Led Zeppelin / Winterland 1969 1st Night-New / 4CD

Led Zeppelin / Winterland 1969 1st Night-New / 4CD / Non Label

Winterland Ballroom, San Francisco, CA, USA 6th November 1969 (2 Source)

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The autumn tour was the end of America, where ZEP spent 1969 to gain popularity. During this period, astonishing excavations continued recently, and even the existence of the sound source was not confirmed until then, “CARNEGIE HALL 1969”, and the sound quality and recording content that greatly exceeded the sound sources that had been around the world. “FINAL WINTERLAND 1969 2ND NIGHT SOURCE 2” on the second day of Winterland, or “O’KEEFE CENTER 1969 LATE SHOW” where the upper version finally appeared, and although it was a maniac sound source, the upper version was unearthed again. Only fulfilling releases such as “KANSAS CITY 1969”.
It is undeniable that the first day of Winterland on November 6th has become a shadowy existence in such an excavation rush. At that time, the excavation was not progressing as much as now, but rather in the 90’s, speaking of the autumn American tour, or Winterland in November, is this sound source? Existence known to mania so much. It is also a factor that it was an audience recording with easy-to-hear sound quality during this period. Besides, it was a famous day that Eddie Cochran’s rare cover was shown at the encore after all.
As if to prove this, nostalgic items such as “BLOW-UP” and “PUNK!” There was also a thing. And it’s been more than ten years now, but when the best versions of those two types of sound sources were put together on the TCOLZ label’s masterpiece “FINAL WINTERLAND”, I felt that it had become the definitive version up to now. . In other words, it may be said that the best of it has not been revamped, and it has become overlooked from the fact that no new releases have appeared.

Then, while the excavation of the recent shocking American tour in the fall of 1969 continued, this time the upper version of each of the first days of Winterland finally appeared on the net as if it was a real hit. Both were released by the familiar KRW_CO, but first, “recorder 1”. This is famous for the closeness of Jimmy’s guitar sound and has produced the items mentioned above as an audience with sufficient power.
Although Jimmy is a prominent balance, it is fortunate that it did not overwhelm other sounds, and when you listen to it, it has a unique charm that seems to be an illusion as if it were a sound board broadcast on AM radio. However, KRW_CO released the 2nd Gen, which is in a lower state than before. As a result, although the sound is close, the AM radio-like texture creates a clearness as if a thin skin has been removed, and the hiss noise is reduced, further improving the original ease of listening.
In addition, the 2009 release of “FINAL WINTERLAND” (hereafter referred to as the “existing board”) was not able to attack the pitch deviation, but this time it has become possible to make even more precise adjustments, and it has evolved into a more listenable state. In the first place, the already released board had a high pitch from the opening “Good Times Bad Times / Communication Breakdown”.

On the other hand, “recorder 2” was a sound image with a sense of distance, but the total balance and good view were also attractive recordings than “recorder 1”. However, there is a tendency to be hysterical, and it is also true that it was annoying on the existing board. In that respect, the version released by KRW_CO this time is recorded from the master, so the level of hiss has decreased at once. The upper feeling that you can hear and understand is unique to the master. The sound quality has been greatly improved over “recorder 1”, and as a result of thorough pitch adjustment, it has finally become easier to hear than the existing board.
But that’s not all. At the time of this release, by compensating for the missing parts of each sound source from each other, both sound sources have a great advantage that the cut parts have been minimized. In other words, it became possible to listen to both smoothly by editing each other’s good points. Still, the pitch was adjusted throughout, so it’s all the more so.

Even if you listen to each sound source, there is no doubt that you will be overwhelmed by ZEP’s magnificent performances that have been trained by energetic tours throughout the year. It was also around this time that the repertoire from “II” was introduced in earnest, but it is really heartwarming that “Moby Dick” in particular starts modestly from the intro. It is precious that it captures the fresh atmosphere so far as it will soon become established as Bonzo’s highlight repertoire. If it’s a “recorder 1” with a similar sound, it will feel even more real.
It is also unique to this tour that it began to show full-scale improvisation in “Dazed And Confused” from the original Jimmy bow playing. Among them, the scene where Jimmy fights back with a power riff where Bonzo showed a jazzy development around 10 minutes is exactly that. It makes me feel the budding improvisation that follows one side of the escalation.
And speaking of this day, the encore Eddie Cochrane competition. A definitive live version will be shown at the Royal Albert Hall take a few months later, but the take on this day, which is played with a rougher momentum than that time, is also excellent. Punk right! The expression applies. In addition, as soon as “recorder 1” finished “C’Mon Everybody”, Jimmy’s short-lived beloved machine Black Beauty (it was stolen half a year later) tuned down the 6th string and played “Something Else It is also attractive to understand the scene that starts “.
The long-awaited upgrade for the first day of Winterland, which has been loved as an old classic in the United States in the fall of 1969, where rare excavations continued recently. Not only is the performance content rich, but both sound sources have different recording conditions, so listening and comparing them is the most fun!

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(remastered memo)
★The pitch of source #1 changes from very fast to slightly fast, so I fixed it as much as possible.
★The pitch of source #2 repeats from very slow to fast, so I fixed it as much as possible.
★ Compensation #1 compensates #2 #2 compensates #1
★Since the sound pressure is matched, source #1 is louder than the original sound, and source #2 is quieter than the original sound.

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Non Label