Customer Reviews

461 Ocean Boulevard

5 star:		(29)
4 star:		(11)
3 star:		(2)
2 star:		(0)
1 star:		(2)

 

 

461 Ocean Boulevard was the first studio album Eric Clapton recorded after he kicked his heroin habit. Unlike the tortured passion of Layla, the album finds Mr. Clapton still not completely satisfied, but with a more positive outlook. The album opens with a blistering take on the traditional song "Motherless Children" follow-up by the compassionate "Give Me Strength". His remake of the Johnny Otis classic "Willie & The Hand-Jive" is loose and fun. On "Get Ready", he duets with his backup singer Yvonne Elliman (pre Saturday Night Fever) on a simmering, bluesy number that has call and response vocals backed by a driving guitar riff. He practically introduced Bob Marley to the white rock audience with his percolating take on Marley's "I Shot The Sheriff". By combining the song's reggae roots with rock, Mr. Clapton made a memorable song that became his first and only number one hit. Ms. Elliman backup vocals provide the backbone for the sweet "Let It Grow". The album closes with the burning "Mainline Florida" in which Mr. Clapton lets it all hang out. 461 Ocean Boulevard was his first number album and re-established Eric Clapton as a musical force.

I have to confess that, while I love Clapton, his albums are often a hit-and-miss affair. And I can't say I am a fan of the numerous recent blues tribute albums he has put out lately. For me I enjoy his work with Cream, his guest work, his first few albums, the one he recorded with The Band, a few older live albums, and bits of the Phil Collins-produced record in the early 80s. After that it's a fall-off, but I am thankful for all the great music he has turned out over the years.

I have been listening to 461 a lot lately. It holds up exceedingly well. The groove is laid-back, with solid musicianship and expert song selection. It makes for great road music, especially "Willie and the Hand Jive," "I Shot the Sheriff," and the classic closer, "Mainline Florida."

The ballads are beautiful, too. There is not a weak track on the album. There is a consistent tone, an aversion to excess and a concentration on the note and harmonic "fit" that makes this album an overall winner in EC's catalog. As someone who used to party in EC's old house at 461 Ocean Boulevard in Golden Beach in the early 80s, let me say -- you did it (and us) proud.

The problem with alot of clapton fans, is that they always expect long extended solos. This a great contrast to his work of the 60's. If I want to listen to great guitar work, I'll listen to Cream or D&D. If I want to listen to great songs played with feeling, I'll listen to this album evertime(Though Layla is my favorite album). This album does contain some beutiful guitar work played with exquiste taste. Let it grow is great and the best song on the album but every song is really good. Buy this album you won't be dissapointed.

Choosing between this album and Clapton's previous studio masterwork, LAYLA, makes for an interesting debate. 461 OCEAN BOULEVARD lacks Layla's smoldering extended jamming, striking a more upbeat, restrained, and radio-friendly tone instead. The rockers "Motherless Children" and "Mainline Florida" open and close the album. In between we have tender ballads such as "Please Be with Me" and the achingly beautiful "Let It Grow," which shows what an underappreciated songwriter EC is. As always, there are great covers that he imbues with his own distinct flavor -- "Willie and the Hand Jive," Elmore James's "I Can't Hold Out" and Robert Johnson's "Steady Rollin' Man." Years before the Police came along, Eric brought reggae to the mainstream with the #1 hit "I Shot the Sheriff." Each one is a standout.

That said, this CD release has one serious deficiency. When first released on vinyl in 1974, the album's second song was a Clapton original called "Better Make It through Today." When remastered for CD, it was replaced by "Give Me Strength." I always believed that "Better Make It through Today" was integral to this album's success, and its absence is awfully conspicuous. The back cover of the vinyl version of 461 OCEAN BOULEVARD contains a notation saying that "Better Make It through Today" was recorded at Dynamic Studios in Kingston, Jamaica, whereas the rest of the album was recorded at Criteria Studios in Miami. Clapton's 1975 follow-up, THERE'S ONE IN EVERY CROWD, was also recorded at that studio in Jamaica, and sure enough "Better Make It through Today" now appears on the CD version of that album. Perhaps it was never supposed to appear on 461 OCEAN BOULEVARD, but people are right to complain about the change. So this album gets two ratings. The old vinyl release gets 5 stars while this CD release is downgraded slightly to 4.5 stars, which is still pretty damn good.

No need to give an extensive recap of the story here...Pete Townshend arranged the Rainbow "comeback" concert (Eric Clapton's Rainbow Concert) as post-heroin addiction therapy for Eric. The show...while it is to be applauded for the effort...is sloppy and tentative, as you might expect it to be under the circumstances. That said, "461 Ocean Boulevard" was the true "comeback" album for Clapton.

It's more laid back than fans of Cream, Derek & The Dominos, or even Clapton's first solo album (Eric Clapton) might expect. The late Carl Radle is on hand from the Dominos, as is Yvonne "Jesus Christ Superstar" Elliman on vocals. The remainder of the core band, which is bolstered by the presence of guest musicians, is Dick Sims on keyboards, George Terry on guitar & background vocals, and Jamie Oldaker on drums.

For "Phase I" of Clapton's comeback, this is the strongest overall effort by far. Fans are already familiar with the "Cream Killer" story...Clapton read a review in Rolling Stone about a Cream concert which slammed the band for its endless and aimless noodling, which caused him to seek inspiration elsewhere (notably in The Band's Music from Big Pink, by virtue of its success via song-based, rather than jam-based, music).

