If you were not aware - at the time or even now - Behind The Sun was the so-called "comeback album" which hailed Eric Clapton's entry into the MTV age come 1985. And while it certainly accomplished this goal, the overall album was a decidedly mixed bag; partially the fault of Clapton's label, Warner Brothers, so it seems now.

It was Clapton`s ninth studio album and is today re-issued as a Hybrid SACD. A Limited-Edition numbered release from Audio Fidelity it plays on all SACD and CD players. Produced by Collins and Ted Templeman and Lenny Waronker, and mastered for this SACD by Steve Hoffman, listening to this CD now it's as crisp, as clear, as defined as you will ever have heard it!

Behind The Sun actually features many well-known session musicians such as Phil Collins, Donald `Duck' Dunn, Toto guitarist Steve Lukather and former drummer Jeff Porcaro, and long-time collaborators drummer Jamie Oldaker, bassist Nathan East and keyboardist Greg Phillinganes. It went on to bring us the hit chart singles of both 'Forever Man' and 'See What Love Can Do.'

The always-brilliant-to-hear ‘She’s Waiting’ is first up and is such a great way to begin any album - let alone a Clapton one! Beautiful slow hand guitar work coupled with a discreet Caribbean flow then brings us ‘See What Love Can Do’ next with the much heavy, guitar-plodding eight minute track ‘Same Old Blues’ following.

The heavy guitar soul of Clapton’s version of Eddie Floyd's ‘Knock On Wood’ is next and is truly one of the best tracks on this album. That’s backed by ‘Something’s Happening,’ which is a great sing-along, sway-along song if ever there was. The biggest hit off the album, ‘Forever Man’ sees Clapton back to what he does best - all out guitar rock with rhythm. A huge hit at the time, it’s definitely the centerpiece of the album.

The gentleness of ’It All Depends’ is next, and is backed by the more down-to-earth musical guitar substance of ’Tangled In Love’ and to a much lesser, laid back extent the dulcet slow dance tones of ’Never Make You Cry.’ The album is brought to a close with both the slow-poke storytelling of the darkly hued harmonics of 80's Genesis ‘Just Like A Prisoner’ and then finally the album filler title track itself.

Reviewed by: Russell A. Trunk

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