eric clapton 50th anniversary tour

Eric Clapton Spans His Career on 50th Anniversary Tour

By David Fricke

David Fricke

Eric Clapton ‘s March 17th concert in Austin, Texas – the third date on his latest North American tour – was a career overview that covered all of his major turning points as a guitarist and most of his commercial successes: Cream , Derek and the Dominos , the Seventies solo hits and his matured resurgence in the Nineties with the MTV Unplugged performance and album. But the long heart of this two-hour show at the Frank Erwin Center was four songs associated with the pioneering, star-crossed Mississippi bluesman who set Clapton on his path, Robert Johnson .

Deep into the set list, after a seated, acoustic stretch that included Clapton’s 1977 ballad “Wonderful Tonight” and his down-gear Unplugged rearrangement of the Dominos’ “Layla,” Clapton strapped on a Stratocaster and pulled the trigger on Johnson’s “Stones in My Passway,” quoting his own Cream-era riff from Johnson’s “Crossroads” but with more Delta syntax. “Love in Vain,” best known in the Rolling Stones’ plaintive 1969 recording, was taken as a crisp electric shuffle, followed by “Crossroads” itself, with Clapton – who long abandoned the supercharged Les Paul-guitar tone of the Cream adaption – soloing with a spiked, treble attack closer to the one he first turned to in the Dominos.

Video: Eric Clapton Talks Hendrix, Cream and Guitars at Home

The homage to Johnson concluded with a fixture of recent Clapton tours, “Little Queen of Spades.” At one point in the extended jamming center of the tune, Clapton fell back into his self-effacing-sideman mode, giving generous solo space to his longtime pianist Chris Stainton . But the guitarist’s torrid, opening choruses, improvising against the earthy churn of drummer Steve Jordan and bassist Willie Weeks , drew a standing ovation – affirmation of Clapton’s ability, two weeks before his 68th birthday, to elevate and electrify at the same time he honors his priests and sources.

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At the Crossroads

Clapton’s current tour arrived in Austin in the wake of the SXSW conference and festival, as attendees emptied the city and locals were running on fumes. He paid homage to the city in words – “It’s nice to be in a music town – I can feel it” – and action, inviting guitarist Jimmie Vaughan , older brother of the late Stevie Ray Vaughan and a Texas monster in his own right, to pick some Freddy King-style fire in Albert Collins’ “Black Cat Bone.” Clapton also let his Dallas-born supporting guitarist Doyle Bramhall II take a lengthy slide break in the Dominos’ “Tell the Truth,” evoking the challenge and incandescence the late guitarist Duane Allman brought to that short-lived band.

But the valedictory tone of the evening – a life in blues and guitar playing, well-lived and emotionally cross-examined – was set at the very front, in “Hello Old Friend” from Clapton’s 1976 album, No Reason to Cry, and the surprising resurrection of a later obscurity, “My Father’s Eyes” on 1998’s Pilgrim . Leading an eight-piece band (including a pedal-steel guitarist) in gentleman-laborer dress (jeans, gray shirt, black vest and glasses), Clapton looked nothing like a guitar hero. His body went rigid and his features froze in eyes-shut concentration when his playing was most physical: the funky wah-wah-soaked riffing in the Dominos’ “Got to Get Better in a Little While”; the sharp biting class of his phrasing in the run-out solo of “I Shot the Sheriff.” Clapton also gave big chunks of the spotlight to others, especially organist Paul Carrack , who sang his two lucky strikes, “Tempted” (his hit with Squeeze ) and “How Long” (the one with the mid-Seventies pub-rock combo Ace ).

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There was also an intriguing restlessness to the way Clapton addressed his past, one that did not sound like that of a man who recently told Rolling Stone that he intends to retire from major touring. (He told me the same thing more than a decade ago, to no apparent effect.) Clapton didn’t solo until the third song, “Tell the Truth,” but his shrieking phrases and slalom runs were muscular and concise, firm declarations of undiminished facility and enthusiasm. He revived Unplugged ‘s “Tears in Heaven” with a subtle, effective jolt: a slight offbeat in Jordan’s drumming, which added a warm, reggae lilt to the requiem. And just as Clapton seemed done for the night, after an obligatory “Sunshine of Your Love” during the encore, he cued Carrack into an organ vamp that became Joe Cocker ‘s “High Time We Went,” a 1972 Ray Charles-style rave-up that Stainton co-wrote with the singer.

