Description
The third release of the “Nothin’ But The Blues Arena Tour”, one of the peaks of Clapton’s entire career! Recently, “IRVING PLAZA 1994 3RD NIGHT: DAT MASTER (2CD)” (recorded on November 28, 1994) became a sensational topic as the appearance of the original master that had completely cleared the defects of the previous board. It has been very well received as the definitive edition of the finest stereo audience recording from the 1994 “Nothin’ But The Blues Club Tour”, where Clapton returned to the origin of his career and toured small clubs for a short period of time. In addition, from this taper, the master of the wonderful stereo audience recording of the “Nothin’ But The Blues Arena Tour” held as the prelude to the club tour, and the first and second days of the performance at Madison Square Garden (MSG) in New York were also provided and released, and these have also been well received. And this time, another amazing DAT master was brought from this taper! This is the DAT master of the third day of the performance at Madison Square Garden in New York on October 10th from the “Nothin’ But the Blues Arena Tour”. This taper went to MSG for three days. It is no wonder that he was so excited about recording that his master proves that Clapton on this tour was amazing. As with the sound sources from the previous two days, the sound image of MSG differs from that of the club due to the difference in the capacity and spatial structure of the venue, but this master is a high-quality master recorded in stereo with ultra-high sound quality that exceeds the first and second days. Since it is an arena tour compared to a club tour, this work is a first-class audience recording that can be assumed to have been recorded in the best position of the arena seats at the venue where it can be heard at a normal arena concert. As for the already released boards on this day, like the first and second days, there was a nearly privately made boot that was distributed only in some parts of overseas, but this probably did not come to Japan. The sound quality rating on the bootleg commentary site GEETARZ is 5 out of 6, which is a level of “very good”. The full 6 points are given to official level stereo soundboard recordings, so 5 points refers to “the highest level of sound quality that cannot be surpassed” in audience recordings. Therefore, this master was recorded with the best possible sound quality. This work allows Japanese Clapton fans to listen to the sound source of this day for the first time. Following Irving Plaza, it is good news for Clapton fans and blues fans that the three days of MSG can be heard with a high-quality master that is making its first appearance in Japan. If the definitive version of the club tour is the three-part “IRVING PLAZA 1994” released by our store, the definitive version of the arena tour is decided to be the three-part “Madison Square Garden 1994”. The film and soundtrack CD “Nothin’ But The Blues” by director Martin Scorsese, which was produced based on this tour, captured the club tour. Due to Scorsese’s wishes, the song order was recorded differently from the actual song order in the video composition, and considering that it was not a complete recording of the concert and that the venue was a club, this work of the arena tour, which moved a larger audience, is also very worth listening to, just like “IRVING PLAZA 1994”. The “Nothin’ But The Blues Tour” held from 1994 to 1995 was described as the tour in Clapton’s career where he sang and played like a god in every performance of this tour, which took two years, without any slacking, and he played and sang at every performance. It was a stage where he took on the challenge of blues while being relaxed and relaxed. It can be said that this tour was a “decision” that showed him his own answer to what “blues” is. Why did Clapton return to the blues in 1994? To answer this, we must trace his sad life. In March 1991, Clapton lost his young son in an accident and was at the lowest point of his life. However, encouraged by his staff and fellow musicians, Clapton was able to turn his feelings for his son and his own life reflections into songwriting, which turned into catharsis. And at the first performance on MTV’s “Unplugged,” Clapton also played the blues that he had admired since childhood. Having once again come into contact with the essence of blues, Clapton returned to his regular tours, but in the following year of 1993, he decided to hold a concert with a set list of only blues at the Royal Albert Hall’s regular early concerts, which he carried out. And he went ahead and recorded his long-awaited blues-only album, “From the Cradle,” which he had not been able to do when he was younger. Clapton had approached Warner, his contracted label, about making a blues album, but had been turned down, saying, “There’s no way that would sell.” However, the album “Unplugged” became an unprecedented hit, and Warner softened their stance, approving the production of a blues album as a bonus for Clapton, which also gave him a boost. And “From the Cradle” became a hit, following “Unplugged” and reaching number one on the US