Derek And The Dominos with Duane Allman / Tampa 1970 / 2CD

Derek And The Dominos with Duane Allman / Tampa 1970 / 2CD / Beano
Curtis Hixon Hall, Tampa, FL, USA 1st December 1970

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[This is a historical sound source! Co-starring live with Duane Allman] The second release this week is the new version performed in Tampa, Florida on December 1, 1970. This is also newly digitally transferred from the original master tape and uploaded on the net. This sound source is a monaural audience recording with slightly inferior sound quality compared to the Cincinnati performance, but its value is that it contains the only existing stage with Duane Allman. It is well known that the album “LAYLA AND OTHER ASSORTED LOVE SONGS” became a masterpiece in rock history as a result of the chemical reaction that occurred with Duane’s participation, but I felt the effect firsthand, It is said that Clapton, who hit it off with Duane, formally asked Duane to join Dominos after the recording was over. But Duane reluctantly turned down her invitation as her own band with her brother Greg had just taken off. However, both Clapton and Duane broke up again, this time hoping to co-star on the live stage. It was this performance that was realized and left on the tape. Duane is participating in the full stage on this day. This sound source is a must-listen for Clapton fans and Southern rock fans. Here is a dream co-star that never disappoints that expectation.

[Special performance on a special day! ] Both Clapton and Duane hoped to co-star again, but it is said that only two stages, this Tampa performance and the next day’s Syracuse performance, were realized. On this day, there remains a co-star photo of the two that was excavated in later years. There, Clapton with Duane’s Les Paul and Duane with Clapton’s Strat were playing facing each other. The more they exchanged guitars, the more they were pleased with the realization of the co-starring (I don’t know which song they exchanged guitars for). By the way, at the Syracuse performance the next day, a color photograph of a group shot in the dressing room was excavated later. It can be seen that Duane traveled long distances with the Dominos from Florida to New York as long as it was convenient for his band. I don’t think they wanted to be so far apart. Clapton prepared a special surprise on this day, which was his first live performance. On tour she set in Layla, who had never played. From Clapton’s point of view, it would have been unthinkable without Duane to reproduce the heavy studio version recorded with six stacked guitars live. It finally comes true. That’s why Clapton had Layla set in. According to the studio version, Duane plays that seven-phrase and bites the obbligato. Clapton sings with a vocal line just like the studio version. Clapton also sings the chorus of “♪Layla!♪” in the rust. I can’t stand this! The reason is that the message, which was real time at this point, is more persuasive than the vocal line that changed in later years and the arrangement that leaves “♪Layla!♪” to the backing chorus (this At that point he was still struggling with his tragic love affair with Pattie Boyd). And in the aftertaste, Duane’s slide guitar plays an active role as if running around in the sky. However, the difference from the studio version starts from here. Clapton plays a solo like a rapid-fire gun with a single note so that it can be covered with Duane’s slide. Furthermore, Duane responds to it with a slide (I can’t help but play the phrase that was impressive in the studio version). And Clapton, who was deeply moved by this development, sings the chorus of the chorus again. Bobby is also shouting with as much power as possible. What an energetic Layla live version! Even just listening to this live take is worth this sound source. But in addition to that, it goes without saying that all the performances of this day are worth it, with Duane’s play added to the Dominos repertoire as well as the studio version. On the contrary, Got To Get Better In A Little While, Blues Power, Bottle Of Red Wine, Let It Rain, which Duane did not participate in the studio version, is a notable attraction that you can listen to Duane’s endless play. Since Clapton and Duane’s guitar battle is developed in all songs, this work is a historical sound source that must be listened to.

[Upgraded version by careful mending only for our shop! ] There are two types of masters in the audience source for this day, but the master of this work is the so-called “loud version”, which includes tape shaking in Layla’s intro. As expressed, the musical tone stands out more clearly than the other master, and it is a powerful sound image. However, in the file on the net, there was a severe tape shake at Layla’s 0:13 / 0:24 due to aging of the original tape, and there was a pause missing at 4:23. At our shop, we have eased the tape shaking, and the pause part has been made much easier to listen to by cross-fade processing that matches the beat. (The sound drop at 1:42 is left as it is because it bounces when deleted). It is only this work that you can listen to Layla without sound fluctuation in the “loud version”! Also, there was a duplication of sound in the middle of Bottle of Red Wine, so I fixed that as well. The most conspicuous drawback was the overall pitch deviation due to deterioration over time. did. In addition, there were several places in the first half where the left and right sound pressure dropped extremely, but they have also been alleviated. In this way, this work made it easy to listen by carefully correcting many shortcomings. A day that can be declared the most important in the history of Derek and the Dominos. Please enjoy it with this upgraded version of this work.

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(remastered memo)
★ -60 ~ +20% We have corrected the pitch that was out of order as much as possible.
★In the first half of the original disc 1, the left and right sound pressure dropped extremely in several places.
★The pause point was connected by crossfade processing.

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