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29 of 32 people found the following review helpful:
5.0 out of 5 stars
Enjoy it on its own merits!, August 24, 2001
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
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21 of 23 people found the following review helpful:
4.0 out of 5 stars
Actually, four and a half stars, April 25, 2001
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.
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19 of 21 people found the following review helpful:
4.0 out of 5 stars
"Reptile" - as in "Lizard Lounge" and it's Great!, April 5, 2001
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.
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