Conference napalm::guitar

    Just picked up the CD; it's a nice shot of straight blues (no chaser).
    
    I thought the SNL appearance was great, especially the second tune
    "Five Long Years".  This is one of the high points of the record
    as well.  I was looking forward to hearing Eric on the 335, but to be
    honest the tone was a little disappointing.  The Strat on the second
    number worked better imo.  Btw, I've been told that Eric is ditching
    the Lace Sensors and going back to standard style pickups on his
    Strats.  Something about wanting some real tone again :-)  I thought
    I saw polepieces Sat night, but my TV isn't that clear; whatever, they
    sure sounded great.
    
    /rick
    

    Eric Clapton sucks!

    
    
    re: .2, why bother!
    
    
    I agree, the second cut was better, but both were great. I also
    had to take a closer look at the pickups so I did a freez frame,
    LACE! Maybe it was just the Strat he was playing.

    did anyone tape it? I really tried to stay awake that long but
    didn't make it. 
    
    Got the CD friday. Listened to it once over the weekend with the
    wife/kids in the room (i.e. softly). I need to listen more closely.
    The slow blues all sounded great. Clapton's voice is in excellent
    shape. 

    Yeah, I got it on tape.  What's it worth to ya?  Say maybe a ticket to
    the Centrum show :-)
    
    re .2  yeah, and so does Primus!
    

    I tuned in for the first number, but thought the performance was kinda
    stiff and uninspired, so I didn't bother to keep it on for the second one.

    --Ron

    Any reason in particular why we need yet another note on Eric Clapton?
    
    Moderators, please move this to 687.
    
       687  JACKAL::MURRAY       23-JUN-1988    48  Clapton on TV tonite
      1745  NAVIER::STARR        23-MAR-1990    22  Eric Clapton Signature Model St
      1970  ESKIMO::AUSTIN       19-SEP-1990    95  Clapton,Beck,& Page...
      2637  KDX200::COOPER        2-DEC-1992   171  Clapton Bashing Topic
    > 2982   WMOIS::POIRIER      26-SEP-1994     6  Eric Clapton, Man!
    

    re: .7
    At least people know that their NEXT UNSEEN key is proof against an
    overdose of Eric Clapton
    
    
    Avoiding Steve Morse in this notesfile is like trying to read a
    newspaper without getting the latest on O.J Simpson ;-)
    
    Dom
    
    P.S. It's enough to give *my* NEXT UNSEEN key arthritis!

    RE .8 

    Clapton plays some very inspired guitar on his new release. It's the SNL
    performance that was poor. At least the first number was. But then if
    you ever did a gig where you had to come out and play one song and then
    go sit down again, you understand why this is. I was disheartened
    because I know many will watch it and think, "well that's not so great"
    and then pass on giving the album a listen.

    And his first solo album contained some great guitar work. His dramatic
    change of "tone" put many "guitarist types" off, but I thought it had
    some fine tunes and great solos, "After Midnight" for example.

    The album's engineering was poor, IMO.

By the way does anybody know who is going to open up for Clapton on 
Oct 14, 1994 at the Centrum ?

	I am going to the show and hopefully won't be disappointed.

			Thanks,
					Brian	

    
    
    
    
    Guitar Player, November, has a good write up on Peter Green. After I
    read it I went over and pulled out Mac's "Then play on". Forgot about
    his playing. Think it's a good thing for Eric that he, Green, drop out
    of the picture.
    
    
    
    
    
    
    
    

>   Avoiding Steve Morse in this notesfile is like trying to read a
>   newspaper without getting the latest on O.J Simpson ;-)
    
    Avoiding I-IV-V/Blues players in this notesfile is like trying to read
    a paper without encountering the letter "e".
    
    ;-)

    
    .- a few:
    
    I believe Jimmie Vaughn is the opening act for the upcoming Clapton
    tour.  Maybe someone can verify, but that is what I had heard.
    
    Al
    

    OJ's playing on his most recent effort was far superior to anything
    Clapton's ever done.  His mastery of the guitar is obvious and his
    taste is incredible.  Oh yeah, and he has the most ROOLIN tone!  Not
    like that annoying whiney Clapton sound!
    
    Gh

    yeah OJ's tone cuts through like a knife!

    RE: 2982.17
    
    Must have been when OJ used that Telecaster! Too sharp for my tastes.
    
    Fred

>    I prefer 'After Midnight' by J.J. Cale.

    Uhhhhh, OK. <scratch-scratch>

     Caught EC on SNL and thought the tone of the 335 through the tweed
     '59? Fender twin on Toredown was awesome, even tho' he hit a couple
     of clams. He then came back with a mucho distorted Strat (lace sensors)
     for 5 Long Years and proceeded to noodle the song to death. Over-playing
     and bad tone. He had created a gem......and took a dump on it.

     Neal

    I'm wondering if the difficulty he had getting into the groove in the
    first tune (which is how I felt it went) was why he reverted to using
    the Strat for the second. Could be that the amps weren't dialed up for
    the Fender and on a live show there wouldn't have been an opportunity to
    re-adjust them, either.

    Maybe it was like "that sucked. I'm not feeling comfortable with the 335
    so I'm going back to the Strat for the second number".

    Just sheer speculation, mind you.

"Five Long Years" as done by Buddy Guy is played on a strat.  I understand 
that Clapton based his version on Guy's version.

Jim

<<He had created a gem......and took a dump on it.


as pelkey roars !  Too funny.


I like Eric, don't get me wrong, but yea, he sure over
Calpton's just about everything he does... I mean the guy
is great and all,,, but I'd hate to be the 'other' guitar
dude in any of his bands,,, hell, take the night off....
You won't be noticed....  Not sure if it's popular demand,
or just a 50 gallon ego.
 

hell, maybe both...


Anyway, far as I know, that Jimmy Vaughn thing is pretty 
much a done deal....  he'll be opening for Eric... yet another
coat-snap-has-been-never-was riding on his brothers fame.... 
(Please....)

Man I *still* MISS Stevie Ray......

Well I'e saw Clapton three times back in the '70's when George Terry was
the second guitarist. At each show there were two songs that showcased George,
and Eric usually left the stage (one exception where he sat in a wicker chair 
at the front of the stage and drank a beer while Geroge did his thing). Since
George is and was essentailly nobody, I thought the gesture was more than fair.
And when Carlos Santanna joined Eric for an encore, they traded licks 3 ways.

Jimmy Vaughn riding on Stevie's fame. Perhaps, at least I can see it, and yeah
Jimmy isn't Stevie no argument. On the other hand Jimmy was recording albums and
touring as a name act well before Stevie (Fab Tbirds), yeah he never enjoyed the
level of success Stevie had, and I'm not certain the TBirds deserved it, but
he is an established artist on his own right.

me I prefer Stevie to Jimmy too...

dbii

    For the record, Tilt-a-whirl off Jimmy's Strange Pleasures is a very
    cool tune. Nothin' flashy. Just drop-dead cool.

