1968 through 1971
Alpha & Omega: Sounds of the Underground (Magic Bus), Gonzaga 1968 (no label - matrix is same as title), Gonzaga '68 (Capricorn), Gonzaga University 1968 (no label), Lifetime Guarantee (Empress Valley), Lifetime Guarantee Revisited (Empress Valley), Live At Gonzaga University 1968 (Wendy), & Yardbirds Fame (Tarantura2000)
Capricorn is missing the beginning 5 seconds of tape, missing another 5 seconds between Dazed and White Summer, and is also missing the last 32 seconds of Pat's Delight.
The no label title "Gonzaga 1968" is missing the first second of tape, another second from the beginning of White Summer, and is missing the last couple of seconds of Pat's Delight. The tape runs a bit slow. Most of the time it does sound better than Capricorn.
Empress Valley's title is more complete and is better sounding. It's music is noticeably louder and lacks the noisy hiss found in the background of the other titles. Some of the sound difference is surely due to equalization. It's certainly from a lower gen tape and claims to be from the master tape.
Empress Valley's re-release, "Revisited," is a slightly amplified version of their initial release.
Tarantura2000's title is lacking the same content of the ten year old Capricorn title.
Magic Bus's title starts out sounding poorer than the other titles but clears up after several seconds at a cut or splice. The sound again goes poor after Dazed briefly before it's cut three seconds too short. The sound goes poor for the last time, and for the longest time, several seconds after the cut in White Summer. The last five seconds of Pat's are missed, and also fades out.
Wendy's title is nowhere near complete, missing just as much tape as the twenty year old releases.
The no label title "Gonzaga University 1968," released in 2017, is nowhere near complete, missing just as much tape as the twenty year old releases. It was released at the same time as Wendy.
Live At the Whisky A Go-Go!!! (Empress Valley & Eelgrass)
Empress Valley debuted this show in late 2006. Eelgrass made a direct copy of Empress, and shares the same "micro cut/repeats" found in Babe and Lemon Song. EV reissued the title in 2009, using the same disc as before.
Fillmore West 19690111 (Wendy), Fresh Garbage (Scorpio), How Many More Years (Empress Valley), Whole Lotta For Your Love (Pirate Records), & Twinight (Immigrant)
(This tape, only containing “Train Kept A Rollin,” has been attributed to this date. Robert’s comment before the song seem to contradict the date.)
Twinight was the first release of the track. It has a lot of hiss in the background. Pirate’s title has louder music and far less background noise, but it’s missing the last couple seconds of tape (JP tuning). It is at least one or two tape generations better.
EV’s song is not from this show. It is actually a degenerated version of Train from April 25th, 1969.
Scorpio’s title is excellent quality and isn’t missing any tape.
Wendy’s title is also excellent.
East/West (Digger Productions), For Your Love (Silver Rarities & Empress Valley’s original and reissue), Fresh Garbage (Scorpio), Live Adventure At the Fillmore West (Wendy), Syonen Zep (Akashic), Whole Lotta For Your Love (Pirate Records)
Digger is incomplete since much of For Your Love is missing.
SIRA has the traditional cuts, unedited
These other titles are all quite similar. Akashic, Pirate, Wendy, and EV edited some of the cuts (removing stretches). Akashic and Wendy missed some tape on some edits. Wendy and EV repeat almost 10 seconds during How Many More Times. EV follows that repeat with another slight cut/repeat too. Wendy’s ending of Babe is actually complete, for the first time, adding about an extra second.
Scorpio sticks to the traditional cuts (not removing tape stretches, etc.) and includes the ending of Babe.
Akashic’s and Pirate have identical sound. Their music and background noise are louder than SIRA’s, but there is no tape generation difference. Wendy, EV, and Scorpio have been amplified significantly. SIRA runs a fraction slow but isn’t too noticeable.
EV’s reissue is the same audio as the original, on new cds, but with the same disc times.
Anybody Got a Les Paul? (Equinox), Birth of the Gods (Balboa), Fillmore West 19690111 (Wendy), Fresh Garbage (Scorpio), How Many More Years (Empress Valley), Pb+ (Wild Card), Psycho A Gogo! (Led Note), Streets of San Francisco (no label), Syonen Zep Zokango (Akashic), & Whole Lotta For Your Love (Pirate Records)
Balboa was the first release of this show when only four songs were available. Pirate's 3 song version came after the fifth song became available.
Akashic was the first title to release more tape of How Many More Times and provided Communication Breakdown. Wild Card is likely either a clone using the Akashic release or even more likely, a cd produced from the exact same tape that Akashic utilized. “P & C” are behind both releases.
Of the 5 song titles... Equinox and Led Note are both missing much of the introduction. Empress Valley and Scorpio have the most complete How Many More Times, offering an extra second of tape after the big cut.
Wendy’s title is edited at the cut during How Many More Times and is missing almost two seconds of tape. It is otherwise similar to latter releases of this show.
Akashic, Wild Card, Streets, Empress Valley, Scorpio, and Wendy all share one strange feature. The tape has a different band’s music underneath Led Zeppelin. It is most noticeable between songs. (Possibly, the master tape was either recorded directly over a tape that was previously used to record another band performing at the Fillmore.) These same titles are better sounding than the others and is likely due to a lower generation of tape.
Empress is the most amplified of all, then Wildcard, Akashic, and then Scorpio.
California '69 (Lemon Song), Fresh Garbage (Scorpio), Fourth Night (Empress Valley)
Lemon Song released their title in the late 1990's. More than ten years later, the show finally gets released again - first by Scorpio, then Empress Valley.
The titles differ at a few of the cuts but generally the two newer titles have slightly more tape surrounding those cuts. Scorpio has a brief unexplained problem in the left channel during You Shook Me. Overall, Empress is slightly more complete than the other two titles.
Scorpio has much more background noise/hiss than Lemon Song and it's music is quieter. It is probably from a higher generation tape. Empress Valley's title seems to be the same quality as Lemon Song, although they've chosen to amplify a bit.
Boston After Dark (Empress Valley), Boston Tea Party 1969 (Wendy), Boston Tea Party 1969 1st Night (no label), Complete Boston Tea Party (ARMS), & Sudden Attack Boston (Grand Lodge)
ARM debuted this show. It is musically complete and has the tape after Shook.
Empress Valley is missing Robert's final "Thank You" and has pasted a few seconds of tape at the end of the tape, from elsewhere in the show. It's tape has been amplified, making the music and background noise louder.
Grand Lodge's title debuts a much longer introduction - over thirty seconds extra. The last few seconds of Shook are missing and so is the fifteen seconds of tape that's supposed to follow. The metallic sound can be heard on this title too.
Wendy's title has their familiar metallic sound in the background. The last few seconds of Shook are missing and so is all the tape after the show.
The no label title contains the extra tape for the introduction, though clearly spliced in from a different copy of tape. It's ever so slightly metallic. The tape that follows is as complete as ARM. It's sound is louder than ARM.
There's no difference in
Boston Tea Party 1969 (Wendy), Fillmore East (Mud Dogs), Killing Floor (Cobra), Sudden Attack Boston (STTT and Grand Lodge), & Tight But Loose (Tarantura)
Cobra's introduction is a hair longer than the others.
Tarantura is missing the first dozen seconds and is missing 72 seconds of tape after Pat's Delight.
Shout To the Top's title has been amplified, making the music and background noise louder (a bit too loud).
Cobra and Tarantura have very similar sound.
Mud Dogs' title runs a little fast and is missing the 4 second introduction. It's cuts and sound are similar to Cobra and Tarantura.
Grand Lodge's content is almost identical to Cobra, with just a half second of the introduction missing. It's music and background noise are louder than Cobra.
Wendy's has cut out almost 50 seconds of White Summer. None of the other titles are cut there.
There's no difference in tape generation between the titles.
Drive Me Insane (Scorpio), East/West (Digger Productions), New York in the Wind (Empress Valley), & Psychedelic Raw Blues (Immigrant)
Immigrant has strange background sounds throughout, as if the tape copy was dirty or troubled. These problems are not on other titles.
The other titles are quite similar. They are certainly from a better tape generation than Immigrant, and are similar in sound.
Digger is a very excellent title, but lacks an introduction.
EV has introduction. They elected to edit the tape glitch that occurs half way into Dazed. A fairly significant problem introduced only by EV, is a strange sound appearing a couple of times half way through the song.
Scorpio also has an introduction. It even has a few extra seconds after the show that can't be found elsewhere. No problems with this title.
Drive Me Insane (Scorpio), Legendary Fillmore Tapes Vol.1 (Savege Beast Music) & New York in the Wind (Empress Valley)
These titles are very similar. Savege misses a few seconds after the show and seems to run a touch slow. EV and Scorpio have been amplified a little over Savege.
Absolutely Gems (Sanctuary), Canada 2-2-69 (Totanka), Complete Rock Pile Tapes (TCOLZ), & Rockpile Tapes (Badgeholders)
Totanka is missing Killing Floor but it still has 4 seconds of Train not found on any other title.
Sanctuary is missing four seconds of Train. Although it's Killing Floor has a cut before and after it, it does not seem to be from another known show.
Badgeholder's title is missing four seconds of Train. It has a bad edit in the beginning of Train and a very strange error near the 1:40 mark during I Can't Quit You.
TCOLZ is missing four seconds of Train. It is similar in content to Sanctuary.
Totanka and Badgeholders are similar in sound while Sanctuary's and TCOLZ's sound haven't been amplified as much.
Image Club (Rag Doll), Miami Image Club (Wendy), Reflections On My Mind (IQ), Roll Over Beethoven (Empress Valley), Thee Image Club (Empress Valley), We’re Unknown (Tarantura2000), & Yellow Zeppelin (Tarantura)
Rag Doll is missing a couple of seconds of tape after How Many More Times and runs a touch faster than the other titles.
Tarantura starts out their title by faking an introduction, taken from tape after You Shook Me. Most of the tape stretches and cuts have been edited on this title. There are a couple of seconds missing from Robert’s introduction to HMMT. The last two seconds of HMMT is missing, along with the few seconds of audience cheer. Eight seconds of tape were pasted at the end of the title.
Empress Valley has removed the tape stretches and has amplified their sound a bit.
Tarantura2000 starts out their title by faking an introduction, taken from tape after Babe. It misses the audience cheer after HMMT.
IQ has all the proper content. The brief bit of audience cheer after HMMT is not found elsewhere from the show. Immediately following that, is a brief snippet of Robert that may either be original or take from after Pat’s Delight.
EV’s Thee Image Club is a reissue of the audio from their first release of this show.
These titles are somewhat similar in sound.
Wendy’s title has removed the stretches and amplified the sound some.
BBC (LSD), Complete '69 BBC Classics (Immigrant), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Lost BBC Sessions (Led Note), Real Complete BBC Sessions: 1969 (Tarantura2000), Traveling Riverside Blues (Pageboys), & Winterland (Living Legend)
Living Legend's title is copied from vinyl, has a lot of hiss in the background, and is missing the couple of seconds of tape before the show.
Immigrant is missing the brief intro and the 1st note of the set as it fades in. It has too much background noise. The title is from tape.
Pageboys is missing the last couple of seconds of Dazed (reverberation). It is from tape.
Led Note, LSD, and Empress Valley are highly similar and are from tape.
Tarantura2000's title is amplified a bit and the beginning of Dazed is really overblown.
Final Rendez-Vous (Godfatherecords), Hampton Kicks (Elrond), Kicks (Tarantura), Missing Links (TDOLZ), Only Way To Fly (Masterpiece Premium), Stockholm (Kaleidoscopic), Super Session At Tivolis Koncertsal (Empress Valley), & Valkyrie's Vigil: Plays Gothic Blues (Tarantura2000)
TDOLZ's Missing Links has a digital glitch in the beginning of I Gotta Move. The glitch is not on the other titles. It's sound is very clear and doesn't have any hiss.
Elrond has a big drop on Dazed and Confused that is not found on the other titles. It's sound is similar to Missing Links.
Tarantura runs a little fast and has been amplified, bringing up the background noise with the music. Kaleidoscopic has also been amplified, bringing up the background noise with the music. It misses the last three seconds of the last track.
Tarantura2000's title doesn't contain some of the problems found on the others. It's sound has been amplified. (The last half of the title isn't from this show. It is from April 25th 1969, but is not noted.)
Empress Valley uses the soundboard as it's primary source, filling in the gaps with the audience tape. In the mixing process, about fifteen seconds of soundboard is displaced with audience tape. The audience tape is a dirty copy, containing another band's music in the background of the left channel.
Godfather's title (soundboard) includes the DJ before and after the show. It starts out with two extra guitar notes not found on the other titles. The last second of HMMT is missed due to the DJ.
Masterpiece's title is similar in content and sound to most of the soundboard titles.
The no label title is highly similar to the other soundboard releases, and misses those first two guitar notes too.
Rock of Ages (TDOLZ) & Stockholm 1969 (no label)
TDOLZ's Rock of Ages debuted the audience tape, but it runs very slow.
The no label title has the same content as TDOLZ, but runs at the proper speed. It's been amplified only a touch louder than TDOLZ.
3-15-69 Afternoon Show
Denmark 15th March 1969 (no label), Led Zeppelin is a Gas (Empress Valley), Led Zeppelin is a Gas Revisited (Empress Valley), Rock of Ages (TDOLZ), & Short Cuts (IQ)
IQ is missing 9 seconds of the introduction. Both IQ and TDOLZ have a small drop in sound for about 15 seconds during Quit. This drop isn't found on Empress Valley, but EV's As Long has a very brief drop that isn't found on the other titles. IQ has a slight cut/repeat after You Shook Me. TDOLZ's Communication Breakdown has an unfortunate cut and repeat just after the first minute.
IQ's tape seems to be a higher generation than the other titles. EV's music and background noise are both a little louder than TDOLZ.
EV's "Revisited" title reissues the audio from the original release.
The no label title is complete and doesn't have any extra dropouts during the music. There are some minor sound fluctuations after the show. It's sound is most similar to TDOLZ.
3-15-69 Evening Show
Denmark '69 (Deep), Denmark 15th March 1969 (no label), Jimmy Page Blues Band (Tarantura2000), Led Zeppelin is a Gas (Empress Valley), Led Zeppelin is a Gas Revisited (Empress Valley), & Rock of Ages (TDOLZ)
These tapes are virtually identical. Tarantura2000's title title has been amplified the most, then EV and the no label title, then TDOLZ.
EV's "Revisited" title reissues the audio from the original release.
3-17-69 Danish TV
Danish TV (Cobra & Flying Disc), Danish TV & Studio Sessions (Watchtower 1st & 2nd editions), & Denmark '69 (Deep)
Cobra & Flying Disc are mostly similar with slight differences in speed and equalization.
Deep's title has a few drops and lots of static.
Watchtower's title is a substantial upgrade from the other titles listed. The vocals and instruments are much clearer and the background noise is much less. It's probably 2 tape generations better than the rest. Watchtower's second edition reissues the same disc but changes the artwork a little.
Anybody Got a Les Paul? (Equinox), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Motor City Daze (Antrabata), Ottawa Sunshine (Elrond), Real Complete BBC Sessions: 1969 (Tarantura2000), Streets of San Francisco (no label), & Sunshine Woman (Flagge)
Antrabata only contains Sunshine Woman.
Elrond is missing most of the Alexis Korner's commentary and is also missing What Is and What Should Never Be. It isn't as clear as the other titles.
Equinox's tape has been amplified considerably.
Tarantura2000's title doesn't attribute What Is and What Should Never Be to this date, but it's included here for now. That track and the others have been amplified a bit.
There are some subtle differences between tape quality in the longer releases, but overall they're about the same quality.
Blighty (Tarantura2000), Decree of Love (Wendy), & Newcastle 1969 Plus (Graf Zeppelin)
These titles are almost identical.
