chs 21 through 30-8

Enduring Superstar

The new decade dawned with another journey to the Rock and Roll Hall of Fame. Clapton was inducted as a solo artist, making him the only person to date to be inducted on three separate occasions. His fellow inductees that March 6th evening were Earth, Wind and Fire, the Lovin’ Spoonful, the Moonglows, Bonnie Raitt, and James Taylor.

Riding with the King

The other highlight of the year was his collaboration with B. B. King. Riding with the King was released on June 13, 2000, and won a Grammy for Best Traditional Blues Album. It reached #15 in the United States and climbed to #3 in the United Kingdom.

I doubt that Eric Clapton and B. B. King could have created a bad or even average album had they tried. In this case they put together a brilliant one.

Clapton had been a guest on countless albums through the years, but here he formed a partnership with one of the giants of the blues world. They made an interesting and effective combination, as King’s Delta heritage style meshed well with Clapton’s blues/rock foundation.

A nice, tight band was assembled to provide support in the studio. Andy Fairweather-Low and Doyle Bramhall II are superb musicians, but here they were relegated to a rhythm guitar role, and they laid down a fine foundation that fills in the sound for the two soloists. In many ways, the musical key is pianist Joe Sample, who pushes the music along, allowing the two principals to take off on their solo excursions. Bassist Nathan East and drummer Steve Gadd formed the rhythm section.

Clapton’s material has been issued over and over again, as this early Master Recording demonstrates.

Author’s collection

Both King and Clapton have always been able to create a crystal-clear sound and put the focus on each individual note. They are also able to take a song and transform it so that it travels in new and unexpected directions.

Three of King’s early compositions were resurrected for this album. “Three O’Clock Blues” (1951), “When My Heart Beats Like a Hammer” (1954), and “Ten Long Years” (1955) are vehicles for them to trade solo licks.

Other highlights include a wonderful acoustic version of Big Bill Broonzy’s “Key to the Highway” and a blues rendition of Sam and Dave’s soul hit “Hold On, I’m Comin’” that included some of the best guitar lines on the album, which is saying a lot.

Riding with the King was one of those ideas that sounded great on paper and worked better in execution. It was the second of a trio of all-blues albums Clapton would produce and matches well with 1994’s From the Cradle and the then unissued Me and Mr. Johnson. Fans of B. B. King, Eric Clapton, the blues, and just good music should be pleased with this release. It is a journey down a highway not traveled very often.

Reptile

Clapton had gone years between studio albums in the eighties and nineties but this time surprised everyone by issuing another one nine months after his last.

Reptile was released on March 13, 2001, and clocked in at just over an hour. It featured five of his own compositions plus two more he cowrote among the fourteen tracks. Beginning with 1989’s Journeyman and continuing through 2005’s Back Home, Clapton would rotate albums consisting of blues covers with albums containing blue/rock fusions that boasted many original compositions.

Reptile returned producer Simon Climie and many of his band members from the Pilgrim project, and the results were very different and ultimately superior. Clapton managed to keep Climie’s inclination to program instruments under control. The drum machines were turned down and the synthesizers used more judiciously. The final result was an intimate and very good album.

Andy Fairweather-Low and Doyle Bramhall II returned as the second guitarists, while Joe Sample and Billy Preston handled the keyboards. Other main musicians were drummer Steve Gadd, bassist Nathan East, and percussionist Paulinho Da Costa. The real inspiration was the inclusion of the legendary soul group the Impressions as the backing vocalists.

As with many of his nonblues studio albums, sometimes Clapton’s guitar playing disappears into the background, and many of the solos are too short. Still, what is present is representative of his talent.

Two instrumentals bookend the album. The title song has a smooth, almost jazz feel to it, while “Son & Sylvia” contains some nice acoustic work.

