ERIC CLAPTON's DISCOGRAPHY

The extraordinary experiences voiced by such pioneers as Robert Johnson and Muddy Waters informed Clapton . s passion for blues and the guitar. its primary instrument. These vivid, expressive sounds stoked his ambition to explore this music and its heady purveyors. This enduring fascination set in motion a musical journey which has endured more than thirty five years after he first ventured to London to establish his own mark.

Clapton's commitment to the blues and its many pioneers who captured his imagination has never varied. It remains the foundation of his sound and style. His love affair with this passionate music stands undiminished. In 1965, lie left his first major group, the Yardbirds, as a matter of principle. In the aftermath of their chart breakthrough - the pop classic 'For Your Love' Clapton sensed that his fellow mates had forsaken their blues sensibilities. Thirty years later, he unabashedly followed the biggest commercial success of his celebrated career with the all blues From The Cradle, an uncompromising ode to the art form on which his remarkable career had long been established.

Clapton bestowed a commercial sensitivity to blues music, injecting, with increasing skill over the years, his own unique emotional stamp. What separated Clapton's efforts from those of his contemporaries was his breathtaking virtuosity. Clapton's extraordinary skill as a guitarist became an integral component of his blues voice. Throughout Eric Clapton: Blues, Clapton's mastery of the guitar is in full view. To carry his message, Clapton drew upon a host of string instruments-acoustic, electric, slide, and national steelto forcefully punctuate the words and music of his heroes. Throughout the 1970's, Clapton's confidence in his own singing voice grew. His increased vocal ability buttressed his dramatic guitar work and lent conviction to both his own original compositions and interpretations of blues masterworks.

This compilation documents Clapton's most compelling blues performances within the decade 1970 to 1980. These were the years where Clapton emerged as an accomplished solo artist. Amid the mainstream commercial success he continues to enjoy, Clapton has never forsaken his principal inspiration. He has deftly merged rock, country, and reggae with the stinging blues guitar which has become his trademark.

More than a compilation of the guitarist's brightest blues examples, Eric Clapton: Blues stands as a welcomed blues primer. In choosing material to interpret, Clapton's taste was exquisite. His selections ranged from the foreboding, acoustic sounds of the rural Delta to the urban grit and promise of the post war electric Chicago blues scene. Clapton's understanding and appreciation for the genre's gifted songwriters and performers was considerable. These sincere efforts on his part gave new light to the important works of many pioneers like Elmore James and Maceo Merriweather, whose premature deaths had robbed them of wider recognition.

Eric Clapton : Blues kicks off in spirited fashion with an unreleased recording of Bo Diddley's 'Before You Accuse Me'. Reinvented here by Clapton as a rollicking shuffle, 'Before You Accuse Me' was originally recorded during the August 1978 sessions for Backless. A second version, during these same sessions, draws the studio chapter to a close. This lively alternate treatment boasts an entirely different arrangement, yet Clapton's facility with the song remains readily apparent.

One of the treasures of Clapton's short lived partnership with Duane Allman follows next, an impassioned rendition of 'Mean Old World'. Written by harmonica master Little Walter, long hailed as one of the cornerstone artists of the legendary Chicago based independent label Chess Records. Clapton retained the brooding emotion of the original electric recording with his own acoustic interpretation. Recorded in October 1970, Clapton and Allman compliment each other throughout atop the sparse backbeat provided by drummer Jim Gordon.

Guitarist Jimmy Reed was one of the most significant artists of the post-war electric blues movement. Reed's successful formula was built upon his endearing voice and simple, but uniformly effective arrangements. His durable string of jukebox hits for Vee Jay Records included 'Bright Lights, Big City', 'Honest I Do', and 'Big Boss Man'. During the 1974 sessions for 461 Ocean . Clapton, joined by former Traffic guitarist Dave Mason, chose to workout 'Ain't That Loving You', another staple from the infectious Reed catalog.

The influence of slide guitar master Elmore James remains wide and far reaching. Powerful originals like 'Bleeding Heart', 'it Hurts Me Too', and 'Shake Your Moneymaker' have impacted disciples as diverse as Clapton, Stevie Ray Vaughan, and Jimi Hendrix. The stinging sides which James recorded for such famed labels as Flair, Chess, and Fire have long been favorites of Clapton. The guitarist's own passionate reading of 'The Sky Is Crying', included on this compilation, was the highlight of Clapton's 1975 studio album 'There's One In Every Crowd.

Two original Clapton compositions, 'To Make Somebody Happy' and the superb 'Cryin', both first issued an the 1996 box set Crossroads 2, are also included here. Both recordings hail from December 1978 sessions at London's Olympic Studios.

Throughout his career, Clapton has championed the work of noted guitarist Freddie King. Two spirited renditions of 'Have You Ever Loved A Woman' are featured as part of this compilation. The first is by Derek & the Dominos and was an integral component of their 1970 album Layla And 0therAssorted Love Songs. The second was culled from the many memorable stage performances of the song captured on tape. The blistering live rendition heard here, taped in Long Beach, California during the guitarist's 1974 'Comeback Tour', pushes Clapton's furious guitar work squarely to the forefront.

Freddie King makes a memorable appearance on disc two, closing the album in tandem with Clapton. With obvious delight, Clapton and King teamed for an energetic reading of Bobby 'Blue' Bland's signature song 'Further On Up The Road'. This Dallas 1976 concert recording was first issued on the posthumous King compilation Freddie King (1934-1976). Newly remixed, this rendition has never before been featured on an Eric Clapton release.

