1972 through 1973
Adelaide 1972 (no label), Adelaide Revival (Godfatherecords), Deep Downunder (Empress Valley), Oooh My Ears, Man! (TDOLZ), Live In Adelaide (Equinox), Thunder Down Under: Shattering Rock Experience (Empress Valley), Voo Doo Drive (Tarantura), VooDooDrive Ver.2004 (Tarantura2000)
TDOLZ, Tarantura, Tarantura2000, EV's Shattering "#A," and the no label title all share the same cuts/stretches between songs. Tarantura runs a hair slow.
Equinox has removed almost all of the stretches between songs. Due to the editing, about 4 seconds of music have been lost.
Empress Valley's Deep Downunder has also removed all the stretches. They also removed the first few seconds of the introduction and inserted micro cut/repeats (Going To California and Bron-Yr-Aur Stomp) where there's never been any tape problems.
Godfather has removed most of the stretches. Whole Lotta Love contains a digital glitch/click.
EV's Shattering version "A" contains all the stretches and cuts without editing while their version "B" has the stretches removed. Version "B" doesn't have the problems found on Deep Downunder.
These titles are very similar in sound.
The no label title is almost identical to Tarantura2000, both having an extra couple of seconds of tape of the introduction.
Acoustically (TDOLZ), Australian Tour 1972 Part 1 (Black Cat), Count Me Out When It's Hot (Cobra), Down Under Daze (IQ), Kooyong Stadium Gets Rocked (Flamingo), Thunder Downunder: Live In Melbourne (Equinox), Melbourne Masters (Immigrant), No Longer Down Under Live In Melbourne 1972 (Graf Zeppelin), Shivers 'N' Shakes (Red Hot), Thunder Down Under: So Loud, So Hot (Empress Valley), & Wet Head is Dead (Empress Valley)
The first recording released of this show was on the vinyl LP title "Count Me Out When It's Hot." I've not listened to that title but research seemed to show it was a different source than what was being found on the first few cd releases of the show. It's often referred to as the "LP" source.
Black Cat was the first cd release of the show. Red Hot offered the next unique source to cd. After that, an "alternate" source appeared on the end of Immigrant, TDOLZ, and IQ, only to complete Whole Lotta Love - this is the 3rd source to cd (although it could been possible appearance of vinyl source). Equinox was the next to offer a unique source to cd, the middle section of Heartbreaker (later revealed to match EV's #B "vinyl"). The next easily identifiable source to cd was found on EV's Wet Head, typically referred to as source four. The final easily identifiable unique source to cd is on EV's version #B from the Thunder Down Under box, "So Loud, So Hot" - EV says this is the vinyl source.
Sources in release sequence:
The "alternate" for Whole Lotta Love that appeared around the same time on Immigrant, TDOLZ, and IQ (right or wrong, it was often assumed to be the vinyl source)
Equinox's middle section of Heartbreaker (later revealed to match EV's #B "vinyl")*
EV's Wet Head's primary tape
EV's #B So Loud So Hot cited as the LP vinyl source (finally on cd)*
Rather than refer to these by their "source number," it's much less confusing to refer to them by the name of the label that debuted them. None of these sources capture the entire show. No title offers all of any one source as they are known to cd. Not enough of the "alternate WLL" source or the "EV vinyl" sources have been included on cd to determine if they're mutually exclusive of each other. Newer parts of the Red Hot source may be appearing in small pieces on titles, but there's not enough audio available on silver discs to verify.
Black Cat was the first release of this show on cd, featuring a single tape source, and is the most common. Flamingo's title is a much less complete version of Black Cat's - more tape is missing at cuts and Whole Lotta Love isn't available. Red Hot's release came the following year, using Black Cat's tape for the first three songs and then the rest were from a new tape source. In addition to missing those first 3 songs, this second source to cd was also lacking Going To California, That's the Way, and Whole Lotta Love.
Immigrant, TDOLZ, and IQ were later issued, using the Black Cat source up until the last part of Whole Lotta Love. From there, they all used an identical alternate tape to finish the medleys. The three titles are virtually identical in respect to cuts. IQ's sound is much quieter since it wasn't amplified like Immigrant and TDOLZ.
Equinox primarily uses the Black Cat tape source. The introduction sounds like it may be from vinyl. The middle section of Heartbreaker is from a source not previously found on cd. It uses the Red Hot source from just after Black Dog through the end of Stairway To Heaven. It uses it again for Tangerine, the end of Dazed and on through just before the start of Rock and Roll. Equinox's Whole Lotta Love is complete. It starts the song with yet another source not previously found on cd, followed by five minutes of the Black Cat source, and is finished by the usual familiar "alternate WLL" source used by Immigrant, TDOLZ, and IQ. The "new" tape in the middle of Heartbreaker has been revealed to match EV's #B "vinyl" source. Equinox's tape at the beginning of WLL could be more of the Red Hot source (not found on the Red Hot title) or is another source entirely. On that same note, the alternate tape to finish WLL could be Red Hot, or not...
Equinox's common source (Black Cat) sounds a little better here than on the older releases. The difference is likely due to equalization. The usual source used to complete Whole Lotta Love is much, much better than what can be heard on the other titles.
Cobra's title is a three source mix, with the Black Cat source as it's foundation, the "alternate WLL" tape next, and then the Red Hot source being used in three places between songs. For the first time on cd, an extra 2 minutes of the Black Cat tape are found on this title. Unfortunately, it's missing a dozen seconds of the Black Cat tape too. The tape doesn't seem to be amplified at all. The last few minutes of Whole Lotta Love are from the "alternate WLL" tape.
Empress Valley's Wet Head is a thorough mixture of four or more tapes. The primary tape used is a new source. There are a few brief instances where unrecognized tape is spliced in. These could be from another new source or a previously unreleased portion (to cd) of a familiar tape. With no fewer than 24 source changes, it is difficult to know which tape is on without referring to your own notes. The overall sound is fine but hearing the tape constantly changing distracts from it's purpose.
Wendy's title is also a thorough mix of four or more tapes. It's basis is the Black Cat source, then relies on the Red Hot tape, and then the other sources. The 29+ tape changes are annoying.
*Putting faith into EV's liner notes for "So Loud, So Hot - version #B," we're to understand the primary tape source there is the very first source and was used for the vinyl release decades ago. In fact, the primary tape used here is almost entirely new to cd. Most of the tape until WLL begins is from this vinyl source. Along the way, gaps between tracks are filled by Wet Head (once during the intro), Black Cat, and Red Hot. The choice Empress Valley made for Whole Lotta Love doesn't make any sense. While at no point during WLL is the Black Cat source used, they've cut the song in the same place (near the 10:45 mark) where that tape always ends and manufacturers often switch to the "alternate WLL" tape to complete the song. Before that cut, most of the first 4.5 minutes are the Wet Head source, then is mostly followed by a source that is not Wet Head, Black Cat, or Red Hot. The most logical guess at the source used would be either the vinyl source that's the foundation of this title (or part of the "alternate WLL" source that's never been offered on cd before). Since the liner notes state not all of the vinyl source was used due to damaged spots, they're claiming at the point it becomes unusable is the same exact spot where the Black Cat source ends. What are the odds on that?? Since we know the last five minutes of WLL are available in good condition on the "alternate WLL" tape and they chose not to use the Wet Head source during that part of the song, they're otherwise saying the alternate WLL source isn't the vinyl source. Therefore, what they're really saying is that there are five unique sources (but only mention four in liner notes). There's not enough audio present on this title to determine if the "alternate WLL" source is the same as the vinyl source. They've clearly grabbed the songs in the wrong order and it appears they may have grabbed the wrong file to produce this disc. Hopefully we'll see this odd arrangement/exclusion of tapes for WLL corrected with another replacement disc for this box set.
EV's "Thunder Down Under: So Loud, So Hot - version #A" has its foundation in the Black Cat tape, not the ten year old "newly surfaced" source as it's liner notes claim. The Wet Head source is secondary, with the Red Hot and vinyl sources included too. Rock and Roll has been placed out of sequence and now follows Whole Lotta Love.
Graf Zep's title is a multiple source mix based on the Black Cat tape. It's introduction matches EV's version #A.
2-25-72, sources 1 & 2
Going To Auckland (Tarantura2000 & Akashic, original and 2nd Edition), Led Zeppelin On Stage Auckand (Wendy), Live In New Zealand (Empress Valley, original and reissue), No Longer Down Under Live In Auckland (Graf Zeppelin), & Thunder Down Under: Biggest Gathering (Empress Valley)
Tarantura2000 presents this show twice, both from the first tape source. The first version is from the “raw master” and the second is a “re-master.”
The “master” has a cut and repeat during Whole Lotta Love that obviously isn’t possible to be found on the true (any) master. It’s probably just an overlooked error. The sound seems to be unadulterated.
The “re-master’s” sound has been altered and amplified. Like most of the Tara2000 titles, there’s an unnatural sound in the background due to too much tweaking. The quietness between sounds is weird. Other than sound being degenerated, there are three other deviations from the “master.” The first is that one of Robert’s shouts during Bron-Y-Aur has been completely removed (around the 50 second mark of the track). The second difference is the correction of the cut/repeat during Whole Lotta Love. The final difference is the edited dropout during Whole Lotta Love.
Akashic’s title has the exact same content of Tarantura2000’s “re-master.” There are no differences of any kind other than Akashic’s slower speed and different cue stops. Their “2nd Edition” is the same audio.
Empress Valley’s Live In New Zealand most closely matches Tarantura2000’s “master.” They cleaned up a few edits and amplified the tape about as much as Tarantura2000’s “re-master.” Their reissue reuses the same discs from the first release.
These single source titles share the longest fade-in ever produced on a Led Zeppelin silver disc – 20 seconds.
Wendy debuts the second source, but only for the missing songs from source one.
Graf Zep is highly similar to Wendy. It would be considered a better mix because of the splicing method.
EV’s “Thunder Down Under: Biggest Gathering – version #A” is a two source mix that uses the first source as its foundation. Source one’s two giant fades are displaced with source two, along with a few minor places between songs.
EV’s “Thunder Down Under: So Loud, So Hot – version #B” uses seventy minutes more of source two than any other title and fills the gaps with source one.
2-27-72, source 1
Australian Tour 1972 Part 1 (Black Cat) & Live In Sydney (Equinox)
Black Cat and Equinox are from the same tape source.
Black Cat runs too fast. Equinox runs at the proper speed and has a few extra seconds of tape between songs. It’s sound seems to be better in some places.
2-27-72, source 2
Ayers Rock (Tarantura2000) & Robbers Return (Sharaku Productions)
Ayers Rock is from the second tape source. The “mastering” for this release was way, way, way overdone. It has been tweaked so hard that the background noise sounds like a flock of birds, making the sound have a “metallic” sound. It’s most noticeable between songs. A raw version of this tape would have been nice listening.
Robbers Return is strictly source two and is a big improvement over Ayer’s Rock.
Balloon Goes Up On Led Zeppelin (Empress Valley), On Stage Sydney (Wendy), Rumble In Sydney (Futher Along), & Thunder Down Under: Pop Goes the Showground (Empress Valley)
Futher Along uses the second source as the primary tape. It relies on tape one to complete Bron-Y-Aur Stomp and Rock and Roll. This title too has extremely poor “mastering” but is a tiny bit better than Ayers.
Empress Valley’s Balloon uses the second source as the primary tape, similar to Futher Along, but better sounding. Many of the tape stretches have been removed.
Wendy’s also uses the second tape as the primary source. It’s mixture is similar to the others but has the metallic sound.
EV’s “Thunder Down Under: Pop Goes the Showground – version #A and #B” use the second source as the foundation and fills in gaps using the first source. Version #B repeats version #A but removes some of the stretches. (Version #B’s original second disc was a repeat of the set’s first disc. A replacement disc was issued to correct the problem.)
2-29-72, sources 1 & 2
Australian Tour 1972 Part 2 (Black Cat), Live In Brisbane (Equinox), & Thunder Down Under: Indoor Farewell (Empress Valley)
Black Cat was the first cd release of this show. Equinox mostly relies on the Black Cat tape, adding in the missing songs from an alternate source. The newer source is used for all of Dazed and Whole Lotta Love instead of using the Black Cat fragments. For the source these two titles share, Equinox is at least slightly better sounding.
EV’s “Thunder Down Under: Indoor Farewell – version #B” uses the Black Cat tape as it’s foundation and fills in the gaps with the alternate source found on the Equinox title. While it starts off with an extra ten seconds of tape not previously released from the Black Cat source, they make no attempt to include all of the previously known tape, missing a total of 45 seconds at splices. EV’s version #A uses the Equinox source as it’s foundation and then fill it’s gaps with the Black Cat tape. Lots of metallic sounds here when EV uses the Equinox tape source.
Amsterdam 1972 (MMachine), Amsterdam Warmup (Magnificent Disc), Dancing Bear (Tarantura), European Warm Up Shows 1972 (no label), & Running Bear (Gold Standard)
MMachine seems to sound a tiny hair better than Gold Standard. It has an extra 4 seconds of music at cuts during songs over the other releases. It also has more tape after Rock and Roll.
Tarantura’s introduction was edited, removing 25 seconds. It’s sound is also a little louder than Gold Standard.
