CD Comparisons 1977

4-3-77
The Fuckin' P.A. System (Tarantura) & Fucking T.Y. (Tattytura)

Tarantura has 1 small digital glitch during Nobody's Fault But Mine. During No Quarter, there are many channel and digital problems between the 1st and 5th minutes.
Tattytura's title doesn't have those problems but it's sound is not as loud and maybe not as clear. The sound level may possibly be due entirely to amplifying by Tarantura.

4-6-77
Great Chicago Fire (Empress Valley, original and reissue), Missing Night In Chicago (Missing Link), & Night Porter (Empress Valley)

These titles are similar overall, even the backwards playing tape during No Quarter. Empress Valley has a few less cuts and includes an extra 50 seconds of tape after Battle of Evermore. Unfortunately, it is followed by one of the new "micro cut/repeat" errors that is becoming too common. It also has another extra cut/repeat during Moby Dick. Missing Link has a few extra cuts that are either not included in Empress Valley or have been edited carefully.
Empress Valley's sound has been amplified a bit over Missing Link's, but it isn't too heavy.
EV reissued the audio on new discs in 2021 with the original title's name and simultaneously releasing it as Night Porter too.

4-7-77
Great Chicago Fire (Empress Valley, original and reissue) & Night Porter (Empress Valley)

EV debuted this show in 2005. They reissued the audio on new discs in 2021 with the original title's name and simultaneously releasing it as Night Porter too.

4-9-77, sources 1 & 2
Early Days, Latter Days (no label), Great Chicago Fire (Empress Valley, original and reissue), Night Porter (Empress Valley), & Strange Tales From the Road (no label)

Strange Tales contains the first tape. Early Days contains the more complete second source.
Empress Valley's foundation is the second source, but twice switches to the other to complete No Quarter. Their sound is amplified too much.
EV reissued the audio on new discs in 2021 with the original title's name and simultaneously releasing it as Night Porter too.

4-10-77
Great Chicago Fire (Empress Valley, original and reissue) & Night Porter (Empress Valley)

EV debuted this show in 2005. They reissued the audio on new discs in 2021 with the original title's name and simultaneously releasing it as Night Porter too.

4-19-77
Cincinnati Blizzard of 1977 (Wendy), Cincinnati Kids (H&Y & Graf Zeppelin), Cincinnati Riot Disaster (Electric Magic), Early Days, Latter Days (no label) & Gatecrush Riot (Electric Magic)

Early Days' fourth disc contains this date and was the first release of this show. Kids has the same 60 minutes of content found on EDLD.
Electric Magic's Gatecrush offers 35 minutes more tape than EDLD and Kids. In My Time of Dying is listed as being from the first night, but it's actually from the second night. There is an unnecessary cut after No Quarter, missing 15 seconds of tape. The tape used for this title seems to be a lower generation than the single disc titles.
Electric Magic's Riot Disaster uses several songs from this show, but is far from complete.
Wendy's title is complete, but places a cut in the beginning of No Quarter, and repeats almost ten seconds. There's another unexplained cut and repeat of several seconds just before Battle. It's sound is fairly similar to EMC.
Graf's title is complete and does not have any repeated tape. It's sound is similar to Wendy.

4-20-77
Cincinnati Blizzard of 1977 (Wendy), Cincinnati Kids (Graf Zeppelin), Cincinnati Riot Disaster (Electric Magic), & Gatecrush Riot (Electric Magic)

Gatecrush was the first cd release of the available tape at the time (42 minutes). It's first disc features a small fragment of Dying, noted incorrectly as being from the first night. It gets repeated as a larger fragment on the second disc, properly attributed to the second night.
Disaster was released about two years later when more tape became available. It is aptly named since EMC decided to mix the extra tape with material from the previous night. Dying isn't listed on the liner notes, but it is present and complete. The liner notes properly identify which songs are from the first night (with the exception of the first few seconds of Since).
Wendy's title has an extra five seconds of Since before the song is cut short. There's a minor cut after Kashmir missing just a split second. The title is slightly less amplified than EMC.
Graf's title is complete and doesn't seem to have any flaws found on earlier titles. It's sound is similar to Wendy.

4-25-77
Kentucky Bourbon (Empress Valley), Louisville Slugger (Wendy), & Oxygen Destroyer (Tarantura2000)

EV and Wendy are identical. Tarantura2000 isn't cut just before Black Country Woman, having an extra four seconds of Robert talking. It's sound hasn't been amplified as much as the others.

4-27-77
Destroyer (Cobra, Eelgrass, Empress Valley 3cd & 6cd& 6cd & 9cd, Flesh, Last Stand Disc, Shout To the Top, SODD, no label October 2007 issue with dark green discs in jewel case, no label April 2016 issue, no label December 2019 issue, Tarantura2000, & Wendy), Destroyer I (Moonchild), Destroyers (Tarantura, Tarantura2000, & Wendy), Destroyer Gold (Tarantura), Destroyers: Destroyer (Tarantura2000), Destroyer Remix & Remaster (Empress Valley 3cd & 3cd), Final Statements (Antrabata), GOAT Destroyer (Wendy), Maximum Destroyer (Empress Valley, original and reissue), & Supreme Destroyers I (Empress Valley, 9cd & 3cd)

Foreword
Empress Valley's original Destroyer title (3cd) was released in 2000. It was more complete with better quality than prior releases and subsequent releases (by other labels and EV's own "Supreme Destroyers" released in 2004) until the "no label" version came out in October of 2007. The "no label" version wasn't any better - it was pretty close to being an equal. Two months later, Empress Valley released "Maximum Destroyer," which was technically (minor differences) better than their original. Then in May 2008, Eelgrass released the title too, virtually identical to the two titles just mentioned. No label's 2016 and 2019 Destroyers are also great, with the 2019 version probably being the best version of the tape. Wendy's GOAT Destroyer is the worst version of show.

Both original Tarantura releases are exactly alike in respect to cuts but are equalized differently. These two titles are missing the first 3.5 seconds of the opening song. They are also missing about 70 seconds of White Summer / Black Mountain Side. A few seconds are also lost at the cut just before Achilles Last Stand. The tape used was highly edited, removing about 5 minutes of tape from between songs.
Antrabata and Shout To the Top are almost completely identical. There are edits between songs too. They both are among the poorest sounding triple cd titles ever released.
Cobra and LSD are both exactly alike in respect to cuts and to good sound. They are missing the first second of the opening song and only have a few edits between songs.
The original Tarantura2000 claims to be the longest version and the best sounding. It is missing the first half second of the Song Remains the Same. Like the original Tarantura releases, this one too is missing about 70 seconds of White Summer and it's warm-up. There are distinct changes in sound with each song. The changes are so abrupt, they sound like cuts. The songs are much louder than the time between songs. Additionally, evidence of further tweaking can be heard between songs. (It's the same treatment they've used before, making the audience sound a little like birds. This time it isn't as heavy handed as with earlier titles.) Other less than natural sounds can be hear after Dying and during the cut and repeat after Moby.
Flesh's release is the worst sounding of them all. It is totally overblown - not simply over amplified like Antrabata and STTT, but overblown…ruined. The background is rough and muffled without losing too much of the higher frequencies. At points during the acoustic set, the "equalization" makes the guitars and Bonham sound completely irritating. It's White Summer isn't incomplete like the three Tara's.
The Empress Valley Destroyer (released in 2000) is better sounding and more complete than any prior issued titles. (Unfortunately, the last dozen seconds of tape after the show seem to be faked by repeating a section.)
Empress Valley's Supreme Destroyers I is a step down from it's original Destroyer. There's a strange sound problem (brief) about 1.5 minutes into Going To California that's not found on any other titles. After that track, the sound trouble starts again and lasts into the beginning of Black Country Woman. Later during that track, the left channel begins to dominate the right. It continues through the end of the disc. It's music and background are not as loud as their original Destroyer. The 9cd box and 3cd release both use the same discs.
SODD's Destroyer has three minor flaws. No Quarter has a glitch that's not found on any other title, and it misses a split second of tape between the discs, during guitar warm up and commentary. A slight bit of tape overlap between the discs would have cured that issue, but they elected not to repeat even a millisecond. Other than that, all other tape is present. The sound quality is excellent and similar to EV's original release.
The "no label" version issued October 2007 is an excellent title. It doesn't miss any tape, barely has overlapping tape between discs, and doesn't have any rogue cuts or glitches. The title has no amplification. It would had been helpful to amplify it some.
Empress Valley's Maximum Destroyer is a much improved release over their previous version "Supreme Destroyers" and even has some small differences making it even better than their original "Destroyer." The title isn't amplified as loud as the original, has it's cue stops positioned a little better, has a little less overlapping tape and blank tape at the end of the discs, and doesn't have any potentially "faked" tape after the show. Their jewel cased version reissues the same discs.
Eelgrass's Destroyer is not a copy of any Empress Valley title. It's an amplified version of the "no label" 2007 title, with a few seconds of blank tape added to the end of the discs. It's not likely a better Destroyer will come along.
Wendy's "Destroyers" title is similar to the typical better versions. However, they've edited the cut during the beginning of White Summer, removing a second of music. Another edit is made during the end of the guitar solo, faking some tape to hide the cut.
Tarantura2000's 2014 Destroyer is a pretty standard issue of the show. Other than the super long overlap between the first two discs, there are no problems. It's been amplified quite a bit.
Wendy's "Destroyer" is a reissue of the cds from their "Destroyers."
The no label Destroyer from April 2016 is most similar in content and sound to the one they issued in 2007 and Eelgrass, but has fades at the cuts. The fades are quick and don't prevent the content from being heard.
EV's 2016 6cd box reissues audio from their Maximum title. The cd times are identical.
Tarantura2000's 2018 Destroyer from the 9cd Destroyers box has many minor problems not found on any previous version of this show, including their own. The first glitch starts four seconds into the title, and there are several more. New cuts are introduced in three places. It's been amplified considerably and may be the source of some minor problems in the right channel during Moby.
EV's 2019 9cd box reissues the discs from their previous release in 2016, which reissues the audio from their Maximum Destroyer.
No Label's December 2019 issue has the exact same content as the October 2007 no label Destroyer and Eelgrass's title - all having all known tape. The sound level is the same as Eelgrass, not being as quiet as the 2007 no label title.
Moonchild's title has all known tape and has been amplified a lot.
Wendy's "GOAT Destroyer" (GOAT meaning "Greatest Of All Time") is a JUNK title. It's not only the worst Destroyer title ever issued, it's also the worst Led Zeppelin bootleg of all time. Besides being an uncredited multiple show mix, an additional singer has been added, and other EXTREMELY WEIRD sounds have been added in several places. A different show has been used to complete the Song Remains the Same, No Quarter, White Summer, and the guitar solo. During the end of Nobody's Fault, someone's voice has been overdubbed to sing along with Robert. Other sounds, extremely bizarre sounds, have been overdubbed in places during the show too. After Achilles, some of the off mic comments in the background have been absurdly, and weirdly, amplified. There's several more bizarre sound during the first few minutes of Stairway. At the end of Stairway when Robert sings the final word, "Heaven," it's been altered so badly that is sounds like he's gargling water (that is not an exaggeration). Each of the encores are followed by another weird sound each. This is the the weirdest shit ever offered on an LZ title, from a label with a history of adding sounds not recorded at the shows.
EV's 2024 6cd box offers the show twice, with the first being subtitled "Remix & Remaster." It is cut between almost every track. It's been highly amplified and equalized, to the point of ruining the sound between songs. It also seems to affect the music in at least two places, around the one minute mark in Battle and the very end of the guitar solo.
EV's 2024 6cd box offers the show twice, with the second being subtitled "10.5 Inch Reel SBD." This title starts off by missing half of the very first word. The cut during No Quarter includes some tape drag for the first time. The second disc very abruptly begins with Ten Years Gone. (EV has done this a few times in the recent past - it's not very smooth at all.) The cut in White Summer has been poorly edited. It's sound isn't as loud as their "Remix & Remaster" but has been amplified some.
EV's 2024 3cd "Destroyer Remix & Remaster" was offered as a promo and a regular edition. They are both reissues the subtitle of the same name from the 2024 6cd box.

4-28-77, source 1
Destroyer (Flesh, Graf Zeppelin, TDOLZ, & Empress Valley), Destroyer II (Last Stand Disc, SIRA, Wendy, no label, & Moonchild), Destroyer - Storongest Edition (TDOLZ), Destroyers (Tarantura, Tarantura2000, & Wendy), Destroyers: Destroyer source 2 (Tarantura2000), Return of the Destroyer (Live Remains), & Supreme Destroyers II (Empress Valley)

The original Tarantura is missing 12 seconds of Dying, almost 2 minutes of No Quarter, and is missing over 6 minutes of tape between songs. Also, it runs too fast.
SIRA is missing "Surrender" entirely. No Quarter is cut and then repeats over 2 minutes. Achilles Last Stand is missing 6 seconds in the beginning. Stairway To Heaven in missing it's first 2 seconds. SIRA is also missing 6 minutes of tape between songs. However, it runs at the proper speed.
LSD and TDOLZ's "Storongest Edition" have closely similar cuts and sound quality.
TDOLZ's latest version "Destroyer," is musically more complete than it's earlier release and the LSD, by 4 half seconds. There are a couple of repeats pasted between songs. It's sound seems to be just a tiny bit better but has serious hints of being manipulated in places.
Tarantura2000's introduction is a couple of seconds shorter than TDOLZ. Like TDOLZ, it has a couple of repeats pasted/inserted in places - therefore defying it's own claim of being from the master reels. No hints of it's "radical cleanup" (metallic sounds) were detected. (It seems that it would be quickly found in the areas where the recorder's mic couldn't handle the sound, but no change.) The sound on this title is certainly at least slightly better than TDOLZ.
Flesh's introduction is 2 seconds longer than TDOLZ's. The sound is heavier than TDOLZ and Tarantura2000. The difference actually may be due to a lack of toying with the sound.
Empress Valley's title is incomplete. Almost 13 minutes of Moby Dick are missing.
Live Remains' title has an annoying cut/repeat immediately at the start of Nobody's Fault. It has the normal cuts, and with edits. Three of the edits overlap audience cheer into the following song, putting them into an even rougher start. It's sound isn't as amplified as much as Flesh.
Wendy's "Destroyers" is highly similar in content to Flesh. It's sound hasn't been amplified as much.
Wendy's "Destroyer II" reissues the discs from their original title.
"Oh, Fuck!" is spoken on at least three different occasions. It is sometimes removed and/or repeated.
EV's 2016 6cd box reissues audio from their prior title. The cd times are identical.
The no label title is most similar to Wendy, but may contain a fraction more tape/music at cuts than other titles. No known tape is missing. It's not over-amplified.
Tarantura2000's 2018 9cd box contains "Destroyer source 1" which debuts a second source mixed in to complete source one. The very first song contains a micro cut/repeat. There are many splices throughout the title, and most displace a lot of source one.
Graf's title contains the first source on it's first three discs. Source two is mixed in to complete the show. Each splice misses minimal source one.
Moonchild's title is similar in content to Wendy and no label, except it's edited out the screeching sound after Sick Again. The sound seems to be better balanced between the channels.

4-28-77, source 2
Destroyer (Graf Zeppelin), Destroyer 28 April 1977 Alternative (Empress Valley, 3cd original and reissue) & Destroyers: Destroyer source 2 (Tarantura2000)

Tarantura2000's 2018 9cd box contains "Destroyer source 2" is based on source two and appears to unnecessarily splice in source one 5 times where source two isn't even. It contains a few micro cut/repeats.
Empress Valley's 3cd title is almost entirely from source two. It splices to source one for several seconds after Since. It's sound is cleaner and more trustworthy than T2K's. It's not been amplified as loudly either.
EV's title from the 9cd box reissues the original 3cd title.
EV's August 2019 title reissues the reissue.
Graf's title contains the second source on it's last three discs. It mixes in source one for several seconds after Since. It's sound is somewhat similar to EV.

4-30-77
Hot Rods In Pontiac (TDOLZ), Pontiac 1977 (Graf Zeppelin), Pontiac 1977 Upgrade (no label, 2021), Pontiac Silverdome 1977 (no label, 2018), Sitting On a Goldmine (Empress Valley), & Sitting On a Goldmine: Pontiac 1977 (Empress Valley)

TDOLZ was released twenty years before the others. It misses a total of about 2.5 minutes of crowd noise, but has some audio not found on other titles. It misses about 12 seconds of Moby Dick. It runs a little slow.
The no label title has two instances of bad spots during the first song that aren't found on TDOLZ. Overall it misses about 40 seconds of the crowd, but doesn't miss any music. It runs at a better speed and has been amplified a little bit.
Empress Valley's 2018 title Pontiac 1977 is a subtitle of their "Sitting On a Goldmine" box set. It is almost identical to the no label title. It's edits are a little different and has an extra cut after Ten Years Gone.
EV's 2021 title "Sitting On a Goldmine" is not a reissue of their previous title. This title is from a more complete version of the same tape. Besides offering the last part of Moby Dick for the first time, a few more minutes of non music audio is available too. The second and third discs begin with the same exact 26 seconds of tape, then both are cut. The second disc repeats the tape again and continues on to Ten Years Gone, but the third disc switches to Moby Dick. No tape is missed, but it's certainly not put together correctly. Unlike the older versions of this show, this never version almost drops the left channel completely just before the guitar solo begins and does not recover until after Stairway. The sound is otherwise improved over prior titles, likely a lower generation of tape.
No label's 2021 title was released the same month as EV and uses the newer tape. This title is just as complete as the newer EV, has the channel problem too, but does not have the arrangement problems. For some reason there is a drop during Achilles Last Stand near the 2:30 mark. The title is similar in sound to the newer EV.
Graf's title was also released around the same time as EV and no label, offering a more complete version of the show. While it also has the same channel problems (although balanced between channels here) as those titles, it does not have the other errors. It's content and sound are otherwise similar.

5-18-77, sources 1 & 2
Crimson Tide (Wendy), Dixie (Antrabata), & Out of the Way (TDOLZ)

I believe Antrabata was the first release of this show. TDOLZ is a separate, and better sounding source.
Wendy's title is a mix with source two as the foundation. Half of the splices to source one miss a few seconds of the main source. It's sound is fairly similar to TDOLZ.

5-21-77
Dragon Snake (Empress Valley & Eelgrass), Sitting On a Goldmine: Houston 1977 (Empress Valley 9cd), Texas Hurricane (Empress Valley 9cd), & Throwing Silver Daggers (Moonchild)

Eelgrass is a direct copy of Empress Valley's Dragon Snake.
EV's jewel cased reissue of Dragon Snake has the same audio and disc times as the original.
EV's TX Hurricane box reissues the audio with the same disc times as the original.
EV's Goldmine box isn't a reissue of it's earlier versions. The minor tape problem halfway into Bron-Yr-Aur Stomp is much bigger here than on other titles. The title has been amplified some over Dragon Snake.
Moonchild's title is highly similar to EV's Dragon Snake. There's a noticeable sound change at the beginning of Kashmir, which almost makes it sound like a cut. It has been equalized some.

5-22-77, audience sources 1,2, & 3
Polished Performances 1977 (POT), Song of the South (Capricorn), Unbooted (Tarantura), It'll Be Zep (SIRA, 3cd), Complete Tarrant Concert (Wendy, 3cd), Jamming With Mick Ralphs (Empress Valley, 3cd), & Texas Hurricane (Empress Valley, 3cd)

Tarantura, Capricorn, and POT feature the first source. Tarantura and POT don't include any of Moby Dick. Capricorn seems to be the full tape.
Silver Rarities uses the third tape source through Since I've Been Loving You, then switches to the second source for No Quarter and Ten Years Gone. SIRA switches back to source three for Going To California, Black Country Woman, and Bron-Yr-Aur Stomp. After that, it switches to source two through the end of Moby Dick. The remainder of the show is from source one.
Wendy uses the same mix as SIRA until half way through Moby Dick, where it switches to the first tape source. It briefly switches back to a known source after Achilles Last Stand.
EV's Jamming mixture is slightly different. It uses source two for half of Dying, all of Since, most of Black Country Woman, all of Bron-Yr-Aur, and the first half of Moby Dick. After that, source one is the primary tape, with it's small gaps filled by source two.
EV's Texas Hurricane reissues the audio from Jamming on new cds with slightly different disc times.
Wendy and Empress have amplified their tapes some.

5-22-77, soundboard
Led Zeppelin's Hideout (Moonchild) & Texas Hurricane (Empress Valley original and two reissues & Eelgrass)

EV debuted this soundboard and Eelgrass offered a perfect clone of it the same month.
EV's jewel cased version reissues the same discs as the original.
EV's TX Hurricane box reissues the audio with the same disc times as the original.
Moonchild's title is similar in content to EV, but is cut at track change for Kashmir. It's been equalized and amplified some.

5-25-77 audience
Landover: Return of the Crusaders (Electric Magic) & Maryland Deluxe: Your Teenage Dream (TDOLZ)

Electric Magic is much more complete than tdolz. TDOLZ seems to be less clear and runs a hair slow.
TDOLZ faults:
Introduction is a minute short
No Quarter is missing 5 minutes
Missing 10 seconds of tape after Kashmir
Guitar Solo starts 5 seconds late
Missing almost 4 minutes of tape after Stairway To Heaven
Missing 2 minutes of tape after the show

Electric Magic faults:
Battle of Evermore has a brief tape problem
Moby Dick has a digital glitch towards the end

5-25-77 soundboard & audience mix
Double Shot: 25 (Empress Valley, original and 2nd Edition), Double Shot 1 (Eelgrass), Maryland Moonshine (Empress Valley, original and reissue), & Mighty Arms of Atlas Vol.1 (Moonchild)

EV uses the same cds for the two Double Shot titles and their first Maryland Moonshine. Eelgrass is a direct copy of EV.
EV's 2020 version of Maryland Moonshine is a reissue of the original.
Moonchild's title seems to be an edited version of EV. It is strictly from the soundboard. It misses six seconds of the soundboard during No Quarter, where it's overlapped by audience tape on EV. There's an unexplained sound change during the transition from White Summer to Kashmir. The title has been eq'd and amplified over EV.

5-26-77, audience
Landover 1977 2nd Night (Graf Zeppelin), Landover: One Nation Dancing Groove (Electric Magic), Maryland Deluxe: Thunderous Break (TDOLZ), & Whole Lotta Landover (Immigrant)

Electric Magic has more tape before and after the show than Immigrant and TDOLZ. It is the only one running at the proper speed and has far fewer cuts between songs.
All full show titles share the strange tape arrangement between Song Remains the Same and Sick Again.
TDOLZ has a digital glitch in Moby Dick and Immigrant's is missing 19 minutes. Both of these titles are missing one minute of tape after Stairway to Heaven.
Graf's title is a partial show release.

5-26-77, monitor mix
Great Chicago Fire (Empress Valley), Heavy Metal (Empress Valley), Landover 1977 2nd Night (Graf Zeppelin), Last Adieu (Empress Valley & Eelgrass), Night Porter (Empress Valley), & Strange Tales From the Road (Godfatherecords)

There's now a total of 84 minutes available from the monitors.
Godfather debuted thirty-four minutes of audio from the monitors (Kashmir, Achilles, Stairway, Whole Lotta Love, and Rock and Roll).
EV's Last Adieu released the same material plus a little bit of Moby Dick and the guitar solo.
Eelgrass is a copy of EV's Last Adieu.
Graf's title is highly similar to EV's Last Adieu, but isn't amp'd up.
EV's reissue of Great Chicago Fire and simultaneous release of Night Porter debut Song Remains the Same and Nobody's Fault But Mine on the final disc of the sets.
EV's Heavy Metal title debuts tape before the show, Sick Again, Dying, Since, a fragment of Black Mountain Side, and the beginning fragment of Kashmir. The title contains all known monitor material, totaling 84 minutes.

5-26-77, soundboard & audience mix
Bringing the House Down (Eelgrass & Empress Valley), Heavy Metal (Empress Valley), Magik Kingdom (Empress Valley), Maryland Moonshine (Empress Valley, original and reissue), & Mighty Arms of Atlas Vol.2 (Moonchild)

Empress Valley was the first label to release this soundboard. The audience tape has been used to fill in the few gaps.
EV's "Maryland Moonshine" reissues the audio from their original release on new discs and new disc times.
EV's "Magik Kingdom" reissues the prior reissue, using the same discs.
Eelgrass's title is a perfect copy of Empress Valley's original release.
EV's 2020 version of Maryland Moonshine is a reissue of the original.
Moonchild's title seems to be an edited version of EV. Instead of making the title strictly from the soundboard like their prior night, they retained the audience tape during No Quarter, but removed it from Bron-Y-Aur, Moby Dick, and after the show. The title has been eq'd and amplified over EV.
EV's Heavy Metal contains a full show mix of the soundboard and audience tapes playing simultaneous, a matrix.

5-28-77, audience
Landover: Crossfire Hurricane (Electric Magic), Maryland Deluxe: Tightest & Loosest (TDOLZ), & Powhatan Confederacy (Empress Valley, original and reissue)

Empress Valley debuts the soundboard and uses about 11 minutes of audience tape to fill gaps.
EV's 2011 reissue reuses the same cds as the original.
Electric Magic and TDOLZ are strictly from the audience tape. EMC is much more complete, better sounding, and has more tape between songs than TDOLZ.
TDOLZ faults:
No Quarter is missing 10 seconds
Ten Years Gone has tape problems
Going To California is missing 6 seconds
Moby Dick is missing almost 25 minutes
Guitar Solo is missing 35 seconds
Missing 2 minutes of tape after the show
Initially, Electric Magic's disc three was issued with a terrible tape problem during Achilles Last Stand, lasting 10 seconds. A corrected disc was quickly pressed and distributed but not everyone received it. (Both discs share the same matrix#. The original disc time is 76:33 and the replacement disc is 76:23.) Also, the title has it's show date and track list switched with the following night's title.

5-28-77, soundboard & audience mix
Dragon Slayers (Eelgrass), Powhatan Confederacy (Empress Valley, original and reissue), Magik Kingdom (Empress Valley), Maryland Moonshine (Empress Valley, original and reissue), & Mighty Arms of Atlas Vol.3 (Moonchild)

Empress Valley was the first label to release this soundboard. The audience tape has been used to fill in the few gaps.
EV's 2011 reissue reuses the same cds as the original.
EV's 2012 "Maryland Moonshine" reissues a slightly amplified version of the audio from their original release, on new discs with new disc times.
EV's "Magik Kingdom" reissues the prior reissue, using the same discs.
Eelgrass's title is copied from Empress Valley. HOWEVER, they didn't do it properly (for the first time). The first two cds are not as loud as Empress, while the third cd is identical to Empress. Also, Eelgrass's Ten Years Gone has a glitch early in the song that isn't found on Empress. UPDATED: Eelgrass issued a replacement disc for cd2. The glitch in Ten Years Gone was fixed but the disc's sound level remained unchanged from the original issues. [The replacement disc's matrix number is "EGL-20216-2" (having two hyphens) and the original bad disc's matrix number is "EGL 20216-2" (having one hyphen).]
EV's 2020 version of Maryland Moonshine is a reissue of the original.
Moonchild's title seems to be an edited version of EV. None of the cuts are filled with audience tape. The title has been eq'd and amplified over EV.

5-30-77 audience
Destroyer III (Tarantura), Landover: Dragon Slayer (Electric Magic), Maryland Deluxe: Running On Pure Heart and Soul (TDOLZ), & Supreme Destroyers III (Empress Valley)

TDOLZ is missing most of the introduction. Tarantura and TDOLZ are missing almost 2 minutes of tape after the show. EMC is missing almost 2 seconds at the cut during No Quarter.
Electric Magic has a complete Moby Dick. An extra 5 minutes of tape are used, possibly from an alternate tape. As with all of the titles from this show, the first song may be from an alternate tape. Also, the EMC title has it's show date and track list switched with the previous night's title.
Empress Valley is technically the most complete title. It's sound is slightly louder than EMC's.
Electric Magic and Empress Valley are much more complete and better sounding than the other titles.

5-30-77 soundboard & audience mix
Double Shot: 30 (Empress Valley, original and 2nd Edition), Double Shot 2 (Eelgrass), Maryland Moonshine (Empress Valley, original and reissue), & Mighty Arms of Atlas Vol.4 (Moonchild)

EV uses the same cds for their first three titles. Eelgrass is a direct copy of EV.
EV's 2020 version of Maryland Moonshine is a reissue of the original.
Moonchild's title seems to be an edited version of EV. None of the cuts are filled with audience tape. The title has been eq'd and amplified over EV.

6-3-77, source 1
Billy Clubs and Riot Gear (Tarantura2000), Black Friday For At the Tampa Stadium (Empress Valley), Stormwatch (Graf Zeppelin), & Strange Tales From the Road (8cd, no label)

Source one has a number of problems with the tape. It ends about three minutes into the last song and is followed by another minute of the taper recording their exit as a girl is screaming "it's not fair."
Strange Tales misses most of the introduction and all the tape after the show.
Tarantura2000 begins their disc with this version. It has all known tape, but it also has two micro cut/repeats during two songs. It's been very highly amplified.
Graf's title is complete and has similar good sound to the Strange Tales title.
EV's first set on the first disc is correctly noted as being from the first set. It is similar to Graf in content and has been eq'd a little differently.
EV's first set on the second disc claim to be source four, but it's actually strictly from the first source. It seems to be from a higher generation copy of tape and is missing part of the introduction.

6-3-77, source 2
Billy Clubs and Riot Gear (Tarantura2000), Black Friday For At the Tampa Stadium (Empress Valley), Fucking TY (Tattytura), Killer-Missile (Flagge), & Stormwatch (Graf Zeppelin)

Sources 2 and 3 were recorded just a few feet apart from each other. They both record the "Robert Plant you got curly hair" comment and some of the other background sounds, but not all of them - they are two different tapes. The person making the "curly hair" comment is closer to the source two tape recorder than the source three tape recorder. Source two starts out with a guy yelling "bring on the blimp" and is followed by an air horn for about thirty seconds.
Tattytura is missing some tape before the show and twelve seconds of tape after Sick Again.
Flagge is missing the first few seconds of the introduction and more after the show.
Tarantura2000 has this source positioned as the second version on their title. It has all known tape before and after the show.
Graf's title also has all known tape and is similar sounding to Flagge.
EV's title is similar to Graf in content and is slightly less amp'd.
These titles are fairly similar in sound.

6-3-77, source 3
Billy Clubs and Riot Gear (Tarantura2000), Black Friday For At the Tampa Stadium (Empress Valley), Polished Performances 1977 (POT), Stormwatch (Graf Zeppelin), & Un-booted (Tarantura)

Sources 2 and 3 were recorded just a few feet apart from each other. They both record the "Robert Plant you got curly hair" comment and some of the other background sounds, but not all of them - they are two different tapes. Source three starts out with about thirty seconds before the show and ends a few seconds after Robert announces a fifteen minute break. It is the only recording that captures all of Robert's announcements after Nobody's Fault, and the tape ends about six seconds afterwards.
POT and the original Tarantura are fairly similar. They are the ONLY titles offering all songs from this source.
Tarantura2000 pretends to offer the full third source, bit it's actually a three source mix using very little of source three. It features source three's Nobody's Fault (track 14) and all of it's roughly 64 seconds of tape after the show. The prior two songs are from source 2 and the final section of tape after the show are source 1.
Graf's title claims to offer two bonus tracks from source 3, but it's actually an incomplete offering from two different sources. Nobody's Fault (track 16) and the first part of the tape after the show (track 17) are source 3, but the rest of track 17 is source 1.
EV's title also pretends to offer the full third source, but it's the same three source mix as found on Tarantura2000's title that uses very little of source three.

6-3-77, source 4
Black Friday For At the Tampa Stadium (Empress Valley) & Stormwatch (Graf Zeppelin)

Graf debuted this distant source.
EV's liner notes for the first set on the second disc claim to be source four, but it's actually strictly from the first source. It seems to be from a higher generation copy of tape and is missing part of the introduction.
EV's liner notes for the second set on the second disc claim to be source five, but it's strictly source four. The liner notes also get the track listing wrong since they rearranged the sequence of the songs on the disc. It seems to have all the content offered by Graf in similar sound quality.

6-7-77, soundboard
Magical Sound Boogie (Empress Valley titles & Eelgrass)

EV debuted this soundboard and Eelgrass quickly copied it. They're identical. EV's jewel case reissue reuses the same cds as the original release.

6-7-77, sources 1 & 2
DX I ~ X (Mad Dogs) & Back To the Garden (TDOLZ)

Mad Dogs releases the first source. TDOLZ is primarily from the second source, but relies on the first tape to complete the encore.