Black Beauty (Wendy), Blues Anytime (Empress Valley), Conquering California (Dinopower Records), Cracker Jack Blues (Jelly Roll), Dancing Avocado (Godfatherecords), Fillmore West (LSD), Fillmore West '69 (Scorpio), Fillmore West 4.24.69 (no label), Go West Young Man! (Scorpio), Listen To the Difference (Empress Valley), & Psychedelic Raw Blues (Immigrant)
Scorpio's Fillmore West '69 and Immigrant are both missing 40 seconds of the introduction. Dinopower is missing the entire introduction. Immigrant and Dino both have a 2 second gap early in White Summer that isn't found on the other releases. Scorpio's Fillmore West '69, Immigrant, and Dino are cut near 3 minutes into White Summer, missing 11 seconds of music. A total of 38 seconds have been removed from Immigrant's titles in the area of the speed up during White Summer. Immigrant and Dino are the only titles to have a dropout two minutes into Pat's Delight. Dino has a dropout in As Long As I Have You not found on the other titles. It's also missing the last 7 seconds of tape after Pat's Delight.
LSD and Jelly Roll are both highly similar and complete.
Empress Valley's "Blues Anytime" replaced the tape stretch in White Summer with what seems to be tape from a different show. The tape gap in the beginning of Babe is completed here using the Danish TV show.
Empress Valley's "Listen To the Difference" is entirely from the stated show this time. It's introduction begins with a few seconds not found on prior releases.
Wendy's title is most similar to the second EV release, although they've spliced in a different show in place of the speed problem during White Summer.
Scorpio's Go West title has about fifteen seconds more of the introduction than any of the above releases. There's a cut/glitch in As Long that's not found on the other titles. White Summer's tape stretch has been displaced with tape from another show.
Godfather's title has the longest introduction, offering another 13 seconds of tape. The tape stretch in White Summer has evidently been displaced with tape from another show.
The no label title is pretty similar to Godfather and some of the others by splicing in a different show for White Summer.
There doesn't seem to be any difference in tape generation between the titles. There are differences in amplification. Immigrant, Empress Valley (both titles), Dinopower, and Wendy are the loudest.
California '69 (Lemon Song), Good Old Led Zeppelin: Train Kept A Rollin' (Tarantura2000), Grande Ball (Missing Link), How Many More Years (Empress Valley), Valkyrie's Vigil: Plays Gothic Blues (Tarantura2000), & Winterland Ballroom 1969 Day 1 (no label)
Missing Link is missing the brief introduction and one second at the cut during As Long As I Have You.
Lemon Song is missing a few seconds after Train.
Empress Valley doesn't have the deficiencies found on Lemon Song and Missing Link. Their tape has been amplified some over Lemon Song, but has not been overdone.
Tarantura2000 released this show originally in the "Good Old" box and then released three months later in the "Valkyrie" box. The first release doesn't have the deficiencies found on Lemon Song and Missing Link. It's sound is less amplified than EV. Their second release is a downgrade, missing the opening second of the introduction and placing a micro cut/repeat in the beginning of Train. This time the sound has been amplified a little more. There are no liner notes on the box identifying this show.
Missing Link's title is from a higher generation of tape.
The no label title is highly similar to EV, lacking any problems.
Avocado Club (Empress Valley), Good Old Led Zeppelin: You Shook Me (Tarantura2000), Graham's Superb Vol 1 (IQ), Lead Set: Psychedelic Ballroom (Tarantura), Live At Winterland Ballroom (Empress Valley), Psychedelic Explosion (TDOLZ), Smokestack Lightning (Black Swan), & Winterland Ballroom 1969 Day 2 (no label)
Black Swan's recording is VERY unbalanced.
TDOLZ is missing most of the tape before the show. It has an extra tape problem in Dazed and Confused, has about 3 seconds of some foreign music before HMMT, misses almost one minute of guitar tune up before White Summer, and has a cut in Babe that eliminates 6 seconds. There are also a couple of extra cuts between songs, missing some of Robert's comments. The title runs a little slow and has too much background noise.
IQ is properly balanced, much more complete than TDOLZ, and far better sounding.
EV and Tarantura are very similar to each other and only lack a split second of tape. (EV does have a glitch during the end of Killing Floor that's not found on other titles.) Their music and background noise are little louder than IQ - just amplified, probably no gen difference.
Tarantura2000's title is similar to EV, except for the unexplained splice during the first minute Pat's Delight. The extra dozen seconds are surely from some other night. The title's background sound seems a little suppressed.
EV's Live At Winterland Ballroom is a reissue Avocado Club's first two discs.
The no label title is missing three minutes of non-music tape. It's been amplified some.
Avocado Club (Empress Valley), Fillmore West 1969 Final (no label), Graham's Superb Vol 2 (IQ), & Lead Set: Sitting & Thinking (Tarantura)
IQ starts out by missing part of Robert's "Good Evening" from before the show. The cut after Shook is missing 17 seconds of Robert's commentary and instrument tune-up. Communication Breakdown and White Summer/Black Mountain Side are out of sequence. Tarantura is missing 17 seconds of HMMT, near the end of the song. The songs are properly sequenced. The sound level of the music between IQ and Tarantura are very similar. However, Tarantura has too much background noise.
EV isn't missing the piece of tape like the other two titles. However, the usual cuts are there. EV's music and background noise are louder that IQ - just amplified, probably no gen difference.
The no label title splices out to a different generation of tape for forty seconds after Quit for some unknown reason. There's a really bad brief noise halfway during As Long that's certainly not on the other audience releases of this show. About a dozen seconds are missing after HMMT. It's sound is similar to EV.
American Beauty (Tarantura), Fillmore West (LSD), Fillmore West 1969 Final (no label), Fillmore West 1969 Off Reels (Idol Mind Productions), San Francisco 27/04/69 Vol. 1&2 (Kaleidoscopic), & Simplistic Atmosphere (Jelly Roll)
Most of these titles have similar cuts.
Tarantura is missing Pat's Delight. Kaleidoscopic is missing almost 6.5 minutes of the song.
LSD is the only title that has the songs on the second set in the proper order. Both LSD and JR are cut before Dazed and Confused. The few seconds of tape before this cut on LSD are from after Communication Breakdown. IMP's title buries an extra second of the opening in the fade in. It's cut in Lemon Song misses a second. The cut after Babe misses 15 seconds. Ten seconds after the show are missing.
Jelly Roll is slightly more complete between songs than the other "soundboard only" releases.
The no label release's first disc ends by leading into Communication Breakdown for a couple dozen seconds, although the doesn't appear again until the end of the second disc. It's missing 11 seconds of tape after Dazed.
Jelly Roll's tape has been slightly amplified. It's music and background noise are slightly louder than LSD's. Tarantura's sound is very poor and has way too much background noise. IMP's sound has been amplified a lot. The no label title's sound is similar to Jelly Roll.
4-27-69 soundboard/audience mixes
Avocado Club (Empress Valley), Blue Flame (Bumble Bee), Collage (TDOLZ), Fillmore West 1969 Final (no label), Go West Young Man! (Scorpio), Live At Fillmore West (Empress Valley), Sleeping Beauty (Wendy), & Twinight (Immigrant)
These titles fill the soundboard gaps with the audience recording.
Immigrant's title has very poor sound with way too much background noise. The second set begins with Train from Jan 9th. The audience tape is only used for White Summer/Black Mountain Side.
Wendy displaces too much of the soundboard, even during the end of one of the songs. The audience used after You Shook Me is full of "clicking" sounds.
TDOLZ's title seems to use the audience for each gap. Some tape is missing after Dazed.
Bumble Bee's introduction starts out with the "metallic" sound and when it finally switches the soundboard for Train, they use a super long overlapping edit (35+ seconds) between the two tapes. They continue to displace and miss the soundboard throughout the title. There are a couple of strange spots where the soundboard quality is oddly poor. They may have been tampering with the eq or overlapping the audience tape.
Scorpio's start to the title is much like Bumble Bee's, using a super long overlapping splice, displacing the soundboard. The other splices usually only displace a brief second or three of the soundboard.
EV's Live At Fillmore West is a reissue Avocado Club's last two discs.
The no label title is similar to most mixes, not making an effort to preserve all available soundboard and often displacing it with the filler tape. Some of the audience tape sounds a bit metallic.
Anybody Got a Les Paul? (Equinox), Decree of Love (Wendy), Miami Image Club (Wendy), Newcastle 1969 Plus (Graf Zeppelin), Red Snapper Deluxe (Balboa), Whole Lotta For Your Love (Pirate Records), & Whole Lotta Love (Tarantura)
Equinox's title is far louder than the other titles but it seems to be due to some digital "enhancements." A good spot to listen for evidence of tampering is in the area of 3:35.
The Balboa starts off with a couple extra seconds of tape but then cuts before going into the song. There is a bumping sound in the beginning that seems to be more prominent on this title than the others. Other than the very minor bumping sound, Balboa has excellent sound.
Tarantura runs little faster than the other versions but is similar in sound to Balboa.
Pirate is missing the first two seconds. It's sound is similar to Balboa but runs a little faster.
Wendy's Decree title runs at the proper speed and doesn't have any of the other minor problems.
Graf's title is pretty much identical to Wendy.
Wendy's Miami title runs faster than their prior title.
Complete Boston Tea Party (ARMS), Legendary Boston Tea Party Tapes Vol,1 (Empress Valley), Masters of Excess (The Symbols), Pat's Delight (Tecumseh), & Praise Ye the Lord (Tarantura2000)
Masters of Excess is VERY unbalanced for almost the first half of the recording.
ARMS is balanced properly and has an additional 15-20 seconds of tape after the show.
Tecumseh runs too fast and has a tape stretch in the beginning of You Shook Me that isn't found on the other titles.
Empress Valley is similar to ARMS. It starts off with a split second of extra tape but lacks the last 23 seconds of tape.
Tarantura2000 starts off with the extra split second of tape but ends without any tape after the show. Something has been done to suppress the background noise, most notably between songs, which makes the sound strange. Heavily amplified.
Drive Me Insane (Scorpio), Early Days, Latter Days (no label) & Legendary Fillmore Tapes Volume 2 (Savage Beast)
Savage Beast's title runs too fast. Communication Breakdown runs incredibly fast.
Although EDLD runs close to the proper speed, it's Communication Breakdown runs a little fast.
Scorpio's title has an unnecessary glitch in How Many More Time. It is otherwise identical to EDLD.
BBC (LSD), Complete '69 BBC Classics (Immigrant), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Lost BBC Sessions (Led Note), Real Complete BBC Sessions: 1969 (Tarantura2000), & Secret History of Led Zeppelin (Scorpio)
Immigrant's title isn't quite as good as the others compared. It's missing a few seconds before Communication Breakdown and has tape problems while the song is ending. The last 3 seconds of Something Else are missing too. The interview seems to be amplified a little while the songs are not.
Empress Valley's title debuts thirty seconds of tape before Communication Breakdown that are not on any of the older titles.
Tarantura2000's title has the extra thirty seconds found on EV, plus it has another nine seconds preceding them. It's amplified a bit more than EV.
Blighty (Tarantura2000), Decree of Love (Wendy), & Newcastle 1969 Plus (Graf Zeppelin)
These titles are similar in audio content and tape generation, but Tarantura2000's sound is very poor. It has been highly altered to suppress sound. The results are poor.
BBC (LSD), Complete '69 BBC Classics (Immigrant), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Lost BBC Sessions (Led Note), Real Complete BBC Sessions: 1969 (Tarantura2000), Traveling Riverside Blues (Pageboys), & Winterland (Living Legend)
Living Legend is from vinyl, is missing tape before the show, and is missing the last 4 seconds of Traveling Riverside Blues.
Immigrant is missing several seconds of tape before the set. There are tape problems during the end of What Is and What Should Never Be. Traveling Riverside Blues has a few glitches. It is from tape and has excellent sound.
Pageboys is missing the tape between songs and is also missing the end of Whole Lotta Love. It is from tape.
LSD is missing Traveling Riverside Blues.
Empress Valley's title is highly similar to Led Note.
Tarantura2000's title has removed one of the Chris Grant comments for some reason, and has done something very odd with the sound during the end of What, the beginning of Travelling, and the end of Travelling too. Very strange. The show is followed by a one minute interview between Chris and Jimmy.
6-27-69 BBC Rock Hour
BBC (LSD), BBC Rock Hour (Bumble Bee), BBC Sessions (LSD), BBC Transcription Service (no label), Complete '69 BBC Classics (Immigrant), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Led One-Hour Radio Special (Boleskine), Real Complete BBC Sessions: 1969 (Tarantura2000), Rock Hour (Antrabata), & White Summer (Swingin' Pig)
There are two types of releases for this date. The first is almost entirely music. The second is the actual broadcast version that includes interview and commercials/comedy sketch.
LSD's "BBC" (4cd), Swingin' Pig, and Immigrant contain the first type. The music on LSD and Swingin' Pig are much louder than the broadcast versions. Immigrant's music and background noise are not as loud as the broadcast titles. These releases do not have the three glitches in the early part of Dazed and White Summer is complete.
With the exception of Bumble Bee's title, the releases mentioned here for the broadcast version all contain tape glitches in Dazed and are missing 16 seconds of White Summer. Bumble Bee is the first broadcast release not to have these flaws.
The BBC Transcription Service title seems to be a direct copy of Antrabata.
The regular broadcast versions are all similar in sound and non musical content.
Boleskine's title is a relatively recent rebroadcast of the original, minus the sketch, with an extra introduction and exit by another DJ. It's highly amplified.
Tarantura2000 tweaked the sound in bad ways on this title. The efforts to suppress the background noise have made it so unnatural that it stands out much worse in comparison to the original sound. It's not just the background being damaged, as it affects the music as well to varying degrees. It's really bad just twenty-five seconds into Quit, essentially creating glitches. It's at it's worst during the entirety of White Summer. And if that's not bad enough, there's a distinct "ping" sound in the right channel near 1:07 in Communication Breakdown, and another one during Dazed near 9:17. There are likely others too. Don't expect a replacement disc. These are not unintentional flaws, it's the way T2K wanted collectors to hear it. This isn't uncommon for this label.
7-6-69, sources 1, 2, & 3
Jazz (no label), Jazz But Rock (Tarantura2000), Live At the Newport Jazz Festival (Empress Valley), New Port ‘69 (Black Swan), Newport Jazz Festival 1969 (Graf Zeppelin 2009 & 2016), & Tales From ’69 (Tarantura)
Black Swan comes from the first tape source and runs a little fast. It doesn’t capture all of Communication Breakdown or any of Long Tall Sally.
Tarantura2000’s title is a two source mix, relying on source one as it’s foundation and source two for the gaps. Source two is used for the introduction, the completion of Communication Breakdown, and Long Tall Sally. Sound suppression starts during the introduction. It becomes very heavy during source one and continues throughout the remainder of the source tape. The tampering is constantly evident and is most noticeable between tracks during clapping and quite moments (sounding metallic).
Graf’s 2009 title (one disc) is also a two source mix, using the first two sources. It’s primary tape is the first source. It’s sound is typical quality.
Graf’s 2016 title (two discs) repeats the 2009 title for it’s first disc. It’s second disc is strictly source two and doesn’t have any errors.
Jazz, Tarantura, and EV come from the second source and have the full show. Jazz has a digital glitch in the introduction, a drop in Dazed, and a digital glitch in You Shook Me. None of those problems are present on Tarantura or EV. Most titles are cut after Shook, but Tarantura is missing 29 seconds of tape & Robert talking. Empress has a slight cut/repeat as Robert introduces himself during How Many More Times. Tarantura runs too fast, has less tape after the show, and doesn’t seem to be quite as clear as the other two titles. Jazz and EV have similar sound in music and background noise.
Masterport debuts the third tape and has been degenerated with the “metallic” sound. It only has the first three songs but Dazed isn’t complete.
