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In the Spring of You Shook Me was found as another lip-sync performance. Bill Graham introduced all the acts.
Incomplete superb audience recording. The quality of this recording is so good that for many years it was incorrectly mentioned as a soundboard.
The show is captured with two mics placed right on the stage. Every instrument is clear and balanced with Plant a bit behind the rest of the band.
Reported to be stolen from Bill Graham vaults. We don't know if this recording comes from single ser or it's just a mix of both sets.
The sound is so good it has been often mistaken as a soundboard. In fact it comes from PA monitors. Halfway through the number, Jones' bass cabinet exploded and Plant ad-libed new lyrics: I think we're gonna get it together, yeah I think we're gonna have a good time I think we'd better the right key!
Tape is hissy and distant but fairly clear and enjoyable nonetheless. Sounding very similar to the tape from January 9th at Fillmore West, this tape from the band's second gig of their second visit to the city and their first performance at the Winterland Ballroom , is much longer in length, being just under 25 minutes.
The taper was close to the stage, likely on the floor of the venue, and the resulting recording is a nice listen of an excellent performance.
Cuts are present between all four songs, which masks the fact that there are almost certainly songs missing in-between these cuts. This is a given for the simple reason that the entire tape is less than half an hour long, yet it starts with Bill Graham introducing the band, and ends with Plant giving the audience a sincere farewell for the evening.
Whether or not the Graham introduction is from the beginning of the 1st set or the beginning of the 2nd set isn't known. But given Plant's farewell, we can assume that the taper was present from the start of at least one of the sets through to the end of the night, save for any additional encores the band may have done.
Again, just like that January 9th Fillmore West tape, there is also confusion as to what the actual date of this recording is. And, again, the confusion here is caused by the words that Plant says to the audience.
If we hadn't have done well here I think we would've shitted ourselves and ran home. And you've done the same for us this time as you did last time.
We'd like to say thank you very much, and good night. After those first two, the band played Vancouver and Spokane, with Portland said to have been played as well during that week.
From there, in the first week of the new year, the band headed south to California for four nights at the Whisky in Hollywood, before heading up to the Fillmore West in San Francisco the following week.
So, unless this tape is from Seattle, Plant's words don't make sense. Thankfully, the mystery here is helped by the fact that this tape starts with that aforementioned introduction by Bill Graham: In fact, so heavy, that even though we can never be entirely sure about these types of things, it pretty much settles the date.
During this era, Graham had yet to begin promoting concerts outside of his own venues in the Bay Area and New York. So, for his voice to appear on this tape immediately identifies San Francisco or New York as the location.
However, the sound of Page's guitar on this tape matches with the echo-heavy and fuzzed-out sound he used in San Francisco in April.
By the time the band reached New York in May, Page will have gotten rid of that constant echo and fuzz sound, and will have switched over exclusively to his Les Paul.
So, that's two points for this tape being from San Francisco. Not definitive proof, but pretty close. As for which day in San Francisco, April 26th and 27th are automatically out due to the fact that we already have complete recordings from both nights.
As well, the first night back in town, April 24th, is also out, as that show starts with As Long As I Have You, which the band can be heard playing on this tape from April 25th.
Unlike shows at other venues on the tour, where the band played to separate audiences at separate early and late shows, at Fillmore West and Winterland, the band played to the same audience the entire night.
And during this period, we have no record of them repeating any songs within the same night at any of the other dates they played in town.
Which ultimately asks the question as to why Plant would make such statement. The easiest answer probably being that he was merely being sentimental and appreciative to the audience.
San Francisco was an important town for the band during this period. The gigs that the band gave there, especially during that week of April, are among the finest that they ever gave.
So, given that connection, what's wrong with a little white lie amongst friends? Even though the recording is so short and fragmentary, it is still a wonderful slice, highlighting a caliber of playing that is right up there with the other nights of the run.
Plant's voice is fantastic, in glorius high range, and Page's playing actually sounds even better than it would the next night. Hopefully, one day more of this tape will circulate if there indeed is any more.
