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William Austin

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About William Austin

  • Birthday 12/22/1992

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  1. I agree... this show has always seemed a bit overrated to me. It's sounds like they were a little hungover from Plant's birthday party! 😄 Not a bad show though, and I get why most people like it so much. Like you said, the encores are the highlight, which was usually the case in LA up until 1975. And while Plant is technically hitting most of the high notes, his hoarse voice has always been a little off-putting to me (even though I can put up with his off nights in 73 and 75). I actually didn't realize how bad the Stairway solo was until you pointed it out! Jeez... Of course the odd sound mix may be a bit deceiving to the show at times. Perhaps a alternate source would present the show in better light. I've tended to lean that the next night is a better show overall... both on the ears, and the performance.
  2. I agree that the Stairway solo was a mixed bag. Page certainly brings the emotion, banging out perhaps the longest solo thus far for the song. But he starts to lose steam towards the second half and noticeably jumps the gun to the ending. Had he ended about 20-30 seconds sooner, it probably would have sounded better overall. Black Dog however has Page at his very best, IMO. That solo is hands down my favorite for this song. Just as you think he may be wrapping it up, he keeps on going with the fluidity and phrasing always on point. Plant also pulls off his best vocals of the tour for the song (at least in which also sings all of the correct lyrics). A definitive live version you might say... but this is one song in which they never bettered the studio version on stage. That opening track was the most sexually-laced, 5 minute ball of swagger that has ever graced Rock and Roll music! Dazed is very tight but loose, with the outro being the highlight; the only section that was definitely performed better than the next night (and pretty much every other night they played this song lol). Both nights in Osaka produce the finest acoustic sets ever. This night has a better first half. BYAS may not be the most technically best, but the energy and enthusiasm make up for it. Merging seamlessly into one of the more definitive versions of That's The Way. The only flaw is Plant fumbling the first verse, but 5 seconds later you don't even care because Jones bangs out the most beautiful mandolin licks I've ever heard him play on this song. Plant ends up delivering his finest vocal performance for the song. Going To California is another definitive version. Fantastic phrasing from Page and Jones with Plant again delivering a most excellent performance. A photo from this concert shows Bonham sitting in Jones seat with a tambourine during the acoustic set. This is most certainly during Down By The Riverside while Jones was on organ. It sounds like Bonham and Page are both singing backup. Page sings harmony vocals during Tangerine for the only time that I'm aware of. I wonder why he didn't do this more often; it's one of their only songs in which he wrote the lyrics instead of Plant. Also, is Page playing with a 12-string on Tangerine? I was under the impression that didn't start until the next tour.
  3. I don't think so. The bass we hear sounds more like the hum of bass pedals rather than the thump of a stand-up bass. Jones was already equipped with bass pedals for the acoustic set which he used in the coda of That's The Way.
  4. Jones is playing the mandolin with his hands and the bass pedals with his feet. Ooooooh, I've been anticipating the next two 1971 nitpicks, and they're almost here! In my opinion, Page's best two shows's ever.
  5. Whoops... didn't know there was a Rolling Stones thread. I must confess, I don't visit this section much. I typically like to talk about artists on their respective forums and not other ones. And that's not a knock to anyone on this board. Of all the boards I am a member of, this one definitely leans more friendly than most of them. Before downloading this album I had only seen the album cover once before and didn't notice then. What struck me when looking at the album cover this time was not only were the aesthetics similar, but the poster itself was in the exact same position on the cover as the one from LZ IV... slightly off-center to the right. Here's hoping we get an archival release in the style of the originally proposed album before 2022 is out. The artwork is stunning and the track selection is magnificent. It feels like the true follow up to Exile in many ways. Instead they released More Hot Rocks, which was probably pretty cool at the time considering it contained tracks that were then-unreleased in North America, but overall the track listing seems rather underwhelming compared to its predecessor. That one could have waited another year or two for release.
  6. Hint: it resembles another album cover from around the same time period. The thread has been moved here now, but I first had this posted on the LZ master section because this technically does pertain to Zeppelin.