6-8-77, source 1
In Celebration For a King: Second Night In the Garden (Graf Zeppelin) & Second Night In the Garden (TDOLZ)

TDOLZ is strictly source one. Graf's last three cds of their six cd title is based on source one, but fills with source two. Source two is only used to fill ten seconds of music not available from source one and in a couple of places between songs. Graf's source one is more complete and much clearer sounding than TDOLZ.

6-8-77, source 2 mixes
Behind the Stacks (Wendy) & In Celebration For a King: Second Night In the Garden (Graf Zeppelin)

Wendy debuted source two. It mixes in source one, and for some odd reason they decided to use source one's introduction instead of source two.
Graf's first three cds of their six cd title is based on source two and fills uses source one. It uses source two's introduction. It's content and sound are otherwise very similar to Wendy.

6-10-77, sources 1 & 2
Magical Sound Boogie's "Garden Tapes" (Empress Valley), Riot In Thunderstorm (Electric Magic), Relic From a Different Age (Wendy), & Rock 'n' Roll Circus (TDOLZ)

TDOLZ is the original source. EMC, Wendy, and EV are two source mixes, using the first source as it's main tape.
EMC starts out by overlapping the second source over the first one. Although this extends the introduction by about ten seconds, it doesn't add any value since nothing other than the taper and friends can be heard during that time. The second source is next used early in Sick Again, evidently for no other reason than to give a different perspective on hearing the firecracker.
TDOLZ has a cut followed by a 21 second repeat after Since I've Been Loving You. EMC doesn't have this problem.
EMC splices in the second source after No Quarter, overlapping the first source. Both titles are cut after Battle of Evermore, and are followed by an 82 second repeat. EMC uses the second source for all of Black Country Woman, which provides 12 seconds of the beginning not found on TDOLZ. EMC's second source is used to complete the gap in source one between Moby Dick and Heartbreaker. In the process, the sources overlap for awhile.
On source one's Heartbreaker, there's a very minor (very minor) drop before the second minute. EMC splices in the other source to avoid the minor drop, but the transition of tapes makes the segment sound worse. Another firecracker is spliced in during the guitar solo, again evidently for no other reason than to give a different perspective on hearing the explosion. The last few splices by EMC actually improve the show as a whole. It adds some tape after Stairway To Heaven, improves the sound during a firecracker in Rock and Roll, completes that song, and adds almost 40 seconds after the show.
Overall EMC's splices add almost 2.5 minutes of music and a minute of tape between songs, but many are just pointless. The spliced introduction could possibly exist only to mislead.
Wendy's title only uses source two when source one is not available. The edit surrounding the cut after Since has small segments repeated.
Empress Valley's 6cd version of Magical Sound Boogie includes a bonus title call the Garden Tapes. It's mix is very similar to the Wendy mix released just six months earlier. There's a micro cut/repeat about 95 seconds into the opening song.
TDOLZ's tape is just slightly more amplified than EMC's. Surprisingly, EMC didn't issue this title with their common "metallic" sound. Wendy has been amplified some over the other two titles. EV's sound is just slightly louder than Wendy.

6-11-77 soundboard
Absense (Wendy), Coast To Coast (Celebration), For Badgeholders Only (Balboa), Fourth Night In the Garden (Scorpio), Last Adieu (Eelgrass & Empress Valley), Pleeease Lord! (Graf Zeppelin, 4cd), Polished Performances 1977 (POT), Silver Coated Rails (Condor/Toasted), Strange Tales From the Road (Godfatherecords), & Unbooted (Tarantura)

Celebration's title seems to be one generation better than the older titles.
Balboa and Tarantura miss the first second or two of No Quarter. Tarantura is also missing the last 49 seconds of the already incomplete Battle of Evermore. It has too much background noise on the tape.
Silver Coated Rails is missing 25 minutes of No Quarter. It's Battle of Evermore is also too short, missing the last 14 seconds. The proper running order is not preserved.
POT's title is just as complete as Coast To Coast.
Godfather's title misses the opening one second. It's sound is similar to Celebration.
Scorpio's title is just as good as Celebration's.
Wendy's title is just as good as Celebration and Scorpio.Wendy debuted the guitar solo fragment and EV issued it six months later on the Magical Sound Boogie's "Garden Tapes" title. EV used an audience tape leading up to the soundboard and then splices briefly to an audience tape near the end (for an unknown reason).
EV's title features this material on their subtitle "1977 Soundboard Collection" in similar quality to the better releases of this fragment.
Eelgrass is a copy of EV's title of the same name.
Graf's fourth disc contains the soundboard tracks with audience source one filling the gap in No Quarter and Battle. A tiny amount of soundboard is missed at the splices.

6-11-77 audience sources 1, 2, & 3
Absense (Wendy), Fourth Night In the Garden (Scorpio), & Pleeease Lord! (Graf Zeppelin, 4cd)

These titles are a bit of a mess.
Scorpio debuts the first two audience recordings. It's based on source one. It uses source two to fill No Quarter, Kashmir, the end of Moby, and Achilles. Listening to Wendy reveals that some of Scorpio's "gaps" are not in fact gaps in the main source. Scorpio chose to use source two in the last part of Kashmir, displacing almost 2.5 minutes of source one. The splice during the end of Moby to source two also displaces the available source one. Another splice away from available tape of source one is made early in Achilles Last Stand. Almost 9.5 minutes are displaced, and it adds in completely unrelated music starting near the 9:39 mark. Overall, about twelve minutes of source one appear to be skipped on Scorpio.
Wendy is based on source one too. They elected to fill the cut in No Quarter with soundboard. It introduces a third source at the first cut in Kashmir. Two minutes later, they switch to a completely different show, the previous night, for about eight seconds. (This is of course the worst choice possible and Wendy doesn't bother to mention it in the liner notes.) They then splice back to source one, but make a crappy edit after the song and miss about five seconds of the tape. A splice is made in the beginning of Moby to an alternate generation of source one, chopping out 21 seconds of the song in the process. Another cut happens after Achilles and misses a few seconds. Overall, it sounds like only a minute of source one is missed. Wendy's sound for source one is very similar to Scorpio.
Graf's first three discs present this show. It's based on source one and fills with sources two and three. Source two is used during No Quarter. It's used again, overused just like Scorpio, during Kashmir - so it misses too much source one. An alternate generation of source one is used during Moby. Source two is also used during the ending of Moby although source one is available. A third source is debuted to complete Heartbreaker. With the exception of the completed Heartbreaker, the source mixing is the same as Scorpio. Overall it's sound is similar to Scorpio.
Graf's fourth disc also contains some bonus tracks, Song Remains the Same, In My Time of Dying, and Stairway to Heaven. The SRTS is a mix of sources, beginning with source one and then splicing to either s2 or s3. Dying begins with source one, switches to either s2 or s3, comes back to source one, splices out again, and eventually comes back to source one. Stairway is a single source fragment of the first half of the song.

6-13-77
Glinpse an Axe (Wendy) & Over the Garden (TDOLZ)

TDOLZ is strictly source one. It's missing about the first twenty seconds of the introduction and has two bad digital glitches during Ten Years Gone.
Wendy is based on source one and makes completely unnecessary splices to another source a dozen times during Nobody's Fault. Source one is not cut in this area. Bron-Y-Aur Stomp, Heartbreaker, and Black Dog also splice out to other audio, but only when source one is cut. However, Moby is not filled. Wendy's liner notes do not mention which night they're using to complete the show.

6-14-77
Final Night At the Garden (TCOLZ), Over the Hills and Far Away (Tarantura), & Strange Tales From the Road (8cd no label)

Tarantura relied on this tape to complete their incomplete tape for June 22nd 1977. Their intentions were not to offer this date in full and is missing about half of the tape.
Strange Tales was evidently copied from the vinyl set of the same name. It cuts into two songs when it the tape is avail, misses tape after Battle, and misses the Moby Dick fragment. It runs a little fast.
TCOLZ offers the full tape, ending during Moby Dick. It runs at the proper speed.

6-19-77
Bottomless Blues (Empress Valley), California Mystery Train (Blimp), Californian Mystery Train (SIRA), Jimmy PY (Akashic), Mystery Train (Badgeholders and Tarantura2000), San Diego 1977 (no label), San Diego Mystery Train (Wendy), Sequence of Events (no label), & Tit For Tat: Listen To This Jefu (Empress Valley)

Blimp, Akashic, and Wendy miss one of Plant's comments after Kashmir. Blimp and Akashic are missing about 30 seconds of tape after Stairway. Akashic has a few more seconds before and after the show than the other titles.
Wendy has a cut/repeat just before the 20 minute mark during No Quarter and it has a slight cut at the end of Bron-Yr-Aur Stomp - these are not present on any other titles.
Tarantura2000 has several "micro cut/repeats" throughout the title. Some tape is missing at the common cuts.
No labe's Sequence of Events is not missing any of the known tape and doesn't have any extra cuts. It's the most complete version available.
SIRA runs a bit faster than the other titles. Akashic and Badgholders sound has been amplified a little bit. Wendy's sound has been amplified too much. Tarantura2000's sound is similar to SIRA. Sequence's sound is similar to SIRA. The tape generations between these titles seem similar - equalization seems to be the only difference in sound.
EV's Jefu audio is identical to the no label title, but has been amplified slightly.
No label's San Diego 1977 is highly similar to their original title, but it's cut out about 17 seconds of tape after Stairway and has been amplified a bit.
EV's Bottomless is a 6cd title releasing the same tape twice. The first three cds are the "flat" version and cds four through six are the "mastered" version. Both have identical content, both missing several seconds of the guitar solo during the cut. They've both been amplified, and while highly identical in sound, probably have some difference in eq.