The Ray Charles tune “Come Back Baby” is given a superior treatment. Billy Preston’s joyful organ playing drives the song along as he blends well with Clapton’s bluesy guitar runs, while Clapton’s near gospel vocal performance floats above the mix. “I Ain’t Gonna Stand for It” is a rare successful cover of a Stevie Wonder composition. “Superman Inside” and “Travelin’ Light” find Clapton in rock mode, while his own “Believe in Life” is a quiet love song.

Reptile presents the modern studio Clapton at his near best, and while it may not contain the guitar pyrotechnics that I would have liked at the time, it is still a very satisfying album.

The Concert for George

Clapton experienced another personal loss in late 2001, when his longtime friend George Harrison passed away November 29 at the age of fifty-eight. Harrison had been fighting cancer since 1997 and had undergone continuing treatment until his death. He was cremated, and his ashes scattered in the Ganges River.

Clapton organized a memorial concert for his old buddy at the Royal Albert Hall on November 29, 2002, to commemorate the anniversary of his death.

When Clapton calls, people respond. Jeff Lynne, Gary Brooker, Joe Brown, Tom Petty, Billy Preston, Ringo Starr, and Paul McCartney all performed and shared vocal duties. In addition, Harrison’s son Dhani, guitarist Albert Lee, bassist Klaus Voormann, and drummer Jim Keltner were on hand to provide support.

The Concert for George was released a year later, November 17, 2003, on the second anniversary of his death. A film of the concert was released on October 10, 2003, and would win a Grammy for Best Long Form Music Video.

The CD set begins with three pieces of Indian music composed by Ravi Shankar, which were performed and conducted by his daughter Anoushka. She was in her early twenties at the time, yet was already a virtuoso of the sitar. The twenty-three-minute “Arpan” is a production, and whether the track is enjoyed or passed over will be determined by the listener’s affinity for this type of music. Nevertheless, the music was an appropriate addition to his tribute as it was an important part of his life. The fourth track was an interesting cover of the Beatles tune “The Inner Light,” performed by Anoushka and Jeff Lynne.

The second disc gets to the heart of the concert. Jeff Lynne kicks it off with the vocal on “I Want to Tell You” from the Beatles’ Revolver, and from that point on it is a concert to remember.

Some of the songs work better than others. Ringo Starr’s two-song set is one of the highlights of the concert. He cowrote his #1 hit “Photograph” with Harrison, and here he gives a performance that provides an emotional center for the album and the concert. This was followed by his rendition of “Honey Don’t” with fine guitar work from Albert Lee.

Another highlight are the vocal performances by Joe Brown. He was a somewhat famous early rock–era British performer and personality but was little known outside his home country. His vocal on “Here Comes the Sun” is perfection. His choice of performing the obscure “That’s the Way It Goes” from Gone Troppo is brilliant.

Billy Preston’s exuberant performance of “My Sweet Lord” was the result of the song being a part of his own live act for decades. Paul McCartney’s take on “Something” proves that many times, simple is best. He also shines on “All Things Must Pass,” which is a tad ironic and amusing, as it was a one-time Beatles reject. On the other hand, the Tom Petty tracks are somewhat average, and Jeff Lynne’s voice is not in its best form.

Eric Clapton presented the lead guitar and vocals on four tracks; “If I Needed Someone,” “Beware of Darkness,” “Isn’t It a Pity,” and “While My Guitar Gently Weeps,” where he reproduced his famous solo. His greatest importance was his presence onstage and his ability to hold everything together.

The evening drew to a close with Joe Brown performing the classic “I’ll See You in My Dreams.”

Concert for George was the best and most fitting gift Eric Clapton and friends could have given George Harrison. This is a rare tribute album that works.

One More Car, One More Rider

One More Car, One More Rider was released on November 5, 2002. It was a live album recorded August 18–19, 2001, at the Staples Center in Los Angeles. Many of his recent cast of characters were present, including Nathan East, Billy Preston, Steve Gadd, Andy Fairweather-Low, plus keyboardist David Sancious. Clapton had announced that this would be his last world tour, and while I’m sure some fans took him seriously at the time, nine years later the tours have continued to flow with regularity.

