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DISCID=dc102c0f
DTITLE=Clapton,Eric / 461 Ocean Boulevard (Deluxe Edition) - Disc 1 of 2
DYEAR=1974
DGENRE=Rock
TTITLE0=Motherless Children
TTITLE1=Give Me Strength
TTITLE2=Willie And The Hand Jive
TTITLE3=Get Ready
TTITLE4=I Shot The Sheriff
TTITLE5=I Can't Hold Out
TTITLE6=Please Be With Me
TTITLE7=Let It Grow
TTITLE8=Steady Rollin' Man
TTITLE9=Mainline Florida
TTITLE10=Walkin' Down The Road (Session Out-Take)
TTITLE11=Ain't That Lovin' You (Session Out-Take)
TTITLE12=Meet Me (Down At The Bottom) - (Session Out-Take)
TTITLE13=Eric After Hours Blues (Session Out-Take)
TTITLE14=B Minor Jam (Session Out-Take)
EXTD=461 Ocean Boulevard (Deluxe Edition) - Disc 1 of 2\n2004 PolydorUK Ltd\n\n2004 Polydor Ltd. (UK) / Universal Music\nOriginally Released July 1974\nCD Edition Released 1986 ??\nMFSL Gold CD Edition Released November 15, 1993\nRemastered CD Edition Re
EXTD=eased August 20, 1996\nDTS CD Edition Released November 25, 1997\nHybrid SACD Edition Released November 9, 2004\n2CD Deluxe Edition Released December 6, 2004\n\nAMG EXPERT REVIEW: (Deluxe Edition) Polydor/Chronicles' 2004 deluxe edition reissue of E
EXTD=ic Clapton's 461 Ocean Boulevard -- long considered one of Clapton's best solo albums, ranking alongside Eric Clapton and Slowhand as one of his finest studio efforts -- expands the original ten-track album to twodiscs. The original album is supplem
EXTD=nted by five session outtakes on the first disc, all of which have been previously released on other reissues: "Walkin' Down the Road" appeared on 1996's Crossroads 2, "Ain't That Lovin' You" appeared on 1988's Crossroads,while "Meet Me (Down at the
EXTD=Bottom)" appeared on 1999's Blues and the other two tracks, "Eric After Hours Blues" and "B Minor Jam," appeared on the limited-edition bonus disc that came with the original release of Blues. All these sound like outtakes -- they're all a little to
EXTD= lazy and meandering to make a finished album,but fanatics will surely like all of these outtakes collected inone place and paired with the official album. The second disc compiles highlights from two concerts Clapton gave at the Hammersmith Odeon i
EXTD= London on December 4 and 5, 1974. Here, Clapton also sounds a little bit too laid back, particularly on the acoustic material, but he does have some fine moments scattered through thedisc -- perhaps not enough to satisfy anybody besides dedicated f
EXTD=ns, but that's who the reissue is for, and they'll likely be satisfied with this nicely remastered, well-packaged set, even if it packs no revelations. -- Stephen Thomas Erlewine\n\nAMG EXPERT REVIEW: (Hybrid SACD) 461 Ocean Boulevard is Eric Clapto
EXTD='s second solo studio album, arriving after his side project of Derek andthe Dominos and a long struggle with heroin addiction. Although there are some new reggae influences, the album doesn't sound allthat different from the rock, pop, blues, count
EXTD=y, 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 -
EXTD= 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 rela
EXTD=ed, 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. [The 2004 reissue includes the bo
EXTD=us tracks "Walkin' Down the Road," "Ain't That Lovin' You" and "Meet Me (Down at the Bottom)."]  -- Stephen Thomas Erlewine\n\nAmazon.com essential recording\nThe 1974 album on which Clapton's solo career truly caught fire, 461 Ocean Boulevard is be
EXTD=t remembered for its hit version of Bob Marley's "I Shot the Sheriff"--perhaps the first time many in America ever heardthe rhythms of reggae music. But it's also an album on which emotions run high, especially on two Clapton originals, the prayerfu
EXTD= "Give Me Strength" and the pleading "Let It Grow." Clapton maintains his grounding in the blues with versions of Robert Johnson's "Steady Rollin' Man" and Elmore James's "I Can't Hold Out"; revisits a rock & roll classic in Johnny Otis's "Willie an
EXTD= the HandJive"; and turns the standard "Motherless Children" into a showcase of snarling guitars. Following a period of dark reclusiveness, 461 Ocean Boulevard was a powerful comeback for Clapton. --Daniel Durchholz\n\nAmazon.com Editorial Review\nT
EXTD=is was Clapton's comeback record after a long bout with heroin addiction. Up through 1970 or so, he had been a restless musical seeker, opening rockup with his guitar experimentation, trying to get to the bottom of the blues. There is none of this o
