err The Ultimate Illustrated History te TiaA (lea)First published in 2011 by Voyageur Press, an imprint of MBI Publishing Company, 400 Fiest Avenue North, Suite 300, Minneapolis, MIN S5401 USA Copyright © 2011 by Vorageur Pres All photogeaphs are from the Voyageur Press eollection unless noted otherwise. Allright reserved. With the exception of quoting bic passages for the purposes of review, ‘no part of this publication may be reproduced without prior written permission from the Publisher. ‘The information in this book is true and complete to the best of our knowledge. All recommendations are made without any guarantee on the part of the author or Publisher, who alo cixelaimns any Rablity ineured ‘in connection with the wie of this data or specific detail ‘We recognize, farther, thar some words, model names, and designations mentioned herein are the property cof the trademark holder, We use them for Mlemtification pusposes only. Theis not an official publication, FENDERS, BAND-MASTER®, BASSMANO, CHAMPS, TWIN REVERB®, SUPER REVERBO, BANDMASTER™, TWIN AMP, DELUXE™, HOT ROD DELUXE™, SUPER-SONIC™, STRAT, STRATOCASTER®, TELECASTER®, TELE®, and the distinctive headetock designs commonly found fon the STRAT and TELE guitars are trademarks of Fender Musical Instruments Corporation and are vred herein with express writen permission. All rights reserved. FMIC isnot afliated in any way with author oF publisher, nor docs EMIC endorse the modifications to FMIC products dacussed herein. ‘Voyageur Pres tiles are abo available a discounts in bulk quantity for indussial or sales promotional use. For denails write to Special Sales Manager ar MBI Publishing Company, 400 First Avenue North, Suite 300, “Minneapolis, MN 88401 USA. “To find out more about cur books, vst ws online at woww.veyageurpress. com, Library of Congress Cataloging in Publication Data ‘Walch, Chris, 1941 ‘Clapton: the ultimate illastrated history / Chris Welch, pcm Includes index. ISHN 978-0.-7603-4046.2 1. Clapton, Eric—Picrorial works, 2. Rock musicians—England—Biography-Pietoral works, 1 Tike MLAI9.C5845 2011 78787 166092—dc22 B) 2011006087, Faitor: Michael Dregat Design Manager: Katie Sonmor Designed by: Joho Rarnett/4 Eyes Design Printed in China ‘On font. ft Clin py th Create tan fit he peasant he Wank Fes ony 31, 196. Dv acon” eters rages ‘ore Cag gerios wn Dane Bolen Coenen 137. Passer rages gt Copa Be consis roe, at aero Jase on ast 7,150 eee Pes Time it rest nas (nw tnt Shad hands, 0. Lc Vay ages ne paps: ie Can poral say 1805. Tory Oty rags (One back Con is Fade Scat Bk” Ata Ih chica ty imgssauthor's Note + 8 Riding with Mi. Clapton preface + 12 rie eet 1. when the nooster crowed + 20 (Chldhoed andthe Blues, the Rooster, and Casey Tones and the Enginces, 1945-2963 2.Auand of urothers + 30 “The Yardbirds, 1908-1964 3. where’s erie? + 44 ‘he Yaris apd the Blues Beaker, 1968, 4. steppin’ our + 54 “The Bes Breer and Cream, 1986 s.fresh cream + 68 crits, 1966-1967 6. steange new + 78 ream, 1967-1968 >. goodbye cream * 108 ram, 1968-1969 8. can’t rind my way Home * 124 Blind Fath, 1968 g.perdlis ic + 144 Delnerand Boi the Pate Ono Ban, Deck an the Dominos nthe Riso Concer, 1949-1974 10. “1 play the guitar..." + 166 Solo Career, 1974-1982 11, Autumn veaves + 200 Ceeseaids Foundation, Geum Reunion, sal Tours with Sieve Winwood, 1983-Todsy niscogcaphy + 242 inden + 252 contentsAuthor’s Note Riding with Mr.Clapton Tr was MY FIRST WEEK AT Metopr MAKER IN 1964 when I met a young ‘Mod named Bric Clapton who played guitar with the “latest pop group,” the Yardbirds. The weekly British newspaper where I'd managed to secure a job as features writer was known as the bible of the music biz. Established in 1926, it had been covering the world Fists hac inte of jazz, blues, and rock for forty years. During that time, its jou wed every star from Louis Armstrong to Bob Dylan and the Beatles. I was on exalted ground, when [entered the Fleet Street office for the first time in October 1964. News editor Ray Coleman had deadlines in his soul and specialized in exclusive inter- views with John Lennon. When he “asked” me to interview the Yardbirds, it was a direct order—get the story or else! So it was with some trepidation that I tracked down the group at a coffee bar in London's Fleet Street. The idea was to get an “angle.” Were they breaking up? Were their fans revolting? Was the guitarist going to quit? Asi turned out, the noisy bunch of R&B musicians were funny, charming, and easy interview. They even had an angle. ger Keith Relf told me in all seriousness they ‘5 Dagon proms teeny Bone Cena, orm, 19, fn Possess magesa You