Nicknamed at various times “Slowhand” and er… “God”, ERIC CLAPTON has always attracted the kind of manic adulation reserved only for a hardcore of rock royalty. On balance, he probably deserves it, having both reconfigured the boundaries of the electric guitar and played on many of the best rock albums ever recorded. After helping to ignite the British blues boom with The YARDBIRDS and JOHN MAYALL’S BLUESBREAKERS, Eric became one third of celebrated power trio CREAM alongside Ginger Baker and Jack Bruce. As the 60s turned into the 70s, the guitarist/singer would resurface in yet another “rock” supergroup BLIND FAITH, as a touring fixture with DELANEY & BONNIE & FRIENDS and as leader of the pseudonymous and woefully short-lived DEREK AND THE DOMINOS. While well documented drug problems were to delay a successful solo career in the mid 70s, it’d be a decade later before he began pairing his sound and image.
Born Eric Patrick Clapton, 30th March 1945, Ripley in Surrey, EC was raised by his grandparents; he later attended Kingston Art College where he studied stained glass design. Heavily influenced by the blues: ROBERT JOHNSON, B.B. KING and BUDDY GUY, Eric was a self-taught musician (he had been given a £14 guitar by his guardians on his 14th birthday) and began playing with Tom McGuinness in his first band, The Roosters, in January 1963. Eight months later, the pair both joined Casey Jones And The Engineers, but this was short-lived.
CLAPTON’s first big break came that October when he was asked to replace Top Topham in The YARDBIRDS. The latter act had just taken over from The ROLLING STONES as the resident band at the Crawdaddy Club in Richmond; CLAPTON, nicknamed “Slowhand” by the band’s manager, Giorgio Gomelsky, quickly outshone the singer, Keith Relf, and became the principal focal point of the group, although he left them on the eve of their chart success in 1965, complaining that their music had become too commercial. CLAPTON had recorded only one album (`Five Live Yardbirds’) with the quintet, but his potential was clear to many followers and pundits.
Eric then joined JOHN MAYALL’S BLUESBREAKERS in April 1965 and around this time the famous, although unsubstantiated phrase/graffiti “Clapton is God” was coined. Again, he only stayed for one 1966 album (`Bluesbreakers With Eric Clapton’), although it was to be the spark for the blues boom of the sixties, recorded over one weekend with no track laid down in more than one take. In search of his own outfit, Eric left the Bluesbreakers and almost immediately formed CREAM with drummer Ginger Baker and singer/bassist Jack Bruce. CREAM officially broke up in November 1968 after a handful of classic LPs under the belt (`Disraeli Gears’ and `Wheels Of Fire’ their greatest); CLAPTON played on the GEORGE HARRISON-penned BEATLES track, `While My Guitar Gently Weeps’ (under the name, L’Angelo Mysterioso), and also contributed to HARRISON’s solo album `Wonderwall Music’.
Eric subsequently formed the all-too-brief BLIND FAITH with Baker, former TRAFFIC leader STEVE WINWOOD and bassist Ric Grech, and although they topped the charts on both sides of the Atlantic with their eponymous debut set, they couldn’t cope with the high pressure expected of a “supergroup”, before the new decade was upon us. He was still only 24, but fame had taken its toll and he retreated into the ranks of DELANEY & BONNIE & FRIENDS, from which he formed his own, equally laid back DEREK AND THE DOMINOS.
Meanwhile, EC’s eponymous solo debut, ERIC CLAPTON (1970) {*7} – featuring his “Dominos”: Bobby Whitlock (keyboards, vocals), Carl Radle (bass) and Jim Gordon (drums), plus STEPHEN STILLS, LEON RUSSELL, DELANEY & BONNIE (like Leon sharing credits), Bobby Keys, Jim Price, etc. – was already sitting pretty in the charts where it reached the UK and US Top 20. Laid back and funky with flourishes of gospel, country and R&B, the record has definitive elements of amiable pop, only three tracks seem to have the necessary spark to ignite an audience. `Let It Rain’, the boogie-woogie `Blues Power’ (one of two penned with RUSSELL), and an excellent reading of JJ CALE’s `After Midnight’ shone out from the pack, although many fans at the time were just happy he was now back in command.
EC’s concurrent combo DEREK AND THE DOMINOS toured between June and December 1970; although he was actively trying to shun publicity and even refused to have his name on the cover of the classic double album, LAYLAand other assorted love songs (1970) {*9}. Featuring guest slide guitarist DUANE ALLMAN in session, it was clear CLAPTON’s passion was embedded in here. While `Bell Bottom Blues’ and `Layla’ have history (he was in love with GEORGE HARRISON’s wife Patti Boyd at this time), one could almost feel the heartache and blues ooze from the grooves on others such as `Why Does Love Got To Be So Sad?’, `Tell The Truth’, and staples `Have You Ever Loved A Woman?’ and `Nobody Knows You When You’re Down And Out’; other covers stemmed from BIG BILL BROONZY (`Key To The Highway’), Chuck Willis (`It’s Too Late’) and JIMI HENDRIX (`Little Wing’).
The following year, the second D&D album was scrapped due to the band’s worsening drugs problems and they decided to call it a day. Eric went into seclusion, only coming out for the occasional charity performance (including the Concert For Bangladesh). Ironically, `Layla’ (in all its glory), gave the now defunct DEREK AND THE DOMINOS a belated Top 10 hit in the UK in 1972, possibly making up for the fact that their eponymous double had stiffed in Britain having reached Top 20 in America. While a raft of CLAPTON compilations were coming thick and fast, another D&D double hit the shops. Recorded in October 1970, IN CONCERT (1973) {*5} enticed the fans in for another heavy-leaden, OTT set; EC even reprising a BLIND FAITH nugget `Presence Of The Lord’.
The WHO’s Pete Townshend, concerned for his friend’s health, persuaded CLAPTON to take part in an all-star comeback concert in January ‘73 at London’s Rainbow Theatre with RON WOOD, STEVE WINWOOD, JIM CAPALDI and many others. The performance was recorded and the resulting album, ERIC CLAPTON’S RAINBOW CONCERT (1973) {*6} reached a respectable Top 20 slot over the other side of the Atlantic. This too, highlighted the BLIND FAITH track, alongside a rendition of TRAFFIC’s `Pearly Queen’ and CREAM’s `Badge’. The minor success of the project/album did not, however, convince CLAPTON to step back into the limelight and he retreated once more. The guitarist underwent a course of electronically adapted acupuncture in 1974. He eventually got rid of the habit and told record boss, Robert Stigwood, that he was ready to come back.