The sound is clear for the most part, slightly muffled in places and the drums are a little in the background of the mix. The only drawback is that the recording is somewhat overloaded in places.
Overall one of the better audience recordings for the era. Best Of Led Zeppelin Vol. The concert itself is a pure magic. Everything that made Led Zeppelin an amazing live act is here and these two sets were so revolutionary in their time that even now, I am dumbstruck by the power and performance.
Jimmy plays like a man possessed, hitting everything with such fluency and accuracy and with such emotion.
Bonham is thunderous, Jonesy is all over the place, inventing lead lines to counter Jimmy's, and Robert's voice is incredible, higher than any notes Jimmy can get on his guitar!
The power and performance are staggering. That aside, the song remains pretty much the same as the one we all know and love.
During the middle section, Page doesn't use the theremin. The spot where it would be featured in the song instead features Bonham doing the same steady high-hat and clicking accompaniment that he would do on the album, but with Page doing a slide solo, sounding pretty much like the one he had just done a few songs earlier in Killing Floor.
After Bonham and Jones join in with a rushing beat and the song comes to a slow down, Page then plays some of the solo portions he had just played in As Long As I Have You.
As Page keeps soloing, Jones jumps in with parts of the backing bass line from "You Shook Me", and then the band get into the formal return solo that would lead back to the main riff in the song.
As the band crash in and the song heads towards the ending, Plant then repeats the line "Baby you need love" over and over. And the song fades out.
The first set suffers from some form of distortion. There is some amount of tape hiss during both sets.
All the instruments come through rather clear. There are portions that get a little muddy as the volume crashes into the recorder. Communication Breakdown has speed problems as well as few other parts.
The recording is a very good balanced professional board tape. Incomplete excellent FM radio broadcast recording. An incorrect song order here.
DJ comments are included throughout. Bootleg LP Reference s soundboard: This show is just blistering.
The first set has the group firing on all cylinders and playing their hearts out. The second set is more bluesy and laid back, but that never means less enjoyable.
The only live version of Sittin' and Thinkin', a Buddy Guy number, is here and the completely different song list for each set make this a great show to have.
Dazed And Confused is really dark here. The group's excitement to be so anticipated by Californian audience found their way in Plant ad-libbed lyrics of I Can't Quit You Baby: I don't want to leave you people Also some member of the audience is calling for You Shook Me, what makes a quick and quite funny response from Plant: Don't worry by that!
Just one before that! Initially the band planned to played two shows of which the second was cancelled. The event was advertised as a "Light Show and Dance", and Angus Park Blues Band also got to play after them for the "dance" portion of the show.
Original suuport was Spirit and Illinois Speed Press. After as the venue was changed, two new support acts were added: Sun Ra and Golden Earring.
A local comedian performed in-between the two acts. Comedian Uncle Dirty opened the show. It is whispered that the show was cut by Who's crew because Led Zeppelin had have continued to play after the time.
The tape is distance but clear. Not as bad as we could think at all. Cream is also on the reel, as well as one second long shots of Robert Plant and Roger Daltrey.
Some copies are dubbed with existing audio, some others with official audio. This is only the encore for the show and all that exists from the show.
It also happens to be the second time ever see April 26th, for the first time Whole Lotta Love was played live. A very different version that is excellent, with a long guitar solo in the middle and great vocals from Robert.
A very interesting comment about that evening comes from one of the Who's crew: Almost complete fair to good audience recording. The tape is overloaded and distorted, also somewhat bassy and muddy.
Giving its historical range, this is one of must-haves, even if the quality isn't the greatest. A short, intense and excellent show in front of a crowd who has fallen under Led Zeppelin's spell.
Robert's voice is fantastic and the band plows through the set with intensity and fire and Dazed And Confused and How Many More Times have great performances from all four band members.
Check out Jimmy's mind-blowing solo in You Shook Me This date had been previously scheduled for June 22, Also on the show in session were Marmalade and Vanity Fair.
