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Never mind the good ones - what about the stinkers?

I'm thinking sound-quality here principally, even if it was a good performance.

For example, I just heard Bristol 8.1.70. Going on the crowd reaction, it sounds like it was a riotous show, but I couldn't really tell. I've heard tons of underwater Zep recordings in my time, but with this one I couldn't even make out some of the tempo changes :D

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I'm not one for collecting every LZ boot, especially the lousy sounding ones no matter how GOOD the performance is. I'd have to say the worst sounding one's I have are from 1969-1970.

Miami Feb. 14, 1969

Buffalo Oct. 30, 1969

Helsinki Feb. 23, 1970

Hamburg Mar 11, 1970

Some of the audience sections of Orlando '71, Newport '69 and Japan 9-24-71 (overloaded bass) sound pretty bad.

Even some of the '73 soundboards sound crappy to me..and I'm not talking about just the dry ones..but

Liverpool 1-14-73

Buffalo 7-15-73

The audience one from Jan. 30, `1973 called Plant's influenza doesn't sound good.

Cleveland April 28, 1977 sounds like shit.

Edited by Oracle
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Cleveland April 28, 1977 sounds like shit.

Can't agree with you on that one, I think its a very good sounding recording. Too bad about the tape cuts.

The performance from the 28th blows the previous night out of the water.

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Can't agree with you on that one, I think its a very good sounding recording. Too bad about the tape cuts.

The performance from the 28th blows the previous night out of the water.

I'm not talking about the performance, and I still contend the recording is SHITE !!!

Not a big fan of '77 either so that might have some bearing, but very little. Over the years I've grown fatigued with lousy recordings and just don't care for them anymore, despite the performance.

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04-28 is really good as far as audiences go. The Detroit shows in both 75 and 77 don't sound that good to me. Most of the SBs in 80 don't really sound right to me. But that could have been the band performance also.

77 OKC is pretty bad even though I like it because it's my hometown. Most of the Chicago shows a few days later were bad. Although the 9th was decent and the 6th was decent in parts.

Miami 69 is pretty good for an audience. I don't get that one. Most of the early audiences weren't that bad.

Bristol 70 is another good call. Even the new Bath Festival ones which are an improvement over what we had before aren't all that good.

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04-28 is really good as far as audiences go. The Detroit shows in both 75 and 77 don't sound that good to me. Most of the SBs in 80 don't really sound right to me. But that could have been the band performance also.

77 OKC is pretty bad even though I like it because it's my hometown. Most of the Chicago shows a few days later were bad. Although the 9th was decent and the 6th was decent in parts.

Miami 69 is pretty good for an audience. I don't get that one. Most of the early audiences weren't that bad.

Bristol 70 is another good call. Even the new Bath Festival ones which are an improvement over what we had before aren't all that good.

Yeah...4-28 is arguably the best 'non-Millard' '77 audience tape going. I don't mind the sound of the recording, or the performance, I just wish a) the dudes taping would've shut the fuck up a bit and b ) used 90 minute tapes instead of 60's...this is Led Zeppelin we're talking about; you know they're gonna do at least three hours.

I don't think the OKC '77 is bad; from the sounds of it the taper was up in the nosebleeds or something (he says "I want to find better seats" at least once). Same guy taped the less common Birmingham '77 source as well ("Dixie") and it's the same kinda thing. Not bad recordings, necessarily, just bad seats. Atlanta '77, now that is a bad recording- the guy kept his recorder under his seat. Whoops. That is one of the worst recordings I've heard, if not the worst.

The iffy 69 and 70 recordings, I'd put down mainly to primitive tape decks -if not microphones- and simply the sheer volume of the concerts. That new Bath recording, it's nice to have for the show, but those tapes seemed to need a lotta work. But at least Zeppelin wasn't playing Shea Stadium, etc to a bunch of screaming banshee teenyboppers :D Some of them Beatles audience tapes...now those can be rough listens...

Edited by Nutrocker
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I see there are alot of pro-opinions on the sound of the 4-28-77 recording. I should reitterate that in MY collection, it rates as a pretty lousy sounding one. Plus, maybe my copy is from lesser sources, and probably is.

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I see there are alot of pro-opinions on the sound of the 4-28-77 recording. I should reitterate that in MY collection, it rates as a pretty lousy sounding one. Plus, maybe my copy is from lesser sources, and probably is.

