Eric Clapton
Eric Clapton |
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Born March 30, 1945, in Surrey, England.
Clapton's reputation as a great guitarist and a towering figure has overtaken reality to such a large extent that it is nearly impossible to consider his music objectively--which may help explain how Clapton has remained so revered over the past 20 years as he has released one middling album after another, with occasional forays into outright wretchedness. Clapton's work with Cream and Blind Faith is truly brilliant and ground- breaking, and his sole studio album with Derek and the Dominos, Layla and Other Assorted Love Songs, is a certifiable masterpiece. And his first few solo albums range from very good to pretty good, as he seemed to be settling into a laid-back singer-songwriter groove, something which he did well, even if it displeased old fans waiting to hear fiery, innovative guitar soloing. In retrospect, these early and mid-70s albums, most of which were largely dismissed at the time, sound like high points. Since then, he has made some truly despicable albums. In 1989, Clapton seemed content with the comfortable plateau he had reached, actually titling an album Journeyman. His next release, Unplugged catapulted him to international stardom greater than any he had previously known. Clapton can still play, and he continues to sparkle sporadically--largely on guest appearances such as Chuck Berry's "Hail, Hail Rock and Roll" and Jimmie Vaughan's Tribute to Stevie Ray Vaughan--but he seems to have long since stalled creatively. (Note: During 1996, PolyGram released newly re-mastered versions of much of Clapton's solo work.)
Source: MusicHound Rock: The Essential Album Guide
Eric Clapton's reputation as a guitarist and his stature in popular music have made it very difficult to assess his music dispassionately. This may explain why he has remained consistantly revered for the last 20 years, even though his output has been exceptionally mediocre--with occasional forays into outright wretchedness. Clear thinking is also lacking when it comes to Clapton's prowess as a blues guitarist. Although his work on Bluesbreakers--John Mayall with Eric Clapton is certainly impressive, it is so, in this writer's opinion, more because it revealed that a young white man could master the past (in the form of Freddie King, for Clapton) than because it broke much new ground. It is Clapton's subsequent work with Cream and Blind Faith that is truly brilliant and groundbreaking, and his sole studio album with Derek & the Dominoes, Layla and Other Assorted Love Songs, is a clear masterpiece. His first few solo albums range from very good to pretty good, as he seemed to be settling into a laid-back, singer-songwriter groove, something which he did pretty well, even if it displeased old fans waiting to hear fiery, innovative guitar soloing. In retrospect, these early and mid-1970s albums, most of which were largely dismissed at the time, sound like high points. Since then, he has made some truly disappointing records. In 1989, Clapton seemed content with the comfortable plateau he had reached, actually titling one album Journeyman. His next release, however, Unplugged, catapulted him to international stardom greater than any he had previously known. Clapton can still play, and he continues to sparkle sporadically, largely on guest appearances, like Chuck Berry's Hail, Hail Rock and Roll, Gatemouth Brown's Long Way Home, and Jimmie Vaughan's Tribute to Stevie Ray Vaughan, but he seems to have long since stalled creatively. (Deram, 1966, prod. Mike Vernon) is explosive. Check it out if you want to hear why British fans at the time claimed--in graffiti all over London--"Clapton Is God." By the mid-1960s young white guitar players on both sides of the Atlantic had discovered the blues; Clapton in England, like Michael Bloomfield in the U.S., represented the best of this movement. On Derek & the Dominoes' Layla and Other Assorted Love Songs [Rating: 5.0] (Polydor, 1970, prod. Tom Dowd), Clapton was spurred to perhaps the greatest playing of his career by the presence of Duane Allman and a host of top-flight musicians. The results speak for themselves--a blues-rock classic. 461 Ocean Boulevard (Polydor, 1974, prod. Tom Dowd) and Slowhand (Polydor, 1977, prod. Glyn Johns) are the best of Clapton's mellow-period albums.
Source: MusicHound Folk: The Essential Album Guide
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BLUES BREAKERSOrder from: |
1. All Your Love |
John Mayall & The Bluesbreakers: John Mayall (vocals, piano, organ, harmonica); Eric Clapton (vocals, guitar); John McVie (bass); Hughie Flint (drums). Additional personnel: Alan Skidmore (tenor saxophone); John Almond (baritone saxophone); Dennis Healey (trumpet). Includes liner notes by Neil Slaven. The principals may have regarded the famous Beano cover album merely as a representation of their live work, but this album had as much to do with the British invasion of America's musical dominance as the Beatles or the Stones. Mayall willingly assumed the mantle of father of British blues that he had taken from Alexis Korner. Clapton was a blues purist who discovered other demons to drive his ambition, even if he could only emulate originals such as Freddie King, Buddy Guy, Otis Rush and Jimi Hendrix. Some maintain that Clapton has never played as well again, notwithstanding his current godlike status. Mayall has pursued a less notable but satisfying career, confident that this early achievement can never be bettered--by anyone. |
DELANEY & BONNIE ON TOUR WITH ERIC CLAPTONOrder from: |
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1. Things Get Better |
In the late '60s, obscure blue-eyed R&Bsters Delaney Bramlett & Bonnie Bramlett suddenly found themselves attracting friends who comprised not only luminaries like Clapton and Dave Mason, but the cream of the LA session world-Messrs Radle, Gordon, Whitlock, Price and Keyes. However, general narcotic tendencies rather inhibited purposeful maximisation of potential. On Tour, from 1970 and recorded in Croydon oddly enough, sometimes riffs and shuffles along pleasantly, sometimes trudges through stodge-regrettably in the name of tributes to Robert Johnson and Little Richard. The band's one great song, Bonnie and Eric Clapton's Coming Home, gets the stagger and stumble treatment. Delaney Bramlett & Bonnie Bramlett are far better represented by the studio album Accept No Substitute. |
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ERIC CLAPTONOrder from: |
1. Slunky |
Personnel: Eric Clapton, Delaney Bramlett (guitar, vocals); Bobby Keys (saxophone); Jim Price (trumpet); Leon Russell, John Simon (piano); Bobby Whitlock (organ, vocals); Carl Radle (bass); Jim Gordon (drums); Sonny Curtis, Bonnie Bramlett, J.I. Allison (background vocals); Stephen Stills, Rita Coolidge. Recorded at Village Recorders, West Los Angeles, California in 1970. All tracks have been digitally remastered. With this, his first solo album, Eric Clapton did a complete 180 from his work of the previous five years. Gone were the long, jazzy solos and rootsy Chicago blues work. In their place, Clapton was stretching as a singer and seeking to define his own song forms, inspired by the Beatles, the Band, and his new found collaborators from the southern R&B circuit, Delaney And Bonnie. ERIC CLAPTON marks Clapton's first use of the Fender Stratocaster. Its high, wirey, percussive sound stands in stark contrast to the dark, fat, singing Gibson sounds Clapton had perfected with John Mayall, Cream and Blind Faith. This new Clapton sound is quite striking, from the twangy leads on his opening instrumental "Slunky," to the cutting feints and jabs which transform J.J. Cale's "After Midnight" into a Clapton signature piece. Positioned as it is between the legendary BLIND FAITH and LAYLA sessions, ERIC CLAPTON has long been underrated by fans and critics alike, but the roots of much of what Clapton's done since 461 OCEAN BOULEVARD can be found here: the pithy melodic style of "Blues Power," the country/gospel overtones of "Bottle Of Red Wine," and the confessional tone of "Let It Rain." In addition, ERIC CLAPTON is significant both as a showcase for Clapton's emerging vocal stylings and as a proving ground for his Dominoes rhythm section of drummer Jim Gordon, bassist Carl Radle and keyboardist/vocalist Bobby Whitlock. |