The first six songs are acoustic. “Key to the Highway,” “Reptile,” “Got You on My Mind,” “Tears in Heaven,” “Bell Bottom Blues,” and “Change the World” reinforce his talent and diversity as an acoustic artist. As with many of his acoustic performances, the songs are more compact, ranging from 3:41 to 6:16. They have a warm and intimate feel and are all very appealing.

Just as you are relaxed and content, the electric Clapton takes over and snaps you awake. The band is smooth and polished, and maybe just a little too much so on the blues numbers, but it is a minor point. There is not much interaction between the band members and the audience, which takes away from the concert experience. The focus is kept directly on the music. The electric set finds Clapton in good form. Sometimes people have become too accustomed to him, so it’s difficult for him to surprise us very often. That is especially true on a live album. The surprise, of course, has been his continuing live excellence.

Yes there are times when he steps back and lets the keyboards take over, but that has been a recurrent issue throughout his career.

The album also came with an accompanying DVD, and if there’s anything better than hearing Eric Clapton play the guitar, it’s seeing him play the guitar.

“Badge” is the song that finally kicked the album into gear, and “(I’m Your) Hoochie Coochie Man,” “Cocaine,” “Layla,” and “Sunshine of Your Love” keep it going.

The album closer was a little perplexing. Judy Garland’s signature song, “Over the Rainbow,” is presented acoustically. Maybe Clapton was feeling his mortality closing in on him, but given his recent history, he seems to have gotten past this issue, if it ever existed.

One More Car, One More Rider is a good modern live album, and he makes it all look so easy. It was a middling success, reaching #69 and #43 on the U.S. and British charts respectively.

The first half of the decade proved to be a very prolific period for Clapton. In addition to his heavy touring schedule, he was cranking out the albums with regularity.

Clapton’s face has appeared on all sorts of items and collectables.

Author’s collection

One can only wonder if people who hold lighers up at the end of his concerts are using ones like this.

Author’s collection

Me and Mr. Johnson

Me and Mr. Johnson was released on March 23, 2004, and completed his blues trilogy begun with From the Cradle and continued with Riding with the King.

In retrospect, it’s surprising that it took so long for him to release an album of Robert Johnson covers. If Eric Clapton has ever had a consistent idol, this is the man. Johnson’s compositions were spread throughout Clapton’s recording and concert career. If there is one album that can be labeled his returning to his roots, this is the one.

The project actually began by accident. He had a recording session booked but had no new material to record. Rather than just go home, he suggested they record some Robert Johnson songs. Somewhere along the line a light went on in Clapton’s mind, and it became a full-blown Robert Johnson blues album. The fourteen tracks were recorded in 2003–2004.

My main criticism with the release is the slickness in places, which could have been due to Simon Climie’s presence as coproducer. Johnson was passionate, intense, ominous, and a great technician, but he was definitely not slick. The CD cover pictures a stark Clapton, seated in front of a picture of Johnson, holding an acoustic guitar. If he had taken the cover to heart, he probably would have been better off in the long run. Johnson recorded mostly with just a twelve-string guitar, while Clapton had his band in tow. It all led him to veer away from the original style and intent of the music. I wish he had tackled the songs with just his guitar and let the chips fall where they may.

There is no doubt that Clapton loves the music and truly tries to be faithful to his idol. “Traveling Riverside Blues” is played as a traditional blues piece. “They’re Red Hot” was an unusual Johnson piece as he did not use a twelve-string guitar, and it fits Clapton’s style well. “Hellhound on My Trail” is one of the most revered blues songs of all time, and he interprets it well with a vocal that presents the intense imagery of the lyrics.

“Love in Vain” is representative of the album’s problems as the performance is rather bland. The version pales next to the one done by the Rolling Stones on their Let It Bleed album.

I have appreciated many of Clapton’s Johnson interpretations that were sporadically recorded throughout his career. Maybe it was the technical proficiency of fourteen of them taken together that was just overwhelming. If you want to hear the music of Mr. Johnson interpreted just right, check out Peter Green’s Me and the Devil and The Robert Johnson Songbook. Of course, there is always the man himself and his Complete Recordings box set issued in 1990.

