Tales of Brave Ulysses: The Cream Story

Written by uao
Published March 26, 2005
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Wheels of Fire followed in 1968. This ambitious double album reached #1 in America, and yielded another big hit, "White Room" (#6), a radio staple to this day. In addition to presenting the latest new material from the band, it was also an effort to convey the mammoth Cream concert experience; one disc was done in the studio, the other were concert recordings from San Francisco (the American acid rock Mecca at the time).
Cream: Wheels Of Fire (1968)
It is here where persistent arguments about the Cream legacy enter the picture. On the one hand, the studio disc presented some fine new material; the Bruce/Brown "White Room" and "Politician" and the fine Albert King cover "Born Under a Bad Sign" On the other hand, Ginger Baker gets three songwriting credits on the album, none of which come up in a discussion of Cream's greatest moments. The live disc is even more controversial. In the post-punk world of musical economy it became fashionable to deride the 17-minute long "Spoonful" and the 15-minute "Toad" as classic examples of rock indulgence and show-off playing.

Mortals after all, there is some validity to this argument; Wheels of Fire is an album even Cream fans probably don't play in one sitting much anymore. But a careful listen will reveal what was common wisdom in the 60's; like jazzmen, Cream would use the beginnings and endings of the song as motifs, and the long (long) middles as improvisatory space. On "Spoonful" this is a revelation; psychedelic blues approached like jazz; a seemingly impossible feat turned into touchstone. On "Toad" the detractors have ammunition; even there, however, if you approach this 15 minute drum workout sympathetically, it delivers some powerful moments of virtuosity, in the good sense of the word.
Cream: Goodbye (1969)
Regardless of how well the album conveyed Cream's vision, there was no denying that in 1968, the band was at its height of popularity. So credit must be given to them for recognizing that their mission to liberate the blues from its structures had now become confining in itself; Clapton in particular had developed new musical interests he wanted to explore. So Cream announced its intentions to disband; a farewell tour of the US and UK followed, and in November 1968, Cream ceased to be a unit.

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Tales of Brave Ulysses: The Cream Story
Published: March 26, 2005
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Filed Under: Music: Classic Rock and Oldies, Music: Hard Rock, Music: Rock
Writer: uao
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Comments

#1 — March 26, 2005 @ 22:01PM — Leslie Brooks

Congratulations on an interesting and accurate article.

To those of us that actually lived through this time, and the adventures of this group, the memories are very vivid. At least MINE ARE! Those claiming "indulgence" were either misinformed or just palin hated the music. Clapton, Baker & Bruce did something no other group had ever done before. The price of the Cream Reunion tickets are a testimony (vindication?) of the style that was actually DEFINED by these guys.

Personally, I'd give almost anything to go to ANY one of these new concerts! I saw them in 1969 at Madison Squaare Garden and it is a memory that I cherish. What a treat for those that can afford the incredible $1500-$3500 PER TICKET (MOST EXPENSIVE EVER!???) price for these shows.

You tell me... based on that alone, how great were they?

#2 — March 27, 2005 @ 20:01PM — dlh


in 1968(?), there was a Rolling Stone Magazine article that was critical of Cream and called Clapton "Master of the Blues cliche." it was said that this article led to the demise of Cream. The thinking was that The Band was hipper and loud amplified music was passe. perhaps Clapton thought Blind Faith was the answer to such criticism. regardless, the formation of derek & the dominoes and release of Layla as perhaps the finest guitar based classic rock album of all time, should have silenced all critics.

anyway - while Clapton had mastered and surpassed the blues phrasing of players such as Freddie King, people seem to forget that Bruce and Baker were also very important to Cream's sound. they too were viewed as the cream on their respective instruments. for example, bruce's bass playing on the legendary "Crossroads" Winterland recording remains unsurpassed and is, it its own way, more remarkable and inventive than Clapton's near perfect pentatonic based phrasing on the recording. bruce's da daist perspective probably had a major impact on later artists such as Sting.

it will be interesting to see if the three are willing to use vintage gibson guitars and basses, marshall plexi amplifiers, and Ludwig drums for these widely anticipated concerts. in a sense, that would be important in getting the true tonal quality of recordings such as Live Cream I to say nothing of the enhanced visual impact to knowing musicians. at the rock and roll hall of fame induction, they use more modern instruments which, while understandable, was disappointing. of course, the three are nusicians nd their equipment, vintage or modern, are likely viewed as tools to them.

#3 — October 16, 2005 @ 21:53PM — James Cook

Martha Stewart is Eric Clapton's Groupie.....

Sour Cream will be at the NYC/MSG 10/2005, Tix cost more then they are worth....Oh well

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