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Эрик Клэптон «Crossroads 2 Live in the Seventies», 1996

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Эрик Клэптон «Crossroads 2 Live in the Seventies», 1996 1. WALKIN' DOWN THE ROAD|5;15| CRITERIA STUDIOS, MIAMI Ma/J974 2. HAVE YOU EVER LOVED A WOMAN-(7:4l) LONG BEACH ARENA July 19,1974 ERIC CLAPTON 3. WILLIE AND THE HAND JIVE / GET READY ill:42| LONG BEACH ARENA Juiy20.W4 4. CAN'T FIND MY WAY HOME" (5:19) LONG BEACH ARENA July 20.1974 - I 5. DRIFTIN' BLUES / RAMBLING ON MY MIND |11;36| LONG BEACH ARENA July 20.1974 CROSIROADS 2 6. PRESENCE OF THE LORD'(8:48) LONG BEACH ARENA July 20.1974 56 du tolY MIND / HAVE YOU EVER LOVED A WOMAN •(8;16) HAMMERSMITH ODEON December4,1974 L8. LITTLE WING (6:43) HAMMERSMITH ODEON December4.1974 / HAVE YOU EVER LOVED A WOMAN / RAMBLING ON MY MIND (7:39) HAMMERSMITH ODEON TWO 1. LAYLA (5:381 PROVIDENCE CIVIC CENTER June25.1975 r; ON UP THE ROAD (4:31) PROVIDENCE CIVIC CENTER June 25,1975 3. I SHOT THE SHERIFF 110:21) NASSAUCOUSEUM June28. 1975 4. BADGE (10:42) NASSAU COLISEUM June28,1975 Mv, M 5. DRIFTIN' BLUES (6:58) PROVIDENCE CIVIC CENTER June25.1975 6. EYESIGHT TO Tft LOVE GOT TO BE SO SAD? (24:19) PROVIDENCE CIVIC CENTER June 25.1975 > THREE 1. TELL THE TRUTH (8:57) HAMMERSMITH ODEON Apn/27, 1977 NOCKIN' ON HEAVEN'S DOOR (5:20) HAMMERSMITH ODEON Apnl27. 1977 8. STORMY MONDAY (13:02) HAMMERSMITH ODEON Aon/27, 1977 4. LAY DOWN SALLY (5:23) SANTA MONICA CIVIC AUDITORIUM February 12. 1979 1 5. THE CORE (9:13) SANTA MONICA CIVIC AUDITORIUM February 11.1979 /E'RE ALL THE WAY (2:56) SANTA MONICA CIVIC AUDITORIUM February 12.1979 7. COCAINE (6 37) SANTA MONICA CIVIC AUDITORIUM February 12.1979 T—HtrDWDbwm 3LING ON MY MIND(13;45) SANTA MONICA CIVIC AUDITORIUM February II. 1979 9. MEAN OLD FRISCO (5:53) SAVANNAH CIVIC CENTER March21.1979 j: , " • SWEETER THAN EVER (4:231 VICTORIA HALL HANLEY November 29.197! .WORRIED LIFE BLUES 15:58) VICTORIA HALL, HANLEY November 29. 1979 3. TULSA TIME (4:31) APOLLO THEATRE. GLASGOW November 24. 1978 JWLV IN THE MORNING (8:19) VICTORIA HALL, HANLEY November 29, 1978 iwtfERFUL TONIGHT (6:24) APOLLO THEATRE. GLASGOW November 24. 1978 JJi&RTED WOMAN (5:17) APOLLO THEATRE, GLASGOW November 24.1979 ISroUBLE TROUBLE 111:06) VICTORIA HALL HANLEY November 28.1979 Pfe.'CROSSROADS i5:20| VICTORIA HALL HANLEY November 28.1979 hSOpy.HAPPY (S li) OLYMPIC SOUND STUDIOS, LONDON December 29 1979 t K|jm,:pFlYIN'(2:54) OLYMPIC SOUND STUDIOS. LONDON December 29 1979 T^nE<Mn OlJNt) BM OLYMPIC SOUND STUDIOS. LONDON December 29 1979 ■(f cusV reeased kn EC WAS HERE in dMnm n ■' COMPILATION PRODUCER: Bill Levenson ■W "W AS§OCIAT,EPRODUCER: Jerry Rappapon f rJnxEt) BY; Jay Mark at Sear Sound Sfudios. New York, NY. (slley arm Andy MacPherson at Revolution Studios. Manchester. England MASTERED BY: Joseph M. Pahnaccio at PolyOram Studios, Edison, NJ. J Ted Jensen at Sterling Sound, New York, NY , ' ESSAY: John McDermott t ART DIRECTION AND DESIGN: Wherefore Art? LENDING. PUBLIC PERFORMANCE AND BROADCASTING PROHIBITED PV 849U.C0309 «... inn <» « vjp > , -i- .... fWdm SET. No. 529 305-2 CD 2. 529 307-2 .