    Thanks to \rick calcagni for recommending that purchase.

    \rjb, dec-short-timer

    >For the record, Tilt-a-whirl off Jimmy's Strange Pleasures is a very
    >cool 
    
    ride -- I love the Tilt-a-Hurl!!!

    
    	Santana and Clapton on the same stage?
    
    	If I saw that, I'd expect Clapton to be carrying water, or
    	maybe polishing guitars, or cleaning gum off the microphone
    	stands or something.
    
    							GTI

    re: .26
    
    > I love the Tilt-a-Hurl!!!
    
    I knew that eventually Buck would end up saying something positive
    in the Eric Clapton note.

Santanna/Clapton on the same stage?>

yeah in '76 they toured together, with Santanna as the opener...

It was cool, 20 mins of Little wing with 3 good guitarists swapping off the 
leads...

dbii

well I guess not knowing, or seeing much other than a half a
dozen t.v. spots, (not much comparing to what a clpaton nut
would see him..)  Perhaps my opinion was a little short sighted..

Like I said in .23,, I luv the guy, don't get me wrong....  We've
all learned alot of things from him,, and considering he was
in pretty bad shape sometime ago, he's now, playing better than
ever.....

RE: J-vaughn..  Understand this.. I know he was in the Fab- T-birds,
but it just seems to me, anyway,,, that he's become more 'present'
now than before Stevie died.  WHY ??????  Could it be,,, maybe not...
I also heard that Stevie's brother was a guitar player before Steve
was himself...  I may have misunderstood....


/r

    RE: Clapton
    As far as Eric having a huge ego, I've always had the impression he'd
    just like to be the guitar player in a band.  Certainly that was one of
    the driving forces behind Derek and the Dominoes. 
    
    RE: the Vaughn bros. 
    Jimmy plays in a more understated style than SRV, a more traditional
    (and less interesting to the typical rock guitarist) R&B style.  While
    it is entirely possible that the public has payed more attention to him
    as a result of his brother's death,  I can't conceive of this being any
    attempt on his part to capitalize on the situation.  It's not like any
    of his previous efforts were blatantly commercial.

    Hey Ray, check out the SRV biography "Caught in the Crossfire"
    for some good insight into the brothers history.  Jimmy was always
    the main man.  He was a legend on the Texas blues scene and getting
    national exposure long before Stevie; he made a clear decision NOT
    to go commercial, and devoted himself to the traditional blues that
    he loved.  Stevie became the megastar, but that kind of over-the-top
    celebrity comes in large part from being the right thing in the right
    place at the right time.
    
    Doesn't sound like anyone, especially the brothers themselves, ever saw
    it as Jimmy riding Stevie's coat-tails; if anything, Stevie probably
    saw it the other way around.
    
    /rick

    .33
    
    I would recommend "Caught in the Crossfire" to anyone interested in
    knowing more about the Brothers Vaughn.  There was a real competitive
    side to their relationship, but there was also a strong bond between
    the two.  The culmination of that bond can be heard on "Family Style".
    In much the same way that Clapton's current CD pays homage to his
    roots, I think Jimmie's most recent effort, "Strange Pleasures" is a 
    look back into his musical past.  I don't know what others in here
    think, but I really like this CD a lot.  I like it a great deal more 
    than anything he ever did with the T-birds.   His guitar playing is 
    understated, but very tasteful.  BTW, yesterday, Oct 3rd, would have 
    been Stevie Ray's 40th birthday.
    
    Al
    

        Is it me or is the ne Eric Album just TOO sterile. I am a player for
    only two years, and I would consider myself a Eric fan, as well as a
    person who can play 12 bar blues for hours and be entertained.

    I go to Buddy Guys Legends as often as I can to rip off licks and I'm
    just amazed at the guys that wail on the blues there. These guys just
    seem to reach ouch for notes and try stuff on stage risk the dinks but
    they don't care because they feel so much up there.  Break a string,
    who cares! 

    I was eagerly awaiting Eric's album, I have now listened to it alot
    since I got it waited before I entered a response here, but I just find
    the album to clean.

    I mean no dirt, no amp hum, no surprises.  This album just seems way to
    concieved.  Unplugged was great,  Back To The Cradle is not.
    
    Pat...
    
    Who is eagerly awaiting Buddy Guys new album where he is backed up by
    Double Trouble!
    

    re .-1
    
    blasphemer!

    Saw Clapton in Montreal on Oct. 3. First half of his show he was
    playing a lot of rhythmn and the band sounded real good. But when
    the second half rolled along, he started playing more solos. His
    lead playing sounded soul-less. Maybe it's because I just don't
    like the tone he gets from his guitar/amp. (Soldano?) setup. In
    my opinion, the tone he got in the Bluesbreakers/Layla session
    periods is what I liked the most. Of course, his playing was 
    hot back then (maybe youthful exhuburence?). The show was all
    blues, with tunes from Robert Johnson, Bessie Smith, Elmore
    James etc..... I don't think it's only me that had this opinion,
    because the two friends I was with had the same thoughts. I saw
    Clapton in '89, and when he played a solo, it grabbed you (you
    could feel it), even though I still don't like that tone he 
    gets from his Strat/amp. setup.
    
    Jimmie Vaughn opened up and the band sounded good. He had a very
    good classical guitarist (yes, CLASSICAL) play rhythm and do
    a solo piece during the set. His voice has improved and sounds
    very similar to Stevie Ray Vaughn's (go figure). The 3 backup
    singers were very energetic and added exitement to the show.
    
    

    
    Guess who's 50 years old today? (Layla told me).

    Can you imagine...when i'm 50 i'd like to be able to look back at a
    carreer in music like his.
    
    HB EC

    puts a whole new twist to  S   L   O   W   H   A   N   D.

    Who cares?

   re: .42

   Oh, grow up, willya?

   -- Sam

    re: .43
    
    poor baby, don't cry now....

   Too bad you deleted your original .44 reply;  it was much more fitting to
   your .42.  I was just going to point out that you missed putting in the
   "nyah, nyah" line.

   It's not that I'm such a big Clapton fan, it's just I'm really tired of
   all the content-free "so-and-so sux" comments from certain people (notably
   you), and  especially find the "maybe he'll drop dead soon" comment totally
   uncalled for.  And I'm not the only one, as another "Can't we all just get
   along?" type topic pointed out in here recently.

   But, given your noting "style" in other conferences, I guess I shouldn't
   expect much else.

   -- Sam

    re buck
    
    	Is that a "Cry baby wah"?
    
    Happy Birthday EC.
    
    
    P.K.

    
    Aw, c'mon, you should know by now that if you write a note in this
    conference about anything other than shredders, shredding or the latest
    super-duper rack-mounted plaything, then this zombie is going to come
    out with one of his "X sux" comments. Obviously, he was feeling
    imaginative yesterday when he wrote "hope he drops dead", though I see
    he's still limited to monosyllables.
    
