GiGinJapan Artwork of Japanese CDs (mostly) Led Zeppelin / Stockholm 1969 / 1CD / Non label
Translated Text:
Konserthuset, Stockholm, Sweden 14th March 1969 (SBD/AUD)
ZEP of 1969 which is a treasure trove of the masterpiece. A live duo after the live, a year of the legend that showed off anger ‘s live so much that the word “energetic” reflected in cliché. We have also released famous performances and name instruments such as Fillmore in April and Texas Pop Festival in August, but this time we release two performances at once in a single performance and name instruments from the Scandinavian tour in March!
In the first place for ZEP Scandinavian area is a place that we did a tour in September 1968 as the first live activity after the group was formed six months before going back to the beginning, and at that time it was a former name of “New Yard Birds” It was done with. Just started running. But the group who changed the group name to Led Zeppelin caught the United States thoroughly from the end of 1968. I experienced hard live excitement that I wanted to call as a martial practice exactly, I was reborn into a much more robust band and went around Scandinavia again in March. Again, ZEP seemed to be a band before the popularity exploded yet, afterwards they had worked on media appearances that were unlikely to be thought out.
Among them, whether March 14 was recorded in the official “DVD” in Stockholm (in short, “Blu – ray” does not come out?)) Was finished recording the television picture of mouthpak in black and white of “Communication Breakdown” If I think about it, I was surprised to hear that we were doing two stages later in a day. It seems that their youthfulness was a work that made them able to digest once these overcrowded schedules were easier.
The first live of this day is held at the Stockholm Concert Hall (Konserthuset). Moreover, here as well as not only being the undercard of country Joe and the fish but also the radio station was also recorded, we are planning to play “As Long As I Have You” Was omitted, and furthermore it was done with an interesting composition that the scale of each song was short. With regard to the sound source broadcast by the radio station, it is monaural at a length less than 30 minutes and boasts the highest sound quality but it is one of the classic sound sources in early ZEP live .
Of course, this time I recorded the broadcasting sound source in the best version, but since the page of Telecaster of Page has run out, the other three people hurriedly got into the “Otis Rush” I Gotta Move “was a famous scene. But when I listen to the broadcasting I can not see Quit You Baby, it does not appear that the string of the page has run out (tuning goes wrong if the string of the guitar goes off), much less a sound board, You will not hear as happening happened.
The audience recording that recorded the same show that unraveled this unnaturalness. As a result of this, it became clear that the radio tone generator had not only broadcasted several songs at the time of broadcasting or had finished broadcasting in the beginning of “How Many More Times”, but also changed the order of songs and broadcasted it .
Audience recording does not settle at the beginning of the show recording, and even if the mouth rips because of distorted additionally it can not be said that it is high sound quality. Rather it is close to inferiority. Because of that, it seems that there are not many people who have not listened properly compared to the part of the radio sound source, or have become a gib for only the early stage. Despite having revealed the whole picture of the day’s show, it may have been a high-level sound source in a sense.
But if you listen to this, actually you can understand that Paige’s strings were torn at the opening “Train Kept a Rollin ‘” and that I was playing “I Gotta Move” as a bridge. In addition, “I Can not Quit You Baby” played by re-pasting the strings, even when subtracting that the page at the time was using the telecaster instead of Les Paul when listening to the sound source for broadcasting, it was awfully thin with sound I also care about what was ringing. This is presumed to have started playing in a situation that the setting has not changed since the string was changed.
As a result, “I Gotta Move” was played, so you can not miss the point that it is a sound source that you can taste plenty of live sound with strong blues color unique to early ZEP. Especially the audience recording part of this time realized the state which is unprecedented natural (the hiss noise is natural sound) state by using the highest generation of low generation copy. It was thoroughly adjusted to the low pitch that was tampered with all the sound sources that were released in the past anyway. That coarse sound source became much easier to hear.
And after “I Can not Quit You Baby” it becomes rough and it makes it much easier to hear. To my best it is ZEP in 1969. There is no doubt that it will be drawn into a light performance of footwork even if it is rough. Please listen to the wild performance of “How Many More Times” which was only touched by the radio sound source at the limited press CD this time!
★ In the same live, the first half is the sound board 4 songs, the latter half is the audience recording of the same show.
