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Bonzo_fan

Updated Soundboard Wish List

62 posts in this topic

2 minutes ago, ZepHead315 said:

You are correct. The SBD snippet is of Jimmy's noise solo, which isn't exactly the most exciting part of the show. I have a feeling the rest of the show (and the rest of the LA run, assuming there are boards for all of the shows) won't be released for a LONG time. At least we have Mike Millard's tapes for four of the shows!

We do, and they are all great. 21st is still my fave Zep boot and probably always will be.

Looking ahead, who knows. It's been a very long time since there was a SBD that wasn't from this 'Revolution', and even that well might be drying up now they are releasing 21st March 75; saving the best until last??

28th Sept 71 is intriguing in that respect; things have gone very quiet on that front. We had one song out of the blue, then nothing.

I doubt we'll ever see anything that's in Jimmy's sole possession.

 

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1 hour ago, ZepHead315 said:

I thought the general consensus was that the tape we have is the soundboard of this show (with various audience recordings filling in the gaps). It's a shame too, because, even though it's clear, it's pretty unbalanced (Robert being buried, etc.) for a soundboard. Oh well, at least we have the full show. Now I would definitely love for the previous show on the 28th to have a full soundboard (instead of just the snippet we have of Black Dog). That show is on the same level as the 29th. 

I thought the prevailing view is that it's a really good audience recording from very close to the stage.  It sounds nothing like the soundboard snippet of "Black Dog" from the 28th, so I doubt that it is the soundboard.

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I have to add some to the list of ones for which there is currently no recording (I realize the existence of a soundboard for some of them is highly unlikely):

December 27, 1968 - Seattle

May 10, 1969 - Vancouver

May 11, 1969 - Seattle

July 26, 1969 - Vancouver

July 27, 1969 - Woodinville (Seattle suburb)

October 23, 1969 - Seattle (unconfirmed)

March 22, 1970 - Seattle

September 1, 1970 - Seattle

August 19, 1971 - Vancouver

August 20, 1971 - Seattle (unconfirmed)

Seattle especially, and Vancouver to a somewhat lesser extent, always seemed to produce some of the very best shows of each tour, so it would be awesome to hear all of these stops there from '68-'71.  The ones in bold especially for me, but it would be nice to hear those really early ones to see what made them love that area so much in the first place (apart from the scenery).

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39 minutes ago, Bonzo_fan said:

I thought the prevailing view is that it's a really good audience recording from very close to the stage.  It sounds nothing like the soundboard snippet of "Black Dog" from the 28th, so I doubt that it is the soundboard.

I found this comment on Royal Orleans that seems to suggest that it is indeed a soundboard (albeit an unbalanced one):

Quote

Nope. I'm a taper myself (current bands, not from Zeppelin era) and what I'm talking about is not the same thing [as a Millard recording]. Pick two of his best tapes...Long Beach 3/11/75 and his "Badgeholders" 6/23/77 tape. At the Long Beach show, Millard was close-micing one of the PA stacks. That tape may actually have been recorded stereo (i.e. with two mics- L and R), but because the source he was micing was mono (the one PA stack), and he was so close, all you hear is all of that one source of sound equally coming out of both channels on his recording (the one PA stack being recorded by two mics-L and R). There's no stereo spread on that tape, but it's ultra-close. On 6/23/77, he was extremely close to the stage, but not mic'ing a stack, with multiple mics placed around his wheelchair rig. Within a few feet of each other, at most. In any case, his proximity to the stage, and location between house right and left in that recording reveals all of the sound around him, the audience, and the venue ambiance. You can hear things coming from the left, from the right, and even behind him. That includes the audience and a deal of venue ambiance and acoustics. You can tell it's a stereo recorded tape, but what is filling up the left and right is the entire sound coming from the stage, not one instrument in the left and another, or group of another, in the right. Sure, certain sounds may be predominantly coming from one side versus the other. But not so specific as to have Bonham's kick coming out of the left and his high hat coming out of the right. 

