Civic Auditorium Arena, Omaha, NE – February 3rd, 1984
Disc 1 (70:52): Dodo / Lurker, Abacab, That’s All, Mama, Medley (The Eleventh Earl of Mar / The Lamb Lies Down On Broadway / Firth Of Fifth / The Musical Box), Phil Talking, Illegal Alien, Home By The Sea, Second Home By The Sea
Disc 2 (70:42): Man On The Corner, Keep It Dark, It’s Gonna Get Better, Follow You Follow Me, Phil Talking, In The Cage featuring The Cinema Show / The Colony of Slippermen, Afterglow, Drum Duet / Los Endos, Misunderstanding, Turn It On Again
After Genesis was released in October 1983, Genesis limited their tour schedule to dates only in the US, Canada, and Birmingham, England. Close to the end the band played their first ever show in Omaha, Nebraska, at the Civic Auditorium. The Steam Of The Medley presents the complete show in very good to borderline excellent sound quality. The first ten minutes of the tape are quite distorted, but it cleans up nicely. There are two cuts in “Follow You, Follow Me”.
Not many bootlegs derive from shows in Nebraska for some reason, so this is an odd choice for a silver. Highland chose it because besides being another fun show on the short tour, it was the final time the band played “Man On The Corner” live.
On the Genesis Movement website, kaspergm writes “As the show memory below says, last ever performance of ‘Man On The Corner.’ However, the occurrence of ‘Man On The Corner’ on this bootleg is suspicious as neither ‘Man On The Corner’ nor ‘Who Dunnit?’ were played on any of the nights after January 10. [A claim that isn’t true – ‘Man On The Corner’ was a regular inclusion in the set up until the January 21st show in Dallas]. I would not be surprised if ‘Man On The Corner’ in this recording was cut in from another show – it would not be the first time Highland did this – but I have not been bothered to dig out the discs I have, somewhere, to check on this – don’t know if anybody ever gave any thought to this.”
“Man On The Corner” certainly sounds genuine. It is in the same sound quality as the rest of the tape and there are not cuts at the end. (In fact, the first four songs on disc two run together with no pause).
Keeping their habit of starting the show with the previous album’s hits, they begin with “Dodo / Lurker” and “Abacab,” the two epics from Abacab. Phil Collins greets the audience, “Good evening Omaha! Good evening Nebraska in general. Well this is the first time we’ve come to this neck of the woods” and tell them that “we’re gonna be here for a couple of hours, until the drugs wear off.”
“Mama,” complete with Collins’ spitting and groaning, is the first of the new songs to be played and the most abrasive. Not prog and not pop, it’s in a Genesis category of its own and thankfully doesn’t set the tone of the entire show.
The first “old medley” starts off with the opening fanfare of “The Eleventh Earl Of Mar” which segues into “The Lamb Lies Down On Broadway,” the instrumental portion of “Firth Of Fifth” and the final “old man’s lament” of “The Musical Box.”
Before “Illegal Alien” Collins jokes about Oklahoma steaks being better than Omaha steaks. ”How quickly they turn on you” he jokes when the audience let out the expected boos. He continues with the fugitives from justice bit and plays the group radio, playing snatches of Culture Club’s “Karma Chameleon ” Michael Jackson’s “Thriller” and Yes’ “Owner Of A Lonely Heart.” The roadies join the band onstage for the “roadie choir,” adding their voices to the infectious (and silly) chorus.
As stated above “Man On The Corner” was a regular number in the show up until the Dallas show on January 24th. It was dropped afterwards, but added again in Omaha and played for the final time live. After “Follow You, Follow Me” Collins introduces the second medley of the night. The “In The Cage” oldies set is lifted straight from the Encore tour two years before as is the final drum duet and “Los Endos.”
“Misunderstanding” is the first encore and “Turn It On Again” closes the show. The latter contains a long medley of classics including “Everybody Needs Somebody To Love,” “Pinball Wizard” and “The Midnight Hour.” Genesis would retain a medley in this song in later tours.
The Steam Of The Medley was produced in 1999 by Highland and is one of their classic releases. They use several dramatic live shots for the artwork including the cover with the band’s famous light show and a shot inside of Phil addressing the audience from behind the stage. Not only is Omaha a great show, but the odd location of the concert and the excellent sound quality make this one worth having.
1. Communication Breakdown
2. I Can’t Quit You Baby
4. Dazed And Confused
5. White Summer/Black Mountain Side
6. How Many More Times
Bruce Springsteen and the E Street Band live at the Capitol Theater, Passaic, New Jersey on Tues. 19th September 1978.
Bruce and the band were 5-months into their long USA Darkness On The Edge Of Town tour when they hit the Capitol Theater for 3-sold out shows (19th, 20th and the Boss’s birthday show on 21st). Playing in the Capitol Theater’s 3,000 seat hall, it was quite a show that night.
Tooled to the pitch of perfection from 5-months of touring and playing nearly every night, the band were as tight as they would ever be. The shows on this tour were to become legendary, but this show is a standout that is head and shoulders above all the rest. Absolutely superb, with Bruce and the band at their finest. The shows didn’t get any better than this.
The E. Street Band at this time was: Max Weinberg-drums, Garry Tallent-bass, Danny Federici-organ, Roy Bittan-piano, Steve Van Zant-guitars, Clarence Clemons-sax, and the Boss himself. A killer set-list with every song performed flawlessly. The tour began in Buffalo at Shea’s Theater on 23rd May, and ended with a show on New Years Day 1979 at the Richfield Coliseum in Cleveland. Over 120 shows had been booked, and Bruce and the band ended up playing 117 full shows. There were a couple of shows that had to be cancelled and some had to be re-booked because of various band members getting sick on the road during the long tour.
However, 117 shows was an absolute marathon tour, and Bruce and the band were thoroughly exhausted after the last show, taking a well-deserved year off to rest and record. Considering each show was some 2+1/2 to 3-hours long, no wonder the band was exhausted by the end of the tour. Check out the cover shot of Bruce with his well-worn Fender Telecaster on the cover…..months of hard touring were wearing the finish off his guitar.
This was, at the time, the most financially successful rock tour in history…..every show sold-out. This was the tour that made the Boss and his band millionaires…..and they gave million dollar performances… ! Writers at the time reviewed the tour, reporting that with this tour, the Boss insisted on military precision for all shows and conduct. Bruce insisted there was to be no drinking, drugs or bad behaviour from his band and crew.
To be sure, there were a few after-show celebration parties, however drinking and behavour was tightly controlled, with all aspects and band and staff being dedicated to the tour professionally. The discipline paid off, they all became millionares, and the shows were some of the best the E. Street Band ever gave. This is the entire, uncut concert from the first night on 19th Sept. 1978. The show was broadcast on the eastern USA seaboard FM radio live, so this accounts for the exquisite sound fidelity. Sound is superb, professionally recorded and mixed.
Bruce seriously considered releasing this show as an “official” live album way back in 1979, but for some reason shelved the project. Too bad….the show performances from this are better than the ones on the official Live 75-85 release. Springsteen at his finest, a dynamic performance… ! Long considered a “classic” bootleg, this show on Great Dane CD’s was produced from the master tapes in Italy in 1990.
One of the best Great Dane CD packages, it has superb packaging and presentation with original photographs from the actual show. This show was also professionally filmed by Bruce, and remains unreleased, however bootleg copies exist….again outstanding show performances….. Max Weinberg-drummer for the E. Street band once stated that the show from this tour at the Agora Club in Cleveland on 09th Aug.-1978 was the finest show the band ever did………I dunno…..you would be hard pressed to find a better show than this one at the Capitol Theater.
It’s a matter of personal taste, but both show’s are the best, probably rate a tie for #1 in the top ten shows of the Boss’s career. Set lists are slightly different, as the Boss changed the set list almost nightly, and each has their own respectively great songs. A superb show performance and outstanding stereo sound fidelity….the complete show with encores. Another benchmark in Bruce’s already legendary career….and he was only 28-years old.
They don’t get any better than this…. Seek it out at all costs… Highly Recommended.
2. Immigrant Song
4. Dazed And Confused
5. Bring It On Home
6. That’s The Way
7. Since I’ve Been Loving You
1. Organ Solo
2. Thank You
3. What Is And What Should Never Be
4. Moby Dick
5. Whole Lotta Love
6. Communication Breakdown
While I have numerous titles containing Led Zeppelin Studio Outtakes I do not collect them as much as I do their live music. Years back I bought the ScorpioStudio Sessions Ultimate title as kind of a final word and up until now was a (for me) defining release of this material. Upon the official announcement that The Don would be attempting to produce a definitive collection of this material did I think, time to upgrade? One only has to look at the scope of this collection, every known bit of out take and rehearsal material known to circulate among collectors. The new set is prepared in chronological order, each CD has its own subtitle and the set comes with an excellent 60 page booklet with detailed notes on each session from the incomparable Paul De Luxe and The Hermit. There are six gatefold sleeves that house the CDs, all have the track listing on the back and are beautifully adorned with studio shots of the band during the era found within the compact discs. The box itself is striking in its simplicity, a Black box with gold lettering with the Swan Song logo and individual band member signs on the cover; of course it is slightly thicker to accommodate six sets as well as the booklet. The care shown in the sets creation and its accuracy in detail are second to none, and for now this must be considered as definite as it stands at this time, for we do not know what will be unearthed in the future. The massive 18 disc set just so happens to be Box number 18 of an incredible line of box sets that has garnered praise from collectors.
Doing a review such as this is a daunting task and one that can include some pains to produce and I was incredibly lucky to have some superb references along the way that must be acknowledged. Firstly to Gerard’s excellent review of the Scorpio Studio Sessions, since that set came with a flimsy sheet with only basic information I long ago printed a copy of his review to use as a reference guide. Secondly to the Led Zeppelin Data Base and Argenteum Astrum, a site with a massive amount of information and a vast help for this review and also for my general collecting needs. Of course Led Zeppelin Live by Luis Rey and Dave Lewis’ Concert File are always excellent resources and inspiration in not only how I write a review but thanks to Luis how I listen to these tapes, both the studio and live material.
Disc 1 (65:59) Led Zeppelin I and II Sessions – Olympic Sound Studios Barnes, London England September 27,1968; Babe I’m Gonna Leave You (take 8), Babe I’m Gonna Leave You (Take 9 stopped), Babe I’m Gonna Leave You (Take 9 complete), You Shook Me. Olympic Sound Studios Barnes, London England October 10, 1968; Baby Come On Home (AKA Tribute To Bert Berns / Take 1 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 2 stopped), Baby Come On Home (AKA Tribute To Bert Berns / Take 3 Complete. Olympic Sound Studios Barnes, London England October 1968; Guitar Organ Instrumentals (Take 1), Guitar Organ Instrumentals (Take 2), Guitar Organ Instrumentals (Take 3), Guitar Organ Instrumentals (Take 4), Guitar Organ Instrumentals (Take 5), Guitar Organ Instrumentals (Take 6), Guitar Organ Instrumentals (Take 7). Mirror Sound, Los Angeles, California between May 4-6 1969; Moby Dick (intro & outro), Drum Solo. Morgan Studios, Willesden, LondonEngland June 1969; Sugar Mama. Morgan Studios, Willesden, London EnglandJune 25, 1969; We’re Gonna Groove
These outtakes can be found in parts on the titles Olympic Gold on Scorpio (LZ 92-SC), Gems + Jams (ZELCD101), Studio Haze (Laughing Skull), Anyway You Want (KFM 008), Babe, I’m Gonna Leave You (Dynamite Studio DS92J031),Hairway To Steven (Invasion Unlimited IU9645-1), Early Days (Refinded Masters),Studio Sessions (Antrabata), and Studio Sessions Ultimate (Scorpio LZ-07001~12). “We’re Gonna Groove” is found on Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).
The sound quality of the material when compared to the Scorpio set is not as amplified as much so there is less hiss and has a warmer sound. Plant’s raw vocal on “Babe I’m Gonna Leave” is superb as well as is his vocal improvisations. I enjoy the “Baby Come On Home”, throw the backing vocals out and blues it up just a little it would have been an incredible song, I love the sound of Page’s guitar as well. The “Guitar Organ Instrumentals” are also good, Page’s playing is simply wonderful, it would have been interesting to here parts of this during his “White Summer / Black Mountain Side” showcase in the live shows. The “Moby Dick” outtakes are a very nice upgrade is sound versus the Scorpio titles as is “Sugar Mama”, there is still tape hiss present but they sound clearer. The version of “We’re Gonna Groove” was later released on Coda, this was not found on the Scorpio title but thankfully added to this set.
Disc 2 (72:28) Led Zeppelin II Multi Tracks – Rehearsed and assembled during the bands second American Tour in 1969 with basic framework recorded at Olympic Sound Studios London May 1969 with additional overdubs added in Los Angeles. Final mix by Eddie Kramer and Page over two days at A&R Studios, New York City, NY. August 1969; Whole Lotta Love (main guitar bleed), Whole Lotta Love (guitar overdubs bleed), Whole Lotta Love (bass bleed), Whole Lotta Love (drum right bleed), Whole Lotta Love (drum left bleed), Whole Lotta Love (tympani tambourine bleed), Whole Lotta Love (vocals bleed), Whole Lotta Love (vocals overdubs bleed), Whole Lotta Love (multi track mix down version 1), Whole Lotta Love (multi track mix down version 2), Whole Lotta Love (multi track mix down version 3), Whole Lotta Love (multi track mix down showcase)
Disc 3 (58:11) Led Zeppelin II Multi Tracks – Recorded June 1969 at Groove Studios New York and Olympic Sound Studios London. Mixed at A&R Studios New York; What Is And What Should Never Be (main guitar bleed), What Is And What Should Never Be (bass bleed), What Is And What Should Never Be (drum right bleed), What Is And What Should Never Be (drum left bleed), What Is And What Should Never Be (main vocals bleed), What Is And What Should Never Be (vocal overdubs bleed take 1), What Is And What Should Never Be (vocal overdubs bleed take 2), What Is And What Should Never Be (guitar and vocal overdubs), What Is And What Should Never Be (multi mix down version 1), What Is And What Should Never Be (multi mix down version 2), What Is And What Should Never Be (multi mix down version 3)
Disc 4 (72:31) Led Zeppelin II Multi Tracks – Recorded and mixed in A&R StudiosNew York City, NY. May 30, 31, 1969; Heartbreaker (main guitar bleed take 1), Heartbreaker (main guitar bleed take 2), Heartbreaker (bass bleed), Heartbreaker (drum right bleed), Heartbreaker (drum left bleed), Heartbreaker (guitar bass drum bleed), Heartbreaker (vocals bleed), Heartbreaker (vocals and guitar bleed), Heartbreaker (multi track mix down version 1), Heartbreaker (multi track mix down version 2)
Disc 5 (61:41) Led Zeppelin II Multi Tracks – Recorded in Juggy Sound Studio, New York in June 1969 and mixed in A&R Studios in New York; Ramble On (acoustic guitar bleed), Ramble On (electric guitar bleed), Ramble On (guitar overdub bleed), Ramble On (bass bleed), Ramble On (drum right bleed w/tympani), Ramble On (drum left bleed w/tympani), Ramble On (vocals bleed), Ramble On (vocals and guitar bleed), Ramble On (multi track mix down version 1), Ramble On (multi track mix down version 2), Ramble On (multi track mix down version 3), Ramble On (multi track mix down version 4), Ramble On (multi track mix down version 5), Ramble On (multi track mix down version 6)
All Our Love (Beelzebub Records), Alternates And Outtakes I & II Volume 1(Boogie Mama), The Black Bomber – The Recording Sessions (Beelzebub Records), Countdown (Boogie Mama), Early Ramshackle Days (Beelzebub Records), Led Zeppelin II Multi Track Mixdowns (Empress Valley Supreme Disc),The Lost Sessions Volume 2 (Empress Valley Supreme Disc), The Making Of Led Zeppelin II (Empress Valley Supreme Disc), Royal Albert Hall 1970 (Wendy Records). The most recent of Zeppelin outtakes to see the light of day, early in this millennium. They provide a fascinating glimpse into not only the mixing but how the songs were written and constructed. While sometimes some of the bleed tracks can get tedious other times you marvel at some sounds or parts you never heard before. I have always enjoyed the Classic Album series on VH1 (and on DVD) for this reason. The ensuing multi track mix downs are superb and offer a different glimpse at these songs we all know so well. The sound quality on all is impeccable stereo perfection and these outtakes are considered essential. The “Whole Lotta Love” mix down version 3 has an incredible ending. The mix downs for “What Is And What Should Never Be” have many added guitar snippets with version 2 and 3 being very enjoyable. The last “Heartbreaker” mix down version 2 has a much different guitar solo and some accented slides as well as some vocals snippets and is a superb mix up. The “Ramble On” disc is particularly interesting; the acoustic guitar bleed brings to light a lot of the depth of the song you don’t usually hear and notice due to the eventual prominence of the electric guitar. “Ramble On” has the most multi mixes, all variations of each other with extra vocals and guitar and drum snippets scattered throughout.
