The British Uncut magazine liked the background work of Clapton's studio band, as they seem to be an "authentic, bottomless thump" to the Johnson tunes and leave Clapton enough space to play "devastating" guitar and sing "like a man who has faced down more than a few canine devils of his own". The journalist finishes his review, finding "Clapton pays broad tribute to Johnson as a composer and public-domain synthesist". Some of the songs, says Fricke, have "a blistering chorus or two" in them, "to better show off the dirty–rubber swing of Clapton's longtime road and studio band". Rolling Stone critic David Fricke felt that "Clapton takes different routes back to blues school on this cover album, but does it so with mutual fealty and honest delight". He awarded the release three and a half out of five possible stars.
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Erlewine finishes his review liking the whole concept and production of the album: "Some might take issue with this, and others may find the album too slickly produced – admittedly, blues albums should never boast a credit for Pro Tools, as this does – but this is a heartfelt tribute that's among Clapton's most purely enjoyable albums". Comparing the album to Clapton's older Blues albums, the music critic notes: "in some respects it's a better blues album than since it never sounds as doggedly serious as that guitar–heavy affair". Erlewine calls the album "simply the most enjoyable record he's made" since From the Cradle with the possible exception of Riding with the King.
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Critical reception Professional ratings Review scoresĪllMusic critic Stephen Thomas Erlewine notes Clapton sounds very "comfortable and relaxed" on the studio album "as if he was having fun making music". I have always trusted its purity, and I always will". It is the finest music I have ever heard. Now, after all these years, his music is like my oldest friend, always in the back of my head, and on the horizon. Then I would build up strength and take a little more, but I could never really get away from it, and in the end, it spoiled me for everything else.
At first, it scared me in its intensity, and I could only take it in small doses. Up until I heard his music, everything I had ever heard seemed as if it was dressed up for a shop window somewhere, so that when I heard him for the first time, it was like he was singing only for himself, and now and then, maybe God.
I am talking, of course, about the work of Robert Johnson. "And even though I accept that it has always been the keystone of my musical foundation, I still would not regard it as an obsession instead, I prefer to think of it as a landmark that I navigate by, whenever I feel myself going adrift. "It is a remarkable thing to have been driven and influenced all of my life by the work of one man", Clapton said. In February 2004, Clapton was interviewed about his new studio album: Clapton eventually finished his original material, which was released on the album Back Home in 2005. Records and Reprise Records manager Tom Whalley. Clapton was very pleased with the recordings, as was Warner Bros. In just two weeks, Clapton and his studio band, Andy Fairweather Low, Billy Preston, Steve Gadd, Doyle Bramhall II, and Nathan East recorded an entire album consisting of Johnson cover songs. However, when it came time to record in the studio, there were not enough finished songs for an album, so Clapton suggested the band play some songs composed by Delta blues great Robert Johnson. In the beginning of 2004, Clapton set out to record a new album, working with his long-time collaborator Simon Climie on several songs that Clapton wrote about love, peace and happiness.
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