- FIVE LIVE YARDBIRDS
audio-document... though I do not like the music that much. But one
can feel the electrifying mood.... Eric's red FENDER
TELECASTER through a VOX AC30 is biting and screaming. Already in
those times Eric's been superb guitarist.
Because of the
introduction of the band by the anouncer one can learn that
already here the term SLOWHAND was existing.
love that sound of the guitar on the BEANO-ALBUM, as BLUES
BREAKERS - JOHN MAYALL WITH ERIC CLAPTON also has been called.
It's visible to myself why all the world wanted to have a GIBSON LES PAUL STANDARD
and a MARSHALL Combo-Amplifier model 1962. Because of this record
the amplifier had got the nickname BLUESBREAKER and to this day
bears it in the official Marshall-program. As per my knowledge
never since then there has been again such symbiosis between a
musician, a record (even including the cover-photo), the music and
the equipment that was used.
John's voice is not everyone's cup of tea - mine as well not
really. Eric's first vocal-performance on RAMBLING
ON MY MIND I consider as totally cool - I would give a lot for
such voice-vibrato. Further favourites are the both instrumentals HIDEAWAY and STEPPIN' OUT.
I am not the biggest fan of CREAM under the sun.
I am enthusing over
EC's guitar-playing and sound (the Les Paul through Marshall
Amplifier). And if Eric sings now and then... like here on FRESH
CREAM on FOUR UNTIL LATE, the sun's rising for me. With JACK
BRUCE'S vocals I somehow can' t do anything with it. Even the
songs are for a big part very strange to me.
I obviously like much more as an entire album than it's
predecessor. Eric's vocal part has been clearly bigger here, which
I welcomed highly.
STRANGE BREW (ingeniously
sung by Eric) and SUNSHINE OF YOUR LOVE (one of the most
outstanding sings and the most awesome guitar-tone, that I know).
||WHEELS OF FIRE
consists of two reords, one studio- and one live-record.
As far as it concerns the studio-record, Jack Bruce really takes
off to top-form... great songs and sung cool, interesting arranged
AS YOU SAID his voice was sent through a LESLIE - not the
newest thing as one can hear on THE BEATLES - REVOLVER - but
performed brillianly). Added to this Eric's unimpeachable guitar. Vocalwise Eric only
appeared as the leadsinger on "his" song CROSSROADS on
the live-record. Those three pieces by GINGER BAKER I only consider as some filling
material and would not miss them if they were not on the album.
Concerning the used
guitars a cherry-red GIBSON ES-335 and a GIBSON FIREBIRD with one
pickup might have been in the pie here and also on the following GOODBYE.
is a mix-record of studio- and live-recordings. My absolute
favourite record by CREAM.
Here Eric now has discovered the LESLIE-Cabinett for his guitar and
there can be found superb sound-examples on the studio-songs BADGE
and WHAT A BRINGDOWN. Still to this day Eric plays a real Leslie,
especially again during BADGE. Unbeaten. Further pretty examples
can be found also on the Beatles' ABBEY ROAD and LET IT BE and RINGO
STARR's Solo-No. IT DON'T COME EASY.
FAITH actually is not that much my thing. STEVE WINWOOD's
voice gets on my nerves very much for a great part.
Although, here is the great CAN'T FIND MY
WAY HOME included, which had its fixed place in the live-set of EC
for many years. On my DELUXE EDITION one can hear also an electric-version, which
is a very pretty one, too. In addition there are further not yet
released songs, plus four Jam-Sessions cuts on the extra disc. For
the one who likes beautiful guitar-sounds and wants to "let
loose" and "drift off" it's exactly the right one.
There are photos existing on which Eric plays a FENDER TELECASTER
with a STRATOCASTER-neck (the one of "BROWNIE"), but also the red GIBSON ES-335 from the
AND BONNIE & FRIENDS - LIVE ON TOUR WITH ERIC CLAPTON
a nice record. I put on the player from time to time - was a hot
band, with a horn-section, organ and percussion. My hits here COMING HOME and I DON'T WANT TO DISCUSS IT, recorded
with a very good live-sound - astonishing for those times.
Here starts Eric's
to this days lasting phase of the FENDER
STRATOCASTER. On pictures one can see "BROWNIE".
one can hear already on this one how Eric's next record will sound.
Because the whole band will be included to record the record. It
will become his first solo-record...
...and is called ERIC CLAPTON
and "BROWNIE" is featured on the cover -simply great. Far out
atmosphere, great band.
