Eric Clapton

"Eric Clapton" (1970s) first solo album

For better or worse, this is Delaney Bramlett show and Clapton was apparently so taken with the whole camaraderie that he happily joined the fun. 

At first I thought it was over-produced and overcooked (there must have been million people in the studio) but I grew to seriously like it and now found it irresistible for the sheer joy and energy. You can tell these people were inspired and had fun together, even when ideas are half-baked it doesn't matter because everybody sounds so involved and committed that final results are wonderful, hippie-flower-child group session. I think its just so right and amazing that these people from different continents somehow found each other and recognized kindred spirits - it must have been hugely exciting to live back than - and not for a moment it does sound like this is a serious project with financial obligations (which is what music became later) but it is 100% fun. I just love this album beyond words.

"461 Ocean Boulevard" (1974)

Well, well, goodbye hippie 1960s but this is not bad either - as much as I love his debut album, I must admit this is actually improvement and completely another story. It is chugging, wonderful collection of rock/blues/reagge and it works like a dream - in fact, music is so darn good that it took me a long time to actually realize that words are really completely off-the-wall (most of the time barely functional) and unimportant factor here. "I Shot The Sheriff" is now so well-known and overplayed that I get far more pleasure from lesser-known "Get ready" where Clapton wonderfully interplay with Yvonne Elliman. "Steady Rollin' Man" is ancient blues number turned into hypnotic rock-blues and its brilliant - just when you think it can't get any better, here comes "Let It Grow" which might be Clapton's own "Stairway to Heaven" but its beautiful and I loved it my whole life. The more I listen to this album, more I am amazed.

"There's One In Every Crowd" (1975)

Slightly disappointing but not because its bad or boring, its simply that preceding album was such darn masterpiece that anything coming after that is kind of letdown. 

It is more or less same easy going rock-reagge sound except that this time around it doesn't come as fresh so the effect is noticeably of milking the same ideas. "Swing Low Sweet Chariot" is obvious sequel to  "I Shot The Sheriff" and though its fun, it does suggest a pattern. I prefer chugging "Singin' The Blues" anytime, with wonderful Marcella Detroit on backing vocals - I just love interaction of Clapton and crazy backing vocalists. The final impression is that this is lesser sequel to "461 Ocean Boulevard" but who knows, maybe with repeated listening i might grow to like this one even better. 

"No Reason To Cry" (1976)

At first listening, it sounds like watered-down version of previous album (which was in itself a lesser relative of brilliant 1974. album) because honestly it has only one stand-out track ("Carnival") and the rest is slow-burning & not very inspired doodling. Unexpected appearance of Bob Dylan does nothing for either artist except for the surprise factor of two superstars collaborating (and its a half-baked number anyway) where Clapton's playing by far overshadows Dylan's singing. To be honest, even uninspired Clapton album is still far above mediocre competition - songs might not be memorable but his guitar playing is spot on and his band follows him closely. He must really be thrilled with backing vocalists because he gives solo spot twice to Marcy Levy (later known as Marcella Detroit from "Shakespeare's Sister") which just proves my point that as musician Clapton was always ready to step back and enjoy collaboration, instead hogging the spotlight. I like the guy but this was not one of his best efforts, it feels routine and weak compared to what preceded it.

"Slowhand" (1977)

Everybody knows about "Cocaine" and "Wonderful Tonight" but make no mistake - centerpiece of this album is "The Core" with its blistering guitar solo and it appears that Marcella Detroit inspired Clapton to wake up from his drunk stupor and get his act together - not only that she sings trough the album, but she also co-wrote several of the songs. Energized and inspired, Clapton creates one of his best albums ever - it sounds extremely relaxed at first, until you realize this guy is so seriously confident that he does not need to show off. He just rolls along and than quickly tucks dozen tricks in one guitar lick, before you even understand what hit you. Seductive, ballsy, confident and fun. Clapton might have became a millionaire but he still plays his old blues favorites ("Mean Old Frisco") and he really deserves all the praises heaped on him. And the guy is humble enough to close the album with an instrumental - not pushing himself in the front, but putting music in the spotlight, which I find seriously appealing.

"Backless" (1978)

Very typical, easy-rolling Clapton album of its time - perhaps he could have waited a year or two for better inspiration instead of recording those similar-sounding albums year in and year out, but in all honesty its unrealistic to expect masterpiece every time. If anything, it resembles its predecessor just a little bit too closely, but without a standout hit single (country ditty "Promises" is pretty and mellow but hardly earth-shattering). Again the same sound, same band and Marcella Detroit sings backing vocals. I hear more pleasure in traditional "Early In The Morning" than in anything written by Bob Dylan or J.J.Cale so material is clearly an issue here, however guitar playing is masterful and authoritative as ever. 

