Spin And Groove

There is a specific kind of satisfaction that comes from finding a genuinely good record at a charity store — the surprise of it, the feeling that this particular copy has been waiting on that particular shelf for exactly the moment you’d walk in. This copy of Timepieces Vol. II: Live in the Seventies was that kind of find. Released in 1983, this Eric Clapton compilation pulls together live recordings from three distinct periods — the Budokan in Tokyo in 1979, the Long Beach Arena in 1974, and the Fillmore East in 1970 with Derek and the Dominos — and the result is a record that works as both a document and a reminder of how wide-ranging Clapton’s performing life was across that decade.

Three Eras, One Record

The Timepieces series — there were two volumes, both released in 1982 and 1983 — was RSO Records’ way of presenting Eric Clapton’s catalogue in a curated form, with a particular emphasis on the sonic quality of the recordings and the arc of his career. Vol. II: Live in the Seventies is the more interesting of the two from a historical perspective, because it captures three significantly different versions of Clapton as a live performer.

The Budokan recordings from December 1979 are Clapton at a commercial peak. The band he was touring with at this point — including Albert Lee on guitar, Dave Markee on bass, and Henry Spinetti on drums — was tight, well-rehearsed, and built for large venues. These are polished, professional performances, and tracks like “Tulsa Time” and “Knockin’ on Heaven’s Door” benefit from that precision. The Budokan always recorded well; there is a clarity and definition to recordings from that venue that suits Clapton’s measured, controlled playing style.

The Long Beach Arena recordings from July 1974 are a different story. This was the period of the 461 Ocean Boulevard tour, when Clapton was re-emerging after personal difficulties and was still finding his feet in a live context after years of withdrawal. The performances have a slightly raw quality that the polished Budokan tracks don’t — and for many listeners, that rawness is more interesting. “Can’t Find My Way Home,” originally recorded by Blind Faith, appears here from these 1974 sessions.

And then “Presence of the Lord” from the Fillmore East in 1970 with Derek and the Dominos is something else entirely. This is early Clapton at his most uninhibited — the playing is harder, more driven, less concerned with polish. It connects back to the late-1960s Cream era and forward to the Dominos album with Duane Allman, and it is one of the best things on the record.

The Wikipedia entry on Time Pieces Vol. II covers the album’s history well. The fansite Where’s Eric has detailed discography and pressing information.

Tracks Worth Highlighting

“Tulsa Time” — written by Danny Flowers and first recorded by Don Williams — opens the album in relaxed fashion. Clapton’s vocal is easy and comfortable here; this is a musician who has found his territory and is playing within it with confidence. Albert Lee’s guitar work in support is subtle and precise.

“Knockin’ on Heaven’s Door” extends Clapton’s long relationship with Bob Dylan’s material — he had played on Dylan’s Desire album in 1976 — and the live performance has a weight and simplicity that suits the song. This is not a flashy interpretation. It trusts the melody.

“Presence of the Lord” is the album’s highlight. Written by Clapton and recorded at the Fillmore East in 1970 during Derek and the Dominos’ first major touring period, the performance has an intensity that the later tracks don’t attempt. The guitar playing is more aggressive, more blues-rooted, and more willing to take risks. It is a reminder of where Clapton came from and what his playing is capable of when fully extended.

Tracklist

The Charity Store Copy

Charity store copies of well-pressed RSO releases from 1983 are often in surprisingly good condition. The RSO label took pressing quality seriously, and records from this era tend to have the pressing quality to show it. This copy had clearly been played, but carefully — the surfaces were clean and quiet, with only occasional light crackle in the gaps between tracks. Once the stylus was in the groove, the noise floor dropped away.

The mix on the Budokan recordings particularly benefits from vinyl playback. The audience is present but not overwhelming, the guitar and vocal are well-balanced, and there is a sense of space in the recording that gives the performances room to breathe. Live albums can sometimes feel congested through digital playback at lower bitrates; on vinyl they open up.