Sessions for Robert J

Clapton did not stop with Me and Mr. Johnson. He followed it on December 4, 2004, with Sessions for Robert J. It was a CD/DVD combo, and the project worked better as a visual presence.

I always enjoy watching Clapton play, and here he presents himself as the technician he is. Also, some of the smoothness of the audio is not as apparent on the video while the passion and intensity take over.

The most interesting part of the release are Clapton’s comments about Johnson’s legacy to music and himself. Another treat are the acoustic performances by Clapton and Doyle Bramhall II. The final jewel is Clapton performing in the same hotel room in Dallas that Johnson used as a makeshift recording studio.

The CD part of the package is a little different from the original release as four new songs make an appearance. If you have a choice, my advice it to buy this bigger set and pass on the CD-only release.

The Crossroads Guitar Festival

Clapton had made almost too many charity appearances to count. In 2004, he organized the Crossroads Guitar Festival to benefit the Crossroad Center in Antigua, which is a drug treatment facility. The festival was held on June 4–6, 2004, at the Cotton Bowl in Dallas, Texas. It is nice to know that he was thinking big right from the beginning. A two-DVD compilation of the three-day festival was released on November 9, 2004. It featured close to four hours of music, which only scratched the surface. Special features included artist interviews, a photo gallery, and a really cool alternate angle feature.

Guitar players young, old, famous, and not so famous flocked to Clapton’s invite. B. B. King, Jeff Beck, Bo Diddley, Robert Cray, Buddy Guy, Eric Johnson, Pat Metheny, Carlos Santana, Steve Vai, and Joe Walsh were just the tip of the iceberg.

The DVD contains thirty-four performances and should satisfy the fan of the guitar or Clapton. It makes me wish it had come with a third and even fourth disc, but this snapshot will have to do. What was released contained a number of highlights.

Disc one begins with Eric Clapton doing what he does best, and this time it is on his eternal favorite “Cocaine.” The energy is immediately apparent as the artists come and go in quick succession. Sometimes a longer set by some of the artists would have been appreciated, but that was beyond the scope and intent of the release.

There is a set of four songs—“Killing Floor,” “Sweet Home Chicago,” “Six Strings Down,” and “Rock Me Baby”—that features a stage full of musicians such as Robert Cray, Hubert Sumlin, Jimmie Vaughan, Buddy Guy, Robert Randolph, B. B. King, and E. C. himself, which is a lot of guitar talent in one place. It’s amazing that they do not get in each other’s way, and while not everyone can take a solo, everything works out fine.

The Clapton/J. J. Cale duo on “After Midnight” and “Call Me the Breeze” works well and may have got Clapton thinking about their future together. Doyle Bramhall II steps out of Clapton’s backing band shadow with “Green Light Girl,” which shows what an accomplished guitarist he is in his own right.

I was pleasantly surprised by Vince Gill’s performance with Jerry Douglas on “Oklahoma Borderline” and “What Cowgirls Do.” At first, I thought him to be an odd inclusion, but Gill does not embarrass himself to say the least. James Taylor gets a little lost in the proceedings, although Joe Walsh helps a bit on his performance of “Steamroller.” John Mayer’s performance of “City Love” pales compared to what is going on around him.

As good as disc one was, it is only the warm-up for the second. It includes three more performances by Clapton. “If I Had Possession over Judgement Day,” “Have You Ever Loved a Woman,” and “I Shot the Sheriff” are all as good as or better than what was swirling about him.

Eric Johnson has always been a somewhat underrated guitarist but has produced a fine catalog of instrumental albums during the course of his career. His “Desert Rose” finds him at his best. Joe Walsh follows and escapes his Eagles confines with “Funk 49” and “Rocky Mountain Way.”

