Clapton Quotes

For me there is something primitively soothing about this music, and it went straight to my nervous system, making me feel ten feet tall.

I found my God in music and the arts, with writers like Hermann Hesse, and musicians like Muddy Waters, Howlin' Wolf, and Little Walter. In some way, in some form, my God was always there, but now I have learned to talk to him.

Like a fool, I fell in love with you, Turned my whole world upside down

Musically, he was like an old man in a boy's skin.

If you hand me a guitar, I'll play the blues. That's the place I automatically go.

the thing about pessimism is that in most cases it's nothing more than a front behind which a body can hide its most sweetful yet painful hopes. please forgive mine.

At first the music almost repelled me, it was so intense, and this man made no attempt to sugarcoat what he was trying to say, or play. It was hard-core, more than anything I had ever heard. After a few listenings I realized that, on some level, I had found the master, and that following this man's example would be my life's work.

Don't you think women would be happier if Layla had a whole chorus about Eric Clapton watching Patti Boyd trying to climb over a park fence, pissed, in order to retrieve a shoe she threw in there, for a bet?

I am and always will be a blues guitarist

I never set myself too high a goal. It was always tone and feeling, for me.

Would you know my name If I saw you in heaven Will it be the same If I saw you in heaven I must be strong, and carry on Cause I know I don't belong Here in heaven Would you hold my hand If I saw you in heaven Would you help me stand If I saw you in heaven I'll find my way, through night and day Cause I know I just can't stay Here in heaven

one night, they went down to the Village for dinner at an italian restaurant. most of the band had picked up young girls and had them hanging on their arms. janis was feeling lonesome and said, "goddamn, you guys have all these groupies and i don't have anybody." turning to mark, the youngest person in the crowd, she ordered, "go out on the street there and find the first pretty boy you see and bring him to me." aw, i dunno," mark said. go ahead," janis said. after a while, mark returned with a handsome, long-haired youth with a british accent. he was wearing a floor-length embroidered afghan wool coat. looking him over, janis nodded approvingly and said, "he's cute, mark!" turning to the young man, she said, "well! hi, honey! sit down! my name's janis joplin. have you ever heard of me?" yeah," he said, "i've heard of you." oh," she said, "what's your name?" eric clapton.

It’s one of those songs— like Eric Clapton’s “Tears in Heaven”— that everyone knows all the words to without ever having chosen to learn them.

I have always been resistant to doctrine, and any spirituality I had experienced thus far in my life had been much more abstract and not aligned with any recognized religion. For me, the most trustworthy vehicle for spirituality had always proven to be music. It cannot be manipulated, or politicized, and when it is, that becomes immediately obvious.

Early in my childhood, when I was about six or seven, I began to get the feeling that there was something different about me.

My definition of Blues is that it's a musical form which is very disciplined and structured coupled with a state of mind, and you can have either of those things but it's the two together that make it what it is. And you need to be a student for one, and a human being for the other, but those things alone don't do it.

Music became a healer for me, and I learned to listen with all my being. I found that it could wipe away all the emotions of fear and confusion relating to my family.

Watching him, I understood for the first time how you could really live music, how you could listen to it completely and make it come alive, so that it was part of your life.

Let it grow, let it grow, Let it blossom let it flow. In the sun, the rain, the snow, Love is lovely, let it grow.

All I am certain of right now is that I don't want to go anywhere, and that's not bad for someone who always used to run.

Music will always find its way to us, with or without business, politics, religion, or any other bullshit attached. Music survives everything, and like God, it is always present. It needs no help, and suffers no hindrance. It has always found me, and with God’s blessing and permission, it always will.

I look up to discover a large, brown owl with three eyes glaring at me, waiting for my demise, I suspect.

The music scene as I look at it today is a little different from when I was growing up. The percentages are roughly the same - 95 percent rubbish, 5 percent pure.

You ever heard of Chet Atkins?” I shook my head. “How soon the great are forgotten. Google him when you get back. Excellent guitarist, up there with Clapton and Knopfler.