Tom Dowd was brought in as producer, although CLAPTON had only two songs in mind, (Charles Scott Boyer’s) `Please Be With Me’ and his own `Give Me Strength’. A new band was assembled with bassist Carl Radle, Jamie Oldaker (drums), Dick Sims (keyboards), George Terry (guitar), plus singers Yvonne Elliman and Marcy Levy (the latter would later resurface as Marcella Detroit in SHAKESPEAR’S SISTER).
In August 1974, the first single from the comeback sessions, a brilliant version of BOB MARLEY’s `I Shot The Sheriff’, was released and it reached an unexpected UK Top 10 spot; many observers speculated that he was ill-advised in trying to cross over music boundaries. Later the same month, the accompanying album, 461OCEAN BOULEVARD (1974) {*8} – four years in the making and named after the address of the recording studio – topped the charts in the US (Top 3 in Britain). From the trad blues of `Motherless Children’ to Johnny Otis’ funk-driven `Willie And The Hand Jive’ (via ELMORE JAMES’ `I Can’t Hold Out’, ROBERT JOHNSON’s `Steady Rollin’ Man’ and George Terry’s `Mainline Florida’) plus the soothing `Let It Grow’, the album’s subdued tones launched a new EC into the world of mainstream rock.
His long guitar solos had now been trimmed down in line with his more basic approach to songwriting, apparent on subsequent hit album, THERE’S ONE IN EVERY CROWD (1975) {*5}; his version of gospel/folk staple `Swing Low Sweet Chariot’ reached UK Top 20, while the version of ELMORE JAMES’ `The Sky Is Crying’ way outshines the rest.
In August the same year, Eric again hit the pop charts with yet another cover (DYLAN’s `Knockin’ On Heaven’s Door’), while the un-associated live album E.C. WAS HERE (1975) {*5} kept his profile high, albeit with a flavour of past glories from his BLIND FAITH days (i.e. `Presence Of The Lord’ and WINWOOD’s `Can’t Find My Way Home’). During this period, George Terry was taking on most of the lead guitar work as CLAPTON was still reluctant to be in the forefront.
In September 1976, NO REASON TO CRY {*6} reached the UK Top 10, its credibility factor enhanced by the dulcet tones of both DYLAN and The BAND (aka Rick Danko, Richard Manuel and Robbie Robertson) on several tracks; `Carnival’ was the big hit here. CLAPTON reciprocated the deed by performing `Further On Up The Road’ (with new band member Sergio Pastora on percussion) at The BAND’s “Last Waltz” farewell concert.
Relaxed enough to name an album after his cool moniker, SLOWHAND (1977) {*8}, was only kept off the US top spot by the Saturday Night Fever OST, while the painfully sentimental single `Wonderful Tonight’ (another song written for Patti) reached Top 20 status; other choice cuts were JJ CALE’s `Cocaine’, JOHN MARTYN’s `May You Never’, DON WILLIAMS’ country-cool `We’re All The Way’ and a C&W boogie smash, `Lay Down Sally’.
BACKLESS (1978) {*6} followed in much the same head-nodding vein, CLAPTON obviously remaining oblivious to the energy and attitude of the burgeoning punk/new wave scene as he plodded along on the likes of Top 10 cover hit `Promises’ (penned by Richard Feldman & Roger Linn), JJ CALE’s `I’ll Make Love To You Anytime’, and two from DYLAN through `Walk Out In The Rain’ and `If I Don’t Be There In The Morning’.
In March 1979, Eric decided to embark on a world tour with an all-new UK band consisting of Albert Lee (ex-HEADS, HANDS & FEET), Chris Stainton, Dave Markee and Henry Spinetti. The veteran troupe recorded live tracks at the Budokan in Japan; the resultant double-album JUST ONE NIGHT (1980) {*6} was a transatlantic Top 5 success. During the tour, CLAPTON finally married his long-time love, Patti.
The 70s had not been an easy time for CLAPTON and his disciples, his heroin addiction subsequently replaced by a copious intake of cognac. In May 1980, ex-PROCOL HARUM stalwart Gary Brooker replaced Stainton for another British tour, although later in the month, CLAPTON was saddened to hear that his former bass player, Radle, had died of chronic kidney disease. CLAPTON wasn’t in the best of health himself, the guitarist admitted to hospital in Minnesota during his 1980 tour of America with doctors estimating that he would have had under an hour to live had his ulcer burst. With his health restored, and with the revitalisation of the AOR market, CLAPTON re-emerged as a revered elder statesman of rock, although he had a further setback in April ’81, when he was again hospitalised after a car accident. He recovered from this and went on to contribute to PHIL COLLINS’ debut album (beginning a long-standing friendship/working relationship) and also returned to live work by performing with JEFF BECK at “The Secret Policeman’s Other Ball”.
CLAPTON’s last album for Polydor, ANOTHER TICKET (1981) {*5}, reached both UK and US Top 20’s, but its lack of bite and a few good hits – served up by Glyn Johns production replacement Tom Dowd – many found it rather tedious. But for the appropriately-titled `I Can’t Stand It’(a major smash in America), plus covers of SLEEPY JOHN ESTES’ `Floating Bridge’, MUDDY WATERS’ `Blow Wind Blow’ and Troy Seals’ `Black Rose’, one could see why there was no big farewell launch to thank their loyal servant of 15 years.
Backed by some investment from Warner Brothers, EC decided to form his own Duck imprint. 1983’s transatlantic Top 20 set MONEY AND CIGARETTES {*5} was hardly the change one might’ve expected. Instead, and only retaining guitarist/foil Albert Lee, he enlisted the help of Stax session rhythm team Donald “Duck” Dunn and Roger Hawkins; the legendary RY COODER was also in tow. The staid formula of half-original/half-cover songs were a little played out by now, but the pick of the litter stemmed from ESTES’ `Everybody Ought To Make A Change’, JOHNNY OTIS’ `Crazy Country Hop’ and ALBERT KING’s `Crosscut Saw’.
