) 17. Garden Of My Mind (Mickey Finn) 18. Circles (Fleur De Lys) STEREO SOUNDBOARD RECORDING