Jump to content
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble


  • Content Count

  • Joined

  • Last visited

About greenman

  • Rank
    Zep Head

Recent Profile Visitors

1,245 profile views
  1. There seemed to be a gap between the SB releases that happened in the 90's from 73 and 80 and what we got latter. I can't remember off the top of my head exactly who put out all that earlier stuff first but much of it was actually lables like Flying Disc Music that sold relatively cheap to the mass market so were offering decent money. I'd guess as that market was largely shut down it caused new sources to dry up and it was only the hype around the DVD and EV targeting a more luxury market on a decent scale that started things up again with the money to pay for sources. I do generally still take the view that whilst its good this stuff is out there for free to those who want it there should be a bit of gratitude shown to those who pay for it rather than the hostility we often see, ultimately its there money that pays for this material to see the light of day. As pointed out above when the money wasn't there the sources largely dried up, whoever has these SB's isn't just going to release them out of the goodness of their heart.
  2. From EV's perspective I spose I can see the logic in leaving them off, if your going to milk your customers don't rub it in releasing them same tracks again so quickly. Again though I'm guessing someone else will put out a knockoff that includes it all soon enough if you want a CD version. The Orlando board was very nice as well compared to a lot of later years stuff so I'm not surprised this source is as well. The biggest positive for me is that Dazed is complete, I feared it might just be a fragment but to hear the whole thing including all of Pennies From Heaven is a real treat. Whats more I think the lack of cuts during it perhaps hints that the board being incompete is due to editing after the fact and that we will get a more complete show sometime in the future.
  3. Ultimately nobody is forcing anyone to buy any of this of course and its all going to be out there on the net as soon as its released. I mean if people really want a CD copy I suspect some other company is going to stick all of this stuff together on one release and charge a fraction of the price within a few months.
  4. I don't think even the 75 Seattle show was held in quite the same regard that an incomplete release would have given as much interest. The way this show is cut up again though does seem a little strange, I spose the 71 Florida show was a bit cut up as well but not to this degree which does make me think something has chopped it up afterwards.
  5. Not sure Page would bother with this, I mean any money involved is going to be very small change for him plus I think he'd have focused more on the early years as well. I suspect those stolen soundboards have ended up in the hands of someone who is slowly selling them off to EVSD to maximise their profits. I mean I don't to make a definitive statement as its possible this is all their is the show but I think its also possible that the person selling off material has realised that 29/9/71 is such a holy grail they can sell it off a piece at a time. Not sure about the one song releases which might well have been ESVD trying to spread the cost of buying the source out but what we have now could well be all they have only to have someone sell them a more complete version down the road. This is very different from say some random 77 board, you only offer half a show there and people are not going to be showing much interest.
  6. Honestly though I doubt that really had much impact on their sales, it was always going to be on offer for free very soon after release anyway so nobody was buying it as a last resort it was people who wanted a CD copy of it. I would say as well that I'm not entirely convinced its just EVSD at play here, it could just as well be someone else selling them material piece by piece to maximise their own profit.
  7. Indeed, this track ordering does seem rather different to what we typically see from incomplete SB's of the era with so many gaps. I mean yeah we haven't had a confirmed SB from Japan 71 before so something different might have been going on there but equally I wouldn't be shocked if this isn't the whole thing, just enough for a proper release and maybe holding back enough for another big release sometime in the future. What I would say though is that whilst I would personally have WLL from this show as the best live performance Zep ever gave(the same track from 23/9 also up there) I'v always kind of thought that the existing source was part of the appeal. I mean no its not perfect at all but it is incredibly powerful sounding and I wonder whether even a good SB wouldn't quite recreate that insane intensity? I actually think the earlier parts of the show are the ones that suffer rather more from issues with the main source so in a way having upgrades from them might end up being more interesting, especially Dazed if it includes the complete Pennies from Heaven.
  8. Going back to this after a good while spent with "10 ribs" I am actually coming around the idea it could have worked quite well in Presense. Yes its very different in soundin some regards to the rest of the albums heavy guitars BUT I would say it seems to fit into the more "stately" and less funky style of that album, perhaps better than tracks like Royal Orleans and Candy Store Rock. You listen to Tea for One especially and I think you can a similar sense of space and atmosphere. I could imagine a track listing with say side one ALS, FYL and 10 Ribs(with a proper name) and then FTBM, HOFN and TFO on side two. That to me would potentially make for a more individual album that would stand apart more from the bands previous work. As for the idea behind the song I would say its pretty obviously an outgrowth of the latter 75 No Quarter jams but pushed into a much tighter composition and kept more focused on the piano work.
  9. I wouldn't agree the LA shows lack spontaneity, granted the setlist doesn't change besides SIBLY on the 27th but the songs themselves do. The 25th for example has Jones moving back to keyboards halfway though NQ and Spanish Eyes in Dazed, the 27th has Gallows Pole at the end of TU and the "Loving You" segment in Dazed. Indeed I would tend to say those two shows feel like some of the most spontaneous of the year to me with several of the solos also being quiet different(OTHAFA on the 27th for example). Besides technical issues I do tend to think that's really what holds the first half(and maybe somewhat of the early stages of the second half) of the US tour back a bit. It still sounds like a band finding there feet again to me across much of the set after the long layoff. The latter stages of the 2nd leg and EC seem much more inline with Zep from 69-73 to me, perhaps not always technically perfect but a more similar mentality.
  10. I can kind of see both points of view though, its certainly not "bad" and is probably the slickest of the versions from EC but its also lacking a bit of spark to it. The version from the 18th has more grace to it IMHO and the 23rd has one of JPJ most atmospheric solo's. I do always tend to go back to the 27/3 in LA though, maybe not the most energetic version ever much I think the best constructed with the jam just building and building in intensity, I think it actually helps a bit that Page isn't lighting it up though out as it gives JPJ a bit more space.
  11. 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.
  12. 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.
  13. 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.
  14. 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,
  15. 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.
  • Create New...