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DISCID=95112e0b
DTITLE=Eric Clapton / 461 Ocean Boulevard (Deluxe Edition) Disc 2
DYEAR=2004
DGENRE=Blues
TTITLE0=Smile (Live at Hammersmith Odeon, London - December 1974)
TTITLE1=Let It Grow (Live at Hammersmith Odeon, London - December 1974
TTITLE1=)
TTITLE2=Can't Find My Way Home (Live at Hammersmith Odeon, London - De
TTITLE2=cember 1974)
TTITLE3=I Shot The Sheriff (Live at Hammersmith Odeon, London - Decemb
TTITLE3=er 1974)
TTITLE4=Tell The Truth (Live at Hammersmith Odeon, London - December 1
TTITLE4=974)
TTITLE5=The Sky Is Crying + Have You Ever Loved A Woman + Ramblin' On 
TTITLE5=My Mind (Live December 1974)
TTITLE6=Little Wing (Live at Hammersmith Odeon, London - December 1974
TTITLE6=)
TTITLE7=Singin' The Blues (Live at Hammersmith Odeon, London - Decembe
TTITLE7=r 1974)
TTITLE8=Badge (Live at Hammersmith Odeon, London - December 1974)
TTITLE9=Layla (Live at Hammersmith Odeon, London - December 1974)
TTITLE10=Let It Rain (Live at Hammersmith Odeon, London - December 197
TTITLE10=4)
EXTD=461 Ocean Boulevard (Deluxe Edition) - Disc 2 of 2\n2004 Polydor 
EXTD=UK Ltd\n\n2004 Polydor Ltd. (UK) / Universal Music\nOriginally Re
EXTD=leased July 1974\nCD Edition Released 1986 ??\nMFSL Gold CD Editi
EXTD=on Released November 15, 1993\nRemastered CD Edition Released Aug
EXTD=ust 20, 1996\nDTS CD Edition Released November 25, 1997\nHybrid S
EXTD=ACD Edition Released November 9, 2004\n2CD Deluxe Edition Release
EXTD=d December 6, 2004\n\nAMG EXPERT REVIEW: (Deluxe Edition) Polydor
EXTD=/Chronicles' 2004 deluxe edition reissue of Eric Clapton's 461 Oc
EXTD=ean Boulevard -- long considered one of Clapton's best solo album
EXTD=s, ranking alongside Eric Clapton and Slowhand as one of his fine
EXTD=st studio efforts -- expands the original ten-track album to two 
EXTD=discs. The original album is supplemented by five session outtake
EXTD=s on the first disc, all of which have been previously released o
EXTD=n other reissues: "Walkin' Down the Road" appeared on 1996's Cros
EXTD=sroads 2, "Ain't That Lovin' You" appeared on 1988's Crossroads, 
EXTD=while "Meet Me (Down at the Bottom)" appeared on 1999's Blues and
EXTD= the other two tracks, "Eric After Hours Blues" and "B Minor Jam,
EXTD=" appeared on the limited-edition bonus disc that came with the o
EXTD=riginal release of Blues. All these sound like outtakes -- they'r
EXTD=e all a little too lazy and meandering to make a finished album, 
EXTD=but fanatics will surely like all of these outtakes collected in 
EXTD=one place and paired with the official album. The second disc com
EXTD=piles highlights from two concerts Clapton gave at the Hammersmit
EXTD=h Odeon in London on December 4 and 5, 1974. Here, Clapton also s
EXTD=ounds a little bit too laid back, particularly on the acoustic ma
EXTD=terial, but he does have some fine moments scattered through the 
EXTD=disc -- perhaps not enough to satisfy anybody besides dedicated f
EXTD=ans, but that's who the reissue is for, and they'll likely be sat
EXTD=isfied with this nicely remastered, well-packaged set, even if it
EXTD= packs no revelations. -- Stephen Thomas Erlewine\n\nAMG EXPERT R
EXTD=EVIEW: (Hybrid SACD) 461 Ocean Boulevard is Eric Clapton's second
EXTD= solo studio album, arriving after his side project of Derek and 
EXTD=the Dominos and a long struggle with heroin addiction. Although t
EXTD=here are some new reggae influences, the album doesn't sound all 
EXTD=that different from the rock, pop, blues, country, and R&B amalga
EXTD=m of Eric Clapton. However, 461 Ocean Boulevard is a tighter, mor
EXTD=e focused outing that enables Clapton to stretch out instrumental
EXTD=ly. Furthermore, the pop concessions on the album -- the sleek pr
EXTD=oduction, the concise running times -- don't detract from the roo
EXTD=tsy origins of the material, whether it's Johnny Otis' "Willie an
