Posts Tagged ‘Eric Clapton’

Bootleg City: Bob Marley in New York City, May ‘76

I don’t know much about this Bob Marley character, but if his performance on the “Welcome to New York” bootleg is any indication, he was a real hack: a quarter of his set is devoted to covers of Eric Clapton (”I Shot the Sheriff”) and Johnny Nash (”Stir It Up”) songs, and he doesn’t even play his best number, the immortal classic “Red Red Wine.” When I discovered that he ripped off the theme to the Saturday-morning cartoon The Banana Splits for his song “Buffalo Soldier,” I was even more convinced he’s no “legend.” Not even his hilarious performance in the Robin Williams comedy Club Paradise could erase the damage that had been done.

Speaking of TV theme songs and outright lies, I received an overwhelming response to my request for bootlegged TV themes last month. That is, if you count one response as overwhelming. This week, in addition to Mr. Marley and the Wailers’ concert, I offer you J.D. Souther’s first-season-only theme song for the Richard Lewis-Jamie Lee Curtis sitcom Anything But Love (1989-’92), the radio-ready version of Lee Majors’s theme to The Fall Guy (1981-’86), and two versions of the theme song for Glenn Gordon Caron’s dearly departed Now and Again (1999-2000), performed by Ariel Ryder and Narada Michael Walden.

Thanks to “Friends of Popdose” Ken (who got the ball rolling on this idea in January) and David for the Anything But Love and Fall Guy themes, respectively. Gentlemen, please keep in mind that your new FOP status entitles me to ask for donations whenever I please. Say, that reminds me — if anyone can explain why I’ve never seen Lee Majors’s first TV hit, The Six Million Dollar Man, in syndication or on DVD, Ken and David will pay you six million dollars.

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Basement Songs: Cream, “Sunshine of Your Love”

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disraeli-gearsThis week I received word that an old high school classmate, Steve Zella, is missing after a kayak accident in the Texas community where he works and lives with his wife and two children. Steve and I were not best friends; in fact, we didn’t even run in the same circle of people. Still, in the short time that I knew him he was always the sweetest, nicest guy you could meet. A good soul, you might say. The randomness of his accident and the fact that he has two young children who are missing him has saddened me greatly these past three days. It has definitely given me pause to reflect on the important things in life.

Steve and I met in the mid ’80s, when we shared a couple of classes. Our common interest, besides comparing homework notes, was a passion for the classic rock music we were all discovering in the 9th and 10th grades. Between classes, while we sat at our desks waiting for the next bell, I would go on and on about the greatness of Cream and how Eric Clapton truly was a god. My enthusiasm eventually won over some of the people I was preaching to, including Steve. The night he revealed his conversion to the church of Clapton took place in the middle of an insanely huge party, and that night remains one of my lasting high school memories.

It was one of those bashes started when some poor guy let everyone know that his parents were leaving town. By Friday, the entire school knew where to show up on Saturday. Kids were coming out of the woodwork, lounging on the stairs, kissing on the couch in the family room, taking up space in the bedrooms and playing drinking games in the kitchen. I arrived alone and spent the night mooching beer from people and trying to convince a couple of girls to join me upstairs for some quality makeout time. No, they didn’t laugh in my face. Instead, I received pitiful smiles and comments like, “Oh, honey, no.” Dejected and feeling sorry for myself, I sulked into the living room and slapped hands with Steve and the two buds he was hanging with.

The music was loud and we had to shout to hear each other. We exchanged niceties, laughed at some of the drunker kids, and then Steve, out of the blue, said to me, “Hey man, remember how you were always talking about Cream?” I nodded and said something completely deep like, “Fuckin’ ‘A’! Cream, dude!” Steve went on to explain that after I’d talked incessantly about the damn group for almost a year he gave them a listen, and to his delight, he loved Cream. Our screaming conversation was capped off by the two of us singing the riff from “Sunshine of Your Love.” We hoisted cans of beer and toasted.

