Where’s Eric! does not encourage or condone the manufacture of bootleg recordings. They are illegal and artists do not receive royalties from their sale. However, we realize that there are fans who collect these illicit recordings.
Bootlegs are unauthorized recordings of a of a live concert or a musical broadcast on radio or television or of unreleased studio material (alternate mixes / outtakes) or demos. (A “pirate” is a copy of an existing official release).
By and large, the great majority of fans are satisfied with official record company releases. However, there are a good number of more dedicated fans who want everything an artist has ever done. These individuals own every official release and most likely, the foreign official releases as well (known as “imports”). By collecting bootlegs, these fans may be documenting every show they’ve attended; they may be collecting all alternate takes of a favorite song; or they may be seeking out the best shows from each tour.
Many bootleg collectors consider themselves archivists or music historians. They believe that these live recordings are preserving an important part of the world’s musical heritage for without these recordings, the music would be lost. They argue that although classical artists like Wolfgang Amadeus Mozart gave live performances, his music only comes down to us as dots on paper.
Undoubtedly, Eric Clapton is one of the most important musicians of the late 20th and early 21st centuries. By maintaining collections of this material, collectors are helping to preserve his musical legacy for posterity.
In the 1960s, the first bootleg recordings became available on vinyl and they continued to be issued in this format throughout the 70s and into the early 80s. This material was sold in underground shops around the world. With advances in technology in the 70s and early 80s, trading concerts and unreleased studio sessions on cassette tape became the norm. With the advent of the CD in the 80s, bootlegs reached their golden age in the middle of the decade. Pressed silver discs were occasionally issued in elaborate packages with extensive liner notes although most bootlegs came in a standard jewel case with simple packaging.
Initially, Europe and the U.S. lead the way but as tougher anti-bootlegging laws were passed in the 90s, the torch passed to Japan. Today, the industry has all but folded in Europe and America but continues in Japan.
In the late 90s, standalone CDR burners and home computers with CDR burners made trading bootlegs easier and more popular. In the early part of the current decade, the MP3 and other digital methods (SHN, FLAC, APE) opened the door for even more collectors.
This creates a major dilemma for lists of recordings that should make up a fan’s “core collection” as it is almost impossible to keep track of all this disparate material. Please note that this section will focus on “commercially available” bootleg recordings (both CDs and CDRs). It does not include material that is exclusively the province of the trading community. Discover the “best” or “core collection” of Eric Clapton bootlegs by simply clicking on the desired year or category in the main page of this section. In cases where a concert or session have been released by a variety of labels in nearly identical quality, multiple titles are listed along with the label that released the disc.
For further information on Eric Clapton Bootlegs, visit:
The Eric Clapton Bootography
Cream Bootlegs
