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One Symbol

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Posts posted by One Symbol

  1. Avoid the EVSD version "You Were There In Spirits"..it's absolutely awful & has about the worst EQ job out there. Wendy "Fatally Wanderer" is the one to have from the pressed boots.

  2. I wasn't expecting any, but my wife got me 2 things: a t-shirt with a show advert: Thursday April 2, 'Chas. CIVIC CENTER'; and a mouse mat, with another show poster, 'State Fair Coliseum - Fair Park, Mon Aug 4'.

    I have no idea which years these were - if the photos are contemporaneous, it looks like 69 - so unless anyone beats me to it, I'll go research it later.

    These are the best presents she has ever given me :thumbsup:

    Excellent gifts. My missus very kindly picked up a few silver boots for me:

    Loove (Tarantura)

    Toccata & Fugue (Tarantura)

    Days of Heaven (Tattytura)

  3. But collectors would sell to each other, knowing they won't resell to a bootlegger.

    Some hoarders won't sell to bootleggers. EVSD would NEVER pay enough to unearth the good stuff like Pontiac 77. They only get what is cheap enough to make them a profit.

    Well so far they've already unearthed one of the MSG '75 gigs (a big show), one from MSG '77 (a big show), Seattle '75 (big show), the complete Landover '77 run. You don't class those as "good stuff"? Jeez...years ago all we has was the 'Destroyer' soundboard. I'm quite sure that eventually Pontiac will turn up (assuming the tape still exists), together with some or all of that LA Forum '77 run & the other Seattle'75.

  4. Oh yeah, because you can just tell the 'traders' who own all these 1975 and 1977 soundboards we've seen pop up over the years were in so much of a hurry to distribute them to the masses without the help of EVSD, etc :lol::rolleyes:

    I'd suggest you read Bootleg: The Secret History Of The Other Recording Industry by Clinton Heylin some time (if you haven't already)...the original tapers who started this little cottage industry over fourty years ago weren't exactly doing it to, like, 'share the tooonz, maaaaan'...they were taping them shows because they knew there was money in it! And you better believe some of those guys were fuckin' rolling in it before too long.

    Sure, traders have shared out a lot of previously uncirculated audience recordings over they years without the assistance of bootleg companies (and more often than not ended up having their tapes bootlegged eventually anyway), but I'd be brazen to say that for every recording that is being shared out there's one being hoarded...don't hold any illusions that tapers and so-called traders can't be as greedy as bootleg labels. Ask yerself: how often do you see a new previously uncirculated soundboard recording come out through kindhearted 'traders'? Answer: hardly ever.

    I can guarantee you that if the Pontiac '77 pro shot exists (or any of the other pro shot concerts we've seen mentioned in this discussion) it's ain't gonna make it out to the masses through kind, well meaning tape traders. No, we'll see it come out through EVSD or Godfather or some bootleg label because the people who actually possess these films know goddamn well what they are worth, and fuckin' A, they're gonna get whatever they can for them. And ya know, ya can't really fault them for that. These guys aren't schmucks; they're not dumb by any stretch of the imagination.

    As much as I'd love to believe that the music trading community (online or otherwise) is all about sharing, friendliness and kindness to their fellow man/woman, the harsh reality has been that that usually isn't the case. The amount of backstabbing, double dealing, and misrepresentation that goes on is actually pretty sick. As 'evil' as bootleg companies can be, the worst tape trading stories I've heard of over the years had nothing to do with bootleggers. As I said earlier, bootleggers are a necessary evil when it comes to unofficial live music, they're a business like any other, and run off of supply and demand like any other business.

    Excellent post Nutrocker! :bravo:

  5. Yeah, here you go. This particular article doesn't mention the kick drum specifically (I must have seen it elsewhere), but Kevin Shirley explains that the third night was unusable. I'd recommend reading the whole thing actully, it's quite an interesting article. You'll need to scroll right down to read the bits about Led Zeppelin DVD: http://www.cavemanpr...ageplantiv.html

  6. I've been saying for years that there is probably a large amount of 1977 soundboards in existence not unlike 1975...I'm sure we'll see all of em pop up in drabs and drabs over the next few years...hopefully including some of the shows there are no corresponding audience recordings for (Houston '77 being a good example; there was no audience tape but there was a soundboard)

    Well all these people who enjoy dissing boot companies better think on. If it wasn't for EVSD stumping up to release these things, they would likely never see the light of day. I'm looking forward to seeing what they come up with after the Landover releases.

  7. Wow, I never realized how good Godfather Record's "Conquering Kingdome" sounded. It almost tricks me into thinking it's a great show. Currently listening to Achilles' Last Stand 7/17/77.

    Hmm...one of the few Godfather releases I haven't picked up. Might have to look into that. The second half of the show is still rather crummy though!

  8. ^ I agree! They charge how much for these bootlegs and can't even download photos that were documented from the show itself! BS!

    I think they'll just be content to use photos from that tour. Some of the copycat labels can't even get that right. My main gripe with EVSD these days is the quality (or lack thereof) of the packaging materials. OK, so the music come first but it must cost them next to nothing these days. Some of their presentations (hardback books etc) used to be really nice. They are obviously looking to keep costs down & maximise profits!

  9. Nice review One Symbol. Pretty cool that you got to meet Dick Caruthers and chat a bit.

    Here's a direct link to my review that I posted on a blog.

    http://rockturtlenec...turtleneck.html

    Geat work Super Dave. I understand you were at the TBL meet, which I missed. Pity, as it would have been nice to say hello. I decided instead to stand outside the Hammy O with some other fans, freezing my knackers off. It was worth persevering though as I ended up right at the front of the barriers as Page, Plant, Jones and the assembled celebs came in. Managed quick chats with Sir Peter Blake (very nice bloke), Julian Lennon, etc.

