Belgian Triple (Empress Valley), It's Time To Travel Again (TDOLZ), Operation Moonbeam (Tarantura), & Outfit of the Day (Tarantura2000)
Empress Valley uses an alternative tape to fill in the gaps of the first tape. It seems the alternate tape is from the same show… Their tape has been amplified a lot.
The rest of the titles are strictly from source one.
TDOLZ releases the tape in good form, but is missing the last two seconds of Kashmir and runs a touch slow.
Tarantura edited out a few seconds of tape in a few places. After the show, Tarantura repeated a half second of tape ten times to extend the amount of "tape" after Robert's final words. It seems to run a touch fast.
Tarantura2000's title misses a few seconds from the introduction, but it provides the ending for Kashmir and another two seconds of commentary after Stairway. Their tape has been amplified a lot but isn't overloaded.
1-20-75, sources 1 & 2
Cryin' Won't Help You (Empress Valley), Finger Flu (TCOLZ), Luftschiffe (Tarantura), Sweet Home Chicago (Wendy), & Wanton Song (Scorpio)
TCOLZ is strictly from the second source tape. Tarantura, EV, and Wendy use source one and add How Many More Times from the following night. Scorpio is a two source mix, using source one as the primary source, and is just from the one night.
The titles for source one are very similar in content and sound quality. Tarantura added tape after a couple of cuts to falsely extend. Wendy and Empress have longer introductions. The peculiar sounding splice in Wendy's introduction is not found on the other titles. Empress Valley is just slightly more complete between songs than Wendy. Empress has sequenced Dying to the later half of the show. Scorpio doesn't make enough effort to use all of source one, displacing it with source two.
Cryin' Won't Help You (Empress Valley), Luftschiffe (Tarantura), & Sweet Home Chicago (Wendy)
These titles contain the one available track from the show, How Many More Times. They are very similar in content and sound quality.
Black & Blue and Snot All Over (TCOLZ), Blues Brothers (Empress Valley), & Every Picture Tells a Chicago Story (Wendy)
The only difference between TCOLZ and EV is that EV has amplified their title quite a bit.
Wendy's title is similar to TCOLZ, but they chose to splice in the prior night's tape to "complete" Stairway. The mixing of nights in not noted on the title.
Oxygen Destroyer (Wendy) & Ultraviolence (Holy)
These titles have the same musical content but Wendy has a lot of extra tape from before the show, after Stairway, and after the show. The few tape flaws found on Holy have been edited on Wendy. These titles are different in sound but one isn't really better than the other.
Footstomping Graffiti (no label) & A Quick Getaway (TDOLZ)
These titles are mostly similar as far as cuts and completeness are concerned. TDOLZ has 2 extra seconds before the show. It's tape runs slower than the other title an increasingly gets slower. There's little difference in the sound between these titles.
Detroit 1975 (no label), Tune Up (Immigrant), & Ultraviolence Attack (Badgeholders)
Badgeholders is missing the introduction. It has some static in the beginning of Rock and Roll and again before it ends. Moby Dick is missing almost 9 seconds at one of the cuts and another half dozen seconds after the song while Robert is speaking. The tape's channel problems are less evident than on Immigrant because they've moved one channel into the other. HMMT has been moved from it's original sequence and placed in front of Stairway.
Immigrant's title also moves HMMT in front of Stairway. It hasn't been amplified like Badgeholders.
The no label title has the tracks in the proper sequence. Otherwise, it has the same issues as the two older titles.
Heavy Metal Hullabaloo (TDOLZ) & Madison Square Garden 1975 1st Night (no label)
TDOLZ placed their title on three discs instead of two. It misses a few seconds during the cut after Rain Song and then misses over a dozen seconds during Moby.
The no label title is on two discs. It's not missing time after Rain and is not cut during Moby Dick. It's sound is just a small touch louder than TDOLZ.
1975 World Tour (Cobra & Empress Valley's original and reissue) & When The Levee Breaks (TNT)
TNT's title is missing much of the introduction, but part of that missing section is inserted after Kashmir. It has more tape after Rain Song than the other titles. TNT's tape is likely from a higher generation tape than Cobra and EV.
Empress Valley's title is a little more complete between songs than Cobra. EV repeats 22 seconds of the introduction after Kashmir. The two titles are similar in sound.
EV's reissue reuses the exact same cds as the original issue.
Strangely Enough (EMC) & Trampled Underfoot (no label)
The no label title is from the first source and Electric Magic's title is from the second. Neither offer the full show.
Philadelphia Special (no label) & Spectrum (Electric Magic Celebration)
Philadelphia Special is first source. EMC uses a second source to complete the first source, eliminating some of the first source during splices.
EMC's music and background noise have been amplified to be louder than Philly Special.
Heavy Zeppelin (TCOLZ) & Ultra Violent Killer Droog (Empress Valley)
TCOLZ debuted this show. There's a small cut with repeat during Trampled. It's missing a combined total of eight minutes of audience cheer after Stairway and Black Dog.
EV's title doesn't faithfully represent the show or the master tape. It introduces at least four micro cut/repeats. The tape problem in the middle of Over the Hills has been edited, but, likely in the same fashion as the edit during Dying. Dying's tape problem before the fourth minute ends has chopped out the lyrics/music and replaced with tape that follows a number of seconds later. A minute of tape after the show is missing. (The master tape is full of drags, drops, and cuts, so it's a bit strange EV decided to make such a deceitful edit for just one of the problems. Or, maybe there are more?)
The titles are otherwise fairly similar in sound.
Hellfire Club (Empress Valley original and reissue, & Eelgrass) & Ultra Violent Killer Droog (Empress Valley)
EV's Hellfire Club and Droog were released at the same time and share the same discs.
Eelgrass is a copy of EV, has the same disc times and sound quality.
EV reissued Hellfire Club and uses the same discs as the original.
Flying Circus (Eelgrass & Empress Valley's 4 issues), Madison Square Graffiti (Red Devil), & That's Alright New York (Godfatherecords & Moonchild)
Empress Valley released this tape first in 2002. Eelgrass is a direct copy - there are no differences in equalization or disc times. Red Devil seems to be sourced from EV too, although it is not a direct cd copy with matching times. They've added "blank tape" at the end of the cds. It's cue stops and sound are identical to EV.
EV's "gold disc" reissue and the jewel case reissue in 2007 have identical disc times as the original release. Their 2015 reissue contained in the 9cd box has identical sound and contents as the prior versions, on new discs with slightly different running times.
Godfather made some heavy adjustments to the sound to provide some more depth. A minor cut can be found just before Moby and a minor glitch/drop in the later portion of Dazed. About forty seconds of tape (audience cheering) has been removed from after Stairway and after the show..
Moonchild's title has the same name and cd times as Godfather. It appears it was copied from Godfather, repeating the faults there, and adding in no less than a dozen cuts. There's a cut at most track changes and almost always followed by a second in the place where EV changes tracks. The cue stops are poorly placed.
2-12-75, soundboard/audience mixes
Flying Circus (Empress Valley, 9cd)
The last few discs of the box set are a mix of the soundboard and an audience tape. The soundboard dominates and the audience tape is laid right on top of the board. No effort was made to offer parts of tape where the other was lacking - several minutes are excluded.
2-12-75, source 1
Can't Take Your Evil Ways (TDOLZ, both issues), Flying Circus (Empress Valley, 9cd), Four Blocks In the Snow (TCOLZ), The Jumpleg (Tarantura), Ladies and Gents (Tarantura2000), MSG 1975 (LSD, both issues), & 10th US Tour (Whole Lotta Live)
Whole Lotta Live is a direct copy of Tarantura.
TDOLZ reissued this title claiming it was the "uncut complete version." That wasn't the truth. No label has managed to do this yet. TDOLZ's first issue is missing 68 seconds of Moby Dick. Their reissue is this section. (Evidently, the master source is cut at the switch to hand percussion during Moby Dick. All cd titles have a cut at that point.) However, both titles are still missing a large chunk of time after Rain Song, several seconds after Dazed, and 90 seconds after Black. The reissue doesn't include a cue stop for Kashmir. Mostly, the two titles sound similar.
LSD also issued this title twice. Both issues have precisely identical cuts and content. There may be a little difference in the equalization. Both are also missing about a minute of the introduction. There's a drop in Rock and Roll exclusively to these titles. The tape seems a little unbalanced after Sick Again and there's another small problem during Over the Hills and Far Away. No Quarter has a digital glitch and about 2 dozen seconds of tape are missing after Dazed and Confused. These problems are also only found on LSD. Three minutes of tape are missing between Stairway and Whole Lotta Love. It's also missing 90 seconds after Black Dog. Robert's "Good Night" is missing from the end of the show too.
Tarantura is missing more than a minute of the introduction. There are tape problems during the end of Rain Song and is missing a large amount of time after the song. Moby Dick is missing a large section. There are some balance problems that mostly clear up before Stairway To Heaven. Stairway has a cut but is not missing any time. About five minutes of tape are missing after the song. Another 2.5 minutes are missing after Black.
"Ladies and Gents" also is a release claiming to be uncut. It also claims to be straight from the master source. It is not directly from the master. It is cut, missing time found on other releases. The cut after Rain Song misses 44 seconds of tape, like TDOLZ. Additionally, they've "added" tape from elsewhere to extend the audience's applause. Moby Dick is cut, but not any less complete than other titles. New from this title is an extra 90+ seconds of tape between Black Dog and Heartbreaker. (The original pressing of Ladies & Gents first disc had a cut early in Kashmir. A replacement was manufactured before much distribution.)
TCOLZ's title is the most complete and unadulterated version, having over a minute more of new non music tape than other releases. It's only flaw is missing 90 seconds of audience noise after Black Dog.
Empress Valley's title is missing over two minutes of tape and has introduced some static after No Quarter. It's sound is somewhat similar to TCOLZ.
The reissues are similar in sound to their original counterparts. LSD and Tarantura2000 seem to be eq'ed for lower frequencies. TDOLZ and TCOLZ feature the higher ones. The original Tarantura doesn't sound as good as the other releases.
2-12-75, source 2
Four Blocks In the Snow (TCOLZ) & That's All Right New York (Electric Magic Celebration)
EMC's title uses source two as it's foundation and fills in some areas with source one. The splices are during the Rain Song, Kashmir, and after Dazed. The splice during Kashmir is to displace source two's heavily distorted section. The other splices displace a few seconds in the process of filling source two's gaps. There are a couple of small cut/repeats during the title that shouldn't be there.
This is primarily a new source but relies on the first source to complete Rain Song and Kashmir. There's a terrible metallic sound in the background, not unlike Celebration's May 1973 soundboards and some of the Tara2000. The tape has been amplified largely.
TCOLZ's release is strictly from source two and comes some six years after EMC. It doesn't have the problems that were incorporated into EMC.
Fighting Back At the Coliseum (Empress Valley, original and both reissues), The New Faces (Jelly Roll) & Trampled Underwood (IQ)
Jelly Roll is a single source. This source didn't capture the full show. IQ used a second source to complete the first tape. For the original source shared between JR and IQ, they are identical.
Empress Valley's release uses the tape by Jelly Roll and completes the show by using the other tape too. Furthermore, it may a third tape for even more completion, but it may not be from the same night. The many changes between the first two sources and the rest of the sound changes make it difficult to determine exactly when actual source changing occurs. For the main tape shared between the three titles, EV's tape is much louder with less background noise. It certainly must be from a better generation of tape. JR and IQ are similar in sound.
EV's 2011 reissue places the audio content from the original title on new discs (with same exact disc times).
EV's 2013 reissue retains the same name as the prior versions but is found in the "Kings of the Stone Age" box. It places the same audio content on new cds discs (with same exact disc times).
Kings of the Stone Age (Empress Valley, 9cd & 6cd boxes, & Eelgrass), Jamming With a Woody (Empress Valley "original" & reissue), Led Faces Over Coliseum (Moonchild), Throwing the Wild Seeds: Led Faces Over Coliseum (Godfatherecords), & Wildest Dreams: 13 (Empress Valley)
The four EV Kings titles all use the same cds. The Eelgrass title is a direct copy of EV.
Godfather splices in an audience tape briefly after Kashmir. It is equalized differently than EV/Eel.
Moonchild is evidently a direct copy of Godfather. It has the same name, cd times, and content.
EV's 13 is a reissue of Kings.
Nassau 1975 (TDOLZ) & St. Tangerine's Day (IQ)
These titles are very similar. TDOLZ has smoother edits.
At Nassau Coliseum (Eelgrass), Few Hours With St. Valentine (Moonchild), Kings of the Stone Age (Empress Valley, 9cd & 6cd boxes), St. Valentine's Day Massacre (Empress Valley, original and reissue), Throwing the Wild Seeds: Few Hours With St. Valentine (Godfatherecords), & Wildest Dreams: 14 (Empress Valley)
EV debuted this soundboard with St. Valentine's Day Massacre.
Eelgrass is a direct copy of EV's SVD.
EV's first reissue uses the same name, audio, and disc times as the original.
EV's two Kings boxes reissue the audio from the original title with the same disc times, but on new cds.
Godfather splices in audience tapes before the show and when the soundboard is cut between songs. In doing so, some of the soundboard is displaced.
Moonchild is evidently a direct copy of Godfather. It has the same name, cd times, and content.
EV's "14" from the Wildest Dreams title attempts to reissue the audio from Kings, but has big troubles on the last disc. Six seconds of music are removed from WLL and Black Dog at the track change. Heartbreaker is full of digital glitches during a sixty second section.
Hatena (Empress Valley), Rock Saint Louie Rolls! (Moonchild), & St. Louis Blues (Empress Valley & Eelgrass)
Eelgrass copied EV's SLB title, as usual. However, it's not an exact copy. The sound has been toned down a hair. The last five seconds of blank tape on cd three have been removed and the cues stops don't all match EV either.
EV's Hatena reissues audio from the original title onto new discs with different times.
Moonchild's title was also copied from EV, but they've added in no less than 20 cuts. There's a cut at each track change and almost always followed by a second in the place where Eelgrass changes tracks. The cue stops are poorly placed.
Battle of Baton Rouge (Empress Valley), Blaze (Immigrant), Freeze! (Tarantura), DX I ~ X (Mad Dogs), Hang On To Your Heads (TDOLZ), Led Astray (SIRA), Metallic Sounds Highlight LSU Concert (Empress Valley, 1cd), & Rampaging Cajun (Empress Valley, 6cd original)
Immigrant is missing most of the introduction. It is missing a few seconds after Trampled Under Foot and more than 6.5 minutes of Dazed and Confused. The title has good sound but seems to be 1 or 2 generations further from the master.
Mad Dogs is much more complete than Immigrant, but is still missing some tape after Moby and Dazed. It has a little less bass than most of the releases of this show.
Tarantura, SIRA, and TDOLZ are almost completely identical with respect to cuts, completeness, and sound. SIRA is not a direct copy of Tarantura. They may have used the same tape but they made a couple of edits not found on Tarantura.
Empress Valley's "Battle" is similar to the better titles. It's introduction is about 40 seconds short, but it seems to have a few extra split seconds at a couple of the cuts. There is a larger amount of tape after the show, totaling about 75 seconds. Their sound has been amplified a bit.
EV's 6cd "Rampaging" includes the audience as a bonus. The bonus discs reproduce the content and disc times of "Battle."
EV's 1cd "Metallic Sounds" is a sampler of the audience and soundboard tapes, obviously incomplete.
Metallic Sounds Highlight LSU Concert (Empress Valley, 1cd) & Rampaging Cajun (Empress Valley original plus reissues & Eelgrass)
EV's 6cd "Rampaging" debuts the soundboard on the first three cds of the six cd set. Eelgrass is a direct copy of EV.
EV's 2014 "Rampaging" title is in a jewel case and reissues the audio from the first title on new discs with matching times.
EV's 1cd "Metallic Sounds" is a sampler of the audience and soundboard tapes, obviously incomplete.
Hatena (Empress Valley), Rock Super Stars (Empress Valley (original and reissue,) & Eelgrass), & Statistical Analyzing Shot (Empress Valley)
EV's three titles debut this show. Eelgrass is a direct copy of EV.
EV's Rock Super Stars jewel cased title is a reissue utilizing the original discs.
Chasing the Dragon (Eelgrass, 3cd, & Empress Valley, 3cd & 6cd & 2009 3cd reissue), Dallas 1975 (Blimp & Last Stand Disc), Solid Guitar (Tarantura), Statistical Analyzing Shot (Empress Valley), Trampled Under Foot (Swinging Pig), & Zapruder (Wendy)
Empress Valley's Chasing the Dragon is the first release with enough of the soundboard tape to use a third disc. No Quarter and Moby Dick remain incomplete. However, this Moby Dick has an extra 25 seconds before ending. No fades were used, thus allowing every note to be heard clearly. (The original disc number two contains a cut/repeat three minutes into Trampled Under Foot lasting 20 seconds - none of the old 2cd titles have this problem. A "replacement disc" (matrix# "EVSD-189B" time=34:48) was issued 4 months later correcting the original disc (matrix# "EVSD-189" time=35:08).) This title has very excellent sound like the all the others. The 3cd title is a reissue of the cds in the 6cd box. EV released the title again in late 2009, packed in a jewel case and using the original two discs and original replacement disc.
EV released the same audio again in 2015 on Statistical Analyzing shot with new discs and slightly different disc times.
Eelgrass's title is a perfect copy of original "uncorrected" Empress Valley title.
Wendy's title is identical in content to EV and Eelgrass. It's not amplified as much.
Blimp's title runs a little slow and has an extra, inexcusable cut in No Quarter with 3 seconds of silence - not found on the other titles.
Last Stand Disc and Swinging Pig have virtually identical content. The latter has a smoother edit on the big cut in No Quarter. Tarantura is also highly similar to these two titles except for one factor. At the cut in No Quarter, there is a 5 second overlap of the two pieces of tape.
(LSD update after comparing EV: LSD has a tape problem throughout the entire title. Between songs (quite sections) a repetitive "bump, bump" sound can be heard. It is evidently the tape. This problem isn't on Empress Valley or Tarantura.)
Chasing the Dragon (Empress Valley, from 6cd box), Days Confused (Empress Valley, from 6cd release), & Live In Dallas (TDOLZ)
TDOLZ was the first label to issue this show on cd. Now years later, it has finally been issued again but by Empress Valley. EV's Chasing the Dragon used the February 28th show to fill in the two musical gaps and of course didn't note the change. Furthermore, there are sound changes after most of the songs that sound like splices. For all but maybe one instance, they're adjusting the tape and not actually switching to a different tape. It creates a completely unnecessary dissonance. On the plus side, EV has a longer introduction, a little more tape after Kashmir, and some extra tape after Moby Dick.
TDOLZ's Rock and Roll has a brief sound fluctuation not found on Chasing the Dragon. Chasing the Dragon has a brief sound fluctuation during Sick Again that's not found on TDOLZ.
EV released this show again with as a bonus 3cd included with the soundboard, Days Confused. They decided not to mix in Baton Rouge again to fill the gaps. The tape has an extra 140 seconds of tape from between songs that's not found on TDOLZ. It does miss 8 seconds found on TDOLZ after Rain Song. The pair of glitches found on TDOLZ's No Quarter are not present here. There's also a slight cut after Dazed that's not found on TDOLZ.
Empress Valley's titles run at the proper speed while TDOLZ is a little slow. The tape generations seem to match but EV has amplified theirs just a touch.
Babushka Lady (Wendy), Days Confused (Empress Valley, from 6cd/3cd releases and 3cd jewel case reissue, & Eelgrasss), & Statistical Analyzing Shot (Empress Valley)
EV's Days Confused (3cd & 6cd) debuts the soundboard. It mixes in about 2.5 minutes of audience tape to complete some gaps. Eelgrass is a direct copy of EV's soundboard discs. EV's jewel cased version uses the same discs as the prior version. These mixes feature long overlapping splices, displacing small pieces of the soundboard.