The Osaka tape is different from both of those audience recording examples. My example of the acoustic set is still the best one for that tape. When I say that Jones' mandolin is in the left channel, I mean he is strictly in the left channel. Take out your left earphone and he's not there. Same goes with Page's guitar in the right. For the opposite ear from the channel they are in (Jones Left- Page Right) all you can hear of their respective instruments is in the far background, and that's only because the instruments were close enough to each other's mic's onstage that they were picking each other up. 
The only way you could've mimicked anything even close to that with an audience recording is if you literally had one mic pointing at Jones', and another mic at Page's actual instruments, ultraclose (as in, within inches) or if you actually had a dedicated PA speaker for each instrument (one for Jones and one for Page) and you conveniently were able to mic the two speakers with your two mics, separately left and right. Either scenario is simply not realistic for this concert, much less possible given the fact that this was an anti-taping band in a concert venue with security, not to mention that no house PA even has dedicated speakers for specific instruments. 

The Osaka tape is a multitrack soundboard recording. During the main parts of the show, like most Zeppelin shows, the house PA fed to tape was clearly running mono (one big sound coming equally through the PA on both House Left and House Right), which is why there is no stereo separation of strict left and right for most of the show. But during the acoustic set, the instruments were given their own channels and split fairly strictly left and right. The mics onstage were then fed to different tracks on the recording machine (whatever that machine was). That the mix of drums on the tape is overwhelming has nothing to do with anything. That's just the mix that the recorder was fed.

I will agree with you that it sounds nothing like the soundboard snippet we have of the previous night. Perhaps someone more knowledgeable about this stuff than I can explain why it is so different, given how it's the same venue and everything.

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20 minutes ago, Bonzo_fan said:

I have to add some to the list of ones for which there is currently no recording (I realize the existence of a soundboard for some of them is highly unlikely):

December 27, 1968 - Seattle

May 10, 1969 - Vancouver

May 11, 1969 - Seattle

July 26, 1969 - Vancouver

July 27, 1969 - Woodinville (Seattle suburb)

October 23, 1969 - Seattle (unconfirmed)

March 22, 1970 - Seattle

September 1, 1970 - Seattle

August 19, 1971 - Vancouver

August 20, 1971 - Seattle (unconfirmed)

Seattle especially, and Vancouver to a somewhat lesser extent, always seemed to produce some of the very best shows of each tour, so it would be awesome to hear all of these stops there from '68-'71.  The ones in bold especially for me, but it would be nice to hear those really early ones to see what made them love that area so much in the first place (apart from the scenery).

Nice post.   These would be some amazing shows.   Kind of sad to see such a long list of potentially great shows of which we dont have recordings.  

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1973-07-12

1973-07-07

1977-06-26

 

But if were gonna fantasize, I won't settle for anything less than the Europe '73 boxset including dvds featuring pro shot film.

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16 hours ago, Crimson Avenger said:

January 1975. I'd love to get a full board of Brussels/Rotterdam, just to see what state the band were really in, and what they played. Then 01/22 in Chicago for HMMT and Wanton Song.

Even better than 1/22 is 1/21 in Chicago, where they played "When the Levee Breaks", "Wanton Song", and "How Many More Times". 

16 hours ago, Crimson Avenger said:

Agreed about 77 boards, they sound very unbalanced out of the box. But they can be tweaked. What do you make of the Winson 04/27 remaster? I reckon that sounds great, much better than the raw board, and shows that gig in a better light.

It's odd that some venues simply don't seem to leak when it comes to soundboards. We've had nothing from Chicago or the Forum as part of the 'Revolution', despite lots of shows there. So looks like we're safe in not getting anything from the LA 77 run!

 

The problem with the 1977 soundboards is not the balance and it is not something you can tweak. You cannot tweak something that never made it to the tape to begin with. Fixing the balance will only make Jones louder or less...but his bass will still sound like alien farts.

The difference between the 1975 and 1977 soundboards is so staggering, so mystifying, it beggars belief. What the fuck happened? One thing is apparent: it sounds like they used inferior equipment taping the boards in 1977 compared to 1975.

