Customer Reviews

Reptile

5 star:		(65)
4 star:		(42)
3 star:		(22)
2 star:		(20)
1 star:		(8)

 

 

When Eric Clapton and B.B. King planned the production of the album that would eventually become "Riding With The King," they scheduled three months of studio time - much to B.B. King's team's surprise because the King of Blues usually takes much less than that to finish an album. And lo'n behold, they were done in roughly a month, recording almost exclusively live, with very little editing involved. So Clapton decided to "tag on" an album of his own and take advantage of the outstanding group of musicians they had assembled, and the magical atmosphere of the cooperation with them. He had however, he says, "underestimated" how big exactly the effect of B.B. King's presence had been, and things just didn't seem to go together anymore as they had before. Besides, there didn't seem to be a real theme and a purpose to the album. So he took a break from recording and, when meeting with relatives in Canada, was reminded of his uncle Adrian (a.k.a. "Son") who had recently passed away, and whom he hadn't seen at all during the last years before Adrian's death; although growing up, this had been one of the most influential persons in his life. Like those of many outstanding musicians, Eric Clapton's albums often reflect the stage he is in in life; and remembering his uncle, it suddenly became clear to him that his new album had to be a re-examination of his early years, and of his relationship with "Son," a "local James Dean," as Clapton recently described him to Rolling Stone Magazine, and a true "Reptile" (i.e., "one of the guys") of his native Ripley.

I think it is important to take an album for what it is and not look for things which, given the album's history and meaning to the artist who has recorded it, cannot be there. This is obviously neither "Layla" nor "Fresh Cream" nor "Journeyman." Clapton has long since made his mark on blues and rock music, with these and other albums, with and without psychedelia (and he has never really been comfortable with the God-like status to which he was elevated early on anyway). He is no longer chasing Pattie Harrison. He has overcome drug and alcohol abuse; recovery from the latter prompting the doubtlessly difficult separation from his family in Ripley, including and in particular his uncle Adrian. He has founded "Crossroads" and taken control of both his private and his business life. His personality has evolved, and he doesn't exclusively have to rely on his music any longer to express what he wants to say. ("The only personality I had was within my fingers," he told Rolling Stone Magazine about his years with Cream and Blind Faith. "I could play it, but I couldn't say it. When we didn't have a song, I'd just think, 'Let's get stoned.' Which we did when we didn't know what we were doing.")

"Reptile" reflects the joy of Eric Clapton's cooperation with outstanding musicians such as long-time friends Andy Fairweather Low, Billy Preston, Steve Gadd and Nathan East (who have also joined him for what Clapton - sadly, very sadly - maintains is his last world tour - special kudos, though, to Billy Preston who, back from the hospital bed and his fight with chronic liver disease, literally danced on the stage when I saw them) ... and, yes, the Impressions, whom Clapton values so much that he has already announced that they will be featured on his next album, too. Clapton has called "Reptile" an "electric unplugged album" (with an "unplugged" feeling, but "plugged in" instruments) and compared its production to that of "461 Ocean Boulevard," his comeback studio album of 1974, in that during the recording of both albums, he and the other musicians would jam a lot, just playing songs of other artists they liked, and a fair share of those covers eventually made it into the final cut of the album. J.J. Cale's "Travelin' Light," Ray Charles's "Come Back Baby," James Taylor's "Don't Let Me Be Lonely Tonight" and Stevie Wonder's "I Ain't Gonna Stand For It" are examples here, and Clapton impresses his very own mark on each of them. And although he took some time to remix the album after the initial recording, it still maintains much of the atmosphere present during its production (witness, for example, that spontaneous "Have mercy!" at the end of "Come Back Baby.")

