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Rock - Verschenen op 1 juli 1974 | Polydor Records

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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 - Verschenen op 25 maart 2013 | Polydor Records

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Met enige zelfspot titelt gitaarlegende Eric Clapton zijn 21ste studioalbum Old Sock. Het idee voor het album ontstaat na een gesprek met David Bowie en op de plaat zijn twee nieuwe nummers te vinden: "Gotta Get Over" en "Every Little Thing". Daarnaast neemt de Brit covers van enkele van zijn favoriete songs op, zoals "Your One And Only Man" van Otis Redding en "Angel" van J.J. Cale. © TiVo
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Rock - Verschenen op 1 januari 2013 | Polydor Records

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Rock - Verschenen op 1 juli 1974 | Polydor Records

Onderscheidingen 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 - Verschenen op 1 november 1977 | Polydor Records

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Rock - Verschenen op 28 juli 2014 | Polydor Records

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Het album The Breeze: An Appreciation of JJ Cale is een muzikaal eerbetoon van gitaarlegende Eric Clapton aan zijn voormalige kompaan JJ Cale. Aan de plaat, die door Clapton wordt geproduceerd, werken tal van beroemde vrienden mee zoals Tom Petty, Mark Knopfler, John Mayer en Willie Nelson. Op het album zijn zestien songs te vinden van de in 2013 overleden JJ Cale. © TiVo
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Rock - Verschenen op 1 april 1980 | Polydor Records

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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 - Verschenen op 20 mei 2016 | Polydor Records

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Sharp as ever on the guitar, fingers full of feeling and emotion... Like a fine wine, the 71-year-old legend continues to evolve, adding tasty notes and nuances to an already well-stocked palette. To assume his entry into the prime of his life, the English prodigy has concocted a return to the source. Firstly, he decided to work with producer Glyn Johns. In the golden age of British rock music, he produced The Who as well as the the mythical album Sticky Fingers by The Rolling Stones. He was also sound engineer for the no less famous LP Led Zeppelin I. ‘God’ then brought together a number of musicians with whom he is familiar: Henry Spinetti, Dave Bronze, Paul Carrack and Andy Faiweather Low... An interesting anecdote to emphasize the nostalgia that envelops this album’s content, it is the artist Sir Peter Blake who sketched Clapton’s portrait for this album was also the artist behind the innovative cover of the famous Sgt. Pepper's Lonely Hearts Club Band.Successfully mixed, well-dosed as always and smooth in its’ composition, I Still Do offers a pleasant listen from start to finish and will see fans carried away with each note played on ‘Blacky’, Clapton’s Stratocaster. We very quickly understand Clapton’s urge to splurge on the musical style he holds dear: the Blues. Alabama Woman Blues, originally written by Leroy Caar, is a hymn to the genre: tempo slowed, swaying piano, harmonica, slide guitar and saturation, melancholy... The first track transports us into a wistful Chicago, at a time when whiskey was still prohibited... Muddy Waters would have been proud. We find this atmosphere in Cypress Grove (Skip James cover), and to a lesser extent, British Spiral or Stones In My Passway. Just back in a new decade, Eric Clapton offers a quality album, and even mark a little music footprint. © AR/Qobuz
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Rock - Verschenen op 1 november 1977 | Polydor Records

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Rock - Verschenen op 1 augustus 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 - Verschenen op 1 januari 1996 | Polydor Records

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Ambient / New Age / Easy Listening - Verschenen op 12 oktober 2018 | Polydor Records

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If we were to travel back in time and tell young 19-year-old Eric, who had just left The Yardbirds because he felt their For Your Love sounded too pop, that he would one day record a Christmas album, he wouldn’t believe us for a second and would threaten to knock us out with his guitar! It’s a fact; 73-year-old Clapton is a changed man. Not only has he overcome many hardships, but he also appears serene and relaxed, at last enjoying family life with real holiday celebrations by the fireplace. He therefore has every right to offer his own version of such classics as White Christmas, Silent Night or Away In A Manger (Once In Royal David’s City), and less mainstream titles like Sentimental Moments (1955 by Joan Bennett), Lonesome Christmas (by Lowell Fulson and later covered by B.B. King and Joe Bonamassa) or Have Yourself A Merry Little Christmas that was interpreted by Judy Garland and Frank Sinatra, and was also featured on the Jackson 5’s Christmas album (when little Michael was twelve). Even Chrissie Hynde sang it with The Pretenders, that’s saying a lot…Eric Clapton even composed his own Christmas song, For Love On Christmas Day. It blends in perfectly with the “Christmas tree and wreath” decor and is fully “Claptonised” with a high dose of top-notch blues. The sole, highly surprising exception is the EDM-style Jingle Bells dedicated to DJ Avicii, whose passing particularly affected Eric as he drew parallels to his own self-destructive youth. And surprise, Clapton himself drew the joyful Santa on the album cover (a self-portrait?). Now you have something to put in a few stockings for Christmas… © Jean-Pierre Sabouret/Qobuz
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Rock - Verschenen op 1 november 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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Ambient / New Age / Easy Listening - Verschenen op 12 oktober 2018 | Polydor Records

Booklet
If we were to travel back in time and tell young 19-year-old Eric, who had just left The Yardbirds because he felt their For Your Love sounded too pop, that he would one day record a Christmas album, he wouldn’t believe us for a second and would threaten to knock us out with his guitar! It’s a fact; 73-year-old Clapton is a changed man. Not only has he overcome many hardships, but he also appears serene and relaxed, at last enjoying family life with real holiday celebrations by the fireplace. He therefore has every right to offer his own version of such classics as White Christmas, Silent Night or Away In A Manger (Once In Royal David’s City), and less mainstream titles like Sentimental Moments (1955 by Joan Bennett), Lonesome Christmas (by Lowell Fulson and later covered by B.B. King and Joe Bonamassa) or Have Yourself A Merry Little Christmas that was interpreted by Judy Garland and Frank Sinatra, and was also featured on the Jackson 5’s Christmas album (when little Michael was twelve). Even Chrissie Hynde sang it with The Pretenders, that’s saying a lot…Eric Clapton even composed his own Christmas song, For Love On Christmas Day. It blends in perfectly with the “Christmas tree and wreath” decor and is fully “Claptonised” with a high dose of top-notch blues. The sole, highly surprising exception is the EDM-style Jingle Bells dedicated to DJ Avicii, whose passing particularly affected Eric as he drew parallels to his own self-destructive youth. And surprise, Clapton himself drew the joyful Santa on the album cover (a self-portrait?). Now you have something to put in a few stockings for Christmas… © Jean-Pierre Sabouret/Qobuz
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Rock - Verschenen op 1 januari 2007 | Polydor Records

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Pop - Verschenen op 1 januari 1994 | Polydor Records

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Rock - Verschenen op 1 maart 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 - Verschenen op 1 augustus 1976 | Polydor Records

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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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Rock - Verschenen op 1 januari 1999 | Polydor Records

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Rock - Verschenen op 1 februari 1981 | Polydor Records

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Another Ticket is the first album that Clapton recorded for a major after he signed a contract for Warner. The album was composed as a tribute to Carl Radle (Clapton’s bass player who was fired by Slowhand and who did an overdose). For the first time, Clapton brought two keyboards and embraced the 80’s trend. With a full American sound, God opened his music to a wider public. Of course, Floating Bridge reminds that Clapton is into his universe when he plays the blues. Rita Mae was recorded while Clapton and the other guitar player were jamming. Another Ticket is a well made album that opened the path to a new beginning in Clapton’s career. © AR/Qobuz 

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Eric Clapton in het magazine