SUPER RARE JAPAN BOX = 1971 NO CALIF 2xLP ex YARDBIRDS = HARD HEAVY LED ZEPPELIN
$
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1971 NORTHEN CALIFORNIA ATTACK!
SUPER RARE 2xLP JAPANESE LIMITED EDITION BOX + POSTER
LED ZEPPELIN
CRAZY NIGHTS
JAPAN - DIGGER PRODUCTIONS - PCS 3045
SUPER RARE limited edition from MANY years ago ... JAPANESE LIMITED EDITION BOX SET with 2LP 's and LARGE ZEPPELIN POSTER ... now listen up... the Japanese producers of this set got it all wrong when the cover states "Last Live L.A. Forum" along with song titles...when in actuality this is the complete performance of a great 1971 Northern California show a few days later. There will be no afterwords discussions about the information stated on the box cover, as noted correctly above!
One of thee RAREST of the type... this one-off copy that was unearthed that should be of high interest to hardrock '70s and especially Zeppelin fans...
Of the great, legendary 1971 USA gigs by the mighty ZEP… from the onset the band is ready to play and they take no prisoners!The second Northern California 1971 Led Zeppelin show opens with what Zeppelin critic "gsparaco" calls “the double onslaught” of Immigrant Song and Heartbreaker. Immigrant Song provides a suitably brutal, ear-assaulting beginning and an eight-minute Heatbreaker contains a splendid guitar solo from Jimmy Page. As Paul Holdren writes on Underground Uprising, “the audience appreciates every moment of Page’s crystal clear ‘Heartbreaker’ solo. Page’s performance in this song, and on the evening as a whole, transcends description. His play throughout is fluent, daring and extraordinarily fast. And despite taking so many risks, his play is impeccable…This is the most enjoyable ‘Heartbreaker’ imaginable.” Argenteum Astrum, posting on the band’s official website, is similarly impressed, commenting that, “the playing is simply wonderful, with Jimmy’s playing shining through as true musical inspiration, especially in his Heartbreaker solo.” During a brief quiet section Page plays a little of Simon And Garfunkel’s The 59th Street Bridge Song (Feelin’ Groovy) before giving us a snippet of the Bourrée from Johann Sebastian Bach’s Suite in E minor for Lute, BWV 996. Rey, in Led Zeppelin Live: An Illustrated Exploration Of Underground Tapes (Updated Edition, 1993), surmises that Plant would play this, “probably as an ironic ’tribute’ to Jethro Tull’s own famous version.” There has been some debate about Robert Plant’s vocal performance, particularly at the beginning of the show. Brian Ingham, on the Underground Uprising website, contends that, “Plant’s vocals at the start of the show are terrible. They do improve, but cannot match his efforts from the previous night’s show.” On the same site, however, Paul Holdren argues that, “Plant’s voice, one of the true wonders of this entire tour, literally seems to float above the audience, as the instrumental machinery wreaks havoc in ‘Immigrant Song.’” Ingham’s view has some substance; although Plant’s singing in Immigrant Song is, in our opinion, not so bad, the wordless wailing is painfully off-key. However, even Ingham seems to imply that the problem might not rest entirely with Plant, stating that, “the tape starts off in very good mono. Plant’s vocals are slightly distorted on the tape until it switches to excellent stereo.” Plant himself seems aware that there is an issue, stating before Dazed And Confused that, “there was a pollution alert today and I lost my voice.” (“After the incomparable range that he’s just demonstrated on [Black Dog],” argues Holdren, “you can only wonder what he is talking about.”) Personally, though we consider that Holdren exaggerates the quality of Plant’s vocals, we have no significant issues with his performance overall, having some sympathy with Rey’s assessment that, “although Plant has lost half of his voice (in his own words) [sic], he still sounds fresh and clear.” The next song is a splendidly moody and atmospheric version of Since I’ve Been Loving You. As Don Wheeler, posting on the band’s official website, rightly argues, the song is ”incredible on this show.” Holdren writes that, “Plant forces his voice to the limits. Page highlights every line with a different flourish, alternating between subtlety and bravado.” The website The Year Of Led Zeppelin rates it as, “a spine-chilling performance, one of the best thus far.” A short instrumental intro taken from Out On The Tiles provides, as usual, a powerful preface to the first of the songs from the untitled fourth album, Black Dog. Here Page brilliantly plays an expanded instrumental section. The song would have been unfamiliar to the audience, with the album not being released until November. Keith Shadwick, in Led Zeppelin: The Story Of A Band And Their Music 1968-1980, argues that the band was, “taking a risk putting their new material – ‘Black Dog’ and especially ‘Stairway To Heaven’ – to their audiences without prior warning. It was the ultimate test for the material and one not taken lightly by any popular group at the time” However, despite one Atlantic Records executive’s opinion that touring before the new album’s release constituted “professional suicide,” the concerts were both sold out and well-received by fans, as the audience reaction at the end of Black Dog attests. The first Lp ends with a truly staggering version of Dazed And Confused, twenty-two minutes here, though it would soon get longer. Rey states that the song is, “prolonged by rare song references inside what seems an interminable, cloudy solo. The violin bow solo is particularly dramatic, with ominous, deep, droning vocals in perfect exchange.” Page’s violin bow section and his fast solo are equally impressive and here, as for much of the show, Plant is in good voice and he sings a few lines of Chuck Berry’s Back The U.S.A. (which had been released on the album of the same name by the MC5 the year before this performance) during the latter part of this performance. The second Lp’s opening performance of Stairway To Heaven, a