Jimmy Page & Robert Plant / Budokan 1996 4th Night / 2CD

Jimmy Page & Robert Plant / Budokan 1996 4th Night / 2CD / Wardour

Translated Text:
Live at Budokan, Tokyo, Japan 9th February 1996


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Twenty-one years ago from now, it seems that ZEP fans in Japan were at the height of happiness. Yes, because Paige Plant came and went on a staggering stage on a daily basis. Going back there Three years ago, Paige came to Japan with David Coverdale, and there was an event that that guitarist of that ZEP stood on the Japanese stage for the first time in a long time. Even just that, the number of enthusiastic fans was substantial, but this time the fact that the two men of the ZEP front lined up with Japanese stage for the first time in 24 years realized a dreamlike event, literally arriving in the plant Because it is.
As I mentioned when our shop released John Paul Jones’ visit to Japan in the past, the 1990s was a really dreaming age for Japanese ZEP fans. Even so, it was a fact that it was a luxurious period of time that seemed like a matter of course at the time. Among them, the enthusiasm brought about by the performance of the Page 2006 visit to Japan in 1996 was terrible. Even though I look back, I feel that their visit to Japan was an exquisite timing. Thanks to the completion of the tour which had been taking place from March to October of the previous year, it got together as a band, the intuition at live (especially Paige) also regained, and it should be said that it is exactly right.
The greatest benefit is that Paul Thompson passed and a guitarist was one page Paul that the visit to Japan in the most ideal formation was realized. It gave me a big surprise and at the same time made me realize that the pagee plant climbed to the next stage. Actually, this formation was already being shown at the festival in South America before the performance in Japan, but information transmission is not so fast compared to now (around the time the Internet is beginning to be recognized), most fans are February 5 It should have known the change of formation at the stage of the Budokan on the day.
More fans will be surprised and you will have gotten more excited, which will be change in the set list every day. Since the information of the set list of the last year of the US · tour in the previous year was already known, it is probably attached to the expectation that it will be the one that followed it. Actually the 5th show is opening curtains from the previous pattern. However, starting with the opening of the curtain “Babe, I’m Gonna Leave You” on Sunday, the show of the daily show showed an expansion that could not be released so far.
Because the long-standing American tour of the previous year was greeted with great enthusiasm every day, I can not understand English, it is said that I was embarrassed by the reaction of Japanese audience “listening to the performance” above all, especially (plant) I will. However, the successful opening of the 6th as if it was taken against it is linked to the extreme change of the set list every day in the Japanese performance.

The opening of the Budokan on 9 February this time will definitely be a pattern unthinkable in America. It started from quiet “Rain Song”. The pattern of “HOUSES OF THE HOLY” mode that this song and “No Quarter” will be played continuously is also attractive. Both were also songs that showed great power by fusing with the orchestra that became the supporting pillar in the live stage of Paige Plant and it was also outstanding that it was demonstrated in front of Japanese audiences that they carefully listen to.
Speaking of the 1996 Japanese performance, it will be a live show of “Tea For One” that has made fans around the world a heartbreak. This was a repertory introduced from the previous day’s performance, but at that time it got nervous enough to start playing, whereas in the second show off we finally evolved into a wonderful performance that took advantage of the potential of the song . Like fighting Paige playing, the fusion with the orchestra is wonderful here as well. Nevertheless from the end of the Japanese performance it was regular “Since I’ve Been Loving You” It was a repertoire that came back completely and became a Japan special.
“Yallah” which was a new song at the time was a repertory which was not played at all in the latter half of the tour due to poor reception, but it was a good idea to revive this in Japan, and at first the two people heard Should not it be reevaluated as a new song that was about to be made use of even live performance? One thing to say is that the fusion with the orchestra was still an important key point.
In the case of
And the only press release that will be released this time is an audience recording that has never been on the market between traders. Speaking of the performance in Japan in 1996, there is an enormous item called “10DAYS” box. Although this time sound source is not as good as on sound image like that, it is a sound source of attractive sound image and warmy sound quality overflowing in place instead. Although the sound image is certainly close to the recording of the previous box, on the other hand it is a flat texture when listening now, I can not deny the feeling of lack of sharpness. Rather this sound source will be able to enjoy the fresh taste that conveys the power of playing and the presence of the venue.
Especially it is not an exaggeration to say that it is the biggest contributor in the live tour of Paige Plant, the excellence of Michael Lee ‘s drumming, or the plenty of power can also be appealing to this sound source. “Whole Lotta Love” which he showed free development every night while keeping the atmosphere of the ZEP’s studio version is the best. Doors’s “Break On Through” are familiar, but this day is a thrilling pattern that medley starts from Howlin Wolf’s “Spoonful”. Even though we inherit ZEP, the points that the two people are trying to create are condensed here as well, please reevaluate in this release and everyone was excited about the change of the set list every evening , The days of that 1996 will revive.
さらに多くのファンが驚かされ、さらに大いなる興奮を覚えたであろうこと、それが連日のセットリストの変化でしょう。前年のアメリカ・ツアー終盤のセットリストの情報は既に知れ渡っていましたので、恐らくはそれを踏襲したものになるだろうとの予想がついたもの。実際に5日のショーはそれまでのパターンから幕を開けています。ところが6日がスローな「Babe, I’m Gonna Leave You」で幕を開けたのを皮切りに、連日のショーの変化がそれまでにないほど目の離せない展開をみせました。