   >It's not that I'm such a big Clapton fan, it's just I'm really tired of
   >all the content-free "so-and-so sux" comments from certain people (notably
   >you), and  especially find the "maybe he'll drop dead soon" comment totally
   >uncalled for.  
    
    You know I'm beginning to think that's our only hope with
    POWDML::BUCKLEY. In fact, I can just see his tombstone now: 
    
    			"THE WHOLE WORLD SUX.".
    
    Dom
                        

    I'm sick of EC and his "music".  That's my opinion, period

    re: .47
    
    you've got it all wrong -- I really don't CARE about music ... it
    interferes with my coaster riding!

    Now that he's 50, there's a rumor going around that he'll switch to
    bass.

    if you think EC suxs then hit next unseen!
    
    
    
    	I was watching the "unplugged" tape over the weekend, and you
     know Eric does some really nice stuff on that.  The slide work is
    good and the acoustic solos are quite nice.  In particular the vocal
    is what I really enjoyed.
    
    	Interesting that the quality of the sound is so good considering
    he is singing into a Beta 58 and he is about 12" away.
    	He really is a Blues guy, you can hear it stand out in his
    playing and singing.
    
    	P.K.

    Clapton has always been primarily blues-influenced. Many of his
    first hit's were old blues songs that he covered. The most notable
    is "Crossroads Blues" written by none other than Robert Johnson.
    
    I'd like to go on record here as saying that, in general, I like
    Eric Clapton. My favorite Clapton recordings are from Derick and
    the Dominoes, and Blind Faith. Most of the new stuff is relatively
    simple, easy to play, but real crowd pleasers. The stuff I like the 
    least is from his 461 Ocean Blvd album. Strangely enough, that album 
    contains some great Clapton Tunes "Mainline Fla". as well as some of 
    the most lame tunes he has covered. "I shot the Sheriff, and "Willie 
    and the handjive" are my 2 least favorite Clapton tunes of all time, 
    and I don't see what the point was in including them. 
    
    Clapton does not suck. He has contributed to Rock and Roll history,
    which is far more than any of us can say. At times, his music has
    been brilliant, and at times, it has been forgettable. I think all 
    the Clapton fanatics have created an image that he cannot live up to. 
    He's a human being, not a god.
    
    I think the reason for the huge success of "Unplugged" is that it
    offered something differant than the usual gritty rock album. Most
    rock-n-rollers never bother to listen to anything that is easy on
    the ears. After a while, my ears get tired of hearing power-tube
    distortion, and a little strumming on the old acoustic is just the
    ticket. I don't understand why so many people were offended by the
    acoustic version of Layla. At least he didn't steal someone else'
    song. 
    
    Mark

    I suppose if I have to listen to Layla for the billionth + n time,
    I would actually prefer to hear the newer version as it least it's
    a bit different from the same-old same-old.
    
    I almost wish Page/Plant would do a new version of "Stairway To
    Heaven" so at least the radio stations would have something
    slightly different to annoy me with.
    
    -b

    
    
    I think there's an idea for a Guitar Noters tape in here...something
    like "Bad Covers of Rock Cliches", or something...  there's gotta be a
    better acronym, though...
    
    

    RE: having to listen to Layla for the billionth + n time
    
    Just think how you'd feel about playing it for the billionth time...
    
    I, too, am puzzled by the vehement reaction against the unplugged
    version of "Layla."  I agree, that the acoustic version pales in
    comparison to the orignial (which IMO, is one of the quintessential 
    examples of great rock and roll), but I don't choose to compare the
    two.  Taken on its own merits, I find the acoustic "Layla" to be OK:
    not great, but not that bad, either.  Its EC's song-- he can do
    with it as he pleases.  After playing it for 25 years, I don't
    blame him for wanting to do something a little different with it.
    It would have been easy for him to try to play the original version
    of the song on acoustic guitar (which would have sounded pretty 
    lame anyway) like most "unplugged" performances.  Instead he tried
    something else.
    
    In fact, the thing I like best about Clapton Unplugged is that he
    took a chance and tried something very different than that for which
    he is known.  He even plays fingerstyle on a number of tracks.
    He's not a great acoustic guitarist, but I though he did reasonably
    well.  OK, maybe no real blues slide player would play slide in standard
    tuning, but overall, he demonstrated a greater range of abilities 
    (especially for something recorded live) than I would have expected.  
    I think his singing on "Unplugged" is some of the best he's done.
    
    Besides, he has execellent taste in guitars ;^)
    
    
    My 2 cents,
    Jim

    >OK, maybe no real blues slide player would play slide in standard
    >tuning, but overall, he demonstrated a greater range of abilities 
    >(especially for something recorded live) than I would have expected.
    
    I don't think anyone need question his ability as a slide player
    anyway. Just buy a copy of 461 Ocean Boulevard (his touch on
    "Motherless Children" and "I Can't Hold Out" is majestic), or the stuff
    he did with Delaney and Bonnie. In fact, Duane Allman had a whole load
    of positivethings to say about Clapton's slide playing after the Layla
    sessions...and you can't get higher praise than that!
    
    Of course, if you question Clapton about it, he'll probably say
    something to the tune of:
    
    "Slide? I can't even play slide! If I listen to Duane Allman or Ry
    Cooder, it just makes me want to give up. I just copy Bukka White and
    Elmore James, but I'm not really fit to tie their shoelaces..."
    
    Dom

    RE: questioning his slide ability
    
    I didn't mean to question his ability.  I was merely pointing out that
    from an idiomatic standpoint it was not authentic: most slide blues
    work is done in open tunings.  I agree that he has a nice touch--
    but it is something not limited to just his slide playing though.
    Overall, he's better without a slide than with, and better on
    electric than acoustic.
    
    I agree about EC's humbleness.
    
    On an unrelated note, Martin plans to build 461 000-42ECs (the
    reference to 461 Ocean Blvd reminded me).  
    
    Jim

    re: .56 Jim Allbery
    
    Jim, 
    
    I'm willing to give EC credit for "trying" it a new way.  You don't
    seem willing to give him credit for failing.
    
    I.E. just because "he tried" doesn't mean we shouldn't say "he failed".
    
    	db

    RE: .59, db
    
    I guess I don't consider it a failure.  I consider the acoustic 
    Layla a somewhat interesting, if not overly inspired, new take on 
    the song.  If I felt it was a failure, I would have said so, or I would
    have chosen not to respond at all.  I don't understand why you feel 
    that I am unable to look at EC objectively.
    
    I'm far from an Eric Clapton fanatic (I own an old anthology albom,
    Layla and other Love Songs, the Cross Roads set, and Unplugged).
    There are a lot of guitarists that I listen to more often (here lately
    its been Mark Knopfler, Christopher Parkening, Tony Rice, Sharon Isbin, 
    and even Chet Atkins).
    
