Eric Clapton: Clapton

E.C. is here.

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To title an album with simply an unadorned name is an assertion of identity, and this — El Clappo’s first solo album in five years — completes a circle begun with his eponymous debut released way back in 1970.

It combines blues-rock at its most modal and swampy — ominous, hallucinatory dreamscapes shimmering with muted menace and a distinct Nwarleens vibe, as if Dr John had produced Slim Harpo — with jaunty Big Bill Broozyesque ballads, rags’n’ hollers garnished with Allen Toussaint’s fabulous piano.

Plus the opener, Travelin’ Alone, evokes (and borrows a lyrical verse from) Canned Heat’s On The Road Again, and River Runs Deep could be Alabama 3 at their most chilled, while Crazy About You Baby and Rollin’ And Tumblin’ do Muddy Waters much honour.

It ain’t exactly a party record – not unless you throw seriously weird parties – but it exudes major atmosphere. There’s nothing stiff or academic about EC’s new blues: he’s always connected with the soul of the blues but now he’s finally found its heart. As musical self- reinventions go, it’s a triumph: when was the last time Clapton sounded like he was having this much fun or cared so much about his music?

Charles Shaar Murray is the award-winning author of Crosstown Traffic: Jimi Hendrix And Post-war Pop, and Boogie Man: The Adventures of John Lee Hooker in the American Twentieth Century. The first two decades of his journalism, criticism and vulgar abuse have been collected in Shots From The Hip. A founding contributor to Q and Mojo magazines, his work has appeared in newspapers like The Guardian, The Observer, The Independent, The Independent on Sunday, Evening Standard, and magazines including Word, Vogue, MacUser, Guitarist, Prospect and New Statesman.