Eric Clapton was a JJ Cale tribute band

There\’s a goodly amount of truth in this:

Eric Clapton couldn\’t compose like Tulsa, but he could hire it out. He was a J. J. Cale tribute band for a few years, more or less.

10 thoughts on “Eric Clapton was a JJ Cale tribute band”

  1. Not as much as the Rolling Stones were an R’n’B Tributes band ;their first singles were all covers of songs by other , better, artists ,some of them not obscure such as Chuck Berry (“Come On”) .Their cover of the Womacks’ Its All Over Now is awful. Jagger can’t sing; comparing him to Muddy Waters and Joe Turner or any blues singer is for sad suburbanites .But he opened up the way for public school drop outs to make it in rock and roll so that’s alright. Never enough career opportunities for people living off family money.

  2. JJ Cale was brilliant, loved his music. 74 years is not a bad innings but I am very sad he was not around a bit more. Selfishly, I would have hoped there might have been some more tunes.

    He wasn’t just the king of laid-back – he was the emperor.

    “Really”, “Okie” and “Shades” are fabulous albums. “Grasshopper” is also very fine.

    DBC seems in quite a Leninist mood today.

  3. @DBC Reed

    I remember Rod Stewart (another great cover artist) saying that Mick was a great showman but that he could sing said Mick off the stage anyday.

  4. Rod Stewart could sing even though he was a Sam Cooke imitator; he could also play the harmonica and backed Millie on her one and only hit. Anybody would be better than Jagger who sounds camp, without being JB Lenoir, so his attempts to sing macho sound strangulated. Muddy sounds authoritative and resonant as does Joe Turner. Rock’n’roll, which early on the Stones claimed to despise, was stunted by the British beat bands who could only play stringed instruments whereas the great rockers played pianos in front of saxophones , or even played accordions in Louisiana .These traditions have died.
    I can’t see how finding the Stones inauthentic makes me Leninist. Rock and roll was the product of some very small American entrepreneurs’ record labels such as Sun, Goldband , Dootone.

  5. For discussions re Clapton, Jagger, Stewart et al, worth looking at some of the line-ups of

  6. Sad to hear of JJ Cale’s death. OT, George Mitchell has died. Let’s hope his legacy is as widespread.

  7. DBC claims not to understand why I made a dig about his his being “Leninist” in his attack on Jagger and the Stones. Well, consider this sour little sentence of his:

    “But he opened up the way for public school drop outs to make it in rock and roll so that’s alright. Never enough career opportunities for people living off family money.”

    Why should we care what their backgrounds were? What counts is the quality, or lack thereof, of the music (I quite like some of the RS stuff of the late 60s and early 70s, but am not all that fond of most of the other material). One might as well make a rude remark about the Beatles for not being poor and downtrodden enough. This is class-ridden inverted snobbery, and very tedious. It also misses the point that musical genres often spread beyond their point of origin in all kinds of ways, often in forms that create something fresh and interesting.

    I recommend this excellent book by Tyler Cowen, “In Praise of Commercial Culture”, which shows how different cultures interacted to produce new forms of music and art (he gives Reggae as an example).

  8. Philip Scott Thomas

    Eric Clapton couldn’t compose like Tulsa…

    Perhaps, but he made a pretty stab at it with “Lay Down Sally”.

  9. In his staunch defence of public schoolboy “rockers” (are there no professions that public school boys have n’t colonised?) Johnathan Pearce claims it is the quality which counts. On the contrary, it is authenticity that counts. It is probably a matter of taste but I am prepared to believe that Smiley Lewis may regret his “One Night of Sin” while in the hands of a callow British teenager the song will lack the authority of experience. There is something ridiculous about the products of the British Welfare State and mixed economy masquerading as victims of the harsher American economic and social system ,don’t you think?
    I am quite prepared to admit that rock’n’roll was American capitalism’s finest achievement. But only in its small-scale (Distributist?) form : once Elvis left Sun for RCA , the US Army, Hollywood and Vegas that was the end for him, artistically and finally physically.

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