Never turn your back on a rock icon, sometimes they render some of their best records when no one is looking…or listening!  

Lambasted by loathsome critics and frustrated fans in the mid-1970s for abandoning his signature marathon solos ala Cream and Derek & The Dominoes, Eric Clapton nevertheless was evolving and expanding his horizons as an artist as evidenced by his composing and covering beautiful songs, along with leading extraordinary ensembles during this era. Few rock musicians of his ilk had reinvented themselves so effortlessly…or so it seemed.   

As he revealed from the stage of the historic Dylan 50th Birthday tribute concert and in many instances thereafter, including a Rock ‘n’ Roll Hall of Fame induction, Clapton maintained a burning desire to join The Band the moment he heard Music From Big Pink in 1968 regardless of the fact that the group already had their own six string virtuoso in residence- Robbie Robertson.  

On No Reason To Cry, Clapton fulfills his wish. Recorded at The Band’s Shangri-La Studios in Malibu, California as the ground-breaking group was disintegrating, Clapton melded his gritty Tulsa based touring ensemble (bassist Carl Radle, drummer Jamie Oldaker, keyboardist Dick Sims, vocalists Marcy Levy and Yvonne Elliman, and guitarist George Terry) with Messrs. Robertson, Garth Hudson, Rick Danko, Levon Helm, and Richard Manuel and a stellar cast of guests including Bob Dylan, Ronnie Wood, Wah Wah Watson, Billy Preston, Georgie Fame, Jesse Ed Davis, and George Harrison, to name a few.  

Unlike scores of all-star affairs in rock and jazz, Eric’s cosmic countrified amalgamation gelled. The Danko/Manuel composition “Beautiful Thing” emerges a gospel tour de force. Dylan and Clapton trade lines on the reggae romp “Sign Language” with Eric ever the romantic and Zimmy’s cynic snarl down in the groove. The heart-breaking country ballad “All Our Past Times” feature Danko and Clapton in duet mode sounding like two lonely drunks after an all-night binge – which they probably were! Dear George’s gently weepy slide on “Hello Old Friend” is unmistakable. And Slowhand’s simmering rendition of Otis Rush’s “Double Trouble” became a mainstay in his set list for a decade. On every track the lustful, bosom bobbling backing vocals of Elliman and Levy combined with the majestic guitar interplay of Eric and his famous friends were a series of matches made in rock ‘n’ roll heaven. Alas there were no big hits. The album momentarily charted, and then disappeared into the cut-out bins. The suits demanded singles and, ye gods the punks were coming!  

Fast forward two years. Backless was Eric’s follow-up to the massive success of Slowhand wherein Clapton had delivered the chart-toppers and FM radio tracks that kept big record companies reeling in big dollars. On this last recording with his rollicking Okie posse, Eric is clearly under the influence of J.J. Cale. Woe-is-me romantic lyrics, slinky rhythms, and killer melodic solos abound. Dylan arrived at the sessions with a pair of mesmerizing tracks that he should have kept for himself (and which are hits in waiting if any new country artists are reading this):  “Walk Out In The Rain,” and “If I Don’t Be There By Morning.” “Tulsa Time” is a rendered as a fiery tribute to his veteran sidemen. Clapton’s own “Watch Out for Lucy” could have been a Hank Williams classic. And the traditional blues cut “Early In The Morning” proved that Clapton could slay his competitors and simultaneously silence detractors any time he wished. The hit single everyone heard was the light fare pop shuffle sung in tandem with Marcy Levy entitled “Promises” – not quite indicative of the album from which it was pulled, but a pleasing summertime soundtrack. Again, the press shot bullets: Rolling Stone labeled Backless as “spineless.” The bastards!   

After Backless, which briefly cracked the Top 10 and sank, a restless Clapton suddenly fired his band. According to legend, the sacking incident hastened the demise of Carl Radle, and Clapton took the public heat from his peers -most notably Wood, Keith Richards and Leon Russell who all afforded scathing comments for exiling his beloved and faithful bassist and collaborator. Eric replaced the Tulsans with a lifeless cast of Brits who backed him on a tepid live two-fer (Just One Night) and a studio disc that should have been a lot better given the formidable track list (Another Ticket). Not until the retrospective box set Crossroads seven years later would his visibility be restored, and 1989’s AOR friendly Journeyman wherein Clapton would settle comfortably in to the legendary elder statesman role which he now enjoys.  

For all Eric Clapton fans, No Reason To Cry and Backless, are indeed buried treasures. And whilst you’re seeking these gems out, also be advised the get your hands on the equally ignored and wonderful There’s One In Every Crowd from 1975 – a subtle, noir foray into reggae and blues that gets better and better with the passage of time.  

Spontaneous       

Feeling painless (no pun on Backless), Eric belts out Tulsa Time with the boys…