This is the complete same-day sound source of a good monaural audience recording used to supplement the cuts between and during songs of "Springfield 1978". Until now, the sound source of this day had never been released at all, including the “Springfield 1978” sound board source. If the sound board is valuable, this audience source is also valuable. As customers who listened to “Springfield 1978” will understand, the cut part was connected without any discomfort and was easy to listen to, as this audience source was monaural, but the sound quality was quite high. That's why we prepared this sound source. There were no missing parts of the performance, so there was no need to make up for it. This was a good sound source that could stand alone. When compensating for "Springfield 1978," we corrected the pitch of the original tape, which was 20% to 40% lower than the basic semitone, so it will be released with its normal pitch. This does not mean that this sound source has any flaws or that the sound quality is poor. As I mentioned in my review of “Springfield 1978,” Clapton and the band were in very good shape that day. You can hear a wild and elegant solo that makes full use of wah from the beginning, and goes into full-throttle mode in the following Worried Life Blues. After the soft songs continue for a while, the song picks up steam again with Cocaine in the middle. They kept the momentum going into the second half. Both Double Trouble and Badge are great plays. And Let It Rain, which is played properly without falling apart, is also great! It makes me realize that this song is a masterpiece after all. In Key To The Highway, there is a solo turn from keyboard to Marcy Levy's blues harp. Clapton's solo inserted there is only a "finger break-in" and only plays a phrase that goes along with the song, but the second solo towards the end shows its true value. This sharpness is wonderful. And for Layla's post-performance, will they leave it up to George Terry again like they did at the Santa Monica performance on February 11th? However, from the middle of the song, he takes over the solo and adds an aggressive phrase. If you listen to this, the take of this day will definitely be better than the Santa Monica performance. Even in the last encore Bottle Of Red Wine, he sings properly without running into "joking" like Santa Monica. It is said that this was a time when his alcoholism was progressing and he was leaning toward country music, but Clapton's appearance in the 1970s when he was at his best is captured here. Wouldn't it be perfect if you could listen to the subtleties of the performance on the soundboard's "Springfield 1978" and think about the real venue of the day on this board? This disc was used to supplement “Springfield 1978”, but I hope you will also take a close look at this disc, which has the meaning of complementing “Springfield 1978”. This is a valuable first appearance sound source that captures the lively Clapton at the end of Tulsa Tops. Live at Civic Center, Springfield, Massachusetts, USA 5th April 1978 TRULY AMAZING/PERFECT SOUND Disc 1 (45:19) 1. Intro 2. The Core 3. Worried Life Blues 4. Peaches and Diesel 5. Wonderful Tonight 6. Lay Down Sally 7. Rodeo Man 8. Fool's Paradise 9. Cocaine Disc 2 (54:21) 1. Double Trouble 2. Badge 3. Nobody Knows You When You're Down And Out 4. Let It Rain 5. Key To The Highway 6 Layla 7. Bottle Of Red Wine Eric Clapton - guitar, vocals George Terry - guitar Carl Radle - bass Dick Sims - keyboards Jamie Oldaker - drums Marcy Levy – vocals
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