Cream Bootlegs: The Remasters (text from twtd.bluemountains.net.au)

 

 

 

 

 

 

 

 

http://www.penrithcity.nsw.gov.au/usrpages/pat/cream/rem/theremasters.htm

 

 

Renovating the Blues (2 CDs)

 

CD1 (57 min)

Live at Klook’s Kleek, London (15th Nov. 1966)

Klook’s Kleek remastered quality: Klooks is dubbed from an LP record (that includes all bootleg versions on CD or tape). Original quality was reasonable but heavily clipped. The remaster needed only a modest rebalance, raising the bass slightly, but successfully reduced noise without loss of musical detail. Recording volume variations are corrected. Vocals are somewhat distant but clear , bass clear and present, drums clear and present but the guitar is dominant, which I feel is a realistic representation of their sound at the time. Sound quality is now good but naturally nothing could be done about the clipped sound.

 

1. Stepping Out (Bracken) 5.13

2. Sweet Wine (Baker/Godfrey) 4.19

3. Meet Me in the Bottom (McGhee) 4.25

4. N.S.U. (Bruce) 4.33

5. Hey Lawdy Mama (Wells) 3.03

6. Sleepy Time Time (Bruce/Godfrey) 6.41

7. Crossroads (Johnson/arr. Clapton) 3.28

 

Live at the Konserthusert, Stockholm ( 7th March 1967)

Konserthusert remastered quality: This was a real enigma as it is widely touted as being of “excellent quality”. It’s problem is that all the versions I obtained were sped up. The best was a consistent 7%, the worse ranging from 7-15% (“I’m So Glad” was outrageously hyperactive!). I at last obtained a very good one which is a copy of a Swedish rebroadcast of 1972. Only a slight speed adjustment was required (typically) – bass and drums are quite clear with the guitar still somewhat recessed.

 

8. N.S.U. (Bruce) 4.06

9. Stepping Out (Bracken) 4.09

10. Traintime (Bruce) 5.55

11. Toad (Baker) 6.52

12. I’m So Glad (James) 4.58

 

CD2 (41 min)

Live at the Ricky Tick, Hounslow, W. London. (22nd April. 1967)

Ricky Tick remastered quality: Ricky starts as the best quality recording (though not rated that highly by collectors) and the remaster has made it excellent quality – better than I had anticipated. No rebalancing was required (balance does vary but that is a product of amp volume variation) as the digital noise filtering cleared up the sound marvelously. The bass sound is among the best available and the drums quite clear even though the guitar drowns them on occasions. Eric is playing extremely loud at times! Vocals are also clear – a professional audience bootleg recording (mikes left and right of stage with a quality recorder). Its a short boot remaster but magnificent – the possible additions would have degraded the brilliance of this recording.

 

1. Sunshine of Your Love (Bruce/Brown/Clapton) 4.36

2. Hey Lawdy Mama (Wells) 3.31

3. Sweet Wine (Baker/Godfrey) 5.24

4. Rollin’ & Tumblin’ (Morganfield) 5.41

5. Spoonful (Dixon) – Incomplete 7.40

6. Sitting on Top of the World (Burnett) – Incomplete 4.20

7. Toad (baker) – Incomplete             9.36

 

 

RENOVATING THE BLUES  The Early Bootlegs  by Graeme Pattingale

 

Klooks Kleek, Hampstead, London

15th November 1966.

 

Cream began touring at the end of July, barely a month after beginning serious rehearsals. Initially the repertoire consisted of blues covers but by November they had added some originals and heavily adapted blues songs. Touring had expanded to almost nightly performances.

 

“Klooks Kleek” was a club in the “Railway Hotel”, Hampstead, London. It was a popular venue on the performance circuit because of its blues aware audience. On Tuesday 15th November, Cream performed and was recorded there.

 

John Platt claims that it may have been an ‘official’ attempt to record a live album. Based on the available bootleg, it was an amateurish effort, if that story is true. The available bootleg is dubbed from an LP record with vinyl noise present.

 

It is reasonably recorded, considering the era, but the mikes were continuously ‘clipping’. The engineer was also varying the volume controls to handle the volume. The stacks were turned up high! Balance is good with only the vocals slightly distant.

 

The recording appears to be of the end of their first set and the start of their second.

 

Eric’s Les Paul/Marshall stack sound and playing is mature ‘Bluesbreaker’. Jack and Ginger are relatively restrained, compared to later performances, and can be accurately described as a ‘rhythm section’ for this performance.

 

An important recording that shows that ‘Fresh Cream’ quite successfully captured their live performance of 1966.

 

Stepping Out (Bracken) 5.13

 

The opening number is close to the ‘Bluesbreaker’ album performance. The Les Paul/Marshall stack sounds magnificent even without the tonal density of the overloaded combo. The major difference is the lithe and flexible rhythm section.

 

Sweet Wine (Baker/Godfrey) 4.19

 

This shows how closely the studio version captured the live performance. Eric includes a feedback loaded passage in his fine solo.

 

Meet Me in the Bottom (Brownie McGhee) 4.25

 

Their only known recording of this blues. A clear example of their beat shuffling approach that could give a routine blues a unique tilt. Jack in shout mode.

 

NSU (Bruce)

 

Closes the 1st set and LP side. Well reproduced in the studio but, like Sweet Wine, more of a pop performance. During the guitar solo the nascent blowing elements are present.

 

Hey Lawdy Mama (Junior Wells) 3.03

 

Eric introduces it as a Junior Wells song and it follows his arrangement. Probably the best available version.

 

Sleepy Time Time (Bruce/Godfrey) 6.41.

 

This is given an extended work out. The 1968 live recording shows only a modest development of the arrangement. A fine performance all round with Jack still developing his vocal technique.

 

Crossroads (Robert Johnson/ arr. Clapton)

 

The LP opens with Clapton’s Bluesbreaker opus and now closes with the song that was to become his Cream opus. The arrangement is complete and it was the technical development of the band, collectively and individually, that was to bring the masterpiece to finalisation.

 

Dec. 1966

 

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Konserhusert, Stockholm, Sweden

7th March 1967.

 

This a radio broadcast performance recorded at the “Concert Hall” in Stockholm on Cream’s short Scandinavian tour in March 1967. It established them in Scandanavia.

 

This has been promoted as an “excellent” quality recording. While it is good it does have major problems. Of the three “excellent’ quality versions I have heard, all are sped up. The worst ranges from 7-15% over speed.

 

The performance includes the four songs that would become the closing elements of their extended improvisational sets later in the year.

 

NSU (Bruce) 4.06

 

Starts with Baker sounding like he’s been slowed down but in fact he’s marking time while Jack sorts out some hardware problem. EC joins in to fill out time and then jack joins in. Not a significant variation on the ‘Klooks’ or “Fresh Cream’ versions except its harder and the solo starting to adopt the three way jamming elements.

 

Stepping Out (Bracken) 4.09

 

A brief performance but shows Eric’s continuing growth and increased interaction between all three.

 

Traintime (Bruce) 5.55

 

The Graham Bond Organisation piece revived in a reasonably extended performance. Jack and Ginger have been doing this for years and its really a bravura piece for both of them.

 

Toad (Baker) 6.52

 

Short and close to the ‘Fresh Cream’ recording. The later extended versions were criticised as excessive but this lacks the excitement of the musical development of those versions. Baker was not a teller of short stories.

 

I’m So Glad (James) 4.58

 

This song was usually the frantic closer of their sets later in the year. This is a proto-rendition ending with the guitar feeding back as Eric leaves it leaning against the stack.

 

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Ricky Tick, Hounslow, West London

22nd April 1967

 

This bootleg was originally dated as 15th January 1967. I recognised that this could not be correct and redated it as 22nd April which has now been confirmed by John Platt.

 

At the end of March/early April Cream had performed in New York on the Murray the K show. They had then moved to Atlantic studios to record a single. But what was probably of more significance was that they dropped Acid at the “Be-In” in Central Park on Sunday 2nd April. They were booked to record an album in New York during May. On their return to England they began working up more original material.

 

The “Ricky Tick” was a circuit of various venues (pubs, clubs, halls, and cinemas) around UK. This gig was well recorded a friend of the band. The balance is good with the bass relatively clear, though the drums are drowned on occasions. Volume levels are very high but the quality of the recording equipment was up to it.

 

A few interesting points: Eric swaps between Les Paul and ‘SG’, Jack is playing the Danelectro Longhorn and they are in very fine humour.

 

Sunshine of Your Love (Bruce/Brown/Clapton) 4.36

 

Clearly the arrangement is not yet completed: the drum pattern yet to be developed, the riff still raw and at a faster tempo. Still it’s fascinating.

 

Hey Lawdy Mama (Wells) 3.31

 

Standard arrangement with no significant variation to the Klook’s version. Shows why they ultimately dropped it – they couldn’t do much more with it.

 

Sweet Wine (Baker/Godfrey) 5.24

 

This version is tougher and harder as it is gradually evolving into a heavy rock piece.

 

Rollin’ and Tumblin’ (Morganfield) 5.41

 

No significant variation from the studio recording.

 

Spoonful (Dixon) 7.40 – Incomplete

 

Already this number is stretching out. It probably went on for another couple of minutes. Jack starts with harp in the neck frame. EC uses extensive feedback and the tremelo arm. All the elements of the later very extended jams are here including some of the ‘reference point’ figures.

 

Sitting on Top of the World (Burnett) 4.20 – Incomplete

 

Of all their blues songs, this one kept evolving right until the final tour when the definitive version was recorded. The start is missed but not much of it.

 

Toad (Baker) 9.26 – Incomplete

 

The drumming extravaganza is beginning to appear – the full story is now beginning to be told. Probably went on for another couple of minutes, at most.

 

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The Ricky Tick is the last of their “Renovating the Blues” period. From here on the impact of psychedelics and the burgeoning instrumental virtuosity was to lead them down a new path.

 

Outtakes & Alternates incl BBC Sessions (2Cds)

 

BBC on the cover notes but not on the site.

Remaster Quality: Variable but overrall quite good. All recordings have been standardised as to amplitude (volume) and digitally filtered. Acetate noise is still present but much reduced on that source material. The BBC recordings have been bass boosted (not by me) which is acceptable as they are quite thin sounding (all the other versions I have). The off-air recordings include noise as it was AM and recorded by mike – this has been reduced.

Comment: The Outtakes combined with the BBC give a rounded picture of Cream’s playing and development at the time. The BBC performances are not in the class of the the brilliant Hendrix release but there are a few very good ones. Separately the Outakes and BBC are of marginal interest but when I combined them it all came together because of the very brief recording period.