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RAINBOW CONCERTOrder from: |
1. Layla - (previously unreleased) |
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461 OCEAN BOULEVARDOrder from: |
1. Motherless Children |
Personnel: Eric Clapton (vocals, guitar, dobro); Yvonne Elliman (vocals, guitar); George Terry (guitar, background vocals); Albhy Galuten (piano, electric piano, synthesizer, clavichord); Dick Sims (organ); Carl Radle (bass); Jamie Oldaker (drums, percussion); Jim Fox, Al Jackson (drums); Tom Bernfeld (background vocals). Recorded at Criteria Recording Studio, Miami, Florida. Digitally remastered by Joseph M. Palmaccio at Polygram Studios. After playing the 1973 Rainbow Concerts that were arranged by good friend Pete Townshend, Eric Clapton returned to Florida's Criteria Recording Studio to cut 461 OCEAN BOULEVARD. The previous two years found Clapton in a funk resulting from a stint of personal turmoil during which time he did not play guitar. Joined by a core group of musicians that included George Terry, former Derek & The Dominos bassist Carl Radle, Jamie Oldaker and Yvonne Elliman, Slowhand put together an album that many consider to be his best. Stressing more focus on his singing rather than any guitar histrionics of the past, the new, improved E.C. used a laid-back, J.J. Cale-type vocal style to great effect on a mellow version of "Willie And The Hand Jive" and Elmore James' "I Can't Hold Out." Far from being a kinder, gentler guitar hero, Clapton also showed considerable spark on a slide-drenched "Motherless Children" and the driving "Mainline Florida" that closes out the album. Of course, his cover of Bob Marley's "I Shot The Sheriff" became the musical announcement that took him to the top of the charts and let the general public know he was back. |
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E.C. WAS HEREOrder from: |
1. Have You Ever Loved A Woman |
On the original LP, the song "Drifting Blues" faded out after about 3 minutes. The CD contains the complete 11:31 version. Personnel: Eric Clapton (guitar, vocals); Yvonne Elliman (vocals); George Terry (guitar); Dick Sims (organ); Carl Radle (bass); Jamie Oldaker (drums); Marcy Levy (tambourine). Engineers include: Wally Heider, Ed Barton, Brian Engolds, Jim Gehr, Jack Crymes. All tracks have been digitally remastered. Released in the same year as 1975's THERE'S ONE IN EVERY CROWD, E.C. WAS HERE is a live album short on content but long in presentation. Backed by his usual mid-70's studio cohorts (George Terry, Jamie Oldaker, Yvonne Elliman, Marcy Levy, etc.), Clapton ignored his then-current material off CROWD and 461 OCEAN BOULEVARD, instead choosing to explore his immediate, post-Cream era along with some extended, old favorites. "Presence Of The Lord" and "Can't Find My Way Home" were retrieved from Blind Faith's sole album and both are infused with a subtle, spiritual feeling of someone who's emerged from a long period of sorrow. The remainder of this live document of mysterious origin features Clapton finding his way through material by Robert Johnson ("Ramblin' On My Mind) and Charles Brown ("Driftin' Blues") using a laconic drawl and a quietly effective style of playing that his 70's work became known for. Of particular note is a rousing version of "Further On Up The Road," which quickly became a Clapton live staple for the remainder of the 70's. |
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THERE'S ONE IN EVERY CROWDOrder from: |
1. We've Been Told (Jesus Coming Soon) |
Personnel: Eric Clapton (vocals, guitars, dobro); George Terry (guitars, background vocals); Dick Sims (piano, organ); Carl Radle (bass, guitar); Jamie Oldaker (drums, percussion); Marcy Levy (background vocals). Recorded at Dynamic Sounds Studio, Kingston, Jamaica and Criteria Recording Studios, Miami, Florida. All tracks have been digitally remastered. By 1975, Eric Clapton was coming off the smash success of 461 OCEAN BOULEVARD. If his last album was a cathartic release after coming out of a battle with drug addiction, then THERE'S ONE IN EVERY CROWD was the first record where Clapton could catch his breath. Having become enamored with reggae after riding Bob Marley's "I Shot The Sheriff" to the top of the charts around the world, E.C. chose to record in Kingston, Jamaica. Although recordings of Clapton with Peter Tosh first surfaced over a decade later on the CROSSROADS box set, Slowhand successfully dipped his toe into the reggae pool by way of the loping beat of "Don't Blame Me," along with an infectious take on "Swing Low Sweet Chariot." (He even managed to add an impressive Jamaican patois to his vocal style). Elsewhere, Clapton returned to the roots of American music via straight-forward gospel ("We've Been Told [Jesus Is Coming Soon])"and blues (Elmore James' "The Sky Is Crying" and Mary McCready's "Singin' The Blues.") Clapton's bypassing of electric guitar for some vastly underrated dobro playing turned his self-penned "Pretty Blue Eyes" and "High" into gems often overlooked in his enormous canon. |
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TOMMY (1975 FILM)Order from: |
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Disc: 1
Disc: 2
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KNOCKIN' ON HEAVEN'S DOOROrder from: |
1. Come And Love Me |
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NO REASON TO CRYOrder from: |
1. Beautiful Thing |
Personnel includes: Eric Clapton, Bob Dylan, Ron Wood, Robbie Robertson, Rick Danko, Georgie Fame, Richard Manuel, Marcy Levy, Jesse Ed Davis, Yvonne Elliman, Carl Radle, Wah Wah Watson. Engineers: Ralph Moss, Ed Anderson, Nat Jeffrey. All tracks have been digitally remastered. In the spirit of all-star get-togethers endemic to that part of the '70s, 1976's NO REASON TO CRY became Eric Clapton's recorded version of the Rolling Thunder Tour. Joining Clapton in the studio were Bob Dylan, Ron Wood, Georgie Fame and Band-mates Robbie Robertson, Rick Danko & Richard Manuel (Clapton returned the favor later in the year by appearing in The Last Waltz, the Band's last live show). Clapton's buddies also contributed material, including Dylan's "Sign Language," the Danko/Manuel composition "Beautiful Thing" and Danko's country-flavored "All Our Past Times." At this point in his solo career, Clapton was taking a more languid and low-key approach towards playing, with more emphasis on presenting songs and less on soloing. Songs such as the wistful "Hello Old Friend" and the aching "Innocent Times," featuring Marcy Levy's gospel-flavored vocals, reflect Slowhand's countryish leanings of the time. Clapton's love of the blues, however, was undiminished, and when he tackles both Otis Rush's "Double Trouble" and Little Walter's "Last Night," he shines despite any stylistic changes. |
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SLOWHANDOrder from: |
1. Cocaine |