EXTD=d the Hand Jive," the traditional blues "Motherless Children," Bo
EXTD=b Marley's "I Shot the Sheriff," or Clapton's emotional original 
EXTD="Let It Grow." With its relaxed, friendly atmosphere and strong b
EXTD=luesy roots, 461 Ocean Boulevard set the template for Clapton's '
EXTD=70s albums. Though he tried hard to make an album exactly like it
EXTD=, he never quite managed to replicate its charms. [The 2004 reiss
EXTD=ue includes the bonus tracks "Walkin' Down the Road," "Ain't That
EXTD= Lovin' You" and "Meet Me (Down at the Bottom)."]  -- Stephen Tho
EXTD=mas Erlewine\n\nAmazon.com essential recording\nThe 1974 album on
EXTD= which Clapton's solo career truly caught fire, 461 Ocean Bouleva
EXTD=rd is best remembered for its hit version of Bob Marley's "I Shot
EXTD= the Sheriff"--perhaps the first time many in America ever heard 
EXTD=the rhythms of reggae music. But it's also an album on which emot
EXTD=ions run high, especially on two Clapton originals, the prayerful
EXTD= "Give Me Strength" and the pleading "Let It Grow." Clapton maint
EXTD=ains his grounding in the blues with versions of Robert Johnson's
EXTD= "Steady Rollin' Man" and Elmore James's "I Can't Hold Out"; revi
EXTD=sits a rock & roll classic in Johnny Otis's "Willie and the Hand 
EXTD=Jive"; and turns the standard "Motherless Children" into a showca
EXTD=se of snarling guitars. Following a period of dark reclusiveness,
EXTD= 461 Ocean Boulevard was a powerful comeback for Clapton. --Danie
EXTD=l Durchholz\n\nAmazon.com Editorial Review\nThis was Clapton's co
EXTD=meback record after a long bout with heroin addiction. Up through
EXTD= 1970 or so, he had been a restless musical seeker, opening rock 
EXTD=up with his guitar experimentation, trying to get to the bottom o
EXTD=f the blues. There is none of this on 461. He seems relieved just
EXTD= to be alive. It's a low-key affair, and that suits him. Some of 
EXTD=his best songs are here, as well as his cover of Bob Marley's "I 
EXTD=Shot the Sheriff." Torn and frayed from the melee inside him, thi
EXTD=s album may be the most personal blues he ever made. --Steve Tign
EXTD=or \n\nAmazon.com Customer Review\nEC's Best Solo Album Gets the 
EXTD=Royal Treatment, November 22, 2004\nReviewer:: Paul Allaer (Cinci
EXTD=nnati) \nAfter all these years, I still believe that "461 Ocean B
EXTD=oulevard" is Clapton's best solo album. I will readily admit I'm 
EXTD=not such a big fan of the more recent blues albums such as "Me an
EXTD=d Mr. Johnson", which I thought was rather dull, as well intentio
EXTD=ned as it was. But I digress.\n\n"461 Ocean Boulevard - Deluxe Ed
EXTD=ition" has grown from the original 40 min. album to an exquisite 
EXTD=2CD spread (26 tracks, 142 min.), and quite comfortably at that. 
EXTD=CD1 (15 tracks, 69 min.) brings of course the original 10 tracks,
EXTD= and they still sparkle today as they did 30 years ago. The remas
EXTD=tered sound is fantastic. It has of course the hits "I Shot the S
EXTD=heriff", "Willie and the Hand Jive", and "Motherless Children" (a
EXTD=ll from the original Side 1), but there really are no weak songs 
EXTD=here. Other classics include "Let It Grow", the pensive "I Can't 
EXTD=Hold Out", and the album closer "Mainline Florida". The 5 bonus t
EXTD=racks are session out-takes from the album recordings, they have 
EXTD=appeared elsewhere before on various compilations such as "Crossr
EXTD=oads", but are grouped together here for the first time. My fave 
EXTD=of them is "Meet Me (At the Bottom)", a mostly instrumental jam s
EXTD=ession. CD2 (11 tracks, 73 min.) is a live album, recorded in Lon
EXTD=don at the end of the 461 Ocean Blvd tour in December, 1974. Afte
EXTD=r the announcer's "Well Ladies and Gentlemen, this is it, the las
EXTD=t show of the tour, please welcome Mr. Eric Clapton and his band!
