| Led Zeppelin - Projectile Dysfunction |
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| Recorded at the Civic Center, Baltimore, MD. Very good audience recording. From the info file: Led Zeppelin - 'Projectile Dysfunction' April, 5th, 1970, Baltimore, Maryland, Baltimore Civic Center Remastered Audience Recording, (A Group/Personal Project) Lineage: 'Some Things Never Pass', (Apple Music), Silvers > EAC > WAV > Flac (Level.8) > TLH, Decode > WAV > Remaster > Flac (Level.8, Align On SBE'S, All Tracks Tested With TLH, No Errors Occured) Label: N/A Original Taper: N/A Contrast Clause: - This particular release has different lineage than the versions posted below: http://www.dimeadozen.org/torrents-details.php?id=344523 http://www.dimeadozen.org/torrents-details.php?id=350099 This particular release is a fan made remaster of the bootleg release from the 'Apple' label 'Some Things Never Pass' of the bands performance in Baltimore, Maryland, on April, 5th, 1970, it is different from the releases located below: - The version located here: http://www.dimeadozen.org/torrents-details.php?id=344523 is the bootleg release from the 'Apple' label 'Some Things Never Pass' but that version is NOT remastered and includes a bonus disc of audio material that involves Jimmy Page and Eric Clapton performing together, OUR VERSION HAS BEEN REMASTERED AND DOES NOT CONTAIN THAT BONUS DISC OF AUDIO MATERIAL. - The version located here: http://www.dimeadozen.org/torrents-details.php?id=350099 is a no label low gen release of the 3rd known audience recording tape source of the bands performance in Baltimore, and HAS NOT been remastered, OUR VERSION HAS BEEN REMASTERED. - This particular release has a different title than the versions posted below: http://www.dimeadozen.org/torrents-details.php?id=344523 http://www.dimeadozen.org/torrents-details.php?id=350099 - This particular release is from a different label than the versions posted below: http://www.dimeadozen.org/torrents-details.php?id=344523 http://www.dimeadozen.org/torrents-details.php?id=350099 This is A Group/Personal Project by 'Those Guys That Are Keeping Guinness In Business', The 7th Son, Joel, Mike, Grendel, and Acapulco Gold. We hope that who ever picks this up will enjoy this, and will pass it along and share it with others, or just pass, the choice is yours. This is not meant to be a 'Definitive' edition. Cheers and thanks go out to: - The taper for taping and sharing their recording with everyone in the community, if you're out there, and happen to pick this up, we hope that you'll enjoy the work we've done. - Fishey for sharing the silvers rip on Dime, appreciate your generousity. Disc One: 1) Introduction (Fades In) 2) We're Gonna Groove (Suffers From Severe P.A Issues) 3) Dazed And Confused (Suffers From Some Brief P.A Issues) 4) Heartbreaker 5) Bring It On Home 6) White Summer/Black Mountain Side (Fades Out) Disc Two: 1) What Is And What Should Never Be (Fades In) 2) Organ Solo 3) Thank You 4) Moby Dick 5) How Many More Times (Medley, Has A Quick Drop Out At The Beginning) Includes: - Boogie Chillen - Move On Down The Line - That's Alright Mama - My Baby Left Me - Honey Bee - The Lemon Song 6) Whole Lotta Love (Fades Out) Enjoy! Please Do Not Convert To Lossy Formats Please Do Not Sell Please Share With Others Notes: Review about this performance from Argenteumastrum.com: This performance in this show is rather mediocre compared to others during this era and also married with rowdy audience and equipment problems. After a rather flaccid We're Gonna Groove, where Plant's microphone cut out half way through the song, he apologizes and explains: 'We've only had this PA for three nights.' The PA cuts out again several times in the show. Since I've Been Loving You was dropped from the set list and the organ solo is very short. How Many More Times contains a sharp version of Ravel's Bolero and That's Alright and My Baby Left Me are played together (makes sense since they are the same song). Plant tries all night to get the crowd 'loose' and they do when they play their hit Whole Lotta Love (probably what most of the audience came to hear). I personally find this show to actually be pretty good if you can look past the techincal difficulties with the p.a system (once you get past 'We're Gonna Groove', the show and band start to pick up steam),the p.a problems are really beyond the bands control, so the bands performance shouldn't be faulted because of something that's beyond their control. If the band played this show sloppily, then that's a different story, they would indeed be at fault for a bad performance, but something like faulty equipment shouldn't be held against the group. I don't know if there was a specific reason or cause for the Baltimore Police Department for being present at concerts but according to several testimonies from fans who have attended Zeppelin's Baltimore shows in 1969 and 1970 the Baltimore police have been present at both shows and have indeed been physical with the crowd. On the back cover art for Tarantura 2000's release 'Live From Tear Gassed Place', a mention of the gig from Dave Lewis and Simon Pallet's 'Led Zeppelin Concert File' is printed on the cover with Jimmy recalling an incident with a female fan from Baltimore: A Girl In Baltimore asked me if she could come backstage and watch the show from there. I thought this was the usual line from a girl just wanting to hang around with us. So I said: 'Why don't you go and sit in your seat and watch us?' She said: 'Because last time at this place, the cops tear-gassed the place, and I'm frightened of being out there.' That's the sort of tension we keep finding. There's such a lack of understanding and trust between the audience and the police. For those that may not know, there are 3 known audience recording tape sources in circulation, and one piece of film footage of the performance (2 minutes of silent colour 8mm film footage). The first and second tape sources of this concert are fair to good quality audience recordings, and are quite incomplete, the 3rd tape source is currently the most superior sounding recording of all the tape sources in circulation and the most complete. The 3rd tape source sounds like it was taped very close to the stage, and has a pretty decent mix of the instruments, although Roberts vocals are the most dominant (when the p.a is actually working). The reason we decided to work from a boot release instead of a low gen tape source of the 3rd tape source is because we actually prefered the sound quality of the Apple release over the low gens, it has more clairity to it and we thought it could really benefit from slight tweaking here and there. What we've done to make this project: - We've tried to balance the instruments as much as possible, and add things to the mix the original was lacking (more low end, more clarity for the rest of the instruments, bring out hidden things in the recording like cheers and audience banter). - We've tried to balance the volume (originally the first disc was running too hot, and the second disc was running too low). - We've tried to bring out the acoustics of the venue as best we can. In regards to the title: The title idea came to use while we were reading the review of this show posted on Argenteumastrum.com, it was their saying that the bands performance of 'We're Gonna Groove' was 'Flacid', and that got the ball rolling on the title choice. The band (particularly Robert) were having extreme trouble projecting themselves throughout the night because of the dysfunctional p.a system, so we came up with the title 'Projectile Dysfunction' from that review. We thought it sounded clever, and made a connection to the performance in some way, so we thought we'd use it. Hope everyone here will enjoy this. Cheers |