George Harrison Eric Clapton George Harrison Eric Clapton/Aichi,Japan 1991 Complete

[George Harrison & Eric Clapton, the definitive Nagoya performance on December 5, 1991 is complete!] The 1991 “GEORGE HARRISON WITH ERIC CLAPTON AND HIS BAND” Japan tour is already a legend in the history of Japanese Western rock music, as a super event that proved the strong friendship between George Harrison and Eric Clapton. That’s why the attention of George and Clapton’s fans was at its MAX from that time, and audience sources for all performances have been released since 1992. Among the mixed quality, the sound source of the fourth performance in Nagoya was first released under the title “FOURTH NIGHT LIVE” (PLATYPUS RECORDS), later “ONE MOMENT IN TIME 2” (misterclaudel) in 2003, and our store released “NAGOYA 1991” in 2017. The master used for both was the same taper, which boasted ultra-high sound quality as an early DAT recording, which was still rare at the time. However, the first two releases used second generation masters copied from DAT to cassette tape, so there was a drawback in that hiss noise was present throughout. The latter release was produced by directly borrowing the original DAT master, so it achieved a higher level of sound quality than the previous two. However, this original DAT master was an early DAT with a low battery capacity, so the pitch gradually dropped from the middle of Devil’s Radio at the end of the concert due to the battery running out, and it became unlistenable. Therefore, “FOURTH NIGHT LIVE” was connected to the source of the Tokyo performance on the 17th, which had a very poor sound quality, from the middle of Devil’s Radio, and “ONE MOMENT IN TIME 2” was connected to a different source from the same Nagoya performance, but the sound quality was significantly inferior to the main DAT master, and the audience recording was also below average, so both had a noticeable strange finish. Our release “NAGOYA 1991” was supplemented with a source from the Osaka performance with good sound quality, which considerably alleviated the sense of incongruity, but the disappointing part remained as it was not a Nagoya performance source. The original DAT master is no longer in that state, but this time, our shop has obtained a high-quality separate master of the Nagoya performance, which is the first to appear in full! As a result, Devil’s Radio is the original super high-quality DAT master, and Devil’s Radio smoothly transitions to the master by cross-fading to this other source from the middle, eliminating the sense of incongruity as much as possible, and even including the uncut encore song, we have completed the complete version of the genuine Nagoya performance until the end! The first appearance master used for compensation this time was recorded in stereo with sufficient high sound quality, although it does not reach the super high sound quality of DAT. Of course, it is different from the compensation source of “ONE MOMENT IN TIME 2”. Although some changes in sound quality are unavoidable, this is the complete document of the Nagoya performance, which can be listened to without discomfort for the first time! The main DAT master had no hiss noise at all, the pitch was normal, and the recording started about 6 minutes before the start of the recording of “FOURTH NIGHT LIVE”. There was also a voice from the audience near the recorder who said “I was freaked out!” at the drum attack just before the show started, which was a nice touch. The other master used for compensation this time is an excellent master with a well-balanced sound even when listened to alone, and the drum sound is also firmly included, so please look forward to it. With this, you will be able to enjoy the whole picture of the Nagoya performance very smoothly. This work is the definitive version of the Nagoya performance in both name and reality! [The friendship between the two men hidden behind the realization of the Japan tour!] Now, let’s take a look at the meaning behind this Japan tour becoming a legend from the tour schedule at that time.・January 21-29, 1991: Tour rehearsals at The Point, Dublin, Ireland・January 31, February 2, 1991: Warm-up shows at The Point・February 5-March 9, 1991: 24 consecutive shows at the Royal Albert Hall, London・September 4, 1991: Appeared at Buddy Guy’s gig at the Roxy in Los Angeles.・September 26, 1991: Appeared in a comedy show with Nathan East as house band leader, recorded at The Palace in Hollywood. This was broadcast on Sunday the 29th on FOX.