But the album wouldn't be named for Eric Clapton's uncle (and dedicated to him and his wife Sylvia) if it wasn't, in large parts, also about the singer-guitarist's re-evaluation of the things that influenced him in his youth. Hence, songs such as the instrumental title track (which is a bossa nova because, Clapton says, he just loves Brazilian music), the closing and likewise instrumental "Son & Sylvia," "Believe in Life" and, of course, "Find Myself," written early on but finding its true purpose only when the album took its final direction. Despite all this, and its tributes to different musical styles - including those favored by Clapton's uncle - the one thing this album is not is "retro" (Clapton actually fought the record company to keep it from going down that path). It's as much a catalyst for its maker's emotions and state of mind as any of his other albums over the course of the past decades; it's also, blues and beyond, just plain good music ... and incidentally, as if this needed any emphasis at all, Clapton's powers as a guitarist are still fully in place, as not only evidenced on this album but also during his most recent live appearances (with the added benefit of a large screen, concert venue permitting, giving fans an up-and-close view of the man's fretboard wizardry). His latest album should be enjoyed on its own merits, not on those of his numerous past laurels, uniquely important as they are - and on these terms, there is plenty to enjoy indeed.

Also recommended:
Layla and Other Assorted Love Songs
Eric Clapton's Rainbow Concert
Crossroads
Unplugged
One More Car: One More Rider (CD & DVD Set)
Riding with the King

I really don't understand the amount of criticism that I find among the previous reviews. I'm a long-time Clapton fan, and I really wanted to like Pilgrim, but I could not. I've tried several times to revisit it, but every time I do, the same weaknesses come to the fore - my God, a whole album with Clapton playing to a drum machine? After the fire of Cream and Derek & the Dominoes. Why would you want a drum machine on your music when you could play with any drummer you wanted to?

IMO, Reptile is nothing like Pilgrim, which is odd, because they share the same producer (Simon Climie) and virtually the same band. However, on Reptile, ace drummer Steve Gadd plays REAL drums on every track, and the wonderful Impressions add a fine, fine element to the album. Hard to believe that some people don't enjoy the Impressions in this mix; to me, they add a warmth, honesty and musicality that deeply enriches every cut.

Also, the song selection is much better on this album. The covers are outstanding (I LOVE 'I Ain't Gonna Stand for It), except for Don't Let Me Be Lonely Tonight, my least favorite song on the album.

This is Clapton's best original work since Journeyman, and this has a richness that Jouneyman did not have. Granted, Clapton doesn't burn with the fire he had years ago, but, then again, neither do I. It doesn't mean his work is any less valid. If your mildly curious or tempted, be open-minded and give this album a chance. It will grow on you, believe me.

Personally, I love it.

For those expecting the rock of "Layla", the variety of "Pilgrim" or the funkiness of "461 Ocean Boulevard", you might be disappointed, but "Reptile" is a masterpiece. All fourteen songs are what you might expect from a personal concert in a small cafe from Eric Clapton. Rythym and Blues are the mainstay here and it shows with classic covers of Ray Charles', "Come Back Baby", James Taylors' "Don't Let Me Be Lonely Tonight" and Stevie Wonders', "I Ain't Gonna Stand For It". This collection stands out for consistency and pure love of 'feel good' club music. Granted, Clapton does push more energy on "Superman Inside", almost 'out-blues' himself on "Got You On My Mind" and pulls at your heartstrings with the lovely instrumental, "Son & Sylvia". Each of Clapton's albums vary from time to time and usually for the better. This is a 'low key evening by the fire' collection. It's just one of the things Clapton does the best.

Thank you Mr. Clapton for this beautiful album. This work of art is a perfect recording from start to finish. The entire album is a graceful composition of intricate instrumental voicings, warm background harmony vocals, and a most captivating E.C. voice. The guitar-work is ( as is to be expected from such a master) sublime to say the least. Mr. Clapton's vocals on this record are superb, especially his compelling blues voice on songs such as "Come Back Baby",indeed a reflection of his deep-rooted love for the blues. The songs are diversified and the arrangements well balanced. The tonal quality of this recording is impeccable. This album is a polished shining gem and bears the signature of a truely gifted professional. I am certain this recording will undoubtably attain the status of "Album of the Year". Congratulations Mr. Clapton!!

I didn't know Clapton released a new album until I saw a large poster of the 'Reptile' cover with the subtitle "A new album by the Guitar God !!!" handwritten by a Claptonphile record store employee.