Another Ticket (1981)

Surprisingly strong album - considering the guitar God has been taking it easy recently and was not really determined on chart success - apparently the backing band has been changed and it feels like a new blood had arrived. No big hits but it all sounds darn good, this is Eric Clapton giving a few guitar lessons to new kids. It does sound like a veteran musician being totally himself and not compromising for selling a hit single - there's a good portion of classic blues rock, solid singing and the whole collection is actually quite enjoyable. Title song is a haunting ballad and "I Can't Stand It" is all ballsy attitude and fun.

"Money and Cigarettes" (1983)

My impression is that Clapton started with a thunder back in 1960s, lived dangerously trough 1970s but kind of sunk artistically in 1980s. Not that he forgot how to play or anything, it just sounds like he didn't really didn't care for either new trends or new sounds, not to mention chart hits. I don't think that hit singles are beginning and the end of everything and often my favorite tracks were B sides and forgotten ones, but when you listen the whole album, you at least expect some songs to jump out as outstanding. "I've Got A Rock N' Roll Heart" is the only solid song here, nicely rolling, chugging, perfect car song. The rest is extremely mildly interesting, which comes as surprise if you consider talents amassed in studio (Ray Cooder!) and this must be one of the very rare occasions that I even noticed the drummer (Roger Hawkins). It could also be a question of repertoire, because Clapton's own songs are far less memorable than his covers of old chestnuts like "Crosscut Saw" or "Crazy Country Hop" which points at lack of strong material and perhaps he should have focused on his favorite covers instead. Playing is magnificent thorough.

"Behind The Sun" (1985)

You know, Clapton-Collins collaborations were much maligned almost everywhere as some terrible treachery and commercial sell-out + this was recorded in 1980s so I approached this album with really a lot of prejudice, convinced this will be worst of synthesizers/drum machines because, after all, that was than current sound and I was sure this can't possibly appeal to me because I lived and suffered trough 1980s. Guess what, I gave it a listen, than second, than a third and realized this is far more enjoyable than quite few previous Clapton's albums. I am actually pleasantly surprised how much things have improved once recording company took reins and pointed at strong, compatible producer and a good material (songwriter Jerry Lynn Williams gets no less than three songs and he is actually very good) - I understand there are many blues fans who saw this as unwelcome direction towards commercial pop but wake up people, this album gave Clapton hit single ("Forever Man") and kept him in the spotlight, in fact at the top of the game during 1980s without really compromising anything artistically - he still plays same sizzling guitar as ever, its just that production and cellophane were than current state-of-the-art. Three songs by Jerry Lynn Williams are really great fun, melancholic ballad "Never Make You Cry" is genuinely beautiful & heartfelt and there is absolutely nothing wrong with this record.

"August" (1986)

Everywhere you look, Clapton-Collins 1980s collaborations are dismissed as tasteless, calculated commercial pop music that had nothing to do with presumedly divine rock/blues past of the guitar hero who should know better. Than you take a closer look (or at least, give this album a spin) and discover that it was his biggest selling album up to that point, it gave him several really huge hit singles and kept old boy very, very successful indeed. Obviously there is a huge difference between critical perception and public reaction. Buddy was playing stadiums, hanging out with the biggest stars on "Live Aid" and was everybody's favorite special guest but we are nitpicking that he sold out for millions? Well, he deserved them. Yes, this is not a blues/rock album and it has Phil Collins pop sensibility all over it, it was created this way in order to get massive radio play, which it did. It is a happy, peppy, pop 1980s album full of synthesizers and drum machines and tons of high profile guest musicians and if you listen without prejudice, you might have a surprise - "Holy Mother" is very pretty indeed.

"Journeyman" (1989)

This is Jerry Lynn Williams album - Texas songwriter proved to have golden touch, so here he has no less than five songs, almost half of the album is his material. Either Williams is darn good, or new producer brought some fresh air (Russ Titelman is positively uncluttered compared to Phil Collins) or our guitar God simply felt inspired this time around, in any case this is one of the best later Clapton albums and I am seriously surprised how well it survived its age, because dear reader I remember this one from the first time around. Everything I loved back than, I still do - snarling, Grammy-winning "Bad Love", loving tribute to Ray Charles ("Hard times"), joyous and celebratory "Hound Dog" and best of all, wonderfully melodic and feather-light collaboration with George Harrison called "Run So Far" that actually make me smile and purr with pleasure. And Chaka Khan doing backing vocals, so now I'm bowing to the ground. We are not worthy. It actually sounds even better than I remember.

