Led Zeppelin / Absence / 3CD Wx OBI Strip

Led Zeppelin / Absence / 3CD Wx OBI Strip / Wendy

Translated Text:

Madison Square Garden New York City, NY U.S.A. June 11, 1977 Digitally Remastered

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It was Zeppelin who had repeated tours every year since its debut, but in 1974 it took a rest for the throat surgery of the plant, followed by a fracture due to a car accident in the plant in 1976, no tour was done. Therefore, the tour in 1977, the first time in two years, is a big event that put forth the Zeppelin revival, which eventually became the last tour of Led Zeppelin in the United States. America fans who valued Zeppelin earlier than their home country UK, this tour was the last look.

The 1977 North American tour was a long time conducted in three parts, with two rest periods between April, May and June, and July. However, during the tour of the third leg, July, the son of the plant died of illness and discontinued with only 4 performances, the band enters the indefinite rest period. Therefore, the schedule will be reduced from the initial schedule, and the whole schedule will be completed when 44 concerts that were planned for all 51 performances are digested. However, such troubles are appearing elsewhere, enthusiastically accepted by fans as a tour of the nation after a long time, and the largest tour ever unprecedented for Zeppelin. This tour is a tour accompanied by a hard and hard album “Presence”, and sometimes the song of the same album is unveiled for the first time, so the rehearsal for the tour has been carefully conducted for two months from the beginning of the year . And from the Dallas on April 1, 1977, the tour finally began.

【Madison Square Garden 6 Continuous Performances】
Speaking of the 1977 US tour, continuous performances in Los Angeles are too famous, but six consecutive performances are also taking place at Madison Square Garden. At MSG, the world’s largest city New York, where everlasting poetry was recorded, Zeppelin is doing a large-scale continuous performance here as well. The schedule was overcrowded as follows.

June 07, 1977
June 08, 1977
1977 June 10 “RELIC FROM A DIFFERENT AGE” wendy
1977 June 11 “ABSENCE” wendy (this work)
June 13, 1977 “GLINPSE AN AXE” wendy
14th June 1977

From the series of MSG performances of this year, Wendy label has already been released for two days. Both are evaluated as the best board representing the concert of the day, especially on the 13th was recorded only in the low freshness boasting raw fish, which was only circulating traditional sounds It was. And, on the 11th of this day, although it is one who is blessed with a relatively titular title in the early launch board of MSG, it was still a situation where there was no title to say as a decision board. The reason will be described later, but there are many defects to be solved, such as pitch, cut part, and multiple sources, and it is difficult to listen through without considerable hands One reason for the small number of titles is there. I pridefully believe that this work is a decision board that makes all of them clear.

[Sound quality and source, contents] As expected there is only a big venue in a big city called New York, there are multiple sources in the same performance. The main one is the source 1 from the opening to the middle of “Kashmir”. This work uses the sound source which is transmitted as the first generation of this source 1. The sound quality is very good, it is in an unfavorable behavioural audience, the sound is close, you can see that it is recorded very beautifully. Originally it was a somewhat rough sound image, so we adjusted the midrange slightly and finished it into a calm sound. Unfortunately, this good sound source 1 is only included in the middle of “Kashmir”, and from the middle of the same song, it will span multiple sources among the source 2, source 3 and one song. Although the timing of switching is just because the sound quality is different, the point point is obvious, but as you can tell, it requires a fairly complicated editing, so it is a giant gate that has been totally mocked in the already released disc . Probably, there would have been no title which perfectly edited multiple sources and completely recorded one song so far. In that sense, “Kashmir” can be said to be a symbolic song that differentiates this work from the pre-launch board. There is also a cut of about 26 seconds on the way in “No Quarter”, which is missing in other audience sources, so it is supplemented with a sound board sound source.

Soundboard sound source is recorded in the second half of disk 3. It is unknown what kind of sound source is left for whatever reason, although it is only three songs, it is exactly the soundboard sound source of this day. It seems that all three songs that can be confirmed at present are all. In terms of sound quality, clearly the sound board’s distinctiveness is still noteworthy.

【Perfect pitch adjustment】
Naturally in 1977 it is a cassette tape recording. Since it is not digital equipment like modern day, pitch adjustment is a very important point in tape media inevitable physical changes due to aging. The original tape of this work is not an exception, as a result of aging over 40 years or more, the pitch was in a state of rattling in a state where it was regenerated normally. It is not a matter of what percentage in total, but the pitch depends on the location of the tape, which is the fate of the old tape. This work carefully corrects it, and it is applying a perfect pitch adjustment which has not been able to be done by many existing exit boards over time.