Mag Disc’s title is cuts out 4-5 seconds too early on Stairway and cuts into Bron-Yr-Aur Stomp a couple of seconds too late. It has the same cut and repeat after Whole Lotta Love that is found on all releases. A few seconds are missing in the area of the cut after Rock and Roll. It’s sound is a tiny hair louder than MMachine but isn’t due to a better generation of tape – just amplification. Like Mag Disc’s first two releases, this third release also has the all too common metallic sound in the background. The affect isn’t anywhere near as horrid as Memphis Underground’s but is constantly evident and inexcusable.
The no label release is another edited title. Much of the introduction has been removed, the end of Immigrant Song has been removed and replaced with tape from a different show, is cut after Heartbreaker, and is missing the last few available seconds of Stairway. It’s been amplified quite a bit.
Belgian Triple (Empress Valley) & European Warm Up Shows 1972 (no label)
These two titles are highly similar in content and sound quality.
Montreal Gazette (Wendy) & Red Snapper Deluxe (Balboa)
Balboa is from an incomplete version of the first tape source. Wendy is a more complete version of source one until the cut after Moby Dick. From there, source two is used to finish the show. Source two is used for less than one minute before the big switch after Moby Dick. During Wendy's introduction, a splice to an inferior version of source one is used, all the way through the beginning of Heartbreaker. The inferior tape has a ton of hiss. For the other parts common between the two titles, Wendy sounds a good deal better.
1972 Charlotte (Empress Valley), Charlotte 1972 (TDOLZ), Compositions (Tarantura), Don’t Do It If You Don’t Want To (Holy Grail), Knees Up Mother Brown (IQ), Live In Charlotte 1972 (no label), & Memories of Charlotte (Wendy)
IQ’s title runs a bit fast, lacks tape before the show – cutting into the first note of Immigrant Song, and has no left channel for 45 seconds during Moby Dick.
Holy Grail is virtually identical to IQ. It’s a little better since it contains the short introduction and doesn’t cut into Rock and Roll.
TDOLZ’s sound is far superior. It is louder, has less background noise, has a broader range of frequencies, and the tape runs closer to proper speed. The introduction is 3 seconds long and does not cut into Immigrant Song. There are no channel problems during Moby Dick. The tape runs a hair slow.
Tarantura’s title is very similar to TDOLZ. It has about 18 seconds more tape after Moby Dick but removed the tape stretches after WLL and Rock & Roll. The tape runs closer to the proper speed than the other titles. It’s sound is slightly quieter than TDOLZ but is not likely due to a difference in tape generation.
Wendy’s title is also similar to TDOLZ. It’s only real problem is minor, which is a strange sound after Celebration Day.
Live In Charlotte 1972 is very similar to TDOLZ.
Empress Valley’s title is not only the worst version of this show, but is probably the worst title ever. There are several micro cut/repeats all concentrated at the beginning and ending of most songs for several seconds each and they can also be heard throughout the entire title.
Axeman of Cometh (Flagge), Baltimore 1972 (Immigrant & Wardour), Baltimore Jack (TDOLZ), Nutty and Cool (Baby Face), & Triangle of Love (Tarantura2000)
Immigrant's Moby Dick is missing a few seconds, Whole Lotta Love has a slight cut, is missing over 2 minutes of tape after Rock and Roll, and has almost no tape after the show.
Flagge splices in a different generation tape of the same show (different speed too) in 3 places to correct for a few very minor tape faults in the main tape. The splices cause more disturbance than the faults of the main tape. This title presents a new cut during Moby Dick, missing 3 seconds from the opening. Little tape is available after the show.
TDOLZ's is missing tape before and after the show. It has some digital glitches, has a cut/drop during Dazed, and is missing a few seconds of Moby Dick.
Baby Face has more tape before and after the show. It has a couple of glitches and is missing a few seconds of Moby Dick.
Wardour's is the most complete, musically and otherwise. It has all known tape before the show, 2 extra seconds of Moby at the cut, has almost 2 minutes of tape after the show, and contains no digital glitches like Baby Face and TDOLZ. It's only fault is minor (missing about 2 seconds of tape after That's The Way).
Tarantura2000 is missing too much music and tape between songs. The opening nine seconds of Tangerine are absent (for the first time on disc), Moby is missing two seconds, and most of the tape after Bron is missing (52 seconds). There are four instances where the balance shifts from one channel to the other, making it sound like cuts.
Immigrant's tape is clearly from a higher generation than the other titles. TDOLZ's equalization is a bit off. Baby Face has been amplified a little. Flagge has been amplified quite a bit over the others. Wardour seems to have not adjusted the sound, so it's a little more natural. Tarantura2000's sound has been highly amplified.
Sometime In New York City (IQ), Whole Lotta Led (Badgeholders), & Whole Lotta Led: Ultimate Power Blues (Tarantura2000)
IQ and Badgholders are almost completely identical in content. Badgholders removed a few of the tape stretches. They have amplified their tape quite heavily.
Tarantura2000 has edited each cut and stretch, concealing the breaks quite well. This makes locating the cuts difficult. It's music is louder than IQ, but it's background noise isn't equally as loud. It's likely from a better generation of tape.
Long Island Line (IQ), Tangerine (Mud Dogs), Nassau Coliseum 1972 2nd Night (no label), Welcome Back (Tarantura), Whole Lotta Led (Badgeholders), & Whole Lotta Led: Willie and the Hand Jive (Tarantura2000)
The end of WLL is not available. Tarantura “fixed” this problem by repeating the beginning of the song at the end. Other edits cost Tarantura a couple seconds of music. The title has been amplified a considerable amount.
Mud Dog’s introduction is slightly shorter than the other titles. Bron-Yr-Aur Stomp has almost 2 more seconds of music before the common cut. It’s Whole Lotta Love is missing the last two minutes. The tape has been amplified some.
Badgeholder’s title is missing some of the introduction, has the extra tape during Bron-Yr-Aur Stomp, is missing over half of Tangerine, and is missing the last two minutes of Whole Lotta Love. The title has been amplified a considerable amount.
IQ and Tarantura2000 have the most tape available from the show but both miss the last 35 seconds of Whole Lotta Love. Their content is pretty much identical. IQ’s sound hasn’t been amplified. Tarantura’s music is louder but it’s background noise isn’t equally as loud. It’s likely from a better generation of tape.
The no label release misses a half minute after Dazed, another half minute after Moby, another half minute of WLL’s beginning, but then debuts 35 seconds of the ending of WLL. It’s not been amplified as much as T2K.
Ahead & After (Empress Valley), Axeman of Cometh (Flagge), Seattle 1972 (no label), & Trouble In Vancouver (Gold Standard)
Flagge's introduction is slightly shorter than the others. It is missing some commentary and notes after Stairway. There's more time after the final song but it's not likely genuine. It's music and background are a little louder than Gold's.
Empress Valley's title is identical in content to Gold Standard's. It's music and background are a little louder than Gold's.
Seattle 1972's title is similar to Gold Standard.
Dancing Again (Empress Valley, original and reissue), Evergreen (TDOLZ), Let’s Do It Again (Badgeholders), Lightbringer (Cashmere), Seattle 1972 (no label), & Sizzles In Seattle (Lemon Song)
These titles are different in terms of musical content.
Lemon Song misses a few seconds of Immigrant soon after it’s start. Bron-Y-Aur Stomp is missing 13 seconds. Dazed contains a 33 second repeat and then misses 22 seconds. What Is and What Should Never Be is cut, missing just 1 second. The comical audience comment during Moby Dick has been extracted, removing 23 seconds. Whole Lotta Love has an extra tape problem during the fifth minute. The first second of Over the Hills is missing. Some tape after the show is missing too.
TDOLZ’s Bron-Y-Aur Stomp is missing 100 seconds. Dazed is missing the last 46 seconds. The organ solo is cut twice, missing 1 minute. Money is missing the last 18 seconds. About 45 seconds of commentary is missing after Over the Hills and Far Away. Some tape after the show is missing too.
Badgeholders is missing the first 4 seconds of Immigrant Song. Cashmere has this section, but it is from a poorer generation of tape. Cashmere has two instances of digital static during Heartbreaker. Both of these titles are cut after Black Country Woman (for the first time) and have a very horrible overlapping tape edit. Moby Dick is missing 5.5 minutes on Badgeholders. Cashmere uses a poor generation of tape for this section. (This tape is not missing or degenerated on Lemon Song and TDOLZ.) Cashmere misses the final split second of Money. (The first pressing of Cashmere’s disc 2 has two second gaps between tracks. Cashmere’s cue stops are poorly positioned, although still between songs.)
Empress Valley’s title contains all known tape previously available on silver disc. There’s no missing tape, no extra cuts, no splicing, no degenerated tape (as found on Cashmere), and is from a better generation of tape than Lemon Song and TDOLZ.
“Seattle 1972” release is similar in musical completeness as EV. It’s cuts aren’t buried in edits, well documenting the tape’s characteristics. However, there are four spots where the sound is just wrong (they sound like poor overlapping edits). The last twenty seconds of tape after the show are missing.
TDOLZ is from a better tape generation than Lemon Song. Lemon Song’s title runs a little too fast. Badgeholders and Cashmere seem to be the same generation of tape and are clearly closer to the master than TDOLZ and Lemon Song. Their sound is similar. Empress Valley is also from the better tape generation and hasn’t been amplified much. Seattle 1972 doesn’t seem to have any amplification.
EV’s reissue is a clone of the original, down to the disc times.
Berdu (Cobra), Born To Be Wild (Magnificent Disc & Whole Lotta Live), Di Rigori Armato Il Seno (Wendy), Latter Day Saint (Tarantura2000), Route 66 (Tarantura), Swinging In San Bernardino (Empress Valley), & Welcome Back: Berdu (Godfatherecords)
Whole Lotta Live is a direct copy of the Tarantura.
Cobra’s Dazed is out of sequence.
Tarantura is missing much of the introduction, tape after Whole Lotta Love, and tape after the show. It is also missing a bit of tape after Going To California and Dazed. It has a couple of tape glitches a drop during Dazed that aren’t found on the other titles.
Mag Disc is much more complete (music aside) than Tarantura. (Just before the cut in Bron-Yr-Aur Stomp, it has about 2 extra seconds of music, but is then followed by a repeat of a brief line from earlier in the song, which displaces about 2 seconds.) For the first time, extra music is provided around the cut in Bron-Yr-Aur Stomp. There’s about 2 extra seconds before the usual cut, and then cuts back in about 5 seconds earlier. Like Mag Disc’s first release, this title too has the familiar metallic sound in the background. It is much less than their first release but is still constantly evident and inexcusable. Aside from the small cut just before Black Dog and the mistake in Bron-Yr-Aur, this title would have been a great release if they wouldn’t have tampered with the sound.
Empress Valley’s release is the most complete musically and between songs. It contains the extra tape for Bron-Yr-Aur Stomp previously only found in Mag Disc’s title. There’s a shift in the channels during Stairway that’s not found on other titles. EV’s sound is more similar to Tarantura than the others.
Tarantura2000’s release is worse than the original Tarantura release, and is the worst version so far. It’s missing too much tape before the show, after Dazed, after WLL, and after the show. (Oddly, it does have all known tape surrounding Bron’s cut.) Furthermore, there are many instances of static during Dazed, Moby, Whole Lotta Love, and in other places.
Godfather’s title is most similar in content and quality to EV. For some reason they’ve inserted a brief splice in Stairway, although the song isn’t cut on other titles.
Wendy’s title is most similar to Godfather’s content, right down to the unnecessary splice in Stairway. It sound has been suppressed immensely between tracks and sounds very poor.
Burn Like a Candle (Empress Valley’s 4 editions, Graf Zeppelin, Smoking Pig, 2015’s no label, & Wendy), Burn That Candle (Equinox & Tarantura2000), Night At the Heartbreak Hotel (Missing Link), ), & Welcome Back: Night At the Heartbreak Hotel (Godfatherecords)
Smoking Pig, Missing Link, and Tarantura2000 include “Weekend” from 6-14-72 as a bonus track, but do not credit the date. Equinox and Tarantura2000 (cd5) include the interview by Wolf Man Jack.
The cuts on Smoking Pig and Equinox are in the same places. Equinox edited some at 3 of the cuts. Two are between songs and each miss about 2 seconds of tape. The other is during the Whole Lotta Love medley, which removes almost 5 seconds of the song. Smoking Pig accidentally includes some blank tape followed by part of Bron-Yr-Aur Stomp at the end of disc one.
Missing Link mostly has the same cuts. It’s cuts after Dazed & Confused and What Is and What Should Never be, have several extra seconds over the other titles (of the same age). However, it’s cut after Whole Lotta Love is missing about 25 seconds. Unlike the others, it has a cut and repeat after The Ocean.
Empress Valley employs their trickery again. The introduction has been extended (faked) 20 seconds. A second tape source has been spliced to fill in the big gap in Going To California and Whole Lotta Love. At each splice some of the original tape is lost to the other source. The splice to complete WLL’s gap doesn’t make it. Time is still missing. Judging by EV’s past performance, the second source is probably from a different night altogether.
Mostly, EV’s cuts match the other titles. However, after Thank You, another 17 seconds are faked. Some of it is a repeat of tape from the same section. The rest would lead you to believe that Jimmy Page silently made it back on stage, played a few notes, and then disappeared to later come back to the stage with the group. EV runs a touch faster than the other titles.
