Entertainment Host Reviews Eric Clapton's Autobiography

Clapton: The Autobiography
By Eric Clapton
New York: Random House, 2007



Reviewed by Wesley Britton. Originally for Wesley Britton’s Entertainment Scrapbook


Every once in a while, I have time to pick up a book not related to radio interviews or my other projects. As a result, this review is a bit behind the curve. Well, perhaps your own bookshelf is like mine—here is a pile of must-reads, here are titles that just arrived in the mailbox, and over here are books I’m eager to read when I’m caught up with all the obligatory work. Ah, the desk is clear tonight—why not spend a few hours with ole EC who, even if he’s not God, is at least in the pantheon of those who once seemed to be messengers from above?

Of course, the story of Eric Clapton is more than well known—and he’s not alone. Memoirs of rock stars, especially those written by icons of the ‘60s, tend to follow a similar arc. First, we’re often told about the working-class backgrounds of young boys sparked into life when they heard the records of their idols. For British youth, these usually meant blues masters like Robert Johnson or early rockers like Chuck Berry and Little Richard. Then, the autobiographies trace how the devotees bought their first instruments, practiced diligently on them, knocked about with friends in various ensembles, and then recount how they came to fame with hit records and life on the road.

Then, too often, fame brings the excesses of sexual, alcoholic, and/or drug addictions. Years, decades go by with music taking a back seat to the pursuit of the highest highs accompanied by the lowest lows. Finally, the addictive cycle is broken and the musician finds peace, stability, self-awareness, and rehabilitation. And gratitude they survived at all.

Such is the tale of Eric Clapton who candidly admits, again and again in his memoirs, that his road was one paved with bad choices. Sharing all but the most graphic of details, “Slowhand” (who gives new meaning to the moniker by revealing he typed out the MS using one finger on his computer) talks about his painful childhood as a virtual orphan raised by his grandparents and how the blues became his lifeblood. From his earliest days, Clapton was a mix of a strong ego—being such a purest he left the Yardbirds when they went commercial—and a man plagued with deep feelings he was unworthy of romantic relationships that could blend sex with friendship. The latter would become a recurring pattern in his life, resulting in a string of liaisons doomed by first heroine and then alcohol.

As a result, the story of Clapton’s life begins with a slow building of energy filled with youthful excitement, idealism, and then stories of playing with the legends of his day, Cream, John Mayall, Jimi Hendrix. The rise in his fortunes hits its top with the Delany and Bonnie-inspired first solo album and the powerful creativity of Derek and the Dominoes. From that point forward, twenty years go by as nearly as painful to read about as they must have been to experience. One wonders how Clapton was able to produce any music at all during these years and it’s not surprising much of his output from the late ‘70s forward was so lean and limp in both the studio and on stage. Clapton himself expresses little pride in much of his work during this period. For example, he spends more time talking about his affair with Yvonne Elliman than the hours he spent in the studio producing 461 Ocean Boulevard. Then again, considering the amount of intoxicants in his system, it’s difficult to see how much he could remember as his abilities declined and his obsession with Patti Boyd Harrison went every which way but right.

Finally, with age comes wisdom and freedom from the old patterns. After kicking his sexual and substance dependencies, Clapton turns his attentions to helping other addicts and investing time and money in genuinely making this world a better place. Once again, Clapton’s writing style takes on an uplifting tone even if the final chapters are filled with descriptions of sailing, beaches, and fly-fishing that read like extended blog entries.

Frankly, this is an autobiography likely to interest Eric Clapton fans and few others. Fortunately, Clapton has legions of admirers and rightly so—but they’d be better rewarded playing the music than delving into the missteps of an obsessed lover who confesses to sleeping with an overweight “witch” because she claimed to have the power to return “Layla” to his bed. Did we really need to know this? Perhaps it’s just me, but I’m not interested in the details of sexual dysfunction—it’s the music I want to know about. There are nuggets, as when Clapton shares the humorous origins of “Wonderful Tonight,” his response to Patti taking too long to get ready to go out. But the humor dissipates when we learn Clapton had difficulty playing the song after his break-up because of its associations with “Nell”—the name Clapton gave Patti to distinguish his Pattie from the person once wedded to George Harrison. I was happy to learn Clapton thought as little of “I Shot The Sheriff” as I did, a song I never thought was worthy of the airplay it earned. Of course, it’s impossible not to feel the pain Clapton suffered over the death of his son, Conner. But such anecdotes and revelations are scattered in between lengthy descriptions of revolving bed-mates and drinking binges, making much of the book easier to skim than digest whole. In the end, I was filled with relief—both for Clapton himself and for me, the reader

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Reviewer Dr. Wesley Britton is co-host of online radio’s “Dave White Presents” which features interviews with a wide range of entertainers. Past programs are archived at www.audioentertainment.org/dwp. He is also author of four books on espionage and runs www.spywise.net. Wes teaches English at Harrisburg Area Community College.

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The New Book Review is blogged by Carolyn Howard-Johnson, author of the multi award-winning HowToDoItFrugally series of books for writers. It is a free service offered to those who want to encourage the reading of books they love. That includes authors who want to share their favorite reviews, reviewers who'd like to see their reviews get more exposure, and readers who want to shout out praise of books they've loved. Please see submission guidelines on the left of this page. Reviews and essays are indexed by author names, reviewer names, and review sites. Writers will find the index handy for gleaning the names of small publishers. Find other writer-related blogs at Sharing with Writers and The Frugal, Smart and Tuned-In Editor. As a courtesy to the author, please tweet and retweet this post using the widget below:

Wesley Britton Loves to Revisit Rock 'n Roll

Psychedelic Days (1960-1969)
By Patrick Campbell-Lyons
GRA Publishing, Nov 25 2009
$19.99



Review by: Wesley Britton originally posted at Wesley Britton’s Entertainment Scrapbook


Like everyone else, I’m sure, when I pick up a biography or history dealing with rock ‘n roll, I choose titles about performers, bands, or periods I’m interested in. Normally, I’m looking for the behind-the-scenes stories about how classic music came to be, whether written by stars like Eric Clapton, session musicians like Vic Flick, or historians who’ve done their due diligent homework.