album charts. American listeners also wanted Clapton’s blues. With the realization of the album “From the Cradle,” he must have decided that he wanted to master the blues on the live stage. With this momentum, Clapton planned the “Nothin’ But the Blues Tour,” in which he would only play blues at live performances. In this work, after the opening number, there is a scene where Clapton himself talks about the purpose of this concert. At the lowest point of his mind after losing his young son, Clapton realized that it was the blues that guided him not to lose sight of himself. The “Nothin’ But The Blues Tour” was a return to the blues in order to remember his childhood when he was fascinated by the blues and to express his gratitude to the blues and his predecessors who performed it. It can be said that Clapton’s spirit in this tour was extraordinary. The entire stage is high-tension and worth listening to. Here is a summary of the schedule for the “Nothin’ But The Blues Tour”. <1994> <September 13th “FROM THE CRADLE” released> September 28th: Tour rehearsal video recorded at Hammerstein Ballroom in New York. This was later broadcast in the United States, Europe, and Japan. October 3rd to November 4th: US Arena Tour ← [Here] November 7th to November 28th: US Club Tour <1995> February 15th to March 7th: UK Tour April 5th to May 5th: European Tour August 28th to September 24th: US Arena Tour II October 1st to October 13th: Japan Tour You can see that October 10th, which was recorded in this work, was the beginning of this “Nothin’ But the Blues Arena Tour”. Moreover, since the venue was the famous MSG, it could be said that it was the highlight of the first half of the arena tour. The set list was the same for these three days, but since Clapton is a live artist and his play is completely improvised, you can hear completely different solos on the first and second days of the same song. As the set moved from a sitting acoustic set to a standing electric set, Clapton and the band’s “heat” increased rapidly, and at the end of the set, the performance was intense and passionate, like a fire, and the regular set ended at the peak. At the end of the regular set, Clapton sang solo with only the piano in the background, and the ending was an emotional performance by the entire band, and the audience was moved to the heart with the unexpected number Ain’t Nobody’s Business. The first half of the set was played with acoustic or standard riffs, so it felt like a solid patterned performance, but from the middle of the set onwards, the numbers that featured guitar solos showed the essence of Clapton as a live artist, and he piled up a wave of angry phrases that were completely improvised and unwavering. The elegant solos in the Freddie King Corner, played in three consecutive songs from Someday After A While, are also worth listening to. Especially the playing at the end of the song after Five Long Years is amazing. I was amazed at how well his fingers moved. Moreover, it is not just a fast play, but a phrase unique to Clapton, with a spirit on it. The focus is on Born Under A Bad Sign, which was not performed on the club tour. That’s why, along with Crosscut Saw, it is a valuable take that allows you to see Clapton approaching Albert King. And Ain’t Nobody’s Business on this day is also great! This song was written in 1922 and has been covered by various singers, but Clapton’s version is based on the version sung by pre-war female blues singer Bessie Smith in 1923. Clapton sings calmly about his unfortunate life, lamenting, “I don’t care if I’m penniless, I jump into the sea and commit suicide, but leave me alone.” But at the end, the whole band explodes with emotion. Is it a cry of desperation, or is Clapton encouraging the protagonist by saying, “Don’t give up on yourself. Take care of yourself.” His playing here is so amazing that it can be interpreted that way. On this tour, he played many blues songs that he had never recorded in a studio, but this song was particularly memorable. Considering that he brought it to the end of the regular set, Clapton must have had some intention behind it. Furthermore, on this arena tour, he had appointed his friend guitarist Jimmie Vaughan’s band as the opening act, so Sweet Home Chicago was played in the encore, with Vaughan joining in. This is a pleasure that was not available on the club tour, which did not have an opening act. Vaughan’s solos are different on all three days because they are improvised, so please enjoy them as one of the highlights of the arena tour. It was also worth noting that on this tour, Clapton used as many as 10 guitars, the most number of guitars he had used on one stage in his career. This was because he respected the original blues artists and recordings and tried to produce the same sound. To summarize my preferences, they are: 1. Martin 12-string – Motherless Child 2. Martin 000-42 – Malted Milk 3. Dobro – How Long Blues 4. Gibson L5 – Kidman Blues, County Jail 5. Gibson Birdland (brown sunburst) – Forty Four 6. Fender Stratocaster (blonde finish) – Blues All Day Long, Going Away, Can’t
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