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Yet another original DAT master has surfaced from the “Nothing But the Blues” arena tour—a true peak in Clapton’s entire career! This follows our release of definitive editions 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 versions of regional shows like *Milwaukee 1994*, *Worcester 1994*, and *Indianapolis 1994* (all sourced from DAT masters). 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. It is a superb monaural audience master of the October 13, 1994, show in Hartford. Although the venue differed from our previous releases, it was still part of the same arena tour; while we initially thought we had sufficient coverage, a check of the master revealed astonishing sound quality. It turned out to be the source master for the 2-CDR set *Clapless*, a bootleg that earned a high rating of “4” (out of 5) on the review site Geetarz. That bootleg was produced overseas for a limited circle of collectors—judging by its crude cover art, it was likely a homemade release that was virtually impossible to obtain in Japan. Not only do we have that original master, but we have also remastered it for an even more enjoyable listening experience. This is a fantastic opportunity to easily enjoy the definitive version of the audio from this show. Naturally, the “Nothing But the Blues Tour”—which featured a largely static setlist—was unique in that Clapton’s performances were almost entirely improvised, making each show distinct from the others. It was only logical, then, to release this master recording on a pressed CD. While the MSG recording captured the venue’s atmosphere well thanks to a prime arena-floor position, this master—though monaural—offers similarly outstanding clarity and a pristine sound profile. The audio balance is excellent. The absence of any tape-flip interruptions confirms it is a DAT recording. Even those who purchased previous titles like the “Madison Square Garden 1994” trilogy should look forward to this release. While the official Martin Scorsese film and its accompanying soundtrack album, *Nothing But the Blues*, are well-known, they captured a club tour; due to Scorsese’s creative choices regarding the film’s structure, the tracklist differed from the actual set order, and the release was not a complete concert recording. Given that context—and the fact that the official release focused on intimate club venues—we can confidently state that this recording of the arena tour, which stirred the emotions of massive crowds, is just as essential listening as the “Irving Plaza 1994” trilogy. The “Nothing But the Blues Tour” (1994–1995) is hailed as a highlight of Clapton’s career, marked by inspired, impassioned vocals and blistering guitar work. Throughout the two-year run, he never once held back, pouring his heart and soul into every performance. These shows balanced a relaxed, confident demeanor with a bold, full-on commitment to the blues. It can be viewed as a tour that demonstrated his firm resolve—a journey where he found his own personal answer to the meaning of the blues. To understand why Clapton returned to the blues—a topic I touched upon in the review of this tour—we must look back at the tragic events of his life. In March 1991, Clapton lost his young son in a freak accident, plunging into the depths of emotional despair. Yet, with the encouragement of his staff and fellow musicians, he managed to transform that anguish into a cathartic creative process, channeling his grief and reflections on his life into songwriting. During his debut performance of this new material 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 this experience, he decided to dedicate his annual series of concerts at the Royal Albert Hall in early 1993 entirely to the genre, a plan he successfully carried out. He then went on to record *From the Cradle*, a blues-only album—a long-held dream he had been unable to realize in his youth. He had previously approached his label, Warner, about making a blues album, only to be rebuffed with the claim that such a record wouldn’t sell. However, the unprecedented success of *Unplugged* softened Warner’s stance; they approved the blues album, essentially as a bonus for Clapton, which provided the necessary momentum. Remarkably, *From the Cradle* followed *Unplugged* by hitting number one on the US album charts. Listeners in the blues’ homeland, the United States, craved Clapton’s take on the genre. With the realization of *From the Cradle*, he likely solidified his resolve to fully master the blues in his live performances as well. Riding this wave of momentum, Clapton planned the “Nothing But the Blues Tour,” a series of live shows dedicated exclusively to the blues. Perhaps Clapton realized that the blues had been his guiding light, helping him keep his bearings when he was at his lowest emotional ebb following the loss of his young son. The “Nothing But the Blues Tour” represented a total return to the genre—a way to revisit the music that had captivated him in his youth and to express his gratitude to the blues and the pioneers who played it. The passion and commitment Clapton poured into this tour were truly extraordinary. The show was a high-energy affair packed with musical highlights. Here is a recap of the “Nothing But the Blues Tour” schedule: <1994> *Sept. 13: Release of “From the Cradle”* Sept. 28: Filming of tour rehearsals 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 13th performance featured in this release took place midway through the “Nothing But the Blues Arena Tour.” The tour had moved from the initial New York Madison Square Garden (MSG) shows to a series of dates in other regions. Although the setlist was identical to the previous night’s MSG