Wendy’s two source mixed title repeats the same mistakes found on titles released over ten years ago. Some of source one’s tape is missing. Source two is metallic.
Empress Valley’s title is the loudest, followed by Missing Link, Wendy, Smoking Pig, then Equinox. The background noise just increases with the loudness. There is no difference between the clarity of sound.
EV’s second and third editions reissue the cds from the first edition.
EV’s 5cd reissue is different from prior issues. They’ve taken the same audio, placing on the first three cds of the title, and edited it, changing tape flaws and background noises into “micro cut/repeats.”
Tarantura2000 unnecessarily spread the show across four cds. Typical quality and sound, usual tape source, no mixed sources.
Godfather’s title is strictly source one and only has a few minor imperfections.
The no label version is also strictly source one with a few imperfections.
Graf Zeppelin’s title is strictly the first source and is the most complete version available.
Burn Like a Candle (Empress Valley's two 4cd and one 5cd editions), How I Won the West (Wendy, original and reissue), & Welcome Back: Wild Beach Party (Godfatherecords)
EV's third edition reissues the cd from the second edition. Their fourth edition uses the same audio and is placed on the fifth disc.
Wendy and Godfather released the tracks in similar quality. Wendy decided to include a soundboard version of the Immigrant Song. It's much closer to the official live release than being from the raw tape.
Wendy reissued their title, reusing the original discs.
6-27-72 audience sources 1 & 2
Burn Like a Candle (Empress Valley, 5cd), Get Back To Where You Once Belonged (Wendy), & Wild Beach Party (Led Note)
Led Note released the first audience tape. Wendy debuted a forty minute fragment of the second tape. EV later released a one hundred minute fragment, but has many instances of micro cut/repeats.
6-27-72 audience sources 3 & 4
Burn That Candle (Empress Valley), How I Won the West (Wendy, original and reisse), & Welcome Back: Wild Beach Party (Godfatherecords)
(Without having isolated sources to compare against these titles, it's difficult to tell if new tape is from a new tape source, of if it's just a previously unreleased portion of familiar tape.)
Wendy debuted the third tape and possibly a fourth, but they're used very little. Sources two is the primary foundation of the title, followed by the first source.
EV's title is based on source one, does not use source two, and uses the third and possibly a fourth tape to complete. Some new tape for source one is debuted here for Dazed. There are a lot of micro cut/repeats in the title.
Godfather uses the first two sources, a lot of a third tape, and possibly a fourth tape too.
Wendy reissued their title, reusing the original discs.
Burned Out Candle (Empress Valley), Crashing Revelry (Empress Valley), Get Back (Scorpio), Get Back To Where You Once Belonged (Wendy), & LZ Riders In AZ (Tarantura2000, original and reissue)
Scorpio’s Immigrant Song has a dip in sound at the beginning that’s not found on the other titles. Burned Out Candle doesn’t have the channel shift in Heartbreaker, but it has two other faults in the title. There’s a micro cut/repeat in Whole Lotta Love and there’s a two second gap between the last two tracks.
Tarantura2000’s title is highly similar to EV’s but doesn’t have the channel shift in Heartbreaker.
Tarantura2000’s 2015 reissue is identical to the original.
Wendy and Tarantura2000 seem to have no amplification, Scorpio has amplified sufficiently, and the two EV are amplified slightly more than Scorpio.
10-2-72, source 1
Budokan 1972 1st Night (no label, 4cd & 2cd issues), The Campaign (Tarantura), Dancing Days (Aphrodite Studios & Silver Shadow), Eastern Front (Great Dane), Led Zeppelin is My Brother (Empress Valley), Live In Japan 1972 (LSD), No Use Greco (Tarantura), & Presentation 1972 (Patriot)
Of these nine titles, only Empress Valley is not entirely from source one. For the other eight, musically speaking, they all are complete and sound very good.
Patriot claims to be the complete tape from the master reels, and no other title offers more content.
The 4cd no label title's first two cds are a copy of the Patriot title. The only difference is cue stop placement. The last two cds are an amplified/equalized version of the first two discs.
The 2cd no label title reuses the first two cds from their four cd release.
The two Tarantura's are almost completely identical. The later issued version (Campaign) has a different edit after Whole Lotta Love. The LSD is almost completely identical to the Tarantura. These three titles are missing a few seconds between songs. Their sound is mostly similar, being a little muffled and occasionally unbalanced. LSD's sound is a little louder.
Aphrodite, Silver Shadow, and Great Dane have several cuts between songs, eliminating more than 10 minutes of tape.
Empress Valley's title uses source four to complete the small gaps. It's sound has been amplified, making the music and background noise louder than Patriot.
10-2-72, source 2
The Campaign (Tarantura) & Complete Live In Japan (LSD)
Tarantura and LSD's "Bonus" tape are identical sources. They are virtually identical and are the most distant recording for this show.
10-2-72, sources 3, 4, 5, & 6
Far East Side Story (Wendy), Hard Truth (no label), Live At the Big Hall Budokan Oct 2 1972 (TDOLZ), & The Overture (Sanctuary)
TDOLZ is the third source available from this show.
Sanctuary is primarily the fourth source, but uses about 30 seconds of the first tape source for part of it’s introduction and Dazed.
Wendy is primarily the fifth source, but uses about five minutes of tape from source one and four to fill some gaps (Dazed, WLL, and exit).
The no label title is mostly from source six. It uses the first source for the introduction, SRTS, and the Rain Song.
10-3-72, sources 1, 2, 3, 4, 5, 6, & 7
2nd Night In a Judo Arena (Tarantura), The Campaign (Tarantura), Explosion (Flagge), Great Dictator (Wendy), Live At the Big Hall Budokan Oct 3 1972 (TDOLZ), Live At Nippon Budokan (Empress Valley), Live In Japan 1972 (LSD), Live In Tokyo (Amsterdam, 3cd), Majestic Rock (Reel Masters), No Use Gneco (Tarantura2000, 3cd), Role To Play (no label), & Tokyo 1972 2nd Night (no label)
Sources, numbered relative to chronological release date: Tarantura = source 1, Amsterdam = source 2, TDOLZ = source 3, Flagge = source 4, Reel Masters = source 5, Tarantura2000 = 6, and Role To Play = 7.
The two Tarantura titles are mostly from the first source. The introduction and Dazed come from source two. The Campaign re-issued source one used in it’s earlier title. This time, they made a few edits at cuts. One of the edits is after Stairway To Heaven. It replaces 20 seconds of the original tape with 10 seconds of tape from elsewhere. “2nd Night” has it’s cue stops placed after the songs end, not right before they begin – not uncommon for Tarantura.
The 2016 no label title “Tokyo 1972 2nd Night” is a mix extremely similar to the old Taranturas, but fills in some of the Tarantura gaps (Dazed and between some songs) with other tapes. The Reel Masters source is used during and after Dazed. The tape source(s) used after WLL, Immigrant Song, and after the show are not familiar. They may be debuting more time from the old Tarantura source, another known source, or could be introducing an eight source. The title’s sound is very similar to Tarantura.
Amsterdam and TDOLZ titles are exclusively from single, separate sources, numbers two and three. Amsterdam runs a bit fast and could have been easily placed on two cds instead of three.
Flagge’s title is from the fourth source, but not entirely. It uses some of the TDOLZ source to complete Dazed and talk between some songs. Some of the tape after the show is borrowed from the Amsterdam source. It has poorly positioned cue stops.
Reel Masters is from the fifth source, but not entirely. It uses some of the TDOLZ source to complete Rain Song and Stairway To Heaven.
Tarantura2000 is from the sixth source, but not entirely. It uses some of the TDOLZ source after Rain Song. Brief splicing occurs during Whole Lotta Love too. The title could have been placed on two cds.
Role To Play debuts the seventh source and mixes in a few seconds of an older source to fill a gap in Dazed.
LSD is a 2 source mix. It uses the Amsterdam source up to the beginning of Stairway and then uses the Tarantura source for the remainder. The source shared with Amsterdam is much better sounding and runs at the proper speed.
Wendy is a similar mixture as LSD, but they throw in the TDOLZ source briefly after Stairway. The two splices during Dazed are hopefully not mixing in the remaining two tapes.
EV’s title is a direct copy of Flagge’s title.
10-4-72, source 1
Raw Tapes II (Amsterdam) & The Second Daze (Mud Dogs)
These two titles are from the same source.
Second Daze’s sound is not as clear, seems overloaded on the lower frequencies, and runs too fast. It has a cut after Stairway and is missing about 15 seconds of tape (no music missing) overall.
Amsterdam’s title is much better, lacking the defects found in the Mud Dog title.
10-4-72, source 2
The Campaign (Tarantura), Dancing Geisha (Tarantura), Live In Japan 1972 (LSD), Osaka 1972 1st Night (no label), & Raw Tapes I (Amsterdam)
These titles are strictly from the second source and are somewhat similar.
The two Tarantura’s are exactly identical. For some reason, they decided to repeat a two second section twice to “add” time after Dazed and Heartbreaker.
The no label title contains the exact same audio as found in the two Tarantura titles, but isn’t amplified as much (small difference).
10-4-72, 2 source mixes
Connexion (Amsterdam), Live At Festival Hall 1972 (Power Archives), Moral Reader, (Wendy), Rock Explosion 72 (Tarantura2000), & Dancing Page (Tarantura2000)
Power Archives is a mix that uses the first source to complete the second source. Connexion is a mix between Raw Tapes I & II. Rock Explosion and Dancing Page use the same exact cds. They use source two only to fill in source’s ones gaps and missing encores. Wendy’s foundation is source one, but uses source two for the introduction, Rock and Roll, Dazed, and the two encores.
10-5-72, source 1
Live In Nagoya (Smile Record), The Campaign (Tarantura), & Sakura (Ocean Sound Studio)
Live In Nagoya is not complete. It is missing the last several minutes of it’s tape and it runs too fast.
Campaign & Sakura would probably be considered better sounding, but there is a tape problem through most of the show. This problem is also on the Live In Nagoya, but for a much smaller portion of the show.
Sakura has about 5 seconds more tape than Tarantura, due to Tarantura’s editing.
10-5-72, source 2
DRAGON (Flagge), Geisha Boys (Akashic Records), High Noon (Wendy), Live At Nagoya (Empress Valley), Live In Japan 1972 (LSD), Rock N’ Roll Springtime (IQ), & Sakura, Looking Up (Jelly Roll)
“The Geisha Boys” is the complete release of the second source. The other titles listed here are mixes that rely heavily on this source.
These mixed source titles use the first source for the encores. Jelly Roll and Flagge additionally use the first source to complete the beginning of Dazed and Confused.
Wendy has a digital glitch after Dancing Days that isn’t found on the other titles.
Other than Flagge, all titles are similar in sound. Flagge highly amplified their title, bringing up the music and background noise.
EV’s title is a direct copy of Flagge’s title.
10-9-72, sources 1, 2, & 3
The Campaign (Tarantura), Let Me Get Back To 1972 (H-Bomb, 3cd), Live (Tarantura and no label version), Live In Japan 1972 (LSD), Moby Dick (Boleskine House Records), My Brain Hurts (Tarantura2000, both issues), Osaka 1972 2nd Night (no label), Rock Explosion 72 (Tarantura2000), Stand By Me (Wendy), Tapes From the Darkside (H-Bomb, 3cd), & Unprocessed 109 (no label)
The H-Bomb triples all share the same discs and have the same content. They are unnecessarily spread across three cds. LSD is almost identical in content and similar in sound. Boleskine’s title has been speed corrected (except for the speed problem during WLL), has a tiny bit more tape after Rain Song, and has been amplified a little too. The no label single disc release titled “Live” is an attempt at reissuing the vinyl tracks, so it’s far from being the complete show. The no label double disc release titled “Unprocessed 109” is virtually identical in content to Boleskine, but isn’t amp’d as loud. The no label “Osaka 1972 2nd Night” is a slightly less complete version of their “Unprocessed 109” released ten months earlier. About forty seconds of tape is missing.
Tarantura’s Live is mostly from a second tape source. For Dazed, Stairway, and Whole Lotta Love, it uses the H-Bomb source. The Campaign’s only difference from Live is that it repeats 9 seconds of tape after Rain Song, from earlier in the show.
Rock Explosion and both issues of My Brain Hurts use the same exact cds. The H-Bomb tape is used almost exclusively. About 15 seconds of tape after Moby Dick are used from the Tarantura source, but they didn’t bother to borrow the introduction to the show.
Wendy’s title debuts the third source. It is used from the beginning of the show through the end of Stairway To Heaven, with the exception of the end of the Rain Song. (Rain song is completed by one of the other two sources, likely H-Bomb.) The remainder of the title uses the H-Bomb source, except when it briefly switches to the Tarantura source after Moby Dick.
The more commonly used tape source (H-Bomb) is virtually identical between the various titles. The H-Bomb titles aren’t quite as loud as the others.
10-10-72, source 1
The Campaign (Tarantura) & Japanese Warm-Ups Vol. II (Sayonara)
Tarantura and Sayonara are exclusively from the first tape source and are identical in sound. Tarantura has a few edits at cuts.
10-10-72, source 2
Last Night In Japan (TDOLZ) & Live In Japan 1972 (LSD)
TDOLZ and LSD are exclusively from the second source. They’re very similar, but LSD has a cut in Whole Lotta Love, repeating 66 seconds. LSD’s tape may be one generation better than TDOLZ. It is a little bit better sounding.
