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Blues Breakers with Eric Clapton (Remastered)

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Reseña de álbum

Rarely has any single record album induced such a shift in popular music. Bluesbreakers with Eric Clapton not only catapulted Clapton to the helm of the burgeoning British blues-rock scene, it likewise made significant noise on the other side of the Atlantic — where the blues had literally been born, bred, and buttered. This remastered and revisited edition boasts significantly upgraded sound quality for not only the dozen sides that comprise the original program, but also the bonus tracks. These two additional performances include the A- and B-sides of a rare 45 that Mayall and Clapton cut for producer Mike Vernon's Purdah label nearly a year before recording this disc. Taking a page from the mid-'50s Miles Davis Quintet, it became obvious for those involved that the best way to approach making a studio recording was to document the same material that was concurrently being performed by the band night after night in various London area clubs. In addition to Mayall (guitar/vocals) and Clapton (guitar/vocals), this incarnation of the Bluesbreakers utilizes the talents of John McVie (bass) and Hughie Flint (drums). As a combo, this band was able to reinvent the American blues for a fresh audience whose ultimate response would give rise to subgenres such as heavy metal and other roots-related rock. While their contributions prove immeasurable, they are likewise sadly eclipsed by that of Clapton. In retrospect — unlike many of the other revolutionary changes occurring in pop music circa the mid-'60s — the Bluesbreakers are infinitely more subtle in their attack. Their most obvious weapon is the advantage of documenting in-the-studio material from their live performance set. The Bluesbreakers were able to incorporate originals such as "Double Crossing Time" and "Key to Love" with revered blues standards, including Freddie King's "Hideaway" and Robert Johnson's "Ramblin' on My Mind" — which features Clapton's very first lead vocal. Clapton needed precious little time to gestate the blues. His ability to express himself is uncanny, as if he were a man twice — if not three times — his age. The passionate inflections and unforgettable impressions Clapton makes upon these grooves swiftly catapulted him into both international exposure as well as legendary guitar rock idol status. Bluesbreakers with Eric Clapton is an invaluable touchstone into primordial pre-metal rock & roll.

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Blues Breakers

Bought this album when I was nine years old (I'm 48 now). This was one of my major influences for learning to play guitar. I was hooked then - and glad to be re-hooked to it again. Pure blues, and I have this album to thank for my guitar playing today.

Why it didn't sell because it's neither fish nor foul. I like this album, don't get me wrong, liked it when it first came out (when I was 20), but it's not blues (sorry, but, without meaning to be purist or snobby about it, that's the truth, it's what passed for blues among white boys, and I say this with the authority of a white boy who's heard the greats like muddy waters & Junior Wells with Buddy Guy & Howlin' Wolf and James Cotton, as well as Butterfield and the Stones in their prime, all live) as it's usually meant, and its not that great as pop music - some nice hooks, but no great ones such as would come later - and as rythm and blues, it's fair: it's REALLY white (much whiter than the Stones of the time), and lacks soul and balls. What it does have is a real sense of energy and drive, a few very nice solos, (as other reviewers have noted) and some of the fastest playing around, but that's it's problem, and Clapton was the first to admit it, and the proof is in the fact that he backed off - way, way, off - from the crescendo of guitar excess he had reached towards the end of the Cream days. Compare his "blues" playing on this to that of Hendrix - Hendrix plays fast, too, and so did Buddy Guy, whom Clapton openly admired, but they knew the value of space in a solo; the silences in the right places around the notes said as much as the notes did. To the reviewer who suggested that every white guitarist should listen to this - I'd disagree, unless you just want to play mostly very fast thin sngle-note lines; go to the sources. The reason the stones are so powerful is that's what they did. So did Eric, he just took a while to understand what to do with it. These solos are signs of promising talent, but can't hold a candle to the work he did later on, for instance, his uncredited solos on Abbey Road with George Harrison. Check THAT out, brothers.

A Must-Buy

One of the best kept secrets of 60's blues. Its a shame that this isn't more popular. If i were in this band, my jaw would be on the floor, wondering why it hasn't sold more copies. Anyway.. pure gold! I love every track!

Blues Breakers with Eric Clapton (Remastered), John Mayall & The Bluesbreakers
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