Even if the audience is not good, there are some live recordings of ZEP that are loved by enthusiasts because of their amazing performance content. A typical example would be "SIZZLES IN SEATTLE", the new definitive version of the recording of the marathon show in Seattle in 1972. Similarly, the Boston Tea Party on January 26th was a day that was highly praised among enthusiasts, but there was no item that could be called the definitive version. This day has long been introduced in bio books and other publications as a "legendary night that lasted more than four hours", and the appearance of the recording was longed for. In January 1969, when ZEP first landed after Boston, four consecutive performances were held at the previous venue, but unfortunately there was no soundboard recording, and it was only possible to get a glimpse of it through audience recordings. In addition, since it was recorded in 1969, the items did not appear easily. However, towards the end of the LP items, the sound source of the Boston Tea Party in January was released, and the record of the 26th, which enthusiasts had been waiting for, was also released under the title "KILLING FLOOR". As it was released by that TMOQ series, the jacket with the old stamp cover style layout is also an impressive item. Unfortunately, not all of the stage that lasted for four and a half hours was recorded, but it was an incomplete version from the opening to about 90 minutes (which was still a long ZEP stage at that time). In the first place, ZEP, who landed in the United States at the end of the previous year, performed at full power every night at famous venues such as Whisky a Go Go and Fillmore, and the Fillmore on January 10th, heard on "FILLMORE WEST 1969 DAY 2", was one of the classics that captured the great performances in the first half of January. The amazing thing about ZEP at this time is that the performance voltage was high every night as a matter of course, and yet there was no end point, in other words, evolution was the norm, which is surprising. Jimmy and the others performed day after day, as if they were saying, "We're going to captivate America..." What's more, the audience recording of this day captured the sound of his guitar literally as a roar, and the force was tremendous. It must have been easy to secure a position at the front of the gig for ZEP, which was just a fledgling band in America at the time. Perhaps it was recorded at the very front of the stage, right in front of Jimmy? The sound pressure of his guitar was so great that it made me think. The overall balance was overwhelmingly Jimmy, and in the parts where his playing was subdued, the sounds of the other members were also quite loud. In the end, Robert's singing voice was pushed aside. Normally, it would be saturated and impossible to hear, but the sound source of this day was surprised that this balance was rather good. Thanks to this, it was clear from the opening song "The Train Kept A Rollin'" that Jimmy was challenging the stage with great spirit. Having already captivated audiences in LA and New York, Jimmy was completely in the "zone" and devoted himself to playing here in Boston, and on the final day of the gig. His guitar sounds are so real that it's easy to see that Jimmy's playing at this time was still influenced by the Yardbirds' style. A good example of this is "Killing Floor" at the time and "Lemon Song" later. The basic form is already complete, but the scene where he makes the sound of a siren, which was his specialty in the Yardbirds era, is a typical example, and the lead guitar phrases are also full of psychedelia. The completed form as a blues band is rather the Fillmore and Winterland in April, when Jimmy switched to a Les Paul, so it is a valuable record unique to this period, where the Yardbirds' style can be seen only because of the Telecaster. Robert is aware of this, and in "Dazed And Confused" on this day, he sings a passage from "Shapes Of Things," also by the Yardbirds. It's a loose tune, and this may be a sign of the change in the ZEP sound from "psyche" to "rock". Similarly, when it comes to "How Many More Times", Jimmy plays the melody of "For Your Love" with a violin bow, which is also very interesting. The song was played as a part of the repertoire at the Whisky a Go Go and Fillmore, but it was no longer needed and was only treated as a melody played like this. This scene alone makes you realize that every night was an "attack". However, in the cassette trade era version used for the items released so far, in order to conceal the state where the recording stops in the middle of the bow playing of "How Many More Times", about 10 minutes into the performance was copied and pasted. Furthermore, it even connected Robert's MC after the end of "Killing Floor" to create a fake ending. Of course, the version released by Krw_co this time is a raw version without such tricks. But that's not all, the sound quality has improved considerably. It's easy to understand the upper feeling compared to the Cobra Standard, which was considered the best CD item of this sound source. Although the sound quality is distorted and rough due to the original recording state, this time, although it is said to be "unknown gene", the sharpness that was already released has been naturally alleviated, making it much easier to listen to. You should be absolutely surprised at how rough it is and how easy it is to listen to. The already released version is now clearly concerned about the analog gene drop. And the biggest problem with this sound source was the pitch deviation. With the already released version, the first half of the live performance is high and the second half is low, which is a lack of calm. There was also an item called "A SUDDEN ATTACK BOSTON" that roughly corrected the pitch from the Cobra version, and even recently, a version with the pitch correction of the Cobra version was uploaded. There was a different kind of deviation in this version, and although the deviation was constant this time, it was said to be 60% higher. This problem was precisely adjusted when releasing this limited press CD. Now you can listen to this legendary performance without worrying about the pitch error that was the biggest concern until now. One of the important recordings from the first half of 1969, which is full of highlights such as the genuine performance heard throughout the entire album, and "You Shook Me" performed in an extremely rare formation at the time with Johnsy playing the organ, is finally released in a satisfactory form. Of course, the title is "KILLING FLOOR"! (Remastering memo) The pitch was corrected about 60% higher by a semitone. The sound pressure was increased within the range where the waveform does not collapse. No fading was applied. Boston Tea Party, Boston, MA, USA 26th January 1969 PERFECT SOUND(UPGRADE) Disc 1 (44:33) 1. The Train Kept A Rollin' 2. I Can't Quit You Baby 3. Killing Floor 4. Dazed And Confused with Shapes Of Things 5. You Shook Me 6. Communication Breakdown Disc 2 (48:05) 1. White Summer / Black Mountain Side 2. Babe I'm Gonna Leave You 3. Pat's Delight 4. How Many More Times with Duke Of Earl, Kisses Sweeter Than Ever, For Your Love, Over Under Sideways Down
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