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Rock - Released January 1, 1970 | Polydor Records

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Right after he finished a tour with the Delaney & Bonnie couple, Clapton ended the collaboration because of a fight with them. Nevertheless, his creativity had not left him so he decided to go through a solo adventure and made a perfect start as a leader. Eric Clapton was released in 1970 after recording sessions in Los Angeles and London. Pop oriented, this album is still influenced by gospel and r’n’b which produces a diverse musical experience. Brownie, Clapton’s first Stratocaster is the main guitar used on the record, even though the guitarist is able to take care of some other on acoustic track (Easy Now). The legend is on its way. © AR/Qobuz
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Rock - Released January 1, 1970 | Polydor Records

Right after he finished a tour with the Delaney & Bonnie couple, Clapton ended the collaboration because of a fight with them. Nevertheless, his creativity had not left him so he decided to go through a solo adventure and made a perfect start as a leader. Eric Clapton was released in 1970 after recording sessions in Los Angeles and London. Pop oriented, this album is still influenced by gospel and r’n’b which produces a diverse musical experience. Brownie, Clapton’s first Stratocaster is the main guitar used on the record, even though the guitarist is able to take care of some other on acoustic track (Easy Now). The legend is on its way. © AR/Qobuz
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Rock - Released January 1, 1974 | Polydor Records

Hi-Res Distinctions The Qobuz Ideal Discography
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Rock - Released January 1, 1974 | Polydor Records

Distinctions The Qobuz Ideal Discography
461 Ocean Boulevard is Eric Clapton's second studio solo album, arriving after his side project of Derek and the Dominos and a long struggle with heroin addiction. Although there are some new reggae influences, the album doesn't sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. However, 461 Ocean Boulevard is a tighter, more focused outing that enables Clapton to stretch out instrumentally. Furthermore, the pop concessions on the album -- the sleek production, the concise running times -- don't detract from the rootsy origins of the material, whether it's Johnny Otis' "Willie and the Hand Jive," the traditional blues "Motherless Children," Bob Marley's "I Shot the Sheriff," or Clapton's emotional original "Let It Grow." With its relaxed, friendly atmosphere and strong bluesy roots, 461 Ocean Boulevard set the template for Clapton's '70s albums. Though he tried hard to make an album exactly like it, he never quite managed to replicate its charms. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 1975 | Polydor Records

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The middle of the 70’s is the golden era of Clapton’s career. In 1975, only one year after he released the great 461 Ocean Boulevard, was published There’s One In Every Crowd. Because of the huge success of the I Shot The Sheriff cover, Clapton and his crew went straight back to Jamaica to record this LP. Unfortunately, because of Clapton’s drugs dependence the sessions were sometimes complicated. However, they managed to create a record with a nice potential. With some reggae tunes (Swing Low, Swing Chariot, Little Rachet or Don’t Blame me), There’s One In Every Crowd remains mainly a rock / blues album. With less infinite solos, the artist focuses on the melody and the lyrics instead to show off with his virtuosity. © AR/Qobuz
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Rock - Released January 1, 1975 | Polydor Records

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Right after he came out of detox due to his problems related to drugs and alcohol, the one who will become know as God published a live album. E.C. Was Here is made of recordings from the guitar player’s 1974 tour (Long Beach Arena, Hammersmith Odeon, Providence Civic Center…). After a first album recorded with Brownie, Clapton decided to come on stage with his Gibson for a fuller, more powerful sound. Focusing on a blues repertory, E.C. Was Here is fantastic: on his playground, Slowhand impresses and leads the discussions with George Terry. A cover of Ramblin’ On My Mind (Robert Johnson), an acoustic Driftin’ Blues, a long moaning on Have You Ever Loved A Woman… The content is linked together at lightning speed and when album ends, the first desire is to start it again. © AR/Qobuz
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Rock - Released January 1, 1975 | Polydor Records

The middle of the 70’s is the golden era of Clapton’s career. In 1975, only one year after he released the great 461 Ocean Boulevard, was published There’s One In Every Crowd. Because of the huge success of the I Shot The Sheriff cover, Clapton and his crew went straight back to Jamaica to record this LP. Unfortunately, because of Clapton’s drugs dependence the sessions were sometimes complicated. However, they managed to create a record with a nice potential. With some reggae tunes (Swing Low, Swing Chariot, Little Rachet or Don’t Blame me), There’s One In Every Crowd remains mainly a rock / blues album. With less infinite solos, the artist focuses on the melody and the lyrics instead to show off with his virtuosity. © AR/Qobuz
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Rock - Released January 1, 1975 | Polydor Records