Personnel: Eric Clapton (guitar, vocals); George Terry (guitar); Mel Collins (saxophone); Dick Sims (keyboards); Carl Radle (bass); James Oldaker (drums, percussion); Marcy Levy, Yvonne Elliman (background vocals). Recorded at Olympic Studios, London, England in May 1977. All tracks have been digitally remastered. All songs written or co-written by Eric Clapton except "Cocaine" (J.J. Cale), "We're All The Way" (Don Williams), "May You Never" (John Martyn) and "Mean Old Frisco" (Arthur "Big Boy" Crudup). SLOWHAND was the album which defined the new cool of Eric Clapton, a sultry, laid-back mix of rock and blues, with a heavy dose of country and southwestern regional sounds to leaven the blend. After LAYLA, SLOWHAND was probably Clapton's most popular, fully realized solo disc. The opening number was by J.J. Cale, whose "After Midnight" had been one of the real joys of the guitarist's first solo excursion, ERIC CLAPTON. "Cocaine," with its slow grinding beat, menacing melodic vamp and one-step from perdition lyrics, was the toughest, most rocking number on SLOWHAND, and a major radio hit from the outset. A couple of vocal duets with countryish harmonies set the tone for the rest of SLOWHAND. "Lay Down Sally" was a funky, chicken-fried bit of boogie with a taut, melodic aside from Clapton's twangy Stratocaster, while Don Williams' sweet, soulful "We're All The Way" provided a low-key vehicle for Clapton's tender vocal exchanges with Marcy Levy, as his understated arpeggios toll away in the background. |
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BACKLESSOrder from: |
1. Walk Out In The Rain |
Personnel: Eric Clapton (guitar, vocals); Marcy Levy (vocals); George Terry (guitar); Dick Sims (keyboards); Carl Radle (bass, vocals); Jamie Oldaker (drums, percussion, vocals); Benny Gallagher, Graham Lyle (background vocals). All tracks have been digitally remastered. Following the platinum success of SLOWHAND, BACKLESS continued Eric Clapton's transformation into a singer/songwriter with better-than-average chops after a lifetime of guitar godhood. Eschewing the star-studded cameos of NO REASON TO CRY, Clapton instead relied on his core group of the '70s: George Terry, Carl Radle, Jamie Oldaker, Dick Simms and Marcy Levy. Levy in particular, proved her worth by co-writing the slide-drenched "Roll It" with Slowhand. Her passionate testifying on this as well as her sparkling harmonies on the Don Williams-influenced "Promises" made up for fellow back-up singer Yvonne Elliman's departure following SLOWHAND's release. Clapton's choice of composers to cover included Dylan ("Walk Out In The Rain," "If I Don't Be There By Morning"), J.J. Cale ("I'll Make Love To You Anytime") and Okie Danny Flowers ("Tulsa Time"). In addition, Slowhand added a nearly eight-minute interpretation of the blues standard "Early In The Morning" that finds him milking his mojo for all its worth. But it's E.C.'s original compositions that particularly stand out, such as the funky shuffle that is "Watch Out For Lucy" and the Band-flavored "Golden Ring." |
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JUST ONE NIGHTOrder from: |
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Disc: 1
Disc: 2
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Personnel: Eric Clapton (guitar, vocals); Albert Lee (guitar, vocals, keyboards); Dave Markee (bass); Henry Spinetti (drums). Recorded live at The Budokan Theatre, Tokyo, Japan in December 1979. All tracks are digitally remastered. In December 1979, Eric Clapton toured Japan, making a stop at Tokyo's Budokan, where the results were taped and released as the double-album JUST ONE NIGHT. For this tour, Clapton's back-up band included regular Joe Cocker keyboardist Chris Stainton and famed English country picker Albert Lee. The set list ignored any history of the legendary guitarist's work as a band member, instead focusing on either solo material or blues favorites. Going beyond familiar numbers such as "Tulsa Time" and "Wonderful Tonight," EC dug deep for lesser-known nuggets like "If I Don't Be There By Morning" and "All Our Past Times," off THERE'S ONE IN EVERY CROWD. Clapton's first love remained the blues and its derivatives, so he made sure to pay tribute by covering a number of artists including Maceo Merriweather ("Worried Life Blues"), Otis Rush ("Double Trouble"), J.J. Cale ("After Midnight," "Cocaine") and Robert Johnson ("Rambling On My Mind.") Most importantly, Clapton introduced a seven minute-plus reading of "Further On Up The Road," a song that became one of his live staples. |
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ANOTHER TICKETOrder from: |
1. Something Special |
Personnel: Eric Clapton, Albert Lee (guitar, vocals); Chris Stainton (keyboards); Gary Brooker (keyboards, vocals); Dave Markee (bass); Henry Spinetti (drums, percussion). All tracks have been digitally remastered. On Eric Clapton's last studio album for RSO Records, he re-teamed with producer Tom Dowd on a record that found the talented guitarist writing the words and music for most of the material. Dedicated to recently deceased Domino/bandmate Carl Radle, ANOTHER TICKET found Clapton backed by most of the band he'd toured with in Japan (where the live JUST ONE NIGHT was recorded) including the nimble-fingered Albert Lee and keyboardist Chris Stainton. Tipping his hat to the blues, Slowhand interprets Muddy Waters ("Blow Wind Blow") and Sleepy John Estes ("Floating Bridge"). The only other cover Clapton included was by country songwriters Troy Seals and Eddie Setser ("Black Rose"). As for his own material, Clapton's only dabbling with the mellow singer-songwriter image he'd cultivated in the '70s is found in "Something Special." Elsewhere, the guitar hero delves into lite funk ("Catch Me If You Can," co-written with Procul Harum's Gary Brooker, who also played on the album), borderline fusion ("Rita Mae") and pop both catchy ("I Can't Stand It") and frothy (the title track). |
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TIME PIECES VOL. 1 (BEST OF ERIC CLAPTON)Order from: |
1. I Shot The Sheriff |
TIME PIECES VOLUME I contains material recorded between 1970 and 1978. Personnel: Eric Clapton (vocals, guitar); Delaney Bramlett, George Terry (guitar); Jim Price (trumpet); Albhy Galuten (piano); Bobby Whitlock (piano, organ, background vocals); Dick Sims (organ, keyboards); Carl Radle (bass); Jim Gordon, Jamie Oldaker (drums); Marcy Levy (background vocals). Producers: Delaney Bramlett, The Dominoes, Tom Dowd, Glyn Johns. Featuring tunes culled from a handful of albums released in the '70s, TIME PIECES is a great representation of Eric Clapton's transition from high-flying guitar hero to a more subdued and introspective singer/songwriter/interpreter. In embracing a style influenced by the Band and country singer Don Williams, Clapton's work became more diverse. When Slowhand wasn't turning J.J. Cale into a household name ("Cocaine," "After Midnight") he was doing the same thing for Bob Marley and reggae music. After taking Marley's "I Shot The Sheriff" to the top of the charts in 1974, Clapton's immersion in this then-exotic genre further manifested itself on his versions of Dylan's "Knockin' On Heaven's Door" and the traditional gospel hymn "Swing Low Sweet Chariot." E.C.'s output during this period also documented the heartbreak ("Layla") and eventual triumph ("Wonderful Tonight") encountered in his pursuit of Patti Boyd (aka Mrs. George Harrison). |
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TIME PIECES VOL. 2 (LIVE IN THE '70s)Order from: |
1. Tulsa Time |
