From The Cradle by Eric Clapton

Eric Clapton returned to his roots in 1994 with the release of From The Cradle. It was the first total blues album of his career containing only cover material. He also made the decision to record the 16 tracks live in the studio, and except for two short dubs it was released as it was recorded.

It proved to be a good idea that worked both artistically and commercially, as it returned him to his love of the blues and reached number one on The American album charts.

Very few musicians would have the confidence or the chops to tackle classic blues pieces by such legends as Elmore James, Muddy Waters, Willie Dixon, Lowell Fulson, and the like. Clapton was more than up to the task as his gritty vocals and always superb guitar playing modernize many of these classic blues tunes while paying homage to their origins.

Clapton always had the ability to surround himself with outstanding musicians and continues that trend here. Andy Fairweather-Low is on board as the second guitarist, and studio musician deluxe Jim Keltner is the drummer. Keyboardist Chris Stainton and harmonica player Jerry Portnoy make creative contributions to the live sound. He also has a three piece brass section to fill in the holes.

There is a lot of outstanding material from which to choose. The Old Willie Dixon/Eddie Boyd composition, “Third Degree,” is the type of slow blues tune that fits Clapton’s style so well. “Blues Before Sunrise” is a vehicle for his slide technique. My favorite tune is the Muddy Waters classic, “Hoochie Coochie Man,” which features an emotional vocal. “Groaning The Blues” is the longest track at over six minutes and gives him room to improvise.

From The Cradle is ambitious and above all authentic. Clapton let it be known that he was still a musician of note and power all within the context of the blues. It remains one of his essential modern releases.

Journeyman by Eric Clapton

This is the last Eric Clapton album that I have on vinyl so somewhere between 1989 and the early nineties I departed from the true faith and switched to CD’s.

As I have traveled through the Clapton catalogue, every once in a while an album surprises me and Journeyman falls into that category. It had not graced my turntable in years, which was a shame as it is one of his better solo efforts.

Journeyman was a moderate commercial success upon its release, but like several other of his albums it sold well for a number of years before becoming one of his most successful releases. “Pretending” and “Bad Love” would top the United States Mainstream Rock charts and two more tracks would crack the top ten. Almost continuous airplay would keep him in the public consciousness.

It contains more hard rock and blues than many of its recent predecessors. Phil Collins was not back as a producer but Clapton took his pop sensibilities, toned them down a bit, and produced modern sounding music that was true to his roots.

I can only imagine how many albums on which Clapton has been a guest. Dozens, or to be more accurate, hundreds of musicians have returned the favor; so many that at times the personnel listed in the album credits reads like a virtual musical who’s who. This is one of those releases as George Harrison, Phil Collins, Gary Burton, Hank Crawford, Jim Keltner, Daryl Hall, Richard Tee, and a score of others all lend a hand here.

The first and the last tracks are as good as any solo material he has produced. “Pretending,” one of five tracks written or co-written by Jerry Lynn Williams, is Clapton modernizing his blues sound along with a great vocal. The album concludes with the Bo Diddley penned blues classic, “Before You Accuse Me.” He remains faithful to the 1958 original, complete with a stinging guitar solo.

There are a number of other tasty tracks to be sampled. “Bad Love,” with Foreigner guitarist Mick Jones, includes one of Clapton’s best solos of the decade. I just wish they could have turned down the synthesizers a bit. His take on “Hound Dog” is interesting and different than the Elvis Presley version that is imprinted in everyone’s mind. “Breaking Point,” at over five and a half minutes, allows him to stretch out his guitar solo. “No Alibis” features fine vocal accompaniment from Daryl Hall and Chaka Khan.

Journeyman allowed him to finish the eighties in fine style and would set the tone for what was to come. It remains an excellent glimpse into musical mind of Eric Clapton and will make its way to my turntable on a more regular basis in the future.

Christmas Wish by Olivia Newton-John

Olivia Newton-John’s Christmas Wish was released in Australia in 2007 and migrated to The United States courtesy of Target stores a year later. 2009 finds it being released into the American mainstream.

