Blues rock is a musical genre combining bluesy improvisations over the twelve-bar blues and extended boogie jams with rock and roll styles. The core of the blues rock sound is created by the electric guitar, piano, bass guitar and drum kit, with the electric guitar usually amplified through a tube guitar amplifier, giving it an overdriven character.

The style began to develop in the mid-1960s in Britain and the United States. UK Bands, such as The Rolling Stones and The Animals and American bands such as the Butterfield Blues Band and the Siegel–Schwall Band, experimented with music from the older American bluesmen, like Albert King, Howlin' Wolf, Robert Johnson, Jimmy Reed, Muddy Waters, and B.B. King.^[3] While the early blues rock bands "attempted to play long, involved improvisations which were commonplace on jazz records",^[3] by the 1970s, blues rock got heavier and more riff-based.^[3] By the "early '70s, the lines between blues rock and hard rock were barely visible",^[3] as bands began recording rock-style albums. In the 1980s and 1990s, blues rock acts returned to their bluesy roots, and some of these, such as the Fabulous Thunderbirds and Stevie Ray Vaughan, flirted with rock stardom."^[3]

Characteristics[link]

Blues rock can be characterized by bluesy improvisation, the twelve-bar blues, extended boogie jams typically focused on the electric guitar player, and often a heavier, riff-oriented sound and feel to the songs than might be found in traditional Chicago-style blues. Blues rock bands "borrow[ed] the idea of an instrumental combo and loud amplification from rock & roll".^[3] It is also often played at a fast tempo, again distinguishing it from the blues.^[3]

Instrumentation[link]

The core of the blues rock sound is created by the electric guitar, bass guitar and drum kit. The electric guitar is usually amplified through a tube guitar amplifier or using an overdrive effect. Often two guitars are played in blues rock bands, one playing the accompaniment riffs and chords on rhythm guitar and one playing the melodic lines and solos of the lead guitar part.^[3] While 1950s-era blues bands would sometimes still use the upright bass, the blues rock bands of the 1960s used the electric bass, which was easier to amplify to loud volumes. Keyboard instruments such as the piano and Hammond organ are also occasionally used. As with the electric guitar, the sound of the Hammond organ is typically amplified with a tube amplifier, which gives a growling, "overdriven" sound quality to the instrument. Vocals also typically play a key role, although the vocals may be equal in importance or even subordinate to the lead guitar playing as well a number of blues rock pieces are instrumental-only.

Structure[link]

Blues rock pieces normally follow the 12-bar blues structure, but often follow a slightly different structure, as seen in "Stormy Monday", which follows the general format of a 12-bar blues, but which the Allman Brothers played with altered chords:

G⁹ | C⁹ | G⁹ | G⁹ | C⁹ | C⁹ | G⁹ / Am⁷ | Bm⁷ / Bbm⁷ | Am⁷ | Cm⁷ | G⁹ / C⁹ | G⁹ / D augmented

...instead of the traditional G | C | G | G | C | C | G | G | D | C | G | G progression. The progression is usually repeated, with only one section of the song, though there are exceptions, some pieces having a "B" section. The key is traditionally major, but can also be minor, a common technique being the use the minor pentatonic scale, with blue notes, over a major chord progression, as employed by Albert King in nearly all of his pieces. The lead guitar typically uses the pentatonic scale, either major or minor, when soloing.

A classic example of blues rock is Eric Clapton's "Crossroads" first released on Cream's Wheels of Fire album. It was adapted from Robert Johnson's "Cross Road Blues" and "Traveling Riverside Blues". It fuses some of the lyrical and musical styles of blues with rock-styled tempo and guitar solos.

History[link]

While rock and blues have historically always been closely linked, blues rock as a distinctly recognizable genre did not arise until the late 1960s. In 1963, American Lonnie Mack debuted an idiosyncratic, fast-paced electric blues guitar style which confounded his contemporaries, but which later came to be identified with blues rock. His instrumentals from that period were recognizable as blues or R&B tunes, but he relied heavily upon fast-picking techniques derived from traditional American country and bluegrass genres. The best-known of these are the hit singles "Memphis" (Billboard #5) and "Wham!" (Billboard #24).^[4] However, blues rock was not named as such, or widely recognized as a distinct movement within rock, until several years later, with the advent of such British bands as Free, Savoy Brown and the earliest incarnations of Fleetwood Mac. The musicians in those bands had honed their skills in a handful of British blues bands, primarily those of John Mayall and Alexis Korner.^[5] At that point, Mack's earlier recordings were rediscovered and he soon came to be regarded as a blues rock pioneer. Other American performers, such as Johnny Winter, Paul Butterfield and the group Canned Heat are now also considered blues rock pioneers.

