Eric Clapton / Osaka Stadium 1988 / 2CD

Eric Clapton / Osaka Stadium 1988 / 2CD/ Tricone
Live at Osaka Stadium, Osaka, Japan 5th November 1988

Play sample :

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This week’s Eric Clapton release, Tori is the best audience sound source of the stadium performance of 1974! In this way, all three releases of this week were all stadium performances. ’74, ’88, ’92. It turns out that Clapton has been performing at the stadium, which is the highest peak of the artist, for 18 years, without any decline in popularity. Indeed, Clapton. And this board is in the year of the drunken tour of 74 years, and it is recorded the performance and record valuable day. The master of this board is also the low gene master that came from the heavyweight taper which is familiar in the UK, and the sound image is monaural but its freshness and spread, and the clearness has never been experienced so far. The date is July 7, 1974 at the Roosevelt Stadium in Jersey City, New Jersey. There were also already released boards of the same monaural audience recording where the existing board recording of the incomplete sound board source of this day was missing, Present Of The Lord, but there was already an already released board of monaural audience recording. This record (although only Key To The Highway has not been recorded yet, but the Crossroads which has not been recorded on the soundboard title already recorded) has achieved almost complete recording in the recording, and enjoys the whole story in a single pass, the taste of the audience recording It is something that can be felt, it can be a new definitive edition of this day. Our shop recently released “Summerfest At Rich Stadium 1974,” which recorded the Summerfest stage held at Rich Stadium in Buffalo, New York, on the 6th of July, the other day. The great Freddie King, who had been taking part, is also participating on this day. It would have been fun to co-star with the disciple. Listening to the finest sound quality King and Clapton’s incredible guitar battle stirs excitement over the previous day. After this co-starring King is inviting Clapton to the recording session of his new album “BURGLAR”. Clapton would have been happy to get along with the longing bluesman. Now let’s look at what the performance of this day was in this comeback year.

・ June 19th and 20th, 1974: Warm-up gigs in Northern Europe for the US comeback tour
・ June 28-August 4, 1974: National Tour ← ★ Coco ★
«August 5, 1974: Release of the album“ 461 OCEAN BOULEVARD ”≫
・ August-September 1974: The album “THERE’S ONE IN EVERY CROWD” is recorded in Miami
・ September 28th-October 6th, 1974: The 2nd US Tour
・ October 31-November 6, 1974: First Japan Tour
・ 27th November 1974 to December 5th: Europe Tour