Aside from the great drums and bass sound, the 1975 boards have a very expansive sound...the tapes breathe and there is a wide sound colour palette and crisp detail. The 1977 tapes, on the other hand, sound compressed and muted, and it sounds clipped in the high frequencies. Jimmy's guitar has no colour and poor Jonesy's bass and Bonzo's drums sound neutered. 

The Alembic's did not sound this bad in the hall. One wonders if Jones split his bass signal thru two amps...one for high frequencies and one for the low tones? But when they patched Jones in the soundboard, maybe they screwed up the wiring and only the high frequency amp was recorded on the tape?

How else to explain why the Alembics sounded all right at the actual concert and even on the audience tapes but sounds like shit on the soundboards. Compare these two "Achilles Last Stand" from Cleveland...first the soundboard tape:

Now the audience tape:

You can hear how the audience tape is much fuller in the bottom end.

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13 hours ago, Strider said:

The problem with the 1977 soundboards is not the balance and it is not something you can tweak. You cannot tweak something that never made it to the tape to begin with. Fixing the balance will only make Jones louder or less...but his bass will still sound like alien farts.

The difference between the 1975 and 1977 soundboards is so staggering, so mystifying, it beggars belief. What the fuck happened? One thing is apparent: it sounds like they used inferior equipment taping the boards in 1977 compared to 1975.

I remember reading somewhere, can't remember if it was here, that the 1975 soundboards were recorded on reel-to-reel tapes, whereas the 1977 soundboards were recorded on cassette tapes, and that that accounts for the difference in sound.  Sounds plausible to me, not sure if it's true...

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Posted (edited)

3 hours ago, Bonzo_fan said:

I remember reading somewhere, can't remember if it was here, that the 1975 soundboards were recorded on reel-to-reel tapes, whereas the 1977 soundboards were recorded on cassette tapes, and that that accounts for the difference in sound.  Sounds plausible to me, not sure if it's true...

I don't think anybody really knows the answer to this, besides those who truly are in the know. We can listen to these recordings as much as we want, and make deductions based on cuts, or certain qualities of the recording, but the reality is that there are about a dozen things that can affect how a soundboard recording will sound, most of which have to do with the sound rig itself.  The band's sound changed every single tour, so naturally the soundboards will sound different as well, regardless of the media that was used.

The interesting thing here is that the Cleveland 1977 soundboard is a one-off, made by a venue member who plugged in his own cassette deck to the board, via a patch provided to him by the soundcrew.  Yet, put Cleveland side by side with the 1977 soundboards from New York, Landover, or Fort Worth, and there really isn't that much difference.  The Cleveland recording we all know so well doesn't sound worlds different from those other soundboards from the 77 tour, and yet those other boards were presumably made using the soundcrew's own professional equipment.  Which says to me that the recordings we are hearing have less to do with the media recorded to (cassette vs reel to reel) as they do with the actual feed coming from the board. There are dozens of variables that are involved. Microphones, preamps, compressors, limiters, effects, the board itself.

Just give a listen to a modern soundboard from a band like Pearl Jam or from any number of bands who have allowed soundboard patches. A lot of these recordings sound "flat" or compressed, while others sound nice and open.  And yet these are all being made in high resolution digital with very nice equipment. So, again, it's not the media being recorded to, it's the larger rig that matters most. 

Keep in mind, the priority for the soundcrew was to run a sound rig that was as good as it could possibly be for the crowd listening to it at the concert. The soundboard recording wasn't a priority for any other reason than to make the band's own reference copies. If they cared about documenting the shows in "best" quality, they would've lugged around a multitrack to every show, which we know that they didn't do.

Edited by pluribus

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I'm still hoping a tape will turn up of one of the gigs where Bonzo used two bass drums  (the awful Berdu tape doesn't count)

 

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2 hours ago, pluribus said:

I don't think anybody really knows the answer to this, besides those who truly are in the know. We can listen to these recordings as much as we want, and make deductions based on cuts, or certain qualities of the recording, but the reality is that there are about a dozen things that can affect how a soundboard recording will sound, most of which have to do with the sound rig itself.  The band's sound changed every single tour, so naturally the soundboards will sound different as well, regardless of the media that was used.