Well, he is a guitar god. He proved it a long time ago... while Clapton endures and thrives, showing no sign of fading away, but rather reinventing himself each and every time, surprising, innovating, exciting and thrilling.

And 'Reptile' is no exception. Starting with a melodic instrumental piece that lends its name to the album, and continuing with a masterful set of rock, rhythm-and-blues and straight-up blues tracks, including J.J. Cale's 'Travelin' Light', 'Got you on my mind' (reminds me of the great 'From the cradle' album). Billy Preston plays excellent Piano on 'Find myself', and some of the best musicians Clapton played with in the eighties and early nineties also do a beautiful job (Andy Fairwehther-Low on guitar, Nathan East on bass).

The album contains everything I would have asked for from a Clapton album: some great electric guitar moments, some acoustic ones. Rock, rhythm-and-blues and blues tracks that mix in naturally with one another, great songs (both covers and originals) and a good production by Clapton and Simon Climie (whose tendency to computerize and digitize Clapton does not appear to blatantly in this album - unlike in 'Pilgrim').

In short - Go get it. fast.

After being a huge Clapton fan for 35+ years, I've seen his ups and downs and musical directions. After being somewhat disappointed with "Pilgrim" (over-produced), I'm very pleased with "Reptile." It is 'quality' Clapton from start to finish without being glossed over with production. It's a cross section of the best elements of his last four albums while still being fresh. The added texture of "The Impressions" on background vocals is a nice touch. Of course Clapton's passion shines through very strong. His vocals and guitar playing are immaculate throughout especially the guitar solo on "Come Back Baby" which is salty blues at it's best. "Reptile" covers a broad range of styles including bossa nova, blues, soul, R&B, aoustic and rock. His arrangement of J.J. Cale's "Travelin' Light" is also interesting. It has a "Dire Straights" kind of feel. To this reviewer, "Reptile" is Eric Clapton's best and most consistent work in recent years, ...at least in the 21st century. Perhaps he is "Superman Inside."

Dedicated to his uncle, this CD is certainly one of the most heartfelt projects that Clapton has ever done. The album's cover has a picture of Eric when he was about 8 years old and there are family photos scattered across the liner notes.

As for the music, it seems like Clapton couldn't decide precisely what kind of album he wanted to make; so he throws in a little bit of everything. As with most of his albums, there are covers galore. "Got You on My Mind" is a nice rollicking R&B number from the 1950s, featuring Billy Preston on organ and The Impressions on backing vocals. He raids J.J. Cale's vault one more time for "Travelin' Light." Listening to Clapton cover James Taylor's "Don't Let Me Be Lonely Tonight" is certainly an odd surprise. The covers of songs by Ray Charles and Stevie Wonder, on the other hand, are much less successful because Clapton, as great as he is, just is not in their league as a vocalist.

Clapton wrote or co-wrote seven of the fourteen tracks. "Believe in Life," "Second Nature," and "Modern Girl" are along the lines of the Soft Rock hits he had in the 1990s. "Find Myself" almost sounds like a Tony Bennett tune. The title track "Reptile" is a Soft Jazz instrumental. "Superman Inside" is the one real rocker. As this overview suggests, Clapton probably intended this CD to sound like an encapsulation of his career and an attempt to satisfy his many audiences.

In the end, your reaction to this album may depend upon what kind of Clapton fan you are. If you prefer the Clapton of the nineties, then you will eat this CD up. But if you prefer Clapton the guitar god of the 1960s and early 70s, then this offering will strike you as pleasant but a little underwhelming.

Being a fan of Eric Clapton for at least half my life (I'm 22), I've heard his releases in the last 10 years range from stellar to stagnant. I'm one of the only people I know who actually enjoyed "Pilgrim", and one of many who agree that "From The Cradle" proves Clapton was a Mississippi Black man in a former life. Clapton has always been a blues man, and his efforts outside of that vein have been forced, leaving him to sound like a man with an ill fitting pair of shoes, while his forays into R&B sound like the real thing instead of a White boy merely imitating his idols.

