Led Zeppelin / Dusseldorf 1970 / 2CD

Led Zeppelin / Dusseldorf 1970 / 2CD / Non Label

Translated text:

Live at Rheinhalle, Dusseldorf, Germany 12th March 1970 Upgrade(from Original Masters) Original Masters 35

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Though it is Red Zeppelin which boasts popular live tone generator throughout the career, it is not the first half of 1970 that it gives a particularly impressive impression among them. From the familiar official familiar Royal Albert Hall, until the bus festival which first showed off “Immigrant Song” which was the beginning of the ZEP’s new chapter, we are seeking an alternative to the momentum and hardness of the previous year I was doing it. Both of the two live tours (Europe and the United States) performed in the meantime have a good sense of “plain”. Especially in Europe there was an opening with the impact of “We’re Gonna Groove” at the opening, but songs of the first album have been drastically reduced, so we receive a calm impression from the live composition itself .
However, ZEP at the time when youth is full, the voltage of performance is extremely high. Rather, it was a time when we were showing hyper performance every evening, and the evaluation among maniacs is extremely high. However, it is also true that the recording of honor students during the tour only gives a real impression that there is only Montreux show. Meanwhile, “COPENHAGEN 1970” which held a live in the name of The knobs during the past year, as well as releases from European tour of 1970 such as Hamburg’s two days, have received a high reputation, and in fact, “HAMBURG 1970 1ST NIGHT “, it became Sold Out. This would be a proof that seemingly 70 years Europe was justified and recognized.

Duesseldorf on the final day of the tour must not forget in such circumstances. In the first place, it was the sound source of the same performance recorded in the LP item including “WHITE SUMMER” that decided to inform the world of the tour in 1970. Coupled with easy-to-hear sound quality at that time even though only three songs were recorded, it has been loved by maniacs as an important sound source to hear such as “Since I’ve Been Loving You” that was released before release. However, sound sources and performances other than those heard in LP are not excavated unexpectedly, and another sound source finally found in the 1990s is more than only “Song of How Many More Times”.
Because of that, it was the end to appearing to the CD item of the LP dropping out, but it was the “DUSSELDORF 1970” by REEL MASTERS who finally wiped out such frustration in the 21st century. A historical excavation title that revealed the whole picture of the Dusseldorf performance which had been wrapped in a veil until then. However, receiving the tide of equalization supreme, sound processing applied at the time of release is controversial among maniacs. At that time, there was no sign of reevaluation for the Europe tour in 1970, there was a desire to attract more attention to sound processing rather than significance for sound source and release. It was the “DUSSELDORF 1970 RAW MASTER” which was released from WARDOUR label by the reaction as early as it was released.

However, at the same time as the settlement arrived with the release of this title, Sold Out will not lose the opportunity of recurrence as it is without being evaluated the importance of the contents from the previous trend. Received the popularity of items that were released last year, we began to receive more requests for recurrence of Dusseldorf, which we can call Pioneer of European items in our 70 years. There were many maniacs that more than ten years have passed since release and have never heard of it. So there was a recurrence discussion between the staff from the second half of last year, during such a period, overseas maniacs based on “DUSSELDORF 1970 RAW MASTER” based on exquisite timing, the version supplemented with another sound source for the defect location It made me public on above. The finish was truly brilliant, and since it was enough to hate as a label (lol), I came up with Dusseldorf recurrence based on this time.

“DUSSELDORF 1970 ~” is called “recorder 3” among maniacs, but it used “recorder 4” after the release of the previous title that was used for the defective place. Until the appearance of “DUSSELDORF 1970 ~” sound source that was kept secret by overseas mania. As soon as it appeared, an item called “LORELEY” was released, but the sound quality itself was inferior to “DUSSELDORF 1970 ~” and more cuts, it was a perfectly suitable sound source for supplementary personnel. Therefore, weak cuts that had occurred in the second half of the performance of “Dazed And Confused” and “White Summer” were compensated by “recorder 4”. However, with regard to “How Many More Times”, the cut occurred at a position where the sound source and “recorder 3” resembled each other, and here, only one song of the same song that I touched earlier was excavated I used “recorder 2”. This is the sound that was recorded in the bonus of “DANCING DAYS” which was the title of the Budokan in 1972.
And the mania who edited this time skillfully deleted the running sound of the tape recorder picked up by the microphone at the time of recording, which is a defect of the “DUSSELDORF 1970 ~” sound source. It is a big point that it became a state where it can listen without stress with this. Because this sound source is calm sound quality with warmy, it became easier to hear mild sound quality more remarkably because the recorder sound was lost.
In general, sound sources of 70 years other than Montreux are far in the sound recording state of the sound image, but as for the sound source, while the sound image of the distant eye, yet the fact that the voice of the plant is great balance is superior. Hamburg two days and so on was a fierce power, but “DUSSELDORF 1970 ~” is fresh and clearness is fantastic as the sound image is farther away. Besides, the audience of Düsseldorf spurred the ease of listening when it was quiet as if watching a classical concert as well.

