Eric Clapton/CA,USA 1994 DAT Master

The original soundboard DAT master of the final chapter of the "Nothin' But the Blues Arena Tour", one of the peaks of Clapton's entire career, has appeared! Recently, based on the master from the overseas taper of our newly acquired network, we have released the definitive club tour "IRVING PLAZA 1994" trilogy and the definitive arena tour "Madison Square Garden 1994" trilogy, which have been very well received by Clapton fans and blues fans. In particular, "IRVING PLAZA 1994 3rd Night" was the original master with none of the defects contained in all the other masters (bootlegs that recorded it) in circulation, and the "Madison Square Garden 1994" trilogy was the first sound source released in Japan, making it a groundbreaking release. The sound sources from the two venues, club and arena, of the "Nothin' But the Blues Tour" that Clapton performed from 1994 to 1995, which only played old blues, were provided by the same taper with two more DAT masters (Milwaukee and Indianapolis), and the encore of the performance in this local city was a little different, which further enhanced the richness of this tour sound source. With these, I thought that the appearance of the definitive version of the "Nothin' But the Blues Arena & Club Tour" had been put to an end, but this time a new master was sent from the familiar British heavyweight taper as if to compete with them. It is the DAT master of the stereo soundboard source of the L.A. Forum performance on November 3, 1994. The DAT master from the heavyweight taper this time is definitely not an air check, but a genuine pre-FM master. In fact, there have been several previous releases of this stereo soundboard source, but this is the best real soundboard master ever, without the equalization that has been heard on previous releases. This is a truly incredible level of sound that all Clapton fans must hear. I would like collectors who have already released this performance to listen to the difference in sound. I'm sure you will be amazed at the wonderful sound of Master Direct. This DAT master also included the opening Motherless Child, which was not recorded due to the soundman's negligence, but this is thought to be a take from the Fillmore performance. However, it is connected so naturally that it has been edited so that you can't feel any difference from the main part at all, just by listening to it. So, I would say it's the best pseudo-complete take. In any case, the stereo soundboard recording of the "Nothin' But the Blues Arena Tour" is only on this day. If you enjoyed the "IRVING PLAZA 1994" trilogy, the "Madison Square Garden 1994" trilogy, Milwaukee and Indianapolis, you can't miss this work, which contains the only soundboard master from the "Nothin' But The Blues Arena Tour". The official release of the film by director Martin Scorsese, which was produced on the subject of this tour, and its soundtrack CD "Nothin' But The Blues" are known, but it captured the club tour, and due to Scorsese's intention, the video was recorded in a different form from the actual song order in the composition of the video, and it was not a complete recording of the concert, and considering that the venue was a club, this work of the arena tour, which stirred up the emotions of a larger audience, is also very worth listening to, just like the "IRVING PLAZA 1994" trilogy. The "Nothin' But the Blues Tour" held in 1994-1995 was described as the tour in Clapton's career where he sang and played like a god in every performance. 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 the challenge of blues while being relaxed and relaxed. It was a tour that showed his "determination" to answer the question of what "blues" is for him. Why did Clapton return to blues? I would like to speculate on this, as I have said in the title review of this tour, why did Clapton return to blues in 1994? To do so, we have to trace his sad life. In March 1991, Clapton lost his young son in an accident and fell to the lowest point of his life. However, encouraged by his staff and fellow musicians, Clapton transformed his feelings for his late son and his own life reflections into songwriting, a cathartic process. At the first performance of the song on MTV's "Unplugged," Clapton also played the blues, which he had admired since childhood. Having once again come into contact with the essence of blues, Clapton decided to hold a concert with a set list of only blues at the Royal Albert Hall concerts in early 1993, which had become a tradition. He then went ahead and recorded the long-awaited blues-only album "FROM THE CRADLE," which he had not been able to do when he was younger. Up until that point, Clapton had approached his contracted label, Warner, 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's attitude softened, and they approved the production of a blues album as a bonus for Clapton, which also gave him a boost. And "FROM THE CRADLE" followed "UNPLUGGED" and became a hit, topping the US album charts. American listeners also wanted Clapton's blues. With the release of the album "FROM THE CRADLE," Clapton must have decided to pursue 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 to not lose sight of himself. Remembering his childhood when he was fascinated by the blues, he returned to the blues to express his gratitude to the blues and his predecessors who played it, and the "Nothin' But The Blues Tour" was a return to the blues. It can be said that Clapton's spirit in this tour was extraordinary. The whole album is full of high-tension and a great stage composition. Here is a recap of the schedule for the "Nothin' But the Blues Tour": <1994> <September 13th, "FROM THE CRADLE" released> September 28th: ​​Tour rehearsal footage recorded at Hammerstein Ballroom