GiGinJapan Artwork of Japanese CDs (mostly) Led Zeppelin / Sizzles In Seattle / 4CD / Non Label
Seattle Center Coliseum, Seattle, WA, USA 18th & 19th June 1972
Play sample :
There are not only ZEP’s live sound sources for everyone, such as Blueberry Hill and Eddie, which have the best sound quality and the best performance, but also audience recordings that are widely loved by enthusiasts even if the sound quality is rough. A typical example is the Seattle performance on June 19, 1972. Originally, the 1972 American tour seemed to be itching to show off the new songs before the release on the stage from the beginning, such as hinting at the new song “Black Country Woman” being produced at that time in Montreal on the second day of the tour. The second day of Seattle was the night when ZEP’s greatest attraction “freedom” up to this time was maximized, such as the large-scale behavior of the new song that was out of the tag, and the escalation of the cover song in the encore. It is also a sound source that has been deeply loved by enthusiasts. Its existence became clear in the foreign book of ZEP live research published in the 1990s, and although it was said that “the sound quality is bad and there are many cuts”, everyone “in front of the astonishing set list written there” I want to hear it … ”
It is the “SIZZLES IN SEATTLE” paper jacket CD released by the nostalgic Lemon Song, which can be said to be the predecessor of the Cobra series, that fulfilled her wishes of such a mania. Looking back on it now, it seems that the joy of finally hearing the legendary Seattle 72 was predominant, even though it was in a rough state combined with the feeling of gene failure due to cassette trading in the 90’s. I think. After that, “THE EVERGREEN” released from the nostalgic TDOLZ label eased the feeling of roughness and made it a little easier to hear, and for a while it reigned as the definitive edition. As the title suggests, even at this point, the reputation that the performance content was extremely hot … was unwavering.
However, in the 21st century, the JEMS team discovered this second generation. With the advent of this low gene copy, the feeling of roughness up to that point has been wiped out. That second day in Seattle has improved to the point where you can hear it at all. Of course, this upper version produced many items, but among them, “SEATTLE 1972” was the definitive edition with careful attention to every corner.
This was literally the definitive version of Seattle 72, coupled not only on the second day but also on the first day.
After that, the best title exceeding “SEATTLE 1972” was not produced, yet it was always stably supplied and the same board was sold out while being a proper performance. More than 10 years have passed since its release, and Graf Zeppelin himself has launched a new best title release using the latest technology in 2022.
Although the first day of Seattle recording was recorded by an audience whose sound was much clearer than the next day, the sound source still exists only in the first half of the live performance. It is also a sound source with a small number of items released so far, but this time when I thoroughly remastered from the 1st Gen. Copy, it was called “SEATTLE 1972” (hereinafter “already released”). A larger upgrade is realized. While respecting the original naturalness, the finish brushed up with the latest technology has made a clear difference so that the existing board sounds squishy and sullen.
Originally this day was scheduled for a performance at the Pacific Coliseum in Vancouver, but when the Rolling Stones (that day of the masterpiece “VAN COUVER 1972”) performed a few weeks ago, around the venue. It is said that the performance was set as an alternative in a hurry because the Pacific Coliseum was temporarily banned from rock concerts due to the riot of the audience who could not enter. (That’s why the Scorpio board that first released this sound source named it “TROUBLE IN VAN COUVER”) After all, it was a show that was carried out in a noisy environment, such as taking time to transport Canadian fans.
The tension is fully felt thanks to the good sound quality even if the remaining sound source is short, and this brush-up makes it even more apparent. From this atmosphere, I don’t think it was a free and long show like the next day (and it was the first day), and it is presumed that it was done with a normal composition. For that reason, Jimmy’s guitar solo that was heard in “Stairway To Heaven” is a wonderful development that reflects the tension of the day. It’s an era where there is no standard pattern other than the ending of the solo, so I’m overwhelmed by how free and violent it is.