In between numerous charity/benefit concerts, Eric managed to record his next long-player, BEHIND THE SUN (1985) {*5}, a Top 10 set produced between PHIL COLLINS and L.A. counterparts Ted Templeman and Lenny Waronker; the label’s latter pairing insisting of trying out fresh songs (`Forever Man’, `Something’s Happening’ and `See What Love Can Do’) penned by Jerry Lynn Williams; `EDDIE FLOYD’s `Knock On Wood’ survived the rather schizoid company record.
A collaboration with Michael Kamen on the theme to a BBC TV series, `Edge Of Darkness’, marked his screen debut and while this was actually released as a single, it turned out to be the lowest charting of his career so far. By this point, CLAPTON was in his slick, Armani suit-wearing period, his polished follow-up AUGUST (1986) {*6} – again produced by COLLINS – contained the semi-classic tracks `Behind The Mask’ (penned by RYUICHI SAKAMOTO) and the TINA TURNER duet `Tearing Us Apart’. Despite the odd R&B/Motown foray (namely a couple of Lamont Dozier cuts `Run’ and `Hung Up On Your Love’), other songs were penned jointly with band COLLINS (drums), Greg Phillinganes (keyboards); Nathan East was his bassist. In 1987, EC began his first series of concerts at the Royal Albert Hall, London; they would become an annual event and, by 1990, had built up to 18 consecutive nights.
The aforementioned Kamen was actually to prove a long term musical partner, working with CLAPTON on the bluesy scores to both the Mel Gibson vehicle, Lethal Weapon (1987) and Mickey Rourke showcase HOMEBOY (1988) {*5}. While the former was credited to CLAPTON, Kamen and saxophonist David Sanborn, the latter was billed as a CLAPTON solo effort. The music was deliberately slow and very much in the blues mode, and ends with CLAPTON’s solo version of `Dixie’, an homage to JIMI HENDRIX’s take of `Star Spangled Banner’.
And while the CLAPTON/Kamen/Sanborn team were recalled for 1989’s second instalment of Lethal Weapon, towards the end of the decade, the solo CLAPTON completed his next album proper, the Top 5 JOURNEYMAN {*7}, a record that found the man rediscovering his guitar; Steve Ferrone was installed as drummer. Unconsciously split between songs by Williams again, a few by EC himself (including `Bad Love’ and a ROBERT CRAY duet `Old Love’) and several R&B staples from the likes of BOBBY WOMACK, RAY CHARLES, BO DIDDLEY and Leiber-Stoller, the stylish production come up trumps.
Tragedy was to rear its ugly head again in 1990, when, on August 27, three members of his support entourage died along with the legendary guitarist STEVIE RAY VAUGHAN in a helicopter crash following a concert in East Troy, Wisconsin. Incredibly, CLAPTON underwent further emotional trauma, when on March 24, 1991, his 4-year old son Conor died after falling out of a skyscraper window. Not surprisingly, CLAPTON shunned the world for some time, only reappearing in September on BUDDY GUY’s first album for over a decade, `Damn Right I’ve Got The Blues’.
Meanwhile, at his annual Albert Hall residency (now up to a staggering 24 shows; the performances would subsequently be released as concert set, 24 NIGHTS {*6}), he decided to split each show into five segments – a four-piece band, a second four-piece band with different percussion, a nine-piece band, a blues band with guitarists ALBERT COLLINS, ROBERT CRAY, BUDDY GUY and JIMMIE VAUGHAN, and a nine-piece band with orchestra conducted by Kamen.
The guitarist’s biggest soundtrack success came with his dark score for undercover cop movie, RUSH (1992) {*6}. The album reached the US Top 30 and included Eric’s massive transatlantic hit `Tears In Heaven’, a moving elegy for his much-loved little boy. Given that this was CLAPTON’s first project following the accidental tragedy, this was a score which inevitably reflected some of the pain and loss CLAPTON must’ve been wrestling with at the time. His dark, searing blues licks seem to exist in and of themselves, with only the most subtle of accompaniment and certainly no orchestration. Chuck Leavell’s piano contributes emotional colouring to the likes of `Kristen And Jim’, leaving that same sense of loss and regret hanging in the air – CLAPTON and his band only really break loose on `Preludin Fugue’ and `Cold Turkey’, and even then only for a few minutes. That said, the claustrophobic synth and percussion textures of `Will Gaines’ makes for an intriguing end-of-the-score section of the soundtrack. In contrast, the cathartic `Help Me Up’ comes as something of a relief, while `Don’t Know Which Way To Go’, is an extended electric blues with vocals by BUDDY GUY.
1992 continued with a recording of an UNPLUGGED {*7}MTV show and, backed by ANDY FAIRWEATHER LOW, Ray Cooper, East and Leavell, CLAPTON performed new and recent material, `The Circus Left Town’ and `Signe’, along with standards including a drastically pared down re-hit version of `Layla’. The resulting album went on to be the most successful of his career (UK No.2 and US No.1), although he allegedly didn’t even want it released! It also showed CLAPTON’s return to his blues roots with BIG BILL BROONZY’s `Hey Hey’, a stunning version of ROBERT JOHNSON’s `Malted Milk’ and MUDDY WATERS’ `Rollin’ And Tumblin’’. However, it was the aforementioned heart-rending tribute to his son (lyrics courtesy of Will Jennings) that stole the show; CLAPTON’s voice wracked with the pain of his bereavement. The song subsequently won him another Ivor Novello award.
Following on from more film soundtrack work (i.e. `Lethal Weapon 3’, etc.), Eric’s 1994 album, FROM THE CRADLE {*7}, saw him completely back to his blues roots with standards such as WILLIE DIXON’s `Groaning The Blues’ and LOWELL FULSON’s `Reconsider Baby’. Although the brilliant `Motherless Child’ lingered in the lower regions of the charts, he subsequently scored his first UK No.1 single backing CHRISSIE HYNDE, CHER and NENEH CHERRY on the 1995 Childline single `Love Can Build A Bridge’. CLAPTON continued to tour, play charity gigs and had even taken to giving interviews (something he wasn’t exactly noted for in the past).
