Description
The second upgraded version of the best sound source of “Nothin’ But The Blues Club Tour”, one of the peaks of Clapton’s entire career! This time, the heavyweight Taper, who lives in the UK, provided a complete recording of the best stereo audience recording of the Irving Plaza performance in New York City in November 1994 from the only “club tour” where Clapton returned to the origin of his career and went around small clubs for a short period of time during the “Nothin’ But The Blues Tour” from 1994 to 1995, which can be said to be the most played in his entire career. He also sent us the low-generation DAT master of the second day, the 27th! There is also a previously released version of the sound source of this day, but this time, like the “Irving Plaza 1994 1st Night: DAT Master” recorded on the first day, the 26th, it will be released at the same time with an upgrade due to the DAT master. As with the first day, this work is a superb stereo audience recording, and one song has a different set list from the first day, so enthusiastic fans should not miss this day. As you can see from the audience shot video “House Of Blues 1994 1st Night” recorded at the House of Blues in West Hollywood, California on November 11th of the same year, which we recently released as a free gift, this tour was held in a really small club, where the audience was watching while eating. It was unthinkable even at the time that big-name Clapton would play in such an environment, but it was a tour that Clapton, who aimed to return to his roots, dared to book. In this work, the tremendous power of the musical sounds and vocals that would have been recorded in the front row on this day is captured (there is no audience noise from the front direction, and they can only be heard from the upper back and the left and right). The official release of the film capturing this club tour and its soundtrack CD “Nothin’ But the Blues” were recorded in a different way from the actual song order due to the director Martin Scorsese’s wishes, and considering that it was not a complete recording of the concert, the appeal of this work, which allows you to enjoy the entire club gig with the best sound quality, can be said to be immeasurable. Furthermore, the previously released version containing this sound source was released in a box format that recorded the concerts at this venue, which were consecutive performances, at a high price according to the volume, so some people may not have purchased it. This time, we will release one work for each performance, so you can easily enjoy it. 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. There was no cutting corners at all in every performance of this tour, which took two years, and he played and sang at every performance. It was a stage where he took on a challenge to the blues while being relaxed and relaxed. It can be said that this tour showed his “determination” to find his answer to what “blues” is. Why did Clapton return to the blues? To answer this, we have to trace his sad life. In March 1991, Clapton lost his young son in an accident and fell into the depths of despair. However, encouraged by his staff and fellow musicians, Clapton transformed his feelings for his son and his own life reflections into songwriting, which turned into catharsis. And at the first performance on MTV “Unplugged”, he also played the blues that he had admired since childhood. Clapton, who had once again come into contact with the essence of blues, 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 consecutive performances at the beginning of the year, which had become a tradition, and he carried it 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” was an unprecedented big 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 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. At the lowest point of his life after losing his young son, Clapton realized that it was the blues that guided him so that he would 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 performed it. Among them, the club environment that he experienced during his early years in the Yardbirds and Bluesbreakers eras was a spot that Clapton could not miss in terms of “returning to his roots”. That is why it can be said that Clapton’s spirit in this club tour was extraordinary. The entire show is high-tension and a stage composition with highlights Here is a summary of the schedule for the “Nothin’ But The Blues Tour”: <1994> <September 13th “FROM THE CRADLE” released> September 28th: Tour rehearsals were filmed at the Hammerstein Ballroom in New York. This was later broadcast in the United States, 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? October 1st to October 13th: Japan Tour As the show moved from a seated acoustic set to a standing electric set, Clapton and the band’s “heat” rose rapidly as the show progressed, and by the end they were playing a fiery and passionate performance, reaching their climax before the regular set ended. At the end of the encore, he sang solo with only piano in the background, and the show ended with a moving performance by the entire band, striking the hearts of the audience with the unexpected number Ain’t Nobody’s Business. In the first half, the performance is acoustic or a number composed of a fixed riff, so it seems that the patterned performance is firmly decided, but for the number that features guitar solos from the middle onwards, it is a completely improvised and sharp phrase that shows the essence of Clapton as a live artist. Especially the playing at the end after Early In The Morning is amazing. That Early In The Morning and Five Long Years are also hot takes on this day. I am really impressed that his fingers can move so much. Moreover, it is not just a fast play, but a phrase unique to Clapton with a spirit. In terms of the set list, unlike the first day’s performance the day before, it is valuable that Driftin’ is played instead of Sweet Home Chicago. Moreover, during the song, the key is changed repeatedly, it is a rare development that it is medley to Freddie King’s It’s Too Bad Things Are Going So Tough and then returns to Driftin’. Moreover, he played it. It seems that it was the first time in 17 years since the Budokan performance on October 6, 1977 that Clapton played It’s Too Bad Things Are Going So Tough. Although he played it at the Fillmore on the previous leg of this club tour (but it is not included in the official CD), this will be the only day you can hear it in a medley from Driftin’. It’s such a rare take, and the best take. I would like you to listen to this number as well. Furthermore, Ain’t Nobody’s Business on this day is also the best! Of course, it is clear with a different phrase composition from the previous day. The entire work is also captured in a superb stereo audience recording with excellent sound balance and clear quality, and the quality is exactly the same as the previous day. Even if you are asked to recommend one of them, you have to say, “After all, both!” Of course, all of Clapton’s playing is ad-lib, so it is different from the previous day. Also notable about this tour was that Clapton used 10 different guitars, the most he had ever used on a single stage in his career, in order to honor and create the same sound as the original blues artists and recordings. To summarize my obsessions, I have: ?Martin 12-string – Motherless Child ?Martin 000-42 – Malted Milk ?Dobro – How Long Blues ?Gibson L5 – Kidman Blues, County Jail ?Gibson Birdland (brown sunburst) – Forty Four ?Fender Stratocaster (blonde finish) – Blues All Day Long, Going Away, Can’t Judge Nobody, Early In the Morning, Driftin’, Five Long Years, Crossroads, Groaning The Blues, Ain’t Nobody’s Business ?Fender Stratocaster (black finish) – Standin’ Around Cryin’ ?Gibson Birdland (blonde finish) – It Hurts Me Too, Blues Before Sunrise ?Gibson ES-335 (brown sunburst) – Reconsider Baby, Sinner’s Prayer, Every Day I Have the Blues 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. We hope you enjoy the attention to detail that extends to Clapton’s guitar tone in each song. This is the second definitive edition that captures the club tour that was the highlight of the “Nothin’ But the Blues Tour”! Live at Irving Plaza, New York City, NY, USA 27th November 1994 ULTIMATE SOUND (from Original Masters) * UPGRAD
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