[Slowhand] Hollywood Bowl reivew and 6/29 flac bittorrent

Wed Aug 4 19:10:58 EDT 2004

"Recorded at Madison Square Garden in NYC, June 29
2004, from section 207 (left of and looking down on
the stage). 

Core Sound High End Binaurals (HEBs using DPA 4060
capsules) --> Core Sound Mic2496 --> Core Sound
PDAudio-CF --> HP iPAQ h5155 --> 2 GB SanDisk CF
memory card, running Gidluck Mastering's Live2496.
Broken up into tracks with Adobe Audition 1.0. EQ'ed
with 40 Hz/-18 dB per octave high-pass filter to
reduce MSG's subsonic boom. 

Set list: 

(CD1) 

1. Let It Rain 
2. Hoochie Coochie Man 
3. Walk Out In The Rain 
4. I Want A Little Girl 
5. I Shot The Sheriff 
6. Me & The Devil Blues 
7. They're Red Hot 
8. Milk Cow Blues 
9. If I Had Possession Over Judgement Day 
10. Kind Hearted Woman Blues 

(CD2) 

1. Got To Get Better In A Little While 
2. Have You Ever Loved A Woman 
3. Badge 
4. Wonderful Tonight 
5. Layla 
6. Cocaine 

Encore: 

7. Sunshine Of Your Love (w/ Robert Randolph) 
8. Got My Mojo Workin' (w/ Robert Randolph) 

Recorded by an anonymous friend. FLAC encoded."

http://bt.easytree.org/torrents-details.php?id=2818&hit=1
--------------------------------------
Clapton the incomparable
Review: Astoundingly still improving as he gets older,
guitar god Eric Clapton ditched his usual pop
pleasantries Monday night at his Hollywood Bowl
tour-ender, offering instead a blues tour de force. 

BLUES AND ROCK: “Me and Mr. Johnson,” his latest album
and the music of his roots, provided fuel for a
blues-laden night at the Bowl. The Clapton classics
were there also: “I Shot the Sheriff,” “Wonderful
Tonight,” and “Cocaine.” 
Photo: KELLY A. SWIFT, for The Register 
--------------------------------------------------------------------------------

MORE PHOTOS 

By BEN WENER 
The Orange County Register 

What is it about British rock legends that, when they
say goodbye, they never really mean goodbye?

It's been three years since anyone here has had
opportunity to see Eric Clapton live. Trumpeted like
Who and Stones farewells before them, those last gigs
- at Staples Center, just after his "Reptile" album
came out - were rumored to be just that, his last
gigs, or at least ones that were part of a lengthy
tour.

Consequently, there was a misty-eyed air at the end of
that outstanding run that spilled into my reverential
review, which now strikes me as a bit purple and
fawning. I wrote not only as if we'd never see him
again but also as if he had never played better. 

That was an absurd claim then, of course, but it now
has been made utterly ludicrous, given that Monday
night at a sold-out Hollywood Bowl, Clapton the
incomparable approached both his instrument and select
material with triple the passion and inventiveness he
displayed three years ago.

What gives? Has he been further rejuvenated by his
excursion through the cleansed arteries that lead to
his heavy blues heart? Was it the absence of
pleasantries like "Tears in Heaven" and "Change the
World" and a newly restored devotion to fundamentals
that helped shoot fresh sparks to his fingertips? 

Or is it simply that an easy cliché rings incredibly
true - that, like fine wine, the gigantically talented
Clapton seems to get better with age?

All of the above, probably. But I have a different
idea: the "Slowhand slows down" theory.

See, when it comes to whatever constitutes his touring
pace these days (this Bowl show wrapped a two-month
worldwide trek), we now get Clapton sightings - which,
granted, really isn't all that different from how
things have been for, what, 20 years? 

But Clapton's different. Oh, he looks the same - short
gray hair, stubbly face, spectacles, relaxed attire.
That casual appearance says much about a man who, at
59, no longer tours incessantly; global recognition as
both a legendary rock star and one of few true
geniuses on six strings means he doesn't need to. He
embarks just enough to keep his concert chops sharp
(his innate chops are beyond question) and far less
than would result in fatigue and tedium.

The Rolling Stones would be wise to take note of this
peer. By pausing longer between outings, he has
allowed himself not only time to re-energize but also
to reconnect with his past - his true roots, the music
that initially got him excited to play rock 'n' roll
and continues to push him well past it. Once upon a
time, the Stones were interpreters, too. But it's
Clapton, more than any other star of his generation,
who keeps the tradition more than merely alive. He
keeps it healthy. Sometimes he even pushes it to peak
form.

He's in peak form all over his new album, "Me and Mr.
Johnson," an excellent tribute to blues pioneer Robert
Johnson. And Monday night he peaked even more during a
five-song sit-down segment, in which Clapton delivered
master-class lessons in blues basics, from a bouncy
take on "They're Red Hot" to a froggy but fiery
version of "Kind Hearted Woman Blues."

Again the Stones (the only other '60s blues cats,
English or otherwise, operating on as large a scale)
are the proper comparison: When was the last time
their new material was as engaging and worth hearing
live as their canon? 

Along with a few other revivals (including a torrid
"Have You Ever Loved a Woman"), I enjoyed Clapton's
Johnson variations so much that I was less taken with
the classics in the set list. "Layla," "Sunshine of
Your Love" (abetted by opener Robert Randolph),
"Cocaine," "Wonderful Tonight," a jauntier "I Shot the
Sheriff" - all of them were impressively played, but
whenever I turn on Arrow 93.1, there they are. 

"Let It Rain," "Badge" and a soaring "Got to Get
Better in a Little While" made welcome returns,
however - I bet because of George Harrison's passing.
Though Clapton's solos crested and scattered like
falling bombs, the overall sound suggested that he was
channeling the spirit of his dear friend during those
vaguely psychedelic wonders.

It helped that Clapton had top-shelf support. Like
guitarist Doyle Bramhall II, so talented that he no
doubt wouldn't be playing Jesus to Clapton's God were
this the jammy thick of the '70s. On bass, the nimble
Nathan East. On keys, the stuttering fingers of Chris
Stainton and the wonderful Billy Preston, all
infectious smiles and playful organ. Anchoring the
sound solidly yet robustly and (this is a compliment)
often imperceptibly, the great Steve Gadd. 

And bringing his usual wow to the encore, slide ace
Randolph, who at one point - his final, slow, soulful
crawl down his guitar at the end of "Got My Mojo
Workin'" - appeared to stun Clapton.

If there weren't much in the way of kinetics among
this bunch - after a while, it was like watching a
rehearsal - well, that's not what you pay an ungodly
sum of $250 a pop (that's face value, mind you) to
see. You come for rare talent, not for spectacle.

Here, Clapton's fretwork was spectacle enough, to say
nothing of his movingly weathered voice. If you missed
him, you have one more chance, tonight at the House of
Blues in West Hollywood at an homage to Buddy Holly.
Duty calls, so I'll be elsewhere. Anyone who manages
to get in, I'd greatly appreciate details, even if he
only does one song. 

http://www.ocregister.com/ocr/2004/08/04/sections/life/lf_music/article_189600.php

=====
"Faith sustains us in the hour when reason tells us that we can not continue, that the whole of our lives is without meaning"

"Faith and reason are the shoes on your feet.  You can travel further with both than you can with just one"  

-Joe Michael Straczynski

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