EV released the same audio again in 2015 on Statistical Analyzing shot with new discs and slightly different disc times.
Wendy's title is strictly from the soundboard and features slightly more soundboard than the other releases.
San Diego 1975 (no label) & Symphony In a Thousand Parts (TDOLZ)
TDOLZ's title misses a small amount of tape before and after the show, and a brief comment by Robert after Rain Song. It runs a little fast.
The no label title has more tape before and after the show, has the comment after Rain Song, but missing a different comment by Robert after Dazed. It's been amplified a tiny bit and runs at the proper speed.
American Return (Godfatherecords & Moonchild) & Long Beach Californication (Empress Valley's original and reissue & Eelgrass)
EV debuted the soundboard tape, mixing in the introduction from the first audience tape. Eelgrass is an exact audio copy of EV and shares the same disc times. Godfather's title is similar in content to EV. Their cue stops are poorly positioned between songs and it's sound has been altered more than necessary.
EV's jewel cased reissue reuses the same discs as the original release.
Moonchild is evidently a direct copy of Godfather. It has the same name, cd times, and content.
3-11-75, sources 1 & 2
Acme (Moonchild), Bootleg License: Acme Quaalude (Tarantura2000), California Graffiti (Masterport), California Sunshine (Badgeholders), Long Beach 1975 (Flying Disc & LSD), Long Beach Arena 1975 (no label, 4cd), Long Beach Arena Complete (Confusion), Long Beach Continuous Performances (Wendy, 6cd), Pussy & Cock (Tarantura), Standing In the Shadow of Midnight (Empress Valley), & Zeppelin L (Akashic)
Musically speaking, Flying Disc is the least complete. The title does not have any cue stops and runs a little slow. Tarantura and LSD have similar speeds (running about 3% fast) and content. The only difference (slight) is Tarantura's cut in Dazed. Confusion is missing some of Robert's commentary after Rain Song and Trampled Under Foot. This title runs a hair fast but isn't as fast as Tarantura and LSD.
Flying Disc, Tarantura, Confusion, and LSD are all cut near the 22nd minute of Dazed (preceded by a tape problem too). Each miss at least a dozen seconds.
Akashic is missing 15 seconds of the introduction. Robert's commentary is missing after Rain Song and tape of the audience cheering has been added in to fill the gap. Dazed doe not have the tape problem and cut. Another 45 seconds has been added after Stairway too. This title has half a minute more tape after the show than the other titles, which actually seems to be genuine. The speed is proper.
Masterport has the full introduction, all commentary, Dazed in excellent shape, and adds another dozen seconds of tape after Stairway not previously available, but misses the last 35 seconds of tape after the show. The end of Rain fades out, but is complete. The speed is proper.
Empress Valley is a two source mix. It uses source two to fill two non-musical cuts in source one. In the process, it misses a few seconds of source one. Other than that, this title is just as complete as Masterport. However, for the cut after Rain song, they decided to repeat source one from after Over the Hills.
Badgeholders title uses source two to fill in the gap after Trampled and Dazed. The title ends with as much tape as Akashic.
Tarantura2000's title is another two source mix, using the second source to fill in source one's gaps. The first couple of seconds are missing from the introduction and the two splices displace a few seconds of source one's content/music. The title has all the extra tape after the show (from source one).
Wendy's title is also a two source mix. It uses the second tape only after Dazed, up to Stairway. They've also spliced in some extra source one to extend audience cheer after Rain, Trampled, and Moby.
The 2015 no label release is strictly source one, has all known tape to disc, but is essentially cut in the beginning of Stairway with a small digital click/pop due to bad cdr mastering. If the glitch wasn't present, it'd be a great title.
Moonchild's title is exactly the same as the no label title (same cd times too) but without the mastering error.
Flying Disc, Tarantura, and LSD have similar sound levels. Confusion's title is not quite as loud. Akashic has amplified their tape quite a bit, making the background noise and music too loud. Masterport has excellent sound. Empress and Badgeholder's sounds have been amplified and brightened some. Wendy's sound is fairly similar to Masterport's. The sound of the no label title is slightly less amplified as Masterport's.
3-12-75, source 1
Dedicated To Anyone Who Got Divorced Today (TCOLZ, 6cd), Standing In the Shadows (TDOLZ), & Trampled Under Jimmy's Foot (SIRA)
SIRA, TDOLZ, and TCOLZ's cds 1-3 come from the first tape (exclusively).
SIRA and TDOLZ are very similar in regards to cuts and completeness. Both have slightly more of Song Remains the Same than other titles using this source. Both of these titles are missing 93 seconds of Moby Dick. TDOLZ has some digital interference during Stairway.
TCOLZ is cut differently during Song Remains the Same and is slightly less complete than SIRA and TDOLZ. It's Moby includes the extra 93 seconds.
TDOLZ seems to be a little clearer sounding than SIRA, but has also been over amplified. SIRA runs a little slow. TCOLZ sound hasn't been over amplified and seems unadulterated.
3-12-75, source 2
Dedicated To Anyone Who Got Divorced Today (TCOLZ, 6cd), Long Beach Arena 1975 (no label, 4cd), Long Beach Arena Fragment (Holy) & Long Beach Continuous Performances (Wendy, 6cd)
Holy, Wendy's last portion of the last disc, and TCOLZ's and the no label titles' fourth discs are all exclusively from the second tape. Holy has a small fade into Stairway. TCOLZ inexcusably misses the first 8 seconds of Stairway. The titles are otherwise identical in audio content. Wendy, TCOLZ, and the no label titles are all from a lower generation of tape than Holy, sounding a good bit better.
3-12-75, source 3
Dedicated To Anyone Who Got Divorced Today (TCOLZ, 6cd)
TCOLZ is the only title to feature this source exclusively. It is found on cds 5 and 6.
3-12-75, mixed sources
Bootleg License: Standing In the Shadow (Tarantura2000), Long Beach Continuous Performances (Wendy, 6cd), & Taking No Prisoners Tonight (Badgeholders)
Badgeholder's and Tarantura2000's titles use source one until source two becomes available. Source two is used from there on, as the primary sound source, but tape one is used to fill in between songs. In the process, some of source two is omitted. Moby Dick features an extra 93 seconds of tape not found on TDOLZ or SIRA. The two tapes used on these titles have better sound than the older releases.
Wendy's title debuts source three. It uses source three as the primary foundation and uses source one to fill the gaps. For some strange reason, there's an unnecessary splice away (brief) from source three during No Quarter. Source three's sound is much poorer quality on the second disc than it is on the others. The digital static found on Stairway infers it may was most surely copied from TDOLZ's title.
Conspiracy Theory (Empress Valley's original and reissue & Eelgrass) & Hatena (Empress Valley)
Eelgrass is a direct copy of Empress Valley's original title. EV's reissue of the same name and the one found in the Hatena box set have the same audio content as the original even they're each on new discs and with slightly different running times.
Deus Ex Machina (Empress Valley), Haven't We Met Somewhere Before? (Empress Valley original and reissues & Eelgrass)
These titles are strictly from the soundboard. EV debuted the tape on HWMSB. Eelgrass's title is supposed to be a copy of that EV title, but it runs slightly slower, giving it longer disc times and a different sound.
EV's first reissue of HWMSB uses the same cds as the original issue.
EV's second reissue of HWMSB has the same cd times as the original.
EV's Machina is not a simple reissue, although it would have been a better choice. This title fakes in a dozen seconds of tape immediately after Kashmir where it's cut, and then overlaps Robert talking before it ends. Another change was made after Moby Dick, burying some musical instrument notes into the background. Some of the cue stops have changed and there is now a little tape overlapping between discs. Otherwise, the titles sound the same.
3-17-75, audience sources 1 & 2
Blow Jobs (Tarantura2000), Dinosaur In Motion (Empress Valley), Haven't We Met Somewhere Before? (Empress Valley), Gallery of Soldiers (Powerchord), Physical Explosion (no label), & Seattle Won't You Listen (TDOLZ)
Physical Explosion is strictly from the first source and does not contain the first four songs. It is the only title to isolate one of the sources. It has all known tape to silver disc and doesn't have some of the minor problems found on other titles.
The remaining titles are two source mixes, using source two for the first four songs and then switch to source one.
TDOLZ has a few extra cuts over Powerchord and Empress Valley.
Powerchord misses the first two seconds of the show due to their fade. Their extra tape found after Trampled and Dazed is actually from after Stairway. Powerchord has balance problems during the first 2 minutes of Moby Dick. There are slight "tics" or cuts at each track change as if they mastered the tape from a troubled cdr.
Empress Valley's "Dinosaur In Motion" has a couple of sound fluctuations during Over the Hills and on Dying that don't seem to be on the other titles. There's a very minor glitch during Dazed around the 23 minute mark. This title has a few extra seconds (not musical) not found on the other titles.
EV's "Haven't We Met Somewhere Before" reissues the audio found on "Dinosaur In Motion."
Tarantura2000 is somewhat similar to Empress Valley. It has the same sound fluctuations and cuts. However, the cuts after Trampled and Dazed are followed by tape added from elsewhere. It doesn't have the tiny glitch during Dazed like EV, but it does have a very large one before the song.
EV's "Machina" reissues the audio from their prior titles onto new discs. The glitch during Dazed is still included.
TDOLZ and Powerchord are similar in sound. Empress Valley and Tarantura2000 didn't amplify the first four songs as much as the other titles and are also similar in sound. The remainder of the title is similar to the other two releases.
Interlude Prior to the Crunge (Eelgrass), Rocky Mountain Hop (Moonchild), Snow Jobs (Empress Valley, 5cd, & both 3cd reissues), & Snowblind (Empress Valley, 9cd, 6cd, & 6cd box including bonus Deus Ex Machina).
Empress Valley was the first release of this soundboard, on "Snow Jobs," simultaneously releasing a 5cd and 3cd version bearing the same name. Eelgrass followed shortly afterwards and was expected to be copied from EV, as had always been their plan. Eelgrass's cue stops are a little different, has almost no "blank time" at the end of the discs, is missing the last second of tape after the show as Robert puts down the microphone, and the title is slightly louder than EV.
EV reissued Snow Jobs in a 3cd jewel case in January 2009, using the same discs as before.
EV released the same audio again on the "Snowblind" 9cd/6cd titles using new discs. The subsequent 3cd release uses the same discs as the original title.
EV's December 2017 box "Snowblind" reissues their previous Snowblind title, same cd times and probably the same run of discs.
Moonchild's title is also copied from EV, but has added in 6 new cuts and removed almost a minute of tape from after Stairway. They've eq'd their sound.
3-19-75, audience sources 1 & 2
Ladies and Gentlemen (Sanctuary, 6cd), Physical Vancouver Farewell (Tarantura, 6cd), Pleeease (Silver Rarities), Prisoners of Rock & Roll (TDOLZ, 5cd), & Snow Jobs (Empress Valley, 5cd).
Silver Rarities' only offers three songs from this show and are from the first souce (No Quarter, Trampled Under Foot, and Moby Dick).
Tarantura is strictly from the second source. About ten seconds of it's introduction is missing. It uses a ten second section of tape after Sick Again to repeat after Kashmir and Dazed. They also repeat tape taken from after No Quarter and place it after Trampled Under Foot and Dazed.
TDOLZ' release is strictly from source two and has been placed on just two cds. Their tape arrangement does not have any extra cuts or repeated tape.
Sanctuary splices to the first source briefly after No Quarter, to complete Trampled Under Foot and Moby Dick, and then splices out to the next night to complete Dazed and Confused. (Some of the talk before Dazed is also from the 20th.) A ten second section of tape after Sick Again gets repeated after Kashmir. Some tape after No Quarter gets repeated after Dazed too.
Empress Valley's last two cds of the 5cd Snow Jobs ("bonus 2cd") mixes both audience sources, but relies mostly on the good tape. They eliminate pieces of tape to make it match up better with their soundboard title. They've also cut the tape during Sick Again to remove a slight drop.
The tapes are similar in quality.
Snowblind (Empress Valley, 9cd, 3cd, 6cd, & 6cd box including bonus Deus Ex Machina; Eelgrass).
Empress Valley was the first release of this soundboard, simultaneously releasing a 9cd and 3cd version. Eelgrass followed with their clone a month later.
EV reissued it in a 6cd title using the same discs in December 2013.
EV's December 2017 box "Snowblind" reissues their previous Snowblind title, same cd times and probably the same run of discs.
3-20-75, audience sources 1 & 2
Ladies and Gentlemen (Sanctuary, 6cd), Physical Vancouver Farewell (Tarantura, 6cd), Pleeease (Silver Rarities, 3cd), & Prisoners of Rock & Roll (TDOLZ, 5cd).
Silver Rarities first and last discs are from the first tape source of this show. The second disc is from the previous night.
Ladies and Gentlemen (Sanctuary, 6cd), Physical Vancouver Farewell (Tarantura, 6cd), Pleeease (Silver Rarities, 3cd), & Prisoners of Rock & Roll (TDOLZ, 5cd).
Silver Rarities first and last discs are from the first tape source of this show. The second disc is from the previous night.
The 3 big titles use the good source for this show but do fall back on the lesser source to fill in some of the gaps. They all share the same introduction from the previous night. Tarantura and TDOLZ only use the lesser source to complete the Rain Song. Sanctuary uses the lesser source to compliment the better source for virtually every gap.
Tarantura's title is in excellent form. Tarantura has about 15 seconds more time after Robert's final word, over the other titles.
TDOLZ uses the prior night's first source to "complete" Moby Dick. Some of the previous night's commentary after Moby is used in the corresponding area for the 20th. It has 8 extra cuts on Dazed plus 1 instance of digital interference. After most of these extra cuts, the several seconds just prior to the cut get repeated. TDOLZ has a cut and repeat near the end of Stairway, repeating 15 seconds. It is missing over 90 seconds of tape after the song. The other titles are not cut. On Whole Lotta Love, another cut and repeat is found, repeating 14 seconds. The other titles are not cut.
Sanctuary uses the first source to complete the many gaps. Some of the previous night's tape is used after Moby Dick.
Strangely, Tarantura, TDOLZ, and Sanctuary have a 36 second splice in Trampled. The spliced tape is not from the previous night and does not seem to come from any other 1975 show. It could be from a different generation of the same tape.
The "good tapes" sound similar between these different titles.
There are two audience sources for this show. The first source captured everything up just past the halfway point of Stairway To Heaven. It's sound is clearer than the next source. The second source has everything but the bulk of Moby Dick's middle. There are many tape glitches - most notably from the tenth minute of Dazed through the end of the show.
3-21-75, non mixed titles
Blow Away (no label, 3cd), Long Drive To Seattle (TCOLZ, 4cd) & Seattle Supersonic (no label, 2cd)
Seattle Supersonic is entirely from the better sounding, first source. It misses most of the introduction, all of Moby Dick, and the last 3:19 of the Stairway. No Quarter has been split between the two discs. The title runs a hair faster than the other releases. It is better sounding than what's been used on most of the earlier mixed source titles.
Blow Away is also entirely from the first source. It contains every second ever released and almost another second and a half of Stairway before it finally cuts out. It has excellent sound like Supersonic and the more recent mixed source releases.
TCOLZ's title is entirely from the second source.
3-21-75, mixed titles, old style
207.19 & 214 (Cobra, 4cd), Good Evening Seattle (Magnificent Disc, 4cd), Hammer of the Gods (LSD, 4cd and Tarantura, 3cd), No Quarter (H-Bomb, 4cd original and reissue)
These "old style" mixes switch to source two before Stairway.
First of all, Tarantura's title only contains the first four songs.
H-Bomb, LSD, and Mag Disc are missing most of the introduction.
H-Bomb's reissue has different artwork, printing on cds, and disc times (1 second diff), but the music content and sound is identical.
LSD is virtually identical in every respect to H-Bomb except that they've simply amplified the title a little.
Cobra's content is the same as the others except for the longer introduction. Like LSD, it's music and background noise are louder than H-Bomb. However, Cobra made other adjustments to the sound, leaving it without as much of the lower frequencies as the other titles.
Mag Disc's title has the shortest introduction found on a quad cd release. It does have the extra commentary after No Quarter and Since, that are only found on Supersonic, Empress Valley, and Tarantura2000. The many tape glitches that start during Stairway and lasting through the rest of the tape, have almost all been edited out. Like Mag's other releases, this title too has the familiar metallic sound in the background. It is constantly evident and inexcusable. The tape is the same generation quality as the other 4cd releases.
3-21-75, mixed titles, new style
Blow Jobs (Tarantura2000, 4cd), Deus Ex Machina (Empress Valley, 14cd & 8cd), Dinosaur In Motion (Empress Valley original and reissue, 4cd), & Having a Fit (Tarantura2000, 4cd)
These "new style" mixes use all of source one, switching to source two during Stairway.
EV's Dinosaur title has the full introduction, the extra tape after No Quarter and Since, and debuts an extra 3.25 minutes of Stairway To Heaven from source one. The many glitches during source two have been removed. Unfortunately, they chose to modify two of the cuts during Black Dog. Small amounts of tape have been expertly added to disguise the cuts, also displacing some music in the process. The tape generations of source one seems similar to the other quad releases. The tape generation of the second source is certainly better than the "old style" mixes. The title hasn't been amplified any more than the other titles.
Tarantura2000's BJ is almost an exact content clone of EV. They've removed part of the announcer comment before the show and are missing a few seconds after the show. It's sound is slightly louder than EV.
Tarantura2000's Fit was released 2.5 years after BJ. Fit's splices unnecessarily displace source one in two spots. Overall, it's sound is similar but is just another mix.
EV's reissue is a clone of the original release, has the same disc times, and is on new discs.
EV's Machina title is the same audio content/mixture as Dinosaur, but they've moved Kashmir from disc two to disc one.
3-21-75, soundboard titles
Deus Ex Machina (Empress Valley's 4 titles & Eelgrass), Seattle 1975 The Hammer of the Gods (Eat a Peach), Snowblind: Deus Ex Machina (Empress Valley), & Viva La Revolution (Empress Valley, 1cd)
EV debuted Heartbreaker from the soundboard on their Viva title. Five months later, they released the remainder of this soundboard, simultaneously releasing 7cd, 8cd, and 14cd versions. Eelgrass quickly followed with their 4cd clone in the same month. They are identical.
EV's jewel case release reissues the original discs.
3-21-75, soundboard mixes
Seattle 1975 The Hammer of the Gods (Eat a Peach) & Snowblind: Deus Ex Machina (Empress Valley)
These titles are based on the soundboard and filled with audience tape.
Peach's title has a glitch just after the first minute into the first song. Moby does not contain a splice to an audience tape.
EV's bonus title from the Snowblind box, "Deus Ex Machina" has a twenty second splice to audience tape during Moby. It displaces some of the soundboard after the show, switching to audience.
EV's Treachery title is a reissue using the same discs as the above mentioned title.
3-24-75, sources 1 & 2
Children of the Sun (Tarantura2000), Deep Throat I (Empress Valley, original and reissues), Firecrackers Show (TDOLZ), Get Back To LA (Tarantura), Get Back To LA1 (Moonchild), A Gram Is A Gram Is A Gram (IQ), & LA Forum 1975 1st Night (no label)
IQ's title is entirely from the second source.
Tarantura, the no label release, and Moonchild are entirely from the first source. They're almost identical in content and sound. In fact, the no label title and Moonchild have the same disc times and everything else - evidently both copied from the same place. None contain all of the audio found amongst the cd releases, missing less than ten seconds each of audience cheer.
