Jump to content
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble
Slate Blackcurrant Watermelon Strawberry Orange Banana Apple Emerald Chocolate Marble
And You Know How It Is?

Looking Ahead: the Next Three Releases - Presence ITTOD and Coda

Recommended Posts

Interesting, thanks for the replies. If you don't mind me asking, is your ITTOD a super deluxe box set?

All is good, my issue has been resolved. :)

Share this post


Link to post
Share on other sites

Interesting, thanks for the replies. If you don't mind me asking, is your ITTOD a super deluxe box set?

No just deluxe. The autorip will come back and then just contact them and theyll load it. Its happened before.

Share this post


Link to post
Share on other sites

No just deluxe. The autorip will come back and then just contact them and theyll load it. Its happened before.

Thanks, Tone__Boss, all albums are in my music library now. :stereo:

Share this post


Link to post
Share on other sites

Some of us wonder why Jimmy Page didn't release some of the already bootlegged stuff like the extended All My Love (and went for inferior mono mixes on the ITTOD companion disk instead) or the alternate When The Levee Breaks with additional vocals, etc. Jimmy said he wanted to avoid material that had come out on bootlegs, but at the same time he released quite a few tracks that were available on bootlegs before (like Sugar Mama, Friends and Four Sticks from India, Jennings Farm Blues, etc.). Maybe the answer is easy: Perhaps, for some of the bootlegged material, the actual multitrack masters were stolen and no longer at his disposal. I doubt he would have used material he could only lift from bootleg records for the companion disks.

This would also explain why some of the bootlegged stuff out there sounds extremely good (e.g. AML or WTLB, as mentioned above) whereas other bootlegged material (e.g. Sugar Mama) sounds like it is clearly from a copy several generations away from the master. For me, this seems the most likely explanation as to why Jimmy Page released some low interest stuff (mono mixes on ITTOD which are identical to the stereo mixes! Some very similar, almost identical mixes for LZ IV, etc.) instead of some more different, more interesting stuff. His explanation that he wanted to avoid bootlegged material sounds very thin and I believe he mentioned several times in the past that tapes were stolen from his house.

Views?

Edited by donald

Share this post


Link to post
Share on other sites

Some of us wonder why Jimmy Page didn't release some of the already bootlegged stuff like the extended All My Love (and went for inferior mono mixes on the ITTOD companion disk instead) or the alternate When The Levee Breaks with additional vocals, etc. Jimmy said he wanted to avoid material that had come out on bootlegs, but at the same time he released quite a few tracks that were available on bootlegs before (like Sugar Mama, Friends and Four Sticks from India, Jennings Farm Blues, etc.). Maybe the answer is easy: Perhaps, for some of the bootlegged material, the actual multitrack masters were stolen and no longer at his disposal. I doubt he would have used material he could only lift from bootleg records for the companion disks.

This would also explain why some of the bootlegged stuff out there sounds extremely good (e.g. AML or WTLB, as mentioned above) whereas other bootlegged material (e.g. Sugar Mama) sounds like it is clearly from a copy several generations away from the master. For me, this seems the most likely explanation as to why Jimmy Page released some low interest stuff (mono mixes on ITTOD which are identical to the stereo mixes! Some very similar, almost identical mixes for LZ IV, etc.) instead of some more different, more interesting stuff. His explanation that he wanted to avoid bootlegged material sounds very thin and I believe he mentioned several times in the past that tapes were stolen from his house.

Views?

Good point, sounds reasonable.

Share this post


Link to post
Share on other sites

Good point, sounds reasonable.

I'm not sure about this, but I agree it's a very reasonable and plausible point.

Share this post


Link to post
Share on other sites

So what we got to look forward to now, other than listening to all of them again, read the books, look at the picture and admire the all round packaging

I did a quick and dirty calculation and I think the record company revenues for these re-releases will top about $9m per album

Share this post


Link to post
Share on other sites

So what we got to look forward to now,

Hopefully another live release at some point- a complete Earls Court '75 or Knebworth set being the most obvious choices...

Some of us wonder why Jimmy Page didn't release some of the already bootlegged stuff like the extended All My Love (and went for inferior mono mixes on the ITTOD companion disk instead) or the alternate When The Levee Breaks with additional vocals, etc. Jimmy said he wanted to avoid material that had come out on bootlegs, but at the same time he released quite a few tracks that were available on bootlegs before (like Sugar Mama, Friends and Four Sticks from India, Jennings Farm Blues, etc.). Maybe the answer is easy: Perhaps, for some of the bootlegged material, the actual multitrack masters were stolen and no longer at his disposal. I doubt he would have used material he could only lift from bootleg records for the companion disks.

This would also explain why some of the bootlegged stuff out there sounds extremely good (e.g. AML or WTLB, as mentioned above) whereas other bootlegged material (e.g. Sugar Mama) sounds like it is clearly from a copy several generations away from the master. For me, this seems the most likely explanation as to why Jimmy Page released some low interest stuff (mono mixes on ITTOD which are identical to the stereo mixes! Some very similar, almost identical mixes for LZ IV, etc.) instead of some more different, more interesting stuff. His explanation that he wanted to avoid bootlegged material sounds very thin and I believe he mentioned several times in the past that tapes were stolen from his house.

Views?

That makes total sense, and fits with Page's standard of what is and isn't officially releaseable when it comes to the live archive.

Share this post


Link to post
Share on other sites

noted British Zep collector Andy Adams ( editor of the short lived Early Days and Latter days) wrote an interesting article on the mysterieus discovery of a set of annotated tape boxes (2" multitrack and 1/4 inch two track) around the time Scorpio released Studio Daze and Jennigs Farm Blues.

These boxed revealed the source of the two aforementioned boot CD classics. Proximity's Hugh Jones completed the topic later on and discovered the 'found' archive tapes were returned later, just like the Olympic 68 multi's (prime source for Scorpio's 'Olympic Gold'.) Seemingly the 'finder' asked an excruciating amount of cash for the tapes and eventualy settled for a significant lower sum to give the producers time to copy the multi's on DAT.

Andy Adams already discovered that 'the Hook' was used as working title for the marvelous basic track of All of my Love on Studio Daze

One of the source tapes - one of the baker's dozen June 72 reels recorded live at L.A forum and Long Beach Arena- included Moby Dick...and that track got only in circulation only two years later (on Dynamite Studio's One More Daze).

Share this post


Link to post
Share on other sites

Biggest disappointment from the Comp series:

Presence "the lost box of tapes - found"....and yielded

not much, at all.

Share this post


Link to post
Share on other sites

Umm...

Which some folks (myself included) don't think really came from the Presence era. "10 Ribs And All" seems to have more of an In Through The Out Door sound and feel to it, or maybe the '74 Physical Graffiti sessions. It also doesn't really make sense that Jonesy would bust out a piano for this piece but completely ignore the keyboards altogether for every other track they recorded in Munich? Don't get me wrong- "10 Ribs" is an interesting song-in-progress, I just sorta question the provenance...after all, it's not like Jimmy Page hasn't put down misinformation as far as recording dates go before; shit, look at the credits on Coda :lol:

Share this post


Link to post
Share on other sites

I'm really liking St. Tristan's Sword - I think I remember someone here saying JPJ had sung/sang on this piece? I also seem to recall someone saying there were lyrics that went along with La La but JP had wiped the vocal track for both. Thoughts??

Share this post


Link to post
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now

×