10-10-72, source 3 and mixes
Evil Spirits in Kyoto: The Sprits “tape A” (Tarantura2000), Evil Spirits in Kyoto: The Colossus “tape B” (Tarantura2000), Evil Spirits in Kyoto: The Dragon “tape C” (Tarantura2000), Kyoto 1972 (no label), Live At Kyoto (Empress Valley), Mirage (Flagge), & Old Capital (Wendy)
Flagge, Wendy, EV, and the no label titles are mixes using source two as their primary tape and source one to fill. Tarantura2000 also has source two as it’s foundation but uses source one and three to fill.
Flagge uses source one to complete Rain Song and Stairway may have a brief splice. Strangely, Flagge makes a really poor decision and switches to source on after Rain Song and then again during the latter part of Whole Lotta Love, although source two is not cut in either place. Why??? The title has been amplified a little too much.
Wendy fills in four gaps using source one, then it uses 10/2/72’s fifth source to fill in 20 seconds of Stairway. Of course the liner notes do not mention the mixing of different shows.
Empress Valley is a copy of Flagge’s content. The meta data says “Flagge” and the disc times are the same too.
The Tarantura2000 Sprits title is based on source two but adds in source one and source three. Source three is only used to complete Stairway. Exactly like Flagge’s poor decision on their title, Tarantura2000 pulls the same trick and swaps out the available source two after Rain Song and during the latter part of Whole Lotta Love for source one. Again, why???
The Tarantura2000 Colossus title is based on source one and is mostly filled with source one. Source three is really only used to complete Stairway. Absurdly, just like their tricks on Spirits, Tarantura2000 swapped out the available source one tape after Rain Song for source two. WHY??? They are making certain the collector will not receive all of source one or source two on just a pair of discs, but rather four discs. These titles were not made with any collector’s intensions in mind. Of course it’s no surprise, Tarantura2000 has been doing this for many years. It’s shameful and without honor.
Tarantura2000’s Dragon is based on source three and filled only by source two. There’s a glitch at 4:11 during Black Dog.
Newcastle Symphony (IQ), Nice Starter (The Symbols), & Stepmothers Club (Mad Dogs)
Mad Dog's release is far from complete and doesn't retain the proper running order for the tracks featured.
The other two titles are cut after Dazed but Symbols is missing a dozen seconds and the sound quality drops. Both are cut during Whole Lotta Love, but in different places. IQ has a few more seconds of tape after the show. Symbols runs a little slow on the first disc and seems to run even slower on the second disc. Both titles are likely to be from the same generation of tape but IQ has amplified theirs. The amplification has helped this title. It makes it much easier to hear the commentary between songs.
12-8-72, sources 1 & 2
Hardrock! (Sanctuary), Let It Zep (Tarantura2000), & Rovers Return (Empress Valley)
Sanctuary represents the first tape source.
EV features the second source but relies on the first source for completion between songs for the last half of the show, and for Immigrant Song too. The beginning two seconds of Rock and Roll are not from this date. EV failed to mention this in their liner notes. The splice at the end of Dazed is a bit rough. They missed filling in the gap during Whole Lotta Love. The beginning of Immigrant Song has been edited in a very odd way, making for a strange effect.
Tarantura2000 is a similar mix as EV, but without the deceptions. They filled the gap in Whole Lotta Love with almost four minutes of source one. Their title has been amplified a bit more than EV.
Live From England 1972 (Graf Zeppelin) & Sweet Brummy Roll (Empress Valley, original and reissue)
EV originally released this in 2003 and reissued it in 2011. Graf’s title is highly similar.
Live From England 1972 (Graf Zeppelin) & Sweet Brummy Roll (Empress Valley, original and reissue)
EV originally released this in 2003 and reissued it in 2011. Graf’s title is highly similar.
12-22-72, source 1
Alexandra Night (Right Stuff), Ally Pally Hard Rock Daze: The 2nd Daze (Empress Valley), & Riot House (CHAD & Wendy)
These titles are from the excellent sounding shorter tape, containing the last hour of the show.
Right Stuff and Wendy are identical in content. Both are missing a second at the beginning, 26 seconds after Whole Lotta Love, 26 seconds after Heartbreaker, and a few seconds after the final song. Neither have the tape glitch during Immigrant Song on CHAD.
Right Stuff seems to run a little slow. It's music and background noise are a hair louder than the other two.
EV's "bonus disk" introduces a cut after Stairway, removing four seconds. It is also cut after Whole Lotta Love and Heartbreaker, but is missing even a little bit more time than Right Stuff and Wendy. A few more seconds are missed before and after the show.
12-22-72, source 2
Ally Pally Hard Rock Daze: The 1st Daze (Empress Valley), Flawless Performance (IQ, 3cd), Riot House (Wendy), & Riot Show (Cobra, 2cd)
Wendy is the only title solely from the second source. The only fault is the cut/repeat of tape after Dazed and Confused.
IQ and Cobra use the second source (poorer sounding tape) through the end of Heartbreaker. The mellotron solo and Thank You are borrowed from the first source, but it's quality is not near as good as CHAD's. IQ seems to run a little slow. It's music and background noise are a little louder than Cobra's due to amplification, but hasn't been amplified as much as Wendy.
Cobra moved Dazed out of sequence in order to squeeze the tape onto two cds, missing about 15 seconds of tape in the process. A few more seconds are missing from the beginning and ending of the second source.
EV's title is based on the second source but fill's it's gaps with source one. The splice during WLL doesn't miss any of source two. It's sound is slightly less amplified as Wendy's.
Alexandra Palace 1972 2nd Night (no label), Ally Pally Hard Rock Daze: The 2nd Daze (Empress Valley), Disturbance House (Wendy, 2cd), Merry Christmas Mr. Jimmy (Lemon Song, 2cd), & Titanic (IQ, 3cd)
IQ spread the songs over three cds and seems a little slow.
Lemon Song moved Dazed and Confused to squeeze this show on two cds, but it wasn't necessary. It also misses several seconds before the show.
Wendy's title is properly sequenced and fits on two cds. It may have one cut fewer than the other titles but misses several seconds before the show. They've amplified their sound just a bit over the other releases.
EV's title is similar in content to Wendy and is only a little less amplified.
The no label title starts off with the extra tape before the show but has the metallic sound faintly in the background.
Ascension in the Wane: Oxford Blues (Godfatherecords), British Story (Wendy), Made In England (Tarantura), Oxford Midnight (Empress Valley), & Oxford 1973 (TDOLZ)
Tarantura is missing the very last second of the Whole Lotta Love fragment. Other than that, it’s similar to TDOLZ and Wendy.
Godfather misses the very first second and the last 56 seconds. It’s cut during Rain has an extra split second of tape not found on other titles. This is the least complete version of the show.
Empress Valley’s title is an amplified clone of Godfather’s title. It even has the same disc times. This is the second EV title either copied from Godfather or sourced from the same audio.
Ascension in the Wane: One For the M6 (Godfatherecords), Days of Heaven (Tattytura), The Fabulous Four (Tarantura), Good Evening London (Blizzard), Is One For the M6? (Tarantura2000), Live In Liverpool (TDOLZ), & One For the M6 (Crazy Dream)
Days of Heaven (Tattytura) & The Fabulous Four (Tarantura)
The only difference between these two titles is the speed. Tarantura runs too fast.
Good Evening London (Blizzard), Is One For the M6? (Tarantura2000), Live In Liverpool (TDOLZ), & One For the M6 (Crazy Dream)
Blizzard repeats a big part of the Rain Song, splits Dazed & Confused across both discs, and runs a little slow. Crazy Dream’s title is better than Blizzard considering the following aspects:
Rain Song is not repeated
Dazed & Confused is on 1 disc
TDOLZ does repeat a big part of the Rain Song. However, this title has an extra 3 seconds of music in the area of “Baby, I Don’t Care” beyond all other releases (Godfather excluded).
Tarantura2000’s title is strictly version two and is missing too much tape. It comes in five seconds too late for the opening track, Rain cuts out five seconds too early, and it cuts into Dazed four seconds too late. The audio has been amplified considerably. A “bonus” disc is also included which repeats the last 26 minutes of disc two – same version.
version 1 & 2 mix
Ascension in the Wane: One For the M6 (Godfatherecords) & One For the M6 (Empress Valley)
Godfather uses both soundboard tapes to provide the longer versions of the Rain Song and Whole Lotta Love. The first half second of Over the Hills is new to cd. The sound has been altered and comes with side effects that can be heard between songs and any of the quieter parts of songs.
EV is identical to Godfather. Same cd times, same sound, same mix.
Ascension in the Wane: Groovin’ In the Garden (Godfatherecords), Broken Fingers (IQ), Dedicated To Rizzlers (Equinox), Live At Trentham Gardens (Empress Valley, original and reissue), Soul Brothers (Tarantura2000), Stroke In Stoke (no label), Stoke 1973 (no label), & Stoker (Tarantura)
Stroke doesn’t retain the proper running order and is missing some time at those cuts.
IQ is missing over 20 seconds of tape after Bron-Yr-Aur Stomp and then missing the first 10 seconds of The Song Remains the Same. It is also missing half a minute of tape after the Rain Song, has either tape or digital problems for the first 40 seconds of Dazed and Confused, and has some digital interference after Dazed.
Equinox and Tarantura don’t have the problems mentioned above but all titles do share many tape glitches (sometimes barely noticeable). These glitches seem to be much more evident on Tarantura.
These older titles are relatively similar in sound.
Tarantura2000’s title doesn’t have the tiny tape glitches.
Empress Valley has a little extra tape before and after the show. Three edits have been made at places where dropouts would be found in the tape. The fashion of edit used creates a semi-microscopic cut/repeat at each dropout. The split second of blank tape (dropout) is removed, throwing off the timing of the song, then a split second of tape before the drop is repeated. It’s a highly annoying result.
EV’s reissue reuses the same discs as the original release.
Stoke 1973 is most similar to Tarantura2000 in content, but does retain a couple of the original tape glitches. It doesn’t have the extra (inaudible) tape found before and after the show like on EV.
Tarantura2000 and Stoke 1973’s sound are much improved over the older releases. Their background noise is less while the music is easier to hear. Empress Valley’s sound is also an improvement over the old titles. It has been amplified louder than Tarantura2000.
Godfather’s title is similar to many of the others but has some of the glitches cleaned up.
April Fools Day (Pageboys), Ascension in the Wane: Odds and Ends (Godfatherecords), Elvis Presley Has Left the Building (no label), Fallin’ In Love With the Fallin’ Angel (Led Note), Great Lost Live Album (Nasty Music, 3cd), Summer Colored Nancy (Wendy), & Tight But Loose (SAKA)
April Fools Day and Tight But Loose only contain Immigrant Song from this date. April Fools runs a little fast. Tight But Loose may be slightly poorer quality. Elvis is missing Immigrant Song (and the last second of Whole Lotta Love).
Led Note was the first title to feature all of the few tracks available. The “Deluxe Edition” of Nasty Music’s third disc contains all of the few tracks too. It is identical in content to Led Note and it’s sound has been amplified slightly louder.
Godfatherecords’ title is similar to Nasty Music but runs (slower) at the proper speed.
Wendy is similar to Nasty Music but runs at the proper speed.
Any Port In a Storm (Godfatherecords), Ascension in the Wane: Black Hole of Calcutta (Godfatherecords), Burst On Fire (Moonchild), Great Lost Live Album (Nasty Music, 2cd & 3cd), Live At Southampton University Working Tapes (Empress Valley), My Struggle (Black Dog Rekords), Southampton University 1973 (no label, olive green discs), Southampton University (Wendy), Swastika (Tarantura2000), & Valkyrie's Vigil: In the Old Refectory (Tarantura2000)
Nasty Music, EV, and Swastika are similar in sound and content. The glitch in the right channel during the second minute of Stairway is less evident on EV. Swastika has a tiny glitch in Dazed that's not found on the other two titles. It's sound has been amplified excessively over the others.
Black Dog Rekords has several glitches during songs that are not found elsewhere, and misses a few seconds after Stairway.
Godfatherecords' debut title "Any Port In a Storm" is the least complete. Besides missing the drums in the introduction and removing (chopping out) some tape glitches, they removed six seconds of very good tape at the cut during Whole Lotta Love. The sound has some amplification but isn't excessive.
The "no label" version's speed has been adjusted to run a touch slower than the others. One of the glitches after Dancing Days has been chopped out. It's sound is very similar to Nasty Music's.
Taratura2000's release in Valkyrie is not an improvement over their release from two years ago. This release chops out a few glitches while others seem only suppressed.
Godfatherecords' "Black Hole of Calcutta" reissues the audio from their first version, with the same matrix numbers and disc times.
Wendy's title suppresses the glitches some and has amplified the sound a little.
Moonchild's title is similar to the better titles, with some glitches edited and others not.
Ascension in the Wane: Odds and Ends (Godfatherecords), British Story (Wendy), From Boleskine To the Alamo (Flying Disc), & Soundboard Platter (Scorpio)
Flying Disc’s has Communication Breakdown moved out of sequence, misses two seconds while cutting into Whole Lotta Love, and runs too fast. Wendy and Scorpio don’t have these problems. Wendy and Scorpio have a slight difference in speed. Godfather’s is similar to Scorpio.