have elther reached a page that is unavailable for viewing or reached your viewing lil far this bookpreface The Crossroads “Now If Is TIME FOR THE MOST RLUESWAILING YARDBIRDS!” The compere can barely contain his excitement as he introduces the band one by one. Wild applause sgreets our heroes as they gind up their guitars. “Here they are—on the lead guitar, Erie ‘Slowhand? Clapton!” If you wanted a wild night with the hottest R&B bands in E ygland, then London’s “Marquee was the place to hang out. The Animals, Spencer Davis Group, and the Who ‘were just some of the attractions playing nightly during the 1960s at the club on Soho’s Wardour Street. ‘One of the best loved was the Yardbirds. Fronted by blond-haired singer Keith Relf and starring Erie Clapton, they whipped up fans with furiously fast versions of R&B classics. [As the band tore into their hottest number, “Too Much Monkey Business,” the dark and cavermouis Marquee became a sticky sauna, with sweat pouring from the walls and chew= ing gum stuck to the floor. The smartly dressed Mods and their gidlfriends who patronized the London blues clubs knew their stuff They may never have seen Chuck Berry or Muddy Waters live, but Clo sands na i nat Suey. Engar 180. Toy Oa aesa You have elther reached a page that is unavailable for viewing or reached your viewing lil far this book| set psn nce coe ict ope aay eae ground” cult figure to rock icon and international celebrity. Along the way hed devote himself to hardcore blues with John Mayall’s Blues Breakers and then devise the world’s first super groups with Cream and Blind Faith. He ‘would evolve into a singer with a warm, unpretentious vocal style and develop. a8 a composer whose songs, from “Layk” to “Wonderful Tonight” and “Tears in Heaven,” would reach out and touch millions of record buyers After the Cream yeats, when he was thrust into the role of a guitar hero alongside the fashier Jimi Hendrin, Jeff Beck, and Jimmy Page, he would seek 10 work in amore low-key fashion, He even went so far as to disguise his name, billing himself 2s Derck and the Dominos. Whether le courted celebrity or not, celebrities tripped over themselves to engage his services. Bob Dylan, John Lennon, George Harrison, Duane Allman, Roger Waters, Elton John, and Phil Colfinsall wanted Clapton to share a stage or studio with them. The mystery for many was how a mild-mannered youth growing up in Surrey, England, came to be hailed as the world’s greatest white blues art ist. As Huddie Ledbetter, better known as Leadbelly, once said, “The white ‘man cannot sing the blues because he's gor nothing. on his mind.” Bur just as American blues artists such as Muddy Waters had been influenced by Robert Johnson, so the sheer power of the blues—its lyrics, themes, and underlying feelings—could speak to anybody, black or white. And especially to a Jonely lad who thought of himselfas an outsider Whatever the circumstances, Clapton had somehow unlocked the door to blues power—a fact easily communicated to anyone who heard him play from his earliest days. He was certainly in the right place at the right time. His life story parallels the unexpected development of the blues in lands far from the Deep South, It was a phenomenon that had enormous social effects and. cone that ultimately fred up the rock music that eame to dominate twenticth century pop culture. Just as Clapton was influenced by his heroes, he, t00, became an enormous, inspiration to dozens more would-be guitarists trailingia his wake. Many would. jotably Peter Green of Fleetwood Mac and. Stones, who both avidly listened to. Clapton go on to develop theis own carcers, Mick Taylor with the Rolli whenever he played a gig. Even Hendrix said he'd only come to London to hhunch his earcer in 1966 i he could meet Eric Clapton. It was a condition his manager, Chas Chandler of the Animals, was enly too happy to Fulfill. lapton has always been a good-humored, polite, friendly, usually modest, and generally happy man with a boyish sense of humor. Fond of practical jokes, unworldly in « disarming way, he chasms everyone he meets, The darker side of Clapton could only be explained by the pressures placed on him by a sometimes slamming, strseful outside world. Clapton had to cope with a confused childhood background even before he came into contact with the wildly disorganized characters thar populate the music business. It was only his detachment and inner strength that enabled Faro at erty Cpe, es ns by ey geared one conan Guta expe 171, 2 as acon mate nae on ho free ane colon Bic Ayine 188, Treo tas ty Cpn ath Paneth apps th 1965 carpinin Wats Sh face