Eric Clapton and his music

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Относительно Битлов я слушаю Cream недавно,, и немогу оторваться от первого альбома уже месяц!! Вот сижу на лекции по Моделированию Экономических Процессов,, засыпаю и DREAMING!!DREAMING!!

Вот наконец и бутлеговое видео всплыло.
Правда, одна песня пока...
Перед сценой бегают ребята с камерами... они снимают официальное... :)))

Давненько я не слушал эту пластинку...
Получил огромное удовольствие - ГИТАРНАЯ ФЕЕРИЯ!
ВСЕМ СОВЕТУЮ!

Live At The Fillmore [Derek & The Dominos]

Got To Get Better In A Little While
Why Does Love Go To Be So Sad ?
Key To The Highway
Blues Power
Have You Ever Loved A Woman ?
Bottle Of Red Wine
Tell The Truth
Nobody Knows You When You're Down And Out
Roll It Over
Presence Of The Lord
Little Wing
Let It Rain
Crossroads

УУУУУУПС!!!

http://jjcale.net

2005-09-01 - Last week was the 4th week of recording for the new Eric Clapton album which JJ Cale is producing. They spent a week at Cale's house in So. Cal working on the songs, a week at Ocean Way, and Capitol Records Studio B. Stay tuned for more..

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From the online Chat at VH-1 1999 by Cheryl D.

Q: What did you listen to today on the way to the chat?
EC: I was listening to Kirk Franklin in my car. The Reverand Kirk Franklin, the gospel guy

Q: How do you feel about giving away the guitar you played Layla on?
EC: Well right now I'm OK, a couple of weeks ago when we first started putting this together, actually a couple of months ago, when we trying to do the catalogue, that's when I experienced a little bit of remorse or grief, and got a little hesitant about the whole thing. I went thru a little process of saying good bye to them, and then kind of let them go.

Q: Where did you get the nickname "slowhand"?
EC: I think it might have been a play on words from the Clap part of my name In England, in sport if the crowd is getting anxious, we have a slow hand clap, which indicates boredom or frustration. But it wasn't my idea, it was someone else's comment.

Q: Who is your favorite young blues player?
EC: I think my favorite player, and age doesn't really concern me, my favorite player on the planet is Jimmy Vaughn, he's really the finest.
And it's to do with the fact that he has incredible integrity in his musical taste. And I love Robert Cray.
I haven't seen Johnny Lang yet, and I know he's very well thought of, but I'd like to reserve judgment, if that's the right way to put it, until I see them live. Robert and Jimmy of course I know and I'm familiar with. And then there are the great old time players, Buddy Guy, BB King, John Lee. But there are not that many great players, not that many, and there doesn't need to be.

Q: What is your favorite type of guitar to play?
EC: It depends. Different situations, different guitars. Overall, either a Martin at home, on stage I'm playing a Fender. At home or in studio a Martin and sometimes a Spanish guitar, the Ramirez. Just for kind of home entertainment I often pick up a nylong string guitar, because it's more relaxed, it's not so hard to play, you know.

Q: What artists inspired you?
EC: There are a zillion of them. Robert Johnson, Howlin' Wolf, Elmore James, Buddy Holly, Jerry Lee Lewis, Bo Didley, Little Richard. Mostly a lot of Black and country musicians. Hank Williams I loved, and George Jones. And jazz too, people like Coltrane, Miles Davis, Thalonius Monk. And I love Egyptian and Indian music. I love music -period.

Q: What inspired you to become a singer?
EC: I think I realized that if I wanted to have any kind of direction in my musical career, I would have to at some point be the front man of the band. For some time I had envisioned my role as the sideman, but the problem with that was that I was dependent o someone else's musical direction. Putting it simply, the best way to take control of my career. Delaney confronted me quite severely, he said that if you were given a gift and didn't use it, then it was very likely it would be taken away. And he was a very religious, Baptist guy. It made me think. Early on my voice was too thin and high, and I couldn't get the sound of the people I idolized. It's only now on my later years that I'm starting to sound the way I want to sound.

Q: Do you have any advice for an aspiring guitar man?
EC: Listen. Same advice for being a good human being. Learn how to listen, not just to music but to everything. Listen and interpret it. And try to develop a way of expressing what you feel thru what you hear.