1998’s PILGRIM {*4} was an elegiac, often intensely personal set of reflections on his journey through life, the death of his son understandably still permeating his muse. The album also inaugurated his production/writing partnership with Simon Climie (once of 80s pop act CLIMIE FISHER), a pairing that remained in place – at least in terms of production – for RIDING WITH THE KING (2000) {*7}. A collaboration with septuagenarian legend B.B. KING, the record’s enjoyable if predictable run-through of a dozen blues favourites (including B.B.’s) provided a bit of light relief for fans and quite possibly a modicum of release and catharsis for CLAPTON himself. On the back of a rather low-key participation (alongside composer Marc Shaiman) on another V/A soundtrack, THE STORY OF US (1999) {*5}, the guitarist continued to look to the past via REPTILE (2001), his first solo studio set of the new decade. The sleeve featured CLAPTON as a grinning youngster while many of the songs were interpretations of R&B hits from his youth such as `Got You On My Mind’ and RAY CHARLES’ `Come Back Baby’. He also paid tribute to one of his major latter day influences with a reading of `Travelin’ Light’, one of J.J. CALE’s most atmospheric 70s efforts, plus STEVIE WONDER’s `I Ain’t Gonna Stand For It’ and JAMES TAYLOR’s `Don’t Let Me Be Lonely Tonight’.
With his umpteenth double-live set, ONE MORE CAR, ONE MORE RIDER (2002) {*4}, it was difficult to avoid the impression that CLAPTON seemed content to motor along comfortably in the middle of the road, wary of ratcheting up his muse a few gears. Long-time favourites like `Key To The Highway’ and `Bell Bottom Blues’ made for pleasant enough listening, but fans were frustrated waiting on a set which finally fired on all cylinders.
ME AND MR. JOHNSON (2004) {*6} wasn’t it; a full blown, transatlantic Top 10 album’s worth of ROBERT JOHNSON covers. Given that the man himself never made it past thirty, and the most searing covers of his songs (CLAPTON’s own `Crossroads’ and The ROLLING STONES’ `Love In Vain’ to name two) have been cut by players around the same age, there’s an argument that JOHNSON’s art is a young man’s game, preoccupied with judgement and mortality but, ironically, charged with a mystique that escapes older players. CLAPTON didn’t sound like he had a “Hellhound on his trail” – how could he? – but he at least sounded mildly lascivious on the grinding `Milkcow’s Calf Blues’.
Following the excitement of the re-formed CREAM’s Royal Albert Hall residency in May 2005, CLAPTON’s next album proper, BACK HOME (2005) {*4}, was another Climie-assisted return to MOR, flirting with “I Shot The Sheriff”-style reggae, lashings of blue-eyed soul (`Run Home To Me’ even recalled VAN MORRISON) and general elder statesman head nodding, and featuring a clutch of covers including The (Detroit) SPINNERS’ `Love Don’t Love Nobody’, GEORGE HARRISON’s `Love Comes To Everyone’ and STEVIE WONDER/Syreeta Wright’s `I’m Going Left’.
It was then inevitable that CLAPTON would seek out another of his favourite artists, JJ CALE, to duet on the collaborative album, THE ROAD TO ESCONDIDO (2006) {*6}; Eric taking somewhat of a backseat here on most of JJ’s tunes. Together with yet another former sidekick, STEVE WINWOOD, two of CALE’s best-loved CLAPTON procurements, `After Midnight’ and `Cocaine’ appeared on the former BLIND FAITH-embodied double-live treat LIVE FROM MADISON SQUARE GARDEN (2009) {*6}. Culled from the previous February, and featuring a stellar cast of friends, both parties get their solo and collective two-penn’orth into the fray, while an old friend JIMI HENDRIX is remembered by way of back-to-back 23-minute medley of `Little Wing’ and `Voodoo Chile’.
Simply-titled CLAPTON (2010) {*7} – also the title of his autobiography a few years back – Eric rediscovered his art for the blues and indeed nostalgia. Creating a wider range of artists to herald and idolise (Robert Wilkins, Fats Waller, Hoagy Carmichael, Irving Berlin, JJ CALE among them), “Slowhand” EC made it clear he was in no mood to retire gracefully.
Augmented by the likes of TAJ MAHAL (who appears on the opening cover of his `Further On Down The Road’), studio album number 20, OLD SOCK (2013) {*6}, pushes Eric back into blues territory, albeit with certain nostalgic trappings that have sanitised his AOR style of recent times. A guest spot for J.J. CALE’s `Angel’ (and the man himself), plus other readings from the late GARY MOORE: `Still Got The Blues’ and the equally missed PETER TOSH: `Till The Well Runs Dry’, ensures the set has a sense of “Ocean Boulevard” déjà vu, while PAUL McCARTNEY, CHAKA KHAN, STEVE WINWOOD, et al, boost the guest-star ratings somewhat.
The sad passing in July 2013 of his old Okie mucker CALE sparked CLAPTON’s need to complete a re-vamp of the cool dude’s best-known tracks for transatlantic Top 3 tribute album, THE BREEZE: AN APPRECIATION OF J.J. CALE (2014) {*6}; it seemed he’d periodically included several on his CV from time to time. Having worked with JJ on The Road To Escondido several years back, EC was best-equipped to call up a few favours from mutual acquaintances. TOM PETTY, MARK KNOPFLER, JOHN MAYER, WILLIE NELSON, Don White, Derek Trucks and CALE’s wife Christine Lakeland were the “Friends” in question, while songs (including `Call Me The Breeze’, `I Got The Same Old Blues’, `Cajun Moon’ and `Magnolia’ – but no `After Midnight’ or `Cocaine’!) basically picked themselves.
The CALE connection continued on at least a couple of items (`Can’t Let You Do It’ and `Somebody’s Knockin’’) for CLAPTON’s umpteenth offering, I STILL DO (2016) {*7}. Long-time disciples of the god-like genius had come to expect quality under the blues banner, and this transatlantic #6 album didn’t disappoint. Reinstating “Slowhand” producer Glyn Johns to the mix, EC’s own pieces (`Spiral’ and `Catch The Blues’) complemented and sat well within weathered worthies such as LEROY CARR’s `Alabama Woman Blues’, SKIP JAMES’ `Cypress Grove’, ROBERT JOHNSON’s `Stones In My Passway’ and DYLAN’s `I Dreamed I Saw St. Augustine’; nostalgia chestnuts `Little Man, You’ve Had A Busy Day’ and `I’ll Be Seeing You’ were in competition with Mr. Zimmerman’s rival American Songbook/“Fallen Angels” expose.