Clapton's broad knowledge of blues repertoire extended beyond the post-war electric staples favored by many of his British blues boom contemporaries. The traditional standard 'Alberta', popularized by Huddie Ledbetter, is one such example. This previously unreleased solo performance was recorded during the 1977 sessions for the guitarist's acclaimed Slowhand album.

'Early In The Morning', a traditional blues standard popularized by John Lee 'Sonny Boy' Williamson was warmly embraced by Clapton. Recorded in 1978 for Backless and a frequent concert vehicle, this plaintive, twelve bar blues was perfectly suited for Clapton's emerging skill as a vocalist.

Another Clapton original composition, the underrated 'Give Me Strength', was drawn from his 1974 'comeback' album 461 Ocean Boulevard. Perhaps overshadowed by the commercial success and radio airplay enjoyed by 'I Shot The Sheriff', Clapton's fragile lead vocal, effectively conveyed his successful battle to overcome the substance abuse problems which had plagued him for nearly three years.

Clapton's fertile 461 Ocean Boulevard recording sessions also yielded the guitarist's treatment of the Willie Dixon penned 'Meet Me (Down At The Bottom)'. Dixon remains one of the most prolific songwriters the blues genre has ever produced. His works were popularized by such forerunners as Howlin' Wolf, Buddy Guy, and Otis Rush. This newly unearthed gem makes its debut on this compilation.

Clapton paid homage to the work of pianist Maceo Merriweather via two stirring interpretations. The brooding 'County Jail Blues' bolstered the guitarist's 1976 studio release No Reason To Cry. Clapton's masterful 1978 live reading of 'Worried Life Blues' was even stronger, as the guitarist took the song to heart and tore into it with great conviction.

Sleepy John Estes, whose haunting 'Floating Bridge' was covered by Clapton on his 1980 album Another Ticket, was a rural Delta blues pioneer whose sparse, emotional songs deeply impacted the work of Big Bill Broonzy and Arthur 'Big Boy' Crudup - two other important Clapton influences. Clapton's faithful rendering here retains the passion of Estes' original version within the context of a contemporary electric arrangement.

The blues legend who undoubtedly made the deepest imprint on Clapton was Muddy Waters. Clapton's admiration for Waters extended far beyond simply replicating his songs on stage or in the recording studio. Clapton enjoyed the privilege of contributing to recordings by Waters and the two developed a warm friendship, In 1978, Clapton extended his stage to the blues legend, recruiting him to serve as the opening act for his 1978 world tour. The heartfelt gesture helped expose Waters' vibrant music to a wider audience. In return, Waters served as mentor to Clapton, lending the guitarist invaluable insights he couldn't possibly have dreamed about as a youth in Surrey, In 1980, Clapton paid further homage with a memorable version of 'Blow Wind Blow', a staple of Waters' stage repertoire.

Beyond the recording studio. Clapton's passion for the blues was most evident on the concert stage.

Throughout the world. Clapton enthusiastically delved into the genre's treasured catalog. drawing material specific for live performance. Free from time restrictions and other commercial hindrances. Clapton pushed his playing to extraordinary levels, weaving his brilliant solo and slide guitar work throughout.

Texas guitarist Aaron 'T-Bone' Walker was the first great showman of the blues. Walker's dramatic stage presentation included nimble guitar work performed behind his head. back. and many other seemingly inconceivable positions. His best loved song was the time honored 'Stormy Monday'. Culled from the Crossroads 2 box set. Clapton's faithful, extended rendition was recorded in April 1977 at London's Hammersmith Odeon.

While not structured in the traditional twelve bar blues form, this particular rendition of Clapton's popular ballad 'Wonderful Tonight', a 1978 recording from Glasgow. Scotland, bears the genre's obvious influence.

No Clapton blues compilation would be considered complete without representation by Robert Johnson. Two songs fmm the father of the blues, 'Kind Hearted Woman' and 'Crossroads'. are presented here. With 'Kind Hearted Woman'. Clapton expounds on the legendary wire recording left by the master with dramatic flair, recasting the song as his own. Clapton first popularized' Crossroads' with Cream in 1968 as part of their vaunted double album Wheels Of Fire. Eric Clapton: Blues moves the timeline forward a full decade, presenting a new appreciation recorded in concert in November 1978.

Guitarist Otis Rush emerged from Chicago's rough and tumble West Side in the 1950's to record a series of brilliant singles for the Cobra label. One of the more prominent examples of Rush's rich catalog was the extraordinary 'Double Trouble'. The left handed guitar master's short, biting leads and expressive vocals made a lasting impression on Clapton. He first covered 'Double Trouble' as part of his 1976 studio release No Reason ro Cry. The version included here was initially featured on his 1980 live album Just One Night, a double album souvenir of the guitarist's acclaimed

performances at the Budokan Theatre in Tokyo, Japan.

The smooth style of Texas based pianist Charles Brown is also represented on this compilation. Brown's distinctive vocals and fluid piano work provided a major source of inspiration for both Ray Charles and B.B. King both longtime Clapton favorites. The 1975 live performance of Brown's classic 'Driftin' Blues', recorded in Providence, Rhode Island, effectively conveys Clapton's appreciation for the legendary pianist.

The twenty-five performances featured on Eric Clapton : Blues provide the most comprehensive overview of Clapton's blues recordings to date. Even so, as long as Clapton continues to actively perform and record, the final documentation of his blues achievements can not be definitively assembled.