Jimmy Page & Robert Plant / Budokan 1996 5th Night / 2CD

Jimmy Page & Robert Plant / Budokan 1996 5th Night / 2CD / Wardour
Translated text:
Live at Budokan, Tokyo, Japan 12th February 1996

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The performance of Paige Plant, who made enthusiastic ZEP fans in Japan twenty years ago from now, to Japan. At that time in 1996 it was a vast amount of items released, but their activities have been released as the latest live in the active era, and as time goes on it is about to enter the “vintage” area (anything Since twenty years have passed since then …) At the moment the release called Reytest Item has completely hurt the ring. The time when the two people reproduced the legend of ZEP, and also at the stage of Japan, including the Budokan … realizing that at the time of the enthusiasm of those days, the way people overlooked in recent years seems to be mysterious.
There was a press CD “BUDOKAN 1996 4 TH NIGHT” limited by our release. It is now becoming a long seller as a superb item that can revive the days of 1996, which will remember even nostalgia now. The rare pattern that the show on February 9 recorded there started from the “static” mode was a topic at the time and the stage due to this bold change was captured with great clearness.
And this time it will be released on February 12th, which was the next Budokan show on the 9th. In the Budokan process in 1996 it belonged to the final stage and it was also a day when I was surprised by the set list which changed with glitter even compared with the 9th. However, with the overall composition starting with ‘Immigrant Song Intro / The Wanton Song’ reminiscent of February 5 which was the first day show of the performance in Japan, the pattern to play so as to convolve the early ZEP number . Anyway, in 1996, the performance of the set list changed dramatically every evening, and it seemed fresh even that the opening pattern of the first day was restored. In actual encore, we hear the conversation by surrounding fans (“It’s a pattern close to the first day”).
Among them, “The Wanton Song” probably has a high possibility of a musical tone that the current plant can not sing (no voice), and it seems that it was a valuable performance when listening again now. Moreover, the impact of the change from the static opening pattern on the 9th was quite considerable, and if it was a person who was able to watch the show continuously at that time it would have been strengthened that thought.

However, what I would like to emphasize on this release is, above all, the recording quality up to terrible. The sound source provider recorded original DAT audiences of the name Taper who performed numerous recordings such as Stones, Clapton, Beck, etc., which we released so far. Ultra quality which can be called the highest level of 1996 at any moment. It was well known that high-quality titles of “10 DAYS” were released at the time, but this time the sound source is the highest level that will surpass it even lightly.
Indeed it was highly appreciated that the “10 DAYS” box was a sound image that was generally on, but it is also a fact that it now sounds lacking sharpness as it is now. Of course it should have had sense of equalization technology at the time. On that point, this release is an astonishing level for the grain and clearness of each instruments, of course, that sound images are on. On the contrary, when it comes to the middle part of “Whole Lotta Love”, it is staggering because it can taste the stereo feeling that is chopped.
It is no exaggeration to say that Paige Plant is the greatest meritorious person Michael Lee’s wonderfulness of drumming is as described at the time of release of “BUDOKAN 1996 4TH NIGHT”, but this sound source has been caught in a superb texture Taste plenty of powerful drumming. It is truly missing to leave the world at the age of 39 at the age of 2008.
More than that, I can not miss listening to this sound source, Charlie Jones’s base play. The audience recording in 1996 so far can not be surprising even if it is a quality that can clearly hear the baseline so far, but he and Lee’s rhythm combination is really wonderful, a new standy bone that supports Paige and plant There is no doubt that you will be made aware of what was evolving. It is not necessarily because it is the same Jones, but the point that I would like you to reevaluate the play which I have successfully digested Johnsy’s play as a trigger by this release.

And the show on this day was done after two days off, page and plants are full of energy. “Tea For One”, which is being shown at the first half of the show compared with the 9th, is especially showing by Paige, and “The Song Remains The Same” which was not played on the same day is also integrated with the rhythm team You will be able to realize the wonderful momentum that has changed with the highest sound quality. Acting musicians or Paige ‘s playing as an active guitarist is also captured with stunning sound pressure.
Monday, February 12, 1996 is a national holiday transfer holiday, the show starts a little bit more than usual. It seems that such a time margin appears in the response of the audience, and it points to the woman who saw in the dressing room of the plant, and it can also be said from the remark saying “It is a badge holder! It will be like a long time ago …” . Beyond that, the word of the past year “badge holder” jumped out, so there were a lot of maniacs being accidentally accused. Encore’s “Custard Pie” may now be tough as the plant sings. I caught a spectacular show of such a holiday with amazing sound quality. Let’s assert that this is the best audience recording of the 1996 Japan tour without a bid price already! Anyway it is amazing!

