Episode 40
What's Clapton's Best Era?
With a career that extends over 60 years, where do you begin? Jason and Nick tackle Clapton’s extensive discography and try to suss out the different eras of his career. They dive into Cream, his ’70s country-rock phase, the Armani Strat vibes in the ’80s, and so much more. And of course, no discussion of Clapton can be without deep looks into Derek and the Dominos, Unplugged, and From the Cradle (which is Jason’s favorite album).
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Transcript
Foreign.
Speaker B:Hey, this is Nick Milavoy.
Speaker A:And this is Jason Shadrick.
Speaker B:And this is the 100 Guitarist podcast where each week we are talking about one of the 100 guitar players that we think you should know.
Speaker B:This week we are talking about the guitar playing of Eric Clapton.
Speaker A:Yes.
Speaker B:One of your favorite guitar players.
Speaker A:One of my favorite guitar players.
Speaker A:One of the first ones I really tried to emulate as a young Midwestern blues kid and.
Speaker A:But you're a fair weather fan, correct?
Speaker B:I am indeed a fair weather fan.
Speaker B:I think it'll be fun to unpack the similarities and dissimilarities in our Eric Clapton fandom and critical assessment.
Speaker A:Yes, I'm looking forward to that.
Speaker A:You can get at us100guitarists Premier Guitar dot com.
Speaker A: -: Speaker A:Let us know what your favorite Eric Clapton track is or let us know who we missed.
Speaker A:We just did revamp our list of our 100 and we think we finally settled on the complete 100 list.
Speaker A:Nick, we're not going to say anything now about who's on that list, but I think we finally, whatever 40 episodes in, have finalized that list.
Speaker B:That's right.
Speaker A:So today's sponsor is Gibson Guitars.
Speaker A:Now, we're doing something a little special today, Nick.
Speaker A:We are talking.
Speaker B:That's right.
Speaker A:About a guitar that is just at the time of this recording, is not announced yet.
Speaker A:By the time people see this, it very well could be out there in the.
Speaker A:In the open.
Speaker A: But it's this Eric Clapton: Speaker A:Now, this guitar has kind of a story behind it.
Speaker A:He used it on Cream's first American tour.
Speaker A:He used on Disraeli Gears.
Speaker A:He used it going into the Delaney and Bonnie era.
Speaker A:And then it kind of fell aside a little bit throughout the 60s and 70s as strats kind of became more his thing.
Speaker A: But in: Speaker A:So they've taken that guitar from Albert.
Speaker A:They made a copy of it.
Speaker A:A really hip three pickup Les Paul Custom.
Speaker A:It's crafted by the artisans of Gibson Custom using the original construction methods and period correct materials, and is limited to only 150 guitars.
Speaker A:Maybe 148, considering you and I will probably each get thrown our way.
Speaker B:Right?
Speaker B:Yeah, they're probably in the mail already.
Speaker A:Probably in the mail already.
Speaker B:Yeah.
Speaker B: So the: Speaker B:It comes loaded with three Gibson custom bucker pickups which are recreations of the legendary pafs that were in the original Eric Clapton guitar itself.
Speaker B:It also has Grover's milk bottle tuning machines and Gibson's classic custom model appointments that includes mother of pearl custom split diamond headstock inlay and the mother of pearl block neck position marker inlays as well as bound fretboard age gold hardware and is also finished in ebony nitrocellulose lacquer with custom Murphy Lab aging.
Speaker A:The guitar is artfully aged by the artisans the Murphy Lab to match the exact aging and playing where that both Eric and Albert left on it over years of use.
Speaker A:It comes in the famous Duck Brothers hardshell case with a black archive series strap certificate of authenticity, a photo from Chuck Stewart and an extra Eric Clapton and Albert Lee signed pick guard in a wood display case.
Speaker A:So you're getting the full.
Speaker A:The full enchilada here when it comes to case candy.
Speaker A:All through the Clapton and the Albert Lee eras of this guitar.
Speaker B:That's right.
Speaker B:And when you get yours, I expect to see it on that stand behind you.
Speaker B:Maroon.
Speaker B:There's room on that stand.
Speaker A:That's right.
Speaker A:I should put some more guitars in there.
Speaker A:But yeah, head on over to gibson.com.
Speaker A:thank you so much, Gibson, for the support.
Speaker A:And yeah, go check out the latest Eric Clapton signature Les Ball.
Speaker B:All right, Jason, so I'm going to let you take the lead on this one because you are the ultimate Eric Clapton guitar guy around here.
Speaker A:Yes, I would say off.
Speaker A:Okay.
Speaker A:I think of Eric's playing.
Speaker A:I've seen him a handful of times.
Speaker A:You've seen him a couple times?
Speaker A:Once, 5, 10, 20.
Speaker B:Just once.
Speaker A:Okay, so to be clear, you've seen Fish live more than Eric Clapton.
Speaker B:Yeah, I have seen Fish live more than Eric Clapton.
Speaker B:That is true.
Speaker A:Let's get that.
Speaker A:Let's put that rumor right to bed.
Speaker A:I think Eric has some very distinct eras in his career.
Speaker B:Yes.
Speaker A:Yeah.
Speaker B:And strong around those areas.
Speaker A:What's that?
Speaker B:Strong boundaries around those areas.
Speaker B:It's easy to unpack that.
Speaker A:Yes.
Speaker A:And I'm not a fan of all the eras.
Speaker B:I would agree with that.
Speaker A:Right.
Speaker A:But there are some.
Speaker A:I don't know, maybe it's a similar thing to like Van Halen or another band that has definitive eras that it's kind of.
Speaker A:Whichever one you fell into as an.
Speaker A:That originally tracked attracted you as a fan is kind of the one you tend to gravitate towards.
Speaker A:Right.
Speaker A:Would you say that.
Speaker A:What band is like that for you?
Speaker B:That Is interesting.
Speaker B:I personally speak to my personal experience here.
Speaker B:I think it's actually quite the opposite.
Speaker A:What do you mean?
Speaker B:Stuff I like from Eric Clapton is not the stuff I liked when I was a beginning guitar player and learning all the riffs.
Speaker A:So when you were a beginning guitar player, what era were you?
Speaker A:Did you first hear?
Speaker B:When I was a beginning and when I was, you know, having high school basement bands and stuff like that.
Speaker B:Cream would have been my.
Speaker B:My top choice, probably.
Speaker B:Cream and from the Cradle.
Speaker A:See, I'm.
Speaker A:I'm very close to that.
Speaker A:Mine was Derek and the Dominoes and From the Cradle.
Speaker A:But from the Cradle, because of when it came out and where I was playing guitar, just beginning that.
Speaker A:That felt the most like my generation great Eric Clapton record.
Speaker A:But.
Speaker A:Yeah, but so if we kind of.
Speaker A:The way I'm kind of thinking of and we're going to kind of just touch a little on each one of these eras.
Speaker B:Yeah.
Speaker A:Is the first era, obviously, kind of the Yardbird stuff, you know, which to me I never like.
Speaker A:I mean, I've seen some of the videos.
Speaker A:I've heard the tracks.
Speaker A:Like, it was cool.
Speaker A:But if I were to like, do one of Those, you know, YouTube influencer tier ratings, like of my favorite eras of Clapton, you know what I mean?
Speaker A:Whatever.
Speaker A:Not giving it a grade on the quality of it, just of my personal interest in it.
Speaker A:Yardbirds is like a C or D.
Speaker B:That might be Yardbirds pretty far down for me.
Speaker B:I'm not a big Yardbirds fan in general.
Speaker B:And the Yardbirds that I do prefer is Jeff Beck.
Speaker A:Beck, me too.
Speaker A:All right, let's move on.
Speaker A:So they have the Yardbird stuff playing it.
Speaker A:You've seen the video, him playing that Telecaster.
Speaker A:Right.
Speaker A:Then we get to Cream.
Speaker A:Cream is where I feel like everybody tends to gravitate towards some of his best work.
Speaker A:Actually.
Speaker A:Side note, mini era.
Speaker B:Not everybody.
Speaker A:Mini era is the John Mayall.
Speaker B:Sure.
Speaker B:Yeah.
Speaker A:Right.
Speaker A:I mean, can't forget that the.
Speaker A:The Blue.
Speaker A:The Beano Blues Breaker record is like modern blues guitar 101.
Speaker A:I mean, it's like it comes.
Speaker A:Everything you need to know about playing electric, loud, electric blues guitar even to this day is in that record, you know?
Speaker B:Okay.
Speaker B:I don't know that I agree with that, but I.
Speaker B:That's not.
Speaker B:I've never recommended anybody to that.
Speaker B:When I was teaching guitar, I never recommended anybody to that album.
Speaker B:I think it's a cool album.
Speaker B:I think it's great.
Speaker B:But it's not.
Speaker B:It's not my starting blues guitar.
Speaker B:I would say blues rock guitar.
Speaker B:And I think that delineation.
Speaker A:Well, I meant to make Loud, not.
Speaker A:I don't want to say.
Speaker A:I mean, I don't want to not say traditional because they do play some traditional tunes on there.
Speaker A:But it's a copy.
Speaker B:He's playing in a style.
Speaker B:I would just.
Speaker B:Yeah, I mean, I guess what I'm saying is I would recommend going to the.
Speaker B:Going to Buddy Guy in the Three Kings.
Speaker B:Sure, I would skip that, but.
Speaker A:But when it comes to.
Speaker A:As a precursor to Cream, Loud, Les Paul into Marshall blues guitar.
Speaker B:Sure.
