Word: clapton
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Dates: during 1960-1969
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...talking about the great "Blues Revival" of 1968 but there is much confusion as to what exactly Blues is and what is being revived. The bald term "Blues" covers an incredible number of musicians ranging from Robert Johnson and Jelly Roll Morton to B. B. King and Eric Clapton and it encompases therefore a corresponding diversity of styles. Isolating a common element out of this richness of musical product is necessarily a hard task...
...release of three albums, The Paul Butterfield Blues Band, featuring Mike Bloomfiled on lead guitar, and Paul Butterfield on harp, The Blues Project at the Cafe Au Go Go, with Al Kooper on keyboards, and Danny Kalb on guitar, and from England, John Mayall and His Bluesbreakers, with Eric Clapton on guitar and John Mayall on keyboards...
...these groups will reveal few if any black faces among all the shoulder-length hair, mustaches, and midwestern, New York or English accents. This then is a white Blue srevival. Many of these bands play heavy funky music which sounds very Bluesy and technically it is Blues. But when Clapton opens his mouth and sings a line like, "I'm going down to Rosedale with my rider by my side," you can be sure he has never been to Rosedale, probably doesn't know where it is (it's in Mississippi), and obviously didn't write the song. The lyric...
...popular groups is that they have realized that they are not just "doing their thing" but that they are putting on a show, that they are different from their audience in some very material ways, and that they must maintain a sort of friendly inaccessibility. Richard Nixon and Eric Clapton share in common this ability to convey their superiority. That's why both are culture-heroes of different segments of our society. One of the reasons the Boston Sound failed was because of a hip unwillingness to idolize the performers so that, like the early Beatles or San Franciscans, they...
...contributes a strong and uncluttered and incredibly well-felt blues-bass throughout. This kind of restrained and delicate watered-down imitation of the Chicago sound is a valid method of interpreting the blues classics and of creating new blues material. It is the other side of the, equally legitimate, Clapton-Beck style of English blues which produces radical guitar-oriented re-interpretations of the old material...