Milestone off his actual path

If one surveys the whole highly distinguished career of Eric Clapton, one realizes how much she is lined with artistically significant productions of albums that mark as milestones, on one of those days now for fifty years of road, especially memorable waypoints. Already in 1966 published John Mayall album "Bluesbreakers with Eric Clapton" was such a special waypoint - and there he was basically "just" sideman and had the first formation with the left he took plates behind it. These were The Yardbirds with whom he recorded three albums that you want to keep excessive in their musical meaning in retrospect.
Then the three years Cream, strictly speaking, a single milestone, one can not be overlooked rocks at the edge of Clapton's way, on whose summit is of course the second album "Disraeli Gears" - undoubtedly a piece of music history.
And then in 1969: Blind Faith, a year, a band, an album that end - but again making a lasting contribution in the thick book significant musical events.
Hidden behind the pseudonym Derek and the Dominos (and for a first published under Eric Clapton album in 1970) then again in 1971 as a piece of eternity: the superior "Layla ..." double LP. And even among the tens of productions that were no longer published afterwards under ever-changing company names but as Eric Clapton albums, tearing the list of disks that have imprinted in the collective memory of humanity, not from. "461 Ocean Boulevard" (1974), "Slow Hand" (1977), with outtakes and exclusive live recordings overloaded 6LP- or 4CD box "Crossroads" (1988) and the trend-setting "Unplugged" (1992) are as well to name at least, and the two published in 2004 albums on which he adapted the majority of comprehensive only 29 songs complete works of his idol Robert Johnson (1911-1938): to introduce him and his music of another generation, you have to classify as culturally and historically significant when milestones up.

One thing that all albums mentioned in the long preface in common: it always is handmade music. Whether times or more times less close to pure blues, whether purely acoustic or with screaming electric guitar, it is always organic, handmade music, synthetic proportion at 0%. And this is true, apart from a few unnecessary keyboard pads in the far-reaching musical unspeakably geschmacksverirrten 1980, also for those Clapton plates, although solid, but not necessarily a milestone in his career were (despite the fact that some of the keyboard filthy albums from Mid-80's commercially most successful include what sacrilege).

And then there's the album of the year 1998: "Pilgrim." A milestone, although many Clapton listeners refuse knits because just totally off his musical path. That it sold over three million copies, and this detailed work is at best an indication, no proof of its importance, but if you have to sound it without rigidly defined notion like a Clapton album sounds (whatever that would then also) good can affect located 75 minutes one inevitably to the conclusion that it is one of the very few albums, also a even after prolonged thought no counterpart incident, no other album of another artist that the sound would correspond.

Rejects it sounds electronically generated principally from, then you should leave the ears of "Pilgrim", roundly condemn but should not be there. Even though it unfortunately far too rare, a computer can be quite an enriching musical instrument and create a different sound world not producible in combination with classical instruments played. The fact that now precisely Clapton has it tried so devotedly, some may well have irritated understandable, but he felt like it, he wanted it that way, the existing song material, which was developed in nine long years without album of original songs, forced this digression. Perhaps one encounters the album differently if you know the story behind it:

The year before, Clapton learned the young musician and producer Simon Climie know and with him a musical expressivity, with whom he had not previously dealt, so he did not even know. Pro Tools Plug-ins you would Clapton currently able to sell even as a spread, he had no idea of ​​computer programs which can be modeled tones and sounds and audio effects.
Together, they realized a purely instrumental project (under the name of TDF was published in 1997 the album "Retail Therapy") and after its completion Clapton Climie asked to produce his next album with him. "Let's make the saddest album in music history", he suggested him. Although Clapton had recorded at that time nine years no longer album with their own material, he has nevertheless written in the years new songs, but deliberately not taken, has been working with others or better to be distracted.

In March 1991, his son Connor, not yet five years old, died in an accident. This need not be further elaborated here. For Clapton music is (even for a musician in an unusually high degree) language, emotional outlet, only expression way to make his fellow course. So he wrote to the pain of the soul (a stupid per se formulation is gone because then nothing is conditioned, at best, the lack endure somehow). Since his last album "Journeyman" at that time was already two years back, it was basically the production plan for the next time - but not with this stuff!
One solution offered by two queries that Clapton to work enabled without having to introduce new songs. On the one hand an almost entirely instrumental album as a soundtrack for cinema drama "Rush" and the other a record before a small auditorium for the then new series "MTV Unplugged". As Clapton wanted to record in the sessions for the soundtrack album also "Tears in Heaven" just for themselves, but already arrived at this early stage of the songs with which he tried to process Connors death somehow (no matter how an awkward formulation) for publication. The director of the very bleak film had heard the song and Clapton almost pleadingly asked for permission to use the song as a musical main theme for the film. The film was largely ignored, the album also not, but the song became one of the most famous Clapton songs. And that Unplugged album on which "Tears in Heaven" was played live included, was Clapton's best-selling album ever.
However, he played in this Unplugged concert even more yet until now unreleased tracks ("Circus" and "My Fathers Eyes"), which dealt with his son and the last day before the accident, the publication of which he knits but forbade. Only "Tears in Heaven" remained on the album because the song was now already published.

