Unfortunately customer loyalty isn't enough for them to make money in the digital upload age. They've effectively already lost that customer base, because they can't make money off it (regardless how willing that base is to pay in the abstract). They'll milk subsequent releases like this until they recoup their investment + profit, then release the entire show(s). Could take several years, which sucks, but they'll eventually see the light of day.

Yeah, it's a little tasteless. But my initial reaction when hearing the name was not the real serial killer, but rather the classic (albeit campy) show that was on TV in the '74-75 period. Maybe they were going with double meaning.

Well, this is a big yawn (great looking package, however). It was probably unrealistic to think they'd allocate close to half the CD space on NQ, but still, who cares about them noodling about with WLL? At the least the version of TU (if it is from the 27th) is the best of the three nights.

Wow, this is fantastic news!

Yes, this idea was discussed on the recent LA75 Soundboard thread. Definitely plausible, but then people would have their money tied up in one way or another waiting for the order list to grow to sufficient size. Since EV hasn't opted to go this route, probably we can conclude that this market simply isn't big enough.

I'm afraid so, most likely. They're going to drag out any releases, with samplers and teasers and such, until they can make enough money from egregiously-priced re-releases on top of the new soundboard (something that only hardcore collectors will patron). Unfortunately it's the only way they can really make money, because with a general release of the soundboard itself, it will get uploaded almost immediately, completely killing their market. However, I do believe they have the entirety of the LA 75 shows (plus Houston, 1st San Diego, and 2nd Long Beach, and the remaining May 77 shows), so we will eventually get a complete one later this year. With Osaka last year, I believe they simply don't have the complete show and released what they have.

I fully agree, it sucks. But, they've clearly decided this is the best way for them to make their money and I understand the reasoning. If they offered a complete show for $100, they'd still have to wait until they have a sufficient number of confirmed orders (because once they ship, it's game over), and they obviously suspect that not enough people are gonna want to have their money tied up waiting for the order list to grow. Again, it's easy to say we'd pay $100 in the abstract, but the reality with bootlegs in the digital age is that you'll be subsidizing a large number of free riders, and taking that into account, fewer people want to take the first step.

How is it a crap strategy? They know as soon as the first physical CDs are delivered, someone will upload it for free download. It's a bootleg, so they have no way of enforcing any kind of copyright or whatever. Again, that's the reality of the digital age. We can all say we'd gladly pay $50 or $100 or whatever for a complete show and promise we'll keep it to ourselves, but EV has no enforcement mechanism to ensure that the market as a whole abides by it. They simply have to leak out teasers and try to make their necessary profit off of serious collectors (who, almost by definition, are fairly insensitive to price, at least as it would apply to a musical CD as such). It's unfortunate, but it's the only way we're going to get future shows.

Nice to see mention of the Ft Worth version, a real gem. St Louis from the first leg in '75 is also sublime.

That's my interpretation too: cleaned up audience sources of the three shows, plus one new soundboard. And, of course they're catering to the hardcore collectors, that's the only way they can make money off of these things now, since within hours of the first batch shipping, the board will be uploaded for free download. Sad but true in the digital age, but it's a bootleg, not exactly the most open of markets. They'll leak out samples/teasers to the public while trying to recoup their investment from the highest private bidders. At least we will eventually get the three LA shows (although I'd have much preferred the second Long Beach show).

Hoping it's NQ from the 25th, probably my all-time favorite. Another killer combo would be OTHAFA/NQ/TU from the 27th (maybe toss in SIBLY).

What, are you stalking me? Seriously, get a fucking life.

The '77 tour was shit.

Yeah, that's a great one.

Yes, it definitely played out weird. My guess is they don't have any more from 9-29.

I agree with you on this. I initially replied to your skepticism that they would pay as little as 5K for a NEW tape. I have no idea, but that amount seems reasonable to me.

Point taken, but when I type in things like "Led Zeppelin Detroit 1973" or "Led Zeppelin Seattle 1975" there, I get hits for CDs out of Japan (where I believe bootlegs are legal) or Italy and UK (not sure about their legal status there). So, apart from being a gray area, someone with a tape is not going to be able to monetize expected future cash flows that way, he's going to have to sell at a discount to people like EV, and that's the main point.

I'm guessing EV is priming the pump for a summer release of a '77 board, probably Birmingham or Baton Rouge, but maybe Greensboro.

They can't go to eBay because bootlegs are illegal recordings. And how does one contact local bootleggers? They don't really advertise, do they? It would be easier for Page to send his lawyers after such a seller than try to acquire it himself. I actually agree with your second paragraph: in the age of easy downloading, bootleg companies HAVE TO rely on some kind of initial, private auction to wealthy collectors to make money, I can see no other way to do it.

Because a random guy who somehow comes into possession of a tape (theft, found it in his grandpa's attic, finally got a conscience after decades of hoarding, whatever) isn't plugged into the network of collectors like (I assume) a bootleg company like EV is. Hence the trade-off of getting a (somewhat) low amount of cash NOW vs. having to figure out how to strategically market the tape yourself.

Finally a genuinely controversial statement. Jettison NQ in '75? No way. Whatever problems the '75 tour had, NQ was always a highlight, in fact for many shows it was the only memorable part. Also, the evolution of the song was fascinating. Getting rid of it would have been a big mistake.

+1. Whether it's music, sports, whatever, there is no shortage of women willing to throw themselves at men who have money or power.

Seriously cool cover, that's for sure.

I think the 18th is generally regarded as very fluid, almost 73ish. I fully agree that the EC shows are overrated (the West Coast shows from May are overall much better) although there are definitely some brilliant moments, among which being STH from the 24th although obviously there's some disagreement here. It wouldn't be fair to compare '77 to '73, that's why I chose a '75 show. And I wasn't claiming the solo from the 24th was the best ever (although it is one of my personal favorites), only that it's far and away better than the Fort Worth version that had been previously mentioned as a good '77 show.

What do you dislike about the Earl's Court version?