Right after he came out of detox due to his problems related to drugs and alcohol, the one who will become know as God published a live album. E.C. Was Here is made of recordings from the guitar player’s 1974 tour (Long Beach Arena, Hammersmith Odeon, Providence Civic Center…). After a first album recorded with Brownie, Clapton decided to come on stage with his Gibson for a fuller, more powerful sound. Focusing on a blues repertory, E.C. Was Here is fantastic: on his playground, Slowhand impresses and leads the discussions with George Terry. A cover of Ramblin’ On My Mind (Robert Johnson), an acoustic Driftin’ Blues, a long moaning on Have You Ever Loved A Woman… The content is linked together at lightning speed and when album ends, the first desire is to start it again. © AR/Qobuz
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Rock - Released January 1, 1977 | Polydor Records

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Rock - Released January 1, 1977 | Polydor Records

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Rock - Released January 1, 1978 | Polydor Records

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With his 6th studio album (1978), Eric Clapton broke a cycle in his solo career: it was the last time that he used the musicians he started with. On Blackless, JJ Cale came back to compose I’ll Make Love To You Anytime while Bob Dylan wrote two tracks. After many well made albums, Clapton seemed to be in a little lack of inspiration. Even if the majority of the songs are paradise for guitar players, they might not seduce people that do not care much about that instrument. © AR/Qobuz
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Rock - Released January 1, 1978 | Polydor Records

With his 6th studio album (1978), Eric Clapton broke a cycle in his solo career: it was the last time that he used the musicians he started with. On Blackless, JJ Cale came back to compose I’ll Make Love To You Anytime while Bob Dylan wrote two tracks. After many well made albums, Clapton seemed to be in a little lack of inspiration. Even if the majority of the songs are paradise for guitar players, they might not seduce people that do not care much about that instrument. © AR/Qobuz
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Rock - Released January 1, 1980 | Polydor Records

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Rock - Released January 1, 1980 | Polydor Records

Although Eric Clapton has released a bevy of live albums, none of them have ever quite captured the guitarist's raw energy and dazzling virtuosity. The double live album Just One Night may have gotten closer to that elusive goal than most of its predecessors, but it is still lacking in many ways. The most notable difference between Just One Night and Clapton's other live albums is his backing band. Led by guitarist Albert Lee, the group is a collective of accomplished professionals who have managed to keep some grit in their playing. They help push Clapton along, forcing him to spit out crackling solos throughout the album. However, the performances aren't consistent on Just One Night -- there are plenty of dynamic moments like "Double Trouble" and "Rambling on My Mind," but they are weighed down by pedestrian renditions of songs like "All Our Past Times." Nevertheless, more than any other Clapton live album, Just One Night suggests the guitarist's in-concert potential. It's just too bad that the recording didn't occur on a night when he did fulfill all of that potential. © Stephen Thomas Erlewine /TiVo
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Rock - Released January 1, 1981 | Polydor Records

Now, here's a star-crossed album. Polydor rejected the first version of it, produced by Glyn Johns, and Eric Clapton was forced to cut it all over again with Tom Dowd. Then, a few dates into a U.S. promotional tour coinciding with its release, Clapton collapsed and was found to be near death from ulcers due to his alcoholism. Finally, it turned out to be the final record of his 15-year association with Polydor, which therefore had no reason to promote it. Nevertheless, the album made the Top Ten, went gold, and spawned a Top Ten single in "I Can't Stand It." And the rest of it wasn't too shabby, either. The first and last Clapton studio album to feature his all-British band of the early '80s, it gave considerable prominence to second guitarist Albert Lee and especially to keyboard player/singer Gary Brooker (formerly leader of Procol Harum), and they gave it more of a blues-rock feel than the country-funk brewed up by the Tulsa shuffle crew Clapton had used throughout the 1970s. Best of all, Clapton had taken the time to write some songs -- he's credited on six of the nine selections -- and tunes such as the title track and "I Can't Stand It" held up well. This wasn't great Clapton, but it was good, and it deserved more recognition than conditions allowed it at the time. © William Ruhlmann /TiVo
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Rock - Released November 1, 1983 | Reprise

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Pop - Released November 1, 1983 | Reprise

