Jimmy Page & Robert Plant / Budokan 1996 2nd Night / 2CD+1Bonus DVDR

Jimmy Page & Robert Plant / Budokan 1996 2nd Night / 2CD+1Bonus DVDR / Wardour
Live at Budokan, Tokyo, Japan 6th February 1996 plus Bonus DVDR “Budokan 1996 2nd Night The Video”

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This week we will also deliver the Budokan Budokan second day of the page / page 1996. So far the release from the third day has continued, but this is the first half of the tour compliment. Of course, this audience recording is also from the taper of “BUDOKAN 1996 3RD NIGHT”, and it is a sound source of original acquisition that has not been available until now. In addition, the sound source used for this two titles with a loop is a very high-level best recording, but the quality is also excellent. After all the sound recording in the front row somehow though it is also easy to hear because of the balance which has not picked up the surrounding sound. It is no longer overwhelmed by a special sound pressure full of specials. For example, at the scene where the sound of the theremin flies in “Whole Lotta Love”, it is as realistic as you can taste even a little stereo feeling to the surprise … indeed, it is the front row recording. So far we have achieved a release that wipes out each item that was flooded in 1996, but even then the sound image of this force is amazing. It has been a long time since the audience recording so much slept for more than 20 years.
As the previous releases have proved, the “10 DAYS” box, etc., which at that time prevailed at that time, has now been given equalization to feel the time, and the taste of the sound source with good characteristics sounds old-fashioned It is easy to do it. Even with the addition of equalization to the sound source, there is a big difference in technology as of and at the time of 1996. Although it is good, this sound source with too great sound quality, as a matter of course, is a limited press CD release, but there was almost no need to modify it. It is obvious if you hear that it is a high level recording so much.

Moreover, the change of the set list that began to make the performances of the performances in Japan a great deal began from this day. The previous year’s tour had a regular pattern starting with the initial ZEP number medley starting with “The Wanton Song”, and it was followed on the first day of the Budokan at the same time. However, on this day, it was the melancholic “Babe, I’m Gonna Leave You” pattern that filled the curtain of the show. The power riff of “The Wanton Song” opens in a completely different tone. It will be an unforeseeable development in the United States of the previous year.
Certainly, you may have been puzzled by the reaction that the reaction of the Japanese audience is reflected in a lightness from the experience of the day before. However, because of such an environment, Japan is a country that does not make much noise even if it plays “Babe, I’m …” at the opening. It is no doubt that I felt such another potential. It may not have been a new opening pattern introduced in this way. In fact, it also proves that the opening of the curtain from the quiet number has increased since this day.

In this way, it was a day when there was a topic of a drastic change in the set list, but if you ask it again, it may not be the best day in the beginning of the tour. In general, attention tends to be drawn after the third day of the Budokan, which is also surprised by the mania in the world “Tea For One” introduced, but the day before and on which the firm performance was performed firmly with a fixed pattern like the first day Both performances are very high quality. The day after the start of the show is also off, the good condition of the plant that does not hesitate is outstanding.
At the Budokan’s schedule, the fire started from around “Nobody’s Fault but Mine”, which was the only show, and from “Since I’ve Been Loving You” to “Dancing Days”, is it the first peak of this day? He gave me a great performance. Besides, the sound quality is so great that you can feel even more successful performance.
Furthermore, “Tangerine” was an inspiring performance that could not but be reminded of ZEP’s first visit to Japan in 1971, and “Whole Lotta Love” will be moved to Encore and played even when the show reaches its final stage It is an important day in the point that ’96 Japan performance like Japan performance ‘has clearly started from this day, such as surprising changes coming. Indeed, the fact that “Whole Lotta ~” is played in encore is a lot of excitement, and manias who continued from the previous day, and so on, probably were not ready to play “Whole Lotta ~” today. By the way, it was not the cover song but the ZEP classic “In The Light” that was included this day with the same song.
The mania that reminded of the impact of the third day of the “Tea For One” first appearance with the new “BUDOKAN 1996 3RD NIGHT” also remembered the release should also be surprised at the fulfillment performance of the second day once again. While attacking firmly, it is interesting to compare with the first day of the simultaneous release that was the strength of the performance was also outstanding. Such a superb audience album that you can enjoy such first sound performance of the first in Japan in such 96 years with the best sound quality!

