Description
Page Plant’s performance in Japan in 1996 was already showing tremendous excitement. After ZEP disbanded, Plant came to Japan as a solo artist in the 1980s, and Page came to Japan as a member of Coverdale Page in 1993. Fan fever has reached its peak. Although it is not a reunion of ZEP, it is a band project that reunites the two frontmen. What’s more, they performed a series of dazzling ZEP classics on the tour that started last year. The situation spread through the CD boot, and the long-awaited arrival to Japan was realized at the perfect time, so there is no way it would not be exciting. Regarding this performance in Japan, we have released each performance in a stepping stone manner until now. Recently, “BUDOKAN 1996 3RD NIGHT” is fresh in my memory, but this time as well, we will deliver a fulfilling release that will drive out many items that were released at that time with the unique audience recording provided by the same taper. In addition, this time it will be the first two performances of the 1996 Japan tour, which will also be released from Audience Master, which was obtained independently, but first of all, from the first day at Budokan. What is shocking is the amazing quality of the audience recording released this time. The performance in Japan in 1996 coincided with the time when tapers and traders in Japan began to consciously use microphones that took advantage of the potential of DAT, and there were a series of audience recording items that boasted amazing quality at the time. Something. But sadly, most of those releases were equalized using audio equipment from 1996, and when you listen to it now, you can’t help but feel that even though it’s digital, it feels dated. In that respect, the unique audience recording provided again with this release has an exceptional quality that easily shrugs off such past items. It is natural that the sound image has a very good balance, and it is wonderful that the acoustic sound that Page Plant used heavily on stage is captured in a truly natural and warm balance. What’s more, the area around the taper is extremely quiet, which no doubt contributes to a higher level of listening comfort. In fact, this day was the day that both Page and Plant returned to the Budokan stage for the first time in almost 25 years since ZEP’s second performance in Japan. If that happened, Japanese fans would hold their breath and watch the two of them, but at the time it seemed to Plant that they weren’t getting excited, and when it came to the encore, it was even misunderstood that he wanted them to talk more. . Of course, since it was the first day of their tour together, they listened to each song intently. After all, Japanese ZEP fans felt as if Obon and New Year had come together. In any case, it is true that this quietness resulted in an unusually high sound quality. Still, the appeal of this sound source is that it captures Charlie Jones’s bass with a really good balance overall. The rhythm section of the Page Plant Band tended to focus on Michael Lee, but Charlie’s bass playing, which fully respected Jonesy, was so wonderful that it was the perfect sound quality to re-evaluate him. Isn’t there? And of the 1996 performance in Japan, where the setlist changed so freely, the one that followed the standard pattern at the time seemed to be the first day, and it’s interesting because it seems fresh now. Considering Plant’s throat age, the pattern started with a medley of early ZEP numbers, and then took a breather with “No Quarter,” which was the album title at the time and was also a symbol of Page Plant’s concept. Actually, it was followed only twice: on this day and at the Budokan on February 12th. However, considering that the South American tour that was held as a warm-up before the Japan performance was mostly this pattern, the two and the band probably tried to play a solid set on the first day and asked how it was going. However, since it is the first day of the Japanese performance, the way of getting excited is different, as you can see from the scene where Plant started singing with a bit of timing when he started singing “Bring It On Home”. Furthermore, it cannot be overlooked that the formation in which Page without Paul Thompson took charge of all the guitar parts from the Japanese performance functioned in earnest. This is also a standard set, so his true play on “Since I’ve Been Loving You”, which was performed on this day, still remains unchanged even when listening to it now, and the arrangement with the addition of an orchestra has not faded. As the show progressed, Plant was confused by the audience’s silence, but there was no doubt that he was beginning to relax, pointing to Page before “Babe, I’m Gonna Leave You” and saying, “He was another guy before.” The famous scene of the day was when he joked, “We’re still friends, aren’t you and Paige?” And every night, Plant sings an old number phrase, “Whole Lotta Love,” but on this day it was “White Rabbit” by Jefferson Airplane. Although it was a selection that Plant, who loves the 60’s Cisco sound, could sing, the audience who was present at the time must have wondered, “What about this song?” However, it was also a rare development that only happened on this day. Looking back on it now, it was not only a day with a rather fresh live arrangement, but above all, the outstanding sound quality recorded from the second row from the front of the Budokan was a new way to convey the charm of this day’s stage to the 21st century. Introducing the best sound source! ★Original sound source provided by the recorder. Recorded in the second row. Excellent sound quality! Live at Budokan, Tokyo, Japan 5th February 1996 TRULY PERFECT SOUND(from Original Masters) 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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