Cleveland 1969 (TDOLZ) & The Destroyer 1969 (Tarantura)
There are a couple of dropouts on TDOLZ that were edited on Tarantura to remove the silent gap created. Both titles have small drops and dips in sound in various places, mostly the same. They both have hiss in the background. TDOLZ amplified the tape and therefore has louder music and background noise. Tarantura has more lower end frequencies.
Complete Central Park (Sanctuary), Live At Central Park (Empress Valley), Schaefer Music Festival (Rock Calender & Graf Zeppelin), Twist (no label), & Woody Woodrocker Show (Tarantura2000)
Rock Calender is missing too much of Train and doesn't sound as good as Twist. Twist does not sound as good as Sanctuary. Sanctuary sounds great and has a little more tape than RC and Twist. It has a brief sound change during the beginning of How Many More Times.
Tarantura2000 doesn't have the sound change during How Many More Times, but is preceded by a cut/repeat instead. They've censored the tape after the show, removing the taper's comments. It's sound hasn't been equalized as high as Sanctuary.
Empress Valley's title seems to be sourced from the same tape copy as Tarantura2000. They both have a couple extra split seconds of tape not found on older titles. They both have a new tape problem just before Sanctuary's problem during HMMT, but don't have the sound change experienced on Sanctuary (It's less annoying than the problem found on Sanctuary's title). EV didn't edit the tape trouble with a cut/repeat like Tarantura2000, but they do cut out the taper's comments after the show. EV's tape isn't amplified as high as Sanctuary.
Graf Zeppelin's title is the most complete version yet. It has the extra tape found on EV and T2K, yet it is not censored after the show. It has all known tape. The sound is similar to Sanctuary.
I've Got You Under My Skin (Tarantura2000, original and reissue), Midwest Rock Festival (Graf Zeppelin), State Fair (Digger Productions), & Stroll On (TDOLZ)
Digger is missing most of the introduction, a dozen seconds after Dazed, and five seconds after How Many More Times. The title runs just a hair faster than it should.
TDOLZ misses Robert saying "say good night" at the beginning of How Many More Times. Their tape has been amplified a fair bit.
Graf's title is similar in content to TDOLZ, but still misses "say" from the beginning of How Many More Times. It's sound is similar to TDOLZ.
Tarantura2000 has all of the known tape and has similar sound to Graf and TDOLZ.
Tarantuar2000's reissue uses the same disc as the original.
Get High Be Free (Tarantura2000, original and reissue), Live At Central Park (Empress Valley), & Summer of '69 (Rubber Dubber)
Rubber Dubber is missing several seconds of tape and is over amplified. Empress Valley and Tarantura2000 are complete. EV isn't amplified as much as the other two.
Tarantuar2000's reissue uses the same disc as the original.
Miami Image Club (Wendy), Red Snapper Deluxe (Balboa), & Tales From ‘69 (Tarantura)
Wendy has ten extra seconds of tape after Quit than the other titles and runs a touch faster. Tarantura created a false introduction and amplified their tape some. There seems to be no difference in tape generation between these titles, just a difference in equalization.
8-18-69 First Show
Absolutely Gems (Sanctuary), Complete Rock Pile Tapes (TCOLZ), Complete Rockpile Shows (The Symbols), & Rockpile Tapes (Badgeholders)
These titles are similar in content. The Symbols has an instance of digital interference during Dazed. Badgeholders has the familiar metallic sound, ranging from little to very heavy at times.
8-18-69 Second Show, sources 1 & 2
Absolutely Gems (Sanctuary), Complete Rock Pile Tapes (TCOLZ), Complete Rockpile Shows (The Symbols), & Rockpile Tapes (Badgeholders)
TCOLZ's third and fourth discs and the other titles are from the first source and are almost completely identical. The Symbol's title doesn't sound as good as the others. Sanctuary and Badgeholders have amplified their sound quite a bit.
TCOLZ's fifth disc debuts the second source.
8-31-69 soundboard and mixes
Don't Mess With Texas (Oh Boy), Ladies and Gentlemen (Empress Valley), Only Way To Fly (Empress Valley, 2cd), Plays Pure Blues (Whoopy Cat reissue), Texas Blues (Godfatherecords), & Texas International Pop Festival (EV, LSD, Oh Boy, TCOLZ, & no label)
The only difference between the Oh Boy titles is the artwork.
The difference between Oh Boy and LSD is LSD's slightly amplified sound.
The Whoppy Cat reissue has the same quality and content as the other single source titles.
Empress Valley's liner notes for "Only Way To Fly" refer to disc two being from "the original mixing desk recording." It is not the original recording, because it includes another "original recording" as well, making it a two source mixture. Almost the entire first minute is not from the board (never been available from board), but from the first audience tape. The disc is mostly from the "board," but it also includes more of the audience recording to fill actual/true/real gaps. EV's sound is slightly better than previous titles from the board. It may or may not be due to a better generation of tape.
Empress Valley's release titled "Texas International Pop Festival" is a two source mix, using the first audience tape to fill gaps in the board.
Godfather's title is another mix, using the soundboard as the primary tape and the first audience tape as the filler. How Many More Times and Communication Breakdown have sections of digital clicks.
TCOLZ's fourth disc is strictly from the soundboard. It's virtually identical to Oh Boy and LSD.
EV's second disc of Ladies and Gentlemen reissues the audio from their dvd-a release.
The no label title releases the soundboard. Unlike the others, it has a minor cut after HMMT and misses a second. It's otherwise pretty similar to the other sb only releases.
8-31-69 audience source 1
Ladies and Gentlemen (Empress Valley), Only Way To Fly (Empress Valley, 2cd), Plays Pure Bob (Tarantura), & Texas International Pop Festival (TCOLZ, 4cd)
Tarantura and TCOLZ’s disc one are strictly from the first audience source and are highly similar.
Empress Valley’s liner notes refer to disc one being from “the original reel to reel recording from the photographer’s pit (audience).” It is not the original recording of the first audience source, because it includes another “original recording” as well, making it a two source mixture. The soundboard is used to fill in a musical gap in How Many More Times. EV’s music and background noise are slightly louder than Tarantura’s. It isn’t likely due to a difference in tape generation.
EV’s first disc of Ladies and Gentlemen reissues the audio from their original release.
8-31-69 audience sources 2 & 3
Led Zeppelin Eyes Big Crowd (Tarantura2000), & Texas International Pop Festival (TCOLZ, 4cd)
Tarantura2000's title debuts the second audience source. It unfortunately has several micro cut/repeats throughout.
TCOLZ's disc two is from the second audience source. It does not have the micro cut/repeats found in Tarantura2000. However, TCOLZ has a different situation surround three of them. There's a little squeak that can be hear from one channel to the next. It's very silent, but it can't be denied. Still, it's much better than the annoying micro cut/repeats. TCOLZ's sound is similar to Tarantura2000's, but not as amplified.
TCOLZ's disc three is the only release of the third audience source.
10-10-69, emcee/deejay included
Ain't No Fool (Black Dog Rekords, BDR-003), L'Olympia (Godfatherecords), Olympia 1969 (no label), One Night Stand In Paris (TCOLZ, 2cd), Paris Olympia 1969 (Wendy), & Paris Par Excellence (Empress Valley)
Wendy, Empress, and the no label titles were released almost simultaneously and are almost identical in content. Wendy, Empress Valley, and Black Dog Rekords have evidence of a slight cut after Quit. EV and Black Dog Rekords have greatly amplified the recording, the "no label" version is slightly less, and Wendy mostly left it alone.
TCOLZ's second disc is pretty much identical to the other emcee versions. It's not over-amplified.
10-10-69, emcee/deejay excluded
Ain't No Fool (Black Dog Rekords, BDR-002), Good Times Bad Times (Scorpio), L'Olympia (Godfatherecords), Olympia 1969 (no label original and reissue), One Night Stand In Paris (TCOLZ, 2cd), & Valkyrie's Vigil: In the Act of Invoking the Spirit (Tarantura2000)
Black Dog Rekords's first release (BDR-002) and Godfatherecord's titles have removed (chopped out) the French emcee and the underlying music. In the process, a few extra seconds were removed too. BDR has significantly amplified the tape.
Scorpio replaced the emcee with music from a different show.
TCOLZ's first disc does not contain any emcee commentary. It's the pre-broadcast tape.
"Olympia 1969" and Tarantura2000 are also from the pre-broadcast tape and don't contain emcee commentary. The no label "Olympia 1969" was reissued using the same content as their original release from twenty months earlier.
Ballroom Blitz (World Production of Compact Music), Good Times Bad Times (Scorpio), Lyceum (Cobra), Lyceum Preview (Immigrant), Triumphant UK Return (Empress Valley), & UK 10-12-69 (Totanka)
Immigrant's title is from vinyl, has poor sound, and may run a little fast. The four tape stretches and unique background noises near the taper have been completely removed. Audience cheering has been pasted in a couple of places, including after the end of How Many More Times.
Ballroom Blitz is similar to Immigrant's title. It has the same edits but is better sounding. Still, the sound has been amplified too much.
Cobra's version is from an unedited tape and has excellent sound.
Totanka runs a little slow.
Empress Valley's tape is almost identical to Cobra, but has some exceptions. It has 2 cut and repeats during What Is and What Should Never Be. (The second one is barley noticeable.) There's no fade out at the end of the tape. It's music and background noise are a tiny hair louder than Cobra (no tape gen difference).
Scorpio's title is highly similar to Cobra.
Buffalo Sixtynine (New Plastic Records, 1cd), Headliner (Magnificent Disc, 1cd), & When a Glass was Thrown (Tarantura2000, original & reissue)
The two single cd titles have problems with the right channel after Dazed, continuing through White Summer. Both are missing What and Moby. HMMT is cut short on all titles and includes a very long fade out.
NPR's title runs too fast. Mag Disc's title runs at the proper speed, but has a metallic sound throughout the title. It is especially noticeable during How Many More Times. This title could have been copied from NPR and then edited.
Tarantura2000's title offers the two extra songs and has a few extra seconds in the introduction. It's Dazed is cut (missing almost two seconds) and later has a brief spot of static - these problems are not found on the two prior releases of this show. It's White Summer isn't cut and includes two seconds that were missing from the prior releases. This "uncut" area is immediately followed by a micro cut/repeat that isn't found on the earlier titles. Tarantura2000's title runs at the proper speed, doesn't have any metallic sounds within it, and doesn't have channel problems.
Tarantura2000's reissue uses original discs left over from the first release.
Beast of Toronto (Immigrant) & Listen To My Bluebird (IQ)
These titles share the same cuts and sound. IQ has 5 seconds more tape after the show.
Birth of the Gods (Elrond), Centralien (Wendy), Miami Image Club (Wendy), & Tales From ’69 (Tarantura)
Elrond runs slow and is a little muffled in places.
Tarantura runs at the proper speed, has much clearer sound, but has a major tape problem during Heartbreaker. The tape problem shouldn’t be there and seems to be a mistake by the person mastering the copy.
Wendy’s Centralian runs at the proper speed and clearer than Balboa too. It has a little tape before the show unlike the others, misses a split second after Quit, has a few extra seconds after Heartbreaker, debuts a half second of the first note of Dazed, then misses the last half second of HMMT.
Wendy’s Miami is almost identical to Centralien.
11-6-69, source 1
Blow Up (Immigrant), End of '69 (Whole Lotta Live), Final Winterland (TCOLZ), Punk (Tarantura), & Room 2/3 (IQ)
Blow Up's sound is really inferior and it's How Many More Times may not completely be from this show. End of '69 is a copy of Tarantura's "Punk" and both are very unbalanced and seem to run a little slow. IQ is better sounding than these others. These four titles all have a tape problem that starts after Dazed and lasts for most of the remainder of the show, and are all missing about three minutes of Moby Dick.
TCOLZ doesn't have the long tape problem, has all of Moby, and is better sounding than the other titles. It may be one generation closer to the master.
11-6-69, source 2 and mixes
Final Winterland (TCOLZ), Good Old Led Zeppelin: Something Else (Tarantura2000), & Winterland Party (Wendy)
TCOLZ is strictly source two.
Wendy debuts source two on silver disc. The second source is the foundation of this title, but no effort was made to use as much of it as possible. "What Is…" comes from source one. Some extra source one is mixed in between songs. No metallic sound on this release. (Please see Wendy under the label list for further comments about this title and their other releases.)
Tarantura2000's title is also a two source mix, relying on source two as the primary tape. Source one is used in a few spots between songs and also for "What Is…" Not all of source two was used.
Final Winterland (TCOLZ), Good Old Led Zeppelin: Heartbreaker (Tarantura2000), Room 2/3 (IQ), Winter of Our Content (Missing Link)
These titles are very similar, with the exception being IQ's beginning of White Summer. It contains some digital problems.
TCOLZ isn't as amplified as much as the others and is slightly more complete.
Centralian (Wendy, 2cd), Chatenay-Malabry 1969 (no label, 4cd), Final Rendez-Vous (Godfatherecords), Les Rendez-vous de Paris (Empress Valley, 2cd), LZ Au Gala De L'Ecole (Graf Zeppelin, 4cd), No Cancellation! (Akashic), Seconds After Catching Fire (Tarantura2000), & This is Jimmy (Boleskine)
All of these titles are highly similar in content. Some adjust for the brief dip in Communication Breakdown. Almost all amplify the sound and share some degrees of the “metallic” sound in the background.
EV and Wendy are pretty similar in sound, with EV’s being amplified a little more. Neither of these sound as good as the two four cd titles.
Chatenay-Malabry calls their discs 3 and 4 the “original master,” but there’s little difference between it and their first two cds. The first two discs are the “remaster” and are amplified a little louder than the “original master.” The “original master” is the least loud set of all the releases. It has the same sounds in the background as the rest.
Graf’s title labels their discs as remasters one and two. The second remaster is amplified a little more than the first.
Godfather’s title isn’t amplified as much as the others. The louder clapping after songs has been suppressed.
Akashic, Boleskine, and Taratura2000 are all highly amplified, have the same background sound as the other, and don’t offer anything not previously found on the other titles.
A Day Before the Hoochie Coochie Man's B'Day (Tarantura2000), Bristol Stomp (no label), & Out of the Bristol Tale (TCOLZ)
Stomp has several problems. It misses the first four seconds of We're Gonna Groove, has troubles during Dazed, is cut in the beginning of Since, has a tape glitch during How Many More Times, and runs too fast.
TCOLZ and Tarantura2000 don't have the same issues as Stomp and may possibly be from a lower generation tape.
1-9-70, titles released before the official video
Historical Birthday (Shout To the Top), Jimmy’s Birthday Party - The Royal Dragon (Tarantura, 2cd), Royal Albert Hall 1970 (Celebration), Royal Albert Hall (Red Robin), & Strange Tales From the Road (8cd, no label)
STTT’s title doesn’t sound as good as these other two titles. It and Tarantura are missing most of the little time before the show. Tarantura added audience cheer to the beginning of the tape. Communication Breakdown has a small glitch in the beginning and has removed the cut/stretch after the song. At each cut, Tarantura has pasted in extra audience cheer in a effort to conceal the cuts. They also added 9 seconds of audience on the end of the tape.
Tarantura’s music and background noise are louder than Red Robin. There’s no gen difference, it was just amplified.
Tarantura’s 2nd disc is the soundtrack from the video.
Strange Tales’ version has a song out of sequence and is missing half a second at the first cut in WLL. It’s sound is excellent.
Celebration’s title is a mix between the soundboard and the video soundtrack, offering more music than the other single disc titles.
1-9-70, titles released after the official video
Jimmy's Birthday Party (Empress Valley titles, 4cd), Let's Get Together (Moonchild), Live At Royal Albert Hall (Empress Valley, 4cd), Royal Albert Hall 1970 (Wendy & 2015 no label), & Royal Albert Hall: The Initial Tapes (Godfatherecords)
EV's "Live At Royal Albert Hall" title's biggest contribution is that it debuts an almost four minute fragment of Heartbreaker. The first two cds attempt to reconstruct the show. It uses parts of the old familiar boot tape audio, excellent quality tape for the official release, and some audience tape not made available anywhere else. The old pro tape is used mostly between songs and during HMMT. For some reason, they only used the first two minutes of Heartbreaker instead of the four minutes they debuted on the last two cds in the title. There are other, lesser, flaws here not found on EV's other two cds as well.
