flowing lines that made Clapton an unhappy superstar. So determined is he to break from his past that frequently he plays dobro instead of guitar. 461 debuts a new, thin, circumscribed and circumspect style which will disappoint many—it has neither the beauty nor the power of the old sound. But rhythmically it constitutes an advance, lending itself more readily to syncopation. With its reggae and touches of Bo Diddley, 461 can swing as Clapton's earlier work did not.

What's disturbing is not that Clapton plays differently, but that he plays so little. When he steps out a bit, he shines. His compelling slide guitar solo on Elmore James's "I Can't Hold Out," his embellishments on "Mainline Florida" and his two extended performances on dobro are excellent. But generally Clapton takes far too literally the old saw that the greatest art is that which conceals itself. Not content merely to hide his light under a bushel, at times Clapton snuffs it out altogether. On several tracks we glimpse him only occasionally behind George Terry's chicken-scratch rhythm guitar.

Were Clapton deferring to a first-rate band his disappearing act would be less upsetting, but Dick Sims is a woefully trite organist and Carl Radle's bass lines are skimpy and perfunctory throughout the album. Only drummer Jamie Oldaker plays with some semblance of energy and imagination. The mediocrity of Clapton's accompanists (whom Clapton seems satisfied simply to accompany) accounts in part for 461's flaccidity. Clapton has always played best when challenged and encouraged by the presence of strong and gifted musicians such as Jack Bruce, Duane Allman and George Harrison. But there is no one here of comparable stature to prod and inspire Clapton, and the result is a comfortable and professional, but rarely a brilliant, performance. Clapton settles too easily for second best.

Clapton's vocals, surprisingly enough, take up much of the slack. He has become a far more self-assured and less tentative singer. Like George Harrison he sometimes sounds too doleful—"Willy and the Hand Jive" is not a lament!—but he attacks much of the up-tempo material with hearty exuberance. His best efforts, however, are on the slower numbers, especially two he wrote himself, the brief "Give Me Strength" and the more ambitious and stately "Let It Grow." These he sings in hushed, confessional tones which are