 

CD1 (71 min)

Fresh Cream Sessions

July/Aug 1966, Rayrik Studios, Chalk Farm, London

1. Beauty Queen (J.Bruce) – Rehearsal

2. Coffee Song (Colton/Smith) – Rehearsal

3. You Make Me Feel (Bruce/Brown) – Rehearsal

4. Wrapping Paper (Bruce/Brown) – Rehearsal 1

5. Wrapping Paper (Bruce/Brown) – Master, Alternate Mix (from Acetate)

Sept 1966, Ryemuse Studio, Mayfair Productions, Mayfair, London

6. Cats Squirrel (Ross) – Rehearsal

7. Cats Squirrel (Ross) – Alternate Master (from Acetate)

8. I Feel Free (Bruce Brown) – Rehearsal

9. I Feel Free (Bruce Brown) – Incomplete Master

10. I Feel Free (Bruce Brown) – Master, Alternate Mix (from Acetate)

Oct. 1966, Ryemuse Studio, Mayfair Productions Studios, London

11. Sweet Wine (Baker/Godfrey) – Rehearsal

12 . Sweet Wine (Baker/Godfrey) – Rehearsal

13. Sweet Wine (Baker/Godfrey) – Incomplete Master

14. Sweet Wine (Baker/Godfrey) – Master, Alternate Mix (from Acetate)

15. Sleepy Time Time (Bruce/Godfrey) – Alternate Master (from Acetate)

16. Four Until Late (Johnson) – Master, Alternate Mix (from Acetate)

Nov 1966, Ryemuse Studio, Mayfair Productions Studios, London

17. Rollin’ and Tumblin’ (Morganfield) – Alternate Master

18. Toad (Baker) – Rehearsal

19. I’m So Glad (James) – Incomplete Master

Note: Some sources describe additional outtakes, these are “You Make Me Feel 2” which is a duplicate of track ‘3’; “Wrapping Paper 2” which is a duplicate of track ‘4’; “I Feel Free 2” which is a faulty copy of track ‘9’.

The BBC Sessions

20/21 Intro/Wrapping Paper (Bruce/Brown) – BBC Radio 8 Nov 1966.

22/23 Intro/Traintime (Bruce) – BBC Radio 10 Jan 1967 (off air recording).

24/25 Intro/Stepping Out (Bracken) – BBC Radio 8th November 1966.

26. I’m So Glad (James) – BBC Radio 8th Nov 1966 (off air recording).

 

CD2 (72 min)

The BBC ‘Fresh Cream’

1/2. Interview/I Feel Free (Bruce/Brown) – 10th January 1967

3. NSU (Bruce) – 10th January 1967

4/5/6. Intro/Sweet Wine (Baker/Godfrey)/outro – 8th November 1966

7. Sleepy Time Time (Baker/Bruce) – 8th November 1966 (off air)

8/9. Intro/Cats Squirrel (Ross/arr Splurge) – 9th December 1966

10. Four Until Late (Johnson) – 10th January 1967

11. I’m So Glad (James) – 9th December 1966

12. Rollin’ and Tumblin’ (Morganfield) – 8th November 1966

13. Toad (Baker) – 10th January 1967 (off air)

14. Traintime (Bruce) – 10th January 1967 (off air)

Wheels of Fire Sessions

July/Aug 1967 – IBC Studios, London

15. La La Song

16. Singalong

17. Tuba Tune

18. Spike’s Theme

19. Blue Moon

20. Polonaise Jam

21. Barrelhouse Blues

Tracks 15-21 feature Ginger Baker on Spoons/Percussion & Vocals, Jack Bruce on Piano & vocals except for 1 on Acoustic Bass, Eric Clapton on Acoustic Guitar & Vocals, Felix Pappalardi on small Tuba & Acoustic Bass. These are very stoned jams probably recorded at jack or Ginger’s home.

22. White Room (Bruce/Brown) – 1st Master.

23. Falstaff Beer (Baker/Bruce/Clapton)

24. Falstaff Beer (Baker/Bruce/Clapton)

25/26 Interview/Born Under A Bad Sign (Jones/Bell) 24th Oct 1967 – BBC Radio, London

         Dec 1967 – Atlantic Studios, N.Y.

27. Anyone for Tennis (Clapton/Sharp) – Alt Master .

28. Pressed Rat and Warthog (Baker/Taylor) – Alt Master.

29. Politician (Bruce/Brown) – 9th Jan 1968 – BBC Radio Studios London

Oct, Dec 1967, Feb, June 1968 – Atlantic Studios, N.Y.

30. White Room (Bruce/Brown) – single edit.

Bonus Track – June 1965 – London

31. On Top of the World (Mayall) John Mayall’s Bluesbreakers featuring Eric Clapton

– Edit from acetate and hilights Eric’s innovative use of feedback.

 

 

THE  SESSIONS  –  reviewed

 

Cream had begun serious rehearsals in June 1966. On July 31st they headlined at the National Jazz and Blues Festival. Soon afterwards they entered the primitive Rayrik studio to record the obligatory smash single. Unfortunately they were somewhat short of original material.

 

Eric had his blues covers and Ginger and Jack some of their material from the Graham Bond Organisation. Most likely Robert Stigwood proposed the Tin Pan Alley like “Coffee Song”. To maximise financial return, original songs were required as song writing royalties offered the best long term income. Jack had some original tunes, most of which were deemed unsuitable. One example is the outtake “Beauty Queen” – at best a song requiring a lot of development.

 

While Jack and Ginger could come up with music and arrangements, lyrics remained a problem. Ginger invited the poet Pete Brown to help him out but Pete immediately formed, what has become, a long-lived partnership with Jack. Pete set some words to some of Jacks tunes, one of the earliest being “You Make Me Feel” with its decidedly ‘goonish’ lyrics which, again, was not developed beyond the rehearsal outtake. Another effort was deemed suitable and work began on the A Side of the single.

 

August 1966, Rayrik Studios, Chalk Farm, London

Engineer: John Timperley, Notional Producer: Robert Stigwood

 

Coffee Song (Colton/Smith)

 

The rehearsal outtake, during which Jack and Eric crack up over the trite melody, says it all. They completed it with, probably, some additional overdubbing in December. Planned for inclusion on the album it was sensibly dropped but did appear on some European EPs.

 

Wrapping Paper (Bruce/Brown)

 

Began as a co-operative development but published as a Bruce/Brown composition. This still sticks in Ginger’s craw to this day. A clear attempt at a piece of clever pop reflecting the dominating influence of the Beatles in the industry.

 

The rehearsal outtake provides a pretty clear indication of how they were struggling to get the production together within the limitations of the studio and the notional producer.

 

In an era when the 3 chord trick (2 chords for the chorus, 3rd on the bridge) became standard, Jack provides what sounds like a seemingly simple song. It is has a 12 bar structure, but it is not a blues, and a mere 9 chords with 14 changes in the 12 bars. The solo is also distinctively non-blues of slide like guitar notes (very similar to “On Top of the World” from 1965) with Arco bass.

 

Outtakes: “Beauty Queen”, “You Make Me Feel”, “Coffee Song”, “Wrapping Paper” (rehearsal and alternate).

 

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At this stage, the demands of touring intruded and no B Side was completed. Also this was probably the studio that Ginger ‘accidentally’ spilt Coca Cola into the mixing panel. The combining of “Wrapping Paper” and “Coffee Song” was probably considered too blatantly poppy.

 

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September 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.

Engineer: John Timperley (and for all other sessions)

 

Moving to a marginally superior studio, they completed the B side of the single and also completed its follow up.

 

Cats Squirrel (Dr Isaih Ross, arr S. Splurge)

 

S. Splurge was a group pseudonym to spread song royalties, except to Dr Ross.

 

A tight and exciting rendition with the riff appearing regularly in the extended jams of the next year. A simple song that shows what you can really do with one chord! The rehearsal outtake lacks the harmonica/guitar overdub (Eric does the lead break as part of the basic guitar line) but it still stands up – raw and rough.

 

The alternate master was released on a French EP and has an alternate lead overdub. It is unclear why this wasn’t used but probably Eric was not satisfied with his lead break.

 

The single was released in October, and only reached 34 on the UK charts, hardly auspicious for a band of their reputation.

 

The Guitar Solos  by Jeffrey Aarons  Cats Squirrel

 

This is one of the most exciting Fresh Cream studio cuts.

 

This old blues cover is based on an open E chord. The only variation is the first change from the opening E chord is just an A note making it (technically speaking) an open E11 or E eleventh chord. Clapton than alternates sporadically between E11 and an A triad at the second fret (where he bars the inner three strings, B, G and D strings) with his third (most likely) finger also touching the E string on the second fret, causing his pick to occasionally hit that note which produces the sixth overtone (F sharp).

 

The rhythm guitar track is the Les Paul, with moderate volume level and on the treble toggle position with treble tone turned slightly down to roll off the edge. Unless he was on mid-toggle position with bass pick-up down and treble pick-up higher but when I see close up pictures of Clapton’s guitars, they are usually on Treble toggle position which is consistent with his most common tone [not woman tone] and also used for his rhythm.

 

After the guitar chord intro, Clapton comes in with his second (the overdub) guitar, on treble toggle position and at a much higher volume level, and cranks out that wonderful theme – riffin’ the high register E position, 12th fret, which is in unison with Bruce’s harmonica. During that main riff, Clapton uses mostly full note bending, predominately, on the second and third strings with a wonderful stretch vibrato on the 15th note into the riff (the second bend to the E note on the 15th fret second string, from D). His smooth flowing string bending, picking and fingerwork blend masterfully with the harp, slightly smoother than on “Rollin’ and Tumblin’ “, which is meant to be a little harder edged.

 

After the main riff sequence, Clapton slips back down to the open E position and follows the remaining theme still in unison with the harmonica but using harder picked notes on the 3rd and fourth strings, first and second fret. This continues at a hectic pace until they stop and Bruce begins his “alright alright alright alright, alright alright alright”….etc… This sequence is one of Creams most exciting studio climaxes. The tension that is built during Bruces vocal perfectly anticipates Claptons soaring guitar break. As soon as Bruce stops, Clapton cuts loose all alone, with a high register riff on the 12th position. He hits the first climax with a perfectly executed stretch vibrato (reaching the E note on second string) with Baker crashing in on that precise beat. That vibrato is significant to an experienced guitarist due to it’s phenomenal control and perfect sonic ambience. Usually a guitarist will be heard bending up a little before the target note is hit. In this case Clapton hits the note and the vibrato with unrivaled precision which as a result resonated even more of a chill and prepares the listener for more dynamics. After that vibrato, Clapton artistically waves that same bent note before descending on the next beat and joined by Baker and Erics rhythm guitar (open E chord). Than Bruces Harmonica and bass come in much later to join the drums and rhythm guitar bringing Erics solo to an exciting close. After the next three notes Clapton then flashes an appetizer of speed during a four note sequence before he settles into the next beat. With Baker and Bruce continually building tension on the designated beat, Clapton weaves and groans with agonizing third string bends then finally tapers off (all in minor modal positions) and beautifully descends back into the theme sequence on the first and second fret building density and volume with his pick.

 

This solo is a perfect example of Claptons ability to create architecture,displaying tension, climax and seamless descention back to the verse. He and Bruce re-create the main sequence riff again creating the illusion of an almost faster pace (maybe it is) before tapering off and fading for the end. Clapton does a quick bend ‘ROLL’ of the third string at the beginning of the previously described solo which is a way of quickly playing two notes with a fast bend and finger effect, rather than a straight half step up on one fret to reach the same note. This ‘rolling’ sound, was characteristic of his Bluesbreaker period, especially prominent in the tune ‘Hideaway’ and continues into Fresh Cream as shown here.

 

This rolling sound which is always done on the third string, stopped after Fresh Cream and was never heard again in any solo that’s been officially recorded. There is one bootleg version of Cat’s Squirrel I have heard from an early 1967 concert. Clapton who is definitely using a Les Paul on the show, does another very exciting solo for Cat’s Squirrel carrying over the same exhilarating feeling he generates on the studio version.

 

I Feel Free (Bruce/Brown)

 

The next attempt at a single was musically a lot heavier with Jack now becoming more assertive as Ginger pushed Stigwood out of the production role. While it opens with clever multi-tracked harmonies, it is the bom-bom-bom of the drums that leaps out at you. This was insisted upon by Jack despite Ginger’s “you’re mad”. Jacks arranging experience with the pop production line of Manfred Mann was paying off. Eric pulls off a fine solo and Pete provides lyrics about dancing. A minor classic that was found to be far more acceptable and reached 11 on the charts.