TDOLZ and EV are mixes of the two sources. They rely on the second tape to complete gaps in the first. TDOLZ's Dazed and Confused has a couple of instances of digital glitches within the first few minutes. EV's mix has better splices, uses more of the better sounding first source, and overall sounds much better than TDOLZ. Still, both of these titles miss more of source one than needed. TDOLZ's title is from a higher generation of tape.
EV reissued Deep Throat in January 2009 using new discs with slightly different times.
EV reissued Deep Throat again in October 2015 using new discs.
Tarantura2000's title is also a two source mix, using the first source as the primary. Some of the tape is missed during the small overlapping splices. It has two seconds of tape after the cut following Dazed that's not available anywhere else. It also contains about nine seconds of tape after Black that's only been found before on the original Tarantura release. It's sound is amplified quite a bit.
3-25-75, sources 1 & 2
Cosmic Crazy (ARMS & LSD), Deep Throat II (Empress Valley, original and reissues), Get Back To LA (Tarantura), Get Back To LA 2 (Moonchild), LA Forum 1975 2nd Night (no label), & The Sex Machine (Lemon Song)
The no label and Tarantura titles are the most complete offerings of the first source. They are not missing any known tape found on other titles. Tarantura falsifies some tape after the abrupt cuts immediately following some of the songs. Tarantura may also be from a higher generation of tape than the other titles mentioned here.
ARMS, LSD, Lemon Song, and EV are all missing different pieces of tape at the cuts. All titles have at least slightly different levels of amplification. EV has the most and Tarantura has the least.
Empress Valley's title uses an alternative tape to add an introduction and the first minute of Rock and Roll. It also uses the alternative tape to fill the first source's gaps between songs. It's sound has been amplified more than the other titles.
EV reissued Deep Throat in January 2009 using new discs with slightly different times.
EV reissued the reissue of Deep Throat in October 2015 with new discs and the same times. Moonchild is a two source mix, based on the first tape. It misses too much of source one at each splice. It's sound is similar to the no label title.
3-27-75, sources 1 & 2
Deep Throat III (Empress Valley, original and reissue), Electric Orgasm (Jolly Roger), Final Show In the Forum 1975 (Jelly Roll), Get Back To LA (Tarantura), Get Back To LA 3 (Moonchild), L.A. Forum 1975 Final Night (no label), LA Forum 1975 3rd Night (no label), Last Night In the Forum 1975 (Power Archives), Remainz (Akashic, 4cd), Tour De Force (Rabbit Records), & We're Playing Our Balls Out (TCOLZ)
Jolly Roger's title is mainly from the 27th, but No Quarter and Moby Dick are from the night before. The 27th's sound isn't as loud as some of the other release. It could be due to a higher generation of tape or just a lack of equalization.
Rabbit is missing a few seconds from between songs and has a big sound drop in Stairway for almost 50 seconds. The last 12 seconds of Black Dog and the few seconds available afterwards are actually from the previous show, which in turn eliminates the original closing comments.
Tarantura is has almost the entire introduction, unlike most of the older titles. It's missing tape after Moby, almost 40 seconds of Dazed at the cut, and the last 90 seconds of Black Dog.
Jelly Roll doesn't have problems during Stairway. It's Black Dog is complete but seems to be spliced from a different generation of the same tape.
Akashic's fakes tape before and after the show by repeating sections of the audience noise. At each of the familiar cuts, Akashic misses tape consistently. Overall, it is missing 10-13 seconds (plus the time only found on Tarantura's Moby Dick). Black Dog is complete, and is all from one tape. The contents of the fourth cd would have fit on the third disc.
Empress Valley: (The original disc number one (matrix# "EVSD-162" time=69:38) was missing 40 seconds of the introduction and almost 35 seconds of Rock and Roll. A "replacement disc" (matrix# "EVSD-162B" time=70:54) was issued shortly afterwards correcting the two mistakes.) The introduction is almost complete, like Tarantura, only missing about two seconds. Unlike Tarantura, but like the rest of the titles, EV's No Quarter is missing two seconds of tape at the cut. Shortly afterwards, it is another cut (not found on other titles) and with it the speed slows down a touch. The tape between Moby Dick and Dazed is complete, for the first time on cd. Just before the familiar cut in Dazed, there are a couple of minor (minor) cuts (no tape missing) that seem a little strange. Similar to Rabbit's title, EV's Stairway also drops down in sound quality but later returns. It's Black Dog is completely intact like Akashic's.
EV reissued Deep Throat in January 2009 using new discs with slightly different times. The replacement disc is reissued within.
EV reissued the reissue of Deep Throat in October 2015 with new discs and the same times.
Power Archives' title is a two source mix. The alternate tape adds to the introduction and then switches to the longer version of the first tape to complete. Rain Song and Dazed have their gaps filled with the second source, but have digital noise as if taken from a very low quality digital file. The second source sounds mostly normal during the introduction, No Quarter, and Moby Dick. Moby Dick has a slight cut (no tape missing) not found on the other titles. Dazed has a slight digital glitch halfway through that isn't found on the other titles. The right channel drops out almost completely during Stairway for almost a minute. A few seconds of tape are repeated after Stairway at the cut. It's Black Dog is complete but seems to be spliced from a similar generation of the same tape. The tape after the show isn't completely genuine.
TCOLZ's first 3cds of the 6cd title release source one. It's introduction is the most complete available. It is missing a split second from Rain Song, almost five seconds at the bigger cut in Moby, and about five more seconds at the cut in Dazed, and is missing tape after the show (like all prior releases). There are no troubles during Black Dog.
TCOLZ's last 3cds of the 6cd title release source two by itself.
The 2015 no label release "3rd Night" is strictly from source one and is the most complete version yet. It does miss the first two seconds of the introduction and a split second at the cut in Rain Song.
Moonchild's title is a mix of the two sources, based on source one. Too much of source one is missed at the cuts.
The 2017 no label release "Final Night" is a mix based on source one. Source two is not always used when source one is unavailable. A lot has been done to the sound, having many changes from good to worse, and back again. This isn't found on other titles. Some of source one is missed at the splices.
Rabbit runs a little faster than the others. Rabbit and Akashic's sound have been amplified a touch more. Jelly Roll's music and background noise is much louder than Tarantura. Tarantura may possibly be from a higher generation tape. Empress Valley and Power Archives' sound quality is similar to Jelly Roll. TCOLZ's sound hasn't been amp'd up much and the 2015 no label title is amp'd even less. Moonchild's title has been amplified a bit. The 2017 no label title has been highly amplified.
5-17-75, source 1
Arabesque & Baroque (Antrabata, 3cd), Join the Blimp (Tarantura, 4cd), & Nice Opening Night (IQ, 3cd)
Antrabata, Tarantura, and IQ share the same tape source. IQ has a couple more cuts between songs than the other 2 titles. Tarantura and IQ are both missing a short sentence after Dazed and Confused. Antrabata is missing most of the tape after Stairway, before Whole Lotta Love. Antrabata and IQ sound very much alike. Tarantura's title is a good bit louder, as it was amplified some. This also brings up the background noise some too. These titles tend to run fast.
5-17-75, source 1 & 2 mixes
Chancellor of the Exchequer (Tarantura2000), Complete Earl's Court Arena Tapes "I" (Empress Valley, 4cd), Devil's Banquet (Power Chord, 4cd), Earl's Court the Final Option: Welcome Home (Empress Valley), Five Glorious Daze: Welcome Back To Britain (Tarantura2000), & La Promenade (Wendy)
Power Chord debuted the second source and is it's foundation. It uses source one to fill some gaps between songs, for all of Bron-Yr-Aur Stomp, fragments of Moby and Dazed, and the several minutes of audience cheer after Stairway. The constant source switching is annoying. The title is unnecessarily spread across an extra disc.
Empress Valley "I" is almost completely identical to Powerchord's.
Tarantura2000's Chancellor also uses source two as it's foundation, but elects to use source one for Tangerine and Going To California. That's an odd choice since those songs are available on source two and the foundation of the whole title is that source. Like the other two mix titles, there are constant source changes.
Wendy's title is almost entirely source one but makes an unnecessary splice to source two for the last two seconds of the Rain Song. Several seconds are missing from the introduction and at the cut/disturbance after Bron. It's been speed corrected and amplified.
Tarantura2000's title from the Five Glorious Daze box is the same exact mixture of tapes as Powerchord. But, it's not as good since they've introduced some sound changes between songs that sometimes sound like cuts, incorporated some bad noise during the first half of That's the Way, and has one or more micro cut/repeats within the title. It's amplified a bit over Powerchord.
EV's "Welcome Home" is a mix using source one as it's foundation and barely misses any source one at the splices. This time they elected not to stretch the show onto an extra disc. It's sound is similar to IQ for the source they share.
5-18-75, sources 1, 2, & 3
Arabesque & Baroque, The Second Night (Antrabata, 4cd), Argenteum Astrum (Tarantura, 4cd), Black Dragon with Blue Axe: Journey Into the Fourth Dimension and Black Dragon with Blue Axe (Empress Valley, 6cd), Complete Earl's Court Arena (Immigrant, 3cd), Complete Earl's Court Arena Tapes "II" and "No Quarter" (Empress Valley, 4cd & 2cd from 22cd box set), Femme Fatal (Wendy, 3cd, original and reissue), Earl's Court the Final Option: "No Quarter" and "Assorted Delights" (Empress Valley), Five Glorious Daze: "It's Time To Welcome Home" and "Magical Atmosphere" (Tarantura2000), No Quarter: Journey Into the Fourth Dimension and No Quarter (Empress Valley, 5cd), No Quarter (Empress Valley, 4cd; Good Believe, 1cd; Tarantura2000, 3cd & 5cd), & Red Devil (TDOLZ, 4cd)
The first source for this show is found on Good Believe, Empress Valley's 2cd "No Quarter" from "Complete Earl's Court Arena Tapes," Tarantura2000's 5cd release, EV's "No Quarter" from the 5cd "No Quarter" box, and EV's cds 1 and 2 of "Assorted Delights" from "Earl's Court the Final Option."
The second source was released on Immigrant.
The third source is on Tarantura, Antrabata, TDOLZ - while those three titles do use source two for the encores, their objective was releasing all of source three. Tarantura2000's "Magical Atmosphere" uses the third source as it's foundation, and completes using the other two sources.
The rest of the titles offering the whole show are three source mixes.
The performance can easily be placed on three cds but some of these labels stretched it out to four discs.
Good Believe's forty minute title was transferred from the old and incomplete vinyl release.
Empress Valley's 2cd "No Quarter" from the 22cd box "Complete Earl's Court Arena Tapes" claims it was copied directly from the original acetate used for the vinyl release by the same name from many years back. Albeit, the first third of the show is now included. The title track isn't complete and it's sound is not in good condition. It seems to have some heavy suppression to remove unwanted sounds and has many "micro cut/repeats." Additionally, it seems to be amplified to the point of being overblown. The strangest thing of all is a nearby person's cough at 2:18. This exact cough is in the exact same place on the tape used by TDOLZ. Other identifying sounds, before and after the cough, are all very faint and do not match up to TDOLZ. In some instances, where talk near the taper is found on TDOLZ, there's a convenient sound in the same place on EV that prevents clear interpretation. Combining that with some of the background suppression…it's extremely difficult to be 100% certain about the truth. In all fairness, there are sounds on EV that aren't on the other sources. Again, this is also from a label that release "less than honest" titles. Yet, no cd releases have cuts in this area. It is very possible that EV has spliced in tape during this section but it would also mean they did it perfectly in, and then out. The chances of that happening so seamlessly are super slim. The chances they'd add sounds and remove others to hide something are slim too - hopefully. Ultimately, sometime soon after the cough, the song is certainly from the proper source.
EV's 2015 "No Quarter" reissues the audio from the EV's original 2cd title from within the 22cd box.
EV's 2016 first two cds of "Assorted Delights" reissues the audio from the 22cd box - with all of the defects they introduced intact (again). This time the liner notes refer to the familiar vinyl source (No Quarter through Bron) as "alternate source #1" (cd1) and the other part (intro through Kashmir) as "alternate source #2" (cd2).
Tarantura2000's 5cd release contains 3 versions of this source, all very incomplete and full of "micro cut/repeats" (probably from software to "clean up" the sound). The first 2cds (TCD-53-1/4) are missing Kashmir. The second 2cds (TCD-54-1/2) only contain 4.5 minutes of No Quarter - the title track that's always been 18 minutes on other releases of this source. It's Bron-Yr-Aur has the "metallic" sound. The fifth cd (TCD-55) is sourced from the old vinyl release. Like the other four cds from this 5cd box, the sound has been "cleaned up," producing all the digital problems, cut repeats, and so forth. That's the Way starts off with some bad static and there are very serious digital problems after the song. The title is a big downgrade from the vinyl and Good Believe titles. Certainly one of the absolute worst titles by Tarantura2000.
Immigrant's title is exclusively from the second source. The encores run too fast.
Source two is the basis for Tarantura2000's 3cd title. When source two has a gap, it is filled with source one. When source one isn't available to fill a gap, source three is used. This release reveals a few more minutes of tape than Immigrant. It has a longer introduction, the ending of Moby Dick, and some extra tape before the encores.
Wendy's title is a mix that's highly similar to Tarantura2000, using source two as the foundation. It often displaces a more of source two than necessary. Instead of using all of the source two intro, it elects to use source one for most of it. It offers an extra two minutes of tape after Stairway that are not found on titles prior to EV's 2015 "Journey" release.
Wendy reissued their title, reusing the original cds.
TDOLZ uses source two's introduction and encores. Tarantura and Antrabata also use source two's encores.
Antrabata's cuts are in slightly different places. It has at least one additional cut beyond TDOLZ and Tarantura. It also has a slight instance of digital interference 80 seconds into That's the Way.
TDOLZ's tape seems to be more reliable when comparing the intro's and cuts. The tape after the show on Red Devil and AA may be from a different source than the Antrabata.
Taratura2000's "Magical Atmosphere" uses source three as it's foundation. The cut at the track change for Going To California really make it sound like they've copied and edited directly from TDOLZ. The source two filler definitely seems to be copied directly from EV, as their micro cut/repeats are certainly repeated on this title too. The splices between songs often displace much more of source three than necessary.
Antrabata claims the source used was a "Master or 1st generation tape source," but it's sound is completely inferior to TDOLZ's. Tarantura sounds a small bit better than the TDOLZ but may be due entirely to amplifying.
Empress Valley's 4cd "II" and "No Quarter (4cd)" - EV mixes three sources for the music. Roughly speaking, the first third is the same as Immigrant. The middle third is from the original "No Quarter" title/source, and the last is the same as TDOLZ. The tape before and after the show are mixed too. The first part has been amplified a hair more than Immigrant's. Additionally, EV has treated the tape some (usually between songs but during songs occasionally too), making the sound very awkward. The purpose of using the overblown/noisy "No Quarter" source for the middle part is not known. Overall, the title is really pointless. It switches sources too much and doesn't offer good sound quality. Unnecessarily spread across four cds.
EV's "Black Dragon with Blue Axe" reissues the audio found on the 2002 titles of this show by EV, onto this 3cd title.
EV's "Journey Into the Fourth Dimension" has "new source" printed on the discs, but they do not contain a new source. Perhaps they meant to trick buyers when they edited/removed the signature clapping after Tangerine, Trampled, and maybe other similar edits elsewhere. This is another pointless mix, not offering the bulk of any of the three sources. (The section of s2 after Stairway mostly intact, only missing 11 seconds.)
EV's "No Quarter" from "Earl's Court the Final Option" is a three source mix using source two as it's foundation. It misses little of source two at the splices. It's not been amplified as much as Immigrant's title.
Tarantura2000's 3cd "No Quarter" from 2006 is a three source mix. It uses source two as it's primary, then source one, then source three. It doesn't include all of source two.
Wendy's title is a three source mix using source two as it's foundation. It doesn't include all of source two.
Tarantura2000's "It's Time To Welcome Home" from the "Five Glorious Daze" box is a three source mix. It mainly uses sources two and three, but makes no attempt to offer all of either - it's a useless mix. It has an odd and unnecessary splice after Tangerine to very briefly swap out one guy yelling during source one in the background for a different guy yelling during source three. Instead of mixing tapes to offer a more complete show, they decided to not include all the available tape after Stairway. The encores are from source two as usual, but for the last ten seconds of the show, they chose to splice to a poorer quality tape of source two.
Taratura2000's "Magical Atmosphere" from the "Five Glorious Daze" box is a three source mix. Please see the "Source Three" section above for notes.
Arabesque & Baroque, The Third Night (Antrabata, 4cd), The Awesome Foursome (CG, 3cd), Complete Earl's Court Arena Tapes "III" (Empress Valley, 4cd), Earl's Court the Final Option: Awesome Foursome (Empress Valley), Express (Scorpio), Five Glorious Daze: Please Welcome To Earl's Court (Tarantura2000), La Dolce Vita (Wendy), Physical Express (Jelly Roll, 4cd), Rites of Manhood (Tarantura2000), Thunderstorm (Tarantura, 4cd), & Welcome To the Show (TDOLZ, 4cd)
CG & TDOLZ both use a single source each, which do not document the complete performance. Both have incomplete Trampled Under Foot's. CG placed Moby across the last 2 cds to fit the show on 3 discs. TDOLZ properly used 4cds to keep the songs together.
Antrabata, Jelly Roll, and the two Empress Valley titles all use source one as their foundation and then use source two to fill Trampled. EV's "Awesome Foursome" includes almost every second of source one. These various titles have highly similar sound quality. Antrabata has at least 6 more cuts between songs, an unnecessary slight cut in Trampled, and is missing approximately 50 seconds of Moby.
Tarantura doesn't have the few tape problems found on TDOLZ from between Over the Hills through Going To California. As with TDOLZ, Trampled is not complete but Tarantura cuts out 11 seconds too soon and then misses two dozen seconds of tape after the song. Tarantura's Moby Dick is cut, missing two dozen seconds. Regardless of these faults, Thunderstorm is much better sounding than the others. It doesn't have any extra background noise with the improvement of the music.
Tarantura2000's "Rites" uses source two as it's foundation. It uses source one for the introduction, part of Trampled, and possibly during the end of Dazed. A third source is used after Dying, Trampled, possibly during the end of Dazed, after Stairway, and during the last dozen seconds after the show. There's a lot of channel shifting during Moby and Dazed. It seems to be a faked stereo effect. There are also a lot of little clicking sounds in the background during different sections of Dazed.
Scorpio's title is a mix that uses the first source as it's foundation and the second source to complete Trampled. It's sound has been amplified more than TDOLZ.
Tarantura2000's "Five Glorious Daze" title is almost the same as their previous release of this show. While it's the same exact source mixture and audio content, it's been slowed down a hair and the channel shifting is a little different. The show starts out with the right channel being much more prominent than the left. The shifting problems during Moby and Dazed are a little less noticeable. This time, two minutes into Tangerine, there's a strange sound change that's not on their previous release. It almost sounds like a brief source change, but likely isn't. (Although, manufacturers do insert random brief source changes for unknown reasons.) It's sound quality is similar to their original version.
Wendy's title is based on source one but fills Trampled with source three. Like many of the other titles, it misses some tape after Kashmir. There are a few minor problems after Tangerine. The splice in Trampled displaces about five seconds of the first source. It's been amplified some.
5-24-75 audience source 1 & 2
Earl's Court the Final Option: "Fourthcoming" & "Assorted Delights" (Empress Valley) & Fourthcoming (IQ, 4cd)
IQ's "Fourthcoming" uses the first source for everything but No Quarter, where it shares the same source as "Assorted Delights."
EV's cds 3 and 4 of "Assorted Delights" from the box set feature the second source that sounds as if it were copied from vinyl. It starts with Dying, skips Moby and most of Dazed, and ends with Stairway.