Speaker A:That's me.
Speaker A:Where that started.
Speaker B:Yeah, absolutely.
Speaker A:Right.
Speaker A:So check out the B and O record.
Speaker A:Stepping Out.
Speaker A:Great jam.
Speaker B:I think my struggle is with.
Speaker B:Not so much with Clapton's playing other than I just hear me out.
Speaker B:To me it's great.
Speaker B:And I cannot deny it.
Speaker B:I would not deny it.
Speaker B:I don't think that it's as developed as it gets credit for being.
Speaker B:I feel like he's playing.
Speaker B:He's a great stylist.
Speaker B:But I don't hear Eric Clapton in there as much as I hear his influences.
Speaker B:And so I'm just, you know, credit where credit is due kind of thing.
Speaker B:I'm going.
Speaker B:I'm thinking that for.
Speaker B:For.
Speaker B:As a.
Speaker B:As an influential thing, that is what's important.
Speaker B:But for the actual music.
Speaker B:Thinking of it critically, I'm thinking about the actual.
Speaker B:The.
Speaker B:The sources themselves.
Speaker B:But my bigger problem, I mean, so that aside, I just kind of don't vibe with Mayall singing.
Speaker B:So that kind of like isn't my.
Speaker B:It's not my go to.
Speaker B:Like, you know what I mean?
Speaker A:It's not.
Speaker A:I wouldn't say it's my go to, but it is, I think.
Speaker A:Because I don't think Eric at that point.
Speaker A:Maybe it's a hot take.
Speaker A:I don't think Eric Clapton has become Eric Clapton at that point.
Speaker B:Exactly.
Speaker B:That's what I'm saying.
Speaker B:It's not developed.
Speaker B:It's like.
Speaker B:It's fine.
Speaker B:I mean, it's developed in some way.
Speaker B:It's cool.
Speaker B:But it's exactly.
Speaker B:He's not Eric Clapton yet.
Speaker B:So like when people point to that as like the ultimate Clapton record, I'm like, well, it's not really.
Speaker A:I would never call it the ultimate Clapton record again.
Speaker A:If we're looking at tiers of that.
Speaker A:I put that at a B.
Speaker A:Not my all time favorite stuff.
Speaker A:But I think it's really important to have a handle on where Eric is coming from.
Speaker A:And I think that was a pretty influence wise.
Speaker B:I mean, that's Clapton is God, right?
Speaker A:Like, yeah, that's Clapton.
Speaker A:Was it Rose cream.
Speaker A:Maybe somewhere in there.
Speaker A:But in this era.
Speaker A:But yeah, I would put may all stuff as like B tier.
Speaker B:I mean, so Clapton has got a sort of like, you know, yardbirds, mail.
Speaker A:Yardbirds, mail.
Speaker A:Okay.
Speaker B:Yeah.
Speaker B:So like, to me, that sort of.
Speaker B:I'm sorry, it just sort of devalues the Clapton is God thing.
Speaker B:It's like, wait, that's the stuff.
Speaker A:Yeah, but we're looking at it with.
Speaker B:Distraction all these years later.
Speaker B:60 some odd or 60ish years later.
Speaker B:It's like that distracts me from.
Speaker B:From the actual.
Speaker B:From his actual stuff.
Speaker B:That's great.
Speaker A:Yeah, but we're looking at it 50 years of.
Speaker B:Yeah.
Speaker A:Perspective.
Speaker A: or whatever in: Speaker A:You know what I mean?
Speaker A:That was probably some pretty heavy.
Speaker B:Came out July 66.
Speaker B:So that's a big.
Speaker B:It's a big thing to come out for sure.
Speaker A:Yeah.
Speaker B:At that time.
Speaker A:Right.
Speaker B:Yeah, no doubt.
Speaker A:And you got, you know, Hendrix is bopping around.
Speaker B:But Hendrix is bopping around and Jeff Beck is bopping around.
Speaker A:Yep.
Speaker A:Jimmy Page, you know, they're about ready to come out with Led Zeppelin one in what, 68 or 69.
Speaker A:So yeah, that.
Speaker A:That would be a good time to be a teenager in London.
Speaker A:I think that could be.
Speaker A:Is that.
Speaker A:Here's a fun question.
Speaker A:Real quick digression.
Speaker A:What era and what geographic region, if you could, as a guitar player, would you want to revisit and grow up in?
Speaker B:Oh, wow.
Speaker B:I see the compelling argument for mid-90s.
Speaker A:New York Downtown knitting Factory.
Speaker A:That's what you're.
Speaker A:That's what you're thinking.
Speaker B:No, I don't want to be a teenager then.
Speaker B:Because I couldn't have gotten into anything.
Speaker A:I don't mean teenagers.
Speaker B:Want to be like 22 years old.
Speaker A:Your formidable years.
Speaker A:You're able to go see these people.
Speaker A:People.
Speaker B:Yeah.
Speaker B:It's a great qu.
Speaker A:Ear 90s.
Speaker B:If I really were picking off the top of my head, 90s Seattle might be more exciting.
Speaker A:Okay.
Speaker A:Mine.
Speaker A:I think mine might be late 60s London.
Speaker B:Late.
Speaker B:I.
Speaker B:I totally see it.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:All right.
Speaker B:I mean, there's a good argument to be made there.
Speaker A:Right?
Speaker B:For sure.
Speaker A:My number two, weirdly enough, would probably be 80s Nashville.
Speaker B:Wow.
Speaker A:Just.
Speaker A:Just for the fun.
Speaker B:Predicted that.
Speaker A:Just for the fun.
Speaker A:Clean di chorus tones that are on all those records.
Speaker B:Who needs an amp far away from that?
Speaker A:All right.
Speaker A:So then after May, all we get.
Speaker B:Into as a teenager.
Speaker B:I don't think that's the music.
Speaker A:You know, again, your Formidable years.
Speaker A:You could be your early 20s.
Speaker A:Doesn't matter.
Speaker A:We caught up on the teenager thing.
Speaker B:Yeah.
Speaker B:I mean, somewhere in the 50s would have been pretty cool to, like, experience Little Richard and.
Speaker B:And all the early rock and roll stuff first.
Speaker B:Like,'50s Memphis, because that's like.
Speaker B:Yeah, like 50.
Speaker B:But, I mean, there's.
Speaker B:There's other things than music going on that I don't want to be a part of.
Speaker B:So.
Speaker B:I don't know.
Speaker A:We're talking purely music.
Speaker A:We're talking purely music, bro.
Speaker A:I thought.
Speaker B:I thought a rock, for me, like, a 50s rock and roll experience would have been pretty cool.
Speaker B:And that's teenage music.
Speaker A:That is.
Speaker A:That is.
Speaker A:I've watched La Bamba so much, I'm thinking Southern California in the 50s would be.
Speaker B:Oh, my God, Southern California.
Speaker B:When Dick Dale invented surf rock.
Speaker B:I mean, that would have been amazing to be at one of those shows.
Speaker B:That's the heart of guitar innovation.
Speaker B:I think that.
Speaker B:Yeah, that's gotta be it, you know?
Speaker A:Well, spoiler, Dick Dale is on our list.
Speaker A:I can't wait for that.
Speaker B:Spoiler.
Speaker B:I can't wait till that one.
Speaker B:Yeah.
Speaker A:All right, so now we get to the super group of Cream, which.
Speaker A:You've seen the Ginger Baker doc, right?
Speaker B:Oh, yeah.
Speaker A:Oh, so good.
Speaker B:It's so good.
Speaker A:I probably rewatch that once a year, really.
Speaker A:Just to see him try and punch that guy in the car, like, all time.
Speaker A:Great, great thing.
Speaker A:Or even.
Speaker A:I think it's on YouTube of Chad Smith.
Speaker A:The interview he did with Chad Smith.
Speaker A:Have you seen that?
Speaker A:He's like.
Speaker A:Ginger's, like, sitting back in this recliner and he's smoking with Chad Smith.
Speaker A:He has these sunglasses on.
Speaker A:You'd almost think that Ginger was asleep.
Speaker A:And he goes to try, like, Ginger's, like, going to try and light a cigarette and.
Speaker A:And Chad pulls out a lighter and he.
Speaker A:And he gets up closer and closer to Ginger, till all of a sudden, Ginger sees it and starts swatting it away from.
Speaker A:It's really, really funny.
Speaker A:But, yeah.
Speaker A:So Cream, the jazz rock supergroup.
Speaker A:I've heard people describe it as that.
Speaker B:Not the words I would use.
Speaker B:Not.
Speaker A:No.
Speaker A:This is probably his.
Speaker A:Clapton's first big commercial success.
Speaker A:It is, yeah.
Speaker B:I mean, Cream were huge, right?
Speaker A:Cream were huge.
Speaker A:They did us tour, put out a couple records, of course.
Speaker A:What's your favorite Cream record?
Speaker B:It's a good question.
Speaker B:Probably Wheels of Fire.
Speaker A:Wheels of Fire is a good one.
Speaker A:I like Live Cream.
Speaker A:Not Live Cream Volume Two, but live.
Speaker A:To me, Cream were always like a live band, and I really like that.
Speaker B:Yeah, I agree.
Speaker A:Yeah.
Speaker A:And they were.
Speaker A:They really.
Speaker A:I thought the live Cream record was really good.
Speaker A:And if we're talking studio records, I probably have to go with Disraeli Years, all time artwork.
Speaker A:I like how they basically wrote the same song twice with White Room and Tale of Brave.
Speaker A:Tales of Brave Ulysses.
