Led Zeppelin / Heartbreakers Back In Town / 3CD

Led Zeppelin / Heartbreakers Back In Town / 3CD / Non label

Madison Square Garden, New York, NY, USA 12th February 1975

Play sample :

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In the abundant live sound source world of Led Zeppelin, the 1975 American tour is now in a privileged situation that can be called a soundboard paradise. Among them, Madison Square Garden on February 12th has released the timeless masterpiece “FLYING CIRCUS” in the 21st century. As one of the high-quality live titles that can be communicated with “FLYING CIRCUS” instead of the sound board, and can be communicated without saying the performance date like Blueberry Hill in the 70’s and Eddie in the 80’s. It has reached the present.
However, even before the appearance of “FLYING CIRCUS”, this performance had a superb audience comparable to Mike Millard’s Long Beach and LA Forum on the 1975 American tour, and rather tell us the pattern of this day from the analog era. That was the sound source there. An LP set divided into two volumes, “IN CONCERT” and “IN PARSON”, by the same label called ROCK SOLID (TMOQ series) that released that “Eddie”. During the 1975 American tour, where there were few high-quality sound items at that time, the sound source that was just mistaken for a sound board was a masterpiece that made enthusiasts crazy.

It was inevitable that it would have become a prey to the CD label if it had such a superb sound quality, but it was the nostalgic TNT Studio’s “HEARTBREAKERS BACK IN TOWN” that started the game. Here, by cutting “Moby Dick”, it was made to fit in 2CD, which was very unique at that time, and although it was good to put it in a luxurious box, the photo used for the box has been around since 1969. It was not a few items. After that, the old cod “THE JUMPLEG” and TDOLZ “CAN’T TAKE YOUR EVIL WAYS” competed for the definitive title, but the value was halved with the appearance of “FLYING CIRCUS”. It was.
In 2008, when the sound board revealed by the title was widespread, TCOLZ’s 6CD set “FOUR BLOCKS IN THE SNOW” was a maniac but epoch-making title that recorded both of the two types of audience sources that were completely overlooked. “. Not only “recorder 1”, which has been familiar since the LP era, but also “recorder 2”, which was unearthed just before the appearance of the sound board and released “THAT’S ALL RIGHT NEW YORK”, which received little attention, are fully in the best condition. It was a set that made me want to call it the ultimate maniac, showing it to be recorded.
After that, there was an AUD source that was almost forgotten, but in fact, the sound quality was the best sound source that surpassed the mirrored of the same year, and like his famous recording Long Beach, there was a sound board. Graf Zeppelin edited the first and last (?) Two AUD sound sources because it is a waste to remain buried. The title of this time was to aim for a full live decision board with the AUD sound source of MSG in 1975. It is.

Of course, the main thing is “recorder 1”, which is an immortal recording. The version digitized from the master was already used at the stage of the TCOLZ board, but after all, there was a painful mistake that digital noise was mixed in the finale “Heartbreaker”. However, this time I am making every effort to use a clean copy with different branches and leaves from the one used for the same title. The great thing about this sound source is the closeness of the sound image, which is unbelievably close for an audience recording in 1975, and the quietness of the surroundings. Even the PA out sound board “FLYING CIRCUS” was so cheerful that it was very exciting on the day. However, the surroundings of this sound source are surprisingly calm.
The scream of a woman who was near the taper finally appeared when “Stairway To Heaven” started, but it was finally reminded that it was an audience recording. By compensating for the missing part of this name recording with “recorder 2”, it is possible to make a complete & best audience version of MSG in 1975. Fortunately, most of the deficiencies in the former are concentrated between songs, and there is almost no discomfort of monaural “recorder 2” with respect to the stereo sound source. This version, which was completed in this way, became an audience album that was still responsive even with “FLYING CIRCUS”.