Here's a note to the parents of addicted children: choose your music carefully. Avoid Louis Armstrong's "What a Wonderful World", from the Polaroid or Kodak or whichever commercial, and the songs "Turn Around" and "Sunrise, Sunset" and - there are thousands more. Avoid Cyndi Lauper's "Time After Time," and this one, Eric Clapton's song about his son. Leonard Cohen's "Hallelujah" sneaked up on me one time. The music doesn't have to be sentimental. Springsteen can be dangerous. John and Yoko. Bjork. Dylan. I become overwhelmed when I hear Nirvana. I want to scream like Kurt Cobain. I want to scream at him. Music isn't all that does it. There are millions of treacherous moments. Driving along Highway 1, I will see a peeling wave. Or I will reach the fork where two roads meet near Rancho Nicasio, where we veered to the left in carpool. A shooting star on a still night at the crest of Olema Hill. With friends, I hear a good joke - one that Nic would appreciate. The kids do something funny or endearing. A story. A worn sweater. A movie. Feeling wind and looking up, riding my bike. A million moments.

What I can play is blues. She was never that into blues. I can salve with Lightning and Cotton, BB and Clapton and Stevie Ray. I can blast Son Seals singing Dear Son until the coyotes in the creek raise up a sympathetic sky ripping interpretation of the harmonica solo. Piercing howls and yelps. Sounds like it’s killing them and also like they love it. Which when you get right down to it is the blues.

In terms of scale or stature, I believe that if Robert Johnson was reincarnated, he is probably BB King. Maybe it would be worth investigating the appropriate dates to see if this is even a remote possibility.

An obsession is where something will not leave your mind

La tournée terminée, Tom et Roger pensèrent qu'après le succès de I Shot The Sheriff, ce serait bien de descendre dans les Caraïbes pour continuer sur le thème du reggae. Ils organisèrent un voyage en Jamaïque, où ils jugeaient qu'on pourrait fouiner un peu et puiser dans l'influence roots avant d'enregistrer. Tom croyait fermement au bienfait d'exploiter cette source, et je n'avais rien contre puisque ça voulait dire que Pattie et moi aurions une sorte de lune de miel. Kingston était une ville où il était fantastique de travailler. On entendant de la musique partout où on allait. Tout le monde chantait tout le temps, même les femmes de ménage à l'hotel. Ce rythme me rentrait vraiment dans le sang, mais enregistrer avec les Jamaïcains était une autre paire de manches. Je ne pouvais vraiment pas tenir le rythme de leur consommation de ganja, qui était énorme. Si j'avais essayé de fumer autant ou aussi souvent, je serais tombé dans les pommes ou j'aurais eu des hallucinations. On travaillait aux Dynamic Sound Studios à Kingston. Des gens y entraient et sortaient sans arrêt, tirant sur d'énormes joints en forme de trompette, au point qu'il y avait tant de fumée dans la salle que je ne voyais pas qui était là ou pas. On composait deux chansons avec Peter Tosh qui, affalé sur une chaise, avait l'air inconscient la plupart du temps. Puis, soudain, il se levait et interprétait brillamment son rythme reggae à la pédale wah-wah, le temps d'une piste, puis retombait dans sa transe à la seconde où on s'arrêtait.

Harrison’s visit to Dylan’s Woodstock sessions and his invitation to Eric Clapton to solo on “While My Guitar Gently Weeps” convinced him that an outsider could revive stalled sessions. Dylan and the Band treated Harrison as an equal, while in his own band, Lennon and McCartney persistently patronized his material, even as it began to peak. (Lennon, in fact, sat out most of Harrison’s Beatle recordings from here on out.) Taking in an ally could only ease Harrison’s reentry into the contentious Beatle orbit. Along with lobbying for Ringo Starr to replace Pete Best, bringing Preston into the Get Back project stands as a defining move for Harrison: he single-handedly rescued Let It Be, and pushed his material throughout 1969, until Abbey Road featured his best work yet.