Music critic Piero Scaruffi argues that the blues rock genre was defined when John Mayall released the album Blues Breakers with Eric Clapton in 1966, which included guitarist Eric Clapton. Scaruffi defines "blues rock" as a "genre of rhythm'n'blues played by white European musicians." Scaruffi claims that the US "equivalent of John Mayall was Al Kooper." Cream "took the fusion of blues and rock to places where it had never been before" by engaging in a "level of group improvisation that was worthy of jazz." He calls Fleetwood Mac (during the Peter Green period in the late 1960s) "one of the most creative and competent British bands of the blues revival".^[6] Scaruffi argues that the "British blues musicians were true innovators", in that they did a "metamorphosis" on US blues and "turned it into a "white" music" by emphasizing "the epic refrains of the call and response", speeding up the "Chicago's rhythm guitars," smoothing "the vocal delivery to make it sound more operatic" and adding vocal harmony.^[7]

The electric guitar playing of Jimi Hendrix (a veteran of many American rhythm & blues and soul groups from the early-mid 1960s) and his power trios, The Jimi Hendrix Experience and Band of Gypsys, has had broad and lasting influence on the development of blues rock, especially for guitarists.^[5] Eric Clapton was another guitarist with a lasting influence on the genre; his work in the 1960s and 1970s with John Mayall and the Bluesbreakers, The Yardbirds, supergroups Blind Faith, Cream and Derek and the Dominos, and an extensive solo career has been seminal in bringing blues rock into the mainstream.^[5] By this time, American acts such as The Doors and Janis Joplin further introduced mainstream audiences to the genre.

In the late '60s Jeff Beck a former member of The Yardbirds, revolutionized blues rock into a form of heavy rock, taking the UK and the USA by storm with his band, The Jeff Beck Group.^[5] Jimmy Page, a third alumnus of The Yardbirds, went out to form The New Yardbirds which would soon become known as Led Zeppelin and would become a major force in the 1970s heavy metal scene.^[5] The Who during their early run was a blues rock standard group, with their posters for their performances including their catch phrase "Maximum R&B". During this period the band covered songs from Bo Diddley, Sonny Boy Williamson, and Mose Allison. The Australian band AC/DC were also influenced by blues rock. Other blues rock musicians influential on the scene in the 1970s included Dr. Feelgood, Rory Gallagher and Robin Trower.

Beginning in the early 1970s, American bands such as Aerosmith fused blues with a hard rock edge. Blues rock grew to include Southern rock bands, like the Allman Brothers Band, ZZ Top and Lynyrd Skynyrd, while the British scene, except for the advent of groups such as Status Quo and Foghat, became focused on heavy metal innovation.^[8] Blues rock had a re-birth in the early 1990s - 2000s, with many artists such as Gary Moore, Mad Season, The White Stripes,^[9] The Dead Weather, Them Crooked Vultures, John Mayer,^[10] Blues Traveler, The Black Crowes,^[11] The Black Keys,^[12] Jeff Healey,^[13] Clutch,^[14] The Jon Spencer Blues Explosion^[15] and Joe Bonamassa.^[16]

See also[link]

• List of blues rock performers
• Texas blues

References[link]

Further reading[link]

• Bane, Michael. White Boy Singin' the Blues. Penguin, 1982. 270 p. A5, index. ISBN 0-14-006045-6
• Brunning, Bob. Blues : The British Connection. Foreword by Paul Jones. Blandford Press, 1986. 256 p., index. ISBN 0-7137-1836-6. Rev. & upd. ed. in 1995 as Blues in Britain : The history, 1950s-90s (other sub-title : 1950s to the Present), 288 p. ISBN 0-7137-2457-9. Re-publ. w/ original title by Helter Skelter, 2002, 288 p. ISBN 1-900924-41-2
• Fancourt, Leslie. British Blues on Record (1957–1970). Retrack Books, 1989. 62 p. A5.
• Heckstall-Smith, Dick. The Safest Place in the World: A Personal History of British Rhythm and Blues. Preface by Jack Bruce. Quartet, 1989, hb, 178 p. ISBN 0-7043-2696-5. New ed. by Clear Books in 2004, w/ a second part written by Pete Grant, his manager since 2000, now titled as Blowing the blues: Fifty Years Playing the British Blues, w/ a 7-track CD (5 prev. unissued). 256 p. ISBN 1-904555-04-7.
• Hjort, Christopher. Strange Brew: Eric Clapton and the British Blues Boom, 1965-1970. Foreword by John Mayall. Jawbone, 2007. 352 p. ISBN 1-906002-00-2.
• Myers, Paul. Long John Bauldry and the Birth of the British Blues, Greystone Books, 2007, 272 p. ISBN 978-1-55365-200-7
• McStravick, Summer; Roos, John (eds); Foreword by Bob Brunning. Blues-Rock Explosion, Old Goat Publishing, 2001. 286 p A4 + xxxi, index. ISBN 0-9701332-7-8.
• Schwartz, Roberta Freund. How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom. Ashgate (Ashgate Popular and Folk music series), 2007. 282 p., hb. ISBN 0-7546-5580-6.

