Jimmy Page & Robert Plant / Budokan 1996 1st Night / 2CD

Jimmy Page & Robert Plant / Budokan 1996 1st Night / 2CD / Wardour
Live at Budokan, Tokyo, Japan 5th February 1996

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The page plant tour in Japan in 1996, it had already shown a tremendous excitement. After ZEP disbanded, the plant was solo in the 1980’s, and Paige had also made their visit to Japan with Coverdale Paige in 1993, but since both males were on the Japanese stage at this time, Japan The fan’s fever has reached the top. A band project where the two frontmen are reunited, not even with ZEP reunion. In addition, the tour that has been carried out from the previous year is a series of bursting ZEP classic. The situation is spread by the CD boot, and since it is truly a long-awaited arrival to Japan at the best timing, it can not be appreciated.
For this coming performance in Japan, we have released each performance as a stepping stone. Recently, “BUDOKAN 1996 3RD NIGHT” is a new place in the memory, but this time we will deliver a full-fledged release that will expel items that had been released in large numbers by the original recording of the audience obtained by the same taper offer. In addition, this time is in conjunction with the first two performances of the Japan Tour of 1996, and the release from the audience master by this also obtained separately, but first, from the first day of the Budokan.

What is shocking is the amazing quality of the audience recording to be released this time. The ’96 performances in Japan coincide with the time when the taper and traders in Japan started to use the microphones with the potential of DAT. What But, alas, most of those releases are equalized by the audio equipment of the year 1996, and if you listen to it now, it feels like it feels digital but it feels like it’s time.
In that respect, the original acquisition audience recording provided again in this release is an exceptional quality that lightly kicks those past items. It is natural that the sound image is a very on balance, and the page plant captures an acoustic sound that is heavily used on the stage in a truly natural and warmy balance. In addition, the taper circumference is extremely quiet, and it is no doubt that it also contributed to the ease of hearing one rank higher.
In fact, this day is the day when both Paige and Plant returned to the Budokan stage for the first time in 25 years since ZEP’s second visit to Japan. In that case, Japanese fans drank and watched the two people, but at that time it was reflected in the plant as “does not swell”, and in the encore they were misunderstood as “more” . If it is the first day of the tour that two people came to Japan together, it is natural to ask to eat a song one by one. After all, Japanese ZEP fans felt like Bon and New Year were coming together. In any case, it is also true that the quietness gave me an unusually high sound quality.
However, it is also the attraction of this sound source that it captures the base of Charlie Jones in a very good balance as a whole. The rhythm team in the page plant band tended to focus exclusively on Michael Lee, but Charlie’s bass play with a great respect for Johnsy was very good, and the sound quality is also great for re-evaluating him Is it not?

And in the next year’s performance in Japan, where the set list was changed as freely as possible, it was the first day that was performed with the fixed pattern at that time, and it is interesting because it now looks fresh. A pattern that takes a breather with No Quarter, which is also an album title from the beginning of the live that convolves the initial ZEP numbers in medley tone considering the throat age of the plant, and is also a symbol of the page plant concept Actually, it was only twice this day and the Budokan on February 12th. However, given the fact that the South American tour, which was held warm-up before the performance in Japan, was almost this pattern, the two and the band would have had a look at the first day when they worked hard on a regular set.
However, the different way of getting involved in the first day of the Japanese performances can be seen from the scene where the plant started to sing “Bring It On Home” when it started eating. Furthermore, I can not miss the fact that the formation where page without Paul Thompson had all the guitar parts from the performance in Japan worked in earnest. Also because of this fixed set, his real play in “Since I’ve Been Loving You”, which was unveiled on this day, is not faded as I hear it, and the arrangement to which the orchestra has joined has not faded again.
As the show went on, the plant was puzzled by the quietness of the audience, while on the other hand it was definitely relaxing, pointing to Paige in front of “Babe, I’m Gonna Leave You” “He was another guy before ( (Cavadale) and I was not on the stage here? (I and Paige are still friends, but I still have a black joke).
And every night the plant sings the old number phrase “Whole Lotta Love”, but this day is Jefferson Airplane’s “White Rabbit”. In the 60’s, Cisco sound-loving human plant was a selection that was likely to sing, but for the audience who were present at that time, it would have been “This song?” However, it was also a rare expansion only for this day. From now on, it is not only a day when the live composition appears rather fresh, but above all, with the outstanding sound quality recorded from the second row from the front of the Budokan, it is a new thing that conveys the attraction of this day’s stage to the 21st century It is the appearance of the best sound source!

