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pluribus

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  1. It's almost entirely the US shows from 1970 which have those photos with the venue lights on. This was due to the security having trouble with crowds, so the venue would turn the lights on. You can hear this on the recordings of the March LA Forum show (which is where that photo above is from), the April show in Memphis, the August show in Tulsa.
  2. The pants and jacket were different fabrics. Pants look like they were made of black velvet, the jacket probably a thicker synthetic/polyester or canvas type material.
  3. I think the EV business model is pretty straightforward at this point, now that it’s been running for 20 years. A soundboard every year, and filler in between - which often includes alternate versions/boxes/artwork of the soundboards to create even more sets to buy. For 929, with the Twist and Shout snippet on the 928 release, I think it’s obvious that they have the whole recording, so hopefully it’s just a matter of time now. Consider that they recently put out that 929 Boxset with the upgraded alt audience sources, but only used clones of fan remasters for the two soundboard mixes rather than make their own. Whereas with 928 they did a proper sbd/aud combo - so maybe they don’t actually have the rest of that one? Who knows. Next year is the 50th anniversary of the Japan tour, so that should give them plenty of time to sell stock of the current 929 and 928 titles. LA 3/24/75 has gone quiet, so maybe that might come sooner. Hoping for Long Beach 3/12/75 and Philadelphia 2/8/75 of course. No doubt they are also gearing up to release all of the Millard masters as they come out from Dime, so I would expect those releases to get a whole new round of boxes, etc.
  4. It’s fine. Not as clean as the original source, but it’s great to finally get the complete show. And now Empress Valley, Lighthouse, and Graf Zeppelin have more material to crank out new releases.
  5. The Earls Court gigs are similar to Bath 1970, Electric Magic 1971, and Knebworth 1979 in as much as they were milestone gigs that allowed Zeppelin to flex their stardom in front of their home audience. As such, they are more about the event and spectacle, and less about the quality of the gigs themselves. A “homecoming” is still a homecoming, regardless of whether the band is truly on fire or not. As for why people would like an official release of Earls Court or Knebworth comes down to the simple fact that those gigs were among the few that were actually filmed. Same rationale applies to the Pontiac Silverdome show from 1977, a completely average show which has been blown up into mythic status due to the likely existence of film.
  6. According to the one person who has chimed in on the topic. Again, red flag.
  7. This has disaster written all over it. Over a show that no one has heard, and which almost certainly is not a good performance. First, the only link to the “Seller”, is one person - yet multiple people have now claimed to have had these clips in possession for years. Not a good sign. Second, we have no idea what EV pays for soundboards, how they get them, and who is involved. $20k could be a completely off the mark figure. It sounds ridiculous to me. Third, what if this deal actually happens? Now all soundboards and rare Zeppelin tapes will be further hoarded for $20k+? Regardless of quality. What happened to the previous made up figures of $10k per board? Surely others remember the days in the 90s and 00s when otherwise reputable traders would deliberately gen-up their tapes, withold encores, or start enforcing “do not circulate” on everything that is perceived to have value. No thanks. Fourth, EV, Graf, Tarantura, and Lighthouse are all still very actively putting things out. With Seattle 75 and the Osaka 71 boards out there, this is the golden age of bootlegs. New things are coming out all the time. With that amount of money, you could literally buy a ticket to Tokyo and have a better shot of walking into one of these stores and literally asking if you could fund a new release. Fifth, it’s illegal, no?
  8. There isn't a cut. His remarks start with "Wait...". Same on the 2 audience sources.
  9. The 9/28 board is incomplete. Empress Valley has only released the first and second reels. Looks like the sound engineers missed recording Immigrant Song and the first half of Heartbreaker, which is why those parts are incomplete on the first reel and are patched with the audience source. The third reel is the last third of the show, and has yet to be released, which is why it is also patched with the audience sources.
  10. Apparently, they didn’t record the song at all that night, which is why there aren’t any tape flips until after Stairway.
  11. But nobody was gimme gimme. You were suggesting to another board member to contact “someone”, to buy a bootleg. But that “someone” is you, so why the act? Your website is great. Just don’t understand the need to pretend here. Bootledz/Brannon makes himself completely visible to the public, for instance.
  12. No, they were just the ending of Dazed, the solo splice in Stairway, and some tape before What Is and What Should Never Be. If memory serves, the samples didn't sound that great either.
  13. Don't forget, we also got the complete Whole Lotta Love from 928 via the No Label release of the 3rd audience source (it's lower quality, but it reveals the longest ever Whole Lotta Love), we also got the soundboard from Montreux 70 with an unheard extra encore, an alternate source for Eddie and the master and alternate source for Cleveland 4/28/77, and completely new shows in Glasgow 12/3/72 and Fort Worth 3/3/75. If the Bath 70 Tarantura 2000 release is in fact an upgrade, then there's that too.
  14. You never know. This year is the 50th anniversary of the show....
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