Now about forty years into her career, Olivia Newton John is who she is. She has been a pop diva who has sold tens of millions of albums worldwide, played the female lead in Grease (which has proven to be one of the eternal musicals of American cinema), and built a loyal and devoted fan base.

Christmas Wish is a gentle holiday album and fits her style well. Her angelic soprano voice may not have the power of her seventies and eighties pop heyday, but still is more than adequate and has retained its tone and clarity despite the passage of time.

The album was well produced by Canadian songstress/actress Amy Sky who has worked with Newton-John in the past. She brought a vision to the release by connecting the twelve complete tracks with short musical interludes comprised of traditional holiday pieces which enhanced the albums flow.

The material is a combination of traditional holiday songs and original compositions. There is nothing wrong with hymns such as “O Come All Ye Faithful,” “We Three Kings,” and her duet with Jann Arden on “Silent Night,” but they are just the lead in for the original songs which form the heart and soul of the release.

“A Mother’s Christmas Wish” is solemn, tender, and includes a duet with Jim Brickman. “Every Times It Snows” is another duet, this time with Jon Secada, and is a Christmas tearjerker. “Christmas On My Radio” may be the best song on the album. It is upbeat and perfect radio fare.

Olivia Newton-John has produced a mellow, respectful, soothing, and in many ways traditional holiday album even with the original material. Christmas Wish contains a lot of enjoyable music and is a fine addition to anyone’s Christmas catalog.

The Singles Collection by Creedence Clearwater

It’s time to get out of your seat and travel to your local music store as quickly as possible because Creedence Clearwater Revival have issued thirty of their singles in a new two-disc box set.

Creedence Clearwater released a number of well produced, creative, commercially successful, and highly enjoyable studio albums during the course of their Rock and Roll Hall of Fame career. It was their single releases, however, that initiated and maintained their mass popularity. They placed 19 songs on The American charts from 1968-1972, and they remain some of the best known tracks in rock history. Even casual rock fans are familiar with songs such as “Proud Mary,” “Bad Moon Rising,” “Down On The Corner,” “Travelin’ Band,” and “Fortunate Son” among many others.

The Singles Collection gathers all of their hits, some B-sides, and even a few rare singles that have faded from history. The album remains true to the intent of the original releases as they retain their original mixes and mostly mono sound.

Early non-charting releases “Porterville” and “Call It Pretending” and late career issues “Revolutions Per Minute” parts one and two are resurrected to bookend the album.

I have always found it amazing that Creedence Clearwater never had a number one hit in The United States. They cracked the top four seven times and reached number two with five of those but the top spot always eluded them.

Still when you listen to their catalog of singles back to back it is one of the most powerful and enjoyable of all time. “Run Through The Jungle,” leads to “Up Around The Bend,” which becomes “Lookin’ Our My Back Door,” and onward to “Sweet Hitch-Hiker.” And that does not even scratch the surface.

There are several nice bonuses included in the set. A four song DVD presents some pre-MTV promotional videos. While Creedence is a band I would rather hear than see, this short set is historically interesting.

“I Heard It Through The Grapevine” and “Lookin’ Out My Back Door” have the feel of studio rehearsals, but “Bootleg” complete with dancers, and “I Put A Spell On You” in all its psychedelic glory, are nice artifacts from the past. There is a small poster which pictures 49 of their picture sleeves. I have a large 45 rpm vinyl collection and thousands of sleeves, but there are many pictured here which I had never seen.

Former Rolling Stone Magazine editor Ben Fong-Torres contributed the liner notes which are contained in a 16 page booklet. I also read that the set would also be released as a series of vinyl 45 rpm records complete with reproductions of the original picture sleeves.

The Singles Collection may contain previously released material, but when presented in this form it shows how thrilling and spectacular Creedence Clearwater Revival was at the height of their career.

So why are you still sitting there?

Who Do You Love 45 by Tom Rush

“Who Do You Love,” written by Bo Diddley, has been recorded by dozens or more likely hundreds of artists down through the years. I mean lyrics that include “wearing a cobra for a necktie and having a house built of rattlesnake hides with a chimney made of human skulls” just can’t be beat.

Enter songer/songwriter Tom Rush who was a presence in the early American folk scene. His version was one of his rare songs that was not folk. Instead he gave it a unique and ominous blues/rock translation that was and remains unique.

