Description
Yet another original DAT master has surfaced from the “Nothing But the Blues” arena tour—a true peak in Clapton’s career! This development follows our release of definitive versions covering his 1994 club tour (the “Irving Plaza 1994” trilogy) and the subsequent arena tour (the “Madison Square Garden 1994” trilogy), as well as upgraded editions for regional shows like “Milwaukee 1994,” “Worcester 1994,” and “Indianapolis 1994.” The high-grade original masters provided by this source were enthusiastically received by Clapton and blues fans alike (and continue to sell well). Just as we thought we had the definitive audio coverage for both the club and arena legs of the 1994–95 “Nothing But the Blues” tour—where Clapton played exclusively old blues numbers—the same taper provided us with *another* new DAT master from the arena tour. This is a superb stereo audience master from the October 18, 1994, show in Cleveland, Ohio. Moreover, this recording had never circulated before; it was a previously unreleased master making its debut here. While it was unreleased, one might wonder if it was truly necessary given our existing arena tour titles; however, upon checking the master, we were blown away by the incredible sound quality. According to the overseas taper, it was recorded on a Sony DAT deck; it is an exceptional master that allows for uninterrupted listening, free from the “tape flip” breaks common in the analog recording era. Although the setlist remained largely static throughout the “Nothing But the Blues” tour, Clapton’s playing was entirely improvisational, making every performance unique. Naturally, we decided to release this master on a pressed CD. Just as the “Madison Square Garden 1994” releases captured the venue’s atmosphere perfectly thanks to their prime arena-floor recording positions, this title also features a “pristine” stereo recording distinguished by exceptional clarity and excellent sound balance. Even if you have already purchased previous releases like the “Madison Square Garden 1994” trilogy, this is a title you will want to check out; it is a superb recording that is far too good to pass up. While the official Martin Scorsese film and its accompanying soundtrack, *Nothing But the Blues*, are well-known, they document a club tour rather than the arena tour. Furthermore, due to Scorsese’s creative choices regarding the film’s structure, the songs were not presented in their actual performance order, nor was the concert captured in its entirety. Given these factors—and the fact that the official release focused on intimate club venues—this arena tour recording, which stirred the emotions of massive crowds, is well worth hearing, just like the “Irving Plaza 1994” trilogy. The “Nothing But the Blues Tour” (1994–1995) is hailed as a highlight of Clapton’s career, a time when his singing and guitar playing reached a truly inspired, transcendent level. Throughout the two-year run, he never once held back; he poured his heart and soul into every performance, playing and singing with relentless intensity. The shows were characterized by a sense of relaxed confidence, yet they also represented a bold, full-on immersion into the blues. It can be seen as a tour that demonstrated his firm resolve—a moment where he arrived at his own personal answer regarding the meaning of the blues. To understand why Clapton returned to the blues—a topic touched upon in the reviews for the other titles in this series—we must look back at the tragic events of his life. In March 1991, Clapton hit rock bottom emotionally after losing his young son in a tragic accident. However, encouraged by his staff and fellow musicians, he managed to transform that anguish into a cathartic creative process, channeling his feelings for his late son and reflections on his own life into songwriting. During his debut performance on MTV’s *Unplugged*, he also played the blues—a genre he had admired and performed since boyhood. Rediscovering the essence of the blues through that experience, he decided—even while returning to standard touring—to dedicate his annual early-year residency at the Royal Albert Hall in 1993 entirely to the blues. He followed through on this plan and also undertook the recording of *From the Cradle*, a blues-only album he had long dreamed of making but had been unable to realize in his youth. He had previously approached his label, Warner, about producing a blues album, only to be rebuffed with the claim that such a record would never sell. However, the unprecedented success of the *Unplugged* album softened Warner’s stance; they approved the blues project, essentially as