Eric Clapton and his music

2Old Bluesman:
>Секундочку
Ага. Это я оБшибся "в темноте"...

http://www.whereseric.com/news/2006/04/eric-clapton-historic-concert-performance-red-sq...
Если кому что-либо уже/станет известно о билетах на московский концерт, сообщайте, пожалуйста.

Мой приятель идет завтра на концерт. Надеюсь, что-нибудь отпишет!
Как я понял, вроде все билеты в Европе проданы.

2Good Old Bad Guy:
Обязательно. Держим руку на пульсе! :)
Для этого есть спецтема - https://www.beatles.ru/postman/forum_messages.asp?cfrom=1&msg_id=12707&cpage=1&forum_id=0

From the start, the voice and the look of Rolling Stone followed one rule only: Say what you think. Everything else was up for grabs

Rolling Stone 10, dated may 11th, 1968, just a little more than six months after the first issue began popping up in bundles outside Bay Area newsstands, did not feature one of the magazine's more remarkable covers. Really, there was nothing to it: a blue-tinted head shot of Eric Clapton, taken by Linda Eastman -- later Paul McCartney's first wife, then a well-known New York rock & roll photographer. But the cover was second to none in defining what Rolling Stone was, how it worked and where it would go. It showed that the only line the only line the editors drew was the line that protected the magazine itself, which is to say the ability of its writers to say what they thought. The cover was an announcement that the line Rolling Stone was drawing was the line the magazine itself wouldn't cross.
The Clapton cover promised an uncredited The Rolling Stone Interview: Eric Clapton. Immediately following the three-page interview was an installment of the column by staff critic Jon Landau, which ran in nearly every issue, on Cream.

Landau had developed a thoughtful, detailed, musicianly style of writing that radiated consideration and fairness. More than that, his work contained a somehow unassailable authority -- and in this piece Landau took up the question of the instantly celebrated trio Clapton had formed with bassist Jack Bruce and drummer Ginger Baker. "Clapton," Landau wrote, "is the master of the blues cliches of all the post-World War II blues guitarists." According to stories that once were fact and are now legend -- there is today, thirty-eight years later, a lengthy, bizarrely researched Web site devoted to this single column -- when Clapton read what Landau wrote, he fainted. And what was his label going to do? On the page facing Landau's was a full-page Atco Records advertisement for the first two Cream albums. The footnotes barely matter: RS 14, July 20th, 1968, a headline for a Frank Zappa cover, "Cream's New Record Bombed," with most of the magazine's front page devoted to a picture of Jack Bruce playing cello during studio sessions for Wheels of Fire, the Cream album in question, and then Jann Wenner's lead record review, which began, "Cream is good at a number of things; unfortunately songwriting and recording are not among them," and which ended with an attack on the album's cover art and a final sentence: "The album will be a monster." It was, but well after the headline that ran in the next issue: "Eric Clapton Announces Cream Split."

RS 10 was shocking then and it's shocking now: a publication that, from the perspective of someone picking up a copy to read about Eric Clapton, did not seem to even consider the question of censoring its writers -- in other words, itself -- in order to protect what was then its only reliable source of revenue; a publication willing to bite the hand that feeds it. What that suggested was what really fed Rolling Stone at that moment was its readers, or their specter: the notion that what one wrote was being read, talked about, argued over, praised and damned. I was one of many who waited eagerly for each new issue. Early on, Rolling Stone carried a little ad soliciting writers ("HELP!! ...Send us something we might like to print.... Maybe we'll print it; maybe we'll pay you"); in the span of issues I'm looking at now, I became one, then an editor, then again a newsstand buyer. From the first, it was uncanny, unexpected, what you'd been waiting for without knowing it: a music magazine that didn't insult your intelligence, as even the radio-oriented Hit Parader did, as even Crawdaddy!, a self-consciously intellectual journal that well predated Rolling Stone, did in its own insider's way. This was plain talk, but with oceans of implication behind it.

Singer Eric Clapton performs in Le Cannet, southeastern France, May 5, 2006. Clapton starts his European tour in Le Cannet.