October 12th and it’s time for Santa C; at least that’s the day that Eric C thought it best to dispatch his HAPPY XMAS (2018) {*4} – the “12 days of…” substituted, unforgivably, as the “12 weeks of… Christmas”. All the typical festive fare was present and correct under a nostalgia-meets-blues/soul/reggae/rock twist rather defeated the purpose of being “cheery” at this party time; there’s even a tribute to the memory of the late AVICII on `Jingle Bells’. Maybe one would prefer the “Slowhand” to old hands like Bing C and others creeping into our family Spotify lists, but one’s sure we’ll all get a `Silent Night’… in early January!
Born Eric Patrick Clapton, 30th March 1945, Ripley in Surrey, EC was raised by his grandparents; he later attended Kingston Art College where he studied stained glass design. Heavily influenced by the blues: ROBERT JOHNSON, B.B. KING and BUDDY GUY, Eric was a self-taught musician (he had been given a £14 guitar by his guardians on his 14th birthday) and began playing with Tom McGuinness in his first band, The Roosters, in January 1963. Eight months later, the pair both joined Casey Jones And The Engineers, but this was short-lived.
CLAPTON’s first big break came that October when he was asked to replace Top Topham in The YARDBIRDS. The latter act had just taken over from The ROLLING STONES as the resident band at the Crawdaddy Club in Richmond; CLAPTON, nicknamed “Slowhand” by the band’s manager, Giorgio Gomelsky, quickly outshone the singer, Keith Relf, and became the principal focal point of the group, although he left them on the eve of their chart success in 1965, complaining that their music had become too commercial. CLAPTON had recorded only one album (`Five Live Yardbirds’) with the quintet, but his potential was clear to many followers and pundits.
Eric then joined JOHN MAYALL’S BLUESBREAKERS in April 1965 and around this time the famous, although unsubstantiated phrase/graffiti “Clapton is God” was coined. Again, he only stayed for one 1966 album (`Bluesbreakers With Eric Clapton’), although it was to be the spark for the blues boom of the sixties, recorded over one weekend with no track laid down in more than one take. In search of his own outfit, Eric left the Bluesbreakers and almost immediately formed CREAM with drummer Ginger Baker and singer/bassist Jack Bruce. CREAM officially broke up in November 1968 after a handful of classic LPs under the belt (`Disraeli Gears’ and `Wheels Of Fire’ their greatest); CLAPTON played on the GEORGE HARRISON-penned BEATLES track, `While My Guitar Gently Weeps’ (under the name, L’Angelo Mysterioso), and also contributed to HARRISON’s solo album `Wonderwall Music’.
Eric subsequently formed the all-too-brief BLIND FAITH with Baker, former TRAFFIC leader STEVE WINWOOD and bassist Ric Grech, and although they topped the charts on both sides of the Atlantic with their eponymous debut set, they couldn’t cope with the high pressure expected of a “supergroup”, before the new decade was upon us. He was still only 24, but fame had taken its toll and he retreated into the ranks of DELANEY & BONNIE & FRIENDS, from which he formed his own, equally laid back DEREK AND THE DOMINOS.
Meanwhile, EC’s eponymous solo debut, ERIC CLAPTON (1970) {*7} – featuring his “Dominos”: Bobby Whitlock (keyboards, vocals), Carl Radle (bass) and Jim Gordon (drums), plus STEPHEN STILLS, LEON RUSSELL, DELANEY & BONNIE (like Leon sharing credits), Bobby Keys, Jim Price, etc. – was already sitting pretty in the charts where it reached the UK and US Top 20. Laid back and funky with flourishes of gospel, country and R&B, the record has definitive elements of amiable pop, only three tracks seem to have the necessary spark to ignite an audience. `Let It Rain’, the boogie-woogie `Blues Power’ (one of two penned with RUSSELL), and an excellent reading of JJ CALE’s `After Midnight’ shone out from the pack, although many fans at the time were just happy he was now back in command.
EC’s concurrent combo DEREK AND THE DOMINOS toured between June and December 1970; although he was actively trying to shun publicity and even refused to have his name on the cover of the classic double album, LAYLAand other assorted love songs (1970) {*9}. Featuring guest slide guitarist DUANE ALLMAN in session, it was clear CLAPTON’s passion was embedded in here. While `Bell Bottom Blues’ and `Layla’ have history (he was in love with GEORGE HARRISON’s wife Patti Boyd at this time), one could almost feel the heartache and blues ooze from the grooves on others such as `Why Does Love Got To Be So Sad?’, `Tell The Truth’, and staples `Have You Ever Loved A Woman?’ and `Nobody Knows You When You’re Down And Out’; other covers stemmed from BIG BILL BROONZY (`Key To The Highway’), Chuck Willis (`It’s Too Late’) and JIMI HENDRIX (`Little Wing’).
The following year, the second D&D album was scrapped due to the band’s worsening drugs problems and they decided to call it a day. Eric went into seclusion, only coming out for the occasional charity performance (including the Concert For Bangladesh). Ironically, `Layla’ (in all its glory), gave the now defunct DEREK AND THE DOMINOS a belated Top 10 hit in the UK in 1972, possibly making up for the fact that their eponymous double had stiffed in Britain having reached Top 20 in America. While a raft of CLAPTON compilations were coming thick and fast, another D&D double hit the shops. Recorded in October 1970, IN CONCERT (1973) {*5} enticed the fans in for another heavy-leaden, OTT set; EC even reprising a BLIND FAITH nugget `Presence Of The Lord’.
The WHO’s Pete Townshend, concerned for his friend’s health, persuaded CLAPTON to take part in an all-star comeback concert in January ‘73 at London’s Rainbow Theatre with RON WOOD, STEVE WINWOOD, JIM CAPALDI and many others. The performance was recorded and the resulting album, ERIC CLAPTON’S RAINBOW CONCERT (1973) {*6} reached a respectable Top 20 slot over the other side of the Atlantic. This too, highlighted the BLIND FAITH track, alongside a rendition of TRAFFIC’s `Pearly Queen’ and CREAM’s `Badge’. The minor success of the project/album did not, however, convince CLAPTON to step back into the limelight and he retreated once more. The guitarist underwent a course of electronically adapted acupuncture in 1974. He eventually got rid of the habit and told record boss, Robert Stigwood, that he was ready to come back.