 

The rehearsal outtake indicates the difficulty they were having in devising the correct recording approach. The incomplete master is the basic track before the additional overdubbing. Really shows they needed a proper producer.

 

Unfortunately this was to be Pete Brown’s last contribution to the session. He had entered a clinic (“In a white room with black curtains…”) after becoming strung out.  From this time Pete eschewed all intoxicating substances – his lyrics are a product of his true mind.

 

The Guitar Solos  by Jeffrey Aarons  I Feel Free

 

On this tune, Clapton really shows off his phenomenal finger vibrato.

 

Since there is no accepted conventional term for specific types of vibratos, lets make two distinctions for describing all future Clapton solos. The first type of vibrato is the straight note vibrato where Clapton uses a very effective arm motion with his left thumb off the neck. The note is shaken without bending the string. So in essence, he is giving the note, in it’s plain fretted position, a powerful vibrato without reaching a higher note or an entire halfstep up. The second type of vibrato is Claptons most exciting… the stretch (bended) vibrato. Clapton creates this type of vibrato  with a wrist and finger motion. First he bends (pushes up) the string until it reaches the desired note, which is sometimes a whole step away or a massive 1 1/2 or even two steps away, then he employs the wrist/finger vibrato (the main action is created by wrist motion with the finger mainly static). There is a lesser third type that involves the finger pulling the string back, usually only on the last two lowerstrings (E and A).

 

“I Feel Free” demonstrates both of the main vibratos with maximum impact. The tune starts with Eric’s background (rhythm track) striking the famous E7 raised ninth (E7+9) chord which is heard in many other tunes like “Outside Woman Blues”, “Spoonful” (ending) and in other keys where he used the raised 9th often during songs and often as Cream’s signature ending chord as in the live “Sitting on Top of the World”, “Sleepy Time Time”, an so on. The chords he uses during the I Feel Free verses are mainly straight major type bar chords with Fifth string root (known as power chords) and the dubbed piano note droning the E note during the bridge. On live versions, during the bridge, Clapton used a droning open E string in place of the piano.

 

Clapton is using the Les Paul on “Fresh Cream”, however on “I Feel Free”, Clapton utilizes the precursor to the “woman tone” when he starts the solo: either using the bass toggle position or less likely the mid-toggle setting with volume and tone control adjustments. The solo starts in high register E right off, featuring the stretch vibrato and precise picking. The solo mimics the actual melody line which is unusual for Clapton as he continues on with melodic stretch and straight note vibratos. He was trying a different approach on this solo until he gets toward the end where he uses pentatonic modal positions before he quickly moves up high to the 17th fret for the climax. At this point he quickly flips his toggle switch to the treble position for a screaming (B) note bend held high in the air then finishes it off with the last note being a bluesy first fingerbend on the E string 15th position.

 

When he hits that high E note toward the end right before the high B note bend, he his picking with extreme pressure and on an angle which was part of Claptons slicing, percussive picking sound he especially exploited with those wonderful Gibson Humbuckers. Claptons picking which utilized both down and upstrokes, could be either sweet or fierce depending on his pick angle and pressure. The “I Feel Free” solo sounds predominantly picked slightly above the treble pick-up toward the middle. At the end of the solo, it’ s possible he moves his pick slightly closer to the bridge for maximum impact.

 

Over all it’s one of his finest studio solos.

 

NSU (Bruce)

 

The B-side shows only the proto-elements of the heavy rock classic it was to become in 12 months time. At best a transition song – pop rock with lyrics about the joys and dangers of being a sexually active young man.

 

The Guitar Solos  by Jeffrey Aarons  NSU

 

At my “live” experience at the Electric Factory. I noticed that Clapton began the opening sequence of notes (which comprise a simple A major chord) in the 5th position and to my surprise, fingered the chordal notes instead of picking them. He then launched into his patented power chords (major chords with root on fifth string) with his characteristic second (Bird) finger arched high in the air, which he does to this day. I am assuming he is doing the same on the opening rhythm track of the studio version of NSU, it certainly sounds like it.

 

After the first verse,Clapton bolts in with his overdub, harshly picking away with carefully timed strokes on the same chord sequence which partially overlays his rhythm track. Both the live recorded versions and the Factory version featured the same very powerful power chords blasting out of his Marshall Stacks to more than compensate for the missing rhythm track.

 

On the studio version, the second verse ends with Bruce and Bakers Bass drum, alone, measuring the thumping beat for 5 or so measures. Than Eric’s rhythm guitar obliges with the start up chord and back into the verse until Eric slices in during a key change, with a hard edged solo that begins with FEED BACK!

 

On this solo, Clapton has his Les Paul really cranked up on the treble setting tone switch. After the feed back, he begins with very heavily picked notes featuring strong, straight vibratos and his ‘Rolling and Tumbling’ whip on the third (G) string sound before settling into minor modal riffs in the root position, still crunching his pick for an extremely percussive effect. Three quarters into the solo, he jacks up a gorgeous stretch vibrato on the second string, instead of first for an easier attack on the stretch vibrato. Then, shortly before the end, Eric hits an uncharacteristic double note, meaning, as he bends the string up, his pick catches the sonic addition of the other string caught in the bend, in this case the G or third string. However, this is something he would do PURPOSELY when he got down and dirty with the Dominoes.

 

In summation, Claptons studio NSU solo is average by his Cream standards, but retains a few exciting moments that qualify it as a classic.

 

Outtakes: “Cats Squirrel” (rehearsal & alternate), “I Feel Free” (rehearsal, incomplete & master)

 

October 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.

 

The year was slipping away and an album was required for Christmas. They had built up a solid set of numbers for performance and now moved to capturing their live sound.  Janet Godfrey, Jack’s wife, had capably taken up some of the lyric writing slack.

 

Sleepy Time Time (Bruce/Godfrey)

 

A slow blues in 12/8 time. It continued to be played on tour during 1968 without any signficant change in arrangement, except marginally extended length. The alternate master was released on a French EP and has an excellent solo from Eric. This was later redubbed as there is some pick-striking-pickup noise on the alternate.

 

The Guitar Solos  by Jeffrey Aarons  Sleepy Time Time

 

This is one of my favorite slow blues studio cuts by Cream. In fact, “Sleepy Time Time” represents one of the few, traditional 1,4, 5 chord slow blues formats cut in the studio (others are “Sitting on Top..”, “Lawdy Mama” etc…) not counting a variation of this format which is featured in Born Under A Bad Sign.

 

“Sleepy Time” is in the key of C and begins with only the bass and drums on the six intro notes, then Erics rhythm track guitar comes in at the same time his overdub starts. Eric’s picking the intro notes on the 5th and 4th strings at the 8th position with Baker and Bruce behind him. Than Eric comes in with his over dub guitar and plays the tunes main theme: which is comprised of a slight third finger bend of the second string on the 10th fret (B flat), than lets down to the regular A note (same fret) then picks the G note on the 8th Fret (first finger) than over to the 3rd string (third finger) 10th fret for the F note than the last two which are E flat and E using first and second fingers on same string. From that point on, Clapton weaves and sings a gorgeous assortment of answering riffs which show off to perfection the synergetic effect of the patented Clapton Les Paul/Marshall symbiosis: displaying incredibly rich, thick, resonating tone and a sweet sonic ambiance that permeates his entire performance.

 

Eric utilizes beautiful straight and stretch vibratos throughout the tune which reveals a new level of control that surpasses his Bluesbreaker period. After the fourth verse of the repeat (before second refrain), Clapton jolts the listener with a viciously picked C note the second string, 13th fret, descending with a straight vibrato on the B flat note then slides down on third string from G 12th fret to the F note, on 10th fret, before returning to the remaining riffs.

 

Before the solo break, Clapton prepares you for his solo with a sharply picked sequence of three notes then a brilliantly executed stretch vibrato (reaching the C note) on the second string, 11th fret, followed by a descending sequence which features another Clapton trademark, the snap & bend or what is now a variation of the hammer off. Clapton would grab a note (in this case the E flat note, third string, 8thfret) with his first finger than hammer on his third finger, without picking (two frets up same string), then SNAP off with the same third finger back to his first finger. BUT in his case he added an innovation (based on the old bluesplayers but with more finesse) which consisted of bending up slightly with the first finger, reaching a half step up in tone (E flat to E), creating another patented Clapton sound.

 

He then begins the historic solo that features Claptons incredible control, finesse and architectural mastery. Without once resorting to a fast riff, he guides you through a gut wrenching, yet sweet, melodic, solo with a range that begins in the 8th position, moves to the 16th position with his 2nd and third fingers spreading up to the 18th fret. Here he hits a suspended high bent note that soars sweetly in the air (C note) on the first string 18th fret, with nine pick strokes. From there he continues to artistically vocalize with his Les Paul before descending back to the 8th position quickly stroking a short but savage three note sequence then brilliantly executing another honey laced, flowing close with all of his wonderful picking nuances created from unbelievable control of picking pressure.

 

The closing riff at the end of the tune, is a simple Clapton minor modal phrase that ends with a firmly picked C Seventh chord inversion. It is interesting to compare the studio Sleepy Time with the Live Sleepy Time where Clapton flashes a flowing fast riff during an early climactical phase of the solo. He also plays with more power at the end of the live version with some strong straight vibratos and some jaw lifting bends all in the 8th position.

 

Dreaming (Bruce)

 

Pretty much a Jack Bruce solo effort with a feel and sound that continues in his career today. Involves 14 chords and done in ¾ time.

 

Sweet Wine (Baker/Godfrey)

 

Ginger didn’t get Pete for his lyric writer but Jack’s wife! Like NSU there is barely an inkling of the live monster that was to come. The three alternate versions are quite illuminating.

 

The rehearsal has Jack fluffing the lyrics but shows them laying down as much as possible in the first dub – bass, drums, guitar and vocals. Fundamentally a live approach that left 2 tracks for overdubbing – usually guitar, harmonica and, sometimes, additional vocals.

 

The 2nd rehearsal was reputedly recorded after Jimi jammed with them at the London Polytechnic (Oct 1). Jack is playing up loud and Eric is trying to coax feedback from his Les Paul. His limited success may have made him try out the SG. The legend of this outtake far exceeds the reality, as does the quality of most versions.

 

The incomplete master was released on the French EP. It lacks the lead guitar overdub, which is the clearest example of their, now, faster recording process as they worked to get the album out.

 

The Guitar Solos  by Jeffrey Aarons  I’m So Glad

 

In the key of C, Clapton rips a solid but some what restrained solo in this favorite live number from Fresh Cream. This solo features wonderfully strong stretch vibratos and crunching picking technique especially accenuated by the Les Paul.

 

The Les Paul/Marshall synergetic explosion is at the fore front here, obviously part and parcel of EC’s massive influence on his peers and eventually the world. The actual solo features one main guitar out front with a second guitar somewhat more distant and concentrating on feedback (this of course is all on top of a backing track rhythm guitar). The live Cream version of Sweetwine is by far the best recorded version among all of the boots I have heard at least concerning the guitar jam.

 

Outtakes: “Sleepy Time Time (alternate) “Sweet Wine” (2 rehearsals, incomplete, alternate mix),

 

November 1966, Ryemuse Studios (Mayfair Productions), Mayfair, London.

 

Four Until Late (Robert Johnson)

 

It is really an acoustic rendition, except for Eric sticking to electric guitar. The alternate is an early mono mix that was released on a French EP.