EASY NOW, SLUNKY and LET IT RAIN
Just listen to it.
DEREK AND THE DOMINOS - LAYLA AND
OTHER ASSORTED LOVESONGS I have again "injected" very intensely
last year, since I myself happened to get into a similar situation as EC - with
happyend. To read the book LAYLA AND MADSCHNUN while listening to it
additionally kicks a lot.
Great record about his passion
for his later wife Patti. Also one of the last sound-examples of the later
passed away DUANE ALLMAN and furthermore "BROWNIE" has been used
extensively. "BLACKIE" might have been already in Surrey, England, but
maybe not yet put together in the way how it was played later.
Some time ago I discovered a 20th Anniversary-Limited Edition
including two extra-CDs, that invlude Outtakes and Jams. Very interesting. One
doesn't listen to it all the time... once in a while it's fine.
DEREK AND THE DOMINOS - LIVE AT
THE FILLMORE simply is a smasher. That what CARL RADLE, JIM GORDON,
BOBBY WHITLOCK and EC here have performed, for me belongs to the sidereal hours
in EC's career - can't help it - I'm keen on such old-fashioned live-stuff.
Again "BROWNIE" is
plugged in and nothing yet in sight of "BLACKIE".
Great record. Although considered
objectively, the sound of the RAINBOW CONCERT then and still today
appears to be somehow "strange" and one can realise, that Eric is
groggy, because of his drug- and alcohol-consumption. Subjektively in my ears especially this is the nice thing in it. No mainstream.
And... here it is...
"BLACKIE". Two shows have been played. One EC played with
"LUCY", a red GIBSON LES PAUL which has changed hands to and fro
between Eric and George Harrison all the time (with this guitar Eric also played
the solo on "While My Guitar Gently Weeps), the other one with "BLACKIE", which from now on will
be the No.1 until 1986.
It has been re-released with more
tracks, remixed and with a different
Recorded in the house of the address 461
OCEAN BOULEVARD, Florida. The "return- to-power-album". Very
atmospheric, partly rocking - partly very contemplative, alomost no solos, lots
of DOBRO- and MARTIN-acoustic-guitars in use.
No... I SHOT THE SHERIFF is not my
favourite song. These are... GIVE ME STRENGTH, LET IT GROW and
The core-band consisted of: EC,
GEORGE TERRY (git), CARL RADLE (bass), DICK SIMS (keyb), JAMIE OLDAKER (dr), YVONNE ELLIMAN (voc). Additionally there
have been involved a number of different session-musicians.
A continuation of what had been
461 O.B. ... with spiritual Raggae-influence and the same band, is THERE'S ONE IN EVERY
CROWD. Only the place of recording has been a different one, which was KINGSTON,
Partly it might appear somehow
flat and uninspired, but nevertheless it includes beautiful moments, as THE SKY IS CRYIN', SINGIN' THE BLUES
Here MARCY LEVY (git) joins the
The E.C. WAS HERE record I
love as well. On this one is the above mentioned CAN'T FIND MY WAY HOME in its
best version that I know. Aside from that there's DRIFTIN', which will
experience a comeback almost 20 years later on FROM THE CRADLE.
here are the same musicians on board.
The second LP of which I got hold of
REASON TO CRY. It's got the same warm (as I call it) "Living-Room-Atmosphere"
Almost all the band-members are
again participating, plus BOB DYLAN, RON WOOD and a lot more guest-musicians...
probably a giant party, these recording-sessions. The CD includes a song called LAST NIGHT,
on which one can note pretty obviously the "heavy" toungue of Eric.
I like it.
His nickname becomes program - SLOWHAND.
The second milestone, after 461. My personally favourites are MEAN OLD FRISCO and PEACHES AND DIESEL.
The same band plus guest as on EC WAS HERE
etc... and "BLACKIE" was introduced on the cover for the first time.
A MUST for every
record-collection, as I think.
It started with the song PROMISES
from this album BACKLESS... heared the first time on a tiny
Despite the humble sound-quality
of the radio the atmosphere of the recording instantly cought me... Somehow I
found out on which LP this piece was and so BACKLESS became my very first reord
by EC. That was ca. 1978/79. So BACKLESS actually had been released at that time.
Because the entire LP put a spell on me even more, I became curious and from
then on looked for more other recording.
The last record by the TULSA-GANG.
ONE NIGHT - recorded in the Budokan-Theatre. "BLACKIE" in
top-form in the master's hands... As per my knowledge MUSICAMAN-amplifiers
and a Leslie were also part of the game here. My tip: DOUBLE TROUBLE.