Brushed up by Graf Zeppelin and combined with natural thickness and richness, most of the performances have finally recovered from the disaster that hit immediately after the start of the tour, and the entire stage of the 1975 tour is ready. You can see that it was a day that was spent. If Jimmy’s finger injury didn’t cause a disaster such as Robert’s cold, he would have wanted to be at such a level of performance in January. Jimmy can finally move his fingers, saying that Robert can’t help but the phrase still tends to get caught. Even in the new song “Trampled Underfoot”, which played a role as the ignition point of Jimmy and Bonzo after the second leg of the tour, it is clear that Bonzo is still hitting while paying attention to Jimmy because of the high sound quality.
Because of that, “Dazed And Confused” hasn’t reached the funky development that seems to be in 1975, and it seems that the performance progresses without any rampage before heading to the bowing section. By that amount, Jimmy is doing his best at the end of the game, and as with Landorber before MSG, he dared to bring up the “Walter’s Walk” pattern and is looking for new developments. Even so, the dilemma of this time is that phrases get caught everywhere, and that’s why I can’t help but think that it was really nice to have a new song like “Kashmir” that looks great on stage without including interplay.
To put it the other way around, it was on this day that the foundation before entering the runaway mode like the second leg was finally laid, and it was the secret of the popularity of this sound source that you can enjoy the polite performance. That’s why the end of the live was a fluffy tone, and as a symbol of that, Elvis’s “That’s Alright” could be afforded to appear between “Heartbreaker”. In that respect, it is a representative sound source of the first leg that has not changed in the past, and even with “FLYING CIRCUS”, we guarantee that it is a superb audience album that can still be enjoyed by another side. And the title respects the ancestor title I mentioned earlier, but don’t worry, I won’t use the ’69 photo this time! Smile

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(Remaster memo) REMASTERED BY GRAF ZEPPELIN

★ Edited 2 types of AUD sound sources to achieve almost non-stop complete recording (Note 1) of all songs.
The AUD sound source of the day was completely buried due to the appearance of the SB title that appeared around 2002.
After the appearance of the SB title, the AUD sound source continued to be upgraded, and the material digitized from the master was actually distributed, but at that time it was not talked about at all and it was out of the mosquito net.
Around 2008, TCOLZ had a 6CD title that recorded two types of AUD sound sources as they were, and at the end, there was an AUD that was almost forgotten (strictly speaking, there was also an SB matrix, but what is its quality? ) However, the sound quality is the best sound source that surpasses the mirrored of the same year, and it is a waste to remain buried, so I edited the first and last (?) Two types of AUD sound sources. Appeared here.

The SB title appeared at the timing when editing of multiple sound sources became commonplace, and as a result, the AUD of the day
At that time, there were no titles that aimed at the longest edition by supplementing with Rec2 mainly for the Rec1 sound source, and as a result, this edition was the first multiple editing title for the Rec1 main edition (Note 2).

(Note 1) There are cuts in the supplementary parts only between the songs of Black Dog? Heartbreaker, and there is still a slight gap between the songs while compensating only here.

(Note 2) The title that was supplemented with Rec1 in the Rec2 (mono) main appeared on the Elemaji board around 2001, but there is a problem with the quality.

★ Sound source organization
Rec1 … Stereo Aud. This was the source of the day until SB appeared. The sound quality is excellent and exceeds the sound quality of the existing AUD representative board TDOLZ and LSD board. This time’s main sound source.

Rec2 ・ ・ ・ Monaural Aud. Sound source that appeared on the nostalgic Elemaji board in the early 2000s. Audience noise
It’s a ball. In recent years, it’s the 1st
Gen master is on the market, and the sound quality with the Elemage board is clear. That is the supplementary sound source this time.

★ Mastering
The main Rec1 is a sound source digitized from the master, and it was the same on the TCOLZ board, but the branches and leaves are different.
Remastered a good master with no digital noise at the end of the Heartbreaker that was on the TCOLZ board.
Very beautiful but stiff sound, so balance correction.
The overall EQ processing is applied to the extent that it is not overdone, and the sound is thicker, softer and brighter than the TCOLZ, which was the best AUD ever.
In recent years, EV is also a box title and AUD version (probably 2nd)
It seems to be a master of about Gen), but there is a clear difference from that.

Rec2 of the sub compensation is monaural and clear, but it is a little far away. I am worried about the noise around me, and even in the compensation part, the difference can not be wiped out, but it is unavoidable at present.
With this Rec2 supplement, the first multi-sound source editing version of AUD Rec1 main has appeared.

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