song which, like Black Dog and Going To California, was still unreleased at this point, is marvellous. Having received only a handful of public performances, the song still possesses a beguiling air of freshness which makes it both my preferred live version of the song and my favourite number from the show. Dave Lewis, in Led Zeppelin: The Concert File, refers to it as, “another superb performance…as impressive as on any night on the tour.” At one point Plant inserts what Lewis claims to be the unique line, “You are the home of the children of the sun,” referencing the song Going To California, which contains the lines, “The mountains and the canyons started to tremble and shake/As the children of the sun began to awake.” The acoustic section of the show, which features John Paul Jones’ mandolin to very good effect, comes across as wonderfully intimate. First we are treated to an utterly gorgeous rendition of the delicate That’s The Way. This is succeeded by a gently lyrical performance of Going To California, which, despite being another song from the as-yet-unreleased album, receives a warm welcome at the end of Plant’s rather meandering introduction, doubtless due to the location of the concert. (Plant’s introduction ends with him saying, “this is called Going To California…which is somewhere round here.”) LP # 2 then concludes with a lengthy Whole Lotta Love medley. Holdren contends that, “the rest of the concert notwithstanding, the ‘Whole Lotta Love’ medley is the highlight of the night, and likely one of the best ever.” Argenteum Astrum is also impressed, arguing that, “the wild and long medley is exciting, especially with Robert’s great vocals.” Gsparaco comments that the medley section is, “played on fire with amazing fluidity.” and Rey comments on its “classic virtuosity.” Included in this performance are Just A Little Bit, the 1959 Rosco Gordon single, recorded by Roy Head (single, 1965), Them (The Angry Young Them, 1965), Etta James (Tell Mama, 1967) and Magic Sam (Black Magic, 1968), a couple of lines from which appear before the medley section proper, during the theremin section; Boogie Chillun’, recorded in 1948 by John Lee Hooker; Hello Mary Lou, the Gene Pitney-penned Ricky Nelson hit from 1961; My Baby Left Me, written by Arthur Crudup in the late 1940s and later recorded by Elvis Presley (b-side to I Want You, I Need You, I Love You, 1956), Dave Berry (single, 1964) and Creedence Clearwater Revival (Cosmo’s Factory, 1970); A Mess of Blues, written by Doc Pomus and Mort Shuman and originally recorded by Elvis Presley in 1960; You Shook Me (of which Holdren writes: ”Page’s guitar wails and moans more than Plant in an ideal version”) and The Lemon Song (which he adds, “returns the band to the WLL main theme. A spectacular conclusion”). The whole magnificent edifice comes in at twenty-five minutes. Thus ends, at least on LP, a show which is quite rightly regarded as a classic among Led Zeppelin live performances. Gsparaco calls it, “one of the greatest Zeppelin performances on record,” and “an essential concert.” Captain McCrunge concurs, stating that, “For many, it…ranks among the higher points of their entire live career…The band really were hitting a peak.” Argenteum Astrum is of similar mind, arguing that, ”the whole band is playing better than ever,” Rey reckons it, “a most satisfying performance,” The Year Of Led Zeppelin calls it, “an amazing performance,” and Holdren rates it as “a classic show!” The sound quality is most impressive for an audience recording from 1971, as numerous commentators testify. Gsparaco calls it, “the best recorded show from the tour,” and Argentium Astrum, posting on the band’s official website, contends that, “the sound on this recording is absolutely fabulous!” The Year Of Led Zeppelin states that, “the tape is an excellent audience recording…A wonderful recording.”
A.... Immigrant Song
Heartbreaker
Black Dog
B.... Dazed and Confused
C.... Stairway to Heaven
That's the Way
Going to California
D.... Whole Lotta Love
Hello Mary Lou
She Left Me
Blooz Dedicated to Sheryl S.
I Want You Bonnie Airport, But You Shook Me
CONDITION: The cover: Thick cardboard box cover is with red grey and black paste on cover design is in TOP M- clean from dirt and soil, rips or tears = highly collection worthy condition ... no split seams, no tears, no writing, no problems ... a very hard to find Lp of historic importance ...
The vinyl: both records, all 4 sides are shiny, VERY clean, M- top copy all clear and clean ... The labels are extremely clean in original plastic inner sleeves...
the large ZEPPELIN poster is MINT
Don't hold your breath waiting for another copy of this item to come along - Don't wait!
A GREAT ADDITION TO ANYONE'S COLLECTION !
SEE: SELLERS OTher items for similar cool sounds for "head" people...
EFFICIENT/CAREFUL GRADING
All imperfections are noted both cover & record
NOTE: All Items backed by money back guarantee! IF you have a problem PLEASE let us solve for you BEFORE leaving negative feedback. Thanks! GRADING SCALE: M, M-, EX, VG++,VG+, VG, VG- M Completely clean, no marks M- Carefully used, looks clean, plays clean, shiny gloss, no marks EX Faint scuff or superficial mark, near M-, high gloss, plays clean VG++ Glossy with minimal scuffing or light mark playing very nice, clean VG+ a bit more scuff or markls still plays well with very minimal surface at worse VG more marks/scratches only minor, nothing deep, no loud clicks or pops this grade is abused by many, VG here does not mean "trashed" VG- surface noise present, will not have skips or jumps MULTIPLE LP SETS COUNT EACH DISC FOR SHIPPING COST (double Lp count as 2-Lp, etc.) The Records In All Parcels Are Well Protected = The disc of an LP will always be separated from its cover (avoiding seam splits,etc) ALL PAYMENTS SHOULD BE MADE WITHIN 7 DAYS Of AUCTIONS END Do Not Bid If You Are Not Serious About Following Through The Transaction! ALL ITEMS GUARANTEED FOR WINNING BID - LESS SHIPPING!
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