Duesseldorf listening at such unique sound of boasting ease of listening, its performance is also quite vivid. The fact of the shock revealed by “DUSSELDORF 1970 ~”, it is a bold thing to play “Communication Breakdown” at the opening instead of the regular “We’re Gonna Groove”. In the beginning 70 years in Europe it is hardly playing this song which should be called the group’s first representative song. Rather I tried to seal it. I can see how trial and error is trying to create a stage composition different from the previous year from where I played at the opening suddenly in such a situation. Moreover, it was interesting because Bonzo was left behind in the ending due to playing for a long time, and moved to the next “I Can not Quit You Baby” in a strange way to finish.
And, on this day, I am likable to play very carefully while raising the voltage throughout the show. You can see clearly that you are searching for a new direction from the special opening-style page phrases in “Heartbreaker”, and even among the majestic sounds that have grown out of the rush to grab the success of the previous year It was ZEP of Dusseldorf that was playing carefully one song so as to bite in a free and creative sound. If Montreux at the beginning of the tour is “bursting”, this day is “mature.” Still it is completely different from Hamburg for two days. What is more unique than the original listening experience. Duesseldorf after a long absence will be a long-awaited recurrence as a maniac reminded of the appeal of European tour in 70 years in recent years!

キャリア全般を通してライブ音源が高い人気を誇るレッド・ツェッペリンではありますが、その中でとりわけ地味な印象を与えるのが1970年の上半期ではないでしょうか。オフィシャルでおなじみロイヤル・アルバート・ホール終了後から、ZEPの新章の幕開けとなった「Immigrant Song」を初披露したバス・フェスティバルまでの間というのは、前年の勢いやハードさに代わるサウンドを模索していた時期。その間に行われた二つのライブ・ツアー(ヨーロッパとアメリカ)はどちらもいい意味で「地味」な印象があります。中でもヨーロッパではオープニングに「We’re Gonna Groove」というインパクトのあるオープニングがあったものの、ファースト・アルバムの楽曲が大幅に削減されてしまったこともあり、ライブの構成自体から落ち着いた印象を受けます。
とはいっても若さがみなぎる時期のZEP、演奏のボルテージは極めて高い。むしろ毎晩のステージでハイパー・パフォーマンスを披露していた時期であり、マニアの間での評価は極めて高い。ただし、ツアー中における優等生録音が実質的にモントルー公演しか存在しないことが地味な印象を与えるのも事実かと。そんな中、ここ一年の間にザ・ノッブスの名前でライブを開催した「COPENHAGEN 1970」、さらにハンブルク二日間といった1970年ヨーロッパ・ツアーからのリリースが軒並み好評を博しており、それどころか「HAMBURG 1970 1ST NIGHT」に至ってはSold Outとなってしまうほどでした。これは一見地味な70年ヨーロッパが正当に評価され、なおかつ認識されたという証でしょう。

そうした状況の中で忘れちゃいけないのがツアー最終日のデュッセルドルフ。そもそも70年ヨーロッパ・ツアーを世に知らしめることになったのは「WHITE SUMMER」を始めとしたLPアイテムに収録された同公演の音源でした。わずか三曲の収録ながらも当時として聞きやすい音質と相まって、リリース前に披露されていた「Since I’ve Been Loving You」などが聞ける重要音源としてマニアに愛されてきたもの。ところがLPで聞かれる以外の音源や演奏が一向に発掘されず、90年代に入ってようやく見つかった別音源はよりによって「How Many More Times」一曲だけ。
そのせいでLP落としのCDアイテムまで登場する始末だったのですが、こうしたフラストレーションを21世紀に入ってようやく払拭してくれたのがREEL MASTERSによる「DUSSELDORF 1970」でした。それまでベールに包まれていたデュッセルドルフ公演の全貌を明らかにしてくれた歴史的発掘タイトル。ところがイコライズ至上の風潮を受け、リリース時に施した音処理がマニアの間で物議を醸すことになってしまいます。当時はまだ70年ヨーロッパ・ツアーに対する再評価の兆しがなく、音源やリリースに対しての意義よりも、むしろ音処理に対して注目を集めてしまったきらいがありました。その反動からリリースされたのがWARDOURレーベルから初期のリリースであった「DUSSELDORF 1970 RAW MASTER」だったのです。