★ Original sound source provided by the recorder. Recorded in the front row. Best sound quality!

今週はペイジ・プラント1996年の武道館武道館二日目も同時にお届けいたします。今まで三日目以降のリリースが続きましたが、これにてツアー前半がコンプリ。もちろんこちらのオーディエンス録音も「BUDOKAN 1996 3RD NIGHT」のテーパーからのもので、今まで出回ったことのない独自入手の音源。それに輪をかけて今回の二タイトルに使われた音源はどちらも非常にレベルの高い極上録音なのですが、そのクオリティがまた凄い。やはり周囲の音を拾っていないバランスゆえの聞きやすさもさることながら、何とこちらは最前列での録音。もはや別格のダイレクト感たっぷりな音圧に圧倒されるばかり。例えば「Whole Lotta Love」でテルミンの音が飛び交う場面に至っては、驚いたことにちょっとしたステレオ感まで味わえるほどのリアルさ…さすがは最前列録音。これまでも1996年当時に氾濫した各アイテムを一掃してしまうようなリリースを実現させてきましたが、それにしてもこの迫力の音像がとにかく凄い。これほどまでのオーディエンス録音が20年以上も眠っていただなんて。
これまでのリリースが証明してきたように、当時一世を風靡した「10DAYS」ボックスなども、今となっては時代を感じさせるイコライズが施されており、せっかく素性の良い音源の味わいが古臭く聞こえてしまいがち。ましてや音源にイコライズを加えるにしても96年当時と現在ではテクノロジーに格段の開きがあります。とはいいつつも、あまりにも素晴らしい音質である今回の音源、当然ながら限定プレスCDリリースとなる訳ですが、それに際して手を加える必要など、ほとんどありませんでした。それほどまでにレベルの高い録音であることは、聞いてもらえれば一目瞭然。

それに何と言っても、この日から来日公演を大いにフィーバーさせることになるセットリストの変化が始まったのです。前年のツアーは「The Wanton Song」を皮切りとした初期ZEPナンバー・メドレーから始まるパターンが定例化しており、同時リリースの武道館初日においてもそれが踏襲されていました。ところがこの日、ショーの幕を開けたのはメランコリックな「Babe, I’m Gonna Leave You」という意外性たっぷりなパターン。「The Wanton Song」のパワー・リフとはまるで違う曲調での幕開け。ましてや前年のアメリカなどではありえない展開でしょう。
確かに前日の体験から日本のオーディエンスのリアクションが大人しく映ってしまう反応には戸惑ってしまったかもしれない。だがしかし、そんな環境だからこそ「Babe, I’m～」をオープニングで演奏しても騒がしくならない国が日本。そうした別のポテンシャルを感じ取ったことも間違いないのでは。そうして導入された新たなオープニング・パターンだったのではないでしょうか。実際に、この日を境として静かなナンバーから幕を開けることが増えたこともそれを証明しています。

こうしてセットリストの大幅変更というトピックがあった一日であった一方、いま改めて聞いてみるとツアー序盤におけるベストがこの日だったのではないでしょうか。一般的には「Tea For One」導入という世界中のマニアをも驚かされた武道館三日目以降に注目が集まりがちですが、初日らしく定型パターンで手堅くも力強いパフォーマンスをこなした前日、そしてこの日の演奏はどちらも非常に質が高い。ましてや翌日がオフを控えていたこともあり、出し惜しみをしないプラントの調子の良さが際立ちます。
武道館の日程においては唯一の披露となった「Nobody’s Fault but Mine」辺りから火がつき、「Since I’ve Been Loving You」から「Dancing Days」かけてはこの日最初のピークでは？と思えるほど素晴らしい演奏を聞かせてくれたのです。それに何と言っても音質が非常に素晴らしいので、なおさら好調なパフォーマンスがリアルに感じられる。
さらに「Tangerine」は1971年のZEP初来日を彷彿とさせずにはいられない感動的な演奏でしたし、ショーが終盤を迎えても「Whole Lotta Love」がアンコールに移動して演奏されるという意外な変化が訪れるなど、明らかにこの日から「96年日本公演らしさ」がスタートしたという点で重要な一日。なるほど「Whole Lotta～」がアンコールで演奏されるというのは大いに盛り上がりますし、前日から続けて参戦したマニアなど、もしかして今日は「Whole Lotta～」が演奏されないのかと焦りそうになったものです。ちなみに同曲でこの日インクルードされたのはカバー曲でなくZEPクラシック「In The Light」でした。
リリースも記憶に新しい「BUDOKAN 1996 3RD NIGHT」で「Tea For One」初登場という三日目のインパクトを懐かしく思い起こしていたマニアも、改めて二日目の充実した演奏ぶりには驚かされるはず。手堅く攻めつつも、だからこそ演奏の力強さも際立っていた同時リリースの初日との聞き比べも面白いのでは。そんな96年日本公演最初の名演を最高の音質で楽しめる極上オーディエンス・アルバム！

