Unplugged - Eric Clapton

...own a couple of other Unplugged releases, Paul McCartney and Bob Dylan, but this is probably my favourite, as the musical ability of Eric Clapton and the material chosen is superb, allowing it to stand ahead of the others in sheer overall quality. And considering that you get over an hour of material, the value for money is also excellent, with great tracks throughout, showing why praise and awards were lavished upon it.

1. Signe 3:14
...Hey 3:16
4. Tears In Heaven 4:36
5. Lonely Stranger 5:27
6. Nobody Knows You When You’re Down And Out 3:49
7. Layla 4:46
8. Running On Faith 6:29
9. Walkin’ Blues 3:37
10. Alberta 3:42
11. San Francisco Bay Blues 3:23
12. Malted Milk 3:36
13. Old Love 7:53
14. Rollin’ And Tumblin’ 4:11

Total Run Time 61:43

1. Signe ****

The album opens with an ... more

As an artist, Eric Clapton has done a huge amount to promote early blues musicians, reworking some songs, and simply playing versions that follow them to the note. This is notably obvious on Me & Mr Johnson, his tribute to the work of Robert Johnson, often seen as the king of delta blues, but can be found throughout his catalogue. His ability as a guitarist is well known and it is prominent throughout the album as you might guess, being backed by a strong group of musicians to further add to the intimacy of the performance. And it is this ability that allows him to delve into the blues catalogue and provide covers that almost match the beauty of the originals, although admittedly with a larger instrumental backing in most cases.

The album itself was recorded in a small venue to an equally small audience, whom I assume are big fans of the Eric Clapton, as we here rounds and cheering and clapping between and occasionally during the songs. The songs given here make up the main bulk of the material recorded, except for three other tracks which can be found on other releases, mainly bootleg material. But despite the reduction in the track listing, the album is cohesive, and it is only the seemingly impromptu rendition of Rollin’ And Tumblin’ that contains a slight pause before it.

As an album it is perhaps one of my favourite, containing great tracks throughout, with classics such as Layla reworked for the acoustic environment, and 10 covers of blues material added in for a release that is perfect for the small scale environment that they were played for. I do own a couple of other Unplugged releases, Paul McCartney and Bob Dylan, but this is probably my favourite, as the musical ability of Eric Clapton and the material chosen is superb, allowing it to stand ahead of the others in sheer overall quality. And considering that you get over an hour of material, the value for money is also excellent, with great tracks throughout, showing why praise and awards were lavished upon it.

1. Signe 3:14
2. Before You Accuse Me 3:44
3. Hey Hey 3:16
4. Tears In Heaven 4:36
5. Lonely Stranger 5:27
6. Nobody Knows You When You’re Down And Out 3:49
7. Layla 4:46
8. Running On Faith 6:29
9. Walkin’ Blues 3:37
10. Alberta 3:42
11. San Francisco Bay Blues 3:23
12. Malted Milk 3:36
13. Old Love 7:53
14. Rollin’ And Tumblin’ 4:11

Total Run Time 61:43

1. Signe ****

The album opens with an instrumental number, which is introduced by a round of cheering and clapping, as well as the necessary tune up from the band. But once this is over, they launch into this great little number that is both uplifting and still tranquil at the same time, never really building, simply remaining with a sense of joy for the music. This is not only the perfect introduction to such a great guitarist, but is also a great introduction to the album as a whole, providing the framework for the laidback, tripped down show that soon follows.

2. Before You Accuse Me *****

We then some to the first cover track of the show, the likes of which dominate it, taking up more than two-thirds of the tracks, which is no bad thing considering the strength of the songs and the way they are covered. This great track sails through, with clapping provided by the audience throughout, providing you with the environment and allowing you to become more a part of the song. The track is a straight blues number, with the main focus on the guitar and voice, with the majority of the other instrumentation either non-existent or pushed back in the mix. This allows it to retain some of its roots, as if Eric Clapton had written it, making it his own, whilst still staying pretty true to the original.

3. Hey Hey *****

This is a great Bill Bronzy track, which originally featured some spectacular guitar work, and this is retained of the most part here, although I have always preferred the lone guitar versions. The lyrics themselves are not the most creative, but this is a guitarist’s track, something that is not lost here, as Clapton plies through with a great imitation of the original. Although I still prefer the original, I feel that this version has its merits, but the guitar work does often feel a bit lax, simply keeping to the same melody and rhythm, where the original version permeates beyond its beginning towards some end.

4. Tears In Heaven *****

This was probably the track on the album that was lavished with the greatest amount of praise, seen as one of the most poignant and beautiful pieces that Clapton had ever written and performed, and I would be entitled to agree with that as it is truly a work of beauty. The song is about his son, who had recently died at the age of five, and the emotion that he must have felt from that event comes through in this performance, giving you a sense of the grief he must have carried with him ever since. It draws you back from some of the blues tracks and takes on a life of its own, going beyond the vocal work on the others and providing undoubtedly one of the main highlights on the album.

5. Lonely Stranger *****

The last track started some of the larger backing and this continues it, with some nice keyboard and drum work from his backing band. This and the next track I feel are very much related, keeping to similar subject matter, losing everything and turning or being turned from the world that they grew to know. Whether this idea had any significance for Eric Clapton, I am unsure, but I do know that this is a great track that builds on from the energy and emotion of the previous track and plays on the emotions of the audience yet further. We are also introduced to the backing singers, who become more prevalent later on, but add a slightly haunting background part that for me really adds to this already great track.