Guess what song they picked for their first dance.” “What song?” “‘From This Moment On’ by Shania Twain.” He frowns. “I never heard of that before.” “It’s really cheesy, but they love it, apparently. Do you realize that we don’t have a song? Like, a song that’s ours.” “Okay, then let’s pick one.” “It doesn’t work like that. You don’t just pick your song. The song picks you. Like the Sorting Hat.” Peter nods sagely. He finally finished reading all seven Harry Potter books and he’s always eager to prove that he gets my references. “Got it.” “It has to just…happen. A moment. And the song transcends the moment, you know? My mom and dad’s song was ‘Wonderful Tonight’ by Eric Clapton. They danced to it at their wedding.” “So how did it become their song, then?” “It was the first song they ever slow danced to in college. It was at a dance, not long after they first started dating. I’ve seen pictures from that night. Daddy’s wearing a suit that was too big on him and my mom’s hair is in a French twist.” “How about whatever song comes on next, that’s our song. It’ll be fate.” “We can’t just make our own fate.” “Sure we can.” Peter reaches over to turn on the radio. “Wait! Just any radio station? What if it’s not a slow song?” “Okay so we’ll put on Lite 101.” Peter hits the button. “Winnie the Pooh doesn’t know what to do, got a honey jar stuck on his nose,” a woman croons. Peter says, “What the hell?” as I say, “This can’t be our song.” “Best out of three?” he suggests.

The gravity of our situation isn't lost on me, but I stall for a few more moments. No one will like what I have to say. Our island is self-sufficient alright. Except for the threads of kelp we use to make súgán, rope that makes the trambles that we desperately need to catch fish. The long-stranded kelp comes from a dangerous, forbidden place below the island, a land belonging to no one that is situated between us and an enemy tribe, a tribe of fish people known as Iasc. As such, for lack of a better name, my people call the almost mythical area, as none of us has laid eyes on it, the Between.

The concerts went off as Concert for Bangladesh on August 1 (afternoon and evening shows), with Ringo Starr double-drumming next to Jim Keltner and an all-star band, including Billy Preston, Leon Russell, Klaus Voormann, Badfinger, and Eric Clapton. Reunion rumors evaporated the minute Harrison introduced Bob Dylan, who hadn’t performed widely in America since his motorcycle accident in 1966. Except for the Woody Guthrie memorial concert with the Band in 1968, Dylan hadn’t appeared on a New York stage since 1966, and he quickly upstaged everybody by reworking five songs that signaled a larger return to form. Once again, Harrison trumped expectations by bringing in a ringer.

The four solo careers unveiled previously hidden internal politics as each man packed and moved out from the cozy Beatle mansion. Lennon seemed closest to Ringo, and then George; neither Harrison nor Lennon ever appeared on a McCartney solo album or vice-versa, whereas Ringo played for all three. Of course, Lennon’s solo “career” had begun as early as 1968 with numbers like “What’s the New Mary Jane” and “Revolution 9” during the White Album sessions, and then his avant-garde projects with Ono. Casual jams reflected these affinities as well: John and Yoko appeared onstage with George Harrison, Eric Clapton, and the Bonnie and Delaney band in London in December of 1969. Harrison was slumming with the band after sitting in for a night and having rather too much fun; he appeared onstage anonymously until it got reported in the music press. Mostly they got away with two weeks of touring, with Clapton and Harrison sharing lead guitars almost before most audiences figured this out.

Johnny Rotten slouches at the front of the stage, propped up on the mike stand. He's leaning so far forward he looks as if he might topple into the empty space in front of the audience. · His face is pale and his body is twisted into such an awkward ugly shape he looks deformed. He looks ordinary, about the same age as us, the kind of boy I was at comprehensive school with. He's not a flashy star like Marc Bolan or David Bowie, all dressed up in exotic costumes, he's not a virtuoso musician like Eric Clapton or Peter Green, he's not even a macho rock-and-roll pub-band singer – he's just a bloke from Finsbury Park, London, England, who’s pissed off. Johnny sneers at us in his ordinary North London accent, his voice isn't trained and tuneful, it's a whiny cynical drawl, every song delivered unemotionally. There's no fake American twang either. All the things I'm so embarrassed about, John's made into virtues. He's unapologetic about who he is and where he comes from. Proud of it even. He's not taking the world's lack of interest as confirmation that he’s wrong or worthless. I look up at him twisting and yowling and realise it's everyone else who's wrong, not him. How did he make that mental leap from musically untrained, state-school-educated, council estate boy, to standing on stage in front of a band? I think he's brave. A revolutionary. He's sending a very powerful message, the most powerful message anyone can ever transmit. Be yourself.

