Kim,
l recently began work in China, but l thought you might t]like to read up on a recent concert experience l had over that way . . . Cheers for Chinese New Years, Brad Cousins.

P.S. Still playing / loving House On The Hill by the way.
Eric Clapton – Live in Hong Kong, @ Asia World Arena, Wednesday January 17, 2007.

Setlist:

01. Tell The Truth
02. Key To The Highway
03. Got to Get Better in A Little While
04. Little Wing
05. Why Does Love Got To Be So Sad?

Sit Down Set
06. Driftin' Blues (EC Solo)
07. Outside Woman Blues
08. Nobody Knows You When You're Down and Out
09. Running On Faith

10. Motherless Children
11. Little Queen of Spades
12. Anyday
13. Wonderful Tonight
14. Layla

Encore
15. Cocaine
16. Crossroads

Okay, this may not mean much to some people, if so, too bad, l make no apologies for what l am about to write. For those of you, who are interested in red hot guitar playing, then please feel free to read on.

First some background and logistics. This concert is the sixth time l have seen and heard the great man in action, in person. The first time was in 1975 when l went to all 3 of his shows at Festival Hall. The second time was at the Entertainment Centre (the old Olympic swimming stadium, l refuse to call it by its Collingwood designation!) in 1984. The last time l saw him was at the Rod Laver Arena in 1989, when it was still called The Tennis Centre, before Jeff changed it to Flinders Park. (More about these concerts later). So, that means by April it will be some 32 years since l first saw him, back then James Hird was still in 3 corner pants and l was in college, and almost 18 years since the last time l saw him. A lot has changed since then. What has not changed is my love of his playing. He was always the one for me. His playing spoke to me in a very particular way, like no one on any other instrument ever has before. His playing for me is the perfect blend of heart, mind and soul. So, was l going to miss out on what perhaps would be my last ever chance to see play ? Not likely.

The concert itself posed some particular problems for me. l knew the tour was on, but l thought that l had probably missed it. lt was only a couple of weeks ago that l found out the Hong Kong date. Then l had to find out how l could get to it, get a ticket and get back, so that l didn’t upset my trainees schedule. l only arrived in Hong Kong a month ago, and had passed through ASAP in order to get here. Simply, l had no knowledge of where to go or even how. The Clapton tour website came to the rescue with all manner of helpful info. Links to maps etc. One of the trainees filled in some missing gaps, but l was still flying blind. l could not really afford to go at this stage, but decided to go for it anyway. l also had to wait until the same afternoon to get my passport back from the immigration police, complete with a new visa that allowed me to exit / enter the country. One last consideration was rescheduling my classes the next day to allow me more time to in the morning to get the ferry back from Hong Kong, and not be late. l finished my afternoon class 15 minutes early, grabbed a cab and then took the ferry. Crossing over l read up on a Lonely Planet guide book to work out where l had to go. From the ferry l decided to take a taxi to the MRT (fast train) as the venue was the next stop after the airport. Just as well that l took the taxi as well, as l was in the dark and would have probably gone the wrong direction. * As it was l confused the poor driver by saying MRT, instead of MTR. *

Getting a ticket for the train was easy, but the train itself was packed. l talked with a couple from Cebu in the central Philippines who had flown in especially for the concert. The train whisked us out to the venue at the end of the line, Asia World Arena, in just 25 minutes.

Once inside the venue l headed straight for the box office, which l knew from the concert site would still be open for business. As l approached it l was met by a couple of scalpers. l was dubious at first, about being sold a dodgy ticket, l had come far too far to stuffed up at the last hurdle. ln the end l settled on an agreed price with the first scalper. My ticket was $ 500 HK, or close to $ 100 A, but the retail price was nearly $ 900 HK. l didn’t bother trying to haggle, when l think l have found a fair price l am happy to pay it. My earlier fears were put to rest when the scalper Daniel, a Frenchman living in Macao, told me l would be sitting next to him, as it was his wife’s ticket l had just bought. l looked for something to eat, as l had only had a banana to eat since 3 PM, but venue catering prices the world over the same, highly inflated !

The venue sits about the same number as the Rod Laver arena, it is longer but shallower. l looked at some of the merchandise outside, but decided that at $55 A, l could not afford to buy one of the tour t – shirts, which didn’t look all that well printed anyway. The show was a bit late starting, an in the meantime the PA played some real old stuff, like Jeff Beck’s Truth album, even some Beatles.

Someone on the train had mentioned that he had played a recent concert that had been mostly blues. What would we hear tonight? With such a vast catalogue, and so many recreations throughout his career, Clapton has enough material he could play 20 concerts without repeating a single number, if he wanted to. The concert was due to start at *8 PM, but over half an hour later, there was still no sign of the band. Finally the house lights went down, which coincided with our expectations going up.

