Description
The first sound source of “Nothin’ But The Blues Arena Tour”, one of the peaks of Clapton’s entire career! Recently, “IRVING PLAZA 1994 3RD NIGHT: DAT MASTER (2CD)” became a sensational topic as the appearance of the original master that perfectly cleared the defects of the previous board. From the “Nothin’ But The Blues Club Tour” in 1994, when Clapton returned to the origin of his career and toured small clubs for a short period of time, it has been very well received as the definitive version of the best stereo audience recording of the third day of the Irving Plaza performance in New York City on November 28, 1994. This time, the taper that provided the master has brought us another astonishing DAT master! This is the master of the wonderful stereo audience recording of the first day of the performance at Madison Square Garden in New York on October 8 from the “Nothin’ But The Blues Arena Tour” held as the prelude to the club tour. Although the sound image differs from “IRVING PLAZA 1994 3RD NIGHT: DAT MASTER (2CD)” due to the difference in the capacity and spatial structure of the venue, this master is also a high-quality master recorded in stereo with high sound quality. Since it is an arena tour compared to a club tour, this work is a first-class audience recording that can be assumed to have been recorded in a good arena seat position at a venue where you can listen to a normal arena concert. In a word, it is “a very beautiful recording”. It captures the musical sounds on the stage with a sense of air and in a well-balanced and clear manner. If the definitive version of the club tour is the three works of “IRVING PLAZA 1994” released by our store, the definitive version of the arena tour is decided by this work. The film and soundtrack CD “Nothin’ But The Blues” by director Martin Scorsese, which was produced based on this tour, captured the club tour. Due to Scorsese’s wishes, the song order was recorded differently from the actual song order in the video composition, and considering that it was not a complete recording of the concert and that the venue was a club, this work of the arena tour, which moved a larger audience, is also very worth listening to, just like “IRVING PLAZA 1994”. 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 in every performance of this tour, which took two years, without any slacking, and he played and sang at every performance. It was a stage where he took on the challenge of blues while being relaxed and relaxed. It can be said that this tour was a “decision” that showed him his own answer to what “blues” is. Why did Clapton return to the blues in 1994? To answer this, we must trace his sad life. In March 1991, Clapton lost his young son in an accident and was at the lowest point of his life. However, encouraged by his staff and fellow musicians, Clapton was able to turn his feelings for his son and his own life reflections into songwriting, which turned into catharsis. And at the first performance on MTV’s “Unplugged,” Clapton also played the blues that he had admired since childhood. Having once again come into contact with the essence of blues, Clapton 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 regular early concerts, which he carried 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” became an unprecedented hit, and Warner softened their stance, approving 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. It can be said that Clapton’s spirit in this tour was extraordinary. The entire tour was high-tension and the stage composition was full of 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 ← [Here] November 7th to November 28th: US Club Tour <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 You can see that October 8th, recorded on this album, was the beginning of the “Nothin’ But the Blues Arena Tour”. As they moved from a sitting acoustic set to a standing electric set, Clapton and the band’s “heat” rose rapidly as the set progressed, and at the end, they played a fiery and passionate performance, and the regular set ended when it reached its peak. At the end of the encore, he sang solo with only piano in the background, and the ending was an emotional performance by the whole band, which was an unexpected number, Ain’t Nobody’s Business, that shook the audience’s hearts. In the first half, he played numbers composed of acoustic or standard riffs, so it felt like he was playing a patterned performance, but for the numbers that featured guitar solos from the middle onwards, he played a completely improvised, sharp, and raging phrase that showed the essence of Clapton as a live artist. The elegant solo in the Freddie King corner, which is played three songs in a row from Someday After A While, is also worth listening to. In particular, the playing at the end of Five Long Years and after is too amazing. I was amazed at how well his fingers moved. Moreover, it was not just a fast play, but a phrase unique to Clapton, with a spirit on it. The focus is on Born Under A Bad Sign, which was not played on the club tour. That’s why, along with Crosscut Saw, this is a valuable take that allows us to see Clapton approaching Albert King. And Ain’t Nobody’s Business on this day was also great! This song was written in 1922 and has been covered by various singers, but Clapton’s version is based on a version sung by pre-war female blues singer Bessie Smith in 1923. Clapton sings the lyrics, “I don’t care if I’m penniless or if I jump into the ocean and commit suicide, leave me alone,” lamenting his unfortunate life. 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 on yourself. Take care of yourself.” The play here, which can be interpreted in this way, is too amazing. On this tour, we played many blues songs that we had never recorded in a studio, but this song is particularly memorable. Considering that it was brought to the end of the regular set, it is certain that Clapton had some intention behind it. In addition, on this arena tour, he appointed his friend, guitarist Jimmie Vaughan’s band as the opening act, and Sweet Home Chicago was played during the encore, with Vaughan joining in. This is something that was not present on the club tour, which did not have an opening act. Please enjoy this as one of the highlights of the arena tour. Also, on this tour, it was worth noting that Clapton used as many as 10 guitars, the most he had used on one stage in his career. This was to respect the original blues artists and recordings and to produce the same sound. To summarize my preferences, they are: 1. Martin 12-string – Motherless Child 2. Martin 000-42 – Malted Milk 3. Dobro – How Long Blues 4. Gibson L5 – Kidman Blues, County Jail 5. Gibson Birdland (brown sunburst) – Forty Four 6. Fender Stratocaster (blonde finish) – Blues All Day Long, Going Away, 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 Birdland (blonde finish) – It Hurts Me Too, Blues Before Sunrise 9. Gibson ES-335 (brown sunburst) – 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 With the superb sound quality of this work, the tone of each guitar is accurately captured. We hope you enjoy Clapton’s attention to detail, even in each song. This is the definitive arena tour that captures the “Nothin’ But the Blues Tour”! Madison Square Garden, New York City, NY, USA 8th October 1994 TRULY PERFECT SOUND (from Original Masters) Disc: 1 (61:16) 1. Motherless Child 2. Malted Milk 3. How Long 4. Kidman Blues 5. County Jail 6. 44 7. Blues
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