This performance was originally commissioned for Dave Symond's "Symonds On Sunday" show, however Symonds was on holiday.
Finally, the whole broadcast minus interview was released on BBC Sessions album in Another brilliant broadcast and a truly one of the best studio versions of Communication Breakdown with snippets of Just A Little Bit thrown in.
But this show is reserved for two never before played songs: The first one has similar guitar structure to the later used on Moby Dick instrumental intro while the second is a superb rendition to Eddie Cohtan's classic tune and Zeppelin's own hymn to one of their rock 'n' roll heroes.
The programme bill also bell boys pretending to be a rock group, jazz and variety acts, and a Salvation Army band.
Aired on France television on September 5, Friday. There is unreleased footage in the archives, including beginning segement of Dazed And Confused and backstage.
Communication Breakdown [ cut ]. Complete 16mm color professional footage with actual sound. The tape is an excellent television master, showing members rehearsing before the actual show.
Boom mic is used to record the audio. Incomplete color professional TV broadcast with actual sound. The tape is an excellent television multicam film and soundboard output is used for the audio.
The official DVD doesn't include the rehearsal but used some snippets of rehearsal footage to replace some shots from the original broadcast that had nothing to do with the performance.
Bootleg CD Reference s rehearsal soundtrack: Bootleg CD Reference s broadcast soundtrack: Official Visual Reference s video rehearsal: Bootleg Visual Reference s video rehearsal: This is all that exists from this rather unexpected and fantastic raw performance.
The group performed strong, short set but only Dazed And Confused and rehearsal and show versions of Communication Breakdown were recorded.
After so much disappointent of broadcast the group never performed in television again. This was the last ever Led Zeppelin TV performance.
A highly overloaded, distant and hissy tape makes this recording rather hard to listen. The band and the audience seem to be having a great time.
Travelling Riverside Blues was first released as a part of Led Zeppelin box set and also used as a music background to the promo film under the same title during promotion campaign of Remasters set in late by Jimmy Page, mixed along with other miscellaneous scenes as well as brief parts of July The Song Remains The Same and Seattle July 17, pro shots.
Another studio session that needs no recommendation. During this short British tour the band was absolutely on peak form and it can be easily heard on this amazing recording.
A fury, power and energy are present on all the tracks. Whole Lotta Love is psychedelic stand-out and Robert's yelling during theramin battle is thrilling.
A real pearl, Traveling Riverside Blues is Zeppelin's bow to the talent and magic of Robert Johnson and Plant sings some of his "lemon" lyrics.
Also on the show in session was The Edgar Broughton Band. In , almost entire show was rebroadcasted. Complete superb 1st professional pre-FM radio recording.
Complete superb 2nd professional pre-FM radio recording. The tape is an excellent edited radio master with almost entire chatter and banter between songs removed.
Complete superb 3rd professional pre-FM radio recording. The tape is actually an excellent radio rebroadcast master. It excludes the Liverpool sketches and had extra DJ intro and outro.
Official LP Reference s 2nd source: Bootleg LP Reference s 2nd source: Official CD Reference s 2nd source: Bootleg CD Reference s 1st source: Bootleg CD Reference s 2nd source: Bootleg CD Reference s 3rd source: This show was recorded for the BBC to broadcast the entire show, and here it all is.
An incredible, compact, tight show that features some of the best playing ever, with Jones and Bonham shining throughout and quite possibly the best recording of Plant's voice ever.
Add Jimmy's dazzling guitar work and you have a classic show. Judging by stills of the film, Dazed And Confused, and more.
Shot from various parts of the floor. The tape is hoarded and VHS copy is given to one person for personal use only. Led Zeppelin email update. Shot from small distance, filmed in the front of actual stage.
Because the band had the sunset time slot at this festival, the video is quite dark but enough clear to capture details.
Just a casual amateur footage form the era. Unfortunately, this is all of what have survived and there is absolutely no evidence of other audio or video.