Disc 6 (71:38) Led Zeppelin III Sessions – Recorded at Olympic Sound Studios, Barnes, London England November 1969; Jennings Farm Blues (take 1 stopped), Jennings Farm Blues (take 2 stopped), Jennings Farm Blues (take 3 stopped), Jennings Farm Blues (take 4 stopped), Jennings Farm Blues (take 5 stopped), Jennings Farm Blues (take 6 complete basic version), Jennings Farm Blues (take 7 stopped), Jennings Farm Blues (take 8 stopped), Jennings Farm Blues (take 9 stopped), Jennings Farm Blues (take 10 stopped), Jennings Farm Blues (take 11 stopped), Jennings Farm Blues (take 12 complete full mix) Recorded at Bron-Yr-Aur Cottage Machynlleth Gwynedd, Wales sometime between April and May 1970;Untitled Guitar Instrumentals
The Jennings Farm Blues material is an electric take on the Led Zeppelin IIIacoustic song “Bron-Yr-Aur Stomp”, recorded as a possible single but the song remained unreleased by the band although one can certainly tell that considerable work went into it. It was first found on Jennings Farm Blues(Scorpio) and featured on 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), and Studio Sessions Ultimate (Scorpio). The sound source has been excellent since its first release; again the music does not seem as amplified as the Scorpio Studio Sessions Ultimate and has a warmer natural sound to it.
The “Untitled Guitar Instrumentals” have a long history and are a much valued tape in Led Zeppelin history as they are the only known tape of the band playing at Bron-Yr-Aur cottage in Wales. Long tired of touring in America and the social upheaval that was happening and directly affecting them they retreated to the quiet countryside to compose and the mostly acoustic material that came from it formed a good deal of the third and fourth records. The recordings have a long history with bootleggers going back to the vinyl days of Bootleg LP’s The Alternative Led Zeppelin III (The Swingin’ Pig Records), Best Of Led Zeppelin Vol. 1 (Rock Solid Records), The Final Option (Rock Solid Records & The Swingin’ Pig Records), Led Zeppelin Film Can (Rock Solid Records), Led Zeppelin III Studio Rehearsals May 1970 (RL Records), More Inedits (MLZ), Studio Rehearsals May 1970 (Rock Live), Studio Rehearsals 1967-1971 Part 1 (Grasshopper), & III To Get Ready (Early Times) and on compact disc under titles like 1970 Studio Works(Theramin Music), Another Way To Wales (Black Swan), Led Zeppelin III(Tarantura), Sessions (Antrabata Reference Master), Studio Sessions Ultimate(Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The quality found on the Godfather box is very similar to what is on the Scorpio Studio Sessions Ultimate. There are many song references thrown in, my favorite is “Down By The Seaside” and although is just an early run through has many of the laid back components of the yet to be recorded version. Where the Scorpio version has song indexes, unfortunately the Godfather is one long 46 minute track. Another of the really great early tapes.
Disc 7 (69:40) Led Zeppelin III Sessions (part 2) – Recorded at Headley Grange Studios, Hampshire England sometime between May and June 1970; Guitar Instrumental (take 1), Guitar Instrumental (take 2), Poor Tom (take 1), Guitar Instrumental (take 3), Guitar Instrumental (take 4), The Boy Next Door aka That’s The Way (take 1), The Boy Next Door aka That’s The Way (take 2), The Boy Next Door aka That’s The Way (take 3), The Boy Next Door aka That’s The Way (take 4), The Boy Next Door aka That’s The Way (take 5), My Oh My aka Friends (takes 1-2), Guitar Instrumental (take 5), Guitar Instrumental (take 6), Guitar Instrumental (take 7), Bron-Yr-Aur (take 3), My Oh My aka Friends (takes 3-4), Bron-Yr-Aur (take 4), Poor Tom (takes 2-6), Hey Hey What Can I Do (takes 1-2), Immigrant Song, Bathroom Song aka Out On The Tiles. Recorded at Morgan Studios Willesden London England on May 6, 1970; Poor Tom (take 1 instrumental), Poor Tom (take 2 w/ vocals)
The first set of material is a rehearsal amateur tape some have attributed to Bron-Yr-Aur Cottage but it cannot be confirmed so it is label as Headley Grange. It has also been in circulation for a long period, Bootleg LP References are The Alternate Led Zeppelin III (The Swingin’ Pig Records), Hiawatha Express (Stash) &The Making Of Friends (III) while on compact disc as 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama), Another Way To Wales (Black Swan), Hiawatha Express (Toasted/Condor), Led Zeppelin III(Tarantura), Sessions (Antrabata Reference Master), Stairway Sessions (Silver Rarities), Studio Sessions Ultimate (Scorpio “new”), Tribute To Johnny Kidd And The Pirates (Scorpio “old”), & Ultra Rare Trax Part 2 (Savage Beast Music). Again the tape is similar to the sound of the Scorpio Studio Session Ultimate. Being an amateur style recording there is some notable tape hiss present and at times what sounds like wind moving across the microphones is present but does not detract from the listening experience, just adds to the ambiance.
This is a very intimate tape featuring just Page and Plant giving us a glimpse inside their unique musical bond. “Poor Tom” features some nice percussion from what sounds like Plant clapping along on his legs as they are seated. The many takes of “The Boy Next Door” are wonderful, soft and gentle with some great improvised guitar from Page; clearly his skills on the acoustic guitar are vast. Great to hear the sounds of a dog, possibly Plant’s beloved Stryder adding his own compliment. The early takes of “Friends” include bongos from Plant and we see that musically it is taking shape, Plant sings vocal harmonies of what is to become the lyrics and Page adds harmonized vocals to flesh it out. You can clearly here Robert’s child during Take 3 of “Bron-Yr-Aur”, the addition of “Hey Hey What Can I Do?” with the acoustic guitar from Plant and some mandolin from Page sounds very like something you would hear from The Band. The early band versions of “Immigrant Song” and “Out On The Tiles” are tentative sounding, the latter has the chorus intact but the rest will continue to take shape.
The two takes of “Poor Tom” are excellent sounding outtakes, the final one being what is used on Coda. They sound just slightly fuzzy and are one of my favorite songs from that record. Previously found on All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 ~ Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc),Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio).
The rest of the record is taken up with excellent quality outtakes of “Celebration Day”, “Hey Hey What Can I Do?”, and “Out On The Tiles” sans vocals. They sound close to the final mixes and have seen compact disc releases as All Our Love (Beelzebub Records), Alternates And Outtakes III Volume 2 (Boogie Mama),The Lost Mixes EP Volume 3 ~ Led Zeppelin 1970-1971 (Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), incredible as it sounds the story has the tapes being found in the garbage.
Disc 8 (78:04) Led Zeppelin III and IV Sessions – Recorded at Olympic Sound Studios, Barnes, London England sometime between May and June 1970; That’s The Way (full mix), Feel So Bad (aka Hats Off To Roy Harper takes 1-2) Medley includes Fixin’ To Die, That’s Alright Mama, Since I’ve Been Loving You (vocal track), Since I’ve Been Loving You (full mix). Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971;Stairway To Heaven (take 1 instrumental), Blues Guitar / Piano improvisation, Black Dog acoustic (take 1 instrumental), Black Dog acoustic (take 2 instrumental), Black Dog electric (rehearsal), No Quarter, Stairway To Heaven (take 2 instrumental), Stairway To Heaven (take 3 instrumental), Stairway To Heaven (take 4 instrumental), Electric Guitar Improvisation, Stairway To Heaven (take 5 w/ vocals), Stairway To Heaven (take 6 w/ vocals), Stairway To Heaven, Night Flight
The remainder of the LZIII out takes start disc eight, in incredible sound. It first appeared on Studio Daze (Scorpio) and was followed on titles like 1970 Studio Works (Theramin Music), Alternates And Outtakes III Volume 2 (Boogie Mama),Led Zeppelin III (Tarantura), Live On Tour With Led Zeppelin Volume 1 (Beelzebub Records), The Lost Sessions Volume 6 (Empress Valley Supreme Disc), Scorpio Rising (Akashic), Sessions (Antrabata Reference Master), Studio Daze Revisited(Scorpio), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). The versions are excellent studio mixed version in outstanding quality and are musically a revelation. The song titles “Feel So Bad” is the music of “Hats Off To Harper” with lyrics from “Fixin’ To Die” and Elvis’ “Thats Alright Mama” sung in the “Hats Off” style. The vocal track of “Since” is good but the final full mix of the song is incredible. It reeks with emotion and passion like no other song in the band’s vast catalog does and the playing was described by Plant as the sound of Led Zeppelin live, if the bootleggers microphones could accurately capture the bands sound, this song would be it.
The IV album outtakes are essential listening, mostly due to the fact that we are treated to several quality rehearsals of “Stairway To Heaven”, as well as other gems to boot. This recording has been out many times on bootleg LP as And IV To Go (Ugly Duckling), Inedits (LZ 1-2), Led Zeppelin IV Studio Rehearsals January 1971 (RL Records), Studio Rehearsals January 1971 (Rock Live), & Studio Rehearsals 1967-1971 Part 1&2 (Grasshopper) and on bootleg CD as All That Glitters Is Gold (Celebration Definitive Masters), The Lost Sessions Volume 9(Eelgrass), The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1(Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), Studio Sessions Ultimate (Scorpio), Ultra Rare Tracks Volume 1 (Missing Link), & Ultra Rare Trax Part 2 (Savage Beast Music). The “Stairway” versions start off rudimentary and have early versions of “Black Dog” in between, it is great to here Jonesy give direction and Plant improving the lyrics, something he would continue to do onstage. There is an early version of “No Quarter” also, a song that would continue to be worked on until its final form the next year. The history of “Stairway” is one of legend, the music comes to Page and upon hearing it Plant started the lyrics in a blast of semiotic energy between the two, this is a glorified idea but is pretty much confirmed when listening to the versions of the song. The sound is very similar to that of the Scorpio Studio Sessions Unlimited.
The last take of “Stairway” is an excellent studio outtake released as The Lost Sessions Volume 9 ~ All Roads Lead To Headley Grange 1 (Empress Valley Supreme Disc), some claim its legitimacy but Plant’s vocals are slightly different and Page’s guitar solo is total different, he has stated in many interviews that several solo were recorded. “Night Flight” is the full mix of the song minus overdubs done prior to its being released on Physical Graffiti, it has been previously found on Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc).
Disc 9 (60:26) Led Zeppelin IV Sessions – Recorded at Headley Grange Studios, Hampshire England sometime between January and February 1971; The Battle Of Evermore (take 1), The Battle Of Evermore (take 2), The Battle Of Evermore (take 3), The Battle Of Evermore (take 4), The Battle Of Evermore (take 5), The Battle Of Evermore (take 6). Recorded somewhere between January and February 1971;Four Sticks (take 1 instrumental), Four sticks (take 2 w/ vocals), Black Dog, When The Levee Breaks (take 1), When The Levee Breaks (take 2)
One of my disappointments with the Scorpio Session box was that the “Battle Of Evermore” material was not present, save one small outtake. I have always loved this song and am glad to finally hear this music. Of course many collectors have this on titles All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama),Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), andStudio Sessions Ultimate (Scorpio). I give Plant much credit for this song, he brings in Sandy Denny from Fairport Convention to sing on the song and the vocal mix has the wonderful call and response aspect and his lyrics show his deep appreciation and knowledge of Welsh history combined with the works of JR Tolkein that brings the song to life. The quality of this material varies slightly but is all very good to excellent quality.
The remainder of the material has been found on All Our Love (Beelzebub Records), All That Glitters Is Gold (Celebration Definitive Masters), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama),Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), The Lost Mixes EP Volume 3 – Led Zeppelin 1970-1971(Empress Valley Supreme Disc), Outside The Door (Beelzebub Records), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). They are variations of the final mixes, “Four Sticks” has Bonzo’s drumming in the foreground and has a much different feel to it where the final mix is close to the one found on the record. The most interesting of these is the two “When The Levee Breaks”, both sound as if they are still a mix in process, all the above songs are superb studio quality.
Disc 10 (61:45) Bombay Rehearsals & Houses Of The Holy Sessions – Recorded at EMI Studios Bombay, India March 1972; Friends (rehearsing the tune), Four Sticks (take 1), Friends (take 1), Friends (take 2), Friends (take 3), Four Sticks (take 2), Four Sticks (take 3), Four Sticks (take 4). Recorded by the Rolling Stones Mobile Studio, Stargroves Newbury, Berkshire, England and Island Studios London England May 15, 1972; Walters Walk (take 1 instrumental), Walters Walk (take 2 w/ vocals), Walters Walk (take 3 with vocals)
Page and Plant’s trip to Bombay after the band’s legendary Australian Tour is one of legend, they spoke about it in various interviews and finally the tape came to light, and what a revelation it is, one that would certainly come to fruition some 20 plus years later when the duo reformed to produce the Un- Ledded project. Previously issued as All That Glitters Is Gold (Celebration Definitive Masters),Alternates And Outtakes III Volume 2 (Boogie Mama), Complete 1972 Bombay Sessions (Tecumseh), The Lost Sessions Volume 2 – Led Zeppelin In India(Empress Valley Supreme Disc), Sessions (Antrabata Reference Master & The Diagrams Of Led Zeppelin), The Smithereens (Akashic, 1CD & 3CD), Studio Sessions Ultimate (Scorpio). I got my first taste of this tape on the Studio Haze(Laughing Skull), a version that was much poorer in sound and completeness. The sound quality found on this Godfather version is similar to the ScorpioStudio Session Ultimate and is excellent and complete. The music found within is very interesting; if you close your eyes you can almost envision Page and Plant working with the musicians who they have a limited dialogue with. The versions of “Friends” with vocals are incredible; his voice has some echo on it and a very ethereal quality to it that accents the music perfectly. The final mixes of “Four Sticks” are also very nice, although take 4 is not a complete version being cut about a minute in.
The remainder of the disc is comprised of three takes of “Walter’s Walk”, a song that dates back to the Houses Of The Holy era but would not see the light of day until the Coda record in 1982. The band would play the main riff of the song during “Dazed and Confused” and there are many good references to the song from the summer 1972 tour, such as Baltimore and San Bernardino. We are treated to the complete 13 minute tape, parts have been released on 1970 Studio Works (Theramin Music), All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc),Sessions (Antrabata Reference Master), Studio Daze (Scorpio), Studio Sessions Ultimate (Scorpio). The quality is superb studio quality, and the final two versions have been remixed sometime in 1982 when Plant recorded the vocals for the song, his last remaining thing he recorded for Led Zeppelin.
Disc 11 (57:00) Houses Of The Holy & Lucifer Rising – Recorded at Island Studios London, England and mixed at Olympic Studios by Andy Johns in June 1972; No Quarter (take 1 instrumental complete), No Quarter (take 2 stopped), No Quarter (take 3 stopped), No Quarter (take 4 instrumental complete), No Quarter (take 5 stopped), No Quarter (take 6 stopped), No Quarter (take 7 w/ vocals complete).Recorded at Boleskine House. Loch Ness Scotland sometime between October and November 1973; Incubus, Damask, Unharmonics, Damask (ambient version), Lucifer Rising, Lucifer Rising (percussive return)
There is precious little of the material that encompasses the Houses Of The Holyrecord, all we have is 25 minutes of “No Quarter” outtakes, the quality is incredible and the final version with vocals is pristine in quality and showcases a mix I think that is superior than the one eventually released. The material was first found on Studio Daze (Scorpio) and then on 1970 Studio Works (Theramin Music), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3(Boogie Mama), The Lost Sessions Volume 6 (Empress Valley Supreme Disc),Sessions (Antrabata Reference Master), Scorpio Rising (Akashic), Studio Daze Revisited (Scorpio), Studio Sessions Ultimate (Scorpio).
The remainder of the material comes from 1973 and is a four track recording of instrumental music Page produced for Kenneth Angers film Lucifer Rising. Page was late with turning the music over to Anger who was much displeased and made light of the situation in the press. This was Page’s first foray into film, he would again dabble in soundtracks from 1982s Death Wish II. Previous releases include Brutal Artistry II (Midas Touch), Inducted And Possessed (Beelzebub Records), Sessions (Antrabata Reference Master), Studio Sessions Ultimate(Scorpio). Interestingly, Anger did not use any of the material, a true shame as the “Lucifer Rising” track is a 20 minute soundscape of very dramatic themes that have, as the liner notes state “give one the creeps”. If you love Page’s bow solos from “Dazed and Confused” and some of his electronic improvisation, this dark piece is very appealing and the same piece makes its CD debut on this set. The sound quality is certainly better than is what is found on Scorpio’s Studio Session Ultimate title, and is much more complete.
