Almost every music critic I’ve read recently has not had kind
\nwords for Eric Clapton’s latest release
\nPilgrim<\/i> – I have yet to read any good press on Clapton’s
\nfirst release of original material since 1989’s
\nJourneyman<\/i>.<\/p>\n
In that time, Clapton has had to deal with the devastating death
\nof his son Conor, his elevation to musical sainthood courtesy of
\nhis soul-purging “Tears In Heaven,” his return to hardcore blues
\nand nod to present-day hipness by recording “Change The World” with
\nBabyface. With everything Clapton has been through, we should be
\nthankful that he didn’t just throw in the towel after his son’s
\ndeath.<\/p>\n
But
\nPilgrim<\/i> also shows one more thing Clapton has lost over nine
\nyears – his edge. This album lacks the soul and emotion that
\nClapton could pour into one note on his well-worn Stratocaster, and
\nis incredibly sterile.<\/p>\n
Clapton is still reeling from Conor’s death – the leadoff track
\n“My Father’s Eyes” is evidence enough of this. It is a painfully
\nhonest track, where Clapton struggles to come to grips with his
\nloss, creating a song that is as beautiful, if not as tear-jerking,
\nas “Tears In Heaven”. Some have criticized the fact that “My
\nFather’s Eyes” sounds a lot like “Change the World,” but in this
\ncase, it is very appropriate. Another highlight of this album which
\nis a tribute to Clapton’s son is “Circus,” a song he performed at
\nhis MTV “Unplugged” session. (It’s not on the
\nUnplugged<\/i> album, but I have the FM simulcast with this
\nsong… he did it, trust me.)<\/p>\n
Unfortunately, this is where the words of praise stop. The
\nraminder of
\nPilgrim<\/i> shows the dangers of staying away from the studio
\nfor so long. It almost seems like Clapton is searching for his
\nvoice for the ’90s, and fails to grasp either that or hipness. Many
\nof the songs on
\nPilgrim<\/i> sound like “Change The World” versions – and the use
\nof drum synthesizers is a major distraction. (Why Clapton didn’t
\nutilize the skills of Steve Gadd more often is beyond me.)<\/p>\n
Some tracks start off strongly, like “River Of Tears” and “Needs
\nHis Woman,” but they quickly fall apart under the weakness of the
\nlyrics and later songwriting. Others, like the title track, are
\njust plain annoying – Clapton takes one riff and beats it to
\ndeath.<\/p>\n
By the time that Clapton finds his focus, as he does on “Born In
\nTime,” it almost is too little, too late – something tells me that
\nmany listeners will probably have bailed before then.<\/p>\n
If anything can be pinpointed as the main problem with
\nPilgrim<\/i>, it’s that Clapton almost tries too hard to update
\nhis sound for the ’90s – let’s face it, it was a sound that didn’t
\nneed updating. It brought him success with such songs as “Lay Down
\nSally,” “I Can’t Stand It” and “Forever Man” – why screw with
\nsomething that works?<\/p>\n
Clapton is much better than
\nPilgrim<\/i> displays – if anything, this might be a sign to
\nClapton that he should make it a habit of visiting his local studio
\nat least more often than the dentist. Those who loved his
\ncollaboration with Babyface will probably like the new-age Clapton.
\nThose of us who long for the days of “Slowhand,” two words: keep
\nlookin’.<\/p>\n
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