He did keep it, and had it refurbished in the last few years so that they could use it as the basis for the Fender Custom Shop model.

Exactly. They were all stealing from those blues and early rock guys. They did it for the publishing money and the prestige that went with it. That sort of thing still happens today, where famous singers like Beyoncé require their name to be included in the list of Songwriters for each song that appears on her album.

Keep fluffing for that label, man. Hope you’re getting good money for it. Again, there’s no need to take my word regarding the poor quality. Google is your friend. Bootledz, RO, Underground Uprising.

I don't need to do my "own" version. The JEMS version of Source 1 and the lowgen of Source 2 speak for themselves. Just as Tarantura 2000's legacy speaks for itself as well. Overdone EQ, false advertising of being sourced from masters, overpriced re-hashes. Even their very first release as the "new" Tarantura, Four Cards, was the wrong date. It seems that my opinion is getting to you more and more. I wonder why that is? Why would my opinion be worth less than yours? I point out my observations, and back them up with examples. Hmmm....what COULD the reason be why you stick up for the Tarantura 2000 label so much? What possible reason would you have to lose it each time someone criticizes their releases? Believe me, it's not just me who is not a fan. Again, see Bootledz own reviews. Search Underground Uprising archives. Search wherever you'd like. Please, I encourage anyone to go and download the JEMS version of 7/12/73 and compare it to Tarantura 2000. Same with the lowgen of the 2nd source, currently on Dime. Compare it with the Tarantura 2000 version and listen for that horrible low-end rumble that comes from "whoever" it was that did the mastering by bumping up the low-end frequencies to the point of overload.

Nothing tops the solos from 1973. C'mon now. 1975 and on were more dramatic because they were capitalizing on the legend of the song, and Page compensated for his diminished fluency. The better solos from 73 are absolute masterclass in phrasing and technique. The one used in The Song Remains The Same stands out as an obvious example.

Slumpy made one years ago, and it had the usual problems...drift between the sources, comb filtering, etc. I would check out multi-cam projects merge of the audience sources and the soundboard.

Just heard the Detroit 7/12/73 release by Tarantura 2000. Again, terrible. The bass frequencies on the very lowest end of the spectrum have been jacked up again, which creates this awful low-end rumble across the entire recording, just like they did on the Bath and Boston "Enigma" remasters. Don't take my word for it. Go to Black Beauty, and compare the main source to the JEMS version from the master. Night and day. One sounds natural, and faithful to the source. The other sounds like someone just discovered how to use a low quality equalizer and cranked up all the wrong frequencies. With the new source, sounds like they dropped the left channel and did the same thing. Cranked up the low-end to oblivion.

Well then, that pretty much confirms the audience who this is for. Old enough to be up early, and watching CBS This Morning. Not exactly aiming for that 18-34 demographic.

Can't you already view all of the songs from "Celebration Day" on Youtube already? You can find complete videos of Earls Court, The Song Remains The Same, Royal Albert Hall, Supershow, Danish TV, Australia 1972, Seattle 77, plus all of the amateur footage on Youtube. That's literally everything they've ever put out, plus the amateur stuff from the official site, plus fan remasters. Radiohead has been doing this kind of thing too, but they've been releasing actually unreleased material.

Bootledz has his copy for sale. He’s good people.

The middle section of Bring It On Home wasn’t 100% original. The signature riff was a reworking of James Brown’s “Think”:

Curious what it says about Page's Marshall Amp modded by Tony Franks? Or his Tonebender?

The Zeppelin masters have not appeared on Dime yet. The JEMS crew are releasing the masters they have every week or two on Dime - which is where the content for these EV boxes comes from. Even when the Zep content eventually gets released, unfortunately all of those will be sourced from DAT transfers due to how the source was able to get the tapes from Millard’s house years ago. I’m sure they sound great, but it is what it is.

Didn’t know about GTBT being a Motown lift. Do you recall which one?

The slide intro to CD was definitely JPJ. I remember reading about a fan who had asked Jones about it, and his response was that he played it on a pedal steel in a special tuning, and that Page could never replicate it, which is why they never use it live.

He also did Good Times Bad Times, didn’t he? And the slide intro to Celebration Day.

