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About tmtomh

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    Zep Head

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  1. So many great comments here. I would agree with this one, though, because while all the albums (except maybe ITTOD) have tremendous sequencing, this is the best 1-2 punch that I feel really counts as having a song transition. Even though there's no crossfade like they did on the '73 tour, the two tracks clearly feel like a single suite. For me, that makes it special.
  2. There are so many potentially, but for me I'd have to say my first choice would be the Inglewood show on June 3, 1973. It's probably the best U.S. performance of 1973 - the energy they display is just relentless - and personally I would argue that it even equals the legendary late-March European shows. Page, Bonham, and Jones were perhaps at their all-time pinnacle as a collective instrumental unit during those March shows, but IMHO on June 3 they are within the margin of error of being just as good - and Plant's voice is in better shape at that June show than it was for most of the March run.
  3. It's got The Wanton Song as part of the live set, and the song is cut... seems just like the Minneapolis SBD to me.I'll bet it's authentic.
  4. The current site owner recently got access/full control of the site - so it's not clear why it has disappeared.
  5. The easiest way to get it is to search for the Japan FM or Japan digital radio version. It's missing about a minute of the four minutes' worth of Honey Bee, but otherwise the Whole Lotta Love medley is complete. And the sound is very good.
  6. Physical Graffiti, without a doubt. It has everything - the light and shade, hard electric blues, funk, beautiful acoustics, long epics, fun goofs, the whole nine yards. Also, if you break it down between the 1974 tracks and the other tracks, the early tracks make up one of the best outtakes albums of all time (The Rover, Houses of the Holy, Down by the Seaside, Night Flight, Boogie with Stu, Black Country Woman). Meanwhile, the 1974 tracks - the tracks they came up with just for that album - are incredible: Custard Pie, In My Time of Dying, Trampled Under Foot, Kashmir, In the Light
  7. Great info from Steve! On a more basic level, mono and stereo audience and soundboard sources have been "remastered" for a long time. The most common technique is probably EQ, changing the frequency energy with an equalizer plugin or a similar tool. Graphic EQ can boost or cut specific frequency ranges to alter the overall balance of the source, adding high-end sparkle, cutting excessively boomy low end, or boosting or cutting the midrange to change the loudness of much of Plant's vocals and Page's guitar relative to Bonham and Jones. Parametric EQ allows more fine control over the freque
  8. No full multitracks circulate (at least not openly). In addition to the Bonham tracks, there's a single multi of Plant's vocal on Since I've Been Loving You - but I've only seen the vocal track, never the other multis that make up that track.
  9. Of course the June LA shows - all of them, but especially the first three nights. And yes to the NYC shows, although the latter ones are better than the earlier ones IMHO. Agree with Strider about late April - 4/27 Cleveland is a decent show with great sound, while 4/28 is a mediocre/okay AUD source but a stupendous performance. And then of course there's Pontiac 4/30, which sounds terrible but appears to have been an excellent performance. I'm also really partial to the final night in Landover, 5/30 - a great performance. And while I admit I'm influenced some by the stellar sound qu
  10. Night Owl's Blueberry Hill is something special. It's rather more than a simple matrix - Night Owl took all the good quality AUD sources and basically treated them like individual multitrack, mixing them into a stereo image and in some cases mixing only certain frequency ranges of each source (based on whether the source had better bass, or better midrange/treble clarity or extension, etc.) The result is a stereo effect that outdoes any other source with greater dimensionality. Highly recommended.
  11. Actually, it was Dancing Days that the band felt sounded too similar stylistically to Houses of the Holy. They've also said they liked the idea of having the title track to the album... on a different album. So it's reasonable to presume that they preferred Dancing Days (either as a song, or in the running order of the rest of the album), and given that, thought it would also be cheeky to separate the song from its album namesake.
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