New Eric Clapton DVD goes backstage, behind the scenes in Far East, Last winter Eric Clapton embarked on what might be his last final tour through the Land of the Rising Sun. The legendary guitarist behind “Journeyman” and “Pilgrim” has considered quitting the road by his 70th birthday, after five-plus decades of traveling the globe with his renowned blues-based rock shows.Say it ain’t so, Slowhand.
Now available from Eagle Rock, “Eric Clapton: Planes, Trains, and Eric” retroactively takes fans along for the ride with Eric and his entourage as they swing through the mid and far East in early 2014. Subtitled “The Music, The Stories, The People,” the DVD provides an intimate look at what transpires behind the scenes before, during, and after a Clapton concert, offering one-on-one commentary from the guitarist and his crack band of virtuosos intercut with a dozen live performances in front of earnest sellout crowds. Compiling footage from seven shows in four major cities, director David Maxwell’s fascinating film blends the best aspects of an intriguing music documentary with an incendiary concert boasting both acoustic and electric jams on Eric’s most memorable material.
Eric aficionados and casual Clapton fans alike will appreciate the stellar run-throughs of Derek & the Dominos gem “Tell the Truth” in Singapore, the muscular workouts of “Pretending” and “Crossroads” in Tokyo and Nagoya, and the Delta blues-flavored “Driftin’” in Osaka. Comfortably clad in jeans and a blue shirt with black vest, Clapton alternates between his custom blue Martin acoustic guitar and familiar black Fender Stratocaster, ticking and bending the strings on the upper frets, his notes burning with that signature Clapton tone.
Watching the footage, one is quickly reminded just how good Clapton was—er, is—at his craft. The three-time Rock and Roll Hall of Famer (solo, with Cream, and with The Yardbirds) wasn’t nicknamed the “God” of guitar for nothing.
The band offers a sassy reggae version of Bob Marley’s “I Shot the Sheriff” (from the album “461 Ocean Boulevard”), the Robert Johnson-penned “Little Queen of Spades” (from Eric’s “Me and Mr. Johnson” tribute CD), and a stripped-down, swinging rendition of “Layla” that equals—if not trumps—the one appearing on 1992’s multi-platinum “Unplugged” disc.
The bespectacled, professorial-looking guitar hero remains seating while finger-picking his acoustic—as on the poignant “Tears in Heaven”—but stands up and lets loose on his Strat for up-tempo numbers like “Cocaine.” Other standouts include reinterpretations of Charlie Segar’s “Keys to the Highway,” Willie Dixon’s “Hoochie Coochie Man,” and Joe Cocker’s “High Time (We Went).”
“This is top-drawer, all the way down the line,” opines Hammond B-3 expert Paul Carrack. The former Squeeze / Mike + The Mechanics singer confesses he was nervous about joining the ranks of Clapton’s accomplished cast:
“You do your best all the time. That’s why I do it. But there was trepidation…these musicians are incredibly accomplished.”
Drummer Steve Gadd, bassist Nathan East, and pianist Chris Stainton chime in on their tenure with Clapton and of bittersweet shows in Singapore and Dubai.
“There’ll be some tears at this one,” anticipates East in Tokyo.
The players—each of whom receives jaw-dropping solo spots during the concert bits—describe their camaraderie as a “security blanket,” and opine that hitting the road always feels as if they’re simply depressing the pause button on a tape machine.
Background singers Michelle John and Shar White likewise dish on the band’s close-knit dynamic, and Eric’s benevolent (but no-nonsense) leadership. Manager Peter Jackson looks back on a lifetime of booking and handling Slowhand’s many tours.
As for Clapton himself? The “Wonderful Tonight” balladeer comes off less curmudgeon than cool, rock star grandpa during his sit-downs with the filmmakers. Appearing affable and healthy, Eric discusses his love of touring and constant need to challenge himself—in studio and on stage—over the years.
“If I don’t do it, I get cravings,” Clapton says. “I love to play. I still love live music with a crowd.”
“And it’s got to be ‘street people’ buying tickets,” he adds, drawing a distinction between private, corporate gigs and regular concerts open to the public. “There’s something about that dynamic that makes it earthly and keeps it real.”
When Eric flubs a verse in “Pretending” (or when one of the close-ups catches him spitting at the microphone) it only humanizes the sexagenarian six-stringer, enhancing his already considerable appeal. The cameras also allow us to peek in on rehearsal and sound check, where Clapton’s take-charge work ethos (and easy rapport with his crew) comes to the fore.
The centerpiece (and heart, really) of the DVD is Clapton’s reunion with longtime promoter Mister Udo, who honors Eric with a Lucite award and flattering remarks on the occasion of the guitarist’s 200th show in Japan. Speaking backstage at the Nippon Budokan with Clapton and his kin (and alone from his office at Udo Artists) the elder entrepreneur reminisces on his enduring friendship with Eric. Returning the favor, Clapton reflects on the “bushido” bond of deep loyalty he’s shared with Udo and Japan since his first engagements in the Far East in 1974.
“Thank you for looking after me,” says a humble Clapton. “Even when I was being a very bad boy!”
Elsewhere, Eric (a former art student) expresses admiration for the creativity and resilience of the Japanese people—who rebuilt their cities, galvanized their heritage, and turbocharged their culture for the 21st century after the devastation wrought by World War II. Clapton says he finds the Orient “stimulating,” and that he enjoys being able to walk the streets and “see what’s going on” without the fear of being approached or interrupted he’d experience in England or America.
“They’re very sensitive,” says liaison / assistant Aki of his countrymen and their affection for Eric. “It’s bonkers!”
The film is augmented by clever, sepia-toned graphic illustrations that diffuse into the concert snippets, and maps tracing the group’s progress by land and air in bold red, Indiana Jones-style, over the latitudes and longitudes of Yokohama and other destinations.
The sound on “Planes, Trains and Eric” is as impressive as the visuals: The menus offer a choice of Dolby Digital Stereo, Dolby Digital 5.0, and DTS Surround. Subtitles are available in Deutsch, Espanol, French, and Italian…but (oddly enough) not Japanese (Mandarin / Cantonese, etc). Bonus selections include run-throughs of the Jimmie Cox classic “Nobody Knows You When You’re Down and Out” (with East thumping an upright bass) and the J. Mayo Williams-inspired “Alabama Woman Blues.”
Guitar tech Dan Dearley shows off some of his boss’ instruments, expounding on the provenance of each before a special one-off desert concert for Prince Salman of Bahrian.
An interviewer attempts to stymie Eric and his band mates by posing a football hypothetical: Given the choice between performing a dream gig with any musicians you’d like, anywhere, at anytime—or of witnessing Sheffield Wednesday beat Sheffield United in the F.A. Cup Final in injury time at a packed Wembley Stadium, which would you choose?
“Are you crazy? I can’t answer that!” Clapton laughs.
The guitarist recalls fond childhood memories at football games, as well as matches he attended as an adult that were marked by “a lot of drinking, a lot of confrontation—silly stuff.”
“But you don’t stop being a fan,” surmises Slowhand.