a bonus for Clapton, which provided a crucial tailwind. Remarkably, *From the Cradle* followed *Unplugged* by hitting number one on the US album charts—proving that even audiences in the blues’ American heartland craved Clapton’s take on the genre. With the realization of *From the Cradle*, he likely resolved to fully master the blues in his live performances as well. Capitalizing on this momentum, Clapton planned the “Nothing But the Blues” tour, a series of concerts featuring exclusively blues music. Perhaps Clapton realized that it was the blues that had guided him and kept him from losing himself while he was at the emotional nadir of losing his young son. The “Nothing But the Blues Tour” represented a deep return to the blues—an endeavor born of a desire to revisit the music that captivated him in his youth and to pay tribute to the pioneers who performed it. Clapton’s dedication to this tour was truly extraordinary. The show was structured to maintain high energy throughout, offering one highlight after another. Here is a recap of the “Nothing But the Blues Tour” schedule: <1994> ≪Sept. 13: *From the Cradle* released≫ Sept. 28: Tour rehearsal filmed at the Hammerstein Ballroom in New York (later broadcast in the US, Europe, and Japan). Oct. 3–Nov. 4: US Arena Tour ← [We are here] Nov. 7–Nov. 28: US Club Tour <1995> Feb. 15–Mar. 7: UK Tour Apr. 5–May 5: European Tour Aug. 28–Sept. 24: US Arena Tour II Oct. 1–Oct. 13: Japan Tour. As you can see, the October 18th performance took place midway through this “Nothing But the Blues Arena Tour,” following the initial shows at New York’s Madison Square Garden (MSG) and moving into regional venues. Although the setlist mirrored the MSG performance, Clapton is a true live artist; his playing is entirely improvisational, meaning the solos differed vastly from those heard at MSG. The show transitioned from a seated acoustic set to a standing electric set; as it progressed, the intensity of Clapton and the band surged rapidly. By the finale, the performance was fiery and deeply passionate, reaching a fever pitch before the main set concluded. The set structure remained constant: the show concluded with the surprising choice of “Ain’t Nobody’s Business”—a song that begins with a solo vocal backed only by piano and ends with a stirring, full-band performance that deeply moved the audience. In the first half, the songs relied on acoustic arrangements or standard riffs; while the playing was solid and reliable, it felt somewhat formulaic. However, from the middle section onwards—particularly in songs that heavily featured guitar solos—Clapton revealed the true essence of a live performer. He unleashed a torrent of razor-sharp, completely improvised phrases that flowed seamlessly without a moment’s hesitation. Disc 2, in particular, allows the listener to experience Clapton at his absolute best when playing the blues. The fluid solos during the three-song Freddie King tribute—starting with “Someday After A While”—are a highlight, and the blistering guitar work in the final stretch, beginning with “Five Long Years,” is simply extraordinary. One is left marveling at how his fingers can move with such agility. Moreover, this isn’t merely about playing fast; these are phrases infused with the unique spirit that defines Clapton’s style. “Born Under A Bad Sign” is a track that demands attention, as it was not performed during the club tour. Consequently, along with “Crosscut Saw,” this recording offers a rare opportunity to hear Clapton channeling the spirit of Albert King. While one could argue that the entire second half constitutes the show’s highlight, “Five Long Years” and “Groanin’ The Blues” stand out in particular. You need only listen to them to be convinced; the playing is simply phenomenal. The sheer intensity and virtuosity of his guitar work leave one speechless. “Ain’t Nobody’s Business” is also superb. Originally written in 1922 and covered by numerous artists, Clapton’s version is based on the 1923 recording by the pre-war female blues singer Bessie Smith. Clapton delivers the lyrics—which lament a life of misfortune, with sentiments like “Whether I go broke or jump into the sea and kill myself, just leave me alone”—in a cool, matter-of-fact manner. Yet, towards the end, the entire band unleashes an explosion of emotion. Is it a cry of desperation? Or is Clapton encouraging the protagonist—telling them not to give up hope and to cherish themselves? The performance here is so magnificent that it can be interpreted in just such a way. While an ordinary guitarist might simply coast through the song night after night using stock