John McLaughlin on “Tones for Elvin Jones” and Larry Carlton’s “Josie” take the proceedings in a different direction, as their jazz and funky sounds serve as a nice break from the blues/rock attack. I wish Jeff Beck could have been included right behind these performances, but he regrettably does not make an appearance on the DVD. The same with Pat Metheny, who would have been a welcome addition to the release. Likewise, the sets by B. B. King and Buddy Guy could have filled an album by themselves.

I would not have closed the concert and album with ZZ Top, but they were deep in the heart of Texas. I would also have liked to have seen the Neil Schon and Randy Jackson performance of “The Star Spangled Banner’ rather than just have had it played over the closing credits.

Crossroads: Eric Clapton’s Guitar Festival 2007

His first guitar festival was such a success that he brought it back a second time. It was probably a wise decision to wait three years, as it built up the anticipation. The tickets for the July 28, 2007, show at Toyota Park in Bridgeview, Illinois, sold out in less than a half hour.

I found Crossroads: Eric Clapton’s Guitar Festival to be a superior release to the first set. It was another big three-hour, two-disc, thirty-nine-song extravaganza. From Bill Murray’s rendition of “Gloria” to Buddy Guy leading an all-star ensemble through a rousing “Sweet Home Chicago,” this is a guitar aficionado’s delight. The set can be exhaustive due to its size and can also be somewhat disjointed due to the constant coming and going of the various artists, but these are small handicaps as the album contains a lot of unforgettable music.

Sonny Landreth kicks off the first disc with his high-energy “Umbresso.” He is a good opening act as he sets the bar high for all who will follow. Landreth has a fascinating slide style of playing that is better viewed than just heard. Clapton joins him for “Hell at Home” and about halfway through the performances just takes off with an extended solo. That performance and several others—“Tell the Truth,” “Little Queen of Spades,” and “Isn’t It a Pity”—are the Clapton I want to see.

John McLaughlin returned to the festival for the second year in a row. Here he does “Maharina,” which is a typical performance. His jazz/rock guitar fusions run counter to the melody set by the keyboards, bass, and drums. McLaughlin has always traveled his own musical journey, and, appreciate him or not, there is no denying his talent.

I didn’t know at the time how many performances B. B. King had left in him. It turned out to be quite a few. He had to remain seated, but his voice sounded strong, and his playing had lost none of its energy or technique. His two numbers, “Pay the Cost to Be the Boss” and “Rock Me Baby,” set a standard that artists twenty or fifty years younger can only hope to emulate.

There is a nice run of performances by Doyle Bramhall and the Derek Trucks Band. Both were in Clapton’s backing band at the time, but here they step forward to star. “Rosie” and “Outside Woman Blues” show Bramhall’s polished technique. Trucks is one of the finer young guitarist working today. He is particularly effective when his wife Susan Tedeschi joins him.

Clapton, Jeff Beck, Steve Winwood, and Buddy Guy dominate the second disc.

Beck performed briefly at the first Crossroads festival but did not appear on the official release. He looks relaxed as he performs “Cause We Ended Up as Lovers” and “Big Block.” He remains one of the few guitarists who can match Clapton note for note. He was accompanied by one of the finest young bassists on the planet in Tal Wilkenfeld. Her solos are some of the best I have seen and heard.

Clapton and Winwood join for a series of performances. They go back a long way and immediately settle in together with “Presence of the Lord,” “Can’t Find My Way Home,” and a powerful “Crossroads.” Winwood also steps from behind the keyboards to pick up a guitar for a solo version of “Mr. Fantasy.” Their time together helped to reacquaint them with each other, which would bear fruit in the near future.

Clapton’s old paramour Sheryl Crow more than holds her own against the big boys. Vince Gill proves that his performance at the first festival was not a fluke as he takes his country sound in a more rock direction that is helped a great deal by having Albert Lee as the second guitarist.

A few artists did struggle, as is the norm for a concert of this nature. Willie Nelson, an ill-looking Johnny Winter, and another performance by John Mayer are all lost in the festivities and are relegated to connector roles.

