Jimmy Page & Robert Plant / Fukuoka 1996 / 2CD

Jimmy Page & Robert Plant / Fukuoka 1996 / 2CD / Wardour
Live at Marine Messe, Fukuoka, Japan 20th February 1996

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The release from the Japan tour of the page plant by the audience recording of the acquisition originally obtained until now was biased to the Budokan performance of the first half of the tour, but this time the Fukuoka performance of February 20 which became the last day of the tour flew suddenly We will release it at the same time. Sometimes the last day, this show was also a lot of items produced in 1996. There are some items that boast the highest quality for that time, such as the “10 DAYS” box, but many items have been produced, such as titles of B-class sound quality such as “THE CELEBRATING TENTH DAY.” Nevertheless, this title is being released on a limited press CD with the provision of an audience recording that has never been released before.
It is the sound source excavated now, but the sound quality is really great. The sound image was quite on balance when I heard it now such as the sound source of that highest peak audience album and the highly acclaimed “10DAYS” sound, but the sound of the page guitar was too loud. In addition, I can not deny the texture of sneezing.
In that respect, the newly provided audience recordings are as impressive as the powerful sound image but still very well-balanced in performance. And the sound quality itself is amazingly natural, and if you listen to this, all the items in the past will have to feel old-fashioned. In the first two songs of the show, the surrounding audiences are excited, especially in the opening “Babe I’m Gonna Leave You”. That point is a ball on a ball. Nevertheless, the sound quality is very good so you can listen to it enough, and rather, if you get a sound quality that is superior to the overwhelming clearness and good balance, you will hear and hear it.

At the time of the Budokan, there was also a scene where the plant showed confusion over the reaction of the Japanese, but when the tour was the final day via Osaka, it was possible to grasp the national character and reaction as well, rather than from Japan It was this day that the set list of configurations reached the completion area.
As proof of that, I tried to open the curtain from “Babe I’m Gonna Leave You”, which will be the second day of the Budokan on this day. From that point on, instead of “Bring It On Home”, which was the standard for the second song, “Ramble On” has started with a novel and quiet atmosphere that continues halfway through. It was only in Japan that the attempt to continue playing at the opening a song that has a large specific gravity of the quiet part, rather than going to the major skill numbers that the riffs such as “Bring It-” and “Wanton Song” shine in earlier I will. In other words, if you play quiet songs in Japan, you can hear them well … maybe the page plant has noticed that kind of environment.
It seems that “Wonderful One” that appeared in the first half of the show seems to have clearly expressed such changes in the mood. While the new song “Yallah”, which was in the same position, continued to be played throughout the tour, it was gone after only a few trials at the beginning of the tour in 1995. To be honest, I could not say that it was a lively song, but it was a sad song that the big artist’s new song was combined with the bad feeling from the cold American audience. However, it suddenly revived in Osaka on February 15th (the plant was ironically mixed up with “The new song, what happened!” Before it was played there) and it was played again here in Fukuoka .
In addition, the arrangement to which the Japanese orchestra has joined is enough to reinvent the lack of excitement of the tune, and this can not seem like a repertoire introduced just because the two PPs grasped the potential of Japan. After Nagoya, “The Song Remains The Same” and “The Rain Song” were played not only in the song order of the album “HOUSES OF THE HOLY” as in the ZEP era, but the latter was also played in an acoustic arrangement. From the above, it is worth noting that the scenes that reproduce the atmosphere of the album more faithfully on the stage.
The great result of the Japan Tour is that the sound of the acoustic arrangement that the PP project was initially pushing with “UNLEDDED” could be pushed more forward on the stage because of the good manners of the Japanese audience. The first step was a bold opening that began with “The Rain Song” in “BUDOKAN 1996 4TH NIGHT”, and it might have led to a major change in the set list from the fact that it was improved.

The quality of the audience recordings provided this time is so high that it is wonderful that the sound of these acoustically biased sounds is captured without hesitation. In 1996, attention was drawn to the direction of “reproduction of ZEP” too much (although it is not impossible), and while it was enthusiastic that two PP’s came to Japan, it was overlooked as time passed. It can not be denied that it is a Japan tour that has been
It is nothing but the directionality of the sound that the two were aiming for in 1995 and 1996 was not transmitted. However, in the Japan Tour, the royal road ZEP route fades as the stage is repeated, so that the number with which the acoustic-based arrangement and the co-star with the orchestra, which had been a novel direction for the two at the time, occupies the center of the set list. It has become. And the completed form of the 96th edition PP live sound, it may be this Fukuoka performance. And it reproduces the performance of the last day of the tour, which is now more than 20 years old, with an outstanding quality audience recording that is no better than past items!