In the genre of “making you feel like you’re not having an awesome American high school experience,” the worst offender is actually a song: John Cougar Mellencamp’s “Jack & Diane.” It’s one of those songs—like Eric Clapton’s “Tears in Heaven”—that everyone knows all the words to without ever having chosen to learn them.

when rock dudes idolize black bluesmen, they always give the bluesmen artistic credit: Robert Johnson didn’t get any money from Clapton’s cover of “Crossroads,” nor did Leadbelly see much benefit from Nirvana’s admiration, but both Johnson and Leadbelly are explicitly cited as artistic influences–they got credit for their work. (In fact, the gesture of giving credit to a black man is what establishes the white dude’s status as elite among other white dude artists.) But black women artists? They don’t even get credit for their work.

at Criteria Studios, so we rented, among other houses, 461 Ocean Boulevard, Miami Beach, the white stucco beach house made famous by Eric Clapton and his comeback album, called 461 Ocean Boulevard, released in 1974.

Elvis had been a truck driver, but John Lennon, Pete Townshend, Eric Clapton, Jeff Beck, Jimmy Page, Ray Davies, and Keith Richards were all art college students who tended to think of themselves as artists.

He was older and loved to play Eric Clapton's single "Change the World" on repeat while we snorted cocaine off the side of his pool table with lucky $2 bills.

Given the choice between accomplishing something and just lying around, I’d rather lie around. No contest. —ERIC CLAPTON

You’re Beautiful — James Blunt Trouble — Ray LaMontagne Brilliant Disguise — Bruce Springsteen Crash into Me — Dave Matthews Band Wonderful Tonight — Eric Clapton Pictures of You — The Cure Northern Wind — City and Colour Desire — Ryan Adams Better Together — Jack Johnson Comme des enfants — Coeur de Pirate Let Her Go — Passenger Here Comes the Sun — George Harrison

As it turned out, none of this mattered, as in the end, after the group broke up, John gave the tapes to Phil Spector, who puked all over them, turning the album into the most syrupy load of bullshit I have ever heard. My master tape, perhaps quite rightly, ended

No one should ever underestimate the influence that Pete Townshend has had on popular music. There is no question in my mind that both he and The Who were every bit as influential as The Beatles and the Stones as the UK invasion took America and the rest of the world by storm. He was equally as innovative as a musician and lyricist, finding a way to state the feelings of the mod generation he and the band represented. The combination of these four unlikely cohorts interpreting Pete’s writing was something to behold, each of them contributing in his own original way. The seemingly uncontrolled explosion of energy they produced, glued together by exceptional musicianship.

John had recently appeared in the Stones’ Rock and Roll Circus in a supergroup that was an unlikely combination of him, Keith Richards, Eric Clapton, and Mitch Mitchell. It was unrehearsed, and the performance was just a bit of fun really. I was in my booth, way up in the gods, recording the sound for the show, and the area on the set where they were playing was obscured from my view. All was going well until I heard this extraordinary noise that sounded like someone stepping on the cat. I panicked, thinking that a piece of equipment might be malfunctioning, while peering at the screen trying to see if it was adversely affecting the guys onstage. All of a sudden a picture appeared of a small figure with a black bag over its head with a mic cable disappearing into it. It turned out to be Yoko, who had decided to contribute to the proceedings. How anyone could have considered her intrusion to be in any way musical is a complete mystery to me.

It's been up to me to inspire me.

During the pause while I was changing my string, the frenzied audience would often break into a slow handclap, inspiring Giorgio to dream up the nickname of “Slow hand” Clapton.