Disc 12 (54:21) Pre Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England November 1973; Untitled Instrumental.Recorded at Headley Grange Studios Hampshire, England November 1973;Untitled Instrumental, Ten Years Gone (takes 1-12)
Sessions (Antrabata Reference Masters) and Studio Sessions Ultimate (Scorpio) were the only two previous releases, I will defer to the liner notes; This is a real mystery. It consists of Page working out melodies on the acoustic guitar. Some of the melodies introduced on the guitar are then (very occasionally) played on piano. The piano playing is very good and causes questions as to whether or not it is Page playing or someone else. There is no further evidence on tape that he even plays the instrument. Nevertheless some of the melodies are recognizable including the fast break found in 1976′s “Hots On For Nowhere” and an embryonic version of “The Rain Song”. Sadly Godfather chose to leave it as one long 43 minute track. The quality is excellent and a slight improvement over the Scorpio version.
The rest of the disc is comprised of Jimmy working through “Ten Years Gone”, the material has seen previous released as All That Glitters Is Gold (Celebration Definitive Masters), Brutal Artistry (Midas Touch), The Complete Bombay 1972 Sessions (Tecumseh), Studio Sessions Ultimate (Scorpio “new”). Again the quality is excellent, the origin of these could have been to use as overdubs on the final version, one comprised of Page’s guitar army. Sadly, they are just fragments. One of the more boring discs in the set that does get a lot of “air time” on my stereo but is good to own for completeists sake.
The song has seen prior releases on Brutal Artistry (Midas Touch), The Lost Sessions Volume 10 ~ All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Studio Sessions Ultimate (Scorpio). Its origins go back many years, as early as February 1970 as found in Page’s showcase of “White Summer/Black Mountain Side” from the band’s date in Copenhagen on the 28 you can certainly clearly hear the introductory notes and would be played sporadically throughout the years, sadly as these instrumental workouts show, was never completed by the band. As we all know Page would dust of the song and work it into shape for his solo spot on the ARMS tour, one that would find him beginning a collaboration with Bad Company’s Paul Rodgers. The duo would go on to form The Firm and release the opus on their first self titled record in 1984. Again unfortunate that Godfather elected to leave it as one long track as there are numerous places that would have made sense. Quality wise it is similar to theScorpio Studio Sessions Ultimate in terms of quality.
Disc 14 (72:34) Physical Graffiti Outtakes (Part 1) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song (take 1), The Wanton Song (take 2), Take Me Home (take 1), Take Me Home (take 2), In The Morning aka In The Light (take 1), Trampled Underfoot (takes 1-9), In The Morning aka In The Light (take 2), Sick Again, The Rover, Untitled Instrumental, ABC Song, In My Time Of Dying (takes 1-7). Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; The Wanton Song, Trampled Underfoot
After the meandering of the previous two discs we get into the real meat and potatoes of this set. Thankfully there is a lot of studio material from the Physical Graffiti sessions for us to enjoy in excellent sound quality. This is a real glimpse inside the creative process of the band as they record their masterpiece. The tape has seen numerous releases on Bootleg LP as Alternate Physical Graffiti(The Swingin’ Pig Records), Hiawatha Express (Stash), In Through The Outtakes(White Box & Widget Recordworks), Tangible Vandalism (TV & White Box), &White Summer (Marc & Rock Solid Records) and on CD as Alternative Graffiti(Celebration Definitive Masters), Brutal Artistry (Midas Touch), Headley Grange(Immigrant), The Lost Sessions EP Volume 10 – All Roads Leads To Headley Grange 2 (Empress Valley Supreme Disc), Physically Present (House Of Elrond),Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio), &Totally Tangible (Blimp). The sound on this material, as stated before is excellent and very close in sound to the Scorpio Studio Session Ultimate.
“The Wanton Song” is much more advanced as found on the 1973 rehearsal tape / sound check. “Take Me Home” sounding like something that came from “The Crunge” with Plant ad libbing lyrics that sound like The Beatles’ “I Wanna Be Your Man”. “In The Morning” is an early work through of “In The Light”, it is interesting to hear Page working on the different riffs and time changes on the guitar, he has the ascending riff down. Even though Plant has some rough lyrical ideas down he seem to put in a great vocal performance and Bonham starts really pounding his set at the songs conclusion, great outtake. The “Trampled” takes are a lot of start and stops and finds Bonzo searching for the right beat, there are some nice spots of chatter between takes that is quit nice. Another “In The Morning” follows, like the other has Plant (?) whistling the melody before the band start the song but the version is tame compared to the first.
The “Untitled Instrumental” is what is described as a groovy jam, one can certainly agree as it is loaded with funk. The “In My Time Of Dying” takes are interesting to say the least, the band try and get Bonzo to get the right beat and it sounds heated. The final two songs are finished mixes, the sound is perfect, they have circulated under titles as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Control Monitor Mixes EP (Watch Tower), The Lost Mixes EP Volume 1 (Empress Valley Supreme Disc), & Studio Sessions Ultimate (Scorpio “new”).
Disc 15 (69:29) Physical Graffiti Outtakes (Part 2) – Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Ten Years Gone (takes 1-4), Boogie With Stu (takes 1-9), Night Flight (takes 1-11).Recorded at Headley Grange Studios Hampshire, England sometime between January and February 1974; Trampled Underfoot, Kashmir, Custard Pie, In The Light, Swan Song aka Midnight Moonlight (take 1), Swan Song aka Midnight Moonlight (take 2)
The 37 minute tape featuring the “Ten Years Gone”, “Boogie With Stu”, and “Night Flight” outtakes have been circulating on such titles as Alternative Graffiti(Celebration Definitive Masters), Brutal Artistry II (Midas Touch), Studio Sessions Ultimate (Scorpio), & Ultra Rare Trax Part 2 (Savage Beast Music). There are small scuffs during 2:18 and 2:29 of “Ten Years Gone”; they are also present on the Scorpio title, Disc 10 track 8. I do not own other versions of this tape and have to guess it is on the master. The song is in its final mixes and the extensive overdubs are all on there. “Boogie With Stu” was, of course, recorded back in 1971 and dusted off for inclusion on Physical Graffiti, the mixes provide no hidden gem within. Again it would be nice to have que breaks for the songs as some are quick snippets while others are a complete song.
The reminder of the disc has seen the light of day on All Our Love (Beelzebub Records), Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3(Boogie Mama), Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Brutal Artistry II (Midas Touch), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc),Physical Graffiti Alternate Trax (Tarantura), Physically Present (House Of Elrond),Studio Sessions Ultimate (Scorpio), & Swansongs (Tarantura).
“Trampled” is a virtually complete finished mix. “Kashmir” is a stripped down version with drums, bass, and guitar before the Mellotron was added and is fantastic to hear. The version of “In The Light” is incredible, worth the price of admission alone, this is the “In The Morning” version with different lyrics. The quality is so pristine; one has to wonder why they chose to abandon this version. The last two tracks are full band instrumental version of “Swan Song aka Midnight Moonlight”. The second take is longer and where the first take is like the opening, this take sounds like the possible middle section. It cannot be stated enough, and certainly the hardcore collectors know that the Physical Graffitiouttakes are the most satisfying of this set and is essential listening.
Disc 16 (69:56) Radio Takes, Presence Outtakes, Bonzo’s Montreux Sessions and In Through The Out Door Outtakes – Recorded at Headley Grange Studios Hampshire, England 1974; The Wanton Song (WLIR 92.7 radio broadcast), The Wanton Song (WPLJ 95.5 radio broadcast). Recorded at Studio Instrument Rentals (SIR) Hollywood, Los Angeles October 1975; Royal Orleans, Tea For One (Hootchie Kootchie version), Don’t Start Me Talking – All My Loving. Recorded at Mountain Studios Montreux, Switzerland on September 12, 1976; Bonzo’s Montreux (take 1), Bonzo’s Montreux (take 2). Clearwell Castle, Forest Of Dean,Gloucestershire, England May 1978; Fire (Say You Gonna Love Me), Carouselambra (takes 1-4). Recorded at Polar Studios Stockholm, Sweden November 1978; Drum Segment, Carouselambra, Ozone Baby (take 1), Ozone Baby (take 2), All My Love, Wearing And Tearing, I’m Gonna Crawl, Fool In The Rain
The first two tracks are from radio broadcasts and feature outtakes of “The Wanton Song”. The quality is excellent but sounds like it were recorded off of radio, it has seen prior releases as Alternates And Outtakes Led Zeppelin IV & Physical Graffiti Volume 3 (Boogie Mama), The Lost Sessions Volume 12 – All Roads Lead To Headley Grange 3 (Empress Valley Supreme Disc), Relax(Beelzebub Records). Luis Rey stated that if not for some slide guitar overdubs this could pass for a live recording. I agree as it has alot of energy and a live feel too it, this version has DJ comments after its conclusion. The second version is better sounding and similar to the other. Alternative Graffiti (Celebration Definitive Masters), Brutal Artistry (Midas Touch), Sessions (Antrabata Reference Master), Studio Sessions Ultimate (Scorpio). The sound is similar to the Scorpio title and is excellent quality.
Sadly the sessions for Presence yields virtually nothing, all we have is this 8 minute fragment of rehearsal done while the band is in exile in California. The version of “Tea For One” is very nice, certainly not as up and down sounding as the final version is more of a Chicago blues, the “Don’t Start Me Talking” is a really nice jam. Prior releases are Bizarre (Tarantura), Brutal Artistry II (Midas Touch), Countdown (Boogie Mama), Sessions (Antrabata Reference Master), &Studio Sessions Ultimate (Scorpio). Quality is excellent and the tape sounds similar to the Scorpio title.
“Bonzo’s Montreux” was done in the fall of 1976, previously released as All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), Different Mixed Coda (POT), The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The song is very close to what would be released on Coda. Very inventive, one has to wonder why he did not incorporate it into his 1977 solos.
The second portion of the disc is the first glimpses of the band after the turbulent and very sad death of Robert’s son and the cancellation of the 1977 tour and band activities. Early rehearsals are done in England at Clearwell Castle and produce an interesting tape that has seen the light of day as Bizarre (Tarantura),Brutal Artistry II (Midas Touch), In Through The Outdoor Sessions (Boogie Mama),The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Missing Links (The Diagrams Of Led Zeppelin), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is a very good amateur style recording, Page is playing very well and the music sounds nothing like what would be eventually released on In Through The Out Door, obviously Jimmy sounds very dominant. The run throughs of “Carouselambra” are simply wonderful, albeit raw. Jimmy’s guitar tone is excellent and Jones’ keys naturally have a dominant place in the mix but as Luis Rey states that Bonzo is the true star of this recording and leaves you wondering if the band would have ever played the piece live. The band has put considerable work into the song and Plant has vocals in place for much of the piece, great stuff.
The rest of the disc has us transported to Sweden and Polar Studios, home to ABBA and the sessions that would produce the band’s final studio album. All Our Love (Beelzebub Records), Coda Advanced Tapes (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc) are the previous titles featuring this 29 minute tape. I will refer to liner notes as they hit the nail on the head; These tracks are drum mixes of versions later used on the In Through The Out Door album. Stellar quality, you hear a drums view of the songs. We can clearly hear Bonham working on the drums with the tape of the vocals and guitar faintly in the background. It’s a brilliant insight into a brilliant drummer and makes me wish they had released the official album with this good quality. They sound fresh and excited. Bonzo lets out a “fookin’ ‘ell” right before “Fool In The Rain” and it’s a joy to hear.
Disc 17 (65:29) In Through The Out Door Sessions – Recorded at Polar Studios Stockholm, Sweden November 1978; Carouselambra (take 1), Wearing And Tearing, Fool In The Rain (take 1), Hot Dog, In The Evening, Southbound Saurez, Darlene, Fool In The Rain (take 2), Carouselambra (take 2). Recorded at Polar Studios Stockholm, Sweden November 1978; All Of My Love
The majority of this disc is the 58 minute tape and finds the music nearing completion with the final mixes being worked on. It has been much bootlegged starting with the bootleg LP The Complete Outtakes And Rehearsals (Swan Song),In Through Out Door Sessions (Toasted Records), In Through The Outtakes(White Box & Widget Recordworks), & Out Through The Back Door (Amazing Stork & White Box) and on CD as All My Love (Tarantura), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 ( Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), & Studio Sessions Ultimate (Scorpio). The quality is excellent, professional quality if just a little dull but is equal in quality to the Scorpio set. Again Bonham’s drumming is at the forefront of “Carouselambra”, simply incredible in his fills of what was the last of the Zeppelin epics and one for the new decade. One has to wonder how they chose the material that would make the record, they produced a fast and aggressive rocker like “Wearing And Tearing” and elect to leave it off and make for a possible Knebworth special EP that is of course scrapped. Perhaps too aggressive for the rest of the material but a song that certainly lets you know that the dinosaur still had some fighting spirit left in its old bones. “Fool In The Rain” has some cool count in and some ad libs from Plant. “Southbound Saurez” has a different feel with Jones on the piano and Page’s guitar has a nice fuzz tone to it.
The final track is “All Of My Love”, this outtake is stunning in terms of sound quality and performance. Previously released on All Our Love (Beelzebub Records), In Through The Outdoor Sessions (Boogie Mama), The Lost Sessions Volume 4 (Empress Valley Supreme Disc), Studio Daze (Scorpio), Studio Daze Revisited (Scorpio), & Studio Sessions Ultimate (Scorpio). I remember being blown away by the original Studio Daze Scorpio title and this version of “All Of My Love” as it was much closer to how it was performed live and has a loser feel and features some great playing from Page.
Disc 18 (66:15) In Through The Out Door Sessions & Final Rehearsal – Recorded at Polar Studios Stockholm, Sweden November 14 1978; Ozone Baby (take 1), Ozone Baby (take 2). Recorded at Polar Studios Stockholm, Sweden November 16 1978; Darlene (take 1), Darlene (take 2). Recorded at Polar Studios Stockholm,Sweden November 21 1978; Wearing And Tearing (take 1), Wearing And Tearing (take 2). Recorded at the Rainbow Theatre, London, England and / or New Victoria Theatre London, England sometime between April and May 1980; White Summer (take 1) White Summer medley incl. Black Mountain Side (take 2), Kashmir, Achilles Last Stand (take 1), Achilles Last Stand (take 2) Stairway To Heaven
The final disc finds different mixes of the three songs recorded during the In Through The Out Door sessions that would eventually be released on Coda. Interesting as we have actual dates for each of the three songs and all are in the finished stages with just minor differences in the mixes. Previously released under the titles Coda Advanced Tapes (Boogie Mama), Different Mixed Coda(POT), & The Lost Sessions Volume 8 – Led Zeppelin In The 80′s Coda Advance Tapes (Empress Valley Supreme Disc). The songs show a possible different direction that the band could have explored on the record and possibly in the new decade.
The rest of the disc has the “final” rehearsal as it originally circulated as being from the time period directly before Bonham’s death. Ultimately it has the more plausible origin of being from rehearsals prior to the bands German tour 1980. It has had a myriad of releases beginning with the vinyl LP The Final Option (Rock Solid Records & The Swingin’ Pig Records), The Last Rehearsal – Bonzo’s Last Stand (Oznob), Out Through The Back Door (Amazing Stork & White Box),Strange Tales From The Road (Rock Solid Records), & Tangible Van-Dalism (TV & White Box) and CD as The Last Rehearsal (Missing Link), The Lost Sessions Volume 11 ~ The Final Rehearsal (Empress Valley Supreme Disc), Rehearsals(Empress Valley Supreme Disc), Sessions (Antrabata Reference Master), Strange Tales From The Road (no label), & Studio Sessions Ultimate (Scorpio). The recording itself is excellent quality, the performances are not really noteworthy but an interesting listening experience as unbeknownst to the band that they were in their final stages of existence.
The last word? Many times previously when companies try to put together something and label it as definitive it always seems to fall short. As massive of a project as this was Godfather simply nails it and delivered what they intended to do; give fans the most comprehensive and complete collection of Zeppelin studio outtakes in the best ever quality. Certainly the most ambitious and best ever box set produced by the label, bar none.
Neil Young Decades is one of the most ambitious Young bootlegs to be produced. It’s a project to collect his more interesting songs in various arrangements collated from the vast archive of live tapes. OMS state on the cover of the box they use soundboard tapes, but that isn’t accurate. They utilize available audience recordings ranging from excellent stereo DAT tapes to fair recordings from the seventies.
Decades draw comparisons to last year’s big Neil Young box set Road Of Plenty: The Unreleased Songs 1966 – 2010 & Live Rarities 1969 – 1984 (Godfather Records BOX04). At sixteen audio and one DVD, Decades is much longer than the six disc Godfather set. It also much more variety since it’s not focused exclusively upon unreleased songs and rare live performances.
In the words of the manufacturer: ”This set does not contain complete concerts but rather hundreds of unreleased soundboard recordings throughout Neil’s career. The concept is to offer you an insight into how songs have developed and changed through the years. For example you hear one song performed solo acoustic and the next track is the same song with full band played 20 years later. The set also strives to include seldom-heard songs performed live like the touring that followed the release of the On The Beach album. You get to hear all the songs he played only on that tour and then never again in his life.”