    I consider "Unplugged" to contain, on average, mediocre guitar playing.
    There are some good moments, some bad.  I think Chuck Levell's (sp?)
    (the pianist's) work is very good.   On the whole, I consider 
    Unplugged better than mediocre, but not great.  
    
    I'm glad your willing to give EC credit for "trying" it a new way.
    Your entitled to your own opinion on the results.  You obviously
    feel strongly about your opinion.  Since mine differs, you seem
    to feel it must be a deficiency on my part.  However, the fact my
    evaluation differs from yours does not necessarily imply a blindness 
    on my part, only different criteria for judgement.
    
    At least we agree on Bela Fleck and the Flecktones, so we are capable
    of reaching a musical common ground...
    
    Jim

    
    DB, What exactly did he fail at? He played a new version of a song that 
    he wrote. The new version is differant from the original. I believe his 
    intention was for the new acoustic version to be much lighter, ie: Vocals 
    and guitar playing with a much lighter touch. I agree that the original 
    is more exiting, has more challenging guitar playing, and more urgent-
    sounding vocals. However, I do not agree that the unplugged version 
    "failed". What are you basing this on? Perhaps it failed to impress YOU,
    or it failed to provide music that YOU want to listen to, but this does 
    not mean it failed as a musical work. What constitutes success or failure 
    in Art/Music? Success can be measured in many differant ways. Record 
    companies measure success in dollars and in that regard, the Unplugged 
    album was a smashing success. I believe several million people that bought
    this album consider it a success. Further evidence of the albums success 
    is that it triggered nearly every mainstream band in the industry to do 
    an acoustic album. I believe that many people are burnt out on the
    Unplugged album because it got way too much airplay. This happens to 
    some of the best music produced, but it is never the fault of the
    artist.
    
    I know what you look for in music. You look for music that challenges
    your' ear, and "pushes the envelope". Obviously, you're not going to find 
    this on an Eric Clapton album as this is clearly not his thing. You look 
    for music that is physically challenging to play. I've even heard you say 
    that you have listened to Morse and other players like Steve Howe at 1/2 
    speed to see just how accurate and smooth these guys actually play. I've 
    heard you criticize Steve Howe because his playing did not pass this 1/2 
    speed test of yours. I contend that there is more to music than physical 
    note-for-note perfection. I believe it is valid for people to like 
    something simply because it brings them enjoyment without passing some 
    kind of litmus test. If this is false, than I guess I might as well go 
    home and burn all of my guitars, because by your definition, I'm a failure.
    
    Rock and Roll music was never intended to be picture-perfect. You want
    perfection, listen to Classical Music. When you start analyzing art to
    the nth degree I believe it takes some of the enjoyment away from it.
    
    I believe that there are tons of artists out there that play music along 
    the same lines as Clapton. It may not be the most challenging music to 
    play, but this is not what the mainstream public wants anyways. For some 
    reason, Clapton gets held to a higher standard than most because of the 
    "Guitar God" status that people associate with him, which I believe he 
    never wanted to begin with. I don't believe that music has to be along 
    the lines of Steve Morse, Dream Theater, Joe Satriani, Steve Vai, etc. 
    to be considered valid, or successful.
    
    I hope that this note does not cause a landslide of "Clapton Sux" notes, 
    but realistically, it probably will. We can debate this issue until the 
    second coming, but I would prefer if we just agree to disagree. I guess 
    what it boils down to is "Live and Let Live". If you don't like something, 
    don't listen to it, but please don't deny others the enjoyment. I know
    a lot of people that like Garth Brooks and the entire new country genre.
    Personally, this is not my cup of tea, but I would have to agree that 
    it can be fun to listen to at a party. 
    
    Mark

    RE: Jim Alberry
    
    Wow!
    
    You guys are really taking quite a leap from what I said to what
    YOU hear me saying.
    
    > I don't understand why you feel  that I am unable to look at EC
    > objectively.
    
    I didn't say that, nor do I believe that.
    
>    I'm glad your willing to give EC credit for "trying" it a new way.
>    Your entitled to your own opinion on the results.  You obviously
>    feel strongly about your opinion.  Since mine differs, you seem
>    to feel it must be a deficiency on my part.  
    
    Look... the jist of your original response to the criticism struck me
    as "hey, he tried".
    
    My response (summarized) was "Yeah, so??? Does that mean I shouldn't
    say that I think he failed?"
    
    That doesn't imply that I feel you're unable to look at EC objectively,
    and it doesn't imply that I think my judgement is better than you
    or anything other insult you've found in my note.
    
    It only says, the mere fact that he tried to do something "different"
    doesn't excuse him from criticism.
    
    OK?

    Mark,
    
    I love how you've turned this into a shred vs blues thing.  My hats off
    to you.
    
>    DB, What exactly did he fail at? 
    
    He failed to produce something that I think is worthy of praise. 
    
    Actually, I don't regard this change as all that ambitious anyway.
    Basically he did a very straightforward swing version of it.  You
    can do that to any song.  You can apply reggae to any song.
    
    Fred Abatelli applies different formulas to songs at every gig.
    Geez... someone requests reggae, and we don't know any so Fred just
    picks his favorite tune and does a reggae version of it and we all
    follow.
    
    Bottom line is "does it create something interesting".  For me,
    in the case of the "Layla" the answer is "no".
    
    > I believe several million people that bought this album consider it 
    > a success. 
    
    I hope then that all of you will agree that the Bay City Rollers were
    a "success".  They did that too.
    
    
    > Further evidence of the albums success  is that it triggered nearly
    > every mainstream band in the industry to do  an acoustic album. 
    
    I think this is credit where credit is NOT due.   Clapton rode the
    recent unplugged wave but he absolutely did not start it.   Actually,
    the earliest acoustic ballads *I* heard on the radio were from
    HEAVY METAL bands like poison (Every Rose has its Thorn) and what not.
    
    Sorry Mark, but I certainly do not give Clapton credit for the
    unplugged trend.  That's undeserved.
    
    > I've even heard you say  that you have listened to Morse and other
    > players like Steve Howe at 1/2  speed to see just how accurate and
    > smooth these guys actually play. 
    
    That's not true.  That is not "why" is listened at half-speed.  I
    listened at half-speed in order to learn the tune, not to evaluate
    his technique.
    
    > I've  heard you criticize Steve Howe because his playing did not pass 
    > this 1/2  speed test of yours. 
    
    And despite that, I still think he's one of the greatest guitarists
    to walk the planet.   And for 5 straight years, readers of Guitar
    Player Magazine agreed with me.
    
    You're trying to paint me as someone obsessed with technique but it's
    not true and you're distorting things I've said.
    
    >I contend that there is more to music than physical  note-for-note
    >perfection. 
    
