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Eric Clapton
In light of most of his late 70's to early '90s recordings, it's hard to believe Eric Clapton left the Yardbirds because he thought the band was getting 'too pop'. But being a pop star was just one of many stops in Clapton's storied career. He has gone from being an electric Blues guitarist to psychedelic god to acoustic balladeer; then back full circle to the Blues. And like anyone who's had an extended career, Clapton has had his share of highs and lows - and most of those lows were self-inflicted.
After getting a guitar as a present for his fourteenth birthday, Clapton eventually joined the Yardbirds for a brief stint. Dismayed by the group's apparent direction, he departed, later joining John Mayall's Bluesbreakers. Soon "Clapton Is God" was being scrawled on London walls. Clapton acquired the "Slowhand" nickname (a "joke" on his playing style) and was clearly a man on the rise. From there he founded one of the first supergroups, Cream. Once Cream had run its course Clapton leapt into another supergroup, Blind Faith, with Steve Winwood. Their self-titled album and a massively successful U.S. tour left Clapton stunned. He momentarily retreated to Delaney & Bonnie and Friends, a loose collection of musicians who played a friendlier, less frantic brand of Rock.
Ironically, Clapton never stayed with a group for very long (couple of years at the max) yet his best work was in that environment. That's not to say Clapton didn't have both artistic and commercial success on his own. It's that his solo career, considering what had preceded it, was a bit of a disappointment. But Clapton started strong with a self-titled album that contained one of his biggest hits "After Midnight" and the shimmering "Let It Rain." The album was recorded while Clapton was working with Delaney & Bonnie and Friends and used many of the same musicians including Bonnie Bramlett on backing vocals. Delaney Bramlett produced.
After a falling out with Bramlett, Clapton took a good portion of the "Friends" and started Derek & The Dominos with the legendary Duane Allman playing guitar in the studio. While Clapton may have enjoyed the group ethos, he'd been, since the mid-60s, the focal point. If you're always going to be the center of attention why not just go it alone? That realization compounded by the failure of the single "Layla" and disappointing sales of the "Layla and Other Assorted Love Songs" LP prompted Clapton to pull the plug. It might have been a hasty decision. Who knows what a second effort would have yielded? To make matters worse, rather than hitting on all cylinders, the solo Clapton settled for passable performances with popular, if generally weak, material ("Lay Down Sally," "I've Got A Rock 'n' Roll Heart" and the cloying Patti Boyd/Harrison/Clapton inspired "Wonderful Tonight"). Though in fairness, he did produce a credible cover of Bob Marley's "I Shot The Sheriff" which was a huge hit.
A nasty drug habit, which he eventually kicked, led to lackluster albums and staid concerts. While '80s recordings occasionally touched past highs ("Forever Man"), absent was the power and authority. Following a successful MTV "Unplugged," ('93) featuring an acoustic version of "Layla," Clapton churned out sedate MOR ballads (though "Tears In Heaven," a touching tribute to his son Conner who'd fallen to his death, was an exception).
Like a prodigal son, Clapton returned to the Blues; "From The Cradle" in '96 and "Pilgrim," three years later. Clapton also started auctioning off his guitar collection to raise money for his Crossroads Foundation, a drug rehab center.
'00 saw Clapton continue his Blues streak on "Riding With The King." The tepid live album, "One More Car, One More Rider" was released in '02. Covering Blues great and personal inspiration, Robert Johnson, Clapton released "Me and Mr. Johnson" in '04. The next year Clapton returned with the pop oriented "Back Home," a languid set with a touch of Soul and Reggae.
Eric Clapton's solo career never touches the majestic grandeur of Cream, or even Derek & the Dominos, perhaps by design. Too bad. But Clapton's self-titled solo debut is a good start. With help from the Delaney & Bonnie clan, Clapton is loose and comfortable. Later in the decade he struck again with "461 Ocean Boulevard" containing a hot version of "Willie & the Hand Jive" and a spirited cover of "I Shot The Sheriff."
Clapton built a large part of his reputation as a live performer with Cream, so in-concert albums show up regularly. "The Rainbow Concert" is one of his best efforts. The Who's Pete Townsend is also on the bill. "EC Was Here" is another good set. Clapton extended his career going "unplugged" in the '90s. Pass on this era unless mellow vocals and acoustic guitar are a major passion. To understand why Eric Clapton is a legend get the "Crossroads" box set, a career retrospective. This is the box set all others are measured against.
Clapton's return to Blues must have seemed like a good idea. "From The Cradle" features excellent Clapton performances but his backing band couldn't find the groove with a shovel. The follow-up "Pilgrim" is the better of the two. "Riding With The King" is good but considering the talent involved (Blues legend B.B. King - hence the title) it should have been better. There's too much cruising and not enough overdrive. "Me and Mr. Johnson" continues Clapton's Blues revival. This is one of those rare occasions when the artist and material are simpatico. It is easily the best of his late career Blues efforts. Clapton takes a natural, heartfelt approach on "When You Get A Good Friend," the joyous "They're Red Hot" and the rolling "Traveling River Blues." His respect is evident but it doesn't weigh down the proceedings. In fact, he conveys the essence of each song. Kudos to harmonica player Jerry Portnoy and keyboardist Billy Preston for helping Clapton bring it on home.
Clapton retreats (significantly) on "Back Home." Not to get too catty about this but it's never a good sign when one of the guys arranging the strings (strings?) and horns made a name for himself producing elevator music. Nick Ingman is a nice fellow and all but he has Muzak M.O.R. stamped all over him. While the Rolling Stones can at least approximate the energy and style of their classic efforts, Clapton, on "Back Home," seems lost in a "Lay Down Sally" rut. Why break a sweat if you don't have to? Not even a cover of George Harrison's "Love Comes To Everyone" amounts too much although it works far better than the dull, dismal reworking of "Love Don't Love Nobody." Clapton does make some effort to rouse himself for the Reggae numbers ("Say What You Will" and "Revolution") but even that falls short.
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