Blind Date (1987)

The History of Eric Clapton is a compilation double LP, released in 1972 by Polydor Records in the United Kingdom, and Atco Records in the United States. It features Eric Clapton performing in various bands between 1964 and 1970, including The Yardbirds, Cream, Blind Faith and Derek and the Dominos. The compilation is notable for helping Clapton's career when he was battling heroin addiction and making the song "Layla" famous. It is also notable for being perhaps the first compilation in rock music to collect music of a single rock musician that spans time, bands, music styles and record labels. The album cover picture was taken at George Harrison's Concert for Bangladesh while Clapton was playing "While My Guitar Gently Weeps" on a Gibson Byrdland hollow-body guitar.

This record doesn't get enough credit. The tunes are great and the playing is tight. Cain's guitar playing is top-notch and will have you shaking your head over and over again. Lizz Fischer's keyboard's are smooth as are the drums and bass. This is a lesser known band and this record is a little hard to come by, but well worth the effort!
The eclectic creativity of Cain’s music owes something to his mixed background. Part Greek, part African-American, he was imbued with a love of the blues by his father who grew up on Beale St. in Memphis. Thus inspired, Cain took up the guitar at the age of eight. Studying at San Jose City College, he developed his precocious talent absorbing different techniques and influences as a multi-instrumentalist, playing piano, bass guitar, clarinet, alto and tenor saxophones…

An outstanding comeback effort by Chicago harp pioneer Snooky Pryor, whose timeless sound meshed well with a Windy City trio led by producer/guitarist Steve Freund for this set. Mostly Pryor's own stuff - "Why You Want to Do Me like That," "That's the Way To Do It," "Cheatin' and Lyin'" - with his fat-toned harp weathering the decades quite nicely.

Serious marks the beginning of Luther Allison's late-'80s/early-'90s hot streak. The more streamlined, rock-oriented approach actually is a benefit, since it gives Allison a shot of energy that makes his guitar simply burn all the way through the record.

To describe Alvin Stardust's hit-making career as deceptive is to do the man (and the music) a major disservice. He never pretended, after all, to be anything but an old time rocker reborn for the glam age; nor, once he and producer Pete Shelley had driven their first great idea into the ground, did he even threaten to return with anything so viscerally vibrant as his debut hit. But "My Coo Ca Choo" was more than a hypnotic guitar riff, a lyric steeped in lascivious sensuality and a really scary-looking singer who held his microphone upside down. It was forbidden sex and secret code, it was yowling subversion and evil intent, it was "Heartbreak Hotel" and "Be Bop a Lula" breathlessly updated and whipped into shape.

Along with Mackerras' EMI recording, which appeared at the same time (1966/67), Davis' Messiah established the standard for properly scaled, tastefully ornamented renditions using modern instruments. Like all classic recordings, the musical values embodied on these two well-filled discs haven't diminished a bit. You can still enjoy Davis' lively and sympathetic direction, enthusiastic singing and playing by the London Symphony Orchestra and Chorus, two fabulous female soloists, and though the men are a bit less distinguished, they certainly don't drag the standards down to any significant degree.

If not a definitive blues recording, this 16-track collection delivers on the promise of its title. James Cotton, Johnny Winter, Buddy Guy, Lonnie Mack, and the inestimable Professor Longhair rock the house like the veterans they are. The respected label also showcases relative newcomers, including Robert Cray and Little Charlie & the Nightcats, to show that blues has a future as well as a rich past.

Although John Wetton is at the helm throughout all of these tracks, King's Road, 1972-1980 is really a collaboration of progressive rock artists that have joined Wetton across each of the 13 songs. Wetton's renditions of songs by his former bands King Crimson and UK come off quite clean and refined, especially "As Long As You Want Me Here" from 1979's Night After Night Live album and the opening "Nothing to Lose" off Danger Money. While his efforts at singing the King Crimson tracks lack the magic and fullness they exhibit in their original form, they still maintain a slight electrified feel. The entire 12 minutes of "Starless" from the classic Red album makes for an excellent finishing track, brought marvelously back to life with the steady drumming of Bill Bruford and the sparkling keyboard work of Robert Fripp…