Although Led Zeppelin's live recordings are highly popular throughout their career, the first half of 1970 is perhaps the most modest of the band. The period between the end of the official Royal Albert Hall concert and the Bus Festival, where they debuted "Immigrant Song," marking the beginning of a new chapter for ZEP, was a time when they were searching for a sound to replace the momentum and hardness of the previous year. The two live tours (Europe and America) that took place during that time both have a "modest" impression in a good way. In particular, the European tour had an impactful opening with "We're Gonna Groove," but the songs from the first album were significantly reduced, so the live performance itself gives a calm impression. That said, ZEP's performances during this period of youth were extremely high. Rather, it was a time when they were performing hyper performances on stage every night, and they are highly rated among enthusiasts. However, it is also true that the only recording of the tour that actually exists is the Montreux performance, which gives the impression of a modest performance. Meanwhile, over the past year, the releases from the 1970 European tour, such as "COPENHAGEN 1970", where they held a live show under the name of The Nobs, and the two days in Hamburg, have all been well received, and even "HAMBURG 1970 1ST NIGHT" was sold out. This is proof that the seemingly modest 1970 Europe was properly evaluated and recognized. In this situation, we must not forget the final day of the tour, Düsseldorf. In the first place, it was the sound source of the same performance recorded on LP items such as "WHITE SUMMER" that made the 1970 European tour known to the world. Although it only contained three songs, it was loved by enthusiasts as an important sound source that allowed them to hear songs such as "Since I've Been Loving You" that were shown before the release, combined with the sound quality that was easy to hear at the time. However, no sound sources or performances other than those heard on the LP were ever unearthed, and the only other sound source that was finally found in the 1990s was "How Many More Times". Because of this, even CD items that were dropped from LPs appeared, but it was REEL MASTERS' "DUSSELDORF 1970" that finally dispelled this frustration in the 21st century. This historical excavation title revealed the full picture of the Dusseldorf performance, which had been covered by a veil until then. However, due to the trend of equalization, the sound processing applied at the time of release caused controversy among enthusiasts. At that time, there were no signs of a reevaluation of the 1970 European tour, and attention was drawn to the sound processing rather than the significance of the sound source and release. The reaction to this was the release of "DUSSELDORF 1970 RAW MASTER". However, at the same time that the release of this title settled the matter, the importance of the content was not evaluated much due to the previous trend, and it was sold out, and the opportunity for reissue was lost. However, due to the positive reception of the items released last year, we have received many requests for a Dusseldorf reissue, which can be called the pioneer of our 1970 European items. After all, more than 10 years have passed since the release, and many enthusiasts have never heard it. Therefore, since the latter half of last year, the staff have been discussing a reissue, but at the perfect timing, an overseas enthusiast released a version based on "DUSSELDORF 1970 RAW MASTER" and supplemented the missing parts with another sound source on the Internet. The finished product was so impressive that the label was even impressed (lol), so this time it was decided to reissue the Düsseldorf album based on this one. "DUSSELDORF 1970~" is called "recorder 3" among enthusiasts, but the missing parts were used in the "recorder 4" that appeared after the release of the previous title. Until the appearance of "DUSSELDORF 1970~", the sound source was kept secret by overseas enthusiasts. As soon as it appeared, an item called "LORELEY" was released, but the sound quality itself was inferior to "DUSSELDORF 1970~", and there were many cuts, making it the perfect sound source for a filler. Therefore, the weak cuts that occurred in the latter half of the performance of "Dazed And Confused" and "White Summer" were compensated for by "recorder 4". However, for "How Many More Times", the cut occurred in a similar position between the same sound source and "recorder 3", and the compensation staff here used "recorder 2", where only the same song was excavated as mentioned earlier. This is the sound that was recorded in the bonus of "DANCING DAYS", which was the title of the Budokan in 1972. And the mania who edited this time skillfully deleted the running sound of the tape recorder that the microphone picked up during recording, which is a drawback of the "DUSSELDORF 1970 ~" sound source. The big point is that this makes it possible to listen without stress. Since this sound source has a warm and calm sound quality, the absence of the recorder sound makes the mild sound quality even more prominent and easier to hear. In general, most of the recordings from 1970 in Europe other than Montreux are recorded with a distant sound image, but this recording has an excellent balance of a distant sound image and a loud voice from Plant. The two days in Hamburg were attractive for their rough power, but "DUSSELDORF 1970~" has a wonderful clarity that is clear despite the freshness and distant sound image. In addition, the audience in Düsseldorf was so quiet that it was as if they were watching a classical concert, which added to the ease of listening. Düsseldorf, which is heard on a recording that boasts such unique ease of listening, has a very high voltage performance. The shocking fact revealed in "DUSSELDORF 1970~" is the bold opening of "Communication Breakdown" instead of the regular "We're Gonna Groove". In the first place, this song, which should be called the group's first representative song, was hardly played in Europe in 1970. There are even signs that they tried to seal it away. In this situation, from the opening performance, you can see that they are trying to create a different stage composition from the previous year. Moreover, because it was the first time they had played in a long time, Bonzo was left alone at the ending, and it was interesting that they moved to the next song "I Can't Quit You Baby" in a strange way. And on this day, I like the fact that they are trying to play very carefully while raising the voltage throughout the show. It is clear from the special opening page-like phrase in "Heartbreaker" that they are searching for a new direction, and even in the imposing sound that has shed its haste to grab the success of the previous year, ZEP in Dusseldorf carefully played each song as if chewing on a free and creative sound. If Montreux at the beginning of the tour was "explosion", this day was "maturity". And yet it is completely different from the two days in Hamburg. Above all, the unique listening experience is wonderful. For enthusiasts who have been awakened to the charm of the 1970 European tour through recent releases, this is the long-awaited reissue from Dusseldorf! Live at Rheinhalle, Dusseldorf, Germany 12th March 1970 UPGRADE (from Original Masters) Disc 1 (63:10) 1. Intro 2. Communication Breakdown 3. I Can't Quit You 4. Dazed And Confused 5. Heartbreaker 6. White Summer 7. Since I've Been Loving You Disc 2 (60:53) 1. Thank You 2. Moby Dick 3. How Many More Times (medley) Includes: - The Hunter - Needle Blues - Boogie Chillen - Bottle Up And Go - Trucking Little Mama/High Flying Mama 4. Whole Lotta Love
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