EXTD= 461. He seems relieved just to be alive. It's a low-key affair, and that suits him. Some ofhis best songs are here, as well as his cover of Bob Marley's "IShot the Sheriff." Torn and frayed from the melee inside him, this album may be the most pers
EXTD=nal blues he ever made. --Steve Tignor \n\nAmazon.com Customer Review\nEC's Best Solo Album Gets theRoyal Treatment, November 22, 2004\nReviewer:: Paul Allaer (Cincinnati) \nAfter all these years, I still believe that "461 Ocean Boulevard" is Clapto
EXTD='s best solo album. I will readily admit I'mnot such a big fan of the more recent blues albums such as "Me and Mr. Johnson", which I thought was rather dull, as well intentioned as it was. But I digress.\n\n"461 Ocean Boulevard - Deluxe Edition" has
EXTD=grown from the original 40 min. album to an exquisite2CD spread (26 tracks, 142 min.), and quite comfortably at that.CD1 (15 tracks, 69 min.) brings of course the original 10 tracks, and they still sparkle today as they did 30 years ago. The remaste
EXTD=ed sound is fantastic. It has of course the hits "I Shot the Sheriff", "Willie and the Hand Jive", and "Motherless Children" (all from the original Side 1), but there really are no weak songshere. Other classics include "Let It Grow", the pensive "I
EXTD=Can'tHold Out", and the album closer "Mainline Florida". The 5 bonus tracks are session out-takes from the album recordings, they haveappeared elsewhere before on various compilations such as "Crossroads", but are grouped together here for the first
EXTD=time. My faveof them is "Meet Me (At the Bottom)", a mostly instrumental jam session. CD2 (11 tracks, 73 min.) is a live album, recorded in London at the end of the 461 Ocean Blvd tour in December, 1974. After the announcer's "Well Ladies and Gentle
EXTD=en, this is it, the last show of the tour, please welcome Mr. Eric Clapton and his band!", we're in for a treat. Only 3 of the 11 tracks have appeared before on the Crossroads compilations. The highlights are many, including "Let It Grow", the Steve
EXTD=Winwood cover "Can't Find My WayHome", a rousing "Tell the Truth", the Jimi Hendrickx cover "Little Wing", and the closer "Let It Rain", with at the end EC simply saying "bye bye, thank you" to an elated audience.\n\nThe linernotes are a bit skimpy,
EXTD=but that aside, everything is an A+ on this "Deluxe Edition". Let me emphasize that this is not just for the EC fanatic. Anyone interested in just plain good music will be taken aback by this album, finding Clapton at the top of his game. Strongly r
EXTD=commended! \n\nAmazon.com Customer Review\nEric Clapton's best 70s album hasn't gotten any better, January 13, 2005\nReviewer: Docendo Discimus (Vita scholae) \nWell, I'm sorry, butit hasn't. "461" was always a great record, and the accompanyinglive
EXTD=disc is quite good without being truly spectacular.\nBut the five studio outtakes don't do anything at all for the album...for one thing, they have been available for a long time already. And none of them are particularly interesting; they are outta
EXTD=es, songs that didn't make the cut, and they sound like outtakes. Even Clapton's rendition of Jimmy Reed's "Ain't That Lovin' You Baby" is tepid and meandering.\n\nThe live album is compiled from twoconcerts Eric Clapton gave at the Hammersmith Odeo
EXTD= in London onDecember 4th and 5th, 1974. Again, he often sounds a little bit too laid back, like on a sleepy "The Sky Is Crying" which completely lacks the intensity of the original.\nBut there are some finemoments as well, like "Let It Rain", "Layl
EXTD=", and the always good "Let It Grow". Nothing to make you throw away your copy of "Eric Clapton's Rainbow Concert", however, and this reissue is mostlyfor diehards, to be honest.\n\n3 3/4 stars. Some good live songs, but the added studio recordings 
EXTD=re so-so. The original LP was better, actually...all this second-rate material only serves to obscure the high overall quality of the material originally issued. \n\nAmazon.com Customer Review\nSACD review, November 22, 2004\nReviewer: scomoore "sco
EXTD=oore" (Seattle, WA USA) \nThe SACD version of "461 Ocean Boulevard" does sound much better than the CD version. With the surround mix, the separation of the music and thebroader soundstage really helps compared to the CD.\n\nHowever, the surround mi
EXTD= itself is inconsistent. It seems like they were going for an immersive sound stage, but the results are hit and miss.\n\nRight from the start, 'Motherless Children' starts off sounding like the left/right channels are just duplicated in the surroun