The second Crossroads Festival was another success, and its proceeds were donated to the drug rehabilitation center of the same name.

Back Roads

In addition to his Cream reunions, 2005 saw the release of his latest studio album, Back Roads, on August 29. Clapton wrote five of the tracks with Simon Climie in addition to composing one himself. The album peaked at #19 in the United States and received a gold record award for sales, while reaching #13 in the United Kingdom.

Clapton’s latest studio band included keyboardists Steve Winwood and Billy Preston, bassists Nathan East and Paul Palladino, drummers Steve Gadd and Abe Laboriel, and guitarists Vince Gill and John Mayer, who obviously impressed Clapton more at his first Crossroads Festival than he did me. He also added violinist Gavyn Wright to the mix.

The album was released during a very happy and content period of Clapton’s life. He had remarried and now was a family man. His career was still befitting that of a superstar, but now there were other priorities as well and a home to return to. The question is, should a blues artist be content? The answer is yes personally, but professionally it will make a difference. But life does move on.

“So Tired” is a catchy and humorous examination of family life. “One Day” has some nice, compact solos. “Run Home to Me” is probably the album’s best track as Clapton delivers a poignant and moving performance. He does not forget old pal George Harrison as he includes his “Love Comes to Everyone.”

Expectations for any Clapton release are always high, and the fact that he was in the midst of his latest Cream projects only increased the anticipation. The music was far from the sound of Cream and caught some critical flack at the time for being too light or too easy listening.

Back Roads is an album that needs to be accepted on its own terms. Clapton’s life was moving on, and he produced a heartfelt, versatile, and comfortable release. People do change, and as his personal life went in new and for him better directions, he took his music along with him.

There was also a dual-disc version of the album, for the technologically advanced, which presented the whole affair in surround sound. Even with a mellow album such as this, the listening experience was spectacular and makes it clear why Alan Douglas and Mick Guzauski won the Grammy for Best Engineered Album (Non-Classical). There was also an interview with Clapton plus five songs played in the studio. It even came with five guitar picks, making it an appealing packing for his fans.

For a guy who retired from the road several years ago, Clapton maintained a heavy schedule. He embarked on a series of ambitious tours during 2006–2007, which included Europe, the United States, Japan, Australia, and New Zealand. He was accompanied by one of his strongest bands as it included both Doyle Bramhall and Derek Trucks on guitar. Trucks was doing triple duty at the time as he was fronting his own band plus was the lead guitarist for the Allman Brothers. Jim Carmon, Chris Stainton, Willie Weeks, and Steve Jordan were on hand as the keyboardists, bassist, and drummer respectively.

In 2008, he was on the road again minus Trucks but added Robert Rudolph to fill in on slide guitar for the North American leg of his world tour. The drummers were now Ian Thomas (North America) and Abe Laboriel (Europe), plus bass player Pino Palladino (North America). These were some of the musicians who went into the studio with him in August 2005 for another collaboration project.

The Road to Escondido

Clapton had recorded a number of J. J. Cale compositions through the years, including two of his signature songs, “After Midnight” and “Cocaine.” The original intent had been for Cale to produce an album for Clapton, which quickly evolved into a dual project. It took a while, but The Road to Escondido was finally released on November 7, 2006. It reached #50 in the United States and #23 in England, receiving sales awards in both countries. It won the Grammy for Best Contemporary Blues Album.

Cale and Clapton were brothers of the blues, although their approaches were different. Cale was always understated, while Clapton would travel from mellow to pyrotechnic.

The album contained superb guitar playing as Bramhall, Trucks, John Mayer, and Albert Lee all assisted the duo at various points.

“When the War Is Over” has a honky-tonk feel with some shuffle guitar thrown in for good measure. It was a nice melding of both of their styles. “Missing Person” has Cale and Clapton trading verses vocally before joining together on the chorus. If you want a guitar solo, check out “Who Am I Telling You.” “Don’t Cry Sister” contains some nice harmonizing by the pair.

