In the fall of 1968, Eric ClapÂton was 23 years old and at the height of his creÂative powÂers. His band, Cream, was on its farewell tour of AmerÂiÂca when a film crew from the BBC caught up with the group and asked the young guiÂtar virÂtuÂoso to show how he creÂatÂed his disÂtincÂtive sound.
The result is a fasÂciÂnatÂing four-minute tour of Clapton’s techÂnique. He begins by demonÂstratÂing the wide range of tones he could achieve by varyÂing the setÂtings on his psyÂcheÂdelÂiÂcalÂly paintÂed 1964 GibÂson SG StanÂdard guiÂtar. His wah-wah pedÂal (an earÂly Vox modÂel) was critÂiÂcal to the sound of so many Cream clasÂsics, like “Tales of Brave Ulysses.” In the film, ClapÂton realÂly has to stomp on it to get it workÂing.
One of the most difÂfiÂcult skills to masÂter, ClapÂton says, is the vibraÂto. In a 1970 interÂview with GuiÂtar PlayÂer magÂaÂzine he goes into more detail: “When I stretch strings,” he says, “I hook my thumb around the neck of the guiÂtar. A lot of guiÂtarists stretch strings with just their hand free. The only way I can do it is if I have my whole hand around the neck—actually gripÂping onto it with my thumb. That someÂhow gives me more of a rockÂing action with my hand and wrist.” If you watch the BBC clip closeÂly you will see this in action.
The interÂview was conÂductÂed with ClapÂton seatÂed in front of his famous stack of MarÂshall ampliÂfiers. In the GuiÂtar PlayÂer interÂview, howÂevÂer, he admits he rarely used both at the same time. “I always had two MarÂshalls set up to play through,” he says, “but I think it was just so I could have one as a spare. I usuÂalÂly used only one 100-watt amp.”
Clapton’s demonÂstraÂtion (along with interÂviews of bassist Jack Bruce and drumÂmer GinÂger BakÂer) was incorÂpoÂratÂed into Tony Palmer’s film of Cream’s Farewell ConÂcert, which took place on NovemÂber 21, 1968 at the RoyÂal Albert Hall in LonÂdon. (CoinÂciÂdenÂtalÂly, ClapÂton is appearÂing at the Albert Hall all this week.) The origÂiÂnal six-song verÂsion of Cream’s Farewell ConÂcert is availÂable for free viewÂing on the InterÂnet. An extendÂed 14-song verÂsion is availÂable for purÂchase here.
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VibraÂto is difÂfiÂcult to masÂter. The vioÂlinÂists also must work with this. I guess this is how he beat George HarÂriÂson in their guiÂtar duel.
As you can tell from the guiÂtar he is playÂing, an SG known as The Fool, and his hairÂcut, the interÂview was done probÂaÂbly a year or so before the farewell show.
Steve,
How long do you think it takes for someÂone to get a hairÂcut, switch guiÂtars and change out of psyÂcheÂdelÂic clothÂing? AccordÂing to my research the BBC interÂview was done durÂing Cream’s farewell tour, just a couÂple of months before the Albert Hall conÂcert. When the band broke up it was obviÂousÂly a time of change for ClapÂton. He was tryÂing to make a break from the past. One of the quickÂest and easÂiÂest ways to do that, I supÂpose, is to change your look.
Indeed hes a truÂely an artist!! No wonÂder!!!
It’s a pretÂty old clip. I think every ClapÂton fan here recÂogÂnizes it ;)
His amp only went up to “10”.
TrayÂing to say someÂthing his the best way is to do this with guiÂtar… Find peoÂple who underÂstand you and you are on…
Thank you for sharÂing this clip. SeeÂing ClapÂton with such a fulÂly-formed sound at such a young age, it’s obviÂous he was one of those rare playÂers who just “had it.” OthÂer than the LayÂla sesÂsions I don’t think he ever had any blues playÂing that matched up to his work in Cream.
Dan…I sugÂgest you lisÂten to “Same Old Blues” from the Behind The Sun album recordÂed in 1985..
E.C. Was Here is mighty bluesy.