JA Blind Faith Blind Faith: - This talented, but short-lived and over-hyped supergroup was a let-down for fans and musicians alike - but not the record company; the album rocketed to 1. With Ginger Baker egging them on, the band had rushed into the studio just a couple months after forming. Despite this, Blind Faith crystallizes Clapton's best soloing outside of Layla; it's a must for fans and students of the electric guitar. The LP was noteworthy for its kiddie porn cover, before the internet made such things readily available.
There was an early CD release that had two bonus tracks, but it's not worth hunting down unless you want to hear instrumentals with Rick Grech on violin. The selections are mostly covers with several Bramlett originals, the best of which "Coming Home" Clapton co-wrote. Both Bramletts are unremarkable vocalists, and the band's white blues boogie groove just sounds sloppy and dull, like Cocker without the ear-catching arrangements or vocal mannerisms. DBW - Sure, it's nowhere near as good as the band's other projects, and Bonnie isn't the best front for them; although she demonstrates some gritty, bluesy authenticity, she literally shrieks her way through some of the numbers.
Co-produced by Delaney and Jimmy Miller. JA Eric Clapton - Clapton had backed up Delaney and Bonnie Bramlett on a tour and a live album, and now Delaney returned the favor by lending his backing band and producing Clapton's debut solo record. It doesn't work too well, mostly because the horde of players drowns Clapton out - a full rhythm section, Leon Russell on piano, Bobby Keys and Jim Price on horns, and a million backup vocalists the pretty, but vacant "Lovin' You, Lovin' Me" is a typical victim.
But a lot of it's quite good anyway: the amiable big-band "Blues Power"; the classic, shimmering "Let It Rain," featuring an uncredited Steve Stills on guitar; the chugging "After Midnight"; and the sweet ballad "Easy Now.
JA - This is so much better than the live record it's hard to believe it's really the same people. Clapton's at his songwriting peak, which makes this a good deal despite various production annoyances. It deserves to be memorized note-for-note, which is saying a lot for a double album filled out with blues covers "Key To The Highway". The Dominos didn't quite have their sound worked out when Duane Allman showed up at the studio and proceeded to shame Clapton with his unbelievably scorching slide guitar parts.
Clapton rose to the challenge, and the result is a phenomenal duel on one song after another. Hendrix 's death coincidentally occurred during the recording sessions, and a capable tribute "Little Wing" only proves that no one could beat the master at his own game. JA - This is a hell of a record, but I wouldn't bother learning it note for note: there are too many sprawling jams, and some of the originals are trivial love songs "I Am Yours". But there's so much great material here that's just a quibble.
The original release sold about as strongly as the studio record, going gold and reaching In it was remixed, augmented by four tunes three others were replaced with alternate takes , and released as Live At The Fillmore, which is the version I have.
Duane Allman doesn't appear, since he was never a formal member of the band; it thins the sound considerably, but it also brings Clapton's guitar to the forefront, giving him an excuse to wail on the wah-wah pedal and otherwise grandstand.
Unfortunately, that translates into big-time sprawl: five tracks go well over ten minutes, and none of them are under five. Only "Key To The Highway" is considerably shortened. Still, Clapton's reasonably concise throughout disc 2, and after all, this is his artistic peak: I'd take 18 minutes of a great Clapton jam over three minutes of almost anything else any day. And the remix is awesome.
JA Rainbow Concert with a cast of millions: After a couple years of hiding in his house, snorting heroin, and very occasionally cutting sessions for his friends' albums, Clapton was finally roused by Pete Townshend to put on a benefit concert. There are too many cooks stirring the pot, however, and the sound suffers: Rick Grech on bass, Jim Capaldi on drums, Rebop on percussion, Steve Winwood on organ all borrowed from Traffic , a second drummer Jimmy Karstein , and then Townshend, Clapton, and Ron Wood all joining in on guitar.
However, the completely redone CD version not only has enough bonus tracks to double the album, but makes it clear what the extra players are for: on tracks like "Layla," Winwood's piano and Wood's slide guitar create more depth than you'll find on any other live Clapton or Cream record.
Plus the improved mix shows that it's Wood and Townshend, not Clapton, who respectively hold down much of the lead and rhythm work "Bell Bottom Blues".
Recorded by Glyn Johns. It's not just the first, but the best of Clapton's post- Layla studio albums, with important material like the chugging, slide-guitar laden "Motherless Children," and the 1 hit cover of Bob Marley 's "I Shot The Sheriff" the LP itself also went 1. Clapton wasn't writing a lot at this point, but it didn't really matter. His one significant composition here is the marvelous "Let It Grow," a soft-rock ballad that ranks with his finest work.
This was the first appearance of Clapton's classic 70s band, with Carl Radle carried over from the Dominos; drummer Al Jackson of the MG's guests on one track, and as on later records Clapton often duets with a female vocalist here Yvonne Elliman. But the original material on side 2 is really strong. Go figure. Was Here A live record with an exploitative, nearly pornographic cover.
Apparently it's recently been submerged into a new multi-CD Clapton set. I have the original, and I think it's dull and self-indulgent, with some weak covers of his pre-Dominoes solo tunes, a bunch of mediocre blues jams, and some painful vocal duetting with Levy.
Despite this, several of his solos do really shine, so guitar students may want to hear it. But he hadn't yet acceded artistic control to outside songwriters and producers; his regular 70s band appears here in full force, augmented by numerous guest artist friends like the Band and Ron Wood. Lead Belly. Bad Bad Whiskey. Thomas Maxwell Davis. Amos Milburn. Ray Charles. Portrait of a Man. Screamin' Jay Hawkins. She Did Me Wrong. Fred Ford. Zu Zu Man. Sweet Sixteen. Canned Heat.
News Network: What Is Freedom? Holiday Special Great Question! Now What? Sarah T. Tony Mendoza Reps. UC Davis Prof. Just love me here and now Just love me here and now We'll work it out somehow Don't you keep us apart Baby unlock your heart Don't hide your love. Well I now the past has brought you sorrow The clouds still hang around today But don't let the rain fall on tomorrow Baby we can make it together 'Cause I'm gonna love you forever. Don't hide your.
Hey, Headmaster, what's the matter with you? Why're you always so serious, why so blue?The Delta Blues style comes from a region in the southern part of Mississippi, a place romantically referred to as "the land where the blues were born." In its earliest form, the style became the first black guitar-dominated music to make it onto phonograph records back in the late '20s.