Q: You met SRV the night before he died, I was wondering what your impression of him were. He's my 2nd favorite guitarist, next to you.
EC: I never really had, we were both so out of it when I first new SR, we actually made serious attempts to get together but we were too messed up at the time. It was only towards the end of his life that we were able to spend some time together and I was in absolute awe. The night the chopper crashed, there were two gigs. I was closing the show on those concerts, with Robert Cray and Buddy Guy. When Stevie went on I would turn the sound down in my dressing room. I wasn't able to go after what he was doing, it was actually so overwhelming. I didn't turn down my monitor the whole time, I would listen and then go, I can't take this! It was that he was completely at ease with what he was doing, he was like an open channel.

Q: You've colaborated w/a lot of great artists.. which was the most fun or rewarding and who would you love to work with?
EC: I'm looking forward to a collaboration w/BB King, we're going to try and do an album together right after Christmas. I love working with Jimmy, Buddy Guy, Robert Cray. I'm just an old timer now and I like to hang out with guy who have been around awhile. We know each other and we're comfortable with each other.

Q: Eric, tell us about your involvement in the Crossroad Ctr.
EC: At the moment, my involvement has shifted. The emphasis is now on fund rraising. I'm kind of Chairman of the Board. It started out where it was I built the place with the help of a couple of other people, and then we hired a director. And then we hired a board of trustees. And we have an advisory committee here in American who I have asked to help. At this stage, we are trying to raise awareness and finance to put money into the foundation. We have a foundation to help people who can't afford to pay for treatment. To help them get a reduced free or free treatment. And the money will come from the sale of these guitars or the concert at MSG. My desire is to be behind the scenes. At some point I would like to leave the promotional side of this and sort of work in a more confidential way.

Q: What is the worst thing about fame?
EC: Best thing about it is being I guess able to draw support. One of the great things about this guitar auction, is that people will listen to what I have to say. The worst thing is that I might say something irresponsible which might cause someone to change the course of their life not for the better. It's the best and the worst of two sides of the same coin, which is responsibility. I have to set an example, I have to be very careful with what I say and do because it effects other people in a tremendous way. I knew this when I was young, but I wouldn't acknoweledge it. I refused to accept that responsibility. But I think ow it is a serious part of the human condition...

Q: It's been more than 10 years since Crossroads, which kick-started the box set revolution. Since then, you've experienced a phenomenal resurgence. Are there plans for a new, more comprehensive set?
EC: IT's not a bad idea. At the moment we're looking at putting out a Best Of set towards the end of summer, which would be compiled from tracks that I've cut since I've been with Warner Brothers, the last 15 or 20 years. But a boxed set would be an interesting project. I don't know what the theme would be, but I love boxed sets, I love buying them.

Q: What do you like best about performing live?
EC: Spontaneity. The risk, the gamble, the freedom.

Q: EC, what sparked your love of music?
EC: I think that's almost impossible to define, I was responding to music almost before I could walk. In my family, we all made music. My grandmother, and uncles, the close family group, bought records by people like Stan Kenton and Benny Goodman. Playing piano. There was always music at home and it seemed to be just another language I was learning.

Q: What are your feelings on today's auction?
EC: I'm extremely nervous, it's almost as if I'm doing a concert. It is like my taste in guitars is going to be judged today! It kind of echoes the fact that I love a lot of different kinds of music. I have an oud and mandolins that I haven't put up for sale. I am very nervous. I hope people are as enthusiastic about this thing as I am!
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INTERVIEWS from MUSICIAN MAGAZINE

CLAPTON: I only compose songs if I'm in an emotional state, If I'm experiencing extreme happiness, extreme sadness or grief. Then I compose because I have to fix myself. I compose to heal myself from damage. At the moment I'm writing because I've had a very bad year. Terrible things happened so I'm forced to compose.
The best advice I ever got in this business was when Muddy Waters told me to keep it simple and to be true to myself. That's all I ever tried to do. And that's exactly what I'm going to keep on doing. And as for fame and money, they don't take away despair or any of that stuff, believe me. They can add to it because there's a lot extra to contend with.
MUSICIAN: What's your response to those who suggest that drink and drugs can be an aid to creativity?
CLAPTON: All I learned in those days was a lot of bad things. I learned how to be unreliable. I learned how to be negative, how to hide and how to insult people, all the worst things in life. And I've spent the last four years trying to undo all that. I now don't subscribe to anything that I think you can get out of a joint, a bottle or a vial of pills. I don't think there is anything there that you can really make of use to humankind. There are certain tilings that wilt be triggered in your brain, for example, if you take a line of coke or smoke some mesca line. Certain things do happen to your brain that are pleasurable for yourself alone. But to try to communicate that to other people is usually a waste of time. If you read a book by someone who's written that under the influence of mescaline, does it make sense? It's interesting to know it's written that way but beyond that, what are you going to gain from such work?
Joe Jackson, #16O, February 1992