It is reported that the show was interrupted by a naked man who jumped on stage and began to dance. Finally, he dived into John Bonham's drum kit.
Rumoured to be professionally recorded and filmed. Incomplete very good 1st audience recording. The recording is very bright and has all the instruments in great balance except for Plant's vocals that are lost in the mix very noticeably.
Almost complete good to very good 2nd audience recording. The tape is clear but the audience is loud in some spots.
What's interesting is that the PA problems that are so common in the first source seem almost non-existent in this source. You can hear the same people yelling to turn it up as in above source but Plant's voice comes through here probably the clearest of all.
Jimmy's guitar is slightly in the background. Towards the end of How Many More Times the balance changes a bit but it's still the same source.
Incomplete very good 3rd audience recording. A bit distorted in lower sequences but still clear tape, with Plant vocals most prominent. It ends abruptly when the taper goes out from the festival field.
The tape is still hoarded and only copies available are bootlegs. Bootleg LP Reference s source 1: Bootleg CD Reference s source 2: Bootleg CD Reference s source 3: Newport Jazz Festival Masterport.
Led Zeppelin closed out the final night of the festival with this extremely gutsy and intense performance. The audience was rowdy after as the Zeppelin was reported to be not performed and Plant announced: There was a lot of talk thtat everyone was ill and bad.
There was nothing wrong with us at all and we intended on playing. That's what we've come to America for. We were coming in the first place so don't get any hassles about what we were gonna do and what we weren't.
We hope you'll enjoy everything we do tonight and have a ball". Robert's voice is so powerful it wreaks havoc on the recorder! The band is definitely on and Jones and Bonham hit some unreal highs throughout the show, as does Jimmy as well.
Some great harmonica soloing from Robert as well and two riotous encores cap this great show. Shared bill with plenty of other artists.
The tape is a bit thin souding and distant with Plant in the back. There are some rather large problems with the channel and speed issues during White Summer medley.
Not to mention some hiss too. A very intense and powerful show but plagued with some PA problems. I think I'd better get out of the way If we go up with a flash and a bang The first two songs are very powerful and Robert's voice is simply devastating.
Page is playing great and the rhythm section is unalterable in Dazed And Confused and incendiary and dynamic in How Many More Times, steering the group through the changes.
Approximately 40 minutes of color 16mm film exists along with another 16mm full coat mag track with sound.
Incomplete very good to excellent audience recording. It is a very clear, detailed and up front audience recording and a minor miracle considering it comes from the summer of One of the best from the era.
The only drawback is the minor amount of tape hiss present here. The great recording gives a vibrant atmosphere and the show is outstanding!
Plant's voice is just amazing, and the instrumental machine is exquisite, soaring and roaring through every song with a vengeance! I love listening to the Zeppelin festival sets from because they had a set time to play and they put everything they have into it and it leaves you breathless!
Robert aplogised to the audience for the lack of new material: This is primarily a clear and vibrant recording, though some low end distortion and disturbance do exist.
The rhythm section is slightly in the background with the vocals and Page's crystal clear guitar to the forefront.
Together with July 21st this is the one of the representatives for the Summer tour era. West Allison State Grasshopper. A super-charged festival set!
The band plow through this material with one of the best versions of The Train Kept A Rollin' ever and frenzied playing throughout.
Bonham plays some really inventive patterns and Jonesy is flying as always. Robert's voice is gutsy and Jimmy is great as always Incomplete poor to fair audience recording.
This is heavily overloaded and distorted tape. The Summer Of '69 Rubber Dubber. This show is the first recorded performance of the band headlining in a large auditorium, with this show having taken place at the Swing Auditorium in San Bernardino, California.
As far as the gig itself, the show is very good. After a solid performance of the first two songs the band pause for Page to change a string, which prompts the rest of the group to get into another I Gotta Move jam, like they had done in March 14th, on the radio.