Yeah. I think the lineage is that they were deemed to be "flat" transfer copies (i.e. no added EQ) of the original album mixes that were then EQ'd for one of the rounds of remaster releases. So, disposing these particular copies wouldn't have been a problem, since they were copies made from the masters that were then used as the basis for further EQ'ing.

A few years ago, I recall someone shared a bunch of digital files which were sourced from flat transfers of the first 6 albums. "The “bin master” tapes came from a Studio in NY. The original (bin) analogue master tapes were transferred digitally at 32/192 from a calibrated Ampex ATR-102 at 15 IPS . Or in some cases @96/24. I do not know of the ADC but it was the studio’s own. =quality. The tapes were destined to be thrown into a waste skip as not required any more. The guys who transferred them were sound engineers, one of them was also a record producer."

Remember, they tried Levee and it just didn’t work as a live number. Apart from the opportunity for harmonica noodling, there was no opportunity for a lengthy solo for any band member. It just went on and on, and they already had Kashmir in the set. As for Sick Again, I think it works great. That song has a high level of dynamics in it, with the pacing of the verses and the swagger in the rhythm section. Like a raunchier replacement for the spot that Celebration Day had in the 1973 setlist.

Assuming a profit model of selling 500 copies at $300 each for one major bootleg title (think Seattle 1975 or Osaka 1971), that might top $150K, spread out over 6 months of selling. That still wouldn’t cover the costs for Page to do a single day’s press conference in Tokyo to promote an official release. $8K First Class international flights (multiplied for 2-3 people), $4K hotels, $3K meals, Page’s fees ($50k+?), costs for travel services, staff costs, costs for promotional collateral, venue, security, setup, press accommodations...all billed to Warner.

No chance of a truly unedited LA 72 due to the not-so-polite racial slur Plant used to introduce Black Dog. Similar reason why we probably won’t hear an unedited official release of Montreux 1970, due to Plant dropping the “N” bomb during the medley at that show.

Enjoy: http://bootlegzone.com/phpBB3/viewtopic.php?f=16&t=11600

In the bootlegging court trial years ago, the Defense specifically asked Page about the fact that he had dinner with Eric Sachs when he visited Tokyo, and whether Page’s photographer Ross Halfin was a “conduit” to get tapes to the bootleg labels for Page, with his consent. In particular, they questioned how it could be that a home video filmed by Page’s daughter Scarlet, of Page and Plant performing at Cafe de Paris in 1997 somehow made it to the Japan bootleg market.

I still believe that all of the "soundboard revolution" boards have been leaked from those connected to the official camp. Too much high quality stuff "coincidentally" leaked after Kevin Shirley started working on the Zep archival stuff in 2002. Flying Circus 75, Southampton 73, Orlando 71, upgraded videos from Earls Court. He was putting everything on harddrives via protools. Like I mentioned in the Hampton 71 thread, there is a big difference in the quality of items that were shared in the 80s-90s vs post-2003.

I spend more than my share on bootlegs, believe me. I have since the beginning. It's expected that the labels will always boast about this release or that one. No Label/Lighthouse has released plenty of clones, but they've also released numerous upgrades and new sources. Graf Zeppelin makes updated mixes using lowgens and best available copies, to good effect, but some aren't that good. Empress Valley has the soundboards, but makes plenty of clones, including their Moonchild label. That's all part of the game of bootlegs. They all have good releases, and they all do money grabs. What makes no sense to me is when people shill for a bootleg company that consistently makes inferior product. Release after release after release. Out of dozens and dozens of titles, Tarantura 2000 has released only two that have been worth anything: No Use Gneco (10/3/72) and Live in the Fairly Tale (9/29/71 Mr Peach source), and both were ruined by the same overdone mastering that is on every single one of their other titles. Your AA site gets a lot of traffic from Zeppelin fans, I'm sure. The fact that you constantly promote Tarantura 2000 releases, even when everyone else in the world knows that they are junk...well, it's not hard to put 2+2 together why. Since we're quoting Brannon's site now, don't forget this one, at the bottom of the Tarantura 2000 page: "The original Tarantura ceased in 1997. Since 1999, the name is being used/abused for these series of titles."