EV's last two cds are an edited version of the show and is excellent quality the whole way through. It doesn't seem to have any special mastering.
EV's "Jimmy's Birthday Party" reissues "Live At Royal Albert Hall," using the same discs, but different packaging and name.
EV's December 2011 jewel case reissue uses the same audio and disc times as the original. The matrix line is different and so is the color of the discs.
Godfather seems to be an edited version of EV's cds 3 & 4. They've added a silly edit/effect to the end of the Heartbreaker fragment, moved Bring It On Home, and have amplified the sound a fair amount. The first half of the first disc has some noise in the background (similar to the annoying "metallic" sound) but can only be heard during quite moments.
Wendy's title is a mix similar to EV's first two cds, but is more complete since they use all of Heartbreaker. It pieces together bits of new and old tape pro tape along with an audience tape. Some of those pieces are much better sounding here than found on EV.
The no label title from 2015 has five discs. The first two discs are from the newer multitrack recording and, other than track sequence, is highly similar to EV. It does include Robert introducing HMMT before the song starts. The next two discs seem to be an attempt to offer a full show, mixing the multitrack, old track, and some audience tape. However, no attempt was made to offer a complete HMMT or LTS, so it lacks several minutes of music. The fifth disc is the old AM broadcast. The track sequences on these three offerings differ some from other titles' sequence.
Moonchild's title is highly similar to the no label title's cds three and four. The sound quality and content, and lack of content, are the same. The track sequence is a little different on the last disc.
Fixin To Die (Gold Standard), Tocatte & Fugue (Tarantura), & Valhalla, I'm Coming (Mandala)
Mandala's title runs fast and has more hiss than the other releases. It has a slight drop during the last few notes of Dazed and Confused. It is missing 81 seconds of tape before Since I've Been Loving You and almost 35 seconds of tape after Moby Dick.
Gold Standard does not have the drop in Dazed and Confused. It a slight cut and repeat during HMMT. Tarantura has the drop in Dazed and is missing 81 seconds of tape before Since. It is missing 6 seconds of tape after Moby Dick. It's sound is lower in quality than Gold Standard in some places, but equal in others.
Copenhagen 1970 (no label), Dancing With Snow Queen (Baby Face), The Nobs (Tarantura & Empress Valley), The Nobs Volume One (Wendy), & A Riot Going On (POT)
Tarantura has a small silent gap in How Many More Times (everyone else edits/removes the gap) and overall the tape is missing about 10 seconds of audience cheer.
POT's fade-in is too long and misses the 1st drum beat. It has a couple extra drops not found on the other titles. It's sound isn't quite as good as the others.
Snow Queen and Wendy are almost identical in content and sound. They run a touch faster than the other two titles.
Empress Valley's title doesn't fade into Dazed, and offers a split second more tape than Babyface. Thank You has a defect, a digital glitch not found on other titles. Another half second of extra tape is made after HMMT. Almost four minutes of tape are missing after Bring It On Home. It's sound has been amplified a bit.
The no label title is as incomplete as EV. It's sound has been amplified a bit too.
Charisma (Tarantura), Feel All Right (Eat a Peach, 4cd), Great Beast 666: Great Beast 666 (Empress Valley, 3cd), Great Beast 666: Bonus Disc (Empress Valley, 1cd), I Left My Heart In Montreux 1970 (Wendy), Intimate… (Equinox), Intimidator (Empress Valley, original 3cd and reissue 3cd), & Sunshine Woman (Flagge)
There were four AM radio tracks initially offered from the soundboard and were in poor quality: We're Gonna Groove, I Can't Quit You, Dazed and Confused, and White Summer (incomplete). Shortly thereafter, two more tracks became available from the soundboard, in excellent quality: most of How Many More Times and half of Whole Lotta Love. Ten years later, the final half of Whole Lotta Love became available in excellent quality. Five years after that, more excellent quality tape from the soundboard became available: Moby Dick, an extra minute of How Many More Times, the beginning 9 seconds of Whole Lotta Love (and the rest of the song presented uncut), and Communication Breakdown. That same month, a secondary source was made available for two of the AM radio tracks, containing a slightly less compete version of I Can't Quit You and a complete White Summer. So, there's a total of eight different tracks available from the board. Half of those are poor quality and the others are excellent.
Flagge was the first label to feature time from the soundboard (four tracks). Equinox also has the same four songs, but in the proper order.
Charisma was the first title to include the soundboard from HMMT and WLL. The quality was not impressive and had been tweaked hard. There's obvious evidence in the background. It did not contain any other soundboard tracks.
Empress Valley's third disc of Intimidator (original) strictly contained soundboard tracks. It was the most complete offering of the first six songs. It's sound quality wasn't impressive either for the first four tracks, but has not suffered additionally like Charisma. The 2012 3cd reissues' third disc uses a new disc but keeps the same disc times. It's a clone of the third disc from the original title. The 2016 7cd box set titled Great Beast 666 contained the subtitle "Intimidator," which was a 3cd title reissuing the same discs used in 2012. Again, it's disc three contains those first six soundboard songs.
Wendy's title debuted the last half (2:20) of Whole Lotta Love. (This is a mixed source title).
EV's 2016 release "Great Beast 666" was offered as 7cd and 4cd box sets. Both contain a 3cd subtitle of the same name plus a "Bonus Disc." (These portions of the boxes share the same cds.) Disc three "Great Beast 666" contains only the excellent quality soundboard material (Moby, HMMT, WLL, & CB).
Peach's third disc contains the old four AM radio tracks and debuts a second AM source for Quit (slightly incomplete) and a complete White Summer. The four older tracks are the same poor quality but the second source is a bit cleaner.
Peach's fourth disc contains the last four excellent sounding soundboard tracks, and fills the opening with the audience.
3-7-70 audience/soundboard mixes
Feel All Right (Eat a Peach, 4cd), Great Beast 666: Intimidator (Empress Valley, 3cd), Great Beast 666: Bonus Disc (Empress Valley, 1cd), I Left My Heart In Montreux 1970 (Wendy), & Intimidator (Empress Valley, both 3cd & both 2cd reissues)
Empress Valley's Intimidator (original issue, 3cd) uses the soundboard recording to fill the gaps in the audience tape. Like all the other double cd releases, it does not use all of the available HMMT. EV is missing 39 seconds of the audience tape on HMMT. It's sound is a little bit louder than Divinity, like Charisma - but without adjustments. The first two cds of this title were reissued under the same name in 2005. The discs are direct copies from the original. The title was reissued again in 2010 using the discs from the 2005 release. The title was reissued as a 3cd title in 2012 with new cds (although the year 2009 was printed on the discs). The disc times remain the same.
Wendy's title uses the audience recording as it's foundation and uses some of the soundboard to fill gaps. They're missing the same 39 seconds of audience tape for HMMT as EV. Where it splices to the soundboard, it misses some time. In the end, it debuts an extra 2:20 (remaining half) of Whole Lotta Love.
EV's 2016 release "Great Beast 666" 7cd box set contained the subtitle "Intimidator," which was a 3cd title reissuing the same discs used in 2012. For the subtitle "Great Beast 666," disc one is a clone of the first disc from the original Intimidator. Disc two is the second half of the show and is completed by starting the soundboard where the audience tape stops, this time adding in the latest soundboard material. Actually, the soundboard starts during HMMT 39 seconds too early, just like in the original release. The "Bonus Disc" is meant to be an alternative to cd2, using the newer soundboard tracks in place of the audience tape whenever possible. A few seconds of the sb are missed at splices.
Peach's first two cds is a mix relying on the audience tape and then switching to the excellent soundboard. During HMMT, it splices to the soundboard sixty seconds too early.
All That Jazz (TDOLZ), Charisma (Tarantura), The Dark Tower (Tarantura), Divinity (Atlantic Ocean Records), Feel All Right (Cobla), Montreaux 1970 (Live Storm, 1cd), & We're Gonna Groove (Luna & Scorpio, 1cd)
Live Storm, Luna, and Scorpio are incomplete single disc titles (Moby Dick is absent). However, they have the longest version of HMMT ever released on cd from the audience recording.
Cobla's title is from vinyl and runs slow. It's HMMT has 39 seconds less than Scorpio's.
TDOLZ's title is from tape and runs closer to the proper speed. It's HMMT is 1 second shorter than Cobla's. White Summer/Black Mountain Side has a cut nine minutes into the track.
Tarantura's Dark Tower is from tape and has the shortest version of HMMT ever placed on cd. It is 100 seconds less than TDOLZ's.
Divinity may come directly from the master tape. It is far better sounding than the previously mentioned titles. It is the only one to have the songs in the original running order, without extra cuts. The introduction is a few seconds longer than the other releases. Since the songs are not rearranged, there are that many less cuts. We're Gonna Groove's tape stretch has been removed. Strangely, the last 20 seconds of HMMT seems to come from a different generation of tape. Even though a different gen tape was used, they still didn't use it for the 40 seconds of extra tape found on the single disc releases.
Charisma may also come directly from the master tape. We're Gonna Groove's tape stretch has been removed too. It's HMMT is 1 second shorter than Divinity. The rest of the tape is the same in regards to content and cuts. No evidence points to the chance that this wasn't copied from Divinity. It seems that heavy adjustments were made to the sound on this tape. There aren't any big negative side affects this time. Some of the stage mic feedback has been reduced during White Summer. The sound is louder than Divinity, without much increase in background noise. This is probably due completely to equalization and not to a difference in generation of source tape.
High Flyin' Zep (Electric Magic) & Vienna 1970 (MMachine)
EMC's title is all from one source, although incomplete. It has the familiar "metallic" sound in the background, just like most of their recent releases.
MMachine shares some of the same tape found on EMC but also uses a secondary source to complete the show. For the tape shared between these two titles, the quality is about the same (excluding the metallic sound, of course).
Hamburg 1970 (Immigrant), Hamburg 1970 First Night (no label), Lili Marleen (Tarantura2000), Mystery European Gig (The Symbols)
Immigrant has two extra cuts and a dropout not found on The Symbols. Both titles have a four minute repeat during Moby Dick.
Tarantura2000’s title starts off with an extra bit of tape before the cut before the show. Dazed and Confused is followed by a minor two second repeat. The cut in Moby Dick is edited and does not miss any tape. (There’s no four minute repeat on this track.)
The no label title’s cuts, content, and sound quality are almost identical to Tara2000.
Immigrant’s title is better sounding than The Symbols. It is likely due to a difference in tape generation. Tarantura2000’s title is at least one generation better than Immigrant, maybe even two.
Everybody Everybody (IQ), Hamburg 1970 2nd Night (no label), & Lili Marleen (Tarantura2000)
IQ has several flaws. White Summer is cut, missing one or two seconds. The song is followed by a nineteen second repeat of tape. How Many More Times has two instances of digital static. There is no que stop for Whole Lotta Love. Tarantura2000 doesn’t have any of these problems. It’s only error is a “micro cut/repeat” in Dazed, near 14:31. Shortly afterwards near 15:17, it sounds like another cut/repeat, but it is not cut.
The no label title is without flaws. No micro cut/repeats, no static, and the three cuts are not missing any tape.
Tarantura2000 and the no label title have been amplified equally and are louder than IQ. They may be one generation closer to the master tape and their overall condition is much improved over IQ.
3-12-70, sources 1 & 2
Loreley (Moonraker Records), & Psychedelic Raw Blues (Immigrant)
Previously, Pot's "Bring It On Home" was the only appearance for source one. Moonraker has released the same material and an additional 49 minutes. Unfortunately, they've degenerated the sound by adding in the metallic sound. Furthermore, Moonraker has included Dazed twice. The first is an uncut one, adding several seconds, in normal sequence. The later is offered as a bonus track - the same song, the same tape source, on the same title. The difference is it is copied from vinyl and the metallic sound has NOT been added.
Immigrant is one of a few older titles that released How Many More Times from this show. It is the only piece of source two made available so far. The audience cheer after the song has been faked.
3-12-70, source 3
Dusseldorf 1970 (Reel Masters) & Dusseldorf 1970 Raw Master (Wardour)
These are from a third source, the longest available for the show. Reel Masters first issued the tape, but degenerated the sound by incorporating the familiar metallic sound. Wardour (a label of Reel Masters) issues the same audio, but without the metallic sound and amplification.
Mudslide (Elrond, Flying Disc, & TDOLZ), Pb (Graf Zeppelin, LSD, Sugar Mama, Tarantura, Tarantura2000 2cd, Wendy, & “no label”), & Pb+ (Wild Card)
All of these titles share the same songs and cuts between them, regardless of track sequence.
Flying Disc has a very nice sound but comes from a noisier vinyl than the others.
TDOLZ comes from a very clean vinyl and sounds very good.
LSD’s title seems to have been equalized a fair bit. It is louder, without extra hiss, but seems too unbalanced in some places.
Tarantura’s original issue is also very good, sounding a little clearer and louder than TDOLZ.
Elrond attempted to re-arrange the tape to it’s correct running order but couldn’t properly place the “introduction.” The music on this title is a little louder and clearer than some of the older titles. This is due to some bad “enhancements” which left some very strange noises in the background throughout the title.
Tarantura2000’s first disc of the title claims to be copied from tape. It’s second disc is copied from vinyl. Their tape issue is very good but not very different sounding than the other labels’ releases from vinyl. However, it’s vinyl issue is not as good as the other vinyl releases.
Wild Card’s “Pb+” seems to be distorted on the louder notes. This isn’t found on the other titles. It’s sound isn’t as loud as the others either but is probably just due to less amplification.
Wendy’s title is identical in content as the others, sharing the usual track sequence. It’s sound hasn’t been amplified much.
Sugar Mama’s title has the same content as the other, but the tracks have been resequenced to mimic the original playing order. It’s sound is identical to TDOLZ.
The 2015 no label Pb is similar quality to the other titles and has it’s tracks in the non-chronological order.
Graf’s Pb title is on 3cds. The first part of disc one is a remastered LP version. The first half of disc two is the chronological sequence, that’s not as clean as Sugar Mama (as far as vinyl noise) but is otherwise similar sounding. The second half of disc two is the “raw” LP version.
Pb (Graf Zeppelin , Sugar Mama, & Wendy) & Perfect Blues Live (Tarantura2000)
Sugar Mama and Wendy debuted the audience tape at the same time. Wendy’s tape problem in We’re Gonna Grove is in worse shape than Sugar Mama’s. Wendy has at least three micro cut/repeats throughout the title. They’re not found on Sugar Mama. The two titles are similar in sound, but have slightly different speeds.
Tarantura2000’s release is similar in content to Sugar Mama, but includes an unlistenable two second section during Dazed that’s been removed from the other titles. They’ve amplified the sound heavily.
Graf’s second half of the first disc contains the audience source in similar quality to Sugar Mama.
Pb (Graf Zeppelin)
Graf’s third disc is the only title offering a mix. It’s based on the soundboard.
D’Ya Feel Alright? (Mad Dogs), Everybody Feel Alright? (Empress Valley), First Time At the Forum (TCOLZ, 4cd), For the Benefit of Mr. Kite! (Taratura2000), & LA Jive & Rambling Mind (Holy Grail)
Mad Dogs and the first half of TCOLZ’s 4cd title are strictly the first source. Mad Dog is missing lots of tape between songs and after the show. The sound quality is quite similar between the two titles.
TCOLZ’s second half is strictly from the second source. For some reason, it seems they’ve spliced the bulk of Moby from a different copy of the tape. Strange sounds can be heard at the first minute mark. A split second vocals during HMMT is “lost” during an edit.