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After escaping into the city sewer system, Karis embarks on a vengeful rampage against the various criminal fences and high society antiquarians who had acquired stolen relics from his tomb.
Romero's script was considered too dark and violent by Jacks and the studio, who wanted a more accessible picture.
Compounding the issue was the fact that Romero was unable to extricate from a contract for a different film project he had in negotiation at the time with MGM, and so his involvement with the film was severed and the development of an entirely new script was commissioned to other writers.
Soon after, Mick Garris was attached to direct but eventually left the project,  and Wes Craven was offered the film but turned it down.
Finally, Sommers received his window of opportunity and pitched his idea to Universal with an page treatment. Pig in the City , and the loss led the studio to want to revisit its successful franchises from the s.
Photography then moved to the Sahara desert outside the small town of Erfoud , and then to the United Kingdom before completion of shooting on August 29, Snakes, spiders and scorpions were a major problem, with many crew members having to be airlifted out after being bitten.
Brendan Fraser nearly died during a scene where his character is hanged. Weisz remembered, "He [Fraser] stopped breathing and had to be resuscitated.
Production Designer Allan Cameron found a dormant volcano near Erfoud where the entire set for Hamunaptra could be constructed.
Sommers liked the location because, "A city hidden in the crater of an extinct volcano made perfect sense. Out in the middle of the desert you would never see it.
You would never think of entering the crater unless you knew what was inside that volcano. These sets took 16 weeks to build, and included fiberglass columns rigged with special effects for the movie's final scenes.
He said that he wanted the Mummy "to be mean, tough, nasty, something that had never been seen by audiences before".
Berton used motion capture in order to achieve "a menacing and very realistic Mummy". To create the Mummy, Berton used a combination of live action and computer graphics.
Then, he matched the digital prosthetic make-up pieces on Vosloo's face during filming. Berton said, "When you see his film image, that's him.
When he turns his head and half of his face is missing and you can see right through on to his teeth, that's really his face. And that's why it was so hard to do.
A lot of the time I was walking around the set looking like a Christmas tree. He also designed all of the animatronic effects.
While the film made extensive use of computer generated imagery, many scenes, including ones where Rachel Weisz's character is covered with rats and locusts, were real, using live animals.
Like many Goldsmith scores, the main theme uses extensive brass and percussion elements;  Goldsmith also used sparing amounts of vocals, highly unusual for most of his work.
Overall, Goldsmith's score was well received. AllMusic described it as a "grand, melodramatic score" which delivered the expected highlights. The limited but masterful use of the chorus was also lauded, and most critics found the final track on the CD to be the best overall.
The Mummy received mixed reviews from critics. The website's critical consensus reads, "It's difficult to make a persuasive argument for The Mummy as any kind of meaningful cinematic achievement, but it's undeniably fun to watch.
Roger Ebert , of the Chicago Sun-Times , gave the film 3 out of 4 stars, writing "There is hardly a thing I can say in its favor, except that I was cheered by nearly every minute of it.
I cannot argue for the script, the direction, the acting or even the mummy, but I can say that I was not bored and sometimes I was unreasonably pleased.
Stephen Holden from The New York Times wrote, "This version of The Mummy has no pretenses to be anything other than a gaudy comic video game splashed onto the screen.
Think Raiders of the Lost Ark with cartoon characters, no coherent story line and lavish but cheesy special effects.
Think Night of the Living Dead stripped of genuine horror and restaged as an Egyptian-theme Halloween pageant. Fraser, equally quick with weapon, fist or quip, may save the day, but even he can't save the picture", USA Today wrote.
The Mummy ' s box office performance led to numerous sequels and spinoffs. In , the sequel The Mummy Returns was released; the film features most of the surviving principal characters, as a married Rick and Evelyn confront Imhotep and the Scorpion King.
It is also includes three sequels and one prequel. A second sequel, called The Mummy: Tomb of the Dragon Emperor , was released on August 1, On April 4, , Universal announced their plans to reboot the franchise.
From Wikipedia, the free encyclopedia.
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