ERIC CLAPTON - Me And Mr. Johnson

“It’s a remarkable thing… to have been guided and influenced throughout my whole life by the work of a single man. While I accept that it has always been the cornerstone at the heart of my music, even today I wouldn't call it an obsession - rather, I prefer to think of it as a point of reference to navigate by whenever I feel I'm drifting off course”. These are the words of the legendary guitarist of the Cream, Eric Clapton, and the man in question is an equally legendary blues guitarist, Robert Johnson.

No one could better introduce, in simple and concise words, Slowhand's new album, “Me and Mr. Johnson”, than Clapton himself.

The story is an old and well-known one, so much so that by now it has faded almost into myth. In his short life, Robert Johnson only had time to organize two recording sessions: the first in San Antonio in November 1936, and the second in Dallas in June 1937. Before dying poisoned in 1938 at the age of 27, Johnson recorded a total of 29 songs that, despite their limited number, would go on to influence entire generations of rural and urban blues musicians.

It's precisely these generations of musicians, indissolubly tied to the "devil's music", who made his few but excellent songs famous.

Cream covered "Cross Road Blues" and "From Four Until Late", the Rolling Stones did "Love In Vain", the Blues Brothers tackled the now-unmistakable "Sweet Home Chicago", and Led Zeppelin took on "Traveling Riverside Blues". If you'd rather skip the covers, just get hold of "The Complete Recordings" (Cbs, 1990), which contains practically everything Robert Johnson recorded before his death.

Having left behind Cream, Blind Faith and Derek and the Dominos, Eric Clapton set out on his solo path starting in 1970 with the album "Eric Clapton".

Robert Johnson and the blues remained a constant source of inspiration for his guitar playing, but Clapton often wandered off onto alternative musical paths, blending the "devil's music" with the reggae of "I Shot The Sheriff", the soul of "Hard Times", and, especially in the later part of his discography, with increasingly tame pop. In truth, there are few records of his that are strictly blues, and some of those are collections of tracks recorded before his solo career began.

Besides the monumental compilation "Crossroads" (Polydor, 1988) and the excellent "Blues" (Polydor, 1999), Clapton has released only two albums of original material.

During the period of harshest criticism for his increasing slide into middle-of-the-road comfort, he released the raw, earthy "From the Cradle" (WB, 1994), followed in 2000 by the project with B.B. King, "Riding With The King" (Reprise, 2000). Rather thin output for someone who has lived and breathed the blues his whole life.

So "Me and Mr. Johnson" arrives almost as something owed, both to blues fans (and Clapton fans) and to one of the most important artists among those who first preached its symbolism and intensity.

The first thing that immediately strikes the ear on this album is that we're dealing with a group of excellent musicians. From the very first chords of "When You Got A Good Friend", it's clear that Clapton placed his trust in seasoned, skilled travelling companions: honestly, the opposite would have been surprising. Steve Gadd (drums), the trusty Nathan East (bass) and Andy Fairweather Low (guitar), together with Billy Preston on piano and Jerry Portnoy on harmonica, form a nearly unbeatable team. It must also be said that "Slowhand" is in tremendous form vocally too, sounding a good ten years younger.

The drowsier "Little Queen Of Spades" confirms what appears, to all intents and purposes, to be a truly great album. In the long run, however, "Me and Mr. Johnson" ends up recalling those star-studded football teams, packed with first-rate names, who nonetheless falter on the pitch and fail to truly dazzle. It's not that the album ultimately caves in, but there remains the suspicion of a match won narrowly and by the skin of its teeth, with only rare flashes of real class.

Listening to "Me And The Devil Blues", "Kind Hearted Woman Blues" and "If I Had Possession Over Judgement Day", you get the distinct impression of having already heard this sound before: specifically, a photocopy of "From The Cradle".

Far tastier, on the other hand, are the barrelhouse piano of "They're Red Hot", the boogie of "Stop Breakin' Down", the Delta feel of "Come On In My Kitchen", and the version of "Traveling Riverside Blues", less boozy but more faithful than Led Zeppelin's.

Once the final second of "Hell Hound On My Trail" fades out, you put the CD back in its case with a fair sense of satisfaction: "Me And Mr. Johnson" is an honest, heartfelt tribute to the legend. But it's likely that anyone listening to this record without ever having heard of a certain Robert Johnson will come away, in the end, convinced that he wasn't really all that legendary after all.

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06/12/2006