The other two pieces are then already played six years later central points to "Pilgrim", even if they have certainly sounded very different in the Unplugged session. Maybe we will get it at some point in a rematch of the Unplugged album to hear that then possibly contains the complete unabridged concert. Previously these recordings only know a few people from Clapton's direct environment and the 200-300 Enviable who were with the recording of this historic concert there.
Even two years later, when again it was time to give rise to a new album, Clapton did not dare approach the material. Instead, he fled back to his roots and played on "From the Cradle" the blues so crude as decades no longer made use of in ancient blues numbers and delivered an album, what would have been in the 50's technically just may arise.
All the greater then the contrast with "Pilgrim" - and probably the shock of blues purists. Somehow understandable. But Clapton did he had been waiting for just that. Years in order for these songs (came over the years, of course, always add more) to find the right setting, the right environment, the right sounds. With Simon Climie he met the man he needed it.

For a whole year he hid with him in the studio to try, to experiment, to let the new technology, its possibilities of sound production show to embellish the songs with many fine details, to rest, to rethink, to revise. Clapton's manager, Robert Forester raged whether the totally escalating production budget. But Clapton was unimpressed and was proved right. The result is an exceptional album. Sad and difficult - of course, how could it be otherwise? - And yet not completely overloaded with tears. An album full of substantially in text and composition of outstanding songs in completely unique implementation. And if you can not find the access immediately, worth every effort the plate again and again once again completely by listening until it opens up a since then reveals a truly great work.

Formative of "Pilgrim" are not only the lavish and stylish, all for Clapton and even unusual Programmings (who referred to it as cheap Kling Klang, has either what belongs to the ears, no idea, or the plate only on mothers kitchen radio from Tchibo , or an addition of all) It is also striking that it makes the guitar whenever they heard talk, never just accompany. Clear and elongated flow from it sounds like she was crying for him, so pathetic as that may sound. And yes, of course, an essential element of pathos is almost all songs. Also particularly noteworthy is the fact that Clapton on any other album with as much care as singing on this. Every word seems important to him much Melody feel much sensitivity at fullest formulation, as much awareness on clean vocals he has proven with any other drive - because it was not necessary or would also not fit, here all the more.

With "My Fathers Eyes" begins the album musically almost easy. In the song, he brings the curiosity expressed to feel to look into the eyes of his father, whom he never knew, when looking at him his young son with a direct view to have come through it well the missing father closer.
Then it gets really heavy and great at the same time. The over seven-minute "River of Tears" is probably the epitome of which has become the song of pain. Of course, pathetic and would a German musician sing the thing in German, it would probably sink in the arts section nearest village pond. But so it feels now time to - and probably even more so if it is your own child. Who does not dismiss callously such emotions, will be overwhelmed by this song - and worn. The real genius of the album! Because as much as the album consistently heavy and deep comes along, even if not all songs are content in direct proportion to Clapton's son, in spite of sorrow and heaviness, it is invigorating in effect, building. Clapton does not seek to draw his listeners in a valley of tears, on the contrary. Without formulating any rallying calls or using stimulants beats to lighten the mood, he has succeeded, the songs in such a way that they emphasize the comforting, Restorative, without loss, to transfigure the pain about it. So in this respect is "Pilgrim" an exceptional album, masterly.

These first two songs reflect the whole spectrum, it is not dark and moody as "River of Tears" and "My Fathers Eyes" was right at the beginning the relative to entire album yet lightest song. If you allow it, Clapton picks 14 songs long straight into the soul of the listener, touches on old scars, reveals his, and heals.
With no songs of colleagues he admires adapt, Clapton does not relieve any work in the public, also "Pilgrim". Among the twelve exquisite pieces that he wrote over the years for this album himself, yet there are two cover songs. The 1941 written Blues "Goin 'Down Slow" which he 1970 already once together with Klaus Voormann, Ringo Starr and Howlin' for its sensational all-star disc "The London Howlin 'Wolf Session" grossed Wolf, experienced here an incredible metamorphosis , This official in its structure blues piece is perfectly encased in a sound dress that it fits into the plate, as it would have been anno 1998 specially devised for it. A deep rich, slow-shifting, magnetic bass, the number oppressive behäbig forward, surrounded by countless very soft sounding effects and an equally velvety background choir. From the raw harshness of Blues is nothing more emerged is a new feat. Second Clapton helps "Born in Time", a number that croaked Dylan for his 1990 album "Under the Red Sky" with rumbling Arrangement into the microphone, to the flowering of true grace and size. Bob Dylan writes songs like no other and the nölige kind to take his stuff, makes it probably even more so to the myth that he embodies - the finishing touches are interested kindly do the rest. Here they settled (as so often) Eric Clapton and has shared the song with Simon Climie missed a majestic robe. Little by little, the Dylan number almost the effect of a mantra builds continues to unfold and, supported by wide open spaces. So great and sublime one has to think of "Born in Time" Once, when previously only knows Dylan somewhat crumbly original, amazing!

A long review to an already 15 year old album, naturally is primarily due to a bumperndem fan heart, clear. It should be clear that I think the board is essential. Clapton inclined toward listeners who still contend with it because of their otherness, I recommend to grope new, and even (and perhaps especially) those who know otherwise begin with Clapton not much because they lack access to Blues and Guitar Gefrickel, should try times here. (But please no 30 sec. Sample sample, which helps in such music not really)

Some time ago, a friend asked, what would I take ten plates on the tiny island. For music lovers a horrible idea. What should I on this stupid island, if I may take only ten plates? Because no matter what I entschiede me, I would but all the abandoned weep - even those on their artistic value one can argue well founded. One thing I told him was "Pilgrim". And even if he had granted me only five albums for the luggage, this album would still be there.