“Who Do You Love” was an early release on the Electra Label and amazingly never charted. Still it remains his signature song and is still a great listen.

August by Eric Clapton

Phil Collins and Eric Clapton joined together for a second collaborative effort with the November 1986 release August. They shared producing chores as Collins pop sensibilities combined with Clapton’s blues/rock foundation to provide a solid and satisfying listening experience.

The drumming and synthesizers may have been very eighties but they allowed room for Clapton’s guitar excursions. It may have been slicker and more polished than many of his past album releases, but it retained his signature sound.

Clapton assembled his usual collection of stellar backing musicians. Greg Phillinganes was back on board as the keyboardist and would become an important part of his touring band for the next several years. Saxophone player Michael Brecker, trumpet player Randy Brecker, and a couple of friends brought their brass sound to five of the tracks and were a welcome addition.

August would only reach number 37 on the American charts, but would continue to sell well for years and ultimately become one of his most commercial successes.

The songs roll smoothly into one another. “It’s The Way That You Use It,” co-written with Robbie Robertson, features a gritty vocal and excellent guitar solo. “Tearing Us Apart” contains a fine vocal by the legendary Tina Turner. “Taking A Chance” finds Clapton’s guitar floating over Phillinganes keyboards. All three tracks were hits on the American Mainstream Rock Charts and received considerable airplay.

“Run” and “Hung Up On Your Love” were both written by Motown soul artist and composer deluxe Lamont Dozier and receive a horn laden treatment in support of his classic guitar playing.

August may be a product of the eighties, but it is good eighties. It remains a good effort by one of rock music’s guitar gods.

Behind The Sun by Eric Clapton

After the less than stellar commercial performance of his 1983 release, Money and Cigarettes, Eric Clapton was under some pressure to produce an album that would appeal to his vast fan base. His 1985 release, Behind The Sun, was a good if not great album. It was an album of the eighties featuring synthesizers and programmed drums. What was also present, however, was some of his best overall guitar playing in years.

He departed from his tight little supporting bands of his past few albums as over twenty musicians appear in the credits. Guitarists Lindsey Buckingham and Steve Lukather, bassist Donald “Duck” Dunn, drummer Jeff Porcaro, keyboardist Greg Phillinganes, and vocalist Marcy Levy are all on board in support of Clapton. The biggest addition was Phil Collins who not only provided keyboards, percussion, and background vocals but also was the co-producer. It was his influence that, for better or worse, brought Clapton into the MTV age.

Clapton was searching for a hit and found “Forever Man” by Texas songwriter Jerry Lynn Williams who would provide two other songs as well. Clapton’s guitar solo rank with the best of his career and the vocal is also strong. The music video would be memorable and “Forever Man’ would top Billboard Magazine’s Mainstream Rock Chart and prove that Clapton could still produce popular music. Veteran producer Ted Templeman would produce all of Williams’s contributions and they would provide a good counterpoint to the slick work of Collins.

“She’s Waiting,” which was the albums first track, is the perfect combination of Clapton and Collins. The drums and keyboards are from the eighties but Clapton’s guitar playing is classic.

The album has some highs and lows. “Same Old Blues” and “Never Make You Cry,” are just too long at eight and six minutes respectively but are saved by some more tasty guitar solos. The title track was written during his separation from his wife Patti and features just guitar, keyboard, and an emotional vocal.

Behind The Sun remains a transition album for Clapton. As such it is a hit and miss affair and is for fans who want to delve deeper into his catalogue than the usual norm. In the final analysis it ranks somewhere between okay and good.

Good Vibrations 45 by The Beach Boys

“Good Vibrations” by The Beach Boys is one of the most incredible productions in rock history. Following on the heels of his masterpiece, PET SOUNDS, it showed the direction Brian Wilson was moving in before everything feel apart.

Brian Wilson literally pieced the song together note by note and layer upon layer. It took as much time and money as many album releases of the day. What emerged was one of the classic and most respected songs of the sixties.

The public would instantly recognize its brilliance at it would top The American charts in October of 1966. There have been very few singles to equal it during the last forty plus years.

