Led Zeppelin - Live in London 1970 [Prof. Stoned 2026]
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01. We're Gonna Groove
02. I Can't Quit You Baby
03. Dazed And Confused
04. Heartbreaker (cut)
05. White Summer
06. What Is And What Should Never Be
07. Moby Dick
08. How Many More Times (incl. elements of 'Boogie Chillun'', 'The Hunter', 'Hide Away', 'The Lemon Song' & 'That's All Right, Mama')
09. Whole Lotta Love
10. Communication Breakdown
11. C'mon Everybody
12. Somethin' Else
13. Bring It On Home
14. Long Tall Sally (cut)
All tracks Stereo
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Total time: 1h55m11s
Recorded live at Royal Albert Hall, London, UK; 9 January 1970 using the PYE Mobile 8-track Studio by Vic Maile with Neville Crozier
Remixed by Kevin Shirley circa 2002 (except a few segments from Tr. 08 which are from a rough mix made in the 90s)
Demix Rebalancing/Mastering: Prof Stoned
v1.0: 13-07-2026
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Note:
The primary source for this release is a pre-mastered mix prepared by Kevin Shirley for the band’s review during the production of the 2003 DVD. With the exception of one intended song, the recording entered public circulation in outstanding lossless quality sometime around 2007. This mix is not entirely identical to the version ultimately used for the DVD. Jimmy Page requested several alterations, while certain sections were removed either to improve the presentation of the performances or to avoid additional copyright costs.
Unfortunately, “How Many More Times” was absent from the circulating source and therefore had to be reconstructed using material from other recordings. Credit for the original reconstruction belongs to the anonymous compiler of the 2021 release '1970.01.09 London src mix ledzepfilm', currently the most complete and accurate presentation of this concert. I used that edit as a foundation and refined the inserted sections so that they more closely match the overall sound of the principal source, namely the DVD soundtrack. I chose not to use the compiler’s reconstruction of “Long Tall Sally,” as much of it was sourced from a recording of significantly poorer quality. Consequently, the version presented here remains incomplete.
Two songs performed that evening have never appeared on any known version of the concert and remain largely unheard: “Since I’ve Been Loving You” and “Thank You,” both of which were played between tracks 05 and 06. The organ was not captured on the multitrack recording, which appears to have rendered these performances unusable. “Heartbreaker” and “Long Tall Sally” were also affected when the tape ran out midway through the performances, with no backup recorder operating at the time.
The aim of this edition is to present the concert in the best possible sound quality and with the most natural, uninterrupted sequence. It runs approximately 14 minutes longer than the DVD soundtrack, features a slightly better-balanced mix, and avoids the heavily boosted mastering of the official release. Admittedly, the differences may not be particularly noticeable to the average listener. More importantly, however, this concert is an exceptional live performance in its own right and deserves to be heard by a wider audience.
Enjoy.
P.S. 07-2026
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A note about mastering with demix technology:
You may have heard some of my recent releases where I have used Demix Pro or SpectraLayers for spectral extraction. I believe this is the most revolutionary audio processing approach in ages. It enables us to break a mono signal down into dedicated elements, most notably: vocals, drums/percussion, bass guitar, electric guitar, and whatever remains after that. Depending on the source material, these extractions can be so precise that they allow for a realistic reconstruction of a mix.
Why is this useful? Well… the original mix may have flaws that affect the overall sound quality. By nature, the process of mastering is designed to improve such flaws by applying equalization and/or dynamic range processing. But what if one element within a recording needs more treble, while another element is already bright enough? At that point, EQ is no longer sufficient, because your choices will affect both. Of course, mastering does not begin and end with EQ; there are always other ways of emphasizing or hiding elements in a recording. But spectral extraction allows you to improve the sound of one element without “harming” the sound of the others, and also to rebalance those elements if necessary.
Being able to correct balancing mistakes, having the flexibility to mesh the bass guitar and kick drum together nicely, and placing the vocals precisely where they need to sit in the mix is a great luxury—especially when it doesn’t have to be achieved with bus EQ and/or compression.
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I have used the following digital studio gear and monitoring in the making of this:
- Spectralayers Pro 10
- Cubase 13
- Universal Audio UAD-2 Satellite Quad-Core (incl. various extra plugins I purchased over the years)
- Neumann KH150
- Adobe Audition
- Izotope RX9
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Sources:
1970.01.09 London multi mixdown KS Presence
1970.01.09 London src mix ledzepfilm
----- Led Zeppelin DVD (2003) (patching)
-----The Lost Mixes EP Vol. 7 (EVSD) (patching): Silver > CDR > EAC > wav > flac (lvl 7)