EXTD=s, with even the main drum track in the surrounds too. Thenin the middle of the song the surrounds contain only what sound like the 3rd and 4th guitar parts. Not sure what happened.\n\nOther songs sound better from a surround standpoint, especially 
EXTD=Willie and the Hand Jive' and 'Let it Grow,' but everything else in between sounds uninspired.\n\nThe most disappointing of all is 'Mainline Florida.' With it's layered guitar parts and keyboards, it should have been the best. But everything sounds 
EXTD=hoved together in the front channels with the surrounds being an afterthought.\n\nThe extra tracks on the SACD deserve mention, because all three are great songs. The last one, 'Meet Me (Down at the Bottom),' also rates as one of the highlights of t
EXTD=e disc from a surround presentation standpoint. \n\nAmazon.com Customer Review\nUneven Pavement, August 17, 2002\nReviewer: Patrick Noonan (Atlanta, GA USA) \nWhat were we thinking back then? This was a top album at thetime of its release in 1974, a
EXTD=ded by a couple of hit singles --and, apparently, Clapton's guitar-hero halo, which prevented us from taking a good listen.\n\nThe recording doesn't age well. It's largely uninspired, languid 70's rock. Great cover songs (Motherless Children, Willie
EXTD=and the Hand Jive, I Shot the Sheriff) arerun through the de-flavorizer. Clapton's singing sounds like he's been told to keep it down and his playing shares a "don't wake the neighbors" restraint. Where's the fire? NOT on this album.\n\nThe best mom
EXTD=nts are the back-to-back ballads, Please be With Me& Let it Grow. Dated and sentimental, perhaps, but with great changes and gorgeous arrangements.\n\nClapton may be God, but even God rested on the 7th day. And now we know at what address.\n\nAmazon
EXTD=com Customer Review\nEC Hits His Solo Stride, August 8, 2002\nReviewer: the dirty mac "boot64" (Nutopian Global Institute) \nChoosing between this album and Clapton's previous studio masterwork, LAYLA, makes for an interesting debate. 461 OCEAN BOUL
EXTD=VARD lacks Layla's smoldering extended jamming, striking a more upbeat,restrained, and radio-friendly tone instead. The rockers "Motherless Children" and "Mainline Florida" open and close the album. In between we have tender ballads such as "Please 
EXTD=e with Me" and the achingly beautiful "Let It Grow," which shows what an underappreciated songwriter EC is. As always, there are great covers that he imbues with his own distinct flavor -- "Willie and the Hand Jive," Elmore James's "I Can't Hold Out
EXTD= and Robert Johnson's "Steady Rollin' Man." Years before the Police came along, Eric brought reggae to the mainstream with the #1 hit "I Shot the Sheriff."Each one is a standout.\n\nThat said, this CD release has one serious deficiency. When first r
EXTD=leased on vinyl in 1974, the album's second song was a Clapton original called "Better Make It through Today." When remastered for CD, it was replaced by "Give Me Strength." I always believed that "Better Make It through Today" was integral to this 
EXTD=lbum's success, and its absence is awfully conspicuous. The back cover of the vinyl version of 461 OCEAN BOULEVARD contains a notation saying that "Better Make It through Today" was recorded at Dynamic Studios in Kingston, Jamaica, whereasthe rest o
EXTD= the album was recorded at Criteria Studios in Miami.Clapton's 1975 follow-up, THERE'S ONE IN EVERY CROWD, was also recorded at that studio in Jamaica, and sure enough "Better Make It through Today" now appears on the CD version of that album. Perha
EXTD=s it was never supposed to appear on 461 OCEAN BOULEVARD, but people are right to complain about the change. So this album getstwo ratings. The old vinyl release gets 5 stars while this CD release is downgraded slightly to 4.5 stars, which is still 
EXTD=retty damn good.\n\nAmazon.com Customer Review\nOne Star for the remastered version only, April 27, 2001\nReviewer: A music fan\nDon't get me wrong: 461 OCEAN BOULEVARD is one of the great rock albums of all time, probably on my top ten list. Certai
EXTD=ly Clapton's finest solo work (if you count Derek and the Dominoes as a group effort, and it should be). The decision by the record company to delete one of the songs is simply unacceptable, and the deleted songis one of the highlights of the set. C