Without a word of introduction, the band launched into a full on version of Tell The Truth, the opening track of side 3 from the Layla album. This was not the frenetic flat out rock track that Phil Spector over produced and that was released as a single. This was the hard rocking album version. The band, all 9 pieces were in fine form. Five minutes later, they finished and then without waiting for any applause went straight into a rolling, rollicking good time version of Key To The Highway. Another track featured from Layla. This time the song was not a 12 bar blues, but an up tempo workout, almost a boogie. The whole band was involved in this one. The band consisted of Eric Clapton ( guitar / vocals ), Doyle Bramhall II ( guitar ), Derek Trucks ( guitar ), Willie Weeks ( bass ), Steve Jordan ( drums ), Chris Stainton ( keyboards ), Tim Carmon ( keyboards ), Michelle John ( backing vocals ), & Sharon White ( backing vocals ). The two other guitarists were easy to distinguish, Bramhall being a left hander and the blonde pony tailed Trucks played mostly slide on a cherry red Gibson SG, the same guitar Pete Townsend made famous at Woodstock. These guys were not just backing guitarists either, both were given extended solos on this number as was Stainton on electric piano, who is an old Clapton sidekick from the late 1970’s and 1980’s bands, and had been in Joe Cocker’s original band, the Grease Band back in the 1960’s, ( he was also at Woodstock ).

This number lasted about 8 – 9 minutes, and by the time it was finished, the whole band had warmed up, no mean accomplishment in that hall, as it was a cold place to play in. The band drew breath just long enough to launch into a number l had always considered a minor track previously, one l had certainly not paid scant attention to for years, Got To Get Better ln A Little While, which had been a track on the Dominoes live double album, but if l remember correctly was never e studio track. Again the pace was brisk, the playing crisp and the band breathed new life into the song, l particularly liked it at the time for the lines, ‘ Revolution spreading throughout the land, just like Sly you’ve got to make a stand. The sun is gonna shine on my front door someday. ‘(a reference to one of the all time great albums in American music, Stand: by Sly & The Family Stone).

What more could follow so much fine music from Layla? Little Wing of course. Was this man serious? Here he was towards the end of his world tour and not a single song from his most recent album, released only a couple of months ago. Not even the Stones are so brash as to blatantly ignore such a chance to promote their latest material. This tour could have been called the Derek & The Dominoes road Show or something like that, going on the material played thus far.

Clapton’s cover version of Little Wing, is as good as any going around. The version he played at Festival Hall in 1975, is still in my mind, the single greatest and most beautiful piece of music, l have ever, ever heard. (Luckily l recorded it and still have it to listen). This version was not quite as inspired, but was still a deeply moving piece, stirring up many fond old memories, and is as fitting a tribute to Hendrix as any you will ever have the pleasure to hear.

When that song was over, all too soon, the band finally paused long enough for the great man to say good evening. Clapton has always been a many of few words and prefers instead to let his Stratocaster do his talking for him. The briefest of introductions concluded the band flew into another minor classic, the often over looked, ‘’ Why Does Love Got To Be So Sad. “This was almost unbelievable. The first 4 tracks from his Derek & The Dominoes days, arguably the high water mark of his musical career. This song features some of the most fluid guitar playing on that whole album, and since l consider that album to be the best guitar playing album of all time, l guess you could tell l was pretty impressed.

By now the reason for the three guitars was also emerging. Layla featured what is probably the most dynamic pairing of two giants of the instrument, ever, Clapton and Duane Allman. (Had Hendrix lived, l am sure they would have also gotten together). Both were inspired by the playing of each, and fueled by a steady supply of hard drugs pushed each other to limits neither of them had reached before, (nor do many say, since as well). To recreate the dense layered guitar sounds of that album, an extra guitar (or two) were needed, hence the presence of Bramhall and Trucks, with Trucks taking on many of the guitar parts originally played by Allman. On this track it was Clapton himself, who played that jangling, fluid solo that made this song so memorable.

Then the roadies came out and the electric guitars disappeared. Out came an acoustic guitar and a chair. lt was time for a little of the unplugged style of delivery, that Clapton more than anyone else had pioneered. Although known primarily as a blues player, it is interesting to also examine how many poplar music trends, Clapton has been ahead of (such as the blues, reggae and the acoustic / unplugged formats).

He started strumming and pickin’ as he settled into Driftin’ Blues, another favorite from the 1970’s, first heard on the rather lack luster E.C. Was Here live album. Clapton is a player who thrives more on stage than in the studio these days. Where can you find is best playing? Mostly on his live albums, well on the albums that have followed since 461 Ocean Boulevard anyway, once again this is only in my opinion.

For Driftin’ Blues, Clapton was in fine voice. His singing has grown more assured over the years, and his voice has mellowed a little, probably as a result of all the cigarettes he has smoked. For the next track he was joined by Trucks, on Dobro, for a rousing, down home version of Outside Woman Blues, an even older track, from Cream’s second album, Disreali Gears. This was a track l would never have predicted thought l would have heard him play, but it was given a real foot stompin’ work out.

By this stage, l was wondering to myself, what next? Well, it was back to the Layla album, for a reworking of the old blues standard, Nobody Knows You When You’re Down And Out. No, nobody knows you, when you keep them guessing like this. Was the intention to play the entire Layla album? We still had the title track, and one of his two signature tunes to go. What else lay in store?