・December 1st to December 17th, 1991: Fully backed up George Harrison’s Japan tour with his own band December 1st: Yokohama Arena performance (additional performance) December 2nd and 3rd: Osaka-jo Hall performance December 5th: Nagoya International Trade Fair Hall performance ←★This work★ December 6th: Hiroshima Sun Plaza performance December 9th: Fukuoka International Hall performance December 10th, 11th, and 12th: Osaka-jo Hall performance December 14th, 15th, and 17th: Tokyo Dome performance As you can see, he was off from March 9th to September. Clapton had intended to take a complete break after the “Journeyman World Tour” the previous year and the two consecutive hard Royal Albert Hall performances that he had performed for two years in a row, and enjoy life with his young son Connor, who had just turned four years old. However, just as he was about to do so, on March 20th, that incident occurred. From then on, Clapton, in his own words, became “like a stone.” Shocked by the loss of his young son, he had no contact with anyone and continued to stay at home. Keith Richards, Elton John, and George Harrison quickly sent letters of concern and comfort to Clapton. Encouraged by the kind words of his musician friends, Clapton continued to keep his mind sane by attending Alcoholics Anonymous meetings and going out to sea on his manager’s cruiser. One day, when Clapton met George, he told him that fans had been asking him about George’s recent activities during his tour of South America the previous year. George laughed at Clapton’s words, saying that he might return to the stage, and decided to forget about the matter, but one day, George suddenly realized something. “If I ask you to help me because I’m going back on tour, Eric will be busy with the implementation of the plan and will be able to recover from that painful experience.” And even though George had no intention of doing so, he told Clapton that he was going to return to live performances and asked for his cooperation. Clapton was surprised by George’s decision, but he was willing to help. He gathered his own band, decided on the set list from George’s repertoire, assigned the instruments for the parts and selected a third guitarist, arranged the rehearsal venue, and took charge of the schedule. Clapton was so busy preparing for George’s return to live performances that he was able to ease his heartache. However, even during rehearsals, George repeatedly said, “I’m not going to come back after all.” Apparently, he was traumatized by the media’s criticism of the 1974 US tour. He didn’t really want to return to live performances. So Clapton recommended Japan, where people listen to music warmly and seriously, as a tour location, and convinced George. And so the Japan tour finally came to fruition. In order to help Clapton recover, George threw himself into a live performance that he was not keen on, without letting his true intentions be known. Clapton worked hard to prepare for George’s return to live performances, which he had made a great deal of effort to do. This Japan tour was, so to speak, a testament to the lifelong friendship between George and Clapton. As mentioned above, all the performances from this tour have been released, and if you listen to them chronologically, you can see George’s tension easing with each passing day and regaining his original form. This was completed in Nagoya. The amount of MC has increased, and you can see that he is getting more comfortable. And finally, after devil’s Radio, you can listen to the live take of the Nagoya performance. [The special play of this day that you can only hear because you can listen to it in high quality!] When you listen to it with this high quality sound, you will be surprised by the part that you have not been able to hear properly until now, first of all, Clapton’s solo in the middle of Devil’s Radio. It is a solo with a “phrasing that almost drags one note” that was not present in other performances. Nagoya is probably the only place where he took a solo in this pattern. And what’s even more pleasing is the encore, While My Guitar Gently Weeps. Clapton’s solo after the chorus here. He’s crying and crying and crying! The devilish hand vibrato explodes and shakes the listener’s heart! In terms of making the guitar cry so far, I think it’s the same as the Osaka performance on the 10th. I would like everyone to listen to these two songs at high volume. This work is the definitive version that records the DAT master of the Nagoya performance, which achieved the highest sound quality on George’s Japan tour in 1991, in the best form, and connects the excellent master of the same Nagoya performance in the most natural way! Please listen to the “legendary” stage. Please confirm the deep friendship between the two. Live at Nagoya International Exhibition Hall, Nagoya, Japan 5th December 1991 ULTIMATE SOUND (from Original Masters) Disc 1 (77:35) 1. Opening 2. I Want To Tell You 3. Old Brown Shoe 4. Taxman 5. Give Me Love 6. If I Needed Someone 7. Something 8. What Is Life 9. Dark Horse 10. Piggies 11. Pretending 12. Old Love 13. Badge 14. Wonderful Tonight Disc 2 (62:05) 1. Got My Mind Set On You 2. Cloud Nine 3. Here Comes The Sun 4. My Sweet Lord 5. All Those Years Ago 6. Cheer Down 7. Devil’s Radio ★At around 1:07 there is a long crossfade to transition to a different audio source. 8. Isn’t It A Pity 9. While My Guitar Gently Weeps 10. Roll Over Beethoven George Harrison – guitar / vocals Eric Clapton – guitar / vocals Andy Fairweather Low – guitar Chuck Leavell – keyboards Greg Phillinganes – keyboards Nathan East – bass / vocals Steve Ferrone – drums Ray Cooper – percussion Katie Kissoon – backing vocals Tessa Niles – backing vocals