Clapton’s tour will bring him to New York’s Madison Square Garden on April 12th and 13th, where he will host a multitude of guitarists for a two-day edition of his Crossroads festival and shootout. The way he played Sunday suggests he will be ready for whatever his idols, friends and disciples throw at him; will give better than that in return; and is still a long way from sunset.

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Published: 2021/08/14 by Larson Sutton

As comprehensive as this 50 th anniversary, four-disc set is, collecting three separate mixes of Eric Clapton’s eponymous debut solo album issued in the spring of 1970, as well as a variety of alternate versions, it also represents what an ineffaceable impact Delaney Bramlett had on the major forces in rock music during that monumental year.  One half of a husband-wife duo, with partner Bonnie, leading a Southern-flavored ensemble of “Friends,” Bramlett and/or members of his group were showing up just about everywhere there was some great music being made. 

Bassist Carl Radle and drummer Jim Gordon, part of Delaney and Bonnie’s integral rhythm section, were a key component of the Leon Russell-led group backing Joe Cocker on the iconic Mad Dogs and Englishmen .   So, too, were Radle and Gordon, joined by Friends keyboardist and songwriter Bobby Whitlock, in the outfit that tracked George Harrison’s epic All Things Must Pass .  Now, the Radle/Gordon/Whitlock trio (and Russell, too) were recruited by Clapton (with Delaney producing) to cut the guitarist’s debut.

Clapton was in transition, fresh off of touring Europe with D&B and Friends, and simultaneously enamored with The Band’s Music from Big Pink .  His time with electric British Blues superstars like John Mayall and Cream had exhausted itself.  Not only was he devotedly following this new muse of American roots, he was also changing guitars- adopting the cleaner, cutting Fender Strat as his go-to in place of the hefty crunch of his Gibson.

All of this, plus Clapton’s initial foray into the role of lead vocalist, totaled an album that displays EC as much a student as a developing master.  As such, his voice is, at times, indistinguishable from Delaney’s (who does sing backgrounds), borrowing generously from his tutor in style and intonation.  And his contributions as a writer are more often in collaboration with Bonnie than singular visions.  He’s also learning to harness the glassier tone of the Strat, slicing through with sporadic, jagged bursts, rather than dominating with distortion-laden showcases of length and volume that his previous efforts flaunted. 

What the three unique mixes of the complete album convey- with Clapton’s own attempt, he admits, the least effective- is that this was very pliable and evolving material; Dowd’s mix, the most commercially friendly; Delaney’s, a more soulful, ensemble-driven approach; Clapton’s, spacey and somewhat dated.  Ultimately, the label chose Dowd’s version.  And, ultimately, Clapton chose to pursue this collaboration with a giant step further; a few months later, Radle, Gordon, and Whitlock would team with Clapton and Duane Allman in Miami as Derek and the Dominos for the Dowd-produced masterpiece, Layla and Other Assorted Love Songs .

On the disc of alternate takes, there is a rendition of “Let It Rain” titled “She Rides.”  It’s the same backing track of music, but with different lyrics and a slightly different vocal melody; much more ‘60s flower than ‘70s power.  Eric Clapton is, in hindsight, a somewhat liminal album, especially in Layla’s shadow, but vitally important as a bridge, exemplified by the metamorphosis of “She Rides” to “Let It Rain.”  A bridge Delaney Bramlett lit for quite a few legends in 1970.

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50 Years Of NPR

How the concert for bangladesh changed the celebrity fundraiser.

Phil Harrell

Scott Saloway

George Harrison, Bob Dylan and Leon Russell perform at the Concert for Bangladesh in 1971. GAB Archive/Redferns hide caption

George Harrison, Bob Dylan and Leon Russell perform at the Concert for Bangladesh in 1971.

Fifty years ago, on August 1, 1971, the music world descended on Madison Square Garden for an event like no other. It was the first major charity concert of its kind — the Concert for Bangladesh. In that corner of South Asia, civil war, cyclone and floods had created a humanitarian disaster.

"There are six million displaced Bengalis, most of them suffering from malnutrition, cholera and also other diseases that are the result of living under the most dehumanizing conditions," former All Things Considered host Mike Waters reported in July of 1971.

The situation was deeply personal for Indian musician Ravi Shankar , a sitar virtuoso, whose family came from the region. So, Shankar reached out to a close friend, former Beatle George Harrison .

"And he resolved to do something about it ... It was simple as that," music journalist Graeme Thomson notes. "And of course, being a Beatle, he was very — you know — very well connected. So, he called his friends."

