This page compiles the bands Clapton was a part of (other than Cream) as well his solo albums. I technically started Eric Clapton when I listened to the Yardbird's debut live album at the very end of 2019, but I started everything else in mid-December 2020. Eric Clapton's career is kind of hard to follow because he worked with a lot of bands in his career, so if you want a quick run-through of his history click here. I recommend listening to Layla, 461 Ocean Boulevard, and No Reason to Cry. Blues Breakers and Eric Clapton would be my next recommendations after that.
John Mayall & the Bluesbreakers: Blues Breakers with Eric Clapton (1966): B
Blind Faith: Blind Faith (1969): B- [Originally: B]
Eric Clapton (1970): B
Derek and the Dominoes: Layla and Other Assorted Love Songs (1970): A
Derek and the Dominoes: In Concert (1973): B-
Eric Clapton's Rainbow Concert (1973): C+
461 Ocean Boulevard (1974): B+
There's One in Every Crowd (1975): C+
E.C. Was Here (1975): B-
No Reason to Cry (1976): B+
Slowhand (1977): C
Unplugged (1992): C+
John Mayall & the Bluesbreakers: Blues Breakers with Eric Clapton (1966):
John Mayall sounds like a worse Roger Daltrey. I'm not going to say he for sure needs to switch singing styles but only on the opener "All Your Love" does he comfortably hit a high note and only on the slower song "Parchman Farm" does he not consistently irritate me. Despite this, Clapton's lead vocal on "Ramblin' on My Mind" is barely an relief because his overwhelming timidness when singing makes him only slightly preferred to Mayall at the mike. However, the band's playing is excellent, inspired, and constantly engaging. Clapton is clearly carrying the band every second of every song yet Mayall and McVie find a way to impress throughout. The band tries to get Flint to shine as well with a drum solo on "What I'd Say" and it sounds fine--but it's drum solo. B
Blind Faith: Blind Faith (1969):
Like we did with Goodbye, let's separate this album into two groups of three songs. The first three songs showcase the band's chemistry and great playing with "Had to Cry Today" being the best song on the album. The next three are a different story: "Presence of the Lord" is the worst song Clapton has written, "Sea of Joy" is pleasant but forgettable, and the fifteen minute "Do What You Like" starts off quite spectacularly, but disintegrates just as spectacularly into meandering and boring jamming. However, even on the weak moments on the album, Clapton's playing is his best on anything I've covered so far. B [Later: B-]
Eric Clapton (1970):
Clapton seems more relaxed than ever, less interested in long solos and more interested in making a down-to-earth, modest, and fun record. Unfortunately, it mostly fails because the songwriting is generally mediocre, the consistent use of horns muddles the songs instead of adding to them, and Clapton doesn't quite sound comfortable with his voice. However, "Slunky," "Bottle of Red Wine," and especially "Let It Rain," while not demanding much attention, are all just as good as anything he's recorded and the album's overall easiness makes me eerily sure I've revisit this more than many of his other (better) albums. B
Derek and the Dominoes: Layla and Other Assorted Love Songs (1970):
For the legendary status Clapton has in classic rock, he didn't have a fully undeniable--influential, sure, but not undeniable--album until now. In retrospect, it was because Clapton never had a fire under his ass that could inspire such passionate songwriting, singing, and playing. Now, he's got a woman he needs to win over--a woman married to George Harrison for that matter, which makes his pleas all the more desperate and his pain all the more agonizing. However, it's not just the passion that bleeds from this masterpiece. Clapton has also assembled a band whose playing blows Cream's out of the park--Radle and Gordon supply a solid foundation that allows for Clapton and Allman to soar off and create the most intense and explosive guitar work of each of their careers. In addition, whether its a perceived security alongside Whitlock or not, Clapton has never sounded so comfortable and passionate at the mike--he and Whitlock trade vocals as well as Clapton and Allman trade licks. A
Derek and the Dominoes: In Concert (1973):
I prefer the live recordings of Derek and the Dominoes to the live recordings of Cream, but I'm disappointed that most of these songs stretch over eight minutes. Clapton, like the vast majority of guitarists, doesn't have the chops to solo for long stretches. With prominent keyboard and without Allman, the songs from Layla take on a new and different life and I would have very likely returned to this often if the songs were just kept at a reasonable length. B-
Eric Clapton's Rainbow Concert (1973):
All of the songs are kept at reasonable lengths, which is something to be happy about. Although the solos here are generally better than the ones on In Concert, Clapton's voice isn't at its best and this star-studded cast doesn't come close to matching the power of the Dominoes. C+
461 Ocean Boulevard (1974):
Clapton's weakness for songwriting (without a partner, I mean) is normally just that--a weakness. By now though, he's realized that songwriting just isn't his knack, so he puts his energy into what he knows he can do best: reinvent and reinvigorate the blues (as well as contribute the few first-rate original songs--three this time--he's been able to muster since his last album). He's also realized he's not going to have the deep and powerful voice of his idols anytime soon. Because of these, the relaxed nature that Clapton tried to achieve on his debut is fully realized here. "Please Be with Me" and "Let It Grow" become just as vulnerable and genuine as the aching on Layla while "Mainline Florida" and "Motherless Children" rock just good as Cream did. Sometimes the laidback nature of the record makes the track-list lag a little but otherwise, quite a satisfying record. B+
There's One in Every Crowd (1975):
If 461 Ocean Boulevard was about Clapton accepting flaws and focusing on his strengths, this is Clapton ignoring the lessons he's learned. While it is has the same easy-going nature as its predecessor, this is too soft-rock and Clapton, penning half the songs, has never written songs so soporific and colorless. "We've Been Told (Jesus Is Coming Soon)" and "Pretty Blue Eyes" start off promisingly but quickly retreat into the safety of the album's insipid nature. C+
E.C. Was Here (1975):
Better rocking than Eric Clapton's Rainbow Concert, this is also slightly better than In Concert for keeping the songs at decent length and for being shorter overall. Although "Presence of the Lord" and "Can't Find My Way Home" are boring (slow) blues numbers, "Drifin' Blues" and "Further on Up the Road" are just as good as anything he's done live (except "Crossroads"). B-
No Reason to Cry (1976):
After There's One in Every Crowd, I was really close to quitting Clapton altogether but I'm quite glad I didn't because I've found this underrated gem. Similar to 461 Ocean Boulevard, it's easy-going but for once, I can hear the Band's influence on Clapton's music, mostly because they play on the album. "Sign Language" to "Double Trouble" is as good a run of songs as Clapton has ever put on a solo record. B+
Slowhand (1977):
Albums promoted as comebacks, especially when they end up being commercial successes too, often sound manufactured. (One problem with Clapton even coming into a project with such a mindset, by the way, is that he was already making pretty good music the year before on the forgotten No Reason to Cry.) Most of the issues comes down to generic production but usually, comeback albums at least spawn a few decent tracks and Slowhand is no exception--"Cocaine," "Lay Down Sally," and "The Core" are all groovy as hell though only "Lay Down Sally" passes the audition for the entirety of its allotted time. But Clapton has consistently proved himself a lousy singer and songwriter whenever my expectations arise and his professionally crafted bullshit has finally become contemptible. C
Unplugged (1992):
This is an okay live album but I cannot fathom how it's the best selling live album of all time. For starters, "Layla" is disappointing. Although the piano works nicely next to the acoustic guitars, it should work a whole lot better and most of the album is merely pleasant. The third best live album I've listened to from Clapton and if I listened to a live one from Cream, I'm sure it'd be fourth. C+