But, last month, I received a review copy of a book called Psychedelic Days written by a performer from a band I never heard of—the British Nirvana of the late ‘60s. I had absolutely no pre-conceived ideas about the book as, then and now, I’ve never heard a bar of their music. But, as revealed in Patrick Campbell-Lyons’s fast-paced (240 pages) memoir, I’m far from being alone, at least in the states. While the original Nirvana made waves internationally, because Bell Records in the U.S. released the debut album with no publicity whatsoever, it disappeared without a trace, the band not even knowing an American version had been issued. So when I began reading the text of PD, what I knew about Nirvana wouldn’t fill a back-cover publicity blurb.

So here’s a bit of history: While a number of musicians came and went on stage and in the studio, Nirvana was essentially Irish guitarist Patrick Campbell-Lyons and Greek composer/ keyboardist Alex Spyropoulos. Before ELO and the “progressive rock” of the ‘70s, they fused rock ensembles with baroque instruments for a then fresh approach in popular music. Their Oct. 1967 album, The Story of Simon Simopath, is widely regarded as a predecessor to concept albums by the likes of The Who and The Kinks. The LP was produced by Chris Blackwell for his then-new Island Records, and Blackwell and his legendary label play a prominent role in Psychedelic Days.

Apparently a moderately commercial success, Nirvana’s single “Rainbow Chaser” was their biggest hit in 1968, the first rock single to use flange from beginning to end (flange being the sound you hear in the Small Faces “Itchycoo Park.”)Nirvana was nonetheless a critical favorite and the group was part of the heady days of late ‘60s counter-culture. So, while Campbell-Lyons’ memoir is told from a performer’s point-of-view, the tale is essentially a whirlwind tour of what life was like experiencing the exuberance of the times in England, Greece, France, South America, Morocco, and points in between. Campbell-Lyons paints a wide canvas of just how interconnected youth culture was around the world. No matter where you hailed from, you didn’t need to be Jimi Hendrix or Mick Jagger to have a good time, and Campbell-Lyons and most of the cast of players in his book were indeed having the times of their lives. The first paragraph sets the stage:

For me and Nirvana, the ‘60s were a trip indeed. Immigration blues, Paddies, navvies, booze, dope deals, thrills and pills, rhythm & blues, guitars and groupies, Mods and Rockers, free love and flower power, bohemian swagger boys and gypsy princesses, Ealing Art College, the local scenesters at Jim Marshall’s Music Store in Hanwell, Speedy Keen, Mitch Mitchell, John McVie, Cliff Barton, Jimmy Royal, Ron Wood and Kim Gardner with the Birds, the boss guitar man Terry Slater, Pete Townshend, Pete Meaden, Vic Griffiths (the best harp player in West London), the legendary Ealing Club, the Rolling Stones, the Speakeasy in Margaret Street W1, the Limbo Club in Soho, the Bluebeat Jukebox, Blackbombers in Hyde Park, 51 Club Great Newport Street, La Gioconda Café, Denmark Street and the Tin Pan Alley publishing houses, Regent Sound, St. Martins, the musical >>Hair>>, >>You Can All Join In>>, Jimi Hendrix, Guy Stevens, Mickie Most, Hamburg’s Star Club, Paris, Belgium, Rio de Janeiro with Jimmy Cliff, Stockholm, Tangiers and the “happenings” of Morocco, Island Records and Chris Blackwell, Alex Spyropoulos and I creating the band Nirvana.

Like I said, that’s just the first paragraph, and the roller-coaster ride to follow is just what the title claims—Psychedelic Days. This is one reason readers unfamiliar with a band pretty much a footnote in rock history would enjoy this trip. It’s not an introspective personal odyssey chronicling inner torments or regrets about any addictive excesses. It’s not a vanity trip either, but rather a lively series of vivid observations from the inside looking out. That alone is something different in the genre of rock memoirs. Yes, the book has the perfect title—it’s about a time that remains unique, whether you were a concert attendee or standing behind a mic. It looks at these heady days from a perspective I’ve not encountered before, that is how the youth scene expressed itself all over the world.

If you can get homesick for an era, this book can do that. If you weren’t there, well, this is a time capsule you’ll enjoy swallowing. For more details and ordering information:

www.psychedelicdays.com/PatrickBio.html

To read some samples from the book:

blogs.myspace.com/index.cfm?fuseaction=blog.ListAll&friendID=85882077

Now, to see if I can track down some of this unheard music—

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Reviewer Dr. Wesley Britton is co-host of online radio’s “Dave White Presents” which features interviews with a wide range of entertainers. Past programs are archived at www.audioentertainment.org/dwp. He is also author of four books on espionage and runs www.spywise.net. Wes teaches English at Harrisburg Area Community College.

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The New Book Review is blogged by Carolyn Howard-Johnson, author of the multi award-winning HowToDoItFrugally series of books for writers. It is a free service offered to those who want to encourage the reading of books they love. That includes authors who want to share their favorite reviews, reviewers who'd like to see their reviews get more exposure, and readers who want to shout out praise of books they've loved. Please see submission guidelines on the left of this page. Reviews and essays are indexed by author names, reviewer names, and review sites. Writers will find the index handy for gleaning the names of small publishers. Find other writer-related blogs at Sharing with Writers and The Frugal, Smart and Tuned-In Editor. As a courtesy to the author, please tweet and retweet this post using the widget below: