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About greenman

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    Zep Head

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  1. The whole "soundboard revolution" to me has smacked of someone selling of sources one at a time to maximise their earnings, the way the releases have tended to become progressively more sort after to keep interest high. I wouldn't be surprised if EV had to pay a premium for this show given its legendary status and thus are having to string it out to recoop the cost, hence this release. Its perhaps not the best track of the show performance wise but I'd guess EV went with HB because the encores have only previously been around on the inferior audience source not the higher quality one that covers most of the show.
  2. I would disagree there Duckman, granted the material would probably not be AS interesting to a mainstream audience as the original DVD but I think were clearly seeing that bands are much more happy to try and target hardcore fanbases these days including that other previous paragon of perfectionism Pink Floyd. There could of course be audio only releases of these shows and indeed that would obviously cut down on the cost.
  3. I'd imagine this will be a 4 disk release so no reason for EV to cut something out unless its not on their source. This does sound very nice I'd agree, needs some EQ as most SB's do but the bass especially is very clear.
  4. Going for all musical artists rather than "rock" I would say... 60's The Beatles, The Rolling Stones, Jimi Hendricks, John Coltrane, The Beach Boys, Miles Davis, The Velvet Underground, Bill Evans Trio, Love, Pink Floyd 70's Led Zeppelin, Pink Floyd, Can, Steely Dan, The Clash, Popul Vuh, David Bowie, Neu/La Dussledorf, Miles Davis, John Cale 80'a The Stone Roses, Spacemen 3, Talk Talk, Guns and Roses, Talking Heads, The Pixies, REM, Joy Division/New Order, Penguin Café Orchestra, The Smiths 90's Primal Scream, Massive Attack, Shack/Michael Head, The Orb, Mercury Rev, Radiohead, Talk Talk/Mark Hollis, The Verve, Spiritualised, Orbital,
  5. Perhaps somewhat, I don't think the performance is a total revelation to the degree that if you greatly dislike the 75 tour its going to bring you around yet it does I think has a good case as the best show of the tour being both very consistent and having inspired versions of NQ plus DAC with probably more energy to them than any other 75 show. I certainly wouldn't say no to an early 75 SB although really I tend to think there was a reason why they dropped the newer material and I think theres clearly more difference between 73 and 75 than the setlist suggests with NQ especially evolving into something very different.
  6. Yeah I do as well, it was actually the first Zep boot I picked up and whilst it was something of a baptism of fire in some respects the second disk especially is one of my most listened to, probably the best ever versions of NQ and TU for me although a better quality version of the 21st might change my mind. Personally I actually preffer the sound of the 75 Millard shows(at least the last 2 LA shows) but I think that's partly down to the sound of the band and especially Page's guitar tone.
  7. I think the 27th is patchy but has some amazing highs, NQ, TU and the opening section of DAC are all amazing and OTHAFA has an interesting solo as well. The 25th I think starts off patchy as well in the opening third but then picks up massively with NQ(maybe not quite as good as the following nights() and stays consistently excellent from that point on with the second best DAC of the tour after the 21st. Really though the Millard recordings of these shows are good enough that I don't think SB's would be that important to have, might well sound worse.. I can see the attraction of the earlier 75 shows(well after the band get back in decent form) and some of those performances like MSG are probably slickier overall than the latter shows yet I just think the band were lacking a bit of inspiration that only really started to emerge again during the second leg of the tour. The 21st to me though has the best of both aspects, consistency AND inspiration.
  8. I would say the big advantage of the 21st is that energy level stays high though out almost all of the show, generally for the latter 75 shows I think it tends to be the case that the band turns it on for certain tracks but here they do it for almost everything.
  9. I wouldn't take it THAT far, the EC shows(well the last 4 anyway) clearly are some of the best of the year but again I think that towards the end of the US tour on the west coast the band did tap into something special. Whole shows weren't always as consistent as EC BUT the epic tracks(NQ and DAC) and some of the shorter ones like TU hit heights that I don't think EC quite matches in terms of energy although again I do like the more atmospheric EC versions of NQ.
  10. 21/3/75 is I think clearly the best show of the year, besides that I tend to find that the US shows are a little more uneven BUT the highlights of them like NQ, TU and DAC really do hit there peaks and are the things from 75 that I listen to the most. Really though I wouldn't say there exactly like for like anyway, not only do you have the acoustic set returning for EC but I think you also have some deliberate rearrangement of tracks like NQ that shifts from the more energetic blues/jazz of the US shows more towards atmospheric classical. I think that does kind of make the EC shows a bit special in that we only 5 five of them with set list/arrangement, a bit like the 79 shows. In terms of where the band felt "freer" I'd guess that at certain points the band felt under a bit more pressure to give a slick performance, MSG in 73 most obviously but perhaps EC as well and this cut back on some of the energy.
  11. I think that is quite a good situation to end up in though as the majority of the material the less hardcore fan might want to hear is on the LZ 1 and Coda bonuses disks rather than forcing them to buy all the albums for 2-3 tracks on each. Its hard to know for sure what to think of course before we know Page's long term plans, if this was it for extra Zep then stuff like say an extended NQ from Earls Court really should have been included but if we see an extended release of those concerts then it makes much more sense not to.
  12. Yeah I do tend to agree, I think there not really intended to be "interesting rarities" so much as alternate albums which I think does explain why a lot of stuff was held back for the Coda release which was obviously always intended to be more of the former. I do actually find myself enjoying the Presense bonus disk beyond 10 Ribs/Pod quite a bit dispite it being very similar to the stuff on the original album, the less echoey rougher sound does I think work well with the material.
  13. A lot of Zep bashing tends to be sour grapes but in Keith's case I think its understandable given his own tastes. He's always had a strong connection with Blues/RnB/US country and if you value those things above all in rock music I can understand being less of a fan of Zep who whilst they obviously featured influence from these areas weren't nearly so confined to them as the Stones and never really focused that much on creating an "authentic" recreation of them. With Zep you can add in a stronger influences from Rock n Roll, UK folk, Funk and perhaps most importantly(compared to the Stones) I would say classical music, not just in terms of Page quoting a few pieces but in the focus on dramatics. At the end of the day really the Stones weren't a very political band bar Satisfaction, they arguably came to represent a more political era for rock but like Zep they were really a mix of good times rock and creating there own legend/atmosphere. Just take your pick, the mystical world hopping of Zep vs the US time warp of the Stones.
  14. To me 10 Ribs very clearly seems to be an attempt to record something along the lines of the improvised middle sections to No Quarter they were playing latter in the 75 tour, 21/5/75 at Earls Court especially has a very similar atmosphere. It obviously moves more away from the direct NQ influence but I think the end result ends up being kind of halfway between the 75 live versions and the 77 versions, you can hear a bit more of a bluesy side coming though. I did always think JPJ should have had a go at recording a solo piano improv album ala Keith Jarrett(who I'd imagine was an influence on the direction NQ took with the the koln concert LP coming out in Jan 75), maybe get Bonzo and Page to play a bit.
  15. Royal Orleans is the better(and somewhat more in tune with the album) of the two I'd agree although I think it still clearly pales in comparison to Hots On For Nowhere that manages to be both a really catchy and caustic. Again I think its a shame as most of Presense is an album that is responding to the bands position and the time period in general not just re-treading the same path less effectively minus Achilles, 10 Ribs/Pod whilst maybe not very "punk" would have been a good signal of a shift in direction.