The earliest music dates from his initial studio sessions in 1965 and the most recent date from early 2011. The stylistic variations in the tunes reflect Young’s absorbing and, in many cases, critiquing current styles ranging from sixties folk to seventies arena rock, eighties new wave and nineties grunge.
These stylistic variations are also reflected in the different bands Young played with throughout the years. He’s joined by The Mynah Birds, Crazy Horse, The Bluenotes, The International Harvesters, The Lost Dogs, The Stray Gators, The Santa Monica Flyers, Crosby Stills Nash & Young, The Echoes, Poncho and The MG’s, Neil Young & His Electric Band, The Prarie Wind Band, The Gone With The Wind Orchestra, The Shocking Pinks (the 1983 Trans era band) and of course solo.
Decades is a gorgeous package. Each disc rests in its individual single cardboard sleeve and they are all housed in a gorgeous box with a thick booklet with detailed track listings. Overall it’s a nice production and a true labor-of-love. However, they are not all soundboard recordings and the organization is hard to follow. It seems the material are thrown together on the disc without forethought. The editing also could have used more work. Too often, when a song ends, you can hear the stage introduction to the following song of the concert only for it to be cut and you’re moved onto the next track on the disc.
Given the scope of this project, the rest of the review with touch upon points of interest on each disc instead of a detailed commentary on everything. Seasoned Neil Young collectors, to whom this box is targeted, will know by looking at the track listing if this will be worth having or not.
And given the high interest I’m publishing this review partially finished. Keep checking back to read the paragraphs on each piece as they are being written.
(77:01): Sugar Mountain (solo) Dorthy Chandler Pavilion, Los Angeles, CA – February 1st, 1971 / I’ve Been Waiting For You (with Crazy Horse) Sportpaleis Ahoy, Rotterdam, The Netherlands – June 21st, 2001 / I Ain’t Got The Blues, studio 1965, unreleased Elektra single / It’s My Time (Neil Young & The Mynah Birds) studio 1966, unreleased single / The Sultan (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) RAI Theatre, Amsterdam – February 20th, 2008 / Burned (Neil Young & His Electric Band) Trent FM Arena, Nottingham, UK – June 23rd, 2009 / Broken Arrow (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Everybody’s Alone (solo) KQED Studios, San Francisco, CA – February 19th, 1970 / Expecting To Fly (solo) Grieghallen, Bergen, Norway – April 25th, 2003 / The Loner (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Chicago Theater, Chicago, IL – November 13th, 2007 / Last Trip To Tulsa (solo) Paramount Theatre, Seattle, WA – March 5th, 1999 / Wonderin’ Intro (solo) KQED Studios, San Francisco, CA – February 19th, 1970 / Wonderin’ KQED Studios, San Francisco, CA – February 19th, 1970 / Here We Are In The Years (with Crazy Horse) last show at Fox Theatre, Atlanta, GA – November 24th, 1976 / Mr. Soul (with The Lost Dogs) Entertainment Centre, Sydney, NSW, Australia – April 18th, 1989
The first disc focuses upon the songs written early in Neil Young’s career. OMS’s intent with this box set is obvious in the first two tracks. ”Sugar Mountain” first appeared as a b-side to “The Loner” in 1969. It was played live a few times in the following two years but never became a regular until the Journey Through The Past tour in January, 1971.
Taken from the final show of that tour, it is a distant but clear audience recording from scratchy vinyl. But the epic 10 minute performance really sums up the genius of the artist. Part confessional and part sing-along, it demonstrates Young working with the audience to invite them to understand his muse.
It’s followed by “I’ve Been Waiting For You” from his 1969 solo album debut Neil Young. Except for two performances in 1968, it wasn’t played live until he toured with Crazy Horse in 2001 and OMS utilize an excellent stereo audience recording from Rotterdam.
Other interesting tracks include the unreleased 1965 demo “I Ain’t Got The Blues” rejected by Elektra Records and an instrumental take of “It’s My Time” with one of Young’s early bands The Mynah Birds.
Much of the rest of the disc it taken with several tracks from the February 19th, 1970 KQED radio session “Everybody’s Alone” and “Wonderin’” (including intro), “Broken Arrow” taken from the famous 1970 show in Cincinnati a week after, and a phenomenal 1989 feedback laden reading of the old Buffalo Springfield track “Mr. Soul.”
(79:03): Heart Of Gold (solo) Firestone Vineyards, Los Olivos, CA – September 28th, 2003 / Pardon My Heart (solo) The Bottom Line, New York, NY – May 16th, 1974 / Bandit (solo) Firestone Vineyards, Los Olivos, CA – September 28th, 2003 / Homefires (solo) Tower Theatre, Upper Darby, PA – March 24th, 1992 / Feel Your Love (solo) Hammersmith Apollo, London, UK – May 18th, 2005 / The Ways Of Love (solo) The Boarding House, San Francisco, CA – May 24th, 1978 / Country Girl (with Crazy Horse) The Bitter End, New York, NY – February 12th, 1969 / Slowpoke (solo) Paramount Theater, Oakland, CA – March 20th, 1999 / Change Your Mind (with Crazy Horse) Shoreline Amphitheater, Mountain View, CA – October 2nd, 1994 / Hanging On A Limb (with Frank Sampedro and Ben Keith) Muziek Theatre Stopera, Amsterdam, The Netherlands – December 10th, 1989 / Comes A Time (with Crazy Horse) Shoreline Amphitheater, Mountain View, CA – October 28th, 1995 / Long May You Run (solo) Vicar Street, Dublin, Ireland – March 13th, 2003 / Razor Love (with Frank Sampedro and Ben Keith) Sportpaleis Ahoy, Rotterdam, The Netherlands – December 13th, 1989
The second discs in the Decades box set is devoted to various mellow acoustic folk tunes played throughout Young’s career. In keeping with the theme of the set, the well known tunes are given slightly different arrangements than what we’re used to. ”Heart Of Gold” is given a stark, slightly quicker reading in 2003 than in other performances.
“Comes A Time,” another wildly popular tune, is given a whimsical treatment with Young strumming along to the tune instead of picking out the melody. It’s more of a crowd pleasing anthem than the expected contemplative nature.
OMS include two 1974 rarities. ”Homefires,” a song still unreleased, was played in a handful of shows on the CSNY reunion tour and in 1992. ”Pardon My Heart,” played in the 1974 Bottom Line show in New York and once more on August 15th that year in the Nassau Coliseum with CSNY. ”Hangin’ On A Limb” is another rare song. It was released on Freedom in 1989 and played only five times that year.
The highlight of the disc is “Change Your Mind” from the 1994 release Sleeps With Angels. The label use the pristine recording of the full twenty-minute performance from the Bridge School Benefit in 1994. It is one of Young’s anti-protest songs. Written during the early years of the Clinton presidency in the early nineties, it reflects much more hope and optimism than his songs written under Republican presidents in the past (and future) such as Richard Nixon, Ronald Reagan and the two Bushes. The lyrics are minimal but the song contains many long instrumental passages of great power and beauty. The entire set can be found on the excellent Bridge 1994 Day 2 (Zion-006).
(79:12): Come On Baby, Let’s Go Downtown (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Winterlong (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) United Palace, New York, NY – December 13th, 2007 / Mellow My Mind (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Velma V. Morrison Center For The Performing Arts, Boise, ID – October 18th, 2007 / New Mama (with The Stray Gators) Carnegie Hall, New York, NY – January 21st, 1973 / Nil’s Tune (with The Santa Monica Flyers) Palace Theatre, Manchester, England – November 3rd, 1973 / New Mama (with The Santa Monica Flyers) Palace Theatre, Manchester, England – November 3rd, 1973 / Speaking’ Out (solo) Red Rocks Amphitheater, Morrison, CO – September 15th, 1992 / Roll Another Number (with Crazy Horse) The Catalyst Club, Santa Cruz, CA – November 13th, 1990 / Albuquerque (with The Santa Monica Flyers) Royal Festival Hall, London, England – November 10th, 1973 / Albuquerque (solo) Aerial Theater, Houston, TX – June 1st, 1999 / Traces (studio outtake 1973) / World On A String (with The Santa Monica Flyers) Royal Festival Hall, London, England – November 10th, 1973 / Tired Eyes (with The Santa Monica Flyers) Royal Festival Hall, London, England – November 10th, 1973 / Lookout Joe (with The Stray Gators) Carnegie Hall, New York, NY – January 21st, 1973 / Borrowed Time (with The Stray Gators) Memorial Auditorium, Buffalo, NY – January 14th, 1973 / Tonight’s The Night (with The Bluenotes) Audurn Hills Palace Arena, Detroit, MI – September 4th, 1988
Decades‘ third disc focuses upon Danny Whitten and the “ditch” era. Young’s and Crazy Horses’ success in 1971 and 1972 was tempered by Whitten’s drug use. He was kicked out of Crazy Horse in 1971 and died of an overdose in November 1972. Young’s subsequent albums were dark, contemplative, and angry.
The disc starts off with Whitten’s “Come On Baby, Let’s Go Downtown” taken from the February 25th, 1970 show in Cincinnati, the first show of the year and the first Neil Young with Crazy Horse show with Jack Nitzsche. It is followed by “Winterlong” from the New York show in December, 2007 which Young dedicates to Whitten.
OMS also include two versions of “New Mama.” The first is taken from the January 1973 show at Carnegie Hall in New York and sounds close to the version included on Tonight’s The Night. The second is taken from November of that year in Manchester, England, and is much different, featuring the band singing in harmony. The latter is proceeded by “Nils Tune.” It refers to Nils Lofgren and is a short jam on “Roll Out The Barrel.”
Most of the recordings are taken from 1973 concerts, but a handful come from much later performances. ”Winterlong,” from 2007, “Mellow My Mind” from Boise in 2007, ”Speaking’ Out” in 1992, “Roll Another Number” in 1990 and “Tonight’s The Night” from Detroit in 1988 are all played more with reverence and reflection rather than anger and depression.
(76:18): Pushed It Over The End (solo) The Bottom Line, New York, NY – May 16th, 1974 / Walk On (with Crosby, Stills, Nash & Young) Roosevelt Raceway, Westbury, NY – September 8th, 1974 / See The Sky About To Rain (solo) Music Hall, Boston, MA – January 21st, 1971 / Revolution Blues (solo) The Bottom Line, New York, NY – May 16th, 1974 / For The Turnstiles (Neil Young & His Electric Band) Sportpark Boshoven, Weert, The Netherlands – July 11th, 2008 / Vampire Blues (solo) Mondavi Center, Davis, CA – July 15th, 2010 / On The Beach (solo) Congress Centrum, Hamburg, Germany – April 29th, 2003 / Motion Pictures (solo) The Bottom Line, New York, NY – May 16th, 1974 / Ambulance Blues (with The Prairie Wind Band) Shoreline Amphitheater, Mountain View, CA – October 22nd, 2006 / Pardon My Heart – The Old Homestead (Crosby, Stills, Nash & Young) Nassau Coliseum, Uniondale, NY August 15th, 1974 / Goodbye Dick CCrosby, Stills, Nash & Young) Nassau Coliseum, Uniondale, NY August 15th, 1974 / Cripple Creek Ferry (with The Stray Gators) Carnegie Hall, New York, NY – January 21st, 1973 / L.A. (with The Stray Gators) Maple Leaf Garden, Toronto, ON, Canada – January 15th, 1973 / Don’t Be Denied (solo Trans) UICC Pavilion, Chicago, IL – January 15th, 1983 / Time Fades Away (with The Stray Gators) Carnegie Hall, New York, NY – January 21st, 1973
Decades disc four continues the exploration of the “ditch” era, focusing upon material from Time Fades Away and On The Beach. Before the first (of many) over-hyped and ultra commercial reunions with CSN&Y he played a low-key gig at The Bottom Line in New York on May 16th, 1974, playing many songs from On The Beach. Suggested by fans for official release, it exists in a very good audience tape. OMS include three songs from the gig on this disc.
“Pushed It Over The End,” which Young calls “kind of a quiet song, called, ah… ‘Citizen Kane Jr. Blues,’” this is the first of only performances of the unreleased track. The Bottom Line is also the only appearance as a solo track. The other thirteen were on the CSNY tour later that year. OMS include the final performance at Wembley on disc seven.
“Revolution Blues” and “Motion Pictures” from this show are also included on this disc (“Pardon My Heart” and “Greensleeves” from this show are also included elsewhere in this collection). “For The Turnstiles” wasn’t played live until the late eighties. OMS include a performance from the the Bosop Festival in The Netherlands in 2008, the only time it’s been played since 1989.
“Pardon My Heart” from the August 15th Crosby, Stills, Nash & Young show at the Nassau Coliseum, is played for the second and final time. Released in 1975 onZuma, it’s played in a medley with “The Old Homestead” a song that wouldn’t be released until 1980 on Hawks & Doves. It is sourced from a poor audience tape, but it is a magical performance.
“Goodbye Dick,” the following track, is taken from the same show. An impromtu banjo-based ditty celebrating the resignation of President Richard Nixon the previous week, the poor sound quality makes it hard to follow the words. But the Nassau Coliseum audience laugh hysterically.
“Cripple Creek Ferry,” the final song on After The Goldrush, was the opening tune of the January 21st, 1973 show in Carnegie Hall in New York. The only available recording is a fair audience tape, but it’s a great performance and extremely rare. Young played the song only two more times (1992 in New Jersey and at the 1997 HORDE Festival in Phoenix, Arizona). ”Time Fades Away,” the final song on the disc, is also taken from this Carnegie Hall show.
“Don’t Be Denied,” a feedback slice of sludge from 1973′s Time Fades Away, is a surprise addition to the Trans set list in 1983. Instead of a Sennheiser Vocoder VSM201 transformation, he plays it as a sensitive solo acoustic piece with the occasional drum and synthesizer elaboration. OMS use an excellent recording from Chicago.
(65:21): Ordinary People (with The Lost Dogs) Entertainment Centre, Sydney, NSW, Australia – April 18th, 1989 / White Line (with Crazy Horse) Tarrant County Convention Center, Fort Worth, TX – November 10th, 1976 / Human Highway (with Crazy Horse) Hammersmith Odeon, London, England – March 31st, 1976 / Interstate (with The International Harvesters) Bayfront Center Arena, St. Petersburg, FL – September 17th, 1985 / Cortez The Killer (solo) Congress Centrum, Hamburg, Germany – April 29th, 2003 / Spirit Road (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Shoreline Amphitheater, Mountain View, CA – October 28th, 2007 / Mideast Vacation (with Crazy Horse) Shoreline Amphitheater, Mountain View, CA – October 21st, 2001 / For The Turnstiles (with The Lost Dogs) Bunka Taiikukan, Yokohama, Japan – April 27th, 1989 / No Hidden Path (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Shoreline Amphitheater, Mountain View, CA – October 28th, 2007
The fifth disc of the Decades box set can be loosely themed “songs given their live premier before the official release.” Six of the nine tracks are recordings fitting this description, beginning with the opening song “Ordinary People.” The long acoustic narrative was given its live debut in the summer of 1988.
The lyrics have narrative continuity with the others on This Note’s For You, but stylistically the live arrangement fits his seventies folk output rather than The Bluenotes’ R&B. OMS use a recording from the April 18th, 1989 show in Sydney, the song’s final live performance. It would be released almost twenty years later on Chrome Dreams II in 2007 (The studio recording sounds very much of its era – it’s been dubbed “Cortez The Killer” with horns).
“White Line” was released on 1990′s Ragged Glory but was played three times fifteen years before its release (and once in 1999). This is an excellent audience recording from Fort Worth, Texas. ”Human Highway” follows. The banjo-scored meditation made its stage debut in 1973 but wasn’t officially released until the LP Comes A Time in 1978. The label use a great sounding tape from London in 1976.
“Interstate” was played only nine times in September, 1985. It was recorded in studio in 1990 and finally released in 1996 on the Broken Glory LP only and the “Big Time” CD single in Germany and Australia. Not sure why it’s such a hassle to obtain, but the label use a gorgeous stereo audience recording from St. Petersburg, Florida.
“Cortez The Killer” is one of the exceptions. The Crazy Horse electric version was released on Zuma in 1975. But this is a folk acoustic version from Germany in 2003. The stark arrangement does nothing to diminish the song’s power.
“Spirit Road” recorded at the Bridge Benefit in 2007 which corresponded to its release on Chrome Dreams II and has been played constantly over the past five years. “Mideast Vacation” is the lead track on 1987′s Life and was played eighty-seven times in 1986 and 1987. It technically fits the pattern of the disc, but the label uses a recording from the Bridge School Benefit in 2001.