    Couldn't agree more.  Jimmy Page is a GREAT example of that. 
    
    >I believe it is valid for people to like  something simply
    >because it brings them enjoyment without passing some  kind of litmus
    >test. If this is false, than I guess I might as well go  home and burn
    >all of my guitars, because by your definition, I'm a failure.
    
    You've really gone off the deep end here.  Mark, did I get your dander
    up or something?  If so, I'm sorry.
    
>    Rock and Roll music was never intended to be picture-perfect. You want
>    perfection, listen to Classical Music. When you start analyzing art to
>    the nth degree I believe it takes some of the enjoyment away from it.
    
    Sheesh!  Where is this coming from?
    
    > I don't believe that music has to be along  the lines of Steve Morse,
    > Dream Theater, Joe Satriani, Steve Vai, etc.  to be considered valid,
    > or successful.
    
    If all music were along those lines I would RAPIDLY get bored with
    music.  
    
    > I guess what it boils down to is "Live and Let Live". If you don't like
    > something,  don't listen to it, but please don't deny others the
    > enjoyment. 
    
    Gee Mark... to the best of my knowledge I have not made any effort
    to get EC removed from the radio or record bins.   
    
    Have I convinced you that you just have a really distorted view of
    "where I'm at"????
    
    > I know a lot of people that like Garth Brooks and the entire
    > new country genre. Personally, this is not my cup of tea, but I would
    > have to agree that  it can be fun to listen to at a party. 
    
    I love Garth Brooks!  The guy also is probably one of the world's very
    best on-stage performers.
    

    Dave, I guess I did go off on a tangent, and for that I apologize,
    but your reply .59 set me off. You implied that Jim was wrong if
    he didn't admit that the song was a failure. Clearly, this is not
    the only opinion on this song. This note was beginning to take a turn
    for the better until you came along with the F-word.
                                
    I'm too tired to offer a blow by blow rebuttal. It's pointless
    anyways. I'm sorry I was so harsh. 
    
    The ironic part is that I am no big EC fan. I own a couple of
    his disks and only play them occasionally. I just feel that he
    has been overly criticized in this conference. People that like
    him cannot discuss his work without getting the opposing viewpoint
    and accompanying critisicm. It takes the fun out of it. 
    
    
    

    Dave:
    
    I've never heard you say *anything* positive about EC (you'd probably
    give his career an "F" rating!), so I'm not going to bother entering a
    debate that has been repeated too many times in this conference. As it
    happens, I wasn't wild about the acoustic Layla, but I wouldn't call it
    a failure any more than I'd call Steve Howe's "The Clap" a failure.
    
    I'd consider myself a great fan of EC, in as much as I've accumulated
    probably 70% of the music he's made in his career. That said, I haven't
    bought any of his solo albums since "Money And Cigarettes" (1983); quite
    frankly, I found a lot of the stuff he did with people like Nathan East
    and Greg Phillinganes very insipid.  The stuff I love is the stuff he
    did with the Yardbirds, John Mayall, Cream, Derek & the Dominoe, and
    the session stuff with Dr. Jo, Steve Stills, Champion Jack Dupree,
    Aretha Franklin, etc.
    
    Incidentally, he's playing about 10 miles from where I live at the end
    of this month...and I don't plan to go!
    
    Jim: 
    I didn't think for one minute that you were criticising Clapton's
    slide playing - I was just pointing out that he's more in line with the
    George Harrison school (one of the most subtle slide players I've
    ever heard) than the Joe Walsh school, i.e. sensitivity before blazing
    licks. Duane Allman (surely the best of the lot) was probably a
    halfway-house between the two. 
    
    And, sure, you won't find a more humble musician than Eric Clapton.
    There's not a guitarist on the planet that Clapton hasn't elevated to
    the status of "genius" during some interview or other.
    
    Dom

>    Dave, I guess I did go off on a tangent, and for that I apologize,
>    but your reply .59 set me off. You implied that Jim was wrong if
>    he didn't admit that the song was a failure. 
    
    Mark,
    
    Let's set some  context here OK?
    
    Jim's note was almost apologetic about that song.  Jim's early notes
    gave ME the impression that HE didn't like the song all that much
    and that rather than say "it failed" he was only going to say "at least
    he tried".
    
    I would be more than happy to list the Steve Morse songs which I think
    "fail" IMO.   I would be more than happy to tell you which songs on the
    new Dream Theater album "suck" IMO. 
    
>    I'm too tired to offer a blow by blow rebuttal. It's pointless
>    anyways. I'm sorry I was so harsh. 
    
    Frankly, I don't mind you being "harsh". 
    
    What I find interesting is that you're note so classicaly paints me
    as your OWN personal notion of a shred-fan.  Lessee if I can cover
    just the main points without bogging this reply down:
    
    	1) I microscopically analyze music for technique
    	2) I have no appreciation of artistry, if there's no technique
    	   it ignore it.
    	3) I have a very narrow appreciation of music: it all has to be
    	   Morse, Vai, Satriani, etc.
    
    I mean god, I couldn't have synthesized a more bigotted view of shred
    fans if I tried.
    
    And you know the funny thing is Mark, I'll bet you ask enough people
    that know BOTH of us and they'll probably tell you that I have much
    wider tastes in music than you both from a listening perspective and
    a playing perspecitve.
    
>    The ironic part is that I am no big EC fan. I own a couple of
>    his disks and only play them occasionally.
    
    The really ironic part is that *** I *** also own a couple of his disks and
    only play them occasionally, at least in the past.  I will be honest
    and admit that I haven't put on any EC records for about 3 years now.
    
    >just feel that he has been overly criticized in this conference. People
    >that like him cannot discuss his work without getting the opposing
    >viewpoint and accompanying critisicm. It takes the fun out of it. 
    
    I agree with this Mark.  Don't lump me in with Buck and Mike.  I would
    like to see them stop these "EC sux" notes as much as you.  Clapton
    fans should be able to have a discussion about Clapton without those
    disruptions.  I consider those notes very uncool.
    
    However, the reason I responded here was because Jim Allberry more or
    less directed his note to the people who had a negative reaction to
    that song and *I* was one of them, perhaps principle among them.
    
    	db
    

    
    
    
    Arrrrrhhhh.  I can't stand it.  I automatically skip any reply that 
    reposts/comments on any previous reply.  Why does anyone feel the need
    to convince someone else of their viewpoint or convictions?  Take it to
    SOAPBOX, please!  It's no fun for me in here anymore. 
    
    
    
    
    To get back to EC, my band plays the unplugged Layla all of the time
    because it goes over well.  Personally, I'll take "Layla Classic" any
    day, but the unplugged version does work for us.  
    
    I did like the fact that EC was willing to change an old standard to
    fit it into the acoustic mold; too many others would have used an
    acoustic guitar with strat pickups and cranked up the amp.
    
