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Tag: Eric Clapton

Eric Clapton – 461 Ocean Boulevard (1974) [Reissue 2004] {2.0 & 5.1} PS3 ISO + FLAC

Eric Clapton – 461 Ocean Boulevard (1974) [Reissue 2004]
PS3 Rip | SACD ISO | DST64 2.0 & 5.1 > 1-bit/2.8224 MHz | 56:54 minutes | Scans included | 3,42 GB
or FLAC 2.0 Stereo(converted with foobar2000 to tracks) 24bit/96 kHz | Full Scans included | 1,25 GB
Features Stereo and Multichannel Surround Sound

461 Ocean Boulevard is the second solo studio album by Eric Clapton that marked his return to recording after recovering from a three-year addiction to heroin. The album title refers to the address on Ocean Boulevard in Golden Beach, Florida where Clapton lived while recording the album. The street address of the house was changed after the album’s release due to fans flocking to the property.

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Eric Clapton – 461 Ocean Boulevard (1974) [Japanese Limited SHM-SACD 2010 # UIGY-9024] {PS3 ISO + FLAC}

Eric Clapton – 461 Ocean Boulevard (1974) [Japanese Limited SHM-SACD 2010 # UIGY-9024]
PS3 Rip | ISO | SACD DSD64 2.0 > 1-bit/2.8224 MHz | 39:02 minutes | Scans included | 1,58 GB
or FLAC(converted with foobar2000 to tracks) 24bit/88,2 kHz | Scans included | 775 MB

Reissue features the high-fidelity SHM-SACD format (fully compatible with standard SACD player, but it does not play on standard CD players) and the 2010 DSD remastering. DSD Transferred by Hitoshi Takiguchi.

461 Ocean Boulevard is Eric Clapton’s second studio solo album, arriving after his side project of Derek and the Dominos and a long struggle with heroin addiction. Although there are some new reggae influences, the album doesn’t sound all that different from the rock, pop, blues, country, and R&B amalgam of Eric Clapton. However, 461 Ocean Boulevard is a tighter, more focused outing that enables Clapton to stretch out instrumentally. Furthermore, the pop concessions on the album — the sleek production, the concise running times — don’t detract from the rootsy origins of the material, whether it’s Johnny Otis’ “Willie and the Hand Jive,” the traditional blues “Motherless Children,” Bob Marley’s “I Shot the Sheriff,” or Clapton’s emotional original “Let It Grow.” With its relaxed, friendly atmosphere and strong bluesy roots, 461 Ocean Boulevard set the template for Clapton’s ’70s albums. Though he tried hard to make an album exactly like it, he never quite managed to replicate its charms.

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Eric Clapton – LΙFΕ ΙΝ 12 ΒΑRS (2018) Blu-ray 1080p AVC DTS-HD MA 5.1 + 2xCD FLAC

Title: Eric Clapton – LΙFΕ ΙΝ 12 ΒΑRS
Released: 2018
Genre: Documentary, Rock, Blues, Blues Rock

Released: Eagle Vision Media 
Duration: 02:14:12
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: DTS-HD MA, LPCM
Video: MPEG-4 AVC Video / 17988 kbps / 1080p / 24 fps / 16:9 / High Profile 4.1
Audio # 1: Italian / DTS-HD Master Audio / 5.1 / 48 kHz / 1816 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Audio # 2: English / DTS-HD Master Audio / 5.1 / 48 kHz / 1788 kbps / 16-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 16-bit)
Audio # 2: English / Dolby Digital Audio / 2.0 / 48 kHz / 192 kbps / DN -31dB (bonus)
Size: 22.12 GB

This documentary contextualizes Eric Clapton’s role in contemporary music and cultural history. Told through his own words, it reflects on his traumatic childhood, his difficult struggle with drugs and alcohol, the loss of his son and how he always found his inner strength and healing in music. It features extensive interviews with Clapton himself, along with his family, friends, musical collaborators, contemporaries and heroes – including late music icons B.B. King, Jimi Hendrix and George Harrison. Directed by Oscar winner Lili Fini Zanuck.

Eric Clapton is the only ever three-time-inductee to the Rock and Roll Hall of Fame, is an 18-time Grammy Award winner and widely renowned as one of the greatest performers of all time. But behind the scenes is restlessness and tragedy. Clapton’s quest to grow his artistic voice left fans surprised as he constantly quit successful bands. His isolated pursuit of his craft, and fear of selling out, served as a catalyst for his evolution as an artist.