名演の宝庫である1969年のZEP。ライブ次ぐライブを重ね、「精力的」という言葉すら陳腐に映ってしまうほど、怒涛のライブをこなしてみせた伝説の一年。当店でも4月のフィルモアや8月のテキサス・ポップ・フェスティバルといった名演かつ名音源をリリースしてまいりましたが、今回は3月のスカンジナビア・ツアーからの名演かつ名音源を一気に二公演もリリース！
そもそもZEPにとってスカンジナビアのエリアは遡ること半年前、グループが結成されて初めてのライブ活動として1968年の9月にツアーを行った地であり、しかもその時は「ニュー・ヤードバーズ」というバンド名の元で行っていました。正に駆け出し。しかしグループ名をレッド・ツェッペリンに変えたバンドは1968年末からアメリカを徹底的に攻略。正に武者修行と呼びたくなるハードなライブ三昧の日々を経験し、格段にたくましいバンドへと生まれ変わって再びスカンジナビアを回ったのが3月。ここでもZEPはまだ人気が爆発する前のバンドらしく、後の彼らからは考えられないほど積極的なメディア出演に勤しんでいたのです。
中でも3月14日はストックホルムでオフィシャル「DVD」に収録（そういえば「Blu-ray」は出ないのでしょうか？）された「Communication Breakdown」の白黒で口パクのテレビ映像の収録を終えたかと思えば、その後に二回ものステージを一日でこなしていたというのだから驚き。こんな過密スケジュールをやすやすと消化できたのも、彼らの若さが成せる業だったのでしょう。
この日最初のライブがストックホルム・コンサートホール（Konserthuset）で行われています。しかもここでは実質的にカントリー・ジョー・アンド・ザ・フィッシュの前座であったというだけでなくラジオ局の収録も行われたということから、いつもなら演奏するはずの「As Long As I Have You」が省かれ、その上でさらに各曲の尺が短めという面白い構成で行われました。ラジオ局が放送した音源に関しては30分にも満たない長さでモノラル、なおかつベース強めなバランスながらも最高の音質を誇るということから、初期ZEPライブにおける定番音源の一つに数えられているもの。
もちろん今回は放送用音源を最良のバージョンにて収録みせたのですが、そこではペイジのテレキャスターの弦が切れてしまったということから、他の三人が場つなぎで急遽オーティス・ラッシュの「I Gotta Move」を演奏したことは有名な場面。しかし放送を聴くと「I Can’t Quit You Baby」でペイジの弦が切れた様子はなく（ギターの弦が切れるとチューニングが狂うもの）、ましてやサウンドボードであればそうした様子が捉えられるはずなのに、ハプニングが起きたようには聴こえません。
この不自然さを解き明かしてくれたのが、同じショーを録音したオーディエンス録音。これによって、ラジオ音源は放送時に数曲をカットしたり「How Many More Times」の序盤で放送を終えてしまっただけでなく、曲順を変えて放送していたことも明らかとなったのです。
オーディエンス録音はショー序盤の録音状態が落ち着かず、おまけに歪んでいたせいで口が裂けても高音質だとは言えない。むしろ劣悪に近い。そのせいでラジオ音源のパートと比べ、ちゃんと聞いていない、あるいは序盤だけでギブとなってしまったマニアが少なくないかと思われます。せっかく当日のショーの全貌を明らかにしてくれたにもかかわらず、ある意味敷居の高い音源だったかもしれない。
しかしこれを聴けば、実はオープニングの「Train Kept a Rollin’」でペイジの弦が切れてしまい、そのせいで「I Gotta Move」を場つなぎとして演奏していたことがよく解ります。さらに弦を貼り直して演奏された「I Can’t Quit You Baby」は放送用音源を聴くと当時のペイジがレスポールでなくテレキャスターを使っていたということを差し引いても、やけに薄っぺらい音で鳴っていたことも気になります。これは弦を張り替えてセッティングもままならない中で弾き始めていたのだと推測されるもの。
結果としては「I Gotta Move」が演奏されたことで、初期のZEPならではのブルース色が強いライブ・サウンドがたっぷりと味わえる音源となっている点は聞き逃せません。特に今回のオーディエンス録音パートは過去最高のロージェネレーション・コピーを使用し、かつてないほどにナチュラルな（ヒスノイズも自然な響きです）状態を実現。それに何と言っても過去にリリースされていた音源すべてでおざなりにされていた、低いピッチを徹底的にアジャスト。あの粗い音源が格段に聴きやすくなりました。
そして「I Can’t Quit You Baby」以降は粗いなりに随分と聴きやすくなるのです。それに何と言っても1969年のZEPです。粗くてもフットワークの軽い演奏へ引き込まれてしまうこと間違いなし。ラジオ音源ではさわりしか聴かれなかった「How Many More Times」のワイルドな演奏ぶりを今回の限定プレスCDにて再確認してください！
★同じライヴで 前半がサウンドボード4曲、後半が同じショウのオーディエンス録音です。
Soundboard Reel Master
Pre-Broadcast FM Recording
(71:30)
1. I Can’t Quit You Baby 2. I Gotta Move 3. Dazed And Confused
4. How Many More Times
Audience Recording
1st Generation Tape
5. Intro. 6. Train Kept a Rollin’ 7. I Gotta Move 8. I Can’t Quit You Baby
9. Dazed and Confused 10. White Summer / Black Mountainside
11. How Many More Times 12. Outro.
