Led Zeppelin/WA,USA 1972 2Days Upgrade

There are not only ZEP live recordings for everyone, such as Blueberry Hill and Eddie, which have the best sound quality and the best performance… but also audience recordings that are widely loved by enthusiasts even though the sound quality is rough. A typical example of this is the Seattle performance on June 19, 1972. Originally, the 1972 US tour hinted at the new song “Black Country Woman” that was being produced at the time in Montreal on the second day of the tour, and it seemed that they were itching to show off the new song before its release on stage from the beginning. The second day in Seattle is also a recording source that has been deeply loved by enthusiasts as a night in which the “freedom” that is the greatest charm of ZEP up to this time was maximized, such as the big performance of the new song and the escalation of the performance of the cover song in the encore. Its existence was revealed in a foreign book on ZEP live studies published in the 1990s, and although it was said to have “poor sound quality and many cuts,” everyone thought “I want to hear it…” in front of the astonishing set list written there. The nostalgic “SIZZLES IN SEATTLE” CD, which can be said to be the predecessor of the Cobra series, fulfilled the wishes of such enthusiasts. Looking back now, it seems that the joy of finally being able to hear the legendary Seattle 72 prevailed, despite the roughness combined with the feeling of a generation drop due to cassette trading in the 90s. After that, the roughness was mitigated by “THE EVERGREEN” released by the nostalgic TDOLZ label, making it a little easier to listen to, and it reigned as the definitive version for a while. As the title suggests, even at this point, the performance content was extremely hot… and the reputation was unshakable. However, in the 21st century, the JEMS team unearthed this second generation. With the appearance of this low-generation copy, the roughness of the previous days was wiped out. The second day of Seattle was improved to the point where it was “I can listen to this at all.” Naturally, this upper version produced many items, but among them, “SEATTLE 1972” became the definitive version with thorough content in every corner. This was literally the definitive version of Seattle 72, coupling not only on the second day but also on the first day. After that, no best titles beyond “SEATTLE 1972” were produced, and the board was sold out, even though it was a great performance that should always be supplied steadily. More than 10 years have passed since its release, and Graf Zeppelin himself has stood up to release a new best title, making full use of the latest technology in 2022. Despite the fact that the first day of Seattle, which was first recorded, was a much clearer audience recording than the next day, there is still only the first half of the live performance. This is also a sound source with a small number of items released so far, but this time, a thorough remaster from the 1st Gen. copy has been realized, and a significant upgrade has been realized from “SEATTLE 1972” (hereinafter referred to as “already released board”). While respecting the naturalness of the original, the finish brushed up with the latest technology has created such a clear difference that the previously released version sounds hollow and weak. Originally, this day was scheduled to be a performance at the Pacific Coliseum in Vancouver, but when the Rolling Stones (the day of the famous album “VANCOUVER 1972”) performed a few weeks ago, a riot broke out among the audience who could not enter the venue, and the Pacific Coliseum was temporarily banned from holding rock concerts, so the performance was set up as a substitute at short notice. (That is why the Scorpio record, which first released this sound source, named it “TROUBLE IN VANCOUVER”.) In addition, it was a show that was held in a turbulent environment, with the Canadian fans having trouble transporting them. The tension is fully felt thanks to the good sound quality of the remaining sound source, even though it is short, and this brush-up makes it even more apparent. From this atmosphere, I don’t think it would have been a free and long show like the next day (it was the first day, after all), so I guess it was held in the usual configuration. That’s why Jimmy’s guitar solo in “Stairway To Heaven” was a brilliant development that reflected the tension of the day. Since there were no fixed patterns other than the ending of the solo, I was overwhelmed by the way he played freely and intensely. And the second day became the legendary marathon show. Although it is the JEMS excavated low-generation version that made that rough sound quality easier to hear at once, the unnecessary stereo sound spread between some songs that occurred at the time of release (simply phase shift) has been meticulously restored, and the whole story can be enjoyed with a real and pure mono sound. On the contrary, it even feels like a new skin has been peeled off with this brush-up, and a natural and clear listening ease worthy of surpassing that already released version has been created. Of course, some cuts and the noticeable bass distortion in the first half of the live show remain unchanged, but the upper part that is now easier to hear is still considerable. First of all, the venue was in a