Led Zeppelin - Early Daze (Live '69) [Prof. Stoned 2026]
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01. You Shook Me
02. I Can't Quit You Baby
03. White Summer/ Black Mountain Side
04. Dazed 'n Confused
05. Pat's Delight
06. As Long As I Have You (incl. elements of 'Fresh Garbage', 'Shake', 'Cat's Squirrel', 'No Money Down' & 'I'm A Man')
07. Communication Breakdown
08. How Many More Times
All tracks Stereo
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Total time: 1h19m0s
Recorded live at
Fillmore West, S.F. USA; 11 January 1969 (mono P.A. soundboard): Tr. 01-02,04
Gladsaxe Teen Club, Gladsaxe, DK; March 17, 1969 (mono TV soundboard): Tr. 07-08
Fillmore West, S.F. USA; 24 April 1969 (stereo stage recording): Tr 03,05
Fillmore West, S.F. USA; 27 April 1969 (stereo P.A. soundboard): Tr. 06
Demix Rebalancing/Mastering: Prof Stoned
v1.0: 19-04-2026
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Note:
This is a glimpse of the raw power of early Zep, something that was never really captured properly apart from the very first BBC sessions. Thankfully, this material survives in decent quality, even if all of these tapes have obvious shortcomings. Still, I enjoy a good challenge, and I wanted to see how far I could take them to make them enjoyable for fans who do not feel like venturing too far into the bootleg jungle. There were more tracks I could have included, but it felt more important to put together a tight, listenable set of performances that still leaves plenty of room for the usual jamming excesses. I considered using the Texas Festival tape, but ultimately decided against it because the drum sound was not good enough, as well as the Stockholm tape, which runs only 22 minutes and simply did not seem like a strong enough performance to include. All tracks are officially unreleased, except for the last two, which appeared on the 2003 DVD, albeit with the ending of “HMMT” chopped off; that has been restored here.
Enjoy!
P.S. 04-2026
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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:
1969.01.11 Fillmore West, San Francisco, California (SBD Master Reel) [Brought to you by Jason Peterson Presence@royal-orleans.com]
Led Zeppelin DVD (2003)
1969.03.17 'The Scandinavian Sessions'
1969.04.24 Fillmore West,San Francisco,CA (Empress Valley)
1969.04.27 Fillmore West, San Francisco (SBD - Raw unaltered transfer) [dadgad]
