slowhand Digest Volume 01 : Issue 302
Today's Topics:
looking for: Hallenstadion, Zurich, Switzerland on April 28, 1995
Jack Bruce
EC/Jesse Ed Davis
RE: Still More of EC on GH
3 songs since 1974
post '70 performances
EC on GH (Last one...)
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From: "Apurva Parikh"
Subject: looking for: Hallenstadion, Zurich, Switzerland on April 28, 1995
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I heard Josh's Mp3 of the week, and I now want the whole show!
I am looking for the following Eric Clapton show:
Hallenstadion, Zurich, Switzerland on April 28, 1995
I have lots of Zeppelin to trade and other goodies, Please email me
privately for more
Thanks
Apurvs
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From: "Sandra K. Anderson"
Subject: Jack Bruce
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Jack Bruce performed in Chicago last Friday, along with the Cuicoland
Express - key back-up players from his new album, "Shadows in the
Air." Unfortunately, I did not attend the show, nor have I been able to
find a review, but here is a link to an article that appeared in one of the
Chicago papers that day:
http://www.suntimes.com/output/show/cst-ftr-bruce14.html
Jack again dismisses the idea of a Cream reunion, despite offers in the
"telephone number" bracket. He said, "I hear the numbers, and I
think,'What would I buy?' I'm not that much into possessions. However, he
added that "it would probably be a one-off event that was dear to Eric's
heart, or my heart...it might happen that way."
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From: "Sandra K. Anderson"
Subject: EC/Jesse Ed Davis
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A couple of issues back, Jon Maclean wrote:
"With Eric's participation on the Paul McCartney track "Freedom" (also on
the Driving Rain CD), he now becomes the only guest or session player to
have participated on a Beatles recording...and on recordings by all 4 solo
Beatles....(Then) there's guys like Jim Keltner, Klaus Voorman, Jim
Gordon, Jesse Ed Davis, who worked with John, George and Ringo, but not
Paul, who has generally drawn his support players from other sources."
A follow-up on Jesse Ed Davis, who unfortunately died of an overdose in
1988. In the aftermath of George Harrison's death two weeks ago, VH1
aired a 1997 interview with George, that evidently had not been shown
before. George had stopped by the studio with Ravi Shankar to promote
Ravi's album "Chants of India." Anyway, the cameras were rolling while
they chatted informally with a VJ before a small group of VH1 staffers and
hangers-on. George was talking about all the work that went into
arranging the "Concert for Bangladesh" - how he was on the phone for twelve
hours a day for weeks to line up musicians. He said that Eric was in very
bad shape at that time. He added "drinking problem or
something." (Hmmm. I think we all know what the "real problem"
was). Anyway, since he wasn't sure that EC would be able to perform, he
invited Jesse Ed Davis. When Eric did show up, George did not feel it
would be right to "dis-invite" Jesse, so "that's why you saw so many guitar
players up there."
BTW, EC appeared on Jesse Ed Davis' first solo album, released in
1970. Jesse had cut his "blues teeth" as a member of Taj Mahal's band in
the late 60's and went on the join the session musicians "orbiting" Leon
Russell. Another very talented musician who died much too soon.
Sandy
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From: Richard Batty
Subject: RE: Still More of EC on GH
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Janet,
Thanks for posting the EC interview excerpts.
Can any of the guitar players on the list shed light on what EC is talking
about regarding the augmented chord that George used? Any examples in
George's songs? And why would it drive EC crazy?
Thanks,
Rick
>From Guitar World December 1989:
Were there any other guitarists [working with you on Journeyman], besides
those already mentioned?
EC: Just George [Harrison], when we did George's track. He came [to New York
City] for a week, and we did five of his songs - some of his spare and some
he'd written especially for the album - and ended up using just one ballad,
"Run So Far." It's a Willbury's type thing because he's very much a Willbury
at the moment - in the throes of Willburyism. That was the only one of all
his songs that didn't have his augmented chord in it, which drives me crazy.
It's lovely when it's with him - you know the one I'm talking about - but
when I do it, it's a little bit wrong for me.
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From: "Pat Toth"
Subject: 3 songs since 1974
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3 songs since 1974....
thought about this for a couple of weeks.
1) Clapton's guest appearance with the Stones in 1989 doing "Little Red Rooster" (have you got that john?)
2) Off Slowhand Blues "Let Me Love You Baby"
3) Hell for that matter one of 6 or 7 tunes from that boot!!!
Pat
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From: GREG Wenker
Subject: post '70 performances
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I think those of you comparing post 1970
performances to pre '70 need to listen to some
bootlegs from '66-'70
to do a real comparison. The 'officially' released
stuff from Cream that you're comparing to was 'tame'
compared to what they were capable of. IMHO, any one
of the following gigs is far superior to Live Cream
Vol. I or II : Detroit 10/67,Boston 4/68,Ricky Tick
11/66, Brandeis U 9/67).
