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Eric Clapton: Slowhand

 A l b u m   D e t a i l s

Artist: Eric Clapton
Title: Slowhand
Released: 1977.11.20
Label: PolyGram Records
Time: 39:13
Producer(s): Eric Clapton, Glyn Johns
Appears with: The Yardbirds
Category: Blues
Rating: *********. (9/10)
Media type: CD
Purchase date:  1999
Price in €: 7,99
Web address: www.ericclapton.com

 S o n g s ,   T r a c k s


[1] Cocaine (John J. Cale) - 3:39
[2] Wonderful Tonight (Eric Clapton) - 3:46
[3] Lay Down Sally (Eric Clapton, Marcy Levy and George Terry) - 3:54
[4] Next Time You See Her (Eric Clapton) - 4:00
[5] We're All the Way (Don Williams) - 2:32
[6] Core (Eric Clapton and Marcy Levy) - 8:44
[7] May You Never (John Martyn) - 3:00
[8] Mean Old Frisco (Arthur Crudup) - 4:40
[9] Peaches and Diesel (Eric Clapton and Albhy Galuten) - 4:49

 A r t i s t s ,   P e r s o n n e l


Eric Clapton - Guitar, Vocals, Editing, Design

Yvonne Elliman - Vocals
Marcy Levy - Vocals
Mel Collins - Horn, Saxophone
Jamie Oldaker - Percussion, Drums
Carl Radle - Bass, Bass Guitar
Dick Sims - Keyboards
George Terry - Guitar

Watalu Asanuma - Photography
Patti Clapton - Editing, Design
Daniel Stewart - Art Direction, Design
 

 C o m m e n t s ,   N o t e s


Clapton war bereits zu einer Gitarrenlegende geworden, als er Slowhand veröffentlichte. Seine Bekanntschaft mit Heroin lag bereits lange hinter ihm und Claptons Meisterschaft im Songschreiben kam bei dem Album voll zum Zuge, besonders bei der verblüffenden Ballade "Wonderful Tonight". Es verwirklichte sich hier auf einmal das gesamte Potential, das sich in seinem früheren "Promises" angekündigt hatte und Clapton gewann genügend Selbstvertrauen, auf einmal die Langsamkeit zu entdecken. Einige seiner ausdrucksstärksten Leistungen an der Gitarre sind auf diesem Album zu finden, nicht nur in "Wonderful". Welche Ironie des Schicksals, dass ausgerechnet der Hit "Cocaine" das Album Slowhand so bekannt gemacht hat. Dieser Song baut auf einem simplen Riff auf und hat die für Clapton so typische sanfte Stimme mit ihrem dennoch rauen, kantigen Klang und obendrein noch ein fantastisches Gitarrensolo. Blitzschnelle Läufe und Licks gehörten eigentlich nie so recht zu Claptons Repertoire, da sein Blues-Background seinen Sound entscheidend beeinflusste. Slowhand mit seinen Gitarren- und Gesangs-Arrangements stellte klar, dass Clapton in der Rockgeschichte zu den Leuten gehörte, die die größte Palette an musikalischen Ausdrucksmöglichkeiten besaßen.

Steve Gdula, Amazon.de



"Bingo - the best album of his career."

ROLLING STONE ALBUM GUIDE *****



"'Slowhand' doesn't sound schizophrenic because of the band's grasp of the material. This is laidback virtuosity - although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material makes 'Slowhand' rank with '461 Ocean Boulevard' as Eric Clapton's best album."

All-Music Guide



After the all-star No Reason to Cry failed to make much of an impact commerically, Eric Clapton returned to using his own band for Slowhand. The difference is substantial -- where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale's "Cocaine" and sustains it throughout the course of the album. Alternating between straight blues ("Mean Old Frisco"), country ("Lay Down Sally"), mainstream rock ("Cocaine," "The Core") and pop ("Wonderful Tonight"), Slowhand doesn't sound schizophrenic because of the band's grasp of the material. This is laidback virtuosity -- although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album's eclectic material makes Slowhand rank with 461 Ocean Boulevard as Eric Clapton's best album.