6-21-77, source 1
Absence/Listen To This Eddie (Tarantura2000), Yuzuki/Listen To This Eddie (Tarantura2000), Listen To This Eddie (Empress Valley's two 2020 titles, Jelly Roll Remaster Version, no label, SIRA Parts 1-3, SIRA Master Series, TDOLZ, & Tarantura2000), Out On the Tiles (Tarantura 1994 & 1996 issues), & Sequence of Events (no label)

These are strictly from the famous "Eddie" tape source, which don't offer a complete Ten Years Gone or guitar solo.
"Sequence of Events" was released in June 2010. It's the most complete tape available. It offers more music during the two cut songs and more tape between songs. The speed is proper. HOWEVER, there's a digital glitch in No Quarter just before the 23 minute mark and there are some clicks and ticks to be found in Heartbreaker and the Guitar Solo that are evidently from bad cdr mastering. These flaws are hard to hear but should not exist.
The 2015 no label issue of LTTE is a direct copy of the no label "Sequence of Events."
EV released three individually packaged LTTE titles as a set (9cds) in October 2020. Only one of them is strictly from source one, and it is based on a newer copy from the master. It's housed in an all white gatefold and the discs are labeled as "flat transfer edition" (EVSD-1393/1394/1395). It's almost as complete as Sequence of Events, but lacks a few split seconds of music. The sound may be considered technically better than some of the better versions of older Eddie titles, but it's truly marginal as those particular titles were already from the master or first generation. The new transfer has not revealed one second of new tape.
EV re-released a black LTTE 6cd box as their last LTTE of 2020. Three of it's discs reissues their "flat transfer edition" from October (EVSD-1393/1394/1395).
TDOLZ's Ten Years Gone misses six seconds too much. For some reason, the sound quality drops down noticeably after Kashmir but recovers later before the next disc. Jelly Roll's Remaster version was their first release of this show. It's Ten Years Gone is cut too big like SIRA and the old Taranturas, missing about 80 seconds too much. The guitar solo is missing approximately 5 seconds.
Speed is the real difference between the two SIRA's. The original issue runs faster. The cuts differ slightly. SIRA's sound is perfect all the way through but it's Ten Years Gone is 80 seconds too short. The guitar solo is missing approximately 5 seconds. The music and background noise are a little louder than some of the other titles. It is most likely due to equalization.
Tarantura's Out On the Tiles are both exactly the same discs. Ten Years Gone is missing 80 seconds too much. The guitar solo is missing approximately 5 seconds. Fifteen seconds of audience cheer have been pasted between the guitar solo and Achilles Last Stand. The tape after the show was mostly copied from earlier in the show. The sound is very nice, like SIRA. Again, it may be completely due to equalizing and boosting the tape.
Absence has the more tape between songs than the older single source titles. It's Ten Years Gone is cut, missing six seconds too much. For the first time on cd, Black Country Woman is missing the beginning 6 seconds. Another 8 seconds of music is missing too - this time in the Jimmy's guitar solo. The sound on this title has been way, way over-worked. Simply said, it is just too loud. The background noise is far too much to bear.

Two consecutive "Eddie" tape releases to cd were made by Tarantura2000. Their first version "Absence" was billed to be the newest, latest and greatest, best sounding most complete…It was proved to be wrong, and was actually the least musically complete version of Eddie since the two SIRA's and the original Tarantura issue (later reissued).
Now, with Tarantura2000's latest "Listen To This, Eddie" (Yuzuki series), they specifically state in the liner notes: "Tarantura and Cool MixMan present to you the Original Master Recording in its most complete and unedited state. The recording has been faithfully mastered to display…" (Before getting to those statements, the author of the liner notes considered the SIRA Master Series to be best, "until now." What about their "Absence?")
To no surprise, this "Yuzuki" version is not from the master. It is not the most complete version (from the famous "Eddie" tape). It is not unedited. It has not been faithfully mastered. IT IS IN FACT, THE MOST HIGHLY CUT/EDITED VERSION EVER.
There are multiple cut and repeats of tape before and after the show, and more between songs. This effort of "faking tape" is for you to believe that there's "more tape," so it must be more complete. The title is missing Robert's "I've started to cook" sentence, which can be found on their previous release. Six seconds of tape are missing from Ten Years Gone and more is missing after the song. Black Country Woman is complete this time after failing on Absence. The guitar solo wasn't corrected this time from Absence's failure, so again, 8 seconds of music is missing. There's a cut in the beginning of Achilles Last Stand, when Jimmy starts in. This marks an enormous change in sound, and is very loud and unnatural.
Considering Tarantura2000's history of over-tweaking (sabotaging) the sound, they were light handed this time. You must pay close attention to hear the hints of their equalizing. The music is louder than other titles and the background has been suppressed/tweaked. No improvement in sound.
It would be completely unprofessional for bootledz not to inform readers that Tarantura2000 is almost always JUNK. Yuzuki Eddie is completely fraudulent (intent to deceive and other elements) in their claims and of course isn't the only one. Please, please do not rush to buy the latest Tara2000 title until you get a review from a trusted source. Don't rely on reviews and comments issued before the title is released - those are usually biased and misinformed to generate sales.

6-21-77, source 1 mixes
I Did Listen To This, Jimmy (Empress Valley), L.A. Forum 1977 The First (no label), Listen To This Eddie (Akashic, Empress Valley's six different individual issues and FBO Box set issue and Lost Ark box set issue and 9cd and 6cd 2020 issues and 7cd and 3cd March 2021 issues, Graf Zeppelin's two 2020 issues & 2022 & 2024, Jelly Roll Definitive Complete Version, Moonchild, no label 2019 and 2020-3cd&6cd&3cd, Scorpio, & Wendy's seven different issues including definitive edition), Listen To This Eddie and Erik and Jimmy (Tarantura2000, 6cd), Listen To This Eddie, Erik and Kenny (Wendy, 9cd), Listen To This Eddie The Best and Longest (no label), Listen To This Eddie Kramer (Butamark), Listen To This Eddie Remaster Beauty and the Beast (no label), Los Angeles 1977 1st Night (no label), Lost and Found Mike the Microphone Tapes Volume 50 (Empress Valley), & Tit For Tat: Listen To This Eddie (Empress Valley)

These mixes rely on the famous Eddie tape and fill Ten Years Gone's gap with an alternate tape. The cut in the guitar solo is not filled.
Jelly Roll's Definitive Complete Version is different from their first release. JR is further missing the "I've started to cook" sentence and uses all but six seconds of the famous Eddie tape for Ten Years Gone. It and Empress Valley's first Eddie (jewel cased) make edits at some cuts, adding in extra audience noise and sometimes repeating sections. JR and EV's guitar solos are missing approximately 5 seconds.
Wendy's first issue (jewel cased) contains all previously known tape between songs. It does use one cut/repeat (after Since). It misses too much of Ten Years Gone and it's guitar solo is missing approximately 5 seconds.
Wendy's second issue (sleeved) reuses the cds from the first edition.
Wendy's third issue (jewel cased) of this title is different from the prior issues. It's still missing too much of Ten Years Gone from the famous tape. They've spliced in extra tape after Since, Kashmir, and after the show that does not belong. The guitar solo is missing approximately 5 seconds.
Wendy's fourth issue (gatefold housed in clear sleeve) is a reissue of the previous edition.
Akashic's Eddie is missing six seconds too much of Ten Years Gone. The guitar solo is missing approximately 5 seconds. All commentary between songs is present.
Scorpio's title is missing some of the original tape after Since, having other tape inserted. Eight seconds of the Eddie tape are displaced by source two during Ten Years Gone. The guitar solo is missing approximately 5 seconds.

Empress Valley's second and third issues of Eddie (both labeled "New Improved") are almost the longest versions of the famous tape. Instead of missing six seconds of Ten Years Gone, they only miss three. (They did use a six second cut/repeat after Stairway.) The guitar solo is missing approximately 5 seconds. There's an large increase in volume when the drums start in the beginning of ALS
Empress Valley's fourth issue is found in the "For Badge Holders Only" box set, with the usual title. Although there are four very minor improvements during the last hour of the show, the splice in Ten Years Gone is happens too early, missing almost six seconds of the famous tape. The guitar solo is missing approximately 5 seconds. There is no big sound change/increase during the beginning of ALS. It's sound is otherwise identical to the second and third issues by this label.
Akashic's title has been amplified louder than any of these other mixed source titles. Empress Valley's three releases are not quite as loud as Akashic. Wendy's title is the least loud of the five. The differences in sound are most likely due to different eq's and nothing else.
Overall, EV's second Eddie does a better job with the Eddie tape and mixing in the other tape.
(EV's second Eddie was issued in a sleeve with an obi. A promotional "Christmas" version was released simultaneously, using the same discs. The difference with the promo version is the exclusion of the obi and a different front picture, adorned with holly and Christmas lights. EV's third version is sleeved, without an obi, and uses a different front picture. The discs are different. They have different matrix numbers, disc times, and some different cue stops. However, it is the same exact audio used in the prior release.)
EV's April 2013 title reuses the discs from the FBO Box set.
EV's March 2014 title reuses the discs from the FBO Box set.
The 2015 no label release named "Listen To This Eddie" is a clone of "Sequence of Events" but with Ten Years Gone filled with the alternative source. It's a long overlapping edit which displaces several seconds of source one. The clicks and ticks found on Sequence are also found here too.
The 2016 no label release named "L.A. Forum 1977 The First" is different from the prior year release. The edit in TYG also displaces several seconds of source one. This time, they didn't include the extra tape they debuted at the cut in the guitar solo. This time, they excluded the clicks they'd previously incorporated on prior releases during Heartbreaker and the guitar solo. It's been amplified a bit more than their prior titles.
Wendy. Five releases of the same show. This fifth version, 2016, simply reissues the 2012 reissue.
Moonchild's release misses 6 seconds too much of the main tape during the splice in Ten Years Gone, misses five seconds at the cut during the guitar solo, and a few seconds after the show.
The no label title "Beauty and the Beast" uses the famous source as it's foundation and fills TYG with source two. The title is one of the least complete versions offered. It's missing two segments of commentary after Since and misses way too much of source one at the splice during TYG. The guitar solo is cut by five seconds and there's a gap at the track change going into ALS. It's sound is very similar to EV's promo version.
EV's Tit For Tat title reissues the audio from the prior reissue and pairs it with an exact copy of the 2003 gatefold ("new improved" / aka promo and xmas edition) title.
EV's 2018 title from the Lost Ark box, Listen To This, Eddie, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.
Tarantura2000's 2019 title LTTE&E&J has it's first three discs feature the first source, filled by the second. Far too much of source one is missed here, especially during Ten Years Gone. The splice after Since really leaves a horrible effect. There are other flaws on the title not found on any other titles. There's an unnecessary drop during Sick Again and Nobody's Fault. There's an instance of static during Bron-Yr-Aur Stomp. The tape has been highly amplified.
EV's 2019 title is a reissue, and appears to reuse the same discs from the prior reissue.
No Label's 2019 Eddie is not a reissue of their earlier title bearing the same name and matrix numbers. This version is a two source mix based on source one. It misses a lot of source one, mostly being displaced by source two. But during the cut in the guitar solo, five seconds too much of source one is missed and no source two is utilized. In more than one instance, there are splices to a different generation of source one. The tape has been amplified a little.
Wendy's 6th release of this show is "Listen To This Eddie definitive edition" from their 6cd title from January 2020, with the first three cds being subtitled with the same name as the title. It uses source one and fills Ten Years Gone with source two. It's worse than their prior versions. Instead of using the more complete tape as found on Sequence of Events, they've used the old tape and made patches at the cuts after Since, Kashmir, and after the show. In those places, they've used tape from the same show, but from different locations. Those edits contain two different pieces of overlapping tape, either two diff s1 tapes, or uses s2, sometimes simultaneously. They've introduced a shift in sound during the first minute of Stairway. FAR too much tape is missed during Ten Years Gone and the Guitar Solo. Plenty more tape is missed at other cuts and after the show. It's been amplified a fair amount.
No Label issued two different 3cd LTTE titles in October 2020 that are based on a newer copy from the master. Both are identical in content and splice in source two in three places, displacing a small amount of the famous tape each time. The first version ("mastered") splices in source two in three places. It begins the title by removing the whistles and yells from the introduction, producing strange sounds. These strange sounds continue to be heard throughout the entire title, during songs and between songs. It is a poor title. The other title, which is noted as being a "flat transfer" does not have these problems. The sound is otherwise highly similar between the two titles. The sound may be considered technically better than some of the better versions of older Eddie titles, but it's truly marginal as those particular titles were already from the master or first generation. The new transfer has not revealed one second of new tape.
Graf Zeppelin also released their title ("flat transfer") in October 2020, based on the same newer copy of the master as no label's two titles. Graf splices in source two three times and misses/displaces even more of the famous tape than no label. This title is otherwise very similar in sound and content to no label's "flat transfer" version of LTTE. The sound may be considered technically better than some of the better versions of older Eddie titles, but it's truly marginal as those particular titles were already from the master or first generation. The new transfer has only revealed two seconds of new tape, which is at the beginning of the introduction.
EV released three individually packaged LTTE titles as a set (9cds) in October 2020. Two of them are based on source one and mix in source two. Of those, one is further identified/subtitled "RIP EVH" and feature photos of Eddie Van Halen. That title is simply a reissue of the 2008 title of the same name, which had already been reissued FOUR times. This is the fifth reissue. The second LTTE mix of the 9cd set is the "mastered" edition (Egyptian artwork, EVSD-1396/1397/1398) and is based on a newer copy from the master. It has just one splice to source two. It is almost identical to no label's first LTTE of October 2020, where whistles and yells have been removed, creating strange sounds throughout the entire title, during songs and between songs. It further has added some extra cuts in the tape between songs, in places where it's never been cut before. It is a poor title, at least a little worse than no label's "mastered" version. It's sound is otherwise similar to the other October 2020 featuring the new transfer.
No Label's November 2020 6cd LTTE simply reissues their two 3cd titles from the prior month, one being "Flat" and the other be "Mastered."
EV re-released a black LTTE 6cd box as their last LTTE of 2020. Three of it's discs reissues their poor "mastered" version from October (EVSD-1396/1397/1398).
No Label's December 2020 3cd LTTE claims to be a "New Edition" of their flat transfer. It is different from their original flat transfer. While it's a two source mix again, it doesn't splice after Since I've Been Loving You, and the splices miss too much of source one. The splice during Ten Years Gone misses eight seconds of the first source. Overall, there's 13 seconds less of source one here than on their previous flat version. The sound is also different, sounding less bright than their prior version.
Graf Zeppelin's December 2020 3cd LTTE claims to be a "New" version of their flat transfer. Although it uses new discs, the content and sound seem to be identical.
EV released more Eddie titles in March of 2021. The 3cd title housed in a black gatefold with gold foil font and the Eddie from the 7cd issue that has a black gatefold with green font are both simultaneous releases using the same exact discs. These two titles are a "redo" of the botched "mastered" title EV released in October 2020 ("Egyptian" cover). The flaws have been corrected, but the splice during Ten Years Gone is worse, now missing six seconds of the famous tape. It's sound is otherwise on par with the new transfer titles.
EV's "I Did Listen To This, Jimmy" is a reissue of the botched "mastered" title from October 2020, using the same discs (EVSD-1396/1397/1398).
EV's "Lost and Found" title is a reissue of the botched "mastered" title from October 2020, using the same discs (EVSD-1396/1397/1398).
Butamark (produced by Tarantura2000 in June 2021) uses the botched "mastered" version of the tape that was issued by no label and EV back in October 2020. Since this is title is virtually identical to the chopped up EV "mastered" version and very highly amplified, it's a very poor title.
No label's Best and Longest is from the source one flat transfer and mixes in other sources to complete. Too much of source one is missed during splicing Ten Years Gone and the guitar solo, and the other splices (between songs) also displace source one. It's sound quality is in line with the new transfer.
Graf's 4cd title from January 2022 is a mix based on source one that offers the last third of the show twice. The first time (cd3) does not fill the cut in the guitar solo and the second time (cd4) they've filled the solo. Too much of source one is missed during splicing. The fourth disc seems to contain the exact audio as the recent no label title, and even shares the same metadata. It's sound is also good as expected from the flat transfer.
Wendy's 9cd title released in February 2022 offers another mix based on the flat transfer. It misses too much of source one at the splices of Ten Years Gone and the guitar solo, and misses source one at the other splices. Although Wendy didn't splice to alternative sources after Stairway, they rearranged source one there and repeat a six second section too. It's sound is on par with the new transfer.
Wendy's 3cd title released in February 2022 was released at the same time as their 9cd and uses the same discs.
Graf's 3cd title from January 2024 is a reissue of cds one, two, and four, from their 2022 title.

