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Phoenix1982

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  1. Depends on how much time I have. If there's enough time to play the whole thing, I'll play the whole thing (usually that means I'm either traveling or working). If something needs to be jettisoned, Moby Dick will go, followed by Stairway.
  2. The 4th show (30th) is my favorite sound quality wise of all '77 shows that I own or have owned (Destroyer, Ft Worth 5-22, Landover 5-30, LA 6-21 (Eddie), LA 6-23 (Badgeholders), LA 6-25 (4th show), Seattle 7-22 The problem with most Zep boots (especially '77 for some reason) is the flat sound with too little low frequency. 5-30 has the most low frequency out of all of the above (it seriously thumps in the rhythm section), rivaled only by the exceptional Miller tape of 6-21 (Eddie). But 5-30 is an sbd so overall it sounds better than 6-21. Now, performance wise? The band was exceptional the first LA night so of course it's not quite like that on 5-30. But neither is it sloppy (like, Seattle 7-22 sloppy). What I eventually did was sliced all the files, cut out the 6-21 solos and instrumental sections (occasionally I gave preference to 6-23 or 6-25) and pasted them into the 5-30 songs. Now I have the best of both worlds, but I still enjoy playing 5-30 by itself sometimes. The only bummer is the brief tape hiccup in NQ (which fortunately doesn't last). Anyway, you should get it! Btw, just in case you're curious, I rank Ft Worth 5-22 right behind Landover 5-30 in sound quality, then Eddie, then Seattle, then LA 6-25, then Badgeholders. Destroyer is probably behind Seattle in sq but I find the show really boring. The slop in Seattle 7-22 is actually kind of entertaining (and occasionally it gets epic).
  3. Can we talk more about 1973? Another great thread that just kind of died. I want more!! Especially from Strider, you were going to address the setlists! I'll get it going, having now listened extensively to multiple '73, '75', and '77 NA shows - which would be my 3 favorite LZ tours for many reasons I won't get into here - I have to admit that it's between '73 and '75 for me when it comes to setlists. In '77 the noise solo (which I love, btw) and ALS close things on something of a dark note (I know, then we still get Stairway and a 5 minute WLL/R&R encore but they never quite manage to shift the mood set by the preceding 20 or more minutes, especially since Stairway itself is kind of a melancholic ditty). Meanwhile, in '75 the show's conclusion is (typically) a funky WLL/Crunge workout followed by BD. Preceded by an epic D&C and Stairway. A much better (more fun) finish than in '77, at least in my opinion. In '73 Dazed sits father back, followed by Stairway, and then by MD. So MD kind of marks the beginning of the final third, versus in '75 Dazed performing that role. Then, the finish is super fun, Hearbreaker and a segue to WLL+medley. And the encores which of course included The Ocean. So I don't know. I feel like '73 is maybe a touch better finish than '75 but not by much, since I love Dazed and can't get enough of it, especially when it's played like they did in March of '75. Anyway, '77 is kind of the big loser here (still love the tour), just because the final section of the show ends up feeling very dark and not too much fun. Thoughts?
  4. Thanks!. It is really something quite crude called FreeMP3cutter. Does the trick though. What's the correct speed for this 3-11-75? Anybody here done the adjustment?
  5. See, but that would have meant Jimmy would have to actually play stuff for an extra 45-60 minutes, as opposed to just noodling on guitar and letting smack take him places. I'm not complaining. I love listening to Jimmy noodle on guitar and jerk around with theremin. I find it relaxing. I bet he did too.
  6. My 2c. I saw the video, then picked up the boot and played it a couple times. One of those times was on a 5 hour solo drive, when I could really blast it and take it all in. One thing that stands out after playing something like 2-12-75 or heck, even 3-17-75, is the slightly cold and distant feel of the Kingdome board. It simply doesn't sparkle sonically like the '75 boards. That being said, it's actually a pretty good sounding show once your ears get used to it. I turned the bass almost all the way up and it thumped nicely in all the right places (SIBLY, throughout NQ, Kashmir toward the end, Bron-Yr-Aur Stomp, Stairway closing note, etc.) - if it threatens to shatter my speakers it's good in my book! Of course, having to listen hard for any audience sounds sucks... would love to have a matrix. About the performances. As others have mentioned, NQ is one of the better ones. I prefer it to 5-25-77 and would put it on par with 5-23-77. I'm not a musician so I don't speak notes, but I know when notes get missed - especially in a blues jam when all the notes are all fairly predictable - and the boys just consistently get it right during the blues shuffle. The main jam is really good too, Jimmy seems to really be into it. The bass pedal disappears in the second verse / closing chorus for some reason (it's really there during the opening verse / chorus) but that's about the only strike against it. Awesome version! Again to echo what was mentioned by others, TYG is a great version. Jimmy's out-of-tune guitar in the OTHAFA solo has been discussed a lot but I kind of really like what he does with that solo especially given the guitar trouble. Same with the Bron-Yr-Aur Stomp, which has to be one of the longest versions ever? Jimmy's acoustic jam in the end - after he has replaced the broken string and joined back in - is amazing (and just what is Percy singing during the improv, anyway?) White Summer rivals any of the LA versions that I've heard (6-21, 6-23, 6-25). Bonzo's farewell Moby Dick (was it meant to be one?) is lights out. I like the '77 noise solo (theremin especially) on boards the best, it's never as good in AUD recordings, maybe because boards have more mids and that adds depth to it? Anyway, it sounds great here. And the rest of the setlist is at least solid, plus we have the "about the lousiest thing you could do" conduct oriented Plantation which has to be one of my favorites from any year. Actually, the sense I am getting is the boys actually meant for this one to be a special performance, obviously knowing they were being being taped. Jimmy in particular sounds like he means to dazzle a little more than usual (outside of the LA shows). I wish they had shaken up the setlist a little bit, but still, a very good show, and looks like the last good one from 1977?
