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Led Zeppelin – Magical Sound Boogie (Eelgrass EGL-20238/39/40)

Magical Sound Boogie (Eelgrass EGL-20238/39/40)

Madison Square Garden, New York, NY – June 7th, 1977

Disc 1 (70:08):  The Song Remains The Same, The Rover/ Sick Again, Nobody’s Fault But Mine, Over The Hills And Far Away, Since I’ve Been Loving You, No Quarter

Disc 2 (48:13):  Ten Years Gone, The Battle Of Evermore, Going To California, Black Country Woman, Bron-Y-Aur Stomp, White Summer / Black Mountain Side, Kashmir

Disc 3 (61:44):  Out On The Tiles / Moby Dick, guitar solo, Achilles Last Stand, Stairway To Heaven, Whole Lotta Love, Rock And Roll

The week of shows in New York was one of the high-points of Led Zeppelin’s 1977 visit which Robert Plant himself acknowledged to journalist Lisa Robinson in an interview conducted at the time.  The six concerts were all taped from the audience but really only two, for the June 10th and June 14th shows, are enjoyable.

Two audience recordings have been released for the opening night in New York.  One tape was pressed onto vinyl on I Had A Dream – The Summer Of Sam – New York 1977 Volume 1 (Merk) and was released on CD in 1996 on Back To The Garden (TDOLZ 0025/26/27).  Another audience recording can be found on DX I ~ X (Mad Dogs) along with various other shows. 

The soundboard for the first New York show on June 7th recently surfaced.  About forty-five minutes of the June 11th has been in circulation for years, but this is the first virtually complete New York show from a professional source.  It is very clear but slightly flat, similar to the Maryland soundboard tapes.  There are cuts 4:30 in “No Quarter,” and 14:40 in “Moby Dick.”

Newsday published a lengthy review of this particular show.  Critic Dave Marsh, who among other observations cited the sexual appeal of the band in 1975, wrote that:  “Some rock bands have fans, others have admirers and still others have followers. But Led Zeppelin is the last great rock band who’s minions can be considered true believers. 

“Believing in Led Zeppelin makes its audience a unified community, which is rare in rock these days. The decline of rock as a social phenomenon and its development as big business has made the likelihood  of such sentiment obsolete. Led Zeppelin is the only exception. The nearly 20,000 believers who filled Madison Square Garden light night (June 7th) for the first of six sold-out shows were part of rock’s largest fraternity. A passion for Led Zeppelin is enough to establish communications, if not necessarily friendship, among a large segment of today’s teenagers.”

Writing about the actual gig, he continues:  “most of the explosions were from the stage, where Led Zeppelin proved that it was worthy of the adoration bestowed upon it. The 8-year old band virtually invented what has become known as heavy-metal rock, an English combination of blues structures and ear-splitting volume. But the band has grown with the times. Rather than relying on its earlier style of rock-to-break-your-kneecaps-with once represented by songs like Whole Lotta Love, Led Zeppelin performed a nearly three-hour set notable for its variety, sophistication and depth.”

His change in opinion in two years, from speaking about their sex appeal to their sophistication, is remarkable and is really the importance of this new recording.  It’s obvious from the beginning of “The Song Remains The Same” this is a special performance for the band with a tremendous amount of energy. 

Plant acknowledges this before “In My Time Of Dying,” saying:  “I can tell by the excitement it’s really great to be back because we never really knew whether we were gonna make it back.”  He also points out to the American audience that “today is the beginning of the second day of the celebrations of Queen Elizabeth II’s Silver Jubilee, and that’s a heavy thing for us. So we’ll do this one for Liz, and for you.”  (Her coronation was on June 2nd, 1953 and during that week in June 1977 there were special services and events including a special Thanksgiving service at St. Paul’s Cathedral on June 7th).  This also has to be one of the very best performances of the Physical Graffiti track from the tour which even Marsh singles out by speaking about how Jimmy Page “continually shifted the emphasis of the dynamics until he built to an attention-riveting, machine gun-like finish.”

“No Quarter” reaches almost a half hour and Jones incorporates Keith Jarrett, Huey Smith, Beethoven, and leads the band into “Nutrocker” before the more gloomy, abstract improvisations which make up the bulk of the piece.

Before the acoustic set, while the band are getting ready, Plant reminisces about the Fillmore East, saying:  “So about 1970, or in 1971 … can anybody remember that far back? You remember Iron Butterfly? Way back in the days when we just finished playing the Fillmore” before introducing John Bonham as “straight out of Monty Bonham’s Flying Circus” and “The Battle Of Evermore” as “when our good queen is wandering the streets shaking hands with people, we should sing this song that’s reminiscent of the English countryside.”