Stephen Thomas Erlewine, All-Music Guide



Eric Clapton's solo albums have tended to be so evenhanded and laconic that they often seem interchangeable. His pain was always so apparent that every move he made seemed frozen for eternity. At first glance, "Slow Hand " does nothing to alter that pattern -- a few good tracks interspersed between the usual filler -- but there's a lot more going on here beneath the surface Clapton is showing signs of psychic rehabilitation. His love songs are pointedly realistic. In a chilling moment of self-revelation called "Next Time You See Her," he focuses his long-sublimated anger at losing his lover. Perhaps most importantly, for the first time since leaving Cream he seems comfortable with his image as the hotshot guitarist, using his old Yardbirds nickname for the album title and flashing the old superstar form. The pyrotechnics are mostly restricted to along (8:42) jam, "The Core." The band (Dick Sims on keyboards, Jamie Oldaker on drums, bassist Carl Radle and guitarist George Terry) rolls into a boogie rhythm reminiscent of Derek and the Dominoes. Mel Collins blows a searing, double-tracked soprano sax break, and Eric takes off on a lightning solo that sounds more like his classic run on "Crossroads" than anything he's done since . Glyn Johns' production is superb -- the guitar/drums relationship is crisp and authoritative, powerhouse Clapton caught in a glimpse of white hot frenzy.

Except for Eric's great slide guitar playing on the hard-edged slow blues, "Mean Old Frisco," the rest of the album is more subdued, with the influence of country songwriter Don Williams dominating Eric's writing. "Wonderful Tonight," the sprightly shuffle, "Lay Down Sally" and the calmly vengeful "Next Time You See Her" have the same modest intensity and forthrightness of "We're All the Way," the Williams song Clapton covers here. On "Next Time You See Her," Clapton sings , "And if you see her again. I will surely kill you," an unusual enough sentiment for him. Bu the line is all the more powerful because it is delivered quietly, with matter-of-fact resignation and even a touch of sympathy for the guy who will be his victim. In as striking of an effect as this it's easy to see that Clapton has learned the lesson he's been striving for all these years. He is in touch with the horrible moral power and long-suffering self-righteousness that is the essence of the blues. And that knowledge gives him the power to stand up and be himself. (RS 255)

Copyright © 1968-1999 Rolling Stone Network. All Rights Reserved.
 

 L y r i c s


Cocaine

If you wanna hang out you've got to take her out; cocaine.
If you wanna get down, down on the ground; cocaine.
She don't lie, she don't lie, she don't lie; cocaine.

If you got bad news, you wanna kick them blues; cocaine.
When your day is done and you wanna run; cocaine.
She don't lie, she don't lie, she don't lie; cocaine.

If your thing is gone and you wanna ride on; cocaine.
Don't forget this fact, you can't get it back; cocaine.
She don't lie, she don't lie, she don't lie; cocaine.

She don't lie, she don't lie, she don't lie; cocaine.


Wonderful Tonight

It's late in the evening; she's wondering what clothes to wear.
She puts on her make-up and brushes her long blonde hair.
And then she asks me, "Do I look all right?"
And I say, "Yes, you look wonderful tonight."

We go to a party and everyone turns to see
This beautiful lady that's walking around with me.
And then she asks me, "Do you feel all right?"
And I say, "Yes, I feel wonderful tonight."

I feel wonderful because I see
The love light in your eyes.
And the wonder of it all
Is that you just don't realize how much I love you.

It's time to go home now and I've got an aching head,
So I give her the car keys and she helps me to bed.
And then I tell her, as I turn out the light,
I say, "My darling, you were wonderful tonight.
Oh my darling, you were wonderful tonight."


Lay Down Sally

There is nothing that is wrong
In wanting you to stay here with me.
I know you've got somewhere to go,
But won't you make yourself at home and stay with me?
And don't you ever leave.

  Lay down, Sally, and rest you in my arms.
  Don't you think you want someone to talk to?
  Lay down, Sally, no need to leave so soon.
  I've been trying all night long just to talk to you.

The sun ain't nearly on the rise
And we still got the moon and stars above.
Underneath the velvet skies,
Love is all that matters.  Won't you stay with me?
And don't you ever leave.