In a trio I had to provide a lot more of the sound, and I found that difficult because I didn’t really enjoy having to play so much. My technique altered quite a lot in that I started playing a lot more bar chords and hitting open strings to provide a kind of drone for my lead work.

also coveted Pattie because she belonged to a powerful man who seemed to have everything I wanted—amazing cars, an incredible career, and a beautiful wife.

For me, going on after Delaney & Bonnie was really, really tough because I thought they were miles better than us. Their

When you are playing night after night on a punishing schedule, often not because you want to but because you are contractually obligated to, it is only too easy to forget the ideals that once brought you together. There were times, too, when, playing to audiences who were only too happy to worship us, complacency set in. I began to be quite ashamed of being in Cream, because I thought it was a con. It wasn’t really developing from where we were. As we made our voyage across America, we were being exposed to extremely strong and powerful influences, with jazz and rock ’n’ roll that was growing up around us, and it seemed that we weren’t learning from it.

To this day I would say that the bass player Carl Radle and the drummer Jimmy Gordon are the most powerful rhythm section I have ever played with. They were absolutely brilliant. When people say that Jim Gordon is the greatest rock ’n’ roll drummer who ever lived, I think it’s true, beyond anybody.

Musically I was fed up with the virtuoso thing. Our gigs had become nothing more than an excuse for us to show off as individuals, and any sense of unity we might have had when we started seemed to have gone out the window.

We just got together onstage and played and then went our separate ways. In the end this was the undoing of the music. I think if we had been able to listen to each other, and care for one another more, then Cream might have had a chance of further life, but at that point it was beyond our grasp as individuals. We were immature and incapable of putting aside our differences. Maybe, too, a little rest now and then might have helped.

When we arrived in Toronto it was raining, and we were standing around waiting for the luggage when a huge limo rolled up, and John and Yoko jumped into it and drove away, leaving the rest of us standing there without a clue as to what to do next. “Well, that’s nice,” I thought. In the end we got in the van with the luggage, which I deemed a bit sad, as I felt we deserved a little more respect than that.

the same thing happened when I first heard Big Bill Broonzy. I saw a clip of him on TV, playing in a nightclub, lit by the light from a single lightbulb, swinging in its shade from the ceiling, creating an eerie lighting effect. The tune he was playing was called “Hey Hey,” and it knocked me out. It’s a complicated guitar piece, full of blue notes, which are what you get by splitting a major and a minor note. You usually start with the minor and then bend the note up toward the major, so it’s somewhere between the two. Indian and Gypsy music also use this kind of note bending. When I first heard Big Bill and, later, Robert Johnson, I became convinced that all rock ’n’ roll—and pop music too, for that matter—had sprung from this root.

never occurred to me that perhaps I wasn’t responsible for everything that happened in the world.

There were too many Cream and Traffic fans around for that, and the truth is we didn’t really know or care which we were. Looking back, I realize that from the start I knew that this was not what I really wanted to do, but I was lazy. Instead of putting more time and effort into making the band into what I thought it ought to be, I opted instead for the laid-back approach, which was just to look for something else that already had an identity.

Let It Grow,” and it was several years before I realized that I had totally ripped off “Stairway to Heaven,” the famous Zeppelin anthem, a cruel justice seeing as how I’d always been such a severe critic of theirs.

The acid gradually took effect, and soon we were all dancing to the sounds of “Lucy in the Sky” and “A Day in the Life.” I have to admit I was pretty moved by the whole thing.

While I was in LA, I had been playing some of the songs on the album to various friends when I got a phone call from George. Word had got back to him that I was playing the album around town, and he was furious and gave me a huge bollocking. I remember being incredibly hurt because I thought I’d been doing a grand job of promoting their music to really discriminating people. It brought me down to earth with a bang, and it was a good lesson to learn about boundaries, and not making assumptions, but it stung like hell. For a little while I steered clear of him, but in time we became friends again, although after that, I was always a little wary of letting my guard down around him.

When things began to go badly wrong between me and Alice, I had a terrible fear that getting attached to an upper-class girl like her was part of a childhood resentment, connected to my feelings about my mother, to bring down women, and that deep inside I was thinking, “Here’s an Ormsby-Gore, and I’m going to make her suffer.

