GiGinJapan Artwork of Japanese CDs (mostly) Jimmy Page & Robert Plant / Osaka 1996 2nd Night : Dat Master / 2CD / Wardour
Live at Osaka-Jo Hall, Osaka, Japan 19th February 1996
Play sample :
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The upper reprint series from the original DAT master of the legendary masterpiece “10 DAYS” is finally the last time. We will release Fukuoka on the second day of Osaka and the last day of the tour, but first of all, the second day of Osaka. In the first place, these two days are after the first day of Osaka and Nagoya where the sound board exists, so the number of items other than the rear tie release is small, and there was no first appearance song.
However, it was a day that was highly praised as a masterpiece among the Ria Thai group, and rather it was precisely because there was no new repertoire that they were able to concentrate on each song, which probably led to a performance that was not overpriced. On top of that, the Japanese performance was in the final stage, so I was full of confidence, and it was a good timing when the strength of my shoulders was loosened. It may not be an exaggeration to say that I had only a feeling that it would be a masterpiece.
“OSAKA 1996 2ND NIGHT DAT MASTER” is probably the masterpiece of the original sound source that was released when everyone was about to forget about such a fulfilling day. “10 DAYS” was too difficult to obtain, and it should have been an epoch-making release that finally allowed maniacs other than rear tie to touch the famous performance of the second day in Osaka. In that case, it is a maniac that you want to touch the rear tie release of the “10 DAYS” box even more. The “10 DAYS” DAT master series that started there has become an epoch-making release that is said to be “I have been waiting!”
Regarding the second day in Osaka, both “OSAKA 1996 2ND NIGHT DAT MASTER” (hereinafter referred to as “existing board”) and this “10 DAYS” master are high-quality audience recordings, but the texture is completely different. The already-released board was in a wide and powerful recording state, but the “10 DAYS” master has a solid and delicate sound quality. In other words, if you listen to it with headphones, it’s an existing board, and if you say that it’s the “10 DAYS” master that shines on the speakers, you can guess the difference in sound quality.
Perhaps because of such a recording state, among the “10 DAYS” masters that have been released so far, it has become a day where the upper feeling has appeared greatly compared to 1996. This is also the benefit of being able to capture more information in DAT than at that time due to the evolution of technology. Without adding equalization (it wasn’t really necessary), we succeeded in confining the original sound quality of the DAT master to the limited press CD.
The sound of the original box will sound a little cramped compared to this release. It was also a day when the sound quality was slightly different even in the same box, and even more so this release may be able to enjoy the original solid texture. As usual, the surroundings were recorded in a quiet state, which contributes to the ease of listening.
And the performance is outstanding. The band is solid because they have been on tour since the previous year and the performance in Japan is on the ninth day. As for Paige, it is the best from the opening. The sharpness is different from the solo of “Heartbreaker”. At the same time, the composition unique to the Japanese performance, which has a large amount of acoustic arrangement repertoire, has evolved into a magnificent one. Until “Gallows Pole”, the set list of only songs from the second and third was a pattern that could only be made in Japan, and it was a truly manic development.
“Nobody’s Fault but Mine” was the first time since the second day in Tokyo that this initial album development had calmed down. Kansai maniacs should have heard the new arrangement of the same song for the first time at this time, and would rather have found the performance of the atmosphere like “When The Levee Breaks” interesting. On the other hand, it was a surprising surprise on this day that the minor blues corner returned to “Since I’ve Been Loving You” again. Speaking of the performance in Japan, the impression of “Tea For One” is too strong, and the suppleness of the legs and back that comes here and returns to the origin is also typical of this day.
And in the encore “Black Dog”, the performance started with a funky ad-lib, and you can see the leeway that seems to be the end of the tour from this point. Above all, the powerful singing of the plant is wonderful. On the second day of Osaka, which was just a masterpiece, please enjoy the legendary day with the audience recording of the legendary “10 DAYS” box. In addition, the sound quality is better than the box!
Wardour-569