cheerful mood on this day, unlike the previous day, which is why such a free development was possible. The fourth song from the start of the live performance was the new song “The Ocean”. Naturally, Robert easily sang the same melody as the album version here. This probably switched them on to “I want to show off a new song” mode, and “Black Country Woman”, which was hinted at in Montreal, was finally performed with an acoustic set. Not only is Robert singing the same melody as the album version here, but it is also extremely valuable that it is performed in full chorus, unlike the 1977 tour. The audience on this day was fully enjoying themselves even when they heard such new songs they had never heard before, and even cheered on the improvisation of “Dazed And Confused”. However, the atmosphere changed completely with the drum solo “Moby Dick”. The surroundings, which had been fun until then, suddenly became quiet, and the famous phrase “I hate drum solo” jumped out from the audience. And the free ZEP of the day reaches its climax from the finale “Whole Lotta Love”, but Bonzo sings everywhere… not only that, it is also an extremely valuable record as “the live where Bonzo sang the most in the history of ZEP live”. He was in charge of harmonizing every night in “Bron-Y-Aur Stomp”, but on this day, when the “Whole Lotta Love” medley switched to Roy Orbison’s “Only The Lonely”, he wanted to sing behind Robert, and the back chorus “Papa Papa Papa” that was conscious of the original song was heard. The transition to the song itself was a bit forceful, and Robert must have been in a pretty good mood that day. This “singing mode” escalates further in the organ corner played by Johnsy before “Thank You”. Bonzo sings with Robert everywhere in “Louie Louie”, which seems to have been instigated by Johnsy, and in Chris Montes’ “Let’s Dance”. The highlight is “Money (That’s What I Want)”, which was not only performed in Frankfurt in 1980, but was also performed on this day. Unlike in 1980, you can hear the back chorus here, but the crazy voice is also by Bonzo.If you listen closely, you can hear the voice of someone singing along, so this might be Jimmy. And the finale is another two new songs, with “Dancing Days” ending with a too free take 2. A new best version by Graf Zeppelin on the second day of the legendary Seattle concert, where they can do new songs before the release and Bonzo can sing as much as he wants (lol). The title name respects the ancestors’ items instead of the era or place name! (Remastering memo) D1 (18th) ★ It is the same recording as the previous one, but it is remastered from the digital master of the 1st Gen Reel, which is a different branch. The front has been precisely adjusted with a focus on low-frequency reinforcement, and while it has the original naturalness, it has a clear and sharp sound that you can hear the difference at first listen. This is the latest natural sound. D2-4 (19th) ★ As with the previous version, it is the latest remaster based on the 2nd Gen of JEMS, which is the best master at the moment. The major point is that the phase shift that was seen throughout the previous version has been completely eliminated. In particular, the unnatural parts that sounded like pseudo-stereo due to a significant phase shift at the beginning of “Black Country Woman”, Only Lonely in “Whole Lotta Love”, and before the performance of “Money” can all be enjoyed in a natural mono Aud state. ★The band balance has been completely reviewed and corrected. Even so, there is a considerable amount of low-frequency roaring, but if this is forcibly cut, it will sound thin and unnatural, so it has been reviewed and corrected within the range that is not too much. The hiss components have not been easily removed, so there is no thin, digital-like texture that has been seen in some previously released versions, and there is a slight but definite difference from some previously released versions that have been reduced. Mastering that respects the original analog feel while bringing out the sharpness and clarity. ★Regarding the sound cut-off seen in Let’s Have A Party in “Whole Lotta Love” (there is a sound cut-off this time as well), some previously released versions say that there is “no sound cut-off,” but that is because the same vocal part immediately before was pasted. Seattle Center Coliseum, Seattle, WA, USA 18th & 19th June 1972 *UPGRADE Live at Seattle Center Coliseum, Seattle, WA, USA 18th June 1972 Disc 1 (47:47) 1. Announcement 2. Drone 3. Immigrant Song 4. Heartbreaker 5. Black Dog 6. Since I’ve Been Loving You 7. Stairway to Heaven ★Cuts between songs 8. Going To California Live at Seattle Center Coliseum, Seattle, WA, USA 19th June 1972 Disc 2 (66:47) 1. Immigrant Song ★Cuts 2. Heartbreaker 3. Black Dog 4. The Ocean ★Probably premiere 5. Since I’ve Been Loving You 6. Stairway To Heaven 7. Going To California 8. Black Country Woman ★Probably premiere 9. That’s The Way 10. Tangerine 11. Bron-Y-Aur Stomp Disc 3 (58:25) 1. MC 2. Dazed And Confused 3. What Is And What Should Never Be 4. Dancing Days ★Probably premiere 5. Moby Dick Disc 4 (65:22) 1. Audience 2. Whole Lotta Love 3. Rock And Roll 4. Organ Solo ★Rare Amazing Grace, Everyday People 5. Louie Louie ★Rare 6. Let’s Dance ★Rare 7. Thank You 8. Money (That’s What I Want) ★Rare 9. Over The Hills And Far Away 10. Dancing Days ★2nd time that day