EXTD=", we're in for a treat. Only 3 of the 11 tracks have appeared be
EXTD=fore on the Crossroads compilations. The highlights are many, inc
EXTD=luding "Let It Grow", the Steve Winwood cover "Can't Find My Way 
EXTD=Home", a rousing "Tell the Truth", the Jimi Hendrickx cover "Litt
EXTD=le Wing", and the closer "Let It Rain", with at the end EC simply
EXTD= saying "bye bye, thank you" to an elated audience.\n\nThe liner 
EXTD=notes are a bit skimpy, but that aside, everything is an A+ on th
EXTD=is "Deluxe Edition". Let me emphasize that this is not just for t
EXTD=he EC fanatic. Anyone interested in just plain good music will be
EXTD= taken aback by this album, finding Clapton at the top of his gam
EXTD=e. Strongly recommended! \n\nAmazon.com Customer Review\nEric Cla
EXTD=pton's best 70s album hasn't gotten any better, January 13, 2005\n
EXTD=Reviewer: Docendo Discimus (Vita scholae) \nWell, I'm sorry, but 
EXTD=it hasn't. "461" was always a great record, and the accompanying 
EXTD=live disc is quite good without being truly spectacular.\nBut the
EXTD= five studio outtakes don't do anything at all for the album...fo
EXTD=r one thing, they have been available for a long time already. An
EXTD=d none of them are particularly interesting; they are outtakes, s
EXTD=ongs that didn't make the cut, and they sound like outtakes. Even
EXTD= Clapton's rendition of Jimmy Reed's "Ain't That Lovin' You Baby"
EXTD= is tepid and meandering.\n\nThe live album is compiled from two 
EXTD=concerts Eric Clapton gave at the Hammersmith Odeon in London on 
EXTD=December 4th and 5th, 1974. Again, he often sounds a little bit t
EXTD=oo laid back, like on a sleepy "The Sky Is Crying" which complete
EXTD=ly lacks the intensity of the original.\nBut there are some fine 
EXTD=moments as well, like "Let It Rain", "Layla", and the always good
EXTD= "Let It Grow". Nothing to make you throw away your copy of "Eric
EXTD= Clapton's Rainbow Concert", however, and this reissue is mostly 
EXTD=for diehards, to be honest.\n\n3 3/4 stars. Some good live songs,
EXTD= but the added studio recordings are so-so. The original LP was b
EXTD=etter, actually...all this second-rate material only serves to ob
EXTD=scure the high overall quality of the material originally issued.
EXTD= \n\nAmazon.com Customer Review\nSACD review, November 22, 2004\n
EXTD=Reviewer: scomoore "scomoore" (Seattle, WA USA) \nThe SACD versio
EXTD=n of "461 Ocean Boulevard" does sound much better than the CD ver
EXTD=sion. With the surround mix, the separation of the music and the 
EXTD=broader soundstage really helps compared to the CD.\n\nHowever, t
EXTD=he surround mix itself is inconsistent. It seems like they were g
EXTD=oing for an immersive sound stage, but the results are hit and mi
EXTD=ss.\n\nRight from the start, 'Motherless Children' starts off sou
EXTD=nding like the left/right channels are just duplicated in the sur
EXTD=rounds, with even the main drum track in the surrounds too. Then 
EXTD=in the middle of the song the surrounds contain only what sound l
EXTD=ike the 3rd and 4th guitar parts. Not sure what happened.\n\nOthe
EXTD=r songs sound better from a surround standpoint, especially 'Will
EXTD=ie and the Hand Jive' and 'Let it Grow,' but everything else in b
EXTD=etween sounds uninspired.\n\nThe most disappointing of all is 'Ma
EXTD=inline Florida.' With it's layered guitar parts and keyboards, it
EXTD= should have been the best. But everything sounds shoved together
EXTD= in the front channels with the surrounds being an afterthought.\n
EXTD=\nThe extra tracks on the SACD deserve mention, because all three
EXTD= are great songs. The last one, 'Meet Me (Down at the Bottom),' a
EXTD=lso rates as one of the highlights of the disc from a surround pr
EXTD=esentation standpoint. \n\nAmazon.com Customer Review\nUneven Pav
EXTD=ement, August 17, 2002\nReviewer: Patrick Noonan (Atlanta, GA USA
EXTD=) \nWhat were we thinking back then? This was a top album at the 
EXTD=time of its release in 1974, aided by a couple of hit singles -- 
EXTD=and, apparently, Clapton's guitar-hero halo, which prevented us f