That's why "Reptile" is so surprising. It embraces more than one style, yet flows rather smoothly throughout. The title track is a delightful, Latin-tinged instrumental, with a quiet, comforting melody and spiralling chimes--a song perfect for a leisurely walk in April sunshine. Pino Palladino--who was the bassist on D'Angelo's album "Voodoo", and one of the best bassists around--does what he does best and blends in seamlessly into the track. The great Billy Preston handles the keyboard end on this album, and the rest of the musicians on "Reptile" are no less than superb. "Got You On My Mind" and "Come Back Baby" are straight ahead blues, and Clapton's vocals match perfectly with the backup vocalists the Impressions--his singing is reminiscient of blues godfather BB King. Any man hoping to court, or win back, a woman need only play these songs for her--though the woman may fall in love instead with Clapton's passionate pleading and sexy growls.

Three favorites on this album include a cover of Stevie Wonder's "Ain't Gonna Stand For It", "Believe In Life" and "Find Myself". I'm of the belief that Stevie possesses perfection that cannot be copied and should never be covered, but this song works. It's the Larry Graham-ish popping bass in this song that drives it along, and though it sounds a little Country at times, it adds to the charm of the track--anyone who's heard the original will appreciate the skill with which this was recorded. "Believe In Life" is one of the most quietly passionate, sweetest love songs I've heard in years. A soothing melody, Clapton's lovely, simple vocals, and swinging, jazzy chord changes make this the best track on the album. "Find Myself" is another touching track with cute, plinky piano and great background vocals reminding one of the Fairfield Four (with whom another favorite EC of mine has recorded) make this the perfect mix of old and new--the introspective lyrics of self acceptance as well as the ragtime feel of the track merge effortlessly.

"Travelin' Light" and "Modern Girl" are the only places on this album where Clapton falters--and only slightly at that. The songs sound a little too '80's, a little too sterile. Aside from that, however, diehard fans should appreciate the effort Clapton put into making his "Reptile" into a skillful style shifting chameleon, and newcomers will delight in the versatility and grace with which Clapton moves from genre to genre. Eric Clapton's "Reptile" takes the listener on a trip to many places, and is a perfect tour guide. The man continues to enjoy making music--and in this album, it shows.

This is the best album that I've heard from Clapton since his all blues album "From The Cradle". Some of the songs here still have that slow after hours feel to them that I really don't care for that much. But there is enough strong material on this to compensate for any of it's weaknesses. For me, the clear choice standout tracks are his covers of J.J.Cale's "TRAVELIN' LIGHT" and the brilliant Stevie Wonder tune "I AIN'T GOONA STAND FOR IT". I loved this one. Some of the best songs written by Clapton is the opening instrumental "REPTILE". "FIND MYSELF", which has some very catchy and easyflowing piano work in it, courtesy of Billy Preston. And "SUPERMAN INSIDE", which offers up some sizzling Clapton guitar. He's got a top notch supporting cast here too, with musicians like Preston, Paul Carrack, Doyle Bramhall, and Andy Fairweather. All in all, this is a nice cd of Clapton tunes and an even better choice of covers, and it has a little bluesier feel to it than some of his previous efforts. Recommended listening.

I've been a long time Clapton fan and Reptile is definitely his best album to date, with all the ingredients of becoming an all-time classic. I used to think that Journeyman was his best but this has over taken it big time. Everyone knows how good Clapton is on guitar, but when you listen to this album, pay attention to his singing, especially on tracks like Come Back Baby and Broken Down, my favourite track. He should be equally praised for his vocal talents, which is getting better and better as time goes by. Got You On My Mind, Find Myself, I Ain't Gonna Stand For It, Don't Let Me Be Lonely Tonight and Superman Inside are all great. Basically, I love every single track on this CD and it's one of my personal all-time favourite albums.

A must buy for every Clapton fan and equally a must buy for everyone who has never bought a Clapton CD before. You will see for yourself why this artist has stood the test of time, and still going stronger than ever.