Kevin Nicholas Borich^[1] (born 27 October 1948, Huapai, North Island, New Zealand)^[2][3] is a New Zealand-born Australian guitarist and singer-songwriter.^[4] He was a founding member and of The La De Das, the leader of Kevin Borich Express, and a member of The Party Boys, as well as a session musician for numerous acts.^[4][5]

Borich wrote "Gonna See My Baby Tonight",^[1] for The La De Das, which became a top 10 hit in 1971 on the Australian singles chart.^[6] He performed at some of Australia's biggest Rock events including the 1972 Sunbury Pop Festival and the late 1970s Rockarena tours with 60,000 people, featuring Fleetwood Mac, Santana and The Little River Band.^[4] He played in two New Year's Eve celebrations at the Sydney Opera House with 70,000 people as well as support shows for international acts including Elton John, Status Quo, Jeff Beck and Buddy Guy.^[4]

Australian rock music historian, Ian McFarlane has described Borich as "one of the most celebrated guitar players in the history of Australian rock. He also remains an underrated songwriter, and his live reputation has rarely been reflected in record sales".^[4] His son Lucius Borich joined Kevin Borich Express as a drummer and was later a member of Sydney-based progressive rock band Cog.

Early years[link]

Kevin Borich was born in 1948 in Huapai north west of Auckland on New Zealand's North Island, he attended secondary school at Rutherford High School in Te Atatu, a suburb of Auckland.^[7][8] In 1961, at the age of 12, Borich recorded a private single on Astor Records with two sisters, Judi Donaldson and Sue Donaldson (later as New Zealand duo, The Chicks).^[7] As a guitarist, Borich formed The Mergers in late 1963 with fellow students, Brett Neilsen on drums and Trevor Wilson on bass guitar.^[2][5] Initially they performed covers of The Shadows material as an instrumental band after school and on week-ends.^[2][7]

1964–1975: The La De Das[link]

With the addition of vocalist/rhythm guitarist Phil Key, The Mergers with Borich on lead guitar/vocals, Neilsen on drums/vocals and Wilson on bass guitar, were eventually renamed as The La De Das in 1964 in Auckland, New Zealand.^[2][7] In June 1965 they recorded their debut single, "Little Girl", and later that year added Bruce Howard on keyboards.^[2][7] From 1966 to 1967 they had five New Zealand top 10 hits, "How is the Air Up There?", "On Top of the World", "Hey Baby", "All Purpose Low" and "Rosalie".^[2][7] By 1968 they were based in Sydney and recorded their concept album, The Happy Prince, in 1969 on EMI.^[2][7] Line-up changes occurred with Borich and Key joined by Peter Roberts on bass guitar and Keith Barber on drums by 1971's Australian Kent Music Report top 10 hit single, "Gonna See My Baby Tonight".^[6] It had been written by Borich,^[1] who had established a reputation as "Australia's guitar hero supremo"^[2] and regularly performed "All Along the Watchtower" using Jimi Hendrix' interpretation of the Bob Dylan song to close The La De Das' live set.^[2] In late January 1972 they appeared at the inaugural, Sunbury Pop Festival and featured on the subsequent double album, Sunbury, released in October by EMI/HMV.^[2][7] The La De Das recorded further albums and singles and despite critical acclaim had little chart success, only Borich remained throughout until he disbanded the group in 1975.^[2] After The La De Das, Borich toured with John Paul Young & the Allstars for some months before forming a new band.