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Eric Clapton launched his 2006 / 2007 World Tour on 5 May at La Palestre, Le Cannet, France. This tour features an expanded band with some familiar faces and some new personnel. Bandmembers are Doyle Bramhall II (guitar), Derek Trucks (guitar), Chris Stainton (keyboards), Tim Carmon (keyboards), Willie Weeks (bass), Steve Jordan (drums), The Kick Horns - Simon Clarke, Roddy Lorimer and Tim Sanders (brass), Michelle John (backing vocals), and Sharon White (backing vocals).

The set list included some gems from his back catalog along with more recent tracks from his 2005 CD, "Back Home". The full set list was:

Pretending
So Tired
Got to get better in a little while
Lost and Found
I shot the Sheriff
Anyday
Back Home (acoustic)
I am yours (acoustic)
Nobody knows you when you're down and out (acoustic)
Milkcow Blues
Running on Faith
After Midnight
Little queen of Spades
Everybody oughta make a change
Motherless children
Wonderful Tonight
Cocaine
Layla
Crossroads (Encore)

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На сей раз обошлись без Sunshine...

Anyday чья песня?

2Серёжа:




Derek & The Dominos.

Review #1

Got back from Eric Calpton's concert last night, and thought I'd drop a few lines to share my experience with the fans. It was definitely a great concert, most classics were played, along with lesser known songs from various albums. I think that whatever the reason you came, being the softer or the harder Eric, the blues or the rock, you were satisfied. His 2 guitar players, and especially Derek, were really impressive, and you could feel there was someting between the 3 of them that translated in the solos. The piano player (Chris Stainton) was also great in solos.

Nevertheless, it wasn't the absolute best concert it could have been. I think the balance between guitar and voice wasn't perfect, and it was quite difficult to hear him sing sometimes. The worst, was the brass section. I could barely hear it 4 rows from stage and my friends further away told me they paid attention but never heard their sound. It's sad, because they played different instruments, including a flute on a blues song, that could have really been good sounding. On the disappointing side, ssome mentionned also the fact that it wasn't so much of a show, asfar as lights, effects, or even talking of Clapton with the audience. As far as I am concerned, I was going there to hear him, not for a show, so I wasn't really bothered by that. On the sad side as well, was definitely the crowd. Very few true fans I believe, very few of us identifying the songs as they started, singing along, clapping and
such. Nevertheless a big round of applause to get him back on stage for a good 5 minutes, but he only came back for one song.

Honestly, a great experience for me, and for some fans around who appreciated the quality of the guitar and piano players, but a first concert on a new tour, and I hope it only gets better from here, and they learn from this one!

Review #2

About two hours ago I was in le cannet la palestre, watching and listening to Eric Clapton playing the last notes of the last track (Crossroads) of a wonderful concert, the first of his new world tour and also my first ever clapton concert for me and my dad. I first took a ticket for the concert in Paris / Bercy not knowing what would happen at Le Cannet. When I knew that they annouced a new date in La Palestre I could not believe my eyes : Eric Clapton only 45 minutes from my home for his first concert of his 2006/2007 world tour. And what a show : 12 musicians on stage, the wonderful Derek Trucks on guitar playing some amazing slide: the kick horns, two singers.

A new band for a new show which began with an old song : "Pretending" rarely played since the "Journeyman" tour. There were so many magical moments but my favourites were the duets solos during "Got To Get Better In A Little While", the long and awesome solo of Eric during "I Shot The Sheriff", the new acoustic section with the return of "Nobody Knows You When You're Down and Out", a wonderful rendition of "Running on Faith", an explosive version of "After Midnight" (not played since a little while I think), some great blues songs from the Robert Johnson album in which every musicians could shown how great they were (especially Chris Stainton in my opinion).

I could also talk about "Motherless Children", "Everybody Oughta Make a Change", some rarely played songs and of course I could also talk about "Layla" with some wonderful solos, one of the most beautiful version of this classic from the history of rock'n roll!!! Thanks again Eric for this wonderful gig, with a new band, a new set list (thanks for not playing "Have You Ever Loved A Woman" or "Sunshine of Your Love" or "Badge") with some rarely played songs. Long live Eric Clapton and good luck for this new world tour.