★録音者提供のオリジナル音源。最前列で録音。極上音質です！

Disc 1 (58:25)
1. Intro.
2. Babe I’m Gonna Leave You
3. Bring It On Home
4. Heartbreaker
5. Thank You
6. Gallows Pole
7. Hurdy Gurdy Solo
8. Nobody’s Fault But Mine
9. Going To California
10. Since I’ve Been Loving You
11. Band Introduction
12. Dancing Days
13. Yallah

Disc 2 (56:47)
1. Four Sticks
2. In The Evening
3. Kashmir
4. Tangerine
5. Whole Lotta Love
6. Rock And Roll

Wardour-357

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Jimmy Page & Robert Plant / Budokan 1996 2nd Night The Video / 1DVDR / Non label
Live at Budokan, Tokyo, Japan 6th February 1996

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The Main Press 2CD is a live album that depicts the “Nippon Budokan Second Night”, in which PAGE & PLANT’s true spirit was demonstrated, with the front row sound. However, “February 6, 1996” is also remembered that the masterpiece video was left. So, this time, we have specially prepared the masterpiece video for the first time only.
Such a major point of this work is a strong performance and no less fierce quality. It is an audience shot taken from the stage slightly to the right (page), but all triples of angle, image quality, and sound quality are excellent. First angle. I am looking at the stage from the stand, but the shadow of the audience is zero. On the contrary, they do not appear in the arena seat, and they zoom the two leading roles intensely. What’s more, the sense of stability is abnormal, and it’s as if it were a professional shot angle, and two people occupy the screen.
Beautiful image quality is amazing even if you zoom too much. There is no doubt that it is time-lapse video shooting, but the light of the proof proves that two people are lusciously, and the blonde of the plant shines in a godly way. When you get to the maximum zoom, you can clearly see the expression. The sound appropriate for the scene is also an extraordinary dimension. Although it can be determined as a microphone recording from a lively wolf, it is as if a spectator begins to listen to when it begins to play and it is like a sound board. At the venue there is a thick core that hardly feels acoustics, fine details, yet a natural balance. It is a very rare thing that contact noise enters the left channel, but it is a superb sound with too high a basic quality.
The show drawn with such quality is great again. As mentioned in the commentary of the main story, among the enthusiasts, a great performance in a performance called “the best of the first part of the tour”. The opening that unleashes the beginning that begins with “Babe I’m Gonna Leave You” suddenly, the fever that is being fostered is nowhere more dramatic than ever. The firmness I saw on the previous day (the first day of the tour) is also good, with flexible vocals and good guitars. The strong performance continues throughout the entire show, and there is no decline in the climax that is collapsing from “Dancing Days” performed with THE EGYPTIAN PHARAHOS or “In The Evening”, which first appeared in Japan, to “Kashmir”.
Furthermore it is Encore that is overwhelming. The day was fully serviced, followed by “Thole” by two leading actors, followed by “Whole
A great medley of Lotta Love / In The Light / Break On Through / Dazed and Confused. It is not over yet, as the page and the plant greeted a large circle that huggedly hug each other. “Rock and Roll” for the 2nd encore! The plant here is a way of singing that is reminiscent of around 1971 and brings out voices such as “I still have many days left?” It is a very fulfilling show called “Korezo Performance!”.