EXTD=rom taking a good listen.\n\nThe recording doesn't age well. It's
EXTD= largely uninspired, languid 70's rock. Great cover songs (Mother
EXTD=less Children, Willie and the Hand Jive, I Shot the Sheriff) are 
EXTD=run through the de-flavorizer. Clapton's singing sounds like he's
EXTD= been told to keep it down and his playing shares a "don't wake t
EXTD=he neighbors" restraint. Where's the fire? NOT on this album.\n\n
EXTD=The best moments are the back-to-back ballads, Please be With Me 
EXTD=& Let it Grow. Dated and sentimental, perhaps, but with great cha
EXTD=nges and gorgeous arrangements.\n\nClapton may be God, but even G
EXTD=od rested on the 7th day. And now we know at what address.\n\nAma
EXTD=zon.com Customer Review\nEC Hits His Solo Stride, August 8, 2002\n
EXTD=Reviewer: the dirty mac "boot64" (Nutopian Global Institute) \nCh
EXTD=oosing between this album and Clapton's previous studio masterwor
EXTD=k, LAYLA, makes for an interesting debate. 461 OCEAN BOULEVARD la
EXTD=cks Layla's smoldering extended jamming, striking a more upbeat, 
EXTD=restrained, and radio-friendly tone instead. The rockers "Motherl
EXTD=ess Children" and "Mainline Florida" open and close the album. In
EXTD= between we have tender ballads such as "Please Be with Me" and t
EXTD=he achingly beautiful "Let It Grow," which shows what an underapp
EXTD=reciated songwriter EC is. As always, there are great covers that
EXTD= he imbues with his own distinct flavor -- "Willie and the Hand J
EXTD=ive," Elmore James's "I Can't Hold Out" and Robert Johnson's "Ste
EXTD=ady Rollin' Man." Years before the Police came along, Eric brough
EXTD=t reggae to the mainstream with the #1 hit "I Shot the Sheriff." 
EXTD=Each one is a standout.\n\nThat said, this CD release has one ser
EXTD=ious deficiency. When first released on vinyl in 1974, the album'
EXTD=s second song was a Clapton original called "Better Make It throu
EXTD=gh Today." When remastered for CD, it was replaced by "Give Me St
EXTD=rength." I always believed that "Better Make It through Today" wa
EXTD=s integral to this album's success, and its absence is awfully co
EXTD=nspicuous. The back cover of the vinyl version of 461 OCEAN BOULE
EXTD=VARD contains a notation saying that "Better Make It through Toda
EXTD=y" was recorded at Dynamic Studios in Kingston, Jamaica, whereas 
EXTD=the rest of the album was recorded at Criteria Studios in Miami. 
EXTD=Clapton's 1975 follow-up, THERE'S ONE IN EVERY CROWD, was also re
EXTD=corded at that studio in Jamaica, and sure enough "Better Make It
EXTD= through Today" now appears on the CD version of that album. Perh
EXTD=aps it was never supposed to appear on 461 OCEAN BOULEVARD, but p
EXTD=eople are right to complain about the change. So this album gets 
EXTD=two ratings. The old vinyl release gets 5 stars while this CD rel
EXTD=ease is downgraded slightly to 4.5 stars, which is still pretty d
EXTD=amn good.\n\nAmazon.com Customer Review\nOne Star for the remaste
EXTD=red version only, April 27, 2001\nReviewer: A music fan\nDon't ge
EXTD=t me wrong: 461 OCEAN BOULEVARD is one of the great rock albums o
EXTD=f all time, probably on my top ten list. Certainly Clapton's fine
EXTD=st solo work (if you count Derek and the Dominoes as a group effo
EXTD=rt, and it should be). The decision by the record company to dele
EXTD=te one of the songs is simply unacceptable, and the deleted song 
EXTD=is one of the highlights of the set. Can you imagine ABBEY ROAD w
EXTD=ithout "Here Comes the Sun?" Or BEGGAR'S BANQUET without "Salt of
EXTD= the Earth?" The deletion here is equally as ludicrous. Also, the
EXTD= original arrangement of the songs worked to make 461 an extended
EXTD= work of art, not just a collection of songs. Now it is just a co
EXTD=llection. I don't know how to react to this kind of corporate arr
EXTD=ogance except to refuse to buy the album, hence the one star rati
EXTD=ng. Hopefully Atlantic or Polydor or whoever was/is responsible w
EXTD=ill right the wrong. DON'T BUY THIS VERSION.\n\nAmazon.com Custom
EXTD=er Review (DTS Version)\nAn Audio Mix Disaster, January 28, 2001\n