Some other highlights to look for are Taj Mahal’s harmonica playing on “Sporting Life Blues,” a bluegrass sound on “Dead End Road,” and the catchy rhythms of “Danger.”

Cale wrote eleven of the fourteen tracks, and the album reflects his overall influence. “Clapton’s “Three Little Girls” sounds more like a Cale composition than his own.

The Road to Escondido is not groundbreaking or earth-shattering. It is comfortable, restrained, and ultimately enjoyable. While the sound is closer to Cale’s, it is nevertheless a welcome addition to the Clapton catalog. It is a reminder of just how adaptable Clapton could be as this bluesy/folk type collaboration remains an outstanding album for both of the participants.

Complete Clapton

The year 2007 saw the release of another Clapton compilation album. Complete Clapton was a two-disc, thirty-one-track set that clocked in at just over two and a half hours. It was released to coincide with his new autobiography and was comprised of tracks from both his former and current label, although the first disc was suspiciously similar to The Cream of Clapton. It was another successful commercial enterprise, reaching #2 in the United States and #14 in England.

Despite the title, it is not complete but does contain most of his well-known and popular material. It should be approached as a modern-day greatest hits album.

I have few complaints about the release as it was intended to be a commercial overview of his musical journey, and in that it succeeds well. While the material is available elsewhere and in different forms, it should be accepted for what it was intended to be.

The liner notes were well done, with information about each song, a list of musicians, and some photos.

Most fans could probably guess at least half the tracks on the album without ever seeing the song list. I use the album as part of my car inventory, and I have found it to be a perfect driving companion for traveling down the road of life while enjoying Clapton’s journey.

Live from Madison Square Garden

The years 2008–2010 were busy ones for Clapton. He was approaching the retirement age of sixty-five with no signs of slowing down. Life tends to rush by as people age, and it seems as if he wanted to pack as much as possible into the years that remain, which hopefully are a lot.

His 2009 touring band of Japan, New Zealand, and Australia included Bramhall, Stainton, Weeks, Laboriel, plus backup singers Sharon White and Michelle John. The Ireland/U.K. leg added Andy Fairweather-Low plus Steve Gadd replacing Laboriel. Tim Carmen was added as a second keyboardist.

Clapton’s relationship with old bandmate Steve Winwood continued to develop. They had remained friends since the dissolution of Blind Faith but had rarely performed together.

They decided to play a series of concerts together at Madison Square Garden on February 25–28, 2008. Over a year later, a two-CD/two-DVD set was released chronicling the event. Their time onstage together was so enjoyable they toured the States in June 2009. The album may have only reached #40 in the United States but sold two million copies.

Live from Madison Square Garden is an essential listen and a modernized trip back to another era. The music travels in a wide arc, including four Traffic songs, to the first side of the only Blind Faith release, to solo material, to such tracks as Jimi Hendrix’s “Voodoo Child” and Buddy Miles’s “Them Changes.” Each performed one solo song: Clapton with an acoustic performance of “Rambling on My Mind” and Winwood at the organ for a moving “Georgia on My Mind.” There were also some nice switches such as Winwood’s vocal on “Forever Man” and Clapton’s guitar solo on “Glad.”

They wisely used a basic backing band. Keyboardist Chris Stainton, bassist Willie Weeks, and drummer Abe Laboriel Jr. were the only other instrumentalists. The focus was kept on the two stars, where it should have been.

One of the more memorable concert posters of Eric Clapton’s career. Courtesy of Robert Rodriguez

The overall feel of the concert was happiness and comfort. They seemed to be enjoying themselves and were able to transmit that feeling to the audience, both live and through this release.

The sixty-five-year-old Clapton continued to tour heavily. Stainton, Weeks, and Gadd remain his basic band. He toured Europe with Winwood from May 18 to June 13.