6. Nobody Knows You When You’re Down And Out *****

This is a slightly more upbeat song in terms of the arrangement, with more of a focus on the keyboard, adding a nice jaunty backing to the vocals from this great track. The lyrics as previously mentioned relate to the fall of a previously well off man, making his so-called friends leave him, with the draw of money and power one of the strongest images in today’s society, brought home even more by the current collapse of the banking system. This track along with pretty much all of the others, really showcase Clapton as the vocalist, as he is a good singer, putting strength and emotion into his performances, making him suited to blues material that he delivers here perfectly.

7. Layla *****

This is one of Clapton’s most well known songs, and it is slightly reworked here for the acoustic setting, but still carries the same strength and quality that the electric version does, if not more so. This is a great love song, taking on a life beyond many slightly sappier ones, which fail to capture any great sense of emotion and event that this track always seems to achieve. Again this is a highlight of the album, with some nice guitar riffs and playing throughout that are near reminiscent of his electric ones on stage.

8. Running On Faith *****

This is one of the longest songs of the album, but despite this, the sheer power and strength of the performance is enough to warrant it, as the dynamics of the track mean that it never drags on, building to the songs conclusion. The lyrics themselves are perfectly done by Eric Clapton, done with such emotional strength and vocal ability that it for me is probably a better version than the original, with the backing vocals again coming into prominence as an eerie whisper on the wind. I have said this many times before, and probably will again, but the guitar work on this track is great and it makes this far better than it may have otherwise have been. The song itself talks about a relationship seems to have failed, but could have hope if there is hope left in it, building on the themes of Layla, something that is done so well on this album.

9. Walkin’ Blues *****

From the more anthem-like performance of the last track, we come to this, which is a straight blues track, again cut down to guitar and voice, which Eric Clapton is able to do so well. This is the first of two Robert Johnson songs on the album, an artist that Eric Clapton worshipped as a guitarist and blues artist, which is understandable considering his ability, underlined by the Crossroads rumours. I still prefer the original version by Robert Johnson himself, but this stands as a strong cover, taking on the strength of emotion and guitar ability that makes the original track what it is.

10. Alberta *****

This is a song with a long history behind it, and returns to the band backing of some of the other tracks, which helps it to blend into the next track, the arrangement of which is very similar. This song has been covered by many artists, although many in slightly different forms, but it is a classic blues song in terms of the lyrics, taking many lines that are wrapped into many songs. The song is a blues love song about the woman of the title, removing it from modern love songs, something I am grateful for, as it is far stronger and more suited to the vocal and playing style of Eric Clapton.

11. San Francisco Bay Blues *****

This has also been performed by many artists, but this is one of the best versions I have heard, done in more of a fun way, talking on what I assume to be something similar to a penny whistle. The audience gets heavily involved again with the clapping, expanding the sound of the song, and creating a far more crowded atmosphere, suited to the song, as it is written with a sense of fun, although I have heard arrangements done in a far different style.

12. Malted Milk ****

This is the second of the Robert Johnson tracks and returns to the guitar and voice of the other one, which I am grateful for, as it wouldn’t hold the same strength otherwise. This is not my favourite Robert Johnson track, neither is it my favourite on the album, but it is still a great track that showcases the ability of Eric Clapton. The real emotion though comes from the lyrics, a strong feature of the blues, and one of the reasons why I hold the genre in such high esteem, as Eric Clapton himself did. Blues is one of the most versatile genres and it is songs like this that were recorded originally about 70 years ago.

13. Old Love *****

This, the longest song on the album, is the unofficial conclusion to the album, as the next track is more of an off-hand piece thrown in for good measure. But it is a great finish, taking on probably the largest arrangements and backings on the album, well suited to the vocals and lyrics of the song, which fit in perfectly. You can tell that he wrote the track, as he sounds so comfortable within it, going from the built up verse parts to the drop in the chorus as smooth as you like. The vocals on this track as well are some of the best on the album, building to such strength at the songs conclusion, that you are left consumed within it. The song as a whole is so perfect that it is hard to consider that it was done in a small live venue to a select audience, as it feels so well pieced together and makes it one of the best tracks on the album, a true highlight. It is dynamic throughout and leaves you wanting more, which it seems to give you, with the dynamic changes and quiet moments that build to another chorus.

14. Rollin’ And Tumblin’ ****

As mentioned before, this feels like more of an impromptu track, with more clapping from the audience, and simper guitar and drum backing, paling in comparison to some of the other tracks. But it is no less of a track, as it is a good jaunty number to officially end the album, featuring some nice words from Eric at the end that almost prove my point about the nature of the track. It feels less polished, but that is almost in the songs favour, giving it a freeform feel.

Overall, I can’t really lavish this album with enough praise, as it is an album that can speak to anyone whether they like Eric Clapton or not. It gives you a sense of the man as well as the music he loved, the blues, which is the dominant genre of the album, something I am thankful for. If you do doubt the abilities of Eric Clapton then get this album and see if it doesn’t prove you wrong, as the diversity of the arrangements and the styles of tracks on offer make for engrossing listening and will leave you wanting more. It is an album for everyone to enjoy, but notably those inclined towards the blues, and I can’t really recommend it more. 

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