Derek And The Dominos: Eric Clapton (guitar, vocals); Bobby Whitlock (organ, vocals); Carl Radle (bass); Jim Gordon (drums). Personnel includes: Eric Clapton (vocals, guitar); Yvonne Elliman (vocals); Albert Lee (guitar, vocals, keyboards); George Terry (guitar); Dick Sims (organ); Chris Stainton (keyboards); Carl Radle, Dave Markee (bass); Jamie Oldaker, Henry Spinetti (drums); Marcy Levy (tambourine). Recorded at live Fillmore East, New York in 1971 and Budokan Theatre, Tokyo, Japan in December 1979. Like its predecessor, TIME PIECES VOLUME II focuses on Eric Clapton's '70s output. The difference is that Clapton's live work from three separate concert performances is given the spotlight on this particular compilation. Starting chronologically, with a transcendent Derek & The Dominoes version of "Presence Of The Lord" recorded at a 1971 Fillmore East show, these live tracks reflect Clapton's desire to get away from the "guitar god" image that was at its height during his time in Cream. The second, uncredited 1974 performance found E.C. plumbing the emotional depths of "Can't Find My Way Home" and turning in a romantic reading of Charlie Chaplin's "Smile," an unusual choice for an artist more associated more with Little Walter than the Little Tramp. The final performance is from a 1979 Budokan show where Clapton's set included everything from a pair of Dylan songs ("Knockin' On Heaven's Door," "If I Don't Be There By Morning") to a traditional blues number ("Rambling On My Mind.") |
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MONEY AND CIGARETTESOrder from: |
1. Everybody Oughta Make A Change |
Personnel: Eric Clapton (vocals, electric & slide guitar); Ry Cooder (electric & slide guitar); Albert Lee (keyboards, vocals, guitar); Donald "Duck" Dunn (bass); Roger Hawkins (drums); John Sambataro, Chuck Kirkpatrick (background vocals). Recorded at Compass Point Studios, Nassau, Bahamas. After releasing ANOTHER TICKET and scoring a top 10 hit with "I Can't Stand It," Clapton switched labels and released MONEY AND CIGARETTES. This time out, Clapton's back-up band included Ry Cooder, Brit country-picker Albert Lee and Duck Dunn of Booker T. & The MGs. Continuing the trend of his last album, Clapton wrote most of the songs with the exception of a few covers. Blues icons Sleepy John Estes ("Everybody Oughta Make A Change") and R.G. Ford ("Crosscut Saw") get their due, as does early rock'n'roll pioneer Johnny Otis ("Crazy Country Hop"), whose "Willie & The Hand Jive" Clapton had previously covered. With two technically skilled guitarists like Cooder and Lee to keep him on his toes, Clapton flexes his fretwork considerably more than he had during his mellower '70s singer-songwriter phase. Some of E.C's more nimble-fingered exchanges come on "The Shape You're In" along with "Ain't Going Down," a number that's a barely concealed reworking of "All Along The Watchtower." |
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BEHIND THE SUNOrder from: |
1. She's Waiting |
Personnel: Eric Clapton (vocals, guitar, guitar synthesizer); Phil Collins (vocals, synthesizer, drums, snare drum, shaker, percussion); Lindsey Buckingham, Steve Lukather (guitar); Chris Stainton (piano, Fender Rhodes, Hammond B-3 organ, synthesizer); Greg Phillinganes (synthesizer, background vocals); Michael Omartian, Peter Robinson, James Newton Howard (synthesizer); Nathan East (bass, background vocals); Donald "Duck" Dunn (bass); Jamie Oldaker (drums, vocals); Jeff Porcaro, John Robinson (drums); Ted Templeman (tambourine, shaker, timbales); Ray Cooper (bongos, gong, percussion); Lenny Castro (congas); Marcy Levy, Shaun Murphy, Jerry Williams (background vocals). Producers: Ted Templeman, Lenny Waronker, Phil Collins. Recorded at Air Studios, Montserrat, West Indies, Lion Share Recording Studios, Los Angeles and Amigo Studios, North Hollywood. After Eric Clapton's Warner Brothers debut MONEY AND CIGARETTES made such a small splash, the big guns were called out for the follow-up, BEHIND THE SUN. Phil Collins and Van Halen knob-twister Ted Templeman were called in to produce, and in some cases play along with a guest list that included Lindsey Buckingham and Steve Lukather. The rest of the line-up was like a class reunion of past, present and future Clapton bandmembers; Marcy Levy, Jamie Oldaker, Chris Stainton, Nathan East and Duck Dunn. Although SUN dipped into the slick, synthesized style of the time, Clapton's guitar playing remains cutting and passionate. The militaristic beat of "She's Waiting" and the driving cadence of "Forever Man" both give way to spurts of Slowhand's guitar magic, displaying a hunger not diminished by time. Although songs such as "Tangled In Love" and a cover of "Knock On Wood" show off E.C.'s vocals as well as his playing, the eight-minute "Same Old Blues" allows the guitar legend to squeeze off some powerful licks among the swells of slick production. |
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AUGUSTOrder from: |
1. It's In The Way That You Use It |
Personnel: Eric Clapton (guitar, vocals); Tina Turner (vocals); Michael Brecker (saxophone); Jon Faddis, Randy Brecker (trumpet); Dave Bargerone (trombone); Gary Brooker, Greg Phillinganes (keyboards, background vocals); Richard Cottle (synthesizers); Richard Feldman (keyboards); Laurence Cottle, Nathan East (bass); Phil Collins (drums, percussion, background vocals); Harry Spinetti (drums); Larry Williams (keyboard programming); Magic Moreno, Katie Kissoon, Tessa Niles (background vocals). Producers: Phil Collins, Tom Dowd, Eric Clapton. Engineers: Steve Chase, Peter Hefter, Paul Gommersall, John Jacobs, Magic Moreno. Having made his presence known in the MTV universe with his video for "Forever Man," Eric Clapton returned to the studio to record AUGUST, and album that found him working with a broad spectrum of writers. Unlike BEHIND THE SUN's class reunion of Clapton side musicians, AUGUST found E.C. backed by keyboardist Greg Phillinganes, bassist Nathan East (later of jazz supergroup Fourplay) and drummer Phil Collins (who shared production duties with long-time Clapton knob-twirler Tom Dowd). Clapton collaborated with some renowned writer here, including Robbie Robertson ("It's In The Way That You Use It") and Stephen Bishop ("Holy Mother," dedicated to the recently deceased Richard Manuel). AUGUST also found Clapton eschewing old blues covers for newer material written by Robert Cray ("Bad Influence") and Motown songwriter Lamont Dozier ("Run," "Hung Up On Your Love"). The most exciting moment on the record comes during the mechanized funk of "Tearing Us Apart," a Clapton duet with the red-hot Tina Turner. |