  7. Anyone know what album was originally supposed to follow up Exile on Main Street? It was a live album called Keep Your Motor Runnin', recorded during the 1972 tour. Eventually contract issues with ABKCO forced the cancellation of this album, but apparently not before a track listing was selected and artwork was prepared. There was a Japanese bootleg released in 2000 of this album. Some of you reading this may have it already and know just how good it is. I've heard plenty of recordings from this tour before, but the tracks they selected for the album and the concert performances they chose were all spot on. It ends up being one of the heaviest and most rocking Stones experience I've ever heard (almost) put to wax. And the sound is great quality and in full stereo! The only drawback is the editing is a bit sloppy. It wouldn't surprise me if the source used was a rough assembly acetate of the album. I downloaded this bootleg several years back, but several tracks were missing and I never tried to look for another copy until recently. It's been on repeat for several days now. So... the first night I was listening to the album, I was staring at the cover thinking it reminded me of something. It took a while... but then it hit me like a ton of bricks. I won't spoil it, but see for yourself:
  8. Click this link and it will take you straight to the Mars section of the song. It is and always has been my favorite section of live Dazed. The first recorded use of this section was the Texas Pop Festival on August 31, 1969 and it was the final piece of the puzzle for the early years arrangement of Dazed. The structure of the song didn't change again for well over another year. Mars remained in the song until its final performance in 1975.
  9. I'm here to refute it... 😄 Ok, this may blow your mind a little bit... mainly because it comes from a night that is not especially revered as being one of Robert Plant's best shows... far from it. It's actually the other first night in Tokyo: October 2, 1972. Here's the link to hear for yourself. This was brought to my attention in a member's-only thread of the Hotel sometime in the past year. If I remember correctly, the guy that pointed it out as being the last time Plant hit the "lady," created the mistaken impression amongst the readers that he was referring to the first Tokyo show in 1971, only to clarify a few posts later that he meant 1972. And he was right. EDIT: Manchester, November 24, 1971 is also one where Plant nails the entire final verse. Past that, I can't imagine there are any more shows in between the two Japan tours in which Plant hit the "lady" note. Manchester was the last known show where Plant sounded like he did in early 1971... and one of the only times he truly nailed Rock and Roll in the way it was meant to sound (that we have on tape anyway... I'm really hoping to hear the rest of Vancouver soon).
  10. If I were a betting man, I'd wager this show is the first one (at 7pm)... and probably the only song that is missing from the tape is Bring It On Home. Add that song and the length of the show comes to about 90 minutes. There is a cut between Heartbreaker and Since I've Been Loving You, and in theory the acoustic set could have been in there, but the show was probably only 90 minutes long so there was enough time to change audiences for the late show at 10:30. I guess Dazed and Heartbreaker were switched because they weren't sure exactly which songs they were going to do, so they just played it by ear. Maybe Heartbreaker initially didn't make the cut, but then they thought, "hey whatever, let's just do it anyway." There is no cut between Since I've Been Loving You and What Is And What Should Never Be, so Thank You was almost certainly not played on this show. By the way, someone at the Hotel recently pointed out that the footage from this night, when synched, reveals that Out On The Tiles made another appearance (presumably during the late show). Considering how good the first show is, the second one could be a gold mine! Similar to NYC later in the tour.
  11. And just when I thought there would be no 50th anniversary thread today... Strider saves the day!! September 4th is a sentimental day for me... not to mention arguably the most important date of my entire existence. To name a few milestones: 1987 - My parents met each other at a dancehall while in college. 1981 - George Strait (the first singer I called my favorite) released his first album. 1972 - The Price is Right (one of my favorite shows ever) premiered on CBS. And of course one of the most famous nights in Led Zeppelin history. But today didn't start off as a great day for me. These have been hard times financially for me and some expensive bills had to get paid today. It was also a stressful day at work. Nonetheless, I didn't let it put a damper on my night because I had a Led Zeppelin concert to attend! So after work, I picked up some tacos, cracked open a beer, and smoked a Lucky Strike I had been saving. At about 9:15 (the time I imagine Zeppelin would be hitting the stage) I put the concert on and let it play in real time. Tonight is Friday just like it was in 1970, and I felt all the vibes. Friday evening is one of the only times during the week that I will unapologetically play music loud over my stereo system, and the Nite Owl matrix sounded great coming through my speakers! Even though this bootleg is most associated with first-generation fans and was their first live exposure to Zep, it had an influential effect on a more recent fan like me too. The first live exposure I had to the band was TSRTS, but it took me a while to "get" what the concept of Live Zeppelin really was. This show was one of the earliest bootlegs I listened to on YouTube and that's when I started to get it... these guys like to have fun! The one thing that stood out to me was the medley improvisations at the end of the show. I had never heard any band jam like that with such precision and spontaneity. From the first time I heard this show until now, Communication Breakdown alone is worth the price of admission. Throughout most the show tonight, I had my volume a bit conservative because I knew my neighbors were home (two full hours of the mighty Zep is a bit much at full blast), but when Blueberry Hill started up and I knew this was the end... I cranked it up! What a way to end a show! While there may technically be better shows from this tour, this one is my sentimental favorite... and rivals the likes of Osaka 9/29 and Belfast 3/5 as my favorite show ever. It's also a good way of introducing Led Zep Boots to other fans; it's got great sound quality with no need for bootleg ears, and is just 2 hours and 14 minutes of pure and alive rock! To quote the guy at very end... what can I say! P.S. I don't have any Zeppelin bootlegs on vinyl, and I told myself last year on this day that I would have a vinyl copy of Blueberry Hill by the 50th anniversary. Well... I almost made it. Copies of this boot typically go for $200+, and none of the record stores I shop at ever have any bootlegs. But just when I had written off getting one by the 50th, I snagged one on eBay for just over $100 (priorities right). It's in the mail as I'm typing this and I should have it in hand early next week. It happens to be a 1971 Del Pez pressing; which is arguably the best visual presentation of the bootleg you can get on vinyl. It features the iconic TMOQ cover, track listing, and really nice labels. Can't wait to see how it sounds!
