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Led Zeppelin
Earls Court
London, England
May 17th, 1975

Source 2 (incomplete show)
This source misses "Bron Yr Aur Stomp", and originally has several cuts between songs and cuts in D&C and MD and run roughly 3% fast.

The raw WAV file was kindly passed to me by Julian W.

2xBasf C90 Master Tapes(Greg. C)>Dat 16/48(Phil T.)>PC [Transcribe!(Sp.Corr.)/Adobe Audition CC(Mastering&Resampling)/CD Wave Editor(Tracking)]

1. Rock and Roll
2. Sick Again
3. Over the Hills and Far Away
4. In My Time of Dying
5. The Song Remains the Same
6. The Rain Song
7. Kashmir
8. No Quarter
9. Tangerine
10. Going to California
11. Thats the Way
12. Trampled Underfoot
13. Moby Dick
14. Dazed and Confused
15. Stairway To Heaven
16. Whole Lotta Love
17. Black Dog

dadgad prod.

This is what Phil T. told Julian W. : "It's 16bit 48kHz, which was the best I could do in the DAT days".
This will be totally genuine master direct off Greg C. original cassettes (which almost disintegrated when transferred)

From "Underground Uprising" Concert Memories from the taper:

"I plotted how to record this concert for days using a BASF 4 band radio cassette recorder, that was about half the size of a briefcase and just as fat. It also consumed four big cell batteries For assembling at Earls Court, the microphone was shoved up an empty loo roll. Empty loo roll carefully inked externally with black ink, internally it was packed with grey foam, with a thick layer of foam at the rear to stop reflected echo, and a thin foam film for the front. My knowledge of the acoustics of Earls Court with its heavy echo was nil prior to the concerts and for years after.
Microphone stand was a gents city type umbrella using sellotape to wrap said loo roll to it. Koss K6 headphones for monitoring using an adapter to the 2 pin DIN plug socket.
All hidden under a greatcoat casually draped over my left arm, with my hand hanging onto the radio cassette recorder for entrance and exit. Headphone held against my kidneys with lead shoved into my trouser pocket and microphone and loo roll and sellotape carefully wrapped around a pen in various pockets on my jacket. Two BASF C90 cassettes, unused but freshly FF and REW to ensure no jamming and bedded to the recorder. The microphone stand (umbrella) was always on my left foot to ensure no knocks from the arena floor. Seated right of centre, two blocks from the stage.
I was really not expecting the sheer volume of the Showco 100,000 watt PA system (per Richard Cole?) nor video screen so when Bonzo hit the snare drum before the first number I was in shock by the volume and concerned that the auto level recorder was going to be unable to cope with the sheer volume.
As the tapes were completed per side after 40 minutes or so I FF them and flipped them over and when both sides were done I gave them to my sister sitting alongside me. I did not get caught out by running out of tape during a song but I did not have enough tape for Bron-Yr-Stomp (never on my favourite list) and had to edit Bonzo's solo on Moby Dick, and I struggle to remember whether I edited JPJ on No Quarter.
After the concert, and with my sister duly primed to get well ahead with the tapes, we left and headed back to the car, she was under instruction to take the tube and train if I didn't show up within 15 minutes had I been rumbled on the way out.
Had I known about Peter Grant, his physical size plus his previous occupation and his ways of dealing with tapers, would I have risked recording the 17/5/75, and photographing with 2 rolls of Ektachrome Tungsten on the 23/5/75 including casually walking down to the barrier at the front with a 200mm tele on my Praktica SLR? Doubtful, very doubtful, I was the 9 stone weakling then."

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