• , 996 PolyGram Inle-nationa Mus.c B.v, © 1996 PolyGram International Music ts. UfyAUTHORIStD COPl^ 1. WALKIN' DOWN THE ROAD (5:15) CRITERIA STUDIOS, MIAMI May 1974 2. HAVE YOU EVER LOVED A WOMAN* (7:41) LONG BEACH ARENA July 19, 1974 3. WILLIE AND THE HAND JIVE / GET READY (11:42) LONG BEACH ARENA July 20,1974 4. CAN'T FIND MY WAY HOME-|5:19| LONG BEACH ARENA July20.1974 5. DRIFTIN' BLUES / RAMBLING ON MY MIND*(11:36) LONG BEACH ARENA July20.1974 6. PRESENCE OF THE LORD'(8:48) LONG BEACH ARENA July 20.1974 7. RAMBLING ON MY MIND / HAVE YOU EVER LOVED A WOMAN* (8:16) HAMMERSMITH OOEON DecemDer 4,1974 8. LITTLE WING (6:43) HAMMERSMITH OOEON December 4, 1974 9. THE SKY IS CRYING / HAVE YOU EVER LOVED A WOMAN / RAMBLING ON MY MIND (7:39) HAMMERSMITH ODEON December 5,1974 1. LAYLA(5:38) PROVIDENCE CIVIC CENTER June 25,1975 2. FURTHER ON UP THE ROAD (4:31) PROVIDENCE CIVIC CENTER June 25,1975 3. I SHOT THE SHERIFF (10:21) NASSAU COUSEUM June 28,1975 4. BADGE (10:42) NASSAU COUSEUM June 28,1975 5. DRIFTIN' BLUES (6:58) PROVIDENCE CIVIC CENTER June 25,1975 6. EYESIGHT TO THE BUND / WHY DOES LOVE GOT TO BE SO SAD? (24:19) PROVIDENCE CIVIC CENTER June 25,1975 THREE 1. TELL THE TRUTH (8:57) HAMMERSMITH ODEON April 27,1977 2. KNOCKIN' ON HEAVEN'S DOOR (5:20) HAMMERSMITH ODEON April27.1977 3. STORMY MONDAY (13:02) HAMMERSMITH ODEON April27.1977 4. LAY DOWN SALLY (5:23) SANTA MONICA CIVIC AUDITORIUM February 12.1978 5. THE CORE (9:13) SANTA MONICA CIVIC AUDITORIUM February 11.1978 6. WE'RE ALL THE WAY (2:55) SANTA MONICA CIVIC AUDITORIUM February 12 1978 7. COCAINE (6:37) SANTA MONICA CIVIC AUDITORIUM February 12.1978 8. COIN' DOWN SLOW /RAMBLING ON MY MIND (13:45) SANTA MONICA CIVIC AUDITORIUM February II, 1978 9. MEAN OLD FRISCO (5:53) SAVANNAH CIVIC CENTER March 21,1978 1. LOVING YOU IS SWEETER THAN EVER (4:23) VICTORIA HALL. HANLEY November28,1978 2. WORRIED LIFE BLUES (5:58) VICTORIA HALL, HANLEY November 28,1978 3. TULSA TIME (4:31) APOLLO THEATRE, GLASGOW November 24,1978 4. EARLY IN THE MORNING (6:19) VICTORIA HAU, HANLEY November28,1978 5. WONDERFUL TONIGHT (6:24) APOLLO THEATRE, GLASGOW November 24, 1978 6. KIND HEARTED WOMAN (5:17) APOLLO THEATRE, GUSGOW November 24.1978 7. DOUBLE TROUBLE (11:06) VICTORIA HALL. HANLEY November 28, 1978 8. CROSSROADS (5:20) VICTORIA HALL HANLEY November 28,1978 9. TO MAKE SOMEBODY HAPPY (5:11) OLYMPIC SOUND STUDIOS, LONDON December 28,1978 10. CRYIN'(2:54) OLYMPIC SOUND STUDIOS, LONDON December 28.1978 11. WATER ON THE GROUND (3:00) OLYMPIC SOUND STUDIOS, LONDON December 28.1978 'Dfevously released on EC WAS HERE 41 diflerenl mo \ 3 Beginning with his electrifying debut with the Yard birds, Eric Clapton's commitment to the American blues music he so admired helped to forge one of the most compelling and successful careers in popular music. What made Clapton so unique was that rather than simply replicate the exotic sounds he had heard on blues discs, he incorporated the 1 emotion of the original performances into his own playing, expanding the vocabulary of blues guitar through his 5: aC. dramatic solos. The enormous success enjoyed by Cream, •Y k which Clapton formed after leaving John Mayall's Bluesbreakers, transformed the guitarist's parochial cult status to international stardom. Punctuated by his furious guitar work, Cream's