EV's "Fourthcoming" is the same mix of audience tapes as IQ, except it fills a couple of gaps between songs with the soundboard, and fills the big cut in Moby with the second source.
Arabesque & Baroque, The Fourth Night (Antrabata, 4cd), Complete Earl's Court Arena Tapes "IV" (Empress Valley, 4cd), Earl's Court 1975 4th Night (no label), Earl's Court Arena 2405 Evoluzione (Empress Valley, 4cd, original and reissue), Earl's Court (SIRA, 3cd), Earl's Court Incident (Red Devil, 3cd), Earl's Court the Final Option: He Must Be Dazed and Confused (Empress Valley), Five Glorious Daze: For the Next Three Hours, Your Mother Wouldn't Like It (Tarantura2000, 4cd), Graf-Zeppelin-Marsch (Tarantura, 3cd), He Must Be Dazed and Confused (Empress Valley, 4cd), Hermetic Order of the Golden Dawn (Empress Valley), Odysseus (Celebration, 4cd), To Be a Rock and Not To Roll (Watchtower, 4cd), & Your Mother Wouldn't Like It (TDOLZ, 3cd)
SIRA, Tarantura, Antrabata, and TDOLZ are the older titles, released when Moby Dick wasn't available from the video soundtrack.
TDOLZ and Tarantura are virtually identical. The Tarantura has been slightly amplified.
SIRA mixes the soundtrack and audience tape. Excluding the soundtrack of Moby Dick, about 95% of the sb tape was used on this release. The audience tape was used to fill in the difference. However, they did split Moby across the last 2 discs to fit the show on 3 cds.
Antrabata also used the audience tape to fill in the soundtrack gaps.
Celebration was the first title to release Moby Dick. It notes the show as being from the soundboard. They may or may not have meant to mislead, maybe only meaning the recording was from a professional source instead of the audience. Upon their later release of the video, the cuts during the acoustic set were found to match their audio release of the "soundboard." Odysseus does not use the audience tape to fill in gaps. It has a slight cut after Moby Dick and is cut while Dazed is ending, just like it's predecessors. Also like it's predecessors, the soundtrack generation seems to be the same, but only up thru the fifth minute of Dazed. From that point it clears up by a generation. Overall, it's sound is amplified and even almost overblown in places.
Watchtower's version is noted being from the soundboard. It has the most soundtrack tape before and after the show. Instead of using the partial soundtrack tape for Going To California, they spliced to the audience tape before it starts. Moby Dick contains 3 brief spots with severe static that are not found on the other releases. It is not cut after Moby Dick or during the end of Dazed. This title has almost six extra minutes of tape after Stairway.
Empress Valley used the same cds for their first two releases of this show (22cd box & He Must Be…). They make no source indication of any kind. Like Watchtower, they decided to not use the soundboard fragment for Going To California. It switches to the audience recording a few seconds early. Most of the tape after Stairway is not included. It is also missing some tape before and after the show.
Empress Valley's third release ("2405") is different from their first pair. It's introduction has even less tape than their others, which were already short. The instance of static during the later part of Dying has been poorly removed, making the interruption more noticeable than the static. This time, the available sound board fragment is used for Going To California, but misses it's last 4 seconds. All of the tape after Stairway and after the show are present. EV's reissue title of the same name uses new discs, but has the same disc times. It's a copy of the original.
Watchtower and the Empress Valley's releases are from lower generation video soundtracks than the earlier titles by other labels. The music is clearer and there is less background noise. Watchtower and Empress Valley's third release have the least amount of background noise and are almost completely identical. EV's first pair of releases have more background noise than the third release. Watchtower and the Empress Valley titles have less low end then Celebration's. However, Celebration's slightly lower frequencies can be attributed entirely to the overloading. Those three titles lack really good low end. They are not left sounding high and tiny. There's plenty of great mid range sound.
Red Devil's release seems to be sourced from Watchtower's release, but isn't a direct copy. The introduction, tape after Stairway, and tape after the show have all been shortened. No Quarter has been moved out of sequence, placing it between two acoustic tracks. (The move was evidently done to use one less cd, just like with "Robert's Last Stand.") The cue stops match Watchtower until the move. The sound quality is identical to Watchtower.
Wendy's title uses the soundboard as it's primary tape and uses the audience tape too. Wendy has also introduced two new cuts, just before the opening song and the Song Remains the Same. They chopped out 9 seconds during In My Time of Dying where the split second of static is found in the tape. Instead of using the soundboard portion available for Going To California, they've elected to use the audience\tape. The splicing displaces available sb tape there too. The sound isn't amplified as much as EV.
Tarantura2000's title uses the soundboard for it's foundation and uses the audience to fill. Instead of using all of the available board for California, they displace about 23 seconds of it. After Stairway and Robert's "Good Night," they've removed the sound from the microphone being set down. The title's sound has been amplified a touch more than EV's 2405.
EV's fourth version to release the soundboard (with audience filler) is from the 31 cd box, subtitled "He Must Be Dazed and Confused." While it shares the same name as their third release, it is different. This time they decided not to use the soundboard tape for the first part of California. A few minor static spots have been introduced just before Stairway and during the first couple of minutes. This release has all the tape after the show, unlike the last version. It's sound isn't as amplified as EV's prior version.
The no label title displaces the available soundboard portion of Going To California with audience tape.
EV's Hermetic title reissues "He Must Be Dazed…" from the 31cd box.
A 2 Last Nights (Tarantura), Bataille de Trafalgar (Wendy, 4cd), Conquistador (Watchtower & Water Tank, 4cd), Complete Earl's Court Arena Tapes "V" (Empress Valley, 4cd), Earl's Court `75 Final Court (Celebration), Earl's Court 1975 Final Night (no label), Earl's Court the Final Option: Zeppelin Express Physical Rocket (Empress Valley), Five Glorious Daze: Watch Out For the Holy Grail (Tarantura2000, 4cd), Hermetic Order of the Golden Dawn (Empress Valley), Shake For Me Baby (Missing Link), Welcome To the 1979 Knebworth Festival's bonus disc "Epilogue" (Watchtower, 1cd), When We Were Kings (Empress Valley, 4cd), Young Person's Guide To Led Zeppelin (Empress Valley, 4cd), & Zeppelin Express Physical Rocket (Empress Valley, 4cd)
Missing Link and Tarantura are the older releases and do not contain the extra material (TSRTS & Rain) found on Celebration.
Celebration uses the same tape found on the other titles for the shared songs. All three slow down during Kashmir but Celebration makes an adjustment just before No Quarter. This title also misses the last 3-4 seconds of Tangerine. There doesn't seem tape generation difference. There's no amplification and doesn't have any background noise. The new material comes from a clean but flat sounding professional source.
Missing Link's title is a little louder than Tarantura due to amplification. It is missing the last 3-4 seconds of Tangerine due to a fade out. Tarantura does not fade.
Empress Valley was the first to release the full show from a professional source. They used the same cds for their first two releases of this show (22cd box & Zeppelin Express…). Kashmir, No Quarter, and Tangerine have been available for many years. It splices to the old pro source for the final two minutes of No Quarter and continues to use it through the last half minute of Tangerine. From that point, the audience tape is used for thirty seconds to complete the song and a little bit of time afterwards. These two Empress Valley titles are missing most of the extremely long introduction, almost 8 minutes of tape after Stairway, a little more after Black Dog, and a bit more after the show too. The music and background noise are slightly louder than Watchtower's. The difference is just due to amplification.
Empress Valley's third and fourth releases, When We Were Kings and Young Person's Guide, are different from their earlier pair of releases. This time the large amounts of tape before the show, after Stairway and Black Dog, and after the show are available. The big overlap of tape between discs is present again, but about a minute less than before. The loudness of the music and background noise is less this time, making it virtually identical in sound to Watchtower. (Young Person's Guide uses the same disc times and matrix numbers, but they're not the same discs from WWWK.)
Watchtower's Conquistador is musically similar to Empress Valley. Fortunately it lacks the large amounts of tape overlap between discs. It misses a few seconds of Robert's commentary just before switching back to the soundboard before Going To California.
Watchtower's "Epilogue" claims to be from an alternative board source. It starts with a shorter introduction and ends just after Kashmir. The sound is almost completely identical to Conquistador.
Empress Valley's music and background noise are slightly louder than Watchtower's. The difference is just due to amplification.
Red Devil's release seems to be sourced from Watchtower's release, but isn't a direct copy. The introduction, tape after Stairway, and tape after the show have all been shortened. No Quarter has been moved out of sequence, placing it between two acoustic tracks. (The move was evidently done to use one less cd, just like with "Robert's Last Stand.") The sound quality is identical to Watchtower.
Water Tank's title has the same matrix numbers, disc times, cuts, and sound as Watchtower. It's either a direct disc copy or is issuing unused discs from Watchtower's production.
Wendy's title is similar in sound and content to WT and the latter EV's, just using a little of the audience tape for Tangerine. The title misses the first 41 seconds of the seven plus minute introduction. It has a brief moment of static in No Quarter, just before the splice to the older board. It's this spot were Wendy offers a few seconds of the better board before splicing out to the older. They also offer about six seconds more of the older board right before the splice to the audience tape to complete Tangerine. That's ten seconds of the better board not found on prior releases.
Tarantura2000's title from the "Five Glorious Daze" box set presents most of the soundboard and fills the usual musical gap with the audience tape. Most of the introduction, tape between Stairway and Whole Lotta Love, and the tape after the show are all missing. Dying has a micro cut/repeat - a very common item (still) on T2K titles. An extra soundboard snippet appears on this title of Robert speaking, just before the usual soundboard starts up before California. It's sound has been amplified a bit.
EV's "Zeppelin Express Physical Rocket" from the Earl's Court the Final Option box is different from their previous titles. There's a bit of static found that starts about halfway into the introduction. Like the T2K box, this Dying also has a micro cut/repeat in the same place. The only part of the soundboard it's missing is when it splices to the audience source six seconds too early. It's sound is similar to Wendy.
The no label title is another mix based on the good soundboard, No Quarter filled with the older board, and Tangerine completed with an audience tape. They splice out too early to the older board, and again too early to the audience tape, missing almost ten seconds of available board. There are sound changes at almost every cue stop, making it sound like cuts between each song. This is done in the T2K fashion, as if the following music is being equalized differently than the prior audio. Otherwise, the eq job was done quite well and sounds better than most titles.
EV's Hermetic title reissues "Zeppelin Express…" from the 31cd box.
5-25-75 audience sources 1 & 2
Arabesque & Baroque, The Final Night (Antrabata, 4cd), Buck Rogers (Tarantura, 4cd), Earl's Court 75 (Mud Dogs, 3cd), Earl's Court the Final Option: "Great Taste Last Night" & "Assorted Delights" (Empress Valley), & Great Taste Last Night, (IQ, 4cd)
EV's cd 5 of "Assorted Delights" from the box set debuts the second audience. It starts during Dazed, and continues through the rest of the show.
EV's "Great Taste Last Night" from the box set is a mixture of both audience tapes and the soundboard. The primary tape is the first audience source, then fills from the second audience tape when available, then relies on the board for gaps before Dazed. Not much effort was made to preserve all available audio from source one, but it does offer 45 seconds of tape after California that's not been available previously. It's sound is amplified a little less than Antrabata.
All of the other titles seem to be from the same bootlegger's tape and share most cuts.
The IQ has evidently been amplified which usually brings up a little hiss but this contains a lot of hiss. The sound level isn't any better than the others.
Mud Dog's sound is inferior, its' track list is rearranged to fit the show on 3cds, and has an unnecessary cut in Dazed which then repeats a 25" section. It does contain the full introduction.
Antrabata's intro is missing 40 seconds but doesn't have any hiss and sounds very nice. Tarantura is missing the last half note of Rain Song. Overall, it is missing about 15 seconds of tape from between songs. However, it's sound is definitely louder than Antrabata's. It is probably only due to amplification but it makes it more enjoyable to listen.
The Fuckin' P.A. System (Tarantura) & Fucking T.Y. (Tattytura)
Tarantura has 1 small digital glitch during Nobody's Fault But Mine. During No Quarter, there are many channel and digital problems between the 1st and 5th minutes.
Tattytura's title doesn't have those problems but it's sound is not as loud and maybe not as clear. The sound level may possibly be due entirely to amplifying by Tarantura.
Missing Night In Chicago (Missing Link) & Great Chicago Fire (Empress Valley)
Both titles are similar overall, even the backwards playing tape during No Quarter. Empress Valley has a few less cuts and includes an extra 50 seconds of tape after Battle of Evermore. Unfortunately, it is followed by one of the new "micro cut/repeat" errors that is becoming too common. It also has another extra cut/repeat during Moby Dick. Missing Link has a few extra cuts that are either not included in Empress Valley or have been edited carefully.
Empress Valley's sound has been amplified a bit over Missing Link's, but it isn't too heavy.
4-9-77, sources 1 & 2
Early Days, Latter Days (no label), Great Chicago Fire (Empress Valley), & Strange Tales From the Road (no label)
Strange Tales contains the first tape. Early Days contains the more complete second source.
Empress Valley's foundation is the second source, but twice switches to the other to complete No Quarter. Their sound is amplified too much.
Cincinnati Kids (H&Y), Cincinnati Riot Disaster (Electric Magic), Early Days, Latter Days (no label) & Gatecrush Riot (Electric Magic)
Early Days' fourth disc contains this date and was the first release of this show. Kids has the same 60 minutes of content found on EDLD.
Electric Magic's Gatecrush offers 35 minutes more tape than EDLD and Kids. In My Time of Dying is listed as being from the first night, but it's actually from the second night. There is an unnecessary cut after No Quarter, missing 15 seconds of tape. The tape used for this title seems to be a lower generation than the single disc titles.
Electric Magic's Riot Disaster uses several songs from this show, but is far from complete.
Gatecrush Riot (Electric Magic) & Cincinnati Riot Disaster (Electric Magic)
Gatecrush was the first cd release of the available tape at the time (42 minutes). It's first disc features a small fragment of Dying, noted incorrectly as being from the first night. It gets repeated as a larger fragment on the second disc, properly attributed to the second night.
Disaster was released about two years later when more tape became available. It is aptly named since EMC decided to mix the extra tape with material from the previous night. Dying isn't listed on the liner notes, but it is present and complete. The liner notes properly identify which songs are from the first night (with the exception of the first few seconds of Since).
Kentucky Bourbon (Empress Valley), Louisville Slugger (Wendy), & Oxygen Destroyer (Tarantura2000)
EV and Wendy are identical. Tarantura2000 isn't cut just before Black Country Woman, having an extra four seconds of Robert talking. It's sound hasn't been amplified as much as the others.
Destroyer (Cobra, Eelgrass, Empress Valley 3cd & 6cd & 9cd, Flesh, Last Stand Disc, Shout To the Top, SODD, no label October 2007 issue with dark green discs in jewel case, no label April 2016 issue, Tarantura2000, & Wendy), Destroyers (Tarantura, Tarantura2000, & Wendy), Destroyer Gold (Tarantura), Destroyers: Destroyer (Tarantura2000), Final Statements (Antrabata), Maximum Destroyer (Empress Valley, original and reissue), & Supreme Destroyers I (Empress Valley, 9cd & 3cd)
Empress Valley's original Destroyer title (3cd) was released in 2000. It was more complete with better quality than prior releases and subsequent releases (by other labels and EV's own "Supreme Destroyers" released in 2004) until the "no label" version came out in October of 2007.
The "no label" version wasn't any better - it was pretty close to being an equal. Two months later, Empress Valley released "Maximum Destroyer," which was technically (minor differences) better than their original. Then in May 2008, Eelgrass released the title too, virtually identical to the two titles just mentioned.
Both original Tarantura releases are exactly alike in respect to cuts but are equalized differently. These two titles are missing the first 3.5 seconds of the opening song. They are also missing about 70 seconds of White Summer / Black Mountain Side. A few seconds are also lost at the cut just before Achilles Last Stand. The tape used was highly edited, removing about 5 minutes of tape from between songs.
Antrabata and Shout To the Top are almost completely identical. There are edits between songs too. They both are among the poorest sounding triple cd titles ever released.
Cobra and LSD are both exactly alike in respect to cuts and to good sound. They are missing the first second of the opening song and only have a few edits between songs.
The original Tarantura2000 claims to be the longest version and the best sounding. It is missing the first half second of the Song Remains the Same. Like the original Tarantura releases, this one too is missing about 70 seconds of White Summer and it's warm-up. There are distinct changes in sound with each song. The changes are so abrupt, they sound like cuts. The songs are much louder than the time between songs. Additionally, evidence of further tweaking can be heard between songs. (It's the same treatment they've used before, making the audience sound a little like birds. This time it isn't as heavy handed as with earlier titles.) Other less than natural sounds can be hear after Dying and during the cut and repeat after Moby.
Flesh's release is the worst sounding of them all. It is totally overblown - not simply over amplified like Antrabata and STTT, but overblown…ruined. The background is rough and muffled without loosing too much of the higher frequencies. At points during the acoustic set, the "equalization" makes the guitars and Bonham sound completely irritating. It's White Summer isn't incomplete like the three Tara's.
The Empress Valley Destroyer (released in 2000) is better sounding and more complete than any prior issued titles. (Unfortunately, the last dozen seconds of tape after the show seem to be faked by repeating a section.)
Empress Valley's Supreme Destroyers I is a step down from it's original Destroyer. There's a strange sound problem (brief) about 1.5 minutes into Going To California that's not found on any other titles. After that track, the sound trouble starts again and lasts into the beginning of Black Country Woman. Later during that track, the left channel begins to dominate the right. It continues through the end of the disc. It's music and background are not as loud as their original Destroyer. The 9cd box and 3cd release both use the same discs.
SODD's Destroyer has three minor flaws. No Quarter has a glitch that's not found on any other title, and it misses a split second of tape between the discs, during guitar warm up and commentary. A slight bit of tape overlap between the discs would have cured that issue, but they elected not to repeat even a millisecond. Other than that, all other tape is present. The sound quality is excellent and similar to EV's original release.
The "no label" version issued October 2007 is an excellent title. It doesn't miss any tape, barely has overlapping tape between discs, and doesn't have any rogue cuts or glitches. The title has no amplification. It would had been helpful to amplified it some.
Empress Valley's Maximum Destroyer is a much improved release over their previous version "Supreme Destroyers" and even has some small differences making it even better than their original "Destroyer." The title isn't amplified as loud as the original, has it's cue stops positioned a little better, has a little less overlapping tape and blank tape at the end of the discs, and doesn't have any potentially "faked" tape after the show. Their jewel cased version reissues the same discs.
Eelgrass's Destroyer is not a copy of any Empress Valley title. It's an amplified version of the "no label" 2007 title, with a few seconds of blank tape added to the end of the discs. It's not likely a better Destroyer will come along.
Wendy's title is similar to the typical better versions. However, they've edited the cut during the beginning of White Summer, removing a second of music. Another edit is made during the end of the guitar solo, faking some tape to hide the cut.
Tarantura2000's 2014 Destroyer is a pretty standard issue of the show. Other than the super long overlap between the first two discs, there are no problems. It's been amplified quite a bit.
Wendy's Destroyer is a reissue of the cds from their "Destroyers."
The no label Destroyer from April 2016 is most similar in content and sound to the one issued in 2007 and Eelgrass, but has fades at the cuts. The fades are quick and don't prevent the content from being heard.
EV's 2016 6cd box reissues audio from their Maximum title. The cd times are identical.
Tarantura2000's 2018 Destroyer from the 9cd Destroyers box has many minor problems not found on any previous version of this show, including their own. The first glitch starts four seconds into the title, and there are several more. New cuts are introduced in three places. It's been amplified considerably and may be the source of some minor problems in the right channel during Moby.