Tom Dowd was brought in as producer, although CLAPTON had only two songs in mind, (Charles Scott Boyer’s) `Please Be With Me’ and his own `Give Me Strength’. A new band was assembled with bassist Carl Radle, Jamie Oldaker (drums), Dick Sims (keyboards), George Terry (guitar), plus singers Yvonne Elliman and Marcy Levy (the latter would later resurface as Marcella Detroit in SHAKESPEAR’S SISTER).
In August 1974, the first single from the comeback sessions, a brilliant version of BOB MARLEY’s `I Shot The Sheriff’, was released and it reached an unexpected UK Top 10 spot; many observers speculated that he was ill-advised in trying to cross over music boundaries. Later the same month, the accompanying album, 461OCEAN BOULEVARD (1974) {*8} – four years in the making and named after the address of the recording studio – topped the charts in the US (Top 3 in Britain). From the trad blues of `Motherless Children’ to Johnny Otis’ funk-driven `Willie And The Hand Jive’ (via ELMORE JAMES’ `I Can’t Hold Out’, ROBERT JOHNSON’s `Steady Rollin’ Man’ and George Terry’s `Mainline Florida’) plus the soothing `Let It Grow’, the album’s subdued tones launched a new EC into the world of mainstream rock.
His long guitar solos had now been trimmed down in line with his more basic approach to songwriting, apparent on subsequent hit album, THERE’S ONE IN EVERY CROWD (1975) {*5}; his version of gospel/folk staple `Swing Low Sweet Chariot’ reached UK Top 20, while the version of ELMORE JAMES’ `The Sky Is Crying’ way outshines the rest.
In August the same year, Eric again hit the pop charts with yet another cover (DYLAN’s `Knockin’ On Heaven’s Door’), while the un-associated live album E.C. WAS HERE (1975) {*5} kept his profile high, albeit with a flavour of past glories from his BLIND FAITH days (i.e. `Presence Of The Lord’ and WINWOOD’s `Can’t Find My Way Home’). During this period, George Terry was taking on most of the lead guitar work as CLAPTON was still reluctant to be in the forefront.
In September 1976, NO REASON TO CRY {*6} reached the UK Top 10, its credibility factor enhanced by the dulcet tones of both DYLAN and The BAND (aka Rick Danko, Richard Manuel and Robbie Robertson) on several tracks; `Carnival’ was the big hit here. CLAPTON reciprocated the deed by performing `Further On Up The Road’ (with new band member Sergio Pastora on percussion) at The BAND’s “Last Waltz” farewell concert.
Relaxed enough to name an album after his cool moniker, SLOWHAND (1977) {*8}, was only kept off the US top spot by the Saturday Night Fever OST, while the painfully sentimental single `Wonderful Tonight’ (another song written for Patti) reached Top 20 status; other choice cuts were JJ CALE’s `Cocaine’, JOHN MARTYN’s `May You Never’, DON WILLIAMS’ country-cool `We’re All The Way’ and a C&W boogie smash, `Lay Down Sally’.
BACKLESS (1978) {*6} followed in much the same head-nodding vein, CLAPTON obviously remaining oblivious to the energy and attitude of the burgeoning punk/new wave scene as he plodded along on the likes of Top 10 cover hit `Promises’ (penned by Richard Feldman & Roger Linn), JJ CALE’s `I’ll Make Love To You Anytime’, and two from DYLAN through `Walk Out In The Rain’ and `If I Don’t Be There In The Morning’.
In March 1979, Eric decided to embark on a world tour with an all-new UK band consisting of Albert Lee (ex-HEADS, HANDS & FEET), Chris Stainton, Dave Markee and Henry Spinetti. The veteran troupe recorded live tracks at the Budokan in Japan; the resultant double-album JUST ONE NIGHT (1980) {*6} was a transatlantic Top 5 success. During the tour, CLAPTON finally married his long-time love, Patti.
The 70s had not been an easy time for CLAPTON and his disciples, his heroin addiction subsequently replaced by a copious intake of cognac. In May 1980, ex-PROCOL HARUM stalwart Gary Brooker replaced Stainton for another British tour, although later in the month, CLAPTON was saddened to hear that his former bass player, Radle, had died of chronic kidney disease. CLAPTON wasn’t in the best of health himself, the guitarist admitted to hospital in Minnesota during his 1980 tour of America with doctors estimating that he would have had under an hour to live had his ulcer burst. With his health restored, and with the revitalisation of the AOR market, CLAPTON re-emerged as a revered elder statesman of rock, although he had a further setback in April ’81, when he was again hospitalised after a car accident. He recovered from this and went on to contribute to PHIL COLLINS’ debut album (beginning a long-standing friendship/working relationship) and also returned to live work by performing with JEFF BECK at “The Secret Policeman’s Other Ball”.
CLAPTON’s last album for Polydor, ANOTHER TICKET (1981) {*5}, reached both UK and US Top 20’s, but its lack of bite and a few good hits – served up by Glyn Johns production replacement Tom Dowd – many found it rather tedious. But for the appropriately-titled `I Can’t Stand It’(a major smash in America), plus covers of SLEEPY JOHN ESTES’ `Floating Bridge’, MUDDY WATERS’ `Blow Wind Blow’ and Troy Seals’ `Black Rose’, one could see why there was no big farewell launch to thank their loyal servant of 15 years.
Backed by some investment from Warner Brothers, EC decided to form his own Duck imprint. 1983’s transatlantic Top 20 set MONEY AND CIGARETTES {*5} was hardly the change one might’ve expected. Instead, and only retaining guitarist/foil Albert Lee, he enlisted the help of Stax session rhythm team Donald “Duck” Dunn and Roger Hawkins; the legendary RY COODER was also in tow. The staid formula of half-original/half-cover songs were a little played out by now, but the pick of the litter stemmed from ESTES’ `Everybody Ought To Make A Change’, JOHNNY OTIS’ `Crazy Country Hop’ and ALBERT KING’s `Crosscut Saw’.
In between numerous charity/benefit concerts, Eric managed to record his next long-player, BEHIND THE SUN (1985) {*5}, a Top 10 set produced between PHIL COLLINS and L.A. counterparts Ted Templeman and Lenny Waronker; the label’s latter pairing insisting of trying out fresh songs (`Forever Man’, `Something’s Happening’ and `See What Love Can Do’) penned by Jerry Lynn Williams; `EDDIE FLOYD’s `Knock On Wood’ survived the rather schizoid company record.