EXTD=n you imagine ABBEY ROAD without "Here Comes the Sun?" Or BEGGAR'S BANQUET without "Salt of the Earth?" The deletion here is equally as ludicrous. Also, the original arrangement of the songs worked to make 461 an extended work of art, not just a col
EXTD=ection of songs. Now it is just a collection. I don't know how to react to this kind of corporate arrogance except to refuse to buy the album, hence the one star rating. Hopefully Atlantic or Polydor or whoever was/is responsible will right the wron
EXTD=. DON'T BUY THIS VERSION.\n\nAmazon.com Customer Review (DTS Version)\nAn Audio Mix Disaster, January 28, 2001\nReviewer:Fred Williams (Oceanside, CA USA) \nYes, everything thereviews say about the regular CD is correct. This is one of Eric's premie
EXTD= works, but do yourself a favor and purchase the regular compact disk. After purchasing this DTS release, I was horrified to listen to the lead guitar comming out of the right rear speaker on several cuts. I do not rememeber who mixed this (I sent i
EXTD=back for a refund), but they should have been given the janitorial tasks at the company, not at the mixing board. Maybe it was a mistake.\n\nAmazon.com Customer Review\nMy favorite song is GONE,August 29, 2000\nReviewer: bruceski "bruceski" (St. Pet
EXTD=rsburg, FL United States)\nJust got this one in the mail. Does anybody know who decided to replace "Better Make it Through Today" (song 2,side one on the lp version) with "Give Me Strength" on the CD? Couldn't both have been included on a 40 minute 
EXTD=D? The MFSL version does include both. For me it lessons a great album. The remastering sounds pretty good and it still was a major comeback album for Clapton. The rest of the material is a beginning to Clapton'smore vocal focused 80's output, but t
EXTD=ere is still an urgency Clapton's playing here that makes it more than worthwhile. OK, I give it 4 stars if both of the previously mentioned songs were included, and 2.5 with "Better make it Through... oddly deleted.\n\nTower Records Product Notes:\
EXTD=Engineer: Karl Richardson\nGuest Artists: Yvonne Elliman\n\nIncludes a bonus disc Live At HammersmithOdeon, London.\n\nPersonnel: Eric Clapton (vocals, guitar, dobro); Yvonne Elliman (vocals, guitar); George Terry (guitar, background vocals); Albhy 
EXTD=aluten (piano, electric piano, clavichord, synthesizer); Dick Simms (organ); Carl Riddle (bass guitar); Jamie Oldaker (drums, percussion); Al Jackson, Jim Fox (drums); Tom Bernfeld (background vocals).\n\nProducer: Tom Dowd\nReissue Producer: Bill L
EXTD=venson.\nLiner Note Author: Scott Schinder.\n\nRecording information: Criteria Recording Studios, Miami, FL (04/1974 - 05/1974); Hammermith Odeon, London, England (12/04/1974).\n\nAfterplaying the 1973 Rainbow Concerts that were arranged by good fri
EXTD=nd Pete Townshend, Eric Clapton returned to Florida's Criteria Recording Studio to cut 461 OCEAN BOULEVARD. Because of a stint ofpersonal turmoil, Clapton had not played guitar for two years preceeding the Rainbow Concerts, but with the help of a co
EXTD=e group of musicians including George Terry, former Derek & the Dominos bassist Carl Radle, Jamie Oldaker, and Yvonne Elliman, Slowhand put together an album that many consider to be his best.\n\nFocusing more on his singing than his guitar pyrotech
EXTD=ics of the past, the new, improved Clapton used a laid-back, J.J. Cale-type vocal style to great effect on a mellow version of "Willie And The Hand Jive" and Elmore James's "I Can't Hold Out." Far from being a kinder, gentler guitar hero, Clapton al
EXTD=o showed considerable spark on a slide-drenched "Motherless Children" and the driving "Mainline Florida," which closes out the album. Of course, his cover of Bob Marley's "I Shot The Sheriff" was the musical statement that took him to the top of the
EXTD=charts and let the general public knowhe was back. 461 OCEAN BOULEVARD is still one of the highest points of Clapton's solo career.  Muze/MTS Inc.\n\nEditorial Reviews:\nQ (2/96, p.104) - 3 Stars (out of 5) - "...closed the chapteron Clapton as gui
EXTD=ar hero and opened a new one as a hitmaker with a more relaxed and commercial style..."\n\nMojo (p.119) - 4 stars out of 5 - "A form-finding set, comedown as comeback."\n\nUncut (p.172) - 4 stars out of 5 - "[T]he 1974 album on which Claptonrediscov
EXTD=red the primacy of music in his life. The result was a joyous collection..."
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