    
    [**I specifically deny anyone permission to repost any part of this
    note.**]
    
    

    
    	Kevin, if you're so against commenting on a previous reply then
    	why did you comment on "Layla"?  You only mentioned it because
    	it had been talked about in an earlier note.
    

    
    
    I'm not against commenting on an earlier reply, I'm against extracting
    an earlier reply, reposting it, and disecting it frame-by-frame.
    
    Kevin

    
    	RE: Kevin
    
    	Well, someone had to take up the slack after Pete Cook left,
    	and I guess it just happens to be Dave.
    
    	8^)
    

    
     I'm still wondering why "db" mentioned me in one of his replies. I
    guess I assume that everyone changes their style when necessary. Yes?
    No? If you don't you'll just get bored with the whole thing and move
    on! I've always liked Clapton, maybe not his attitude with other
    musicians that he has had in his band in the past, "telling Robert Cray
    that if he tries to play better than him, he'd cut him off at the knees",
    but I can overlook that. Artists! Anyway, my point (if I can think of
    one) is that it really doesn't matter what "anyone" thinks. It doesn't
    matter what anyone's opinion is either. Here's a guy who sells millions
    of records each year, sells out large venue concerts in *minutes* and
    for every Clapton basher there are 20 Clapton fans!
    	So say what you want kids, I wouldn't mind having a career
    like Clapton's and having people bash me because I'm successful! 
    I suppose all the Clapton bashers of the world would turn down that 
    kind of success right? I don't think so. Hey look, if you don't like 
    an artist, that's fine! We're all adults here...  so what does it 
    matter who thinks  [insert most disliked artist here]  is a lousy 
    player, or emotionless player, or whatever. Who cares?????
    
    
    <NEXT UNSEEN>

    This is not an argument!
    

    RE: .62, .66
    
    db,
    
    I appologize if I jumped to conclusions about your comments.  I would
    like to explain the reasons for my leap, however.
    
    You interpreted my orignal note:
    
    	Look... the jist of your original response to the criticism struck me
        as "hey, he tried".
                              
    I admit my note was somewhat apologetic, but I was apologizing for
    turning a (IMO) great song into a mediocre one.  FWIW, I agree that it 
    was not musically a challenging change.  However, since "Layla" is 
    probably EC's best known song, changing it at all is risky from
    an audience appreciation standpoint (most people like thing to
    sound like a the record).  I was not apologizing for failure: my
    exact words were:
    
    	Taken on its own merits, I find the acoustic "Layla" to be OK:
        not great, but not that bad, either.
         
    In short, mediocrity, not failure.  I thought my statement was clear,
    but, perhaps, "not that bad" gives a greater implication of failure 
    than I intended (particularly if read "not THAT bad").
    
    The intended gist of your reply, you later stated as 
    
     	My response (summarized) was "Yeah, so??? Does that mean I shouldn't
        say that I think he failed?"
        
    I have no problem with that.  You have every right to say he failed.
    I also agree that simply trying does not excuse failure.  Your actual 
    response to my note, however, was 
    
    	You don't seem willing to give him credit for failing.
        ^^^
    		
    Not "I agree he tried, but I believe he still failed."
    
    Maybe I jumped to conclusions, but I interpreted your remark
    as follows:
    	
        1) "failing" was the only valid evaluation for the song
        2)  I either thought EC failed, and refused to publicly admit the 
    	    failure.
    			OR
    	3)  I was unable to evaluate the performance accurately.
    
    
    As a result, I felt you were stereotyping *ME* as an Eric Clapton
    fanatic who was either unable to accurately evaluate his playing
    or unwilling to admit he was capable of something less than a
    stellar performance.  I am glad to know that this was not the case.
    I'm sorry I assumed otherwise.
    
    Jim

>    In short, mediocrity, not failure.  
    
    OK.   Fine.   To me "mediocrity" for someone like Clapton should be
    regarded as "failure" but let's half agree:  the acoustic version
    achieved full "mediocrity".
    
>    	My response (summarized) was "Yeah, so??? Does that mean I shouldn't
>       say that I think he failed?"
>       
>   I have no problem with that.  You have every right to say he failed.
>   I also agree that simply trying does not excuse failure.  Your actual 
>   response to my note, however, was 
>   
>   	You don't seem willing to give him credit for failing.
    
    OK, my fault there.  My "summarized" response was more of what I intended.

Um, not to cause a problem or anything, but...

I happen to *prefer* the acoustic version of Layla, though I liked the original
as well. To me, they just have different kinds of appeal.

The original is fun like cruisin' down the highway on a summer day in a fast
convertible, with a great tune on the radio. The blues version is like sittin'
on a rock in a cool green field near the side of the road, watchin' *other*
folks cruise down down the highway in a fast convertible...

Sort of "fast fun" and "slow fun." If my meaning doesn't come across, that's
okay; just wanted to burst the bubble as regards the Layla remake being
*unquestionably* and *unanimously* regarded as so-so.

(Now on the other hand, don't even *ask* me about "I Shot the Sheriff..." I just
ate!)

Bob

    re -1
    	funny you know, seeing though I started this....
    	I was driving home last night, and what comes on the radio?
    
    	The original version of Layla......
    
    	I prefer the new one.  Funny the old one didnm't appeal to me
    	as much as I remembered it to.
    
    
    P.K.

    I'm surprised that at least two people so far have said that they didn't
    rate Clapton's version of "I Shot The Sheriff". I've always thought it
    was very effective...great production, swirling organ, nice female
    backing vocals. There's something "irregular" about it that really
    grabs me; each time the band play that downwards scale at the end of
    the verse, you never know quite when they're going to come in on the
    chorus - the interval is different each time. Reminds me of the Rolling
    Stones' "Citadel" in that respect.
    
    In fact, I've always liked 461 Ocean Boulevard as an album, although
    I'm a firm believer that, when people talk about their favorite
    records, the intrinsic quality of an album often takes second place to
    the time/place of first hearing (the "nostalgia" effect) - I *know*
    that's the case with me! Anyway, it's a very varied record, the
    songwriting's good, and it was Clapton's attempt to show the world that
    good music is not dependent upon The Guitar Solo. There's also a real
    relaxed, friendly sound to the band; no primadonnas trying to outdo
    each other (which *sometimes* seemed to be the case with Cream).
    Apparently, Clapton even called in the security  guards at the studios
    to play percussion on a couple of tracks!
    
    Highlights for me are the slide solo in "I Can't Hold Out" and the
    instrumental fade out of "Let It Grow", which slowly reaches a
    crescendo. Oh yeh, I have to agree that "Willie And the Hand Jive" is a bit
    on the naff side, though ;-)  
    
    Dom
    
    P.S. Clapton did another obscure (believe me, only the staunchest Bob
    Marley fans knew "I Shot the Sheriff" before Clapton did it!) reggae
    cover on one of his solo albums (forget which one): it was "Don't Blame
    Me" by Peter Tosh. I thought that was very good, too. The one that
    shouldn't have seen the light, IMO, was his reggae version of "Knocking
    On Heaven's Door"; that particular cover did nothing for me at all.
    