phrases, Clapton constructs a solo here with phrasing completely different from other shows—and on this particular day, he is in brilliant form. This serves as proof of his extraordinary talent, underpinned by advanced technique and a unique musical sensibility. Although he played many blues songs on this tour that he had never recorded in the studio, this track stands out as particularly memorable. Given its placement as the finale of the regular set, it is clear that Clapton had a specific intention in mind. Curiously, this song is missing from the official *Nothing But the Blues* soundtrack album (even though it is included in the film itself). Consequently, excellent bootlegs like this one offer the only way to fully savor this song as it was performed to close the concert. Compared to the *From the Cradle* era—where the approach felt somewhat tense and strained—the *Nothing But the Blues* tour featured longer setlists that allowed for a masterful balance of pacing and dynamics, including the vocals; there were moments to shift gears and push hard, and others to downshift and relax. On this day, Clapton delivers not only superb guitar work but also a passionate vocal performance. I cannot stress enough that the “top gear,” full-throttle playing and singing found on Disc 2 are absolutely essential listening. Furthermore, for this arena tour, Clapton personally selected the band of his friend and fellow guitarist Jimmie Vaughan as the opening act, and the encore featured…”Sweet Home Chicago” is performed, featuring a guest appearance by Jimmie Vaughan—a treat that wasn’t part of the club tour, which lacked an opening act. Clapton seemed particularly delighted to be sharing the stage with Vaughan that day, giving him more than twice as much solo time as he took for himself. Vaughan, granted such ample opportunity to play, rose to the occasion and delivered a series of scorching solos. The trading of solos on this track was truly spectacular: it kicked off with Jimmie Vaughan, followed by Andy Fairweather Low, a sax solo, a piano solo, and a harmonica solo. Just when you thought the song might return to the vocals and wrap up with a Clapton solo, a drum solo followed instead. It is rare to witness such an extravagant, massive jam session. An encore session of this caliber was likely something unique to the United States, the true home of the blues. Also noteworthy about this tour was that Clapton used ten different guitars—the highest number he had ever employed in a single show—in his effort to honor the original blues artists and recordings by replicating their authentic sounds. To break down his specific choices: ① Martin 12-string – “Motherless Child” ② Martin 000-42 – “Malted Milk” ③ Dobro – “How Long” ④ Gibson L-5 – “Kidman Blues,” “County Jail” ⑤ Gibson Byrdland (Brown Sunburst) – “44” ⑥ Fender Stratocaster (Blonde Finish) – “Blues All Day Long,” “Going Away Baby,” “I Can’t Judge Nobody,” “Five Long Years,” “Born Under A Bad Sign,” “Groaning The Blues,” “Crossroads,” “Ain’t Nobody’s Business,” “Sweet Home Chicago” ⑦ Fender Stratocaster (Black Finish) – “Standin’ Around Cryin'” ⑧ Gibson Byrdland (Blonde Finish) – “It Hurts Me Too,” “Blues Before Sunrise” ⑨ Gibson ES-335 (Brown Sunburst) – “Third Degree,” “Reconsider Baby,” “Sinner’s Prayer” ⑩ Gibson ES-335 (Cherry Red) – “Someday After a While,” “Tore Down,” “Have You Ever Loved A Woman,” “Crosscut Saw.” Thanks to the superb audio quality of this release, the unique tone of each guitar is captured with precision. We invite you to enjoy the meticulous attention paid to Clapton’s guitar tones across every track. Non-stop guitar playing from start to finish! A previously unreleased master recording unearthed after 32 years! Gund Arena, Cleveland, OH, USA 18th October 1994 ULTIMATE SOUND Disc:1 (58:10) 1. Motherless Child 2. Malted Milk 3. How Long 4. Kidman Blues 5. County Jail 6. .44 7. Blues All Day Long 8. Goin’ Away Baby 9. Standing Around Crying 10. Hoochie Coochie Man 11. It Hurts Me Too 12. Blues Before Sunrise 13. Third Degree 14. Reconsider Baby 15. Sinner’s Prayer Disc:2 (60:29) 1. Someday After a While 2. Tore Down 3. Have You Ever Loved a Woman 4. Crosscut Saw5. Five Long Years 6. Born Under a Bad Sign 7. Groaning the Blues 8. Crossroads 9. Ain’t Nobody’s Business 10. Sweet Home Chicago * Eric Clapton – guitar / vocals Andy Fairweather Low – guitar Chris Stainton – keyboards Dave Bronze – bass Andy Newmark – drums Jerry Portnoy – harmonica The Kick Horns (Simon Clarke – baritone saxophone, Roddy Lorimer – trumpet, Tim Sanders – tenor saxophone) Jimmie Vaughan – guitar *
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