CROSSROADSOrder from: The Yardbirds: Keith Relf (vocals, harmonica); Eric Clapton, Chris Dreja (guitar); Brian Auger (harpsichord); Paul Samwell-Smith (bass); Jim McCarty (drums); Denny Piercey (bongos). John Mayall's Bluesbreakers: John Mayall (organ, vocals, piano); Eric Clapton (guitar); John McVie, Jack Bruce (bass); Hughie Flint (drums). Cream: Eric Clapton (guitar, vocals); Jack Bruce (vocals, bass, piano); Ginger Baker (drums, vocals). Blind Faith: Steve Winwood (vocals, piano, bass); Eric Clapton (guitar, vocals); Rick Gretch (bass); Ginger Baker (drums). Delaney And Bonnie: Delaney Bramlett (vocals, guitar); Bonnie Bramlett (vocals); Eric Clapton, Dave Mason (guitar); Jim Price (trumpet); Bobby Keys (saxophone); Bobby Whitlock (keyboards); Carl Radle (bass); Jim Gordon (drums); Tex Johnson (percussion); Rita Coolidge (background vocals). Derek And The Dominoes: Eric Clapton, Bobby Whitlock (guitar, vocals); Duane Allman (guitar); Carl Radle (bass); Jim Gordon (drums). Additional personnel: Jerry Allison, Tom Bernfield, Bonnie Bramlett, Rita Coolidge, Sonny Curtis, Bob Dylan, Yvonne Elliman, Chuck Kirkpatrick, Katie Kissoon, Shaun Murphy, Tessa Niles, John Sambataro (vocals); Peter Tosh (vocals, guitar); Nathan East (vocals, bass); Marcy Levy (vocals, tambourine); Ry Cooder, Jesse Ed Davis, George Harrison, Albert Lee, Dave Mason, Robbie Robertson, Ron Wood (guitar); Stephen Stills, George Terry (guitar, vocals); Felix Pappalardi (viola, Mellotron); Michael Brecker, Bobby Keys (sax); Randy Brecker, Jon Faddis, Jim Price (trumpet); Dave Bargeron (trombone); Leon Russell (piano); Albhy Galuten (piano, synthesizer); Dick Sims (organ, keyboard); Gary Brooker, Alan Clark (keyboards); Greg Phillinganes (keyboards, vocals); Chris Stainton (keyboards, synthesizer, organ); Peter Robinson (synthesizer); Donald "Duck" Dunn, Dave Markee (bass); Roger Hawkins, Andy Newmark, Jamie Oldaker, Henry Spinetti (drums); Ray Cooper, Sergio Pastora Rodriguez (percussion); Phil Collins (percussion, drums, vocals). Producers include: The Yardbirds, Giorgio Gomelsky, Mike Vernon, Robert Stigwood, Felix Pappalardi Compilation producer: Bill Levenson. Includes liner notes by Anthony DeCurtis. CROSSROADS is a 25th Anniversary retrospective of Eric Clapton's career, spanning 1963-1987. The boxed set contains 6 LPs on 4 CDs, individually packaged in a 12" x 12" box with original cover art by Ron Wood. It includes a 32 page book with photos from throughout Clapton's career and a 6,000 word history of Clapton. All of the set's 73 songs have been digitally remastered for this release; in most cases, the source material was the original master tapes or original multi-tracks. All of the set's Derek And The Dominoes material is previously unreleased. In November 1990, CROSSROADS became the first CD box set to be certified platinum. The release of the 4-CD box set CROSSROADS is the perfect package to commemorate Eric Clapton's first 25 years of making music. Starting out as a blues purist with the like-minded Yardbirds, Clapton left after the band moved in a decidedly more pop direction. He began an apprenticeship under John Mayall. Encouraged to indulge in his love for the songs of Freddie King ("Hideaway") and Robert Johnson ("Ramblin' On My Mind") among others, Clapton metamorphosed into a guitar god after forming Cream with two of Mayall's sidemen, Jack Bruce and Ginger Baker. These three virtuosos set the bar for the classic power trio line-up and in the process redefined rock music and introduced unprecedented levels of improvisational freedom within songs such as "Crossroads." Post-Cream, Clapton took his godhead status into the supergroup Blind Faith before becoming a sideman with Delaney & Bonnie ("Comin' Home"). Using their back-up band on his solo debut led to the formation of Derek & The Dominos. This unit's synergy allowed Clapton to unleash all his accumulated creative might amidst the throes of personal unrest yielding the epic "Layla." Later, Clapton reinvented himself as a mellow singer-songwriter. CROSSROADS covers all this history and includes extensive liner notes by Anthony. Disc: 1
Disc: 2
Disc: 3
Disc: 4
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JOURNEYMANOrder from: |
1. Pretending |
Personnel includes: Eric Clapton, Jerry Williams (vocals, guitar); George Harrison (guitar, background vocals); Robert Cray (guitar); Robbie Kondor (harmonica, keyboards, vocoder, synthesizer, programming); David "Fathead" Newman (tenor saxophone); Hank Crawford (alto saxophone); Ronnie Cuber (baritone saxophone); Jon Faddis, Lou Solof (trumpet); Greg Phillinganes (piano, keyboards, synthesizer, background vocals); Richard Tee (piano, Fender Rhodes); Alan Clark (Hammond organ, synthesizer, keyboards, programming); Gary Burton (vibraphone); Nathan East (bass, background vocals); Daryl Jones (bass); Phil Collins (drums, background vocals) Carol Steele (congas, tambourine, percussion); Chaka Khan (background vocals). Recorded at The Town House, London, England; Power Station, Skyline Studios, New York, New York. As the '80s drew to a close, Clapton's lifestyle included fraternizing with models and wearing designer suits to go with stylish haircuts. Amid all this jet-setting, Clapton released JOURNEYMAN, an album that found his songwriting involvement limited to cuts co-written with Foreigner's Mick Jones ("Bad Love") and Robert Cray ("Old Love"). Respected producer Russ Titelman twisted knobs as a number of famous guests contributed to the creative process. Old friend George Harrison contributed guitar, harmonies and a song ("Run So Far") while Clapton's band from AUGUST (Greg Phillinganes, Nathan East, Phil Collins) are also present. Although the slick production of most of Clapton's '80s work is evident, his passion is far from lacking. "Running On Faith" finds Slowhand looking deep inside himself as a gospel choir chimes away in the background. On Ray Charles' "Hard Times" Clapton reminds listeners that heartache is around the corner. The sweet nothings whispered in "Lead Me On" are made that much sweeter by the harmonies of Cecil and Linda Womack. E.C. also manages to have a ball with a shuffling "Hound Dog" and a rollicking take on Bo Diddley's "Before You Accuse Me." |
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24 NIGHTS: LIVE FROM ALBERT HALLOrder from: |
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Disc: 1
Disc: 2
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Here's something for the Clapton fan who enjoys hearing him play in all manner of contexts. On this two-CD set, recorded over a 24-night stand at London's Albert Hall, Clapton performs with a stripped-down four-piece band; a more lushly arranged nonet, an all-star blues lineup featuring stellar guitarists Buddy Guy, Robert Cray, and Jimmie Vaughan as well as legendary pianist Johnnie Johnson; and a full orchestra conducted by Michael Kamen. Most fans will find the blues segment the most endearing, but the album proves that Clapton is a blues-rock master who can excel in almost any setting. |
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RUSH: MUSIC FROM THE MOTION PICTURE SOUNDTRACKOrder from: |
1. New Recruit |
Eric Clapton no doubt has a series of buttons on his guitar for this sort of instrumental soundtrack work: one will be marked limpidly atmospheric, a second dramatically tense, while a third will auto-improvise slow blues licks and twiddle around at the top of the neck - perfect as accompaniment for onscreen action, but not that interesting out of context. However, the last three cuts are songs, and they're terrific. Help Me Up, is a characteristically Eric Claptonian mid-tempo cooker with loads of smart guitar fills and tasty synthesized horns. A 10-minute version of Willie Dixon's Don't Know Which Way To Go, is a searing slow blues, sung superbly by Buddy Guy, and again embroidered with some quite wonderful axe interaction. Tears In Heaven is the choker. It's a gentle acoustic ballad which Eric Clapton sings in a high, whispery voice. It has you remembering the Q interview, in which Eric Clapton talked of his attempts to exorcise his pain after the death of his son by writing songs. Unless conclusions have been incorrectly jumped to here, one suspects that this, co-authored by Will Jennings, is one of them. It's beautiful, and possibly the most moving song that Eric Clapton will ever write. |
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UNPLUGGEDOrder from: |
1. Signe |