6-21-77, source 2
Listen To This Eddie and Erik and Jimmy (Tarantura2000, 6cd), Listen To This Eddie, Erik and Kenny (Wendy, 9cd), Listen To This Erik (no label) & Tit For Tat: Listen To This Erik (Empress Valley)

The no label title is based on source two and is filled by 26 minutes of source one. It misses a few seconds of source two at most of the splices. It has some digital errors throughout the title. They're likely due to some kind of editing.
EV's title (from 9cd box) is strictly source two. It too has some digital errors throughout the title that are likely due to some kind of editing. Their title isn't amplified as much as the no label title.
Tarantura2000's last three discs present source two as the main tape and fills with source one. Too much source two is missed here. It also has problems like the other two titles throughout the title. This title has been highly amplified.
Wendy's 6th release of this show is "Listen To This Eddie definitive edition" from their 6cd title from January 2020, with the last three cds being subtitled "Listen To This Erik!" Erik is based on the second source and fills with source one. It has the digital issues like all of the others. It's sound is similar to EV.
Wendy's 9cd title contains a three disc version that reissues their January 2020 subtitle Erik, using the same discs.

6-21-77, source 3
Listen To This, Eddie Erik and Kenny (Wendy, 9cd)

Wendy's 9cd title contains a three disc version that debuts the third source.

6-22-77, sources 1, 2, & 3
Back To the LA Forum (Wendy), Black Satin (Empress Valley 2013 and from 2018 Lost Ark box), L.A. Forum 1977 2nd Night (no label 2017 & 2022), One Day After Eddie (Immigrant), Over the Hills and Far Away (Tarantura), Second Night In the Forum (Scorpio), Thirty Years Gone (Empress Valley from FBO Box set), & Time Traveller (TDOLZ, 4cd)

(The notes below are based on the assumption that TDOLZ's title is strictly from the first tape source.)
Tarantura's title only features the last 2/3's of the show.
Immigrant's Ten Years Gone is noted as being from the 25th. The title is missing several seconds of the introduction and No Quarter is missing five minutes.
TDOLZ's Ten Years Gone is from the 21st (different source than the famous Eddie tape), but makes no mention of mixing nights. Their title was spread across an extra disc.
Empress Valley's title mixes in a second source in three spots. The end of Since I've Been Loving You contains the first splice, the second comes after the song (lasting into the third minute of No Quarter, displacing a lot of source one), and finally for Ten Years Gone (previously not available). The final track of the original third disc is full of serious digital errors. Replacement disc "EVSD-470B" corrects the problem. They've chosen to amplify the tape considerably.
Scorpio is also a two source mix. Unlike EV, they only use it when source one isn't available. Furthermore, they've used source two to complete the guitar solo. It's sound levels are more similar to TDOLZ than EV.
EV's 2013 Black Satin reissues the discs (using the replacement disc) from the big box set.
The no label 2017 title claims to be a four source mix. It's primary tape is source one, and then source two for TYG. There might be a splice at the end of Since, although not needed. There is an unnecessary splice before No Quarter and splices back after two dozen seconds of that song. The guitar solo is completed by an alternative source. It's sound is similar to TDOLZ.
EV's 2018 title from the Lost Ark box, Black Satin, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.
Wendy's title is a mix based on source one. It uses the second source after Since and into No Quarter similar to EV, displacing way too much source one. It also uses the second source for TYG. There's a cut after Going To California where several seconds get repeated. The cut during the guitar solo is not filled with an alternative source. It's sound is similar to the no label title.
The no label 2022 title also claims to be a four source mix. It does in fact debut a new source to disc, source three. (It's contains the end of Sick Again, Nobody, Dying, Since, and the first part of No Quarter, lasting about 36 minutes.) Priority is given to this new third source, then source one while using the familiar source two for Ten Years Gone. There's an unnecessary cut and ten second repeat after Hills. The cut in the guitar solo has not been filled like on their 2017 title. It is also cut twice after Stairway, missing over eighty seconds of source one tape.

6-23-77, soundboard
For Badge Holders Only (Graf Zeppelin), Last Adieu (Eelgrass & Empress Valley), Magical Sound Boogie's "Garden Tapes" (Empress Valley), & Relic From a Different Age (Wendy)

Wendy debuted the guitar solo fragment and EV issued it six months later on the Magical Sound Boogie's "Garden Tapes" title. EV used an audience tape leading up to the soundboard and then splices briefly to an audience tape near the end (for an unknown reason).
EV's Last Adieu also features this track as the last song on the subtitle "1977 Soundboard Collection." It's basically a reissue of their original, but they've added in five big glitches.
Eelgrass is a copy of EV's title of the same name.
Graf offers the track mixed with an audience tape on their sixth cd.

6-23-77, audience source 1
For Badgeholders Only (Continental Sounds), For Badge Holders Only (no label 2015), For Badge Holders Only John Wizardo Master Cassettes (no label)

These three titles are strictly from the first source.
Continental Sounds debuted this source back in the 1990's, copied from vinyl. It did not include SRTS and began shortly before Sick Again. It's tracks are sequenced chronologically but a fair bit of music and talk between songs are missing.
The 2015 no label title is also from vinyl and the tracks are evidently sequenced to match the vinyl issue. It offered a few extra seconds between tracks. It's sound and quality is almost identical to Continental.
The 2023 no label "Master Cassettes" is from the tape source and debuts 18 minutes of tape. The intro, SRTS, 75 seconds of Battle, six minutes of White Summer/Black Mountain Side, another fifteen seconds of Achilles, and some extra tape after songs are now included.

6-23-77, audience source 1 mixes
For Badge Holders Only (Graf Zeppelin), For Badge Holders Only John Wizardo Master Cassettes Complete Version (no label)

These two titles are based on the first source tape and are very much identical in content and sound. They use sources 2, 3, and 4 to fill the gaps in the first source. A little bit of source one is missed at the splices.