Though I didn’t meet Bob Marley till much later, he did call me up when the single came out and seemed pretty happy with it. I tried to ask him what the song was all about, but couldn’t understand much of his reply. I was just relieved that he liked what we had done.

Jimi Hendrix is the Greatest, Jeff Beck is the Best, Eric Clapton has no equal, but I prefer to listen to Jimmy Page

Manners, mannerisms, and customs change, and just when you believe that humans have reached the epicenter of their own decorum degeneration, they become more relaxed and care even less.

Clapton’s “Layla

Having started when everything had to be recorded at once, I have never lost the value of musicians interacting with one another as they play. This can be so subtle, and invariably is nothing more than a subconscious emotive reaction to what others are playing around you, with what you are contributing having the same effect on them. When a musician overdubs his or her part onto an existing track, this ceases to be a two-way reaction. With only the musician who is added being affected by what he or she is playing to. Recording equipment was originally designed to capture the performance of a piece of music. Now it influences the way music is written and performed.

Heidi Schindler is Heidi Klauss now. Forty-one years old, she lives in a suburb of Frankfurt with a husband and four children, and is reasonably happy, certainly happier than she expected to be at twenty-three. The paperback copy of Howards End is still on the shelf in the spare bedroom, forgotten and unread, with the letter tucked neatly just inside the cover, next to an inscription in small, careful handwriting that reads: To dear Dexter. A great novel for your great journey. Travel well and return safely with no tattoos. Be good, or as good as you are able. Bloody hell, I’ll miss you. All my love, your good friend Emma Morley, Clapton, London, April 1990

Asteria’s Ship’s Library Sailing Books Admiralty, NP 136, Ocean Passages of the World, 1973 (1895).  Admiralty, NP 303 / AP 3270, Rapid Sight Reduction Tables for Navigation Vol 1 & Vol 2 & Vol3. Admiralty, The Nautical Almanac 2018 & 2019. Errol Bruce: Deep Sea Sailing, 1954. K. Adlard Coles: Heavy Weather Sailing, 1967. Tom Cunliffe: Celestial Navigation, 1989. Andrew Evans: Single Handed Sailing, 2015. Rob James: Ocean Sailing, 1980. Robin Knox-Johnston: A World of my Own, 1969. Robin Knox-Johnston: On Seamanship & Seafaring, 2018. Bernard Moitessier: The Long Route, 1971. Hal Roth: Handling Storms at Sea, 2009. Spike Briggs & Campbell Mackenzie: Skipper's Medical Emergency Handbook, 2015 Essays Albert Camus: The Myth of Sisyphus & Other Essays, 1955. Biographies Pamela Eriksson: The Duchess, 1958. Olaf Harken: Fun Times in Boats, Blocks & Business, 2015. Martti Häikiö: VA Koskenniemi 1–2, 2009. Eino Koivistoinen: Gustaf Erikson – King of Sailing Ships, 1981. Erik Tawaststjerna: Jean Sibelius 1–5, 1989. Novels Ingmar Bergman: The Best Intentions, 1991. Bo Carpelan: Axel, 1986. Joseph Conrad: The End of the Tether, 1902. Joseph Conrad: Youth and Other Stories 1898–1910.  Joseph Conrad: Heart of Darkness, 1902. Joseph Conrad: Lord Jim, 1900. James Joyce: Ulysses, 1922, (translation Pentti Saarikoski 1982). Volter Kilpi: In the Alastalo Hall I – II, 1933. Thomas Mann: Buddenbrooks, 1925. Harry Martinson: The Road, 1948. Hjalmar Nortamo: Collected Works, 1938. Marcel Proust: In Search of Lost Time 1–10, 1922. Poems Aaro Hellaakoski: Collected Poems. Homer: Odysseus, c. 700 BC (translation Otto Manninen). Harry Martinson: Aniara, 1956. Lauri Viita: Collected Poems. Music Classic Jean Sibelius Sergei Rachmaninov Sergei Prokofiev Gustav Mahler Franz Schubert Giuseppe Verdi Mozart Carl Orff Richard Strauss Edvard Grieg Max Bruch Jazz Ben Webster Thelonius Monk Oscar Peterson Miles Davis Keith Jarrett Errol Garner Dizzy Gillespie & Benny Dave Brubeck Stan Getz Charlie Parker Ella Fitzgerald John Coltrane Other Ibrahim Ferrer, Buena Vista Social Club Jobim & Gilberto, Eric Clapton Carlos Santana Bob Dylan John Lennon Beatles Sting Rolling Stones Dire Straits Mark Knopfler Moody Blues Pink Floyd Jim Morrison The Doors Procol Harum Leonard Cohen Led Zeppelin Kim Carnes Jacques Brel Yves Montand Edit Piaf