Personnel: Eric Clapton (vocals, guitar); Andy Fairweather-Low (guitar); Chuck Leavell (keyboards); Nathan East (bass); Steve Ferrone (drums); Ray Cooper (percussion); Katy Kissoon, Tessa Niles (background vocals). UNPLUGGED won 1993 Grammy Awards for Album Of The Year, Best Male Pop Vocal Performance and Best Male Rock Vocal Performance. "Tears In Heaven" won the Grammy for Song Of The Year, and "Layla" was named Best Rock Song. Eric Clapton's live performance on MTV's strip-down-the-rockers show allowed the heavily-blues-influenced guitarist a chance to show off another, underrated side of his talent--his voice. It's especially interesting to hear Clapton in an acoustic setting, because he made his mark as one of the early proponents of high-decibel rock. Here, sorting through numerous blues standards by the likes of Robert Johnson and Leadbelly, Clapton gives a lesson in technique, style and musical passion. His own, newer material allows him to stretch and play, while the heavily-grooved, slowed-down remake of his classic "Layla" is the essential standout. "Tears In Heaven," a moving tribute to his son's passing, is emotionally raw, yet stylistically smooth--a difficult task to achieve. Stripping down the music of an artist as technically proficient and historically based as Eric Clapton was a stroke of genius. Hence, it's no surprise that the result, UNPLUGGED, is brilliant as well. |
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FROM THE CRADLEOrder from: |
1. Blues Before Sunrise |
Personnel: Eric Clapton (guitar, vocals); Andy Fairweather-Low (guitar); Jerry Portnoy (harmonica); Tim Sanders (tenor saxophone); Simon Clarke (baritone saxophone); Roddy Lorimer (trumpet); Chris Stainton (keyboards); Dave Bronze (bass); Jim Keltner (drums); Richie Hayward (percussion). Recorded at Olympic Studios Barnes, London, England. FROM THE CRADLE won the 1995 Grammy Award for Best Traditional Blues Album. It was also nominated for Album Of The Year. Some 30 years after cutting BLUESBREAKERS with John Mayall, Slowhand is back--and he's plugged in, too. From the Elmore James-styled slide grunge that heralds Leroy Carr's classic "Blues Before Sunrise," to his sweet, pearly tones on an agonizingly slow "Third Degree," it's clear that FROM THE CRADLE really is your parents' Eric Clapton. Nearly every album Clapton's ever done has had a suggestion of his roots. But there's more than a suggestion of blues on impassioned, unhinged solos like "Five Long Years," "It Hurts Me Too" and "Someday After A While"--Clapton betrays a childlike pleasure in coming out from behind his pop persona, and the joy is infectious. That's because FROM THE CRADLE is recorded live...that is to say, everyone at once, with no instrumental or vocal overdubs (save for the sweet dobro obbligatos on an old-timey sounding "How Long Blues"). The slower tempos, like a lowdown "Sinner's Prayer" and the acoustic "Driftin'" really showcase his growth as a vocalist (particularly that bullfrog groan, by way of Muddy Waters, whom he honors with an especially faithful cover of "Standin' Round Crying"). And when Clapton leaves Earth orbit on Willie Dixon's "Groaning The Blues," you get the feeling Eric may never leave the blues again. More, please. |
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THE CREAM OF CLAPTONOrder from: |
1. I Feel Free - Cream |
THE CREAM OF CLAPTON includes songs released between 1966 and 1981 by Cream, Blind Faith, Derek And The Dominos and Eric Clapton as a solo performer. Personnel includes: Eric Clapton (vocals, guitar). Producers include: Robert Stigwood, Felix Pappalardi, Jimmy Miller, Delaney Bramlett, Tom Dowd. Compilation producers: Chris Griffin, Bill Levenson, George McManus. Includes liner notes by Ray Coleman. Digitally remastered by Joseph M. Palmaccio. If you only have the funds or shelf space to own one Eric Clapton album, THE CREAM OF ERIC CLAPTON is the one to get. Featuring 19 songs that span from Cream's 1966 hit "I Feel Free" to Clapton's 1981 single, "I Can't Stand It," this ample collection of career highlights from the legendary English guitarist is essential classic rock. The album opens with five tracks by Cream, the psychedelic-blues power trio that Clapton led in the sixties. The heavy riff-rocker "Sunshine of Your Love" and "Badge," his 1968 collaboration with Beatle George Harrison, feature some of his best playing ever. Clapton's post-Cream bands, Blind Faith and Derek and the Dominos (his 1970 supergroup with Duane Allman) are also represented with such remarkable blues-rock performances as "Presence of the Lord," Bell Bottom Blues" and the timeless rock classic, "Layla." The remainder of the album is devoted to Clapton's seventies solo hits like "After Midnight," I Shot The Sheriff," "Cocaine" and "Wonderful Tonight." Though this collection does not include latter-day Clapton hits like "Tears in Heaven," it's safe to say that the spectacular performances on this album are truly THE CREAM OF ERIC CLAPTON. |
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CROSSROADS 2: LIVE IN THE SEVENTIESOrder from: |
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Disc: 1
Disc: 2
Disc: 3
Disc: 4
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CROSSROADS 2 is a 4-CD box set consisting mostly of Eric Clapton's unreleased live performances from 1974, 1975 and 1978, but is bookended by four previously unreleased studio tracks: "Walking Down The Road" (recorded in 1974), "To Make Somebody Happy," "Cryin'" and "Water On The Ground" (recorded in 1978). The set includes a 44-page color booklet with essays, complete credits and rare photographs. Personnel includes: Eric Clapton (vocals, guitar); George Terry, Graham Lyle, Carlos Santana (guitar); Marcy Levy (harmonica, background vocals); Dick Sims (keyboards); Carl Radle, Dave Markee (bass); Jamie Oldaker, Henry Spinetti (drums); Armando Peraza, Sergio Pastora, Leon Chancler (percussion); Yvonne Elliman (background vocals). Producers: Tom Dowd, Glyn Johns, Jon Astley. Compilation producer: Bill Levenson. Engineers include: Karl Richardson, Ed Barton, Bill Brovas. Recorded in the U.S. and the U.K. between May 1974 and December 28, 1978. Includes liner notes by John McDermott Chock-full of blistering live performances drawn exclusively from the Tulsa-based band Clapton used during the "me" decade, CROSSROADS 2 is the antidote to his mostly laid-back, sleepy studio performances of the era. With nearly 5 hours of music spread over 4 discs, CROSSROADS 2 never becomes redundant or too much of a good thing--a true testament to the power and fury of Clapton's excellent songs and fiery verve. Smoky vocals and truly inspired guitar workouts serve both his well-known hits and the sometimes obscure blues-songs he chooses. A 24-minute medley duet with Carlos Santana from '75 burns with passion and excitement. The album is bookended with 4 studio outtakes, with 1974's "Walkin' Down The Road" and "Cryin"--recorded four years later with the nucleus of Slowhand's next band--reflecting a more contemplative mood. A terrific set that entertains, surprises and delights, and an essential item that any Clapton connoiseur will treasure. |
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PILGRIMOrder from: |
1. My Father's Eyes |