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Eric Clapton’s Crossroads Guitar Festival 2019 (2020) Blu-ray 1080p AVC DTS-HD MA 5.1 + BDRip 720p/1080p

Title: Eric Clapton’s Crossroads Guitar Festival 2019
Released: 2020
Genre: Blues, Rock

Released: Rhino Music
Duration: 02:09:21 + 02:19:45
Quality: Blu-ray
Container: BDMV
Video codec: AVC
Audio Codec: DTS-HD MA, LPCM
Video: MPEG-4 AVC Video / 29998 kbps / 1080p / 23.976 fps / 16:9 / High Profile 4.1
Audio # 1: English / LPCM Audio / 2.0 / 48 kHz / 2304 kbps / 24-bit
Audio # 2: English / DTS-HD Master Audio / 5.1 / 48 kHz / 4698 kbps / 24-bit (DTS Core: 5.1 / 48 kHz / 1509 kbps / 24-bit)
Size: 33.35 + 38.35 GB

Eric Clapton, one of the world’s outstanding blues/rock guitarists, once again assembled an all-star team of six-string heroes for his fifth Crossroads Guitar Festival in 2019. Organized at the American Airlines Center in Dallas, Texas, the two-day concert event raised funds for the Crossroads Centre in Antigua, the therapy facility for alcohol and drug addicts founded by Clapton in 1998
After a six-year hiatus, the festival returned with new energy and outstanding performances, including performances by James Bay, Jeff Beck, Doyle Bramhall II, Gary Clark Jr, Robert Cray, Sheryl Crow, Andy Fairweather Low, Peter Frampton, Vince Gill, Buddy Guy, Sonny Landreth, Lianne La Havas, Los Lobos, John Mayer, Keb’ Mo’, Bonnie Raitt, Robert Randolph, Tedeschi Trucks Band, Jimmie Vaughan and others

Eric Clapton’s Crossroads Guitar Festival 2019 is presented on Blu-ray courtesy of Rhino Music with an AVC encoded 1080p transfer in 1.78:1 (there are a few split screen moments that are in wider aspect ratios). While there are still a few of the focus pulling issues that hobbled Eric Clapton’s Crossroads Guitar Festival 2013, they’re nowhere near as ubiquitous or problematic, and even better this presentation is not littered with the same kind of noise that the previous release had (though there’s just a hint of it a couple of times in the darkest moments). This is by and large a very sharp and well detailed looking transfer, one the preserves potentially problematic elements like the crosshatched pixellated display in back of the players, or even the vibrating strings on any number of axes being strummed or otherwise massaged. There’s really good coverage of the players from a variety of angles. Occasional shots from the audience’s perspective are blocked by eager fans who jump up and the like, but that’s the exception rather than the rule.

Eric Clapton’s Crossroads Guitar Festival 2019 features DTS-HD Master Audio 5.1 and LPCM 2.0 tracks, but like a glut of concert fare I’ve reviewed lately, this is another release where the discs have been authored to default to the stereo track, so have your remote handy if you want to experience the music in surround, which is my advice. Aside from just a couple of “technical errors” like near feedback a couple of times (listen as Sheryl Crow begins “Every Day is Winding Road” for one example), this is a sterling track that offers crystal clear fidelity and very nice reproduction of all frequency ranges. Everything from some of the quieter acoustic moments to other, more electric and arguably head banging, performances register with a full bodied tone and generally well prioritized vocals. The surround track preserves the ambience of the arena environment, with crowd noises occasionally spilling over the performers. No subtitles are offered.

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Eric Clapton – Eric Clapton’s Crossroads Guitar Festival 2019 (Live) (2020) [Official Digital Download 24bit/96kHz]

Eric Clapton – Eric Clapton’s Crossroads Guitar Festival 2019 (Live) (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 03:43:43 minutes | 4,87 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino

Eric Clapton, one of the world’s pre-eminent blues/rock guitarists, once again summoned an all-star team of six-string heroes for his fifth Crossroads Guitar Festival in 2019. Held at the American Airlines Center in Dallas, Texas, the two-day concert event raised funds for the Crossroads Centre in Antigua, the chemical dependency treatment and education facility that Clapton founded in 1998.