Holy Grail and Empress Valley are two source mixes, using source two as their foundation - Bring It On Home, White Summer, and Since I’ve Been Loving You are borrowed from the first source. Holy’s title misses only a few seconds of tape at cuts and the title runs too fast. EV misses too much of it at the cuts and splices. There are very many micro cut/repeats in this title, most notably a string of them together after White Summer. It’s inexcusable. They’ve included an extra six plus minutes after the show that aren’t available elsewhere (from source one). This seems odd after their editing out the taper comments after the show in their last release, “Live At Central Park.”
Tarantura2000’s title is another mix, using source two as it’s foundation. There are unnecessary cuts at some of the track changes.
The mixes are fairly similar in sound quality.
Texas Two Steps (TDOLZ) & Ultimate Mudslide (Elrond)
These tapes are mostly the same. However, Elrond's title is much louder. This is due to heavy duty equalization. It has ruined the recording. You can hear weird digital sounds in the background.
4-5-70, sources 1 & 2
Baltimore 1970 (no label, 4cd), Groovin' You (Empress Valley), & Live At Tear Gassed Palace (Tarantura2000)
Tarantura2000 was the first to release this show and is exclusively from the first tape source.
Empress Valley mixes in a second source to add a little tape after songs on the second disc. The second tape is also used to fill in 5 seconds of How Many More Times and about a dozen seconds of Whole Lotta Love.
The no label title provides two, two source mixes of the show. The last two discs are based on source one, but the splicing displaces too much of it. The first two discs are based on source two and has no shortage of splicing. These two, two source mixes are mostly useless. Collectors do not need two versions of the show which only offer part of each taper's audio.
Tarantura2000 and EV have similar sound. The no label title is a touch less amplified.
American Accents (Baby Face), Fearsome Four Live On Stage (Mandala), Groove (Tarantura), Raleigh 1970 (no label), Up Beat (Empress Valley), We’re Gonna Rock (Blimp), & World Champion Drummer! (Empress Valley, original and reissue)
Fearsome Four runs too fast, absurdly divides White Summer in two – splitting it onto both discs, and may be missing time from Moby. Blimp’s also runs too fast and has some digital interference in White Summer. Tarantura also runs a little fast.
Baby Face, Empress Valley, and the no label title all run at the correct speed and don’t have the problems present on the other titles. Empress is missing the first split second of tape.
EV’s reissue of WCD reuses the original discs.
EV’s Up Beat reissues the audio from their prior release on new discs.
All of these titles are similar in sound. No tape generation differences.
Bring It On Home (POT), First Choice (Sugar Cane Records), Makundju (Cobra), Tampa 1970 (no label), & Who’s Birthday (Tarantura & Grexit)
First Choice has many cuts between songs to remove tape stretches and talk. There is a cut in Since I’ve Been Loving You. The organ solo/Thank You is missing 2 minutes. How Many More Times is missing almost 25 seconds.
The Tarantura is missing the first 3 seconds of the first song & the first second of What Is and What Should Never Be. Surprisingly, the tape stretches following White Summer and What Is are in place, while Cobla removed them.
POT is missing the first 6 seconds of the first song and has an extra cut in How Many More Times. Makundju has an unnecessary cut in Moby Dick, removing about 3 seconds of drumming. It has 15 to 24 seconds more tape after the show than the older titles.
The no label title is has all the familiar tape and is the most complete offering of the show yet.
Grexit’s title is a straight copy of the no label title issued six months earlier.
All titles are very similar in sound quality.
Just the Crowd and... (Empress Valley), Ottawa Sunshine (Elrond), & Parliament Hill - TMQ Masters Vol 1 (Flying Disc)
There's only one difference between Flying Disc and Elrond. Elrond edited the cut that is approximately one minute into Dazed, removing less than 2 seconds.
Empress Valley has the same content as Flying Disc and has properly sequenced Dazed and Confused.
These titles are similar in sound.
Memphis (Neptune), Memphis 1970 (ZOSO & no label), Memphis Tennessee 1970 (Empress Valley), & Memphis Underground (Magnificent Disc)
ZOSO and Neptune are completely identical.
Magnificent Disc is the farthest thing away from being magnificent. It's sound has been tweaked to the maximum, much like the titles in the last half of Electric Magic's catalog. The taper comments have been removed. The last couple of seconds are actually a double repeat of tape just briefly before. No evidence points that this title wasn't sourced from one of the previous releases.
Empress Valley's title has about two seconds of tape after Heartbreaker and about five before How Many More Times that are not found on the other titles. Other than those few seconds, the content is identical to ZOSO and Neptune. The first six minutes of White Summer have the left channel at half power, then flops over to the right channel. The problem lasts through the end of Since I've Been Loving You. EV's sound has been amplified quite a bit.
The no label title has the extra tape found on EV. It has a significant drop in sound for over a minute during Heartbreaker, a brief sound change during White Summer, and another sudden shift in sound at the track change for Thank You. It's been amplified quite a bit.
4-18-70, sources 1 & 2
Desert Storm (Empress Valley, original and reissue), Live At Phoenix 1970 (Power Archives), Nebula (Tarantura2000), & Phoenix (Electric Magic)
Empress Valley is strictly the first source. Their reissue uses the same cds as the original release.
Power Archives and Tarantura2000 contain the second source. Tarantura2000 was the last label to issue the show and is missing two songs.
EMC's title came out simultaneously with Power Archives and is a mix of both sources. Again, this label has decided to degenerate the audio quality by adding the familiar "metallic" sound. The next thing noticed is listening to part of the introduction twice, from both sources. Source one is used to complete the few missing seconds of Dazed. Later it is used once more, arbitrarily, for the majority of White Summer/Black Mountain Side. Not a clever mix.
Another White Summer (Big Music), BBC (LSD, 4cd), BBC Sessions (LSD, 4cd), Complete '69 BBC Classics (Immigrant), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), One More Daze (Dynamite Studios), Real Complete BBC Sessions: Bonus Material (Tarantura2000)
Dynamite, LSD, EV, and T2K include the most time before and after White Summer than the other releases.
These releases are very similar in sound.
Bath 1970 (Le-Mon), Bath Festival 1970 (Empress Valley, original and reissues; Wendy), Bath Stop (IQ), Boy Next Door (2010 & 2015 no label titles), & In Yokel Mode (Boleskine House Records)
IQ and Le-Mon are strictly from source one, are the cd earliest releases of this show, and are poorer quality than all subsequent releases. IQ repeats about 2 minutes of tape at the end of disc one. Le-Mon repeats a different 2 minute section. Both titles are missing the first 8 seconds of the organ solo. Le-Mon’s title sounds a tiny bit louder and clearer than IQ, but both have some awful background noise in places.
EV’s first release of this show was in 2001 and was quickly followed with a reissue, reusing the same cds. Source one is the foundation and a second source is introduced to fill gaps. It doesn’t have the two minute repeats and the poor background noise problems. Two unnecessary splices are made – one during the end of Since and the other during the second minute of Whole Lotta Love. It’s source one is in improved quality over IQ and Le-Mon.
EV’s 2005 reissue and the third and fourth cds of their 2010 reissue use the same tape from 2001. These reissues use new discs.
EV’s cds one and two from their 2010 title offer an upgraded version of source one. This makes the introduction available, a little more tape/music at cuts, and a lot more tape after Moby and after the show. Sadly, there are two cuts during the beginning of Thank You. Prior releases of this are uncut. The second cut removes a second of tape during a distant air horn blast.
Wendy and 2010’s “The Boy Next Door” are two source mixes, using the latest upgraded tape as the foundation and using source two to fill the gaps. Both titles are cut during the beginning of Thank You. Wendy has a pair of cuts, with the later displacing the air horn with an edit of some kind. Boy just has one cut in this area and splices out to the next higher generation of this tape for two seconds. Both titles have good sound, but Wendy’s sound may be found to be less preferable.
Boleskine uses the latest upgraded tape as it’s foundation and then uses the other source just to fill the gap in the start of the organ solo. It too is cut during the beginning of Thank You, and has edits lasting several seconds. The air horn is removed here too. It’s sound is fairly similar to the other recent releases.
The 2015 no label title “Boy Next Door” reissues the audio found on the 2010 issue.
Checkpoint Charlie (Immigrant) & Intimate… (Equinox)
Immigrant is missing "That's the Way" and "Communication Breakdown" fragments. The running order is out of sequence (2 songs switched on last disc).
Equinox is more complete and also much better sounding.
Bottle It Up and Go (Graf Zeppelin), Bottle Up and Go (Scorpio), Lights Go Down (TDOLZ), Tulsa Hillbilly (Tarantura), Tulsa Symphony: Ode To Joy (Wendy), You Gotta Be Cool (Whole Lotta Live)
Whole Lotta Live is a direct copy of Tarantura. It sounds like Tarantura used two different gens of tape to present this show. With that comes a couple extra cuts. The first disc ends 6.5 minutes into the organ solo and then is restarted on the second disc. Tarantura is missing a few seconds before the show and is missing a minute after WLL. The sound doesn't seem quite as good here as on the other releases.
Scorpio is missing the introduction and most of the tape after the show. Other than that, it is not missing large chunks of tape like the other titles. A few seconds are missed during Moby. Scorpio's sound suffers some during the whistling next to the microphone.
TDOLZ has a complete intro but is missing 2 minutes of Moby Dick. It is also missing 2.5 minutes after WLL and the last 9 seconds of tape after the show.
Wendy is almost completely identical to TDOLZ. It too is missing way too much of the tape. They've also decided to splice in a different show briefly during the tape stretch early in Immigrant Song.
Graf's title is largely complete and has about six extra seconds of more tape during Moby than the others. It's cut twice after Whole Lotta Love and misses over a minute. The last several seconds after the show are missing too. It's sound is similar most to TDOLZ, which is close to Scorpio too.
Just the Crowd and... (Empress Valley), Latest Summer (Jelly Roll), Milwaukee (Akashic), & Milwaukee 1970 (TDOLZ)
TDOLZ, Jelly Roll, and Empress Valley are all very similar. Akashic has added about 30 seconds to it's tape by pasting in audience cheer at the cuts and before the show. It's sound is much louder than the others but is only due to amplifying.
9-2-70, sources 1 & 2
Another Night On Blueberry Hill (Electric Magic), Fortune Teller (Tarantura2000), Get Loose (Holy Grail), Live On Blueberry Hill II (Tarantura & Wendy), Return To Blueberry Hill (Graf Zeppelin), Two Days Before (SIRA), Youth Gone Wild (Empress Valley)
Get Loose is from a different source than the other releases. It is less complete and more distant. The other titles are from the first tape source.
Tarantura and Electric Magic are almost completely identical, but not absolute. Although EMC’s first disc is the same length as Tarantura, it is not a direct copy. This isn’t to say it couldn’t have been sourced from it – it likely was used. The only actual content difference is a tiny cut and repeat at the beginning of EMC’s disc two. Their sound is identical. (No metallic sounds added this time.)
SIRA has 2 extra cuts between songs (with repeat – no time missing). It is missing 2 minutes of tape between That’s the Way and Bron-Yr-Aur (the first second of Bron-Yr-Aur is missing). It’s music and background noise haven’t been amplified as much as Tarantura and EMC. There’s probably no difference in tape generation.
Tarantura2000’s title is pretty similar in content and sound to Tarantura and EMC. It does, however, miss a second of tape during Whole Lotta Love when removing the tape stretch. After the song, it has a few seconds more of tape than the other titles
Wendy is a two source mix. The secondary tape is the one used by Holy Grail, filling in the other source’s few small gaps. It’s sound is similar Tarantura and EMC.
Graf’s title is a two source mix, highly similar to Wendy’s mix.
EV’s title is another two source mix.
DX I ~ X (Mad Dogs), Missing Sailor (Immigrant), & Take My Breath Away (Wendy)
Immigrant is missing a minute of the introduction and a few more seconds between songs. It’s sound has been slightly amplified over Mad Dogs. Mad Dogs runs a hair faster than Immigrant.
Wendy only has a few minor flaws and has adjusted speed.
9-4-70, sources 1-5
Blueberry Hill (Moonchild), Final Statements (Antrabata), Live On Blueberry Hill (Cobra, Cobra Premium Series, Eat A Peach, Empress Valley 9cd & 4 reissues, Last Stand Disc 4cd, Mud Dogs, no label [2015 & 2017], Sanctuary, Tarantura 1993 & 1997, Wendy' original and remaster, & Tarantura2000 9cd), Live On Blueberry Hill Another Master (no label), Return To Blueberry Hill (Immigrant & the no label blue sleeve), & Youth Gone Wild (Empress Valley)
Aloha From Hawaii (Wendy), Almost Son of Blueberry Hill (Shout To the Top), Box of Tricks (Red Hot & Tarantura2000), Holiday In Waikiki (Gold Standard), Honolulu 1970 (no label), In Exotic Honolulu (Akashic), & September VI (Empress Valley)
STTT is missing several seconds from the introduction. All titles are cut after Heartbreaker but Red Hot and Holiday are missing a few seconds of Robert’s commentary. Holiday and STTT are both cut during Moby Dick and are missing almost 20 seconds each. All titles are cut during Whole Lotta Love but STTT is missing 4 seconds of music. Red Hot is missing over a minute of tape after Whole Lotta Love.
Akashic, Empress Valley, Tarantura2000, and the no label titles are pretty much identical in content. Akashic and Tarantura2000 removed the tape stretch after the show. EV’s cue stops could have been positioned better. Tarantura2000 has a slight instance of static at the edited cut during Whole Lotta Love. Akashic’s sound hasn’t been amplified as much as these other two. The no label title’s cuts are easily identifiable.
Wendy’s title is very similar to the better versions, but it has repeats some tape at the cut during Whole Lotta Love.
At the Boston Garden (Wendy), Come Back To Boston (Holy), No License, No Festival (SIRA), & Wreckage In Boston: Worse Than G.M. (Tarantura2000)
SIRA is source one. Tarantura2000 and Wendy are source two. Holy uses source one up through most of Moby Dick and then switches to source two.
For the common source between SIRA and Holy, Holy's is in better condition. It doesn't have the tape problems found in Heartbreaker and Since I've Been Loving You. It's music and background noise are louder due to amplifying. There is a fair chance that it is a better generation due to the fact of the lesser (minor) problems. The second source on Holy runs fast.
Tarantura2000 and Wendy are highly similar in content and sound.
9-19-70, afternoon show
American Woman (TDOLZ), Have You Ever Experienced? (Tarantura2000), Madison Square Garden 1970 (no label), Praying Silently for Jimi (Empress Valley, 2cd original and both 4cd reissues), & Storming the Big Apple (Eat A Peach)
TDOLZ was the first title to issue this show. It switches to a secondary tape source just before the final two songs.
Tarantura2000 and EV rely on the primary tape used by TDOLZ and fills those cuts with the secondary source. The final two songs are also entirely from the second tape source. Both these titles have been amplified, making the music and background noise a little louder.
EV reissued their title 2cd in a 4cd sleeved release, with the first two cds being from this afternoon show and the last two cds being from the evening show. It reuses the audio content from the original release, but on new discs. EV reissued the 4cd title again in 2016.
The no label title is based on the first source and fills with the second source. A lot of source one gets displaced during splicing.
Peach's title is similar in sound and content to the no label title. Too much source one is missed.
9-19-70, evening show
Final Daze (no label), Have You Ever Experienced? (Tarantura2000), Madison Square Garden 1970 (no label), One More For the Road (Boogie Mama), Praying Silently for Jimi (Empress Valley's 4cd reissues), Requiem (Empress Valley), Shout That Loud (Electric Magic), & Storming the Big Apple (Eat A Peach)
These titles are completely identical in regard to cuts and content. Their only tiny differences are in speed and sound quality.