Personnel: Eric Clapton (vocals, guitar); Ruth Kelly-Clapton (spoken vocals); Andy Fairweather-Low (guitar); London Session Orchestra (strings); Paul Brady (tin whistle, background vocals); Joe Sample (piano); Paul Carrack (Hammond B-3 organ, Wurlitzer); Chris Stainton (Hammond B-3 organ); Simon Climie (keyboards, synthesizer, programming, background vocals); Greg Phillinganes (keyboards); Louis Jardim (bass, percussion); Nathan East, Pino Palladino, Dave Bronze (bass); Steve Gadd (drums); Paul Waller (programming); Kenny "Babyface" Edmonds, Tony Rich, Chyna (background vocals). PILGRIM was nominated for the 1999 Grammy Award for Best Pop Album. "My Father's Eyes" won the 1999 Grammy Award for Best Male Pop Vocal Performance. Since donning an Armani suit back in the decadent '80s, Eric Clapton's music has become more polished as he's gotten older. Despite recording the all-blues FROM THE CRADLE collection in 1994, E.C. has either gone unplugged, collaborated with silky-smooth soulsters such as Babyface, or dabbled with current electronic trends. PILGRIM finds Slowhand doing all of the above on his first album of original material in nearly a decade. Unlike many older artists dipping their toes into the electronic pool, Clapton and co-producer Simon Climie's restrained use of programming gilds rather than overwhelms these original numbers. In a welcome turn, Clapton wrote or co-wrote every song with the exception of Bob Dylan's "Born In Time" and "Going Down Slow," a St. Louis Jimmy blues nugget. Joined by Babyface on the former, Clapton gives both songs a lite-jazz treatment that meshes well with a burnished vocal style that sounds as if he's been listening to Curtis Mayfield recently. Complementing Clapton's emotive vocalizing is his always formidable guitar playing. Whether he politely funks it up on "She's Gone" or indulges his blues jones on the slow shuffle of "Sick And Tired," Eric Clapton's musical development continues to be a steady pilgrimage into the new millenium. |
RARITIESOrder from: |
1. Choker |
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BLUESOrder from: |
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Disc: 1
Disc: 2
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Although it may not always seem obvious, Eric Clapton has always been first and foremost a bluesman. Sure, things got a little weird with Cream in the 1960s and when his MTV Unplugged album made him popular with the soft-rock set. Despite these career points, this guitar god never abandoned the blues, as this double-disc release reveals. Disc One offers the standards that Slowhand stamped as his own, including two versions of "Before You Accuse Me (Take a Look at Yourself)." There's also "Have You Ever Loved a Woman," a burner he recorded with Derek and the Dominos. Disc Two of Blues is a live collection that demonstrates, with tunes like "Crossroads," how Clapton produced wicked sounds onstage as well. |
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THE CLAPTON CHRONICLESOrder from: |
1. Blue Eyes Blue |
Personnel includes: Eric Clapton (vocals, guitar, dobro); Tim Pierce, Darryl Crooks, Robert Cray, Steve Lukather (guitar); Michael Brecker (saxophone); Jon Faddis, Randy Brecker (trumpet); Joe Sample, Greg Phillinganes (piano); Greg Curtis (keyboards, background vocals); Jamie Muhoberac (keyboards); Nathan East (bass, background vocals); Phil Collins (drums, background vocals); Steve Ferrone, Steve Gadd, Jeff Porcaro (drums); Luis Conte, Mike Fasano (percussion); Bumpy, Greg Curtis (programming); Chyna Gordon, Chaka Khan (background vocals). Producers include: Rob Cavallo, Babyface, Eric Clapton, Russ Titleman, Tom Dowd. Engineers: Allen Sides, Brad Gilderman, Alan Douglas. |
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LAYLA AND OTHER ASSORTED LOVE SONGSOrder from: |
1. I Looked Away |
Layla stands as one of a handful of pillars of classic rock. The short-lived ensemble that was the Dominos provided an outlet for Eric Clapton to vent his then unrequited (and secret) passion for the wife of his best friend, George Harrison. Romantic anguish inspired Clapton to write and collect an embroiling and interconnected song cycle. Meanwhile, latecomer Duane Allman prodded Clapton to tear it up on guitar, so as not to be overwhelmed by his even more talented foil. Of course, Clapton eventually won the hand of his lady love. And then he divorced her. Sometimes real life messes up a good plot line. |
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LIVE AT THE FILLMOREOrder from: |
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Disc: 1
Disc: 2
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Derek & The Dominos: Eric Clapton (guitar, vocals); Bobby Whitlock (piano, organ, vocals); Carl Radle (Fender bass); Jim Gordon (drums). Recorded live at the Fillmore East in New York City on October 23-24, 1970. Includes liner notes by Anthony DeCurtis. Digitally remastered by Jospeh M. Palmaccio (PolyGram Studios, New York). This is part of the Chronicles Deluxe Anthology Series. LIVE AT THE FILLMORE features performances taken from the second set of each evening's performance by Derek & The Dominos. This 2-CD set includes 5 previously unreleased tracks, plus a 14-page booklet with new liner notes and rare photographs. |
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IN CONCERTOrder from: |
1. Why Does Love Got To Be So Sad |
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THE LAYLA SESSIONS: 20TH ANNIVERSARY EDITIONOrder from: |
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Disc: 1
Disc: 2
Disc: 3
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Inspired by his love for George Harrison's then-wife Patti Boyd and fuelled by a diet of heroin, cocaine and Johnny Walker, Eric Clapton's second post-Guitar God (John Mayall/Bluesbreakers, Cream, Blind Faith) period album has come to be regarded by many as a rock 'n' roll classic. Recorded ensemble fashion, the looseness and spontaneity-particularly apparent on the chugging Tell The Truth, Jimi Hendrix's Little Wing and an impassioned Have You Ever Loved A Woman?-inspired Clapton to some fiery blues playing at times redolent of his days with John Mayall. Clapton himself credited guitarist Duane Allman's contribution as the catalyst that set the Layla sessions alight. Indeed, and as now further evidenced by the package's two CDs worth of alternative masters, jams and outtakes-mostly without Allman-Allman's velvety glissandos brought a palette of colour to what would otherwise have been a much greyer album. |
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BLIND FAITHOrder from: |
1. Had To Cry Today |
Blind Faith: Eric Clapton (vocals, guitar); Steve Winwood (vocals, piano, bass); Rick Gretch (bass); Ginger Baker (drums). BLIND FAITH was cursed at their very inception by being billed as a supergroup. This was truly a pity, because for all the classic beauty of their only recording, Blind Faith was a band that never had a legitimate opportunity to come together as a performing ensemble. Hyped to the hilt and rushed into a massive, chaotic tour, the band fell apart after their final American concerts when Eric Clapton packed it in to join Delaney & Bonnie's band. BLIND FAITH scored a hit with their evocative acoustic ballad "Can't Find My Way Home," featuring Winwood's raspy falsetto, Clapton's pungent classical guitar and Baker's pulsing brush work. But then, every song on BLIND FAITH has become an FM radio staple, from Clapton's fervent vocals on "Presence Of The Lord" to his dense multi-tracked blues leads on "Had To Cry Today;" from the jacked up rockabilly of Buddy Holly's "Well Alright" to the jazzy blowing on Baker's "Do What You Like." But the band never had a reality outside the studio and after Blind Faith folded, Winwood and Grech joined Baker's Airforce before re-forming Traffic; and Clapton began moving away from extended improvisations into more tightly structured song forms on his first solo album ERIC CLAPTON, then with Derek & The Dominos. |
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From his pioneering work with the Yardbirds through his superstardom in Cream to his Grammy-winning solo career, here is blues and rock icon Eric Clapton in all his personal and musical complexity. 32 photos. |
Clapton!