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B.B. King & Eric Clapton – Riding with the King (20th Anniversary Deluxe Edition) (2000/2020) [Official Digital Download 24bit/96kHz]

B.B. King & Eric Clapton – Riding with the King (20th Anniversary Deluxe Edition) (2000/2020)
FLAC (tracks) 24-bit/96 kHz | Time – 01:10:59 minutes | 1,48 GB | Genre: Blues Rock
Studio Master, Official Digital Download | Front Cover | © Reprise Records

Eric Clapton & B.B. King‘s album from 2000, Riding With The King, will be reissued next month to mark its 20th anniversary. The 12-track album of all-new studio recordings of blues classics and contemporary songs has been remastered from the original tapes (by Bob Ludwig) and is expanded, featuring two unreleased bonus tracks (recorded during the original sessions). Original co-producer Simon Climie rose to the occasion and produced and mixed these two additional numbers especially for this reissue.

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Eric Clapton – Slowhand (1977/2013) [Official Digital Download DSF DSD64/2.82MHz + FLAC 24bit/96kHz]

Eric Clapton – Slowhand (1977/2013)
DSD64 (.dsf) 1 bit/2,8 MHz | Time – 39:19 minutes | 1,55 GB
FLAC (tracks) 24-bit/96 kHz | Time – 39:19 minutes | 791 MB
Studio Master, Official Digital Download – Source: AcousticSounds / HDTracks | Genre: Rock

This classic 1977 album featured 3 monster hits: “Cocaine”, “Wonderful Tonight”, “Lay Down Sally”, was ranked in Rolling Stone’s “500 Greatest Albums of All Time”, and hit #2 on the Billboard Album Charts. Matching Clapton’s legendary guitar playing with some of his greatest songwriting, the album is among the best recordings of the legendary musician’s career. Everyone needs at least one copy of this classic.

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Eric Clapton – Slowhand (1977/2015) [Official Digital Download 24bit/192kHz]

Eric Clapton – Slowhand (1977/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 39:15 minutes | 1,19 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Polydor Records

After the guest-star-drenched No Reason to Cry failed to make much of an impact commercially, Eric Clapton returned to using his own band for Slowhand. The difference is substantial — where No Reason to Cry struggled hard to find the right tone, Slowhand opens with the relaxed, bluesy shuffle of J.J. Cale’s “Cocaine” and sustains it throughout the course of the album. Alternating between straight blues (“Mean Old Frisco”), country (“Lay Down Sally”), mainstream rock (“Cocaine,” “The Core”), and pop (“Wonderful Tonight”), Slowhand doesn’t sound schizophrenic because of the band’s grasp of the material. This is laid-back virtuosity — although Clapton and his band are never flashy, their playing is masterful and assured. That assurance and the album’s eclectic material make Slowhand rank with 461 Ocean Boulevard as Eric Clapton’s best albums. ~ Stephen Thomas Erlewine

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Eric Clapton – Back Home (2005) [DVD-AUDIO ISO]

Eric Clapton – Back Home
Artist: Eric Clapton | Album: Back Home | Style: Blues | Year: 2005 | Quality: DVD-Audio (MLP 5.1 48kHz/24Bit, MLP 2.0 48kHz/24Bit, Dolby AC3 5.1 48kHz/16Bit, Dolby AC3 2.0 48kHz/16Bit) | Bitrate: lossless | Tracks: 12 | Size: 4.36 Gb | Recovery: 5% | Covers: in archive | Release: Reprise Records | Warner Music Group Company(9362-49440-2), 2005 | Note: Watermarked

Eric Clapton claimed in the press release for Back Home, his 14th album of original material, that “One of the earliest statements I made about myself was back in the late ’80s, with Journeyman. This album completes that cycle in terms of talking about my whole journey as an itinerant musician and where I find myself now, starting a new family. That’s why I chose the title. It’s about coming home and staying home.” With that in mind, it becomes clearer that the studio albums Clapton released during the ’90s did indeed follow some sort of thematic logic. 1989’s Journeyman did find Clapton regrouping after a muddled ’80s, returning to the bluesy arena rock and smooth pop that had been his signature sound as a solo artist. He followed that with 1994’s From the Cradle, where he explicitly returned to the roots of his music by recording an album of blues standards. Four years later, he released Pilgrim, a slick album that had Clapton strengthening his collaboration with producer/co-writer Simon Climie (who first worked with EC on his electronica side project T.D.F.). If Pilgrim touched on father issues, 2001’s Reptile loosely returned Clapton to his childhood (complete with a smiling boyhood shot of him on the cover) and found the guitarist struggling with a seemingly diverse selection of material, ranking from ’50s R&B to James Taylor. After a brief blues detour on 2004’s Me and Mr. Johnson, Clapton returns to the sound and feel of Reptile for Back Home, but he doesn’t seem to be as tentative or forced as he did there. Instead, he eases comfortably into the domesticity that isn’t just the concept for the album, it’s reason for being. In fact, the album doesn’t need “back” in its title — ultimately, the album is just about being home (which, if the center photo of Clapton at home with his three young daughters and wife is to be believed, looks alarmingly similar to the set of Thomas the Tank Engine, complete with a painted rainbow shining through the window).