The interesting thing here is that the Cleveland 1977 soundboard is a one-off, made by a venue member who plugged in his own cassette deck to the board, via a patch provided to him by the soundcrew.  Yet, put Cleveland side by side with the 1977 soundboards from New York, Landover, or Fort Worth, and there really isn't that much difference.  The Cleveland recording we all know so well doesn't sound worlds different from those other soundboards from the 77 tour, and yet those other boards were presumably made using the soundcrew's own professional equipment.  Which says to me that the recordings we are hearing have less to do with the media recorded to (cassette vs reel to reel) as they do with the actual feed coming from the board. There are dozens of variables that are involved. Microphones, preamps, compressors, limiters, effects, the board itself.

Just give a listen to a modern soundboard from a band like Pearl Jam or from any number of bands who have allowed soundboard patches. A lot of these recordings sound "flat" or compressed, while others sound nice and open.  And yet these are all being made in high resolution digital with very nice equipment. So, again, it's not the media being recorded to, it's the larger rig that matters most. 

Keep in mind, the priority for the soundcrew was to run a sound rig that was as good as it could possibly be for the crowd listening to it at the concert. The soundboard recording wasn't a priority for any other reason than to make the band's own reference copies. If they cared about documenting the shows in "best" quality, they would've lugged around a multitrack to every show, which we know that they didn't do.

True, and Bonham was using a new kit in '77 as well, so Jones' Alembic wasn't the only equipment change from '75. 

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52 minutes ago, Bonzo_fan said:

True, and Bonham was using a new kit in '77 as well, so Jones' Alembic wasn't the only equipment change from '75. 

Exactly. And remember, the sound coming from the soundboard was a direct feed, with no speakers involved. Think about that. If you have ever listened to a bass-heavy album on computer speakers vs a proper home stereo setup, you know what I mean. The band was running an absolutely massive sound system in 1977 (check the preshow pics from Seattle 1977). All of those large speakers and subwoofers are what hit the audience. So, that "thin" Alembic bass and Bonham's kick drum on the soundboard sounded MUCH different when they got pushed through those speakers.  

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Add March 10, 1975 San Diego to my list!  Listening to it for the first time right now and loving it--they sure were coked up for this one!  Or just really pumped to have finally made it to the West Coast...

With the upcoming Seattle release, only this, 3/12 Long Beach, and the unreleased 2/27 Houston are preventing us from having the entire second leg in soundboard or Millard quality!

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9 hours ago, Bonzo_fan said:

Add March 10, 1975 San Diego to my list!  Listening to it for the first time right now and loving it--they sure were coked up for this one!  Or just really pumped to have finally made it to the West Coast...

With the upcoming Seattle release, only this, 3/12 Long Beach, and the unreleased 2/27 Houston are preventing us from having the entire second leg in soundboard or Millard quality!

Boards of those three shows (1st SD, 2nd LB, Hou) will eventually be released, and I suspect the Forum shows will be as well.  I agree with you about the 1st SD show, it definitely gets overlooked.  I've always enjoyed this show, the playing is much better than the preceding Dallas shows, and I love the doomy, gloomy feel of the audience tape.  I'm concerned this vibe will be lost on the soundboard, however, I have mixed feelings about the board for this one.

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Posted (edited)

On 3/10/2017 at 9:13 PM, pluribus said:

Exactly. And remember, the sound coming from the soundboard was a direct feed, with no speakers involved. Think about that. If you have ever listened to a bass-heavy album on computer speakers vs a proper home stereo setup, you know what I mean. The band was running an absolutely massive sound system in 1977 (check the preshow pics from Seattle 1977). All of those large speakers and subwoofers are what hit the audience. So, that "thin" Alembic bass and Bonham's kick drum on the soundboard sounded MUCH different when they got pushed through those speakers.  