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--=_--SlowhandDigest--
From: Miami718@aol.com
Subject: EC on GH (Last one...)
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>From Q Magazine December 1991:
You instigated the tour with George Harrison.
EC: I was getting asked all over the world last year what George was up to. I felt it was my duty to go and tell him. I don't think he realised how much interest there was. I said, Why don't you go and do some gigs? because I know it's the last thing he wants to hear. But I enjoy it so much that I'd like to share it with him. I don't think he's ever had the experience of playing for an audience with a great band. The Beatles played to 10-year-old kids who screamed their heads off.
He's stopped smoking, he's got himself into fighting fit shape. He's got my lighting, my sound, my band. It's a crack team. We're going to Japan where
the world spotlight won't be on him and he probably won't get a bad review.It's a great opportunity. If he doesn't do it now, he probably never will.
What will you tell him to play?
EC: That's up to him. There's so many great songs. We could do the whole of All Things Must Pass for a start but every album's got some great songs...
George is very paranoid about the press. There's a lot of anger in him. I don't know why. He's got his guard up before he begins. But the worst they can say is that he's a boring old fart. And that's almost gone out of fashion.
Rolling Stone October 1991
What's the nature of the show? Is it a George Harrison show or a George Harrison-Eric Clapton show?
EC: It's George Harrison. I'll probably do two or three numbers and then just step back, and we'll do everything from, say, "Taxman" up to the present. I
think it would be great to do some of those old Beatles songs, like "If I Needed Someone."
You and George go back a long way. Tell me about your relationship.
EC: We jostle a lot. It's a very jostling relationship. He's about a year or two older than me, and because he was there first, there's a bit of swagger that never goes away. I love him very dearly, and I know he loves me, but it's like we're always testing each other. At the same time, there's this total support. He's like my older brother, really. When I'm around him, I always feel like I've got to do a bit better than I normally would.
Do you remember when you first met him?
EC: I was in the Yardbirds, and we were playing a thing called the Beatles Christmas Show at the Hammersmith Odeon, in London. The Yardbirds were on the bottom of the bill, but all of the acts in between the Yardbirds and the Beatles were sort of music-hall, English rock & roll groups. And the Yardbirds were an R&B band, or even a blues band. And so there was a bit of, like, What's this all about? He was checking me out, and I was checking him out to see if he was a real guitar player. And I realized that he was. But we come from different sides of the tracks. I grew up loving black music, and he grew up with the Chet Atkins-Carl Perkins side of things -- blues versus rockabilly. That rockabilly style always attracted me, but I never wanted to take it up. And I think it's the same for him. The blues scene attracts him, but it evades him somehow. He's much more comfortable with the finger-picking style of guitar.
What about the period when you were in love with his wife, Pattie Boyd, who eventually left him and married you? Didn't that put a strain on your relationship with George?
EC: Unbelievable. And it's still there. It has something to do with the way we wind each other up. I mean, there's always a little barbed comment somewhere in any conversation. I mean, that devastated all three of us. It was fun at the time. It really was like one of those movies where you see wife swapping -- Bob & Carol & Ted & Alice. And everyone was saying: "Oh, it
doesn't matter. We can write our own story on this." Because those were the times. But it took years, and it'll never go away, the way it affected our lives. We're still very much the same in the way we think about and feel about each other. Pattie is still there in the picture for all of us.
Was there a period when you and George didn't talk?
EC: No, not really. We always talked. Some of it was very LSD-type conversation and very esoteric, sort of cosmo-speak, especially from George. And he would show up from time to time, when Pattie and I were living
together. He came around once, and it was all very trippy. It got quite hostile at times, but we always cared for one another. I'll probably get my knuckles rapped for talking about all this. I'll go home, and I'll see George, and he'll go, "Oh, running off at the mouth again." But I find it very hard not to talk about it, because it's a part of my life.
So will you be playing "Layla" on the tour?
EC: Yeah. [Laughs] That's always been a bone of contention. Every time I play it and he's in the audience, I've always wondered what the hell goes through his mind. But I don't know, we could play it. We've got a sense of humor about it.
Musician May 1982
I have often thought that you and George Harrison are, in a way, kindred spirits. There seems to be a parallel between you, as if you were heading for the same goal, but by different routes. Does that sound absurd?
EC: No, absolutely not. We're very different, because he has a very strong sense of rejection of the material world, whereas I want to face it and fight it, but musically we *are* kindred spirits. That's what joins us together, because he loves what I do, and he can't do it, while I love what he does, but I can't do it. I mean there's no way I could play the slide the way he
does: he's fantastic, the first man who had the idea of playing a melody, instead of just trying to play like Elmore James. He's achieved that, and just doing that is enough.
***
I think that is enough for now :-)
Happy Holidays to all!
Cheers, Janet
End of slowhand Digest V01 Issue #302