"Unplugged" (1992)

After all the synthesizers/drum machines and special effects in the 1980s, new phenomenon of "unplugged" came as a fresh air and most of us welcomed it warmly for the sheer joy of return to a source, playing music instead of twisting the knobs and programming it. And surely, when it comes to real musicians than you look towards someone who is recognized as virtuoso in the field. McCartney's own "unplugged album" was a joy but guitar God was by far unsurpassable - Clapton's own performance was brilliant for its simplicity, light touch and pleasure of playing acoustic instruments once again. The man known for mind-boggling, white-hot guitar solos was now relaxed and comfortable enough not to show off. Surely, critics hated it, bemoaned lack of 30 minute solo passages and complained that he had mellow beyond recognition but the whole world bought this album and it still sounds excellent. Although it has been played and played on the radio to death, I still find "Tears in Heaven" moving beyond the words.

"From the craddle" (1994)
If "Unplugged" (1992) was deliberate sentimental look back at his life and career, with this album Clapton goes all the way back to his first blues idols and pays homage to musicians who preceded him - guys like Willie Dixon, Charles Brown, Tampa Red, Lowell Fulson, Elmore James and Muddy Waters. Since he was always recognized as a rock/blues guitar virtuoso, it actually comes as a surprise that Clapton actually never released true, pure blues album until this point. His guitar playing is sizzling, as expected and the biggest surprise is the way his singing had improved with years, where once he was reticent and timid, now he grew into full-throated blues growler. Some found this "back to the roots" a sign of artistic stagnation and criticized Clapton for not coming up with something new but to me this sound as an excellent showcase for a musician doing his own thing and not compromising anything for commercial success. Everything from choice of classic material to his playing and singing is pure blues heaven. If you want pop singles, look elsewhere - personally I found this album by far preferable and more enjoyable to many of previous releases with their hit-and-miss moments, this one plays nicely from the start to finish.

"Pilgrim" (1998)

I can't even imagine the sense of loss, grief and sadness parent goes trough at the loss of the child. It must shake to the core the whole purpose of one's life and probably leave a wound that can never be completely healed. In his autobiography "Clapton", Eric Clapton explains how he used not alcohol or drugs, but music as healing process and this beautiful, sad, bleak album reflects his state of mind. Describing the last day with his little son in "Circus" with lyrics that came from deep inside his heart, he softly murmurs: "Little man with his eyes on fire/And his smile so bright/In his hands all the toys you gave/to fill his heart with delight/What you see and what you will hear/Will last for the last of your life" . This is a truly tortured but artfully voiced cry translated in the language of music. Elsewhere Clapton looks inside for more reflection ("My Father's Eyes" gets completely different meaning once you know he never met his father, "River Of Tears" is epic sadness, "Why can't I find no relief in my heart?" in "Inside Of Me") and for once different emotions, completely different perspective colors the music of guitar virtuoso who this time is not in the mood to prove his legendary rock machismo and ballsiness, this is probably his most emotional, most personal album ever.

Of course, it didn't sell. In fact, it was almost universally panned and reviled as too soft, too mellow, too unlike "Clapton the rock star" which is completely besides the point. Do we want artist to entertain us constantly, to continue his usual country/rock/blues/reggae/whatever greatest-hits-played-at-stadium-arena routine or do we actually understand there is a real person with personal tragedy behind him and this is his reaction to it? Perhaps this is just me and the way I am usually affected by sad songs more profoundly than happy ones but I rather hear sad, heartbroken and reflective Eric Clapton at this stage of his life than crowd-pleasing, "Layla" playing rock musician going on with same greatest hits night after night. I don't think this is disaster or low point as almost everybody claims, in fact I am deeply affected by this album and understand it, in my way.b

"Reptile" (2001)

I might be minority here, but I actually truly enjoy Eric Clapton's later work - for the sake of this reviews I went trough his complete discography and in all honesty, those famous, celebrated albums were spotty (gems and all) while his post-Unplugged music simply appeals to me far more. I play this eclectic collection of rock/blues/country/pop constantly with greatest pleasure and can't understand why would anybody prefer earlier work to this. Everything from Clapton's own mellow originals to covers of Stevie Wonder, J.J.Cale and Ray Charles is impeccable, warm and uncompromising - this is veteran artist doing what he loves best and its one of my all-time favorite Clapton albums. No hits, no big sales, no naked tits videos. But we have Billy Preston on hammond organ and The Impressions on backing vocals, so choose your priorities.  ad arrived. No big hits but it all sounds darn good, this is Eric Clapton giving a few guitar lessons to new kids. It does sound like a veteran musician being totally himself and not compromising for selling a hit single - there's a good portion of classic blues rock, solid singing and the whole collection is actually quite enjoyable. Title song is a haunting ballad and "I Can't Stand It" is all ballsy attitude and fun.