Led Zeppelin
Philadelphia PA
Here is the link
https://mega.nz/#!UpYGnKRA!UwnXQPA2LQC5bRJC-0ytSWbrkMXn6lZqz6ax-rrrvpY
102 Black Dog
103 Bring It On Home
104 Since I've Been Loving You
105 Stairway To Heaven
201 Going To California
202 That's The Way
203 Dazed and Confused
204 What Is And What Should Never Be
205 Moby Dick (cut)
Press Review: Led Zeppelin’s Music Needs the Spectrum
A lot of people complain about the Spectrum as a place to hear rock music. Much better, they say would be an intimate place where the sound could come through bell-like, unsullied by reverberation off 17,000 people and massive concrete walls.
The Led Zeppelin concert last night at the big hall, however, pointed up what a fallacy the anti-Spectrum reasoning is, for some groups at least. The histrionics of the band members, the awesome pretension of their loudness and stage antics, made it clear that several elements go into “superstar” concerts.
First, of course, is the music. To fill a hall the size of the Spectrum (which last night held 16, 847 persons), huge amplification systems are needed. Every little instrument, even the hi-hat on the drum kit, must have a microphone place next to it.
What happens then is that a little sound, such as a tambourine being shaken, becomes a mighty apocalyptic noise, louder than if the sky were to fall. Everything, in other words, gets bigger and louder and seemingly more important.
Then, the ambience of the hall and the people in it is important. With about 17,000 people on hand, rock-festival-like hassles are inevitable. That sense of hearing the concert, “in spite of” the surroundings make everything seem that much more delicious.
And the huge throng, which carpets the mammoth hall, makes demands on the musicians for showmanship and song selection that no one could possibly fulfill.
With everything magnified so much – the sound by amplification, personal gestures by the necessity to telegraph meaning to an enormous room, audience reaction and demands by the sheer number of people in the hall – it’s no wonder that rock stars have to live lives of overblown profligacy off stage.
Only the sanest and most secure – like George Harrison – can keep things at a human level within their aura, and let them blow up to unreal proportions once beyond the stage lip.
Led Zeppelin is led by Jimmy Page on guitar…. Page is lightning fast and slick as a whistle. And he’s inventive too. His interest in the capacity of his instrument was demonstrated last night when he used a violin bow to work an organ-toned sound out of the guitar.
Page’s guitar sound is perfectly matched strangely by vocalist Robert Plant. Sexier on stage than even Mick Jagger, Plant pointed up the complement of his voice and Page’s guitar by trading off licks with Page – who would play three notes on his guitar and Plant would sing them back.
A very good show with a good versions of Black Dog and Dazed And Confused. What makes this recording very interesting albeit its rather poor quality is a presentation of Bring It On Home, the song that was not played for more than one and a half year! It contains famous battle between Page and Bonham and is possibly the brightest moment of this tape.
he tape begins with Heartbreaker already in progress. Plant's introduction of Black Dog receives a big cheer from the crowd. Page tears through the guitar solo. There is a long pause before the first appearance of Bring it on Home since 3/5/1971. Plant chants "squeeze my lemon" through his harmonica before a short, frantic guitar solo from Page. That's the Way is cut before the final verse. Dazed and Confused features the first appearance of a fully-formed The Crunge, sans vocals, during the guitar solo/workout section. The crowd gets quite loud and rowdy during What is and What Should Never Be. Plant introduces Bonzo as "a wonderful musician, a great friend" to which Bonzo enthusiastically responds "bullshit!" before Moby Dick, which is cut after only twenty seconds, ending the recording.
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