CREAM! CREAM! (more…)

Song-Off: Having a Rock and Roll Heart

Eric Clapton – “I’ve Got a Rock and Roll Heart”

Dave: Did Clapton have to record this to pay back the writers for lending him money for blow? This record is such a piece of dogshit that a couple of Phil Collins-produced records and selling out to Michelob were considered a “return to form.” And that lyric “I get off on screaming guitars” would be horrible even if the guitar lick actually, you know, screamed. Maybe the problem was that he was too busy removing his dick from the tailpipe of a ‘57 Chevy to realize his tone sucked.

Scott: What do you have against a man and his masturbatory habits, David? When Clapton recorded this song, he’d kicked drugs for the first time; he needed something to get his rocks off. Still, this song isn’t that bad. It’s an natural extension of the drug fueled reggae influenced shuffles he churned out in the 70’s, except this time he was sober. Maybe “I get off” was a bad selection of words, but when you look at the charts from 1983 (Men at Work, Human League, Culture Club) who the hell expected this song to be a hit? Certainly not Clapton. The look of his face on the cover of “Money and Cigarettes” tells it all: “I don’t give a shit. I’m Eric Clapton.” I’m sure some dumb ass exec enthusiastically told him that this song was a bona fide hit. To which Clapton most likely replied, “Fuck it, ya poofter, release whatever god damn song you want. I’m ERIC FUCKING CLAPTON! Now bring me a Trans Am, I’m through with that saggy old Chevy.” Seriously, the song’s obviously a throwaway that became a fluke hit. How else do you explain him selling his soul to the devil and teaming up with Phil Collins?
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Bottom Feeders: The Ass End of the ’80s, Part 17

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Every now and then I like to talk about what I have deemed “inappropriate ghetto moments.” These moments occur when I have the windows open in my car, the stereo turned up really loud (there isn’t any other volume), and some really bad song is playing as I’m driving through the ghetto.

Now, this doesn’t happen often. Most of the time I drive straight home from work and I don’t pass through the ghetto at all. But on days where I stop to get some food on the way home, I have to take the long way back and, well, there goes the neighborhood. We’re definitely talking a lot of 40 oz. bottles of fine malt liquor, one or two crack whores, and maybe someone starting a fight outside of the Fried Chicken Shack. Oh, and the homeless man with the broken right leg. Yet even with this sunny description of the area, my fat belly often yearns for a double cheeseburger from some grease pit, so I risk it.

Anyway, the story is not about the food I eat but rather the songs coming out of my speakers. The first time I ever spoke about “inappropriate ghetto moments” came as I was riding down the street and a group of thugs were stollin’ along the sidewalk while I was playing El DeBarge’s “Who’s Johnny.” (Yes, I realize this song comes up all the time in my posts. I swear I listen to it way more than anyone should.) Another time was a 12-inch remix of “Electric Youth” by Debbie Gibson. And it usually doesn’t hit me right away either. After a half dozen people give me weird looks, it’s only then do I realize the reason and stop singing along.

So how do I top Debbie Gibson, you ask? Well, I think I did last week. I had four dudes walking down the yellow line in the middle of the street as I pulled up blasting the very beginning of “Ears of Tin” by Jethro Tull, off their Rock Island record. If you don’t know this song, it starts off with a fierce flute passage (typical), and of course nothing says “I’m a big pussy, please carjack me” like Riverdance-sounding bullshit bumpin’ outta da hooptie. And this time I was going through the ghetto for nothing more than a sweet tea — if I’m going to die it’d better not be while listening to Jethro Tull and sipping sweet tea. That’s far less cool than my plan of dying when I’m 90 during an orgy with barely legal teens after realizing my Levitra-induced erection has lasted more than the four hours they warned me about on the commercial. This, of course, only holds true if they don’t create some kind of bionic penis in the next 60 years. If they do, then maybe death by Tull will have to do.