The differences in speed are so tiny that they can only be detected by time comparison, not by ear. During the dozen seconds leading up to the cut in Moby Dick, Final Daze and Requiem both have strange sounds growing more and more prevalent. Electric Magic doesn't have that unnatural sound. (Furthermore, Electric Magic did not degenerate their sound by adding the metallic noise.) Requiem's sound is a tiny bit louder than Electric Magic. Final Daze's sound is a tiny bit less loud than Electric Magic.
EV reissued their Requiem title in a 4cd sleeved release titled "Praying Silently For Jimi" with the first two cds being from the afternoon show and the last two cds being from the evening show. It reuses the audio content from the original release, but on new discs. EV reissued the 4cd title again in 2016.
Boogie Mama is highly similar to the others.
The no label MSG 1970 title is highly similar to the others.
Peach's title is highly similar to the others.
911117 (Tarantura2000), Back To the Clubs Belfast 1971 (Wendy, original and reissue), Black Helmet (Sharaku), & Black Velvet (Empress Valley)
EV was the first to release this show on cd. They have "completed" songs from different shows. EV doesn't bother to tell us that this is a multiple show mix.
Tarantura2000 is strictly from the one concert. The screeching sound (faulty tape recording equipment) that starts during Stairway has been carefully removed from this release.
Sharaku is identical to Tarantura2000.
Wendy is identical to Tarantura2000.
There's no tape generation difference between these titles. EV has amplified theirs, bringing up the music and background noise.
Wendy reissued their title in January 2017.
911117 (Tarantura2000), Black Helmet (Sharaku), Black Velvet (Empress Valley), Crazed Attack (no label), Heavyweight Champion (Empress Valley), & Performance of Kells (Wendy)
Crazed Attack was the first cd issue of this show. Going To California, What Is and What Should Never Be, and Rock & Roll are all largely incomplete on the master tape.
Empress Valley has "completed" the incomplete songs from different shows. The first few seconds of What Is and What Should Never Be are from the previous night. The remainder of the balance is not from March 5th or 6th. A second source for March 6th is not known. EV doesn't bother to tell us that this is a multiple show mix. They have amplified their title, bringing up the music and background noise.
Tarantura2000's title is almost completely identical to Crazed Attack. They are both missing a little tape before and after the show, but these are not necessarily valuable passages. Both are missing about 30 seconds of tape after Moby Dick. EV has these sections and they seem to be genuine.
Sharaku barely differs from Taratura2000. It has a couple extra instances of digital static and includes some non show related audio in the middle of Black Dog, that's apparently cut from the other titles.
EV's Heavyweight Champion is even worse than their first. It reissues all of the audio from Black Velvet, except for part of Rock and Roll that was actually from the sixth. The first part, from an unknown show, is still present and is still not mentioned in the liner notes.
Wendy's title is mostly the same familiar tape, but has some other tape too. Since contains a fifteen second splice, Black debuts an extra ten seconds (of the familiar tape) at it's cut, and another splice is made after Moby. The first tape stretch in WLL seems to be edited. It has more tape after the show than the other titles, just under one minute. It's sound has been amplified just a little more than T2K.
BBC Archives (Scorpio, 4cd), BBC Sessions (LSD, 5cd), BBC Sessions 1971 (no label, 6cd), Real Complete BBC Sessions: 1971 (Tarantura2000), & Stairway To Heaven (Cobra, 2cd)
LSD's first two cds of "BBC Sessions" and Scorpio's first two cds ("FM Edit Master") contain the tape in mono. The 2016 no label's cds 1-2 ("Japanese Pre-FM") and cds 5-6 ("German FM") are also the mono tapes. LSD, Cobra, and the no label's cds 1-2 are similar in content, having much of the talk removed between songs. The no label title is missing the "Tea At Night" medley during Whole Lotta Love (LSD and Cobra are likely missing them too), shortening the song by one minute. The no label titles' cds 5-6 are even shorter, missing more tape between songs and the one minute from WLL. Scorpio's introduction is slightly different from it's stereo version and has about a 17" cut/repeat after Dazed. It's not missing tape between songs and cannot be considered an "edit" for broadcast.
Scorpio and the no label releases are fairly similar in sound quality.
Tarantura2000's title is plagued with problems, most likely due to being highly amplified while trying to suppress the background noise. The music gets overblown and causes loud static and glitches during Dazed and other places. There's splicing to different quality of tapes as well, and gets super poor sounding after What. It is easily the worst release of the mono tape.
BBC (ARM "2nd edition" & LSD 4cd), BBC Archives (Scorpio 4cd), BBC In Concert (FSS), BBC Sessions (LSD 5cd), BBC Sessions 1971 (no label, 6cd), BBC Zep (Antrabata "2nd edition" & Tarantura), Complete British Broadcasting Corporation Radio Sessions (Empress Valley, box and jewel versions), Real Complete BBC Sessions: BBC Zep (Tarantura2000), & Valkyrie's Vigil: Never Was an Angel in Heaven (Tarantura2000)
LSD's two different stereo issues do not contain a complete Dazed and Confused. "BBC" is missing 10 seconds and repeats almost 45 seconds. "BBC Sessions" is cut in the same area but doesn't have the repeat. Still, it misses the same 10 seconds.
The "BBC" title by ARM has discs bearing Antrabata's name (but nowhere else) and are "leftover discs" from the true Antrabata "2nd edition" release. (The packaging differs.) Antrabata's content is virtually identical to FSS. FSS's edit during Whole Lotta Love is better.
Tarantura is missing almost 3 minutes of tape between songs, misses a minute of WLL, and seems to be from a higher generation tape.
Scorpio's stereo ("Pre FM Master") version is also similar to the better titles of this group (Antrabata and FSS). It has a minor glitch during That's.
Tarantura2000's Angel title is very similar to Scorpio, but without the glitch.
The no label's cds 3-4 contain the stereo version. It is very complete and virtually identical to Scorpio, but runs about 1% slower. It too has the minor glitch in That's the Way.
Tarantura2000's BBC Zep isn't anywhere near as good as their prior release. It's been over amplified and causes static during Dazed and in other places. There's a brief sound change after the first minute in Heartbreaker, even though no other title does this. Since I've Been Loving You has a very strange sound in the left channel near the forty-five second mark. There's just too many unnecessary problems with this title.
FSS, Scorpio, Empress Valley, and Tarantura2000's Angel are ally very similar. EV's title runs a hair slower and is amplified a touch more.
Excluding Tarantura, these stereo titles all sound very good.
Bringer of War (Empress Valley), Copenhagen 1971 (Cobra), In Concert In Copenhagen (Empress Valley), K, B (Image Quality), Loove! (Tarantura), Previews & Novelties (Equinox), The 2nd European Tour (Whole Lotta Live), Stick Out! (no label), & Wonderful Copenhagen (Wendy)
The Whole Lotta Live title is a direct copy of Tarantura.
Equinox, Wendy, and Stick Out are the only titles not cut 15 minutes into Dazed and Confused. Tarantura is missing 4 seconds of tape at the cut. IQ has a second of silence at the cut but does not seem to be missing any time.
Equinox is the only title that doesn’t have a short sentence pasted after Gallows Pole. The sentence is not found anywhere else on these titles. It does seem to be from the same tape source.
All titles are cut after Communication Breakdown, but Tarantura is missing almost 10 seconds of tape and then repeats 5 seconds.
EV’s In Concert has all of the usual cuts, plus two extra. It too is cut during the 15th minute of Dazed and has the short sentence after Gallows Pole. This title does have 8 extra seconds of tape after Black Dog before being cut, but it could possibly be the result of good editing.
Equinox has a few extra seconds of tape after the show than the others. “Previews & Novelties” sounds a tiny bit better than IQ and EV, but Tarantura sounds a tiny bit better than Equinox. Wendy’s sound is pretty much identical to Equinox. The sound differences are not likely due to a difference in generation of tape.
Stick Out has the usual cuts/drops, with some being edited. It has the full RP comment after Gallows that is sometimes fully or partially missing. The sound is the typical excellent quality.
EV’s Bringer of War is a reissue of In Concert and has the same cd times.
Casino Royale (Empress Valley, original and reissue), Montreux Casino Fire (Wendy), Short Cuts (Image Quality), & Stepmothers Club (Mad Dogs)
Mad Dogs is missing 4 seconds too many of the beginning of Since I’ve Been Loving You. It is also missing Dazed.
IQ may be missing a split second too much of the beginning of Since I’ve Been Loving You. It has a brief cut/repeat after the song. Dazed and Confused is just under six minutes, missing just over five minutes.
EV provides a brief four second introduction and an additional five plus minutes for Dazed and Confused.
EV’s paper sleeve reissue uses discs from the original issue.
Wendy’s title is pretty similar in content and sound to EV.
Mad Dogs’ sound seems a bit better than IQ. EV’s music and background noise are louder than IQ and Wendy.
Casino (Tarantura2000), Casino Royale (Empress Valley, original and reissue), Montreux Casino 1971 (Graf Zeppelin), Montreux Casino Fire (Wendy), & Peter’s PA (Black Dog Rekords)
EV and BDR are incomplete. Both are missing some of the introduction, tape before Since I’ve Been Loving You, and the first dozen seconds of the song. They also contain a small handful of “micro cut/repeats” during the middle of Whole Lotta Love.
BDR has a glitch during Immigrant Song and has faked the few seconds of tape after the show. It’s sound is not as good as it should be. The distortion can be heard easily during the quite portions of the tape.
EV’s sound has been amplified quite a bit. It’s music and background noise are much louder than Peter’s PA. Their paper sleeve reissue uses discs from the original issue.
Graf Zep, Tarantura2000, and Wendy’s titles are more complete, lacking the many problems the other two titles share. Their sound is clearer than BDR and not amplified like EV’s.
7th American Tour (Whole Lotta Live), DX I ~ X (Mad Dogs), Firecracker Explosions (Empress Valley, original 2cd and both 4cd reissues), L.A. Forum 1971 (no label), Walk Don't Run: Stairway To L.A. (Tarantura2000), Walk Don't Run (Tarantura), & Wild Weekend (TDOLZ)
Whole Lotta Live is a direct copy of the Tarantura. The tape starts out too fast but slows down some before the end of the title.
Mad Dogs and Tarantura are the shortest versions. They’re both missing at least four minutes of tape. Mostly it’s just tape between songs, but Mad Dogs does miss a couple of seconds of Dazed and Confused. Tarantura has a drop during Going To California that’s not on the others. Mad Dogs contains two cut/repeats during Whole Lotta Love.
TDOLZ is missing 20 seconds of tape after Going To California and doesn’t contain the two minutes after Rock and Roll.
Empress Valley is a mix of two sources. It’s foundation is the first tape source. It uses the second starting after Stairway and ends during the beginning of That’s the Way. (This adds in Celebration Day). Almost two extra minutes of tape after Rock and Roll is found for the first time here from source one. EV’s two four cd reissues release the same audio content.
Tarantura2000’s title is also a two source mix with source one as it’s primary source. It doesn’t have the extra tape from source one after Rock and Roll, or from source two.
The no label title is strictly source one. It’s more complete than the other source one titles, but it’s missing a note from Jimmy after What, has a micro cut/repeat after Weekend, and has less than half of the tape immediately following Rock and Roll than it should.
EV’s sound has been amplified a bit, but other than that, the sound is quite similar between these titles.
Definitive Kingdom (Whole Lotta Live), Firecracker Explosions II (Empress Valley, original and reissue), Firecracker Explosions (Empress Valley, both 4cd reissues), Freak Out (TDOLZ), L.A. Forum 1971 (no label), & Walk Don't Run (Mud Dogs, Tarantura, Tarantura2000, & Wendy)
Whole Lotta Live is a direct copy of the Tarantura. Tarantura’s Dazed and Whole Lotta Love are cut, missing a total of 5 seconds. Thank You is also cut, with a repeat of about 15 seconds. Altogether, Tarantura is missing over six minutes of tape.
Mud Dog's Thank you has a cut approx 8.5 minutes into the song where the previous two minutes are then repeated.
TDOLZ's intro is 5 seconds longer than Mud and Tarantura, Thank You is uncut, and overall sounds far better.
Wendy’s content is the same as TDOLZ’s, but with edits at the cuts. Their title runs a little slower, better approximating actual speed.
Empress Valley’s title runs slower than TDOLZ and it’s amplified a touch less. The edit at the cut during That’s the Way has been edited, but not too well (it loses the timing).
EV’s four cd title “Firecracker Explosions” from 2009 releases the same audio content as the original. Their 2010 reissue “Firecracker Explosions II” uses the same cds as the original release. Their 2016 4cd is a reissue of the 2009 title.
Tarantura2000’s title is very similar to Empress Valley’s. It has a few micro cut/repeats not found on other titles, and it has the same poor edit like EV during That’s the Way.
The no label title misses four minutes of tape between songs yet debuts two and a half minutes of tape (mainly after Celebration and after the show).
Mostly, these titles are similar in sound.
Ahead & After (Empress Valley) & Hot August Night (TDOLZ)
The titles are mostly alike. Empress is missing about 45 seconds of tape between songs.
Florida Sunshine (Empress Valley, 4cd), Orlando Madness (H&Y), & Welcome To Disneyland (Lemon Song)
The titles are almost identical. H&Y is missing an extra second of Dazed and following the song, it has a brief instance of static. Later, it misses about a minute of tape just before Stairway. Lemon Song has a cut/repeat before Moby Dick.
H&Y and EV have louder music and background noise than Lemon Song - no gen difference.
8-31-71 soundboard/audience mix
Florida Sunshine (Empress Valley original and reissues), Magic Kingdom (Wendy), Orlando 1971 (no label), Orlando Magic (Eelgrass), & You Really Got Me (Akashic)
EV's 2cd version re-releases the soundboard from the 4cd version title of the same name. Their jewel case reissue in May 2009 is identical to their original. Their jewel case reissue in October 2017 has new discs but the cd times and audio are the same as the original.
The audience tape is used to fill the gaps in the soundboard.
Eelgrass's title is a straight knock-off of EV.
Akashic is highly similar to EV except the audience tape on the second disc has hints of the metallic sound.
Wendy is also similar to EV.
The no label title is highly similar mix to the others.
9-3-71, sources 1 & 2
Hard Company (no label), How’ve Ya Been (TDOLZ), It’s Been a Long Time (Graf Zeppelin, 4cd issues & 2cd), Mad Screaming Gallery (Lemon Song), & Madison Square Garden 1971 (Wendy & Neverland)
TDOLZ’s beginning and ending of the tape are much longer than Lemon Song’s.
Mad Screaming Gallery is a little bassier and Dazed is 7 minutes longer due to relooping a section in the middle of the song.
Overall, Hard Co is missing 12 minutes of tape - mostly music. It shares the same cuts found on TDOLZ but is cut further too. Dazed & Confused is missing 2 minutes. The end of Going To CA is cut 5 seconds too early and What Is & What Should Never Be starts 4 seconds too late. Moby Dick is missing almost 3 minutes. Whole Lotta Love is missing the last 2 minutes and over 3 minutes of tape after the song while the audience is cheering. There is a cut after Communication Breakdown, removing almost 3 minutes of tape, including the beginning of Rock & Roll.
Wendy’s title debuts a second source and uses the first source to fill the gaps. The last few seconds of Moby is displaced by a long overlap into source one.
Graf Zeppelin issued a 4cd title in 2012 and released it again in 2016 as a second edition – their content is identical. Alongside the 2016 quad disc title, they released a 2cd “remastered” version of the first half of the four cd set. It’s just amplified more than the original. Graf ’s first two cds use source one as the primary tape and fill with the second tape. Each of their splices out come too early and displace source one with the secondary source. Graf’s last two cds use source two as the primary tape and the first source to fill the gaps. The splicing here is proper.
Neverland’s first two cds use source one as the primary tape and fill with the second tape. The splicing here is proper. Neverland’s last two cds use source two as the primary tape and the first source to fill the gaps. The title ends when source two ends during Moby Dick. The splicing here is proper.