This show was the 8th show that went into the tour after a warm-up gig in Northern Europe. It can be said that it is a valuable sound source of the time when it was frustrated, just returning from the stage due to drug addiction over three years. This national tour was famous for being a drunken, half-out-of-the-world tour that relieved tensions for a long time on the live stage and the pressure to be watched by tens of thousands of audiences. Moreover, at this point in time Patti Harrison (Boyd), who would be the support of the mind, had not arrived (it was in Los Angeles 12 days later that Patti joined). So he had no choice but to protect himself with liquor. You can see that Clapton on this day is also quite jealous as the day before. You’ll be greeted by a flashy cracker, and you’ll hear a drunken announcement from something out of nowhere (Roger Waters would have spited and rebuked the audience). We are showing humor, saying, “If you throw things in, throw money in it,” for a customer who is entertaining and throws things on the stage. The first time in a row is clearly shown in the vocals, and the vocal lines are broken, tanned more than necessary, and arranged in a selfish manner. It is also a surprise that there is no miso in play. From the freakishness of drunkenness, Presence of the Lord suddenly starts from the bridge section, and Badge and Tell the Truth play out with an end and selfishness, but the back band responds to it brilliantly and the performance is sound It is the proof of the potential of this band that is in conflict. Because of this high play quality, it is an interesting source that can be heard without dropping. The set list is voluntarily covered, and it covers almost all the popular songs of this career up to that time, from cream to dominos, but on the same day the most popular song Layla has not been set in However, even before the release, I do not play I Shot The Sheriff scheduled to single cut (single release is July 31). Still, Let it Rain is a sharp solo, and it’s a rare number with a rhythmic riff-centered number, Willie and the Hand Jive. But the highlight of the day is the scene with Freddie King mentioned above. The previous day is Clapton who called the King properly before the performance, but on this day it is the end that the performance is started without permission. There is a scene where the audience gets a lot of excitement during the intro, but Fredy should have appeared from the stage sleeve here. Freddie and Clapton are already playing from here. Both sides show each other’s meaning and collide. The straton with a thin line is a Clapton tone, and the fat tone is a Freddie ES 335. The sound quality is so clear that both play can be heard clearly. Where would you raise your army? (The song is King’s victory). Anyway, this guitar battle is amazing! The drunken Clapton flies with the phrase of squeaking. Regardless of how drunk Clapton is on this day, it can be said that it is a worthwhile sound source just by listening to this co-star. As the audience source of this day, this edition is definitely the definitive edition in quality. As Clapton himself said, “The 70s of regret that he had been wasted with alcohol,” this tour, which triggered him, saw “weak, sloppy Clapton”, which is rarely seen even on Clapton’s career. Although it is exposed, it is also a sad record that he had to protect himself. However, the guitar play which never reduced the quality. Therefore this tour was a great success. This week’s simultaneous release of “Shea Stadium 1992 2nd Night” shows the appearance of “Strong Clapton” that has survived the tragedy, but on the other hand, the American fan sympathizes with him because there is also Clapton like this one. I think that I admired. A guitar play that defends the quality while becoming sloppy. Please enjoy this good taste. This is also a limited edition with a sticker with a serial number representing the first press, so please order early.

今週はエリック・クラプトンの優良音源をまた一つリリース致します!本盤は、クラプトンのデビュー25周年を記念して行なわれた1988年のワールドツアーから、最終行程となったジャパン・ツアーの最終日、11月5日の大阪球場公演を最高音質で完全収録したステレオ・オーディエンスマスターです。かつて「SILVER BEAUTY」という2CDRタイトルで当店がリリースした音源ですが、元々超高音質だった当該タイトルのマスターを今回当店が誇るプロ級リマスター作業によって格段のグレードアップを図りました。そのため、新たに生まれ変わったプレス盤としてリリースに至ったというわけです。リマスターに当たっては、今回、当時この録音を敢行したテーパーご本人から直々に大元のマスターを借り受け、ファースト・ジェネレーションのテープを基にリマスター作業を行ないました。それだけにそのグレードアップ度はハンパない!元々原音が超高音質なのですが、ギター及びボーカルの残響音に改善の余地があったため調整しました。特にギター音に関しては、残響音が緩和された効果で、既発盤と比べて全てのフレーズが鮮明になっています。当時クラプトンが愛用していたシグネイチャーモデルのプロトタイプ(レースセンサー・ピックアップ搭載のピューターグレイフィニッシュのカスタムストラト)から発せられるフレーズの切れ味に磨きがかかりました。オープニングを聴いていただくだけで、「サウンドボード録音か?」と思われるはずです。左右チャンネルのオーディエンスの歓声がなければ、サウンドボードと言っても通用するほどの超ド級迫力

