Led Zeppelin / Crimson Tide / 3CD Wx OBI Strip

Led Zeppelin / Crimson Tide / 3CD Wx OBI Strip / Wendy label

Translated Text:

Jefferson Memorial Coliseum, Birmingham Alabama USA. May 18, 1977. Digitally Remastered

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Led Zeppelin’s 1977 US tour was historically the last American tour. It was the last Zeppelin ‘s performance that American fans who supported the band for a long time saw. This tour is divided into three parts, the first leg from the end of February to mid-March, the second leg from April 1 to mid-June, and the third from July 17 to August 13 Philadelphia · It is a leg. Of these, the third leg is closed only by 10 performances. Originally more schedule had been organized, because the son of the plant was interrupted due to an accidental death. Still there is no doubt that we met on a large tour of 44 performances in total.

It seems that Peter Grant’s intention had a big influence in doing such a tour. Grant believes that it is necessary to inform Led Zeppelin as the biggest band in the 1970s as various honorary praise swirls, and it is told that such a long-term tour was planned. Although the plant appealed inflammation of the throat from the beginning of the tour and the schedule was changed, the last was like a tour of a disturbance such as the death of the son of the plant by the death of the plant as described above, but even though this tour was still a famous board “Presence” The first time in the stage, we picked up songs on the stage, and until then it has been changed significantly in the set list, and has been engraved in history as a tour that produced numerous nominations. Led Zeppelin performed four performances in 1979 and a short-term Europe tour in 1980, but it can hardly be said that the former shine was released, and this 1977 US tour is the last maneuver that will stop as Zeppelin It may have been.

As a sound source representing this tour, Cleary Land is first mentioned on April 27, 1977 (Wendy label “DESTROYER”). Its sound quality recorded on the sound board has reigned as a standard since ancient times. On June 21, 1977 (Wendy label ‘LISTEN TO THIS EDDIE’), June 23 (Wendy label ‘FOR BADGEHOLDERS ONLY’), June 25 (Wendy label ‘SUNSET BOULVARD’), June 27 (Wendy label A series of Los Angeles consecutive performances such as the label ‘FULL IMPERIAL COLLAPSE’), other Madison Square Garden series performances (Wendy label ‘RELIC FROM A DIFFERENT AGE’), and a sound board July 17 Seattle performance (Wendy label ‘YOUR KINGDOM COME SEATTLE “) and many other high-quality audience sound sources are left. And this work, May 18, 1977 Birmingham Performing in Alabama province will also be one of the enumerated on such a series of masterpieces.

This Birmingham performance located in the middle of the second leg is confirmed to have two kinds of audience sources. However, it can hardly be said that it has been blessed with a previously published title, except for private maid stuff, only one title of source 1 and 2 is present in the press board 10 years ago. It is thought that the source 1 is a somewhat distant sound and the hiss noise is strong, and the source 2 is also not good sound quality, it seems that it was thought that it was avoided until then. However, this work is to surpass the pre-launch board by compiling source 1 with raw generation tapes, mainly with source 2.

【About sound quality】
Regarding the source 1, the incoming board has remarkable dropouts, the fact that the hiss noise accompanying dubbing has entered with the sharp at the beginning and the biggest drawback is that the middle range is extremely emphasized with the product of the era when the equalizing of 10 years ago was overwhelmed It was a point. It was hard to express sounds by words, but it was uncomfortable like hitting the brainstem, but with speakers, it was something I could not listen with headphones. Of course it was supposed to be okay with that era, but there is also a reaction to that, and in the recent trend of finding value in naturalness, it can not deny a sense of erratic error. Although this work obviously uses young tapes although it is unknown generation, it is made to the ear by the sound making making the material as much as possible without strengthening the midrange excessively. It is finished in the sound that it should originally be such. Also, as a characteristic thing I would like to mention that there is little hiss noise due to the youth of generation. It is echoed sound to the vocal which is wholly halled feeling, and although it is not saying that it is a short distance, there are no noisy audiences, and it is understood that it is recorded very beautifully. I am expecting that the evaluation of this Birmingham performance will change by this work.

Moreover, it can not deny that sound source 2 which is used for supplementation falls compared with source 1 in terms of sound quality. This is removing the hystereses caused by the master and adjustment is given so that the sound image is as close as possible to source 1, but please pardon me as a supplementary source to the last. However, there are many parts that are only included in this source 2, which is important in terms of content.

