ERIC CLAPTON – HAMMERSMITH ODEON 1977 1ST NIGHT SOUNDBOARD (2 CD)

Description

Hammersmith Odeon, London, England 27th April 1977 STEREO SBD (from Original Masters)
★UPGRADE!!!

[Get the original soundboard master of the classic 1977 live recording!]
　Another new master has been brought to us by Taper, a veteran British artist familiar to us as a treasured Eric Clapton sound source. This is the stereo soundboard master from the first day of Clapton’s consecutive performances at Hammersmith Odeon in London on April 27, 1977. While there are multiple pre-release versions of this day’s sound source, this work is a digital copy of the original 1st Generation Master.

　Speaking of the 1977 live recording, it was probably 16 tracks at the time (the 1973 “Rainbow Concert” was recorded on a mobile unit, so it was 8 tracks), but this is a digital copy of the original master that the engineers at the time meticulously mixed and mixed down to 2-track stereo. The master that was previously bootlegged was a cassette copy that reflected the analog era, so you can see the difference in freshness with this master. In other words, it is the 1st generation master that was the origin of all masters used in past bootlegs.

　This is particularly evident in the noise from the bass. In fact, on the day, Carl Radle’s bass amplifier malfunctioned almost throughout the entire stage, and it was thought to have been making noise from start to finish. This noise was captured on the previously released board, and it was thought to be caused by the master, but the noise is not felt in the master of this work. In other words, it can be speculated that the distortion of the bass sound increased as the master generations overlapped on the previously released board. In the first generation master of this work, although a slight distortion of the bass sound can be felt, it is not at a level that reaches the level of noise. From this point alone, you can see the excellence of the master of this work.

　Furthermore, this live recording was released in full on the official 2012 album, “SLOWHAND 35TH ANNIVERSARY EDITION,” but the mix here is quite different. The official release featured high-intensity, flashy mastering, reflecting the mixing trends of the time. The audience’s cheers were intentionally mixed loudly to create an overly exciting atmosphere. However, the biggest difference is that while the positioning of each instrument and vocal is essentially the same, the official release mixes the percussion of Sergio Pastora Rodriguez, who was in the band at the time, quite off-key. Listening to this release, you’ll notice that his percussion is clearly captured in the center and slightly right channel, right from the opening number. You can clearly hear the groove that builds up each song. However, on the official release, it’s almost inaudible. It’s buried in the band sound (the organ is intentionally mixed louder instead).

　While it depends on the listener’s preferences, the original master recording included this vibrant percussion in the mix (even Yvonne Elliman’s shaker sounds are clearly audible). Furthermore, at 4:35 in “Steady Rollin’ Man,” Clapton forgets to sing, but the official recording uses vocals from elsewhere to fill in the gap. This work clearly demonstrates the artificial steps taken on the official recording. Also, this recording features a 54-second longer opening section than the official version. While the official recording starts straight away, this recording begins with Clapton appearing on stage and playing instruments with his bandmates to synchronize their breathing. Furthermore, the inter-song segments that were cut throughout the official recording are also fully included.

　Clapton’s best performance yet. This is the true master of the day. It’s packed with charms that you won’t find on official or previously released albums. The ultra-clear, superb sound quality of the best stereo soundboard recording is brought back to life along with the atmosphere of the famous Hammersmith Odeon venue. Please take your time to enjoy it.

[A world of difference from the previous day’s TV recording! Clapton is here in top form!]
　1977 was the year that Clapton had pretty much established himself as a solo artist, with his albums consistently reaching the top 20 of the charts. Let’s take a look at Clapton’s career that year.

・February 14th: Appearance at a charity concert in Cranley, Surrey, England (band name: “Eddie Earthquake & His Tremors”)
・April 20th-29th: Short UK tour ←★here★
・June 4th-20th: Short European tour ・
August 5th: Spot performance in Iviza , Spain
・August 11th: Followed by a performance in Barcelona
・September 26th-October 7th: Japan tour
・October 9th and 10th: Performances in Honolulu, Hawaii

　In between these schedules, Clapton recorded the classic album “SLOWHAND” at London’s Olympic Studios in May. After completing the album, he embarked on a short tour and a stop-off in Spain. However, the setlist for the April tour, as before, consisted of tracks from his previous album, “NO REASON TO CRY.” In fact, the day before this release, Clapton appeared on the BBC’s famous live show, “The Old Grey Whistle Test (OGWT).” He was intoxicated and, apparently, uncomfortable with the live television recording environment, he appeared lackluster from the beginning to middle of the set. Since this was the day after, one might assume he was still drinking heavily, but on this day, he performed with such brilliance that it was as if the previous day had been a lie.

　The setlist for this night also featured tracks from the album, with the opening two tracks being of that nature. These opening tracks were well-played, exuding the country-inspired flavor of the album. Then, around the time of “Tell the Truth,” in which Clapton switched to a Blackie Strat, his sharpness really began to shine. It could be said that his performances are best captured in tracks that include guitar solos. The long solo on “Steady Rollin’ Man,” a rare set piece from 1974, is also exceptionally sharp. This track’s edgy, flowing playing is arguably the highlight of the first half. Clapton’s playing also shines in the series of tempo-varying blues tracks “Further On Up the Road” and “Stormy Monday.” The latter is a rousing performance that stretches for over 12 minutes. From here, the momentum only builds from there into the second half. The middle solo of “Badge” features a sharp wah-wah phrasing, and while Clapton’s wah-wah solo in the concluding section of “I Shot the Sheriff” is also excellent, the drum and percussion solos in the latter half make for a 13-minute smash. Layla, who didn’t perform on the previous day’s TV recording, also “attacks” with a groovy performance (though the mistake at the beginning of the third chorus is a charming one). Of course, the concluding solo is superb in both phrasing and sharpness. The encore, “Key to the Highway,” is also a rock-solid performance with undeniable stability. Clapton was in top form from start to finish.

　This is a true 1st generation master that captures Clapton in top form and has no artificial mixing! Although there is an official version, this work is worth listening to.

Disc:1 (61:46)
1. Intro
2. Hello Old Friend
3. Sign Language
4. Alberta
5. Tell the Truth
6. Knocking on Heaven’s Door
7. Steady Rollin’ Man
8. Can’t Find My Way Home
9. Further On Up the Road
10. Stormy Monday

Disc:2 (42:08)
1. Badge
2. Nobody Knows You When You’re Down and Out
3. I Shot the Sheriff
4. Layla
5. Key to the Highway