Eric Clapton / Springfield 1975 Steve Hopkins Master / 2CD

Eric Clapton / Springfield 1975 Steve Hopkins Master / 2CD / Beano
Live at Civic Center, Springfield, Massachusetts, USA 24th June 1975

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Now, just coming to Japan! Eric Clapton. In commemoration of his 22nd Japan tour that landed on the land of Japan in a spirited appearance, I will release the amazing upgrade master this week! The sound source to be released this time is Steve Hopkins’ master cassettes (Dolby B encoded) by JEMS, which has recently been uploaded on the net, and the 75-year US tour, Springfield performances of June 24 complete with ultra high-quality stereo audience recording It is what was recorded. The same JEMS sound source from the same JEMS sound source in 2009 was just 10 years ago, but there was a difference between the sound’s freshness and depth so that you could definitely say that this was the original master quality. While high-quality sound has already been released, the growth of high-pitched sounds such as cymbals and low-pitched hum are obvious at first sight (hearing). It is up to the immediate decision of the press release to the difference in the grade of so much. Originally, this source was on the 75-year tour, and the high play quality of Clapton, along with it, was highly regarded as one of the “four major sound sources”. The recordings are excellent for recording by high-end models at that time, such as Sony ECM-99a Stereo Mic and Sony TC-152SD by the famous taper, Steve Hopkins, and the highest peak of stereo audience recording that surpasses stereo sound board As, it is a sound source that has still received a solid evaluation. Therefore, it has been released from multiple labels in the past. This is that JEMS has further raised its masters to an upper level. The sense of reality, the spread of sound, is completely different from the sound board, and it can be said to completely reproduce the dimension as if you were actually in the concert hall. And furthermore, our shop adjusts exactly the pitch which was slightly high in the original. In addition, there was a part that was slightly shorter than the existing source, so that part was patched from the existing board to realize the highest sound quality longest version. However, please be assured that the patch part was not an important part of the song (please refer to ★ in the song list for details). It is simply the result of thinking about achieving the highest sound quality and the longest version. Now, let’s look back on Clapton’s activities this year and review the meaning of this concert.

«April 1, 1975: Release the album” THERE’S ONE IN EVERY CROWD “」
・ April 7 to 28 1975: Oceania Tour
・ June 14-August 30, 1975: National Tour ← ★ Coco ★
・ September 1975 Off
・ October-November 1975: Second Japan Tour

You can see that most of the year was devoted to the tour, but in that, this US tour was the main event. And on that day I had 10 performances since the tour started. As the tour’s name suggests, there was a meaning to promote the album “THERE’S ONE IN EVERY CROWD” that had just been released, but at this point it is Clapton’s place that is no longer stuck with such a meaning. Although the album recorded song “Better Make It Through Today” is set in, it is attractive that the number is too rare on this day. After all, six of the thirteen songs from the Derek & The Dominos era were played, almost half. Along with that, the content of the performance is full of passion that can only be described as wonderful, as if playing the Dominos era. Clapton is a different person from the previous year’s comeback tour, exposed to the state of being exposed to alcohol and having survived (as it is certain that I kept drinking at this time, but I do not feel the effect at all). Moreover, even though the tour has already started, it is possible to show off the new track “Knockin ‘On Heaven’s Door,” which was rolled and recorded in the Miami criteria studio on the 16th after finishing the 2 performances, before the release. It is also showing. On top of that, the Dominos number Keep On Growing and his personal Mainline Florida show that they can afford to vocalize the second guitarist George Terry. The former was a rare number that played only a few times in this tour, and the latter was a number selected for the ending theme of Clapton’s biographical film “Eric Clapton-The Measure of 12 Measures” released last year . The good performance of Clapton on the day can be seen immediately by the opening Layla and the subsequent play at Bell Bottom Blues. The solo he is playing is full of his original skill and singing. In Layla, the slow hand playing method has already exploded, and in Bell Bottom Blues, the sense of goodness is full of “Tame” which is too ugly. In the new song Better Make It Through Today, the exquisite solo with wow is also shown. In the second half, the 19-minute medley from Tell The Truth to Crossroads, and in Encore, welcomes Carlos Santana, who served as the opening act, and an exciting guitar battle at Why Dos Love Got To Be So Sad over the same 19 minutes. The In addition to Santana, the percussionist of the Santana band Alfonso Mouzon also participates in this song. By his participation, it is configured that a percussion and drum solo of rage is developed here (Clapton band drummer Jamie All Daycar is also good!). As far as listening goes, there aren’t enough time to count on them, but it will be a seven-minute instrumental jam that was played completely improvised on this day. It is a very rare topic historically in Clapton live, but it is also undressed to the height of the potential of the band that can respond immediately to such things and achieve such a play quality. I would like to hear Clapton’s elegant solo, which is also heard here, even if it is not a fan. The best sound quality board that you can really taste “Crapton of a great day” is this board. On this occasion, please collect 75 years tour, one of the four major sound sources with the longest version of the highest sound quality. It is no exaggeration to say that just listening to this album reveals Clapton’s greatness. And please send a Respect at the Budokan to Clapton, which has made many of these famous performances. It will be released on a limited press CD, so please order early.