A virtuoso performance of “White Summer” is followed by a version of “Kashmir” which is a disaster, almost falling apart in the middle.  In introducing “Moby Dick” Plant calls Bonham “the man who played tambourine on ‘The Battle of Evermore.’ The man who keeps Budweiser going strong.”

After another epic “Achillies Last Stand” Plant quotes the words “well the mighty arms of Atlas hold the heavens from the earth,” just like he did in the second Maryland show.  “It’s been a good one tonight, and for that very reason we must dedicate our next song to the fact that good vibes are alive and well in New York” he says before “Stairway To Heaven.” 

Before the encores he mentions 1969 and Tommy James and the Shondells who had a hit that year with “Crimson And Clover.”  “Rock And Roll” almost falls apart when Plant tries to end the song too early.  Eelgrass package Magical Sound Boogie in a standard fatboy jewel case with an insert.  This is an afforable, nicely packaged version of an important soundboard recording.

If you liked this review, buy me a cup of joe. (Suggested: $3 a shot or $7.5 for a double)

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  1. This is a great show that surpassed my expectation. Great version of No Quarter. Also, sound quality is excellent. The sound is a bit bassy but I love it having JPJ upfront. It’s a must even to casual collectors.

  2. I’m not going to comment about the performance…. Even a poor performance by Led Zeppelin is still awesome. However, I do wish that Kashmir didn’t have a blemish in it. As for the recording…. In my opinion, this is the next best thing to the 04/27/77 soundboard recording, which is by far the best sounding from 1977 tour. If Empress had any business sense, they would offer jewel case editions simultaneously with their “permium” packing editions and price them at Eelgrass prices. But they don’t…. so business must be good in these lean times.

  3. A big THANK-YOU to @Hager, @Pedro Moya, @LedMan, and of course, the GREAT gsparaco for your comments/review, which helped me make my decision to pick this title up. I realise the SBD’s on this tour are far fewer than ’75, and therefore precious by itself, but there is also much to be said for an Audience recording that can reflect a band’s RAW power, which @hugofuguzev alluded to. That being said, I sought the ‘board document, which prompt’s this post! This review was indeed helpful, but I don’t want to send an eCheck for $7.50, so once my PayPal balance is replenished, I’ll buy a round for the house!! Promise.

  4. I finally received this title and have to admit that I’m more than thrilled with the packaging. The front cover would make a great poster don’t you think? I also believe that this is the first Eelgrass SB title in my collection that has a insert and I was surprised that it was made from glossy material. Very classy.

    I find that many times I listen to these shows and complain about Page, Plant or both however after listening to the soundboard source for this at least 5 times now and at a LOUD volume, I realize just how great Bonzo’s performance was.

  5. I hate to say it, but I actually preferred the “Rawhide” audience recording of this show to the soundboard. It may have been an emotional night in the Garden, but IMO the SBD makes the overall sloppiness of Page’s playing stick out like a sore thumb compared to the audience tapes. Though it was nice to finally hear the “Nutrocker” in SBD quality!

  6. I have the EV limited version – have played the SB discs many times and I do like what I hear…maybe I’m tired of all the 75′ boards? The 77′ shows have new material such as Ten Years Gone which sounds really nice at this show. Given that 77′ boards are hard to find and that this release is a first I would find it hard to resist at Eelgrass prices. Good cover on the front as well!

  7. Wish I could agree with the review and comments here. I’ve listened to it a few times, but I just don’t think the performance is that good. Then again I’m not a huge fan of Zep in ’77.

  8. love them or hate them, I have the thank the folks behind EVSD for getting these “SB” sources out for us collectors to enjoy. In all fairness to the folks behind Eelgrass, my comments at the moment are about the performance and not their release since since it will probably be at least a few weeks before I will be able to pick that up.

    I agree with “Hager” and “Pedro Moya” that this performance is above average for 77 standards and I couldn’t stop playing “IMTOD” I’m sure I will be revisiting this show/source very soon and add additional comments for the release reviewed above.

    Some great “Zeppelin” releases recently.

  9. Wonderful show. You can feel the energy and the excitement the band is feeling. Tremendous versions of IMTOD and ACHILLES, in fact this is my favorite ACHILLES from the 77 tour. If you are looking to get 1 sbd from 77 this is it!! Hands down!!

  10. Great review of a more than above average 1977 Zep concert. I like how you filled-in a bit of the historial background behind the Silver Jubilee, which was quite a royal-sounding name for a celebration. Although the audio’s similar to the 1977 boards from Cleveland, Maryland and Houston, there’s a power to this performance that helps to make it stand out from those other marginal shows. And it’s wonderful that Eelgrass has quickly made this available to collectors as it’s a show that must be deemed essential for one’s Zeppelin collection.

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