    Then again, having heard the Guns And Roses version, I'd say Clapton's
    effort was a bloody masterpiece... ;-)
                                       
    

    Which 80's Clapton record is "The Core" on?  I'm generally lukewarm on
    his 80's stuff, put that particular track just grabs me.
    

    re .-1
    
    "The Core" is from "Slowhand", which also had Cocaine and 
    Wonderful tonight. I believe it came out in 1977. So it's
    not an 80's EC album; maybe that's why you like it :-)
    I agree, a lot of the 80's stuff is rather forgettable.
    But I think that about everything Phil Collins is
    associated with.
    
    I always liked EC's reggae stuff. Didn't he also do a reggae 
    version of Swing Low Sweet Chariot on There's One in Every
    Crowd?

    
    	RE: .77
    
    	I heard "Bellbottom Blues" and was trying to "picture" what it
    	would sound like if he did an "unacoustic" version of that song,
    	like maybe turned up the Marshall stack to 11 and whomped on his
    	distortion pedal.  8^)
    

    I guess part of what bugs me about the new version, other than I don't
    think that the "swing" idea works very well is that it rips out one
    of THE all-time classic rock piano parts.
    
    Remember, I'm a keyboard player more than a guitar player.
    
    	db

    >I guess part of what bugs me about the new version, other than I don't
    >think that the "swing" idea works very well is that it rips out one
    >of THE all-time classic rock piano parts.
    
    ...and that also means it's lacking some very eery slide playing by
    Duane Allman. Yep, I can see your point.
    
    Talking of D.A., possibly my all-time favorite ten seconds of rock
    music is the intro to the Allmans' "Every Hungry Woman" on their first
    LP. Duane's slide lick is something from another planet.
    
    Dom

    Yeah, "Every Hungry Woman" really jumps out of the grooves on that
    record.  For years I tried to get bands I was in to cover that tune;
    never had one that could do it justice.
    

    
    >I guess part of what bugs me about the new version, other than I don't
    >think that the "swing" idea works very well is that it rips out one
    >of THE all-time classic rock piano parts.
    
    	I don't miss that at all ... when the "outro piano" kicked in I
    	usually changed the station.
    
    	Much like the "YAH YAH" outro on "Hey Jude".
    

    Re: Layla
    
    I love the piano closer too.  
    
    Jim

    
    The piano... some open chord voicings; big deal.
    
    Listen to Oscar Peterson, he's nowhere near as boring musically
    as Clapton (overall), and has been doing that stuff (and better)
    for ages.
    
    ALL MHO, of course.
    
    -b

   re: .-1 

   Funny you should mention that;  One of my currently favorite discs in
   Oscar Peterson and Iysacc (sp? - I know it's wrong) Perlman's "Side By
   Side", on which they cover a bunch of old jazz standards.  That's right,
   a classical violinist covering "Blue Skies".  Amazing stuff.

   -- Sam

    
    	Lots of older Joe Pass have Oscar on 'em - love his playing.
    	And then add Nels Orsted Pederson (sp?) ...   gotta get at
    	least once CD of that group since my albums are really
    	scratchy.
    

>     The piano... some open chord voicings; big deal.
    
    That's it... I think Mark Jacques had me confused with you!  ;-)
    
    C'mon Brian, I think what makes that part so special for me is that
    something fairly ordinary that just fits so perfectly.
    
    At the risk of totally destroying Mark's concept of me as a shredder
    I'll tell you that I have more respect for someone who can make
    something "special" out of something "simple" than someone who can make
    something "special" out of something "complex".  It just seems like more
    of a challenge.   Thankfully, not having the chops that guys like Morse
    and Satriani have, many folks take on this challenge. Unfortunately
    most fail IMHO.
    
    Some good examples exist in the realm of guitar.  What are the first
    two things every guitar player worth his salt ever learned:  "Smoke on
    the Water" and "Stairway to Heaven".   THAT too me is greatness!
    
    Unfortunately, the THIRD thing that guitarists seem to learn is
    Van Halen's "Eruption"!  ;-)   
    
    	db

    >C'mon Brian, I think what makes that part so special for me is that
    >something fairly ordinary that just fits so perfectly.

    Well, first of all, Clapton puts me to sleep. I won't say
    he sux, that would imply he can't play. He can play. He
    can even sorta write. But there's so many people out there
    that are doing both (playing and writing) so much better
    (IMHO) that bothering with Clapton strikes me as a waste
    of time.

    That said, I have to agree with your mediocrity comments
    earlier, except that I would include the original Layla
    in that category. Resoundingly dull in my opinion, nice
    piano aside. My point was, if that's the piano style that
    floats your boat, there's better examples in most of what
    Oscar Peterson has done.

    I have one Clapton CD/record in my collection: Unplugged.
    And guess what, I didn't buy and it and I don't listen
    to it. YAAAAAAAAAAWN.

    I guess the final comment I would make regards what constitutes
    a classic. It has nothing to do with the number of hacks
    that want to play it/listen to it. It has to do with the
    transcendent quality of greatness. None of the things you
    mention have that quality in my opinion. It's extremely
    rare in pop music, and in my experience, the presence
    of greatness is inversely proportional to the size of
    the audience.

    (And before anyone assumes, greatness != playing a bizillion
    notes a second in 15/8 time and the key of C#.)

    -b

    See Mark... it's Brian you WERE thinking of.  ;-)
    
    Apologies to all Clapton fans... we need a "Clapton bashing" note
    to get this note back on track.
    
    	db

    See note 2637---Clapton bashing note....
    
    Have fun,
    
    -kev

    For those of you who don't care for EC, hit NEXT UNSEEN, geesh!!
    Typically I'm read only in here; you couldn't pay me to go see
    some of the other players ya'll rave about.
    
    If the guy is over-rated or over-the-hill, why are some of us 
    having so much trouble getting tickets to his concerts?
    
    When I first picked up Unplugged I groaned when I saw Layla included;
    I loved the original version because I play the piano, when I heard
    the acoustic version I fell in love with the song all over again.
    
    The man has been telling people for *years* that playing the blues is
    what gives him the most personal satisfaction; isn't he entitled to
    devote a little more time to what gives him the most pleasure?  I
    think he's paid his dues.
    
    If it weren't for EC I never would have delved into Robert Johnson,
    Elmore James, Muddy etc.  EC's turned many listeners on to the
    traditional blues players; we owe him a debt of gratitude for that.
    Right now I'm in the process of wearing out From The Cradle, almost
    time to buy a spare :-)

    
    >If the guy is over-rated or over-the-hill, why are some of us 
    >having so much trouble getting tickets to his concerts?
    