(Remastered note)

● This one is clearly closer to the master and sounds better. (Although high sound quality has already been released, it is easy to understand by comparing the growth of high-pitched sounds such as cymbals and the low level of bass hum noise.)

● ★ compensation of the following, it is necessary to compensate because it is not an important part ???, while the difference between the sound quality is clearly understood, and the existing issue has been compensated as it is for the purpose of making a full length version .

● 5. Instrumental Jam 8:41 has loud whistling in the original sound, but is processed by JEMS. Several other similar processes are owned.

● I corrected it because the pitch was slightly high.

今、まさに来日中!のエリック・クラプトン。元気な姿で日本の地に降り立った彼の22回目のジャパン・ツアーを記念して、今週も驚きのアップグレードマスターをリリースします!今回リリースする音源は、最近ネット上にアップされたJEMSによるSteve Hopkins’ master cassettes (Dolby B encoded) で、75年全米ツアー、6月24日のスプリングフィールド公演を超高音質ステレオ・オーディエンス録音で完全収録したものです。ちょうど10年前の2009年に同じJEMS音源から当店は音盤化済みでしたが、何と今回の方が明らかに大元のマスタークオリティだと断言できるほどに音の鮮度と深みに差がありました。既発盤も高音質ながら、シンバル等の高音の伸び、低音ハムノイズの少なさで比較すると一目(聴)瞭然。あまりのグレードの違いにプレス盤でのリリースを即決定した次第です。元々このソースは75年ツアーにあって、クラプトンのプレイクオリティの高さも相俟って「四大名音源」の一つと数えられるほどの高評価なものでした。レコーディングは、かの有名テーパー、スティーヴ・ホプキンスによるSony ECM-99a Stereo MicとSony TC-152SDという、当時のハイエンド機種による録音が素晴らしいもので、ステレオ・サウンドボードを凌駕するステレオ・オーディエンス録音の最高峰として、今なお揺るぎない評価を得ている音源です。そのため、過去にも複数のレーベルからもリリースされてきました。その大元マスターを今回JEMSがさらにアッパーレベルに磨き上げたというわけです。臨場感、音の拡がりにおいてはサウンドボードとはまた違う、実際にコンサート会場にいるかのような次元を完全再現するものと言えます。そしてさらに、オリジナルでは若干高かったピッチを当店がきっちりアジャスト。また微妙に既発ソースより短い部分がありましたので、その部分は既発盤よりパッチし最高音質最長版を実現しました。但し、パッチ部分は曲にかかる重要部分ではありませんでしたのでご安心ください(詳しくは、曲目リストの★をご参照ください)。単に最高音質・最長版を実現しようと考えた結果です。さて、ここでこの年のクラプトンの活動を振り返り、このコンサートの意味合いをおさらいしておきましょう。

≪1975年4月1日:アルバム「THERE’S ONE IN EVERY CROWD」リリース≫
・1975年6月14日~8月30日:全米ツアー ←★ココ★
・1975年9月 オフ