1976–1989: Kevin Borich Express to The Party Boys[link]

Kevin Borich Express was formed in early 1976 by Borich on lead guitar, lead vocals and occasional flute with Harry Brus on bass guitar (ex-Blackfeather) and Barry Harvey on drums (Wild Cherries, Chain).^[4][5] They recorded a track, "The End of Me" before Brus and Harvey were soon replaced by Reuben San Fiansco on bass guitar and Gil Matthews on drums.^[4][5] Subsequent line-ups were typically a three piece with a succession of bass guitarist and drummers.^[4] They released their debut single, "Goin' Somewhere" in October using Fiansco, and John Annas on drums (Wendy Saddington Band), following in March 1977 was their debut album, Celebration! with Annas, and Tim Partridge on bass guitar (Mighty Kong (band), The Johnny Rocco Band).^[4][5] The album was favoured by critics and peaked in the top 30 on the Australian albums charts.^[4][6]

In early 1977, Borich supported the tour by UK rock guitarist, Jeff Beck; this was followed in October by supporting the Rockarena tour with Santana, Fleetwood Mac and Little River Band - Borich was invited on-stage to jam with Carlos Santana.^[4] In May 1978, the band toured USA in support of Australian heavy rockers, AC/DC, with Annas, Paul Christie on bass guitar and keyboard player Tim Schafer (Gary Wright Band).^[4][6] This line-up recorded, No Turning Back which was released in March 1979.

By mid-year, Partridge had returned with both Christie and Schafer departing, and together with Annas, Borich recorded Live!,^[4][6] using the 2JJ mobile studio equipment over performances in Melbourne and Wollongong. Live! contains one of the most incendiary and atmospheric versions of Little Red Rooster ever recorded along with a number of Borich standards.

In July, Kevin Borich Express appeared on Renée Geyer's album, Blues License.^[4][6] A European tour by Kevin Borich Express resulted in a compilation album being released in Germany.^[4] After the tour, John Watson (Heavy Division) replaced Annas on drums and the band recorded, Angel's Hand in November 1979.^[4][5] Similar line-up changes continued into the early 1980s with Michael Deep replacing Partridge in April 1980. This line-up collaborated with solo artist Dutch Tilders to record Blues Had a Baby and They Called It Rock'n'Roll in 1981 on RCA Records.^[4][5] Kerry Jacobsen (Dragon) replaced Watson on drums for Shy Boys Shy Girls mini-LP in late 1981. By mid-1982, Annas returned on drums, with Steve Balbi on bass guitar, and Andy Cowan on keyboards. Later that year, Borich on guitar joined The Party Boys which was formed by previous band member Paul Christie (now ex-Mondo Rock) on bass guitar, drums and backing vocals, Harvey James (Sherbet) on guitar and Graham Bidstrup (The Angels) on drums.^[4][5][9] Initially a side-project, The Party Boys, had top 10 success with singles, "He's Gonna Step on You Again" (#1, 1987), "Hold Your Head Up" (#7, 1987)^[6] and albums, Live at Several 21sts (#9, 1983), The Party Boys (#1, 1987).^[6] Consequently Kevin Borich Express output and touring was reduced during the 1980s.^[4][9] In 1989, Borich left The Party Boys and appeared in Jimmy Barnes band for the 1990 Two Fires tour.^[4]

Borich won 'Best Guitarist' at the 1977 and 1978 Australian Rock Music Awards.^{[citation needed]}

1990–current[link]

Borich continues to perform at Australian and international events in 2011 wooing audience with his flawless shows featuring long time friend Harry Brus on Bass and his son Lucius Borich on Drums. This lineup released a double CD & DVD under the banner Borich X Borich Live At The Basement. KB still utilises a spectrum of Australia's best musicians at different times including, John Annas returning on drums with Ian Lees on bass guitar (ex-Moving Pictures), and with two former members John Watson and Harry Brus.^[4] He released, Live at the Big Kahuna in 1995.^[4] A studio album was released in 1998, Heart Starter, appeared with Lucius Borich of COG on drums and Ben Rosen on bass guitar touring to promote it.^[4]

KB won the Heritage Award at the 1999 Australian Blues Music Festival and was inducted into the Australian Blues Foundation Hall of Fame in 2003.^{[citation needed]}

Cultural influences[link]

Australian band TISM, on their 1990 album Hot Dogma, have tracks called "Kevin Borich Expressionism" Parts 1, 2 and 4. On the Collected Recordings 1986-1993 Box Set there is a track called "Kevin Borich Expressionism".