This is totally true. That's why many including myself way prefer a decent audience tape to a shitty dry board tape from 77. 

Edited by porgie66

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On 10/03/2017 at 6:18 AM, Strider said:

Even better than 1/22 is 1/21 in Chicago, where they played "When the Levee Breaks", "Wanton Song", and "How Many More Times". 

The problem with the 1977 soundboards is not the balance and it is not something you can tweak. You cannot tweak something that never made it to the tape to begin with. Fixing the balance will only make Jones louder or less...but his bass will still sound like alien farts.

The difference between the 1975 and 1977 soundboards is so staggering, so mystifying, it beggars belief. What the fuck happened? One thing is apparent: it sounds like they used inferior equipment taping the boards in 1977 compared to 1975.

Aside from the great drums and bass sound, the 1975 boards have a very expansive sound...the tapes breathe and there is a wide sound colour palette and crisp detail. The 1977 tapes, on the other hand, sound compressed and muted, and it sounds clipped in the high frequencies. Jimmy's guitar has no colour and poor Jonesy's bass and Bonzo's drums sound neutered. 

The Alembic's did not sound this bad in the hall. One wonders if Jones split his bass signal thru two amps...one for high frequencies and one for the low tones? But when they patched Jones in the soundboard, maybe they screwed up the wiring and only the high frequency amp was recorded on the tape?

How else to explain why the Alembics sounded all right at the actual concert and even on the audience tapes but sounds like shit on the soundboards. Compare these two "Achilles Last Stand" from Cleveland...first the soundboard tape:

Now the audience tape:

You can hear how the audience tape is much fuller in the bottom end.

Any of those Chicago shows really. I picked 22nd because the AUD tape isn't too bad and seems like a great show. Isn't 21st the one there's almost no recording of? Now I think about it, WTLB doesn't bother me too much anyway, because I'm pretty sure it would sound awful. They canned it for a reason. Dropping Wanton Song and then HMMT was a real shame though.

Point taken re 77 boards, but my point is that they are not unimprovable. They can be tweaked to make the experience more fun. 4/27 is the obvious case, but sue donim/pseudonym of this parish has been going some good things with other 77 tapes recently, for example.

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20 hours ago, Crimson Avenger said:

Any of those Chicago shows really. I picked 22nd because the AUD tape isn't too bad and seems like a great show. Isn't 21st the one there's almost no recording of? Now I think about it, WTLB doesn't bother me too much anyway, because I'm pretty sure it would sound awful. They canned it for a reason. Dropping Wanton Song and then HMMT was a real shame though.

Point taken re 77 boards, but my point is that they are not unimprovable. They can be tweaked to make the experience more fun. 4/27 is the obvious case, but sue donim/pseudonym of this parish has been going some good things with other 77 tapes recently, for example.

Not necessarily; it has potential live.  My band covered it back on February 4, and I was pleasantly surprised with how well it turned out.

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Posted (edited)

On 3/12/2017 at 10:41 AM, Crimson Avenger said:

Any of those Chicago shows really. I picked 22nd because the AUD tape isn't too bad and seems like a great show. Isn't 21st the one there's almost no recording of? Now I think about it, WTLB doesn't bother me too much anyway, because I'm pretty sure it would sound awful. They canned it for a reason. Dropping Wanton Song and then HMMT was a real shame though.

Just rechecked my EVSD "Crying Won't Help You" cd...it is the Jan. 20th show, not the 21st. "Levee" sounds pretty decent to me. Jimmy's playing is sharp, concise and in time with the band thru the entire concert.

Edited by Strider

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On 3/8/2017 at 6:46 PM, ArmsofAtlas1977 said:

So then we get to 77.  This is the toughest one to choose for...28 April in Cleveland is a fantastic show.  On the other hand, I get the feeling 31 May in Greensboro was maybe the best one of the year and we don't have a recording at all.  

 

I'd love a soundboard for the April 28th show, best show of the tour IMO. I'd bet fifty bucks that there's a soundboard for the Greensboro show. We may get it one o' these years...

