Led Zeppelin / Earls Court 1975 4th Night – New / 4CD

Led Zeppelin / Earls Court 1975 4th Night-New / 4CD / Non Label
Live at Earl’s Court, London, UK 24th May 1975 SBD

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Of the soundboard recordings that captured the stage of ZEP 1975, it is undoubtedly the evergreen presence that can be called the presence of May Greens of Earls Court. In the analog era, the audience recording spread among enthusiasts, and the impact promoted to a full-length sound board on a CD was too great. However, now that rich soundboard recordings have been excavated from 75 years, it seems that May 24 has changed to a position similar to “DESTROYER” in the 1977 tour rather than “a famous performance”. In other words, it has not reached the runaway and perfect condition that occurs in ZEP live after 75 years, but it is not a fault (not at all!). In other words, it can be said that it is one of the 75-year sound boards that can be heard with confidence.
The best version of such a standard sound source “EARLS COURT 1975 4TH NIGHT” was released almost three years ago. It was a long time since it was an evergreen soundboard album, Sold Out, but of course there was a voice of re-release. So, when I thought of re-releasing … The May 24th sound board (hereinafter referred to as “524”) on which a new overhaul was made by dadgad, who is a leading figure of ZEP live sound source remaster, was released on the net I did it.

Of course, Omoto is also a monaural sound of live video. Although this point is not different from the past, there is only one thing that I got in the glasses of this limited press CD release, and from the viewpoint different from the three years ago “EARLS COURT 1975 4TH NIGHT” remaster The finish by dadgad is really attractive. Because the source is monaural video audio after all, it may sound flat sound quality lacking in sharpness. It was the remaster that dadgad aimed at trying to improve it as much as possible. If the previous “EARLS COURT 1975 4TH NIGHT” was only working to improve in the mono category, this time we realized the spread of the sound that we stepped in more!
Therefore, if the previous release is a finish that “speaks with a speaker”, this version is a finish that “speaks with a headphone”. In other words, monaural sound is not suitable for watching with basic headphones. For example, the monaural mix, which was commonplace in the 60’s artist’s album, was based on the premise of playing on speakers before headphones became widespread. The monophonic law applies to the 524 sound source, which is why dadgad has challenged this remaster.
The spread and the massiveness of the sound are really wonderful. When it comes to headphones, of course, it’s a good idea to play loud from the speakers. As it is no longer a sound board that can be upgraded with the sound source itself, you will be surprised by the remastering effect of this time.
In addition, the response to the problem from the old age in this sound source is also the finish which makes you feel the sense only of dadgad. After all, the missing part that starts with “Going To California” is complementing the audience recording this time, but its editing and finish are much smoother and natural finish than “EARLS COURT 1975 4TH NIGHT”. Furthermore, natural of the audience recording itself being used is also good.
The other is superb that the sound board with the inferior sound quality that is compensated for the defective part in the first half of “Stairway To Heaven” (from the end of the intro arpeggio to the end of the bonzo) also minimizes the sense of discomfort.
And I added a more detailed correction for this release, but it is remarkable that some deletions (for example, where the noise of the microphone enters) of dadgad deliberately applied between songs in the final stage of the live “EARLS COURT 1975 It is restored to the original state by supplementing from 4TH NIGHT.

With the new version now easier to hear, the 524 is once again reminiscent of the massively relaxed ‘calm performance’. Even in the same 75 years, it is not a feeling of “getting out of a slump” like MSG, or it is not a show that flies from a shabby day like the second day of Long Beach. It’s also different from the freedom of the end of the tour like Seattle or LA. In particular, the 524 is characterized by the solidity that I wrote in the first half, and this gives a very different impression from the time in the United States a few months ago. There is no doubt that one of the factors is that Page and Bonzo are taking on the stage in calm conditions than when staying in the United States (laughs).
However, it is interesting that “The Song Remains The Same” comes through clearly being released from prudence. This is exactly how the sound board looks. The great attraction of this day is that all the performances of the acoustic part show great results, benefiting from that. It is clear from the video that all the members are enjoying the acoustic part that they were avoiding in the US, but it is clear from that that “Trampled Underfoot”, where the 75 year ZEP has finally made its mark, is the best. There may be something in common with “DESTROYER” in that it played a great performance with the same song.
And “Moby Dick” comes with a drum march reminiscent of Osaka 929, and Earl’s Court 524 is able to listen to a performance that does not run away in a good sense. This is a version of a new approach by dadgad that even enthusiasts who have never heard of this standard can enjoy “EARLS COURT 1975 4TH NIGHT” utilizing monaural feeling!

★ ★ Verification of remaster memo & dadgad “2019 Remaster”

★ Going To California-That’s The Way The pitch of the AUD source at the beginning is correct.
The other part was 20% higher than the semitones, so I corrected it.