Completely new cast: HENRY SPINETTI (dr), ALBERT LEE (git, voc, keyb), DAVE
MARKEE (bass) and CHRIS STAINTON (keyb) accompany Eris for the
same cast as on JUST ONE NIGHT plus GARY
BROOKER (keyb, voc). One of the records which started to have an
effect on myself only some years later and I understoode it. Today
I like it very much. At that time the cut to my beloved BACKLESS
was too crass.
this the same applies to as for ANOTHER TICKET. I only have
really "discovered " it during my period when I went
through my divorce in 1995. I believe to perceive that here
already the marriage with PATTI CLAPTON was on a downward slide
and Eric took the record as a valve.
me the over-all-sound is a bit to flat and "sticky",
From the prior cast
only ALBERT LEE has been on the bill. As additional guitarist RY COODER
THE SUN I liked and still like it !!! especially the titel-track. Unfortunately it has been faded out on
this studio-record. The complete version then really takes off
once more. I have it on an audience-bootleg vinyl-record. SAME OLD BLUES, SHE'S WAITING
and JUST LIKE A PRISONER from the British part are the three other
favourites of my choice.
Half of this album had to be re-recorded again, because WARNER
BROS. didn't like it. Therefore there is a "British" and
an "American" part, as I call them. Fortunately since
UNPLUGGED there isn't much fear of something like that anymore.
Here the name NATHAN EAST surfaced for the first time. Together
with JEFF PORCARO (dr) and STEVE LUKATHER (git) he plays on some
of the recordings of the "American part".
OF DARKNESS is a 6-track EP, no normal LP. It represents
Eric's first contact wirh the conductor MICHAEL
KAMEN and electronical musical instruments. It is the music to the British TV-series of the same name.
like it very much. Became an integral part of the Orchstra-Nights
in the beginning of the nineties - see 24
Nights. Probably Blackie had been used here for the last time
AUGUST was the first record being recorded with the new FENDER SIGNATURE
electric-guitarist AUGUST had influenced me strongly
at that time, because it's been the time when I purchased my first
electrical guitar, a black Fender American Standard Stratocaster,
and began to tackle more seriously with the electrical guitar. Bis dato spielte ich ausschließlich die akustische
I was unbelievable
fascinated of GRAND ILLUSION, that is included on the CD only, and
at first I only had the vinyl-release at the time - without G.I.
of JOURNEYMAN I had the guts to buy myself my first Wah-Wah-pedal
by Dunlop. I still own it.
BAD LOVE and BREAKING POINT are my favourites.
always like to listen to 24 NIGHTS again. And the
appendant Video, resp. now DVD are turning in the player once in a
while. At the latest since 24N I have got appetite for the EC-Stratocaster.
Well, up to now always some other guitars intermediated or haven't
had the bucks available at the time.
For me this very
moody version of WONDERFUL TONIGHT is unbeaten.
My hits: BAD LOVE and EDGE OF DARKNESS.
also on DVD
has, although I already played acoustic guitar since a pretty long
time, given me a new understanding again for the acoustic guitar
(also the gut-string).
of the first broadcastings, if not the first, within the MTV-series UNPLUGGED
and moreover really unplugged. Not one single instrument's got a
pick-up... everything has been picked up and taped only by
At PAUL McCARTNEY it was similar and then that's been it.
also on DVD
THE CRADLE - this is rough Blues made by EC. Just great.
Played with a lot of passion and emotions. Liked it right
away and still do today.
- RETAIL THERAPY the first co-working with SIMON CLIMIE
and the second working (after EDGE OF DARKNESS) with electronical
musical instruments as computers, sequenzer, drum-machines etc.
Don't listen too
much to it, but it's got very interessting parts on. One can
already recognise the later CHANGE THE WORLD and PILGRIM.
most controversial discussed record, that Eric ever recorded,
might be PILGRIM. He takes new ways in recording technics a
puts down a soul-stiptease in a very dusky atmosphere. Partly I
can listen to this record only in a stable state of mind.
Particularly I like
here PILGRIM, GOIN' DOWN SLOW (a completely re-worked old bluesson
- an older "normal" live version one can find on
the sampler BLUES) and lately SHE'S GONE.
WITH THE KING... with B.B.KING. EC finally meets with B.B.KING
on record for an entire project. Beautiful rock/blues record. As
far as I know for the first time DOYLE BRAMHALL II is on board as
songwriter and musician, as for example on MARRY YOU and I WANNA BE.