winning combination of 4 whimsical psychedelia blended with fiery, highly amplified remakes of such blues standards as "Spoonful," "Crossroads" and "Born Under A Bad Sign" effectively consolidated Clapton's impressive standing. Clapton's post Cream undertakings were equally successful, as Blind Faith enjoyed tremendous popularity, white Eric Clapton, his first solo album, and the magnificent Layla And Other Assorted Love Songs by Derek and the Dominos each enhanced his reputation. By ufti 1971, however, despite his remarkable resume, Clapton had worn down. Despite their considerable potential, Derek and the Dominos broke up during the making of their second album. The group's dissolution had a decided impact on Clapton. Save for occasional ■/ session work and such special occasions as George Harrison's Concert For Bangladesh and the 1973 Rainbow Concerts organised in his honour by Pete Townshend, Clapton virtually retreated from public view for nearly three years. In April 1974, Clapton resumed his career at Criteria Studios in Miami, where producer Tom Dowd had been enlisted to organise the guitarist's first studio session in nearly three years. Dowd, who had engineered Cream's Disraeli Gears and Wheels Of Fire sessions and co- produced the brilliant Layla And Other Assorted Love Songs album for Derek and the Dominos, had been asked to help field the best possible rhythm section for Clapton. Dowd experimented with a variety of player combinations, pairing Clapton with such diverse talent as former Traffic guitarist Dave Mason, m bassist Jaco Pastorius, drummer Jim Fox from the James Gang, N bassist Harold Cowart *• -i from Cold Grits, as well as famed Booker T & A n the MGs drummer Al i Jackson. m 9 sJtvjn ■*>ar •' Even before Dowd had begun assembling musicians in Miami, Carl Radle, Clapton's longtime bassist, had been working to accelerate his old friend's return. By mailing tapes of prospective musicians to Clapton, Radle hoped to stimulate the guitarist's curiosity. Radle took particular interest in a group of players from Tulsa, Oklahoma who had recently served as Bob Seger's backing band. Keyboardist Dickie Sims, vocalist Marcy Levy and drummer Jamie Oldaker had backed Seger and contributed to the Michigan based rocker's popular album Back In '72. Shortly thereafter, the three parted company with Seger and made their way back to Tulsa. In early 1974, Radle summoned them to Miami, where they were formally introduced to Clapton. 11 / m Rounding out Radio's 'Oklahoma Pocket,' as Dowd had labelled them, was vocalist Yvonne Elliman, best known for her role as Jesus Christ Superstar's Mary Magdalene and guitarist George Terry. Terry had originally been introduced to Clapton in September 1970, during the recording of Layla And Other Assorted Love Songs. "George didn't have the confidence at that time to walk into the studio and start playing with Eric and Duane Allman," explains Dowd. "He stayed in the control room with me just blotting up the genius of those two players." Terry's opportunity to showcase his skills before Clapton would come 'ss * k when the guitarist heard of Dowd's frantic call for available musicians.
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