【About the contents】
First of all, the introduction from the introducer ‘s greeting to the beginning was recorded from Source 2. Source 1 is a pretty good sound source and very few cuts are recorded until the last “rock ‘n’ roll”, but there are still a few flaws. Firstly, it is about 10 seconds to sing a passage of “YOU SHOOK ME”, the ending part of “IN MY TIME OF DYING”, but it is missing. It is only about 10 seconds, but 10 seconds of the music element should feel quite long when actually listening. In this work, supplementing this part with Source 2 makes it complete recording. “NO QUARTER” will fade out a little more on the already-launched version, but here it is supplemented with source 2 and it is complete recording until the end of the ending. As for the details, the MC by the plant after “GOING TO CALIFORNIA” and the intro which the following “BLACK COUNTRY WOMAN” was missing are also missing in Source 1, using Source 2. And it may not be very important for ordinary fans, but it may not be about 30 seconds missing in the middle of “MOBY DICK”, which is also not very important, but the guitar solo before Achilles is the source 1 There is a missing of 1 minute or more, and this is supplemented so as to be complete recording with source 2 as well. And the biggest difficulty is that “Achilles Last Stand”. A large dropout of about 25 seconds exists in the source 1 on the way. This is also complementing with source 2, realizing complete recording for the first time. Although it is other detailed points, it is not a music part, but the audience APRAUS which connects “the stairway to heaven” and “Rock And Roll” and the MC of the plant after concert performance are also properly recorded in the book work.

【This work “CRIMSON TIDE”】
The latest work of Wendy label is Birmingham performance in Alabama state on May 18, 1977. Use two existing sources. Source 1 uses a young generation generation compared with the conventional one, complementing it with source 2, and this concert is for the first time recorded as a complete record for the first time. Permanently save a permanent preservation of beautiful picture / disk specifications that will kick off the earlier stage to the Fehsan corridor ahead of time.



このツアーを代表する音源としては、まず筆頭に1977年4月27日クリーブランドが挙げられる(Wendyレーベル『DESTROYER』)。サウンドボードで収録されたその音質は古くから定番として君臨してきた。1977年6月21日(Wendyレーベル『LISTEN TO THIS EDDIE』)、6月23日(Wendyレーベル『FOR BADGEHOLDERS ONLY』)、6月25日(Wendyレーベル『SUNSET BOULVARD』)、6月27日(Wendyレーベル『FULL IMPERIAL COLLAPSE』)など一連のロサンゼルス連続公演、その他マジソン・スクエア・ガーデン連続公演(Wendyレーベル『RELIC FROM A DIFFERENT AGE』)、そしてサウンドボードの7月17日シアトル公演(Wendyレーベル『YOUR KINGDOM COME SEATTLE』)など、高音質なオーディエンス音源が数多く残されている。そして本作1977年5月18日アラバマ州バーミングハム公演もまた、そのような一連の名盤に列挙されるひとつとなるのではないかと思う。




まずイントロの司会者の挨拶から開演前のざわめきはソース2からの収録となっている。ソース1はかなり優秀な音源でカットは非常に少なく最後の「ロックンロール」まできちんと収録されているのだが、それでも数か所の瑕疵がある。まず「IN MY TIME OF DYING」のエンディング部分、「YOU SHOOK ME」の一節を歌うわずか10秒程度であるが欠落している。わずか10秒程度であるが、音楽要素の10秒は実際に聴いているとかなり長く感じるはずである。本作ではこの部分をソース2で補完することで完全収録としている。「NO QUARTER」は既発盤ではもう少しというところでフェイドアウトしてしまうが、こちらもソース2で補完しエンディングの余韻まで完全収録となっている。細かい点を挙げれば「GOING TO CALIFORNIA」の後のプラントによるMCや、続く「BLACK COUNTRY WOMAN」の欠落していたイントロもソース1では欠落しており、ソース2を使用。そして普通のファンにとってはあまり重要ではないかもしれないが、「MOBY DICK」の途中にあった約30秒の欠落、同じくあまり重要な点ではないかもしれないが、アキレスの前のギターソロはソース1に1分以上の欠落があり、これもまたソース2で完全収録となるよう補完されている。そして最大の難所はその「Achilles Last Stand」である。途中で25秒程度の大きな欠落がソース1に存在する。これもまたソース2で補完することで、初めて完全収録を実現している。その他細かい点ではあり音楽部分ではないが、「天国への階段」と「Rock And Roll」を繋ぐオーディエンス・アプラウスや、コンサート終演後のプラントのMCも本作にはきちんと収録されている。

Wendyレーベルの最新作は、1977年5月18日アラバマ州バーミングハム公演である。2つの現存するソースを使用。ソース1は従来のものよりもジェネレーションが若いソースを使用し、それをソース2で補完し、このコンサートを初めて完全収録としている。 既発盤をフェザーン回廊の彼方へ一蹴する、美しいピクチャー・ディスク仕様の永久保存がっちりプレス盤。

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. The Battle Of Everymore
03. Going To California
04. Black Country Woman
05. Bron-Y-Aur Stomp
06. White Summer – Black Mountain Side
07. Kashmir
08. Moby Dick

01. Guitar Solo
02. Achilles Last Stand
03. Stairway To Heaven
04. Rock And Roll

Wendy label. WECD-328/329/330

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