Eric Clapton/London,UK 02.27.1993 Complete DAT Master Edition

We've acquired Eric Clapton's first-ever high-quality DAT master from Day 6 of his 1993 Royal Albert Hall performance! This master was recorded directly from DAT tape by a renowned UK enthusiast, the same person who recorded the original master "ROYAL ALBERT HALL 1993 7th Night" (recorded at the same venue on March 1st) that we recently released. Like "ROYAL ALBERT HALL 1993 7th Night," this is a newly discovered recording not even listed on the Clapton bootleg review site "Geetarz." While "ROYAL ALBERT HALL 1993 7th Night" had a sound image that slightly reflected the rumble characteristic of the Royal Albert Hall (RAH)'s circular dome-shaped venue, this recording suppresses this rumble, resulting in a clearer, more live-sounding stereo audience recording. Although the tapers were recorded every day, the difference is likely due to the recording position. The master of this work, recorded in a better position than on the 7th day, included two tape changes, but both occurred after the performance ended, resulting in a trouble-free master. The sound quality is vivid because of the good position! From guitars and vocals to drums, the sound is recorded with excellent sound balance. This series of performances was Clapton's first solo live show of the year, following Cream's Rock and Roll Hall of Fame induction performance in January of the same year, and consisted of 12 shows. For this first live show of the year, Clapton launched a groundbreaking project: an entire set composed of old blues. Following the previous year's "Unplugged" album, Clapton had taken an introspective look at his career and life, and with renewed gratitude for the blues that had lifted him from the depths of losing his young son, he decided to return to his roots. This performance was extremely valuable and significant, as it marked the beginning of the recording of the subsequent album, "From the Cradle." During these consecutive shows, Clapton was considering which blues tracks to include on "From the Cradle." Therefore, the songs heard here not only represent songs he had long wanted to cover, but also allowed him to perform them with his band to see if they would work. This includes rare blues covers not featured on the later "Nothin' But the Blues Tour." Tracks like "Alabama Women," "Chicago Breakdown," "Long Distance Call," "Blow Wind Blow," "Key to the Highway," "Tell Me Mama," "Juke," "Comin' Home," "Meet Me in the Bottom," "It's My Life," and "All Your Love" were not included in the set for the "Nothin' But the Blues" tour of 1994-1995, making these exclusive blues covers. This demonstrates Clapton's considerable knowledge and dedication to the blues. Add to that experience and consider how far he'd come, and it seems he would have been in a position where he wouldn't have been afraid to choose any song. Furthermore, "Hear Me Calling" was an original blues piece written by Clapton. This song has never been recorded in a studio, making this an extremely valuable live version. The first half of the show was played simply, faithful to the original, but by the time "Love Her With A Feeling" came around, where the guitar solos were more prominent, things had suddenly become more intense, and Clapton's interpretation was truly brilliant. Clapton's solos in each song were filled with a sense of tension, as if he was trying to assimilate with the blues. Furthermore, before each song, Clapton always announced the composer and song title, demonstrating his awareness of his role as an "evangelist" to guide audiences unfamiliar with the blues. This performance is a valuable one, as it allows us to truly appreciate Clapton's sincere approach to music. The band personnel were unique to this performance, featuring Little Feat drummer Richie Hayward, just as he did for his Japan tour later that year. However, for this series of shows, Donald Duck Dunn was brought over from Memphis for the first time in eight years, since 1985. Deep harpist Jerry Portnoy, a white musician, also joined the cast at this time. This performance with this lineup was an interesting one, with many unique and meaningful moments. The intention behind having an all-American rhythm section was likely not unrelated to Clapton's blues aspirations. It's also worth noting that "Ain't Nobody's Business" was already the finale of his regular set at this point. While there is no studio version of this song, its final number suggests Clapton had a special attachment to it. Compared to the later "Nothing But the Blues Tour" take, the opening lyrics are different, and the final climax with the entire band is one chorus longer. Therefore, Clapton plays a relatively slow solo. This was his early version. The structure of the song, which features a heartfelt solo backed by piano and a break followed by a full band climax, has remained unchanged since then. It's truly moving. Enjoy Clapton's blues on this first-ever release of the original master recording from the 6th RAH performance. It has a different feel from the "Nothing But the Blues Tour." This is the only tour featuring dynamic drummer Richie Hayward. The drummer for these consecutive shows was the late Richie Hayward of Little Feat (who passed away in 2010). These RAH performances and the Japan tour were the only times in Clapton's career that he served as a supporting drummer on tour. Clapton likely scouted him after making surprise appearances at Little Feat concerts in 1988 and 1992. He was likely drawn to his dynamic drumming. This album showcases his powerful playing, particularly in electric blues. We hope you will savor his unique performances and pay tribute to this great drummer. Fellow guitarist Jimmie Vaughan even made a surprise appearance during the encore! At Clapton's request, the band of Vaughan, a friend of Clapton's, served as the support act for these shows. A fellow blues-loving guitarist, Vaughan made a surprise appearance during each encore, livening up the finale of the set. Here, we also get to hear a solo duet between Clapton and Vaughan on Sweet Home Chicago, a Robert Johnson number often covered by numerous blues guitarists. It feels more like a friendly collaboration than a guitar duel. Vaughan was also invited by Clapton to "Blues Night" in 1990 and 1991, and with each performance, his bond with Clapton likely deepened (he would later perform with Clapton on the "Nothin' But The Blues" US tour from 1994 to 1995). Enjoy the stage performance of this friendship between the two. There's acoustic blues, electric blues, major blues, and minor blues. This is a stage that captures all the charm of the blues that Clapton wanted to play at that time. Royal Albert Hall, London, February 27, 1993. TRULY PERFECT SOUND (from Original Masters) Disc:1 (75:37) 1. Intro. 2. How Long 3. Alabama Women 4. Terraplane Blues 5. From Four Until Late 6. Kidman Blues 7. County Jail 8. 32-20 9. Chicago Breakdown 10. Hey Hey 11. Walking Blues 12. Long Distance Call 13. Blow Wind Blow 14. Key To The Highway 15. Tell Me Mama 16. Juke 17. Blues Leave Me Alone 18. Goin' Away 19. Coming Home 20. Meet Me In The Bottom 21. Forty Four Disc:2 (55:08) 1. It's My Life 2. Love Her With A Feeling 3. Tore Down 4. Born Under A Bad Sign 5. Let Me Love You Baby 6. All Your Love 7. Groaning The Blues 8. Hear Me Calling 9. Ain't Nobody's Business 10. Band Introductions 11. Sweet Home Chicago * Eric Clapton - guitar / vocals Andy Fairweather Low - guitar Chris Stainton - keyboards Port Jerrynoy - harmonica Duck Dunn - bass Richie Hayward - drums Roddy Lorimer - trumpet Tim Sanders - tenor saxophone Simon Clarke - baritone saxophone Jimmie Vaughan - guitar*