Led Zeppelin / In Through The Outdoor Sessions / 2CD With OBI Strip / Wendy
Instrumental Rentals Hollywood Los Angeles CA USA October 1975. Digitally Remastered
The 80’s, a new decade for Zeppelin, began on a European tour, and a North American tour was planned. However, the tour was canceled by Bonso’s death, and as a result of discussing in the band, he chose the way of dissolution. In view of the activities of each member of the 80’s, if the band was temporarily continuing in the 80’s, it is only in the mind of fans what kind of evolution has been achieved. As a result, “IN THROUGH THE OUTDOOR” released in 1979 became the last active album (“CODA”, as you know, has been edited from the previous recordings to complete the contract).
After completing the 1977 US tour, Zeppelin has a long silence. The son of the plant has been in a hurry due to the infection, and the shock has caused the band to stop working longer. However, in the meantime, the times are changing every moment, and it is particularly noteworthy that the punk movement has risen remarkably in the music scene. The locks until then were considered old, and in particular Zeppelin was criticized as being a giant dinosaur with a huge movement. It is unclear whether or not that effect, but the original album until then was produced mainly by Jimmy, but when I heard “IN THROUGH THE OUTDOOR”, I handed over the musical leadership to John Paul Jones It has become a work with a different atmosphere from that. The recording took place in the two months of November and December 1978. This work is what recorded the session sound source at that time.
[Los Angeles October 1975] It was recorded in October 1975, but it includes “ROYAL ORLEANS” and “TEA FOR ONE” that will be included in “PRESENCE” later. The atmosphere in the studio is a lively sound source, and the plant sings along with the drums, and there are discussions about what to do when it is interrupted, and it is recorded that it works on the music again. It’s still a light rehearsal.
[Montreux September 12, 1976] There are two takes of “BONZO’S MONTREUX” that will be edited later and included in “CODA”. The title is derived from the name of the studio, and of course it was not particularly tight at the time of recording. If it is Jimigen to play the anomalous guitar performance, it can be said that the drum version Jimichen is Bonzo. Even though it is a drum solo that tends to be monotonous, it uses various techniques and equipment to demonstrate drumming that will keep the listeners bored.
【Glosstshire May, 1978】
“FIRE” is a song prepared for “IN THROUGH THE OUTDOOR”, but the recording is a song that was finally sent off. It is a song like Zeppelin with a focus on guitar and riff, but it is no exception that it floats from the atmosphere covering the entire album. It is “CAROUSELAMBRA” that is played by heavy heavy synth flood. This song with a title like a spell is composed of symbolic sounds that impress the album. The synths played by Johnson are all over, Jimmy’s shadow is thin. There is also a scene where the performance stop and the plant confirm the song melody with other members. I’m still singing and singing, but I can see that the song itself is complete.
[Stockholm November, 1978] From here, I entered a full album recording session. It is recorded with the balance almost like a drum track which may be only the relation of the position of the microphone. I can hear the vocals, but I don’t have a bass and a guitar, so it’s part of the recording. And again it is “CAROUSELAMBRA”. Of course the synth is the main sound, but it is still a trial-and-error stage, and the guitar is a mix that is also on the whole. However, Jimmy’s play itself is lacking in vividness, and cutting only with riffin is difficult to say with riff, which is in contrast to Johnsy’s exact matchless play. “WEARING AND TEARING” is probably the most famous outtake, with riffs and drums reminiscent of Zeppelin. The plant is a vague compared to the one included in “CODA”, but with modest yet tight vocals.
Disc 2 continues the session in Stockholm in November 1978. “FOOL IN THE RAIN” is recorded in two takes. The first take is a mix of plant vocals, drums are discreet, unfinished feeling is undeniably the piano is monotonous, and it is an arrangement with little ups and downs. In the other take, in addition to the swaying drums, the development after the break is also gorgeous, and we can see that it is approaching completion. A whistle sound like that used in physical education classes is also added. The “HOT DOG” is impressive with a rhythmic piano that is covered on a fast-running drum, and the plant seems to be intentionally used to sing a syllable in small steps. High-pitched double vocals are also added. “IN THE EVENING” to decorate the opening of the album is a take as if each member is checking their own parts at a slower tempo than the original. It is a sudden ending, probably because it is planned to fade out from the beginning. “Southbound Saurez” seems to be a take that has already added a few more songs to previously recorded vocals. The funky “DARLENE” is another take. And interesting is “ALL MY LOVE”. It is a sweet love song that is unique to Zeppelin. The sound of the keyboard like the harpsichord which was not used in the final version is added throughout the whole film here and there. Of course, it is John Zee who is playing. Because of that, the interlude is just tracing the riff on the keyboard. This will later complete the song for such a heavy keyboard solo. And in the release version, ending that had been faded out is an arrangement in which the plant sings the title phrase and romantically plays it out. I think this is a few times better than what was released, how is it?
【Stockholm November 14, 1978, 21st】
Similarly, two takes of “OZONE BABY”, “DARLENE” and “WEARING AND TEARING” recorded at a studio in Stockholm are recorded respectively.
【IN THROUGH THE OUTDOOR SESSIONS】
This work which covers the session sound source of “In through the Outdoor” which is the last original album of Zeppelin. The change in musicality that entrusts John Paul Jones with musical leadership and feels the elements of the 80’s different from before, the confusion of the fans at the time, the new Zeppelin’s charm packed The album lets you imagine the future of Zeppelin, which has become a vision. It is fortunate if this work helps.