 

Rollin’ and Tumblin’ (McKinley Morganfield)

 

The classic Muddy Waters song covered by many and rudely ripped off by the Jimmy Page led Yardbirds. The alternate master is also excellent, but not used as there is some feedback on the harmonica at one point. In the studio but done just like they were live. The live 1968 version is only longer with no significant variation in arrangement.

 

The Guitar Solos  by Jeffrey Aarons  Rollin’ and Tumblin’

 

This is the first tune Cream played at the Electric Factory show and will be indelibly printed on my memory as the intro to an unforgetable experience.

 

On the Fresh Cream version (as well as all others), Clapton’s roll is mainly supportive, allowing Bruce to have the spotlight with his harmonica gymnastics and complimenting Bakers beautiful and energized brush work.

 

Eric features very strong straight vibratos playing in a restricted set of positions in the key of G, between the third position and 6th position (the central note that Eric digs his vibrato into is mostly the G note on the eighth fret, second string). Right before the end of each verse, as Eric plays the theme in unison with the harmonica (as in Cat’s Squirrel), he pulls off his “whip” sound, which is just a quick left hand slide up the third (G) string. On the Fresh Cream outtake and Live versions, Clapton employs the whip more often and during the main theme and verses.

 

This is a classic example of controlled, yet powerful support in a delta style blues format featuring harmonica. Clapton as usual, is a very generous player and does not attempt to steal the show from Bruce by lashing out some monster riffs which he could have easily done. Clapton shows the remarkable ability to perform as a true professional even at the early age of 21. Usually, only a seasoned pro can restrain themselves so easily and in Claptons case it was also a show of respect for his two elder band members.

 

Toad (Baker)

 

Conceptually under development from the Graham Bond days. The rehearsal outtake is just that and lacks the guitar solo intro. That drum solo simply just doesn’t flow. The released version is a classic and destined to be a live monster within 12 months.

 

I’m So Glad (Nehemiah ‘Skip’ James)

 

More of a folk song than a blues, which was heavily rearranged. Became a staple of their live performance to the very end. Something about this song always seemed to bring the best out of them. This was only mixed to mono, no stereo mix exists. The alternate lacks the lead guitar overdub, which indicates that it wasn’t completed till December.

 

The Guitar Solos  by Jeffrey Aarons  I’m So Glad

 

This is a very simple tune again in the key of E as is “Spoonful”, “Cat’s Squirrel”, and “I Feel Free”.

 

Eric begins the intro finger picking style with an interval progression up to the fifth fret and back down again chromatically. This interval is a staple of delta blues similar to his treatment of the Bluesbreaker song, “Ramblin on my Mind” where he employs the same chromatic intervals consisting of the fifth and third strings with the E string used a pedal tone. If one listens closely to the tune “Deserted Cities of the Heart” (on Wheels) Eric again utilizes this chromatic blues interval progression with a different spin and effect for that tune.

 

In “I’m So Glad”. Clapton flows into an easy set of laid back open D and E chords with some possible fifth position D chords thrown in etc..After the main verses (featuring some lush harmony) end Eric overdubs his Les Paul for a brilliant melodic solo.

 

This solo take a different approach as opposed to Eric’s more typical modal work. It tastily integrates elements of the dominant seventh scale, while flowing these notes up and down the third string employing fluid, lush, vibratos and huge string bends toward the end when he settles back into modal form. His picking features his typical masterful use of variable pressure for tonal effect.

 

At the finish of the solo, he repeats the intro and the song goes from until the last verses where they sing (obviously with overdubbed harmonies) without instrumentation then end on one big E chord. This recording has been available in both artificial stereo and mono.

 

Outtakes: Rour Until Late” (alternate mix), “Rollin’ & Tumblin”(alternate), “Toad” (rehearsal), “I’m So Glad” (incomplete)

 

——————————————————————————–

 

At this stage it appears that several tracks were pulled together to release in France as a tour was booked for December that included TV and radio appearances. Two EPs were released which contained alternate masters, mixes and incomplete masters. In early December the returned to the studio to complete the album.

 

 

——————————————————————————–

 

Spoonful (Willie Dixon)

 

Almost live in the studio with only the harmonica overdubbed. The longest track on the album and destined to get longer. A classic rendition which has been widely emulated. Their confidence is now high and they play it loud (John Timperley seems to have mastered the techniques required).  Speculation: quickly done to push out “Coffee Song”?.

 

It is likely that additional dubbing was carried out on “Coffee Song’’ and “Sweet Wine” and some of the solos redubbed – “Sleepy Time Time”, “Cats Squirrel” plus “I’m So Glad” completed. Mixing of the Fresh Cream album was completed on 8th December.

 

The Guitar Solos  by Jeffrey Aarons  Spoonful

 

This is Claptons finest solo on Fresh Cream and possibly of any Cream studio recording.

 

The tune is the closest to a live sound on the LP outside of “Rollin’ and Tumblin’ “. In the key of E (same as “Cat’s Squirrel”, “I Feel Free” and “I’m So Glad”) the band starts off with a slow hypnotic main riff which consists of the notes G and E corresponding to “Spoon Full”. The G note is of coarse slightly bent for the blues effect. Clapton sets the mood and tension by the end of the third verse when he pulls off a massive stretch vibrato which represents the staple of vibratos all others would follow. The tune continually sneaks up on the listener until Clapton breaks for his solo.

 

This solo is a classic example of Clapton architecture, displaying tension, tonal perfection, space, build-up, climax and slow reduction easing back into verse. Eric starts out teasing the ear with slow stretch vibratos on the second string 12th fret, then as he builds up tremendous anticipation in the same 12th position, he introduces the setup for the climax by brilliantly increasing his picking pressure and releasing the G string bend and hitting the low open E string. Then he lifts you up with another massive soaring stretch vibrato (second string, 15th fret, high E note) hanging it just long enough to tear into a climactical fast sequence, quickly descending down to hard picked massive string bends on the G string and continuing the high energy overall attack, slowly reducing tension and passively merging back into the main theme. This solo is almost a benchmark by which all others could be measured.

 

Live versions of Spoonful (due to there length) rarely capture the excitement of Claptons studio solo except for some very aggressive playing on the Detroit Grande Ballroom version and especially Ricky Tick bootleg, where Eric keeps a consistent level of excitement and dynamics, reminding the listener of his Fresh Cream masterpiece. Other Spoonful live versions of course are very long jams, but still display moments of Clapton building tension and displaying his masterful architecture and flawless execution. Atco records made a huge mistake when they cut Spoonful from the original American version of Fresh Cream. Guitar players had to find imports to hear Claptons wonderful solo.

 

——————————————————————————–

 

Production of this album is credited to “Robert Stigwood Productions”.   The reality is that  it should be credited as “Cream & John Timperley”.

 

The UK album included “Spoonful” but not “I Feel Free” and the US a remixed “I Feel Free” but not “Spoonful” which was released as a two part single. “Coffee Song” was listed for inclusion (Stigwood again!) but thankfully dropped. The album met with considerable critical and chart success reaching no 6 in the UK. While not reaching high on the US charts, it never the less sold steadily through 1967 and was highly influential.

 

 

 

Disraeli Gears Live (2 CDs) incl BBC recordings

 

Note: This set is a mixture of Live recordings and the BBC “Disraeli Gears” Recordings. In combination they give a comprehensive and fascinating view of their experimentation and development over this period. Its got to be said that a couple of rehearsals would have helped but the BBC sessions helped fill that gap. The BBC on their own are marginal but combined with the Marquee and Barbecue produce a great set which I now really enjoy. The tracks are configured to give an historical (not purely chronological) and musical development overview.

 

CD1 (55 min)

Marquee Club, London, 23rd May 1967

Remastered Quality: A good quality audience recording let down by a an inadequate PA but balance is still quite good. It has been noise filtered, volume levels equalised and some rough edits & odd noises tidied up. A realistic sound handling the dual stack’s volume quite well.

The BBC recordings are variable – the latter ones are better quality. The off air recordings are naturally inferior (AM broadcasts). Overall sound quality is good with a bit of bass boost thickening the sound and digital noise filtering clarifying things all round, especially on the off-air.

BBC

1. Intro/Lawdy Mama (Trad arr. Clapton) [which was reworked into:] 1.47

2. Strange Brew (Clapton/Papparlardi/Collins) 3.06

3. Interview of Eric Clapton .33

Marquee Club

4. Introduction 1.13

5. Tales of Brave Ulysses (Clapton/Sharp)             3.17

5. World of Pain (Pappalardi/Collins) 4.39

7. Outside Woman Blues (Reynolds) 3.54

8. Dance the Night Away (Bruce/Brown) 4.13

9. Sleepy Time Time (Bruce/Godfrey) 6.30

10. Sweet Wine (Baker/Godfrey) 5.19

11. Rollin’ & Tumblin (Morganfield) 4.42

12. NSU (Bruce) 3.28

BBC

13. I Feel Free (Bruce/Brown) (Live in Paris) 1.59

14. Take it Back (Bruce) (probably live in the studio) 3.07

15. Intro/Stepping Out (Bracken) (live in the studio) 3.35

16. Tales of Brave Ulysses (Clapton/Sharp) (live in the studio) 3.01

 

CD2 (65 min)

Note: The BBC recordings are configured in album order as an alternative “Disraeli Gears”.

Barbecue ’67, Spaulding England, 29th May 1967 (Reviewed)

Remastered Quality: As I have made clear this is a severely flawed audience recording (not a soundboard as claimed by the commercial bootleggers!). It lacks bass and hasjust audible vocals. Bass has been boosted to a level of prescence but hardly clear and nothing could be done about the vocals. The good quality tape recording needed minimal filtering but some editing of extraneous mike/electrical noises. The drums are magnificently clear (and very live sounding) as is the guitar.

BBC recordings as above.

Barbecue ’67

1. NSU (Bruce) 4:48

2. Sunshine of Your Love (Bruce/Brown/Clapton) 5:09

3. We’re Going Wrong (Bruce) 6:06

4. Stepping Out (Bracken) 5:25

5. Rollin’ & Tumblin (Morganfield) 5:01

6. Toad (Baker) 7:08

7. I’m So Glad (James) 6:03

The BBC Disraeli Gears

8. Introduction 0:09

9. Strange Brew (Clapton/Papparlardi/Collins) 2:49

10. Sunshine of Your Love (Bruce/Brown/Clapton) 4:15

11. Blue Condition (Baker) 2:47

12. Introduction 0:43

13. Tales of Brave Ulysses (Clapton/Sharp) 2:56

14. SWALABR (Bruce/Brown)/Outro 2:31

15. We’re Going Wrong (Bruce) 3:25

16. Outside Woman Blues (Reynolds) 3:12

17. Take it Back (Bruce) 2:16

 

 

Live at the Fillmore

 

CD1 (60 min) (CD2 is Live at the Fillmore – March ’68)

 

Remaster Quality: This was an audience well back in the theatre. The guitars and drums overwhelm the PA so vocals are a bit distant. Noise has been reduced with the hard pause/starts tidied up and the usual bottom end boost to give some deep bass prescence. Sound is now good with the guitar realistically dominant but bass and drums clear.

Comment: This is when they started getting into the long jams so it is indispensible. Spoonful is a very different version so worth it for that alone.

