11. Eric Clapton (The Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith, Derek & the Dominoes, solo): His talent and feel is undeniable. In a guitar-crazed late 1960's London, the grafitti on the subway walls famously proclaimed "Clapton is God." As admired as he is as a guitarist, Eric Clapton is also rock's true traditionalist. He left The Yardbirds in the mid-1960's largely due to his frustration that they were straying too far away from pure blues forms.
Ever since then he has been carrying the torch for the blues masters, often slavishly (and unnecessarily) staying true to their arrangements in his frequent covers of the blues classics. While his stirring guitar work on Cream's cover of "Crossroads" was revolutionary and transformative, most of the time he does not veer too far from the original arrangements, as if they were holy scripture. And they are to him.
Clapton seems to be always running from his own talents. They were on most impressive display during his tenure with Cream. The psychedelic blues rock of that power trio stands as his greatest achievement. But once Cream imploded, Clapton often tried to be the laid back singer-songwriter, hoping to defuse his guitar god status. Some fine music was made, but talent was also wasted.
I believe it was Greil Marcus who once wrote that all of the blues covers and reverent aping of the blues masters was not reflective of Clapton's true blues. His real blues appeared on Derek and the Dominoes's Layla and Other Assorted Love Songs. Strung out on heroin, pining for his best friend George Harrison's wife and playing and singing like his very life depended on it. He could not make music consistently that great. It would have killed him. But if you want one Eric Clapton album, that is the one.
So, we are left with a prodigiously talented guitar player who is often uncomfortable with his own greatness. A musician who has to pay homage to his heroes or go play mindless AOR fodder in order to have a sane personal life. Yet at times, his greatness cannot be prevented from shining through, in spite of himself.
Aside from "Crossroads," "White Room" and many other great Cream tunes, I am left with two standout Clapton moments when he lets his detached façade fade away and lets it really rip. The first is available on the box set Crossroads. It is a live version of his excellent cover of Bob Marley's "I Shot the Sheriff." The song is rocking amiably along for three and a half, and then Clapton ever so casually mutters "Alright." That "alright" means it is time to get down to business. It means that he now needs to take this song to a higher place. Clapton launches into a solo so fluid, rich and melodic after his "alright." At his best, Clapton is not so much about speed or flash as he is about playing just the right note for that second in time. Occasionally, he will string together full minutes of such sublime, perfect seconds. When people understandably question "what's the big deal about Clapton?" (considering the large amount of mediocrity he has released), it is "Crossroads" with Cream, the Layla album and this moment in "I Shot the Sheriff" that should be the answer.
The other moment exists only in my memory. It was at a show from around 1990. Clapton was playing a rather dull tune called "Old Love" from his then-current album, Journeyman. When it came time to solo, all of the stage lights went dark save a lone spotlight over Clapton as he started the solo with a wailing note so full of pain, emotion, blues and every sorrowful moment in your life. He turned his back to the audience, head down, and soloed with such fury and abandon, so within himself yet for all the world to hear. That is the big deal about Eric Clapton. That makes it worth it when he so often is merely going through the motions.
ABOVE: This isn't the solo I was talking about above, but it is from a more recent performance of "I Shot the Sheriff." This clip is just the solo.
8 comments:
Dez,
Eric can still "let 'er rip". Joining back up with Steve Winwood brought Clapton out of himself on their tour in '09. He blew the roof off the Pepsi Center in Denver with riffs that "sawed" us in half. He created a sound on Voodoo Chile' I have NEVER heard from a guitar. Stunning.
You'll notice that at benefits and all-star get togethers it is always Eric who plays the guitar solo. Even when the players are trading the spotlight the distinctive sound and style that Clapton has honed over the years shines above.
Critics always hammer Clapton on dawging it and not living up to his potential. But you nearly struck on it when you said that he always plays the right note at the right time. The great producer Tom Dowd said "Eric always has perfect phrasing and always finishes his musical thought".
You caught the thrill of "Old Love" and for a moment understood Clapton's unrequited pain and love in his solo. I guess I am in tune with him because I hear that in almost every solo he does. Divorce and regret communicates easily across the fret board.
You guys who always want "more" from Eric need to go back and listen with new ears. Age and maturity will grab you and give it new meaning. I loved Cream and listening to Clapton when I was in college. I am sure the weed made his sound even more ethereal. But now into my 7th decade with tinnitus ringing in my ears from too many concerts, the subtleties of Clapton's music still don't escape me.
Gary, I can appreciate what you are saying, but try to look at his discography dispassionately for a moment. Especially 1980 and on. Can you seriously tell me that you are satisfied with "Tears in Heaven," "Change the World" AOR schlock, albums of tired blues retreads, and sleepy, seated acoustic versions of the once fiery "Layla?" You KNOW he can do so much more than that.
Having known Dez for a long time, Gary, I can tell you that this is a very old tirade for him. Dez finds it impossible to accept that people change as they get older. He does not see that the music that Clapton has produced in the last fifteen years or so is actually much more appropriate for his current place in life, than it would be if he were trying to recreate the same musical moments from a time when he was a much younger man, who had not gone through everything personally that he has.
And, Dez, why would you ever look at someone's discography "dispassionately". What would be the point in that?
Walt, I have no objection to progress or development. But getting older does not have to mean getting boring, as Clapton has done. Look at his contemporary, Jeff Beck. Beck's most kick ass music has been the music he's released this last decade.
But, all your doing there is saying that every musician has to follow the same path. Beck and Clapton have simply changed in different ways. Just because Clapton has not changed in a way that you approve of does not make his progression any less valid.
It is not about validity. It is about being lazy and boring versus exciting and innovative. I guess both are "valid" choices. One is just a hell of a lot more interesting than the other.
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