6-23-77, audience source 2-4
Brothers In Pinball (Tarantura2000), For Badgeholders Only (ARMS, Balboa, Butamark, Cobra, Empress Valley [from FBO Box set, 2013 reissue, and from 2018 Lost Ark box], Graf Zeppelin, Moonchild, RockWrok, Scorpio, SODD Tarantura2000, TDOLZ, & Wendy original and reissue), Los Angeles 1977 3rd Night (no label), Relic From a Different Age (Wendy), & Good Night Moon Light (Tarantura)

RockWrok, Balboa, and the 2015 no label title "Los Angeles 1977 3rd Night" only contain the second source. ARMS and Tarantura were the first two titles to offer the third source. The no label title "L.A. Forum 1977 3rd Night 3 source mix" debuts source four.
Balboa and the 2015 no label title "Los Angeles 1977 3rd Night" are the only ones offering an isolated source two. This tape begins with Since I've Been Loving you. The tape has many drops and are easily identifiable. Both titles preserve the drops. Balboa misses the first guitar note before Since. These titles are otherwise almost identical in quality.
Rockwrok is a two show mix. It uses the famous Eddie tape for the first four songs and then switches to the second source for Badgeholders. The cover claims to be the full performance for June 23rd 1977.
ARMS and Tarantura debut source three, starting with almost two minutes before the show and lasts through Moby Dick. Source two is used to finish the titles. They are both based on the same exact mix, but Tarantura incorporated some bad edits at three of the cuts and the splice after Moby.
TDOLZ and Cobra use source three for the first four songs and then switch to source two to finish. Both labels edited the many drops. Cobra did not make careful edits, removing 19 seconds of music. TDOLZ is a little louder than Cobra and much louder than Balboa. It may possibly be from a better generation of tape. Cobra seems to have slightly better sound than Balboa in most places, but is mostly likely due to amplifying. Cobra's Trampled Under Foot is not from the same generation of tape as the rest of the show. (Listeners beware, source 2 and 3's SIBLY have almost identical background noise surrounding the tapers, but they're different!)
Tarantura2000 has released a two source mix. It's foundation is the second source and relies on source one to complete the missing pieces and to avoid the few choppy sections. It's splices are extremely smooth. The sound isn't the typical type from this label. Of course it's been tampered, but is nearly without complaint. During cymbals and higher guitar notes is when the sound seems to be a touch strange, but still minor. The volume does fluctuate slightly during songs occasionally and more frequently between songs. Brothers In Pinball is the fifth packaging option for the same discs. The discs have a different appearance than the other T2K's, but they are from the same production run.
Wendy's original 2006 title is also a mix of sources, using the second tape as it's foundation.
Scorpio's title is another mix, using source two as the primary tape. Many of the splices are so brief that it's not easy to determine (or worthwhile) the other sources used. The splice during Moby uses source one, which is probably used for all prior splicing. The splice after Achilles and Stairway could possibly be source one or three, but these sections have not been made available on cd, so there's no control for comparison.
Empress Valley's original title is also a mix of sources, using the second tape as it's foundation. The first few notes of Since I've Been Loving You are a bit bizarre and unnatural sounding. (This particular type of sound is occurring with some regularity in the past couple of years.) The right channel drops down significantly after Kashmir and stays down during the first third of Trampled Under Foot. This problem isn't found on other releases. The source for some of the tape after Stairway is the same part used in Scorpio's title.
EV's 2013 reissue uses the same cds as the original box set.
SODD uses source one as it's foundation. It uses source two to fill gaps, then relies on source three when none other is available. They miss 2.5 minutes (half a minute is music) of source one and add 1.5 minutes (one minute is music) not avail to cd before. Some of the tape after Stairway is similar to what's found on Scorpio and EV.
Moonchild's title is a three source mix with the second tape as it's foundation. Lots of splicing.
The no label title "L.A. Forum 1977 3rd Night 3 source mix" debuts source four through the end of the first song. The rest of the title is based on source one and filled with source two. No effort was made to preserve source one.
EV's 2018 title from the Lost Ark box, For Badge Holders Only, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.
Wendy's 2019 title is a reissue of the audio found on their original 2006 title.
Graf's 6cd title offers 2 mixes. The first three discs are based on source one. It begins with source three until Sick Again, then uses the other sources when source one isn't available. Graf's last three cds are based on source two. It repeats cd1's mix until source two begins at Since I've Been Loving You. It mixes in other sources when source two isn't available.
Butamark's title is an identical mix to Moonchild.

6-25-77
Annual Meeting (Tarantura), Badge Holders Annual Meeting! (Empress Valley from FBO Box set), Badgeholders Weekend (Badgeholders), Bursting Night (TDOLZ), Celebratory Night For Badgeholding (Graf Zeppelin), Delirium Treatment (Tarantura2000), L.A. Forum 1977 4th Night (no label 2020 & 2022), Los Angeles 1977 4th Night (no label), Mike the Mike (Moonchild), Rip It Up (SIRA), Saturday Night's Alright (Wendy), Saturday Night Special (Led Note), Sunset Boulevard (Wendy), Thank God It's Saturday Night (Scorpio), & Ultimate Cadenza (Empress Valley 2013, from 2018 Lost Ark box, and 2022)

Rip It Up plays way too fast. The encores play ever faster. It has less tape before and after the show than the other titles.
TDOLZ's sound seems flat and lacks bottom end frequencies. It is likely from an at least slightly higher generation of tape than the other titles.
Tarantura has a couple less cuts than the others. At the cuts they share, Tarantura usually adds in some extra tape (falsifies). It's Bron-Yr-Aur Stomp and Kashmir has a total of 3 tape speed fluctuations not found on the other titles. It sounds very good, featuring more of the lower frequencies than the other releases.
Tarantura2000 has the usual cuts, but has edited them all. Almost all feature tape added in and removal of original tape at the same time. Two cuts/problems are improved here, but are more likely due to editing. Two problems typically found on other titles are not present here, such as the little glitch/drop in Song Remains the Same, and the brief tape static during White Summer. (Doesn't mean it's from a lower generation, just a different generation of a different run.) The sound has been amplified, increasing the loudness of the music and the background noise.
Led Note misses about 40 seconds of the introduction (like the older titles), has a glitch in SRTS, and misses about 16 seconds or so of tape between songs (especially after Stairway).
Wendy's SNA title is similar in content and sound to Led Note but doesn't have the drop in Song Remains the same.
Badgeholder's title has most of the usual cuts but they are sometimes slightly different in tape content. It doesn't have the problem in Song Remains the Same or in White Summer. It does have a tiny digital glitch in the middle of Moby Dick that isn't found on the other titles. Overall it is pretty much identical to Led Note and Wendy in content. Badgeholder's sound has been amplified quite a bit.
Scorpio repeats a section of tape from after Nobody's Fault in FOUR subsequent places. These four repeats are placed in areas of cuts to "fake tape" or extend the length of time between the end of a song and when Robert speaks. There are two very brief instances of some unnatural sounds too. If they would have left the tape alone, it would have likely been the best version at the time of it's release. Sound isn't amplified excessively.
Empress Valley's title from the FBO box has a significantly longer introduction and seems to have the most available tape following Stairway. However, this title too has instances of the strange/unnatural sounds in spots (after Since and the first few notes of the guitar solo). The section of audio following Moby and Achilles are full of what sounds like tiny dropouts that are not found on any other releases. It has all the audience commentary after Stairway. It's sound hasn't been amplified excessively.
EV's 2013 Ultimate Cadenza uses the same discs as the their box set from five years prior.
Wendy's SB title is longer than their original release of this show and is a little more complete. It has edited all the cuts, making them harder to identify. It's still not the "complete" tape, missing some of the audience commentary after Stairway. It's sound isn't amplified too much.
The 2015 no label release titled "Los Angeles 1977 4th Night" is very similar to the Wendy title released in the prior month. Most of the tape is present, but not all. There's a tiny click/tick around the five minute mark during Song Remains. But, a replacement disc was quickly issued and doesn't contain the error [matrix "Los Angeles 1977 4th Night Disc-1 (update)"]. Once again, some of the audience commentary after Stairway is missing. The cuts are easy to identify, since they were not edited to hide them. It's clearly not the "unmarked" tapes as claimed on the front cover. It doesn't seem to be amplified at all.
EV's 2018 title from the Lost Ark box, Ultimate Cadenza, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.
The 2020 no label release titled "L.A. Forum 1977 7th Night" is different from all prior releases. It is the most complete version yet, added more tape between songs totaling over thirty seconds. Three minor flaws worth mentioning are the insertion of a first time edit/cut before Ten Years Gone, the occurrence of some strange effects to the sound in places (one such location is during the end of TYG), and a measly three seconds missed after the second cut after Moby Dick. This title has been amplified a bit.
Moonchild's title misses too much tape before and after the show, and at most cuts. However, it has three seconds more tape after the second cut after Moby Dick than any other title. It's sound has been amplified a bit, and is a touch louder than the 2020 no label title.
The 2022 no label release titled "L.A. Forum 1977 7th Night" is different from all prior releases. It debuts another twelve seconds between song, but misses four seconds after the cut after Moby Dick. It is slightly less amplified than their 2020 title of the same name.
Graf's 6cd title offers the show twice with the exact same content. The first three discs are the "remastered flat transfer" and the last three discs are just the flat transfer. These discs have the exact same content as the new no label title. The remastered version has been amplified some. The other version is at the same level as the new no label title.
EV's 2022 Ultimate Cadenza title is not a reissue from either of the two previous reissues bearing the same name. It is a newer version, and has the exact same content as the 2022 no label title. It has been amplified and equalized considerably.

6-26-77
It'll Be Me (TDOLZ), Lazer Pyramid (Empress Valley 2013 and from 2018 Lost Ark box), Sundazed (SIRA), That's All Right Mama (Empress Valley from FBO Box set), & That's Alright (Tarantura)

Tarantura and SIRA use a single source. Tarantura has a few seconds more of the original source over TDOLZ for SRTS. However, it misses a few seconds at other cuts. SIRA runs a little faster than TDOLZ. Tarantura and SIRA are a little louder than TDOLZ, due to equalization.
TDOLZ uses a second source to complete the beginning of the other tape. The opening part of the tape is very rough and then clears up during Sick Again.
Empress Valley's Mama uses the same second source as TDOLZ to complete the show. It is used several times, most notably for the Song Remains the Same and Moby Dick. During the splices, it often displaces much too much of source one. It's sound has been amplified some. EV's 2013 Lazer reissues the same discs used for Mama.
EV's 2018 title from the Lost Ark box, Lazer Pyramid, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.