  12. While I really hope HMMT was played at this show, all signs point to no. A newspaper review from that night specifically states that Moby Dick and the brief snippet of WLL were the only pre-LZ IV songs performed. I believe Plant also states on the next show that HMMT was being played for “the first time in a long time.” That same review states that the show was shorter than expected... which lead to a good amount of booing when the house lights came up. It is strange though that a second encore of Communication Breakdown didn’t happen, especially since many shows in January had it. Maybe it was just so freaking cold in the Met Center that night, the band were in desperate need to GTFO. If said songs were performed during this show, it would become an instant classic (and may already as it stands). Everything we’ve heard so far is immensely enjoyable. Plant sounds fantastic (for 75 at least) and while Page may be physically impaired, it doesn’t seem to have affected his energy and enthusiasm.
  13. Kashmir was performed very well at that show. No mess-ups and a solid rendition overall. In fact, I've always thought the whole show is very solid. It's not Page's best night ever, but certainly not his worst... and pretty much every song is performed really well. The Year of LZ blog even marks this one as a "Must Hear" and he didn't give those out willy-nilly. Correct me if I'm wrong, but I was under the impression that "The Destroyer" which is the audience recording from the following night, was the one released in 1977... and the "Destroyer" soundboard box set was released in the early '80s. I can see though how the sound may have come off as weird compared to the other bootlegs of the era. Their earlier sound was more straightforward and those first boots captured the ambiance pretty well. Interestingly, when I first heard the 1971 BBC show (from the 1997 official release), I didn't like it at all and thought it was very artificial sounding. Almost like they were playing with rented equipment compared to the mighty Zeppelin sound. I've recently heard a vinyl rip from the original 1972 bootleg, and it seems to have a more natural sound overall (The "BBC Broadcast" version with Communication Breakdown... not "Stairway To Heaven"). I'd love to hear a vinyl rip of the Destroyer box set to compare it with the Winston remaster, which is the one I own, and the only version of this show I've heard. To my ears, it's the best sounding soundboard to come from the 1977 tour. It doesn't sound muddy or flat at all, and the twangy-sounding bass isn't near as bad as other shows. But maybe that was all Winston's handywork...
  14. So I'm all alone this Saturday afternoon, and I've decided to have a Stones marathon. I'll be watching all the concert films from the '70s... Ladies and Gentlemen, L.A. Forum, and Some Girls. L&G is a classic and one of my first real exposures to the Stones. I've only seen the Forum once before, and Some Girls will get it's first viewing from me tonight. We'll see which one I like the best when it's all over, but L&G is gonna be tough to beat. Sean, I'm pretty sure you were at the 1973 Forum show, correct? Did you also see them at the Forum in 1975 and Anaheim in 1978? If so, which one was your favorite? I recently listened to the 1973 bootleg for the first time and it's one of the best!
  15. I recently purchased a copy of Luis Rey's book. I've never read it before, but I knew how big of deal it is to many pre-internet fans and wanted it for historical reference. I found a copy for about $14 on eBay (1993 edition) which was good enough for me! I read the whole thing in just a couple of hours. Having been a hardcore fan only since 2015 myself, the Year of LZ blog has always been a big point of reference for me, and it was fascinating to basically be reading the prototype of that blog. In the write-up about the Copenhagen 1971 show, he mentions that Gallows Pole is played with the 12-string neck of the EDS. This is the first time I've heard that. I listened to Four Sticks and Gallows Pole today. The same guitar was almost certainly used for both songs as there only a few seconds pause between them. It definitely sounds like the 12-string could have been used for these songs, but I can't tell for sure. Anyone else who is more guitar savvy know?
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