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Eric Clapton ‎- Reptile (2001) [DVD-Audio ISO]

Eric Clapton ‎- Reptile
Artist: Eric Clapton | Album: Reptile | Style: Blues, Rock | Year: 2001 | Quality: DVD-Audio (MLP 5.1 88.2kHz/24Bit, MLP 2.0 88.2kHz/24Bit, DTS 5.1, Dolby AC3 5.1) | Bitrate: lossless | Tracks: 14 | Size: ~4.21 Gb | Covers: in archive | Release: Reprise | Wea (9 47966-9), 2001 | Note: Watermarked

For a musician known to strive for authenticity, Eric Clapton has always been curiously obsessed with appearances, seemingly as interested in sartorial details and hairstyles as in the perfect guitar lick. It’s hard to find two photographs of him from the 1960s and early ’70s that appear to be the same person, and even after he formally launched his solo career he switched looks frequently. Thus, the album sleeve of his 13th solo studio album of new material, Reptile, its “concept” credited to the recording artist, seems significant. The album cover shows a smiling Clapton as a child, and there are family photographs on the back cover and in the booklet, along with a current photograph of the artist, who turned 56 in the weeks following the album’s release, in an image that does nothing to hide the wrinkles of late middle age. This photograph faces a sleeve note by Clapton that begins with his explanation of the album title: “Where I come from, the word ‘reptile’ is a term of endearment, used in much the same way as ‘toe rag’ or ‘moosh.'” (Thanks, Eric. Now, all listeners have to do is find out what “toe rag” and “moosh” mean!) The note then goes on to dedicate the album warmly to Clapton’s uncle. All of this might lead you to expect an unusually personal recording from a man who has always spoken most eloquently with his guitar. If so, you’d be disappointed. Reptile seems conceived as an album to address all the disparate audiences Clapton has assembled over the years. His core audience may think of him as the premier blues guitarist of his generation, but especially as a solo artist, he has also sought a broader pop identity, and in the 1990s, with the hits “Tears in Heaven” and “Change the World,” he achieved it. The fans he earned then will recognize the largely acoustic sound of such songs as “Believe in Life,” “Second Nature,” and “Modern Girl.” But those who think of Clapton as the guy who plays “Cocaine” will be pleased with his cover of another J.J. Cale song, “Travelin’ Light,” and by the time the album was in record stores mainstream rock radio had already found “Superman Inside,” which sounds like many of his mid-tempo rock hits of the ’80s. This diversity is continued on less familiar material, especially the many interesting cover songs. Somebody, perhaps the artist himself, has been busy looking for old chestnuts, since Reptile contains a wide variety of them: the 1930 jazz song “I Want a Little Girl,” recorded by McKinney’s Cotton Pickers among others; John Greer’s 1952 R&B hit “Got You on My Mind”; Ray Charles’ 1955 R&B hit “Come Back Baby”; James Taylor’s 1972 hit “Don’t Let Me Be Lonely Tonight”; and Stevie Wonder’s 1980 hit “I Ain’t Gonna Stand for It.” The two earliest of these songs are old and obscure enough that Clapton is able to make them his own, and he recasts the Taylor song enough to re-invent it, but remaking songs by Charles and Wonder means competing with them vocally, and as a singer Clapton isn’t up to the challenge. He is assisted by the current five-man version of the Impressions, who do much to shore up his vocal weaknesses, but he still isn’t a disciplined or thoughtful singer. Of course, when that distinctive electric guitar sound kicks in, all is forgiven. Still, Reptile looks like an album that started out to be more ambitious than it ended up being. There may be a song here for each of the artist’s constituencies (and, more important to its commercial impact, for every major radio format except talk and country), but as a whole the album doesn’t add up to the statement Clapton seems to have been hoping to make.

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