 

Fillmore Theatre, San Francisco, 3rd September 1967

1. Tales of Brave Ulysses (Clapton/Sharp)             4.01

2. Sunshine of Your Love (Bruce/Brown/Clapton) 5.27

3. NSU (Bruce) 9.48

4. Lawdy Mama (Trad.) 4.53

5. Sweet Wine (Baker/Godfrey) 10.56

6. Spoonful (Dixon) 12.03

7. Sleepy Time Time (Bruce/Godfrey) 7.08

8. Stepping Out (Bracken) 11.14

 

CD2 (60 min) (CD1 is Live at the Fillmore – Sept ’67)

 

Remaster Quality: A good, well balanced audience tape as the PA is excellent giving a good balance to the vocals and drums. Clapton now has a much cleaner sound while still being loud. The remaster has reduced noise, boosted the deep bass and tided up the hard stop/starts (same recordist as in ’67!). This is the complete first set plus Stepping Out from the 2nd. There were recorder problems and Stepping Out has had to be heavily bass filtered to get rid of low frequency noise. It is now listenable. There exist only poor quality fragments of some of the rest of that set.

Comment: They were playing in a very different mode that night – extremely interesting and rewarding. Just shows they were still experimenting.

 

Fillmore Theatre, San Francisco, 3rd March 1968

1. NSU (Bruce) 16.48

2. Politician (Bruce/Brown) 5.50

3. Sunshine of Your Love (Bruce/Brown/Clapton) 9.03

4. I’m So Glad (James) 14.06

5. Stepping Out (Bracken) 14.28

 

EAST COAST, SEPT 1967

 

Brandeis Remastered Quality: Instruments better balanced with the bass much clearer and improved attack on the guitar. Vocals remain undermixed but clearer. Drums remain clear as the recording was centre stage. Volume variations and mike repositioning effects have been smoothed. Noise levels especially tape hiss significantly reduced. Final quality is not as good as Grande Ballroom but very listenable especially in conjunction with the excellence of the performance.

Psychedelic Supermarket Remastered Quality: Original recording quality was very low. The remaster has improved the balance but the bass remains dominant (much to the delight of Bruce fans!) but muddy. Noise levels are reduced but they remain noticeable. Final quality can only be classed as reasonable.

 

CD1 (44 min)

Brandeis University, Waltham Mass, 10th September 1967

1. Tales of Brave Ulysses (Clapton/Sharp)             4.52

2. Sunshine of Your Love (Bruce/Brown/Clapton) 12.04

3. NSU (Bruce) 19.20

4. Sitting on Top of the World (Chester Burnett) 6.55

 

CD2 (71 min)

Brandeis University, Waltham Mass, 10th September 1967

1. Stepping Out (Bracken) 14.38

2. Traintime (Bruce) 8.32

3. Toad (Baker) 17.02

Psychedelic Supermarket, Boston Mass, [10-16th] Sept. 1967

4. Spoonful (Willie Dixon) 11.44

5. Sweet Wine (Baker/Godfrey)- Inc 7.59

6. Tales of Brave Ulysses (Clapton/Sharp)             4.26

7. Sunshine of Your Love (Bruce/Brown/Clapton) 7.11

 

 

EAST COAST, USA  –  reviewed

 

September 1967

 

Leaving for USA, Heathrow Airport, London, 18th August

Note Janet with Jack, Eric with Charlotte and no Liz Baker (at home caring for the kids!)

 

When they had arrived in San Francisco, Cream had been touring heavily for over a year. They were jaded and also chagrined about Jimi Hendrix’s success in their homeland. If this tour had not been a success they may have broken up.

 

The response of the audiences in San Francisco drew forth a new performance approach. They had always improvised within the song forms as they never ‘memorised’ solos, like most lesser musicians. Here, the audiences demands for them to “just play” resulted in the instrumental breaks becoming increasingly extended with the songs just the start and end of the real meat – the jamming.

 

After their triumphant debut on the West Coast, they went to the more conservative East Coast. They mainly played in Boston and New York but on Saturday the 9th September they journeyed from Boston to Waltham.

 

——————————————————————————–

 

Brandeis University, Waltham, Massachusets

 

10th September 1967

 

Brandeis is a small and relatively new University in Massachusetts and as such is not a member of the ‘Ivy League’. Due to transport problems they didn’t arrive until the early hours of Sunday morning. Few had left the gymnasium even by the 2.15am start. Clearly their reputation had spread through the ‘underground’ music scene. Cream responded to the enthusiasm of the young audience and continued to explore the facets of extemporisation. Ginger Baker is in dominating form providing a very powerful rendition of “Toad” plus a relatively short but potent solo on “NSU”. One can only assume that he had achieved a high state of enthusiasm after an intake of the requisite chemicals. Notably, “Sunshine of Your Love” is given an extended and high powered work out.

 

Brandeis was recorded on a good quality stereo tape recorder at 3.75ips. Mikes were positioned centre stage resulting in clear drums and reasonably balanced guitars. Vocals are somewhat distant but clear. The reverberation of the gym is clearly obvious. I suspect that the recorder and his friends were drum freaks.

 

The audio quality is not as good as “The Grande Ballroom” but still quite good. The quality of performance once again overcomes the audio limitations.

 

Note: Times approximate and include between song breaks, intros, talk etc

 

Tales of Brave Ulysses (4:50)

 

A rough tape start. The warm up receives another excellent work out with a very strong ending coda containing some of Eric’s best wah-wah work. Strangely, it really does contain the seeds of heavy metal.

 

Jack thanks the audience for staying on ..”one of the nicest things that’s happened to us..” The riff is played on the bass drum to call:

 

Sunshine of Your Love (12.00)

 

It’s a powerhouse and extended treatment. This is the best available version with Ginger absolutely powering it on. The middle solo has Jack doing endless variations on the riff. The final jam has all three in full solo-in-ensemble mode. Eric blasts the place.

 

NSU (19.00)

 

Launched with thunderous tom toms and moves into a ferocious jam. Baker, at times, plays with overwhelming power and speed. It’s one of those jams that has to be listened to to be believed. Just as they sound like they are moving to the final vocals with one of Eric’s trademark riffs, Ginger is left to solo. It is tight, structured and very different to Toad (barely 5 min). Guitar and bass rejoin for the transition to the vocals. NSU seems to always bring the best out of them.

 

Tape change

Sitting on Top of the World (6.50)

 

Eric and Jack produce another excellent version underpinned by superb drumming. The vocals are quite clear as the recording mikes directly pick up Jack – confirms the incredible power of his voice. Eric is up loud and soaring. Heavy rock blues doesn’t come any better than this.

 

Stepping Out (14.30)

 

Just a great performance with Eric and Ginger in symbiosis. In my review of the official released version I said that “this style of performance doesn’t really suit Eric’s sensibilities”. Well, at this time it certainly did. He was fully exploring the potential of this approach. Ginger went with him: responding and prodding with brushes and bass drums. Clapton at his finest!

 

Traintime (8.30)

Another good version but one can only take this song and format so far. Unfortunately Jack is too technically limited as a harmonica player to really pull this off repeatedly, in terms of repeated recordings. Extending Stepping Out with a bass/drums duet would have ultimately been more satisfying. Though, for most of those in this young audience, a long harmonica solo was a new experience. To me, it’s the drums that keep it working.

 

Toad (17.00)

 

Baker is in such great form, what more really needs to be said? The instrumental intro has Jack taking the lead as Eric sounds like he’s lost an amp. Toad has been much criticised over the years but those carping critics should listen to this audience’s response!

 

 

Psychedelic Supermarket, Boston Massachusets

 

2 sets each night, 10th-16th September 1967

 

Boston was a very conservative city not taken to “hippies” resulting in them mainly staying in their hotel. The performance, perhaps, shows the impact of that atmosphere. While the playing is undeniably excellent, it is more restrained compared to Brandeis. This may have also been due to doing two shows each night. This recording sounds like it is from the first show of one of the nights.

 

Psychedelic Supermarket was recorded on a typical domestic recorder in mono. It was positioned left of stage giving dominance to the bass. Lead guitar and vocals are distant. It’s especially attractive to the Jack Bruce fans. Frequency range is limited and tape noise is high. It was tightly recorded onto a 30min tape, so there are tape start ups effecting each song.

 

PS – I’d appreciate any info on the Psychedelic Supermarket venue

 

Tales of Brave Ulysses (4.20)

 

Preceded by Jack and Ginger mucking around. Solid version with Eric using less wah-wah then usual on the coda.

 

Sunshine of Your Love (7.10)

 

A tight version with a quite intense final coda. Still, a better performance than the official release.

 

Spoonful (11.42)

 

A comparatively brief version with the vocal sections being fairly extended. Pretty similar to the early ’67 performances. Doesn’t hit a high plain but still shows they were still good even when not at their best. It is interesting to note the jam reference points that are common to all versions.

 

Sweet Wine (8.00) – Incomplete

 

Unfortunately the best performance is cut short by the tape running out. Baker and Clapton were, in particular, locking.  They were really hiting their straps and …

 

GRANDE BALLROOM, OCT 1967

 

Grande Ballroom Remastered Quality: The original recording was done with quality equipment off the PA mixer with the balance favouring the guitar and vocals. The remaster has significantly improved bass presence and lifted the drums especially the bass drums. The guitar retains its attack unlike the remasters on “Those Were The Days”. Volume variations, dropouts and edits have been smoothed. Noise levels were not overly high but again have been reduced, especially the layers of tape noise. Final remaster quality is high.

Comment: One of THE great Rock concerts!

 

Grande Ballroom, Detroit Mich, 15th October 1967

 

CD1 (43min)

1. Tales of Brave Ulysses (Clapton/Sharp)             4.01

2. NSU (Bruce) 15.39

3. Sitting on Top of the World (Chester Burnett) 4.21

4. Sweet Wine (Baker/Godfrey) 13.21

5. Rollin’ and Tumblin’ (Morganfield) 7.15

 

CD2 (64 min)

1. Spoonful (Dixon) 20.20

2. Stepping Out (Bracken) 10.49

3. Traintime (Bruce) 7.05

4. Toad (Baker) 16.25

5. I’m So Glad (James) 9.37

 

 

Live at Grande Ballroom, Detroit, Michigan USA.  –  reviewed

Recorded: 14th & 15th October 1967 (? see below).

 

ReReviewed 20th April 1998 and again Jan 2000

 

NOTE: The production and selling of bootlegs is a breach of copyright laws.

 

Contained on the 2 CD Bootleg Creamset: Tales of Brave Ulysses, N.S.U., Sitting On Top of the World, Sweet Wine, Rollin’ and Tumblin’, Spoonful, Steppin’ Out/Traintime/Toad, I’m So Glad (110 min approx.).

 

Creamset also contains: “Sunshine of your Love” from Glen Campbell’s “Summer Bros Show” (now included on Those Were the Days in greatly superior quality) and “Spoonful” from Dallas Memorial Auditorium, October 25, 1968.

 

WARNING: Creamset is inferior sound quality, email me for advice on  alternative sources of much superior quality.  Updated review of a tape version kindly provided by the collector Bob Elliott.

 

‘Uncle’ Russ Gibb was a lesser known promoter contemporary of Bill Graham – Detroit was less fashionable than San Francisco or New York. Russ’s Grande Ballroom was a popular venue with many bands because of the enthusiastic and noisy audiences. One classic album (to my current knowledge) was recorded there: MC5’s “Kick out the Jams”.

 

About Grande Ballroom

and Russ

 

Cream performed here for three nights from Friday 13th October to Sunday 15th October. It was close to the end of their first US tour, which had commenced on 20th August. This tour, while frustrating in some ways for them (especially sound systems and low pay), had established them in the U.S. and was at the core of their golden period.

Detroit would have been a good town for the three of them with plenty of black music (Jazz, Blues, R&B and Soul) to listen to after hours. And they would have had plenty of after hours as these concerts started at 6.30pm on Friday and Saturday and finished no later than 10p.m. and on Sunday 6.00pm-9.00pm (an all ages show). I believe this would have contributed greatly to the quality of their performances (plus a good sound system!).