He marveled at the astonishing roster Harrison was able to attract. "You have a Beatle — two Beatles in fact — that you have Ringo Starr as well. You have Bob Dylan ," Thomson says. "None of these people had played live particularly much in the preceding years. So, that was an event in itself. You have a stellar backing band, people like Eric Clapton ." Including, of course, Shankar on the sitar.

Thomson says it was the first real act of great benevolence by the rock community. The Concert for Bangladesh set the template for a series of massive charity concerts that became popular in the 1980s, such as Live aid in 1985.

Producer Bob Geldof reached out to Harrison ahead of that event. According to Thomson, Geldof knew the Beatle could offer guidance on how to handle the money.

"The huge problem with [the Concert for] Bangladesh was that they hadn't picked the charity before the event," Thomson recalls. "Therefore, all the charitable breaks you would have, all the tax breaks you would have normally didn't apply. There was a huge amount of money that, A, went missing — and B, went to the taxman."

What they did end up making went to UNICEF. That weekend alone raised around $240,000. Millions more came later, as a result of the subsequent album and movie, all with the goal of helping refugees.

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All Things Must Pass 50th Anniversary Editions

George Harrison’s masterpiece, ‘All Things Must Pass’, is celebrated with a suite of new 50th anniversary editions. The album features Eric Clapton, Ringo Starr and a host of other musicians.

Decades in the making and lovingly crafted by the Harrison family, All Things Must Pass has now been completely remixed from the original tapes for this stunning release that fulfills Harrison’s longtime desire. Executive produced by Dhani Harrison and mixed by triple Grammy Award-winning engineer Paul Hicks (The Beatles, The Rolling Stones, John Lennon), the new mix transforms the album by sonically upgrading it – making it sound brighter, fuller and better than ever before. Formats contain various ephemera, including a scrapbook curated by Olivia Harrison, replica gnomes, original album poster and much more.

In the more than 50 years since George Harrison entered the studio with Eric Clapton, Ringo Starr and a who’s who of backing musicians, All Things Must Pass has only grown in influence and stature since its initial release, including induction in the GRAMMY® Hall of Fame and inclusion on The Times of London’s “The 100 Best Albums of All Time” and Rolling Stone’s 2020 listing of “The Top 500 Albums of All Time.” It is undoubtedly the finest of all the Beatles’ solo albums.

George’s initial sessions for the album began at Abbey Road Studios just weeks after the April 1970 announcement of The Beatle’s breakup with Ringo Starr and longtime friend and bassist Klaus Voormann. The sessions, overdubs and mixing would continue through to mid-October with producer Phil Spector. The large number of backing musicians include Eric Clapton, Bobby Whitlock, Jim Gordon and Carl Radle (who formed Derek and the Dominos during this time) plus Billy Preston, Pete Drake, Gary Wright, members of Badfinger, and John Barham. A young Phil Collins was recruited to play bongos on one session, but his contribution did not make the final album mix.

In a recent interview with the Associated Press, Dhani Harrison recalled that while investigating the stories behind the songs, including the album opener, “I’d Have You Any Time,” he learned that EC struggled at times to play his father’s notes. “It was incredible to hear Eric say how hard it was because that’s a guy that doesn’t find playing guitar very hard.”

The ATMP 50th Anniversary recordings are available in a wide variety of editions: a limited Uber Deluxe Edition, the Super Deluxe Edition LP, Super Deluxe 5 CD + Blu-ray Box Set, Deluxe 5 LP, Deluxe 3 CD, Standard 3 LP, eCommerce Excluxive 3LP Color Vinyl, Standard 2 CD, stream and digital download.

The album includes the hit singles “My Sweet Lord” and “What Is Life”, as well as songs such as “Isn’t It a Pity” and the title track that had been overlooked for inclusion on releases by the Beatles. Alternate takes in the 50th anniversary release are markedly different from the known versions such as a downtempo version of Isn’t It a Pity” with pianist Nicky Hopkins and the 36th take of “Run of the Mill,” featuring twin guitars. The deluxe versions include 42 unreleased demo recordings, session outtakes, and studio jams.

