A number of high-profile musicians also agreed to work on the album, including Billy Preston, Derek Trucks, Taj Mahal, Pino Palladino, John Mayer, Steve Jordan, and Doyle Bramhall II.

Escondido is a city in San Diego County near Cale's home at the time located in the small, unincorporated town of Valley Center, California.

Cale, who worked for a time as an engineer in Leon Russell's home studio in Los Angeles for a few years, was barely making ends meet in Tulsa when the song became a hit.

Cale recalled to Mojo magazine that when he heard Clapton's version playing on his radio, "I was dirt poor, not making enough to eat and I wasn't a young man.

I mean, 461 Ocean Boulevard was my kind of homage to J.J." Despite their association in the public's mind, the pair had rarely socialized or played together over the years, but in 2004 Clapton invited Cale to perform at his Crossroads Festival in Dallas.

Cale, who was coming off an eight-year hiatus with the release of To Tulsa and Back, accepted, and it was during this period that Clapton asked him to produce his next album, which blossomed into a full-fledged collaboration.

The fiddle-driven "Dead End Road", the galloping "Any Way the Wind Blows", and the optimistic "Ride the River" exude the general vibe of camaraderie that permeates the recordings, while Clapton's "Three Little Girls" speaks to the bliss of domestic life.

The Brownie McGhee cover "The Sporting Life" and the seen-it-all minor blues "Hard to Thrill" (composed by Clapton and John Mayer) display the pair's tasteful guitar licks and vocals.