Hampton From Your Palm (Wendy), High Heeled Sneakers (Godfatherecords), In a Daze (Keepout), Jennings Farm Blues (Scorpio), Live From the Midnight Sun (TDOLZ), Madison Square Garden 1971 (Neverland), Mapleleaf (Baby Face), Maple Leaf Gardens (Empress Valley, original and reissue), & Maple Leaf Gold (Empress Valley)
Scorpio, Wendy, and Neverland’s titles are strictly from the soundboard. All miss about one minute of tape from between songs, in the same places. Neverland has some static during Stairway, misses more tape after Celebration Day than the others, and removes over thirteen minutes of Moby Dick. The sound of these titles are similar, although Wendy has amplified theirs just a touch.
Keepout’s title is incomplete, missing the organ solo and Thank You. It also misses the beginning and ending few seconds from almost each song. TDOLZ and Baby Face are virtually identical in sound and cuts. These three titles are all from the first audience tape.
The Empress Valley title gives priority to the soundboard (debuting another minute of tape from between songs) and then the first audience tape. The second audience tape is used briefly for the first couple seconds of Since, during Dazed, and evidently for the Organ solo too.
EV’s reissue uses the same discs as before.
Godfather’s title is similar in content to the older titles, missing about a minute of tape from between songs. It’s sound has been tampered, suppressing some sounds. It’s treatment makes some of the drumming during Moby echo in a horrible fashion.
EV’s Maple Leaf Gold is a reissue of the audio from the original release.
9-6-71, sources 1 & 2
Boston Garden Party (Magnificent Disc), Listen! Listen! Listen To Me! (Empress Valley), Listen To Me Boston (Tarantura), & Wreckage In Boston: Calm Down (Tarantura2000)
Tarantura and Magnificent Disc are entirely from the first source and the Tarantura2000 title is strictly from the second source. EV is a mix.
Mag's title has no proof of not being sourced directly from Tarantura. Some edits have been modified, including a 20 second fade on the end of Stairway To Heaven. Mag Disc added their trademark metallic sound. It's not as heavy as their first few titles but it isn't deniable. It's second disc has the same time as Tarantura, but it is not a direct cd copy.
Empress Valley's title is a mix, with source one as it's primary tape. During the first cut in Dazed, it misses thirteen seconds, then it comes back in three seconds sooner than the other titles (source one).
9-9-71, version 1
Hampton Roads Coliseum 1971 (Scorpio) & One More Daze (Dynamite Studios)
Dynamite released this partial recording in the early days of the cd format. Scorpio released these six tracks as a bonus, subsequent to the more complete version of the show on the same title. The content and quality are identical between these two titles. (What's unique about the recording is the bass being in the left channel and everything else being in the other.)
9-9-71, version 2
Dead Battery (Flagge), Hampton 1971 (Cannonball & no label), Hampton From Your Palm (Wendy), Hampton Kicks (Elrond), Hampton Roads Coliseum 1971 (Scorpio), Head Over Heels (Empress Valley, original and reissue), High Heeled Sneakers (Godfatherecords), In the Wake of Zeppelin (Akashic), Inspired (Antrabata), Jim's Picks (Tarantura), & Sonic Boom (Empress Valley, box & bonus)
For the most part, these titles sound similar and almost have the same content.
Flagge opens with a very long fade in and Moby Dick fades out. Tarantura and Akashic have a small fade in and a small fade out. Flagge, Tarantura, Akashic, and Scorpio are all missing the first second of tape (Robert sings "Sing and"). Elrond has a small fade in but does not fade out. Antrabata and Wendy do not fade and are the only titles not missing the opening second of the tape.
Elrond has two drops not found on the other releases. Elrond, Antrabata, and Scorpio are missing a few seconds of tape after Dazed. Tarantura and Flagge have faked a comment after Dazed by copying the spoken word "nice" from after Black Dog.
Cannonball doesn't have fades or an extra cut in Dazed.
Godfather has the least complete version of Immigrant Song. There are digital clicks and major problems during What. The sound has been poorly altered, giving it a high pitch sound - incredibly annoying.
Empress Valley's HOH title misses the first two words like many of the other releases.
The no label title places a cut and eight second repeat after Celebration Day, and places another cut after Going To California. No fading.
Empress Valley's pair of Sonic Boom 4cd titles each feature a "stereo" version on the first two discs and then a mono version for the last two discs. The stereo version has the bass guitar in the left channel and everything else in the right. The mono version is like the 2cd titles that have been out for years. The difference between the box set "contemporary" versions and the non-box "bonus" versions is amplification and equalization. The bonus versions are more raw.
As for the audio content, the four versions match. Not only do they have all known material, it debuts about three seconds more of Dazed in the area of the cuts. They also debut the same MAJOR PROBLEM on each. It's easy to hear on the mono versions, but a little tougher on the stereo versions due to the separation of sound. At least a dozen micro cut/repeats have been inserted into Immigrant Song. The first one is just two seconds into the title and the rest begin around the 1:41 mark. The song is littered with them. Black Dog has at least two of these cut/repeats as well, near 0:11 and 2:27. Normally, this type of mutilation is created when processing tape having small silent gaps in it. The processing removes the silence and then repeats a split second of tape from before the silence occurs. The bigger the silence, the more the cut/repeat stands out. It completely ruins the rhythm of the song and produces a completely unpleasant artificial result - one that certainly wasn't heard at the show and doesn't exist on the master tape. Now, since there aren't gaps in the tape, why are these cut/repeats added to the title? The most noticeable cut/repeats are mentioned above. But there are likely many others too. They're sometimes hard to catch.
EV reissued Head Over Heeles (sic) three months after Sonic Boom. It reuses the original discs.
Giants of the Sky (TMQ), Live At Leeds 1971 (no label), & Mad Screaming Gallery (Lemon Song)
Leeds contains the first and last portions of the show (runs too fast). Gallery contains the middle section. Together they do not complete the show.
Giants' cover states it is compiled from the two cd titles above plus a "tape-source." The Leeds portion has been speed corrected but is plagued with a dozen or more slight cut/repeats. Additionally, it has glitches between many of the track changes. Neither of these errors are found on the Leeds title. The Gallery portion has slight cut/repeats too, but not as many as the Leeds portion. These are not found on the Gallery title either. The "tape-source" for the seven minutes of Dazed and Confused are from March 17th, 1975 (secondary source). The actual source(s) for the 2.5 minutes of Stairway To Heaven, the 3.5 extra minutes of Whole Lotta Love, and the extra twenty-two seconds after the show are not likely from Rochester either.
Back On the West Coast (Mad Dogs), Berkeley Daze 1st Night (Godfatherecords), Berkeley First Night (no label), California Stampede (Magnificent Disc), Going To California (TMQ, 4cd original and reissue & Graf Zeppelin), Going To California 1 (Moonchild), & Going To California II (Tarantura & TMQ, 2cd)
Mad Dogs has two cuts during Dazed that aren't found on Tarantura. There are a couple other cuts that fall between songs. Only half of Moby is present on Mad.
Mad Dogs' title runs way too fast. Tarantura's music is louder, without any increase in background noise or hiss. It may possibly be a lower gen.
Mag Disc's title has no evidence of not being directly sourced from Tarantura. The content is exactly the same but the title has been speed corrected and the music has been amplified. Their trademark metallic sound is included, though not as heavy as on their first few titles.
TMQ's title also has no evidence of not being directly sourced from Tarantura. The content is exactly the same but the title has been speed corrected. The title seems to be a touch less loud than Tarantura.
TMQ reissued the four cd title a year later, using the same discs.
TMQ released a two cd title "Going To California II" that is just a reissue of the same cds found in the four disc title.
Berkeley First Night is more similar to TMQ than the other titles. It has the correct speed, has fixed the common cut/repeat after Black Dog, and doesn't have any extra cuts or problems. The sound has been equalized a little differently from TMQ.
Godfather's title is very similar to TMQ and the no label versions.
Moonchild's title is very similar to TMQ, no label, and Godfather. It's sound has been tweaked a little to reduce some of the tape noise, which creates a little bit of a metallic effect.
Graf Zeppelin's title more closely represents the master tape, having no fades at cuts, no unnatural sounds created to tweaking/hiding the tape noise that is present, and is as complete as any release.
Berkeley Daze 2nd Night (Godfatherecords), California Expedition (Cashmere), Going To California (Shout To the Top, TMQ 4cd original and reissue & 2cd, no label, & Graf Zeppelin), & Going To California 2 (Moonchild)
TMQ could possibly be copied and edited from STTT. Their content is identical except for TMQ's edits at cuts and removal of the vinyl noise. TMQ amplified their title significantly.
TMQ's two cd title is just a reissue of the same cds found in the four disc title.
TMQ reissued the four cd title a year later, using the same discs.
Cashmere's title is highly identical to TMQ but has a cut during Dazed not found on the other titles. Their sound is almost as loud as TMQ.
Godfather uses the previous night to fill the first cut in Dazed. The rest of the title is similar in content to TMQ.
The no label release from May 2015 is highly similar in content to STTT and TMQ. The sound seems to suffer slightly from their choice in equalization.
Moonchild's title is identical to Godfather, right down to the same disc times.
Graf's title doesn't conceal the cuts, doesn't have the errors found on some other titles, and doesn't remove the gaps at cuts during Dazed, as found on TMQ that throw off the timing.
9-23-71, source #?
Peace of Mind (Mud Dogs)
Moby Dick is from a source not matching the following 9 sources. It is incorrectly attributed to Hiroshima on the liner notes.
9-23-71, source 1
D. J. of Legend (Empress Valley), Front Row (Tarantura), Fronto Row (Memphis), Live In Japan 1971 (LSD), Storm of Fanatics (Mud Dogs), Tokyo Tapes (Empress Valley, 6cd), & Young Person’s Guide To Led Zeppelin Vol, 2 (Empress Valley)
For the most part, these titles sound very similar in content. All are cut in the regular places but usually differ from each other. Not one of these titles has every second of available music.
Tarantura’s title was copied by Memphis, but has some of the cue stops in different places.
Mud Dogs is missing four minutes of the introduction and a total of another 45 seconds missing from between songs.
EV’s discs 1 and 2 of the Tokyo Tapes, the re-release of that same audio within Young Person’s Guide, and the D.J. of Legend all contain this source. (D.J. appears to have used the same discs as Tokyo Tapes.) There is an edit at the beginning of Whole Lotta Love, disrupting the timing and making it sound like a brief cut/repeat.
LSD and EV are the only titles that don’t paste audience cheer at the end. Both of these titles are louder than the others. EV’s title has been amplified the most, by far.
9-23-71, source 2
Tales of Storms (Aphrodite Studios) & Tokyo Tapes (Empress Valley, 6cd)
Empress Valley’s content (discs 3 and 4) is an exact match to Aphrodite. They’ve amplified their sound a bit, but not too much.
9-23-71, sources 3 & 4
Live In Tokyo 1971: In Concert (TDOLZ) & Reflection From a Dream (TDOLZ original & remaster)
TDOLZ’s original Reflection is strictly source three. TDOLZ’s remaster Reflection uses source one to complete. (Both titles are identical in sound, but the remaster runs a little faster.)
TDOLZ’s In Concert (single disc) is evidently a copy from the vinyl issue by the same title. The beginning of the title through the first minute of Whole Lotta Love represent the fourth source to cd.
9-23-71, source 5
First Attack of the Rising of the Sun (Empress Valley, 4cd), Meet the Led Zeppelin (Wendy), Rock Carnival (Empress Valley, 5cd), & Timeless Rock (Watchtower, 3cd & 4cd)
(These labels all use a different mixture of three tapes.)
The first three cds of EV’s “First Attack” presents the fifth audience source for this show and is very good. It is almost complete both musically and between songs. Most of the introduction, a little tape after Stairway and Celebration Day are borrowed from source 1. Source 3 is used for a few seconds just before Whole Lotta Love. Two separate places in WLL are borrowed from source 1, for a total of one minute.
EV’s cds 3 and 4 of “Rock Carnival” (2016 5cd box) reissue the audio from the first three cds of “First Attack,” consolidated to two discs. They didn’t bother removing the big overlap found between cds 2 and 3 of the original title, so it’s that audio repeated back to back in the middle of disc 4 on the new double disc reissue.
Watchtower’s title is also a 3 source mix. Like EV, musically it probably uses every available second from the fifth source. The introduction on this one is entirely from source four. Dazed has two digital glitches that aren’t found on EV or Wendy. The gap after Stairway is filled (also) by source 1. Watchtower shares the same cuts in WLL but elects to use source 3 for the first gap. For the second cut, Watchtower left it alone. Watchtower reissued the title in August 2008. It has the same disc times and content as the original.
Wendy's title starts out with source one's introduction and uses it again after Stairway. The rest of the title relies mostly on source five, but elects to use source three for Whole Lotta Love.
Watchtower made fewer splices. EV and Wendy have louder music and background noise than Watchtower just a different equalization.
9-23-71, source 6
First Attack of the Rising of the Sun (Empress Valley, 4cd)
The final disc of First Attack debuts a new source, being the sixth.
9-23-71, source 7
Flying Rock Carnival 1971 Complete (no label, 3cd), Rock Carnival (Watchtower, 1cd & Empress Valley, 2cd & 5cd), & Rock Carnival Legend (Beat & Beat, 2cd)
Watchtower’s Rock Carnival debuted the seventh source to cd. It’s just over an hour long, sampled from a fuller tape of the show.
Flying Rock Carnival debuts what is believed to be the remainder of source seven. It’s very close to being the complete show. It mixes in sources one, three, and five to complete the gaps. It could have easily been placed on two cds.
Beat & Beat’s title is similar in content to “Flying Rock Carnival 1971 Complete.” It’s biggest difference is that uses source one for Celebration Day instead of source seven. When it switches away from and back to source seven, it often misses several seconds of source seven. Sources one, three, and five are used to complete source seven. It’s sound hasn’t been amplified as much as FRC’s.
Empress Valley’s “Rock Carnival” 2cd title is the same exact mix and sound quality as “Flying Rock Carnival 1971 Complete” but has been placed on two cds.
EV’s cds 1 and 2 of “Rock Carnival” (2016 5cd box) reissue the audio from the their original title bearing the same name.
9-23-71, source 8
Tokyo Tapes (Empress Valley, 6cd)
Empress Valley’s cds 5 and 6 of Tokyo Tapes is source number eight. It’s not the whole show but is 126 minutes long.
9-23-71, source 9
Calm & the Storm (no label, 1cd)
This is the ninth source to cd.
9-23-71, source 10
923 (no label, 3cd)
This is the tenth source to cd.
9-24-71, sources 1-5
9-27-71, sources 1, 2, & 3
Live In Japan 1971 (LSD & Empress Valley), Live Peace In Hiroshima 1971 (Wendy, original and two reissues), Love & Peace (Empress Valley), Love & Peace in Hiroshima (Bumble Bee), Message of Love (Lemon Song), Peace (Tarantura), Peace of Mind (Mud Dogs), & Zingi (Tarantura2000)
Tarantura and LSD are entirely from the first tape. Mud Dogs is sourced from the second tape.
Lemon Song, Wendy, and Bumble Bee rely on both sources to provide a more complete show. Neither Lemon Song or Wendy fully maximize the tapes, so neither achieve the “full” mix.
Bumble Bee doesn’t make the effort to preserve their primary tape, source one. Too much of it is displaced by source two. They do include an incredibly long introduction, offering an extra 8:45. It’s unclear which source this previously unavailable segment is sourced.
LSD has a brief static spot in the beginning of Heartbreaker. It’s music and background noise are slightly louder than Tarantura.
Mud Dogs’ Moby is from an unknown source for Tokyo, 9/23/1971. The title runs a bit fast.
Lemon Song uses both sources to provide a much more complete show. However, they didn’t put much thought into using which tapes where.
