Description
The best stereo soundboard master of the first day of the “Nothin’ But The Blues Club Tour”, one of the peaks of Clapton’s entire career! The heavyweight Taper, who lives in the UK, provided a DAT master that completely recorded the first day of the “Club Tour” on November 7, 1994, San Francisco, The Fillmore performance with the best stereo soundboard recording, from the “Nothin’ But The Blues Tour” from 1994 to 1995, which can be said to be the most played in Clapton’s entire career, which was the only “Club Tour” where he returned to the origin of his career and went around small clubs for a short period of time! From this club tour, our shop has released each day of “Irving Plaza” 3 days from the best stereo audience master and has been very well received, but here is the appearance of the dignified Yokozuna Master. This The Fillmore performance was also held for three consecutive days, of which the performances on the 7th and the following 8th were officially recorded live and video recorded. As for the audio, a radio program that combined excerpts from these two days with an interview with Clapton was broadcast on FM radio in the United States at the time, and fans will know that the famous director Martin Scorsese took the lead in completing the video as the film “NOTHING BUT THE BLUES” (although the official release was delayed until 2022). As for the sound source, in addition to being treated as an underground soundtrack from this film, it was produced and released from a leaked soundboard source. However, since the source of the sound source that has been in circulation until now was a cassette master that copied the VHS tape of the movie or a leaked soundboard, this time it will be released as an upgraded version because it is a DAT master that has been digitally copied while maintaining the freshness of the original master. Recently, we offered as a free gift “House Of Blues 1994 1st Night”, an audience shot video recorded at the House of Blues in West Hollywood, California on November 11th of the same year from this club tour. If you have seen it, you will know that it was a performance held in a really small club, where people watched while eating. It was unthinkable even at the time for a big-name Clapton to play in such an environment (like appearing on Billboard Tokyo in Japan), but it was a tour that Clapton, who aimed to return to his roots, dared to book. Considering that the movie and its soundtrack CD “NOTHING BUT THE BLUES” were recorded in a different form from the actual song order in the composition of the video due to the intention of director Martin Scorsese, and that it was not a complete recording of the concert, it can be said that the appeal of this work, which allows you to enjoy the whole picture of the club gig with a sound board of the finest sound quality, is immeasurable. Moreover, since it was the first day of the performance, it is self-evident that Clapton’s enthusiasm was extraordinary. This is a historic sound source that you can enjoy with this highest quality sound quality, and even if you are not a Clapton maniac, you must listen to it at least once. And this time, from the soundboard master of the same quality, Every Day I Have the Blues, which was not played on the first day, is recorded as a bonus from the second day performance, and Driftin’ is recorded from the third day performance, so you can enjoy this The Fillmore performance more perfectly. In particular, Driftin’ has been established as a Clapton’s singing tune that opens the acoustic set on the stage in recent years, but this take is played on a crunchy electric guitar, and the repeated key changes in the song make the tension rise and rise, making it a tremendous workmanship. As a result, this work naturally allows you to listen to far more numbers than the official soundtrack CD. The “Nothin’ But the Blues Tour” held from 1994 to 1995 was described as a tour in Clapton’s career where he sang and played like a god. This tour took two years to complete, and he played and sang at every performance, without any slacking. It was a stage where he took on a challenge to the blues while being relaxed and relaxed. It was a tour that showed his “determination” to find his answer to what “blues” is. Why did Clapton return to the blues? To find out, we have to trace his sad life. In March 1991, Clapton lost his young son in an accident and fell to the bottom of his life. However, encouraged by his staff and fellow musicians, Clapton turned his feelings for his late son and his own life reflections into songwriting, which became a cathartic experience. And at the first performance on MTV’s “Unplugged,” he also played the blues that he had admired since his childhood. Clapton, who had once again come into contact with the essence of blues, decided to hold a concert with a set list of only blues songs at the Royal Albert Hall series at the beginning of 1993, which had become a tradition, and carried it out. He then went ahead and recorded the blues-only album “FROM THE CRADLE”, which he had longed for, something he had not been able to do when he was younger. Clapton had previously approached Warner, his contracted label, about producing a blues album, but was turned down, saying “There’s no way something like that will sell”. However, the album “UNPLUGGED” was an unprecedented hit, and Warner softened their