Such famous performances can be enjoyed in the main press 2CD, but still the persuasive power of the scene is enormous. It is a masterpiece picture which is rare in the history of PAGE & PLANT ……… of Japan performance. Please enjoy the shocking “Babe I’m Gonna Leave You” and the best performances in Japanese performances in conjunction with the main press 2DC, which has updated the highest peak sound.

本編プレス２CDは、PAGE & PLANTの本領が発揮された“日本武道館・第２夜”を最前列サウンドで描ききったライヴアルバムです。しかし、「1996年２月６日」は大傑作映像が残された事でも記憶されています。そこで今回は、初回限定でその傑作映像も特別にご用意致しました。
そんな本作最大のポイントは強烈な名演と、それに劣らぬ猛烈なクオリティ。ステージやや右寄り（ペイジ寄り）から撮影されたオーディエンス・ショットなのですが、アングル・画質・音質の三拍子がすべて絶品。まずアングル。スタンド席からステージを直視しているのですが、最前なのか観客の影がゼロ。それどころか、アリーナ席すらろくに映らず、ひたすら主役２人を強烈にズームするのです。しかも、その安定感も異常でまるでプロショットの１アングルかのように迫りまくり、画面中を２人が占領するのです。
それほどズームしても美しい画質がまた驚異的。時代柄ビデオ撮影なのは間違いないのですが、証明の淡い光芒が艶やかに２人を浮き立たせ、プラントのブロンドが神々しく輝く。最大ズームに寄ると表情までハッキリと分かるのです。その光景に相応しいサウンドも異常な次元。生々しい喝采からマイク録音と判別できるものの、いざ演奏が始まって観客が聴き入り始めるや、まるでサウンドボード。会場音響をほとんど感じさせない骨太な芯、細やかなディテール、それでいて自然なバランス……。ごく希に左チャンネルに接触ノイズが入るのが玉に瑕ですが、基本クオリティが高すぎる極上サウンドなのです。
そんなクオリティで描かれるショウがまた凄い。本編の解説でも触れておりますが、マニア間では“ツアー序盤のベスト”とも言われる名演中の名演。いきなり「Babe I’m Gonna Leave You」で始まるド肝を抜くオープニングも、醸成されていく熱気はどこまでも高まり、ドラマティックこの上ない。前日（ツアー初日）に見られた固さはどこへやら、しなやかなヴォーカルも、思い切りの良いギターも絶好調。その好調ぶりはショウ全編を貫き、THE EGYPTIAN PHARAHOSと共演する「Dancing Days」や日本初登場の「In TheEvening」から「Kashmir」へと畳みかけるクライマックスまで衰えることがない。
さらに圧巻なのがアンコール。この日はたっぷりとサービスされ、主役２人による「Tangerine」に続いて「Whole
Lotta Love / In The Light / Break On Through / Dazed and Confused」の一大メドレー。ペイジとプラントが茶目っ気たっぷりに抱き合う大団円を迎えつつ、まだ終わらない。2ndアンコールには「Rock and Roll」！　ここでのプラントは1971年辺りを彷彿とさせる歌い方で「まだ何日も残ってるんだよ？」と心配になるほどの声を轟かせる。まさに「コレぞ名演！」という大充実のショウなのです。

そんな名演ぶりは本編プレス２CDでもたっぷり味わえましたが、やはり光景の説得力は絶大です。日本公演の……いえ、PAGE & PLANT全史でも類い希なる傑作映像。衝撃の「Babe I’m Gonna Leave You」も、日本公演屈指の名演ぶりも、どうぞ最高峰サウンドを更新した本編プレス２DCと併せてたっぷりとお楽しみください。

(115:01)
1. Babe I’m Gonna Leave You 2. Bring It On Home 3. Heartbreaker 4. Thank You
5. Gallows Pole 6. Hurdy Gurdy Solo 7. Nobody’s Fault But Mine 8. Going To California
9. Since I’ve Been Loving You 10. Band Introduction 11. Dancing Days 12. Yallah 13. Four Sticks
14. In The Evening 15. Kashmir 16. Tangerine 17. Whole Lotta Love 18. Rock And Roll

COLOUR NTSC Approx.115min.