    
    	Media brainwashing, of course.
    

  <<< Note 2982.95 by BUSY::BUSY::SLABOUNTY "Trouble with a capital 'T'">>>
        
    > Media brainwashing, of course.
    
    Appropriate P-name & node name,Sean (or Shawn),given the tone of your
    contributions to all the other conferences I've seen them in lately.
                                                                         

    
    	Thanks ... that's the nicest thing you've ever said to me!!
    

    
    Clapton rules on PBS tonight at 9:00.  Its a special
    produced under the direction of Martin Scorcese
    (Last Waltz etc.).  Includes footage from a recent live
    gig at Filmore and historical clips, interviews.   
    
    Dave

    That's wonderful -- get your VCRs ready, men!

    How are we supposed to watch Clapton with Beverly Hills 90210
    being on tonight!  
    
    :-)

    Well, I hear Shannon Dougherty is playing percussion in Clapton's band
    now
    
    :-)
    

    Sorry for the tease, since the Clapton show on PBS 
    didn't show, at least in Boston.  
    
    Don't you hate it when you come home
    to watch a cool show and instead its the Boston
    Pops?  Or Ballroom Dancing?  
    
    AAAAAAAAAAAAHHHHH! I was relying on the GBH
    program guide, which listed the Clapton 
    special as last night.  Anyways I called and
    raged to their answering machine, and 
    recommend everyone else does the same.
    
    I don't know when they'll actually show it. 
    
    Dave
    

    
    	Well, there was a Clapton show on VH1 last night.
    
    	Yep, Eric and his band backed me up.
    
    	Tom
    

    .104  Was Clapton show on VH1 the same as the one LOTS of folks
    thought would be on PBS?  Reason I ask is last October, VH1 had
    an entire week of Clapton interviews, some old stuff and a clip
    of the rehearsal prior to starting From The Cradle tour.  Wonder
    if this was just a rehash.
    
    I made a note on my calendar after seeing a similar ad from PBS
    here in Georgia and sure enough, I got ballroom dancing, ugh!!
    
    Guess I'll just have to console myself knowing I got 2 seats 6
    rows from center stage for Sept. 2nd :-)
    
    

The PBS stations here in D.C. advertised Clapton would be on tonight at 9:00.
Does that mean we get to see ballroom dancing again?

Maybe I'll just go channel surfing and play "Where's Clapton?".

    Checked out TV Guide for next week; saw that Clapton special
    has been rescheduled for Friday, 19th @ 10PM. PBS Channel 30.
    Didn't see anything for the other PBS channel.  Since an outline
    of the show also made the special liner notes for that date,
    hopefully it will be shown this time.
    
    Looks like stations might have taken some grief over this one :-)
    Looks like broadcast dates will vary depending on geography.
    
    

    finally saw the Clapton show Saturday night on 'GBH.  
    
    I really liked it as a TV show - very well put together and
    great live recording.  Good interviews.  As far as Clapton's 
    guitar playing goes, I'm still not going to go out and buy 
    any of his albums. The one clip of Muddy Waters (30 seconds?) 
    stole the show. 
    
    Clapton definately has an impressive stage show going, with alot
    of players (including horns), which looks good and would go over 
    well even in a big hall (stadium?).  And what a bunch of guitars! 
    
    I think his singing is getting more powerful.  
    Plus the research he's done into blues guitar is very serious.  
    He may just get better and better. 
      
    Dave  
    

    
    Anyone able to explain how EC makes that first
    sound on the first Blues Breakers album?  Its
    like a scrape or something, before he starts 
    playing the intro lead.  I know Tom D. 
    can do it since I saw him at the last Woods Jam. 
    
    Dave
    
    

    I just use a quick finger slide followed by a quick mute and it sounds
    pretty close.  Is there more to the secret Tom?  Oh, and it helps
    to have a cranked Bluesbreaker combo too :-)
    

    
    Which tune are we talking about?  I'm familiar with the album, but
    don't recall a scraping sound??
    
    /Steve
    

    
    	That's it, Rick.  Sheesh, to me it was just sloppy playing!
    	If I analyze it, I'd say to grab most of the pick so there's
    	just a little showing.  The more your index finger is perpendicular
    	to the strings instead of right angle the better.  Then just start
    	about 4 strings from the one you want!!!
    
    	Btw, keep a hanky around for the blood.  Or use a cherry red
    	ES335...  
    
    	

    re .111
    
    It's the very first tune on the album; I think the name is "All My
    Loving"?
    

    
    Oh... thanks Rick.   If it's the one I'm thinking of, I believe he's
    hitting an A minor bar and sliding it up... I think there's also some
    delay happening in there to further confuse the issue.
    
    /Steve
    

                      
    Tanks dudes, makes me wanna a Les Paul
    (isn't that what he's playing?).
    
    I'll bet he does the bends at the beginning 
    of Hideway down in the low positions, but 
    its too tough down there for me.  Those
    would be easier on the shorter scale? 
    
    How did they do delay in '66?
    
    Dave

    
    >How did they do delay in '66?
    
    	Record the album in '65 and release it the next year.
    

    
    re: delay in '66
    
    Are you too young to remember the highly renowned Tube-Echoplex units?
    
    A tape recorder with a continuous loop of tape that could spin past
    record and playback heads at various speeds...
    
    Actually there were many players using delay back then.... you've heard
    Hendrix's Red House haven't you?  Becks Bolero? 
    And of course Led Zep I used heavy delay on several cuts...
    
    Gosh, now I feel ancient.
    
    /Steve
    

    yes of course! Like John Klemmer used for his sax.  
    So there was life before digital effects processors 
    
    =B-)
    
    Dave

    re .117
    
    you ARE ancient :-)
    
    so are a lot of the rest of us, though. This conference is almost
    10 years old; I've been noting in here more than 1/4 of my life!

    
    And now, how does Clapton get that swell during 
    the solo?  (on that first track of the Bluesbreakers
    album).  Like when he does the Am triad and holds it? 
    Is this like when Santana turns towards the amp and
    gets feedback?
    
    Dave
    

    Yes, feedback.  I find when you let the strings ring from the Am
    it's pretty easy to get that swell happening.  When played on the
    top three strings (14th fret on the G string, etc.) that chord seems
    to set up a particularly sympathetic vibration.
    
    /rick
    

    I just heard on the radio that EC is recording some kind of
    techno-industial-blues-rock type of thing. Appearently he's not using
    his real name for the release. Something like TPE or the like, is the
    name of the band, and EC's psudo-name is quite bizzaro as well. Should
    be interesting....
    
    
    -kev_

    
    Techno...interesting indeed.  I'm predicting techno hitting BIGTIME
    for '97...
    
    Kev --
    

    
    I'm sick of this type of music,it's the only kind you hear on the
    radio in the UK!
    
    
    					ian