 

The supporting bands on Friday and Saturday were the Rationals and MC5 (basically the house bands at this time). Sunday the support band was the Apostles. One can assume that Cream was largely an unknown quantity to Detroit’s nascent Rock audience and MC5 were already becoming a local legend. Cream had nothing to loose, especially on Sunday when they had plenty of time to really lay out. And by then the word had got around and the audience was really responding.

 

Poster by Gary Grimshaw

 

The Recordings

 

Creamset states that the recordings were from the 13-15th while some bootography’s quote the 15th.  It is probably from the 15th as I have been reliably informed that it is one complete show of a single set of almost 2 hours duration.  They may have also performed “Sunshine of Your Love”, between “Rollin’ & Tumblin” and “Spoonful”, which has been left of the boot tape release because it was incomplete due to a tape change.

 

[Original opinion: Sweet Wine and Rollin’ and Tumblin’ have a slightly different sonic foot print (based on my tape version). The rest have a sonic similarity with a tape change during Spoonful (to a noisier tape!) That gives a 90 minute set of: Tales, (tape pause while they retuned), NSU, Sitting, Spoonful (tape run out during, change over, new tape noisier), Steppin’ Out,Traintime, Toad, I’m So Glad. That compares to the Brandeis performance which is, I think, a complete recording.  Spoonful starts suddenly which  further indicates the infill of  Sweet Wine and Rollin’ and Tumblin’]

 

I have relistened to the original tape and have now arrived at the following conclusions.  It is taped off the PA mixer which had a 4 mike setup: Jack’s Vocals, Centre Stage, Ginger’s announcement, Eric’s vocals.  The Centre stage gives the drum prescence which is reduced when Jack uses it for the harp.  The bass is recessed because vocals mikes have an inbuilt bass rolloff.  The bass only needs some modest bottom end boosting to get it at a realistic level – bass drums and bass guitar.   The mikes were mixed Jack Vcls and  centre into left channel with Eric and Ginger’s right.  Eric’s mike was away from the drums so plenty of guitar.   Quality was high as a mains powered quality recorder at 7.5 ips was used – the recordist had the OK from Russ Gibbs and Cream as he was a musician of some local repute.

 

[Original opinion:Miking was primitive: the guitars seem to have been miked up but the drums were picked up through Eric’s and Jack’s vocals mikes and Ginger’s announcement mike by the simple expedient of leaving them on (suffer the poor bass drums). This does have the bonus of picking up their talking and voice prompts. The vocals/drums were patched from the pa mixer which would have been mono and used for vocals/announcements only.  Thus they were patched into the the left channel of the recorder (keeping the lead vocals in the ‘correct’ stereo position but also Eric’s vocals and the drums). This also bleeds the guitar into the left channel thus giving the guitar a right-center position in the mix.]

 

Sound quality (tape version not Creamset): as bootlegs go and for this era, very good (generally rated by bootleg aficionados A, A-). I prefer to rate them against official releases to let you know what you’re in for. If the remasters are rated 9.5-10, then these are 6. Vocals are clear , guitar clear with modest mike overload on occasions, bass under mixed but firmly present, drums are Ok except for the bass drums which tend to dissappear when Jack/Eric sing. Tape noise increases significantly with the new tape loaded during Spoonful (tape speed is dropped)  but even then its acceptable. There is some minor print through and a couple of drop outs.  Tape speed is OK with some stretching evident.  I believe this most realistically captures their live dual stack sound with the bonus of well balanced drums.  The sustain on EC’s guitar is just phenomenal and is not accurately captured on the official releases

 

 

On tour late ’67

 

The Performance.

 

These are performances of staggering high-energy creativity. They were just blowing and trying something new all the time.

 

Are they better than the March’68 recordings? Well, by then they were playing differently, especially Eric. Also they knew they were being recorded for posterity and that probably resulted in more conservative playing. Even jazz players, who generally prefer live recording, admit to being more careful when being recorded.

 

The March recordings remain the benchmark especially as reprogrammed on Those Were The Days. But at the Grande Ballroom they were in full flight, taking chances, making mistakes and just roaring. They are more adventurous and exciting without any excesses or dull patches – Steppin’ Out, Traintime and Toad are undoubtedly superior.

 

These recordings contain the some of the very finest ensemble improvisation, jazz or rock, I have ever heard on record. Often performed at incredible tempo’s (“NSU”, “I’m So Glad”) and almost free form meter (“Spoonful”). Jack and Ginger are incredible soloing in ensemble: their magical link, despite (or because) of their personal differences, is in full evidence. Their playing is pure jazz just at rock’s volume and power levels.

 

It is Eric who is the real revelation despite his harmonic limitations. The blues based riffs and pentatonic scales are now almost melded into a new form that was to reach is apogee in March. In these recordings he hasn’t mastered it: lacking the flow and logical development of the March recordings. However he responds continuously to Jack and Ginger’s prompts which creates raw and ever changing playing. In particular his constant breaking of meter (especially prompted by the ride cymbals) and use of feedback (“NSU”, “Steppin’ Out”, “Toad”). I can now at last hear why he has been credited with Hendrix as the prime introducer of the use of feedback.

 

Jack has said that Eric became his and Ginger’s … “sort of Ornette Coleman. But we didn’t tell him!” This recording justifies that statement as Eric, like Ornette did, takes his blues based playing into new musical territory.

 

Cream’s performance reputation has suffered over the years compared to Hendrix’s. The remastered live sets alone put pay to that. These performances are arguably superior to anything of Jimi’s (official or bootleg) with Eric’s playing on a par with Jimi’s very best, Ginger shading Mitch and, well, Jack vs Noel, no comparison.

 

Musical Ratings: Remasters: 8-10, Grande Ballroom: 10(+)

 

In summary: get it – the phenomenal performances more than makes up for the poor sound quality.

 

Note: This is a musical endorsement only. The production and selling of bootlegs is a breach of copyright laws.

 

Track by Track

(Times are approximate)

 

Tales of Brave Ulysses: Much more attack/feedback with the wah-wah. They power it for barely 4 minutes as the warm up. Jack continues humming the melody over the guitar break and he signals the changes.

 

Tuning up, Ginger “NSU?”, E.C. – “NSU”

 

NSU (16min worth!): Eric stuffs up the opening (still out of tune?) but fakes it out by playing off-key). They launch into the jam at an incredible tempo – faster than the new remaster!. Eric does a high volume woman tone/feedback section at reduced tempo with Ginger and Jack just combining superbly behind it. Lovely snare and high-hat work as E & J interact. Tempo gradually increases as they roll to the chorus with Eric doing  chords, Hendrix style fills and then a smooth transition into the chorus. Its mainly Eric and Jack locking with Ginger soloing in ensemble while feeding the meter changes – incredible. My jaw hit the floor when on first listening and it continues to every time I listen to it. And it doesn’t seem like 16min!!!

 

Sitting on Top of the World: Short (4 min) but a dirty slow blues like the Wolf meant it to be. A killer solo from Eric with Jack exhorting him yeh!, yeh! and Ginger’s unique blues style. Guitar turned up flatout!

 

Sweet Wine (14min): Instrumental starts with Eric Feedback/ Chords, Jack and Ginger inter-playing waiting for Eric to find the groove, then they start rolling. Like the March version it involves round robin improvisation with the controlling dynamics rotating between them. Eric uses heavy feedback in one passage then segue into a call/response with Jack, Ginger soloing between them – aaaahhh!, then Ginger joins in, group interplay then Jack and Ginger with Eric using feedback over them. Then into  chords, snare drum responses then Eric  chording like an ending mode with J & G responding, a pause for a beat with applause occurring, feedback and then back into the jam. A rough transition into the vocals – they’d gone too far out!

 

Rollin’ & Tumblin’ (7min): Slightly Faster tempo than the official release. Fine harp from Jack with less over-blowing. Ginger overruns the stop – catching each other out. Great variations from Eric and lovely brush work, bass drum and high hat from G.

 

Spoonful (21min): Howlin’ Wolf style vocals from Jack, Eric starts the jam with chicka chicka (sorry don’t know the technical term) effect. Different dynamic to Wheels but related chord progressions/licks. They start hitting a groove, then almost free form then more chicka chicka, slower tempo and then they take off with J & G locking. Meter is continuously being broken up – every time Eric settles into an even meter J &/or G break it. E & J call and response in an extended transition into the vocals, Ginger driving them, particularly with the cymbals, to a series of climaxes. Then riffing, including the Cats Squirrel riff (interrupted by a tape run out but they made a fast swap and managed an effective edit while they were still in this passage) and “I’m going down, down, down”. Another climax, then a gentle phase into the vocals. Jack at full shout, great riff variations and G anchoring it to reality then an ending of tapping drumsticks and tapping of bass against the guitar riff, final vocal line, a reprise of the Cat’s Squirrel riff, then the final chord.

 

[the new tape reel is noisier – 3 3/4ips instead of 7 1/2 ips?]

 

CD2 (quality really decays on Creamset)

 

Eric: “We haven’t finished yet” (calls of I Feel Free from audience).

 

Steppin Out: Standard start including some mistakes from Eric as he changes tone settings. During the solo he uses a lot more feedback effects and variations in volume, tone and rhythm. Includes Cat’s Squirrel riff (a clear continuity link to Spoonful). Finishes with feedback,  chords and sudden end for a total 11 min. The brushes, foot high-hat and bass drum are superb with Ginger calling Eric on with repeated yeah’s. Much stronger and more inventive than March – segues into:

 

Traintime (7 min): A more controlled version, closer to the Bond days, with much better harp and tighter vocals due to less histrionics. The train rhythm brushes and bass drum are great. They’ve been doing this for years and segues into:

 

Toad (15min): Ec and J do a feedback break (as the solo starts, Jack calls out “Eric” and you can hear them having a conversation in the background). Ginger just builds and flows – very African! Really telling a story without the provado performance. Does “happy birthday, happy birthday, happy birthday to you’ on the toms as he builds to the trademark massive climax – huge applause. Probably his best solo that I’ve heard (recorded that is).

 

I’m So Glad (9 min): Standard opening and then they let it rip. What is it about this song? They just play at an incredible tempo and group creativity, lots of feedback from Eric including variations on the Marseillaise quote. (Some print through evident on my tape version but still much better than Creamset)

 

For comparison:

 

Dallas Memorial Auditorium Spoonful (21 min): Well they were tired on this tour, especially Ginger (though still capable of a top performance like the Forum!). It’s worth listening to, but separately. Jack and Eric are working but not particularly creatively and Ginger is mainly playing snare with limited tom runs. The ending vocals chorus is the best as it rolls for five minutes with E and J swapping riff variations and G inter-playing with them (cymbals, snare, toms, bass) – that just shows they could still do it when they hit the right groove. Its sprawling, meandering performances like this on the last tour that really damaged their reputation.

 

Live in Europe

 

CD1 (62 min)

England October/November, 1967

Remaster Quality: The tracks from the Fresh Live Cream video were typical film soundtrack quality with “We’re Going Wrong” being the worst. Digital filtering and modest digital equalisation has made them excellent (from 3+ to 4+ in quality). The Concert bootleg is from a record of an audience recording but still reasonable quality, however it was sped up. Digital speed correction extended the recording by just over 2 minutes. Bass has been boosted to lift the drums but they remain distant as does the vocals- it was a poor PA. Remastering has reduced the tape noise so from 2 to 3 in quality. The added tracks give an accurate representation of a typical set on this tour – all in all it is a pretty good performance with “Stepping Out” to “I’m So Glad” excellent.