in New York. This was later broadcast in the US, 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 As you can see, November 3rd, which is recorded in this work, was the final chapter of the "Nothin' But the Blues Arena Tour". Our recent releases of "Madison Square Garden 1994 1st Night DAT Master", "Madison Square Garden 1994 2nd Night DAT Master", "Madison Square Garden 1994 3rd Night DAT Master", "Indianapolis 1994 DAT Master" and "Milwaukee 1994 DAT Master" also represent the tour from the early New York MSG to the local areas. The set list was almost the same as the MSG pattern, but Clapton is a live artist, and his play is completely improvised, so you can hear solos that are completely different from MSG even in the same songs. As the set transitioned from a sitting acoustic set to a standing electric set, the "heat" of Clapton and the band increased rapidly as the set progressed, and at the end, the performance was intense and passionate, as if it was going to fire, and the regular set ended when it reached its peak. The regular set ended with an unexpected number, Ain't Nobody's Business, in which he sang solo with only the piano in the background, and ended with an emotional performance by the entire band, shaking the hearts of the audience. The first half of the set was played with acoustic or standard riffs, so it felt like a solid 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 amazing. I was amazed at how well his fingers could move. Moreover, it was not just a fast play, but a phrase unique to Clapton, with a spirit on it. The highlights of the day were Five Long Years and Groanin' The Blues. You will understand if you listen to it. The amazing playing in Five Long Years! I am at a loss for words. Ain't Nobody's Business is also the best! 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 lyrics lamenting his unfortunate life, "I don't care if I'm penniless or if I jump into the ocean and commit suicide, 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 playing here, which can be interpreted in this way, is too amazing. The solo in this song on this day is also different in style from MSG. An average guitarist would get away with it with a patterned phrase, but Clapton plays the solo with a phrase structure that is completely different from MSG. This is proof of his extraordinary talent, backed by his There are many songs in the album, and there are times when they change gears, shift down a little and relax, and they present an exquisite balance of speed and slowness, including the singing. I would like to repeat that you should definitely listen to the top gear and full throttle playing and singing in Five Long Years and Groanin' The Blues. Furthermore, on this arena tour, the band of his friend guitarist Jimmy Vaughan was appointed as the opening act, so Sweet Home Chicago was played in the encore, and Vaughan joined in. This is a pleasure that was not available on the club tour, which did not have an opening act. In addition, there is a production here that was not available at MSG. At MSG, the session consisted of guitar solos by Vaughan, Andy, and Clapton, a blues harp solo by Jerry Portnoy, and a piano solo by Chris Stinton, but on this day there was also a saxophone solo, and after that, Vaughan and Clapton's fiery interplay continued endlessly. This was longer than any other performance so far! Such a luxurious encore session would have been unique to America, the home of blues. As the tour progressed, it may have been the result of Clapton getting excited and thinking, "Let's go all out," as the final chapter approached. This is something I highly recommend you listen to. Also, it is worth noting that on this tour, Clapton used as many as 10 different guitars, the most he had used on a single stage in his career. This was in order 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) - 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 With the superb sound quality of this work, the tone of each guitar is accurately captured. We hope you will enjoy Clapton's attention to detail, even in each song. This work will be added to the further definitive version of the "Nothin' But the Blues Arena Tour"! Please enjoy the sound board of the 1994 LA performance, which is familiar to fans, with the best sound quality ever from the shocking "DAT Master". The sound quality is so good that even the veteran taper living in the UK declares it to be "The best sound ever!" Please enjoy the real master sound before processing. The Forum, Inglewood, CA, USA 3rd November 1994 STEREO SBD(from Original Masters) UPGRADE!! Disc:1 (55:33) 1. Motherless Child 2. Malted Milk 3. How Long Blues 4. Kid Man Blues 5. County Jail Blues 6. 44 Blues 7. Blues Leave Me Alone 8. Standin' Round Crying 9. I'm Your Hoochie Coochie Man 10 It Hurts Me Too 11. Blues Before Sunrise 12. Third Degree 13. Reconsider Baby 14. Sinner's Prayer 15. I Can't Judge Nobody Disc:2 (57:19) 1. Someday After A While 2. Tore Down 3. Have You Ever Loved a Woman 4. Cross Cut Saw 5. Five Long Years 6. Cross Road Blues 7. Groaning the Blues 8. Ain't Nobody's Business 9. Sweet Home Chicago* Eric Clapton - guitar / vocals Andy Fairweather Low - guitar Chris Stainton ? keyboards Dave Bronze - bass Andy Newmark - drums Jerry Portnoy - harmonica Simon Clarke - baritone saxophone Roddy Lorimer - trumpet Tim Sanders - tenor saxophone Jimmie Vaughan - guitar * STEREO SOUNDBOARD RECORDINGadvanced technique and unique sense. On this tour, he played many blues songs that had never been recorded in a studio, but this song was particularly memorable. Considering that he placed it at the end of the regular set, Clapton must have had some intention behind it. Compared to the tense "From the Cradle," the "Nothin' But the Blues Tour" was a long concert.