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Eric Clapton.
How much I adored that refined touch, that artistic elegance, and the style always precise and impeccable.
How much I adored that rich and oily sound produced by his Fender, unparalleled.
I believe I adored it so much that I consider any of his performances and musical productions a masterpiece. Totally blind to that so evident limit that accompanied much of his solo career, marked indelibly by undisputed success and his worst days, artificial visions, and moments damned to the heavens.
Money and cigarettes.
Dark corners and maternal refuges.
Yellowed beard and full watches.
Minor chords.
"Change in the weather, change in the sea,
Come back baby, you'll find a change in me.
Everybody, they ought to change sometime,
Because sooner or later we have to go down in that lonesome ground."
Money And Cigarettes (1983) is a perfect example of a transitional album, which I would define as atypical when compared to Clapton's more classic blues patterns in the past or subsequent periods. It is a fairly balanced and well-produced album, which, although it completely departs from the famous "Slowhand" of 1977 or the excellent "From The Cradle" of 1994 for its greater vivacity, is akin to them as one of the icebergs of that man's troubled artistic journey, who still represents one of the highest expressions of guitar music in the history of R'n'B.
Among the grooves of the LP, we find very interesting ideas and complex musical passages, musical phrases, and riffs of a good level but most importantly, the valuable collaboration of Ry Cooder, accompanied by the lesser-known Albert Lee, invaluable hands on the shiny guitar necks. A collaboration that definitely raises the level of a work that came to light at a very delicate moment in Clapton's life and offers new stimuli and a desire to play.
A desire to play that emerges in every single track. A desire to change.
A desire to listen that increases.
"It ain't no big deal, we're all lucky to be alive,
I myself don't believe in luck, or taking chances, I will survive.
Every move I make, every twist, every turn
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