It is beyond belief that Polydor (now Polygram, and part of the Universal Music behemoth) has, until now, never seen fit to reissue Eric Clapton's eponymous solo debut on CD in this country. Thankfully, that decision has now been corrected with this deluxe edition. Presented here with bonus tracks and in two forms, the first being Tom Dowd's originally released mix and the second being an unreleased mix overseen by Delaney Bramlett, this reissue is a welcome and necessary addition to the music library of anyone interested in Clapton. Tiring of the bombast of both Cream and Blind Faith, and inspired by the rootsy, song-oriented approach of The Band's Music From Big Pink and their self-titled work, Clapton's own self-titled solo debut puts the focus squarely on the song rather than on the jam or the solo. Only the glorious Let It Rain runs longer than three-and-a-half minutes, and, with that type of economy, long-running solos are nowhere to be found. What is to be found is some of Clapton's best and most affecting singing embedded in a bevy of wonderful blues-based pop-music gems (e.g., After Midnight, Blues Power, Bottle Of Red Wine, and the aforementioned Let It Rain, among others). Backed by a large band centered around the touring unit Leon Russell put together for Delaney & Bonnie (also heard to excellent effect on their On Tour With Eric Clapton album-highly recommended), horns and keyboards share the spotlight with Clapton's guitar work to the benefit of all involved. Opening with a short, blues-rock jam (Slunky), the album proceeds to deliver one fine performance after another, with Clapton's playing at its most concise and tasteful. Easy Now finds Clapton in great voice on a simple acoustic guitar ballad, while Lovin' You Lovin' Me provides a gentle reverie within which his unadorned guitar work is flawless. And, of course, there are the above-mentioned songs, staples of his live set for years to come. As for the deluxe edition, the unreleased mix is a welcome treat as it has a looser, less polished feel than the original, with the horns often occupying a more prominent place (e.g., the alternate version of After Midnight). The bonus tracks, six in all, are also welcome, with a straight, 10 minute blues jam added for those needing that sort of fix, while She Rides provides an alternate lyrical version of Let It Rain. In sum, this ranks right up there with, if not above, anything in Clapton's solo discography. Thank you Universal-it's about time.

The Brazilian-born, London-based Cibelle has married traditional Brazilian melodies and song-forms with ever-present, yet very subtle, production "spices" (her word) on this, her second solo album. In doing so, she has crafted a wonderfully unique and beautiful work that combines world music, modern folk, and electronica. Each song sounds as if it has been stripped down to its bare essence (a guitar pattern here, a vocal hook there), and then sprinkled with a variety of small, unexpected musical elements that nevertheless fit perfectly. While the delicate lilt of her voice remains the focus throughout, finger-picked classical guitars co-exist with textured soundscapes, buried percussive patters, and sampled and looped keyboards and electric guitars. Opening with a Tom Waits cover (with a guest vocal from the man himself buried deep in the mix), she moves on to other covers by fellow Brazilians Caetano Veloso and Antonio Carlos Jobim, as well as a number of her own originals. The overall vibe is definitely soft and alluring, but the unique production never allows the listener to doze off.