Led Zeppelin / Fillmore West 1969 Final Audience Recording / 2CD

Led Zeppelin / Fillmore West 1969 Final Audience Recording / 2CD / Non Label

Translated Text:

Fillmore West, San Francisco, CA. USA 27th April 1969

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Compared with the SBD sound source became one of the star in ’69 live sound source, audience recording even same Fillmore April 27 It may be said that pretty minor presence. After all it is the first to live the SBD had appeared. To at least LP era in the recording of boot it did not appear at all, it was not quite emerged from the changes to the course CD. Thing but appeared item who have recorded also finally AUD sound source is in the middle of ’90, this time you do not an exaggeration to say that SBD supremacist, AUD sound source had been treated as fairly mania for existence It is. But to enter the recent years, also in the sound source that SBD has spread, if the same day of the audience recording has been left in good condition, it also has been reviewed by the fact that there is a material value. This is not unique to ZEP.

When it comes to April 27, a simple sound quality comparison it becomes overwhelming victory of the SBD. But the difference is also a recording of regular live album here, there is also that it has been recorded through the mixing board, First realism there is a weakness of all. In fact even in between songs rarely heard cheers. And the problem that instability and unnaturalness of the SBD recording specific instruments balance of this hand. This is seen a dilemma arises in that hearing in the balance, which unlike the sound that generally had resounded in the actual venue.
Limit coupled with the trend at the time of the recording system to SBD recording of ’69 Fillmore has seen it, Crimson well as stored that the guitar sound that would had resounded most significantly to the venue was smaller should many people you are. Also with respect to this ZEP Fillmore SBD, I sound was played in the second set, “Sittin ‘And Thinkin'” from around Paige of the guitar becomes a feeling pushed into other instruments. Previous As I mentioned, even at the SBD, presence of Les Paul, which was introduced from this tour that really frustrating weakens a presence by other than the guitar body problem!
Strengths of audience recording of us to document actually a “sound” that had resounded with such a sense of reality and live venue. Also the audience recording of this day, indeed that can feel the “sound pressure that is dimensional worlds in Les Paul” clearly. Of course, “Sittin ‘And Thinkin'” even Paige Les Paul it has been firmly document how to raise the beat.

Also has already won the fan by enthusiastic performance of when visiting for the first time the Fillmore in January, would be the document of audience recording unique is also the point at which the reaction is heard of the audience seems to be clearly repeater also around this sound source. At the time of January to the evidence “Lemon Song” rather than “Killing Floor” is much further hear a voice shout the title of “Pat’s Delight”. As a further point one interesting, quality of audience recording will there is a point that has been improved over time of January. This is also a fan that was won at that point in time, it seemed like a feeling of manifestation that now is trying to record and put the more fired up.
Rather When Yuku listen to chasing the audience recording that was left over from ZEP69-nennoamerika tour, because the day become even better sound quality as the popularity is expanding in the United States, it is what this also interesting. Whiskey A Go Go in the first period as an exception, none audience recording of the first US tour a typical B-grade sound quality. However, audience recording of this day has become easier to fairly hear, it has also become a cause that promotes SBD hybrid item after it.

If person when it was that you were accustomed to listen to recent SBD hybrid item, it seems that “The Train Kept A Rollin ‘” or not the impression of AUD sound source that has been supplemented to the performance start portion remains strongly of the opening. Such as a sense of distance and of such short of the clearness of the performance, but there is still ’69 sound quality, not a few people who felt and heard the part to be “surprisingly easy listening” and should. And I want to taste the sense of realism that can not taste the SBD in the version of the full-length AUD! This release is to deliver to everyone of mania that has been waiting for the press CD release of AUD single limited from that.
Originally this sound source is at a lower input level, not a little noise to raise the it will be was float. But typical also true equalize sense would born and suppressed there. In fact in the past of items sometimes sound source that has been superimposed generation to the discomfort became the original, you’ll be also are those who’ve felt even spicy and listen while valuable content. Cut occurring in the “How Many More Times” and “Dazed And Confused” There is a weak point of this sound source, but the noise in the “I Can not Quit You Baby” early offers to relaxation. And even while this time to raise the volume, we succeeded to be recorded in as much as possible natural state. Best of AUD version of April 27 without complaint appeared. Realism of the day you do not taste the SBD I would like you to taste slowly and carefully!

