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About NealKenneth

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  • Birthday 04/01/1993

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  1. Liriodendron's remix is hands-down the best version available and fit for official release.
  2. This night was an absolute scorcher, with Plant in possibly his best voice of the entire European 1973 tour. The Song Remains the Same is my favorite performance of the song ever. Where is that rumoured FM recording!?
  3. The only two I skip almost every time are Moby Dick and Guitar Solo. Some of the older tunes get skipped in later years, especially Rock and Roll and Communication Breakdown; although Black Dog and Heartbreaker get the boot fairly often as well. This is because, as a general rule, I have found that the newest material gets the most interesting and soulful renditions on any given tour. 1977...I usually start those shows at Nobody's Fault but Mine since during The Song Remains the Same and Sick Again you can usually tell the band is still warming up and there isn't much variety in the performances night to night. And it's a rare mood when I feel like continuing the show past Achille's Last Stand. It's just such a powerful climax, and beyond that are a bunch of songs they've done a hundred times before. Dazed and Confused is trouble because the song kept on growing whether or not they had anything new to add. There are definitely some forty minute renditions where every second is fantastic (like 21 March in Seattle) but there are also times when it goes on that long and it just bores you to tears. So I end up skipping to the next thing if it's a drag. No Quarter has the same issue, but to a lesser degree. I'm someone who finds the LA 1977 performances of NQ to be real snoozers (best one I think they ever did was 24 July 1979 in Copenhagen, and that's only ten minutes or so.) I've said it before and I'll say it again and again and again: Zeppelin needed someone to fix their setlists. These guys should have been doing main sets that were ninety minutes long, with encores going to two hours at most. And Song Remains the Same should never, ever have been the opener. Not only was this song perfect to reengage an audience after a slow tune like Ten Years Gone or Since I've Been Loving You, but putting it at the start of the set meant the band simply wasn't ready to play it half the time. Plant's voice would almost always be incredibly rough and Page's playing was usually sloppy. Misty Mountain Hop would have been a much better choice. Anyway, I'm just glad we have so much to listen to that some stuff gets skipped every time.
  4. Is audio quality important? If not, then I recommend Since I've Been Loving You, No Quarter, Dazed and Confused and Stairway to Heaven from Providence on 21 July 1973. Sadly we don't have a soundboard but the audience source is decent! If you're looking for something with better audio than that, Fort Worth on 19 May is held in high regard.
  5. I don't know, but it's clear there is a world of difference between the performances on 11 August and 4 August. Plant even brings up the bad press on the second night, so I don't think it's a stretch to guess that it was the reason why. It takes courage to play in public again after being away for that long, especially to such a large crowd. Then the press says you blew it, so back to square one! Putting yourself through that process again could easily take ten months.
  6. The story goes like this. Zeppelin, remembering the shaky starts to their 1975 and 1977 tour, finally take the time to be truly well-rehearsed before going out in public again. They play two warm-up shows to small venues in Copenhagen, and the insatiable crowd drives them to remarkable performances. Led Zeppelin, understandably nervous to play to a crowd of two hundred thousand, deliver a few lackluster performances amongst an otherwise strong set at Knebworth on 4 August 1979. Definitive versions of Kashmir and Achille's Last Stand in particular. However, the press have constructed a narrative wherein punk is the future and Zeppelin are some archetype of the past, and who are also on bad terms with the band due to relatively neglectful UK tour stops and early animosity due to the press underestimation of quality in the band's music. The press/critic crowd, who are already going to Knebworth wanting to savage Zeppelin, decide to focus their reports on the low points of the set. Zeppelin lets the coverage get into their heads and deliver a less-than-stellar performance on 11 August. With a dull thud, whatever plans the band had to continue performing in 1979 are cancelled. Years later, having seen the bad press of Knebworth, the first footage to emerge from 1979 is of the 11 August performance, seemingly confirming the critic reviews. Most fans subsequently write off 1979 for Zeppelin. ... In my opinion, a soundboard matrix with the audience recording of 24 July 1979 would make the 1975 and 1977 tours irrelevant. That may seem like a dramatic thing to say, but I really believe it, for a number of reasons. Plants voice had not been so strong since 1972. Page's guitar work was as fluid as 1973. It may have been John Bonham's strongest performance ever. 1977 was Bonham's most aggressive and experimental year, but I don't think most of that experimentation was successful. Listening to The Song Remains the Same from 21 June 1977 for the first time gives you a rush but the LA 77 performances always end up fatiguing because Bonham is overdoing it. Too many fills, too many rolls...it's too much! And he's always hitting hard! In 1979, he was sticking to what worked, and man was he ever dynamic in regards to volume. What a range! The setlist was a summation of what makes Led Zeppelin truly unique as songwriters. No one has ever made music seem so much larger than life than Led Zeppelin. I can imagine other bands writing songs like Since I've Been Loving You or Good Times/Bad Times, but I can't imagine anyone else writing something like Kashmir or Misty Mountain Hop. The 1979 set seemed to be focused on all the mythic/mystical/epic songs they had written. Most of the excess of 1975 and 1977 had been eradicated...besides the Noise Solo. Gone were the days of a 45 minute Dazed and Confused, and bizarre upbeat jams in the middle of No Quarter. Gone was Moby Dick! ... If you haven't listened to this night in Copenhagen, or you've heard that everything after 1973 was terrible (that is certainly a popular opinion), listen listen listen. It's incredible!
