Jimmy Page says previously unheard Led Zeppelin music will be released for band's 50th anniversary

Raising Sand is awsome. And Allison and he tore up Zep tunes on that tour. Plant is always interesting with his new music. He just wants to create more. Page is the mastermind of Zep so it's his baby. He is more precious about Zep, as he should be. Maybe they'll do a charity thing or a club thing, one off together for fun?

 

No great expectations here. Some great live material would be nice - well mixed and mastered but not too heavily edited like Song Remains the Same ( at least if Jimmy is going to do that, this round I would only hope he sees to it that the musical timing is impeccable).

 

The trainwreck to end all trainwrecks. Comedy gold.

 

You might enjoy reading this: PROXIMITY - Vol 9, No 32 - "The Holy Grails of Led Zeppelin" - now this is way out of date, but it's a good read, as is the rest of the stuff that Hugh Jones has on the site. Unfortunately, Proximity is no more.

 

The perfect thing thing that Page can do for LZ's 50th is to put the catalog on SACD mastered by Bernie Grundman and only Bernie Grundman.
The room to the mastering room shall remain locked so Page can't enter to tamper with the controls to add compression and/or excessive EQ.
If Page needs to be in the room, a dummy board shall be set up for his use (ala Murray Wilson) but only Grundman's will be hooked into the DSD.

Chad Kassem, I hope you are reading this [hint ---hint ]

 

Yep. I was a part of that trainwreck lol. I'd forgotten all about that particular thread.

 

You obviously haven't heard the Classic Records LZII and III, on which Grundman goosed the treble big time!

I compared my 200g copy of his LZIII with a first pressing and there was as much as 15db treble boost

 

Are you seriously suggesting the latest remasters are heavily EQ'd?! They're limp as **** - they were clearly instructed to barely touch them, as any competent masterig engineer would have seriously boosted the low end.

 

Kevin Gray has done some nice reissues.I would give him the task!
As far as Zeppelin information back in 2002-3,I was reading about mixing other bands and stumbled upon Kevin Shirley`s Caveman Productions site.That`s how I found out Page was working on a chronological live album.I didn`t even own a computer.I would go to the local public library to use the internet.
Who knows what`s coming in 2018.A book probably a DVD reissue.

 

5.1 versions of the 9 studio albums puleeze!

 

What a superb site, I just spent a very pleasant couple of hours reading all of the articles therein so thank you for the link

 

Bernie was told he could not do the mastering of the Zeppelin catalogue using his setup and was forced to use mastering gear provided by Classic Records. This is why those Classic Records LPs generally don't hit the mark.

The Led Zeppelin catalogue mastered by Bernie Grundman in his mastering studio for SACD would be a dream come true and I bet would sound excellent. His work on the Frank Zappa catalogue has been exemplary.

 

That was one of the best threads ever in the history of ROIO shows. Everything from how the multi gen tape got out, the entitlement blasting. What was, and wasn't from the master(s) The whistles. Everything.

 

Plant seems to do a Zeppelin stage project every 10 years or so.

Not a tour, but an "Oldchella" thing in California or UK would be interesting. Doesn't matter if 1-2 of the 6 big acts was a bit underwhelming. Or just Book Bob Dylan to guarantee that a Zep reunion would look good.

I think a setlist full of songs leaning on the acoustic side of things would help solve the Drummer and voice concerns. Plus you could songs that don't exist in video or film(probably 40% of their catalogue).

I still think most of those at Plant shows are there for the Zep fix.

 

I don't know what you were listening to, mine are bright and compressed.
The original 1980's discs still sound the best to my ears.

Original Atlantic CD - HOTH
DR11 -1.65 dB -14.20 dB 01-The Song Remains the Same.wav
DR14 -1.00 dB -19.53 dB 02-The Rain Song.wav
DR13 -1.00 dB -18.01 dB 03-Over the Hills and Far Away.wav
DR12 -0.83 dB -15.80 dB 04-The Crunge.wav
DR12 -0.66 dB -14.24 dB 05-Dancing Days.wav
DR13 -0.97 dB -16.18 dB 06-D'yer Mak'er.wav
DR12 -0.92 dB -18.05 dB 07-No Quarter.wav
DR11 -0.82 dB -14.87 dB 08-The Ocean.wav

Hi-res
DR10 -0.46 dB -11.64 dB 5:29 01-The Song Remains The Same
DR11 -0.01 dB -15.07 dB 7:39 02-The Rain Song
DR10 -0.01 dB -14.02 dB 4:51 03-Over The Hills And Far Away
DR10 -0.38 dB -12.28 dB 3:18 04-The Crunge
DR10 -0.01 dB -10.84 dB 3:43 05-Dancing Days
DR11 -0.01 dB -12.14 dB 4:23 06-D'yer Mak'er
DR10 -0.01 dB -14.39 dB 7:03 07-No Quarter
DR10 -0.01 dB -12.27 dB 4:31 08-The Ocean

