ROANOKE TIMES

                         Roanoke Times
                 Copyright (c) 1995, Landmark Communications, Inc.

DATE: SATURDAY, September 17, 1994                   TAG: 9410240008
SECTION: EXTRA                    PAGE: 12   EDITION: METRO 
SOURCE: MARK MORRISON
DATELINE:                                 LENGTH: Medium


RECORD REVIEWS

Blues

Finally.

For years - decades, really - Eric Clapton coyly promised that someday he would do an all-blues album. But nobody knew for sure whether he was ever serious. Apparently, he was.

The result: an album that was worth waiting for.

From the first note, "From The Cradle" (Duck/Reprise) establishes that Clapton is plugged back in and ready to come back to earth after the overplayed mellow success of "Tears in Heaven." Thank goodness.

This is Clapton at home. At his best.

Not since his Derek and the Dominos days of "Layla" more than 20 years ago has he played the blues with such dedicated fervor. The great thing is that rather than settling for a few token blues numbers, like he did on "Layla," the new disc is wall-to-wall blues: a generous sampling of 16 blues covers totaling a full hour of music.

The collection also proves that Clapton, as a guitarist, can still wail with the best. "From the Cradle" offers some of his most intense guitar work since his days in Cream. Just check out the album's final track, "Groaning The Blues."

Yet, "From The Cradle" is far from pure guitar bravado. What is perhaps most notable is the album's diversity. There are softer moments, too. "Driftin'" features Clapton accompanied only by his own acoustic guitar, while other songs feature the harmonica or piano or slide guitar or a small horn section.

The mix keeps the album, which was recorded without overdubs or edits, from turning into an endless blues drone; highly listenable even to someone who doesn't share a passion for the blues.

About the only misstep is "Motherless Child," where the song's mournful content doesn't jibe with the happy back beat.

Otherwise, Clapton's choices in arrangements and material are superb. Throughout, he takes on giants like Muddy Waters, Willie Dixon, Howlin' Wolf and Elmore James, and walks among them. Maybe not as the God he once was called, but as the devoted student that he remains at his core.



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