  7. I'm very skeptical about this...can we even be sure of what these are recording? Onstage would be an odd position to place a deck that is also hooked up to the soundboard.
  8. Interesting, never heard of these before. It was a long tour with only a few stops (six over the course of a month). Only two nights have AUD sources, but it is confirmed to be the tour where Immigrant Song premiered and Whole Lotta Love took How Many More Times place as medley/finale. Could be great shows for all we know, but I doubt it if Page has never said anything about them. Either that or the tape turned out badly/went missing.
  9. Mind-blowing, in my opinion, the ultimate version of No Quarter of all time. People complain about the crowd at this show, but the way they clap in the middle of the song is utterly perfect, driving the band above and beyond.
  10. Been giving a lot of thought to what we may yet see from Zeppelin, and it occurred to me that just about the strongest thing they could release is a compilation of Knebworth 1979. You often see the idea get floated around that the DVD segment of Knebworth was the "best bits" and, while I agree this is true to some extent, if you look at threads and comments about Knebworth, you realize there is still quite a bit of what many consider "the best" that is still left unreleased. In particular, the performances of Since I've Been Loving You and No Quarter on 8/11 are frequently mentioned as top 5 versions of all time, and I agree especially in the case of No Quarter. Complete versions of the MSG and Earls Court seem to be much higher up the wishlists of fans, but I don't think this path would be wise. Not only is the audio quality of Knebworth superior, but Plant is a far better voice in 1979 then either 1975 or 1973. Additionally, the setlist spans their career more effectively, with Knebworth including songs from every single album they released. But what I really think separates Knebworth from MSG or Earls Court is that they are in the process of shedding their pretension. They are climbing down the other side of the mountain...artists who had gone as far as any artist ever has, only to mature and realize that excess was not the answer. It also helps that Knebworth were the third and fourth shows the band had played in two years, allowing a freshness and excitement the band struggled to conjure during MSG and Earls Court, which both finished lengthy, exhausting tours. The real tragedy, to me, is that Page didn't see fit to have the film crew along at Copenhagen as well (as he did with Pittsburgh in 1973.) Imagine a film that flits between performances to a small foreign theater and a crowd of 200,000 in their homeland. Talk about light and shade! It goes without saying at this point that Copenhagen had phenomenal performances, with the second night almost shocking in Page's display of fluency. However, contributions from Copenhagen aren't really necessary. Their are enough definitive performances from Knebworth to make a film in the 90-120 minute range. The Omega to Royal Albert Alpha.
  11. I'm convinced that's the key to a great live album. All of the best ever (Cheap Trick at Baduken, Wings Over America, Frampton Comes Alive) kept the audience noise high in the mix.
  12. For that show, yeah, but my comment was referring to the rest of those master reels (like 28 April). Unless someone threw them out, they got to be out there somewhere.
  13. It's amazing what someone who knows what they are doing can do with a remaster. Liriodendron somehow made Frankfurt sound like a multi...I don't even know how that's possible. Nutrocker mentioned in another thread that the exceptional quality of the 27 April 1977 at Cleveland might be because the lineage is a rip directly from master soundboard reels. If anyone has their hands on those masters, it's gotta be either the label or one of the members. Take one of those and use the Millard to make a matrix...that's a show I'd like to hear.
  14. I always end up editing the track lists, (for example Abbey Road I cut both Maxwell's and Her Majesty) and yeah, I replace Crunge, Dancing Days and Dyer with House of the Holy. Tighter, better album.
  15. You gotta wonder, right? Well, I suppose you gotta be in their shoes. If your friend is digging this song and wants it on the album, at some point you're just be like "Alright." Good example of this is Maxwell's Silver Hammer...everybody hated that song except Paul, yet it's still on Abbey Road. When it comes to doing it live, though, you're not going to be like "Alright." you're gonna say "Hey, we already put the damn thing on the album, screw you man!"
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