That ought to mean that King would be a virtual guest star rather than earning a co-billing, but because of Clapton's respect for his elder, it nearly works the other way around. 8/10, Blind Faith's first and last album, more than forty years old and counting, remains one of the jewels of the Eric Clapton, Steve Winwood, and Ginger Baker catalogues, despite the crash-and-burn history of the band itself, which scarcely lasted six months. Furthermore, the pop concessions on the album -- the sleek production, the concise running times -- don't detract from the rootsy origins of the material, whether it's Johnny Otis' "Willie and the Hand Jive," the traditional blues "Motherless Children," Bob Marley's "I Shot the Sheriff," or Clapton's emotional original "Let It Grow." 6/10. THE SECRET POLICEMAN'S OTHER BALL - THE MUSIC… A nicely crafted album around collaboration nonetheless. Blind Faith is as much as a follow-up to Traffic's eponymous 1968 album as it is to Cream's 1969 Goodbye album; it merges the soulful blues of the former with the heavy riffing and outsized song lengths of the latter for a very compelling sound unique to this band. Although there are some new reggae influences, the album doesn't sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. Make sure you don't just vote for critically acclaimed albums; if you have a favorite Eric Clapton album, then vote it up, even if it's not necessarily the most popular. [{"parent":{"title":"Get on the list","body":"Get exclusive information about Eric\u00a0Clapton tour dates, video premieres and special announcements","field_newsletter_id":"14073863","field_datasource":"[Artist Name]_website_newsletter_optin","field_label_list_id":"6518500","field_display_rates":"0","field_preview_mode":"false","field_lbox_height":"","field_lbox_width":"","field_toaster_timeout":"60000","field_toaster_position":"From Top","field_turnkey_height":"1000","field_mailing_list_params_toast":"&autoreply=no","field_mailing_list_params_se":"&autoreply=no"}}]. 8/10, 1989's Journeyman was considered by Eric himself to be his first favourite solo album since 1977's Slowhand, which was a huge statement from such a self-criticising artist. There is much to cherish on 'Rush'. Behind The Sun is perhaps one of the best examples of a successful transition for a classic rock star entering and embracing the music scene of the 1980's. [4], In a retrospective review for AllMusic Stephen Thomas Erlewine feels that Clapton "sounds more laid-back and straightforward than any of the guitarist's previous recordings. This was mostly due to the fact that rock was changing; classic blues-rock had given way to glam-metal and pop-rock, young fashionable bands pushed artists like Eric into a catalogue of past relics. Not all of it works -- between the virtuoso electric blues of "Had to Cry Today," the acoustic-textured "Can't Find My Way Home," the soaring "Presence of the Lord" (Eric Clapton's one contribution here as a songwriter, and the first great song he ever authored) and "Sea of Joy," the band doesn't do much with the Buddy Holly song "Well All Right"; and Ginger Baker's "Do What You Like" was a little weak to take up 15 minutes of space on an LP that might have been better used for a shorter drum solo and more songs. The beautiful song 'Tears In Heaven' makes its appearance here, and the album is all the more enriched for it. And "sunny" describes Clapton's sound, mood, and styles here, as he favours reggae over the blues, turning both Otis Redding's "Your One and Only Man" and Taj Mahal's "Further On Down the Road" into lilting bits of sunsplash, covering Peter Tosh's "Till Your Well Runs Dry," and getting so besotted with good cheer on "Every Little Thing" he brings in a bunch of kids to sing the closing chorus, a jarring addition that treads the border of good taste. 9/10, Derek and the Dominoes, and Layla and Other Assorted Love Songs were born from a variety of factors; Eric wished to escape the superstar expectation that sank Blind Faith before it launched, and he yearned to create more meaningful music in vein of The Band, or Buffalo Springfield, and put together the ultimate ode to his unrequited love Pattie Boyd. After having already released his eponymous debut to a successful reception, Eric still desired the music to be concentrated on instead of his celebrity status as a musician; hence the moniker Derek and the Dominoes. Promis in Ramones-Shirts, 7 legendäre (und wertvolle) adidas-Schuhe. 10/10, Eric Clapton Albums Ranked and Reviewed Best to Worst. By submitting my information, I agree to receive personalized updates and marketing messages about Eric Clapton based on my information, interests, activities, website visits and device data and in accordance with the. King seven years prior; a collaboration with J.J. Cale titled The Road to Escondido. The song "Let it Rain" had originally been recorded with different lyrics as "She Rides". Despite having such pop-oriented hits as "I Shot the Sheriff," E.C. 7/10, After having made his best album since 461 Ocean Boulevard with 1977's Slowhand, Eric swiftly followed with 1978's Backless. ROLLING STONE blickt zurück. „Ohne Kunst & Kultur wird’s still“: Hunderte Universal-Musiker*innen kommen für Protest-Aktion zusammen, „Ohne Kunst würden wir alle krank werden“ - Interview auf, Das sind die zehn besten Alben von Bruce Springsteen, You And I Will Meet Again: Die Karriere von Tom Petty in Bildern, Nick Cave und Kylie Minogue: Rare Szenen vom Dreh zu „Where The Wild Roses Grow“, Umfrage ergibt: Das sind die 10 besten Album-Cover aller Zeiten, Cool oder Pseudo? 6/10. The title track is one of the best songs ever recorded of course, and the blues jam "Key to the Highway" really sets the mould for the rest of Eric's career. In the wake of Delaney and Bonnie's demise, Eric took several of the sidemen that made up that band; bassist Carl Radle, drummer Jim Gordon, pianist Leon Russell to name a few and formed Derek and the Dominoes. LEAD ME TO THE WATER. In seiner Biografie berichtet Clapton, dass er Dowd als Koproduzent dabei haben wollte, da er sich nicht sicher war, ob Collins seinen Musikgeschmack treffe. Consequently, Back Home finds itself placed halfway between the light and contemporary soul of 1998's Pilgrim, and the quintessential commercial pop of 1986's August; each track rides a tight professional groove, whether it is a bluesy vamp or a reggae jam, but always keeping the sound a relaxed and laid-back result.