Chorus

I long to see the morning light
Coloring your face so dreamily.
So don't you go and say goodbye,
You can lay your worries down and stay with me.
And don't you ever leave.

Chorus

Chorus


Next Time You See Her

She's got everything a man could ever ask for.
She is lovely, brighter than a morning star.
She is so beautiful, portrait of a sunset.
She got everything, including my old car.

  Next time you see her, tell her that I love her.
  Next time you see her, tell her that I care.
  Next time you see her, tell her that I love her.
  Next time I see you, boy you'd better beware.

I'm just trying to warn you that you're bound to get hurt.
I couldn't be her last love, so how could you be her first?
I want to tell you, buddy, things are bound to get rough.
I know that she's only flirting, but I think that I've had enough.

  Chorus

And if you see her again, I will surely kill you.
And if you see her again, I will surely kill you.

  Chorus

And if you see her again, I will surely kill you.
And if you see her again, I will surely kill you.

  Chorus


We're All The Way

There's no cause to think that I won't stay;
Haven't I been with you all the way?
There's no time like now to make amends.
After all, we are more than friends.

  This could be the time for you and me.
  We could go wherever we should be.
  So don't put words between us we shouldn't say,
  And don't be acting halfway
  When you know we're all the way.

There are times when I don't see the light.
I don't know if what I do is right.
But when I'm wrong, it's never meant for you,
So don't confuse my love with what I do.

  Chorus


The Core

Every morning when I wake, a feeling soon begins to overtake me.
Ringing in my ears resounds through my brain; it finally surrounds me.
There is fire, there is life, there is passion, fever and fury.
There is love and there is hate, there is longing, anger and worry.

  Oh, I am a flame; feel it touch my heart.
  And down at my core is the hottest part.
  I can run without fear.

If it should become too cold, I know I can endure the frostbite.
Oh, a blanket then I'll wrap around me; I keep myself so close to my sight.
No one then can cause me harm, just as the river runs into the sea.
'Cause every day, a fire alarm is deafening the silence all around me.

  Chorus

It is burning.
It is burning.

You can trust me; we can laugh.  Together we can share our sorrow.
I will give you secrets too, an attitude that you may borrow.
Gypsy woman said to me, "One thing you must bear in your mind:
You are young and you are free, but damned if you're deceased in your own lifetime."

Oh, you have a flame; feel it in your heart.
And down at the core is the hottest part.
We can run without fear.

It is burning.
It is burning.


May You Never

  May you never lay your head down without a hand to hold.
  May you never make your bed out in the cold.
  May you never lose your temper if you get hit in a barroom fight.
  May you never lose your woman overnight.

Well, you're just like a great, strong sister to me,
And I know that your love is true,
And you hold no blade for to stab me in my back;
I know that there's some that do.

So please, won't you please, won't you bear it in mind:
Love is a lesson to learn in our time.
Please, won't you please, bear it in mind for me.

  Chorus

Well, you're just like a great, strong brother to me,
And I know that your love is true,
And you never talk dirty behind my back;
I know that there's some that do.

So please, won't you please, won't you bear it in mind:
Love is a lesson to learn in our time.
Please, won't you please, bear it in mind for me.

  Chorus

May you never lose your woman overnight.
May you never lose your woman overnight.


Mean Old Frisco

Well that mean old dirty Frisco and that low down Santa Fe.
Mean old Frisco and that low down Santa Fe.
You know they take my girl away, Lord, and blow back out on me.

Well my mama, she done told me, and my papa told me too.
Mama told me and my papa told me too.
A woman that gets in your face, Lord she ain't no friend for you.

Well I'm goin' away now baby, and I won't be back until fall.
Goin' away, baby.  Lord, I won't be back till fall.
If I don't come back by then, Lord, I won't be back at all.

Well that mean old dirty Frisco and that low down Santa Fe.
Mean old Frisco and that low down Santa Fe.
Gonna take my gal away, Lord, and blow back out on me.


Peaches And Diesel

(Instrumental)

 M P 3   S a m p l e s


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