  10. I was also at Hammersmith the other night, and the film just flew by. In fact I wish I was able to watch it again immediately afterwards, as it just went so damn quick! I was trying to listen/watch out for any likely fixes, but ended up just getting immersed in the whole thing. icon_redface.gif

    SOUND:

    At the screening I was sat in the stalls on the right-hand side (row w to be precise). The sound was quite muddy & indistinct to start with, but then evened out after three or four songs. All instruments were present & correct (even Page's guitar during 'Kashmir'). I didn't necessarily feel that the guitar was overpowering at all, and the mix of instruments/Plant's voice was nice & clear. Jason Bonham's drum sound in particular was absolutely thunderous. To my untrained ears, the mixing throughout 'Celebration Day' was perfectly done, and actually made me feel as though I was actually in the O2 as they played. Typically of some concert releases, audience noise was brought up at certain points, such as after a solo or the start/conclusion of songs. The roar that goes up at the start of 'Kashmir' for instance, is just electrifying.

    VISUALS/EDITING:

    The first thing I'll say is that 'Celebration Day' looks fabulous. For the most part Carruthers gets it right in terms of coverage of the band members & cuts to the crowd or wide shots with the backdrop visuals. What I did find quite annoying is the over-reliance on the use of Super 8. It's used an awful lot throughout, and I found it a distraction at times. It's even more of a pity as the 'proper' HD footage is just so beautiful. If it looks that good anyway, why f**k with it? That's not to say that it ruins the film - far from it. Personally I would have preferred more subtle usage of Super 8 here & there, as once or twice it does add a bit of vibe.

    I'm afraid those of you that hate those MTV-style quick cuts will probably tear your hair out in places. It's most noticable in 'Black Dog' but is employed elsewhere ('Rock and Roll'). At times it really works, but there are occasions when I just thought "Oh just let the camera linger there awhile". Again it doesn't destroy the film, but can be a bit irritating at times.

    What I really did enjoy was the way Carruthers has skillfully captured the interaction between the band members on stage. Laughs, winks, nods & cheeky grins to one another are there & are a joy to see. They really do look like they are having the time of their lives up there. I'm just trying to remember which track (probably during 'In My Time of Dying'), but Jones & Bonham exchange a glance which is just priceless. For the drooling/gurning Page lovers, there is also much to enjoy. icon_wink.gif Mercifully most of the solos seem to receive a respectful amount of coverage, and I can't recall any glaring exceptions to that.

    There are some iconic shots throughout. Page with the double-neck in 'Stairway', echoing some of the scenes in 'TSRTS', the atmospherics in 'No Quarter' and 'Dazed'; even the title sequence. I have no doubt that you will all find your own favourite 'bits' to enjoy.

    CUTS/FIXES: *SPOILERS*

    I'm afraid to say that in my excitement I managed to miss quite a few of the obvious performance fluffs. Make of that what you will! SIBLY did appear to have been tidied up, although I didn't spot a cut. Curious - I'll need to watch it again. 'Dazed' was the most obvious thing I was looking out for. Others have said they thought it had been cut. Now I'm not so sure that it had been patched up at all, so if there was a quick edit I may have missed it. That nasty bit of feedback in 'GTBT'? Magically fixed. icon_smile.gif Bonham's scat rendition of 'I Can't Quit You' before 'MMH' and Plant's introduction to 'Kashmir' are similarly gone. Weirdly though Plant's "Jason is actually a pretty good singer himself" is left in, even though the band now go straight into the song!

    PERFORMANCES:

    We're all familiar with the boots. I listened to the O2 gig again a couple of days before the premiere, just to jog my memory. In terms of what is presented on 'Celebration Day', I'd say there are now several near 'definitive' versions in there. 'Black Dog' is just monstrous, with young Bonham absolutely playing his arse off. Having watched the film, I have a new appreciation for him. He really gives it everything he has right from the word go. 'Kashmir' is an absolute towering performance from all of them, and frankly I've never heard it sound better. The look of admiration from the guys towards young Bonham after the end drum fill on 'Rock and Roll' is worth the price of entry alone.

    Plant (contrary to what some may have felt) sings his heart out. I saw no lack of effort from him at all. Jones is JPJ - solid & dependable. Page for the most part has a good gig, and noticably relaxes & starts to enjoy it after the reception to 'Black Dog'.

    Some of the tracks did fall a little flat for me. I still wasn't impressed with 'Ramble On', 'Stairway' or 'TSRTS', but I'm sure some of you will disagree.

    It's perhaps understandable if some of what I've written appears overly critical. If that's the case then allow me to clarify. 'Celebration Day' makes Zeppelin look & sound like the best band in the world once again. That's enough for me, and I will happily watch it over at least another million times.

    An interesting post-script to the whole Premiere weekend was that I quite coincidentally bumped into Dick Carruthers on Saturday morning, at Camden. He was out shopping with his young child. It would have been nice to have had a longer chat with him, but he was enjoying family time so I was conscious of not bugging him too much. He was keen to hear what I and other fans had made of it, and expressed relief at the Hammersmith crowd reaction. He told me that Paul McCartney had turned up backstage, and immediately bounded up to him and said "Hi Dick, how are you doing mate?", almost entirely ignoring Page, Plant,& Jones & the other assembled celebs. icon_lol.gif

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