Original Atlantic CD - ITTOD
DR15 -1.00 dB -18.24 dB 01 In the Evening.wav
DR13 -0.61 dB -15.80 dB 02 South Bound Saurez.wav
DR14 -0.52 dB -17.36 dB 03 Fool in the Rain.wav
DR13 -1.35 dB -16.77 dB 04 Hot Dog.wav
DR14 -1.47 dB -17.70 dB 05 Carouselambra.wav
DR13 -0.35 dB -18.07 dB 06 All My Love.wav
DR13 -2.13 dB -18.97 dB 07 I'm Gonna Crawl.wav

high-res
DR10 -0.01 dB -11.70 dB 6:53 01-In The Evening
DR9 -0.01 dB -10.31 dB 4:14 02-South Bound Saurez
DR10 -0.01 dB -12.36 dB 6:11 03-Fool In The Rain
DR10 -0.03 dB -11.93 dB 3:19 04-Hot Dog
DR10 -0.01 dB -11.11 dB 10:34 05-Carouselambra
DR10 -0.01 dB -12.07 dB 5:54 06-All My Love
DR10 -0.01 dB -12.91 dB 5:30 07-I'm Gonna Crawl

Sorry, I never heard any of the Classic LP's.

 

Even though the DR numbers show a higher dynamic range technically, to my ears a lot of the remasters are very dynamic and most of them best the originals IMO in terms of clarity and EQ

 

I will argue the recent remasters have the low end seriously boosted. And I don't care for it.

 

The low end isn't boosted at all though.

 

Can someone please give a synopsis of this back and forth?

 

...when they used better tapes, which is only about half of the time. The rest are either very similar or clearly inferior to the original CD's.

That's why I don't take anyone seriously who says they prefer one batch over the other. It depends on the title.

 

For me I just go by what my ears tell me, not necessarily DR numbers or "better tapes" and whatnot, because there are many times with many bands where remasters use better tapes but still sound worse than the original issues because of bad EQ choices and whatnot. For me I just purely go by what I hear, and to me the remasters (at least like 95 percent worth of them) best the originals. In my own personal opinion of course

So for me if someone likes all of one batch over the other, and they genuinely and honestly feel that way, hey its all subjective anyway

 

The details were never that clear to me, all I can remember now is a loaned audience tape, that became damaged...and I think there was money involved. Much of the humour arises out of Freezer's suspicion that some traders and roio* collectors are nothing but egotistical, grasping, entitled, duplicitous scum. Many of the participants seem to be well aquainted and were perhaps already harbouring grudges; some are using more than one account and there are a few similar screen names, so it's easy to lose track of who said or did what. There are no holds barred; no insult too vile. Anyway, a real hive of scum and villainy - though admittedly, one I've benefited from over the years. There was a much smaller but similar thread on a Yes audience tape where some remaster groups also came under fire - at some point a few turned up and I remember thinking some of what he said about some of these people was true.

*Recording Of Indeterminate Origin.

 

I don't know where you got that information, but from what I remember reading, the Zeppelin titles for Classic Records were all cut on the all-tube cutting equipment used by Bernie Grundman and Chris Bellman at Grundman's facilities. There are several threads around here discussing that; use the forum search function to check them out. Some of Grundman's work on the Led Zeppelin catalogue are considered by some of us to be the definitive versions or at least as good as everything but first pressings (his LZI is stunning. Same goes for IV, and pretty much everything after that, except for one annoying sibilant on the vocals in Tea For one on Presence). However, for Led Zeppelin II and III, I feel Grundman really missed the boat. They're dreadfully goosed in the treble. Some folks like his LZIII for all the detail that brings out, but I always found his LZIII sounds unnatural because the treble boost is so drastic that the acoustic guitars no longer sound real. His Led Zeppelin II is very fatiguing and cut with the treble so hot that there sibilants in a couple of places that not even high end gear tracks without some distortion.

Anyway, we're getting the thread way off topic, but I just wanted to correct the notion that Grundman was told to use Classic's gear. I've never seen any mention of that anywhere, but I have see lots of discussion about Grundman's all-tube cutting system at his studio.

 

Like you, I don’t mind hearing the good with some bad, but that’s us. Not everyone looks at it in away that doesn’t tarnish the image and the legend. There will be people that will hear it and say, “wow, they weren’t that good after all”. That’s what (I believe) Jimmy is trying to avoid.

 

I know since the known multitracked stuff has been picked through, people will speculate on SB releases, but I don't see it happening. EC 75 seems the obvious release to me, and maybe something good can be patched together out of these so-so shows. I just hope we get Japan 70 or 71 .
How the east was won