★ Relieves parts that are difficult to hear in response to specific sounds in the bass part.
It is a range that has almost no influence on the sense of hearing in the normal part, but it is a range that plays in the second half of Kashmir and so on.

★ The compensation point was equalized to make the sound quality closer, but it was close.

★ Compared to the existing issue
* The sound quality is an impression that amplified the sense of stereo to make it heavy and clear.
* The intro is about 16 seconds long.
* Encore cheers are 5 minutes and 30 seconds short. (Supplementary processing has been completed)
* The cheering after the final performance is about 1 minute 30 seconds short. (Supplementary processing has been completed)

そんな定番音源のベスト・バージョン「EARLS COURT 1975 4TH NIGHT」がリリースされたのは三年近く前のこと。さすがはエバーグリーンなサウンドボード・アルバム、Sold Outになって久しかったのですが、当然ながら再リリースの声が寄せられていた。そこで再リリースを…と思った矢先、ZEPライブ音源リマスターの第一人者であるdadgadが新たなオーバーホールを施した5月24日サウンドボード(以下”524”と称します)をネット上に公開してくれたのです。

もちろん今回も大本はライブ映像ビデオのモノラル音声。この点は従来と変わらないのですが、今回の限定プレスCDリリースのお眼鏡に叶っただけのことはあり、三年前の「EARLS COURT 1975 4TH NIGHT」リマスターとはまた違った視点でのdadgadによる仕上がりが実に魅力的。何しろ元がモノラルのビデオ音声ですので、メリハリの足りない平坦な音質に聞こえてしまうことがある。それを可能な限り改善しようとしたのが今回dadgadの目指したリマスターだったのです。前回の「EARLS COURT 1975 4TH NIGHT」があくまでモノラルな範疇での改善に務めていたのだとすれば、今回はより踏み込んだ音の広がりを実現させました!
また本音源における旧来からの問題点に対する対処もdadgadならではのセンスを感じさせる仕上がり。何と言っても「Going To California」から始まる欠損部は今回もオーディエンス録音を補填しているのですが、その編集たるや「EARLS COURT 1975 4TH NIGHT」よりはるかになめらかで自然な仕上がり。さらに使用されているオーディエンス録音自体のナチュラルさがまた良い。
もう一つは「Stairway To Heaven」前半における欠損パート(イントロのアルペジオ終了からボンゾが入るまで)に補填される音質が劣ったサウンドボードによる補填も違和感を最小限に留めているのが見事。
そして今回のリリースに当たってさらに緻密な補正を加えたのですが、それが顕著なのはライブ終盤における曲間でdadgadが故意に施したいくつかの削除(マイクのノイズが入るところなど)を「EARLS COURT 1975 4TH NIGHT」から補填する形で元の状態へと復元させています。

それでいて面白いのが「The Song Remains The Same」で慎重さから解き放たれた様子がはっきり伝わって来るということ。これこそサウンドボードの面目躍如でしょう。その恩恵を受けて、アコースティック・パートの演奏がどれも素晴らしい出来栄えを示しているのがこの日の大きな魅力。アメリカでは回避していたアコースティック・パートをメンバー全員が大いに楽しんでいることは映像からも明らかですが、そこから75年型ZEPが本領をいよいよ発揮した「Trampled Underfoot」は最高。同曲で素晴らしい演奏を聞かせたという点においても「DESTROYER」と相通じるものがあるのではないでしょうか。
そして「Moby Dick」では大阪929を彷彿とさせるドラム・マーチが登場するなど、いい意味で暴走しない演奏を安心して聞けるのがアールズ・コート524。この定番を聞いたことがないマニアはもちろん、モノラル感を活かした「EARLS COURT 1975 4TH NIGHT」をお持ちの方でも楽しめるdadgadによる新たなアプローチのバージョンです!

★★リマスターメモ&dadgad「2019 Remaster」の検証

★Going To California ~ That’s The Way 冒頭のAUDソースのピッチは合ってる。





Disc 1 (58:27)
1. Introduction By Nicky Horne
2. Rock And Roll
3. Sick Again
4. Over The Hills And Far Away
5. In My Time Of Dying
6. The Song Remains The Same
7. The Rain Song
8. Kashmir

Disc 2 (62:30)
1. MC
2. No Quarter
3. Tangerine
4. Going To California
5. That’s The Way
6. Bron-Y-Aur Stomp / Black Mountain Rag
7. Trampled Underfoot / Gallows Pole

Disc 3 (64:15)
1. MC
2. Moby Dick
3. Dazed And Confused

Disc 4 (34:23)
1. MC ★0:08辺りの接触音を嫌って削除していたので補填。
2. Stairway To Heaven ★12:32 – 18:18 補填
3. Whole Lotta Love / The Crunge / Sex Machine / Turn On Your Lovelight
4. Black Dog ★6:28 – 最後まで補填


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