There are at least 2 versions, 'Presence Production' which I have (B&W cover), and TDOLZ (colour) which is about 2 mins longer according to Ramble On. I have to say that my version is by no means the worst 77 recording I've heard - there are some EXTREMELY shitty ones - so I'm guessing you've not heard many 77 shows, Oracle?

Anyone know whether the TDOLZ version is significantly better? Or worse?

Edited by Occam's Razor
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There are at least 2 versions, 'Presence Production' which I have (B&W cover), and TDOLZ (colour) which is about 2 mins longer according to Ramble On. I have to say that my version is by no means the worst 77 recording I've heard - there are some EXTREMELY shitty ones - so I'm guessing you've not heard many 77 shows, Oracle?

Anyone know whether the TDOLZ version is significantly better? Or worse?

I've heard several and have some....but my Destroyer, second night is an old one. Must be a copy of a distant generational tape.

Not being a huge '77 fan, I haven't upgraded to a better sounding one. I have the "Listen to this Eddie" and "For Badgeholder's Only" as far as Millard sources and I'm good with those. Also have some of the soundboards, so I'm set on '77. I'm on the watch for more '69-'71 shows, in good quality.

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I got a really bad boot of May 24 Earls court '75 and about half way through the image was so crap! it was nothing but blurred darkened figures and the sound quality was seriously poor I couldn't understand anything! Not to mention whoever got the DVD done had the setlist with 'In the evening' song on it :S

Yeh didn't buy from that guy again, I had to re-buy the boot <_<

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You shouldn't have to buy bootlegs. They should be traded freely and available to whomever wants them. Unless the band commissioned you to record their concert, you have no more right to sell that material than the next person, which is why I laugh when I see people advertising boots for sale. It's like......are you serious?

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I've seen, and have, some fairly elaborately packaged bootlegs out there. Some people just like the physical product with photos and liner notes that can come with these discs. Alot goes into the manufacturing of these particular offerings. The 'companies' buy tapes from people who've either recorded them or acquired them-illegally,immorally or otherwise because they're in demand.

Often time the 'holder' of the tapes haven't let copies out, or very few. In this case if the money's right they sell these. They get out and then someone puts copies on various download sites. Right or wrong, if this didn't happen ALOT of what those who detest the practice would NOT have many of their shows or outtakes etc.

Just because a person taped a show, doesn't mean they have to share it with anyone or sell it to anyone. Then we who like to have it would suffer. Those who buy these when that's the only way to initially get them do ALL OF US a favor when THEY put them on mediafire or megaupload or rapidshare or DIME or whatever.

And it's NOT just the money that makes this bootlegging 'immoral', it's the absolute violation in several cases of taping when the perfomer forbids it. Whether traded among collectors freely or with compensation (extravagant or just B&P) is taking someone else's art and dealing with it unauthorized.

So even you all who have boots FREELY are committing a 'SIN' in the eyes of some artists who forbid this practice. The only collector's out there who CAN HAVE a CLEAR CONSCIENCE would be those who have recordings by artists that don't mind tapers or actually encourage this action.

So go thru your collection, check the policy of EACH performer and if you have any ROIO of theirs who forbid this....throw away your stuff !!

Personally, I'm not gonna worry about it. I have several boots from one of my favorite artist's, King Crimson (Robert Fripp), and he's ADAMANT about illegal taping. Oh well I'll just live with being a 'sinner', but won't hark on those who collect either. But if you're opinion is so narrow about the practice, monetarily or otherwise, you need to scrutinize what you do and be consistent. Speak out and toss the tapes or collect away with a free conscience ! :D

Blah blah blah....

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You shouldn't have to buy bootlegs. They should be traded freely and available to whomever wants them. Unless the band commissioned you to record their concert, you have no more right to sell that material than the next person, which is why I laugh when I see people advertising boots for sale. It's like......are you serious?

Stay on topic.

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  • 3 months later...

Although good shows, I think both '70 Bath and Copenhagen are murder on the ears. I remember the first time I heard heard both I had to ask some people, how often do you subject yourself to that ? :blink:

'69 Buffalo is very distant, but it's not a harsh listen. Reminds me of being in tier 3 at Cobo. The '77 Silverdome show is rough, even with head phones.

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