これまで独自入手のオーディエンス録音によるペイジ・プラントのジャパン・ツアーからのリリースはツアー前半の武道館公演に偏っていましたが、今回は一気に飛んでツアー最終日となった2月20日の福岡公演を同時にリリースいたします。最終日ということもあり、このショーも1996年当時には多くのアイテムが生み出されたもの。あの「10DAYS」ボックスのように当時としては最高級なクオリティを誇ったものもあれば、「THE CELEBRATING TENTH DAY」のようなB級音質のタイトルなど、本当に多くのアイテムが生み出されたものです。それでもなお、今までリリースされたことのないオーディエンス録音の提供を受けて限定プレスCDにてリリースされるのが今回のタイトル。
その点、新たに今回提供されたオーディエンス録音は同じように迫力の音像を誇りつつも、それでいて演奏のバランスが非常に良い。そして音質自体も俄然ナチュラルであり、これを聞いてしまうと過去のアイテムはどれも古臭さを感じずにはいられないでしょう。またショーの冒頭二曲では周囲の観客がやたらと盛り上がっており、特にオープニングの「Babe I’m Gonna Leave You」ではそれが顕著です。その点は玉に瑕かと。それでもなお音質が非常に良いので十分に聞き込めますし、むしろ圧倒的なクリアネスとバランスの良さに長けた音質を前にすると、みるみる聞き込んでしまうのでは。

その証拠として、この日は武道館の二日目以来となる「Babe I’m Gonna Leave You」からしっとりと幕を開けてみせました。そこから2曲目の定番だった「Bring It On Home」の代わりに「Ramble On」という斬新かつ、途中まで静かな雰囲気がつづく展開で始まっています。先の「Bring It~」や「Wanton Song」といったリフが映える大技ナンバーに向かわず、むしろ静のパートの比重が大きい曲をオープニングで続けて演奏するという試みは、日本だからこそ実行に移せたのでしょう。つまり、日本なら静かな曲をやってもしっかり聞いてもらえる…そんな環境をペイジ・プラントも気づいたのではないでしょうか。
こうした心境の変化を如実に表したのではと思えるのがショー前半に登場した「Wonderful One」。同じ位置にあった新曲「Yallah」がツアーを通して演奏され続けたのに対し、こちらは1995年のツアー開始当初に数回試されただけで姿を消していました。正直に言ってライブ映えする曲調だとはお世辞にも言えず、そこにビッグ・アーティストの新曲に冷淡なアメリカの観客からの受けの悪さが相まって演奏されなくなったという悲運の曲だったのです。ところが2月15日の大阪で突如復活を(そこで演奏する前にプラントが「新曲だよ、何てこった!」と皮肉交じりでおどけていました)遂げ、ここ福岡で再度演奏されたのでした。
おまけに日本のオーケストラが加わったアレンジは盛り上がりを欠いた曲調を生まれ変わらせるに十分なもので、これもPPの二人が日本のポテンシャルを把握したからこそ投入されたレパートリーに思えてなりません。そして名古屋に続いて「The Song Remains The Same」と「The Rain Song」がZEP時代と同じくアルバム「HOUSES OF THE HOLY」の曲順で演奏されただけでなく、後者がアコースティックなアレンジで演奏されたことから、よりアルバムの雰囲気を忠実にステージで再現してくれた場面も注目に値します。
ジャパン・ツアーの大きな成果は、日本の観客のマナーの良さ故にPPプロジェクトが当初「UNLEDDED」で押し進めていたアコースティックなアレンジのサウンドをステージ上でより前面に押し出すことが出来たことでしょう。その第一歩が「BUDOKAN 1996 4TH NIGHT」における「The Rain Song」で幕を開けた大胆なオープニングであり、それに気を良くしたことが以降のセットリストの大きな変化へとつながったのでしょう。




Disc 1 (64:00)
1. Intro. 2. Babe I’m Gonna Leave You 3. Ramble On 4. Custard Pie 5. Heartbreaker
6. Wonderful One 7. The Song Remains The Same 8. The Rain Song 9. Band Introductions
10. Celebration Day 11. Hurdy Gurdy Solo 12. Gallows Pole 13. Since I’ve Been Loving You

Disc 2 (65:20)
1. Whole Lotta Love 2. Egyptian Intro 3. In The Evening 4. Four Sticks
5. Kashmir 6. Black Dog 7. Rock And Roll


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