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tmtomh

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Everything posted by tmtomh

  1. Hot Damn!

    Montreux '70 is a ferocious show. IMHO among the very best live Zep on tape from any era of the band.
  2. Am thinking Jimmy must be the sb source

    I agree with pretty much everything you say here. RE Southampton and O2 rehearsal, it's hard to imagine that enough people had access to that, that it would prevent Page from identifying the culprit. So it stands to reason that he either knew who it was and didn't mind, or gave someone a nod and a wink to do it, or didn't know for sure who it was but also didn't care. RE '75 and '77, that's an interesting theory. I'm inclined to believe we're not done with '77 yet, mainly because we got 4-27 Cleveland but not the amazing 4-28 show from the same venue - not to mention Pontiac 4-30 and the 6-21 to 27 LA shows. But for '75 your theory makes a lot of sense. While 3-12 Long Beach and the 3-24-27 LA run are not yet circulating in soundboard form, 3-21 Seattle was basically the holy grail of that tour and now it's out. Hard to see EVSD having released that one if they had other '75 shows still in the can.
  3. Led Zeppelin II Vinyl question

    There are some early copies of Zep II with "LH" in the matrix instead of "RL" on one or both of the sides. In 2016 a discogs member emailed about this with Robert Ludwig himself, and here's what he wrote - the discogs member's preface is first, followed by Ludwig: [Discogs member:] I wrote Robert Ludwig in the last week and he wrote me back. All the versions from sterling are the same hot mix. The subtle variances between them are all simply from the slight differences in making a hand-made analog lacquer disc, at least one of which was sent to all the pressing plants at the time. The CTH plant got a lacquer that was half RL and half LH (Lee Hulko, his partner) but was of the SAME MIX AND MASTER, based on RL's notes. THEY ARE ALL THE SAME, aside from subtle variances and should be valued the SAME no matter who's initials are in the dead wax. They are all the same master from STERLING SOUND! Here is my reply from Robert Ludwig. Let this be the final word in this debate. Thanks! [Ludwig:]Hi Jim,I'm surprised about Lee Hulko's initials being on some of the parts. In all these years I had never come across any copies with his initials before.When there were big orders of certain titles and there wasn't physically enough time for one person to crank out the lacquers as fast as the record company wanted, sometimes we would help each other out.For instance, my initials might appear on a Beatles record that Lee mastered. In every case, compared to now, those titles were relatively easy to master. Once one of us mastered an album and it was approved, we made careful notes, either one of us could cut it and it should come out the same. Back then, Lee and I shared the one room and worked different hours so it is possible one of the plants blew a part and needed a replacement right then with no delay.So after I mastered the album (which Eddie Kramer & Atlantic approved) it was shipped to all the radio stations and the initial pressing was all from me and Sterling Sound.Amhet Ertegun at Atlantic heard the album (which Eddie demanded be as hot as possible) and apparently it skipped on his daughters little turntable. Instead of calling us at Sterling and asking us to lower the level a little and telling us where it skipped, they had the disk cutters at Atlantic use my EQ'd cassette file copy and they cut it WAY lower than my original cut plus, in my opinion, it sounded dull and generally not very good sounding in comparison.So all the disks that were played at the radio stations and all the initial pressings world wide came from me (and apparently Lee cut a part or two) and that was what "sold" the record and made it a hit. A year later, whenever I visited someone I would look at their Zeppelin II album to see if it was my cut or Atlantic's cut. It was easy to see by eye, the Atlantic cut ended much farther from the label and the grooves to the naked eye looked very conservative. So... sometimes you can find a "LH" cut for less money than the RL ones go for. According to the above, it might not sound identical to the RL, but it should sound very close and have the same basic sonic qualities that everyone loves.
  4. Great review! The Blu-Ray stereo track does have a spoken intro to Dancing Days, although it's tracked at the end of What Is and What Should Never be, rather than at the beginning of Dancing Days.
  5. How the West Was Redone is of course more dynamic, being the surround mix downmixed to stereo (with some useful tweaks by Winston). But I have to say, I prefer the new remaster - more presence, particularly Plant's voice, better bass without being overpowering like the official 2003 stereo mastering, and just more natural and organic sounding. How the West Was Redone is more crankable of course - but the new remaster is more crankable than the official 2003 version, and the new remaster is not fatiguing at higher volumes like the 2003 version is. I'm holding on to my copy of Redone, of course. But I do like the new official remaster the best of all the versions that are out there, official and unofficial. Just my $.02. YMMV.
  6. They were going to, near the end of the tour as they had done in '73 and '75. But the final leg of the tour got cut short when Robert Plant's son died, so they never played the show(s) that were slated to be multitrack recorded.
  7. Very cool solution! I created a version of Whole Lotta Love with Mary Lou added back in, splicing Mary Lou from the 2003 DVD-A into the new HD file. Also pretty easy and took just a few minutes.
  8. Very true! Although in 2003 there never would have been a vinyl version, no matter what, especially not a release that would require 4 LPs. The vinyl revival only really began around 2007 (which is why the 2007 expanded/redone The Song Remains the Same soundtrack had a 4-LP release half-speed mastered by Stan Ricker).
  9. Agreed on all counts. Would have loved to have Mary Lou again, but I have to admit I can see why Page might have cut it - the song flows more logically without it.
  10. Yep, definitely. Slightly more dynamic mastering, overloaded mid-bass nicely cut down, harshness basically gone. A series of small improvements that add up to a noticeably better listening experience, especially over the course of the full 2-1/2 hours.
  11. It's the Super Deluxe. Both the SD and the vinyl use the same design and same size box (although the SD box might be a little deeper/thicker). The easiest way to tell the difference in a photo is that the SD has a larger red sticker on the bottom-right (because it has to list more stuff).
  12. Nothing is edited aside from the 2-minute Mary Lou medley segment in Whole Lotta Love. And nothing is split over two vinyl sides. The vinyl running order was changed: What Is and What Should Never Be and Dancing Days were moved before Dazed and Confused, to enable the three epics (Dazed, Moby Dick, Whole Lotta Love) to each get a side of their own (Sides 5, 6, and 7). At 25-1/2 minutes Dazed is a little long for a single size of vinyl, but I think the original Song Remains the Same vinyl put a one minute longer Dazed on a single side, and no one complained.
  13. I agree Swan Song was a grievous omission from the 2104/15 reissue campaign. Should've been on the Physical Graffiti companion disc. Page was asked about it in an interview and said it wasn't really a finished song, so he didn't include it. I think that's ridiculous, but what are you gonna do? Fire is a very poor quality rehearsal tape - a single, distant mic in the room while they all did a rough run-through. Not anywhere remotely near official-release sound quality; never going to happen. All My Love with the complete ending is excellent, but reportedly a circa 1990 mix of the track, so it's not actually from the time period, meaning it won't get released (every other studio alt. version/outtake etc has been from the time period, and Page has been pretty adamant about that). Piano and Flamenco - probably never going to get released either, as it's even less of a song than Swan Song. There is a small chance of this one getting released though, since the rumor is that the 50th anniversary "celebration" will include some Zep I-era 1968 studio stuff that either wasn't enough to fill out a Zep I companion disc in 2014, or else was intentionally held back at the time, to save for this year.
  14. Best version of Vancouver 3/19/75