・1988年10月31日~11月5日:ジャパンツアー ←★ココ★

デビュー25周年を自ら祝い、アンソロジー4CD&6LP作品「CROSSROADS」のリリースと共に長年サポートしてくれたファンに感謝する意味で実施された大規模なワールドツアー、それ以外にも非常に精力的に数々のイベント、ステージに参加した一年だったと言えます。そして記念ツアーの大団円を日本で迎えたいというクラプトンの意思で実施されたのがこのツアーでしたが、日程と会場の関係から野球場クラスをブッキングしての数少ない公演となりました(東京、名古屋、大阪の3都市のみで4回だけ)。その上に嬉しいことに、この記念ツアーには、ダイアー・ストレイツを率いて世界的にブレイクしていたマーク・ノップラーがクラプトンへのリスペクトを表明して参加していたほか、この日本公演以前に実施されたツアーではスケジュールの都合で参加していなかったエルトン・ジョンがこのジャパン・ツアーには参加したというトピックがありました。エルトン自身としては74年以来14年ぶりの来日、マーク・ノップラーについても5年ぶりの来日、そして今日に至るまでこれが最後の来日となったのでした。ロック界の盟友たちがクラプトンのデビュー25周年を祝おうと進んで参加したほどですから、セットリストの方も25年のキャリアを代表する名曲群で構成されていました。のっけからアグレッシヴ過ぎるフレーズを炸裂させるCrossroadsとWhite Room、リメイク・アレンジの強固なグルーブで演奏されるAfter Midnightでも抜群の安定度を感じることが出来、中盤の激しいソロと旋律を重視したコーダを見事に色分けし、マーク・ノップラーとの相乗効果を最大限に引き出したLayla等、全編でこのバンドのポテンシャルが存分に発揮されていますし、ノップラーとエルトンのフィーチャー・コーナーでは、数々のセッションで磨き上げてきたクラプトンの適応力抜群のバッキングとオブリガートを聴くことができます。クラプトン自身のプレイは、当時衛星放送とFM放送された11月2日の東京ドーム公演よりも冴えていると言ってもよいほど。やはり記念ワールド・ツアーの最終公演だ、という意識がそうさせたのでしょうか。全米ツアーとの違いは、エルトンの参加により彼のコーナー(楽曲)が増えたことと、ノップラーにもほぼ同等の扱いを、と考えたクラプトンの意向で、クラプトンの楽曲が少なくなり、ゲストの楽曲が多くなっていることです。しかしこれをネガティヴに捉えていただく必要はまったくありません。前述しましたように、他のアーティストの楽曲でも、歌心のある、エモーショナルなバックアップでオリジナルの魅力を倍加させるほどの妙味を見せるクラプトン熟練のプレイが冴え渡っているのです。かつて、86年の「プリンシズ・トラスト」コンサートに出演したロッド・スチュワートは「エルトンを僕のバックバンドにできるなんて、何て贅沢なことだ。」とアナウンスしたことがありましたが、まさにこの時はそのエルトンが「クラプトンにバックを務めさすなんて、何て贅沢なことか」と思っていたでしょう。クラプトンのソロ、オブリガートによってエルトンの名曲群が引き立っています。そんな聴きどころも満載の88年セレブレート・ジャパン・ツアーの代表的音源、そのベスト・グレードタイトルが本盤です。どうぞこの機会に本音源のベスト・バージョンをご入手ください。初回プレスを表すシリアルナンバー入ステッカー付限定盤となりますので、どうぞお早めのオーダーをお願い致します。




Disc 1 (64:21)
1. Intro. 2. Crossroads 3. White Room 4. I Shot The Sheriff 5. Lay Down Sally
6. Wonderful Tonight 7. Tearing Us Apart 8. After Midnight 9. Can’t Find My Way Home
10. Money For Nothing

Disc 2 (73:39)
1. Candle In The Wind 2. I Guess That’s Why They Call It The Blues
3. I Don’t Wanna Go On With You Like That 4. I’m Still Standing 5. Daniel
6. Member Introduction 7. Cocaine 8. A Remark You Made 9. Layla
10. Solid Rock 11. Saturday Night’s Alright For Fighting 12. Sunshine Of Your Love

Eric Clapton : Guitar & Vocals Mark Knopfler : Guitar & Vocals Elton John : Piano & Vocals
Nathan East : Bass Steve Ferrone : Drums Alan Clark : Keyboards Ray Cooper : Percussion
Tessa Niles : Backing Vocals Tracy Ackermann : Backing Vocals

Tricone 179/180

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