More at https://www.georgeharrison.com/atmp50/

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Eric Clapton - Officially Licensed Merchandise

Eric Clapton, CBE (born 30 March 1945), is an English rock and blues guitarist, singer, and songwriter. Discography includes: Eric Clapton (1970), 461 Ocean Boulevard (1974), There's One in Every Crowd (1975), No Reason to Cry (1976), Slowhand (1977), Backless .... Show More (1978), Another Ticket (1981), Money and Cigarettes (1983), Behind the Sun (1985), August (1986), Journeyman (1989), Rush (1992), From the Cradle (1994), Pilgrim (1998), Reptile (2001), Me and Mr. Johnson (2004), Sessions for Robert J (2004), Back Home (2005), Clapton (2010), Old Sock (2013), The Breeze: An Appreciation of JJ Cale (2014) and I Still Do (2016). Tours include: 2014 Tour, 25th Anniversary Tour, 461 Ocean Boulevard, 50th Anniversary Tour, 70th Birthday Celebration, A Celebration of 50 Years of Music, Another Ticket, ARMS Concert, August, August Tour, Back Home, Backless, Behind the Sun, Change the World, Eric Clapton & Friends, Journeyman, Just for You, Just One Night, Money and Cigarettes, No Reason to Cry, Nothing But the Blues, Pilgrim, Reptile, Slowhand and There's One in Every Crowd. Show Less

Eric Clapton

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• April 6, 2013 Setlist

Eric Clapton Setlist at Consol Energy Center, Pittsburgh, PA, USA

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Tour: 50th Anniversary Tour Tour statistics Add setlist

• Hello Old Friend Play Video
• My Father's Eyes Play Video
• Tell the Truth ( Derek and the Dominos  song) Play Video
• Gotta Get Over Play Video
• My Woman Has a Black Cat Bone ( Poppa Hop and His Orchestra  cover) Play Video
• Got to Get Better in a Little While ( Derek and the Dominos  song) Play Video
• Tempted ( Squeeze  cover) Play Video
• Badge ( Cream  song) Play Video
• Driftin' Blues ( Johnny Moore’s Three Blazers  cover) Play Video
• Lay Down Sally Play Video
• Tears in Heaven Play Video
• Layla ( Derek and the Dominos  song) Play Video
• Wonderful Tonight Play Video
• How Long ( Ace  cover) ( Paul Carrack on lead vocals ) Play Video
• Stones in My Passway ( Robert Johnson  cover) Play Video
• Love in Vain Blues ( Robert Johnson  cover) Play Video
• Cross Road Blues ( Robert Johnson  cover) Play Video
• Little Queen of Spades ( Robert Johnson  cover) Play Video
• Cocaine ( J.J. Cale  cover) Play Video
• Sunshine of Your Love ( Cream  song) Play Video
• High Time We Went ( Joe Cocker  cover) ( Paul Carrack on lead vocals ) Play Video

Edits and Comments

14 activities (last edit by event_monkey , 24 Mar 2023, 10:53 Etc/UTC )

Songs on Albums

• Badge by Cream
• Cocaine by J.J. Cale
• Cross Road Blues by Robert Johnson
• Driftin' Blues by Johnny Moore’s Three Blazers
• Got to Get Better in a Little While by Derek and the Dominos
• High Time We Went by Joe Cocker
• How Long by Ace
• Layla by Derek and the Dominos
• Little Queen of Spades by Robert Johnson
• Love in Vain Blues by Robert Johnson
• My Woman Has a Black Cat Bone by Poppa Hop and His Orchestra
• Stones in My Passway by Robert Johnson
• Sunshine of Your Love by Cream
• Tell the Truth by Derek and the Dominos
• Tempted by Squeeze
• Lay Down Sally
• Wonderful Tonight
• Hello Old Friend
• Gotta Get Over
• My Father's Eyes
• Tears in Heaven

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Eric Clapton

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Consol Energy Center

• Eric Clapton This Setlist Add time Add time
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Eric Clapton Gig Timeline

• Apr 03 2013 PNC Arena Raleigh, NC, USA Add time Add time
• Apr 05 2013 Mohegan Sun Arena Uncasville, CT, USA Add time Add time
• Apr 06 2013 Consol Energy Center This Setlist Pittsburgh, PA, USA Add time Add time
• Apr 12 2013 Crossroads Guitar Festival 2013 New York, NY, USA Add time Add time
• Apr 13 2013 Crossroads Guitar Festival 2013 New York, NY, USA Add time Add time

39 people were there

• beastlymoose
• brewmaster1257
• CraigDavisBand
• gorkster2005
• HelterSkelter
• JasonOlen5543
• marcusmumford
• oaklandzoo22
• treatwilliams
• WV_Hillbilly

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