Private life[link]

Borich has been married twice and has six children, the youngest three with his second wife Melissa Borich.^[10] He was diagnosed with Nasopharyngeal squamous cell carcinoma in May 2005 and undertook radiation and chemotherapies for the cancer.^[10][11] The treatments resulted in the loss of his salivary glands and some hearing.^[11]

Kevin Borich Express members[link]

• Kevin Borich — lead guitar, lead vocals, flute
• Harry Brus — bass guitar, vocals
• Barry Harvey — drums
• Reuben San Fiansco — bass guitar
• Gil Matthews — drums
• John Annas — drums
• Tim Partridge — bass guitar
• Tim Ayers — bass guitar
• Bob Jackson — bass guitar
• Paul Christie — bass guitar
• Tim Schafer — keyboards
• Lindsay Osbourne — bass guitar
• John Watson — drums
• Michael Deep — bass guitar
• Kerry Jacobson — drums
• Steve Balbi — bass guitar
• Andy Cowan — keyboards
• Adrian Cannon — drums
• Ian Lees — bass guitar
• Lucius Borich — drums
• Ben Rosen — bass guitar
• Mick Skelton — drums

Guest Session Musicians

• Renee Geyer (Shy Boys, Shy Girls, Blues License)
• Mark Hunter^{[disambiguation needed ]} (Shy Boys, Shy Girls)
• Swanee (Shy Boys, Shy Girls)
• Marcus Hinder (Shy Boys, Shy Girls)
• Dutch Tilders (The Blues Had a Baby)

Guitars[link]

• Gibson Firebird
• USA Custom Fender Stratocaster
• Gibson SG
• Gibson Firebird
• National Steel circa 1930

Awards[link]

• 1977 - Australian Rock Music Awards - Best Guitarist
• 1978 - Australian Rock Music Awards - Best Guitarist
• 1978 - Concert of The Year Award (Marconi Club)
• 1983 - Ampex Golden Reel Award
• 1983 - The Party Boys - LP EMI Gold Record
• 1983 - Live at Several 21st (Party Boys) EMI Gold Record
• 1987 - He's Gonna Step on You (Party Boys) EMI Gold Record
• 1999 - Australian Blues Music Festival - Heritage Award
• 2003 – Australian Blues Foundation – Hall of Fame

Discography[link]

• Live!
• Gonna See My Baby Tonight
• How Is The Air Up There
• Don't You Stand In My Way backed with I Take What I Want
• On Top Of The World. The single was released in November 1966
• 'La De Da's' LP was released prior to Christmas 1966 and sold out of its first pressing.
• Shy Boys, Shy Girls (Mini Album)
• Celebration
• No Turning Back
• Angels Hand
• Blues License (with Renee Geyer)
• The Blues Had a Baby (with Dutch Tilders)
• Collections Greatest Hits - Mushroom Milestones Compilation
• Live at the Big Kahuna
• Heart Starter (Live)
• Borich X Borich (Live)
• Nomad (Live)

See also[link]

• Mountain Rock Music Festival New Zealand historic performance

References[link]

External links[link]

• KB's Official website
• Kevin Borich on Facebook
• La De Das

Eric Clapton CBE
Clapton on stage at the Hard Rock Calling concert, Hyde Park, London on 28 June 2008.
Background information
Birth name	Eric Patrick Clapton
Also known as	Slowhand
Born	(1945-03-30) 30 March 1945 (age 67) Ripley, Surrey, England
Genres	Rock, blues rock, blues, psychedelic rock, hard rock
Occupations	Musician, singer-songwriter, record producer, artist
Instruments	Vocals, guitar
Years active	1962–present
Labels	Warner Bros., Reprise, Polydor, RSO, Atco, Apple, Deram[1]
Associated acts	The Yardbirds, John Mayall & the Bluesbreakers, Powerhouse, Cream, Free Creek, The Dirty Mac, Blind Faith, J.J. Cale, The Plastic Ono Band, Delaney, Bonnie & Friends, Derek and the Dominos, Sheryl Crow, The Beatles, Phil Collins, The Rolling Stones, Luciano Pavarotti, The Band, Freddie King, B.B. King, Mark Knopfler, Brian Wilson, John Mayer, Roger Waters, Dire Straits
Website	www.ericclapton.com
Notable instruments
See: Guitars section "Blackie": Fender Stratocaster "Brownie": Fender Stratocaster

