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I know there's probably a lot of bootleg lists already, but I thought I'd throw my two cents on the table. I picked out what I thought were five essential boots from each touring year between 1969 and 1977, judging by sound quality versus performance and omitting anything that has been officially released (BBC Sessions, etc.). Input and comments about other shows are welcome. 1969 Jan. 5- West Hollywood, CA (Live at Whiskey A Go Go). Sound quality alone makes this a treasure. April 24- San Francisco (The Dancing Avocado). Amazing sound and playing. Jones is up front and showing off. April 27- San Francisco (Fillmore West). June 27- London (Playhouse Theater). Radio show featuring an interview. Great sound and performance. Aug. 31- Dallas, TX (International Pop Festival). Great sound. Some of their best playing from the entire year. 1970 Jan. 9- London (Royal Albert Hall). One of the top three on just about any list. Amazing sound and performance. March 7- Montreux (Casino De Montreux). Explosive show with excellent sound. March 21- Vancouver (Pure Blues/Mudslide). Decent sound with monumental performances of several songs. April 8- Raleigh, NC. Good sound with one of the best White Summer/Black Mountainside performances. Sept. 4- Inglewood, CA (Live On Blueberry Hill). Good sound with a rare Bron Y Aur performance. Very long set list. 1971 Aug 31- Orlando, FL (Orlando Magic/Florida Sunshine). Patched soundboard with thunderous drums. Sept. 4- Toronto (Maple Leaf Gardens). Patched soundboard with the best Celebration Day performance. Sept. 9- Hampton, VA. Sept. 14- Berkeley, CA (Going To California/Berkeley Daze). Sept. 29- Osaka, Japan (Festival Hall) 1972 Feb. 25- Auckland, NZ. Energetic show with decent sound. Feb. 27- Sydney, Australia (Sydney Showgrounds). June 22- San Bernadino, CA (Swing Auditorium). Oct. 2- Budokan, Japan. Oct. 9- Osaka, Japan (Festival Hall). 1973 Jan. 22- Southampton University (Any Port In A Storm). Multitracked! March 16- Vienna, Austria (Happiness Is A Warm Gun). Hands down the best playing by Page. March 23- Offenburg, Germany (It's Not Warm, It's Hot). May 13- Mobile, Alabama (Alabama Getaway). May 19- Ft. Worth, TX (Tympani For The Butter Queen). Excellent soundboard. 1975 Feb. 6- Montreal (1975 World Tour). Page playing like his old self. Feb. 12 Madison Square Garden, NY (Flying Circus/Four Blocks In The Snow) March 3- Ft. Worth (Rock Super Stars). Bonham breaks loose on this one. March 21- Seattle (Deus Ex Machina). Probably the most impressive show of the tour. May 25- Earls Court (Demand Unprecedented In The History Of Rock). Great soundboard and long set list. 1977 April 27- Cleveland, OH (Destroyer). Very balanced soundboard, good performance. May 21- Houston, TX (The Dragon Snake). Great balanced soundboard, though Page is slacking a little. June 21- Los Angeles Forum, California (Listen To This Eddie). Monumental live performance. June 25- Los Angeles Forum, California (Badgeholder's Annual Meeting). June 27- Los Angeles Forum, California (Mike The Mike). Rare acoustic Dancing Days. Edit: I'd like to change the June 27, 1977 show to June 23rd, 1977. Much better playing from Jimmy.
I have seen some impressive advancements in video production lately such as this. And the Star Wars movie - bringing back Peter Cushing as Grand Moff Tarkin, a young Princess Leia. Amazing. So what of audio? Will technology will bring opportunities to greatly enhance/repair some lower quality recordings? Especially if there are parts, or even similar recordings (accoustically similar) that can be used to enhance a lesser quality sound into an outstanding - AND accurate account? Take an opera singer. Maybe she has one incredibly good recording, and another that is fairly low quality. Based on information from the good quality recording, and the sound that is available from the lower one, an accurate landscape of what the sound would be like could be produced. Expand and build on whatever that process would be, and one day it can be applied to much more complex arrangements, like say a 4 piece rock outfit, with amazing and accurate results. I imagine at some point (could be a while yet) someone will be listening to Listen to this Eddie in a quality that would have us here in 2017 weep with joy. A sound that is beyond what you might think is possible now - but one technology eventually successfully delivers. The only question in my mind is - how far away are such leaps in audio enhance/restore technology? If they can add colour to a lot of turn of the century (19th to 20th) B&W film, put long departed actors into roles, and even produce speech by someone that never actually muttered the speech, in time, we will have the technology available to turn audience recordings and soundboards into incredible audio. I wonder how close that dream is?