EV's 2019 9cd box reissues the discs from their previous release in 2016, which reissues the audio from their Maximum Destroyer.
4-28-77, source 1
Destroyer (Flesh, TDOLZ, & Empress Valley), Destroyer II (Last Stand Disc, SIRA, Wendy, & no label), Destroyer - Storongest Edition (TDOLZ), Destroyers (Tarantura, Tarantura2000, & Wendy), Destroyers: Destroyer source 2 (Tarantura2000), Return of the Destroyer (Live Remains), & Supreme Destroyers II (Empress Valley)
The original Tarantura is missing 12 seconds of Dying, almost 2 minutes of No Quarter, and is missing over 6 minutes of tape between songs. Also, it runs too fast.
SIRA is missing "Surrender" entirely. No Quarter is cut and then repeats over 2 minutes. Achilles Last Stand is missing 6 seconds in the beginning. Stairway To Heaven in missing it's first 2 seconds. SIRA is also missing 6 minutes of tape between songs. However, it runs at the proper speed.
LSD and TDOLZ's "Storongest Edition" have closely similar cuts and sound quality.
TDOLZ's latest version "Destroyer," is musically more complete than it's earlier release and the LSD, by 4 half seconds. There are a couple of repeats pasted between songs. It's sound seems to be just a tiny bit better but has serious hints of being manipulated in places.
Tarantura2000's introduction is a couple of seconds shorter than TDOLZ. Like TDOLZ, it has a couple of repeats pasted/inserted in places - therefore defying it's own claim of being from the master reels. No hints of it's "radical cleanup" (metallic sounds) were detected. (It seems that it would be quickly found in the areas where the recorder's mic couldn't handle the sound, but no change.) The sound on this title is certainly at least slightly better than TDOLZ.
Flesh's introduction is 2 seconds longer than TDOLZ's. The sound is heavier than TDOLZ and Tarantura2000. The difference actually may be due to a lack of toying with the sound.
Empress Valley's title is incomplete. Almost 13 minutes of Moby Dick are missing.
Live Remains' title has an annoying cut/repeat immediately at the start of Nobody's Fault. It has the normal cuts, and with edits. Three of the edits overlap audience cheer into the following song, putting them into an even rougher start. It's sound isn't as amplified as much as Flesh.
Wendy's "Destroyers" is highly similar in content to Flesh. It's sound hasn't been amplified as much.
Wendy's "Destroyer II" reissues the discs from their original title.
"Oh, Fuck!" is spoken on at least three different occasions. It is sometimes removed and/or repeated.
EV's 2016 6cd box reissues audio from their prior title. The cd times are identical.
The no label title is most similar to Wendy, but may contain a fraction more tape/music at cuts than other titles. It's not over-amplified.
Tarantura2000's 2018 9cd box contains "Destroyer source 1" which debuts a second source mixed in to complete source one. The very first song contains a micro cut/repeat. There are many splices throughout the title, and most displace a lot of source one.
4-28-77, source 2
Destroyer 28 April 1977 Alternative (Empress Valley) & Destroyers: Destroyer source 2 (Tarantura2000)
Tarantura2000's 2018 9cd box contains "Destroyer source 2" is based on source two and unnecessarily splices in source one six times, although source two isn't even cut in those areas. It contains a few micro cut/repeats.
Empress Valleys title is strictly from source two. It's sound is cleaner and more trustworthy than T2K's. It's not been amplified as loudly either.
EV's title from the 9cd box reissues the original 3cd title.
Hot Rods In Pontiac (TDOLZ), Pontiac Silverdome 1977 (no label), & Sitting On a Goldmine: Pontiac 1977 (Empress Valley)
TDOLZ was released twenty years before the others. It misses a total of about 2.5 minutes of crowd noise, but has some audio not found on other titles. It misses about 12 seconds of Moby Dick. It runs a little slow.
The no label title has two instances of bad spots during the first song that aren't found on TDOLZ. Overall it misses about 40 seconds of the crowd, but doesn't miss any music. It runs at a better speed and has been amplified a little bit.
Empress Valley's title is almost identical to the no label title. It's edits are a little different and has an extra cut after Ten Years Gone.
5-18-77, sources 1 & 2
Crimson Tide (Wendy), Dixie (Antrabata), & Out of the Way (TDOLZ)
I believe Antrabata was the first release of this show. TDOLZ is a separate, and better sounding source.
Wendy's title is a mix with source two as the foundation. Half of the splices to source one miss a few seconds of the main source. It's sound is fairly similar to TDOLZ.
Dragon Snake (Empress Valley & Eelgrass), Sitting On a Goldmine: Houston 1977 (Empress Valley 9cd), & Texas Hurricane (Empress Valley 9cd)
Eelgrass is a direct copy of Empress Valley's Dragon Snake.
EV's jewel cased reissue of Dragon Snake has the same audio and disc times as the original.
EV's TX Hurricane box reissues the audio with the same disc times as the original.
EV's Goldmine box isn't a reissue of it's earlier versions. The minor tape problem halfway into Bron-Yr-Aur Stomp is much bigger here than on other titles. The title has been amplified some over Dragon Snake.
5-22-77, audience sources 1,2, & 3
Polished Performances 1977 (POT), Song of the South (Capricorn), Unbooted (Tarantura), It'll Be Zep (SIRA, 3cd), Complete Tarrant Concert (Wendy, 3cd), Jamming With Mick Ralphs (Empress Valley, 3cd), & Texas Hurricane (Empress Valley, 3cd)
Tarantura, Capricorn, and POT feature the first source. Tarantura and POT don't include any of Moby Dick. Capricorn seems to be the full tape.
Silver Rarities uses the third tape source through Since I've Been Loving You, then switches to the second source for No Quarter and Ten Years Gone. SIRA switches back to source three for Going To California, Black Country Woman, and Bron-Yr-Aur Stomp. After that, it switches to source two through the end of Moby Dick. The remainder of the show is from source one.
Wendy uses the same mix as SIRA until half way through Moby Dick, where it switches to the first tape source. It briefly switches back to a known source after Achilles Last Stand.
EV's Jamming mixture is slightly different. It uses source two for half of Dying, all of Since, most of Black Country Woman, all of Bron-Yr-Aur, and the first half of Moby Dick. After that, source one is the primary tape, with it's small gaps filled by source two.
EV's Texas Hurricane reissues the audio from Jamming on new cds with slightly different disc times.
Wendy and Empress have amplified their tapes some.
Texas Hurricane (Empress Valley original and two reissues & Eelgrass)
EV debuted this soundboard and Eelgrass offered a perfect clone of it the same month.
EV's jewel cased version reissues the same discs as the original.
EV's TX Hurricane box reissues the audio with the same disc times as the original.
Landover: Return of the Crusaders (Electric Magic) & Maryland Deluxe: Your Teenage Dream (TDOLZ)
Electric Magic is much more complete than tdolz. TDOLZ seems to be less clear and runs a hair slow.
Introduction is a minute short
No Quarter is missing 5 minutes
Missing 10 seconds of tape after Kashmir
Guitar Solo starts 5 seconds late
Missing almost 4 minutes of tape after Stairway To Heaven
Missing 2 minutes of tape after the show
Electric Magic faults:
Battle of Evermore has a brief tape problem
Moby Dick has a digital glitch towards the end
5-25-77 soundboard & audience mix
Double Shot: 25 (Empress Valley, original and 2nd Edition), Double Shot 1 (Eelgrass), & Maryland Moonshine I (Empress Valley)
EV uses the same cds for their three titles. Eelgrass is a direct copy of EV.
Landover: One Nation Dancing Groove (Electric Magic), Maryland Deluxe: Thunderous Break (TDOLZ), & Whole Lotta Landover (Immigrant)
Electric Magic has more tape before and after the show than the other two titles. It is the only one running at the proper speed and has far fewer cuts between songs.
All titles share the strange tape arrangement between Song Remains the Same and Sick Again.
TDOLZ has a digital glitch in Moby Dick and Immigrant's is missing 19 minutes. Both of these titles are missing one minute of tape after Stairway to Heaven.
5-26-77, monitor mix
Last Adieu (Eelgrass & Empress Valley) & Strange Tales From the Road (Godfatherecords)
Godfather debuted thirty-four minutes of audio from the monitors. EV released the same material plus a little bit of Moby Dick and the guitar solo, for a total of thirty-eight minutes. Eelgrass is a copy of EV.
5-26-77, soundboard & audience mix
Bringing the House Down (Eelgrass & Empress Valley), Magik Kingdom (Empress Valley), Maryland Moonshine II (Empress Valley), & Strange Tales From the Road (Godfatherecords)
Empress Valley was the first label to release this soundboard. The audience tape has been used to fill in the few gaps.
EV's "Maryland Moonshine" reissues the audio from their original release on new discs and new disc times.
EV's "Magik Kingdom" reissues the prior reissue, using the same discs.
Eelgrass's title is a perfect copy of Empress Valley's original release.
Godfather's title claims to be sourced from the monitor, having thirty minutes of tape from the end of the show.
Landover: Crossfire Hurricane (Electric Magic), Maryland Deluxe: Tightest & Loosest (TDOLZ), & Powhatan Confederacy (Empress Valley, original and reissue)
Empress Valley debuts the soundboard and uses about 11 minutes of audience tape to fill gaps.
EV's 2011 reissue reuses the same cds as the original.
Electric Magic and TDOLZ are strictly from the audience tape. EMC is much more complete, better sounding, and has more tape between songs than TDOLZ.
No Quarter is missing 10 seconds
Ten Years Gone has tape problems
Going To California is missing 6 seconds
Moby Dick is missing almost 25 minutes
Guitar Solo is missing 35 seconds
Missing 2 minutes of tape after the show
Initially, Electric Magic's disc three was issued with a terrible tape problem during Achilles Last Stand, lasting 10 seconds. A corrected disc was quickly pressed and distributed but not everyone received it. (Both discs share the same matrix#. The original disc time is 76:33 and the replacement disc is 76:23.) Also, the title has it's show date and track list switched with the following night's title.
5-28-77, soundboard & audience mix
Dragon Slayers (Eelgrass), Powhatan Confederacy (Empress Valley, original and reissue), Magik Kingdom (Empress Valley), & Maryland Moonshine III (Empress Valley)
Empress Valley was the first label to release this soundboard. The audience tape has been used to fill in the few gaps.
EV's 2011 reissue reuses the same cds as the original.
EV's 2012 "Maryland Moonshine" reissues a slightly amplified version of the audio from their original release, on new discs with new disc times.
EV's "Magik Kingdom" reissues the prior reissue, using the same discs.
Eelgrass's title is copied from Empress Valley. HOWEVER, they didn't do it properly (for the first time). The first two cds are not as loud as Empress, while the third cd is identical to Empress. Also, Eelgrass's Ten Years Gone has a glitch early in the song that isn't found on Empress. UPDATED: Eelgrass issued a replacement disc for cd2. The glitch in Ten Years Gone was fixed but the disc's sound level remained unchanged from the original issues. [The replacement disc's matrix number is "EGL-20216-2" (having two hyphens) and the original bad disc's matrix number is "EGL 20216-2" (having one hyphen).]
Destroyer III (Tarantura), Landover: Dragon Slayer (Electric Magic), Maryland Deluxe: Running On Pure Heart and Soul (TDOLZ), & Supreme Destroyers III (Empress Valley)
TDOLZ is missing most of the introduction. Tarantura and TDOLZ are missing almost 2 minutes of tape after the show. EMC is missing almost 2 seconds at the cut during No Quarter.
Electric Magic has a complete Moby Dick. An extra 5 minutes of tape are used, possibly from an alternate tape. As with all of the titles from this show, the first song may be from an alternate tape. Also, the EMC title has it's show date and track list switched with the previous night's title.
Empress Valley is technically the most complete title. It's sound is slightly louder than EMC's.
Electric Magic and Empress Valley are much more complete and better sounding than the other titles.
5-30-77 soundboard & audience mix
Double Shot: 30 (Empress Valley, original and 2nd Edition), Double Shot 2 (Eelgrass), & Maryland Moonshine IV (Empress Valley)
EV uses the same cds for their three titles. Eelgrass is a direct copy of EV.
6-3-77, sources 1 & 2
Fucking TY (Tattytura), Killer-Missile (Flagge), Polished Performances 1977 (POT), Strange Tales From the Road (8cd, no label), & Unbooted (Tarantura)
Strange Tales comes from a different source than the others. The recording is much more distant and Nobody's Fault is not complete.
Flagge and Tattytura have very similar, excellent sound. Tattytura has a less tape before the show but has a little more afterwards. It is cut after Sick Again, missing 12 seconds of tape.
Tarantura and POT don't sound quite as good as Flagge and Tattytura but have much more tape after Nobody's Fault But Mine.
Magical Sound Boogie (Empress Valley titles & Eelgrass)
EV debuted this soundboard and Eelgrass quickly copied it. They're identical. EV's jewel case reissue reuses the same cds as the original release.
6-7-77, sources 1 & 2
DX I ~ X (Mad Dogs) & Back To the Garden (TDOLZ)
Mad Dogs releases the first source. TDOLZ is primarily from the second source, but relies on the first tape to complete the encore.
6-10-77, sources 1 & 2
Magical Sound Boogie's "Garden Tapes" (Empress Valley), Riot In Thunderstorm (Electric Magic), Relic From a Different Age (Wendy), & Rock 'n' Roll Circus (TDOLZ)
TDOLZ is the original source. EMC, Wendy, and EV are two source mixes, using the first source as it's main tape.
EMC starts out by overlapping the second source over the first one. Although this extends the introduction by about ten seconds, it doesn't add any value since nothing other than the taper and friends can be heard during that time. The second source is next used early in Sick Again, evidently for no other reason than to give a different perspective on hearing the firecracker.
TDOLZ has a cut followed by a 21 second repeat after Since I've Been Loving You. EMC doesn't have this problem.
EMC splices in the second source after No Quarter, overlapping the first source. Both titles are cut after Battle of Evermore, and are followed by an 82 second repeat. EMC uses the second source for all of Black Country Woman, which provides 12 seconds of the beginning not found on TDOLZ. EMC's second source is used to complete the gap in source one between Moby Dick and Heartbreaker. In the process, the sources overlap for awhile.
On source one's Heartbreaker, there's a very minor (very minor) drop before the second minute. EMC splices in the other source to avoid the minor drop, but the transition of tapes makes the segment sound worse. Another firecracker is spliced in during the guitar solo, again evidently for no other reason than to give a different perspective on hearing the explosion. The last few splices by EMC actually improve the show as a whole. It adds some tape after Stairway To Heaven, improves the sound during a firecracker in Rock and Roll, completes that song, and adds almost 40 seconds after the show.
Overall EMC's splices add almost 2.5 minutes of music and a minute of tape between songs, but many are just pointless. The spliced introduction could possibly exist only to mislead.
Wendy's title only uses source two when source one is not available. The edit surrounding the cut after Since has small segments repeated.
Empress Valley's 6cd version of Magical Sound Boogie includes a bonus title call the Garden Tapes. It's mix is very similar to the Wendy mix released just six months earlier. There's a micro cut/repeat about 95 seconds into the opening song.
TDOLZ's tape is just slightly more amplified than EMC's. Surprisingly, EMC didn't issue this title with their common "metallic" sound. Wendy has been amplified some over the other two titles. EV's sound is just slightly louder than Wendy.
Absense (Wendy), Coast To Coast (Celebration), For Badgeholders Only (Balboa), Fourth Night In the Garden (Scorpio), Last Adieu (Eelgrass & Empress Valley), Pleeease Lord! (Graf Zeppelin, 4cd), Polished Performances 1977 (POT), Silver Coated Rails (Condor/Toasted), Strange Tales From the Road (Godfatherecords), & Unbooted (Tarantura)
Celebration's title seems to be one generation better than the older titles.
Balboa and Tarantura miss the first second or two of No Quarter. Tarantura is also missing the last 49 seconds of the already incomplete Battle of Evermore. It has too much background noise on the tape.
Silver Coated Rails is missing 25 minutes of No Quarter. It's Battle of Evermore is also too short, missing the last 14 seconds. The proper running order is not preserved.
POT's title is just as complete as Coast To Coast.
Godfather's title misses the opening one second. It's sound is similar to Celebration.
Scorpio's title is just as good as Celebration's.
Wendy's title is just as good as Celebration and Scorpio.Wendy debuted the guitar solo fragment and EV issued it six months later on the Magical Sound Boogie's “Garden Tapes” title. EV used an audience tape leading up to the soundboard and then splices briefly to an audience tape near the end (for an unknown reason).
EV's title features this material on their subtitle "1977 Soundboard Collection" in similar quality to the better releases of this fragment.
Eelgrass is a copy of EV's title of the same name.
Graf's fourth disc contains the soundboard tracks with audience source one filling the gap in No Quarter and Battle. A tiny amount of soundboard is missed at the splices.
6-11-77 audience sources 1, 2, & 3
Absense (Wendy), Fourth Night In the Garden (Scorpio), & Pleeease Lord! (Graf Zeppelin, 4cd)
These titles are a bit of a mess.
Scorpio debuts the first two audience recordings. It's based on source one. It uses source two to fill No Quarter, Kashmir, the end of Moby, and Achilles. Listening to Wendy reveals that some of Scorpio's "gaps" are not in fact gaps in the main source. Scorpio chose to use source two in the last part of Kashmir, displacing almost 2.5 minutes of source one. The splice during the end of Moby to source two also displaces the available source one. Another splice away from available tape of source one is made early in Achilles Last Stand. Almost 9.5 minutes are displaced, and it adds in completely unrelated music starting near the 9:39 mark. Overall, about twelve minutes of source one appear to be skipped on Scorpio.
Wendy is based on source one too. They elected to fill the cut in No Quarter with soundboard. It introduces a third source at the first cut in Kashmir. Two minutes later, they switch to a completely different show, the previous night, for about eight seconds. (This is of course the worst choice possible and Wendy doesn't bother to mention it in the liner notes.) They then splice back to source one, but make a crappy edit after the song and miss about five seconds of the tape. A splice is made in the beginning of Moby to an alternate generation of source one, chopping out 21 seconds of the song in the process. Another cut happens after Achilles and misses a few seconds. Overall, it sounds like only a minute of source one is missed. Wendy's sound for source one is very similar to Scorpio.
Graf's first three discs present this show. It's based on source one and fills with sources two and three. Source two is used during No Quarter. It's used again, overused just like Scorpio, during Kashmir – so it misses too much source one. An alternate generation of source one is used during Moby. Source two is also used during the ending of Moby although source one is available. A third source is debuted to complete Heartbreaker. With the exception of the completed Heartbreaker, the source mixing is the same as Scorpio. Overall it's sound is similar to Scorpio.
Graf's fourth disc also contains some bonus tracks, Song Remains the Same, In My Time of Dying, and Stairway to Heaven. The SRTS is a mix of sources, beginning with source one and then splicing to either s2 or s3. Dying begins with source one, switches to either s2 or s3, comes back to source one, splices out again, and eventually comes back to source one. Stairway is a single source fragment of the first half of the song.
Glinpse an Axe (Wendy) & Over the Garden (TDOLZ)
TDOLZ is strictly source one. It's missing about the first twenty seconds of the introduction and has two bad digital glitches during Ten Years Gone.
Wendy is based on source one and makes completely unnecessary splices to another source a dozen times during Nobody's Fault. Source one is not cut in this area. Bron-Y-Aur Stomp, Heartbreaker, and Black Dog also splice out to other audio, but only when source one is cut. However, Moby is not filled. Wendy's liner notes do not mention which night they're using to complete the show.