Eric Patrick Clapton, CBE, (born 30 March 1945) is an English guitarist and singer-songwriter. Clapton is the only three-time inductee to the Rock and Roll Hall of Fame: once as a solo artist, and separately as a member of The Yardbirds and Cream. Clapton has been referred to as one of the most important and influential guitarists of all time.^[2] Clapton ranked second in Rolling Stone magazine's list of the "100 Greatest Guitarists of All Time"^[3] and fourth in Gibson's Top 50 Guitarists of All Time.^[4]

In the mid 1960s, Clapton departed from the Yardbirds to play blues with John Mayall & the Bluesbreakers. In his one-year stay with Mayall, Clapton gained the nickname "Slowhand". Immediately after leaving Mayall, Clapton formed Cream, a power trio with drummer Ginger Baker and bassist Jack Bruce in which Clapton played sustained blues improvisations and "arty, blues-based psychedelic pop." For most of the 1970s, Clapton's output bore the influence of the mellow style of J.J. Cale and the reggae of Bob Marley. His version of Marley's "I Shot the Sheriff" helped reggae reach a mass market.^[5] Two of his most popular recordings were "Layla", recorded by Derek and the Dominos, another band he formed and Robert Johnson's "Crossroads", recorded by Cream. A recipient of seventeen Grammy Awards,^[6] in 2004 Clapton was awarded a CBE for services to music.^[7] In 1998, Clapton, a recovering alcoholic and drug addict, founded the Crossroads Centre on Antigua, a medical facility for recovering substance abusers.^[8]

Early life[link]

Eric Patrick Clapton was born in Ripley, Surrey, England, the son of 16-year-old Patricia Molly Clapton (b. 7 January 1929 d. March 1999) and Edward Walter Fryer (21 March 1920 – 15 May 1985), a 25-year-old soldier from Montreal, Quebec.^[9] Fryer shipped off to war prior to Clapton's birth and then returned to Canada. Clapton grew up with his grandmother, Rose, and her second husband, Jack Clapp, who was stepfather to Patricia Clapton and her brother Adrian, believing they were his parents and that his mother was actually his older sister. The similarity in surnames gave rise to the erroneous belief that Clapton's real surname is Clapp (Reginald Cecil Clapton was the name of Rose's first husband, Eric Clapton's maternal grandfather).^[10] Years later, his mother married another Canadian soldier and moved to Germany,^[11] leaving young Eric with his grandparents in Surrey.^[12]

Clapton received an acoustic Hoyer guitar, made in Germany, for his thirteenth birthday, but the inexpensive steel-stringed instrument was difficult to play and he briefly lost interest.^[12] Two years later Clapton picked it up again and started playing consistently.^[12] Clapton was influenced by the blues from an early age, and practised long hours to learn the chords of blues music by playing along to the records.^[13] He preserved his practice sessions using his portable Grundig reel-to-reel tape recorder, listening to them over and over until he felt he'd got it right.^[13][14]

After leaving Hollyfield School, in Surbiton, in 1961, Clapton studied at the Kingston College of Art but was dismissed at the end of the academic year because his focus remained on music rather than art. His guitar playing was so advanced that by the age of 16 he was getting noticed.^[14] Around this time Clapton began busking around Kingston, Richmond, and the West End.^[15] In 1962, Clapton started performing as a duo with fellow blues enthusiast David Brock in pubs around Surrey.^[14] When he was seventeen years old Clapton joined his first band, an early British R&B group, "The Roosters", whose other guitarist was Tom McGuinness. He stayed with this band from January through August 1963.^[16] In October of that year, Clapton did a seven-gig stint with Casey Jones & The Engineers.^[16]

Career[link]

1960s[link]

The Yardbirds and the Bluesbreakers[link]

In October 1963 Clapton joined The Yardbirds, a blues-influenced rock and roll band, and stayed with them until March 1965. Synthesising influences from Chicago blues and leading blues guitarists such as Buddy Guy, Freddie King, and B. B. King, Clapton forged a distinctive style and rapidly became one of the most talked-about guitarists in the British music scene.^[17] The band initially played Chess/Checker/Vee-Jay blues numbers and began to attract a large cult following when they took over the Rolling Stones' residency at the Crawdaddy Club in Richmond. They toured England with American bluesman Sonny Boy Williamson II; a joint LP album, recorded in December 1963, was issued in 1965.