These titles are similar in sound.
Plant's Influenza (Empress Valley), Strange Affinity (Electric Magic, 1cd), & Zep (Tarantura2000, 1cd)
Tarantura2000 and Electric magic are misdated as December 17th, 1972, and are only partial releases. Electric Magic has many glitches during Rain Song and Dazed. They are not found on Tarantura. Tarantura's music and background noise are louder than Electric Magic. It's only due to amplification.
Empress Valley's title is free of glitches and isn't amplified as much as Tarantura2000.
(I Can't Get No) Satisfaction (TDOLZ) & Stockholm Syndrome (Empress Valley)
A few of the drop outs found on TDOLZ are less noticeable on EV due to some editing. Both titles are cut later in Whole Lotta Love, but EV didn't repeat 8 seconds like TDOLZ. EV includes 18 seconds of tape after Heartbreaker, but is immediately followed by very strange sounding tape. The sound carries on into the first 30 seconds or so of the Ocean. It isn't found on TDOLZ.
EV's title runs a hair faster than TDOLZ.
Die Meistersinger Von Nurnberg (Wendy) & Nuremberg 1973 (TDOLZ)
Both of the titles are cut during Since and Stair, but TDOLZ cuts out too early, missing over a minute of music. TDOLZ is cut during the last part of Whole Lotta Love, whereas Wendy isn’t cut at all, offering another 25 seconds of music. Wendy’s sound is better than TDOLZ and is surely closer to the master.
Led Poisoning (Flying Disc) & Soundboard Platter (Scorpio)
Flying Disc misses the first six seconds of Dazed. It has a slight cut during Whole Lotta Love and Stairway. These problems are not found on Scorpio. Both titles have excellent sound.
3-16-73 audience tapes and mixes
Happiness is a Warm Gun (Empress Valley), Goodnight Vienna (Moonchild), Lead Poisoning (Cobra), Matrix Leded (Tarantura2000), Night At the Opera (Electric Magic), Remains of the Holy (Cashmere), Vienna 1973 (TDOLZ & no label, 4cd), Wrench In the Works (Cobra & Wendy), & Zig Zag Zep (Tarantura)
A total of three different audience sources have surfaced from this show.
The first audience source is used on Tarantura. It's missing the 20 second introduction, the first few seconds of Rock and Roll, and misses most of Whole Lotta Love.
The second source is used in full on Cobra's first release of this show, Lead Poisoning.
The third source is found on Cobra's Wrench, EMC's Opera, and the no label title Vienna 1973's last two cds. This source isn't complete.
Cobra uses the 2nd source for the introduction, Rock and Roll, and then uses it again briefly between Whole Lotta Love and Heartbreaker.
Electric Magic's cover reads 3-16-73 but the first 27 seconds (Intro & beginning of Rock and Roll) are not even from this show. The remainder of the title is completely from the third source and is the only semi-redeeming characteristic. The tape stretch in the beginning of Stairway has been chopped out. The music is louder than Cobra's but is just due to equalization. AGAIN, the "metallic sound" is noticeable in the background. Also, it runs a little fast.
The no label title's last two discs are based on the third source. The title begins with source one and splices to Rock and Roll sooner than the other two titles, offering more of the song. The splices in Dazed and Stairway displace several seconds of the main source. Whole Lotta Love contains three brief splices to the soundboard to avoid super tiny defects in source three. So instead of barely hearing the minor problems in source three, the listener is subjected to hearing six splices. The sound changes are much more annoying than the defects they're trying to avoid. A couple more seconds of source three are missed during the splice in the beginning of Heartbreaker. This title's sound has been amplified more than Wrench and Opera.
TDOLZ is a mix between the first and second audience sources. It has a twenty second introduction and a complete Rock and Roll, which seems to be from the first source. This portion is not found on the Tarantura. TDOLZ uses almost as much tape as possible from the first source. The remainder is from the second.
Tarantura2000 is a mix between sources one, three, and the soundboard.
Cashmere borrows audience tape from sources one and three to compliment the soundboard tape.
Empress Valley's title is a sloppy mix of all four sources, no attempts to preserve the completeness of any one tape. The soundboard portion has flaws during Whole Lotta Love that are not found anywhere else.
Wendy's title is another mix using audience tapes and the soundboard. Some of the board is missed at the splices.
The no label titles first two discs are a mix of sources one, three, and the soundboard. No effort was made to present any of the sources in full.
Moonchild's title is a three source mix base on the sb, then source one, then the third source. No effort was made to provide any of the sources in full.
For a "view" of the sources used on most of these releases, please refer to this table.
Going Down Slow (Tarantura2000), Having A Party (no label), Lunatics In Munich (Holy Grail), Olympiahalle 1973 (Immigrant), Pure Purcy (Flagge), & Sturm und Drang (Led Note)
Immigrant and Holy Grail were the first labels to release this show. They're both missing three minutes of tape from before the show and ten seconds from after Black Dog. Both have complete versions of Dazed, although Holy's first disc ends after getting twenty-one minutes into the song, and then restarts Dazed on the beginning of the next disc. Immigrant misses about forty seconds after Dazed and both titles miss about three minutes after Whole Lotta Love. The last fifty seconds of Heartbreaker are missing from Immigrant. Holy Grail's title is much better sounding than Immigrant's.
Led Note and Flagge are very similar in content, except for Led Note chopping five seconds of tape from Rock and Roll. For some reason, both titles are missing 37 seconds of tape during Dazed and Confused. Both have the three minute introduction and three minutes of tape after Whole Lotta Love that aren't found on the two older titles. Flagge displaced some of the original tape after the show with tape from elsewhere from the show, to "extend" the end of the tape. These two titles have improved sound over Holy Grail. Flagge has amplified theirs quite a bit.
Tarantura2000 cut about 45 seconds from the introduction, in two places. The usual cuts after Dancing Days and Bron-Yr-Aur Stomp are in place, but they repeat tape too (micro cut/repeats). Those problems aren't found on any of the other titles. Dazed is cut and has spliced in tape from a different show. The cut after Whole Lotta Love is also followed by a small repeat of tape. It's sound is similar to Flagge's.
Having a Party's title is similar to T2K, having mixed in a different show for Dazed and also Heartbreaker. The title has some micro cut/repeats too.
3-19-73 audience tapes & aud/sb mix
Let’s Have a Party (Graf Zeppelin), Majestic Holies (Immigrant), & Wings of Desire (Wendy)
Immigrant was the first release of the audience tape. It’s missing about a minute of the introduction.
Wendy has spliced in the soundboard during the cut in Whole Lotta Love.
Graf’s debuts about forty-five seconds of a second source in their release. However, the splices displace source one each time, so you’re listening to two incomplete tapes. The third disc of the title repeats disc two, but elects to use the soundboard. In doing so, the first second of the soundboard is missed. It’s the third tape offered incomplete on this title.
Air Raids Over Germany (Tecumseh), Let’s Have a Party (ARMS), Nasty Music (Tarantura), Soundboard Platter (Scorpio), Two Penny Upright (Antrabata), & Wings of Desire (Wendy)
Antrabata, ARMS, Scorpio, and Wendy share the many glitches and excellent sound quality. ARMS has a three second fade in while Antrabata and Scorpio do not.
Tarantura and Tecumseh’s sound is not as clear and has a couple extra glitches. Tarantura is missing the first 30 seconds of tape due to combining it with the Whole Lotta Love fragment from January 7th.
Antrabata and Scorpio have almost an extra minute of tape after the show beyond the other titles.
3-21-73 audience & aud/sb mix
Mercy On Me (no label) & Suspended Animation (IQ)
IQ is strictly from the audience recording and misses too much of the available tape. Mercy On Me uses the audience tape wherever the soundboard is unavailable. From the audience tape, it debuts Rock and Roll, Over the Hills, an extra 35 seconds of the Rain Song, and offers two and a half minutes of Stairway.
April Fools Day (Pageboys), Fallin' In Love With the Fallin' Angel (Led Note), Mercy On Me (no label), & Soundboard Platter (Scorpio)
April Fools' first 2 seconds of Dazed are almost inaudible. Both titles are cut before "Let's Have a Party" but Led Note repeats two seconds. April Fools runs a little fast and has a "bump, bump, bump" sound in the background that can be heard between tracks. It's tape has been amplified making the music and background noise louder.
Scorpio's title is just as good as Led Note, plus the cut before "Let's Have a Party" is either not present or has just been edited.
Mercy uses all of the available soundboard in their 2cd mixture with the audience tape.
Essential Led (Flying Disc) & Soundboard Platter (Scorpio)
Flying Disc misses the first four seconds of Dazed, misses the first eight seconds of Whole Lotta Love, and runs too fast. Scorpio has the extra tape, but has a small glitch in the beginning of Whole Lotta Love that isn't found elsewhere.
3-22-73 audience sources 1 & 2
Cold Sweat (Tarantura2000), Essentially Led Complete (Live Remains), Essen 1973 (Savege Beast Music), and Gracias! (Empress Valley)
Essen is the first audience source, running a little fast.
A small portion of the second audience source debuted on Empress Valley and shortly later on Live Remains. They both mix all three sources.
EV uses almost all of the available soundboard and a very large portion of the first audience source. The first 3 songs, almost the first five minutes of Dazed, Stairway, the beginning 2.5 minutes of Whole Lotta Love, and Heartbreaker are sourced from tape number two.
Live Remains uses the first audience source until the available soundboard for Dazed (misses the first four seconds of board). (This has a longer source one introduction but it misses almost ten seconds during the cuts in Song Remains the Same.) It switches back to source one briefly afterwards, then switches to source two before Stairway To Heaven. The next tape change is to the Whole Lotta Love soundboard. This board fragment starts out with an extra eight seconds of tape not found on previous titles. The show is finished with source two.
Tarantura2000's title is another three source mix. It's primary source is the first tape, but misses several seconds of tape at the cut during the Song Remains the Same and doesn't bother to use any of the available Stairway To Heaven. Source two starts with Stairway and lasts throughout the title, with a brief exception during Whole Lotta Love for about 20 seconds. No effort is made to utilize all available tape from any of the three sources.
Cold Sweat (Live Remains), Custard Pie (Cobra, 2cd), Not Warm It’s Hot (TDOLZ, 3cd), Offenburg 1973 (no label), & Sweet At Night (TDOLZ, 2cd)
Cold Sweat and Custard Pie are both from the first tape. Their content is identical, although their cuts sometimes differ slightly. The sound on Cold Sweat has been amplified a touch much. The tape generations seem to be similar.
TDOLZ’s titles are both mixes of two tapes. Sweet At Night was released first. Other than using source two for Stairway and missing half a minute of tape after Whole Lotta Love, it is just like Cobra. The 3cd title used source two for the introduction, gaps between songs, and also for about a minute during the cut in Dazed. It would have fit on 2cds. There does not seem to be any difference in tape generation between these titles.
The no label title is also a mix using source one as it’s foundation. Source two is used for the introduction, some time between songs, and for the cut in Dazed.
Grimoire (Tarantura2000) & Lyon 1973 (Historic Recordings)
These two titles are similar in content except T2K has about five cuts/glitches among the track changes that do not belong. T2K’s sound has been greatly amplified but isn’t almost makes the sound worse on this poor quality tape. Historic’s title has no errors and little to no amplification.
Heavy Machinery/Dirty Trick (Empress Valley, original and reissue) & Summer Colored Nancy (Wendy)
EV’s 2011 reissue of this title uses the same audio and cd times as the original 2002 release.
Wendy is similar to EV except they've filled the cut in Since from a different show.
5-5-73, source 1
56,700 Fans Together and Boogie (Rock Calendar), First Day (ARMS), Pigeon Blood (Flagge, 3cd), Quantient (Cobra), & Top of the World (Badgeholders)
(Flagge is a mix, relying on the second source only when the first is cut. It's sound has been amplified considerably, making the music and background noise much louder. It would have easily fit on 2 cds.)
ARMS is the only title to have all of the tracks properly sequenced. It is missing 2 seconds at the cut in the beginning of Song Remains the Same. There is a brief speed problem near the end of Rain Song. It is missing almost 2 minutes of tape after The Ocean. The Ocean and Communication Breakdown run too fast, near 6%. All other tracks run at the proper speed.
Cobra is missing a total of about 70 seconds between songs overall but there are no extra cuts because of it. The tape runs at the proper speed.
Rock Calendar is highly edited. No Quarter has been completely butchered to remove audience disturbances. They then had to rearrange the song to contend with the edits. Overall, the song is missing 2.5 minutes. The tape problem in the beginning of Song Remains the Same has also been removed which eliminates almost 5 seconds of tape. Whole Lotta Love is missing the first 92 seconds. The Ocean is missing 5 seconds too many. This title runs very fast too.
Badgeholders is a two source mix, with source one as it's foundation. It misses a little bit of source one at two of the cuts.
ARMS and Cobra sound similar and are a little bit better sounding than Rock Calendar. Badgeholders has been amplified over the others.
5-5-73, source 2
56,800 In the Ocean (SIRA) & Tampa Stadium (Tarantura)
Tarantura removed the tape stretch in the beginning of Over the Hills. It has almost 2 more seconds of Stairway's introduction but is missing almost 2 seconds to many of Whole Lotta Love and The Ocean. Tarantura is much louder than Silver Rarities. It is at least partially due to simple amplification but could also be due to a lower generation of tape.