Speaker A:I mean, that's.
Speaker A:I mean, right.
Speaker A:You're on board with that?
Speaker B:I'm on board.
Speaker B:I.
Speaker B:I've never thought of that, but as you say, like.
Speaker B:Yeah.
Speaker B:I mean, come on.
Speaker A:And there, you know, there's.
Speaker A:It's funny, like, you know, even on Wheels of Fire.
Speaker A:And also, Cream might have the highest batting average in terms of great album art.
Speaker B:They have great album art, I'll give you that.
Speaker A:All the way through all of it.
Speaker B:My hang up on Cream is Toad.
Speaker B:My hang up on Cream is again, that.
Speaker B:All these years on.
Speaker B:I don't know.
Speaker B: mean all these years on from: Speaker B:I mean, Sunshine of your Love is the.
Speaker B:The riff that we've.
Speaker B:All that and Smoke on the Water are the first riffs.
Speaker B:Right?
Speaker B:Like, they're.
Speaker B:It's hard to.
Speaker B:Not like that deserves all the credit for the influence and the way that people play guitar, but listening to those records, I'm a little less enthused about the playing on the records now than I was 25 years ago.
Speaker A:The studio records or just in general?
Speaker B:Studio records.
Speaker B:Live stuff holds up.
Speaker B:Yeah, the studio records are, you know, they're looser to me.
Speaker B:Not in.
Speaker B:I mean, I like a lot of really loose music, but not in a way that I'm into.
Speaker B:There's some.
Speaker B:It just doesn't.
Speaker B:And I don't even mean, like, they're not tight together, but it's like there's something.
Speaker B:Something that feels a little abstract, a little disconnected to me in some of the songs, like, Playing Wise where.
Speaker B:And of course, it's like, I don't know, maybe this.
Speaker B:Maybe I'm talking about sessions that they were, like, hurrying up through.
Speaker B:But to me, again, that's not.
Speaker B:It's not where Clapton shines the most.
Speaker B:Live Cream now.
Speaker B:Okay, Crossroads.
Speaker B:I mean, Crossroads deserves all the credit.
Speaker B:And that's the first.
Speaker B:That, to me, is, like, it.
Speaker B:Thinking historically and chronologically.
Speaker B:That's where I start thinking of Eric Clapton as Eric Clapton.
Speaker A:Yes.
Speaker B:And I hear it and I say, okay, this guy has something special going on.
Speaker A:The White Room solo, I mean.
Speaker B:Oh, yeah.
Speaker B:White room solo is awesome.
Speaker B:I mean.
Speaker B:I mean, they're on the same album, so I'm just sort of like, you know that.
Speaker B:But the White Room solo is totally great.
Speaker B:But I think the crossroads is a bigger, like, improvisational, bigger feat of guitar playing that.
Speaker A:That's true.
Speaker A:Clapton or Eddie Van Halen's favorite solo, right?
Speaker A:That's right.
Speaker A:Big Clapton guy, Eddie.
Speaker A:All right.
Speaker A:So then when Cream starts to kind of fade out, then we go into kind of where it feeled like he wanted to step out of the spotlight.
Speaker A:I feel like Cream was probably way more famous than we think.
Speaker B:I think they were pretty famous.
Speaker A:But I mean, like, can't walk down the street famous.
Speaker B:Depends what town.
Speaker A:Yeah, right.
Speaker A:I mean, like, he can't walk down the street in London.
Speaker B:Yeah.
Speaker B:I don't know if in New York it was.
Speaker B:Or in Chicago or Philadelphia that was as much of a thing.
Speaker B:But I think in London that was totally a thing.
Speaker A:Yeah.
Speaker A:Because with the next two groups, Blind Faith and Derek and the Dominoes, it seemed like he really wanted to not be the face of the group.
Speaker A:You know what I'm saying?
Speaker A:And so the Blind Faith record.
Speaker A:Well, anyways, real quick.
Speaker A:Where are we ranking the Cream era in our tier list here, buddy?
Speaker A:Because we're influencers.
Speaker A:Well, you are.
Speaker B:Cream is.
Speaker B:Nobody's gonna like this in the comments of this, but I'm putting in a B era, okay?
Speaker A:I'm doing A A for Cream.
Speaker B:I think you really influence B for actual output as a whole.
Speaker A:See, now you're hedging your bet.
Speaker A:No, because I think.
Speaker A:Here, let me make it for you.
Speaker A:B is for the studio Cream.
Speaker A:A is for live Cream.
Speaker B:Okay.
Speaker A:Yeah, I can sign off on that.
Speaker A:Bam.
Speaker B:I can sign off on that.
Speaker A:Because I think those are real.
Speaker A:Two completely different approaches to how that band, how he played.
Speaker B:Now, I will say again, there was a time in my life where all of it would have been A level, but just, like, aging on with it.
Speaker B:The studio stuff isn't.
Speaker B:I feel like if we're being really critical and very honest with ourselves about what's awesome.
Speaker B:It's a lot of stuff.
Speaker A:Yeah.
Speaker A:So real.
Speaker A:Also, real quick, how'd you feel about the Cream reunion?
Speaker B:I didn't like it.
Speaker A:Me neither.
Speaker A:I think it was about 15 years too late.
Speaker B:It was a little too sleepy.
Speaker A:Well, I think Ginger was just not Ginger on that one.
Speaker A:So Cream releases Goodbye in 69.
Speaker A:That same year, Blind Faith comes out with their 1 record.
Speaker A:So Blind Faith was the group with Steve Winwood, which.
Speaker A:One of the times I saw Clapton was with Steve Winwood.
Speaker A:At the Crossroads festival in Chicago and they did can't find your way home.
Speaker A:That same show was Wynwood and Clapton and then Jeff Beck and Clapton on the same set.
Speaker A:It was great.
Speaker A:Also another famous album cover.
Speaker B:Pretty weird one.
Speaker A:Weird one.
Speaker A:And you know, can't find my way home.
Speaker A:It's kind of the.
Speaker A:Well, all right.
Speaker A:Was all in Presence of the Lord.
Speaker A:Those are the wa.
Speaker A:Solo on Presence of the Lord was really good.
Speaker B:That's great.
Speaker B:For sure.
Speaker A:If you want to learn how to use a wah, learn that solo.
Speaker A:You got the rhythmic stuff going on.
Speaker A:It's a cool little riff.
Speaker B:And I, I think the, the guitar figure on can't find my way Home deserves a lot of credit there.
Speaker B:That's a great, that's a great part.
Speaker A:But I think of Blind Faith almost as like Eric Clapton sitting in on a Steve Wynwood record.
Speaker B:Yeah.
Speaker B:That is so.
Speaker B:To me, this is an A level Clapton.
Speaker B:No, it's A level Steve Winwood.
Speaker A:Yeah.
Speaker A:Because if you go see Steve Winwood by himself, he's probably going to play had to cry today, can't find my way home and maybe even.
Speaker A:Well, all right.
Speaker A:But Clapton's not playing any of those tunes in his normal set.
Speaker A:Right.
Speaker A:This is.
Speaker A:This to me, Steve Winwood is the MVP of this.
Speaker A:Of this thing.
Speaker A:And Ginger Baker.
Speaker A:I mean, yeah, probably one of his.
Speaker A:One of his post Cream highlights.
Speaker A:But yeah, I would put.
Speaker A:Where would you put Blind Faith?
Speaker A:Maybe a C.
Speaker A:C for Clapton.
Speaker B:Input.
Speaker B:Nah, probably be president of the presence of the Lord is special.
Speaker B:And the guitar figure, I mean, I don't know who wrote that guitar figure.
Speaker B:We could find that somebody will.
Speaker B:Somebody will inevitably comment that we should know that.
Speaker B:So then the playing is awesome.
Speaker B:Yeah, probably B for Clapton.
Speaker A:B for Clapton.
Speaker A:Okay.
Speaker A:Now things start to get really good because we have one of the greatest albums of all time.
Speaker A:No hyperbole.
Speaker A:Layla and other assorted love songs by Derek and the Dominoes.
Speaker A:Yet again, one of the great album covers of all time.
Speaker A:All time.
Speaker B:Great.
Speaker A:I think that painting like of the album cover recently sold for millions of dollars.
Speaker A:Like one of the originals.
Speaker A:Yeah.
Speaker A:So this was when I think Clapton really like cemented his legacy as a guitar hero with this record.
Speaker A:And because if head.
Speaker A:Everything stopped after Layla and.
Speaker B:Oh man.
Speaker B:Right.
Speaker A:Tragically passed away or something a la Hendrix or whatever.
Speaker A:He would, he, you know, he would be an A plus level all time guitar hero.
Speaker A:You know, I think after Layla he had done.
Speaker A:He.
Speaker A:I think he's, he's really like, to me, he really sounds like Clapton on the Layla record.
Speaker A:And here's my theory, is that he is at his best, his all time best, when there's another guitar player in the band pushing him.
Speaker A:I think that goes for studio records.
Speaker A:I think that goes for, especially live stuff.
Speaker A:Especially like when he has another guitar player next to him, whether it's Albert Lee, Derek Trucks, Doyle Bramhall ii, Dwayne Allman.
Speaker A:It pushes him to places he cannot get to on his own.
Speaker A:I feel Jeff Beck, I saw it in my own eyes.
Speaker A:You know, it pushes him to places where he cannot get by himself.
Speaker A:And I think the first example of that in his career is Derek and the Dominoes.
Speaker B:All right, so let me ask you this.
Speaker B:Not to be, I'm not trying to be oppositional here.