Punctuality is the thief of time.

took an instant dislike to him and this impression was to remain with me for many years, until I met him under completely different circumstances and came to realize what an exceptional man he was. If you want a great read you should get his book, written with Robert Greenfield, called Bill Graham Presents. It is a fascinating autobiography of an extraordinary man.

Something more profound also happened when I got this guitar. As soon as I got it, I suddenly didn’t want it anymore. This phenomenon was to rear its head throughout my life and cause many difficulties.

The gradual increase in popularity of the Mersey sound forced musicians like me to almost go underground, as if we were anarchists, plotting to overthrow the music establishment. It seemed that the “trad jazz” movement was dying, and was taking folk and blues with it.

What I would do was use the bridge pickup with all of the bass turned up, so the sound was very thick and on the edge of distortion. I also always used amps that would overload. I would have the amp on full, with the volume on the guitar also turned up full, so everything was on full volume and overloading. I would hit a note, hold it, and give it some vibrato with my fingers, until it sustained, and then the distortion would turn into feedback. It was all of these things, plus the distortion, that created what I suppose you could call my sound.

It was good fun trying to find bars that were showing the qualifying games for the Cup, and watching the locals get into heated disputes. I’m convinced it’s all rigged anyway. I tend toward conspiracy phobia in all things of this nature, including politics. With the amount of money that’s at stake, I don’t believe the likes of Rupert Murdoch or George Bush are inclined to leave very much to chance. Call me cynical, but every other week someone gets caught or spills the beans.

The contrast between the empty hotel room and the roaring crowd in the auditorium can cause a lot of emotional confusion, too, but for the moment, that world could wait; I was safe with my loved ones again.

There seems to be a silent acknowledgment among most players that we have a certain responsibility as teachers or healers, and although we all have different ways of honoring this commitment, it is certainly something we are all aware of.

We managed to persuade Giorgio Armani to let us do the music for one of his fashion shows, and took that and turned it into an album called Retail Therapy. We called ourselves T.D.F., for Totally Dysfunctional Family, and

The only prewritten songs I had ready were “Circus” and “My Father’s Eyes,” neither of which seemed to have found their right incarnation yet. For almost a year we worked day and night, sometimes just perfecting little guitar motifs, or honing and reshaping tracks with the Pro Tools system that Simon is a master of. The result was one of my favorite albums; I poured my soul into this one, and I believe you can hear that.

But in one or two essential elements, they had all been the same; always unavailable, sometimes unstable, and in terms of my sobriety, even dangerous. Were these the conditions that had governed my feelings about my mother, and was I still unconsciously trying to replicate that relationship? I think so. My low self-esteem had dictated all my choices. I had chosen what I knew and was comfortable with, but they had all been unworkable situations. I had done a lot of family-of-origin work in my recovery, but it seemed like I would never be able to break the mold.

Delaney turned me on to so many things. He played me the music of J. J. Cale, which was to become an enormous influence.

I’m going to use music to explain this. It’s the difference between, say, Clapton and Hendrix. You listen and you wait for the moment you hear something masterful in Clapton, how close he can get to the edge of soulful fury without losing control. It’s that moment when we measure the guy. Lacking in the end and probably only popular because he was white. Hendrix was of course black, and he had weird hair on top of it. But when you listened, there it was, a controlled raging beauty, precision deep soul fury navigation at its finest. He was like an astronaut flying with no computer and a blindfold through the fire part of reentry. Functional, genius-level insanity. It wasn’t instinct. It was something else entirely, something so rare there isn’t even a word for it.