On 3/9/2017 at 7:58 AM, ZepHead315 said:

10. 4/28/77 - even though Strider is correct that the 77 boards leave a lot to be desired, I'd still love to hear this show with a soundboard. Although I'm more looking forward to the matrices people could be able to make.

 

4/28/77 would be a pure-D bitch to matrix...there's just too many cuts in between the songs eliminating most of the Plantations on the audience tape. Plus, the ending of "No Quarter" is pretty cut up as well. 

On 3/10/2017 at 4:17 PM, pluribus said:

The interesting thing here is that the Cleveland 1977 soundboard is a one-off, made by a venue member who plugged in his own cassette deck to the board, via a patch provided to him by the soundcrew.  Yet, put Cleveland side by side with the 1977 soundboards from New York, Landover, or Fort Worth, and there really isn't that much difference.  The Cleveland recording we all know so well doesn't sound worlds different from those other soundboards from the 77 tour, and yet those other boards were presumably made using the soundcrew's own professional equipment.  Which says to me that the recordings we are hearing have less to do with the media recorded to (cassette vs reel to reel) as they do with the actual feed coming from the board. There are dozens of variables that are involved. Microphones, preamps, compressors, limiters, effects, the board itself.

 

I've heard that "Master reel" copy of the Destroyer soundboard that circulates- as I recall it's even dryer sounding than the other '77 soundboards, some of which almost have a "live in the studio" kinda feel. What I'd like to know is why the copy of Destroyer I've had for about thirty years sounds like an actual professionally recorded live album (no "dry" sound at all); you can hear the audience loud and clear and utterly unlike any of the other '77 board tapes. These days I rather suspect that my copy was originally sourced from the old vinyl version, but if so than that vinyl version was complete minus the cuts in "TSRTS", "No Quarter", "White Summer" and "Rock And Roll" common to all the Destroyer versions.

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Sort of a sub-thread within this topic: do you guys and gals think we are likely to get another marquee show (say, 6/22/77) next, or do you think they're releasing 3/21/75 to renew the public's interest in their "revolution," and we're now going to have another couple years of mediocre to great, but not all-time great shows?

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4 hours ago, Bonzo_fan said:

Sort of a sub-thread within this topic: do you guys and gals think we are likely to get another marquee show (say, 6/22/77) next, or do you think they're releasing 3/21/75 to renew the public's interest in their "revolution," and we're now going to have another couple years of mediocre to great, but not all-time great shows?

Not sure what their motivation is, but by releasing 3-21 now (when it's almost certain they still have 2-27 [unreleased], 3-10, and 3-12 [another all-time great]), they seem to be signaling that they have the LA '75 shows as well, which will obviously be a big event (even though none of those shows count among the best of the tour, at least overall).  They most likely have the Greensboro '77 show, which is unreleased in any form (possibly Birmingham and Baton Rouge as well), so whatever show gets released after Seattle '75 will probably be exciting.  (I seriously doubt they have any LA '77 shows, however.) 

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Posted (edited)

16 hours ago, Bonzo_fan said:

Sort of a sub-thread within this topic: do you guys and gals think we are likely to get another marquee show (say, 6/22/77) next, or do you think they're releasing 3/21/75 to renew the public's interest in their "revolution," and we're now going to have another couple years of mediocre to great, but not all-time great shows?

I think the latter is more likely. If I had to bet which show they'll release next, I'd probably say 3/10/75. Why? We have the shows immediately prior to it (the two Dallas shows) and the show immediately following it (the first Long Beach show) on soundboard. It's just before the band had that white hot run in the latter part of March, which is generally considered to have started with the second Long Beach show. The show itself is generally considered to be good, but not great. Plus, Empress Valley has a reputation for being super greedy (a reputation which is not undeserved), so they're probably going to delay the release of another great show (ex. 3/12/75) as long as they can.

11 hours ago, JohnOsbourne said:

I seriously doubt they have any LA '77 shows, however.

