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ALBUM REVIEWS
Not so strange brew
Cale, Clapton mesh seamlessly on low-key, delightful 'The Road to Escondido'
By George Varga
POP MUSIC CRITIC
November 2, 2006
Eric Clapton and J.J. Cale had only teamed up twice – once in 1975 and again in 2004 – before they started work on “The Road to Escondido” last August at Cale's rural home in Valley Center. But the two clicked instantly on the 14-song collection, which began life as a Clapton solo album produced by Cale before the English blues-rock superstar convinced his media-shy American idol to come on board as an equal collaborator.
From start to finish, the album exudes the understated bluesy charm and and earthy bonhomie you'd expect from these two veteran artists, who have long had what Cale describes as “a mutual admiration society.” The result is a low-key, flash-free outing that features exemplary instrumental support from Taj Mahal, John Mayer, former San Diego bassist Nathan East, North County string master Dennis Caplinger and Cale's wife, singer-guitarist Christine Lakeland.
Cale wrote 11 of the selections and he has few peers when it comes to crafting rootsy, perfectly balanced songs that are as unassuming as they are enchanting. It's easy to hear why Clapton was so drawn to “After Midnight” and “Cocaine” in the 1970s, two Cale-penned songs that are gems of melodic simplicity and emotional finesse.
Here, highlights include the bouncy “When the War Is Over,” a recent Cale song that could have been written 50 years ago; “Dead End Road,” a snappy country two-step that boasts wonderfully fleet solos by Caplinger on violin and Albert Lee on guitar; and a remake of “Sporting Life Blues,” a Sonny Terry and Brownie McGhee chestnut that is recast here with a light swing beat and a delightful, Charles Brown-styled vocal by Clapton.
Then, there's the rustic “Three Little Girls,” which Clapton wrote for and about his three young daughters, the touching balladry of “Who Am I Telling You,” and the blues-drenched “Missing Person,” which features spiraling twin guitar harmonies that evoke the Allman Brothers circa 1971.
The musical camaraderie between Cale and Clapton is palpable throughout as they effortlessly trade vocal lines and harmonize like two old pals sitting around a campfire. Clapton's singing and guitar work is impeccable – no surprise there – but he sounds more focused and in his element working alongside Cale than he has on some of his own albums.
Those seeking the high-octane solos and improvisational daring that Clapton brought to his reunion concerts with pioneering power-trio Cream last year may be disappointed by how relaxed the music is here. But anyone who enjoys first-rate songs that are delivered with consistent taste will find much to savor and no bumps at all on “The Road to Escondido.”
 ON THE RECORD: In an exclusive interview, pop critic George Varga talks to J.J. Cale about his new album and long musical friendship with Eric Clapton. Sunday Arts
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