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Dw. Dunphy On… Cover Songs — Why and Why Not

Some people are just flat-out smart-asses.

It’s not necessarily a bad thing to be at times, mind you, but a good smart-ass pulls it off with a modicum of grace and might give you a chuckle for it. In the music world, there are relatively few of the latter. Instead of a wink and a nod, they just about knock you unconscious and then ask if “you saw that.” You can tell one from the other by their choices in the realm of cover songs.

BooneA word of note to anyone who is not a music nerd accidentally finding themselves at this site: a cover song is when an artist records another artist’s song, hence covering it. The term ‘remake’ fits as well. The term ’smart-ass’, at least relative to this article, refers to those who decide to go all hipster and record something that bears no relevance, charm or wit toward their own sensibility. I’m thinking of Madonna’s cover of “American Pie” or that godawful A Perfect Circle CD where the songs weren’t just reworked, they were worked over, until all that was left was roadkill disguised as tribute. Then there’s the Bluegrass Tribute to Pink Floyd’s The Wall. More notoriously, I’m thinking of the late-’50s pop songs from black artists covered by teen idol white artists because, you know, if it comes from a white guy in a sweater, the subtext can’t be about sex. Right? Pat Boone? Tutti Frutti?

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Clapton and Winwood @ Madison Square Garden, NYC: 2/26/08

clapwin youngEric Claptonguitar, vocals
Steve WinwoodHammond organ, guitar, vocals
Chris Staintonkeyboards
Willie Weeksbass
Ian Thomasdrums

I’m convinced that any great concert experience requires an interesting precursor — the company around you, the trip to the venue, the small details that elevate something to do on a Tuesday night into a memory. I’m equally convinced that while it might make a great experience, it might not make a great story. More often than not, one person’s good time is another person’s drab tale, even if the center of the trip is the reunion if the nucleus of famed supergroup Blind Faith, Eric Clapton and Steve Winwood. Then again, with such a draw, one might have to rethink all those presumptions, as there was nothing more dramatic on February 26th than the performances of two legendary players.

Opening with “Had To Cry Today,” Steve Winwood and Eric Clapton took the stage with guitars strapped on and loaded with confidence. The three-night MSG residency may have surprised fans when they heard it was going to happen, but the interplay between the two makes clear just what a natural fit they are. The other surprise is how the players were arranged: I originally expected Winwood to open the show, play some songs, then have Clapton come out for team-ups, then Clapton would hold forth for the rest. That all participants stayed onstage during the full show (excepting one solo turn each) was a treat. (more…)

Chartburn: 2/15/08

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Mainstream Rock: Eric Clapton, “Pretending” (1989)

Will: I’ve always felt like this song was the point where Clapton finally began to escape from the “we need a pop song as the first single” era and entered the “do whatever you want, you’re too old for MTV anyway” era. It’s much more like the classic Clapton sound of the ’70s, and I always enjoy hearing it.

Py Korry: Although I heard Clapton’s music on the radio when I was but a lad, I really didn’t start to actively listen to him until the mid-’80s, when I had some cash to buy albums. Unfortunately, I started with an album that wasn’t all that great Money and Cigarettes and wondered what all the hubbub was about.

Clapton’s output in the ’80s was, to me, really unremarkable. And I’m basing that on what was played on the radio and not some buried gem on this or that album. “Pretending” is a good example of Slowhand going through the motions, and if it wasn’t for the horn punches in the song it wouldn’t have had enough ear candy to be a single. But let me bracket all that for a moment and say this: I’d listen to “Pretending” over and over for days if it meant I would never have to listen to “Change the World” or “My Father’s Eyes” again.

Zack: Tell me truthfully: if you didn’t know this was Clapton, wouldn’t you associate the first 20 seconds of “Pretending” with the start of an “action sequence” in a late-night Cinemax movie? (more…)