Eric Clapton Guitar Festival 2010

Clapton held his third Crossroads Guitar Festival on June 26, 2010, back at Toyota Park in Bridgeview, Illinois. He was joined by the usual array of guitar star power. The Robert Cray Band, Jimmie Vaughan, ZZ Top, Doyle Bramhall, Vince Gill, Earl Klugh, Buddy Guy, Derek Trucks, Johnny Winter, Jeff Beck, B. B. King, and the ever-present John Mayer all joined him for another day of guitar-based music.

Eric Clapton Guitar Festival 2010 was released November 9, 2010, and is another two-DVD extravaganza featuring an eclectic group of musicians that come together in a number of fine performances.

Bill Murray is back as emcee and introduces the individual acts.

Disc one blasts out of the starting gate with Clapton and Sonny Landreth performing “Promised Land.” Gypsy Blood,” and “In My Time of Dying” by Bramhall keep the momentum flowing. The combination of Sheryl Crow with Derek Trucks, Susan Tedeschi, and Gary Clark join Bramhall on “Long Road Home,” and then Clapton joins in as well on “Our Love Is Fading.”

Vince Gill’s stature, at least with me, has continued to grow with each Crossroads appearance. “Mystery Train,” “Lay Down Sally,” and “One More Last Chance” with an assortment of musicians including the great James Burton, Earl Klugh, Albert Lee, and Keb Mo help propel him to another stellar performance.

Sometimes, a good idea is really a good idea. His Unplugged project was one of the most successful of his career. Author’s collection

Earl Klugh is always welcome, and his jazz guitar on “Angelina” and “Vonetta” is a welcome counterpoint to the sounds that are swirling around him.

Husband and wife Derek Trucks and Susan Tedeschi are a highlight with “Midnight in Harlem,” “Comin’ Home,” and “Space Captain.” Other high points are Buddy Guy with Johnny Lang and Ronnie Wood on “Five Long Years” and “Miss You” plus Jeff Beck’s “Hammerhead” and “Nessun Dorma.”

Clapton is represented by a seven-song set. “Hands of the Saints,” a twelve-minute “I Shot the Sheriff,” “Shake Your Moneymaker” with Jeff Beck, and “Had to Cry,” “Voodoo Child,” and “Dear Mr. Fantasy” with Steve Winwood are enough to whet the appetite of any Clapton fan. The set and concert come to a close with an all-star lineup featuring B. B. King, Clapton, and Robert Cray.

Clapton’s Crossroad Festivals and resulting albums have become an interesting collection of guitarists and music that rarely happens. It is a testimony to his stature that he is able to continually attract such talent to give their time to such a worthy cause.

Clapton

Eric Clapton released his nineteenth studio album on September 27, 2010, just in time for entry into this book. Proving that sixty-five is not too old, he reached the top ten in the United States, Great Britain, Austria, Belgium, Canada, Denmark, the Netherlands, France, Germany, Czechoslovakia, Hungary, Italy, Norway, Spain, Poland, and Switzerland. The personnel included Bramhall (who also coproduced), J. J. Cale, Derek Trucks, Jim Keltner, Willie Weeks, Walt Richmond, and Steve Winwood, among others.

Clapton is a polished affair. He only cowrote one of the tracks but chose the other thirteen wisely. There is a mixture of blues, rock, a little jazz, and even some R&B thrown in for good measure.

The core of the album is made up of pop standards. “Autumn Leaves,” “How Deep Is the Ocean,” “Crazy About You Baby,” and “When Somebody Thinks You’re Wonderful” are good vehicles for his vocals and are interpreted effectively and uniquely.

He does rock a little as well. “Travelin’ Alone,” “Judgement Day,” “Everything Will Be Alright,” and “Run Back to Your Side” will all keep your attention.

“My Very Good Friend the Milkman” has a New Orleans jazz flavor courtesy of Allen Toussaint and Wynton Marsalis.

Now in his mid-sixties, Clapton can still play in the style of Cream and Derek and the Dominos but has reached a point in his life when he has decided to travel a different path, at least in the studio.

Clapton is a vibrant exploration of styles. It may be a little too easy on the ears for some, but it is representative of the Clapton of 2010.