Eric Clapton/NY,USA 11.28.1994 Complete DAT Master

The third installment of the ultimate 1st GEN. version of the best sound source of the "Nothin' But The Blues Club Tour", one of the peaks of Clapton's entire career, is finally here! Recently, from the upgraded DAT master provided by a heavyweight taper living in the UK, Clapton returned to the origin of his career and toured small clubs for a short period of time from the "Nothin' But The Blues Club Tour" in 1994, we released the complete recording of the best stereo audience recording of the first and second days of the Irving Plaza performance in New York City in November 1994 as "Irving Plaza 1994 1st Night: DAT Master Upgrade (2CD)" and "Irving Plaza 1994 2nd Night: DAT Master Upgrade (2CD)", which has been very well received, but as enthusiasts know, this Irving Plaza performance was held for three days. The DAT master we obtained from the heavyweight taper actually had the third day, November 28th, but we decided not to release it. This is because, like the previously released version, there was fatal digital noise at the end of the encore Ain't Nobody's Business, and another sound source was added to the parts such as 6:34 to the next song 0:18 of Third Degree. However! What we have obtained this time is the first generation DAT master, which was the source of the master used mainly in the previously released version! This excavation is the first time in history! Its features are that the sound pressure is higher than the previously released version, the sound quality is overwhelmingly better, there is no compensation at all, and there is no noise at all in Ain't Nobody's Business, which had fatal noise. The previously released version was probably equalized to raise the treble, making it an unnatural sound. You can understand this by comparing the unique sound through the shaker microphone of the blues harp. In other words, this work is the only one that recorded the first generation master of this day, which had no defects. If you listen to it, you will immediately understand the advantage of this work. On the third day, there are two rearrangements on the set list from the first and second days, and the digital noise is annoying and you can concentrate on listening to Ain't Nobody's Business, which was previously unlistenable! Clapton's ad-lib is also the best. On the other hand, this work proves that the master of the existing board was not a digital error at the time of recording, but a digital error when copying the first generation master to CD. If you were impressed by "Irving Plaza 1994 1st Night: DAT Master Upgrade (2CD)" and "Irving Plaza 1994 2nd Night: DAT Master Upgrade (2CD)", or if you are an enthusiastic fan of Clapton's blues, you should definitely not miss this day. As you can see from the audience shot video "House Of Blues 1994 1st Night" recorded at the House of Blues in West Hollywood, California on November 11th of the same year, which we recently released as a free gift, this tour was held in a really small club where the audience could watch while eating. It was unthinkable even at the time that a big-name Clapton would play in such an environment, but it was a tour that Clapton, who aimed to return to his roots, dared to book. This work captures the tremendous power of the musical sounds and vocals that would have been recorded in the front row on this day (there is no audience noise from the front, and they can only be heard from the upper back and the left and right). Considering that the official release of the film capturing this club tour and its soundtrack CD "Nothin' But The Blues" were recorded in a different way from the actual song order due to the director Martin Scorsese's intention, and that it was not a complete recording of the concert, it can be said that the appeal of this work, which allows you to enjoy the entire club gig with the best sound quality, is immeasurable. Furthermore, the previously released version containing this sound source was released in a box format that recorded the concerts at this venue, which were consecutive performances, at a high price according to the volume, so some people may not have purchased it (of course, there was a noisy version of Ain't Nobody's Business included there). This time, we are releasing one work per performance, which is easy to obtain, so you can enjoy it easily, and finally you can listen to the perfect master of the third day's performance here. 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. 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 a challenge to play blues while being relaxed and relaxed. It was a tour that showed his "determination" to find his answer to what "blues" is. Why did Clapton return to blues? To find out, we have to trace his sad life. In March 1991, Clapton lost his young son in an accident and fell to the bottom of his life. However, encouraged by his staff and fellow musicians, Clapton turned his feelings for his son and his own life reflections into songwriting, which became a cathartic experience. And at the first performance on MTV's "Unplugged", Clapton also played the blues that he had admired since his childhood. Clapton, who had once again come into contact with the essence of blues, decided to hold a concert with a set list of only blues songs at the Royal Albert Hall series at the beginning of 1993, which had become a tradition, and carried it out. He then went ahead and recorded the blues-only album "FROM THE CRADLE", which he had longed for, something he had not been able to do when he was younger. Clapton had previously 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" became 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" became a hit, following "UNPLUGGED" and reaching number one on the US album charts. American listeners wanted Clapton's blues, too. With the release of the album "FROM THE CRADLE," Clapton was determined to pursue the blues on the live stage. With this momentum, Clapton planned the "Nothin' But The Blues Tour," in which he would only play blues on the live stage. At the lowest point of his life, having lost his young son, Clapton realized that it was the blues that guided him to 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 played it. Among them, the club environment that he experienced during his early years in the Yardbirds and Bluesbreakers eras. In terms of "returning to his roots," it was a spot that Clapton absolutely could not miss. That is why it can be said that Clapton's spirit in this club tour was extraordinary. The whole album is full of high-tension and great listening points. Here is a recap 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 US, Europe and Japan. October 3rd - November 4th: US Arena Tour November 7th - November 28th: ​​US Club Tour ← [Here] 1995 February 15th - March 7th: UK Tour April 5th - May 5th: European Tour August 28th - September 24th: US Arena Tour II October 1st - October 13th: Japan Tour As you can see, November 28th, the date recorded in this album, was the final day of the "Nothin' But the Blues Club Tour." As the set moved from a sitting acoustic set to a standing electric set, Clapton and the band's "heat" increased rapidly, and by the end of the set, the performance was intense and passionate, like a fire, and the regular set ended at the peak. At the end of the encore, Clapton sang solo with only the piano in the background, and the ending was an unexpected number, Ain't Nobody's Business, which ended with a moving performance by the entire band, shaking the hearts of the audience. In the first half, the performance was acoustic or with numbers composed of standard riffs, so it felt like a solid patterned performance, but from the middle onwards, for numbers that featured guitar solos on a large scale, Clapton showed the essence of a live artist by playing a completely improvised, sharp, and raging phrase that was unstoppable. His playing at the end of the set after Early In The Morning was especially amazing. The Early In The Morning and Five Long Years were also super hot takes on this day. I was amazed at how well his fingers moved. Moreover, it's not just a fast play, but a phrase unique to Clapton with a spirit on it. In terms of the set list, Before You Accuse Me was played instead of Can't Judge Nobody on the first and second days, and Black Cat Bone was played instead of Sweet Home Chicago on the first day and Driftin' on the second day, which is valuable. In other words, there are two songs that can only be heard on this day, so I would like you to listen to these numbers as well. In addition, Ain't Nobody's Business on this day is also the best! Naturally, it is brilliant with a different phrase composition from the previous two days. This song was created in 1922 and was covered by various singers, but Clapton based it on the version sung in 1923 by pre-war female blues singer Bessie Smith. Clapton sings calmly, lamenting his unfortunate life, "If I become penniless, if I jump into the ocean and kill myself, 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 on yourself. Take care of yourself." His playing here can be interpreted in this way, and it's simply amazing. On this tour, he will be performing blues songs that have never been recorded in a studio.