A collaboration with Michael Kamen on the theme to a BBC TV series, `Edge Of Darkness’, marked his screen debut and while this was actually released as a single, it turned out to be the lowest charting of his career so far. By this point, CLAPTON was in his slick, Armani suit-wearing period, his polished follow-up AUGUST (1986) {*6} – again produced by COLLINS – contained the semi-classic tracks `Behind The Mask’ (penned by RYUICHI SAKAMOTO) and the TINA TURNER duet `Tearing Us Apart’. Despite the odd R&B/Motown foray (namely a couple of Lamont Dozier cuts `Run’ and `Hung Up On Your Love’), other songs were penned jointly with band COLLINS (drums), Greg Phillinganes (keyboards); Nathan East was his bassist. In 1987, EC began his first series of concerts at the Royal Albert Hall, London; they would become an annual event and, by 1990, had built up to 18 consecutive nights.
The aforementioned Kamen was actually to prove a long term musical partner, working with CLAPTON on the bluesy scores to both the Mel Gibson vehicle, Lethal Weapon (1987) and Mickey Rourke showcase HOMEBOY (1988) {*5}. While the former was credited to CLAPTON, Kamen and saxophonist David Sanborn, the latter was billed as a CLAPTON solo effort. The music was deliberately slow and very much in the blues mode, and ends with CLAPTON’s solo version of `Dixie’, an homage to JIMI HENDRIX’s take of `Star Spangled Banner’.
And while the CLAPTON/Kamen/Sanborn team were recalled for 1989’s second instalment of Lethal Weapon, towards the end of the decade, the solo CLAPTON completed his next album proper, the Top 5 JOURNEYMAN {*7}, a record that found the man rediscovering his guitar; Steve Ferrone was installed as drummer. Unconsciously split between songs by Williams again, a few by EC himself (including `Bad Love’ and a ROBERT CRAY duet `Old Love’) and several R&B staples from the likes of BOBBY WOMACK, RAY CHARLES, BO DIDDLEY and Leiber-Stoller, the stylish production come up trumps.
Tragedy was to rear its ugly head again in 1990, when, on August 27, three members of his support entourage died along with the legendary guitarist STEVIE RAY VAUGHAN in a helicopter crash following a concert in East Troy, Wisconsin. Incredibly, CLAPTON underwent further emotional trauma, when on March 24, 1991, his 4-year old son Conor died after falling out of a skyscraper window. Not surprisingly, CLAPTON shunned the world for some time, only reappearing in September on BUDDY GUY’s first album for over a decade, `Damn Right I’ve Got The Blues’.
Meanwhile, at his annual Albert Hall residency (now up to a staggering 24 shows; the performances would subsequently be released as concert set, 24 NIGHTS {*6}), he decided to split each show into five segments – a four-piece band, a second four-piece band with different percussion, a nine-piece band, a blues band with guitarists ALBERT COLLINS, ROBERT CRAY, BUDDY GUY and JIMMIE VAUGHAN, and a nine-piece band with orchestra conducted by Kamen.
The guitarist’s biggest soundtrack success came with his dark score for undercover cop movie, RUSH (1992) {*6}. The album reached the US Top 30 and included Eric’s massive transatlantic hit `Tears In Heaven’, a moving elegy for his much-loved little boy. Given that this was CLAPTON’s first project following the accidental tragedy, this was a score which inevitably reflected some of the pain and loss CLAPTON must’ve been wrestling with at the time. His dark, searing blues licks seem to exist in and of themselves, with only the most subtle of accompaniment and certainly no orchestration. Chuck Leavell’s piano contributes emotional colouring to the likes of `Kristen And Jim’, leaving that same sense of loss and regret hanging in the air – CLAPTON and his band only really break loose on `Preludin Fugue’ and `Cold Turkey’, and even then only for a few minutes. That said, the claustrophobic synth and percussion textures of `Will Gaines’ makes for an intriguing end-of-the-score section of the soundtrack. In contrast, the cathartic `Help Me Up’ comes as something of a relief, while `Don’t Know Which Way To Go’, is an extended electric blues with vocals by BUDDY GUY.
1992 continued with a recording of an UNPLUGGED {*7}MTV show and, backed by ANDY FAIRWEATHER LOW, Ray Cooper, East and Leavell, CLAPTON performed new and recent material, `The Circus Left Town’ and `Signe’, along with standards including a drastically pared down re-hit version of `Layla’. The resulting album went on to be the most successful of his career (UK No.2 and US No.1), although he allegedly didn’t even want it released! It also showed CLAPTON’s return to his blues roots with BIG BILL BROONZY’s `Hey Hey’, a stunning version of ROBERT JOHNSON’s `Malted Milk’ and MUDDY WATERS’ `Rollin’ And Tumblin’’. However, it was the aforementioned heart-rending tribute to his son (lyrics courtesy of Will Jennings) that stole the show; CLAPTON’s voice wracked with the pain of his bereavement. The song subsequently won him another Ivor Novello award.
Following on from more film soundtrack work (i.e. `Lethal Weapon 3’, etc.), Eric’s 1994 album, FROM THE CRADLE {*7}, saw him completely back to his blues roots with standards such as WILLIE DIXON’s `Groaning The Blues’ and LOWELL FULSON’s `Reconsider Baby’. Although the brilliant `Motherless Child’ lingered in the lower regions of the charts, he subsequently scored his first UK No.1 single backing CHRISSIE HYNDE, CHER and NENEH CHERRY on the 1995 Childline single `Love Can Build A Bridge’. CLAPTON continued to tour, play charity gigs and had even taken to giving interviews (something he wasn’t exactly noted for in the past).
1998’s PILGRIM {*4} was an elegiac, often intensely personal set of reflections on his journey through life, the death of his son understandably still permeating his muse. The album also inaugurated his production/writing partnership with Simon Climie (once of 80s pop act CLIMIE FISHER), a pairing that remained in place – at least in terms of production – for RIDING WITH THE KING (2000) {*7}. A collaboration with septuagenarian legend B.B. KING, the record’s enjoyable if predictable run-through of a dozen blues favourites (including B.B.’s) provided a bit of light relief for fans and quite possibly a modicum of release and catharsis for CLAPTON himself. On the back of a rather low-key participation (alongside composer Marc Shaiman) on another V/A soundtrack, THE STORY OF US (1999) {*5}, the guitarist continued to look to the past via REPTILE (2001), his first solo studio set of the new decade. The sleeve featured CLAPTON as a grinning youngster while many of the songs were interpretations of R&B hits from his youth such as `Got You On My Mind’ and RAY CHARLES’ `Come Back Baby’. He also paid tribute to one of his major latter day influences with a reading of `Travelin’ Light’, one of J.J. CALE’s most atmospheric 70s efforts, plus STEVIE WONDER’s `I Ain’t Gonna Stand For It’ and JAMES TAYLOR’s `Don’t Let Me Be Lonely Tonight’.