Speaker B:Who's the best guitar player in Derek and the Dominoes?
Speaker A:Who's the best guitar player in Derek and the Dominoes?
Speaker A:Yeah, it's Eric Clapton.
Speaker A:And I know that's a, that's a controversial take, but I, I, the reason I would say that is because it's, it's really, it's, you know, there's even them.
Speaker A:So when this album came out, people didn't know it was Eric Clapton.
Speaker A:They had to make little stickers that said Derek is Eric to go on the record.
Speaker A:Right, right.
Speaker A:So if people didn't know that it was Clapton on the record, they surely didn't know it was Dwayne Almond.
Speaker A:Right, Right.
Speaker A:So.
Speaker B:But I'm talking about musically speaking.
Speaker A:Musically speaking, I'll tell you why.
Speaker A:Because Clapton is a much better writer than Dwayne Allman.
Speaker B:But I'm not talking about writers, I'm talking about playing.
Speaker A:Sure, but without the songs, you can't, there's, I mean, it's the fact that he's coming up with these riffs and, you know, when you look at Bell Bottom Blues or Any Day, or Tell the Truth, you know, Dwayne was a sideman on these things, you know, and his, and it wouldn't be the album it is without Dwayne.
Speaker A:But I think Clapton's tone and his phrasing and his approach and how Dwayne pushed him on this record.
Speaker A:I would give the MVP award on this to Eric on this record.
Speaker B:Here's my take.
Speaker B:Oh, boy.
Speaker B:To me, this is a powerful guitar statement and a powerful Erica statement of Eric Clapton's artistry.
Speaker B:I'm not listening to this album for Eric's lead playing.
Speaker B:I know that there's great leads on here.
Speaker B:To me, Dwayne is the more compelling lead player.
Speaker B:It's just thinking back about what both of those guys had to offer.
Speaker B:Guitar playing, as far as vocabulary goes and as far as sound goes, I'm personally more interested in Dwayne.
Speaker B:And I.
Speaker B:I can see your take.
Speaker B:I can see.
Speaker B:And I kind of agree with everything you just said.
Speaker B:What this record is evidence of for me and the.
Speaker B:And is really the thing that personally I'm attracted to, like, on a personal level to Eric Clapton, but also, I think, you know, thinking critically and artistically is Eric Clapton's bigger contribution to music is his songwriting is part of it, but it's the way he's able to conceptualize his music, the way he's able to surround himself by the best people.
Speaker B:And I think there's something to be said about somebody who can see the.
Speaker B:I don't want to say weaknesses, but.
Speaker B:Or holes, but see what their playing brings to the table, and then fill that out with everybody they surround themselves with.
Speaker B:And so Eric Clapton.
Speaker B:And this is not the.
Speaker B:I mean, this in a good way.
Speaker B:He is not the best member of this band.
Speaker B:And I think that that is really smart and really practical.
Speaker B:Like, he surrounded himself with this.
Speaker B:And again, he's.
Speaker B:He sounds great on this record, but he elevated the music.
Speaker B:He said, this is what I have, and then put these people around him who are so immensely talented that it makes this album this, you know, hugely influential album.
Speaker B:And moving forward from here, that's the Clapton stuff that I like is stuff that isn't really about Eric Clapton.
Speaker B:Yes, it has a great Eric Clapton solo this, and.
Speaker B:But it's.
Speaker B:The song is cool, and he did a lot of covers, so it's not even the songwriting.
Speaker B:It's a cool song.
Speaker B:And then surround it with the right people to make it be the best thing it can be.
Speaker A:How great would it have been to hear the discussions and how to rearrange little wings?
Speaker B:Oh, sure.
Speaker B:Right, right.
Speaker A:Because that's really different from Henri's version.
Speaker A:I mean, some people prefer that version to Hendrix's version.
Speaker B:I mean, I personally, I'm not gonna go that far, but it's different enough that you could get there.
Speaker B:Layla is.
Speaker B:You know, I just.
Speaker B:We have to say.
Speaker B:We just have to say Layla.
Speaker B:You know, it's like Layla is the masterwork of this album.
Speaker B:I love Bell Bottom Blues.
Speaker B:Nobody knows you when you're down and out That's a great version.
Speaker B:Key to the highway.
Speaker B:But Layla is the.
Speaker B:The thing of this album that if it only contributed that and Martin Scorsese still used it in Goodfellas.
Speaker B:For me, you know, that's.
Speaker B:That's all you need.
Speaker B:That's musical immortality.
Speaker A:Why does Love gotta be so Sad is such a sleeper track on this record.
Speaker A:Yeah, yeah.
Speaker A:Nice little up tempo.
Speaker A:And there's so many like straight up traditional blues, you know.
Speaker A:Nobody knows when you're down and out.
Speaker A:Key to the highway.
Speaker A:Have you ever loved a woman that it's.
Speaker A:There's some incredible blues playing by Clapton on have you ever loved a woman like that stayed.
Speaker A:That song stayed in his set list for decades.
Speaker B:Yeah.
Speaker A:So the.
Speaker A:The Derek era, I'm putting all time, top tier.
Speaker A:Clapton.
Speaker B:Yeah.
Speaker B:It's a level for sure.
Speaker A:A level.
Speaker A:A level.
Speaker A:Okay.
Speaker A:Now to me, we get into the era that is not my most favorite, which is the 70s stuff.
Speaker A:So his.
Speaker B:Expect that from you.
Speaker A: First solo record came out in: Speaker A:Self titled, had After Midnight.
Speaker A:On it, Let it Rain were kind of the two big songs.
Speaker A:Maybe blues power a little bit.
Speaker A:It started his kind of association with JJ Kale, which continued throughout his life.
Speaker A:I mean, as far as playing.
Speaker A:Yeah.
Speaker A:Like this stuff.
Speaker A:461 Ocean Boulevard.
Speaker A:This is when the hits start coming.
Speaker A:Like I Shot the Sheriff, Let it grow, you know.
Speaker A:Then it didn't like the mid to late 70s.
Speaker A:I'm just like, this is all D level playing.
Speaker A:To me.
Speaker A:These are.
Speaker A:These are albums I do not revisit often.
Speaker B:Is that right?
Speaker B:I didn't expect you to say that at all.
Speaker A:Slow Hand, I mean, that's probably his best album of the 70s.
Speaker B:Yeah, I would agree with that.
Speaker A:Right.
Speaker A:So you got Cocaine, Wonderful Tonight, Lay Down Sally.
Speaker B:I don't like Wonderful Tonight.
Speaker B:I don't dislike it.
Speaker B:I just.
Speaker B:That doesn't do much for me.
Speaker B:For Eric Clapton, Lay Down Sally really does.
Speaker A:That's a groove.
Speaker B:I love that song.
Speaker B:But to me, cocaine is JJ Kale song.
Speaker B:And I think that Eric Clapton sounds like he's doing his own version of it.
Speaker B:And to me, Lay Down Sally sounds like he's doing J.J.
Speaker B:kale.
Speaker B:Not a.
Speaker B:Not a J.J.
Speaker B:kale song.
Speaker A:No, no.
Speaker A:But there's a big J.J.
Speaker A:influence.
Speaker B:I hear him doing J.J.
Speaker B:kale and I.
Speaker B:That's the thing I like about it, which I.
Speaker B:So it's like.
Speaker B:I wouldn't put it as my A level Clapton thing because it's like.
Speaker B:What I like about is how much it sounds like J.J.
Speaker B:kale.
Speaker B:But Eric's tone, his feelings, the solo on that song is great.
Speaker B:It's really creative and like, it's.
Speaker B:It's open.
Speaker A:So slow hand, or 461, if you're talking best of the 70s.
Speaker B:For me.
Speaker B:Slow hand slime.
Speaker A:Right?
Speaker B:I.
Speaker B:I like 461.
Speaker A:Iconic.
Speaker B:I think there's stuff on all these records that is cool and there's stuff that's not cool.
Speaker B:Does it make him like.
Speaker B:I don't get excited about it, but I think that the stuff on.
Speaker B:On.
Speaker B:On Slow Hand that I love.
Speaker B:I really like going back to 461.
Speaker B:We get to like I Shot the Sheriff to me.
Speaker B:I don't really need to hear Bob.
Speaker B:I don't really need to hear Eric Clapton play Bob Marley.
Speaker B:But there's something in that song that.
Speaker B:There's something in his version that I like, but I don't think it's.
Speaker B:It's not Eric Clapton singing or even his playing, just the production of the.
Speaker B:The song.
Speaker B:I.
Speaker B:I like listening to that version of it from a production perspective.
Speaker B:It sounds cool and big, but.
Speaker B:So there's stuff I like on these albums, but it's not.
Speaker B:It's not a level Clapton for me.
Speaker A:See, it's probably a C minus for me.
Speaker A:I mean, other than the two or three hits.
Speaker A:I don't go back and listen to these.
Speaker A:This first batch of solo records very often to get a Clapton fix.
Speaker A:Right.
Speaker B:I think.
Speaker B:See, I actually thought you liked this stuff more.
Speaker B:Our takes on this are more aligned than I expected at all.
Speaker A:Well, hold on.
Speaker A:We got.
Speaker A:We're getting into what I feel like, which I thought would be your favorite era.
Speaker A:The.
Speaker A:The Strat Armani era.
Speaker B:The Armani Air Copter.
Speaker A:Is it.
Speaker A:Okay, so we got another ticket, Money and Cigarettes.
Speaker A:Behind the Sun, August Journeyman.
Speaker A:So those five records, right?
