Eric Clapton: 461
Ocean Boulevard (Super Audio Compact Disc)
PCM CD: B DSD
5.1: A- DSD Stereo: B+ Music:
B+
Arriving after a short-lived stint in the group Derek and
the Dominoes, Eric Clapton was back solo after three years. After his hit Rainbow Concert album,
his second solo studio album 461 Ocean
Boulevard arrived in 1974 and is now available as a multi-channel hybrid
SACD. This version has reinvigorated
the album to a new stature. For me,
this is an album that gives a quick snapshot of the varying styles that Clapton
was able to reach into at the height of his ability. He would venture here into his typical blues, pop, rock, country,
and even go to the point of reggae with his cover version of I Shot the Sheriff, which I never much cared
for. This was a trend that started when
Led Zeppelin the year before did the Jamaican flavored D’Yer Maker,
which came off their most relaxed album Houses
of the Holy
The point of this review is not to really unearth this
particular album when people by now know well just how influential it would be
as well as the template that it would serve for Clapton’s work of the 70’s (and
before he started leaving windows open around kids) What I can say immediately
about this particular SACD is that songs that never really seemed to work on
either previous existing format be it vinyl, cassette, CD, or even on the radio
it never had much justice, which I long thought was just my personal feelings
toward the song. However, I am quickly
proven that with the right type of mix a particular album can be a breath of
fresh air despite how many times you’ve heard the tunes prior.
Track Listing:
Motherless
Children
Give Me
Strength
Willie
and the Hand Jive
Get
Ready
I Shot
the Sheriff
I Can’t
Hold Out
Please
Be With Me
Let it
Grow
Steady
Rollin’ Man
Mainline
Florida
Bonus Tracks:
Walkin’ Down The Line
Ain’t That Lovin’ You
Meet Me (Down At The Bottom)
I Shot
the Sheriff was a huge chart-topping hit
for Clapton, with Yvonne Elliman on backing vocal for the remake of the Bob
Marley classic, while the ever-durable Willie and the Hand Jive was
a Top 30 hit. Motherless Children was a hugely successful album cut on Rock radio
across the country, helping send the album into astronomical sales. It has been issued as a gold CD, in
countless special vinyl record album pressings and even a 5.1 DTS-only CD
version, so it is one of the few SACD releases to have received such widespread
release treatment in advance of this one.
The PCM 2.0 16Bit/44.1kHz CD tracks on the SACD Hybrid
give better definition to any previous release and you can instantly hear minor
nuances in clarity and this is just the CD layer! Now, for the real treat take the disc into overdrive and listen
to either the DSD Stereo or DSD Multi Channel mix and you are in for a world of
fun. What becomes apparent is the use
of more instruments than imagined as you can actually hear the articulation in
certain percussion instruments, or layered guitars, etc. If you were to just listen to older
recordings of this album you pretty much only hear drums, bass, and
guitar. Here you can experience much
more because the instruments that are layered in are now able to force their
way out of the mix by having more channels to engulf. The mix here takes most of the vocals and keeps them nice and
centered in the frontal speakers, while the harmonies seem to creep into the
surrounds and make for further expression of the tune.
Clapton’s guitar seems to wander around the mix depending
on the feel for the song. Backing vocals
are typically in the rear as well, which makes for a nice ambiance. The DSD Stereo layer of course does not
integrate the surrounds, but does keep a very solid mix in just the front two
channels. Solid is sometimes more
important to some as they would rather just have a nice tight sound, versus
having a very artsy flare. Purist are
going to prefer having the stereo mix, while those interested in hearing the
album like never before will want to check out the 5.1 mix.
My only real complaint with this particular release is one
of personal taste and that is the low-end presence. I am a fan of solid bass and especially bass that is well managed
and well represented, which most of 70’s rock music seems to lack when it comes
to presenting it. While some rock music
does not integrate as much ‘bass line’ playing and tries to keep the bass
locked together with the drums, I would almost prefer to hear more bass
presence, but that is just me. Clarity
is quite stunning here given that this album is well over 30 years and sounds
fresh here. My biggest compliment is
that the mix was taken very seriously and was recreated with the mindset that
people listening to this are going to enjoy hearing more of the orchestration, rather
than try to be fancy and boost levels all over the place. The right liberties were taken here and the
payoff is huge!
- Nate Goss
