It seems as if Eric Clapton's entire solo career has been an exercise in humility – as if he can't forgive himself for all those overindulgent psychedelic jams of the past, the Clapton is god superstardom, the self-destructive lifestyle. But despite the near-ascetic modesty and earnest commercial meticulousness of his solo LPs, the same huge spirit that powered his most tumultuous performances with Cream or Derek and the Dominos continues to inform his playing. As last year's live album or any of his concerts affirm, he can still let go with riveting ferocity when he wants to. And, on many of his later records, there's at least one cut that seethes with enough rhythmic intensity to prod
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– and frustrate – fans who can't forget the Sixties.
The decision to create expert, accessible, marketable music often results in a "nothing special" reception from listeners. Though the younger Clapton was earthshaking as a guitarist, he was nothing special, even rather shy, as a singer and writer. Unfortunately, great solos don't make for much of a career outside a group context. Beginning with his excellent 1974 "comeback" LP, 461 Ocean Boulevard, Eric Clapton began to grow increasingly confident and conscientious as a vocalist and song stylist. His blues were more traditionally rendered, with guitar riffs functioning as sharp, precise accompaniment. Tunes weren't merely frames for extended soloing. Clapton also began to acquire reggae, gospel, honky-tonk and country influences, treating them with all the humble respect he paid the blues. His production values reflected this sobriety, moving from density to clarity, from deliriousness to restraint.
While Another Ticket continues in the same vein and is quite similar to Clapton's last studio album, Backless (1978), there are significant differences. The band that Clapton worked with through most of the Seventies (which included the late Carl Dean Radle, to whose memory Another Ticket is dedicated) has been replaced. Second guitarist Albert Lee, who's performed with Clapton onstage, plays rough and pushes the star harder than his predecessor, George Terry, though both share Clapton's aggressive, rhythmic style. Restrained as it is, the two-guitar interplay with Lee is the finest that Eric Clapton has engaged in since his and Duane Allman's virtuosity on Layla. The other changes are the absence of a female backup singer and the presence of two keyboardists. These changes allow for arrangements that recall Bob Dylan and the Band.
There are differences in content, too. While "I Can't Stand It" is an apt sequel to "Lay Down Sally" and "Promises," it's tougher in tone and attitude. Another Ticket's cover versions, instead of drawing upon such contemporaries as Dylan, J.J. Cale or John Martyn, revisit master bluesmen. The Muddy Waters number, "Blow Wind Blow," is true to the Waters manner of slam-down guitar rhythms and gravelly vocalizi