一年のほとんどをツアーに充てた年だったことがお判りいただけると思いますが、その中にあってこの全米ツアーはメインイベントでした。そしてこの日はツアー開始から10公演目に当たっていました。ツアー名どおり、本来はリリースしたばかりのアルバム「THERE’S ONE IN EVERY CROWD」をプロモートする意味合いがあったわけですが、この時点でもうそんな意味合いにはこだわっていないのがクラプトンらしいところです。当該アルバム収録曲Better Make It Through Todayはセットインしているものの、この日はあまりにレアなナンバーが目白押しなのが魅力です。何と言ってもデレク&ザ・ドミノス時代のナンバーが全13曲中、ほぼ半数に当たる6曲もプレイされていたのです。それに伴い、ドミノス時代のプレイを再現するかのように演奏内容も素晴らしいとしか言いようのないパッションに満ちています。前年のカムバックツアーを酒に酩酊しての醜態を晒して乗り切ったクラプトンとは別人のような印象です(この時も飲み続けていたことは確かですが、その影響をまったく感じさせません)。しかも、ツアーが既に開始されたにもかかわらず、2公演を終えたところの16日にマイアミのクライテリア・スタジオに転がり込みレコーディングした新曲Knockin’ On Heaven’s Doorをリリース前に早々と披露するというポジティヴィティも見せています。その上でドミノス・ナンバーKeep On Growing と本人作のMainline Floridaでは、セカンド・ギタリストのジョージ・テリーをボーカルフィーチュアしてやる余裕を見せています。前者はこのツアーでも数回しか演奏しなかったレアなナンバーでしたし、後者は昨年公開されたクラプトンの伝記映画「エリック・クラプトン-12小節の人生」のエンディングテーマにも抜擢されたナンバーでした。この日のクラプトンの好調ぶりは、オープニングのLaylaと、続くBell Bottom Bluesでのプレイですぐに確認できます。奏でるソロには彼本来の上手さと歌心が詰まったもの。Laylaではスローハンド奏法が早くも炸裂、Bell Bottom Bluesでは凄過ぎる「タメ」にセンスの良さが溢れています。新曲Better Make It Through Todayでは、ワウを効かせた絶妙なソロも披露。後半では、19分に及ぶTell The TruthからCrossroadsへのメドレー、さらにはアンコールでは、オープニングアクトを務めたカルロス・サンタナを迎え、同じく19分に亘るWhy Does Love Got To Be So Sadで白熱のギターバトルを繰り広げています。この曲ではサンタナに加え、サンタナバンドのパーカッショニスト、アルフォンソ・ムーゾンも参加しています。彼の参加により、ここでは怒涛のパーカッション&ドラムソロが展開されるという構成になっています(クラプトンバンドのドラマー、ジェイミー・オールデイカーも上手い!)。聴きどころを挙げていくと、枚挙に暇がないのですが、極め付けはこの日、完全に即興でプレイされた7分間に亘るインストジャムでしょう。クラプトンのライブにあっては歴史的にも非常に珍しいトピックですが、こういうことにも即対応し、これほどのプレイクオリティを実現できたバンドのポテンシャルの高さにも脱帽です。ここでも聴かれるクラプトンの流麗なソロもファンならずとも是非聴いていただきたいものです。本当に「凄い日のクラプトン」が味わえる最高音質盤が本盤です。この機会に75年ツアー、四大音源の一つを最高音質の最長版でコレクトしてください。本盤を聴くだけでクラプトンの偉大さが判ると言っても過言ではありません。そしてこうした名演の数々をモノにしてきた今のクラプトンに、是非武道館でリスペクトをお送りください。限定プレスCDでのリリースとなりますので、お早めのオーダーをお願い致します。





● 5. Instrumental Jam 8:41は原音では口笛音が大きくなっているが、JEMSによって処理されている。他にも同様の処理が複数個所有る。


Disc 1 (61:52)
1. Intro.
2. Layla
3. Bell Bottom Blues
4. Key To The Highway
5. Instrumental Jam ★8:03 – 8:05 補填
6. Can’t Find My Way Home
7. Better Make It Through Today
8. Keep On Growing ★7:25 – 7:29補填
9. Teach Me To Be Your Woman

Disc 2 (61:04)
1. Mainline Florida
2. Knockin’ On Heaven’s Door
3. Tell The Truth
4. Crossroads ★5:38 – 5:39補填
5. Why Does Love Got To Be So Sad (with Carlos Santana)★19:47 – 最後迄(合計8秒)補填

Eric Clapton : Guitar & Vocals
George Terry : Guitar
Carl Radle : Bass Dick Sims : Keyboards
Jamie Oldaker : Drums
Yvonne Elliman : Backing Vocals
Marcy Levy : Backing Vocals
Carlos Santana (Guest Appearance on Why Does Love Got To Be So Sad)


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