今回リリースされる2月9日の武道館のオープニングなど、絶対にアメリカでは考えられないパターンでしょう。何しろ静かな「Rain Song」から始まったのですから。この曲と「No Quarter」が続けて演奏されるという「HOUSES OF THE HOLY」モードなパターンも魅力的。どちらもペイジ・プラントのライブ・ステージにおける支柱となったオーケストラとの融合が大きな威力を発揮した曲でもあり、それらがじっくりと聴き入る日本のオーディエンスの前で披露されたというのも効果抜群でした。
それに1996年の日本公演と言えば、世界中のファンをアッと言わせた「Tea For One」のライブ披露でしょう。これは前日の公演から投入されたレパートリーでしたが、その時が演奏をやり直すほど緊張してしまったのに対し、二回目の披露となるここでは遂に曲のポテンシャルを生かし切った素晴らしい演奏へと進化。ペイジの弾きまくる様や、ここでもオーケストラとの融合がまた素晴らしい。にもかかわらず日本公演の終盤からはレギュラーだった「Since I’ve Been Loving You」戻ってしまい、完全にジャパン・スペシャルと化したレパートリーだったのです。

特にペイジ・プラントのライブ・ツアーにおける最大の功労者と言っても過言ではない、マイケル・リーのドラミングの素晴らしさ、あるいは迫力がたっぷりと味わえる点も今回の音源の魅力でしょう。彼がZEPのスタジオ・バージョンの雰囲気を保ちつつ、それでいて毎晩で自由な展開をみせた「Whole Lotta Love」は最高です。ドアーズの「Break On Through」などはおなじみですが、この日はハウリン・ウルフの「Spoonful」からメドレーが始まるというスリリングなパターン。ZEPを継承しつつも二人が生み出そうとした新たなサウンドがここに凝縮されている点も、是非今回のリリースにて再評価してください、そして毎晩のセットリストの変化に誰もがドキドキした、あの1996年の日々が蘇ります。

Disc 1 (58:36)
1. Introduction 2. The Rain Song 3. No Quarter 4. Babe I’m Gonna Leave You 5. Immigrant Song
6. The Wanton Song 7. Heartbreaker 8. Ramble On 9. Hurdy Gurdy Solo 10. Gallows Pole
11. Whole Lotta Love (incl. Spoonful / Break On Through / Dazed And Confused)

Disc 2 (68:26)
1. Tea For One 2. Dancing Days 3. Yallah 4. Four Sticks 5. In The Evening 6. Kashmir
7. Black Dog 8. Rock And Roll


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