1. Tales of Brave Ulysses (Clapton/Sharp)             3.41

2. Sunshine of Your Love (Bruce/Brown/Clapton) 4.55

3. We’re Going Wrong (Bruce) 3.53

4. Spoonful (Dixon) 14.34

5. Stepping Out (Bracken) 9.58

6. Traintime (Bruce) 4.53

7. Toad (Baker) 10.54

8. I’m So Glad (James) (Incomplete) 7.19

Tracks 1 & 2 recorded at “The Revolution Club”, London, Dec 1967

Track 3 recorded for BBC TV Nov 26 1967

Tracks 4-8, Unknown Venue, Oct – Nov 1967

Tracks 1-3 remastered from “Fresh Live Cream” video

 

CD2 (65 min)

Stockholm, Sweden, “Konserthusert”, 14th November 1967

Remaster Quality: This was very poor quality – all versions I have got. I really didn’t think it will be worth the trouble until I listened to it one more time and realised that it was actually an interesting performance. After three tries it started to come together – the main problem was that it was massively and variably slow from 5-16%! Once it was speed corrected the sound and concert came to life!

Some rebalancing and filtering made it quite listenable except for making very obvious some patches of frequency modulation, which on investigation is present on all my copies but masked by tape noise etc. It was an audience tape of reasonable quality as they had a good PA. The concert is great – one of there best if relatively short. They are in great humour, Ginger in particular. Quality from 2- to 3+ – a very successful remaster.

Note: I have recently had it confirmed (Jan 2000) that this performance was radio broadcast and the original tape may still exist as it was re-broadcasted around 20 years ago. This does make it confusing why this audience boot is the only version around.

1. Introduction .57

2. Tales of Brave Ulysses (Clapton/Sharp)             4.08

3. Sunshine of Your Love (Bruce/Brown/Clapton) 7.53

4. Sleepy Time Time (Bruce/Godfrey) 6.14

5. Stepping Out (Bracken) 11.48

6. Traintime (Bruce) 7.03

7. Toad (Baker) 11.47

8. I’m So Glad (James) 7.10

9. Spoonful (Dixon) 8.31

Track 9 recorded at “The Revolution Club”, London, Dec 1967, remastered from “Fresh Live Cream” video

 

 

Touring Europe  –  reviewed

 

October-December 1967

 

Cream returned from the USA in Mid October. After a short break they were on the road again through U.K. and Europe. This tour must have held some trepidation’s for them.

 

When they left for the US in August, they were essentially a song based band but now they were into extended improvisation. While this had been wildly accepted in the USA, England was still oriented towards the pop song approach. It has to be said that many of their fans didn’t like the change.

 

There are two bootlegs documenting this period. One is from an unknown UK venue and the other from Stockholm’s Konserthusert. Both are audience recordings of only reasonable quality.

 

Unknown, UK, Oct-Nov? 1967

 

While the precise dating/location is unknown the general dating is correct. There are venues that could be guessed at but it is really not possible to say. Their UK touring in this period was not intensive as England lacked the large venues that were needed to pay the performance fee. The Ricky Tick clubs were simply too small.

 

This is the end of their set with the typical song list. Eric introduces “Spoonful” with a bit of hesitancy – reflecting the concern of how the audience was going to react to the upcoming 15 minute jam. This implies a conservative set list opening with the shorter songs, probably – “Tales of Brave Ulysses”, “Sunshine of Your Love”, “Sitting on Top of the World” and/or possibly “We’re Going Wrong”.

 

Sound Quality: Guitar and Bass are clear but vocals and drums distant. This indicates that the PA was not up to the mark (the mikes picked up and helped boost the drums). The bootleg recording is overspeed. Tape noise is quite high with some ‘breathing’ effects from the use of a volume limiter at the start of “Spoonful” and tape stretching.

 

To my knowledge this performance has never been on a bootleg CD and is also rare in collector circles.

 

Spoonful (14.34)

 

A strong but not outstanding rendition. There are the familiar reference points (“Cats Squirrel” riff) and a different variation in the ending. Eric makes extensive use of the woman tone. In style it is not as rampant as we hear on the Grande Ballroom but approaching the architectural style of the Winterland recordings. However this really warmed them up.

 

Stepping Out (9.58)

 

“We’d like to do a long number” … laughter … “longer than that one”…

 

A performance of typical length and Eric really lets fly. It clearly breaks into 4 sections, the trio then Eric unaccompanied for a while and he pauses on two occasions, deciding where he was going next! Each section is distinctive as he goes down another path including a high volume sustained woman tone – one of the best available performances.

 

Traintime (4.53)

 

A short version and better for it – compact, tight and strong and probably my favourite.

 

Toad (10.54)

 

Ginger has been lambasted for the long Toads but those ones appear to be the exceptions rather then the rule – typically they were around the 10 minute mark. A brief group intro and then he’s powering it out. A good one, showing continuing evolution after the US tour.

 

I’m So Glad (7.19) – incomplete

 

Eric asks “Do you have any requests” but Ginger signals on the drums that its ‘Glad’. They launch into the typically frenetic performance, unfortunately it is just incomplete. Once again they really rip into this song.

 

A very interesting performance, not great by their standards, but very satisfying. By other standards it’s a knockout – one analyses Cream at their standard which is a very demanding one.

 

Konserthusert, 14th November 1967

 

 

Visit Bengt’s site and see more pictures from this concert.

(Stepping Out & Jack is getting a great action photo)

 

On 10th November Cream went on tour of Scandinavia. There early ’67 tour had been a great success in establishing their reputation. On this tour they packed out the large venues.

 

This boot is an audience tape not a broadcast as sometimes claimed. However it may have been broadcast live on AM radio and some tapes of that source could be in circulation.

 

Sound Quality: Sound quality is poor and is substantially underspeed (on all copies I have with some worse than others!). However with speed correction sound quality improves substantially. I believe this speed variation was deliberate to stretch the boot as it varies from song to song. Quoted times are for speed corrected – 65 minutes total corrected to 58. Unfortunately frequency modulation is present from tape oxide shedding – present on all versions so it is the source tape.

 

The band is introduced and there is a pause and then a very stoned Ginger says “I’ve just had an argument with a fireman”.

 

Tales of Brave Ulysses (4.08)

 

A great warm up number and they sound like they’re pretty hot by the time they’ve finished.

 

Sunshine of Your Love (7.33)

 

“And, the next number is umm no. 27 from the song book and its called “Sunshine from Your Love”, no it’s not, it’s called “Sunshine of Your Love” – “bom bom”. The Ginger man was in top form this night!

 

A compact version with intense playing from Eric including the “Blue Moon” quote.  Jack and Ginger power it along especially on the final jam where Baker really rips. A great version very much superior to the official release.

 

Sleepy Time Time (6.14)

 

Without speed correction this sounded like they were on tranquilisers (and tuned very flat) EC burns like only he can on a slow blues, Jack in shouting blues mode and takes a solo. Another song that always seemed to come out very well.

 

“Eric Clapton on 5 string guitar and Jack Bruce on his first 6 string bass”. They were in good humour.

 

Stepping Out (11.48)

 

EC quickly restrings, tunes up and launches. Fast and intense group section then Eric on his own for a passage before Ginger joins in. Eric drops back a notch doing some quiet blues lick variations, then turns on the picking power, sustained notes, feedback. Volume goes up, Baker powers up building to a great ending climax on which Eric almost fades out before the last crashing chords. This ‘architectural’ version contrasts with the fractured one from the UK.

 

Traintime (7.03)

 

There’s not much more one can say about Traintime that I haven’t said before. Jack is an good harmonica player but he ain’t a virtuoso to be able to pull this off for repeated recordings. Still it’s one of the better ones.

 

Toad (11.07)

 

He’s in top form, what more needs to be said? Near the climax Ginger stops and apologises because his feet are sticking to the floor – doesn’t seem to make any real difference!

 

I’m So Glad (9.10)

 

I haven’t reviewed a bad version, yet. And this is another great one – no more to say.

 

In conclusion a great performance despite escalating tensions.

 

© Graeme Pattingale, 1999

 

 

Back Bay Theatre/Winterland Outtakes

 

Remaster Quality: An excellent, well balanced audience tape as the PA is excellent giving a good balance to the vocals and drums. This is from a 2nd generation copy and sound is excellent. The remaster reduced tape noise and got rid of the hall bass boom (100 & 200Hz). This very realistically captures there live sound as it is all well balanced. The set has been split after Stepping Out because there was a tape change and the start of Traintime was rough as the tape sped up, which is now edited out.

Comment: This is one of their great concerts – we are very lucky it was captured for us to enjoy.

 

CD1 (57 min)

Boston, 5th April 1968

1. Sunshine of Your Love (Bruce/Brown/Clapton) 17.13

2. Spoonful (Dixon) 17.32

3. Sleepy Time Time (Bruce/Godfrey) 8.47

4. Stepping Out (Bracken) 13.25

 

CD2 (68 min)

1. Traintime (Bruce) 6.53

2. Toad (Baker) 17.32

The Winterland Outtakes

San Francisco, USA, 10th March 1968

Remaster Quality: This night was the prime source for the official releases. This is an audience recorded on the bass side. The PA is excellent so the drums and vocals are very clear. The guitar is distant but clear. Some tape stretch and flutter is in evident but quality is reasonable. We’re Going Wrong is actually from a reference tape so quality is notably superior. Once again filtered but with treble boost to get more guitar. Balance is now reasonable but overall quality can only be classed as reasonable

Comment: Rounds out the Winterland releases and shows that the released Stepping Out is not from this night! Sunshine and Stepping are both superior to the official releases.

3. Sunshine of Your Love (Bruce/Brown/Clapton) 6.30

4. We’re Going Wrong (Bruce) 6.48

5. Stepping Out (Bracken) 14.35

6. Traintime (Bruce) 6.01

7. Toad (Baker) 11.36

 

 

FINAL TOUR USA – On the West Coast

 

CD1 (62 min)

Alameda County Coliseum Arena, Oakland, California, 4th October 1968

Remaster: These are a reference tape off the masters from the full concert. Quality is very good except that the guitar is undermixed (explained in the liner notes). Sound is really one for the Bruce and/or Baker fans. Remastering boosted the guitar a bit but there just wasn’t enough there – the sound is very weird for such a quality recording. Performance is very poor – so bad that it has to be listened to. Sound quality 4+ (5 except for the mix)

1. White Room (Bruce/Brown) 6.34

2. Politician (Bruce/Brown) 5.16

3. Crossroads (Johnson arr Clapton) 3.57

4. Sunshine of Your Love (Bruce/Brown/Clapton) 5.12

5. Spoonful (Dixon) 17.09

6. Deserted Cities of the Heart (Bruce/Brown) 4.19

7. Passing the Time aka “Scatterfaragus” (Baker) 10.57

8. I’m So Glad 7.02

Tracks 1, 2 & 6 released on Live Cream Vol II with a different mix

 

CD2 (59 min)

Sports Arena, San Diego, California, 20th October 1968

Remaster: Another reference tape but the master tape is better balanced. The guitar is higher in the mix and the remaster has improved it even more. The bass and drums remain clean and clear with the drum sound more live then the official releases. Despite some equipment problems it was a good performance – Crossroads being quite reasonable and Spoonful actually producing some sparks. The LA Forum “White Room” is better then the released version except for a recording drop out. Please note that the bootleggers have wrongly attributed this recording (explained in the liner notes). This is the best boot from the final tour in terms of sound (by a very long mile!) and performance (there are a couple of as good but sound is bad). Sound – 5.