stance and approved 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 wanted Clapton’s blues, too. With the release of the album “FROM THE CRADLE,” Clapton was determined to pursue the blues on the live stage. With this momentum, Clapton planned the “Nothin’ But The Blues Tour,” in which he would only play blues on the live stage. At the lowest point of his life, having lost his young son, Clapton realized that it was the blues that guided him to not 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 played it. Among them, the club environment that he experienced during his early years in the Yardbirds and Bluesbreakers eras. In terms of “returning to his roots,” it was a spot that Clapton absolutely could not miss. That is why it can be said that Clapton’s spirit in this club tour was extraordinary. The whole show is full of high energy and great things to listen to. Here is a rundown of the dates for the “Nothin’ But The Blues Tour”: <1994> <September 13th, “FROM THE CRADLE” released> September 28th: Tour rehearsal footage recorded at the Hammerstein Ballroom in New York. This was later broadcast in the US, Europe and Japan. October 3rd to November 4th: US Arena Tour November 7th to November 28th: US Club Tour ← [Here] <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 In the first half, the performance is played on acoustic or standard riff numbers, so it feels like a solid patterned performance, but from the middle onwards, for numbers that feature guitar solos prominently, he shows the essence of Clapton as a live artist by piling up furious phrases that are completely improvised and unwavering. Especially the playing at the end after Someday After A While is indescribable. It’s amazing how his fingers can move so well. The characteristics of Clapton’s playing can be summed up simply as “the ingenuity of phrase composition and the elegance of playing.” He plays fast, but it’s thrilling, not monotonous. And he doesn’t stumble or stagnate during his solos, and there are no mistones. He has acoustic and electric. He has major and minor blues. He has slow blues and shuffles. He sets in various types of blues, and his playing characteristics create a very varied “blues exhibition,” which never gets old. Not only Clapton fans, but anyone who listens to this album will understand the essence of Eric Clapton as a blues musician. At the end of the album, he plays a fiery and passionate performance, and in the encore, he plays Ain’t Nobody’s Business, a solo with only the piano in the background. 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 the song, lamenting his unfortunate life, “I don’t care if I’m penniless or if I jump into the ocean and kill myself, 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. Take care of yourself.” The performance here is amazing, even if it can be interpreted that way. On this tour, we played many blues songs that had never been recorded in a studio, but this song is particularly memorable. Considering that he brought it to the encore, Clapton must have had some intention. This is a song that you should definitely listen to. From start to finish, including this number, everything is captured in a superb stereo soundboard recording with excellent sound balance and clarity. It is also worth noting that on this tour, Clapton used as many as 10 guitars, the most number of guitars 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. The following are my picks: (1) Martin 12-string – Motherless Child; (2) Martin 000-42 – Malted Milk; (3) Dobro (resonator) – How Long Blues; (4) Gibson L5 – Kidman Blues, County Jail; (5) Gibson Birdland (brown sunburst) – Forty Four; (6) Fender Stratocaster (blonde finish) – Blues leave Me Alone, I Can’t Judge Nobody, Driftin’, Crossroads, Groaning The Blues, Five Long Years, Ain’t Nobody’s Business; (7) Fender Stratocaster (black finish) – Hoochie Coochie Man, Standin’ Around Cryin’; (8) Gibson Birdland (blonde finish)(9) Gibson ES-335 (Brown Sunburst) – Third Degree, Reconsider Baby, Sinner’s Prayer, Every Day I Have The Blues (10) Gibson ES-335 (Cherry Red) – Someday After A While, Tore Down, Have You Ever Loved A Woman, Crosscut Saw With the superb sound quality of this work, the tone of each guitar is accurately captured. Please enjoy the attention to detail that extends to Clapton’s guitar tone in each song. This is the definitive soundboard that captures the club tour that was the highlight of the “Nothin’ But The Blues Tour”! The Fillmore, San Francisco, CA, USA 7th November 1994 STEREO SBD(from Original Masters) 2024 TRANSFER & UPGRADE!!! Disc:1 (50:55) 1. Introduction 2. Mother’s Children 3. Malted Milk 4. How Long 5. Kidman Blues 6. County Jail 7. 44 8. Blues Leave Me Alone 9. Standin’ Round Crying 10. Hoochie Coochie Man 11. It Hurts Me Too 12. Blues Before Sunrise 13. Third Degree 14. Reconsider Baby Disc:2 (67:05) 1. Sinner’s Prayer 2. I Can’t Judge Nobody 3. Someday After A While 4. Tore Down 5. Have You Ever Loved A Woman 6. Crosscut Saw 7. Five Long Years 8. Crossroads 9. Groaning The Blues 10. Ain’t Nobody’s Business Bonus Tracks 11. Every Day I Have the Blues The Fillmore, San Francisco, CA, USA 8th November 1994 12. Driftin’ The Fillmore, San Francisco, CA, USA 9th November 1994 STEREO SOUNDBOARD RECORDING 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)
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