On the original release, the winning songs were "Please Be With Me" by Tommy Talton of Cowboy (which also appears in a wonderful, heartfelt, amazing version on Tish Hinojosa's album Taos to Tennessee), "Let It Grow" (strong on harmony vocals and a dynamic fade-out). There is debate over Clapton's "I Shot The Sheriff," but as a Bob Marley fan, let's give credit where credit is due. Bob showed up frequently on American FM radio airwaves after the release of Clapton's song. Just as Elvis, The Beatles and The Rolling Stones covered American music and put it in the hands of the American record-buying public, Clapton exposed Bob to a wider audience. No apologies are needed or offered.

You also get the requisite Robert Johnson track, "Steady Rollin' Man," and "I Can't Hold Out" by Elmore James. From there, it's a matter of personal preference.

EC's next couple of albums would be universally slammed in the rock press for being too laid back and lifeless. It wasn't until No Reason to Cry that he entered the second and more dynamic phase of his solo career, joined by Bob Dylan, Ronnie Wood, and members of The Band.

"461 Ocean Boulevard" is an essential chapter in the story of a musician who became a leader by following. Clapton has remained true to his roots, has shared the spotlight with his heroes and influences, and will always have my respect and admiration for doing so.

Just as Songs in the Key of Life is perhaps, several years after the fact, a monumental classic that Stevie Wonder has not yet been able to equal in his subsequent recordings, the same can be said for 461 Ocean Boulevard relative to the latter forthcomings of none other than the immortal blues guitarist, Mr. Eric Clapton.

Released in 1974, 461 Ocean Boulevard was an unparalleled landmark album in its own right. Thanks to the inclusion of the number one hit cover of Bob Marley's "I Shot the Sheriff", it is possibly the primary catalyst to the never-before-witnessed international stage of multiplatinum-selling reggae artists, the first and most famous being Mr. Marley himself. Also, it is arguably the release that not only recharged but also supercharged a career that, with a future in doubt as a result of prior drug addictions and band dissolutions, especially Derek and the Dominos, would turn out to be prolific and enduring.

Other tracks include the great introduction, "Motherless Children", with Clapton's trademark guitar work as well as the top 40 "Willie and the Hand Jive". Also contained is the staple "Let It Grow". Throughout the release is the presence of a backing vocalist who would attain stardom some three years later with the Saturday Night Fever soundtrack release. Who is this person? It is none other than Yvonne Elliman, who would have her only number one hit with the Bee Gees' "If I Can't Have You".

In sum, questions likely had arisen prior to 1974 as to whether there would even be several Clapton projects ahead, what with the untimely deaths of close friends and fellow guitar greats, Jimi Hendrix and Duane Allman. Fortunately, Clapton is still around. Though his works from the mid-1970s onward, from an artistic standpoint, might not quite match the masterpiece that is 461 Ocean Boulevard, his decisions to kick the drug habits and to maintain his legacy as a performer who continues to inspire present and future artists are personal triumphs that are far more important than any one particular work of art.

I actually remember the day this album was released - it was two days after I saw Clapton and his band at the Capital Centre in D.C.. He played much of it at the show, and I was anxious to hear the songs again.

This album didn't disappoint that day, and it doesn't disappoint today. Contrary to another review, it ages quite well. The rock covers ("Willie and the Hand Jive," "I Shot The Sheriff"hold their own with the originals, and the blues songs are timeless. "I Can't Hold Out" and "Steady Rolling Man" kick major blues butt! The originals are excellent as well, particularly "Mainline Florida."

Any record collecion that includes Eric Clapton is incomplete without this record. It was his comeback effort following several years of laying low with a heroin problem. It is clearly a career milestone, and his first recording with a band that he would work with for the remainder of the decade. Don't overlook the band - with the exception of Duane Allman, George Terry may be the best guitarist Clapton worked with - he compliments Clapton and drives him at the same time.

As with most of Clapton's albums, this has a good mix of blues and rock. The only thing that I can really say that is disappointing about these Clapton remasters, is that, unlike other remastered classics, we get no bonus tracks of any kind. I am sure that most fans would have wanted something extra to get their teeth into. And as a marketing move, it's a way for record companies to get true blue fans to fork out the money to replace their older copies if they are to get extra previously unreleased tracks. Maybe I should apply for a job there! But, that aside, this is a great album in true Clapton style. 3 songs are Clapton originals, and of course there is the Bob Marley hit "I Shot the Sheriff" which introduced a lot of people to the reggae sound. Not a weak song on this album, but then again, this is a Clapton album. Recommended!

Even though he only wrote two of this albums ten songs, this Album is all Claptons. His guitar skill and haunting vocals all come together here. "I Shot The Sheriff" may be this albums most Known song, but isn't the best. "Let It Grow" and "Wille and The Hand Jive" shine, as does "Motherless Children". Some people might think Clapton's music is dated, but this just isn't true, I worked then,(and remastered) it works even better now. Do yourself a favor and pick this one up today.

This is, along with Unplugged, Eric's most relaxed album. It's certainly very "pop", and it doesn't have as many guitar solos as most fans would want, but it is a great effort. This album showed that Clapton could make other kinds of songs, after the rock & blues of Cream and Derek & The Dominos. The best songs here are the beautiful Let It Grow, his cover of Marley's I Shot The Sheriff, Mainline Florida and Please Be With Me.