Final Night At the Garden (TCOLZ), Over the Hills and Far Away (Tarantura), & Strange Tales From the Road (8cd no label)
Tarantura relied on this tape to complete their incomplete tape for June 22nd 1977. Their intentions were not to offer this date in full and is missing about half of the tape.
Strange Tales was evidently copied from the vinyl set of the same name. It cuts into two songs when it the tape is avail, misses tape after Battle, and misses the Moby Dick fragment. It runs a little fast.
TCOLZ offers the full tape, ending during Moby Dick. It runs at the proper speed.
California Mystery Train (Blimp), Californian Mystery Train (SIRA), Jimmy PY (Akashic), Mystery Train (Badgeholders and Tarantura2000), San Diego Mystery Train (Wendy), Sequence of Events (no label), & Tit For Tat: Listen To This Jefu (Empress Valley)
Blimp, Akashic, and Wendy miss one of Plant's comments after Kashmir. Blimp and Akashic are missing about 30 seconds of tape after Stairway. Akashic has a few more seconds before and after the show than the other titles.
Wendy has a cut/repeat just before the 20 minute mark during No Quarter and it has a slight cut at the end of Bron-Yr-Aur Stomp - these are not present on any other titles.
Tarantura2000 has several "micro cut/repeats" throughout the title. Some tape is missing at the common cuts.
Sequence of Events is not missing any of the known tape and doesn't have any extra cuts. It's the most complete version available.
SIRA runs a bit faster than the other titles. Akashic and Badgholders sound has been amplified a little bit. Wendy's sound has been amplified too much. Tarantura2000's sound is similar to SIRA. Sequence's sound is similar to SIRA. The tape generations between these titles seem similar - equalization seems to be the only difference in sound.
EV's audio is identical to the no label title, but has been amplified slightly.
6-21-77, source 1
Absence/Listen To This Eddie (Tarantura2000), Yuzuki/Listen To This Eddie (Tarantura2000), Listen To This Eddie (Jelly Roll Remaster Version, no label, SIRA Parts 1-3, SIRA Master Series, TDOLZ, & Tarantura2000), Out On the Tiles (Tarantura 1994 & 1996 issues), & Sequence of Events (no label)
These are strictly from the famous "Eddie" tape source, which don't offer a complete Ten Years Gone or guitar solo.
"Sequence of Events" was released in June 2010. It's the most complete tape available. It offers more music during the two cut songs and more tape between songs. The speed is proper. HOWEVER, there's a digital glitch in No Quarter just before the 23 minute mark and there are some clicks and ticks to be found in Heartbreaker and the Guitar Solo that are evidently from bad cdr mastering. These flaws are hard to hear but should not exist.
The 2015 no label issue of LTTE is a direct copy of the no label "Sequence of Events."
TDOLZ's Ten Years Gone misses six seconds too much. For some reason, the sound quality drops down noticeably after Kashmir but recovers later before the next disc. Jelly Roll's Remaster version was their first release of this show. It's Ten Years Gone is cut too big like SIRA and the old Taranturas, missing about 80 seconds too much. The guitar solo is missing approximately 5 seconds.
Speed is the real difference between the two SIRA's. The original issue runs faster. The cuts differ slightly. SIRA's sound is perfect all the way through but it's Ten Years Gone is 80 seconds too short. The guitar solo is missing approximately 5 seconds. The music and background noise are a little louder than some of the other titles. It is most likely due to equalization.
Tarantura's Out On the Tiles are both exactly the same discs. Ten Years Gone is missing 80 seconds too much. The guitar solo is missing approximately 5 seconds. Fifteen seconds of audience cheer have been pasted between the guitar solo and Achilles Last Stand. The tape after the show was mostly copied from earlier in the show. The sound is very nice, like SIRA. Again, it may be completely due to equalizing and boosting the tape.
Absence has the more tape between songs than the older single source titles. It's Ten Years Gone is cut, missing six seconds too much. For the first time on cd, Black Country Woman is missing the beginning 6 seconds. Another 8 seconds of music is missing too - this time in the Jimmy's guitar solo. The sound on this title has been way, way over-worked. Simply said, it is just too loud. The background noise is far too much to bear.
Two consecutive "Eddie" tape releases to cd were made by Tarantura2000. Their first version "Absence" was billed to be the newest, latest and greatest, best sounding most complete…It was proved to be wrong, and was actually the least musically complete version of Eddie since the two SIRA's and the original Tarantura issue (later reissued).
Now, with Tarantura2000's latest "Listen To This, Eddie" (Yuzuki series), they specifically state in the liner notes: "Tarantura and Cool MixMan present to you the Original Master Recording in its most complete and unedited state. The recording has been faithfully mastered to display…" (Before getting to those statements, the author of the liner notes considered the SIRA Master Series to be best, "until now." What about their "Absence?")
To no surprise, this "Yuzuki" version is not from the master. It is not the most complete version (from the famous "Eddie" tape). It is not unedited. It has not been faithfully mastered. IT IS IN FACT, THE MOST HIGHLY CUT/EDITED VERSION EVER.
There are multiple cut and repeats of tape before and after the show, and more between songs. This effort of "faking tape" is for you to believe that there's "more tape," so it must be more complete. The title is missing Robert's "I've started to cook" sentence, which can be found on their previous release. Six seconds of tape are missing from Ten Years Gone and more is missing after the song. Black Country Woman is complete this time after failing on Absence. The guitar solo wasn't corrected this time from Absence's failure, so again, 8 seconds of music is missing. There's a cut in the beginning of Achilles Last Stand, when Jimmy starts in. This marks an enormous change in sound, and is very loud and unnatural.
Considering Tarantura2000's history of over-tweaking (sabotaging) the sound, they were light handed this time. You must pay close attention to hear the hints of their equalizing. The music is louder than other titles and the background has been suppressed/tweaked. No improvement in sound.
It would be completely unprofessional for bootledz not to inform readers that Tarantura2000 is almost always JUNK. Yuzuki Eddie is completely fraudulent (intent to deceive and other elements) in their claims and of course isn't the only one. Please, please do not rush to buy the latest Tara2000 title until you get a review from a trusted source. Don't rely on reviews and comments issued before the title is released - those are usually biased and misinformed to generate sales.
6-21-77, source 2
Listen To This Eddie and Erik and Jimmy (Tarantura2000, 6cd), Listen To This Erik (no label) & Tit For Tat: Listen To This Erik (Empress Valley)
The no label title is based on source two and is filled by 26 minutes of source one. It misses a few seconds of source two at most of the splices. It has some digital errors throughout the title. They're likely due to some kind of editing.
EV's title (from 9cd box) is strictly source two. It too has some digital errors throughout the title that are likely due to some kind of editing. Their title isn't amplified as much as the no label title.
Tarantura2000's last three discs present source two as the main tape and fills with source one. Too much source two is missed here. It also has problems like the other two titles throughout the title. This title has been highly amplified.
6-21-77, source 1 (as primary) & source 2
L.A. Forum 1977 The First (no label), Listen To This Eddie (Akashic, Empress Valley's five different individual issues and FBO Box set issue, Listen To This Eddie Remaster Beauty and the Beast (no label), Jelly Roll Definitive Complete Version, Moonchild, Scorpio, & Wendy's five different issues), Listen To This Eddie and Erik and Jimmy (Tarantura2000, 6cd), Los Angeles 1977 1st Night (no label), & Tit For Tat: Listen To This Eddie (Empress Valley)
These mixes rely on the famous Eddie tape and fill Ten Years Gone's gap with an alternate tape. The cut in the guitar solo is not filled.
Jelly Roll's Definitive Complete Version is different from their first release. JR is further missing the "I've started to cook" sentence and uses all but six seconds of the famous Eddie tape for Ten Years Gone. It and Empress Valley's first Eddie (jewel cased) make edits at some cuts, adding in extra audience noise and sometimes repeating sections. JR and EV's guitar solos are missing approximately 5 seconds.
Wendy first issue (jewel cased) contains all previously known tape between songs. It does use one cut/repeat (after Since). It misses too much of Ten Years Gone and it's guitar solo is missing approximately 5 seconds.
Wendy's second issue (sleeved) reuses the cds from the first edition.
Wendy's third issue (jewel cased) of this title is different from the prior issues. It's still missing too much of Ten Years Gone from the famous tape. They've spliced in extra tape after Since, Kashmir, and after the show that does not belong. The guitar solo is missing approximately 5 seconds.
Wendy's forth issue (gatefold housed in clear sleeve) is a reissue of the previous edition.
Akashic's Eddie is missing six seconds too much of Ten Years Gone. The guitar solo is missing approximately 5 seconds. All commentary between songs is present.
Scorpio's title is missing some of the original tape after Since, having other tape inserted. Eight seconds of the Eddie tape are displaced by source two during Ten Years Gone. The guitar solo is missing approximately 5 seconds.
Empress Valley's second and third issues of Eddie (both labeled "New Improved") are almost the longest versions of the famous tape. Instead of missing six seconds of Ten Years Gone, they only miss three. (They did use a six second cut/repeat after Stairway.) The guitar solo is missing approximately 5 seconds. There's an large increase in volume when the drums start in the beginning of ALS
Empress Valley's fourth issue is found in the "For Badge Holders Only" box set, with the usual title. Although there are four very minor improvements during the last hour of the show, the splice in Ten Years Gone is happens too early, missing almost six seconds of the famous tape. The guitar solo is missing approximately 5 seconds. There is no big sound change/increase during the beginning of ALS. It's sound is otherwise identical to the second and third issues by this label.
Akashic's title has been amplified louder than any of these other mixed source titles. Empress Valley's three releases are not quite as loud as Akashic. Wendy's title is the least loud of the five. The differences in sound are most likely due to different eq's and nothing else.
Overall, EV's second Eddie does a better job with the Eddie tape and mixing in the other tape.
(EV's second Eddie was issued in a sleeve with an obi. A promotional "Christmas" version was released simultaneously, using the same discs. The difference with the promo version is the exclusion of the obi and a different front picture, adorned with holly and Christmas lights. EV's third version is sleeved, without an obi, and uses a different front picture. The discs are different. They have different matrix numbers, disc times, and some different cue stops. However, it is the same exact audio used in the prior release.)
EV's April 2013 title reuses the discs from the FBO Box set.
EV's March 2014 title reuses the discs from the FBO Box set.
The 2015 no label release named "Listen To This Eddie" is a clone of "Sequence of Events" but with Ten Years Gone filled with the alternative source. It's a long overlapping edit which displaces several seconds of source one. The clicks and ticks found on Sequence are also found here too.
The 2016 no label release named "L.A. Forum 1977 The First" is different from the prior year release. The edit in TYG also displaces several seconds of source one. This time, they didn't include the extra tape they debuted at the cut in the guitar solo. This time, they excluded the clicks they'd previously incorporated on prior releases during Heartbreaker and the guitar solo. It's been amplified a bit more than their prior titles.
Wendy. Five releases of the same show. This fifth version, 2016, simply reissues the 2012 reissue.
Moonchild's release misses 6 seconds too much of the main tape during the splice in Ten Years Gone, misses five seconds at the cut during the guitar solo, and a few seconds after the show.
The no label title "Beauty and the Beast" uses the famous as it's foundation and fills TYG with source two. The title is one of the least complete versions offered. It's missing two segments of commentary after Since and misses way too much of source one at the splice during TYG. The guitar solo is cut by five seconds and there's a gap at the track change going into ALS. It's sound is very similar to EV's promo version.
EV's Tit For Tat title reuses the same discs as the 2014 reissue and pairs it with an exact copy of the 2003 gatefold ("new improved" / aka promo and xmas edition) title.
Tarantura2000's 2019 title LTTE&E&J has it's first three discs feature the first source, filled by the second. Far too much of source one is missed here, especially during Ten Years Gone. The splice after Since really leaves a horrible effect. There are other flaws on the title not found on any other titles. There's an unnecessary drop during Sick Again and Nobody's Fault. There's an instance of static during Bron-Yr-Aur Stomp. The tape has been highly amplified.
6-22-77, sources 1 & 2
Black Satin (Empress Valley), L.A. Forum 1977 2nd Night (no label, 4cd), One Day After Eddie (Immigrant), Over the Hills and Far Away (Tarantura), Second Night In the Forum (Scorpio), Thirty Years Gone (Empress Valley from FBO Box set), & Time Traveller (TDOLZ, 4cd)
Tarantura's title only features the last 2/3's of the show.
Immigrant's Ten Years Gone is noted as being from the 25th. The title is missing several seconds of the introduction and No Quarter is missing five minutes.
TDOLZ's Ten Years Gone is from the 21st (different source than the famous Eddie tape), but makes no mention of mixing nights. Their title was spread across an extra disc.
Empress Valley's title mixes in a second source in three spots. The end of Since I've Been Loving You contains the first splice, the second comes after the song (lasting into the third minute of No Quarter, displacing source one), and finally for Ten Years Gone (previously not available). The final track of the original third disc is full of serious digital errors. Replacement disc "EVSD-470B" corrects the problem. They've chosen to amplify the tape considerably.
Scorpio is also a two source mix. Unlike EV, they only use it when source one isn't available. Furthermore, they've used source two to complete the guitar solo. It's sound levels are more similar to TDOLZ than EV.
EV's Black Satin reissues the discs (using the replacement disc) from the big box set.
The no label title "L.A. Forum 1977 2nd Night" claims to be a four source mix. It's primary tape is source one, and then source two for TYG. There might be a splice at the end of Since, although not needed. There is an unnecessary splice before No Quarter and splices back after two dozen seconds of that song. The guitar solo is completed by an alternative source. It's sound is similar to TDOLZ.
Last Adieu (Eelgrass & Empress Valley), Magical Sound Boogie's "Garden Tapes" (Empress Valley), & Relic From a Different Age (Wendy)
Wendy debuted the guitar solo fragment and EV issued it six months later on the Magical Sound Boogie's "Garden Tapes" title. EV used an audience tape leading up to the soundboard and then splices briefly to an audience tape near the end (for an unknown reason).
EV's Last Adieu also features this track as the last song on the subtitle "1977 Soundboard Collection." It's basically a reissue of their original, but they've added in five big glitches.
Eelgrass is a copy of EV's title of the same name.
6-23-77, audience source 1-4
Brothers In Pinball (Tarantura2000), For Badgeholders Only (ARMS, Balboa, Cobra, Continental Sounds, Empress Valley from FBO Box set and reissue, Moonchild, no label, RockWrok, Scorpio, SODD Tarantura2000, TDOLZ, & Wendy), Los Angeles 1977 3rd Night (no label), Relic From a Different Age (Wendy), & Good Night Moon Light (Tarantura)
Three different audience tape sources have surfaced from this legendary performance. Continental Sounds and the 2015 no label titles, both named "For Badgeholders Only," only contain source one. RockWrok, Balboa, and the 2015 no label title "Los Angeles 1977 3rd Night" only contain the second source. ARMS and Tarantura were the first two titles to offer the third source.
Continental Sounds and the 2015 no label titles, both named "For Badgeholders Only," are the only ones offering an isolated source one. They do not contain the opening song and were copied from worn vinyl. Continental's tracks are sequenced chronologically but a fair bit of music and talk between songs are missing. The no label title has all known tape, plus a few extra seconds between tracks, but the tracks are evidently sequenced to match the vinyl issue. These two titles have almost identical sound quality.
Balboa and the 2015 no label title "Los Angeles 1977 3rd Night" are the only ones offering an isolated source two. The tape has many drops and are easily identifiable. Both titles preserve the drops. Balboa misses the first guitar note before Since. These titles are otherwise almost identical in quality.
Rockwrok is a two show mix. It uses the famous Eddie tape for the first four songs and then switches to the second source for Badgeholders. The cover claims to be the full performance for June 23rd 1977.
ARMS and Tarantura debut source three, starting with almost two minutes before the show and lasts through Moby Dick. Source two is used to finish the titles. They are both based on the same exact mix, but Tarantura incorporated some bad edits at three of the cuts and the splice after Moby.
TDOLZ and Cobra use source three for the first four songs and then switch to source two to finish. Both labels edited the many drops. Cobra did not make careful edits, removing 19 seconds of music. TDOLZ is a little louder than Cobra and much louder than Balboa. It may possibly be from a better generation of tape. Cobra seems to have slightly better sound than Balboa in most places, but is mostly likely due to amplifying. Cobra's Trampled Under Foot is not from the same generation of tape as the rest of the show. (Listeners beware, source 2 and 3's SIBLY have almost identical background noise surrounding the tapers, but they're different!)
Tarantura2000 has released a two source mix. It's foundation is the second source and relies on source one to complete the missing pieces and to avoid the few choppy sections. It's splices are extremely smooth. The sound isn't the typical type from this label. Of course it's been tampered, but is nearly without complaint. During cymbals and higher guitar notes is when the sound seems to be a touch strange, but still minor. The volume does fluctuate slightly during songs occasionally and more frequently between songs. Brothers In Pinball is the fifth packaging option for the same discs. The discs have a different appearance than the other T2K's, but they are from the same production run.
Wendy's title is also a mix of sources, using the second tape as it's foundation.
Scorpio's title is another mix, using source two as the primary tape. Many of the splices are so brief that it's not easy to determine (or worthwhile) the other sources used. The splice during Moby uses source one, which is probably used for all prior splicing. The splice after Achilles and Stairway could possibly be source one or three, but these sections have not been made available on cd, so there's no control for comparison.
Empress Valley's original title is also a mix of sources, using the second tape as it's foundation. The first few notes of Since I've Been Loving You are a bit bizarre and unnatural sounding. (This particular type of sound is occurring with some regularity in the past couple of years.) The right channel drops down significantly after Kashmir and stays down during the first third of Trampled Under Foot. This problem isn't found on other releases. The source for some of the tape after Stairway is the same part used in Scorpio's title.
EV's reissue uses the same cds as the original box set.
SODD uses source one as it's foundation. It uses source two to fill gaps, then relies on source three when none other is available. They miss 2.5 minutes (half a minute is music) of source one and add 1.5 minutes (one minute is music) not avail to cd before. Some of the tape after Stairway is similar to what's found on Scorpio and EV.
Moonchild's title is a three source mix with the second tape as it's foundation. Lots of splicing.
The no label title "L.A. Forum 1977 3rd Night 3 source mix" debuts source four through the end of the first song. The rest of the title is based on source one and filled with source two. No effort was made to preserve source one.
Annual Meeting (Tarantura), Badge Holders Annual Meeting! (Empress Valley from FBO Box set), Badgeholders Weekend (Badgeholders), Bursting Night (TDOLZ), Delirium Treatment (Tarantura2000), Los Angeles 1977 4th Night (no label), Rip It Up (SIRA), Saturday Night's Alright (Wendy), Saturday Night Special (Led Note), Sunset Boulevard (Wendy), Thank God It's Saturday Night (Scorpio), & Ultimate Cadenza (Empress Valley)
Rip It Up plays way too fast. The encores play ever faster. It has less tape before and after the show than the other titles.
TDOLZ's sound seems flat and lacks bottom end frequencies. It is likely from an at least slightly higher generation of tape than the other titles.
Tarantura has a couple less cuts than the others. At the cuts they share, Tarantura usually adds in some extra tape (falsifies). It's Bron-Yr-Aur Stomp and Kashmir has a total of 3 tape speed fluctuations not found on the other titles. It sounds very good, featuring more of the lower frequencies than the other releases.
Tarantura2000 has the usual cuts, but has edited them all. Almost all feature tape added in and removal of original tape at the same time. Two cuts/problems are improved here, but are more likely due to editing. Two problems typically found on other titles are not present here, such as the little glitch/drop in Song Remains the Same, and the brief tape static during White Summer. (Doesn't mean it's from a lower generation, just a different generation of a different run.) The sound has been amplified, increasing the loudness of the music and the background noise.