ところが本タイトルのリリースによって一応決着がついたのと同時に、先の風潮からさして内容の重要性が評価されることもなくSold Out、そのまま再発の機会を失ってしまいます。それが昨年リリースされたアイテムの好評を受け、当店の70年ヨーロッパ・アイテムのパイオニアとも呼べるデュッセルドルフ再発のリクエストを多く受けるようになってきました。何しろリリースから10年以上が経過し、聞いたことがないというマニアも多かったのです。そこで昨年の後半からスタッフ間で再発が協議されていたのですが、そんな中、絶妙なタイミングで海外のマニアが「DUSSELDORF 1970 RAW MASTER」をベースとし、欠損箇所を別音源で補ったバージョンをネット上で公開してくれたのです。その仕上がりは実に見事であり、レーベルとしても脱帽してしまうほど(笑)だったことから、今回こちらをベースとしたデュッセルドルフ再発と相成りました。

「DUSSELDORF 1970~」はマニア間で「recorder 3」と呼ばれていますが、その欠損箇所に用いたのは先のタイトルのリリース後に登場した「recorder 4」。「DUSSELDORF 1970~」登場までは海外のマニアが秘匿していた音源。登場するや否や「LORELEY」というアイテムがリリースされたのですが、音質自体は「DUSSELDORF 1970~」よりも劣り、なおかつカットが多いという、正に補填要員に最適な音源でした。よって「Dazed And Confused」や「White Summer」の演奏後半でそれぞれ生じていた微弱なカットに関しては「recorder 4」にて補填。しかし「How Many More Times」に関しては同音源と「recorder 3」が似たような位置でカットが生じており、ここで補填要員となったのは先に触れた同曲一曲のみが発掘された「recorder 2」を使用。これは72年武道館のタイトルだった「DANCING DAYS」のボーナスなどで収録されていたあの音。
そして今回の編集を行ったマニアは「DUSSELDORF 1970~」音源の欠点である、録音時にマイクが拾ってしまったテープ・レコーダーの走行音を巧みに削除。これによってストレスなく聞ける状態となったのが大きなポイントでしょう。本音源はウォーミーで落ち着きのある音質ですので、レコーダー音がなくなったことでマイルドな音質がさらに際立って聞きやすくなりました。
モントルー以外の70年ヨーロッパの音源は総じて音像の遠い録音状態なものが多いのですが、本音源に関しては遠目の音像ながら、それでいてプラントの声が大きいバランスという点が優れている。ハンブルク二日間などは荒々しい迫力が魅力でしたが、「DUSSELDORF 1970~」は鮮度や音像が遠いなりに冴えたクリアネスが素晴らしいのです。おまけにデュッセルドルフのオーディエンスときたら、まるでクラシックのコンサートでも観ているような程の静かさだったことも聞きやすさに拍車をかけたのです。

そんな独特の聞きやすさを誇る音源で聞くデュッセルドルフ、その演奏も実にボルテージが高い。何と言っても「DUSSELDORF 1970~」で明らかとなった衝撃の事実、それはレギュラー「We’re Gonna Groove」の代わりに「Communication Breakdown」をオープニングで演奏するという大胆なもの。そもそも70年ヨーロッパではグループ最初の代表曲と言うべきこの曲をほとんど演奏していません。むしろ封印しようとしたふしすらある。こうした中でいきなりオープニングで演奏してみせたところから前年と違ったステージ構成を生み出そうと試行錯誤している様子が伺えます。しかも久々に演奏したせいでボンゾが一人だけエンディングに取り残されてしまい、不思議な終わり方で次の「I Can’t Quit You Baby」へと移っているのだから面白い。



Disc 1 (63:10)
1. Intro 2. Communication Breakdown 3. I Can’t Quit You 4. Dazed And Confused
5. Heartbreaker 6. White Summer 7. Since I’ve Been Loving You

Disc 2 (60:53)
1. Thank You 2. Moby Dick
3. How Many More Times (medley) Includes: – The Hunter – Needle Blues – Boogie Chillen – Bottle Up And Go – Trucking Little Mama/High Flying Mama
4. Whole Lotta Love

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