Sunshine of Your Love N. Cream played several Fillmore West shows in August and September This setlist may be highlights from multiple shows. Psychedelic Supermarket, Boston Mass, [th] Sept.
Cream were comfortable in these legendary studios, as well as finding a very like-minded producer and engineer. The sound was better than those of British studios at the time, and both Disraeli Gears and Wheels Of Fire are proof of this.
At Tom Dowd's suggestion, Eric also contributed a guitar solo on an Aretha Franklin session being held at the same time. BBC Online. Retrieved 31 August Archived from the original on 15 July Retrieved 25 January You are using an out of date browser.
It may not display this or other websites correctly. You should upgrade or use an alternative browser. Thread starter bluesforstevie Start date Oct 19, Prev 1 2.
First Prev 2 of 2 Go to page. Sansho New member. Joined May 13, Messages Fresh Cream and Disraeli Gears both have great examples of Clapton's woman tone, which you won't hear on the live recordings.
Try "I Feel Free" as a great example. While the studio work has some truly great playing, I've always felt the best of Cream, as a band, was live! 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. 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 major difference is the lithe and flexible rhythm section. This shows how closely the studio version captured the live performance. Eric includes a feedback loaded passage in his fine solo. 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. 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.
Eric introduces it as a Junior Wells song and it follows his arrangement. Probably the best available version. This is given an extended work out. The live recording shows only a modest development of the arrangement. A fine performance all round with Jack still developing his vocal technique.
The arrangement is complete and it was the technical development of the band, collectively and individually, that was to bring the masterpiece to finalisation. It established them in Scandanavia. While it is good it does have major problems. The performance includes the four songs that would become the closing elements of their extended improvisational sets later in the year.
EC joins in to fill out time and then jack joins in. 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. 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. 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. This bootleg was originally dated as 15th January I recognised that this could not be correct and redated it as 22nd April which has now been confirmed by John Platt. They had then moved to Atlantic studios to record a single. They were booked to record an album in New York during May.
On their return to England they began working up more original material. 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. Clearly the arrangement is not yet completed: the drum pattern yet to be developed, the riff still raw and at a faster tempo. 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. 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. 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.
From here on the impact of psychedelics and the burgeoning instrumental virtuosity was to lead them down a new path. 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.
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. Cream had begun serious rehearsals in June 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. 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. 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.
Another effort was deemed suitable and work began on the A Side of the single. 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. 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.
At this stage, the demands of touring intruded and no B Side was completed. Moving to a marginally superior studio, they completed the B side of the single and also completed its follow up. 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 alternate master was released on a French EP and has an alternate lead overdub. The single was released in October, and only reached 34 on the UK charts, hardly auspicious for a band of their reputation.
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. 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.
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. 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. 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. 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.
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. From this time Pete eschewed all intoxicating substances — his lyrics are a product of his true mind.
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. The second type of vibrato is Claptons most exciting… the stretch bended vibrato.
There is a lesser third type that involves the finger pulling the string back, usually only on the last two lowerstrings E and A.
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. But there was lots of free booze, so all was forgiven. Lest you get the idea that Gosling was merely a party girl, she quickly made herself indispensable at Ricky-Tick.
Sister Rosetta Tharpe played numerous Ricky-Tick shows. This one took place at Clewer Mead in Windsor on October 31, Backing her up was a local group called Five Dimensions. Gosling was usually in charge of the money collected at the door. We used cardboard boxes for the notes, and they would always fill up. At one point, Philip gave me a trombone case. One infamous event that Gosling ran was a Rolling Stones concert in the village of Worplesdon, just north of Guildford. The date was August 23, , which means that by then, the Stones were no longer relying on Mansfield and Hayward for after-show meals.
They now had a single in the U. Still, the attention was clearly going to their heads. Graham Bond is said to be the first Brit to play a Hammond organ through a Leslie speaker.
By the time Mansfield showed up at 9 p. Mansfield decided to give everyone full refunds on the spot, paying out 20 pounds more than had been collected due to the confusion. Among other commissions, Gosling made a Victorian jacket for Eric Clapton, who wore it for a period on stage.
No doubt it was all great fun, but it was undoubtedly easier to attend a Ricky-Tick club than to help run it. He was becoming a real womanizer, while I was being totally faithful to him. An assortment of screenprint posters for Ricky-Tick. Instead of silk, Mansfield and Hayward purchased organdy for their screens.
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