One by one the rest of the band returned to the stage for the next song, Running On Faith. Clapton still on acoustic guitar, picked off a nice little acoustic solo, but both Bramhall and Trucks also fired off solos, both are fine, mighty fine guitarists in their own rights.( Surprisingly this was to be the most modern song played in the entire set ! ) As for Clapton, he appears to be more relaxed than ever in his role as band leader, truly he has become the guv’nor. He is content and confident enough in his own abilities, as only befitting a great player of his stature, to delegate and allow others to share in the spotlight.

Another quick change of guitars and then the launched into Anyday, with Bramhall taking on the Bobby Whitlock vocal parts. This is my favorite song on the entire album, and this was another song, l had always yearned to hear him play, but never thought l would. Bramhall could not match the emotion of the vocals of Whitlock, but then again who could? Trucks featured prominently on slide once more as did Stainton on organ this time. The song was magnificent and l must admit to a bit of bias, when l say this was one of the highlights of the entire night for me. What else indeed!

Time then to kick things up a notch by changing gear, with more slide via Motherless Children, from the 461 Ocean Boulevard album. Another surprise, in a night that was proving to be full of them. This version kicked and rolled along with all the frantic energy of the original version he played, with Trucks in fine form. ( Trucks is the nephew of Allman Brothers bound co founder Butch Trucks, so it comes as no surprise that he should excell at slide guitar playing, having been exposed to the great playing of slide luminary Daune Allman from a very early age )

After that the band settled in to a 12 bar groove, for an extended blues jam. l missed the title, ' Little Queen of Spades, ' but it did not really matter that much. All three guitarists were given plenty of space and time in which to extend themselves, as was bass player, Willie Weeks on bass and Chris Stainton on piano, who showed us what a fine player he is. Not shy or to be out done by the guitarists in the band he let rip with a great solo of his own. By this stage the crowd was mostly on their feet. Just in time for Clapton’s opening notes to his most delicate love song, dedicated to his former wife Patty Boyd, Wonderful Tonight. This is another song, that sounds much better when played live, than the studio version. The crowd was in the palm of his hand after this number.

Then it was time for the last number, the one and only Layla, itself. This is a song l have many versions of. Even though l prefer Clapton live to in the studio, this is one song, that l have always felt could be done a little better, when l hear it played live. Why? simply because the studio version, is musical perfection. The combination of Clapton and Allman pushing each other to the absolute limits of their ability in the studio just cannot be duplicated on a stage, no matter who is involved. That is not to say l am ever disappointed, l couldn’t be, just how do you recreate such brilliance on a stage? Step forward Derek Trucks on slide once more, and Doyle Bramhall, to help create the necessary wall of guitar sound to make this version work so well. Clapton also had his playing sorted out better on this night, than on many other versions l have heard of this song.

The whole band were flying and then there is the sudden and dramatic change in the song, when it stops dead. Enter Chris Stainton once more on piano to herald the bridge into the second half of this all time classic song. The original piano piece was played by the drummer in the band, Jim Gordon, who later went mad, and stabbed his mother to death after hearing voices. On the studio version l always feel as if the piano is played with a hand that is just a little too heavy, but not this night. Stainton played it with complete assurance, and breathed new life into the song ending as a result. Magic found, where l was not expecting to find it. This version was the best of all the live versions l have ever heard, second only to that immortal studio rendition.

Then they were gone, all 9 of them. Off for the obligatory 5 minute encore. Just long enough for us to tick off the tracks that they might do on the encore. We narrowed it down to 3, Sunshine Of Your Love, Crossroads (a certainty) White Room. Another surprise was in store for us, when the band returned to the stage for a howling version of another old favorite, Cocaine, which duly had the crowd singing along. That left only Crossroads, to finish off a great, great night. This was another flying version, which served to underline the quality of this band. l have heard this song played many times over and it is something of a yardstick by which to measure the quality of Clapton’s bands. As measuring sticks go, this is one of his better bands, ever. Was it all worth it? Hell yes. Plenty of musical surprise and so much good, old music, that l never, ever expected to hear, certainly met my expectations. lf you like good guitar playing, this is not the show for you. However if you love great guitar playing, then don't miss this one, it is red hot!

So there you have it folks, l have a little more to add, but that is mostly about how l managed to find my way back to Macao on the same night with Daniel’s help (l am still to spend a night in Hongkers!!!) But l have been writing this thing for a couple of hours now and believe it is time to pack it up and head off home.

What a night. Derek and The Dominoes live on, live long l say!!!

P.S. Next month Roger Waters plays the same venue as part of his Dark Side The Moon tour. Since l saw him a few short years ago in Bangkok, and many years ago in Pink Floyd’s first tour of Oz, l will not be going this time around. Besides, l will be back in Thailand for the whole month on holiday for Chinese New Year.

landlord@jamesons-pattaya.com

The Answers for Quiz Last Week

1. Who won the Women's Long Jump Gold in the 1964 Olympic Games?

A. Mary Rand

2. Who was Celtic's goalkeeper in the 1967 European Cup Final?

A. Ronnie Simpson

3. In Rugby Union, who captained Scotland to the 1984 Grand Slam in the Five Nations Championships?

A. Jim Aitken