IV ½+ (LSD), Alabama Getaway (Empress Valley, original and reissue), Goin’ Mobile (Midas Touch), Heritage Strain (Tarantura2000), Speed Freaks (Empress Valley), & Upwardly Mobile/Mobile Dick (Flying Disc)
Flying Disc’s title is missing 30 seconds of tape before R&R, runs too fast, and has Stairway on both discs (interrupting sequence).
Midas, LSD, Empress Valley, and Tarantura2000 all are highly similar.
Empress Valley’s title doesn’t have the glitch in Dazed (near 20:30~), but it’s Stairway has a notably weak left channel for the first half of the song.
EV’s reissue reuses the same discs as the original release.
LSD and EV’s music and background noise are slightly louder than Midas. Tarantura2000’s is much louder than Midas.
EV’s Speed Freaks is a reissue of Alabama Getaway.
Bourbon Street Renegades (Empress Valley), Crossroads Form New Orleans (Scorpio), Drag Queen (Tarantura & Moonchild), Drag Queen of New Orleans (Godfatherecords), Johnny Piston & the Dogs (Thin Men), New Orleans 1973 (TDOLZ & no label), & Witch Queen (Tarantura2000's TCD-61)
Thin Men is copied from Tarantura. However, it has slight differences. It is missing the first 2 seconds of Rock and Roll and 7 seconds of tape (audience cheer) after Moby Dick. It's sound is exactly the same as Tarantura. Other than these minor differences, Thin Men, Tarantura, and TDOLZ are identical with respect to cuts and completeness.
Empress Valley's title is a mix that uses the audience tape to fill gaps in the soundboard. Not all of the cuts are filled. A lot of the original soundboard is missing when switching sources due to long overlapping edits. It uses a 21 second section of audience tape in Dazed to cover a 3 second gap in the soundboard. Although there is no effort to use all available soundboard tape, EV does debut an extra 27 seconds of Whole Lotta Love.
Tarantura2000's TCD-61 does a much better job of mixing in the audience tape to fill the soundboard's gaps - they're not constantly displacing the soundboard in the process like on EV. However, they've totally missed the extra 27 seconds of soundboard that debuted on EV's Whole Lotta Love.
Godfather's title has the familiar metallic sound. It uses the audience tape to fill in the introduction and the musical gaps in the soundboard. The splices displace several seconds of soundboard each time.
Scorpio's title uses the soundboard as it's foundation and completes it with the audience tape. The extra soundboard is included.
The no label title also uses the soundboard as it's foundation and completes with the audience tape. It misses the first six seconds of the soundboard available from first song, misses a little at the cut during Moby, and then misses the extra 27 seconds of board during Whole Lotta Love.
Moonchild's title uses the soundboard as it's foundation and completes with the audience tape. However, between the splices displacing the soundboard and the extra tape for WLL not present here, almost 45 seconds of board are missing.
These titles are all similar in tape generation. Tarantura, Empress Valley, and Tarantura2000 have amplified their titles more than the others.
Bourbon Street Renegades (Empress Valley), Drag Queen of New Orleans (Wendy), & Witch Queen (Tarantura2000’s TCD-60)
EV’s title is strictly from the audience tape. It’s missing a minute of tape after Whole Lotta Love.
Tarantura2000’s title mixes in soundboard to fill the gaps of the audience tape. Because they use long overlapping splices between the two tapes, too much of the audience tape gets displaced. There are also a few instances of unnecessary micro cut/repeats.
Wendy’s title uses soundboard tape from this show and a completely different show to fill the gaps in the audience tape during the Rain Song. Of course, they don’t mention it being a two show mix. The splicing displaces about ten seconds of the audience tape. It has an extra minute of tape after Whole Lotta Love. It’s sound is tuned for the higher frequencies instead of the bass.
Going Down (Watchtower), Quick Diet (Godfatherecords), & Two Nights (Celebration)
All titles are cut big during Communication Breakdown. Watchtower is missing 4 seconds before Stairway and Godfather is missing 8. Celebration also has the extra time before Stairway and has more tape after the last song. Unfortunately, Celebration’s sound has been tweaked. Although it is louder than Watchtower, a strange metallic sound has been created in the background, much like some of the Tara2000 titles. Watchtower and Godfather have similar sound.
Dallas 1973 (no label), Dallas Triumphant Return (Wendy), Discover America (Tarantura), Four For Texas (TDOLZ), Fractured Ribs (Graf Zeppelin), & Plays Oldie But Goodie (Tarantura2000)
Tarantura is missing some tape before and after the first and last songs, and after Dazed.
TDOLZ has a short tape problem in Celebration Day and a 16" silent gap in Dazed but has more tape before and after the first and last songs. Some tape after Dazed is missing. The sound quality drops a little bit more than just slightly after Dazed.
Wendy's Rain Song has unfortunately been filled with soundboard from a different show. It is not noted anywhere and a couple of seconds of the Dallas tape are displaced. The problems found on TDOLZ are not present here. The title has been speed.
Tarantura2000's title is similar in content to Wendy except they've not spliced anything into Rain.
The no label title is most similar to Tarantura2000 in content but has is a little more natural sounding, without too much amplifying.
Graf's title is somewhat similar to the no label title.
Tarantura, TDOLZ, Wendy, the no label title, and Graf are fairly similar in sound.
Butter Queen (Moonchild), Fort Worth Express (Empress Valley, original and both reissues), I'm With the Band (Tarantura2000, original and reissue), Tympani For the Butter Queen (Midas Touch), & Worthwhile Experience/From Boleskine To the Alamo (Flying Disc)
Flying disc is missing almost all of the tape before and after the first and last tracks. Dazed and Confused has been moved out of sequence and 80 seconds of tape after the song is missing. It has too much background noise.
Midas, Tarantura2000, and Empress Valley are virtually identical in content. Tarantura2000 has been amplified a little bit. Empress's title emphasizes the lower frequencies but has a touch too much background noise.
EV's first reissue reuses the same discs as the original release.
EV's second reissue uses new discs but has the same running times.
Tarantura2000's 2015 reissue uses the same discs from 2006.
Moonchild's title on has one minor flaw. The left channel drops out after No Quarter for about 24 seconds.
Dallas Triumphant Return (Wendy), Fractured Ribs (Graf Zeppelin), Going Down (Watchtower), & Two Nights (Celebration)
Celebration has a few more seconds before the first song and after the last song. Unfortunately, Celebration's sound has been tweaked. Although it is louder than Watchtower, a strange metallic sound has been created in the background, much like some of the Tara2000 titles.
Wendy's title is missing almost thirty seconds of tape from before and after these tracks. It's sound is similar to Watchtower.
Graf's title is similar in content and sound to Watchtower.
5-26-73, soundboard & audience
For Frenzied Crowd (Wendy), Georgia On My Mind (Empress Valley, original and reissue), Heavy Machinery/Dirty Trick (Empress Valley, 4cd), Salt Lake City 1973 (Watchtower), & Unidentified Live (Celebration, 1cd)
Heavy Machinery/Dirty Trick’s last two cds are from the audience source. EV’s 2011 reissue of this title uses the same audio and cd times.
Celebration’s title is very incomplete. It’s sound has been tweaked and amplified too much.
Other than EV’s “Georgia On My Mind” being amplified a touch more than Watchtower’s, there are only two other differences. First, EV’s Rock and Roll starts with and extra 1.5 seconds. Second, for about 20-30 seconds after the cut near the end of Rain Song, Empress Valley and Watchtower do not match. The mellotron can be heard on both soundboards of EV & WT right after the cut. This is not present in the audience recording. Neither label makes reference to a different show being used. One of the two may be using a tiny bit more of the right soundboard, but it’s very difficult to determine since WT’s splice back in is virtually undetectable.
EV’s reissue is a clone of the original, down to the disc times.
Wendy’s title is based on the soundboard and audience tapes. The audience tape is used up until the soundboard becomes available in the first song, but cuts in 2 seconds too late. The cut in Rain is not filled with the audience tap. Instead, it’s filled with a soundboard from a different night, and is the same night used by Watchtower. The audience tape comes back almost four seconds sooner than WLL ends. It’s sound is somewhat similar to Watchtower.
Beautiful Reciprocal Arrangement 1973 (Wendy), Quick Diet (Godfatherecords), San Diego 1973 (Watchtower), & Three Days Before (Empress Valley, original and both reissues)
Watchtower is missing some tape before and after the show. It’s cut in No Quarter is missing 3 seconds. Rain Song has at least 23 (twenty-three) cuts, losing 23 seconds of tape. Dazed and Confused is completely absent. Almost 5 minutes of tape after Whole Lotta Love are absent too.
Empress Valley’s title is a great improvement. Unfortunately, they spliced in a few seconds from a different recording at the cut during Since I’ve Been Loving You. There are no cuts in Rain Song and it has the last 50 seconds of Dazed. EV is a little better sounding that Watchtower. (EV and WT have the same amount of background noise, but EV is louder and a little fuller sounding.)
EV’s first reissue uses the same cds as the original release.
Godfather’s title is highly similar to EV, even the splicing in of a different night.
EV’s second reissue uses new cds but with the same running times.
Wendy’s title also splices in a different night for Rain Song, and again for a minute during No Quarter. Their eq job is an improvement over the other titles.
5-31-73, source 1
Bonzo's Birthday Party (Mud Dogs & Tarantura) & Bonzo's 25th Birthday (ARMS)
The taper did not record the final encore, Communication Breakdown.
Tarantura's title is much louder than ARMS and only has a tiny increase in background noise. ARMS runs too fast.
These titles share the same cuts but at most of the cuts between songs, Tarantura is either missing a couple of seconds or has added in tape that doesn't belong to extend the space between songs. In some cases, Tarantura has done both - displacing the original tape with tape that doesn't belong. After Stairway, a 25 second section is repeated to extend the tape.
Mud Dogs seems to have a touch more background noise than the other titles (similar to EV's version 1). Stairway To Heaven has been moved ahead of sequence to squeeze the show on two cds.
5-31-73, source 2
Bonzo's Birthday Party (Cobra and Empress Valley's 9cd box - "version 2")
This is the only tape to feature the final encore.
Cobra's introduction is 10 seconds longer. No Quarter has some digital static for a brief second and it's right channel drops out for almost 10 seconds near the end. Dazed and Stairway both have a small tape drag. The Ocean is out of sequence but no tape is lost in the re-arrangement.
Empress Valley does not have any of these problems. It's tape seems to be from the same gen but has been amplified some.
5-31-73, source 3
Bonzo's Birthday Party (Flying Disc)
This is the only release of this source without being mixed with another. It doesn't capture the whole show. The tape starts half way into Over the Hills and doesn't include the final encore.
5-31-73, audience mixes
Bonzo's Birthday Party (TDOLZ, Empress Valley's 9cd box - "versions 1 & 3," Empress Valley 3cd release, Graf Zeppelin, Neverland, & Sanctuary)
TDOLZ & Sanctuary are 2-3 source mixes.
EV's "version 1" relies on the first tape source and completes it with the second tape source. Here, source 1 seems to be amplified but the background noise is slightly louder than it should be.
EV's "version 3" relies heavily on the third audience tape and then uses the other 2 sources to complete the show. This version was simultaneously released in the 9cd box and the 3cd release. It seems to be a little clearer than Flying Disc but may be due to equalization.
Neverland's first three cds of the five cd set is a three source audience mix that is mainly based on source three.
Graf's title is a three source mix with source 3 as the primary. Source 1 is secondary and source 2 is used to fill any remaining gaps and Communication Breakdown.
Bonzo’s Birthday Party (Neverland & Watchtower), Bonzo’s Birthday Party (Empress Valley), Bonzo’s Birthday Party Definitive Edition (Empress Valley), & Bonzo’s Birthday Presents (Celebration, 1cd)
Celebration first released this incomplete soundboard on a single disc. Watchtower was the first to release more tape, on 2 cds.
WT, EV, and Neverland’s cds four and five have all of the songs on Celebration and includes much of Rock & Roll, all of Celebration Day and Rain Song, Dazed & Confused, and Stairway To Heaven. Since I’ve Been Loving You is uncut.
The 2cd versions have a cut in Rain Song. EV filled in the missing time (19 seconds), using a soundboard from a different night instead of using one of the audience tapes (already in their catalog) from the original show. Stairway is cut in the beginning and WT left it unedited.
EV reissued their title in December 2012, using the same audio from the original release, with new cds and same disc times. “Definitive Edition” was dropped from the name - perhaps the name downgrade was due to the fact it’s a mix of two different shows.
All titles seem to share the same generation of tape. Celebration has the higher frequencies emphasized (sounding a little flat) while Watchtower and EV have emphasis on the lower end. WT has more of the sound playing through the right channel while EV has them switched to the left channel.
5-31-73 soundboard/audience mix
Bonzo's Birthday Party (Wendy & no label)
Wendy's foundation is the soundboard recording and is completed by using at least two of the audience tapes. The soundboard and Communication Breakdown have been degenerated with the metallic sound.
The no label title is based on the soundboard and filled with audience tapes. The splice during Stairway was poorly made, displacing more soundboard tape with audience than what was missing in the first place. The soundboard portion of the title is similar quality to Watchtower.