Speaker A:I think they get progressively better.
Speaker A:Is my hot take on that.
Speaker A:I think another ticket is fairly forgettable.
Speaker A:Money and Cigarettes.
Speaker A:Although Ry Cooter plays on it and Duck Dunn, big fans of the.
Speaker A:And Albert Lee.
Speaker B:It's a different thing.
Speaker A:It's a different thing.
Speaker A:Not.
Speaker B:I want to hear.
Speaker B:For me, the 80s stuff is Eric and Phil.
Speaker A:So we're talking behind the Sun.
Speaker B:Eric Clapton, Phil Collins.
Speaker B:I want to hear behind the Sun Forever, Man.
Speaker A:The solo on Forever, Man.
Speaker B:Yeah, dude.
Speaker B:Yeah, dude.
Speaker A:All right.
Speaker A:Who's playing rhythm guitar on Forever, Man?
Speaker B:Who is it?
Speaker A:Steve Lucather.
Speaker B:Oh, yeah, right.
Speaker B:Of course.
Speaker A:Right.
Speaker B:I like that.
Speaker B:I like August.
Speaker B:Okay, so that's, you know, that's Phil, too.
Speaker A:It's in the way that you use it.
Speaker A:That's.
Speaker A:That's like that song Tearing us Apart.
Speaker B:It's in the way that you use it.
Speaker A:That's with Robbie Robertson.
Speaker B:Journeyman, I think is now.
Speaker A:Journeyman, to me is Peak.
Speaker B:That's not Phil That's.
Speaker B:That's Russ.
Speaker A:Russ Heidelman.
Speaker A:Yes.
Speaker A:But it is peak.
Speaker A:Armani Mafia, The.
Speaker A:What we call the Ferrari Armaan.
Speaker B:What was Stratton?
Speaker B:Armani.
Speaker A:Stratton.
Speaker A:Armani Mafia is peak.
Speaker A:He.
Speaker A:If it was not for this record, John Mayer would have never made Sabrock.
Speaker B:I'm telling you, pretending so good.
Speaker A:Bad love.
Speaker B:Bad love is so good.
Speaker B:Running On Faith is cool.
Speaker B:His version of Hard Times is all right.
Speaker A:Old Love.
Speaker B:Yeah, Old Love is really good.
Speaker B:I like.
Speaker B:I even like his version of Hound Dog.
Speaker A:Okay.
Speaker B:I like the 80s.
Speaker B:I like when people played 50s rock and roll songs in the 80s.
Speaker A:All right.
Speaker B:I know that that's a.
Speaker B:That's not a popular take, but I enjoy it.
Speaker B:And that version of Hound Dog is, for me, I think the Eric's tone in the 80s.
Speaker A:Yeah.
Speaker B:Is.
Speaker B:That is my favorite Eric tone.
Speaker A:He's getting more into Soldanos.
Speaker B:He's gotten in getting into Soldano's.
Speaker B:I think he really found his strengths.
Speaker B:So it's like as much as there are these.
Speaker B:The high points were really high on this other stuff.
Speaker B:There's.
Speaker B:We just walked past a whole bunch of albums that we're not really that into and that were inconsistent.
Speaker B:Think by the 80s, he's.
Speaker B:He's got his thing.
Speaker B:His thing is confident.
Speaker B:It's got a sound.
Speaker B:And.
Speaker B:And by thing, I mean his.
Speaker B:His sound, his writing, and his collaborations.
Speaker B:Because, you know, pretending.
Speaker B:Or on.
Speaker B:On Journeyman, a lot of this stuff was written by Jerry Lee, Jerry Lynn Williams.
Speaker B:He didn't write a lot of those songs.
Speaker B:But just knowing.
Speaker B:Knowing how to position himself, like, smart, artistic positioning that plays on his strengths, and that goes back to the Layla thing.
Speaker B:It's surrounding himself with the right collaborative settings to.
Speaker B:To play on his strengths and to be the best version of himself.
Speaker B:And the stuff that he can't do is.
Speaker B:Is.
Speaker B:Or the stuff that he are not.
Speaker B:His strengths are surrounded by other people who elevate that stuff.
Speaker A:All right, so we're giving 80s a.
Speaker A:I'm going to give it a B because there's just.
Speaker A:What's there, like, two records here that you would go back and listen to out of five?
Speaker A:Is that mean.
Speaker A:Am I wrong?
Speaker A:We're talking behind the sun and Journeyman.
Speaker A:Really.
Speaker B:And August.
Speaker A:I mean, B minus.
Speaker A:B minus.
Speaker A:But so check this out.
Speaker A:So since 74, these are what years he released a record.
Speaker A:74, 75, 76, 77, 78, 81, 83, 85, 86, 89.
Speaker A:So he's going on a pretty good clip, right?
Speaker A:Either an album every Year or an album every two years.
Speaker A:August to Journeys, three years.
Speaker A:I think after Journeyman, he.
Speaker A:I think that's a real turning point in his career as we go into the 90s, because he.
Speaker A:Now he's seen the grunge stuff, you know, realizing he can't make Journeyman Part two.
Speaker A:You know, he can't continue on that kind of thing.
Speaker A:So he needs to make.
Speaker A:I think.
Speaker A:And I think at this point in the early 90s in his career, he's earned enough cachet that at this point, I feel like in the early 90s, he can finally do whatever he wants to do.
Speaker A:Yeah, right.
Speaker A:He can do whatever he wants to do from this point on.
Speaker A:All right, so now in 94, we have from the Cradle, which to me, that's.
Speaker A:That's a turning point in.
Speaker A:In Clapton's career.
Speaker A:And it was the first record that was released that I got into anyways after I started playing guitar.
Speaker A:And it was the first one I really connected with.
Speaker A:And there's.
Speaker A:Even if you listen to the third bend, the first bend, the fifth note of Someday After a While, that's what I try to make every bend sound like on guitar.
Speaker B:Wow.
Speaker B:Okay.
Speaker A:That's so specific.
Speaker A:What's that?
Speaker B:That is so specific.
Speaker B:I love this.
Speaker A:That bend is so influential to me.
Speaker A:I mean, it's so.
Speaker A:It's an album of all traditional blues tunes.
Speaker A:Right.
Speaker A:Not an original in sight.
Speaker A:He gets all new band for this one.
Speaker A:Keltner on drums.
Speaker B:Are on drums.
Speaker A:Come on.
Speaker A:Right.
Speaker A:And this album debuted at number one, the number one album in the country when it came out.
Speaker A:Now, to put some context around that, again, this is a blues record.
Speaker B:Yeah.
Speaker A:A blues.
Speaker A:Not number one on the blues charts.
Speaker A:Number one on all the charts.
Speaker A:So to me, that alone is probably the last blues record to do that.
Speaker A:Fair, would you say?
Speaker B:I'm not looking at data here, but it's like the last, most successful blues record.
Speaker A:Sure.
Speaker B:I mean, John Mayer made a blues record.
Speaker B:I don't know how successful that was as far as, like, charts and stuff.
Speaker A:It was probably very successful, but it wasn't beaten out.
Speaker A:Taylor Swift and.
Speaker B:Yeah.
Speaker B:Different time.
Speaker B:Different time.
Speaker B:But that's.
Speaker B:Yeah.
Speaker A:So I know you have deep thoughts about from the Cradle.
Speaker A:Hit me.
Speaker B:I don't know that I have deep thoughts about from the Cradle.
Speaker B:I'm just gonna say that I'm not really interested in hearing Eric Clapton play blues songs.
Speaker B:I know.
Speaker B:I know people are going to say he studied that stuff.
Speaker B:He's so connected to it.
Speaker B:Okay.
Speaker B:Okay.
Speaker B:You can study a lot of things.
Speaker B:You can get really.
Speaker B:You know, you can play.
Speaker B:He played with all the greats.
Speaker B:I know that there's a transference of energy there from him playing with the people who are great.
Speaker A:Sure.
Speaker B:I'm just.
Speaker B:It just doesn't do much for me.
Speaker B:I'm.
Speaker B:I feel bad saying, like, I'm.
Speaker B:I know this means so much to you.
Speaker B:I put it on today just to give it one last listen.
Speaker B:And his, like, Blues Guy voice on Blues Before Sunrise is just such a turn off for me.
Speaker B:I cannot listen like it's.
Speaker B:It.
Speaker B:It makes it kind of hard to listen to, you know, his version of Hoochie Coochie Man.
Speaker B:It.
Speaker B:It just feels like a cover.
Speaker B:Because it is.
Speaker B:Yeah.
Speaker B:I.
Speaker B:I am much more interested in hearing.
Speaker B:Hearing Eric Clapton play his own songs.
Speaker B:I understand the album's influential.
Speaker B:The vibe is.
Speaker B:There's stuff about the vibe that's cool.
Speaker B:Jim Keltner on drums.
Speaker B:I'm going to listen to Jim Keltner on drums.
Speaker A:Right.
Speaker B:Andy Fairweather Low is playing other guitar on here.
Speaker B:Guy's great.
Speaker B:He's a master.
Speaker B:So there's.
Speaker B:I don't think it's a.
Speaker B:I'm not gonna.
Speaker B:I'm not trying to say anything too negative.
Speaker B:I'm just.
Speaker B:As far as the influence.
Speaker B:This is super influential on you.
Speaker B:I don't know that I hear a lot of people talking about how influential it is.
Speaker B:I know it gets put on lists sometimes as influential records as unless of influential records on influence lists of Eric Cobden's Great Plane.