6-27-77
Coherence (Watchtower, 1st & 2nd issues), Deep Striker (Empress Valley 1999, 2013, and from 2018 Lost Ark box), Farewell To L.A. (Rabbit Records), Full Imperial Collapse (Wendy), Just Can't Be Satisfied (Empress Valley from FBO Box set), The Legendary End (SIRA), The Legend of the End (Tarantura, 4cd), L.A. Forum 1977 The Last (no label 2016), Los Angeles 1977 Final Night (no label 2015), & Sunset (TDOLZ, 4cd)

Tarantura, TDOLZ, and Empress Valley's first title have all unnecessarily spread their titles across four cds.
TDOLZ's tape quality drops briefly after Since I've Been Loving You and then drops down to stay after Achilles Last Stand.
Watchtower's original issue of Coherence only has two problems. The first is a digital glitch about 16 minutes into the guitar solo and the other is a tiny drop/cut in the first minute of Whole Lotta Love. The second issue uses the same artwork and first two discs. However, the third disc has been corrected and no longer has the two glitches found on the original issue. (The new third disc is 72:44 in length while the original disc is 72:46.)
EV's original Deep Striker isn't without some minor problems. The other older titles also have some minor problem, not limited to missing tape between songs.
Wendy has the usual cuts and minor edits (differ from contents of edits on other titles). The gap during Achilles Last Stand is filled with the Badgeholder's show. In the process, they cut out six seconds of tape from the 27th. The use of the other shows is not noted on the title.
Empress Valley and Watchtower are highly identical, possessing fewer cuts and more consistent tape quality than the others. Their music and background noise are slightly louder than Tarantura, SIRA, TDOLZ, and Rabbit. EV has pushed the higher frequencies a touch too much, while Watchtower has them toned down a little.
Empress Valley's second release of this show is "Just Can't Be Satisfied." They kindly decided not to spread it across a fourth disc this time. It seems to contain a splice to a new source just after Bron for several seconds. It also offers an extra few seconds of the first source, not available elsewhere. The last few notes of Trampled are strange and unnatural sounding. (This theme of strange sounds is evident throughout the FBO Box set.) Achilles has degraded sound starting from about thirty seconds before the cut, ending with the cut. This has never been a problem on other titles. Shortly after the cut, another unusual sound appears. It's sound is quite similar to most releases.
EV's 2013 Deep Striker reuses the discs found in the FBO box set.
The 2015 no label title is more complete than all prior titles, having at least a slightly longer introduction, a slight bit more of Robert's commentary than all prior titles, lacking false extensions of tape (splicing in more audience noise between tracks), and isn't amplified as much.
The 2016 no label title is less complete than their prior title, having a shorter introduction, a bit less of Robert's commentary (after No Q and Bron), includes one false extension (after No Q), misses almost two seconds of Achilles at the cut, and is amplified a little more. There are four extra, unnecessary, cuts on this title. The title is quite foul, considering their original release eleven months ago beat out all other releases.
EV's 2018 title from the Lost Ark box, Deep Striker, reissues the individual release of the same name from five years before, which is a reissue from their 2008 FBO box, but with a different name.

7-17-77 full soundboard/soundtrack
Conquering Kingdom (Godfatherecords), Fallen Angel (Tarantura2000), Jupiter and Saturn (Tarantura2000), Kingdom Come (Watchtower & Graf Zeppelin), Return of the Dragon (Apple), Seattle 1977 (no label), Silver Shadow (Moonchild), Sitting On a Goldmine: Seattle 1977 (Empress Valley 9cd), Year of the Dragon (Empress Valley, 4cd original and reissues), & Your Kingdom Come Seattle (Wendy, both issues)

EV's Year of the Dragon is the most complete and natural sounding release. They unnecessarily spread the tape over an extra disc. There are balance problems before and during the start of the show. EV features the eight minutes of tape between Stairway and Whole Lotta Love.
EV's 2009 jewel cased reissue uses the same discs as before, eight years later.
EV's 2014 jewel cased reissue uses new discs having the same disc times.
Apple is extremely poor sounding. It has a terrible echo as if it was recorded inside a metal can and is just overloaded. There are balance problems before and during the start of the show. There are more than 16 unnecessary cuts, eliminating almost 15 minutes of tape. Battle of Evermore has big tape problem and 1:14 is missing from the end of Achilles, where an audience tape is used. Most of the queue stops are at the end of the songs, which is very annoying - similar to some old Tarantura titles.
Watchtower's release is the shortest of these 4 titles. There are balance problems before and during the start of the show. It is missing over 40 minutes of tape - almost half of No Quarter and all of the guitar solo. The sound is good and seems to not be tampered. This leaves is a little flat compared to EV's Year of the Dragon.
Tarantura2000's Jupiter made some very heavy sound modifications (not necessarily 100%) including a fair bit of echo. The partial processing of sound has left some distinct changes in sound that make it seem to be cut in a dozen places. These points are usually at the beginning and/or end of songs. No balance problems in the beginning of the show on this title.
Tarantura2000's Fallen Angel is very different from their Jupiter title. There are problems with "micro cut/repeats" that are common to this label and there is static during some sections of the title. These problems aren't on the other releases of this soundboard. On of the audience tapes are used to fill a small part of No Quarter. The sound has been adjusted but is probably otherwise similar in generation to EV's Year of the Dragon.
Godfather's title is cut at every track change and has two other cuts between songs not found on most titles. It's sound has a bit of echo, similar to Jupiter. (Replacement discs were quickly reissued to address the gaps. The cd times, catalog number, and matrix numbers are the same as the defective discs.)
Wendy's 2016 title adds in a little of the audience tape for No Quarter. The metallic sound they're so well known for incorporating in their earlier titles is clearly heard in the background during quieter passages.
Moonchild's title is strictly soundboard. There's a brief problem just before Nobody starts that's not found on the other titles. The second disc begins with a micro cut/repeat. The title is otherwise complete and it's level of amplification is a tough less than EV's Year of the Dragon.
EV's Goldmine is not a reissue of Year of the Dragon. Seven seconds into the show, EV has introduced a first ever cut in the Song Remains the Same. It misses a split second of the song and is inexcusable. They do it again, this time during the end of Achilles Last Stand but doesn't appear to miss any time. Another new cut is created just before the beginning of Whole Lotta Love. EV finally decided the show could fit on three cds instead of four this time. It's been amplified a bit more than Year of the Dragon.
The no label title is based on the soundboard and mixes in a little audience tape. The title begins by debuting a few extra seconds of the soundboard, and shortly later makes a splice to debut about eighteen seconds of a third audience tape. The next splice is during the cut in No Quarter, using either the third or second audience source. It misses almost six seconds of the soundboard. The sound has been equalized well and isn't as flat sounding as some of the older titles.
Wendy's 2023 release is another one of their "multiband remaster" titles. It splices to the audience tape briefly during No Quarter. A small amount of tape is missing after Stairway and after the show. It's been equalized and doesn't feature Wendy's signature metallic sound like on their prior version of this show.
Graf's title is based on the soundboard and mixes in some audience tape too. The intro is spliced similar to the no label title. Too much soundboard is missed during the splice in No Quarter. It seems they've introduced a problem during Moby. There's distinctly a conversation between two people between the 16:47 and 17:27 marks. This isn't found on the soundboard or the first two audience tapes, and surely isn't present on older titles. The sound has been equalized well.

7-17-77 old soundboard/soundtrack fragment
Coast To Coast (Celebration), In a Delirious Daze (Equinox), Shake For Me Baby (Missing Link), & Unbooted (Tarantura)

Celebration is the last and most complete release of this soundboard fragment. It includes Achilles Last Stand and all of Stairway to Heaven. It even has about 3.5 minutes more tape after Stair.
Equinox was released using a combination of an audience tape and some of the soundboard. The more complete sb was not available to them at the time of pressing. Furthermore, they elected to use 20 seconds less of the available sb for Stairway To Heaven.
Missing Link and Equinox have more tape after the show than the other two titles.
Tarantura has more bass while the others sound a little flat.

7-17-77 audience sources 1-3
In a Delirious Daze (Equinox), Kingdom of Zep (SIRA), & Seattle 1977 (no label)

SIRA uses the first tape source.
Equinox is based on the second audience tape, being better sounding than the first. It borrows from the first source occasionally until halfway through White Summer. From there, it switches to source one and then defers to the old soundboard fragment during the beginning of Stairway. The remainder of the title is the old soundboard.
The no label title debuts a very small amount of a third source.

7-23-77 source 1
A Quiet Before the Storm (TCOLZ) & It's Been Great (IQ)

IQ's title has an extra cut and misses over a minute of tape from two other spots. Otherwise, these two titles are quite similar in content. TCOLZ's sound is just a touch quieter than IQ's.

7-23-77 sources 2, 3, and mixes
A Quiet Before the Storm (TCOLZ), Alpha & Omega: Second To the Last (Magic Bus), Confusion (no label), Daze On the Green: 1st Day (Tarantura2000), Last Adieu (Empress Valley), Last Performance In the USA (Scorpio), & White Rose (Wendy)

Confusion and TCOLZ are strictly from source two. Confusion is missing almost two and a half minutes of tape from between songs, eliminating a lot of Robert's talking. TCOLZ's music and background noise are a little louder than Confusion's.
Scorpio is a mix of the first two sources, with the second tape as it's foundation. It does not use all of the available source two tape. It contains more than 55 splices.
Magic Bus is a mix based on source one that debuts source three. It does not use any source two. No effort was made to offer either source in full. Too much of source one is displaced, with one splice placed being after Going To California, even though source one is not cut there. Stairway is complete on source one, but they've spliced to source three just before it ends. Overall, well over three minutes of source one are missed. One thing to note, the transitions from one tape to the next are almost undetectable. You must rely on the background noise/talk to determine when a tape has been changed. It's been amplified a bit over TCOLZ's level.
EV's title is nearly identical to Scorpio, containing more than 55 splices, but adds in 6 sections of micro cut/repeats. The first section contains just a pair of them after No Quarter. The second section starts after Battle of Evermore, lasting nine seconds. The third section begins after the ending of the next song, Going To California, lasting for eight seconds. The fourth section starts after the next musical break, Bron-Y-Aur Stomp, lasting for ten seconds. The fifth section starts after the end of the next song, Trampled Under Foot, lasting three seconds. The sixth and final spot comes after Achilles. It's unacceptable.
Tarantura2000's title is a three source mix based on source one, but makes no effort to preserve the main source. It offers about sixteen minutes of source three that aren't available on other titles, but to little benefit of collectors looking for the full source. It just offers parts of three tapes.
Wendy appears to be strictly source three, the first time the full source has been offered on disc.

7-24-77 sources 1, 2, & 3
Alpha & Omega: Fighting Finish (Magic Bus), Daze On the Green: 2nd Day (Tarantura2000), Fighting Finish (SIRA), Final Ever In the States (Missing Link), Push! Push! (IQ), Last Adieu (Empress Valley), Last Concert In America (Tarantura2000), Last Performance In the USA (Scorpio), Red Rose (Wendy), & Seventh Heaven (Immigrant)

SIRA, IQ, and Immigrant are all from the first source:
Immigrant moves Trampled Under Foot to play after Kashmir, but lists it as playing before White Summer.
SIRA is missing the short introduction and the "Hi Bob" comment. Immigrant is missing close to 20 seconds of tape. The absence is at the familiar cuts and only about 5 seconds of music is missing overall.
The sound is very similar between all titles with the common source, but the speed is not. IQ runs much closer to actual time while SIRA and Immigrant run about 3.5% faster. Missing Link's title is strictly from the second source tape.
Tarantura2000 is the third source, with a couple of small gaps filled with source one. A few "micro cut/repeats" are included.
Scorpio is a mix of the three sources, with the first tape as it's foundation. It does not use all of the available source one tape. It has over 33 splices.
Magic bus is highly similar in content to Scorpio and doesn't include all of source one. One thing to note, the transitions from one tape to the next are almost undetectable. You must rely on the background noise/talk to determine when a tape has been changed.
EV's title is nearly identical to Scorpio, containing more than 33 splices.
Tarantura2000's Daze On the Green 2nd day is a three source mix similar to Scorpio, based on source 1.
Wendy's title is based on source one and filled with source three.