* MUSICIAN: YOU'VE SAID THAT THE BEST OF Buddy Guy has never gotten onto record, that the spirit of the music, the almost total freedom of his blues, isn 't really transferable to record. Do you feel that's true of your own music as well?
CLAPTON: To a certain extent, yes. I still think some of my best playing exists separately from the songs. It's just something that is of its own. To get that onto record is difficult because you become much more studied. I don't know. I think once you've gotten into the mentality of being in a hotel room and going to the studio at a certain time of day, you go in there and you just slow down. The adrenalin starts to die. When I got up with Elton John on Saturday night, I don't remember but I'm sure what I played was fantastic, because it was uninhibited and completely without direction. That can't be put on record, there's no way.
MUSICIAN: Have you thought about taking a mobile recording unit and attempting to capture moments like those?
CLAPTON: No, because I kind of like it the way it is. There's something very true, in a way, about the notion that some music belongs to the concert hall and the audience and should remain that way. And for the gods.
Peter Guralmck, #155, September 1991

CLAPTON: I wanted to play like [Robert Johnson], but it turns out that this life wasn't going to be that way for me. MUSICIAN: But you learned how to play a pretty good guitar.
CLAPTON: Yeah, but I became a rock star. Even though it was against my will to begin with, that's the way it turned out. Now, I mean I love the music, but it still sometimes annoys me that I didn't kind of-well, what could I have done? Even if I assimilated Robert's playing, I'd still just be copying.
Andrew Franklin, #747, January 1991

* MUSICIAN: ONE OF THE THINGS THAT STRUCK me as unusual about your career is the extent to which you 've continued to set up others as role models, as heroes, really, even after achieving great success. And then inevitably have been disillusioned at some point down the line, perhaps only by your own expectations. It's almost as if you mistrusted yourself, or your own success...
CLAPTON: I've suffered a lot from that. Because of the identity crisis of having to like what you do as much as what you've liked in other people, your role models or your heroes, having to put it in the marketplace alongside what they've done. I remember Tom Dowd or Ahmet Ertegun saying to me: "Don't forget, when you sell a record, you're selling alongside Frank Sinatra and B.B. King and Quincy Jones, people of that stature. And you've got to think of yourself as one of them. And when you do, when you can make that comparison and be comfortable with it, you'll have got somewhere." That's the way I'm starting to think. It's taken me a long time. I'm a slow learner, and a very slow developer. And no doubt drink and drugs were instrumental in keeping me from that growth. But it's taken place now. Maybe too late-not too late, I don't think. But late for sure. But I've come to terms with my identity a lot better.
Peter Guralnkk, #136, February 1990

* CLAPTON: MOST PLAYERS THINK THEY CAN PLAY a 12-bar blues. But every 12-bar blues is different. Sonny Boy Williamson would have an intro on certain songs, and if you didn't know that, then he would be disgusted with you. And I know this from experience, because he was disgusted with me!

