Description
The first high-quality DAT master from the 6th day of the 1993 Royal Albert Hall performance! We have obtained Eric Clapton’s first public original master! This master was recorded directly by a famous maniac living in the UK using a DAT tape he recorded himself, and is the same person who recorded the original master “ROYAL ALBERT HALL 1993 7th Night” (recorded at the same venue on March 1st) that we recently released. Like “ROYAL ALBERT HALL 1993 7th Night”, this is a newly excavated sound source that is not even listed on Clapton’s bootleg evaluation site “Geetarz”. “ROYAL ALBERT HALL 1993 7th Night” had a sound image that slightly reflected the sound unique to the circular dome-shaped venue called the Royal Albert Hall (hereinafter referred to as RAH), but this work suppresses the sound and is a clearer and closer to the live sound stereo audience recording. The taper was recorded every day, but this difference seems to be due to the recording position. The master of this work, which was recorded in a better position than the 7th day, included two tape change points, but both were after the performance, so there was no problem and it can be said to be a trouble-free master. The sound quality is so vivid because of the good position! From guitars and vocals to drums, it is recorded with a very good sound balance. This consecutive performance was the first solo live performance of the year, following Cream’s “Rock and Roll Hall of Fame” award commemorative performance held in January of the same year, and 12 performances were held. At the first live performance of the year, Clapton came up with a groundbreaking plan that had never been done before. It was to make the entire set up of old blues. After the previous year’s “Unplugged”, Clapton, who had done the work of introspectively looking back on his career and life, came to the conclusion that he would return to his roots with gratitude for the blues that had saved him from the nadir of losing his young son. This performance was very valuable and important in the sense that it was the trigger for the recording of the subsequent album “From The Cradle”. During these consecutive performances, Clapton was thinking of deciding on candidates for blues numbers to be included in “From The Cradle”. Therefore, the numbers that can be heard here are not only ones that he had wanted to cover for a long time, but also ones that he played with his band to see if they fit. Therefore, rare blues that were not featured in the later “Nothin’ But The Blues Tour” are included in the set. Numbers such as Alabama Women, Chicago Breakdown, Long Distance Call, Blow Wind Blow, Key To The Highway, Tell Me Mama, Juke, Comin’ Home, Meet Me In The Bottom, It’s My Life, and All Your Love were not included in the set on the “Nothin’ But The Blues” tour held in 1994-1995, so they are blues covers that can only be heard here. From this, it can be seen that Clapton’s knowledge and mania about blues was at a considerable level. Add to that experience and think about how he got to this point, and you’d think that no matter what song he chose, he wouldn’t have had to be afraid. Furthermore, Hear Me Calling was an original blues song written by Clapton. This song has never been recorded in a studio since then, so it’s a very valuable live version. The first half of the show is played simply in the original composition, but from around Love Her With A Feeling in the second half, where the proportion of guitar solos increases, things suddenly get heated and Clapton’s interpretation shines through. Clapton’s solos in each song are filled with tension, as if he is trying to assimilate with the blues. In addition, before playing each song, Clapton always announces the author’s name and the title of the song, which shows that he was aware of his role as an “evangelist” to guide the audience who were not familiar with the blues. This performance is also valuable in the sense that you can feel Clapton’s sincere attitude, but the band personnel was also only for this time, and Little Feat’s drummer Richie Hayward was used, just like the performance in Japan at the end of the year, but Donald Duck Dunn was brought over from Memphis for the first time in eight years since 1985 for the bass, only for this consecutive performance. And Jerry Portnoy, a white but deep harpist, was also used from this time. It can be said that the stage with this face was interesting, containing various spot meanings. The intention of solidifying the rhythm section with Americans must have been related to the blues that Clapton was aiming for. Also note that Ain’t Nobody’s Business was already set as the finale of the regular set at this point. There is no studio version of this song, but considering that it was the last number, Clapton must have had a special attachment to it. Compared to the later take on the “Nothin’ But the Blues Tour,” the lyrics are different, and the final part, which is played by the whole band, is one chorus longer. Therefore, Clapton plays a relatively relaxed solo phrase. This was his early appearance. The composition of singing alone with only the piano in the background, and then the whole band playing after the break to reach the finale has not changed since then. It is truly moving. Please enjoy Clapton’s blues with this work, which is the first release of the original master recording of the 6th day performance of RAH. It has a different flavor from the “Nothin’ But the Blues Tour.” The only tour with dynamic drummer Richie Hayward The drummer for these consecutive performances was the late Richie Hayward of Little Feat (who died in 2010). The only times in Clapton’s career that he served as a support drummer on tour were this RAH performance and the Japan tour. Clapton probably scouted him because he had a track record of performing with Little Feat twice, in 1988 and 1992. He must have been attracted to him after hearing his dynamic drumming. In this album, you can hear his powerful playing, especially in electric blues. We hope you will enjoy his playing, which can only be heard here, and pay tribute to this great drummer. His friend, guitarist Jimmie Vaughan, makes a surprise appearance for the encore! At Clapton’s request, the band of Jimmie Vaughan, who is also Clapton’s friend, served as the support act for this series of performances. As a guitarist who loves blues just like Clapton, he made a surprise appearance every night for the encore, livening up the end of the stage. Here, you can hear Clapton and Vaughan’s solo performance of Sweet Home Chicago, a number by Robert Johnson that has been covered by many blues guitarists. This feels more like a friendly collaboration than a guitar battle. Vaughan was also invited by Clapton to the “Blues Night” in 1990 and 1991, and the more they performed together, the deeper their bond became (Vaughan would later perform with Clapton on the “Nothin’ But The Blues” US tour in 1994-1995). Please enjoy the stage of the friendship between the two. There is acoustic blues, electric blues, major blues, and minor blues. In other words, this is the stage that contains all the charm of the blues that Clapton wanted to play at this time, Royal Albert Hall London 27th February 1993 TRULY PERFECT SOUND (from Original Masters) Disc:1 (75:37) 1. Intro. 2. How Long 3. Alabama Women 4. Terraplane Blues 5. From Four Until Late 6. Kidman Blues 7. County Jail 8. 32-20 9. Chicago Breakdown 10. Hey Hey 11. Walking Blues 12. Long Distance Call 13. Blow Wind Blow 14. Key To The Highway 15. Tell Me Mama 16. Juke 17. Blues Leave Me Alone 18. Goin’ Away 19. Coming Home 20. Meet Me In The Bottom 21. Forty Four Disc:2 (55:08) 1. It’s My Life 2. Love Her With A Feeling 3. Tore Down 4. Born Under A Bad Sign 5. Let Me Love You Baby 6. All Your Love 7. Groaning The Blues 8. Hear Me Calling 9. Ain’t Nobody’s Business 10. Band Introductions 11. Sweet Home Chicago * Eric Clapton – guitar / vocals Andy Fairweather Low – guitar Chris Stainton – keyboards Port Jerrynoy – harmonica Duck Dunn – bass Richie Hayward – drums Roddy Lorimer – trumpet Tim Sanders – tenor saxophone Simon Clarke – baritone saxophone Jimmie Vaughan – guitar*
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