“For The Turnstiles” from On The Beach is taken from a show in Japan and is played in a different arrangement than the Bosop Festival recording on disc four. The disc ends with “No Hidden Path.” Much like “Spirit Road,” it was released on Chrome Dreams II and made its live debut about the time the disc was released and is present in its fifteen-minute long glory from the Bridge Benefit.
(71:46): Fuckin’ Up (with Crazy Horse) Bonnaroo Festival, Manchester, TN – June 13th, 2003 / Cortez The Killer (with Crazy Horse) The Forum, Inglewood, CA – October 24th, 1978 / Cinnamon Girl (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Chevrolet Theater, Wallingford, CT – December 7th, 2007 / Dangerbird (with The Echoes) The Catalyst Club, Santa Cruz, CA – May 9th, 1996 / Cowgirl In The Sand (with Crazy Horse) The Catalyst Club, Santa Cruz, CA – November 13th, 1990 / Powderfinger (with Crazy Horse) The Forum, Inglewood, CA – October 24th, 1978 / Down By The River (solo) New World Music Theater, Tinley Park, IL – October 3rd, 1998
Decades 6 focuses upon some of Young’s legendary feedback-laden guitar epics. Despite the seventy-one minute duration, only seven tracks are included on this. The two shortest songs are “Cinnamon Girl,” taken from Wallingford, Conneticut in 2007, runs just under four minutes and “Powderfinger” from Los Angeles in 1978, at just under six minutes, are the shortest.
Most run about ten to twelve minutes and the longest is a twenty minute rave-up on “Down By The River.” Taken from his appearance at Farm Aid in Tinley Park, Illinois, it is probably the longest version on record. And endless stream of guitar solos and duets threaten to derail the song at times. At one point someone even starts to play what sounds like “Eleanor Rigby,” but it ends with an astounding climax.
“Cowgirl In The Sand” is taken from the legendary 1990 show and two songs, the above mentioned “Powderfinger” and “Cortez The Killer” originate from the final night of the Rust Never Sleeps tour in 1978 and would be his final show for many years. This is perhaps the most fun disc to listen to for those who love Young’s endless guitar solos.
(69:00): Let It Shine (with Crazy Horse) Festival Hall, Osaka, Japan – March 6th, 1976 / Midnight On The Bay (with Crazy Horse) Hammersmith Odeon, London, England – March 29th, 1976 / Give Me Strength (with Crazy Horse) late show at Auditorium Theater, Chicago, IL – November 15th, 1976 / Tell Me Why (Crosby, Stills, Nash & Young) Fillmore East, New York, NY – June 4th, 1970 / A Man Needs A Maid (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) INB Performing Arts Center, Spokane, WA – October 20th, 2007 / No One Seems To Know (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Constitution Hall, Washington, DC – November 15th, 2007 / Two Old Friends (with Poncho and The MG’s) Nürburgring, Eifel, Germany – May 18th, 2002 / Change Your Mind (with Crazy Horse) Hamilton Warren Amphitheater, Sedona, AZ – October 22nd, 1994 / Helpless (with Crazy Horse) The Bitter End, New York, NY – February 12th, 1969 / Long May You Run (solo) Teatro Smeraldo, Milan, Italy – May 3rd, 2003 / Pushed It Over The End (Crosby, Stills, Nash & Young) Wembley Stadium, London, England – September 14th, 1974
The seventh disc of Decades focuses upon the contrast between Neil Young the folk-song balladeer and Neil Young the loud rock star. The opening tunes are taken from the acoustic portions of their respective show’s set lists. The first two songs are from the underrated 1976 LP Long May You Run. ”Let It Shine” is a rarity, played in only nine shows between March and July. The label use the performance from the March 6th, show in Osaka, Japan. It sounds as if they use the Mr. Peach tape which surfaced several years ago and can be found on Best Chaw? (Tarantura TCDNY-4-1, 2).
The following two shows are also quite scarce, rarely played after 1976. ”Midnight On The Bay” was played five times and only once after 1976, and “Give Me Strength” remains unreleased. It was played nine times in 1976 and one each in 1985 and 1997
“Tell Me Why” is on Young’s third solo LP After The Goldrush but began it’s live stage life as a CSN&Y song. Accompanied only by acoustic guitar, they sing beautiful four-part harmony. This recording is taken from a soundboard recording from the Fillmore East in New York.
“A Man Needs A Maid” was a consistent part of the set in 1976, but was rested for thirty years until Young reintroduced it in 2007. Complete with “Like A Hurricane” introduction, Young accompanies himself on organ instead of piano. This performance is from Spokane, Washington, the second time it was played that year. (The first was on october 18th at Velma V. Morrison Center For The Performing Arts, Boise, Idaho, USA).
“No One Seems To Know,” still unreleased, is an unofficial sequel to “Maid.” It too was played in 1976 and dropped for thirty years until reintroduced in 2007. The label uses the performance the following month in Washington DC. It’s followed by “Two Old Friends,” released and played on the tour for Are You Passionate? in 2002. One of his catchiest tunes.
A twenty-minute version of ”Change Your Mind” is taken from the Verde Valley Benefit in Sedona, Arizona, on October 22nd, 1994. Unlike the acoustic Bridge School Benefit earlier that month, Sedona is a full electric version with long fuzzy guitar solos in the middle, much like his famous jams.
“Helpless” is listed as being with Crazy Horse from The Bottom Line in New York on February 12th, 1969. But that is an error. Young did play that venue with Crazy Horse, but no tape exists and nobody knows the exact set. In fact “Helpless” wasn’t played live until November that year. And the recording, an excellent soundboard, is a Crosby Stills Nash & Young show, not Young with Crazy Horse.
The disc ends with the CSNY arrangement of “Pushed It Over The End.” Taken from the final show of the 1974 reunion tour in Wembley, it is a full and electric arrangement sourced from the video soundtrack. It stands in contrast to the solo version played a The Bottom Line in New York which opens disc four. Steven Stills provides excellent guitar in this recording of the song which has never been released and has never been played after this performance.
(74:29): My, My, Hey Hey (Out Of The Blue) (solo) early show at The Boarding House, San Francisco, CA – May 24th, 1978 / Shots (solo) late show at The Boarding House, San Francisco, CA – May 27th, 1978 / Ride My Llama (solo) late show at The Boarding House, San Francisco, CA – May 27th, 1978 / Look Out For My Love (solo) Brucknerhaus, Linz, Austria – May 4th, 2003 / Like A Hurricane (solo) Tower Theater, Upper Darby, PA – March 24th, 1992 / Lost In Space (Neil Young & His Electric Band) O2 Arena, Dublin, Ireland – June 21st, 2009 / Thrasher (solo) early show at The Boarding House, San Francisco, CA – May 24th, 1978 / Sad Movies (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Constitution Hall, Washington, DC – November 15th, 2007 / Campaigner (studio outtake) / Kansas (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Constitution Hall, Washington, DC – November 16th, 2007 / Pocahontas (solo) Madison Square Garden, New York, NY – April 19th, 1999 / Southern Man (with Crazy Horse) Suwannee Park, Live Oak, FL – August 23rd, 1997 / Powderfinger (solo) late show at The Boarding House, San Francisco, CA – May 26th, 1978 / Depression Blues (solo) Beacon Theater, New York, NY – February 17th, 1992 / Shaddup, Asshole – Don’t Let It Bring You Down (solo) Tower Theater, Upper Darby, PA – April 24th, 1999
Most of the songs on disc eight originate from Young’s fecund period in the mid to late seventies which produced American Stars N Bars, Comes A Time, Rust Never Sleeps, Live Rust, Hawks And Doves and the underrated Re-act-or.
In May 1978, several months before Comes A Time was released, Young played eight shows at The Boarding House in San Francisco. Dubbed the One Stop World Tour, it was Young solo introducing not only songs from the new album but also songs that would appear on some of the later albums as well.
Five of the tracks on the disc come from these shows including the first three. ”My, My, Hey Hey (Out Of The Blue)” originates from the first show of the stint. This is the live premier of a song that would really define this era, it has a few embellishments in the guitar not found in other performances. The audience’s reaction is almost immediate, however, confirming its status as a quasi-anthem.
It’s followed by “Shots” from the May 27th late show. This is an acoustic performance of a song that would be given a full electric arrangement when recorded for Re-act-or in 1981. It is played at every one of these dates, but would never surface again, even after it was given official release. The third Boarding House recording is “Ride My Llama” from Rust Never Sleeps. Young jokingly calls it an “extraterrestrial folk song.”
The other two Boarding House tracks are the stage debuts of “Thrasher” and “Powderfinger.” The former, “Thrasher,” is the second track on Rust Never Sleeps and hasn’t been played since that year. Young makes a mistake in the middle and starts over. The latter, recorded for the same album, not only had a much longer stage life but has become one of his most mysterious anthems. This performance is a solo acoustic rendition, far from the electric jam it would become.
“Look Out For My Love” was released on Comes A Time but wasn’t given its stage debut until a decade later. Little seen since, the Linz performance is its most recent. ”Lost In Space” has a similar story. Recorded and released onHawks And Doves in 1980, it wasn’t played live for almost thirty years until it found its way into eight shows in 2009.
The final track is an excellent recording of “Don’t Let It Bring You Down” from the April 24th, 1999 show in Philadelphia. The “Shaddup, Asshole” label at the beginning is his response to a heckler interrupting his story about his guitar.
(72:41): Hey, Hey, My My (Into The Black) (with Crazy Horse) Suwannee Park, Live Oak, FL – August 23rd, 1997 / Driveby (with Crazy Horse) Hamilton Warren Amphitheater, Sedona, AZ – October 22nd, 1994 / Alabama – Sweet Home Alabama (with the Gone With The Wind Orchestra) Bicentennial Park, Miami, FL – November 12th, 1977 / Windward Passage (with The Ducks) The Catalyst Club, Santa Cruz, CA – August 22nd, 1977 / Touch The Night (with Crazy Horse) The Omni Coliseum, Atlanta, GA – October 22nd, 1986 / Powderfinger (Neil Young & His Electric Band) Le Théâtre de Plein Air, Colmar, France – August 15th, 2008 / No More (with The Lost Dogs) Entertainment Centre, Sydney, NSW, Australia – April 18th, 1989 / Cocaine Eyes (with Frank Sampedro and Ben Keith) Sportpaleis Ahoy, Rotterdam, The Netherlands – December 13th, 1989 / Words (with The Friends And Relatives) Coors Amphitheater, Chula Vista, CA – September 25th, 2000 / My, My, Hey Hey (Out Of The Blue) (solo) Constitution Hall, Washington, DC – May 24th, 2010
The ninth disc in Decades continues with songs written and / or performed in the late seventies starting with a great performance of ”Hey, Hey, My My (Out Of The Blue)” taken from the HORDE Festival played in Florida and is followed by “Driveby.” The somber track was only ever played three times. It appeared in the Bridge School Benefit shows and the Verde Valley Benefit in Sedona in 1994.
A rare performance of “Alabama” from 1977 follows. Taken from a benefit for Miami’s Children’s Hospital on November 12th, 1977, it’s Young’s only concert with The Gone With The Wind Orchestra containing the band that recordedComes A Time. Young throws in a short reference to Lynyrd Skynyrd’s “Sweet Home Alabama” in the middle. Three weeks after the plane crash killing Ronnie Van Zant, Steve Gaines, Cassie Gaines, assistant road manager Dean Kilpatrick, pilot Walter McCreary and co-pilot William Gray, it is a fitting tribute.
“Windward Passage” is another unreleased rarity. Played only three times, it is an eight and a half minute catchy instrumental played with The Ducks, one of the short-lived backing bands.
“Touch The Night” from 1986′s Landing On Water, “Cocaine Eyes” from 1989′sEldorado and “No More” from Freedom, also released in 1989, are all songs that were included in the live act for a short time and didn’t survive past the eighties. ”No More” in the most interesting tune of the three.
“Words,” the profound closer for Harvest, was played only once in the seventies, appearing in the 1973 show at the Cobo Hall in Detroit. It was raised from the dead in both 2000 and 2009, appearing in more than sixty shows. OMS include common live performances of “Powerderfinger” and “My, My, Hey Hey (Out Of The Blue)” at the end of the disc. The former is one of Young’s most popular rockers, and the latter is a powerful acoustic solo tune.
(77:12): Stupid Fucking Guy (with Crazy Horse) James L. Knight Center, Miami, FL – October 29th, 1986 / Drive Back (with Crazy Horse) James L. Knight Center, Miami, FL – October 29th, 1986 / Bad News Beat (with Crazy Horse) The Spectrum, Philaelphia, PA – September 17th, 1986 / Inca Queen (with Crazy Horse) The Omni Coliseum, Atlanta, GA – October 25th, 1986 / Sample And Hold (with Crazy Horse) The Omni Coliseum, Atlanta, GA – October 25th, 1986 / Opera Star (with Crazy Horse) James L. Knight Center, Miami, FL – October 29th, 1986 / Sixty And Zero (with The Bluenotes) Canadian Exhibition Grandstand, Toronto, ON, Canada – August 18th, 1988 / Southern Pacific (with The International Harvesters) Bayfront Center Arena, St. Petersburg, FL – September 17th, 1985 / Boxcar (with The Restless) Opera House, Spokane, WA – February 23rd, 1989 / Road Of Plenty (with Crazy Horse) James L. Knight Center, Miami, FL – October 29th, 1986 / Ordinary People (with The Bluenotes) Poplar Music Theater, Hoffman Estates, IL – August 16th, 1988
Decades 10 is similar in theme to the preceding disc except the focus is upon the latter Geffen years in the eighties. The decade was a time when older artists made attempts to incorporate the popular synth-pop into their already established sounds. Although Young made some attempts in that direction (such as the quickly disowned Trans in 1982), he largely kept to his own oddball muse with varying commercial results.
Decades ten begins with “Stupid Fucking Guy” and “Drive Back” from the October 29th, 1986 show in Miami, Florida. During the Live In A Rusted Out Garage tour in 1986 Young would play a recordings of Sam Kinison and his mother telephoning him. Meant to be a bit of comic relief, Kinison’s is typically profanity laced and was actually bleeped on the FM simulcast on the Pay-Per-View telecast of the final night of the tour in Daly City, California.
“Bad News Beat” from Landing On Water, it was only played the first week of the tour before being dropped forever. The Philadephia show is an excellent stereo audience recording. A great recording of “Inca Queen” follows. Included on the 1987 album Life, it was introduced a year before. The acoustic guitar contrasting with the jungle drums create a unique atmosphere for one of Young’s most intriguing songs.
Other interesting tracks on this disc include a full 20 minute version of “Sixty And Zero,” the full version of what would be recorded later as “Crime In The City” onFreedom, “Boxcar” which would be released twenty years later on Chrome Dreams II, and “Road Of Plenty,” and early arrangement of “Eldorado.” The final track is a full band electric arrangement of “Ordinary People” whose acoustic cousin appears on disc five.
(76:20): Don’t Cry No Tears (with Crazy Horse) Warfield Theater, San Francisco, CA – January 10th, 2001 / Love And Only Love (with Crazy Horse) Warfield Theater, San Francisco, CA – January 10th, 2001 / Over And Over (with Crazy Horse) The Catalyst Club, Santa Cruz, CA – November 13th, 1990 / Don’t Spook The Horse (with Crazy Horse) late show at Portland Meadows, Portland, OR – July 13th, 1997 / Like A Hurricane (with Crazy Horse) The Forum, Los Angeles, CA – October 24th, 1978 / Cortez The Killer (with Crazy Horse) Sportpaleis Ahoy, Rotterdam, The Netherlands – June 21st, 2001 / Cinnamon Girl (with Crazy Horse) The Forum, Los Angeles, CA – November 4th, 1976
Decades 11 is another OMS celebration of Neil Young’s fuzz tone. For more than an hour this disc covers several of Young’s well known electric guitar epic tunes played in their most extreme manner (whatever that may be). The disc starts off with ”Don’t Cry No Tears” and “Love And Only Love” from the January 10th, 2001 show in the Warfield Theater in San Francisco. This show was the first of two warm up gigs and his first with Crazy Horse since the 1997 Horde Festival.
Both of the songs are quite common live, but at this show “Don’t Cry No Tears” was played for the first time in five years and “Love And Only Love” in eleven. Following is ”Over And Over” from Ragged Glory. It is taken from the Catalyst Club show on November 13th, 1990, one of only four times it has been played live.
“Don’t Spook The Horse” is another relative rarity. Taken from the rare ”Mansion On The Hill” CD single, this strange tune was only played three times on the 1997 Horde Festival.
The disc ends with three very common tunes. ”Like A Hurricane” is taken from the October 24th, 1978 show at the Los Angeles Forum, the same tour that produced the live album Live Rust. The recording of the song on the official album is taken from the October 15th show in St. Paul, but this performance is just as potent. “Cortez The Killer” is taken from the June 21st, 2001 show in Rotterdam, and “Cinnamon Girl” is from the November 4th, 1976 show with Crazy Horse. The Zuma era produced some of the wildest versions of that song on tape.