* I ALWAYS WANTED SOMETHING OTHER THAN the guitar. I mean, I hate the sound of just a straight guitar. I don't mind it in other people's playing, but when I pick up a guitar and it just sounds like a guitar, to me that's boring.
I think, first of all, I wanted to sound like Little Walter. I wanted to play the guitar and make it sound like a harmonica. And then, I wanted it to sound, for a long time, like Jr. Walker. I think if you can get a guitar to play like his saxophone, you were off and running somewhere else. Ray Charles is another one. He plays the piano like a guitar. It's almost like he's thinking, "I wish I could make this sound like a guitar. " 'Cause he plays guitar riffs. And really, there is a sort of series of phrases that all those musicians use, and whatever instrument you play has nothing to do with it. You just go for those phrases.
MUSICIAN: / can see what you mean about the phrasing, but to me, a big difference is that the saxophone has a much more fluid sound than a guitar, making it easier to do things with inflection. Whereas a guitar line, especially on acoustic, just doesn 'tflow the same way.
CLAPTON: I think that's maybe one of the reasons people started bending notes. I don't know what or who; maybe it was Charlie Christian, maybe even Django Reinhardt. Whoever it was, they were probably going after that. They may have had a sax player in the band and thought, "Christ, he can do things that I'm not allowed to do because of the restrictions of this instrument."
It's still the same thing. You've still got the restrictions, and trying to get it to sound like a saxophone is breaking the law of the guitar, really. But that's the great thing about it, to try to make it sound like another instrument.
MUSICIAN: It strikes me that articulation and tone may be the two most important things about playing a musical instrument that the average player ignores.
CLAPTON: Well, you know, if you can do it on an acoustic guitar, then you can do it with anything. The whole thing with MIDI and guitar synthesizers is that they're really almost destroying that avenue now. Because you can plug in, and set it up to sound like something else, without actually having to do much work on the guitar itself. Now, if you unplugged them and then tried to achieve those things-that's what I'm saying. If you can get an acoustic guitar to play and phrase like a saxophone or harmonica, then you don't need to MIDI up. And it's actually better not to, I think.
MUSICIAN: Well, aside from some whang-bar or string-bending things, most of what I've heard on MIDI guitar could as easily have come from a keyboard.
CLAPTON: Yeah, exactly. And that's where it's gone wrong, because you actually get lured into making it sound like a [Yamaha] DX7. The real art is to make the guitar sound like one of those things, or one of the instruments it's trying to imitate, without being MIDI'd.
J.D. Considine, #97, November 1986

* CLAPTON: SOME PEOPLE HAVE A great sense of moral responsibility; unfortunately, it's backed up with a poor sense of musical taste. Other people have great musical ability, and very little sense of moral responsibility. It's very difficult to have a good balance. I mean, we're all different people, and some gain moral responsibility. Others hide from it, in order to keep going. If you had to question everything you did in terms of whether or not it's gonna be good for the race as a whole, you might just stop living, because it would be impossible to live with yourself.
So, I have a very big question mark about moral responsibility. I really don't know if it's a good thing. But I also question the artistic ego, whether or not an artist should be allowed just to vent his opinions. Because we're not cut out for that job. I mean, that's probably one of the reasons I didn't ever really want to be a singer, because it would probably place me in a position where I could
give forth opinions, which I didn't really have the right to give. And, you know, I've been in situations where I had to take back what I've said. Many times. 'Cause I've mouthed off.
J.D. Considine, #97, November 1986

* MUSICIAN: ARE YOU A SPIRITUAL person?
CLAPTON: No, not essentially. I do pray, when I'm in need, but it's not a habitual thing. I'm certainly aware that there's something else in control, and that the path to proper music, real music, is when you let the oneness come through. When that happens, and it isn't very frequently, I get frightened.

* MUSICIAN: HOW MUCH DO YOU think that you owe to black music?
CLAPTON: Nothing.
MUSICIAN: Why not?
CLAPTON: Well, we're all in the same boat.
MUSICIAN: So you don't see any distinctions between yourself and them?
CLAPTON: No, I don't, at all. I think that it's a very condescending attitude to think that you owe anybody anything for what you do.
John Hutchinson, #43, May 1982
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http://www.billboard.com

Outside the top tier, Eric Clapton's latest studio set, "Back Home" (Duck/Reprise), bows at No. 13 with 59,000 copies. The guitar great's last set of original material, "Reptile," started at No. 5 with 102,000 copies in 2001 and has sold 561,000 to date.

http://www.clarionledger.com

New CDs Knight Ridder Newspapers

Eric Clapton: Back Home ** 1/2 (of 5 stars)

I'm happy that Eric Clapton is happy. Really I am. But domestic bliss is not often the most productive grist for the artist's mill. And on Back Home, Clapton returns from his recent blues peregrinations with the legend of Robert Johnson to take stock of all he has to be thankful for — namely the three daughters that the English guitar god has sired since the tragic 1991 death of his son Conor, whom he's seen serenading in the family playroom on Back Home's CD sleeve.

The results are polished, tasteful, tenderhearted, occasionally soulful, hopeful (a cover of George Harrison's Love Comes to Everyone) and perfectly pleasant. But Back Home is only truly gripping on Lost and Found, when Clapton steps out, plugs in — and plays the blues.