Led Note misses about 40 seconds of the introduction (like the older titles), has a glitch in SRTS, and misses about 16 seconds or so of tape between songs (especially after Stairway).
Wendy's SNA title is similar in content and sound to Led Note but doesn't have the drop in Song Remains the same.
Badgeholder's title has most of the usual cuts but they are sometimes slightly different in tape content. It doesn't have the problem in Song Remains the Same or in White Summer. It does have a tiny digital glitch in the middle of Moby Dick that isn't found on the other titles. Overall it is pretty much identical to Led Note and Wendy in content. Badgeholder's sound has been amplified quite a bit.
Scorpio repeats a section of tape from after Nobody's Fault in FOUR subsequent places. These four repeats are placed in areas of cuts to "fake tape" or extend the length of time between the end of a song and when Robert speaks. There are two very brief instances of some unnatural sounds too. If they would have left the tape alone, it would have likely been the best version at the time of it's release. Sound isn't amplified excessively.
Empress Valley's title has a significantly longer introduction and seems to have the most available tape following Stairway. However, this title too has instances of the strange/unnatural sounds in spots (after Since and the first few notes of the guitar solo). The section of audio following Moby and Achilles are full of what sounds like tiny dropouts that are not found on any other releases. It has all the audience commentary after Stairway. It's sound hasn't been amplified excessively.
EV's Ultimate Cadenza uses the same discs as the their box set from five years prior.
Wendy's SB title is longer than their original release of this show and is a little more complete. It has edited all the cuts, making them harder to identify. It's still not the "complete" tape, missing some of the audience commentary after Stairway. It's sound isn't amplified too much.
The 2015 no label release is very similar to the Wendy title released in the prior month. Most of the tape is present, but not all. There's a tiny click/tick around the five minute mark during Song Remains. But, a replacement disc was quickly issued and doesn't contain the error [matrix "Los Angeles 1977 4th Night Disc-1 (update)"]. Once again, some of the audience commentary after Stairway is missing. The cuts are easy to identify, since they were not edited to hide them. It doesn't seem to be amplified at all.
It'll Be Me (TDOLZ), Lazer Pyramid (Empress Valley), Sundazed (SIRA), That's All Right Mama (Empress Valley from FBO Box set), & That's Alright (Tarantura)
Tarantura and SIRA use a single source. Tarantura has a few seconds more of the original source over TDOLZ for SRTS. However, it misses a few seconds at other cuts. SIRA runs a little faster than TDOLZ. Tarantura and SIRA are a little louder than TDOLZ, due to equalization.
TDOLZ uses a second source to complete the beginning of the other tape. The opening part of the tape is very rough and then clears up during Sick Again.
Empress Valley's Mama uses the same second source as TDOLZ to complete the show. It is used several times, most notably for the Song Remains the Same and Moby Dick. During the splices, it often displaces much too much of source one. It's sound has been amplified some. EV's Lazer reissues the same discs used for Mama.
Coherence (Watchtower, 1st & 2nd issues), Deep Striker (Empress Valley 4cd and 3cd), Farewell To L.A. (Rabbit Records), Full Imperial Collapse (Wendy), Just Can't Be Satisfied (Empress Valley from FBO Box set), The Legendary End (SIRA), The Legend of the End (Tarantura, 4cd), L.A. Forum 1977 The Last (no label 2016), Los Angeles 1977 Final Night (no label 2015), & Sunset (TDOLZ, 4cd)
Tarantura, TDOLZ, and Empress Valley's first title have all unnecessarily spread their titles across four cds.
TDOLZ's tape quality drops briefly after Since I've Been Loving You and then drops down to stay after Achilles Last Stand.
Watchtower's original issue of Coherence only has two problems. The first is a digital glitch about 16 minutes into the guitar solo and the other is a tiny drop/cut in the first minute of Whole Lotta Love. The second issue uses the same artwork and first two discs. However, the third disc has been corrected and no longer has the two glitches found on the original issue. (The new third disc is 72:44 in length while the original disc is 72:46.)
EV's original Deep Striker isn't without some minor problems. The other older titles also have some minor problem, not limited to missing tape between songs.
Wendy has the usual cuts and minor edits (differ from contents of edits on other titles). The gap during Achilles Last Stand is filled with the Badgeholder's show. In the process, they cut out six seconds of tape from the 27th. The use of the other shows is not noted on the title.
Empress Valley and Watchtower are highly identical, possessing fewer cuts and more consistent tape quality than the others. Their music and background noise are slightly louder than Tarantura, SIRA, TDOLZ, and Rabbit. EV has pushed the higher frequencies a touch too much, while Watchtower has them toned down a little.
Empress Valley's second release of this show is "Just Can't Be Satisfied." They kindly decided not to spread it across a fourth disc this time. It seems to contain a splice to a new source just after Bron for several seconds. It also offers an extra few seconds of the first source, not available elsewhere. The last few notes of Trampled are strange and unnatural sounding. (This theme of strange sounds is evident throughout the FBO Box set.) Achilles has degraded sound starting from about thirty seconds before the cut, ending with the cut. This has never been a problem on other titles. Shortly after the cut, another unusual sound appears. It's sound is quite similar to most releases.
EV's 3cd Deep Striker reuses the discs found in the FBO box set.
The 2015 no label title is more complete than all prior titles, having at least a slightly longer introduction, a slight bit more of Robert's commentary than all prior titles, lacking false extensions of tape (splicing in more audience noise between tracks), and isn't amplified as much.
The 2016 no label title is less complete than their prior title, having a shorter introduction, a bit less of Robert's commentary (after No Q and Bron), includes one false extension (after No Q), misses almost two seconds of Achilles at the cut, and is amplified a little more. There are four extra, unnecessary, cuts on this title. The title is quite foul, considering their original release eleven months ago beat out all other releases.
7-17-77 full soundboard/soundtrack
Conquering Kingdom (Godfatherecords), Fallen Angel (Tarantura2000), Jupiter and Saturn (Tarantura2000), Kingdom Come (Watchtower), Return of the Dragon (Apple), Silver Shadow (Moonchild), Sitting On a Goldmine: Seattle 1977 (Empress Valley 9cd), Year of the Dragon (Empress Valley, 4cd original and reissues), & Your Kingdom Come Seattle 1977 (Wendy)
EV's Year of the Dragon is the most complete and natural sounding release. They unnecessarily spread the tape over an extra disc. There are balance problems before and during the start of the show. EV features the eight minutes of tape between Stairway and Whole Lotta Love.
EV's 2009 jewel cased reissue uses the same discs as before, eight years later.
EV's 2014 jewel cased reissue uses new discs having the same disc times.
Apple is extremely poor sounding. It has a terrible echo as if it was recorded inside a metal can and is just overloaded. There are balance problems before and during the start of the show. There are more than 16 unnecessary cuts, eliminating almost 15 minutes of tape. Battle of Evermore has big tape problem and 1:14 is missing from the end of Achilles, where an audience tape is used. Most of the queue stops are at the end of the songs, which is very annoying – similar to some old Tarantura titles.
Watchtower's release is the shortest of these 4 titles. There are balance problems before and during the start of the show. It is missing over 40 minutes of tape – almost half of No Quarter and all of the guitar solo. The sound is good and seems to not be tampered. This leaves is a little flat compared to EV's Year of the Dragon.
Tarantura2000's Jupiter made some very heavy sound modifications (not necessarily 100%) including a fair bit of echo. The partial processing of sound has left some distinct changes in sound that make it seem to be cut in a dozen places. These points are usually at the beginning and/or end of songs. No balance problems in the beginning of the show on this title.
Tarantura2000's Fallen Angel is very different from their Jupiter title. There are problems with “micro cut/repeats” that are common to this label and there is static during some sections of the title. These problems aren't on the other releases of this soundboard. On of the audience tapes are used to fill a small part of No Quarter. The sound has been adjusted but is probably otherwise similar in generation to EV's Year of the Dragon.
Godfather's title is cut at every track change and has two other cuts between songs not found on most titles. It's sound has a bit of echo, similar to Jupiter. (Replacement discs were quickly reissued to address the gaps. The cd times, catalog number, and matrix numbers are the same as the defective discs.)
Wendy's title adds in a little of the audience tape for No Quarter. The metallic sound they're so well known for incorporating in their earlier titles is clearly heard in the background during quieter passages.
Moonchild's title is strictly soundboard. There's a brief problem just before Nobody starts that's not found on the other titles. The second disc begins with a micro cut/repeat. The title is otherwise complete and it's level of amplification is a tough less than EV's Year of the Dragon.
EV's Goldmine is not a reissue of Year of the Dragon. Seven seconds into the show, EV has introduced a first ever cut in the Song Remains the Same. It misses a split second of the song and is inexcusable. They do it again, this time during the end of Achilles Last Stand but doesn't appear to miss any time. Another new cut is created just before the beginning of Whole Lotta Love. EV finally decided the show could fit on three cds instead of four this time. It's been amplified a bit more than Year of the Dragon.
7-17-77 old soundboard/soundtrack fragment
Coast To Coast (Celebration), In a Delirious Daze (Equinox), Shake For Me Baby (Missing Link), & Unbooted (Tarantura)
Celebration is the last and most complete release of this soundboard fragment. It includes Achilles Last Stand and all of Stairway to Heaven. It even has about 3.5 minutes more tape after Stair.
Equinox was released using a combination of an audience tape and some of the soundboard. The more complete sb was not available to them at the time of pressing. Furthermore, they elected to use 20 seconds less of the available sb for Stairway To Heaven.
Missing Link and Equinox have more tape after the show than the other two titles.
Tarantura has more bass while the others sound a little flat.
7-17-77 audience sources 1 and 2
In a Delirious Daze (Equinox) & Kingdom of Zep (SIRA)
SIRA uses the first tape source.
Equinox is based on the second audience tape, being better sounding than the first. It borrows from the first source occasionally until halfway through White Summer. From there, it switches to source one and then defers to the old soundboard fragment during the beginning of Stairway. The remainder of the title is the old soundboard.
7-23-77 source 1
A Quiet Before the Storm (TCOLZ) & It's Been Great (IQ)
IQ's title has an extra cut and misses over a minute of tape from two other spots. Otherwise, these two titles are quite similar in content. TCOLZ's sound is just a touch quieter than IQ's.
7-23-77 sources 2, 3, and mixes
A Quiet Before the Storm (TCOLZ), Alpha & Omega: Second To the Last (Magic Bus), Confusion (no label), Last Adieu (Empress Valley), & Last Performance In the USA (Scorpio)
Confusion and TCOLZ are strictly from source two. Confusion is missing almost two and a half minutes of tape from between songs, eliminating a lot of Robert's talking. TCOLZ's music and background noise are a little louder than Confusion's.
Scorpio is a mix of the first two sources, with the second tape as it's foundation. It does not use all of the available source two tape. It contains more than 55 splices.
Magic Bus is a mix based on source one that debuts source three. It does not use any source two. No effort was made to offer either source in full. Too much of source one is displaced, with one splice placed being after Going To California, even though source one is not cut there. Stairway is complete on source one, but they've spliced to source three just before it ends. Overall, well over three minutes of source one are missed. One thing to note, the transitions from one tape to the next are almost undetectable. You must rely on the background noise/talk to determine when a tape has been changed. It's been amplified a bit over TCOLZ's level.
EV's title is nearly identical to Scorpio, containing more than 55 splices, but adds in 6 sections of micro cut/repeats. The first section contains just a pair of them after No Quarter. The second section starts after Battle of Evermore, lasting nine seconds. The third section begins after the ending of the next song, Going To California, lasting for eight seconds. The fourth section starts after the next musical break, Bron-Y-Aur Stomp, lasting for ten seconds. The fifth section starts after the end of the next song, Trampled Under Foot, lasting three seconds. The sixth and final spot comes after Achilles. It's unacceptable.
7-24-77 sources 1, 2, & 3
Alpha & Omega: Fighting Finish (Magic Bus), Fighting Finish (SIRA), Final Ever In the States (Missing Link), Push! Push! (IQ), Last Concert In America (Tarantura2000), Last Adieu (Empress Valley), Last Performance In the USA (Scorpio), & Seventh Heaven (Immigrant)
SIRA, IQ, and Immigrant are all from the first source:
Immigrant moves Trampled Under Foot to play after Kashmir, but lists it as playing before White Summer.
SIRA is missing the short introduction and the "Hi Bob" comment. Immigrant is missing close to 20 seconds of tape. The absence is at the familiar cuts and only about 5 seconds of music is missing overall.
The sound is very similar between all titles with the common source, but the speed is not. IQ runs much closer to actual time while SIRA and Immigrant run about 3.5% faster. Missing Link's title is strictly from the second source tape.
Tarantura2000 is the third source, with a couple of small gaps filled with source one. A few "micro cut/repeats" are included.
Scorpio is a mix of the three sources, with the first tape as it's foundation. It does not use all of the available source one tape. It has over 33 splices.
Magic bus is highly similar in content to Scorpio and doesn't include all of source one. One thing to note, the transitions from one tape to the next are almost undetectable. You must rely on the background noise/talk to determine when a tape has been changed.
EV's title is nearly identical to Scorpio, containing more than 33 splices.
79 (Antrabata), Complete Copenhagen Warm Ups (Wendy, original and reissue), Copenhagen 1979 (no label), Copenhagen Warm-Ups (TDOLZ, Empress Valley, LSD-both issues, Tarantura, and the issue with green/white artwork - no label), Dazzling Daze 1 (Moonchild), Great Return of Zoso (Empress Valley), & Melancholy Danish Pageboys Get It On (Cobra)
The tapes used for these titles are all from the same bootleg tape. However, they all differ slightly from each other.
TDOLZ, EV's two titles, Wendy, and the 2016 no label titles have the most complete introduction. Antrabata's is the least complete.
The green/white no label title has digital interference during the last half of Hot Dog, lasting through the first minute of Rain Song.
Cobra, TDOLZ, both EV, Wendy, and the 2016 no label titles are the only titles to feature a complete Kashmir. The rest are missing the last 2 seconds.
79, both LSD, and the no-label title share the distinction of being pissed on by "Rock Studios, ACS" after the performance.
LSD's two releases are very similar but not identical. The re-release has a cut during Rain Song but it's sound seems to be equalized a little better, being a little more balanced in places too.
Empress Valley's original and TDOLZ are similar in completeness and having louder sound levels. (EV's tape has been amplified the most.)
Wendy's title has some extra tape of the audience after two cuts. It could be possibly sourced from a second source. Other than that, it's very similar to TDOLZ and EV's second version.
The 2016 no label title is similar to the more modern titles, but doesn't have the extra tape mentioned on Wendy. It's strictly one source.
Moonchild's title is exactly the same as the no label title. Same cd times and everything else.
Wendy's jewel case reissue uses the same cds as the original.
With the exception of varying sound levels and Tarantura being a little bass heavy and unbalanced, these titles are similar in sound quality.
79 (Antrabata), Complete Copenhagen Warm Ups (Wendy, original and reissue), Copenhagen 1979 (no label), Copenhagen Warm-Ups (TDOLZ, Empress Valley, LSD-both issues, Tarantura, and the issue with green/white artwork - no label), Dazzling Daze 2 (Moonchild), & Great Return of Zoso (Empress Valley)
The tapes used for these titles are all from the same bootleg tape. However, they all differ slightly from each other. The two LSD's, Tarantura, and green/white no label titles are all missing the end of Kashmir.
TDOLZ, Antrabata, EV's second release, Wendy, and the 2016 no label titles are the only titles that don't have a strange reverb affect, lasting 20 seconds during the first half of the introduction. However, the Antrabata is missing the first half of the introduction anyway.
All of the titles are cut differently before No Quarter. Only Tarantura seems to have all of Robert's commentary. EV's Great Return is complete here but is achieved by mixing in a second source. All titles are cut after Rain Song, but for some unknown reason, TDOLZ repeats a 1 second section 5 times.
LSD's two releases are very similar but not identical. The original has a digital glitch during Over the Hills and Far Away. The re-release seems to be equalized a little better, being a little more balanced in places too.
Empress Valley's original title is most similar to TDOLZ in song completeness and sound. However, it is missing 20 seconds of tape after Achilles Last Stand and 14 seconds after Stairway To Heaven. Their tape has been amplified a touch more than the others.
TDOLZ, EV's second release, Wendy, and the 2016 no label titles are the only ones not having the strange reverb to return for the tape remaining after the performance.
Wendy seems to use a second source to fill in some gaps between songs, and/or, possibly falsely extend.
The 2016 no label title is similar to the more recent releases, but is strictly a single source title. It has an instance of static or digital glitch in the early part of the guitar solo after ALS.
Moonchild's title is exactly the same as the no label title. Same cd times and everything else.
Wendy's jewel case reissue uses the same cds as the original.
For the most part, TDOLZ, both EV, Wendy, and the 2016 no label titles are similar in content.
These titles are mostly similar in sound.
Blind Date (Empress Valley - original and reissue), Lost Masters Knebworth `79 (Celebration 1cd - original issue and remaster), Past Present and Future (Empress Valley), You'll Never Walk Alone (Tarantura2000, 3cd), & Welcome To the 1979 Knebworth Festival (Watchtower box & jewel editions)
On Celebration's original issue, there is an awful sound in the background similar to the Tara2000 release of the 11th. It is on the remaster too. The frequencies on the remaster are not quite as high. That difference is only minor. Both titles sound equally terrible.
Tarantura2000 has released this show, unbelievably without their weird trademark sounds in the background. A very bizarre choice for them since Celebration already paved the way for this date.
Tarantura's sound is better than Celebration and as mentioned (it is lacking the weird sound found on Celebration) BUT is still a very poor quality soundboard. This release is far more complete. The que stops are poorly placed, similar to old Tarantura titles.
Empress Valley's Blind Date and Watchtower are very similar. They both rely on the familiar audience tape to complete gaps after Rain Song and during Whole Lotta Love. The first half of the introduction is also from an audience tape, but may or may not be from familiar one. EV's intro is just a few seconds shorter than WT's. EV used a less complete soundboard tape for WLL. It uses 49 seconds of audience tape where WT uses soundboard tape. After WLL, WT has more time that EV and more of that time is soundboard. EV and WT have four to four and a half more minutes of WLL soundboard.
Overall, Watchtower has the most soundboard tape. It uses a little more than four minutes of audience tape to complete the whole show. It's sound is very similar to Empress Valley. They are both much better sounding than Tarantura2000, but they still lack a dynamic range of sonics. Watchtower has a couple of instances of very minor (faint) static spots.
Watchtower's jewel cased edition re-releases the cds found in the box set.
EV's Blind Date jewel cased edition re-releases the audio found on the original title.
EV's PP&F title reissues the audio found on the original title.
79 (Antrabata), Knebworth (Flying Disc), Knebworth (Tarantura), & Knebworth First Day (Led Note)
Much time between songs has been removed on the FD title. Overall, 3.5 minutes are missing.
Led Note has more tape before and after the show than the other titles. It has 3 tape drags, 2 of which are during songs. Overall, it is missing 2.25 minutes of tape from between songs.
79's Hot Dog as a tape problem not found on the other titles.
Antrabata, Flying Disc, and Led Note's titles are similar in sound quality. The Tarantura is a good bit louder than the others and is likely one generation closer to the master.
8-11-79 soundboard/video soundtrack
Blind Date (Empress Valley - original and reissue), Dinosaurs In the Park (TDOLZ, 3cd), Final Cut (Celebration, 3cd), Knebworth Festival (Tarantura2000, 2cd), Knebworth Festival 1979 (Jelly Roll), Past Present and Future (Empress Valley), Robert's Last Stand (no label, 2cd), & Welcome To the 1979 Knebworth Festival (Watchtower box & jewel editions)
TDOLZ is sourced from a poor generation of the video.