(63:49): Days That Used To Be (with The Lost Dogs) Bunka Taiikukan, Yokohama, Japan – April 27th, 1989 / Come On Baby Let’s Go Downtown (with Crazy Horse) Tea Party, Boston, MA – March 1st, 1970 / The Loner (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Everybody Knows This Is Nowhere (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Wonderin’ (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Cinnamon Girl (with Crazy Horse) late show at Fillmore East, New York, NY – March 6th, 1970 / Winterlong (with Crazy Horse) Music Hall, Cincinnati, OH – February 25th, 1970 / Down By the River (with Crazy Horse) late show at Fillmore East, New York, NY – March 6th, 1970 / Oh, Lonesome Me (with Crazy Horse) The Electric Factory, Philadelphia, PA – February 28th, 1970 / Cowgirl In The Sand (with Crazy Horse) Civic Auditorium, Santa Monica, CA – March 28th, 1970 / Announcement,Music Hall, Cincinnati, OH – February 25th, 1970
Decades 12 is an odd collection of songs. The first track, “Days That Used To Be,” is taken from the first show on the Japan tour in 1989. Recorded for Ragged Glory in a full band electric arrangement, this is a mellow acoustic solo number from early in the show.
After starting in the late eighties, the disc shifts and remains in 1970 for the next hour’s worth of music. The first is the Danny Whitten tune “come On Baby, Let’s Go Downtown” with Crazy Horse taken from the March 1st show in Boston. It is a fair audience recording but a fantastic performance as the final song of the night. The entire recording, including a three song fragment from the soundboard, came out a decade ago on Boston Tea Party 1970 (Screamer-040/81019).
Many of the remaining songs come from the February 25th Cincinnati soundboard recording including ”The Loner,” “Everybody Knows This Is Nowhere,” “Wonderin’” (the Crazy Horse rockabilly arrangement, not the Shocking Pinks doo wop version), “Winterlong” and the closing announcements (where the audience beg for an encore and the mc tell them the band are already past their contract). The entire show can be found onLive In Cincinnati 1970 (Waterface Records).
Two songs, “Cinnamon Girl” and a scintillating “Down By The River,” are labeled from the late show on March 6th at the Fillmore East in New York but that is incorrect. No tape is in circulation from that show, but there is an audience tape from the early show. ”Cinnamon Girl” is a soundboard recording taken from some other show (and era), and “Down By The River” is from a fair audience recording of the early show.
“Oh, Lomesome Me” is taken from a poor audience recording of the February 28th show in Philadelphia and a fifteen minute version of “Cowgirl In The Sand” from the final show of the short spring tour with Crazy Horse on March 28th in Santa Monica.
(79:02): Coastline (solo Trans) Civic Auditorium, Santa Cruz, CA – January 5th, 1983 / Mexico (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) Orpheum Theater, Boston, MA – December 6th, 2007 / Stringman (with Simon & Garfunkel) Dorothy Chandler Pavilion, Los Angeles, CA – March 1st, 1993 / Try (with Ben Keith, Rick Rosas, Ralph Molina, Anthony Crawford, Pegi Young) United Palace, New York, NY – December 16th, 2007 / Out Of My Mind (solo) late show at The Boarding House, San Francisco, CA – May 27th, 1978 / Love In Mind (solo) Music Hall, Boston, MA – January 21st, 1971 / A Man Needs A Maid (solo) Music Hall, Boston, MA – January 21st, 1971 / Heart Of Gold (solo) Music Hall, Boston, MA – January 21st, 1971 / Journey Through The Past (with The Stray Gators) Maple Leaf Garden, Toronto, ON, Canada – January 15th, 1973 / Intro – After The Gold Rush (with The Stray Gators) Convention Center, Louisville, KY – February 15th, 1973 / After The Gold Rush (with The Stray Gators) Convention Center, Louisville, KY – February 15th, 1973 / Dangerbird (solo) Alte Oper, Frankfurt, Germany – May 1st, 2003 / Homefires (solo) Orpheum Theater, Minneapolis, MN – November 22nd, 1992 / Love Art Blues (solo) Orpheum Theater, Minneapolis, MN – November 22nd, 1992 / Philadelphia (solo) Aerial Theater, Houston, TX – June 1st, 1999 / Campaigner (solo) Beacon Theater, New York, NY – February 18th, 1992 / Winterlong (with Frank Sampedro and Ben Keith) Sportpaleis Ahoy, Rotterdam, The Netherlands – December 13th, 1989 / I Believe In You (solo) late show at The Boarding House, San Francisco, CA – May 27th, 1978 / Someday (with Frank Sampedro and Ben Keith) Sportpaleis Ahoy, Rotterdam, The Netherlands – December 13th, 1989 / This Note’s For You (with The Lost Dogs) Shi Kokaido, Nagoya, Japan – May 5th, 1989
The thirteenth disc is one of the longest and most diverse of the entire set. The tracks range from 1971 to 2007 and feature songs on acoustic guitar, grand piano, and full band electric onslaughts. Some of the tracks, especially at the beginning, are hopelessly rare and others are some of the most common and popular songs found in Young’s live sets.
It begins with a solo piano renditon of “Coastline.” Taken from 1980′s Hawks & Doves, it made one appearnce in the 1980 Berkeley benefit concert and three more in the early Trans tour in 1983. It is followed by the somber “Mexico,” a more recent song played four times in 2007 and 2008 but remains unreleased.
“Stringman,” a song written in the mid seventies but not released untilUnplugged in 1993, comes from a show Young did with Simon & Garfunkel and “Try” is another unreleased song played ten times in 2007 and 2008.
After a cover of Buffalo Springfield’s “Out Of Mind” dating from 1978 OMS include several tracks from the January 21st, 1971 show in Boston from theJourney Through The Past tour. It is notable for the strange melding of “A Man Needs A Maid” with several verses from “Heart Of Gold” thrown in the middle a year before it was released on Harvest.
The performance of “After The Goldrush” from the February 15th, 1973 show in Louisville is halted after a few lines because Young forgets the words. He starts the song again, but sings it in a higher key than the studio performance.
The live performance of “Campaigner” dates from a 1992 show in New York. Unlike the studio cut found earlier in the collection, Young sings about Ronald Reagan rather than Richard Nixon. It’s followed by a solo piano performance of “Winterlong,” much different than the Crazy Horse all band recording. The disc ends with “This Notes’ For You” played as a solo piano piece rather than the groovy all band version from the studio recording.
(76:37): Four Strong Winds (solo) Community Theater, Berkeley, CA – September 15th, 2004 / Forever Young (with The Grateful Dead) Golden Gate Park, Polo Fields, San Francisco, CA – November 3rd, 1991 / Walking To New Orleans (with The Prairie Wind Band) Tweeter Center, Tinley Park, IL – September 18th, 2005 / All You Need Is Love (with Crazy Horse) Shoreline Amphitheater, Mountain View, CA – October 20th, 2001 / Blowin’ In The Wind (with Crazy Horse) Dean E. Smith Center, Chapel Hill, NC – February 28th, 1991 / Greensleeves (solo) The Bottom Line, New York, NY – May 15th, 1974 / All Along The Watchtower (with Pancho and The MG’s) Nürburgring, Eifel, Germany – May 18th, 2002 / Country Feedback (with REM) Xcel Energy Center, St. Paul, MN – October 5th, 2004 / (Sitting On) The Dock By The Bay (with Booker T And The MG’s) Civic Auditorium, Santa Cruz, CA – June 13th, 1993 / A Day In The Life (Neil Young & His Electric Band) Hyde Park, London, England – June 27th, 2009 / Imagine (with Crazy Horse) Shoreline Amphitheater, Mountain View, CA – October 20th, 2001
The fourteenth disc in the Decades box focuses upon the many cover tunes Neil Young has performed throughout his career. Young’s use of cover tunes was never as important as, say, Bob Dylan’s. And whereas Dylan would play covers as an acknowledgement of his source material, Young’s covers seem more of an acknowledgment of respect for a given artist. Most are taken from benefit concerts, and all but one tune is taken from shows in the past twenty years when Young entered the latter half of his career as an elder statesman of rock and roll.
A haunting version of “Four Strong Winds” is taken from a solo benefit performance in Berkeley in 2004. Young’s solo performance, accompanied only by acoustic guitar, is one of the most powerful performances contained in this set. His wife Pegi harmonizes throughout the piece. It was the final number of the main set that night and is followed by loud applause.
The following cover of Dylan’s “Forever Young” is taken from a soundboard recording of the Bill Graham Memorial Concert in San Francisco on November 3rd, 1991. Young had already played a set with CSN&Y, but he joined The Grateful Dead for a few numbers including this classic. It’s followed by a cover of Fats Domino’s “Walking To New Orleans” from the 2005 Farm Aid benefit.
Young covered The Beatles’ “All You Need Is Love” during the two Bridge Benefit gigs in 2001. They play a faithful cover including the Marseilles introduction.
The cover of Bob Dylan’s “Blowin’ In The Wind” is an exception. Unlike the others, it does not come from a benefit concert and Young gives his own feedback style arrangement. He gives melodramatic punctuations to the songs and receives a loud ovation in the second verse after singing: ”Yes, ‘n’ how many deaths will it take till he knows / That too many people have died?” in response to the Gulf War which ended that day.
“Greensleeves” is the oldest tune on the disc, both in terms of composition and performance. Although it’s often cited as a medieval tune, the earliest reference is found in the late 16th century dating from the English renaissance. Young played the song only twice in his forty year career. The first, included on this disc, is from a show at The Bottom Line in New York in 1974. (The second is from the 1991 Bridge Benefit).
“All Along The Watchtower,” the third Dylan cover on the disc, is taken from the Rock am Ring Festival, Nürburgring, Germany on May 18th, 2002. And just like Dylan he plays a modified version of the Jimi Hendrix arrangement. Young adds more guitar and the MC5 add a strong Hammond in the mix.
“Country Feedback” is taken from the Vote For Change Benefit at the Xcel Energy Center in St. Paul, Minnesota, on October 5th, 2004. Joining REM, this is the third and final time he played this song after two previous performances at the 1998 Bridge Benefit. The sound quality of this recording is quite poor and hard to make out unfortunately.
The disc ends with his cover of The Beatles’ “A Day In The Life.” This cover was the encore for every show from 2008 to 2009 and was introduced into the set after McCartney introduced it into his set that year. Unlike McCartney’s (or Jeff Beck’s instrumental version), Young’s is actually closest to the Sgt Pepper’s recording. But instead of the loud piano chord fading out, Young and the band engage in a collage of noise and feedback. OMS use an excellent recording of Young’s final performance of the song at Hyde Park in June, 2009.
The covers disc ends with an excellent recording of John Lennon’s “Imagine.” Young covered the tune three times, all in 2001 as a response to the terrorist attacks on the World Trade Center in New York on September 11th. The first performance was a telecast with members of Pearl Jam, and the second two were played at the Bridge School Benefit a month later. They play it as an instrumental but the audience sing along.
(78:50): Rockin’ In The Free World (with The Lost Dogs) Shi Kokaido, Nagoya, Japan – May 5th, 1989 / Looking Forward (solo) Memorial Auditorium, Sacramento, CA – March 17th, 1999 / Old Man (with The Stray Gators) Maple Leaf Garden, Toronto, ON, Canada – January 15th, 1973 / Hitchhiker (solo) Tempodrom, Berlin, Germany – April 30th, 2003 / Hitchhiker (solo) Hippodrome, Baltimore, MD – April 28th, 2011 / Love And War (solo) Chicago Theater, Chicago, IL – May 7th, 2011 / Peaceful Valley Boulevard (solo) Chicago Theater, Chicago, IL – May 7th, 2011 / You Never Call (solo) Chicago Theater, Chicago, IL – May 7th, 2011 / This Old Guitar (with The Prairie Wind Band) Tweeter Center, Tinley Park, IL – September 18th, 2005 / Distant Camera (solo) Paramount Theater, Oakland, CA – March 20th, 1999 / Big Time (with Crazy Horse) Suwannee Park, Live Oak, FL – August 23rd, 1997 / Rockin’ In The Free World (Neil Young & His Electric Band) Hyde Park, London, England – June 27th, 2009 / Complete Day (solo) Falconer Salen, Copenhagen, Denmark – February 28th, 2008
The fifteenth disc focuses upon more recent solo acoustic performances (with some exceptions of course). The two oldest tracks are the opening acoustic version of “Rockin’ In The Free World” from 1989 and an excellent version of “Old Man” from Toronto in 1973.
Included also are two versions of “Hitchhiker.” The first is a solo acoustic recording from 2003, predating it’s official release on Le Noise in 2010. The second is an electric performance comes from Baltimore on April 28th, 2011. The sound quality of the second version is quite poor.
The next three songs all date from the same show in Chicago on May 7th, 2011. Both “Love And War” and the haunting “Peaceful Valley Boulevard” are from Le Noise while “You Never Call” remains unreleased. These three tracks are the most recently recorded in the entire box set.
“This Old Guitar” is a great down home folky performance with his wife Pegi taken from the Farm Aid benefit. Two more electric tunes close the disc, “Big Time” and “Rockin’ In The Free World.” The final track labeled “Complete Day” is a short interlude from the February 28th, 2008 show in Copenhagen where Young responds to some hecklers demanding he play old songs. After ripping into them, he makes a comment about a complete day.
(79:35): Time Fades Away: Time Fades Away, Journey Through The Past, Yonder Stands The Sinner, L.A., Love In Mind, Don’t Be Denied, The Bridge, Last Dance. Where The Buffalo Roam: Buffalo Stomp (Neil Young with the Wild Bill Band of Strings) / Ode to Wild Bill #1 (Neil Young) /All Along the Watchtower (The Jimi Hendrix Experience) / Lucy In The Sky With Diamonds (Bill Murray) /Ode to Wild Bill #2 (Neil Young) /Papa Was a Rolling Stone (The Temptations) / Home On the Range (Neil Young) / Straight Answers Dialogue (Bill Murray) / Highway 61 (Bob Dylan) / I Can’t Help Myself (Sugar Pie Honey Bunch) (Four Tops) /Ode to Wild Bill #3 With Dialogue (Neil Young) / Keep On Chooglin’ (Creedence Clearwater Revival) / Ode to Wild Bill #4 (Neil Young) / Purple Haze (The Jimi Hendrix Experience) / Buffalo Stomp Refrain (Neil Young with the Wild Bill Band of Strings)
The bonus disc contains two rarities. The first part of the disc has the rare 1973 LP Time Fades Away. Part of the ditch period, it was meant for CD release in 1996 but was inexplicably cancelled. There have been many very good unofficial needle drops of the LP. Perhaps the best is the no label Time Fades Away from 2007 which not only has the LP but the rare single “Last Trip To Tulsa.”
Decades doesn’t have the single. However, it is still great sounding.
The first song “Time Fades Away” comes from the March 1st show at The Myriad in Oklahoma City, Oklahoma. This ballad of drug addiction has a vague narrative with “fourteen junkies / too weak to work” being reduced in the final verse to “thirteen junkies.” Did the one escape, or did he die?
“Journey Through The Past” comes from the February 11th, 1973 show in Cleveland. The performance features Young alone at the piano and was played on the solo tour two years before. “Yonder Stands The Sinner” was recorded on March 17th, 1973 in Seattle and features Crosby and Nash on backing vocals. The band punctuates the self-accusatory lyrics with howls and Young himself shouts out “SINNER!!” in the songs final verse.
“L.A.” is taken from the same show as the title track on the album. “Don’t Be Denied” was recorded on March 28 in Phoenix and again features Crosby and Nash on background vocals. This cynical autobiography was also a regular inclusion on the Trans tour in 1983.
“The Bridge” is a pretty piano based ballad written about the same time as “Journey Through The Past.” The song, which gave the name to Young’s school in California, was played only three times. The first was on February 27th, 1971 and the final is this one on April 1st, 1973 in Sacramento. It is a rare upbeat song and serves as an uplifting prelude to the finale song on the album.
“Last Dance” dates from the March 29th show in San Diego recalls the daily hassles of repetitive jobs answered by a coda that contains repetitive “no’s” chanted over a constant back riff. With Crosby and Nash on backing vocals, it is a tour-de-force reaching almost nine minutes long.
The latter half of the bonus CD is the rare Where The Buffalo Roam film soundtrack. The LP was released in 1980 when the movie came out but hasn’t been seen since and has never been pressed onto CD. Young’s contribution to the soundtrack includes various reiterations of the title tune sung with harmonica.
Also included are various non-Young songs such as “Keep On Chooglin’,” “Purple Haze” and clips from the soundtrack featuring Bill Murray. The disc is nothing revelatory. It is a strange movie with strange music, but it is good to have this as a bonus for Neil Young completists.
The bonus DVD contains the complete Journey Through The Past film. Directed by Neil Young himself, it was released in 1972 to poor reviews and remained unreleased until its inclusion in 2009 in the Neil Young Archives. OMS include a direct copy of the official release, complete with menus.