Speaker B:I just kind of struggle with the importance of the.
Speaker B:The actual importance who actually is listening to this and being moved and.
Speaker B:And taking from this.
Speaker B:I.
Speaker B:You, obviously.
Speaker B:But, like, the thing that I get from.
Speaker B:I mean, something like Crossroads that's so, like, incendiary.
Speaker B:And nothing here, like, rivals that from me.
Speaker B:Nothing here says like this.
Speaker B:Now Aerocopton really plays the blues.
Speaker B:I'm like, now I kind of want to hear that old stuff.
Speaker B:So I don't know.
Speaker B:That's my take on it.
Speaker B:That's.
Speaker B:I'm trying to not be overly personal because I do have a personal connection to this record.
Speaker B:I remember cutting lawns to this when I was like 14 and.
Speaker B:And having it on repeat on my Discman.
Speaker B:I've listened to this album a lot and.
Speaker B:And it.
Speaker B:I learned, you know, I didn't know who Muddy Waters was and heard Hoochie Coochie man on here.
Speaker B:And that inspired me.
Speaker B:So it's like I.
Speaker B:I did go and check it out, but I don't know.
Speaker B:So in that way, it Inspired me.
Speaker B:But it's like the bigger inspiration is from the other people.
Speaker B:And.
Speaker B:And maybe for that alone, that's important.
Speaker B:Right.
Speaker B:Because it's this gateway thing.
Speaker B:But I don't think that's how this.
Speaker B:This album is often perceived.
Speaker B:It's perceived as this, like, feat of blues guitar that I.
Speaker B:I don't really.
Speaker B:I couldn't.
Speaker B:I couldn't, like, sing any of these solos.
Speaker B:And I've probably listened to this album 100 times.
Speaker A:Also a big influential album for Julian Losh.
Speaker B:Is it?
Speaker B:That's cool.
Speaker A:He had the big poster on his wall when he was probably 7 or 8.
Speaker B:So, you know, maybe I'm.
Speaker B:I'm willing to be wrong.
Speaker A:I think you're wrong.
Speaker A:We think you're wrong.
Speaker A:We're wrong.
Speaker A:You know, so where we put.
Speaker A:I'm going to put from the Cradle and kind of its own little thing.
Speaker A:Where are we putting that?
Speaker A:On the.
Speaker A:On the tier thing.
Speaker B:So despite everything I just said, I'm going to put it as a B.
Speaker A:A wrong A tier, Nick.
Speaker A:A tier.
Speaker A:But.
Speaker B:Okay.
Speaker A:I wanted to quickly get to from the Cradle.
Speaker B:If he didn't sing, I'd have a different take on this.
Speaker B:I think he's doing blues guy voice.
Speaker B:Just.
Speaker B:Just be Eric Hopton.
Speaker B:Don't do Blue sky voice.
Speaker A:Yeah.
Speaker A:Did you know they just put out, I think it was last year, an official bootleg from this tour.
Speaker B:And is it better?
Speaker A:It's.
Speaker A:I think the issues you have with the singing is better.
Speaker A:Yeah.
Speaker B:Oh, good.
Speaker A:Yeah.
Speaker A:But one thing I want to touch on.
Speaker A:So we.
Speaker A:We're putting that in the A tier.
Speaker B:That's it called it.
Speaker B:That issue calls into question all of the.
Speaker B:Because it's like if you're doing blues guy voice with your voice, maybe you're doing blues guy voice with your guitar playing.
Speaker B:Just be Aerocopton.
Speaker B:That's my.
Speaker B:That's my.
Speaker B:Too long, didn't read version.
Speaker A:Okay.
Speaker A:But one thing we need to talk about in addition.
Speaker A:So we're putting that in its own thing.
Speaker A:The other thing we need to put in its own little bucket is the Unplugged album.
Speaker B:I was worried about this.
Speaker A:You were worried about this.
Speaker A:Oh, my gosh.
Speaker A:So Unplugged.
Speaker B:Sorry.
Speaker A:Really great.
Speaker B:It's great.
Speaker A:It's incredible.
Speaker A:It really kind of commercially gave him a whole new life.
Speaker B:Absolutely.
Speaker A:I mean, he's on mtv.
Speaker A:Is this the first Unplugged?
Speaker A:Probably not the first Unplugged album, but by far the most successful.
Speaker A:I think it sold over 26 million copies.
Speaker B:Okay.
Speaker A:The standout track on there is Layla and Tears in Heaven.
Speaker A:I think the version of Running on Faith is great.
Speaker A:Rivals the original love.
Speaker A:The rolling and tumbling love, the old love.
Speaker A:But to me, this album, even.
Speaker A:Even that opening little instrumental.
Speaker A:How do you call it?
Speaker A:Signi Sig.
Speaker A:Sunny.
Speaker A:Do you know how to say.
Speaker A:What's your official pronunciation on that?
Speaker B:I would call it sign.
Speaker A:Sign.
Speaker A:Okay.
Speaker B:I mean, it's signed with an E, but it's probably Signe.
Speaker B:But I don't know.
Speaker B:I've never said that out loud.
Speaker A:Cool little instrumental track.
Speaker A:Also, it was during the session that he played early versions of My Father's Eyes.
Speaker B:Oh, that's cool.
Speaker A:Yeah, from Pilgrim.
Speaker B:And they like that song, so I, They.
Speaker A:And they just came out with a documentary on, like, Paramount or something that I haven't seen yet.
Speaker A:I want to see it about this, about the Unplugged thing.
Speaker A:So, okay, what are your thoughts on Ferroni on drums, Nathan east on bass, Chuck Lavelle on piano.
Speaker B:You can't go wrong with these.
Speaker B:Andy Fairweather Low, right?
Speaker A:Yep.
Speaker A:Andy.
Speaker A:Still hanging in there.
Speaker B:I think I could improve this album.
Speaker A:Okay, here we go.
Speaker A:This is the clip.
Speaker A:Hold on.
Speaker A:Mark it down.
Speaker A:Here's the clip.
Speaker A:How Nick can improve Clapton's Unplugged.
Speaker A:Go.
Speaker B:I'm gonna tell you right now, this album is a better.
Speaker B:Okay, so it's.
Speaker B:If we look at most of the songs on here, you get a lot of blues songs, a lot of acoustic blues.
Speaker B:I'm much more interested in hearing Eric Clapton's take on.
Speaker B:On that in this setting with this, like, really slick pro band.
Speaker B:I think it does more for music in this setting than it does on.
Speaker B:On from the Cradle.
Speaker B:That's my take on Eric Cop and Play.
Speaker B:Like, I.
Speaker B:These are companion pieces kind of in a way, right?
Speaker B:Get Tears in Heaven out of there.
Speaker B:Tears in Heaven does not belong in this set of music.
Speaker B:Like, artistically speaking, like a set of music.
Speaker B:Tears in Heaven doesn't belong.
Speaker B:I don't think it sounds right amidst these other songs.
Speaker B:I also really don't like Tears in Heaven.
Speaker B:I don't think that's a song that should have been released.
Speaker A:Been released?
Speaker B:Yeah, man.
Speaker A:Come, dude.
Speaker A:He wrote it for his son.
Speaker B:Yeah, that's.
Speaker B:I don't think that this, this song gives me.
Speaker B:Gives me a little bit of an ick vibe.
Speaker B:I, I, I struggle.
Speaker B:I think you get this off there, it's okay.
Speaker B:But the inclusion of Tears in Heaven in this set, it's just.
Speaker B:It feels like a way to make more money off that song, which it is.
Speaker B:It doesn't Musically belong.
Speaker B:Why is it in here?
Speaker B:It's only in there for.
Speaker B:For.
Speaker B:To.
Speaker B:To sell people the unplugged version of it.
Speaker A:Okay.
Speaker B:Right.
Speaker A:No, you're wrong.
Speaker A:Do you know.
Speaker A:Do you know what?
Speaker A:This isn't the first time Tears in Heaven was released.
Speaker B:No, I know that.
Speaker B:Exactly.
Speaker B:So why is it on here?
Speaker A:It's.
Speaker A:I think it's on here because he put it out on a soundtrack for the movie Rush.
Speaker A:That's what it's from.
Speaker A:Right.
Speaker A:And it's an acoustic song.
Speaker B:I get it.
Speaker A:Right.
Speaker A:So if you're doing.
Speaker B:Sound very different than the other version.
Speaker A:No, no, but this is a live version.
Speaker A:And if you're playing an unplugged album on mtv.
Speaker A:Yeah, remember, this is on mtv.
Speaker A:It probably would behoove you to play a new song because he didn't have, like, an album out, really.
Speaker A:I mean, you know, Journeyman had already come and gone.
Speaker A:We're a couple years away from from the Cradle.
Speaker A:He needed to have some kind of outlet to promote this song and vis a vis the movie.
Speaker B:Sure.
Speaker A:And so if you're doing an unplugged show and you have a single that is acoustic, why wouldn't you play it?
Speaker A:You know, like, of course you would play it.
Speaker B:I understand why he played it, but I'm talking about programmatically within the.
Speaker B:Within the track list.
Speaker B:I don't think it really fits.
Speaker B:I think if you were not considering the sales of it and you were just considering, like, the artistic vision, it doesn't make sense on this record.
Speaker A:I mean, next to Lonely Stranger or Running on Faith, it fits.
Speaker A:I mean.
Speaker A:Yeah, it's a bit of a ju.
Speaker A:Position with the blue stuff, but at this point, anytime you're getting clapped and you're getting some blues at this point, you know.