Acid and Sunshine (Tarantura2000), Best Vibes In Frisco (Jelly Roll), The Grateful Lead (Tarantura2000), Mary Kezar (Wendy, 3cd, original and both reissues), Persistence Kezar (Holy, 3cd), Takka Takka (Tarantura), Vibes Are Real (Continental Sounds), & Who's Next? (TDOLZ)
Holy's title is by far the worst sounding. It is a high generation, copied onto a used tape. A different recording lies underneath. About 2 minutes of tape are missing from between songs. The title was placed onto 3cds to include Heartbreaker and Whole Lotta Love - from a vinyl source of the same show.
Continental Sounds doesn't retain the true song sequence and therefore has many cuts and time missing from between songs.
For the most part, the other releases are virtually identical in regards to cuts. The Tarantura titles have removed the tape stretch after Whole Lotta Love. However, Grateful Lead has a few extra seconds of tape after Moby Dick, only found elsewhere by Holy.
Jelly Roll and TDOLZ are identical in sound and Tarantura's Takka is a hair louder than both. Grateful Lead is just a bit louder than Takka.
Wendy's first two cds is the audience tape. It is highly similar to the others that are audience tape content only. It too misses some tape after Moby. The title runs a little slower than the others. Their 2011 and 2016 reissues uses the same audio as the original and having the same disc times.
Tarantura2000's title has ten additional cuts not found on other releases. These cuts are large changes in sound at most track changes, breaking up the continuity of the tape.
Imperial Kezar (Electric Magic, 3cd), Led Five (Empress Valley, original and reissue), Mary Kezar (Wendy, 3cd, original and both reissues), & Vibes Are Real (Watchtower)
Imperial Kezar debuts some of the soundboard. It is used for some of Moby Dick, Heartbreaker, and for part of Whole Lotta Love. Total board time is about 28 minutes.
Led Five features Moby Dick through the end of the show, totaling about 61 minutes. The audience tape is used briefly during the beginning of Whole Lotta Love and after Communication Breakdown. EV's sound is improved over EMC. It is missing some of the soundboard tape after the show.
EV's reissue uses the same cd as the original release.
Watchtower's release does not sound cut during the beginning of Whole Lotta Love, but it actually is cut. WT has spliced in a different soundboard for those 6 seconds. The audience tape is not used anywhere to fill gaps.
Wendy's third disc is from the soundboard. It is similar to Empress Valley, using the audience tape for the brief cut in Whole Lotta Love and then again after Communication Breakdown. Wendy isn't missing tape after the show. Their sound isn't quite as amplified as EV and WT. Their 2011 and 2016 reissues uses the same audio as the original and having the same disc times.
Celebration For Being Who You Are (Godfatherecords) & Imperial Kezar (Electric Magic, 3cd)
Imperial Kezar mixes in the soundboard recording with the usual excellent audience tape. Moby Dick is completed. Heartbreaker and the first 5.5 minutes of Whole Lotta Love are also from the board.
Godfather's title uses the audience tape as it's foundation and then uses the soundboard for Moby Dick and some tape after the show.
Three Days After (Cobra, Empress Valley, & SIRA, 2cd)
The tape shared by these titles has many problems. Silver Rarities elected to remove the worst parts and place the title onto two cds. In doing so, most of No Quarter is missing, all of Song Remains the Same, all of Rain Song, and about two minutes of Dazed. Time after Stairway and Whole Lotta Love has also been removed to avoid tape problems. Backing up, the first dozen seconds are missing from when cutting into Over the Hills. Much of the tape after the show is missing too.
Cobra's title is pretty much the full tape. It's missing several seconds from the introduction, missing the last two seconds of Black Dog, the beginning nine seconds of Over the Hills, and a split second during Since I've Been Loving You.
Empress Valley's release is on six cds. The first three are the tape in stereo and the last three are in monotone to minimize the tape problems. This is the most complete title released yet. It's only fault is a missing split second during Since. That piece is only found on SIRA.
All of these titles seem to be similar quality and vary little in loudness.
7-6-73, soundboard and audience
Grandiloquence (Antrabata), Second City Showdown (Midas Touch), Sweet Dreams Chicago (Empress Valley, 3cd & 6cd), & Windy City Adventure (Wendy)
Midas Touch is missing a little bit of tape before the show, is cut after No Quarter, and it's Dazed and Confused is full of glitches.
Antrabata is missing a little bit of tape before the show, is cut after No Quarter, and is missing most of the tape after the show. It's Dazed and Confused doesn't contain any glitches.
Empress Valley's 3cd title (gets repeated for the 6cd title) uses the soundboard except for the beginning of Rain Song. It has more tape before and after the show than the other soundboard releases. It is not cut after No Quarter, has no trouble with Dazed and Confused, but misses two minutes of tape after Whole Lotta Love (just audience cheer).
Wendy's title misses a minor bit of tape before and after the show. There's a change in sound during the beginning of Since and a very strange sound change in the beginning of Whole Lotta Love. These problems aren't found on the other titles. Instead of using all of the audience tape to fill the gap in the beginning of the Rain Song, they decided to only use a small portion, therefore not completing the song. It defeats the purpose of mixing tapes. The large amount of tape after WLL is present.
Scorpio's title is based on the soundboard and completed by the audience tape. It displaces some of the soundboard during splicing. It is otherwise in good form.
Empress's 6cd title includes the audience source.
Midas amplified their sound a little, making the music and background noise louder. EV amplified a little more. Scorpio's title is slightly less amplified than Midas Touch's title. There doesn't seem to be any tape generation difference between the titles.
In the Windy City II (Empress Valley) & Untouchable (Electric Magic)
Empress Valley was the first to release this show, just a few weeks before Electric Magic. The content is virtually the same, except EMC decided to remove a few seconds of available tape in Stairway and replace it with an earlier verse.
Empress Valley's sound is excellent and seems to be largely untouched by equalization. Electric Magic's has been eq'd, making it louder and adding evidence to the background.
Live In Milwaukee (Tarantura2000), One More For the Road (Red Hot), & Rock and Roll Bonanza (Electric Magic)
Red Hot and EMC both miss the opening one and a half seconds of the introduction and the last five seconds of Moby Dick. EMC also misses a second or two after Dazed and another dozen after Stairway To Heaven. It’s audio has been amplified and it runs about 2.5% too fast.
Tarantura2000 has other music underlying the show, as if it was recorded on a used tape. It has an unnecessary cut in the Rain Song, where tape is missed and the left channel drops down a big notch. The sound never recovers.
Detroit Hard Rock City (Wendy, original and reissue), Detroit Rock City (Lemon Song), Detroit Rock City 1973 (Graf Zeppelin), Motor City Daze (Antrabata), & Rock and Roll Ever (Akashic)
Antrabata's title is misses the first two seconds and then about 7 more seconds of tape throughout the rest of the title. It has good, unamplified sound.
Lemon Song's title isn't missing the opening couple of seconds, but does miss the rest of the tape that Antrabata misses. Furthermore, it contains edits at almost every location of tape problems (cuts & drops). Moby Dick has been further reduced, eliminating some taper commentary. The sound has been amplified.
Akashic's title fills in the missing parts of Rock and Roll and The Song Remains the Same from a different, unmentioned, show of the same tour - 6-2-73. In doing this, 7-8 seconds have been displaced from the Cobo tape. This title also has edits at almost every location of tape problems, removing almost another 3 seconds. The length of tape after No Quarter, Moby Dick, and Communication Breakdown have all been extended. There is a 4 second section of tape after No Quarter that gets repeated 3 more times. After Moby Dick, approximately 26 seconds of tape is borrowed from after Dazed. For Communication Breakdown, there is a 2.5 second section of tape after the song that gets repeated 8 times. The Rain Song has many unnecessary splices to another show. During one minute of Dazed, Rock and Roll can be heard playing in the right channel (dirty tape). The tape from 6-2-73 and the 60 seconds of repetitions have been added to make listening to this show (which show?) more "enjoyable." The sound is similar to Lemon Song's title but has more of the lower end frequencies as opposed to Lemon's middle to higher frequencies.
Wendy's title contains the most amount of tape for this show, adding another several seconds not found on other releases. It's only defects are small instances of static in several spots throughout the title. It's sound has been amplified too.
Graf's title was release right after Wendy's and is almost completely identical.
Wendy reissued their title, reusing the original discs.
Detroit Hard Rock City (Wendy, original and reissue), Detroit Rock City 1973 (Graf Zeppelin), Fly Over Nuremburg (TDOLZ), Monsters of Rock (Tarantura), & Song of Detroit (Celebration)
Celebration appears to be much more complete than the other releases - but it is not. The two additional tracks (Dazed & Stairway) are actually from the Salt Lake tape that was released long after this title.
Tarantura is missing the last 3 seconds of Dancing Days. TDOLZ and Tarantura are similar in sound quality.
Wendy's title isn't missing any tape and hasn't been amplified as much as Celebration's.
Graf's title was release right after Wendy's and is almost completely identical in content. It's been amplified a little more.
Wendy reissued their title, reusing the original discs.
In Concert and Beyond (TDOLZ), Silly Putty (Wendy, 3cd), Slowing Down In Buffalo (TCOLZ, 5cd), & Where the Zeppelin Roam (Midas Touch)
TDOLZ runs too fast, is cut after Since, and is missing about 30 seconds of tape just after the Rain Song. Midas and TCOLZ don't have these problems. (TCOLZ's fourth and fifth discs contain the soundboard tape.)
Wendy's first two cds contain the soundboard in typical fashion. (The third disc is from the audience tape.) It's sound has been amplified some over the other titles.
Silly Putty (Wendy, 3cd) & Slowing Down In Buffalo (TCOLZ, 5cd)
Wendy's third disc debuts the audience source after the soundboard ends, starting with Moby Dick. The audience tape has the metallic sound.
TCOLZ's first three cds contain the audience tape in full. It's sound hasn't been degenerated with the metallic sound.
V ½ (Dynamite Studios original and reissue & Graf Zeppelin), V1/2+ (LSD), V1/2 Extravaganza (Badgeholders), Grandiloquence (Antrabata), & Monsters of Rock (Tarantura)
Antrabata has 100 seconds before the show. It has the static spot in Rain, followed by a cut that misses two seconds of the song.
Tarantura is missing almost all of the introduction. It otherwise has the same content as Antrabata.
Dynamite’s first issue missed almost all of the introduction and had poorly placed (and missing) cue stops. The reissue the same audio content but has better stops. Otherwise, these have the same audio content as Antrabata.
LSD is missing almost all of the introduction. The tape has been amplified more than the others.
Badgeholders and Graf Zeppelin present the soundboard section of the show, but splice in a little bit of audience tape.
Badgeholder’s introduction is as long as Antrabata’s. The audience tape has been spliced in for the static spot in Rain Song. This title has the annoying metallic sound.
Graf’s introduction is the longest of all, being 113 seconds long. The first audience tape is used for the earliest part of the introduction, the spot during Rain Song, and again after Stairway (pointless).
These titles are all from the same generation of tape. Badgeholder’s title has the common metallic sound. The rest of the titles’ equalization differs some from one to another.
V ½ (Cobra & Graf Zeppelin), Complete Seattle (TDOLZ), Grandiloquence (Antrabata), Performed Live In Seattle (Eat A Peach), Seattle 1973 Master Reels (no label), Seattle Daze (IQ), & Zep Hakase (Akashic)
Graf Zeppelin’s first three cds of this five cd title is an audience mix. It’s the only title to feature the second source as the primary tape.
TDOLZ uses source two to complete No Quarter and some time after the song. This title is louder and has less background noise than the others. However, this difference may be entirely due to equalizing as opposed to being from a better generation of tape. It is unbalanced in places.
Eat A Peach is a similar mix to TDOLZ. It doesn’t have the tape problem on the end of Moby like the others. The background noise seems to be a little louder on this title but is likely just due to a bit of amplification.
IQ runs too fast but is the most complete version of the common tape.
Antrabata’s sound is similar to IQ, but does run at the proper speed. The introduction is shorter. Rock & Roll has a small tape problem and some digital interference. It has a cut during Over the Hill and Far Away, missing half of a second. Most of the talk after No Quarter is missing and Moby Dick has a small glitch in the beginning.
Akashic has added tape to the introduction and two other places. It is missing 4 seconds too much of No Quarter and is missing all of the talk afterwards. Excluding TDOLZ, the music and the background noise is louder than the other titles.
Cobra’s sound is very similar to IQ and Antrabata. It is missing between 1 and 2 minutes of tape from between songs.
The no label title is a two source mix, based on the first source.
7-17-73 soundboard/audience mix
Afterburner (Cashmere), Performed Live In Seattle (Tarantura2000 and Wendy), & V1/2 (Empress Valley, original and reissue)
The soundboard recording is the foundation of these titles and are completed by the audience tape.
Cashmere’s introduction is from the audience tape, excluding the soundboard’s introduction. It overlaps into the first song, displacing a moment or two of Rock and Roll’s board. The rough section of board tape during Rain Song has been replaced with the audience tape.
Empress’s introduction starts with the audience and then splices to include almost every second of the soundboard’s introduction. Rain splices to the audience tape and displaces several seconds of the board tape.
Tarantura2000’s title is similar in content and sound to the other mixes. Instead of splicing to the soundboard just before the first song, the splice is made during the start of the song, overlapping the two sources. This makes for a very unnatural sound, in a very unnecessary place. The splice during Rain Song displaces more soundboard.