It is a strange documentary without much focus or purpose, filmed on the premise that the rock star life is inherently interesting and worth seeing on celluloid. Instead of being a compelling slice of cinema verité, it comes off as a major ego boost for the artist and is quite difficult to sit through. The crusaders on the beach were fun to watch (reminded me of parts of Led Zeppelin’s The Song Remains The Same), but ultimately this journey through the past is no more than a curious relic.
Decades comes packaged in a box with a removable top and each disc is in its individual sleeve with tracklisting on the back. A thick booklet is included with an essay and detailed liner notes describing each track. It is one of the biggest and most comprehensive collections ever produced of any artist whose appeal is aimed at the dedicated Neil Young collector.
“Thunder Down Under” (subtitled The Complete 1972 Australian And New Zealand Recordings) is Empress Valley’s newest title – a massive luxury box set containing 20 CDs and 1DVD of – what was told – a complete and comprehensive collection of all available audio and video from Led Zeppelin’s one and only Australia/New Zealand tour that took place in February of 1972. The box itself looks awesome: glossy cardboard hinged set with five individual gatefold sleeves housed inside. For the front artwork, they’ve used fantastic photo from Melbourne gig, showing members playing on the outdoor stage just as the dark stormy clouds started to appear in the sky and bringing some heavy rain. The back has famous Swan Song logo along with album’s title, usual credits (to Mr. Diamond, whoever he is) and EVSD logos on bottom rears (and with another photo in the background). Each gatefold cover is differently titled and contains two versions of each show, presenting basic edit or source mix (version #A) and alternate edit or source mix (version #B). Each gatefold album utilizes Melbourne photos done during the show and before the rain started to drop.
When it was first announced in October 2013, many negative comments started to pop up and many people complained about its content, saying that yet again thislabel is reissuing the old material known from their previous titles, and stolen a DVD shared by the fans throughout the torrent sites. There were also some problems with flawed discs (actually, disc #16 of Sydney show), and replacement copies were quickly released and sent to everyone, who picked up box at its first selease. After some hesitation I decided to get a copy for myself, and I have to say that even if most of this material already surfaced many years ago, the sound quality and completeness of this collection is undoubtedly far superior to every past title containing any of shows included in this box. There are some rumours saying that this time label used a better tapes and mastering and even if this is not true at all, the overall effect is more than satisfying.
So let’s examine this deluxe set disc by disc, also making some recollections from the past and study this wonderful piece of music. Since we have already plenty of reviews describing each of five shows, I’ll concentrate much on technical aspects, and try to make a comprehensive comparison between titles.
“Shattering Rock Experience” – Adelaide February 19th, 1972
Version #A (EVSD 609/610)
CD1: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD2: Dazed And Confused/Moby Dick/Whole Lotta Love
Version #B (EVSD 611/612)
CD3: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD4: Dazed And Confused/Moby Dick/Whole Lotta Love
This is the famous Adelaide show, and best sounding tape of all five nights that have surfaced so far from this tour. Adelaide was the second stop (after Perth, which has a tape that hasn’t surfaced yet, according to rumour). The show first circulated many years ago on TDOLZ’s “Oooh My Ears Man” and was later reissued by few major labels, of which worth to list are Equinox’s “Live In Adelaide” (also released as stunning 7 CD box set titled [ sic! ] “Thunder Down Under” and collected everything that was available from the tour at that time), Tarantura’s “Voo Doo Drive”, T2K’s “Voo Doo Drive Version 2004” and EVSD’s “Deep Downunder”. Each of these past titles are quite similar in content and quality except for the EVSD’s “Deep Downunder”, which has some edits from between the songs removed out to present a bit more compact listening. EVSD’s newest version included in the box seems to be a little clearer/brighter, has additional several seconds at the very start of tape and overall the recording sounds freshier. Most likely, they’ve used a newly circulated master clone that was traded just few years ago. Between this and first EVSD title I do hear some noticeable difference in depth, and I am calling the box set version a winner.
The show itself is very powerful, with brilliant versions of “Immigrant Song”, “Heartbreaker” (these two songs are unlikely performed with a long break due to a broken string of Jimmy’s guitar and funny comments from some members of the audience, reporting the devastating level of sound (“ooh my years man!” can be heard just right after the first song, when someone was literally blown away by the large amount of decibels), “Stairway To Heaven”, “Dazed And Confused” (a really furious and heavy version, one of the best from 1972 I think), and “Whole Lotta Love medley”. The only minor of this show are numerous cuts and edits throughout the show that caused the dropping of some Plantations from the set, and omitting (probably) some songs that might be played that evening (“Celebration Day” or “What Is And What Should Never Be” and maybe “Communication Breakdown” as the final encore).
Between both versions, version #A contains literally everything that have surfaced on tape while version #B is very similar in content to EVSD’s “Deep Downunder”, and has some edits removed out from compilation. It’s also worth to say that some of edits that plagued original recording are repaired here in a smooth way, making this show even more interesting.
“So Loud, So Hot” – Melbourne February 20th, 1972
Version #A (EVSD 613/614)
CD5: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD6: Dazed And Confused/Rock And Roll/Whole Lotta Love
Version #B (EVSD 615/616)
CD7: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD8: Dazed And Confused/Rock And Roll/Whole Lotta Love
The Melbourne show was the first date from the tour that started to circulate amongst the collectors back in the early/mid 1970s, and few vinyl LPs containing first half of the gig in acceptable fair quality appeared just few years after the show. After that, at least three new different source tapes as well as more complete basic source have surfaced, and it’s a hard to say which tape is really complete. At the early 1990s, various labels started to release this show in unique way, and at the end, we have at least a dozen of different titles, and this is probably the most bootlegged date from the entire tour. The most noticeable past versions of this set are: “Acoustically” (TDOLZ), “Count Me Out When It’s Hot” (Cobra), “”Down Under Daze” (Image Quality), “Live In Melbourne” (Equinox; also as 7CD compilation), “Melbourne Masters” (Immigrant), “No Longer Down Under: Live In Melbourne” (Graf Zeppelin), “On Stage Melbourne” (Wendy), “Shivers ‘n’ Shakes” (Red Hot), and “Wet Head Is Dead” (EVSD). Between all of them, no one is truly complete (except for EVSD, Graf and Wendy), and each offers different source mix between at least two or three tape sources. Newly released EVSD title offers almost the same mix as the one found on Graf Zeppelin and Wendy, and is the most complete version of this show so far.
This show was played under very cloudy conditions with rain cutting it short at the end, and was cut short because of thepossibility of electrocution. EVSD used probably four different tapes sources to present a complete concert. Version #A is very similar in content to the versions released by Graf Zeppelin and Wendy (as mentioned) and differs only in very few minor spots (mostly a technical issues). The tape starts with the old “vinyl” source, and then is patched with almost excellent sounding tape, recorded close to the stage and without any serious distortion except for the fact that it sounds a tiny bit weak to me. For the “Rock And Roll” and very start of “Whole Lotta Love” they’ve used another tape that sounds very poorly, lacking complete clarity and it obvious that it was recorded somewhere from the balconies at the end of stadium. Frankly, it lasts maybe within 5 or 6 minutes at all (if count all the minutes used for this particular source) and it doesn’t disturbing overall atmosphere. Very likely, another tape recorder is used for some patches in between the songs but I am not 100 percent sure because when you’re listening multiple source changes, your ears starting to be a bit tired. In opposite, version #B is somewhat much more interesting, at least for someone who’s a mad completist as me. For this version, the label used so called entire “vinyl” source as primary source and used another two (or three?) recorders to patch missing parts in between the songs and for the parts, where basic source tape doesn’t exist (ie. some of “Dazed And Confused”, “Whole Lotta Love” etc.). It is very interesting to hear the whole alternate tape because, even if this source isn’t as clear and dynamic as the one used for the basic version, it allows me to celebrate this date in a much different perspective. Anyway, congrats to EVSD for doing such a great research and – at this point – I must complain on excellent Bootledz site, which states they missed something. (I more believe that some of older titles just faked or repeated some audience parts rather than EVSD accidentally cuts out something, because the same site didn’t say anything bad when referring to Graf Zeppelin/Wendy titles, which are very similar in content to this newly box set and have literally everything in order.) The bad aspect of this version is the fact that they included “Rock And Roll” after “Whole Lotta Love”, which is obviously a big error and I hope that the label will replace this soon with corrected copies of the first disc for version #A.
The show itself starts in with usual medley of “Immigrant Song” and “Heartbreaker” and is followed by good renditions of “Black Dog”, “Since I’ve Been Loving You” and “Stairway To Heaven”. I don’t know why, but for me one of the highlights for this date is acoustic set. The band seems to enjoying themselves much and I have a feeling that night before they were in rush and this night all four members of the group – along with audience – were much more relaxed. The weather started to getting worse as the band went heavily through a great version of “Dazed And Confused”, and near the end it was obvious that the group had to stop the show and wait for a better time. An abrupt version of “Rock And Roll” followed soon and, again, the rain scared everyone during the “Whole Lotta Love” medley, which was shortened “because electricity and water just don’t get together at all”, but even this fact, this concert is really good and worth attention (at least in my humble opinion).
“The Biggest Gathering” – Auckland February 25th, 1972
Version #A (EVSD 617/618)
CD9: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Celebration Day/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD10: Dazed And Confused/What Is And What Should Never Be/Rock And Roll/Moby Dick/Whole Lotta Love/Communication Breakdown
Version #B (EVSD 619/620)
CD11: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Celebration Day/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD12: Dazed And Confused/What Is And What Should Never Be/Rock And Roll/Moby Dick/Whole Lotta Love/Communication Breakdown
This show started to circulate back in 2003 as a single, excellent sounding tape, but was very incomplete (missing many songs). In 2010, an alternate and much more complete tape recorder was found, and this time almost entire show was captured. The show was first released exclusively on two premium labels, Akashic and T2K, under the title “Going To Auckland”. This is followed by another three titles, “Live In New Zealand” (EVSD), “On Stage Auckland” (Wendy) and “No Longer Down Under: Live In Auckland” (Graf Zeppelin); each of them mixed both tape sources and are much similar in content. However, each of them focused on first tape source, using alternate recording only to fill gaps in basic source. Newly released EVSD presents two unique source mixes: version #A is somewhat very similar to their predecessors and version #B includes second tape source as its foundation.
Between all of these titles, the quality is much similar; however, once again, newly EVSD title seems to be sourced from freshier transfers and has more depth to me. Also, version #B is much more interesting because it reflects on alternate recorder that hadn’t been in circulation anywhere but on low gens and here is presented in its entirety, what allows me to explore this show in a different mood.
Auckland date is known especially from the fact of being the first and only appearance of the band in New Zealand. Almost 25,000 fans went to see the group and for this groundbreaking event, Peter Grant hired a Zeppelin Express – an exclusive train to bring fans from Wellington up for the show. This is another excellent performance (probably – mostly because of its quality – shares the same top sound with Adelaide and Sydney), showing a very rare early glimpse of Jimmy Page’s creative prowess on stage and Plant’s explicit praise of the logistics of the show. Probably for the first time during this tour a fast and heavy version of “Celebration Day” was performed and in the middle of “Dazed”, Page incorporated opening riffs of “The Song Remains The Same” (back then the song was yet not finished and was only rehearsed under working title, “The Plumpton And Worcester Races” [sic! ] and existed as a spontaneous, loose jam). “Whole Lotta Love” is my all time favorite from the tour, and furious and heavy “Communication Breakdown” is played as a closer to delight of rowdy audience.
“Pop Goes The Showground” – Sydney February 27th, 1972
Version #A (EVSD 621/622)
CD13: Black Dog/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp/Dazed And Confused/What Is And What Should Never Be
CD14: Moby Dick/Rock And Roll/Whole Lotta Love/Communication Breakdown/Organ Solo/Thank You
Version #B (623/624)
CD15: Black Dog/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp/Dazed And Confused/What Is And What Should Never Be
CD16: Moby Dick/Rock And Roll/Whole Lotta Love/Communication Breakdown/Organ Solo/Thank You
For the Sydney show two different tape sources are known to exists. The first tape is only a 40-minute fragment containing “Black Dog”, “Bron-Yr-Aur Stomp”, “Rock And Roll” and “Whole Lotta Love” and it was released on Equinox’s “Live In Sydney” (released also as a part of 7CD “Thunder Down Under” set) and on Black Cat’s “Australian Tour Part 1”. The quality is muffled and distant but enough fairly listenable. The second tape surfaced few years after and was taped by Mr. Leo Ishac. It has excellent, wide sound and was taped much close to the stage. Sadly, only equalized transfers are in wide circulation and some of listeners always complained on that fact, saying that the sound is way too much tempered due to process of equalization. On the other hand, this tape source captures almost entire show (minus “Immigrant Song”, “Heartbreaker”, “Since I’ve Been Loving You”, and “Celebration Day”) and was released soon after on “Ayers Rock” by T2K. (Other reports says that the taper recorded entire show, but because of some unknown reasons, he dropped them out from copies he traded over the years.) T2K title is even more tweaked what causing of a rather painful listening experience for this show. Soon after few more labels started to released their own versions, using first (shorter) source to fill gaps in longer tape: “Rumble In Sydney” (Further Along), “Balloon Goes Up On Led Zeppelin” (EVSD), and “On Stage: Sydney” (Wendy). Newly released EVSD title (presented on version #A) uses the same source mix but it seems to be done a little more carefully, keeping everything in right order. Also, for the very first time, the small gap in between “Hello Mary Lou” and “The Rover” in the middle of “Whole Lotta Love’ medley is filled by first tape source, making this ‘marathon’ truly complete. Version #B (similar to Adelaide show) includes an alternate edit, where some of worst cuts are gently eliminated, providing smoother version of this concert.
Sydney show itself is a very strong performance, with many great moments. “Black Dog” is played with fury and impact and “Dazed And Confused” (especially the bowing solo), is a delightful novelty to the provincial punters and this is another great version of this song. “Rock And Roll” is delivered with swaggering fury. Plant reaches the notes the ear expects. Very long and somewhat unique “Whole Lotta Love” and its rock medley, including a fully-realized, instrumental version of “The Rover”, heard years before its official release, is a truly awesome. A great pair of encores (with extremely jammy “Communication Breakdown” and glorious “Thank You”, preceded by organ solo), closing this amazing gig.
“Indoor Farewell” – Brisbane February 29th, 1972
Version #A (EVSD 625/626)
CD17: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Celebration Day/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD18: Dazed And Confused/What Is And What Should Never Be/Moby Dick/Whole Lotta Love
Version #B (EVSD 627/628)
CD19: Immigrant Song/Heartbreaker/Black Dog/Since I’ve Been Loving You/Celebration Day/Stairway To Heaven/Going To California/That’s The Way/Tangerine/Bron-Yr-Aur Stomp
CD20: Dazed And Confused/What Is And What Should Never Be/Moby Dick/Whole Lotta Love
At the start I need to say that probably this was the biggest surprise for me, having previously only heard the entire Brisbane show and remembering its poor quality, I was even more happy enjoying the fact that EVSD used better sounding transfers up here. Furthermore, all previous titles offered only single source – and – for the very first time large speed issues that plagued both recordings are finally fixed in excellent way.
For many years only first tape source circulated on silvers, making its appearance on Black Cat’s “Australian Tour Part 2” and “Live in Brisbane” (Equinox; released also on 7CD set titled “Thunder Down Under”). Both titles uses poor sounding and somewhat incomplete tape. Newly released EVSD set includes this tape source on version #A as its foundation and filling missing parts with second tape source, that is released on silver for the very first time. Version #B rely on second tape source as basic tape and uses first tape source in parts, where second tape isn’t available. The quality is still muddy and distant but is much more clear and all issues that were presented on past titles are fully repaired, making listening much more comfortable journey. Even the weakness of the sound couldn’t broke my excitement, since Brisbane show is really worth of close attention.
The concert was the final show of the tour and the only indoor gig of all five dates. In fact, this is excellent, high-powered show in front of another rowdy Australian crowd! The opening numbers are excellent and Robert’s singing on “Since I’ve Been Loving You” is pure emotion and one of the best versions from the entire Australian episode. A restless audience stops “That’s The Way” a minute into the song. After Plant’s seating instructions, they start the song again. “Dazed And Confused” is another long version and “Whole Lotta Love’ medley medley is excellent and contains some really rare inclusions. We can only wondering if the group played some encores, since end of tape captured people leaving the hall but if they did any, “Communication Breakdown” might be the answer (judging their two previous shows, they used this song as a definitive set closer).