With his umpteenth double-live set, ONE MORE CAR, ONE MORE RIDER (2002) {*4}, it was difficult to avoid the impression that CLAPTON seemed content to motor along comfortably in the middle of the road, wary of ratcheting up his muse a few gears. Long-time favourites like `Key To The Highway’ and `Bell Bottom Blues’ made for pleasant enough listening, but fans were frustrated waiting on a set which finally fired on all cylinders.
ME AND MR. JOHNSON (2004) {*6} wasn’t it; a full blown, transatlantic Top 10 album’s worth of ROBERT JOHNSON covers. Given that the man himself never made it past thirty, and the most searing covers of his songs (CLAPTON’s own `Crossroads’ and The ROLLING STONES’ `Love In Vain’ to name two) have been cut by players around the same age, there’s an argument that JOHNSON’s art is a young man’s game, preoccupied with judgement and mortality but, ironically, charged with a mystique that escapes older players. CLAPTON didn’t sound like he had a “Hellhound on his trail” – how could he? – but he at least sounded mildly lascivious on the grinding `Milkcow’s Calf Blues’.
Following the excitement of the re-formed CREAM’s Royal Albert Hall residency in May 2005, CLAPTON’s next album proper, BACK HOME (2005) {*4}, was another Climie-assisted return to MOR, flirting with “I Shot The Sheriff”-style reggae, lashings of blue-eyed soul (`Run Home To Me’ even recalled VAN MORRISON) and general elder statesman head nodding, and featuring a clutch of covers including The (Detroit) SPINNERS’ `Love Don’t Love Nobody’, GEORGE HARRISON’s `Love Comes To Everyone’ and STEVIE WONDER/Syreeta Wright’s `I’m Going Left’.
It was then inevitable that CLAPTON would seek out another of his favourite artists, JJ CALE, to duet on the collaborative album, THE ROAD TO ESCONDIDO (2006) {*6}; Eric taking somewhat of a backseat here on most of JJ’s tunes. Together with yet another former sidekick, STEVE WINWOOD, two of CALE’s best-loved CLAPTON procurements, `After Midnight’ and `Cocaine’ appeared on the former BLIND FAITH-embodied double-live treat LIVE FROM MADISON SQUARE GARDEN (2009) {*6}. Culled from the previous February, and featuring a stellar cast of friends, both parties get their solo and collective two-penn’orth into the fray, while an old friend JIMI HENDRIX is remembered by way of back-to-back 23-minute medley of `Little Wing’ and `Voodoo Chile’.
Simply-titled CLAPTON (2010) {*7} – also the title of his autobiography a few years back – Eric rediscovered his art for the blues and indeed nostalgia. Creating a wider range of artists to herald and idolise (Robert Wilkins, Fats Waller, Hoagy Carmichael, Irving Berlin, JJ CALE among them), “Slowhand” EC made it clear he was in no mood to retire gracefully.
Augmented by the likes of TAJ MAHAL (who appears on the opening cover of his `Further On Down The Road’), studio album number 20, OLD SOCK (2013) {*6}, pushes Eric back into blues territory, albeit with certain nostalgic trappings that have sanitised his AOR style of recent times. A guest spot for J.J. CALE’s `Angel’ (and the man himself), plus other readings from the late GARY MOORE: `Still Got The Blues’ and the equally missed PETER TOSH: `Till The Well Runs Dry’, ensures the set has a sense of “Ocean Boulevard” déjà vu, while PAUL McCARTNEY, CHAKA KHAN, STEVE WINWOOD, et al, boost the guest-star ratings somewhat.
The sad passing in July 2013 of his old Okie mucker CALE sparked CLAPTON’s need to complete a re-vamp of the cool dude’s best-known tracks for transatlantic Top 3 tribute album, THE BREEZE: AN APPRECIATION OF J.J. CALE (2014) {*6}; it seemed he’d periodically included several on his CV from time to time. Having worked with JJ on The Road To Escondido several years back, EC was best-equipped to call up a few favours from mutual acquaintances. TOM PETTY, MARK KNOPFLER, JOHN MAYER, WILLIE NELSON, Don White, Derek Trucks and CALE’s wife Christine Lakeland were the “Friends” in question, while songs (including `Call Me The Breeze’, `I Got The Same Old Blues’, `Cajun Moon’ and `Magnolia’ – but no `After Midnight’ or `Cocaine’!) basically picked themselves.
The CALE connection continued on at least a couple of items (`Can’t Let You Do It’ and `Somebody’s Knockin’’) for CLAPTON’s umpteenth offering, I STILL DO (2016) {*7}. Long-time disciples of the god-like genius had come to expect quality under the blues banner, and this transatlantic #6 album didn’t disappoint. Reinstating “Slowhand” producer Glyn Johns to the mix, EC’s own pieces (`Spiral’ and `Catch The Blues’) complemented and sat well within weathered worthies such as LEROY CARR’s `Alabama Woman Blues’, SKIP JAMES’ `Cypress Grove’, ROBERT JOHNSON’s `Stones In My Passway’ and DYLAN’s `I Dreamed I Saw St. Augustine’; nostalgia chestnuts `Little Man, You’ve Had A Busy Day’ and `I’ll Be Seeing You’ were in competition with Mr. Zimmerman’s rival American Songbook/“Fallen Angels” expose.
October 12th and it’s time for Santa C; at least that’s the day that Eric C thought it best to dispatch his HAPPY XMAS (2018) {*4} – the “12 days of…” substituted, unforgivably, as the “12 weeks of… Christmas”. All the typical festive fare was present and correct under a nostalgia-meets-blues/soul/reggae/rock twist rather defeated the purpose of being “cheery” at this party time; there’s even a tribute to the memory of the late AVICII on `Jingle Bells’. Maybe one would prefer the “Slowhand” to old hands like Bing C and others creeping into our family Spotify lists, but one’s sure we’ll all get a `Silent Night’… in early January!