Wendy’ original title has the familiar metallic sound in the background. The tapes are amplified and often overloaded. It’s mix is different from Lemon Song, but not any smarter. The January 2005 slipcase reissue uses the same cds as the first issue from 2003.
Wendy’ 2010 “reissue” is actually a different mix than the original title bearing this name. It was also spread across three cds. This mix is highly similar to Bumble Bee, having the extra long introduction from and unknown source or unfamiliar part of a usual source. There are a couple other segments between songs from this same unfamiliar tape.
Zingi is a two source mix, relying on the first tape as it’s primary source.
Empress Valley’s title Live In Japan 1971 (AKA “Love and Peace”) debuts a third source as it’s foundation and uses the other two sources to complete the show. The tape before and after the show are not from these first three sources… The first part of the introduction is from the same tape that debuted on Bumble Bee. Source two sounds much better here than on Mud Dogs.
EV’s Love & Peace title from 2016 reissues the discs from their original Live In Japan 1971 from 2013.
Rock Carnival (Empress Valley, 5cd)
The fifth disc of this title debuts Black Dog from the soundboard.
9-28-71, audience sources 1-4
928 (no label), Bachelor Boys' First Stand In Osaka (Empress Valley, original and reissue), Come On Everybody (Mud Dogs), Live In Japan (Empress Valley, 6cd box), Live In Japan 1971 (LSD), & Please Please Me (Tarantura & Wendy)
LSD's title is entirely from the first tape source. It ends after Mary Lou in Whole Lotta Love.
Mud Dogs, Tarantura, and EV's Bachelor Boys' use the second source for the songs that follow Whole Lotta Love. Up until source two starts, these three titles are almost identical in content. Bachelor Boys' has been speed corrected.
Wendy uses source one, source two, and the famous tape from the following night to "complete" the show. They complete the gap in Stairway by using the famous tape from the 29th, but they choose to displace 15 seconds of the proper night. Liner notes do not indicate the change. After Wendy splices back, the title is again similar in content like the other titles, through the end of Whole Lotta Love. However, their disc three starts out with a very faint metallic sound - though much less noticeable than on their debut title. It can really only be heard between songs and during some very quite moments during songs. Wendy's title has been speed corrected on both of the 28th's sources.
Empress Valley's reissue of Bachelor Boys' uses the exact same cds as the original release.
EV's Live in Japan reuses their original audio and splices in just over four minutes of a new source, number three. The splicing usually displaces source one for a several seconds each time.
The no label title 928 debuts a new source, number four.
9-29-71, source 1 “soundboard”
Cellarful of Noise (Noise Generator), The Complete Geisha Tape (Memphis & Tarantura), It’s Been a Long Time (Mud Dogs), Live In Japan 1971 (Last Stand Disc, Rock Solid Records, & no label 2015 & 2016), Live In Osaka (Tarantura, Nighthawk’s two issues, and Tarantura2000’s 2cd title from 9291971 Box set), Smoke Gets In Your Eyes (Mad Dogs), & Unprocessed 929 (no label)
Memphis is a direct copy of the Tarantura.
All of these titles are strictly from the excellent audience tape commonly called the “soundboard” tape.
Cellarful is from a vinyl source and is missing much of the talk between songs. However, it and Nighthawk contain about 48 seconds more of “Pennies From Heaven” beyond all other releases that do not mix this tape with others (Unprocessed 929 excluded). Nighthawk is largely from vinyl – both issues are identical.
Rock Solid Records is very incomplete. It misses much of Pennies, Whole Lotta Love, Thank You, and excludes Rock and Roll.
The 2015 no label release of “Live In Japan 1971” is a double disc set copied from vinyl and is of course far from the complete show. The 2016 no label release is essentially the same thing as the prior year release.
Unprocessed 929 is a triple disc set that’s an incomplete offering of the show. A lot of tape is missing between songs. The bulk of the tape available for Pennies is included. Almost three minutes is missing from WLL. About a dozen seconds of tape after WLL are present that are not found on other releases. About another dozen seconds of tape after CB are present that are not found on other releases too. Only the first five minutes of Thank You is included and Rock and Roll is absent. The sound is otherwise excellent. It doesn’t seem to be sourced from a vinyl copy, but may be a cleaned up “reissue” of a vinyl title.
The Mud Dog title is the same as the last disc of the Mad Dog title.
Tarantura2000’s title reissues content from vinyl onto two cds, including the mixed up track order and major lack of completeness.
The first 2 discs of Tarantura have an extra 20 seconds of talk between songs over the Mad Dog.
LSD’s release has the extra time found on Tarantura’s first 2 discs and has the extra time from the Mad/Mud Dog releases. However, it doesn’t have the extra minute of “Pennies From Heaven” and WLL’s first cut is missing three seconds.
The sound quality is the same on all but the vinyl sourced Cellarful and Nighthawk. The vinyl noise is present. Nighthawk’s sound seems flat compared to LSD.
9-29-71, source 2, 3, & 4
929 (H-Bomb Music 3cd), 929 Alternates (no label, 6cd), Nine Two Nine (TDOLZ, 5cd), & Smoke Get In Your Eyes (Scorpio)
H-Bomb and the first three cds of “929 Alternates” are strictly from the second source tape. H-Bomb runs too fast. The titles are otherwise almost completely identical.
TDOLZ’s 2cd version from the five cd box set releases the third source.
Scorpio debuts a very small amount of non-musical portions of source four between some songs in their mixed source title. CD’s four five and six of the last half of “929 Alternates” release what sounds to be the full tape for source four, albeit incomplete at 181 minutes in length.
929 (no label, original and reissue), 9291971 (Tarantura2000, 5cd Box set), Arigatou Osaka (Moonchild, original and reissue), Fatally Wanderer (Wendy, both versions), Live In Japan (Empress Valley, 6cd box), Live In Japan 1971 (Empress Valley's original and reissue, Tarantura2000, & Wendy 6cd), Nine Two Nine (TDOLZ, 5cd), Regalia 929 (Wendy), Smoke Get In Your Eyes (Scorpio), & You Were There In Spirits (Empress Valley, both issues)
TDOLZ's 3cd version mixes sources two and three.
Empress Valley's "Spirits" title is a mix between the three audience sources. Their reissue reuses the same discs as the original release.
EV's "Live In Japan 1971" title is very similar in content to their "Spirits" release. The audience tapes used for it's gaps isn't always the same as in their original title. The music and background noise is slightly louder than found on "Spirits." Their reissue of the title uses the same audio and cd times.
Wendy's "Fatally Wanderer" titles are a mix of sources, based on the "soundboard" source. The second release is a little longer, called the "definitive version."
Tarantura2000's 3cd title from the 5cd box set is a mix relying heavily on the "soundboard" tape source. The vinyl source of the "soundboard" is one of the "sources" used in key places where the tape fails (Immigrant Song and Pennies From Heaven). One or both of the other tapes are used too. There are many, many splices in this title. There are at least a dozen instances of splicing away from the "soundboard" tape to other tapes, even though the "soundboard" tape is not even cut in these areas. Each instance of splicing displaces too much of the "sb" tape. A large section of the "sb" tape between Dazed and Stairway is missing entirely - it's not displaced by anything. Thirty seconds of WLL are missing from the "sb" source, being displaced unnecessarily by another source. There are also instances of very bizarre sounds not found on other titles. They are most noticeable after Heartbreaker and Since I've Been Loving You. Tangerine is followed by some brief echoing while Robert is speaking. Overall, it's an extremely sloppy mix with no regard to it's primary tape source. (Not only is it the worst mix for this show, it has to be the absolute worst mix ever released.)
Scorpio uses the third source as it's foundation and uses the second source for the missing songs. Some new pieces of source two can be found between songs. A fourth source is used between some of the songs and after the show too, but it's not used for the music. Source one, aka the "soundboard" is not used here.
Tarantura2000's "Live In Japan 1971" is based on the "soundboard" source and uses other audience tapes to fill gaps. For Dazed's Pennies, they elected not to splice to the remaining 12-15" of "older sb" originally found in this area on Noise Generator and Nighthawk, and just spliced out to a different source. This time they didn't displace 30" of WLL from the "sb." It's better than their prior attempt but there's just a lot of splicing.
Wendy's Regalia is a mix using the "soundboard" as it's foundation, doing a slightly better job than their two prior attempts.
EV's December 2014 "Live In Japan" issues this title again. It's a mix of the first three sources and possibly a fraction of the fourth. Besides just being another heavily spliced version of this show, it's plagued by many "micro cut/repeats" that are too often found on the more recent digitally edited releases. Dazed and Whole Lotta Love are the tracks most affected. This problem wasn't on any of the many prior versions of this show from EV.
The January 2016 no label release "929" is a triple cd title based on the familiar "soundboard." Like most similar mixed source titles for the past dozen years, it uses more of the clearer tape before being cut during Pennies. After that, it splices out to source two instead of the remaining 12-15" of "older sb" originally found in this area on Noise Generator and Nighthawk. The splice for the first cut during WLL misses 30" too much of the "sb."
The September 2016 no label release "929" reissues their title of the same name from earlier in the year.
Wendy's "Live In Japan 1971" is a 6cd set. It's first three cds are a mix based on the soundboard. Not all of the soundboard was preserved. It has more than just faint metallic sounds that can be heard through all quieter passages. Lots of splicing. The last three cds of the set are a mix of audience tapes, the exact mix used by Scorpio in 2009. The cd running times and the timing of the splices are virtually identical.
Moonchild's original title is a mix based on the soundboard. No effort was made to preserve time from the soundboard. Six months later, they reissued it using the same discs.
Geordie Schooner (Wendy), Good Bad or Indifferent (Tarantura2000), Newcastle 1971 (no label), Newcastle Brown Ale (Empress Valley), Teddy Bear's Picnic (no label, 1cd), & Transitional Magic (Electric Magic)
Teddy Bear was the first cd release and is far from the complete tape.
Transitional Magic was the next release, offering an extra 35 seconds of That's the Way, all of Dazed and What, and about 30 seconds of Celebration Day. Their title was evidently mastered from a poor cdr copy. It has many minor "clicks and pops" that really add up.
EV's title doesn't offer the extra 35 seconds of That's the Way. It does provide Dazed and What Is. For Celebration Day, the entire song is present.
Tarantura2000 is the first offering of all known tape previous found on the older releases, in excellent condition. It also includes Communication Breakdown.
Wendy is almost completely identical to T2K. It's tape seems better in the area just before the cut during That's.
The no label title Newcastle 1971 is similar to Wendy and T2K but with one exception - That's the Way ends at the first cut like the two very oldest titles offering this show (Teddy Bear & EV).
EV & EM seem to be from the same generation of tape. Tarantura2000, Wendy, and the no label 2cd are similar to EV's quality. Teddy Bear's Picnic is from a poorer generation.
11-16-71, sources 1 & 2
Over the 12 Foot End (no label, 2cd), Two Penny Upright (Antrabata, 1cd), & Feelin’ Groovy (Empress Valley, 4cd)
Twelve Foot is the first source for this show. It runs too fast.
Antrabata is the second source. It is better sounding than 12 Foot, but is much less complete.
Empress Valley’s title is a mix between these two sources. The box contains the show twice, but does not separate the sources. Both are meaningless mixtures.
11-16-71, sources 1-3, maybe 4
Feelin' Groovy Definitive Version (Empress Valley, 3cd), Ipswich 1971 (TDOLZ & no label), Parade de Cirque (Wendy), & Over the Twelve Foot End (Graf Zeppelin)
These titles use the first two sources heavily.
TDOLZ uses a third source for Whole Lotta Love.
Empress Valley uses a different source than any prior release. It is possible that it comes from an unreleased portion of one of the first two sources. (Just as likely, it could be a fourth source.) This title includes the encores "Weekend" and "Gallows Pole." The last song briefly uses the Copenhagen source to fill a cut/gap (not cited on liner notes). Do they belong to one of the familiar sources or are they hints of a 4th and 5th source? Empress Valley could have placed this show on two discs.
The no label title is a mix mostly comprised of sources one and two, but includes tape found only on EV as well. It offers some more tape from source one not found on the other titles. It does include Weekend and Gallows, borrowing tape for a cut in Gallows from Copenhagen (not cited on liner notes). They've placed the show on two cds.
Graf Zeppelin's title is a mix highly similar to the no label title with the following few exceptions. There's has a splice in Going To California, does not splice during Celebration Day, and does not splice in Copenhagen during Gallows Pole. The sound is similar to the no label title.
Wendy's title mix is very similar to the no label title and Graf.
Magik (Tarantura), Electric Magic Show (Apple, Electric Magic, & Mad Dogs), Electric Magic Wembley Empire Pool (Empress Valley,3cd), & Empire Strikes Back (Tarantura2000, 3cd)
The early releases of the source one tape were created differently, each with different musical content to “mark” them. Tarantura, Mad Dogs, and Apple all have the following in common that are missing: the introduction, Immigrant Song, most of Whole Lotta Love. Furthermore, they’ll miss other content that the other will posses. These are the “older versions,” having many similar characteristics.
Electric Magic label later debuted (2001) the common and uncommon missing pieces, but was still using the typical older version of source one.
Tarantura2000 released a new version of source one and EV later released it too.
Tarantura and Apple’s titles have the same musical content and are virtually identical in all respects. They are missing Tangerine, most of Moby Dick, and the items mentioned in the Foreword. Mad Dogs musical content is different. It is missing Whole Lotta Love and the items mentioned in the Foreword. These titles have tape problems throughout the show. Most of them match between titles but there are some that are unique to each label. Mad Dogs runs too fast and is from a higher generation tape.
The Electric Magic label is the first title to offer all the known songs to disc. It’s Dancing Days is actually from 12/23/72 (not referenced in the liner notes). The many, many splices in this title are splicing from source one to a different generation of a source one tape.
Tarantura2000’s title (December 2009) is a newer version than previously available. It too has all the known songs to disc, and it has a little extra tape between some songs. The sound isn’t improved any, being most similar to the original Tarantura and Apple.
EV’s title is almost exactly like Tarantura2000’s.
Best For Hard 'N' Heavy (Empress Valley, original and reissue), Diploma (Tarantura2000 6cd & 3cd), Leicester 1971 (no label), Mystical Majesties Request (Electric Magic), & University of Leicester 1971 (Wendy)
Electric Magic's title is a little shorter than the others. There are a few seconds missing from before the show and 2 minutes missing afterwards. The cut after Tangerine is missing 10 of tape and the cut during WLL is missing 12 seconds. It runs a little too fast and emphasizes the higher frequencies.
EV (original) has a slight balance problem briefly in Dazed and has a large, but brief, sound increase in Stairway.
Tarantura2000's "master" version found in the 6cd set mimics the sides of the bootlegger's tapes. The 3cd "edited" version is highly similar, but the tracks are formatted in a more normal fashion. Both versions have all known tape to disc and do not have the faults found in the other titles. The edited version differs only slightly in sound, but has some micro cut/repeats during Dazed that are not of the "master."
Wendy's title has some extra cuts and sound changes not found on other titles. It also has some issues found on older titles, but not found on Tarantura2000. Their title has been amplified some.
EV's 2015 issue of this show bears the same name and disc times for the first two discs, while the third disc only differs by a second. For the most part, it seems to be reissuing the audio from the original, but there may be more static problems here on Dazed. The typical brief static in the middle of Stairway was present on the original (and other titles) but it is not present on the "reissue."
The no label title has, for some strange reason, rearranged the medleys in Whole Lotta Love.
Heartbeat (H-Bomb, 1cd) & Rock and Roll Magic (Electric Magic, 3cd)
Heartbeat was the first release of this show. It is fragmentary and runs a little fast. R&R Magic is the virtually the full show, complete where Heartbeat's songs were not.
R&R Magic's music is much louder without too much increase in typical background noise. It's probably from a lower gen. However, Electric Magic has pissed all over this tape just like with their 2-12-75 release. They both have the same terrible metallic sound from tweaking too much.
More to come...back