Didn't a soundboard snippet of 6/23 come out recently? Was that released by a different label?

Edited by ZepHead315

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12 hours ago, JohnOsbourne said:

Not sure what their motivation is, but by releasing 3-21 now (when it's almost certain they still have 2-27 [unreleased], 3-10, and 3-12 [another all-time great]), they seem to be signaling that they have the LA '75 shows as well, which will obviously be a big event (even though none of those shows count among the best of the tour, at least overall).  They most likely have the Greensboro '77 show, which is unreleased in any form (possibly Birmingham and Baton Rouge as well), so whatever show gets released after Seattle '75 will probably be exciting.  (I seriously doubt they have any LA '77 shows, however.) 

I'm curious what your reasoning is for doubting that they have any of the L.A. '77 shows.  I don't see what reason we have to believe that they don't have all of the '73, '75 & '77 North American shows.  They obviously know that, deservedly or not, the L.A. '77 run would have the highest demand of anything they could release from that time period, so I wouldn't presume that they don't have them just because only the 6/23 "Noise Solo" has escaped thus far.

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3 hours ago, Bonzo_fan said:

I'm curious what your reasoning is for doubting that they have any of the L.A. '77 shows.  I don't see what reason we have to believe that they don't have all of the '73, '75 & '77 North American shows.  They obviously know that, deservedly or not, the L.A. '77 run would have the highest demand of anything they could release from that time period, so I wouldn't presume that they don't have them just because only the 6/23 "Noise Solo" has escaped thus far.

All of the "soundboard revolution" releases so far have been from a specific window of shows from '75 and '77 (and nothing from '73).  Obviously whoever is releasing the shows chooses at will when and which ones to release, but so far the releases have been a good mix of classics, rarities, and duds (conforming with general assessment of the shows, subjectivity doesn't play a big role in that claim).  It seems reasonable, then, to view the particular choices as essentially a random draw.  The probability that this many shows from '75 (almost half), say, would have been released without ANY January shows is statistically tiny.  (Again, there is no reason to think that the source is just waiting for the right moment to release Bloomington, say, and assuming he's like most fans it's doubtful he thinks the January shows are the best.)  Same for '77, although maybe you could argue that the '77 sample is still too small to make a strong conclusion, fair enough.  The observed pattern of releases is most consistent with the claim that whoever is behind the "revolution" only has a specific subset of shows, and not the entire batch.  (It's a falsifiable claim, as well, I revised my skepticism about the LA '75 shows when 3-21 was announced.)  This does not mean of course that soundboards of other shows might not exist from a different, non-Page source.  But so far (based on available evidence), I have no reason to think that such a source either exists or is forthcoming with releases.

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On 4/15/2017 at 3:26 PM, JohnOsbourne said:

All of the "soundboard revolution" releases so far have been from a specific window of shows from '75 and '77 (and nothing from '73).  Obviously whoever is releasing the shows chooses at will when and which ones to release, but so far the releases have been a good mix of classics, rarities, and duds (conforming with general assessment of the shows, subjectivity doesn't play a big role in that claim).  It seems reasonable, then, to view the particular choices as essentially a random draw.  The probability that this many shows from '75 (almost half), say, would have been released without ANY January shows is statistically tiny.  (Again, there is no reason to think that the source is just waiting for the right moment to release Bloomington, say, and assuming he's like most fans it's doubtful he thinks the January shows are the best.)  Same for '77, although maybe you could argue that the '77 sample is still too small to make a strong conclusion, fair enough.  The observed pattern of releases is most consistent with the claim that whoever is behind the "revolution" only has a specific subset of shows, and not the entire batch.  (It's a falsifiable claim, as well, I revised my skepticism about the LA '75 shows when 3-21 was announced.)  This does not mean of course that soundboards of other shows might not exist from a different, non-Page source.  But so far (based on available evidence), I have no reason to think that such a source either exists or is forthcoming with releases.

Oh ok, thanks for clarifying.  I was not aware that none of the '73 boards are part of the "soundboard revolution".

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