EXTD=Reviewer:Fred Williams (Oceanside, CA USA) \nYes, everything the 
EXTD=reviews say about the regular CD is correct. This is one of Eric'
EXTD=s premier works, but do yourself a favor and purchase the regular
EXTD= compact disk. After purchasing this DTS release, I was horrified
EXTD= to listen to the lead guitar comming out of the right rear speak
EXTD=er on several cuts. I do not rememeber who mixed this (I sent it 
EXTD=back for a refund), but they should have been given the janitoria
EXTD=l tasks at the company, not at the mixing board. Maybe it was a m
EXTD=istake.\n\nAmazon.com Customer Review\nMy favorite song is GONE, 
EXTD=August 29, 2000\nReviewer: bruceski "bruceski" (St. Petersburg, F
EXTD=L United States)\nJust got this one in the mail. Does anybody kno
EXTD=w who decided to replace "Better Make it Through Today" (song 2, 
EXTD=side one on the lp version) with "Give Me Strength" on the CD? Co
EXTD=uldn't both have been included on a 40 minute CD? The MFSL versio
EXTD=n does include both. For me it lessons a great album. The remaste
EXTD=ring sounds pretty good and it still was a major comeback album f
EXTD=or Clapton. The rest of the material is a beginning to Clapton's 
EXTD=more vocal focused 80's output, but there is still an urgency Cla
EXTD=pton's playing here that makes it more than worthwhile. OK, I giv
EXTD=e it 4 stars if both of the previously mentioned songs were inclu
EXTD=ded, and 2.5 with "Better make it Through... oddly deleted.\n\nTo
EXTD=wer Records Product Notes:\nEngineer: Karl Richardson\nGuest Arti
EXTD=sts: Yvonne Elliman\n\nIncludes a bonus disc Live At Hammersmith 
EXTD=Odeon, London.\n\nPersonnel: Eric Clapton (vocals, guitar, dobro)
EXTD=; Yvonne Elliman (vocals, guitar); George Terry (guitar, backgrou
EXTD=nd vocals); Albhy Galuten (piano, electric piano, clavichord, syn
EXTD=thesizer); Dick Simms (organ); Carl Riddle (bass guitar); Jamie O
EXTD=ldaker (drums, percussion); Al Jackson, Jim Fox (drums); Tom Bern
EXTD=feld (background vocals).\n\nProducer: Tom Dowd\nReissue Producer
EXTD=: Bill Levenson.\nLiner Note Author: Scott Schinder.\n\nRecording
EXTD= information: Criteria Recording Studios, Miami, FL (04/1974 - 05
EXTD=/1974); Hammermith Odeon, London, England (12/04/1974).\n\nAfter 
EXTD=playing the 1973 Rainbow Concerts that were arranged by good frie
EXTD=nd Pete Townshend, Eric Clapton returned to Florida's Criteria Re
EXTD=cording Studio to cut 461 OCEAN BOULEVARD. Because of a stint of 
EXTD=personal turmoil, Clapton had not played guitar for two years pre
EXTD=ceeding the Rainbow Concerts, but with the help of a core group o
EXTD=f musicians including George Terry, former Derek & the Dominos ba
EXTD=ssist Carl Radle, Jamie Oldaker, and Yvonne Elliman, Slowhand put
EXTD= together an album that many consider to be his best.\n\nFocusing
EXTD= more on his singing than his guitar pyrotechnics of the past, th
EXTD=e new, improved Clapton used a laid-back, J.J. Cale-type vocal st
EXTD=yle to great effect on a mellow version of "Willie And The Hand J
EXTD=ive" and Elmore James's "I Can't Hold Out." Far from being a kind
EXTD=er, gentler guitar hero, Clapton also showed considerable spark o
EXTD=n a slide-drenched "Motherless Children" and the driving "Mainlin
EXTD=e Florida," which closes out the album. Of course, his cover of B
EXTD=ob Marley's "I Shot The Sheriff" was the musical statement that t
EXTD=ook him to the top of the charts and let the general public know 
EXTD=he was back. 461 OCEAN BOULEVARD is still one of the highest poin
EXTD=ts of Clapton's solo career.  Muze/MTS Inc.\n\nEditorial Reviews
EXTD=:\nQ (2/96, p.104) - 3 Stars (out of 5) - "...closed the chapter 
EXTD=on Clapton as guitar hero and opened a new one as a hitmaker with
EXTD= a more relaxed and commercial style..."\n\nMojo (p.119) - 4 star
EXTD=s out of 5 - "A form-finding set, comedown as comeback."\n\nUncut
EXTD= (p.172) - 4 stars out of 5 - "[T]he 1974 album on which Clapton 
EXTD=rediscovered the primacy of music in his life. The result was a j
EXTD=oyous collection..."
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