そこで登場したのが当店リリースによる限定のプレスCD「BUDOKAN 1996 4TH NIGHT」。今や懐かしさすら覚えてしまうような96年の日々を蘇らせる極上アイテムとして現在もロングセラーと化しています。そこに収録された2月9日のショーは「静」のモードから始まるというレアなパターンが当時話題となったものですし、この大胆な変化によるステージが素晴らしいクリアネスで捉えられていたものです。
そして今回リリースされるのは9日の次の武道館ショーであった2月12日。96年の武道館行程の中では終盤に属すものであり、9日と比べてもガラリと変わったセットリストに驚かされた日でもありました。とはいっても全体的な構成は来日公演初日のショーだった2月5日を彷彿とさせる「Immigrant Song Intro/The Wanton Song」を皮切りとして、ZEP初期のナンバーを畳みかけるように演奏するパターン。とにかく96年の来日公演は毎晩でセットリストの変化が激しく、初日のオープニング・パターンが復活したことすら新鮮に思えたものでした。実際にアンコールでは周囲のファンによる(「初日に近いパターンだよね」)という会話も聴かれます。
中でも「The Wanton Song」はもしかすると今のプラントが歌えない(声が出ない)曲調の可能性も高く、今になって改めて聴いてみると貴重な演奏だったように感じます。それ以上に9日の静なオープニング・パターンからの変化というインパクトはかなりのもので、当時続けてショーを見られた方であれば、なおさらその思いを強くされたことでしょう。

しかし何よりも今回のリリースに際して強調しておきたいのは、凄まじいまでの録音クオリティ。音源の提供者はこれまで当店リリースのストーンズ、クラプトン、ベック等数多くの録音を行った名テーパーのオリジナルDATオーディエンス録音。何しろ音像の近さは1996年の最高レベルと呼べるウルトラ・クオリティ。当時も「10 DAYS」という高音質タイトルがリリースされていたことはよく知られていますが、今回の音源はそれをも軽く凌いでしまう極上のレベル。
確かに「10 DAYS」ボックスは総じてオンな音像であったことが高い評価を受けたのですが、今となってはメリハリを欠いた状態に聴こえてしまうのも事実。もちろん当時のイコライズ・テクノロジーのセンスもあったはずかと。その点今回のリリースはオンな音像というのは当たり前、それぞれの楽器の粒立ちやクリアネスが驚異的なレベル。それどころか「Whole Lotta Love」の中間パートに至っては、チョットしたステレオ感まで味わえるのだから驚異的。
ペイジ・プラント最大の功労者とい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は「BUDOKAN 1996 4TH NIGHT」リリース時にも触れた通りですが、今回の音源でも見事な質感で捉えられており、迫力のドラミングをたっぷりと味わってください。2008年に39歳の若さでこの世を去ったことが本当に惜しまれます。

そしてこの日のショーは二日ものオフの後で行われたということもあり、ペイジとプラントも元気いっぱい。9日と比べてショーの前半にて披露されている「Tea For One」などは、特にペイジが閃きをみせていますし、同日に演奏されなかった「The Song Remains The Same」もリズム隊と一体化した素晴らしい勢いが最高の音質で実感できることでしょう。現役ミュージシャン、あるいは現役ギタリスト然としていたペイジのプレイもまた見事な音圧で捉えられているのです。
1996年2月12日の月曜は建国記念日の振替休日であり、ショーは通常より少し始まっています。そんな時間的余裕がオーディエンスの反応にも表れているようで、プラントの楽屋で見かけた女性を指して「バッジホルダーじゃないか!また昔みたいなおいたしちゃうぞ…」という発言からもそれが伺えます。それ以上に「バッジホルダー」という往年の言葉が飛び出したことで、思わずニヤリとさせられたマニアが多かったはず。アンコールの「Custard Pie」も今となってはプラントが歌うのは厳しいかもしれません。そんな休日のゴキゲンなショーを驚異の音質で捉えてみせました。これはもう掛け値なしに1996年来日公演のベスト・オーディエンス録音だと断言いたしましょう!とにかく凄い!

Disc 1 (70:09)
1. Introduction 2. Egyptian Intro 3. Immigrant Song 4. The Wanton Song 5. Bring It On Home
6. Heartbreaker 7. Ramble On 8. No Quarter 9. Hurdy Gurdy Solo 10. Gallows Pole
11. Tea For One 12. Band Introductions 13. The Song Remains The Same 14. Going To California
15. That’s the Way 16. Babe I’m Gonna Leave You

Disc 2 (57:33)
1. Whole Lotta Love 2. Yallah 3. Four Sticks 4. Kashmir 5. Custard Pie 6. Rock And Roll

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