A post-psychedelia drunkenness seemed to sweep over everybody in the entertainment business during the early seventies.

One night we were sitting in the great room at Hurtwood when he said, “Well, I suppose I’d better divorce her,” to which I replied, “Well, if you divorce her, then that means I’ve got to marry her!” It was like a scene from a Woody Allen film. Over the years, our relationship developed into a sort of cagey brotherliness, with him, of course, being the elder brother. There was no doubt that we loved one another, but when we actually got together it could get quite competitive and tense, and I very rarely got the last word.

I had no idea how to do that, because I was either above or below everybody. I was either towering above as Clapton the guitar virtuoso, or cringing on the floor, because if you took away my guitar and my musical career, then I was nothing.

They sent me three songs written by a Texas songwriter they represented named Jerry Lynn Williams—“Forever Man,” “Something’s Happening,” and “See What Love Can Do”—and they were good. I loved the way he sang, and I sent back a message to say I would do it, on the condition that they produced the songs and provided the musicians. I think it was, professionally, the first time I’d ever had to back down.

They were full of pictures of Lori with famous men—footballers, actors, politicians, musicians, anyone with any kind of notoriety. I noticed that she struck the same pose in every photograph, wearing the sort of smile that wasn’t really a smile at all. I felt like someone had punched me in the stomach.

One of the songs I wrote while living there was called “Tearing Us Apart,” which was about “the committee,” the group of Pattie’s friends whom I now blamed for coming between us.

Think of Eric Clapton on that Saturday evening as a repentant sinner who is literally on the road to salvation, like the hero of Pilgrim’s Progress, the seventeenth-century allegory. Suppose that he, too, is journeying toward a Celestial City. While traveling through the open countryside, he can see the city’s far-off golden spires and keeps heading in their direction. This evening he looks ahead and notices a pub, strategically situated at a bend in the road so that it’s directly in front of travelers. From this distance it looks like a small building, and he still keeps his eyes fixed on the grander spires of the Celestial City in the background. But as Eric the Pilgrim approaches the pub, it looms larger, and when he arrives, the building completely blocks his view. He can no longer see the golden spires in the distance. Suddenly the Celestial City seems much less important than this one little building. And thus, verily, our pilgrim’s progress endeth with him passed out on the pub’s floor. That’s the result of hyperbolic discounting: We can ignore temptations when they’re not immediately available, but once they’re right in front of us we lose perspective and forget our distant goals. George Ainslie, a renowned psychiatrist and behavioral economist with the Department of Veterans Affairs, worked out the mathematics of this foible by using some clever variations of the familiar experiments testing long-term and short-term rewards. For instance, if you won a lottery with a choice of prizes, would you prefer $100 to be paid six years from today, or $200 to be paid nine years from today? Most people will choose the $200. But what if the choice were between $100 today and $200 three years from today? A rational discounter would apply the same logic and conclude once again that the extra money is worth the wait, but most people will instead demand the quick $100. Our judgment is so distorted by the temptation of immediate cash that we irrationally

My God was always there, but now I have learned to talk to him. —ERIC CLAPTON

There is little point in getting a dog and barking yourself.

The Breeze: An Appreciation of JJ Cale" features Clapton, Nelson, Knopfler, Tom Petty, Albert Lee, John Mayer, Don White and Jim Keltner among others.

Emily liked the classical music Jim listened to; he told her all about the history of the Rock of Music when she was a little girl. As she remembered it, it was discovered by a teenager from Lubbock, Texas named Buddy and he ruled the Rock until his airplane was shot down by his evil rival, King Elvis. King Elvis was then ousted by several tribes from England and California who unified and fought against him under their leaders, John-Paul George and Jimi Clapton. One

Some people have a great sense of moral responsibility; unfortunately, it’s backed up with a poor sense of musical taste. Other people have great musical ability, and very little sense of moral responsibility. It’s very difficult to have a good balance. —Eric Clapton