Speaker B:Yeah, yeah.
Speaker B:No, it's true.
Speaker A:Now I would be really interested.
Speaker B:I really struggle with Tears in Heaven as a song.
Speaker B:I know it's this song that means a lot to a lot of people, and I'm not.
Speaker B:But to me, there's.
Speaker B:There's a capitalist thing going on there that, like, it's fine if he wants to do it.
Speaker B:You know, Led Zeppelin did it with.
Speaker B:Led Zeppelin had a very personal song when Robert Plant Son died.
Speaker B:There's something about it that I.
Speaker B:I don't love, that everybody knows the message of that.
Speaker B:Like, it's a.
Speaker B:It's a sad, depressing song, and it's extremely personal in a way where, like, I don't.
Speaker B:I don't love the feeling of it being out there.
Speaker A:So.
Speaker A:Fun fact.
Speaker A: ying the Triple O was sold in: Speaker B:That in the guitar prices.
Speaker B: But you said: Speaker A:Yep.
Speaker B:Yeah, the guitar prices now that probably be like $3 million.
Speaker A:Right.
Speaker A:And it was at the time, maybe still, I don't know, the best selling live album of all time.
Speaker B:It was hugely influential as an album.
Speaker B:I just.
Speaker B:I struggle with that song's inclusion on anything.
Speaker B:I don't.
Speaker B:I don't want to hear that song.
Speaker A:It.
Speaker B:It is a sad.
Speaker A:Do you feel it's too personal?
Speaker B:I feel like it's too personal.
Speaker B:I don't feel like he should have released that song, honestly.
Speaker B:I think that was a song for himself and he should not have made money off that song.
Speaker B:And that's.
Speaker B:That's my own values coming out.
Speaker B:So I'm not judging on a critical level.
Speaker B:On a personal level, I don't think he should have made money off.
Speaker B:Off of the meaning of that song like that.
Speaker B:That feels icky to me.
Speaker A:Okay, so we're putting that a tier.
Speaker B:You're putting that a tier?
Speaker A:A tier.
Speaker A:All the way.
Speaker A:A tier all the way, sure.
Speaker A:Okay, now I think we're going to talk about late era Clapton, which is honestly all over the place.
Speaker A:All over the place.
Speaker A:So if we think of this in.
Speaker B:Some mini tiers, I think there's one good Eric Clapton album from then on.
Speaker A:I would go maybe two and a half.
Speaker B:Okay.
Speaker A:Okay.
Speaker B:So.
Speaker A:So I think one of them is Pilgrim.
Speaker B:I think Pilgrim's cool.
Speaker A:Pilgrim.
Speaker A:Great record.
Speaker B:I saw him on that tour and it was cool.
Speaker A:Me too.
Speaker B:I mean, I was a kid, so it's like I.
Speaker B:I saw it through that lens, but looking back on it, like, totally cool.
Speaker B:He's to.
Speaker B:He was touring this material that was like this electronic vibe and then bringing it with the live band and then with a string section.
Speaker B:Totally cool.
Speaker B:This album sounds awesome.
Speaker B:Simon Clum's production is amazing.
Speaker A:How about that riff on She's Gone?
Speaker B:Yeah, it's awesome.
Speaker B:I like the song Pilgrim.
Speaker A:Yep.
Speaker B:I think his voice sounds cool.
Speaker B:He's kind of singing.
Speaker A:He's become a crooner at this point.
Speaker B:Singing is kind of.
Speaker B:It's kind of weird, right?
Speaker A:Well, he's a.
Speaker A:He's starting to become a crooner, you.
Speaker B:Know, going down slow.
Speaker B:Also, that's a blue song on here.
Speaker B:I want to hear that version.
Speaker B:That's.
Speaker B:I'm cool with that because he's doing something with it.
Speaker A:So I tend to put Pilgrim and Reptile slightly together, although there's a lot more Covers on Reptile.
Speaker A:I think Repta.
Speaker A:I think Pilgrim is solid B, if not A.
Speaker A:Yeah, right.
Speaker B:Solid B.
Speaker B:It's not.
Speaker B:It's not A.
Speaker B:And I lied.
Speaker B:I said there was one good Eric Clapton album left.
Speaker B:I like Riding with the King.
Speaker A:Okay.
Speaker A:That one's a good one.
Speaker A:I do like me and Mr.
Speaker A:Johnson and Sessions for Robert J.
Speaker A:Those acoustic blues, Robert Johnson tribute records.
Speaker A:I think I really like the sound of those records.
Speaker A:You know, it sounds like in a room just playing acoustic guitar, which is really great.
Speaker B:Reptile is not.
Speaker B:I.
Speaker B:I got nothing against it.
Speaker A:It's.
Speaker A:Yeah, to me, it's like sea level.
Speaker A:It's okay.
Speaker B:Yeah.
Speaker B:Great musicians, great plant.
Speaker B:But it's like.
Speaker B:I think it.
Speaker B:To me, it's just like, at that point, it's like sleepy, kind of sleepy.
Speaker B:I.
Speaker A:And then so I would give, you know, Reptile.
Speaker A:Yeah.
Speaker A:Like I said, see the.
Speaker A:The Robert Johnson stuff, I'd go up there with a B on it.
Speaker A:And then to me, there's everything else back home.
Speaker A:Clapton, Old Sock.
Speaker A:I still do Happy Xmas and Meanwhile, which Meanwhile just came out in October.
Speaker B:I'm sorry, but he called.
Speaker B:He called the album Old Sock.
Speaker A:Oh, dude, come on.
Speaker A:Have you seen the COVID art?
Speaker B:Yeah, it's terrible.
Speaker A:It's a.
Speaker A:It's literally a selfie of him in Aruba.
Speaker B:This is what I'm talking about.
Speaker B:I, like, I don't even want to think about this stuff.
Speaker B:It's just like, what?
Speaker B:All right, he gave up.
Speaker B:Just play your shows, Eric Clapton.
Speaker B:You don't have to release, you know.
Speaker A:Like, I don't disagree, but it's not.
Speaker B:An inspiring artistic statement.
Speaker A:It's amazing to me how he went from such iconic album covers.
Speaker B:Like, I mean, Journeyman's a great cover.
Speaker B:There's nothing to it.
Speaker B:It's just a great photo.
Speaker A:Simple.
Speaker A:It's cool.
Speaker B:Design choices were made, like.
Speaker A:So if we do a quick Old Sock, quick little rundown of these.
Speaker A:Of these albums back home.
Speaker A:Came out in O5.
Speaker A:I'm looking here to see if there's even a song that I remember, honestly.
Speaker A:John Mayer and Vince Gill play on it.
Speaker A:I don't even.
Speaker A:I can't even tell you what tracks they play on.
Speaker A:You know, great musicians.
Speaker A:Not really Robert Randolph's on it.
Speaker A:Not really doing much for me.
Speaker A:Couldn't name me a single song.
Speaker A:Clapton.
Speaker A:The self titled record basically came out along with his autobiography, which was slightly disappointing for the Clapton scholars.
Speaker A:It didn't really reveal too much new information.
Speaker A:A lot of covers, a lot of jazz tunes.
Speaker A:He does Autumn Leaves, like His version of Autumn, you know, How Deep Is the Ocean, you know, Greg Lease plays on it, Willie Weeks, Abe Jr.
Speaker B:I don't think those things add anything to the American songbook.
Speaker A:No.
Speaker A:So that one.
Speaker A:Yeah, that one's kind of like eh.
Speaker A:Old Sock, like we mentioned all time, no bueno.
Speaker B:And this is sort of my.
Speaker B:This summary of my, my, my take on Clapton is that he's done so much work.
Speaker A:Yeah.
Speaker B:He's created so many records and a lot of them were just passing by and sleeping on.
Speaker B:And you could say that about any legacy artist who's been around for decades and decades.
Speaker B:I think his hit rate is like a little bit lower than.
Speaker A:I mean honestly the best record of this era is probably the Christmas record.
Speaker A:Honestly.
Speaker B:I mean so there's that.
Speaker A:Yeah.
Speaker A:And you know he did Moon river with Jeff Beck, which I think hearing Jeff Beck on that's really good.
Speaker A:I do like that.
Speaker A:But yeah, a lot of these, these last six records, I don't really.
Speaker A:I'll.
Speaker A:I will at this point in my life anytime clapping without new music.
Speaker A:I will listen to it.
Speaker A:I have to.
Speaker A:But those six ones, I'm putting it probably D.
Speaker A:Yeah, I mean B did you say?
Speaker A:Or D.
Speaker A:D dog.
Speaker B:D dog.
Speaker A:So then we touched a little bit on Unplugged.
Speaker A:But live records I think starts and almost ends with 24 nights.
Speaker B:Sure.
Speaker A:That covers a.
Speaker A:Covers that's in prime Armani era.
Speaker A:Clapton, he does 24 nights.
Speaker A:He hits on every era of his career from Cream to Derek and the dominoes to the 70s stuff to the 80s stuff.
Speaker A:And he'll help.
Speaker A:You know, he had different.
Speaker A:He had a rock night, he had a blues night, he had an orchestral night.
Speaker A:And that to me it was.
Speaker A:It was almost akin to Mayer's where the light is.
Speaker A:Where you got one night or 24 in this case.
Speaker A:And you're just going to hit on every era of your career.
Speaker B:You know, let me ask you this.
Speaker B:Pilgrim, notably was a collaborative thing.
Speaker B:It was him and Simon Clemmie producing.
Speaker B:Right.
Speaker B:And Simon Clemmie also produced Riding with the King.