Celebration uses all of the soundboard available and then uses the audience to complete White Summer and Robert's commentary closing the show. There are a small handful of "clicks" throughout the title. The clicks are not too noticeable and do not really compromise the title.
Robert's Last Stand is similar to CDM . It uses the same amount of soundboard and audience. There are also "clicks" on this title too. No Quarter has been moved out of sequence to place the show on 2 cds. Sound is almost identical to Celebration.
The Tarantura2000 title is strictly from the soundboard. The music does sound great and is much louder than Celebration's title. HOWEVER, just like their "Ayers Rock," they tweaked the sound way, way too much. Again, the audience now sounds like a bunch of birds. It is easily heard between songs and can be heard during brief quite spots in songs. Furthermore, the PA problems that plague this show and mark it's well known signature in the recordings, have been almost entirely removed. A few were equalized out while others were totally chopped from the tape, even during music.
Jelly Roll's release is almost identical to Tarantura2000. Like Tarantura, the PA problems have been removed after Black Dog and No Quarter entirely. The ones during and just after Over the Hills and Far Away have been modified, but a little differently than Tartantura's. Jelly Roll is even louder than Tarantura. The sound seems overblown in a few places, like as the first song ends and in other places.
Tarantura and Jelly Roll don't have the minor handful of clicks like Celebration but they do both have a small static problem during Whole Lotta Love.
Empress Valley's Blind Date and Watchtower are very similar. Neither use any audience sources since the soundboard/video tape used is complete. EV suppresses the first big PA problem during Over the Hills and Far Away. Both titles have a tiny drop during Trampled Under Foot. EV has removed some of RP's talking after ALS and may have cut a few seconds of taped shortly after Rock and Roll.
Watchtower's title seems to be a little louder and may have a touch more bass than Empress Valley, but probably wouldn't be due to a tape generation difference. Watchtower has a few instances of very minor (faint) static spots. Neither WT or EV have near the amount of bass found on Celebration's Final Cut and Robert's Last Stand.
Watchtower's jewel cased edition re-releases the cds found in the box set.
EV's Blind Date jewel cased edition re-releases the audio found on the original title.
EV's PPF re-releases the audio found on the original title.
8-11-79 audience, sources 1, 2, & 3
79 (Antrabata, 2cd), In the Field (Reel Masters), Galactic Messiah (Empress Valley), Knebworth (Tarantura, 3cd), Knebworth - November 11, 1979 (TNT Studios)
The Reel Masters title is strictly from the second tape source. EV's Galactic Messiah is strictly from the third source to disc. The other titles are from the first.
Tarantura and TNT are missing most of the introduction and are missing a short sentence after Since I've Been Loving You.
All titles have a sound change a few minutes into White Summer. Tarantura's Black Mountain Side has a cut. This title is also missing tape after Achilles Last Stand, Stairway To Heaven, and after Communication Breakdown cuts out while Robert is still talking.
Antrabata has a cut between Black Mountain Side and Kashmir. After Kashmir, the guitar solo has a digital glitch and here is a cut with repeat after In the Evening. This title has the most tape after the show.
TNT's White Summer is split across both discs to keep from making a third disc. It is missing tape after Achilles Last Stand and Stairway To Heaven.
The Tarantura is a good bit louder than Antrabata and may likely be one generation closer to the master. TNT is also louder than Antrabata but so is it's background noise.
The differences between these titles are quite minor.
Dinosaurs Rule (Flying Disc), Dortmund (Tarantura), Return of the Auschwitz (Neptune), & Tour Over Dortmund 1980 (Wendy)
Flying Disc is missing the last few seconds of Trampled and the title runs too fast.
Neptune's Trampled is complete. The title runs slow and doesn't sound nearly as clear as Flying Disc.
Tarantura's Dortmund runs at the correct speed, has excellent sound quality the whole way through, and has more tape after the show than Flying Disc and Neptune. However, it has an inexcusable cut in Train, losing 4 seconds.
Wendy's title has all known soundboard tape, does not fade at the cuts during songs, runs at the proper speed, and has excellent sound.
Close Shave Parts 1&2 (Flying Disc), Cologne (Tarantura2000), Cologne 1980 (TDOLZ & Flagge), & Pure Nostalgia (Neptune), & Tour Over Cologne 1980 (Wendy)
Flying Disc runs fast. Neptune has poor sound and may run a hair slow.
TDOLZ runs at the proper speed, has better sound than Neptune and Flying Disc, but uses the audience tape to fill in the missing parts from the soundboard on Rain and Stairway. The audience tape is also used for half a minute after Stairway, where the soundboard is available.
Flagge's title is evidently from a lower generation tape than the others. It's sound is much clearer and louder.
Tarantura2000's primary tape is the soundboard. It unnecessarily overlays the audience tape on top of the soundboard tape between songs. A pointless release.
Wendy's title is based on the soundboard and filled with audience tape. Their familiar metallic sound is present. Also included at the end of the title are three songs from the good audience tape.
Flying Disc, Neptune, and Flagge contain only the soundboard, which isn't the complete show.
Belgian Triple (Empress Valley), Brussels Affair (Swinging Pig, 1cd), Brussels 1980 (Tarantura & no label), Chien Noir (Antrabata), Dinosaurs That Rock (Boogie Mama), & Raid Over Brussels (Electric Magic)
Swingin' Pig is far from being complete. It has many cuts between songs to edit out talk. It is also missing the beginning of Hot Dog and the last 2.5 minutes of Whole Lotta Love.
Antrabata has more tape before Train and has 5 less cuts between songs. Overall, it is about 8.5 minutes longer than Swingin' Pig due to more music and talk between songs.
Tarantura's tape is identical to the Antrabata as far as content and cuts but it's sound is much louder.
Electric Magic's title doesn't have a fade out as Rain is cut short. It allows the final note to be heard easier. This title runs a tiny bit slower than the others. It's sound is a just a tiny bit louder than Tarantura's.
Empress Valley's title uses audience source tape one to fill in the gaps of the soundboard. It isn't amplified as much as Tarantura's.
Boogie Mama uses the soundboard as it's foundation and fills gaps with an audience source. The splices occur too early and too late, needlessly displacing the soundboard, especially during the end of Stairway.
The no label title is based on the soundboard and filled with an audience tape for the end of Rain and after Stairway. No attempt was made to preserve all of the soundboard and ALS and Kashmir have a few instances of problems not found on any other title. It's not amplified as loud as some of the other titles.
Brussels Audience (Tarantura2000) & Raid Over Brussels (Electric Magic & TCOLZ)
These titles rely on the first audience source and use the second audience tape to fill two to three gaps. For the most part, they are similar in sound.
EMC and TCOLZ are almost identical, making the same unnecessary splice after Achilles. Tarantura2000 didn't make that same splice, but made two different ones to cover barely noticeable tape problems. At each of the tape glitches these titles have in common, they've cut them out and repeated tape. It's more annoying than the original problem. They also made some strange adjustment to the unbalanced tape during Rock and Roll, making it sound worse.
Live In Rotterdam (Swinging Pig) & Rotterdum (Tarantura)
Swinging Pig isn't complete since it's missing White Summer. Here, Rain Song is complete and sounds like it may possibly be from a different night altogether.
Tarantura contains the complete soundboard tape, which of course is not the complete show. The beginning of Rain, evidently, is not available from the board.
Bremen (Tarantura & Tarantura2000), Chein Noir (Antrabata), Die Bremer Stadtmusikanten (Wendy), & Tour Over Bremen (Moonchild)
Antrabata is missing 75 seconds of tape after Rock and Roll, but is otherwise virtually identical to Tarantura.
Wendy uses the 7/2/80 soundboard to complete Trampled Under Foot. Since I've Been Loving You has a strange error early in the song that's not found on the other releases. The 6/21/80 soundboard is used to complete Stairway To Heaven. The use of these other shows is not noted on the title.
Tarantura2000's title is the first title to use the audience tape to fill the gaps in the soundboard. It's been amplified a bit.
Moonchild's title has the exact same content as T2K, but has different cue stops and isn't amplified as much. (It appears T2K may have copied the "Winston Remaster," which is also the basis of this Moonchild title.)
Gracias (Antrabata), Hannover (Tarantura & Tarantura2000), Last Tour (FSS), Messehalle Echos (Flying Disc), & Tour Over Hannover (Wendy)
Flying Disc has too many cue stops and runs fast. Trampled of course is cut but is missing 19 seconds of tape. Since I've Been Loving You unexplainably has a cut, missing 22 seconds.
The Tarantura title runs at the proper speed. However, it is missing 15 seconds of tape from Trampled. Since I've Been Loving You is not cut.
Tarantura2000 is missing 19 seconds of tape from Trampled. Since I've Been Loving You is not cut.
FSS runs at the correct speed, has 15-19 seconds more of Trampled in the area of the cut, and Since I've Been Loving you is complete.
Antrabata's tape is identical to FSS.
Wendy's title mixes in the audience for the gap in Trampled, but it displaces about 15 seconds of soundboard.
All titles are highly similar in sound.
Deutchland Uber Alles (TDOLZ), Goodnight Vienna (Electric Magic), &Vienna (Tarantura)
TDOLZ runs a little too fast and has a few extra cuts between songs.
Tarantura has fewer cuts than TDOLZ but is otherwise quite similar in content and sound to TDOLZ.
Electric Magic has extra cuts too and a couple of problems not found on other titles. It is also missing the most tape. It's music is louder than the other releases but the background noise has been suppressed - no gen difference. There are hints of that familiar "metallic sound" that this label uses almost on a regular basis. This is certainly the worst release of this show yet.
Moonchild's title is most similar to TDOLZ as far as cuts. It's missing a bit of inconsequential tape after Stairway.
Air Raids Over Germany (Tecumseh), Blitzkrieg Over Europe (Tarantura), Fly Over Nuremburg (TDOLZ), Sudden Attack (Flagge), Tight But Loose (SAKA), & Triumph des Willens (Wendy)
Flagge and Tarantura are the best sounding releases.
TDOLZ is better sounding than the remaining 2 releases, but it runs a little fast.
Tecumseh runs slow and has a deep hiss in the background.
SAKA's sound is also on the poorer side.
Wendy's title is highly similar to Flagge.
Blitzkrieg On Zurich (Tarantura2000), Blitzkrieg Over Zurich (Empress Valley), Conquer Europe (Empress Valley), A Good Hot One (TDOLZ), Gracias (Antrabata), Swiss Made (TDOLZ), Tour Over Zurich (Moonchild), Zurich (Tarantura), & Zurich 1980 (no label)
TDOLZ's Swiss Made features the audience tape.
"A Good Hot One" has 2 minor tape glitches during White Summer/Black Mountain Side.
Tarantura uses a small fade out on Kashmir.
TDOLZ and Tarantura both have similar sound quality. The Antrabata is not as clear.
Empress Valley's Conquer uses all of the available soundboard and relies on the audience tape to complete Kashmir. The sound is very excellent. The music is louder and the background noise is still almost non-existent. It's likely that this tape is another gen closer to the master but could possibly be due to a great job of equalization work.
EV's Blitzkrieg reissues the audio from the original release.
Tarantura2000's title is strictly from the soundboard. (The third cd of this title offers the Westwood One broadcast of the three songs from the show recorded by the BBC.)
Wendy's title is based on the soundboard and uses the audience tape too. Early on during In the Evening, the sound is overblown briefly. Although the soundboard is not cut during All My Love, Wendy splices to the audience tape before the song is over. The audience tape is used again for Kashmir, cutting away from the soundboard a couple seconds too early.
The no label title is a mix based on the soundboard and filled with the audience tape. The splice in Kashmir comes three seconds too early. It's sound is similar good quality like the others.
Moonchild's title is a mix based on the soundboard and filled with the audience tape. The splice in Kashmir comes three seconds too early. It's sound is similar good quality like the others.
Blitzkrieg Over Europe (Tarantura), Frankfurt Special (Empress Valley), Hotter Than the Hindenburg (LSD), Sudden Attack (Flagge), Tour Over Europe 1980 (LSD), & Tour Over Zurich (Wendy)
Up through Achilles Last Stand, Tarantura's title sounds a little better than LSD's Tour Over Europe 1980. But, after that song, the sound is a little muffled and unbalanced in places for the remainder of the show.
LSD's Tour Over Europe 1980 has a 15 second fade out on Kashmir. It fades out way too soon, missing 66 seconds of the song. Like the Tarantura, this LSD title has a tape problem within the first few seconds of Stairway To Heaven.
LSD's Hotter Than the Hindenburg is a big improvement from it's other release. Kashmir is more complete and there is not a tape problem on Stairway To Heaven. It's sound is a good bit clearer and louder.
Flagge's title is very similar to LSD's better release. However, the dip in sound on Train Kept A Rollin is a little more noticeable. There does not seem to be a cut after Money, like on all the other releases. It's sound is very good like the newer LSD, but has slightly less bass.
Blitzkrieg Over Frankfurt (Empress Valley), Captured Battalion (Tarantura2000), Frankfurt Special (Empress Valley, original and reissue) & Triumph des Willens (Wendy)
EV's Special mixes in the audience tape for the few gaps in the soundboard. Some of the soundboard introduction was thrown out in lei of the audience tape. The sound as been amplified a touch.
EV's Blitzkrieg reissues the audio from Special.
EV's 2016 reissue of Special reissues audio from the original.
Wendy's title is a similar mix but doesn't use the audience tape during the introduction.
Tarantura2000's title is based on the soundboard and fills with audience. Kashmir's ending is completely from the soundboard, for the first time ever. Those few seconds are certainly from another night. Like many titles from this label, it has been highly amplified. It's been amplified so much that many parts of the background sound strange at times.
Dinosaurs Watching (Flying Disc), Eye Thank Yew (Tarantura), Mannheim (Wendy), Mannheim 1980 (Flagge), & Strangers In the Night (TDOLZ)
Flying disc is missing the introduction and is missing most of the tape after the show. It has a cut during In the Evening and is missing 3 minutes many at the cut during Kashmir.
Tarantura's title ends too soon, missing the last minute of Kashmir and the remainder of the show. It's sound is somewhat muffled and unbalanced.
TDOLZ has a long introduction. It too has a cut during In the Evening. It includes the additional 3 minutes of soundboard for Kashmir but then uses the audience source for the missing 1 minute.
Flagge's introduction is a few seconds shorter than TDOLZ's but has much more tape after the show. Unlike the other releases, Flagge is not cut during In the Evening and is not cut after Trampled Under Foot. Evidently, it is from a lower generation tape than the others. It is much better sounding than the prior releases.
Wendy also mixes in the audience source, but it fully displaces 25 seconds of the soundboard.
Eye Thank Yew (Tarantura), Last Day In Mannheim (Whole Lotta Live), Mannheim (Tarantura2000 & Wendy), Mannheim 1980 (Flagge), Song Remains Untamed (Monument Records), Strangers In the Night (TDOLZ), & Tour Over Mannheim (Moonchild)
Tarantura is missing some time after All My Love.
Whole Lotta Live is a direct copy of Tarantura.
TDOLZ is almost completely identical to Tarantura.
Monument Records is missing tape before the show, after All My Love, and after the show.
All titles seem to have varying degrees of sound quality during the second minute of Since I've Been Loving You. Flagge's is the least noticeable while the Tarantura's are undeniable.
All titles are cut during Kashmir. Tarantura, TDOLZ, and Monument cut out 8 seconds too early but then cut back in 8 seconds sooner than Flagge's. Those three releases have the same amount of tape for Kashmir, but don't share the exact same content. Tarantura2000's title is still cut but has all the tape found between the previous releases and then has another 2 seconds.
Flagge and Tara2000's titles are much better sounding than the other releases and have much more tape after the show. Tara2000's tape has been equalized to pronounce the lower end.
Wendy's soundboard is sourced from two different tapes and the audience tape is used to complete All My Love and some of Kashmir. Evidently their "main" soundboard source was missing more tape than it should, so they borrowed from a longer tape of the show (for Kashmir and after the show).
Moonchild is based on the soundboard and filled with the audience. No effort was made to preserve all time from the soundboard, as it's displaced with audience tape at the splices. About five seconds of board is displaced during Kashmir. The introduction is missing a dozen seconds.
Jamming With Simon Kirke! (Empress Valley) & Munich 1980 (Tarantura)
Tarantura is exclusively from the first tape source but is missing some of the introduction and tape after the show. Empress Valley uses relies on a second source to fill in the gaps of the first source. In doing so, they've forgone a little bit of source one.
Tarantura's equalization emphasizes the higher frequencies while EV's is more natural with mids' and lower frequencies. Both titles seem to use the same or close generation of tape.
Beautiful Concert (Wendy, original and reissue), Berlin 1980 (Tarantura), Berlin 1980 The Last Concert (no label), Bonzo's Last Stand (Empress Valley, 3cd) Complete Berlin (Baby Face & SIRA), Eternal Magic (Empress Valley, 5cd & 3cd), Heineken (Tarantura), Memory Frozen Forever (Godfatherecords), & The Last (Immigrant)
Many of these titles use the audience tape to fill the gaps in the soundboard. EV is the only label that has released the audience tape in full.
The audience tape reveals that Kashmir on the Taranturas is not actually complete and uncut, or even proper. EV's own soundboard (with audience splice) is not correct either. Tarantura repeats 43 seconds from earlier in the song to make it sound complete. The beginning of the edit is seamless but the end is noticed at 6:18. EV splices back to the same section as Tarantura. It only uses/repeats 10 seconds of the earlier soundboard then splices to the audience tape. (This time they supply the evidence against themselves. At least they didn't use a different night again without footnoting it on the back of the title.)
Heineken is the only title to feature any tape before the show but it isn't likely genuine. Berlin 1980 and EV's titles don't have the tiny glitch near the 30 second mark on Train Kept A Rollin.
EV's two newer 3cd titles "Bonzo's Last Stand" and "Eternal Magic" reissue the audio found on the first two cds of the original 5cd issue.
Baby Face and Immigrant are missing the first several seconds of the opening track. Both have some tape problems during the first part of the show. They are also missing 23 seconds of Kashmir.
Baby Face has a cut during Stairway To Heaven and is missing the last half of Whole Lotta Love.
Immigrant's Whole Lotta Love runs too fast. It uses the audience tape some after Rock & Roll and Whole Lotta Love.
Tarantura's Berlin 1980 has louder music and background noise than Heineken and SIRA. There is no difference between their clarity. EV's soundboard has louder music and less background noise than any other release. However, it may not be due to a better generation of tape at all. The background noise has evidence that the tape has be eq'd - but obviously done very well. Baby Face and Immigrant have terrible background noise and are much less complete.
(The main differences between Heineken and Berlin 1980 are mentioned above. The less obvious differences are also minor. Heineken is missing 2 seconds of Plant talking and is missing a couple of seconds after Stairway To Heaven. There are several extra seconds of tape after Rock and Roll.)
Godfather's title mixes in the audience source to fill the soundboard's gaps. Their method of overlapping the audience tape and soundboard at the cuts, effectively displaces the soundboard in those spots. The first second of Whole Lotta Love is missing - this has never been cut before. The background noise sounds a bit unusual - it's minor, but undeniable during quite moments. The title has been highly amplified.
Wendy has all known soundboard tape and then debuts a little more of it. There's a few seconds at the cut after All My Love and a few more just before the cut in Kashmir. Wendy's splices are clean on this title, unlike some of their long overlapping splices on other titles.
The no label title is based on the soundboard and mixes in an audience tape to fill. Unfortunately, just too much of the soundboard is missed at the splices.
Wendy's reissue uses the same discs as the original.