Clapton fan? Reach for his earlier works

Eric Clapton

Eric Clapton
Reptile
(Reprise Records)

In this story: Long on polish Short on emotion RELATED STORIES, SITES

By David John Farinella
Special to CNN

(CNN) -- Well, it's finally happened. Eric Clapton is acting his age. While his mum likely would be proud, the rest of us apparently have to suffer.

After a career of noteworthy and genre-defining offerings, Clapton bows this time with "Reptile," a schlocky and glossy collection of overly safe songs.

There are promising moments, such as "Come Back Baby," that recalls Clapton's early blues career, but others that mock it.

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WAV 'Reptile' WAV 'Come Back Baby' WAV 'Believe In Life'

"BrokenDown" suffers at the hands of a syrupy string arrangement that haunts the song's background. "Believe In Life" sounds like a song he would have ridiculed in the '70s.

Perhaps Clapton's goal with "Reptile" was to cement his relationship with the adult contemporary/smooth jazz market. If so, his latest album succeeds wildly, but that approach sells his talent short.

Long on polish

"Got You On My Mind," the album's second song, opens with bluesy promise, but soon drifts into a production that, while polished to perfection, misses the emotional mark.

"Travelin' Light," written by J.J. Cale (the same man who penned the classic "Cocaine"), sounds as if would have fit better on any Mark Knopfler solo release. There's nothing wrong with that, except Knopfler is better known for his muted guitar solos, whereas Clapton built his reputation playing crisp blues leads.

Perhaps what's changed most from Clapton's early days -- back then, he was a reluctant singer -- is his comfort at the microphone.

Throughout the 12 songs that feature vocals (the opener and closer are instrumentals), he is up-front and present. His singing voice has turning into an evocative instrument by itself, and it seems as if he's found a comfortable range.

"Reptile" is perfect on a very technical level, and no wonder: It doesn't hurt when you can hire some of the best studio musicians on the planet.

The musical all-star backing band includes keyboardists Billy Preston, Joe Sample, Paul Carrack and Tim Carmon; Andy Fairweather Low and Doyle Bramhall II on guitars; bassist Nathan East; drummer Steve Gadd; and Paulinho Da Costa on percussions.

Most of this team appeared on "Riding With The Kings," the Clapton- B.B. King collaboration. Don't forget, too, that the album's owner is one of the best guitarists in the world.

Short on emotion

Though this is a world-class bunch, the musicians' overt perfection is slightly nerve wracking. (A cynical note: One of the production credits goes to Simon Climie , who also gets two co-songwriting credits on the album.

He handled the Pro Tools hardware and software, a digital audio workstation that gives producers and artists the ability to automatically tune, tighten and perfect anything from individual notes to entire performances.)

Of the songs that Clapton wrote by himself -- there are five, including the two instrumentals -- the lyrical vibe is decidedly self-help.

"Believe In Life" and "Find Myself" do nothing more than further the new age feel of the album. So does "Reptile," the opening samba flavored instrumental title track. Ditto for the cover of James Taylor's "Don't Let Me Be Lonely Tonight."

The closing instrumental "Son & Sylvia" is more emotional and noteworthy. The album is dedicated to Clapton's Uncle Adrian and his wife Sylvia; Adrian, who passed away last year, was also known as Son.

Artists don't need to constrained by their past. However, in Clapton's case, it might behoove him to look back through his catalog to a session he played with Jimmy Page in the '60s.

The two played a scorching instrumental set of blues guitar numbers that stands the test of time. Perhaps someone could send him that tape with the note, "This is what you do best."

Rock and Roll Hall of Fame makes Clapton first triple inductee
March 7, 2000
Clapton finds solace in songwriting
March 16, 1999

Reprise Records

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