It was during this time period that Clapton's Yardbirds rhythm guitarist, Chris Dreja, recalled that whenever Clapton broke a guitar string during a concert, he would stay on stage and replace it. The English audiences would wait out the delay by doing what is called a "slow handclap". Clapton told his official biographer, Ray Coleman, that, "My nickname of 'Slowhand' came from Giorgio Gomelsky. He coined it as a good pun. He kept saying I was a fast player, so he put together the slow handclap phrase into Slowhand as a play on words".^[18]

In March 1965 the Yardbirds had their first major hit, "For Your Love", on which Clapton played guitar. The Yardbirds elected to move toward a pop-oriented sound, in part because of the success of "For Your Love", written by pop songwriter-for-hire Graham Gouldman, who had also written hit songs for Herman's Hermits and The Hollies. Still musically devoted to the blues, Clapton was opposed to the move, and left the band. He recommended fellow guitarist Jimmy Page as his replacement, but Page was at that time unwilling to relinquish his lucrative career as a freelance studio musician, so Page in turn recommended Clapton's successor, Jeff Beck.^[17] While Beck and Page played together in the Yardbirds, the trio of Beck, Page, and Clapton were never in the group together. However, the trio did appear on the 12-date benefit tour for Action for Research into Multiple Sclerosis in 1983, as well as on the album Guitar Boogie.

Clapton joined John Mayall & the Bluesbreakers in April 1965, only to quit a few months later. In the summer of 1965 he left for Greece with a band called The Glands, which included his old friend Ben Palmer on piano. In November 1965 he rejoined John Mayall. During his second Bluesbreakers stint, Clapton gained a reputation as the best blues guitarist on the club circuit. Although Clapton gained world fame for his playing on the influential album, Blues Breakers – John Mayall – With Eric Clapton, this album was not released until Clapton had left the Bluesbreakers for the last time. Having swapped his Fender Telecaster and Vox AC30 amplifier for a 1960 Gibson Les Paul Standard guitar and Marshall amplifier, Clapton's sound and playing inspired a well-publicised graffiti that deified him with the famous slogan "Clapton is God". The phrase was spray-painted by an admirer on a wall in an Islington Underground station in the autumn of 1967. The graffiti was captured in a now-famous photograph, in which a dog is urinating on the wall. Clapton is reported to have been embarrassed by the slogan, saying in his The South Bank Show profile in 1987, "I never accepted that I was the greatest guitar player in the world. I always wanted to be the greatest guitar player in the world, but that's an ideal, and I accept it as an ideal". The phrase began to appear in other areas of Islington throughout the mid 1960s.^[19]

Cream[link]

Clapton left the Bluesbreakers in July 1966 (to be replaced by Peter Green) and formed Cream, one of the earliest supergroups, with Jack Bruce on bass (also of Manfred Mann, the Bluesbreakers, and the Graham Bond Organisation) and Ginger Baker on drums (another member of the Graham Bond Organisation). Before the formation of Cream, Clapton was not well known in the United States; he left the Yardbirds before "For Your Love" hit the American Top Ten, and had yet to perform there.^[20] During his time with Cream, Clapton began to develop as a singer, songwriter, and guitarist, though Bruce took most of the lead vocals and wrote the majority of the material with lyricist Pete Brown.^[17] Cream's first gig was an unofficial performance at the Twisted Wheel Club in Manchester on 29 July 1966 before their full debut two nights later at the National Jazz and Blues Festival in Windsor. Cream established its enduring legend with the high-volume blues jamming and extended solos of their live shows.

In early 1967 Clapton's status as Britain's top guitarist was rivalled by the emergence of Jimi Hendrix, an acid rock-infused guitarist who used wailing feedback and effects pedals to create new sounds for the instrument. Hendrix attended a performance of the newly-formed Cream at the Central London Polytechnic on 1 October 1966, during which Hendrix sat in on a double-timed version of "Killing Floor". Top UK stars including Clapton, Pete Townshend, and members of The Rolling Stones and The Beatles avidly attended Hendrix's early club performances. Hendrix's arrival had an immediate and major effect on the next phase of Clapton's career, although Clapton continued to be recognised in UK music polls as the premier guitarist.

Clapton first visited the United States while touring with Cream. In March 1967, Cream performed a nine-show stand at the RKO Theater in New York. They recorded Disraeli Gears in New York from 11–15 May 1967. Cream's repertoire varied from hard rock ("I Feel Free") to lengthy blues-based instrumental jams ("Spoonful"). Disraeli Gears featured Clapton's searing guitar lines, Bruce's soaring vocals and prominent, fluid bass playing, and Baker's powerful, polyrhythmic jazz-influenced drumming. Together, Cream's talents secured them as an influential power trio.