And the second day when it became a legendary marathon show. Although it is a JEMS excavation low-gene version that makes it easier to hear that rough sound quality at once, it is said that it was an unnecessary stereo sound spread between several songs that occurred at the time of its release (it was just a phase shift). ) Etc. have been precisely restored so that you can enjoy the whole story with a realistic and pure monaural sound. On the contrary, this brush-up even felt like it was peeled off, creating a natural and clear audibility that surpasses that existing board. Of course, some cuts and the noticeable bass distortion in the first half of the concert do not change, but the upper that has finally become easier to hear is considerable.
In the first place, unlike the day before, the venue was cheerfully lively, which is why such a free development might have been unfolded. The new song “The Ocean” will be unveiled as the 4th song from the start of the live. Of course, here Robert will lightly sing the same tune as the album version. This may have switched to their “want to show off a new song” mode, the “Black Country Woman” hinted at in Montreal finally unveiled at Acoset. Again, it is extremely valuable that Robert not only sings with the same tune as the album version, but also plays with a full chorus unlike the 1977 tour.
The audience on this day enjoyed listening to such new songs that they had never heard, and even cheered on the improvisation of “Dazed And Confused”. However, it is the drum solo “Moby Dick” that completely changes that atmosphere. The joyful surroundings suddenly calmed down, and that famous phrase “I hate drum solo” jumped out of the audience.
And from the finale “Whole Lotta Love”, the free ZEP of the day culminates, but that Bonzo is singing everywhere … On the contrary, it is an extremely valuable record as “the most Bonzo sung live in the history of ZEP live”. It has become. He was in charge of the harmony on “Bron-Y-Aur Stomp” every night, but on this day he sang behind Robert when the “Whole Lotta Love” medley switched to Roy Orbison’s “Only The Lonely”. Perhaps you want to hear the backing chorus, “Pappa Pappa”, which is conscious of the original song. The transition to this song itself was a bit aggressive, and Robert must have been in a good mood on that day.
This “song mode” escalated further at the organ corner played by Johnsy in front of “Thank You”. On the contrary, Bonzo sings with Robert everywhere in “Louie Louie”, which seems to have been fanned by Johnsy, and in “Let’s Dance” by Chris Montez. “Money (That’s What I Want)” was played not only in Frankfurt in 1980 but also on this day. You can hear the backing chorus here unlike in 1980, but the crazy voice is also due to Bonzo. This may be Jimmy, as you can hear the voice of the person chorusing with you if you listen carefully.
And the finale was once again two new songs, and the ending of “Dancing Days” was too free to take 2. A new best version by Graf Zeppelin on the second day of the legendary Seattle, where you can play all-you-can-eat new songs before the release, and Bonzo is all-you-can-sing (laughs). The title name respects ancestor items instead of age and place names!
————————————————– ————————————————– ————————–
(Remaster memo) REMASTERED BY GRAF ZEPPELIN
D1 (18th)
★ Although it is the same recording as the previous one, it is a remaster from the 1st Gen Reel digital master with different branches and leaves.
Focusing on the reinforcement of the low range, the band is finely adjusted on the front, and while it has the original naturalness, it is a clear and sharp sound that you can hear the difference at a glance. This is the latest natural sound. You can say that.
D2-4 (19th)
★ The latest remaster based on JEMS’s 2nd Gen, which is currently the best master as in the previous edition.
The big point is that the phase shift that was seen from beginning to end in the previous edition has been completely eliminated.
In particular, the unnatural parts that were in the beginning of “Black Country Woman” and before the performance of “Only Lonely” and “Money” in “Whole Lotta Love”, which had become pseudo-steering due to a large phase shift, are all natural. You can enjoy it in monaural Aud state.
★ Completely review and correct the band balance. Still, there is a considerable feeling of buoying in the low range, but if you forcibly cut this, it will be a thin and unnatural sound, so review and correct it within the range that does not overdo it. Since the ingredients are not easily removed by force, there is no thin and thin digital-like texture that was seen in some existing ones, and there is a slight difference from some existing ones that have been reduced. Mastering that respects the original analog feeling while bringing out the clarity.
★ Regarding the sound breaks seen at Let’s Have A Party in “Whole Lotta Love” (there is also a sound break this time), it is said that there is no sound break in some of the previous episodes, but that is the same vocal part just before. Was pasted.
————————————————– ————————————————– ————————–