1. White Room (Bruce Brown) 6.38

2. Crossroads (Johnson arr. Clapton) 4.29

3. Sunshine of Your Love (Bruce/Brown/Clapton) 6.40

4. Traintime (Bruce) 9.47

5. Toad (Baker) 14.16

6. Spoonful (Dixon) 15.09

Track 1 recorded LA Forum 19th March

 

 

Final US Tour  West Coast  –  reviewed

 

4th October 1967, Alameda County Coliseum, Oakland Calif.

 

On the 4th October 1968 Cream began their final and very lucrative tour of the USA. The tour commenced near the location of their very first American triumphs. Unfortunately there was no venue in San Francisco large enough for them and nor would Bill Graham pay the fee demanded by Stigwood. Instead they went across the Bay to Oakland and the huge Alameda County Coliseum Arena.

 

Rehearsing “White Room”

 

They arrived in the afternoon for a sound check and, unusually, a rehearsal. The concert was to be recorded for the proposed ‘Goodbye’ double album. The rehearsal was needed as they hadn’t played together since June, indeed hadn’t even seen each other since then! They rehearsed the songs from ‘Wheels of Fire’ that they were going to play – “White Room”, “Politician”, “Deserted Cities of the Heart” and “Passing the Time”.

 

 

At the souncheck/rehearsal – note the recording mike on the stack

 

The support band was to be Traffic but were replaced by “It’s a Beautiful Day”.

 

They launched into competent versions of “White Room” followed by “Politician”. These were originally released on Live Cream Vol 2 and in correct order on “Those Were The Days”. Eric announces “Crossroads” to great applause. They then proceed to fall apart proving that even musicians of this calibre need a bit more than a cursory rehearsal at the sound check. Of the rest of the concert only the rehearsed “Deserted Cities of the Heart” can be said to be adequate. Ginger says it all: “Aaah, we must apologise for being a little rusty….we’ve been on holidays.”

 

The concert recording was contracted to Wally Heider Studios. To put it bluntly they stuffed it up with wrong mix and balance. The guitar is undermixed and also he was playing turned down! There are calls from the audience “to turn it up” – also for recording purposes they were only using one stack each.

 

Despite the poor performance and sound it was actually prepared for release. Obviously when someone actually listened it, the whole idea was dropped. This resulted in some dispute between Atlantic and Wally Heider.

 

The bootleg source is a reference tape (copy off the 4 track for listening/reviewing purposes) of the concert. It is the best quality of all the bootlegs because of the source. Drums and bass are clear and present with the guitar well back. The official releases were clearly adjusted and even more so for “Those Were The Days” on which “White Room” remains a mixing mess.

 

White Room (Bruce/Brown) 6.34

 

Well known from Live Cream Vol 2 so nothing to add except at the conclusion we get some disingenuous words from Eric … “Its really exciting to be here”.

 

Politician (Bruce/Brown) 5.16

 

Ditto

 

Crossroads (Johnson arr Clapton) 3.57

 

The rock masterpiece has been recorded and made available – what do you do next? Well, not this version. It starts at a slow tempo using the riff variation that is his standard version these days. Jack and Ginger seem to hesitate and adjust to the unexpected tempo. Jack tries to get things going but Eric is rigidly locked to the beat. Ginger hammers the beat trying to lock in Jack – his anger is palpable but the problem is really Eric. Eric has clearly been on holidays and one must question if he has been playing any guitar at all. His stretches are poor, vibrato terrible and solo break desultory.

 

Sunshine of Your Love (Bruce/Brown/Clapton) 5.12

 

The current single was selling hugely so it had to be included. Jack tries to get some life into it by doing some off-the-cuff variations. The result is a disaster as they fall apart. Even the drum pattern breaks down.

 

Spoonful (Dixon) 17.09

 

Can it get worse? Yes and no. Starts the usual way but as flat as a tack. Jack does some vocal variations to spark some life. They roll into the jam with Eric breaking down into his blues noodling and Jack spinning off in the usual way. About half way through Baker gives up on Clapton and starts playing with Jack and it becomes a bass/drums piece with Eric just filling in. If you like drums/bass duets its fine.

 

Deserted Cities of the Heart (Bruce/Brown) 4.19

 

Just as well they rehearsed this as it comes out OK.

 

Passing the Time aka “Scatterfaragus” (Baker) 10.57

 

This clearly shows what Ginger had originally intended with “Passing the Time”. No lyrics just all three intoning a chant of the melody thus the alternate and obscure title (one of Baker’s made up words?). They didn’t do much rehearsal on this. Baker takes a short, competent solo that has elements that would appear in “Do What You Like”. Clearly he also is not fit. His apology at the end shows his total embarrassment.

 

I’m So Glad 7.02

 

Unfortunately it can get worse – they even stuff up on the lyrics! It is all downhill from there with the song, that always brought the best out of them, degenerating into an outright mess.

 

Well that’s the review of the whole concert. I know the concert is fondly remembered by those that attended. Unfortunately the recording shows that they played poorly. But I must qualify that by saying poor Cream is as good as many bands can ever play. Thankfully things got better, they couldn’t have got any worse!

 

 

Sound Check – Royal Albert Hall

 

20th October 1968, Sports Arena, San Diego Calif,

 

On 18th and 19th October Cream played at the huge Los Angeles Forum and were recorded. Three tracks from the 19th gig were released on “Goodbye Cream”. Wally Heider’s recording approach did not change but the performance was much improved. These tracks plus “White Room” have been available on bootlegs again via a reference tape.

 

The standard bootleg set list from the 19th is : “White Room”, “Politician”, “I’m So Glad”, “Sitting on Top of the World”, “Crossroads”, “Sunshine of Your Love”. The San Diego gig was also recorded and a few tracks from the same source made available comprising “Traintime”, “Toad” and “Spoonful”. In the usual way of bootleggers these have all been combined and released as the concert of the 18th at the Forum. And as is also typical – the attributions are wrong.

 

There is no reason not to accept that “White Room”, “Politician”, “I’m So Glad”, “Sitting on Top of the World” are from the 19th. But with “Crossroads” there is a major change – Eric is playing the ES335 and the sonic footprint changes drastically. It is possible that it is from the 18th but the change in bass frequency spectrum is a clear indicator that it’s a different venue.

 

The Forum tracks have already been reviewed and as such are among their best even if they are not their most inventive. On “I’m So Glad” Eric’s rigid time but fast tempo playing gives the feel of free form against the rampant syncopation of Baker and Bruce.

 

White Room (Bruce Brown) 6.38 (From Forum of 19th October)

 

This is an excellent version, much better than Oakland. Unfortunately there was some recording outage and part of a verse was lost so it was not used. The bass dominates the sound with the vocals high in the mix compared to the released ‘Oakland’ version. The ending jam is fine with Baker powering it along.

 

Crossroads (Johnson arr. Clapton) 4.29

 

An all together stronger, up-tempo version with the sound of the ES335 strengthening the performance. They seem to have reached a truce and have now got it working. Again in the post Winterland style. Sound is better balanced.

 

Sunshine of Your Love (Bruce/Brown/Clapton) 6.40

 

Things are working and its solid but unfortunately Jack’s amp fails during the guitar break – Eric comps and marks time with Ginger. Jack rejoins then drops out again. This indicates they were using single stacks for recording purposes. Jack eventually rejoins to ride it out.

 

Traintime (Bruce) 9.47

 

A long and unspectacular version. The drums are nice and clear for once so that is a real bonus.

 

Toad (Baker) 14.16

 

Baker is now fit and rolling. Not his best but solid and clearly evolving into “Do What You Like”.

 

Spoonful (Dixon) 15.09

 

By this stage Eric seems to have lost interest. Again we hear his blues lick noodling approach until Baker gooses him and he picks up a notch. Once again it’s mainly the Baker/Bruce show. In the ending passage they get into some nice variations and interplay and that’s worth the price of admission.

 

© Graeme Pattingale, 1999

 

 

 

CALIFORNIA DAYS

 

CD1 Anaheim, California, 18th March 1968

 

1. Spoonful (Dixon) 16.20
2. Sunshine of Your Love (Bruce/Brown/Clapton) 10.18
3. Rollin’ & Tumblin’ (Morganfield) 5.41
4. Stepping Out (Bracken) 11.14
5. Toad (Baker) – Very Incomplete    0.57
6. I’m So Glad (James) 7.44

 

The Fillmore, San Francisco, 7th March 1968

 

7. Sunshine of Your Love (Bruce/Brown/Clapton) 6.55
8. Sunshine of Your Love (Bruce/Brown/Clapton) 6.50
9. Bonus Track    (Total: 73.49)

 

The Recording/Remastering

 

Anaheim

 

This was recorded well back from the stage with plenty of recorded chat from the guys. Quality is only reasonable with the drums distant. The PA was good as the vocals are clear but miking on the drums was poor.

 

The recording was underspeed and has been successfully corrected. Bass is prominent on “Spoonful” as Jack starts a bit turned up. This one of those gigs where Jack and Eric were really turned up and Baker drowned out.

 

Unfortunately the recordist did pause the tape between songs and stop it after “Stepping Out”. Tape noise has been reduced but some momentary noises remain as they are imbedded in the recording.

 

Now a quite well balanced recording even with the recessed drums. And really we can’t complain when a new recording does appear especially of this quite acceptable sonic quality and an excellent performance.

 

The Fillmore “Sunshine of Your Love”

 

“Sunshine of Your Love” from the 7^th March 1968 Fillmore performance was released in 1988 on a limited edition ‘After Midnight’ CD single which is now a collectors item.

 

This is a rough mix off the master tape, which I believe was a quick mix by Tom Dowd to see if the tapes from that night were usable. It was the first night of the live recording sessions and Tom was trying to work out how to cope with Cream at concert volume levels.

 

To appreciate this recording you really have to listen to it on headphones as the guitar bleed into the drum mikes is very clear. In an attempt to mask it the guitar was panned centre during the solo – an effect that just wasn’t right for a live recording. The most incredible sound is the bass drums on the ending jam. This is the most accurate quality reproduction of their live sound.

 

On the remaster I have created a two channel mono mix which eliminates the panning while still retaining the instrument balance. For comparison a tweaked version of the official remaster release, from 9^th March Winterland, is included.

 

CD2 San Jose, California, 25th May 1968

 

1. Tales of Brave Ulysses (Clapton/Sharp) 4.23
2. Sunshine of Your Love (Bruce/Brown/Clapton) 10.16
3. I’m So Glad (James) 8.46
4. Sitting on Top of the World (Burnett) 5.51
5. Stepping Out (Bracken) 12.12
6. Traintime (Bruce) 7.33
7. Toad (Baker) – Almost complete 15.54 (65.00)

 

The Recording/Remastering

 

This was recorded on an 8 track cartridge recorder which were long ago, thankfully, assigned to the technological garbage bin. In this quality it has been released as a ‘commercial’ bootleg – a total rip-off.

 

For this concert they had a great PA and the drums were quite well miked . The recordist started well back in the auditorium but between Sunshine and Glad they moved forward with a resulting increase in presence and reduction in hall reverb.

 

The remastering was long and tedious but worth the effort. Major speed variations have been largely corrected but in terms of pitch it remains quite variable but very much improved – some 4 minutes longer!

 

Tape reversals have been edited but remain obvious, though much less intrusive. The “Toad” ending is abrupt after removal of the harsh noise of the tape termination. Basic balance was quite good and it is now very listenable but still quite flawed.