Speaker A:Great record.
Speaker B:Do you think my.
Speaker B:So I think my thesis for my appreciation of Eric Clapton and what I think is important that he brings to guitar music and to music in general comes from his collaborations.
Speaker B:And going back to what I was saying about his work with Phil Collins and his work with.
Speaker B:With Derek and the Dominoes Band is that it's surrounding himself with people who elevate the thing.
Speaker B:And that when I hear too much Eric Clapton I get a little.
Speaker B:It's a Little much for me.
Speaker B:And I feel like, not just personal taste wise, but I just, I.
Speaker B:I feel like the music suffers and, you know, so when I hear from the Cradle, it's less of a production.
Speaker B:It's him doing this thing and I don't like it.
Speaker B:Whatever you think his post Pilgrim era, he stopped doing that.
Speaker B:He stopped collaborating in that fashion.
Speaker A:On studio records.
Speaker A:I mean, the other thing was they did.
Speaker B:I should say they.
Speaker B:Eric COBB and Simon McLumie did reptile together.
Speaker A:They did Reptile together.
Speaker A:And then was it.
Speaker A:And.
Speaker A:And he did.
Speaker A:Simon worked on Old Sock.
Speaker B:Oh, he did, Yep.
Speaker A:Not all of it.
Speaker A:It wasn't like.
Speaker B:No.
Speaker B:Also, Doyle Bramhall II co produced as.
Speaker A:Just Glenn Johns came back for I Still do, which.
Speaker B:But we don't know the.
Speaker B:You know.
Speaker B:All right.
Speaker B:I don't know the nature of those things.
Speaker B:Like, Pilgrim was a big conversation about the production and the way it interacts with Eric Clapton more than these other records did.
Speaker A:Yeah.
Speaker A:Pilgrim was more modern sounding at the time.
Speaker B:Yeah.
Speaker A:Than these are.
Speaker A:You know what I mean?
Speaker A:But in terms of collaboration, like, when I really want to try and pick like late era high points, I have to go to probably the live record he made.
Speaker A:It's Wynton Marsalis I liked.
Speaker A:I have to say, any.
Speaker A:Any collaboration he's done at the Crossroads Festival has probably been some of his better plane.
Speaker A:Because when he's there and he's surrounded with Derek Trucks and John Mayer and Jeff Beck and on and on and on Kurt Rosenwinkle, you know, I feel like that really brings something out of him.
Speaker A:I can't say I dug his guest spot on the Ozzy Osbourne record, you know, but.
Speaker A:But he's done stuff like he did.
Speaker A:He played on a Rosenwinkle record that I thought was good.
Speaker A:He played on a Stones record that blew.
Speaker A:And loan some stuff that I thought was good.
Speaker A:So I think he just, like.
Speaker A:It's just.
Speaker B:Yeah.
Speaker A:Picks his shot kind of thing, you know, I mean, a bit more selective.
Speaker A:Yeah.
Speaker A:You know, I.
Speaker A:I definitely get the feeling if he's really into something, it'll probably.
Speaker A:Probably be good.
Speaker A:But.
Speaker A:But he's at the age where he can do whatever he wants.
Speaker A:He can do whatever he wants.
Speaker B:And that, you know, that's cool too.
Speaker B:I do.
Speaker B:But like, I guess it's like, that's fine.
Speaker B:I just don't have to like it.
Speaker B:I don't have to think that it's contributing anything to any.
Speaker B:Right.
Speaker B:Cultural Whatever.
Speaker B:Even.
Speaker B:Okay.
Speaker B:Somebody's gonna say the old.
Speaker B:Because, like.
Speaker B:Because we've complained about Old Sock.
Speaker B:I just want to say that somebody's gonna say, well, that title actually has a deep meaning.
Speaker B:And it may have a deep meaning, which it does.
Speaker B:So that's.
Speaker B:You know, David Bowie referred.
Speaker B:Called him in a message, Old Sock.
Speaker B:And then when Bowie died, he said, you know, whatever.
Speaker B:Old Sock.
Speaker B:He called Bowie Old Sock back.
Speaker B:And that's why he called the album that.
Speaker B:It's a nice little tribute that doesn't need to be the album title.
Speaker B:It's still.
Speaker B:Those two words together don't need to be the album title.
Speaker B:It's.
Speaker B:It's a.
Speaker B:And that's the thing.
Speaker B:It's like that last part that sort of encapsulated.
Speaker B:It's like he's just doing whatever he wants.
Speaker B:There's not.
Speaker A:I was working.
Speaker B:Not a vision.
Speaker A:I was working at Premiere Guitar when that album came out.
Speaker A:And I remember getting the press release.
Speaker A:I'm like, it's called what?
Speaker A:Yeah, and then they sent me, because I've.
Speaker A:I only interviewed him one time, and that was via email.
Speaker A:And it was around the time he was in the news for Catching a Large Fish.
Speaker A:You remember this?
Speaker A:You remember this?
Speaker B:Yeah.
Speaker A:Right.
Speaker A:And the way I pitched it was, I was writing a feature on Doyle Bramhall ii, and I was like, hey, I'd love to talk to Eric about that publicist.
Speaker A:Like, hey, send me over some questions.
Speaker A:I sent them over fully.
Speaker A:Didn't expect anything in return.
Speaker A:Right.
Speaker A:And one day, I wasn't even in the office.
Speaker A:I was somewhere strolling through my email.
Speaker A:I get an email back from the publicist, and, like, the answers were in red, Right.
Speaker A:And I think I might have sent four or five questions, and you could tell a really good answer for the first one, slightly less for the second.
Speaker A:By the fourth question, he didn't even finish his answer, you know?
Speaker B:Yeah.
Speaker A:So I'm like, that's fine.
Speaker A:That's okay, Eric.
Speaker A:I'll take it.
Speaker A:I'll take it.
Speaker B:That was.
Speaker B:Somebody came in the room and he was like, I'm done.
Speaker B:Send.
Speaker A:Oh, he.
Speaker A:You could tell the publicist said he definitely wrote.
Speaker A:He definitely typed him out himself.
Speaker A:She was copy and pasting.
Speaker A:She didn't, you know, edit it or anything, but.
Speaker B:All right, so what is.
Speaker B:You got to live with one Eric Clapton record for the rest of your life, and you're making your list, you know, your.
Speaker B:Where?
Speaker B:Your desert island left list.
Speaker B:What is it?
Speaker A:It's.
Speaker A:There's one album, and then to me, there's everything else.
Speaker B:Dirk and the Dominoes.
Speaker B:Is that it?
Speaker A:Yep, yep.
Speaker A:I was.
Speaker A:I was going to Troll you and say, you know, another ticket or something, or, you know, ready for my answer, Old Sock.
Speaker B:It's Old Sock behind the Sun.
Speaker A:See, I mean, you love the Armani vibes.
Speaker B:Yes, I love it.
Speaker A:You love the.
Speaker B:I think it is Clapton at his most unique and interesting.
Speaker A:Forever Man.
Speaker A:I mean, I tell you what, that first note of the Forever man solo.
Speaker B:Yeah, dude.
Speaker B:Yes.
Speaker A:I'm with you on that.
Speaker A:Like, I could just work on playing that note.
Speaker B:Artistic influence.
Speaker B:It's Derek and the Dominoes.
Speaker B:I'm with you all the way.
Speaker B:Like, as far as the way it's in influence generations of guitar players.
Speaker B:It's undoubtedly Derek in the Domino.
Speaker A:Derek Trucks was named after that record.
Speaker A:And it came out.
Speaker A:It was released the day Susan Tedeschi was born.
Speaker B:Wow.
Speaker A:How crazy is that?
Speaker B:Yeah, I mean, and like, for me personally, it's just son drums on Forever Man.
Speaker B:Is it not Phil?
Speaker A:Nope.
Speaker B:Who is it?
Speaker A:Picaro.
Speaker A:Ah.
Speaker B:I mean, okay.
Speaker A:Right.
Speaker A:I don't think Phil plays on the record.
Speaker B:Oh, does he not play on the record?
Speaker A:I don't think so.
Speaker A:Lindsey Buckingham, who's on drums here?
Speaker A:Oh, no, no, I'm sorry.
Speaker A:He plays electronic drums.
Speaker A:Then he plays right side drums and then Shaker and synth.
Speaker A:So.
Speaker A:But he only played those on like, two or three tracks.
Speaker A:Jamie Oldiker plays drums on most of it.
Speaker A:Picaro.
Speaker A:And then John J.R.
Speaker A:robinson plays on one track.
Speaker A:So I was own, Iowa's own J.R.
Speaker A:robinson.
Speaker B:Right on.
Speaker A:So, all right, buddy.
Speaker B:Did we do it?
Speaker B:I think so.
Speaker A:Did it?
Speaker A:All right, well, get at us.
Speaker A:Let us know where we went wrong.
Speaker B:I want to hear from people on this one.
Speaker A:Yeah, I do.
Speaker A:I do.
Speaker A:I think we will.
Speaker A:100 guitarists.
Speaker A:Premier guitar dot com.
Speaker A: -: Speaker A:Like, subscribe wherever you're listening to this.
Speaker B:And thank you to Gibson for sponsoring this episode.
Speaker B: Check out The Eric Clapton: Speaker B:And maybe you'll be one of the lucky 150 people to.
Speaker A:That's right.
Speaker B:To get one of those guitars.
Speaker A:All right, all right.
Speaker A:We'll see you all next week.
Speaker B:See you next week.
Speaker B:Laundry.