In 28 months, Cream had become a commercial success, selling millions of records and playing throughout the U.S. and Europe. They redefined the instrumentalist's role in rock and were one of the first blues-rock bands to emphasise musical virtuosity and lengthy jazz-style improvisation sessions. Their U.S. hit singles include "Sunshine of Your Love" (#5, 1968), "White Room" (#6, 1968) and "Crossroads" (#28, 1969) – a live version of Robert Johnson's "Cross Road Blues". Though Cream was hailed as one of the greatest groups of its day, and the adulation of Clapton as a guitar hero reached new heights, the supergroup was short-lived. Drug and alcohol use escalated tension between the three members, and conflicts between Bruce and Baker eventually led to Cream's demise. A strongly critical Rolling Stone review of a concert of the group's second headlining U.S. tour was another significant factor in the trio's demise, and it affected Clapton profoundly.^[21]

Cream's farewell album, Goodbye, featuring live performances recorded at The Forum, Los Angeles, 19 October 1968, was released shortly after Cream disbanded; it also featured the studio single "Badge", co-written by Clapton and George Harrison. Clapton met Harrison and became friends with him after the Beatles shared a bill with the Clapton-era Yardbirds at the London Palladium. The close friendship between Clapton and Harrison resulted in Clapton's playing on Harrison's "While My Guitar Gently Weeps" from the Beatles' White Album (1968). Harrison also released his solo debut album, Wonderwall Music, in 1968. It became the first of many Harrison solo records to feature Clapton on guitar. Clapton would go largely uncredited for his contributions to Harrison's albums due to contractual restraints. The pair would often play live together as each other's guest. A year after Harrison's death in 2001, Clapton helped organise a tribute concert, for which he was musical director.^[22]

Cream briefly reunited in 1993 to perform at the ceremony inducting them into the Rock and Roll Hall of Fame; a full reunion took place in May 2005, with Clapton, Bruce, and Baker playing four sold-out concerts at London's Royal Albert Hall,^[23] and three shows at New York's Madison Square Garden that October.^[24] Recordings from the London shows, Royal Albert Hall London May 2-3-5-6, 2005, were released on CD, LP, and DVD in September/December 2005.^[25]

Blind Faith and Delaney and Bonnie and Friends[link]

Clapton's next group, Blind Faith (1969), was composed of Cream drummer Ginger Baker, Steve Winwood of Traffic, and Ric Grech of Family, and yielded one LP and one arena-circuit tour. The supergroup debuted before 100,000 fans in London's Hyde Park on 7 June 1969. They performed several dates in Scandinavia and began a sold-out American tour in July before their only album was released. The LP Blind Faith consisted of just six songs, one of them a 15-minute jam entitled "Do What You Like". The album's jacket image of a topless pubescent girl was deemed controversial in the United States and was replaced by a photograph of the band. Blind Faith dissolved after less than seven months.

Clapton subsequently toured as a sideman for an act that had opened for Blind Faith, Delaney and Bonnie and Friends. He also played two dates as a member of The Plastic Ono Band that autumn, including a recorded performance at the Toronto Rock and Roll Revival in September 1969 released as the album Live Peace in Toronto 1969.^[26] On 15 December 1969 Clapton performed with John Lennon, George Harrison, and others as the Plastic Ono Band at a fundraiser for UNICEF in London.^[26]

Delaney Bramlett encouraged Clapton in his singing and writing. During the summer of 1969, Clapton and Bramlett contributed to the Music From Free Creek "supersession" project. Clapton, appearing as "King Cool" for contractual reasons, played with Dr. John on three songs, joined by Bramlett on two tracks.

Using the Bramletts' backing group and an all-star cast of session players (including Leon Russell and Stephen Stills), Clapton recorded his first solo album during two brief tour hiatuses, fittingly named Eric Clapton. Delaney Bramlett co-wrote six of the songs with Clapton,^[27] and Bonnie Bramlett co-wrote "Let It Rain".^[28] The album yielded the unexpected U.S. #18 hit, J. J. Cale's "After Midnight". Clapton went with Delaney and Bonnie from the stage to the studio with the Dominos to record George Harrison's All Things Must Pass in spring 1970. During this busy period, Clapton also recorded with other artists including Dr. John, Leon Russell, Plastic Ono Band, Billy Preston, and Ringo Starr.