  7. I think it's a safe bet Page doesn't remember too much of what went on in '77. Strider, I like the 2017 timing thing, but please don't won't wait until June to post the rest of the story?? If.... you can. And I don't know about others, but I loved the context part of it. I know we're finished with that part of it now and on to the shows themselves, but that was seriously awesome, especially the bits about VH, PF, and TP (the other bands near and dear to my heart). Oh, and you caught Lizzy with Gary Moore... insane. I would have given a lot to have been at the Animals show, given that it and WYWH are two of my fave Floyd albums (along with the Wall). I wonder if the outdoor thing killed it for you. I don't even like the large indoor venues that much (when I saw TP a couple years ago at the United Center here in Chicago the sound was horribly thin). Also, it's interesting how incredibly critical Dave proved to VH as a unit in the end, they were never the same after he left. Transitioning to being a more "mature" band isn't always as easy as Zep made it sound. Anyway, that was really just an incredible year, it seems.
  8. Scarves. And the rest of the story, please!! Meanwhile, I have a couple questions. Listening to the "Eddie" boot from 5-21, I hear Jimmy tease the opening lick of Heartbreaker's solo right before he launches into Nobody's Fault But Mine. So, I think he either (a) knew he wanted to play Heartbreaker that night, (b) heard someone yelling for it early in the show. Indeed, somebody yells "Heartbreaker" right before he plays it in the final leg of the concert. Seconds before that Jimmy begins to tune his theremin obviously getting ready to go into the noise solo. But after Heartbreaker is requested he changes his mind and following a few seconds' hesitation launches into that instead. Any memory of how that unfolded or what Jimmy's reaction to the song request was like (if you could even see any of it unfold)? Also, who yells "Trampled Underfoot" when, in Robert's words, they "change the program" on 6-23? Was it Bonzo? Thanks!
  9. Did Strider ever tell the rest of his story? Is it in some other thread? I'd love to hear it...
  10. Hey, if you do ever come across that complication... I guess it says something about the extent to which I am Zepped out, but I honestly love the Nutrocker! And, it does make for a cool handle. After listening to the 4-28 NQ it is currently one of my favorite ones from '77, actually. On an unrelated note, the Dogs of Doom howl effect in the final verse (and also when Jonesy switches from keys to piano) is Page's theremin, right? Also, sometimes they play the Winds of Thor effect instead of Dogs for the final verse. Is that Page / theremin also? Anyway, somebody who has all the boots should make a complication of all the Dogs from over the years. Some of them were pretty tripped out! Gosh, I'm a nerd!
  11. Well, I just got done listening earlier today to my personal version of the ultimate 1977 show (put together from five different shows, using file slicer and crossfades galore). TSRTS The Rover / Sick Again Over the Hills Nobody's Fault In my Time of Dying SIBLY No Quarter TYG Evermore California Black Country / Bron-Yr-Aur White Summer / Black Mountain Kashmir Moby Dick Trampled Underfoot Heartbreaker Noise solo ALS Stairway WLL / R&R WLL / Communication Breakdown I used 5-30-77 as the basic track for most of the show, because it's got the nice low end. Then I spliced in lead breaks and solo guitar spots since the LA shows feature superior versions of almost everything (but in inferior sq). Occasionally I extended some solos (like Trampled where I crossfaded the solos from 6-23 and 6-25 to make the solo twice as long... I can never choose just one of those two versions and the solo always seems too short). I also tried building the ultimate NQ for '77, mine runs 40 mins and uses both the fast boogie from 5-30 and the slower lounge jam (I went with 6-25 where I like the guitar tone the best). I also gathered multiple Plantations in their correct spots introducing various songs, opening the show, etc. Makes for a fun listen and I have tried to keep the sq good to great throughout.
  12. Hi guys. So, I purchased a 3-11-75 board on ebay and it definitely runs too fast. How can I slow it down to proper speed? What software do I use? It's really a shame, because the sq is really good, but after a couple songs I found it unlistenable b/c of the speed issue!
  13. Hi there, I love you!!! Anyway, yes, nice to know I am not going mad, either. Reading the first few pages of this thread was disturbing. But not any more disturbing than watching the news or in general getting the sense of how puritan the Western civilization has become since the 60s and the 70s. It's like all of the emancipation (I prefer to think of it as enlightenment, btw) progress we've made has become pages of the history books again. Total regression. Yes, today we may have some really blatant lyrics in certain genres of music, but I don't look to the 70s and bands like Zep, Stones etc. for an accumulation of F-words so much as Freedom. And that zeitgeist is just gone, IMO. Anyway, so I'm a guy, I'm straight (though it's just genetic in my case and nothing that God prescribed) and no, I've never been bothered by Zep's stage looks or anything Robert wore. It was liberation art, driving a battering ram through the society's norms (like so many other artists from that era, as others in this thread have already noted). As much as I like Zep's music, I don't think I would have liked them nearly as much without the sexed-up image. What don't I like? Would be nice to have more quality multi-track live recordings, and more professional videos for sure. Otherwise, it was perfect even when they were indulgently tripping their way through half-hour versions of MD, NQ, noise solos etc. And that was liberation art as well. My 2c.
  14. Please PM me as well, highly interested!
  15. What other '77 lounge jams featured a faced-paced boogie like 5-30-77? I love it, it's the only one I've found so far, I think it's so much better than the usual thing (and having a real bass presence on the Landover sb definitely helps). Btw, I love the sound quality of 5-30-77. The combination of the bass, clear guitar, and actual mids (such as they are) seems really hard to beat for that year! What other '77 sb's sound as good? (like, the Destroyer for example doesn't sound as powerful to my ears)
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