performance, Clapton is a true live artist; his playing is entirely improvisational, meaning you hear solos that differ completely from the MSG versions, even on the same songs. As the show transitioned from the seated acoustic set to the standing electric set, the intensity of Clapton and his band surged rapidly; the finale featured a fiery, passionate performance that reached a fever pitch before the main set concluded. The set structure remained consistent, culminating in a moving rendition of the unexpected choice “Ain’t Nobody’s Business”—starting with a solo vocal backed only by piano and ending with the full band—which deeply stirred the audience. While the first half—comprising acoustic tracks or songs built on standard riffs—showcased solid, reliable execution of established patterns, the latter half highlighted Clapton’s true essence as a live performer; on tracks featuring prominent guitar solos, he unleashed a torrent of razor-sharp, fully improvised phrases that flowed without a hitch. Disc 2, in particular, offers a chance 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 his blistering fretwork in the final stretch, beginning with “Five Long Years,” is simply astounding. One cannot help but marvel at the sheer agility of his fingers. Moreover, these aren’t merely displays of speed; they are phrases infused with the unique spirit that defines Clapton’s playing. “Born Under A Bad Sign” is a track worth noting, as it was not performed during the club tour; consequently, along with “Crosscut Saw,” this recording captures a rare moment where Clapton rivals the style of Albert King. While one could argue that the entire second half constitutes the show’s highlight, if I had to single out one track, it would be “Groanin’ The Blues.” You need only listen to it to understand why—it is truly incredible. “Ain’t Nobody’s Business” is also superb! This song dates back to 1922 and has been covered by numerous artists, but Clapton based his rendition on the 1923 version by the pre-war female blues singer Bessie Smith. He sings in a matter-of-fact tone about a life of misfortune—lyrics that say, in essence, “Leave me alone, whether I end up penniless or jump into the sea to end it all.” Yet, at the climax, the entire band unleashes an explosion of emotion. Is it a cry of desperation? Or is Clapton shifting gears to encourage the protagonist, saying, “You mustn’t give up hope; cherish yourself”? The performance here is so magnificent that it allows for such interpretations. While an ordinary guitarist might simply coast through the song night after night using stock phrases, Clapton constructs a solo with phrasing entirely different from other shows. This serves as proof of his extraordinary talent, underpinned by advanced technique and a unique musical sensibility. He played many blues songs on this tour that he had never recorded in the studio, but this particular track stands out as especially memorable. Given that it was placed at the end of the regular set, it clearly reflects a deliberate choice on Clapton’s part. Compared to the *From the Cradle* tour—where the intensity was unrelenting—the “Nothing But the Blues” tour featured a longer setlist, allowing for a masterful balance of pacing; he knew exactly when to shift gears and when to downshift and relax, both in his guitar work and his vocals. On this particular night, his singing was even more impassioned than at other shows, rivaling the brilliance of his guitar playing. I cannot stress enough that the “top-gear, full-throttle” performance and vocals found on Disc 2 are a must-listen. Furthermore, for this arena tour, he invited his friend and fellow guitarist Jimmie Vaughan to serve as the opening act; consequently, “Sweet Home Chicago” was performed during the encore, featuring a guest appearance by Vaughan. This was a club tour that didn’t have an opening act.It was a unique kind of enjoyment not found elsewhere. Clapton seemed particularly delighted to be performing with Jimmie Vaughan on this day, giving Vaughan more than twice as much time for solos as he took for himself. Vaughan, granted such ample opportunity to play, rose to the occasion and delivered one fiery solo after another. Such a spectacular encore session was surely something that could only happen in America, the true home of the blues. Another notable aspect of this tour was that Clapton used a total of ten different guitars—a record for the highest number of instruments played in a single set throughout his career. This was done out of a deep respect for the original blues artists and recordings, in an effort to replicate their authentic sounds. Here is a breakdown of that specific selection: 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.” The superb audio quality of this release captures the distinct tone of each guitar with precision. We invite you to enjoy the nuances of Clapton’s carefully chosen guitar tones across every track. Civic Center, Hartford, CT, USA 13th October 1994 ULTIMATE SOUND(from Original Masters) Disc:1 (58:11) 1. Motherless Child 2. Malted Milk 3. How Long 4. Kidman Blues 5. County Jail 6. 44 7. Blues All Day Long 8. Going Away 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 (58:56) 1. I Can’t Judge Nobody 2. Someday After a While 3. I’m Tore Down 4. Have You Ever Loved a Woman 5. Crosscut Saw 6. Five Long Years 7. Born Under a Bad Sign 8. Groaning the Blues 9. Crossroads 10. Ain’t Nobody’s Business 11. Sweet Home Chicago w/Jimmie Vaughan Eric Clapton Guitar, VocalsAndy Fairweather Low Rhythm Guitar Jerry Portnoy Harmonica Chris Stainton Keyboards Dave Bronze Bass Andy Newmark Drums Roddy Lorimer Trumpet Tim Sanders Tenor Sax Simon Clarke Baritone Sax
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