Money and Cigarettes marked several important turning points in Eric Clapton's recording career. It was his debut release on his own Duck imprint within Warner Bros.' Reprise Records subsidiary. It was also the first album he made after coming to terms with his drinking problem by giving up alcohol. Newly focused and having written a batch of new songs, he became dissatisfied with his longtime band and fired them, with the exception of second guitarist Albert Lee. In their place, he hired session pros like Stax Records veteran bassist Donald "Duck" Dunn and Muscle Shoals drummer Roger Hawkins, also bringing in guest guitarist Ry Cooder. His new songs reflected on his changed condition, with "Ain't Going Down," a thinly veiled musical rewrite of the Jimi Hendrix arrangement of "All Along the Watchtower," serving as a statement of purpose that declared, "I've still got something left to say." "The Shape You're In" was a criticism of his wife for her alcoholism that concluded, "I'm just telling you baby 'cause I've been there myself," while the lengthy acoustic ballad "Pretty Girl" and "Man in Love" reaffirmed his feelings for her. The album's single was the relatively slight pop tune "I've Got a Rock n' Roll Heart," but Clapton's many blues fans must have been most pleased with the covers of Sleepy John Estes' "Everybody Oughta Make a Change" (significantly placed as the album's leadoff track), Albert King's "Crosscut Saw," and Johnny Otis' "Crazy Country Hop." For all the changes and the high-powered sidemen, though, Money and Cigarettes ended up being just an average effort from Clapton, which his audience seems to have sensed since, despite the Top 20 placement for the single, it became his first album in more than six years to miss the Top Ten and fail to go gold. © William Ruhlmann /TiVo
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Pop - Released February 5, 1985 | Reprise

Although he is universally considered among the most important figures in rock & roll, Eric Clapton has not had consistent success in translating his stature into record sales, partially because he is, in essence, a great blues guitarist rather than a great pop/rock singer/songwriter. Clapton's career was in decline in the early '80s when he switched record labels from Polydor to Warner Bros., and his debut Warner album, Money and Cigarettes, became his first to fall below gold record status in more than six years. As a result, Warner looked critically at his follow-up, the Phil Collins-produced Behind the Sun, in the fall of 1984 and rejected the first version submitted, insisting that he record several new songs written by Jerry Williams, backed by Los Angeles session players under the auspices of company producers Lenny Waronker and Ted Templeman. Warner then emphasized the new tracks, releasing two of them, "Forever Man" (which reached the Top 40) and "See What Love Can Do," as singles. The resulting album, not surprisingly, was somewhat schizophrenic. It was hard to believe that Warner could have heard the leadoff track, "She's Waiting," and not realized its potential to be a hit single, though the company may have been correct in thinking that the album as a whole was competent without being very exciting. The added tracks were not bad (and, in fact, Clapton later would add session players Nathan East and Greg Phillinganes to his band), but they were not the sure-fire hits they were supposed to be. As usual, there was some effective guitar soloing (notably on "Same Old Blues"), but despite the tinkering, Behind the Sun was not among Clapton's best -- although it went gold after nearly two years in release. © William Ruhlmann /TiVo
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Pop - Released January 1, 1986 | Reprise

Eric Clapton adopted a new, tougher, hard R&B approach on August, employing a stripped-down band featuring keyboard player Greg Phillinganes, bassist Nathan East, and drummer/producer Phil Collins, plus, on several tracks, a horn section and, on a couple of tracks, backup vocals by Tina Turner, and performing songs written by old Motown hand Lamont Dozier, among others. The excellent, but incongruous, leadoff track, however, was "It's in the Way That You Use It," which Clapton and Robbie Robertson had written for Robertson's score to the film The Color of Money. Elsewhere, Clapton sang and played fiercely on songs like "Tearing Us Apart," "Run," and "Miss You," all of which earned AOR radio play. That radio support may have helped the album to achieve gold status in less than six months, Clapton's best commercial showing since 1981's Another Ticket, despite the album's failure to generate a hit single. The title commemorates the birth in August 1986 of Clapton's son Conor. [The CD version of the album contains the bonus track "Grand Illusion."] © William Ruhlmann /TiVo
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Rock - Released January 1, 1986 | Polydor Records

In 1976, Clapton decided to change his habits and brought more people to make his team bigger for  the recording sessions of No Reason To Cry. Helped by the Canadians from The Band or also Ron Wood and Bob Dylan (they did a duo on Sign A Language, but the song has never been released at the end). Still in a pop rock wave, No Reason To Cry does not have a real identity and it looks like songs that were put together. Globally good, this album proves that even when he put himself in danger (switching the sidemen, etc…), Clapton is still able to be the master of his productions and his inspiration. © AR/Qobuz

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Eric Clapton in the magazine
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