The mismatch of the pitch is the factor that causes the most noticeable unnaturalness at the joint, whether it is the same performance on the same day. Especially when you need editing in the song like this work you must use nerves in particular. As you can see if you actually listen to “Kashimir” above, the pitch matches before and after the editing point, there is no misrepresentation other than sound quality difference by listening in the flow of tempo. This is also a result of perfect pitch adjustment.

The title of this work is “ABSENCE” (absence) as a synonym for “PRESENCE” (existence, being). And artwork has been followed “PRESENCE”. In 1977, the waves unprepared by day are intense. Especially concerts of San Diego on June 19 and Los Angeles on the following June 21 are cited examples of sharp contrast. There is a day of playing as if it is imminent, there are days when there is plenty to show dignity, there are days of performance that lacks a sense of physical condition. The 11th June 1977 recorded in this work is the return of Madison Square Garden 6 consecutive performances, which is rather rather “a big performance”. This is hard to describe as “big performance”, but if you listen to this work you can understand the meaning that you want.

Madison Square Garden 6th day of continuous performance The concert of 11th June 1977 was recorded using four kinds of sources. Especially since the source of the 4th event is a sound board sound source, it is recorded only by the editing separately from the main part without inserting it into the audience sound source by editing. Pitch adjustment is perfect. It will be the best title that brings the audience back to the New York MSG 40 years ago and has a realistic and sound quality. Permanent preservation of a beautiful picture / disk specification A tightly pressed press. Japanese style attaching.

デビュー以来、毎年ツアーを重ねてきたツェッペリンであったが、1974年にプラントの喉の手術のため休養したのに続き、1976年はプラントの自動車事故による骨折で、やはりツアーは行なわれなかった。 よって二年ぶりとなる1977年のツアーというのは、まさにツェッペリン復活をかけた一大イベントであり、結果的にこれがアメリカにおけるツェッペリンの最後のツアーとなった。本国英国よりも先にツェッペリンを高く評価したアメリカのファンは、このツアーが最後の見納めだったのである。



1977年6月10日 『RELIC FROM A DIFFERENT AGE』 wendy
1977年6月11日 『ABSENCE』 wendy(本作)
1977年6月13日 『GLINPSE AN AXE』wendy


さすがニューヨークという大都市の大会場というだけあり、同一公演で複数ソースが存在する。メインとなるのはオープニングから「Kashmir」の途中までのソース1である。本作はこのソース1のファースト・ジェネレーションとして伝えられる音源を使っている。音質はすこぶる良く、行儀のよろしくない聴衆の中にいて音も近く、非常にきれいに録音されているのがわかる。元々が幾分荒い音像であったので、中音域を若干調整して落ち着いた音に仕上げてある。残念ながらこの音の良いソース1は「Kashmir」の途中までしか収録されておらず、同曲の途中からソース2、そしてソース3と、1曲の中で複数のソースを跨ぐことになる。音質が異なるので切替のタイミングはジャストでありながらポイント点は明白なのだが、聴いて頂ければわかる通り、かなり複雑な編集を要するものであり、そのため既発盤では全ておざなりになっていた鬼門である。おそらく、複数ソースを細かく編集してここまで完璧に1曲を完全収録したタイトルはなかったであろう。そういった意味では「Kashmir」は本作と既発盤を差異化する象徴的な曲であるといえる。また「No Quarter」においては、途中26秒ほどのカットがあり、これは他のオーディエンス・ソースにおいても欠落しているため、サウンドボード音源で補完してある。






01. Introduction
02. The Song Remains The Same
03. Sick Again
04. Nobody’s Fault But Mine
05. In My Time Of Dying
06. Since I’ve Been Loving You
07. No Quarter

01. Ten Years Gone
02. Battle Of Evermore
03. Going To California
04. Black Country Woman
05. Bron-Y-Aur Stomp
06. White Summer – Black Mountain Side
07. Kashmir
08. Moby Dick
09. Guitar Solo

01. Achilles Last Stand
02. Stairway To Heaven
03. Heartbreaker

04. No Quarter
05. Ten Years Gone
06. Battle Of Evermore

Wendy. WECD-341/342/343

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