DVD: Immigrant Song*/Heartbreaker*/Black Dog*/Since I’ve Been Loving You*/Celebration Day*/Stairway To Heaven*/Going To California*/That’s The Way*/Bron-Yr-Aur Stomp*/Dazed And Confused*/What Is And What Should Never Be*/Moby Dick*/Rock And Roll*/Whole Lotta Love medley incl .Boogie Chillun, The Rover*/Immigrant Song**/Black Dog**/Since I’ve Been Loving You**/Celebration Day**/Going To California**/Bron-Yr-Aur Stomp**/Dazed And Confused**/Moby Dick**/Rock And Roll**/ Heartbreaker***/Black Dog***/Dazed And Confused***/Thank You****/Miscellaneous scenes*****
The DVD disc is added as a bonus to the set and makes this release a very special gem. The only minor problems are the incompleteness of footages included, but assuming the fact that back in early 1970s no one had a chance to capture an entire show on video, this is a remarkable piece of rock history and pure delight for all LZ fans, having a chance to see the group live on stage! Four different amateur movies have surfaced from the Sydney show (I marked them from * to **** symbols) and all four have sound dubbed from actual concert, except for the parts where original soundtrack doesn’t exist (these short parts are dubbed from Brisbane show). The fourth (****) footage is supposed to be much longer but the complete copy is still in the hand of the taper. The fifth (*****) footage is allegedly taken from Melbourne and showing people arriving to the Kooyong stadium, also partially exploring stage and band’s equipment. Since we all know that seeing LZ on video is something outstanding, I need to say only that the idea of including all these films was really accurate and it’s even more great to see also famous GTK footage (along with Sydney press party) attributed to this DVD.
Summary: As for any other massive sets, this title is recommended especially for more serious collectors out there. Two versions for each of shows might be a boring thing for less advanced listeners and for those, who cannot afford it, at least one single title for each show can be adapted. The minor flaws here and there (mostly attributed to the Sydney tape and unavailability of raw unprocessed transfer for the Leo Ishac’s source tape) are vastly overshadowed by the excellent presentation and editing work of the sources presented in this box set. Just about all the shows presented here are in either same or improvement in terms of sound quality and completeness over previous releases with EVSD taking full advantage of the very careful mastering technique (making all these shows sounding fantastic, especially Melbourne, where multiple source changes are done in a truly professional way). Furthermore, this box set will probably become highly collectable in years to come, not only because the fact of being strictly limited to few hundred copies only but mainly because of its content as the most complete and comprehensive collection of all these shows (until new tape sources are about to surface someday). If I need to discuss any bad sides, I’d point out problems with flawed discs for Melbourne and Sydney shows and its high price and for sure for those who cannot afford a few hundred of $, a direct download copies (that will appear very soon on torrent sites) are an excellent ways to obtain this release for free. (argenteumastrum, Dec 2013)
Concertgebouw, Amsterdam, Netherlands – September 29th, 1969
Disc 1 (60:23): House announcement, Heaven And Hell, I Can’t Explain, Fortune Teller, Tattoo, Young Man Blues, A Quick One While He’s Away, Substitute, Happy Jack, I’m A Boy, Overture, It’s A Boy, 1921, Amazing Journey, Sparks, Eyesight To The Blind (The Hawker)
Disc 2 (63:05): Christmas, The Acid Queen, Pinball Wizard, Do You Think It’s Alright?, Fiddle About, Tommy Can You Hear Me?, There’s A Doctor, Go To The Mirror, Smash The Mirror, Miracle Cure, Sally Simpson, I’m Free, Tommy’s Holiday Camp, We’re Not Gonna Take It, Listening To You / See Me Feel Me, Summertime Blues, Shakin’ All Over, My Generation
The Who’s Tommy wasn’t the first rock opera or even the first sustained narrative in rock form. But it was eagerly anticipated before it was released (Pete Townshend hyped Tommy in his first Rolling Stone interview in the summer of 1968) and was met with enthusiastically positive critical reception when it finally was made public in April 1969.
It had an interesting and personal premise and showed the possibilities of rock being a serious art form (along with work by other artists the same time). The Who incorporated a bit portion of the work into their live set immediately when they toured the UK that spring and the US that summer.
The Who chose the Concertgebouw in Amsterdam, the Netherlands, for the first performance of the work in continental Europe. It is one of the most acoustically perfect venues in continental Europe and would lend an air of authority to the performance. AVRO, a Dutch broadcasting company, owned the most sophisticated recording equipment in Europe at the time and recorded what would be one of rock’s classic performances.
The band would present their complete concert set. Beginning with John Entwistle’s “Heaven And Hell,” the first third of the show would be devoted to their older songs including “A Quick One While He’s Away,” their first attempt at a rock opera. The middle of the show would be an almost complete Tommy, and the finale of the show would be more older songs and their famous jam sessions.
The recording has been released many times before dating back to the days of vinyl.
It also became a perennial on compact disc. Some of the best releases include Amazing Journey on Hiwatt (NL-69 A/B) (which has amazing sound quality but with the songs in the wrong order, Unbelievable Fantastic (Rockmasters RMC-007AB) and The Complete Amsterdam 1969 (Seymour Record-014/15), both with great sound and in the correct running order.
The Dutch Seduction is Godfather’s first Who release and sounds just as good as Rockmasters and Seymour. It is quite simply a beautiful recording with unbelievably fantastic dynamics, presence and atmosphere. Even casual Who fans need a copy of this in the collection. Since the two Japanese releases are hard to find, this is a welcome title.
After the announcements (in Dutch and English) the band hit the stage with “Heaven And Hell” and “I Can’t Explain.” Townshend introduces “Fortune Teller” as a song that the Rolling Stones among others have also covered. The performance segues effortlessly into “Tattoo.”
Before “Young Man Blues” Pete explains, “A couple of people have asked us why we chose to play in Amsterdam for the first major opera house performance of Tommy and the answer quite simply is we like it. Not being at all factitious. It’s probably more average of what Europe is like than London…You are the first.”
The Mose Allison cover follows in its bombastic glory. Townshend gets into a long exposition about “A Quick One,” trying to explain what a girl guide is and the plot of the story. Keith Moon is looning behind him, acting like a lech at the very mention of the girl’s blue knickers. When Townshend gets to the end of the explanation, speaking about the forgiveness part, he jokes about how modern that is.
After “Substitute” and “Happy Jack,” they start the Tommy suite. Some of the tracks are played out of sequence in reference to the official studio version with “Pinball Wizard” being moved up after “The Acid Queen” and “Tommy Can You Hear Me?” placed before “There’s A Doctor.”
Much of the piece has been played live since the spring and is very tight and exciting. But the newer pieces are a bit shaky. This is especially true for “Sally Simpson” which has a very tentative vocal performance by Roger Daltrey.
Only after the main event of the evening do the band relax a bit and deliver a startling version of “Shakin’ All Over” (which also contains a reference to “Smokestack Lightening”) before Townshend begins his feedback windmills over Moon’s violent beats. “My Generation” is played as a rare encore with a reprise of “See Me/Feel Me,” “Pinball Wizard” and other leitmotifs from the rock opera to bring the concert full circle before leading into a haze of distorted atonal fuzz and a restatement of the Tommy theme.
After this show the band would fly to New York to start another tour of the US but would return to continental Europe in early 1970 for further concerts including another date at the Concertgebouw on January 30th, 1970. The Dutch Seduction is packaged in a tri-fold gatefold sleeve with a groovy cover! Let’s hope Godfather will keep The Who concerts coming!
Nassau Veterans Memorial Coliseum Uniondale New York February 13th, 1975
Disc 1 : Intro Announcements, Rock and Roll, Sick Again, Over The Hills And Far Away, In My Time Of Dying, The Song Remains The Same, The Rain Song, Kashmir, No Quarter
Disc 2: Trampled Underfoot, Moby Dick, Dazed And Confused
Disc 3: Stairway To Heaven, Whole Lotta Love, Black Dog, Communication Breakdown (with special guest Ronnie Wood)
Few Hours With St. Valentine
Nassau Veterans Memorial Coliseum Uniondale New York February 14th, 1975
Disc 1 : Intro Announcements, Rock And Roll, Sick Again, Over The Hills And Far Away, In My Time Of Dying, Since I’ve Been Loving You, The Song Remains The Same, The Rain Song, Kashmir
Disc 2: No Quarter, Trampled Underfoot, Moby Dick
Disc 3: Dazed And Confused, Stairway To Heaven, Whole Lotta Love, Black Dog, Heartbreaker
Armed with a new double album, Physical Graffiti that would be in stores soon, Led Zeppelin prepared for their much anticipated 10′th US tour. The tour was to be broken into two legs following two European warm-up shows in Brussels and Rotterdam. In keeping with rock shows of the day, this tour was to be much more grandiose, incorporating a massive light show and laser bean effects for Jimmy’s violin bow solo during Dazed and Confused. And, for the very first time Bonzo and his drum kit were perched high atop a riser.
The first leg of the tour was plagued with ill health. Jimmy injured a finger which forced him to develop a new “3 finger” technique. This also meant that Dazed and Confused would be put on the shelf, only to be replaced by How Many More Times. Robert had the flu, and ongoing voice issues while Bonzo struggled with stomach problems. John Paul Jones it seemed was the only member of the band to remain healthy throughout.
Songs from the new album that were added to the setlist were Sick Again, In My Time Of Dying, Kashmir and Trampled Underfoot, with Kashmir quickly becoming one of the highlights of the show. As Plant would often mention during the shows, the set list had been constructed to highlight a broad cross section of material from the groups six and a half years.
After what I consider to be the best show of the tour to that point at Madison Square Garden on February 12′th, the band must have been feeling quite good about themselves as they set up camp for two shows at the Nassau County Coliseum in Uniondale New York.
The February 13th show was very good. By this time, Dazed and Confused was back in the set list as Jimmy’s finger problems appeared to be much less problematic. This show is historically notable due to the fact that Rolling Stone Ron Wood joins the band during the Communication Breakdown encore. For fans that are used to seeing Jimmy handle all the guitar work , it is interesting to see the interplay between the two of them as they both take rather long solos.
February 14′th was another energetic and forceful performance despite Robert struggling with his voice again in the early going. Highlights on this night were the inclusion of Since I’ve Been Loving You into the set as well as John Paul Jones at his improvisational best during No Quarter.
Soundboard tapes for the February 14′th show have circulated for quite some time already and have been released by various labels. The big excitement though was the discovery of the soundboard from February 13′th which surfaced only just recently. With this discovery, Godfather Records saw the perfect opportunity to package both these superb shows into a single deluxe box set.
As for the sound quality, that is always a very subjective thing from one listener to the next, so speaking for myself only, I feel this release does contain the best available sound and is very close to rivaling an official release. I’m not an audio engineer so I can’t give you the details of what Godfather have done to the sound, but trust me…it sounds good!
Never one to disappoint on the packaging front, Godfather has created another visually appealing box set. Enclosed in the outer box are two trifold cardboard cases, one for each night, as well as two miniature tour posters and a beautifully illustrated 18 page booklet.
If you have always been a fan of the New York shows as I have this box set will make a wonderful addition to your collection. Both visually and aurally stunning it gets high marks from me.
Disc 1 (79:01) Fillmore East, New York City, April 5, 1968: Summertime Blues, Fortune Teller, Tattoo, Little Billy, Can’t Explain, Happy Jack, Relax, A Quick One, My Way, Shakin’ All Over, Boris The Spider, My Generation. Capital Theater, Ottawa October 15, 1969 (1st Set): Heaven And Hell, Can’t Explain, Fortune Teller, Tattoo, Young Man Blues
Disc 2 (66:04) Fillmore East, New York City, October 22, 1969: Bill Graham Introduction, Heaven And Hell, Can’t Explain, Fortune Teller, Speech, Young Man Blues, Speech, Overture, It’s A Boy, 1921, Amazing Journey (cuts within), Sparks, Eyesight To The Blind, Christmas (fragment only cuts off) See Me Feel Me (fragment only cuts in), Summertime Blues, Shakin’ All Over. State University of New York, Long Island (Stonybrook) October 18, 1969: Overture, It’s A Boy, 1921, Amazing Journey, Sparks (fade out)
Godfather’s second Who release is like a companion piece to their first title, The Dutch Seduction (Godfather Records GR 820/821) the brilliant Amsterdam Soundboard from 1969. This new title is from a similar period in history and collects together four recordings, three of which have been released prior and are now gathered together, in superb quality for all to enjoy.
The first disc has the Fillmore East show, often attributed as April 6 1968, the quality is superb soundboard recording and has seen many releases over the years, beginning with vinyl on Fillmore East (TMOQ 71071), and the various vinyl permutations such as Fillmore East (K&S RECORDS 014), Fillmore East (Koine V880805), Fillmore East 1968 (LXXXIV SERIES 40), Fillmore East 1968 (TMQ 71071), Furious Prelude (WPOCM 0888B008-1) and Live At Fillmore East (EXIL LP-EX-002), ultimately on CD under such titles as Live Over 20 Years (Live At The Fillmore East) (Koine K880805), Fillmore East 1968 (Back Trax CD 04-88007), Furious Prelude (WPOCM 0888B008-2), Live At Fillmore East, 1968 (Living Legend LLRCD 010), Live In New York (Black Panther BPCD 034), Who Were These Masked Men? and Shakin’ All Over (Gold Standard), and most recently as Fillmore East 6 April 1968 (Sunrise SR-0012).
There is no new tape as the cuts in “Relax”, “A Quick One”, and “My Generation” are still present but the band’s performance more than makes up for any short comings. What makes the performance so intriguing is that the band melds their early pop sensibilities (“Can’t Explain”, “Happy Jack”) with stage favorites that give them the ability to improvise (“Summertime Blues”, “Shakin All Over”, “My Generation”) plus a couple new songs from the Sell Out record. The version of “Tattoo” is particularly enjoyable, the trading of lyrics between Townshend and Daltrey is perfect and the lyrical content is funny yet disturbing. As most already know, this is an essential tape to have.
The remainder of the disc is a 20 minute fragment of the first five songs from the bands set at the Capital Theatre in Ottawa Canada. It has seen previous releases as Pure Rock Theatre (Hiwatt ZA59), Roulette Rock and Tangled In Tommy. The quality is excellent soundboard and well balanced but has a small amount of top end distortion and it is most unfortunate that the tape is so short as it seems that the band is playing with gusto. They hit the stage with “Heaven And Hell”, Entwistle’s song that was the B-side to “Summertime Blues”, it makes a good opener and features some great bass runs from The Ox.
After a quick “Can’t Explain” Roger introduces “Fortune Teller” as something from Benny Spellman, the song seems to be a 60′s favorite amongst bands and one The Who would most certainly make their own. The version here simply swings with swagger and fierce playing, it segues into another strong version of “Tattoo”, the lines about the Dad beating Mom who beats the brother is stunning. Pete’s introduction to “Young Man Blues” is quite quiet and he gives the history of the song originating from Jazz musicians. I remember getting my first taste of this song from The Kids Are Alright record and being amazed by the playing, certainly a vehicle for improvisation, Pete’s guitar has a great fuzzy and nasty tone to it that give a real thick sound.
The second disc begins with the Fillmore East soundboard fragment from October 22, 1969, the recording has seen previous releases as Accept No Substitute on Big Music (Big 011), Sparks On The Bay on Oil Well (RSC CD 044), The Who Live (Mojo 058), and Live At The Fillmore 1969 (Rockmasters RMC-009). The quality is excellent, well balanced and most enjoyable recording and has the best bottom end of all the recordings on this set. What can be debatable is the introduction, it is attributed to Bill Graham but to my ear does not sound like his voice but certainly has his catch fraises, I love the “Mad master of the skins” intro.
The band easily creates an intimate feeling at the 2,700 seat venue, during Pete’s introduction to the speech prior to “Young Man Blues” the tale of stage gremlins has the crowd chuckling. While the band’s playing is tight and professional it is certainly not as spirited as the Capital Theatre gig on the previous disc.
Tommy is unfortunately the most fragmented part of the tape, Pete gives a fine introduction to the piece and you are immediately swept in as they kick into the “Overture” and by the time the are in an incredibly heavy “Sparks” you can really appreciate Entwistle’s amazing playing. Sadly a large portion of Tommy is missing but the music seems to invigorate the band and by the time the music fades back with the closing moments of “See Me, Feel Me” the group is in full swing and “Summertime Blues” is full of energy and the band finish with an epic “Shakin’ All Over” with snatches of “The Seeker” and “Spoonful” for good measure.
The final fragment of tape is attributed to the State University of New York October 19, 1969; the sound is most similar to the other soundboard on this tape and is very clear and powerful with virtually no hiss or other tape issues. Clocking in at just over 15 minutes the recording contains the first few pieces of Tommy, all songs are complete save for “Sparks” that has a tape cut at 22 seconds and fades out at the 3:50 mark. A nice tape but frustratingly short.
The tri gatefold is beautifully adorned with live shots of the band and artwork based upon graphic from a Fillmore East program, there is also a 4 page booklet with liner notes from Ian Iachimoe. While this material has seen many prior releases it is certainly nice to have it all collected in one volume and the excellent sound quality make this a very worthwhile release, I for one am looking forward to more Who releases from The Don.