An Authorized Biography |
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The Complete
Guide To The Music Of Eric Clapton |
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Eric Clapton: In
His Own Words |
A definitive guide to Clapton's recordings--from the Yardbirds to Cream to Clapton solo. This book contains information on unreleased songs, session documention as "fifth Beatle", known releases, Clapton's comments on individual sessions, and photos of rare memorabilia. Photos throughout. |
Eric Clapton:
Career Of A Rock Legend |
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| Watching this compilation of 12 videos and performances from the past 15 years, it's easy to forget that this is the same Eric Clapton who once quit the legendary Yardbirds because they were becoming "too pop." Still, there's always a touch of the blues in Clapton's music, even in a piece of pure fluff like "Blue Eyes Blue." And when a great Clapton song and performance are matched to arresting visuals, the result can be magical. Cases in point: "Motherless Child," a traditional acoustic blues shot in beautiful, sepia-toned black and white; "Change the World," Clapton's brilliant, Grammy-winning collaboration with Babyface; and "Pilgrim," the hypnotic title track from his recent studio album given a riveting video treatment by director Lili Fini Zanuck. Clapton may still be something of a chameleon (as always, his appearance changes radically from video to video), and he may still be most comfortable simply standing (or sitting) there playing his guitar. But Clapton Chronicles leaves no doubt that he's getting through the video age with his dignity and artistry intact. | |
| A compilation of video footage from Clapton's career, from his days with Cream through Derek & the Dominoes and ending with his 1987 solo album. Includes "I Feel Free," "Sunshine of Your Love," "Layla" and "Forever Man." | |
| It's been quite a road for Eric Clapton: from blues purist to rock guitar god, from country-pop balladeer to classic rock icon, and on to his current status as all-around legend, playing everything from straight blues to neo-soul. Those different aspects are all on display in this concert, taped at New York's Madison Square Garden to raise funds for the guitarist's drug and alcohol rehab center in the Caribbean. Of course, we get a healthy dose of Clapton the frontman during the nearly two-hour show, from the predictable "Layla" and "Tears in Heaven" to "River of Tears," perhaps the best song from his 1998 Pilgrim album (heard here in a more gospel-tinged arrangement). But it is as a collaborator or accompanist that he really shines, whether he's adding some tasty slide guitar to Sheryl Crow's "Different Kind," generating some real heat with saxophonist David Sanborn during a fiery "Little Wing," or harmonizing and trading guitar licks with Bob Dylan during a good-timey "Crossroads." Sure, Eric Clapton backing up Mary J. Blige may seem a little strange, but by the time he encores with a rousing "Sunshine of Your Love," it's clear that a good time was had by all. | |
| This laid-back, live, intimate session featuring Eric Clapton's bluesy guitar playing is quite enjoyable--if a bit limited in scope. With little lighting and frills and a small group backing him up, Clapton picks up his acoustic guitar and leads the listener down memory lane. Clapton is clearly on his best behavior as he engages in minimal small talk with his audience and lets the music speak for itself. The former member of Small Faces and Cream riffs through some dozen-plus songs including "Before You Accuse Me," "Tears in Heaven," "Walkin' Blues," "Alberta," "San Francisco Bay Blues" (in which Clapton thankfully cuts loose a bit), and his great hits "Layla" (written for his ex-wife, Patti Boyd Harrison) and "Old Love," a standard that garnered big applause. But the simple set and sparse stage can barely contain the energy that fills the arena when Clapton launches into "Rollin' and Tumblin'," a raucous, rousing bit of blues that Clapton is certainly still up for. This video is primarily for Clapton's most ardent fans, providing some heartfelt, soulful instrumental prowess in addition to an aging British rocker singing the blues as well as a white guy can. | |
| Watching this compilation of 12 videos and performances from the past 15 years, it's easy to forget that this is the same Eric Clapton who once quit the legendary Yardbirds because they were becoming "too pop." Still, there's always a touch of the blues in Clapton's music, even in a piece of pure fluff like "Blue Eyes Blue." And when a great Clapton song and performance are matched to arresting visuals, the result can be magical. Cases in point: "Motherless Child," a traditional acoustic blues shot in beautiful, sepia-toned black and white; "Change the World," Clapton's brilliant, Grammy-winning collaboration with Babyface; and "Pilgrim," the hypnotic title track from his recent studio album given a riveting video treatment by director Lili Fini Zanuck. Clapton may still be something of a chameleon (as always, his appearance changes radically from video to video), and he may still be most comfortable simply standing (or sitting) there playing his guitar. But Clapton Chronicles leaves no doubt that he's getting through the video age with his dignity and artistry intact. | |
| A compilation of video footage from Clapton's career, from his days with Cream through Derek & the Dominoes and ending with his 1987 solo album. Includes "I Feel Free," "Sunshine of Your Love," "Layla" and "Forever Man." | |
| It's been quite a road for Eric Clapton: from blues purist to rock guitar god, from country-pop balladeer to classic rock icon, and on to his current status as all-around legend, playing everything from straight blues to neo-soul. Those different aspects are all on display in this concert, taped at New York's Madison Square Garden to raise funds for the guitarist's drug and alcohol rehab center in the Caribbean. Of course, we get a healthy dose of Clapton the frontman during the nearly two-hour show, from the predictable "Layla" and "Tears in Heaven" to "River of Tears," perhaps the best song from his 1998 Pilgrim album (heard here in a more gospel-tinged arrangement). But it is as a collaborator or accompanist that he really shines, whether he's adding some tasty slide guitar to Sheryl Crow's "Different Kind," generating some real heat with saxophonist David Sanborn during a fiery "Little Wing," or harmonizing and trading guitar licks with Bob Dylan during a good-timey "Crossroads." Sure, Eric Clapton backing up Mary J. Blige may seem a little strange, but by the time he encores with a rousing "Sunshine of Your Love," it's clear that a good time was had by all. | |
| This laid-back, live, intimate session featuring Eric Clapton's bluesy guitar playing is quite enjoyable--if a bit limited in scope. With little lighting and frills and a small group backing him up, Clapton picks up his acoustic guitar and leads the listener down memory lane. Clapton is clearly on his best behavior as he engages in minimal small talk with his audience and lets the music speak for itself. The former member of Small Faces and Cream riffs through some dozen-plus songs including "Before You Accuse Me," "Tears in Heaven," "Walkin' Blues," "Alberta," "San Francisco Bay Blues" (in which Clapton thankfully cuts loose a bit), and his great hits "Layla" (written for his ex-wife, Patti Boyd Harrison) and "Old Love," a standard that garnered big applause. But the simple set and sparse stage can barely contain the energy that fills the arena when Clapton launches into "Rollin' and Tumblin'," a raucous, rousing bit of blues that Clapton is certainly still up for. This video is primarily for Clapton's most ardent fans, providing some heartfelt, soulful instrumental prowess in addition to an aging British rocker singing the blues as well as a white guy can. | |