    Agree with the (emerging) consensus here: 13 (aka thir13en) and Liquid Led. I have a soft spot for 13's remaster, but Liquid Led's is more recent and perhaps very slightly more polished-sounding.
  15. Radio broadcast reels mystery

    It's certainly possible they could be authentic in the sense of being reels that were at a radio station for years. But in that case they'd still be copies of bootlegs - just copies that probably were made sometime in the late '80s or early '90s. I would guess the reels date from not too long after the first soundboard releases surfaced of all those shows. I say soundboard in particular because it appears to be a compilation of soundboard-only tracks: for example, I believe "Killing Floor" (Lemon Song) from the April 27 1969 Fillmore show is conspicuously absent from that reel, and that track has a cut in the soundboard source, which most (all?) bootleg labels historically have patched with a 2-minute or so audience source. Similarly, while the '77 show is not specified, I would guess it's from the April 27 Cleveland "Destroyer" show, because that was one of the earliest (if not the earliest) circulating soundboard from '77. But yes, as others have said, even if it's "authentic" in the way the seller has claimed, it's still just a reel to reel dub from bootleg LPs and/or CDs. Actually an interesting compilation, but one you could easily make yourself from as good or better sounding internet sources.
  16. Complete Seattle '77 Video

    HTWWW was created from two shows (plus Jones' Stairway intro on the mellotron from Southamption '73). But yes, you are right that he'd need at least two shows, in order to mix and match the best parts and to patch Plant's vocals.
  17. Yes, that's right. The press release for it specifically says that this RSD single is meant to "whet" fans' appetites before the 50th anniversary commemoration begins in September. I am, however, hoping that September will mark the release of the first 50th anniversary music, so that we get the announcement of it earlier, like in June or July.
  18. 1/22/73 Southampton multitrack

    My feeling exactly.
  19. I initially thought they were different, but the more I listen, the more I too feel they're the old mastering. I also would be surprised if they were the new mastering, up online before Amazon and iTunes have their samples up. Now, when Amazon and iTunes samples show up, I am confident that those will indeed be the new mastering.
  20. Ten Years Gone LTTE question

    Someone other than Winston took Winston's version and re-EQ'd the patch to make is sound less bad. I believe that version was called "Now Heare This Edward." Could that be what you have in mind? I made my own version where I replaced the audience-source patch in Winston's with a patch from the performance on the 23rd (the "Badgeholders" show). It's my go-to version now. However, as folks know, a new audience source for the Eddie show surfaced in the last few months, and I believe it sounds better than the audience patching source Winston had available at the time. Maybe patching that it would work nicely...
  21. So there are new 30-second samples of the entire HTWW album up here: https://lnk.to/HTWWWSDlx What do folks think: Do these sound like the original mastering from 2003, or are these a taste of the new mastering on the upcoming reissue? @sam_webmaster, do you know?
  22. 9/29/71 Immigrant Song sb release

    Sounds fantastic - thank you!
  23. Baton Rouge 2/28/75

    Yeah, there are a lot of bad endings to '75 shows for the reasons stated above. Baton Rouge is interesting because the early part of the show is very good and pretty intense.
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