Skin It Back (DVD) by Little Feat

Bill Payne and Lowell George formed Little Feat in 1969. Paul Barrere joined in 1972 as a second guitarist/vocalist and several years later they were stars. Albums such as Dixie Chicken, Feats Don’t Fail Me Now and The Last Record Album established the band’s eclectic brand of southern fried rock, blues, R&B, and jazz.

Little Feat have always been recognized as superior live performers. Their ability to jam and improvise has kept their concerts interesting and entertaining.

Skin It Back was recorded in 1977 as a part of German Television’s Rockpalast Series. It features their classic line-up of Payne, George, Barrere, plus drummer Richard Hayward, percussionist Sam Clayton, and bassist Kenny Gradney.

Shortly after this concert they would record Waiting For Columbus which is one of the better live albums of the seventies and probably their strongest release.

This concert has been released in various forms previously including VHS and bootleg versions, but here the sound and video have been remastered to give it a superior quality. It is all the more amazing when you consider the technological limitations of 1977.

In addition the liner notes are extensive and give a fine history of the group and concert. The foundation of their sound is Payne’s keyboards and the double percussion. Barrere and George then layer in their guitar sound. When thinking about the great guitar players in rock history many times Lowell George is forgotten. He had a unique slide technique which is on display here.

They cover all the bases on this DVD. “Skin It Back/Fat Man In The Bathtub” is funky blues. “Old Folks Boogie” is a slow blues piece. “Dixie Chicken” is extended close to fifteen minutes and gives the group members room to stretch out musically. “Feats Don’t Fail Me Now” and “Triple Face Boogie” receive a funky rock treatment.Skin It Back is a fine look at the seventies Little Feat. Lowell George would be dead within two years of this concert. The other five members with an addition or two have carried on to the present day.

If you want to see one of the better rock bands of the seventies in their live element, then this is a DVD for you.

Pieces by Manassas

Stephen Stills has been a member of The Buffalo Springfield and Crosby Stills, Nash and Young and has issued any number of solo albums but I have always considered his work with the group Manassas as among his best.

Stills formed Manassas in 1971 with Chris Hillman. He was a wise choice and proved a perfect counterpoint to Stills. He kept him centered and in control. They were joined by guitarist Al Perkins, bassist Fuzzy Samuels, keyboardist Paul Harris, percussionist Joe Lala and drummer Dallas Taylor. They were a tight knit outfit who were powerful in concert.

Their first self titled double album was released in April of 1972 and contains some of the finest rock music produced during the early seventies. It was a huge commercial hit reaching number four on The American album charts. Their 1973 release, Down The Road, was not of the same quality and by October of that year they had disbanded.

Pieces is comprised of material that was recorded between their two album releases. It is far superior to Down The Road and why it was not issued at the time is beyond me. There are works in progress and what appear to be unfinished songs. The fifteen tracks clock in at just under 45 minutes which leaves the listener wishing that it could have been finished. Still there are a number of very good songs that rank among Stills finest work.

Chris Hillman’s influence is felt throughout the album. “Lies” is a rare straight rock song from Hillman. A different version would appear on Down The Road but here guest guitarist Joe Walsh provides some ringing guitar work. His “Love and Satisfy” would reappear on his album Souther-Hillman-Furay Band and returns him to his country/rock roots. Two acoustic bluegrass pieces also feel his influence. The classic “Panhandle Red” shows what a great mandolin player he could be in the right setting while “Uncle Pen” unites Stills pickin’ style with Hillman’s mandolin.

Stephen Stills is mostly responsible for the rock part of the album. “Like A Fox” has an unfinished feel, but what is there is very good, especially his vocal. “Word Game” is a harder version than appears on his second solo album. “My Love Is A Gentle Thing” features some C,S,N,&Y harmonies. “Fit To Be Tied” is Stills at his best as he breaks out the wah-wah sound and goes in a blues direction.

The album production is surprisingly good for material that has been in the vault for over 35 years. It is crisp, clear and was mixed well.

Manassas is one of those what if groups. Much of their small catalog seemed to indicate that Stills would have thrived in this group but such is life. Pieces is a wonderful artifact from a by-gone era and is a good listen in its own right.