[Slowhand] Nottingham Review

Almighty Geetarz almighty_geetarz at yahoo.com
Thu Jun 26 18:01:19 EDT 2008

Hi all,

Spotted this, sort of amusing, that the reviewer thinks that EC's prowess on acoustic and slide is "unstuck", which leads me to reply ... "unplugged", which if I recall won a trunkload of awards and was EC's best selling album. What time warp is this guy in?

I don't disagree that the acoustic set is a bit of a road bump, in the larger context of the set, but the way this was phrased, odd.

Sort of like the nimrods on the WE site slagging the Jones Beach show ... I don' t know where they were, but it wasn't the show I attended ...

Over and out.




7 readers have commented on this story. Click here to read their views.

09:00 - 24 June 2008

It's a lifetime since the impact of the Bluesbreakers' Have You Heard or Cream's thunderous live version of Crossroads.

40 years on from the Duane and Derek duelling of Layla days, Eric
Clapton appears to exist well within his comfort zone - cutting edge
replaced by considered craftsmanship and an open house policy on
talented sidemen. But did Clapton ever put himself up on the pedestal?
It was us who called him God and Slowhand.

The initial intensity
of his playing was inspired by a deep love and reverence for the blues
players. And last night that passion for the core purity of his blues
obsession was at the heart of his performance.

He appeared out of nowhere to kick the band into Tell The Truth, one of
a fistful of Layla songs that formed the backbone of his setlist.

Ably abetted by guitarist Doyle Bramhall II and a cracking band of connoisseur musos, Clapton concentrated on hittin' the note.

was a purist's night out. Clapton's instinctive feel for a phrase is
still present and correct. There were times when he was as good as he's
ever been, notably Double Trouble, an utter masterclass.

favourites take centre stage: Hoochie Coochie Man, Why Does Love Got To
Be So Sad? and Four Day Creep showcased Eric's deft emotional touch.

only in the unplugged section he comes unstuck. His acoustic and slide
work has never carried the same conviction as his electric playing, and
closely followed by Wonderful Tonight, the middle of the set drifts
towards nod-off territory.

Layla and Cocaine drive proceedings
home -with Solo Of The Night Award going to Bramhall for the fractured
elegance of his break on the latter. After reverential crowd demands an
encore, we're treated to what we've been missing.

Support man
Robert Randolph joins Clapton for a rollicking version of Got My Mojo
Working, ripping up the rule book with outrageous pedal steel solos, an
infectious grin on his face spreading like wildfire across the stage.

Suddenly, the whole show lifts up five gears; Clapton loved it, a ringmaster relishing the challenge.

A spent force? You're kidding!


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