Description
Page Plant 1996 Budokan The second day of Budokan will also be delivered at the same time. Until now, releases continued after the third day, but this completes the first half of the tour. Of course, this audience recording is also from the taper of “BUDOKAN 1996 3RD NIGHT”, a uniquely obtained sound source that has never been released before. On top of that, the sound sources used for these two titles are both extremely high quality recordings, and the quality is also amazing. Not only is it easy to hear due to the balance that does not pick up surrounding sounds, but this is a recording from the front row. You will be overwhelmed by the sound pressure with a special direct feeling. For example, in the scene where theremin sounds fly around in “Whole Lotta Love”, it was surprisingly realistic enough to even taste a little stereo feeling…as expected, it was a front row recording. Until now, we have achieved releases that wipe out each item that was flooded in 1996, but even so, this powerful sound image is amazing. It’s hard to believe that such an audience recording has been dormant for over 20 years. As the previous releases have proven, even the “10DAYS” box that was all the rage at the time has now been given equalization that gives it a sense of the times, making the quality of the original sound source sound old-fashioned. I tend to put it away. Even when it comes to adding equalization to the sound source, there is a huge difference in technology between 1996 and now. Having said that, the sound quality of this sound source was so great that there was almost no need to make any changes to it. It is obvious at a glance that it is a recording of such a high level if you listen to it. Besides, from this day on, a change in the set list began that would make the performance in Japan a big fever. The previous year’s tour had a regular pattern starting with the initial ZEP number medley starting with “The Wanton Song”, and this was followed even on the first day of Budokan, which was released at the same time. However, on this day, the show opened with the melancholic “Babe, I’m Gonna Leave You,” a pattern full of surprises. The song opens with a completely different melody from the power riff of “The Wanton Song.” It would be a development that would have been unthinkable in the United States, let alone the previous year. Admittedly, based on the previous day’s experience, I may have been confused by the Japanese audience’s reaction, which seemed quiet. However, because of this environment, Japan is a country where it doesn’t cause a fuss even if “Babe, I’m~” is played at the opening. There is no doubt that he sensed this other potential. I think it was a new opening pattern that was introduced in that way. In fact, the fact that from this day onwards, the number of songs that start with quiet numbers has increased is proof of this. While it was a day where there was a topic of major changes to the set list, when I listen to it again now, I think this day was the best in the early part of the tour. Generally, attention tends to focus on the third day at Budokan, where “Tea For One” was introduced, which surprised even enthusiasts around the world, but the day before, when they performed solidly and powerfully in a standard pattern, as expected from the first day, and this day. Both performances are of very high quality. What’s more, the next day was scheduled to be a day off, so the plant’s ability to spare no effort was outstanding. The song caught fire around “Nobody’s Fault but Mine,” which was the only performance on the Budokan schedule, and the song from “Since I’ve Been Loving You” to “Dancing Days” was the first peak of the day. They gave such a wonderful performance that I thought it was amazing. Moreover, the sound quality is excellent, so you can feel the strong performance even more realistically. Furthermore, “Tangerine” was a moving performance that reminded me of ZEP’s first visit to Japan in 1971, and even as the show drew to a close, “Whole Lotta Love” was moved to the encore and played. It was an important day in that the “96 Japan performance” clearly started from this day, with such unexpected changes occurring. Indeed, the fact that “Whole Lotta~” was played as an encore was very exciting, and the enthusiasts who had been participating in the race since the day before were almost anxious, wondering if “Whole Lotta~” would not be played today. By the way, the song included on this day was not a cover song but the ZEP classic “In The Light”. Maniacs who fondly remembered the impact of the third day when “Tea For One” first appeared on “BUDOKAN 1996 3RD NIGHT”, whose release is still fresh in memory, should be surprised by the fulfilling performance on the second day. It would be interesting to compare it with the first day of the simultaneous release, which was a solid attack, but that’s why the strength of the performance was outstanding. A superb audience album where you can enjoy the first famous performance in Japan in 1996 with the highest sound quality! ★Original sound source provided by the recorder. Recorded from the front row. Excellent sound quality! Live at Budokan, Tokyo, Japan 6th February 1996 TRULY PERFECT SOUND(from Original Masters) 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
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