69年ライブ音源における花形の一つとなったSBD音源と比べ、同じフィルモア4月27日でもオーディエンス録音はかなりマイナーな存在だと言えるかもしれません。何しろ最初にSBDが現れてしまったライブです。少なくともLPの時代には収録ブートが一切登場しませんでしたし、当然ながらCDへと変わってからもなかなか登場しませんでした。90年の半ばになってようやくAUD音源も収録してくれたアイテムが登場しますが、この頃はSBD至上主義といっても過言ではなく、AUD音源はかなりマニア向けな存在として扱われていたものです。しかし近年に入り、SBDが普及した音源でも、同日のオーディエンス録音が良質な状態で残されていたとすれば、それもまた資料的価値があるということで見直されてきました。これはZEPに限ったことではありません。

4月27日に関して言えば、単純な音質比較ではSBDの圧勝となります。しかしこちらも正規のライブ・アルバム用の録音とは違い、ミキシングボードを経て録音されたこともあり、まずは臨場感が皆無という弱点があります。実際に曲間でもほとんど歓声が聴こえません。それにこの手のSBD録音特有な楽器バランスの不安定さや不自然さという問題。これは概して実際のライブ会場に鳴り響いていたサウンドとは違ったバランスで聴こえてしまうというジレンマが見受けられます。
こと69年フィルモアのSBD録音には当時の録音システムの限界と相まってその傾向が見受けられ、クリムゾンなども会場には一番大きく鳴り響いていたはずのギターの音が小さく鳴っていたことを記憶されている方も多いはず。今回のZEPフィルモアSBDに関しても、セカンド・セットで演奏された「Sittin’ And Thinkin’」辺りからペイジのギターの音が他の楽器に押され気味となってしまうのです。先のSBDのところでも触れましたように、このツアーから導入したレスポールの存在感がギター本体以外の問題によって存在感が薄れてしまうのは本当にもどかしい!
そういった臨場感やライブ会場で実際に鳴り響いていた「音」をドキュメントしてくれるのがオーディエンス録音の強み。この日のオーディエンス録音でも、はっきり「レスポールに持ち替えた音圧」が実感できるのがさすが。もちろん「Sittin’ And Thinkin’」でもペイジのレスポールが唸りを上げる様子がしっかりドキュメントされているのです。

また1月にフィルモアを初めて訪れた際の熱演によって既にファンを獲得しており、この音源の周りでも明らかにリピーターと思われるオーディエンスの反応が聴かれる点もオーディエンス録音ならではのドキュメントでしょう。その証拠に1月の時点では「Lemon Song」ではなく「Killing Floor」、さらに「Pat’s Delight」の曲名を叫ぶ声が聴こえるくらいです。もう一つの面白い点として、オーディエンス録音の音質が1月の時よりも向上している点があります。これもまたその時点で獲得したファンが、今度はもっと気合を入れて録音しようという気持ちの現れのように思えました。
それどころかZEP69年のアメリカ・ツアーから残されたオーディエンス録音を追って聴いてゆくと、アメリカで人気が拡大するにつれて音質も良くなってゆくのだから、これまた面白いものです。最初期のウイスキー・ア・ゴーゴーは例外としても、最初のアメリカ・ツアーのオーディエンス録音はどれも典型的なB級音質。ところが、この日のオーディエンス録音はかなり聴きやすくなっており、それが後にSBD混成アイテムを普及させる原因ともなっています。

近年のSBD混成アイテムを聴きなれた方でしたらば、オープニングの「The Train Kept A Rollin’」の演奏開始部分に補填されたAUD音源の印象が強く残っているのではないかと思われます。演奏との距離感やクリアネスの足りなさなど、まだまだ69年的な音質ではありますが、その部分を聴いて「意外なほど聴きやすい」と感じられた人は少なくないはず。それにSBDでは味わえない臨場感を全編AUDのバージョンで味わってみたい!ということからAUD単体の限定のプレスCDリリースを待ち望んでいたマニアの皆様にお届けするのがこのリリース。
元々この音源は入力レベルが低めで、それを上げると少なからずノイズが浮きだってしまいます。しかしそこを抑えると典型的なイコライズ感が生まれてしまうのも事実。実際に過去のアイテムではその違和感にジェネレーションが重ねられた音源が元となったこともあり、貴重な内容ながらも聴き辛さを感じてしまった方もいることでしょう。「How Many More Times」や「Dazed And Confused」で生じるカットがこの音源のウィーク・ポイントではありますが、「I Can’t Quit You Baby」序盤におけるノイズは緩和させています。そして今回は音量を上げつつも、極力ナチュラルな状態で収録することに成功しました。文句なしに4月27日のAUDバージョンのベストが登場します。SBDでは味わえないこの日の臨場感をじっくりと味わっていただきたい!

Disc 1 (60:39)
1. Intro. 2. Train Kept A Rollin’ 3. I Can’t Quit You Baby 4. As Long As I Have You
5. You Shook Me 6. How Many More Times

Disc 2 (61:12)
1. Killing Floor 2. Babe I’m Gonna Leave You 3. White Summer/Black Mountainside
4. Sitting and Thinking 5. Pat’s Delight 6. Dazed And Confused 7. Communication Breakdown

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