Empress Valley’s reissue uses the exact same cds as the original release.
Wendy is a similar mix.
Canada Dry (Tarantura), Cut In the 70's (TDOLZ), No Firecrackers (Electric Magic, 2cd), Taking a Spiked Drink (Tarantura2000, 2cd), Twopenny Upright (Antrabata), & Vancouver 1973 (no label)
The only differences between the three single cd titles are the speed and some equalization. Their introductions are not original. Antrabata's runs too slow. TDOLZ runs a little slow. Tarantura runs at the proper speed.
No Firecrackers has the original introduction, a little more tape at cuts, and is much more complete. It does not have the background noise found in the single disc releases.
Tarantura2000's title is similar to EMC's, but it's missing the first few seconds of Black Dog before the big cut.
The no label title is missing the same tape as Tarantura2000. It's been amplified a bit louder than EMC.
7-20-73, source 1
Boston Cream Pie (Empress Valley, 4cd) & Zep VS Boston (Image Quality)
IQ first released this title. It has four cuts not found on Empress Valley's third and fourth cds of Boston Cream Pie. EV doesn't contain the final minute of tape after the show. It's music and background noise are slightly louder than IQ's.
7-20-73, source 2
Boston 1973 (no label), Boston Cream Pie (Empress Valley, 4cd), Take It Easy (Tarantura2000), Wild and Relatively Mellow (Badgeholders), & Wreckage In Boston: Wrecks Havoc (Tarantura2000)
Tarantura2000's Havoc and Badgeholders are exclusively from source two and are similar in content. Badgeholder's has an unnecessary cut just before Rock and Roll and also has another unnecessary (and strange) cut after Whole Lotta Love.
Empress Valley mixes in source one to complete Rain Song. They miss the available introduction and extra four minutes of tape after the show.
Tarantura2000's Take It Easy is based on source two and uses source one to fill the Rain Song. In doing so, they displace about five seconds of source two.
The no label title is a mix based on source two, and almost has all available tape from this source.
Tarantura2000's Havoc, Empress Valley, and the no label titles all have normal, natural sound. Badgeholders and Tarantura2000's Take It Easy have been amplified way too much.
LZ Rider (Tarantura), LZ Rhoder (Thin Men), On the Rhode Again (Image Quality), Providence 1973 (no label), & There’s So Much More Sound To Hear (Empress Valley)
Thin Men is copied from Tarantura. However, it excludes the last 7 seconds of audience noise found at the end of each of the Tarantura discs.
Tarantura sounds a little clearer than IQ. It’s introduction is 11 seconds longer which includes guitar and drum warm up.
IQ has 3 extra cuts. One of them is during No Quarter, which eliminates 67 seconds of the song.
Empress Valley “completed” The Song Remains the Same by splicing in 4.5 minutes from “another tape,” displacing several seconds of the original tape. The extra tape has been identified as 7/28/73 (Special thanks to Bob W.) and, of course, it is not noted on the title. No other gaps from the many other cuts are filled. EV’s sound isn’t amplified as loud as Tarantura and has been slowed down closer to actual speed.
The no label title has an extra 30 seconds over of tape between songs than the above titles, and has a split second extra of the Song Remains the Same. The only flaw seems to be a minor cut and repeat of two seconds after the Rain Song.
7-24-73, sources 1-3
Early Days, Latter Days (no label), Hello Pittsburgh (Image Quality), Pittsburgh Steelers (Empress Valley), & Resurrection (Electric Magic)
Early Days seems to be a single source. The songs available on the title are from the first and last thirds of the show. It runs too fast.
IQ and Electric Magic use a second source until the last three songs, with the exception that IQ uses what seems to be a 3rd source to finish the last minute of Dazed. The last three are from the same source as Early Days' title.
Electric Magic's Celebration Day has a sudden sound change during the song that isn't found on IQ.
IQ's title was produced from a higher generation of tape than EMC and is also less complete. There's several seconds missing after Since I've Been Loving You. No Quarter is missing 21 seconds from the middle, misses the last 18 seconds, and several more after the song. Dazed has 4 extra cuts. The fourth cut is where a different, possibly third source, is used to complete the song, although it still misses over two minutes. The problems during the remainder of the tape are shared with the other titles - they all rely on the same source for these songs.
Empress Valley's title introduces the third source for this show. It's foundation is source one, then source three. The second source is used briefly one time, during No Quarter. The third source offers more music - Stairway To Heaven and Moby Dick. Unfortunately, it's Song Remains the Same and Rain Song (source three) are full of serious digital errors - completely unacceptable.
Electric Magic's background noise is a tiny bit louder than IQ's. The music is louder too, but far more significant than the difference in the background noise.
IQ has more of the lower end while Electric Magic has higher end frequencies.
Garden Tapes (Empress Valley) & Out of Song Remains (Holy)
For many years Holy was the only title available for the audience tape. It has a few glitches and cuts that shouldn’t exist and includes little tape after the show.
EV’s “version A” uses the audience tape as it’s basis but fills in with some soundboard during Moby Dick. It does not have the problems found on Holy and has an extra two minutes of tape after the show.
V1/2 Extravaganza (Badgeholders), Garden Tapes (Empress Valley), Grandiloquence (Antrabata), & Safecracker’s Show (Midas Touch)
Midas Touch begins with the fragment of Dazed and runs through the end of the show. It’s sound is heavier in the right channel.
Antrabata is missing the Dazed fragment but has the subsequent available songs. It is left channel heavy.
Badgeholder’s title is missing Dazed and Stairway. The channels are balanced much better, but still not quite perfect. It’s music is louder than the others due to amplification. It has the common metallic sound.
Empress Valley’s “version B” presents the soundboard and fills in with audience tape (before, during, and after the available soundboard). Oddly, some of the soundboard after the show is displaced with audience tape, but only some of the audience tape.
Empress Valley’s “bonus disc” is an incomplete mix of part of the soundboard and audience tapes.
The titles are similar in sound, although the channels may vary some among them.
9th US Tour (Whole Lotta Live), Complete Madison Square Garden (Wendy), Effect is Shattering…(Empress Valley, both versions), Final Statements (Antrabata), Garden Tapes: Taking the Building Into Stratosphere (Empress Valley), Madison Square Garden deux (Wendy), MSG (Cannonball), One More Magic (Immigrant), Out From the Movie (Forever Standard Series), Tour De Force (Tarantura), & Towa No Uta (Tarantura2000)
These titles are from the soundboard and for the most part are similar in sound.
The Whole Lotta Live title was copied directly from Tarantura.
Tarantura and Immigrant are cut after No Quarter, with Tarantura missing 70 seconds of tape.
Both Antrabata and Tarantura are missing the last 14 seconds of No Quarter. Tarantura and Immigrant have a cut in Dazed (no time missing). All titles have similar slight cuts during Moby Dick but Immigrant is missing over 40 seconds after the song.
Tarantura and Immigrant removed the tape problems in the beginning of Whole Lotta Love. FSS and Cannonball keep the tape problems before and after the cut.
Antrabata is missing 54 seconds from The Ocean.
Tarantura has about five extra cuts beyond the other 2 titles and doesn’t sound as clear as the other titles.
Cannonball includes an extra second of music during Rain Song that’s not found on the other titles. It’s sound is the usual very excellent sound, with it’s own equalization for Ocean. All titles seem to have different eq for that song, but they all seem to be the same quality.
Wendy’s “Complete MSG” title has too much background noise and has hints of the metallic sound during quieter passages of the tape. Furthermore, it “completes” the show by using tape from the previous night and possibly another night too. It’s No Quarter has some very unpleasant super low tones lingering during the third and forth minutes.
Empress Valley (original issue) splices in tape to complete Rain Song, likely from the official release. In the process, it misses some of the true “unofficial” board. The bad soundboard section in the beginning of Whole Lotta Love uses the audience tape. There is an extra minute of tape spliced in after Whole Lotta Love. Three fourths of the Ocean sounds better than the rest of the tape and the other releases. EV splices back to the normal/usual sounding Ocean twice. The difference in tape quality and reasons for splicing are peculiar. The several seconds of tape after the show are not related to Led Zeppelin and is sloppy. EV’s tape seems to be the same generation as most. It’s equalization emphasizes the higher frequencies.
Tarantura2000’s title has many problems. It unnecessarily splices to the audience tape during No Quarter even though the soundboard isn’t cut. The splice during Rain Song displaces 12 seconds of the board. Dazed has a strange sounding cut near the end (approx 28:53). The rough soundboard section in the beginning of Whole Lotta Love has been replaced with the audience tape. The Ocean, like No Quarter, has an unnecessary splice. This time it splices to a poorer generation of the soundboard for fifty seconds. Most of the tape after the show is missing. There are several dropouts within the title that are not found on any prior titles. The sound has been amplified a bit.
Wendy’s “MSG deux” title comes seven years after the first time the released the show. Like T2K, there’s a splice during No Quarter, even though none of the earlier titles have cuts there. The splice is to a professionally sourced recording. The usual cut in Rain Song is filled with a pro source too. Chances are they’re using tape from the previous night, like they did in their previous release. The cut in Whole Lotta Love is filled with the audience tape. After the show, an “alternative edit” is offered. It’s No Quarter isn’t cut and is followed by Song Remains the Same, which seems just like the one from the first disc. Rain Song is repeated, but the cut is filled with the audience tape. Whole Lotta Love follows and splices to the audience tape, again. The Ocean is included too, but has fewer problems than before.
Empress Valley’s 2012 version is supposed to be a reissue of the original, but they decided to make an edit or two. Instead of removing the signs of the dirty tape after the show, they’ve doubled up on the introduction and Rock and Roll, before the show. Only cd2 bears any resemblance to the original issue. All other characteristics are the same as the original release. Don’t expect a replacement disc for cd1 unless you’re still expecting a replacement disc for cd3 of the original release.
EV’s discs 1-3 of Stratosphere (“Version A”) feature the first release of the audience tape and has it’s gaps filled with the soundboard.
EV’s discs 4-6 of Stratosphere (“Version B”) feature the soundboard and has it’s gaps filled with the audience tape. A few seconds of soundboard are displaced by the audience tape. When switching back to the soundboard during the Ocean, the audio is clean and not rough like other releases. It’s sound is similar to Cannonball.
EV’s disc 7 of Stratosphere (“Bonus Disc”) is the last part of the show (Moby through Ocean) from the soundboard, with gaps filled with audience tape. The liner notes claim this is a new soundboard where a slight difference in channel balance exists.
7-29-73 audience and soundboard
A 2 Last Nights (Tarantura), Garden Tapes: Third Night At the Garden (Empress Valley), Grand Finale (Empress Valley, 4cd), Last of the Last (Tarantura2000), Madison Square Garden Trois (Wendy), Missing Doll (Tarantura2000), & MSG 1973 (Firepower)
“A 2 Last Nights” has the most tape before the show. It has 5 dropouts not found on the others and isn’t cut after Since I’ve Been Loving You. This title and Firepower only contain the first two thirds of the show, up through most of Dazed and Confused.
Empress Valley’s Grand Finale release contains a 3cd soundboard plus a 1cd audience. The soundboard portion contains the same first two thirds of the show as the other titles plus Heartbreaker through the end of the show. The soundboard is missing the last part of Dazed, all of Stairway, and the beginning of The Ocean. To no surprise – and just like all of EV titles that feature an incomplete tape – they fill in the missing time by the same music from a different night altogether. This time, for the first time EVER, EV discloses the fact that they’ve switched shows, using the previous night. Still, they only note the change for Stairway and not the other two tracks. Even stranger, EV wanted us to hear those missing tracks that are found on the audience tape (and only those two songs) so they included a fourth disc featuring only Dazed and Stairway. However, the fact that they didn’t use the audience tape of the 29th to complete the soundboard of the 29th and electing to use a different show entirely…is not strange…for them. It seems that any excuse to add an extra disc to a premium label release is all too commonplace.
Missing Doll fills in the soundboards gaps with an audience tape of the same night. It’s splicing overlaps tapes and sometimes misses a little bit of the board.
Tarantura2000’s “Last of the Last” uses the audience tape as it’s foundation. The soundboard is used to fill gaps. Most of the splices are long and overlapping.
Wendy’s title is the same type of mix as Missing Doll, but does a better job.
EV’s discs 1-3 of Third Night (“Version A”) uses the audience tape as it’s foundation and then uses the soundboard tape to fill in the gaps. The first splice away from the audience lasts less than a second, and is to displace the tape stretch before the show – a bit absurd. The other splices have purpose, and are made fairly quickly, unlike the lengthy overlapping ones found on Tarantura2000’s “Last of the Last.” The splice during Moby, while using less soundboard tape than T2k, misses 23 seconds of the audience tape. The last few seconds of tape after the show are missing too. It’s sound is slightly less amplified than T2k’s.
EV’s discs 4-6 of Third Night (“Version B”) uses the soundboard as it’s foundation and then uses the audience tape to file in the gaps. Oddly, Rock and Roll does not seem to be cut and a splice is not readily heard. All other titles are cut here, so either EV found the complete song or they’ve spliced in two seconds from an entirely different show. They’re missing about 30 seconds of soundboard tape after Stairway. The sound is typical good sound for the board tape.
More to come...back