The titel track
originates from JOHN HIATT, originally written about ELVIS, EC and BB
slightly have modified the lyrics and adopted it for their project.
John Hiatt must have been pleased.
album REPTILE gave to me hope and power, because at that
time I had to go through a knee-surgery and hardly could shift
myself somehow. It's been running for days in the player. Already the concert I faced out only with pain and thick knee. A
week later I had to lay down under the knife.
the appendant album ONE MORE CAR, ONE MORE RIDER ,
reformed myself in respect to the charm of a thick jazz-guitar,
which I simply had ignored completely up to that point of time. It
is as it is...at first there has to be someone who shows you what
beautiful things you can do with it. Fortunately I could find an
old and pretty EPIPHONE BROADWAY. Of course it is not as exquisite
as an original L5 by GIBSON, but the direction is there.
also on DVD
& AND MR JOHNSON in
my ears is the logical continuation of the blueswork by Eric
following FROM THE CRADLE and
RIDING WITH A KING - that's the way I consider this at least.
Due to some interviews it came out, that actually a record with
new original songs had been ongoing and the RJ-project most likely
only arose due to the playing of ROBERT JOHNSON pieces for
"doing time" and relaxing. Unexpected hit a homerun. I
think up to very less songs EC now has played every RJ-song once
somewhen in his career.
For good luck EC didn't know from PETER GREEN's RJ-project.
Otherwise he probably would not have done it, as per an interview.
FOR ROBERT J
is the supplement to Me And Mr Johnson. The songs
have been played live at various locations and studios. Wit
complete band, as a duo with Doyle and very all alone just with an
acoustic guitar. Great!
A view behind the scene also is delivered on the enclosed DVD.
also on DVD
HOME is out
and I think it's a smasher... it is already now one of my
favourite records by Eric. A lot of little recollections to
earlier records can be found. A recording with a positive attitude
and mood. One can hear that EC is happy with his life, which
wasn't too much the case in the past. Very filigree and
sophisticated recorded, arranged and produced. In my ears
it's worth the effort he has put in and the time he took himself.
There is the one or another piece which is not so much my kind of
thing, but actually a great disc from the beginning until the
CREAM ROYAL ALBERT
I like it, I liked
the idea of doing it and that it finally happened... would have
been interessting if Eric had chosen some Gibson guitars as well.
also on DVD
Is THE ROAD TO
EC- or a JJ Cale-Platte now? No idea... the truth probably might
lie in between... Actaully I don't care... I list it here anyway.
For me it counts to EC's central works. And there it takes a place
in the top-ranking.
In fact here and
there one hardly can differ the singing-voices of the both of
them... Two soulmates who complement one another perfectly and
create a ingratiating atmosphere with a lot of great
beautiful laid-back record. JJ Cale pure improved with Eric's
spices. Get yourself a drink, put in the player, kick-off, lay
back, relax and enjoy.
THUMBS UP !
ERIC CLAPTON and
STEVE WINWOOD - LIVE FROM MADISON SQUARE GARDEN
really do love this recording and the DVD as well... excellent
sound and picture quality... Eric and Steve seem to have a ball,
very relaxed atmosphaere and feeling comfortable doing this...
They sound like a real fresh "oldfashioned" Rockband...
tons of guitars played through a Leslie cabinet which I can't get
also on DVD
...is a return to his childhood and youth. At least that's how
I understood him in his promotion-video. With this in mind it
absolutely is on the trace, which he started to go with ME &
MR. JOHNSON, that found its sequel in BACK HOME and the CREAM re-union,
went further on with the JJ CALE project and finally hitherto
found it's ending with the STEVE WINWOOD Gig... no, actually he
went on his journey into the past and to his roots already with
REPTILE... a very personal disc and by far no "mainstream"...
I like this record very much... very beautiful guitar-sounds,
played tasteful and subtle, first-class vocals by EC... this album
gives me such a wonderful relaxed warm atmosphere... it will be
turning a lot in my disc-player.
PLAY THE BLUES - LIVE FROM
JAZZ AT LINCOLN CENTER
...a courageous live-project with the
multiple awarded Jazzmusician Wynton Marsalis and Band...
Once again Eric Clapton stands out for
his open mind to new things... and ability to move beyond his own
A particular candy is a radical new
version of his superhit LAYLA.
also on DVD
THE BREEZE - An
Apprececiation of JJ Cale
I STILL DO