★ Original sound source provided by the recorder. Recorded in the second column. Best sound quality!

この来日公演に関しては、今まで飛び石的に各公演をリリースしてまいりました。最近では「BUDOKAN 1996 3RD NIGHT」が記憶に新しいところですが、今回も同じテーパー提供による独自入手のオーディエンス録音によって当時、数多くリリースされていたアイテムを駆逐するような充実したリリースをお届けいたします。おまけに今回は96年ジャパン・ツアー最初の二公演、これまた独自入手によるオーディエンス・マスターからのリリースと相成るのですが、まずは武道館初日から。


そしてセットリストがあれだけ自在な変化を起こした96年来日公演において、もっとも当時の定型パターンで行われたのが初日らしく、しかも今となっては新鮮に映るから面白い。プラントの喉年齢を考慮して初期ZEPナンバーをメドレー調にて畳みかけるライブ序盤からの、当時のアルバム・タイトルでもあり、ペイジ・プラント・コンセプトの象徴でもあった「No Quarter」で一息つくというパターンが踏襲されたのは、実はこの日と2月12日の武道館という二回だけ。ところが日本公演の前でウォーミングアップ的に行われた南米ツアーがほどんどこのパターンだったということを考えると、二人とバンドが初日は手堅く定型セットでこなしてみて様子を伺ったのでしょう。
それでいて日本公演の初日ということで気合の入り方が違うことは、プラントが「Bring It On Home」を歌い出すタイミングを食い気味で歌い始めてしまった場面から伺えます。さらに日本公演からポール・トンプソン抜きのペイジがギター・パートをすべて受け持ったフォーメーションが本格的に機能したことも聞き逃せません。これまた定型セットゆえにこの日披露された「Since I’ve Been Loving You」における彼の本領発揮プレイは今聞いても色褪せない程ですし、そこにオーケストラが加わったアレンジがまた色褪せていない。
ライブが進むうちにプラントが観客の静けさに戸惑いつつも、一方でリラックスしてきたのは間違いなく、「Babe, I’m Gonna Leave You」の前でペイジを指し「彼は前に別の奴(カヴァーデイル)とここのステージに上がってたんじゃなかったっけ?(俺とペイジは)今でも仲間だけどね」とブラックジョークをかましてみせたのもこの日の名場面かと。
そして毎晩プラントがオールド・ナンバーのフレーズを歌ってみせる「Whole Lotta Love」ですが、この日はジェファーソン・エアプレインの「White Rabbit」。60年代シスコ・サウンド大好き人間なプラントがいかにも歌いそうなセレクションではあったものの、当時居合わせた観客にとっては「この曲は?」状態だったことでしょう。しかしこの日だけのレアな展開でもあったのです。今からすれば、そのライブ構成がむしろ新鮮に映る一日というだけでなく、何より武道館の前から二列目から録音された抜群の音質で改めてこの日のステージの魅力を21世紀に伝える新たなベスト音源の登場です!



Disc 1(62:32)
1. Egyptian Intro.
2. The Wanton Song
3. Bring It On Home
4. Heartbreaker
5. Ramble On
6. No Quarter
7. Hurdy Gurdy Solo
8. Gallows Pole
9. Since I’ve Been Loving You
10. Band Introduction
11. The Song Remains The Same
12. Going To California
13. Babe I’m Gonna Leave You

Disc 2 (55:26)
1. Whole Lotta Love
2. Yallah
3. Four Sticks
4. Kashmir
5. Black Dog
6. Rock And Roll


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